The Migos’ best quality is their ability to present truly virtuosic rapping in ways that are commercially viable, and it would be ridiculous to suggest that Offset, Takeoff, and Quavo’s talents have diminished since Culture’s release. But if Culture marked the very peak of the Migos’ triumphal arc, buoyed by a swell of goodwill, Culture II is simply… here, arriving in the wake of a handful of solid but inessential singles that hardly compare to the zeitgeist-dominating force that was “Bad and Boujee” or “T-Shirt.” It’s hard to say what Culture II adds to our appreciation of Migos in ways that don’t feel redundant: Yes, the trio is still incredibly successful, still ridiculously wealthy, and hey, one of them’s engaged to Cardi B! Where Culture was an event, its sequel feels more like an occurrence, the quality of its songs handicapped by the artlessness of its presentation.

The first thing to note about Culture II for anyone who may have made non-Migos-related plans for their leisure time is that it is long—dauntingly so. Its 24 tracks range across one hour and 45 minutes of digital space. Maybe the Migos just had thatmany ideas they simply could not deign to edit down. But it seems more likely to be another attempt to game the current Billboard and RIAA rules, in which 1,500 individual song streams count towards one full album sale (thus, the more songs on an album, the higher and faster it charts). It’s a familiar play from Migos’ label, whose “Quality Control” moniker feels fairly ironic here; last month, they released the 30-track Control the Streets Vol. 1 compilation, 22 of which featured Migos or some combination of its individual members. And currently pinned to the top of Migos’ Spotify page under “Artist’s Pick” is not Culture II, the album, but a 72-track playlist that repeats the album’s tracklist three times in a row. It’s not like this kind of craven opportunism is a recent development in the music industry, but it feels pretty dark all the same.

All this power-grabbing does a significant disservice to the songs here, most of which are good to great. In fact, there are two strong projects to be culled from Culture II’s sprawl: an album-quality selection of slick, playful nudges in experimental but chart-friendly directions on one side, and a mixtape’s worth of expensive updates to the O.G. Migos sound on the other. The lonesome sax solos wafting through “Too Playa” pair elegantly with the muted horns on Kanye co-production “BBO (Bad Bitches Only)” and the loungy “Made Men,” on which Takeoff’s adlibs feel like the intimate asides of a ’70s soul singer. On “Stir Fry,” the trio step outside their comfort zone with a Pharrell beat originally intended for T.I. circa 2008. “On the nose” doesn’t begin to describe “Narcos,” with its Latin guitar, “arriba!” ad-libs, and the best-worst drug lord accent attempt since “Tony Montana”—but if that’s not exactly what you come to a Migos song for, then Offset’s standing ovation-worthy second verse is. “I ain’t really with the razzle-dazzle/Knock him off and then I throw him off the boat paddle/Go to Tijuana, put the kilo on the saddle,” he raps with stunning precision, a reminder of why it’s worth it to trek through nearly two hours of material.

This isn’t to say that the “mixtape half” of Culture II is underwhelming, exactly; there’s a lot that works here, from the cosmic Ren Faire chords of “Supastars” (though it’s a weird choice for the album’s third single) to the haunted “Crown the Kings,” whose waterlogged vocal samples evoke a trapped-out Kate Bush. But the farther you journey into the album’s increasingly sleepy second half, the harder it is for these songs to hold your attention for much longer than a verse and a couple hooks. Even the song structures themselves start to feel formulaic: each of the album’s first nine songs opens with a Quavo hook leading into a Quavo verse, to the point where it’s often a full two minutes in before we hear anything beyond ad-libs from his compadres. “Too Much Jewelry” finally breaks free from the repetitive template: a Zaytoven-produced Gucci Mane homage and a showcase for Takeoff, who regularly steals the spotlight on Culture II even when relegated to a song’s final verse. The youngest Migo’s turn on the sultry bounce of “Gang Gang” is the album’s biggest surprise, his gravelly baritone holding down the melodic duties usually relegated to Quavo with unexpected grace.

It’s still a joy to hear the Migos rap, which is why it’s especially depressing that Culture II ultimately feels like a drag—a formless grab bag compiled without much care. Perhaps this is a hopelessly old-fashioned way of thinking; after all, there’s nothing stopping anyone from creating a playlist of our own, trimming and rearranging the album’s 24 tracks exactly to our satisfaction. And frankly, given the choice between pleasing critics with concise, thoughtful works like Culture or appeasing every fractured sector of one’s fanbase while boosting sales numbers—well, it’s not exactly a tough call. Maybe the culture is already too deep into its “album as outlet mall” moment—an endless, unedited data dump ready to be whatever we want it to be. But culture and art do not always share the same priorities.

The post Migos Culture II Album Review appeared first on WE SPEAK MEDIA.

You blame the city’s politics and gerrymandering, I blame Fixer Upper. (It’s still all love though Chip and Joana.)

But honestly, we should have seen the beginning of the end when Forever21 started selling bamboo earrings. Now hipsters, who have no idea who Felicia is, are buying Friday t-shirts from Urban Outfitters, and Kylie Jenner is somewhere fooling with a toothbrush to “lay” her nonexistent edges.

Nothing is sacred anymore, but not all hope, or culture, is lost– if you know where to find it.

Atlanta has long been the mecca for all things black culture. We have given the world everything from Dr. King to Andre 3000 to Migos. No matter how many trendy apartment complexes crop up around town, there are a few landmarks that will always be there.

Here’s a few:

Kenley’s Restaurant

Located in the cut of the Citizen’s Trust Bank, this undercover gem feels like a literal hole in the wall when you step from the office building into this homely wing spot. But what the place lacks in size, it makes up for in heart- and a bussin’ $7 ten-piece wing plate. Every inch of the walls are littered with pictures of owner Kenley Waller with entertainment royalty, from the likes of a young Mariah Carey to TLC. And if Mimi’s bougie self is up there, then you know that ten piece is somethin’ serious.

Moods Music

Tucked in the quirky artist’s neighborhood Little Five Points, this old school record store smells like cocoa butter, incense, and vinyl soul. Founded by Darryl “D-Nice” Harris, the place serves as a hip-hop and R&B time capsule boasting Sade records, Lauryn Hill CDs, and original VIBE issues with Pac on the cover. Moods Music is an apt name for its warm aesthetic that feels like it came straight off the set of Love Jones. And if you look close enough, you can almost see Darius playing that Isley Brothers record for Nina.

Sweet Auburn District

This renowned district in Atlanta is no hole in the wall, but I’d be wrong not to mention it. Deemed the “richest Negro street in the world” by Fortune magazine in 1956, Sweet Auburn was a hub for African American business; the Southern Harlem Renaissance. Not only did the neighborhood act as a form of headquarters for activists during the Civil Rights Movement, it was also the home of Martin Luther King Jr. himself. This area is ripe with legendary landmarks, from King’s childhood home to Ebenezer Baptist Church. Celebrate this vibrant culture at the annual Sweet Auburn Fest, grab a bite at the Curb Market, or walk through history in Dr. King’s neighborhood.

So yes, gentrification is happening. We can’t stop it, but nor do we need to fear it. So let Seth ride his bike through Bankhead- the true ATLiens aren’t going anywhere.

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Migos has released a new track called “Stir Fry”–“in the kitchen wrists whipping like it’s stir fry,” to clarify the central conceit. Notably, it’s produced by Pharrell Williams, featuring a busy breakbeat and some wayward, typically Pharrell-like synth chords. Migos adjust their trademark flows around the feel, which is an unusual one for a Migos song, to varying degrees of success. Quavo, Takeoff, and Offset just released several collaborations on the new mixtape from their label, Quality Control: Control the Streets, Vol. 1, including “Ice Tray,” with its Joe-Budden-mocking video. Check “Stir Fry” out below.

The 2018 NBA All-Star Game, which is the annual showdown between the Western and Eastern conferences, will take place February 16-18 in Los Angeles.

The post Migos and Pharrell Whip Up Some “Stir Fry” Which is The Promo Video for NBA All-Star Game appeared first on WE SPEAK MEDIA.

Solange reveals battle with nervous system disorder

Solange Knowles is suffering from a nervous system disorder that will make her unable to perform at South Africa’s Afropunk festival on New Year’s Eve.

The singer revealed on Instagram Wednesday that she has been battling an autonomic disorder over the last five months.

“A journey that hasn’t been easy on me,” she wrote.

© Amy Harris 

Solange reveals she was diagnosed with an autonomic disorder five months ago.“Sometimes I feel cool, and other times not so cool at all,” the “Cranes in the Sky” singer wrote.

“It’s a complicated diagnoses (sic), and I’m still learning so much myself, but right now, my doctors are not clearing me for such an extended lengthy flight, and doing a rigorous show right after,” she continued.

Solange did not share what type of autonomic disorder she was diagnosed with, but people with autonomic disorders have trouble regulating heart rate, blood pressure, digestion and body temperature as the disorder is a dysfunction in the nervous system.

Autonomic nervous system disorders could also be the result of another disease, like Parkinson’s, cancer, autoimmune diseases, alcohol abuse or diabetes, according to NYU Langone.

Symptoms include dizziness or fainting upon standing up, abnormal sweating, urinary problems, vision problems and difficulties with digestion such as loss of appetite or diarrhea and constipation.

The 31-year-old younger sister of Beyoncé has backed out of at least two shows in the past year, including one in November at Florida State University’s homecoming show in which she cited a medical condition.

“Due to a medical condition, Solange is unfortunately prohibited from live performances until further notice by her team of doctors,” the statement at the time read. “On behalf of Solange and the Saint Heron family, we would like to apologize for any inconvenience that this may have caused and thank you for your continued support.”

In July, she headlined London’s Lovebox Festival and Chicago’s Pitchfork Music Festival within 48 hours of each after breaking out of the hospital.

“I was in hospital this morning,” she told the crowd, according to reports. “I was in hospital for three days. After my show I had a serious episode and was told I shouldn’t perform. And so I broke out of that b—h this morning.”

She also once passed out at the airport in 2009 and was hospitalized, but credited it to dehydration.

She later tweeted about it, writing “guess I passed out,” but it is unclear if she was suffering from the autonomic disorder at the time.

On Instagram Friday, she wrote that she wasn’t sure “what exactly or how much” she wanted to share.

“As a part of the self care that I’ve tried to encourage this past year, it needs to start with myself,” she wrote. “And I’m looking forward to doing a better job of this 2018.”

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