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anaiswriterr · 3 years

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The Dragon Kings Queen

Pairing: Dragon King!Bakugou x Queen!Reader

Rating: M

Warning: This is part seven, I’d like to point out be aware: 𝐬𝐞𝐱𝐮𝐚𝐥 𝐜𝗼𝐧𝐭𝐞𝐧𝐭 𝐚𝐧𝐝 𝐭𝐡𝐞𝗺𝐞𝐬, 𝐥𝐚𝐧𝐚𝐠𝐮𝐞, 𝐠𝗼𝐫𝐞, 𝐝𝐞𝐚𝐭𝐡, 𝐚𝐧𝐝 𝐞𝐭𝐜. Please don’t read if you are not comfortable with it, and if you’re under the age of 18+ I will give a warning when it becomes NSFW but at the moment it’s SFW. Todays chapter does include gore, death, killing, hunting, sickness, etc.

Synopsis: ➪ When the word marriage crossed your mind, you believed you’d marry someone you loved. Not this brute of a King. So here you are standing at the end on an alter, pushing away the urge to run and fight. Possibly start a new life, instead of being dragged into a loveless marriage. But for the sake of your people.. They say he’s not what rumors make him out to be, but how can you believe that when his eyes burn into yours; just as fiery as before. How could you, ever love someone as barbaric as him…

- chapter seven: fevers and night terrors -

•

Your memory is clouded from the prior events you participated in that afternoon. But the foul taste of blood and uncooked heart follow up your throat and out into a toilet bowl mock you as handmaidens rub your back in comfort. Melody soothes your nausea with warm tea meanwhile the rest pat wet cloths to your burning skin.

How did you get back to the castle? You have no idea. Absolutely no recollection of the journey back.

But you are happy they bathed and dressed you in a comfortable nightgown, tending to your ever needs and healing the scraps and wounds on your skin. Picking and pulling the splinters from your palms, scrubbing the blood, grime, and dirt off your chest.

Your eyes narrow attempting to fight off sleep.

Four girls gently escort you back to bed, tucking you into the sheets, folding a small cool rag and placing it on your forehead. A gold bell sits beside you, placed on a nightstand where you could easily reach out for. A bin is on the floor beside you as well, you thank them knowing there was something you could easily turn to.

The night was rough.

And your fever rose.

Your body trembles in the sheets, your achy muscles pester your sore lower portion of the small of your back, you lean over, hunched over the mattress. Your body violently lurches forwards, with you stomach clenching, tears prick out from the corners of your eyes.

It hurts so much.

Melody rubs small circles on the small of your back; humming to herself soothing you. "I should get the King, he's been wanting to see you-"

"No." You cough, sternly your eyes narrow at the young girl. "He shouldn't see me in this state, I'm weak, tired, and sick. His presence wouldn't help." You swallow dryly. Eyeing the dagger resting neatly on your nightstand, you feel a hand reach out to rub small circle around your wrist.

Nodding in understanding Melody wipes your forehead, "Will you be alright?"

You give her a quick smile, just wanting to be alone, "Yes, go rest. I'll be fine." Melody pushes herself off the mattress, checking a final time your temperature. "I'll be back in the morning with tea and light crackers, sleep well your majesty."

As the door closes shut you lay down slowly into the pillows, careful of your sore belly, and attempt to drift off into sleep. The window blows cool air into your room, the lace curtains dance throughout the night as the moonlight shines on your face. You eventually drift feeling a lot more better then you were previously. Your stomach howls, growling at the emptiness it pained. Your head still felt dizzy - lightheaded and fuzzy -, even with your stomach empty you could still feel the linger of nausea, the sour taste on your taste buds. It's nearly bearable.

Nearly.

Surely not as terrible as an hour ago.

***

You are running through the woods, heavy footsteps follow closely behind you. You are screaming, well, you think you are. Your mouth opens in a large 'O' but no sound escapes. Just the sound of the deep huffs and grunts of the creature behind you chasing you. You scream out for Bakugou, you don't know why.

You have no idea why you'd scream out for his help, but it wasn't like he was any help. You are running circles, the same three berry bushes pop up ever forty-five seconds on your right.

Every corner you turn you see Bakugou, cheering and laughing.

It's all just a game. Some sick kill the queen culture.

You keep screaming.

Until a hand covers your mouth, silencing you. Your eyes shoot wide open, staring into a pair ruby red eyes, you subconsciously reach out for your dagger and press it to his throat.

"Don't do something you'll regret,"

"How do you know I won't regret it?"

He remains quiet, for the first time in forever it seems. Your grip on the blades handle loosens, his gaze moves to your lips. Only for a second. Then back up to your E/C eyes, "You were screaming."

You arch a brow, "Nightmare."

You realize the dagger is still pressing on his neck, pulling away you drop it to your side. Your eyes wondering to the ceiling above you in attempts to run away from his wandering gaze. The silence is awkward between the two of you, his forearms cage you in.

"Why are you here?"

"I said you were screaming - I wanted to check up on you."

"I-I'm fine,"

His arms are strong. Firm and deadly. They cage you in like a wingless bird, what do you say now. Your stomach clenches again, but not because you were nauseous - the feel had already subdued with sleep. It's the fact that you husband, who also happened to be very handsome was hovering over you. "You should leave." You state firmly, unable to look at him.

He's quite.

The only sound you can hear is the howling wind from outside as it hits the curtains of your balconies window.

"How are you feeling?"

It's an odd question coming from him, "I'm fine. I- feel better."

"I don't believe you."

You're taken aback left babbling between words, "I feel better, no thanks to you and this kingdom's parliament. You entered my cambers without my consent and I'd like you to leave - immediately."

His hands press harder onto the mattress before shifting his weight onto the headboard above you, "You're a feisty little one, even when you're burning with fever though I suppose it is going down. You fell into my arms, remember?"

You laugh with delight, "It was either you or the gravel beneath me. And I will not fall onto the ground below you at your feet. If you're here to pick a fight then you are mistaken. I do not have the strength nor patience to deal with you." The words came spitefully out of your mouth, trailing away from your lips. He smirks above you, eyeing you from below.

"Lets get things straight here, I came to check on my wife-"

"Spare me your savior complexities for a later dat-"

You feel his hand move down to your cheek, his knuckles just barely grazing over the soft skin and relaxing at your throat; "Your skin is so soft." His palm gently tightens, "I didn't want this. This marriage was a truce, a trade. To stop the war on the northern fronts we needed each other - our kingdoms." He let's go of your throat, your heart is beating so fast you can barley catch up.

"Tomorrow you will see your people, they want to spare a glance at their new rightful Queen. The real party is tomorrow, you'll meet your soldiers the day after on the outskirts." He says fixing his hair, you push yourself up from the mattress, "We're going to the outskirts?"

"Yes, I have people, things you need to meet."

"What things?" You ask, watching as he turns his back to you ready to leave your room. He looks back at you through your mirror, smiling hiding the glint of mischief behind his smirk, "You're the Queen of dragons now,"

You nod slowly at his inclination. Wondering where the conversation would lead to.

"You have to meet your children."

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californiannostalgia · 6 years

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Holy Shit Voltron Season 6

They did NOT pull their punches, WOW. This has gotta be my favorite season yet. Emotions were flying, space was beautiful/terrifying, important plot points were coming together, and the action was AMAZING.

*SPOILER ALERT IMMA GONNA START BLATHERING*

1. Lotor: Lotor is fucking insane and the creators played it PERFECTLY. His childhood was obviously one of continuous abuse, and I’m guessing the derision he faced for being a half-breed was worse than we’d thought, because he outright despises the Galra. He doesn't want to hear an apology from the monster that wears his mother's face, and when his father is mentioned, he FLIPS.

It’s hard to wholeheartedly hate him because we’ve seen the potential for goodness inside of him, but with no one to teach him that genocide or forced sacrifices is wrong, he's grown up warped and twisted. What he did to the Alteans strikes me as especially awful because he genuinely sees himself as a savior of Altea. I think his falling for Allura might have been partly because she was the first sincerely kind being he's interacted with, and partly because his ideals of a perfect Altean future included the Princess in it.

Whereas Zarkon felt like a dark, immovable force, Lotor is intelligent, flexible, and much, much scarier. He fooled the Paladins, his Generals, the Galra, the Alteans—like Lance said, he fooled everyone. If he emerges from that overcharge of Quintessence for a final boss fight, he's going to be utterly terrifying. Madness runs in his family, it seems, and it's rendered more disturbing by the tragic circumstances behind it. Lotor should be proud, though. He has more than outdone his father.

2. Allura: Her Altean magics gave the enemy an impossible advantage, but also saved everyone over and over again. When she blasts Lotor with that crazy amount of Quintessence, a part of me felt disturbed by how sad the situation was. This stupid war is forcing a kindhearted child to push someone she cared about (even if it was a relationship built on falsehoods) straight into madness's open arms. Fuck war, really.

Part of her wanted to save him from becoming even more of a monster, but Allura knows where her duties lie. She doesn't have the luxury of feeling sympathetic towards the enemy. She leaves Lotor behind to his madness. She doesn't even blink at destroying the Castle of Lions, the one last piece of Altea she has left. She's a lion goddess, and I love her.

3. Keith: THAT'S WHAT I CALL CHARACTER DEVELOPMENT. Marmora training plus two years in the presence of a solid parent figure and a space pet did him good. When he returned, he came back decisive, hardened, and completely ready for Black. Watching him claim his seat without a moment of hesitation gave me the shivers. The backstory episode was so good, too. This kid loves his fellow paladins with all his heart, and it's great to see his love giving him the strength to save the people that matter to him. Especially Shiro.

Oh, and you know that moment at the end of the fifth episode, when Keith nearly gives up on himself? Not caring about himself is what he does, what he’s used to. But at the last moment, he remembers how Shiro pleaded him not to give up on himself, and opens his eyes. That moment he decides to live is the definition of epic. (Also, HOLY FUCK THAT MARK WAS A SCAR??)

4. Clone Shiro: I can't believe they made us grow fond of the Shiro Clone through the D&D episode (showing off Takashi's dumb nerdy core, god I love him) before pulling the inevitable betrayal. Even though we saw it coming, they made us remember that part of him is the Shiro we love, so that the battle between the two Black Paladins could carry a sufficiently devastating note.

I now understand why Shiro seemed so obsessed with playing a Paladin. It was because a Paladin is what the Clone was programmed to be, the only thing he knew how to be. Add that to the fact that the last thing the Clone says is Keith’s name? Yeah, the Clone Angst was strong.

5. Shiro: I'd forgotten how good and pure the real Shiro was. His acceptance and encouragement is like hot chocolate. BUT WHAT THE FUCK DO YOU MEAN YOUVE BEEN DEAD ALL THIS TIME. WHY WOULD YOU DROP SUCH A BOMB SO MATTER-OF-FACTLY?

God, I'm ecstatic to have him back, grandpa hair and all. Thank you, Lion Goddess Allura. (Since this means he didn't go through any more suffering after the end of season 2, I'm strangely relieved?) (Does this mean we get a Shiro video diary now?)

6. Hunk: That first episode of him using his understanding of Galra culture to save an innocent planet was amazing. (I also really liked the command structure the team has. They readily defer to whoever has the most knowledge about a given task and follow that paladin's orders. It's a jarring contrast with how Clone Shiro was acting last season. But I digress.) Watching Hunk being a genius engineer in action is the best. I love one sarcastic, pessimistic child who basically has a heart of gold.

6. Pidge: She hesitated once and failed to stop the Clone Shiro from leaving with Lotor. When the Castle is hacked and her programs are being taken down, she pulls out her last resort card. Using that program is tantamount to admitting that she cannot trust her Shiro, and it is a crushing revelation for her, the team, and us. But she doesn’t hesitate again. (Always a joy to see her work her programming magic.)

7. Lance: The rapport Allura and Lance have with each other is the purest thing. He throws himself into harm's way for her and nearly dies. She jumps out of her lion to go help him when there's a radioactive flare moments away from coming into contact with her position. If one of them is sad, the other is there to offer emotional backup, without question. I dig this healthy supportive relationship.

What’s special about his character is that Lance is a solid presence to lean on for the others—whether he’s providing emotional support for Keith, Clone Shiro, and Allura, or taking command in the absence of a clear leader. Funny thing is, he can’t do shit for himself. His self-esteem is getting lower than ever. He openly cried (something he never lets himself do) thinking he failed Shiro. The self-hatred at his own mistakes and supposed uselessness is gonna blow up sometime soon, and I look forward to the day that time bomb finally goes off.

8. Coran: I could feel his grief for his dead planet, his sense of inadequacy compared to his grandfather. Very pleased that they gave us quality Coran Feels. (Also, Dungeonmaster/Dragon Coran was amazing.)

9. Krolia: Keith's parents fought so hard to protect the universe and their child. I can't forget the look in Krolia's eyes when the memory beam showed her a tiny Keith standing in front of a tombstone.

10. Acxa, Ezor, and Zethrid: They're trying to be loyal to the Empire, trying to save their people. They're being faced with impossible decisions left and right, and I'm curious what they'll be doing next.

11. Haggar/Honerva: She is genuinely sorry to Lotor, but sorry can't erase a millennia's worth of abuse and she knows it. I wonder what she will think when she finds out her son has followed her and Zarkon's descent into madness? I wonder what plans she has in place. (Could she be the final villain?)

12. Team Voltron: Here's the thing. In previous seasons, they were Paladins, yes, but they were still kids. They messed around with cows, made stupid jokes, generally powered through hard battles with the help of luck and sheer determination. But this season, when they charged into battle screaming, shield up and sword drawn? They no longer felt like brave kids going to war. They felt like the motherfucking Defenders of the Universe, through and through. (I didn't think I'd ever be this into a show about color-coded robot pilots. I was wrong.)

The scene where they pack their things to leave the Castle behind communicates the sense that there is no going back for them, that they are permanently changed and will constantly continue moving forward. It’s exciting. I can't wait for them to return to earth as hot badasses and bask in the respect they deserve. (Also someone needs to punch Iverson.)

13. Overall: The gorgeous backdrops, the pacing of the plot, the presentation of the scenes, the action sequences, the sound effects and acting—they were faultless. The soundtrack was great. There were countless moments of pure badassery: Krolia's fight, Keith vs. Clone Shiro, that Pidge-and-Lance tag-teaming action, Hunk's powerup, Voltron tearing a rift into the fabric of reality, etc. I loved it, I loved every precious second of this season, and I am blessed to be able to witness this masterpiece unfold before my eyes.

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chocolate-brownies · 6 years

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Explore what digital detox can mean for you—and the world at large—at Wellspring.

I talk a big game when it comes to mindfulness. In the yoga classes I teach, as well as in conversations with friends, I find myself ranting about the evils of digital devices and social media. And yet I also increasingly catch myself reaching for my phone before getting out of bed in the morning. I obsessively watch every Instagram story in my feed. The sound of a notification, any notification, sets my heart racing with both anticipation and anxiety. It’s a hard truth, but an important one to admit: I am addicted to my devices. Can you relate?

They say that admitting you have a problem is the first step to solving it, a colloquialism I conveniently kept forgetting to follow with a second step. But my dependence has reached unhealthy levels—I’m sleeping poorly and unable to focus on simple tasks, like reading, without “checking in.” It’s time for a hard reset. I’m digitally detoxing for seven whole days, and will document my progress in a journal—that is, assuming I don’t collapse from withdrawal.

Here are the rules:

No personal social media, whatsoever. I can use social media for my job (I manage my yoga studio’s Instagram account) between the hours of 8am and 4pm.

Professional email only between the hours of 8am and 4pm.

No convenience apps (Venmo, Uber, etc.).

Try hard.

Be honest.

Day One

I’m a mess today. I attended a 108 festival in Santa Monica this weekend and flew back home on a red-eye. Disaster. I’m bleary-eyed, nauseous, and totally out of it. The only thing I want to do is binge on Netflix for hours, but I’m pretty sure that mindlessly staring at a screen would be a bad way to kick things off. I consider an online restorative class, but that requires a computer. They make everything so easy, and yet do they really fulfill our needs? I turn my phone off completely, pull down the window shades, drape my body over a bolster, and consider myself dead to the world.

When it’s time for bed, I find myself antsy to the point of clenching my jaw. It’s been almost 24 hours since I checked WhatsApp for messages, and I’m worried I’ll “miss” something. But what could be so important that it’d be sent via WhatsApp at 10 pm on a Wednesday night? I go to bed.

Day Two

I’m still jet-lagged, but feeling more excited about the detox. As I go about my routine, I catch myself reaching for my phone dozens of times before noon. Literally dozens. This is not good. Each time, I ask myself: What were you planning on doing with it? The answer, I admit sheepishly, is always the same: Instagram.

I decide to dig a little deeper and explore why I feel the need to check IG, and I realize it isn’t out of boredom or curiosity. I notice that the common denominator in each of these close calls is that just before I grab my cell, I have begun to get a little anxiety about deadlines, my career, my hopeless singledom… Turns out, I’m straight-up trying to avoid feelings that oh-so-inconveniently keep creeping in. I decide to make a new rule: Every time I want to avoid a hard emotion by cruising the web, I have to sit, close my eyes, and feel the feels for two minutes. I do a lot of eyes-shut-sitting this week.

Day Three

Well, it had to happen sooner or later. I was working on an article, and I must have blacked out for a sec, because when I “woke up” I was seven images deep on my Instagram newsfeed. Let me reiterate this: I actually opened a new tab on my browser, navigated to Instagram, and started scrolling without realizing that I was doing so.

Apparently I also scroll for procrastination purposes. This was a theme that would recur again and again throughout the week: The second I felt stuck or bored or distracted by whatever I was working on, I would click open a new tab and start to type either “Insta…” or “Twitt…” or “Face…” Cruising around social media sites is my favorite form of postponing a dreaded task, a fact that Mark Zuckerberg would love but my editors would hate. I didn’t cure myself of the urge this week, but I did catch myself in the act earlier and earlier.

Day Four

This is a tough one to share. I realized today that, in addition to texting and IRL chats, one of the main ways I stay in touch with my girlfriends is to swap snarky comments via DM about people we hate-follow on social media. Ugh—it sucks to admit it, and it sucks even more that I do it. Gossip is a huge part of our society’s culture; I’ll even go so far as to say it’s how we’ve been trained to communicate with each other. But that doesn’t make it right.

I realized I was missing the daily lol moments from my best gal pal’s razor-sharp takedowns, and that’s when I first acknowledged the deeper issue. We have so much in common: We both love to cook, teach yoga, and are passionate about wellness. We have zillions of things to talk about and do together. Connecting and fostering a sense of closeness through this social media snark just feels cheap. And lazy. This one is an easy fix: We made plans to meet for tea, and shared an hour of substantial, thoughtful conversation. I left our date feeling refreshed, not guilty and dirty.

Day Five

Okay, I’ve definitely gotten over my withdrawal symptoms and have entered the euphoria stage. I made plans to go out with my parents to celebrate my mother’s birthday, and I had a tight turnaround from my shift at the yoga studio to the time of our dinner reservations. Normally, this type of situation would stress me out as I attempted to take care of my dog, get dressed, and get out the door, but today I felt a sense of lightness. I practically skipped out of my apartment with my cell set to airplane mode. What changed? I’m pretty sure it’s the fact that I had officially crossed “Check Instagram” off my to-do list.

Let me explain: Once again, I’m blushing so hard I’m turning red, but my addiction has roots so deep that I have convinced myself scrolling through random people’s feeds is a necessary step in getting ready to leave the house. It isn’t just a time suck: The real problem is that I’ve placed undue importance on the minutiae of someone else’s life over my own. My voice says that attention and presence are important, but my actions say that what celebrity yoga teachers ate for lunch is more so. I decide to banish my cell from the “getting ready” process from here on out, and lean into the itchy “but I just wanna know” feeling that comes with my abstinence.

Day Six

Last week, while I was on vacation in another state, my folks had my aunt and uncle over for a meal. I knew this not because I was invited or because my mom told me. I knew because my aunt posted pictures on Facebook. This got me thinking how much of my friends’ and family’s life updates I glean from stalking — instead of talking. I’ve learned about my network’s pregnancies, deaths, and engagements through social media, and I’ve definitely shared big news (a book deal, a move, a new job) of my own through the platforms.

I used to tell myself that social updates were simply the most efficient means of reaching the most people all at once, but the more I think about it, the more I’m wondering: Why is it important to reach the most people all at once? If it’s a major life event we’re dealing with, shouldn’t I want to discuss it with personal, face-to-face interactions? And if it’s a boring detail not worth a real conversation, does it really need to be shared? I’ve considered social networks a huge part of my social life for the last ten years, and I’m not going to lie… I’m having an existential crisis over here.

Day Seven

It’s the last day of my digital detox, and I’ve reached a calmer, clearer place by actually engaging with the physical space I’m in. Instead of jumping up to cook dinner, do a final email sweep, and crush the last few items on my to-do list, I spent a few minutes after meditation this evening simply looking around my apartment. Did the light always look so beautiful this time of day? Had my ceilings always been that pretty? They’re REALLY pretty. Have I seriously lived here for four months without noticing them?

I’m suddenly aware of how often I pass time in restaurants, cafés, and parks without looking around. Why? Because my face is buried in my cell. Of course. I became hyper-aware of my own behavior patterns this week as I watched diners whip out their devices the second their dates got up to use the restroom, and I observed people moving forward in a line while scrolling until the second they reached their destination. I made a conscious effort to look up, look around, and spend time observing the buildings, furniture, decorations, and people surrounding me. It’s definitely a practice I’m going to carry with me when this experiment is over.

Parting Thoughts

This was one of the hardest things I’ve done. It wasn’t an issue of willpower; what made this detox challenging was being honest with myself about how unhealthy my addiction has become. There’s no way I was going to undo a decade of learned behavior in the course of a week, but what I will take with me is a clear awareness of my patterns and triggers. So that was step one. Step two is examining this new self-awareness with kindness, patience, and forgiveness.

Will I toss my cell out of my third-floor window? Definitely not. But I absolutely am going to scale back, check in less, and employ mindfulness tactics in my social media and technology usage. I tell my yoga students to play at their edge of discomfort, but not to live in extremes. What better advice than that for living in a digital age?

—

Rochelle Bilow is a yoga teacher and wellness writer based in Upstate New York. She’s an advocate for body positivity and healthy attitudes toward food and spends the majority of her free time concocting feel-good recipes. She’s also a nature nut and proud corgi mom. Connect with her at her website and on Instagram.

The post This 7-Day Digital Detox Was the Hardest (and Best) Thing I’ve Ever Done appeared first on Wanderlust.

#sleep sounds #sleep music #white noise app #nature sounds #relaxing sounds #rain sounds for sleeping

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drippeddaily · 6 years

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Album of the Year 2017 #18: 2 Chainz - Pretty Girls Like Trap Music

Artist: 2 Chainz

Album: Pretty Girls Like Trap Music

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”It's always these beautiful girls who like this hustler – who you think would be attracted to a whole other type of music. But they like Migos, Future. You get with this girl, and you want to play Bryson Tiller. But she's like, "I want to hear Gucci." Shit. We're the pop stars. Trap rap is pop now. People's ears have adjusted to what we have to say and how we say it.”

-2 Chainz, Rolling Stone interview, June 2017

In July of this year, it was reported that hip hop and R&B music had officially surpassed rock ‘n’ roll as the most popular genre of music in the United States. Personally, I feel like rock had already been dethroned years ago and that rap’s dominance was only now made apparent by the implementation of streaming into the Billboard charting system, but nonetheless the shift has sparked debates over the relevance of the musical styles of generations past with millennials who, having grown up with rap and adjusting to it at a young age in a way their parents hadn’t, have essentially claimed the genre as the music of their generation. In the same way that my father’s generation chose Elvis and the Beatles over Frank Sinatra and the like, someone like 2 Chainz could be argued to have a more powerful hold on the youth culture of today than anyone with a guitar.

Like most people, my first experience with the man born Tauheed Epps was the Lil Wayne featuring “Duffle Bag Boy”, though as it was credited to Playaz Circle I didn’t realize it at the time. The rapper formerly known as Tity Boi made the shift to 2 Chainz not long thereafter, and by the time he released his T.R.U. Realigion mixtape in 2011 he was certifiably one of the hottest up-and-coming rappers in the world, a full decade and half after he’d started his career. The year after he released his major label debut Based on a T.R.U. Story, a platinum selling album in a pre-streaming era (no easy feat) with three major hit singles. History would dictate that Mr. Chainz would be able to ride off the success of this album to further hits and commercial viability in the years to come, and while his string of golden features on others’ tracks continued to flourish, his own solo material began to falter. B.O.A.T.S. II was released one year after its predecessor but sold less than half as many copies and failed to produce a top 40 single. For the next few years Tity released a few mixtapes and EPs, along with a collaborative project with Lil Wayne, but nothing seemed to resonate with audiences like his material in the early part of the decade had.

Suddenly, however, it became apparent that as trap music became more and more engrained into the mainstream consciousness, so too did 2 Chainz’s popularity begin to get a second wind of sorts. This is adeptly referenced in the title to his third studio album Pretty Girls Like Trap Music: it’s a testament to how far rap has come in its mission of taking over the airwaves in recent years and how, while the young women of yesteryear’s generation may have been more enamored with artists who were strictly pop, the more melodic style of trap music that has infiltrated the game this decade has taken pop’s place as the go-to music for the youth.

The general consensus surrounding 2 Chainz up until now was that he worked better as a feature and/or “punchline” rapper than a legitimate album artist. 2 Chainz perhaps recognized that, having fallen from his peak hype levels in the first half of the decade, he needed to put out something truly special to keep people interested in his music. As such, he chose to downplay the more humorous aspects of his verses on Pretty Girls and instead focus on the grittier, drug dealing aspects of his upbringing, along with the usual foray into pussy, money, weed and braggadocio that is almost a requirement for mainstream rap nowadays. He enlisted the help of prior collaborators Mike Will Made-It and Honorable C.N.O.T.E. to provide beats, alongside newcomers such as Murda Beatz and Buddah Bless and industry legends like Pharrell and Mike Dean, amongst others. There’s also a “who’s who” of 2017 mainstream rap on the features list, with Drake, Migos, Travis Scott, Swae Lee, Nicki Minaj, Gucci Mane, Ty Dolla Sign and others all making appearances. He also utilized a unique promotional tactics for the record: he rented a “trap house” in Atlanta that he had painted completely pink and donned it with the album’s logo on the front, and also ran a “trap salon” for girls to get their nails done with song titles inspiring the designs.

Pretty Girls ended up becoming one of the biggest sleeper hits of the 2017 summer rap season. It sold over 100,000 album equivalent units in its first week in the United States and garnered 2 Chainz the highest critical praise he had received in his career up to that point. Less than 3 months after its release, it had been certified gold, his first RIAA certified record since his platinum selling debut. Pretty Girls has produced a run of hit singles that were mainstays on rap stations this year, and the album has been considered nothing but a success for Mr. Chainz.

But is it actually any good?

Review

Pretty Girls Like Trap Music begins with a few rapid piano hits and, ironically enough, a blazing guitar line that would be feel more at home in the rock music that trap artists like 2 Chainz had helped displace at the top of the charts. Tity uses the opener to reminisce about his past and the things he’s done to get him to where he is today. The subject matter fits the Mike Will production nicely and overall this serves as a great way to start the album off.

The title of the following track “Riverdale Rd” is a reference to a street in Atlanta, 2 Chainz’s hometown. The beat almost sounds like a trap reinterpretation of the Psycho soundtrack, courtesy of DJ Mano. Similar to the song preceding it, Tity makes reference in his lyrics to his younger days of hustling and drug dealing and how it contrasts with his life in the present day. This is undeniably one of the hardest tracks on the album.

“Good Drank”, the first official single that had previously appeared on 2016’s Hibachi for Lunch mixtape, follows next. This was the first song I’d heard off the project and it quickly became an obsession, mostly due to the damn near perfect synth lead that opens the song. The patented Mike Dean Magic™ is all over this thing: a beautiful concoction of drums and melodies that stick to your ear and refuse to leave. 2 Chainz’s verse follows the standard for what the majority of the album’s content will ultimately consist of: money, cars and drug dealing. Quavo’s hook is infectious (the “Nooo-ooo-ooo” melodies following the “no hot box” line are great in particular) and Gucci’s verse, while nothing spectacular, fits with the track.

The Travis Scott-featuring “4 AM” follows, with production from 2017’s most breakout producer Murda Beatz. Placing this woozy instrumental directly after “Good Drank” was a solid move as they almost feel like compliments to one another. Tity harkens back to the past again, “reminiscing ‘bout the trap, playin’ the first Carter” and references the projects he’s put out since B.O.A.T.S. II, namely a series of EPs and his collaborative project with Lil Wayne from the year before. La Flame’s performance on the chorus is pretty standard for him but given how awesome he generally is on hook duty this isn’t really a complaint. Could’ve benefitted from an actual verse from Travis but this is solid nonetheless.

“Door Swangin’” boasts the first of four Buddah Bless productions on the album. Pretty standard trap stuff on this one, both in terms of lyrics and music. The running theme of the album seems to be drug dealing first and foremost and that stays true here. The strings that come in from time to time sound really good too, but overall this one comes off as just decent.

The Nicki Minaj collaboration “Realize” follows next. To be honest, it’s getting difficult to write anything significant about 2 Chainz’s lyrics at this point. They fit the production and his voice and presence is commanding as ever, but the topics stick almost exclusively to talking about drugs, cars, money, etc, which can become tedious to write about after a while. The line at the end of his verse taking a shot at mumble rap was admittedly hilarious, though. Nicki’s hook goes well with the chilled out vibe of the production and her verse isn’t too bad either. Not incredible but it gets the job done.

With “Poor Fool” Mike Will Made-It continues to prove why he is in the upper echelon of hip hop producers at the moment with keyboard plinks in the beat that sound like a malfunctioning children’s toy and brooding synth lines underneath. Swae Lee hops on the chorus and it’s one of the best on the record, further cementing himself as one of the best go-to rappers for a hook right now. Swae and Chainz reference how their mothers reacted to their sons dealings in the street, even though the money they would have been earning through their hustling ways was what was helping to keep food on the table. All in all this shit bangs; a definite highlight.

“Big Amount” originally dropped on 2 Chainz’s 2016 mixtape Daniel Son; Necklace Don and the success of the track prompted him to include it on Pretty Girls as a bonus track for the digital version. Buddah Bless’s contribution is significantly better than the preceding “Door Swangin’”: as far as I can tell, this was one of the first contributions to the flute rap trend that wound up dominating most of 2017. Some of Chainz’s best lines on the album end up here (the “Shawty ride like an equestrian” line kills me every time) and Drake’s contribution works really well too. A solid track all around.

Arguably the biggest single off the album, “It’s a Vibe” was a staple on hip hop stations this year and it’s not hard to see why. Murda Beatz’s smooth mid-paced production features irresistible guitar licks and 2 Chainz flows over it flawlessly, lending one of his best verses on the album to this track. Ty Dolla Sign, Trey Songz and Jhene Aiko provide vocals to flesh things out. In comparison to the other singles I’d probably take “Good Drank” and “4 AM” over this one, but that just comes down to personal preference; it’s still a chill ass song regardless.

Honorable C.N.O.T.E. provides an absolutely gorgeous backdrop on “Rolls Royce Bitch”, once again employing the use of guitar. Next to “Good Drank” and two other tracks to be mentioned later, this may be my favorite beat on the entire record. Tity starts the track telling the listener to believe in themselves first and foremost and if they they can make their dreams come true. The rest of the record is spent describing his wealth and how he came to acquire it. This is an absolute pleasure to listen to and an easy highlight.

“Sleep When U Die” is another Buddah Bless production; this one sounds closer to “Door Swangin’” than “Big Amount”. Tity compares his clothing to Ric Flair’s and his hair to James Brown’s. Pretty standard trap here; nothing more to say.

Without even realizing it I sort of knew instinctually that “Trap Check” was probably a Buddah Bless beat before I checked the production credits, and sure enough that turns out to be the case. Again, this stuff is pretty middle-of-the-road as far as 2017 trap goes until the last 30 seconds, where the beat switches to the furious horns of T.I.’s “ASAP”, a welcome switch-up that finishes the track off nicely. More of the same content from Tity on the lyrical side of things, though the “I ain’t talkin’ Nike when I’m talkin’ bout a check” line always manages to get a smile out of me.

“Blue Cheese”, featuring rap’s hottest trio at the moment, boasts what is arguably the best beat on the entire album. K Swisha laces the track with a bed of hypnotizing synths that completely envelop the listener; the effect always gives me a feeling of being underwater for some reason. Quavo’s chorus here is just as irresistible as “Good Drank” was and everyone plays their part to make the song a success. There is one complaint to be made with this track, however: Tity only gets one 45 second verse at the start with Quavo, Offset and Takeoff dominating the rest of the cut. It feels more like a Migos song featuring 2 Chainz than the other way around, which is disappointing given it’s supposed to be a 2 Chainz album, but I digress.

Tity decides to go on an “OG Kush Diet” on the next track to cope with the death of his close friend (at least for the chorus, anyway; the verses revert back to his usual braggadocios, materialistic style). Production on this one is decent to start, but things change halfway through where the beat has a reggae-tinged switch-up to keep things interesting. The pitch shifting on 2 Chainz’s voice at the end of the track is a nice touch also.

Next we’ve got the Pharrell Williams-produced “Bailan”, and goddamn this shit is smooth! 25 years on and Skateboard P is still a genius behind the boards. This goes over a lot better than their previous collaboration “Feds Watching”: whereas that cut felt like a misguided attempt at Pharrell adjusting himself to 2 Chainz’s typical production style, the roles are reversed on this cut and, surprisingly enough, Tity sounds great over this despite it being a lil outside of his usual territory when it comes to production choices. A full length 2 Chainz-Pharrell collaboration would be more than welcome if the results stay consistent with this one.

The album saves the best for last with “Burglar Bars”, a poignant cut that feels more “traditionally” hip hop than anything else on the record. Near the end of the song Tity describes it as “soulful trap music” and his assertion couldn’t be any more on point. It’s a beautifully produced gem of a track from M16 and Mike Dean, sampling Barbara Jean English’s “You’re Gonna Need Somebody to Love You”, with Monica providing backing vocals along with the intro and a closing verse. 2 Chainz’s lyrics are still drug and money-focused, but he also intersperses references to his contemporaries and reflects on how far his rap career has come. All in all, it’s a wonderful closer, and if it’s a sign of things to come (considering 2 Chainz has been working on music with 90’s era legend Q-Tip as of late) then I’m all for hearing what Mr. Chainz has up his sleeve next.

Is Pretty Girls Like Trap Music the best album of the year? Not for me, personally, but having grown up listening to guys like Jay and Em in my early years and getting into underground/conscious/backpack stuff in my teens I’ll probably always be more inclined towards something that’s more lyrically focused anyway. Nonetheless, I can definitively say as someone who’s critical of a lot of the trap that comes out nowadays this was a pleasure to listen to.

I’ve heard some complain about the lack of humor that was prevalent in 2 Chainz’s earlier projects compared to this, and admittedly, as I started reviewing this album, I found it to be increasingly difficult to find anything to really say about 2 Chainz’s bars on this one. They all revolve around the usual trap-standard subject matter that one expects from a 2 Chainz record, and after awhile it can be hard to say something new or original about them. His flow and his presence are still more than intact and lyrics aren't a huge point of emphasis for me when listening to this kind of music anyway; plus, tracks like "Burglar Bars" show that Tity doesn't need to do his usual funnier style to pull off some solid verses. It’s obvious that he wanted to use Pretty Girls as his chance to show people that he isn’t just a punchline rapper and that he can be serious about his music when he chooses to be.

Like most trap albums, the real highlight of the record is the production, and in this regard Pretty Girls is typically fantastic. Aside from some uninspired Buddah Bless productions everything on the record is extremely memorable and endlessly creative: the excellent guitar lines on "Saturday Night", "It's a Vibe" and especially "Rolls Royce Bitch", the nightmarish feel of "Riverdale Rd" and "Poor Fool", the indelible melodies of "Good Drank" and "4 AM", the smooth ecstasy of "Blue Cheese" and "Bailan", and capping the album off with the epic "Burglar Bars", the songs are expertly produced and really lend themselves to making the record what it is.

This was my first experience with a 2 Chainz project so I’m not totally sure how it compares to his other work, but if this is a sign of things to come, I’m very excited to hear what else he does in this lil “late career renaissance” he’s got going on right now.

Favorite Songs

Burglar Bars

Good Drank

Rolls Royce Bitch

Bailan

Blue Cheese

Favorite Lyrics

”Shawty ride like an equestrian” -Big Amount

”I give a fuck about thesaurus rappers" -Burglar Bars

”Used to drive a Porsche ‘til I found out it was made by Volkswagen” -OG Kush Diet

Discussion Questions

• Do you feel like the album would have been better if 2 Chainz had used his more humorous style more often?

• How does 2 Chainz compare with other rappers in their late 30s and beyond who are still putting out music today?

• How would you like to see 2 Chainz progress with his next record?

Tomorrow we'll have u/vulcan24 writing about Death Grips’ “Steroids” EP

Artist: 2 ChainzAlbum: Pretty Girls Like Trap MusicListen:YouTubeSpotifyApple MusicGoogle Play MusicTIDALAlbum Background”It's always these beautiful girls who like this hustler – who you think would be attracted to a whole other type of music. But they like Migos, Future. You get with this girl, and you want to play Bryson Tiller. But she's like, "I want to hear Gucci." Shit. We're the pop stars. Trap rap is pop now. People's ears have adjusted to what we have to say and how we say it.”-2 Chainz, Rolling Stone interview, June 2017 In July of this year, it was reported that hip hop and R&B music had officially surpassed rock ‘n’ roll as the most popular genre of music in the United States. Personally, I feel like rock had already been dethroned years ago and that rap’s dominance was only now made apparent by the implementation of streaming into the Billboard charting system, but nonetheless the shift has sparked debates over the relevance of the musical styles of generations past with millennials who, having grown up with rap and adjusting to it at a young age in a way their parents hadn’t, have essentially claimed the genre as the music of their generation. In the same way that my father’s generation chose Elvis and the Beatles over Frank Sinatra and the like, someone like 2 Chainz could be argued to have a more powerful hold on the youth culture of today than anyone with a guitar. Like most people, my first experience with the man born Tauheed Epps was the Lil Wayne featuring “Duffle Bag Boy”, though as it was credited to Playaz Circle I didn’t realize it at the time. The rapper formerly known as Tity Boi made the shift to 2 Chainz not long thereafter, and by the time he released his T.R.U. Realigion mixtape in 2011 he was certifiably one of the hottest up-and-coming rappers in the world, a full decade and half after he’d started his career. The year after he released his major label debut Based on a T.R.U. Story, a platinum selling album in a pre-streaming era (no easy feat) with three major hit singles. History would dictate that Mr. Chainz would be able to ride off the success of this album to further hits and commercial viability in the years to come, and while his string of golden features on others’ tracks continued to flourish, his own solo material began to falter. B.O.A.T.S. II was released one year after its predecessor but sold less than half as many copies and failed to produce a top 40 single. For the next few years Tity released a few mixtapes and EPs, along with a collaborative project with Lil Wayne, but nothing seemed to resonate with audiences like his material in the early part of the decade had. Suddenly, however, it became apparent that as trap music became more and more engrained into the mainstream consciousness, so too did 2 Chainz’s popularity begin to get a second wind of sorts. This is adeptly referenced in the title to his third studio album Pretty Girls Like Trap Music: it’s a testament to how far rap has come in its mission of taking over the airwaves in recent years and how, while the young women of yesteryear’s generation may have been more enamored with artists who were strictly pop, the more melodic style of trap music that has infiltrated the game this decade has taken pop’s place as the go-to music for the youth. The general consensus surrounding 2 Chainz up until now was that he worked better as a feature and/or “punchline” rapper than a legitimate album artist. 2 Chainz perhaps recognized that, having fallen from his peak hype levels in the first half of the decade, he needed to put out something truly special to keep people interested in his music. As such, he chose to downplay the more humorous aspects of his verses on Pretty Girls and instead focus on the grittier, drug dealing aspects of his upbringing, along with the usual foray into pussy, money, weed and braggadocio that is almost a requirement for mainstream rap nowadays. He enlisted the help of prior collaborators Mike Will Made-It and Honorable C.N.O.T.E. to provide beats, alongside newcomers such as Murda Beatz and Buddah Bless and industry legends like Pharrell and Mike Dean, amongst others. There’s also a “who’s who” of 2017 mainstream rap on the features list, with Drake, Migos, Travis Scott, Swae Lee, Nicki Minaj, Gucci Mane, Ty Dolla Sign and others all making appearances. He also utilized a unique promotional tactics for the record: he rented a “trap house” in Atlanta that he had painted completely pink and donned it with the album’s logo on the front, and also ran a “trap salon” for girls to get their nails done with song titles inspiring the designs. Pretty Girls ended up becoming one of the biggest sleeper hits of the 2017 summer rap season. It sold over 100,000 album equivalent units in its first week in the United States and garnered 2 Chainz the highest critical praise he had received in his career up to that point. Less than 3 months after its release, it had been certified gold, his first RIAA certified record since his platinum selling debut. Pretty Girls has produced a run of hit singles that were mainstays on rap stations this year, and the album has been considered nothing but a success for Mr. Chainz. But is it actually any good? ReviewPretty Girls Like Trap Music begins with a few rapid piano hits and, ironically enough, a blazing guitar line that would be feel more at home in the rock music that trap artists like 2 Chainz had helped displace at the top of the charts. Tity uses the opener to reminisce about his past and the things he’s done to get him to where he is today. The subject matter fits the Mike Will production nicely and overall this serves as a great way to start the album off. The title of the following track “Riverdale Rd” is a reference to a street in Atlanta, 2 Chainz’s hometown. The beat almost sounds like a trap reinterpretation of the Psycho soundtrack, courtesy of DJ Mano. Similar to the song preceding it, Tity makes reference in his lyrics to his younger days of hustling and drug dealing and how it contrasts with his life in the present day. This is undeniably one of the hardest tracks on the album. “Good Drank”, the first official single that had previously appeared on 2016’s Hibachi for Lunch mixtape, follows next. This was the first song I’d heard off the project and it quickly became an obsession, mostly due to the damn near perfect synth lead that opens the song. The patented Mike Dean Magic™ is all over this thing: a beautiful concoction of drums and melodies that stick to your ear and refuse to leave. 2 Chainz’s verse follows the standard for what the majority of the album’s content will ultimately consist of: money, cars and drug dealing. Quavo’s hook is infectious (the “Nooo-ooo-ooo” melodies following the “no hot box” line are great in particular) and Gucci’s verse, while nothing spectacular, fits with the track. The Travis Scott-featuring “4 AM” follows, with production from 2017’s most breakout producer Murda Beatz. Placing this woozy instrumental directly after “Good Drank” was a solid move as they almost feel like compliments to one another. Tity harkens back to the past again, “reminiscing ‘bout the trap, playin’ the first Carter” and references the projects he’s put out since B.O.A.T.S. II, namely a series of EPs and his collaborative project with Lil Wayne from the year before. La Flame’s performance on the chorus is pretty standard for him but given how awesome he generally is on hook duty this isn’t really a complaint. Could’ve benefitted from an actual verse from Travis but this is solid nonetheless. “Door Swangin’” boasts the first of four Buddah Bless productions on the album. Pretty standard trap stuff on this one, both in terms of lyrics and music. The running theme of the album seems to be drug dealing first and foremost and that stays true here. The strings that come in from time to time sound really good too, but overall this one comes off as just decent. The Nicki Minaj collaboration “Realize” follows next. To be honest, it’s getting difficult to write anything significant about 2 Chainz’s lyrics at this point. They fit the production and his voice and presence is commanding as ever, but the topics stick almost exclusively to talking about drugs, cars, money, etc, which can become tedious to write about after a while. The line at the end of his verse taking a shot at mumble rap was admittedly hilarious, though. Nicki’s hook goes well with the chilled out vibe of the production and her verse isn’t too bad either. Not incredible but it gets the job done. With “Poor Fool” Mike Will Made-It continues to prove why he is in the upper echelon of hip hop producers at the moment with keyboard plinks in the beat that sound like a malfunctioning children’s toy and brooding synth lines underneath. Swae Lee hops on the chorus and it’s one of the best on the record, further cementing himself as one of the best go-to rappers for a hook right now. Swae and Chainz reference how their mothers reacted to their sons dealings in the street, even though the money they would have been earning through their hustling ways was what was helping to keep food on the table. All in all this shit bangs; a definite highlight. “Big Amount” originally dropped on 2 Chainz’s 2016 mixtape Daniel Son; Necklace Don and the success of the track prompted him to include it on Pretty Girls as a bonus track for the digital version. Buddah Bless’s contribution is significantly better than the preceding “Door Swangin’”: as far as I can tell, this was one of the first contributions to the flute rap trend that wound up dominating most of 2017. Some of Chainz’s best lines on the album end up here (the “Shawty ride like an equestrian” line kills me every time) and Drake’s contribution works really well too. A solid track all around. Arguably the biggest single off the album, “It’s a Vibe” was a staple on hip hop stations this year and it’s not hard to see why. Murda Beatz’s smooth mid-paced production features irresistible guitar licks and 2 Chainz flows over it flawlessly, lending one of his best verses on the album to this track. Ty Dolla Sign, Trey Songz and Jhene Aiko provide vocals to flesh things out. In comparison to the other singles I’d probably take “Good Drank” and “4 AM” over this one, but that just comes down to personal preference; it’s still a chill ass song regardless. Honorable C.N.O.T.E. provides an absolutely gorgeous backdrop on “Rolls Royce Bitch”, once again employing the use of guitar. Next to “Good Drank” and two other tracks to be mentioned later, this may be my favorite beat on the entire record. Tity starts the track telling the listener to believe in themselves first and foremost and if they they can make their dreams come true. The rest of the record is spent describing his wealth and how he came to acquire it. This is an absolute pleasure to listen to and an easy highlight. “Sleep When U Die” is another Buddah Bless production; this one sounds closer to “Door Swangin’” than “Big Amount”. Tity compares his clothing to Ric Flair’s and his hair to James Brown’s. Pretty standard trap here; nothing more to say. Without even realizing it I sort of knew instinctually that “Trap Check” was probably a Buddah Bless beat before I checked the production credits, and sure enough that turns out to be the case. Again, this stuff is pretty middle-of-the-road as far as 2017 trap goes until the last 30 seconds, where the beat switches to the furious horns of T.I.’s “ASAP”, a welcome switch-up that finishes the track off nicely. More of the same content from Tity on the lyrical side of things, though the “I ain’t talkin’ Nike when I’m talkin’ bout a check” line always manages to get a smile out of me. “Blue Cheese”, featuring rap’s hottest trio at the moment, boasts what is arguably the best beat on the entire album. K Swisha laces the track with a bed of hypnotizing synths that completely envelop the listener; the effect always gives me a feeling of being underwater for some reason. Quavo’s chorus here is just as irresistible as “Good Drank” was and everyone plays their part to make the song a success. There is one complaint to be made with this track, however: Tity only gets one 45 second verse at the start with Quavo, Offset and Takeoff dominating the rest of the cut. It feels more like a Migos song featuring 2 Chainz than the other way around, which is disappointing given it’s supposed to be a 2 Chainz album, but I digress. Tity decides to go on an “OG Kush Diet” on the next track to cope with the death of his close friend (at least for the chorus, anyway; the verses revert back to his usual braggadocios, materialistic style). Production on this one is decent to start, but things change halfway through where the beat has a reggae-tinged switch-up to keep things interesting. The pitch shifting on 2 Chainz’s voice at the end of the track is a nice touch also. Next we’ve got the Pharrell Williams-produced “Bailan”, and goddamn this shit is smooth! 25 years on and Skateboard P is still a genius behind the boards. This goes over a lot better than their previous collaboration “Feds Watching”: whereas that cut felt like a misguided attempt at Pharrell adjusting himself to 2 Chainz’s typical production style, the roles are reversed on this cut and, surprisingly enough, Tity sounds great over this despite it being a lil outside of his usual territory when it comes to production choices. A full length 2 Chainz-Pharrell collaboration would be more than welcome if the results stay consistent with this one. The album saves the best for last with “Burglar Bars”, a poignant cut that feels more “traditionally” hip hop than anything else on the record. Near the end of the song Tity describes it as “soulful trap music” and his assertion couldn’t be any more on point. It’s a beautifully produced gem of a track from M16 and Mike Dean, sampling Barbara Jean English’s “You’re Gonna Need Somebody to Love You”, with Monica providing backing vocals along with the intro and a closing verse. 2 Chainz’s lyrics are still drug and money-focused, but he also intersperses references to his contemporaries and reflects on how far his rap career has come. All in all, it’s a wonderful closer, and if it’s a sign of things to come (considering 2 Chainz has been working on music with 90’s era legend Q-Tip as of late) then I’m all for hearing what Mr. Chainz has up his sleeve next. Is Pretty Girls Like Trap Music the best album of the year? Not for me, personally, but having grown up listening to guys like Jay and Em in my early years and getting into underground/conscious/backpack stuff in my teens I’ll probably always be more inclined towards something that’s more lyrically focused anyway. Nonetheless, I can definitively say as someone who’s critical of a lot of the trap that comes out nowadays this was a pleasure to listen to. I’ve heard some complain about the lack of humor that was prevalent in 2 Chainz’s earlier projects compared to this, and admittedly, as I started reviewing this album, I found it to be increasingly difficult to find anything to really say about 2 Chainz’s bars on this one. They all revolve around the usual trap-standard subject matter that one expects from a 2 Chainz record, and after awhile it can be hard to say something new or original about them. His flow and his presence are still more than intact and lyrics aren't a huge point of emphasis for me when listening to this kind of music anyway; plus, tracks like "Burglar Bars" show that Tity doesn't need to do his usual funnier style to pull off some solid verses. It’s obvious that he wanted to use Pretty Girls as his chance to show people that he isn’t just a punchline rapper and that he can be serious about his music when he chooses to be. Like most trap albums, the real highlight of the record is the production, and in this regard Pretty Girls is typically fantastic. Aside from some uninspired Buddah Bless productions everything on the record is extremely memorable and endlessly creative: the excellent guitar lines on "Saturday Night", "It's a Vibe" and especially "Rolls Royce Bitch", the nightmarish feel of "Riverdale Rd" and "Poor Fool", the indelible melodies of "Good Drank" and "4 AM", the smooth ecstasy of "Blue Cheese" and "Bailan", and capping the album off with the epic "Burglar Bars", the songs are expertly produced and really lend themselves to making the record what it is. This was my first experience with a 2 Chainz project so I’m not totally sure how it compares to his other work, but if this is a sign of things to come, I’m very excited to hear what else he does in this lil “late career renaissance” he’s got going on right now. Favorite SongsBurglar BarsGood DrankRolls Royce BitchBailanBlue CheeseFavorite Lyrics”Shawty ride like an equestrian” -Big Amount”I give a fuck about thesaurus rappers" -Burglar Bars”Used to drive a Porsche ‘til I found out it was made by Volkswagen” -OG Kush DietDiscussion Questions• Do you feel like the album would have been better if 2 Chainz had used his more humorous style more often?• How does 2 Chainz compare with other rappers in their late 30s and beyond who are still putting out music today?• How would you like to see 2 Chainz progress with his next record?Tomorrow we'll have u/vulcan24 writing about Death Grips’ “Steroids” EP

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TOP 5 LEBANESE MOVIES

So, I realize you can just google « Best Lebanese Movies » and have the internet sort them out for you, by box-office entries, prizes, notoriety etc. But see, these lists will probably be written by a very objective hand. I’m part Lebanese and as I have lived most of my life there, I know what movies are the most representative of that very special country, and are able to show its uniqueness (Trust me, I’m a film student). You see – and I’m not saying that only because I’m from there – Lebanon has an amazing artistic potential that is unfortunately not yet put forward. Plus, it’s marked by a complicated culture, a mix between an European influence, an Americanized Society and a very encrypted Arab identity. Lebanon has often been called the Switzerland of the Middle East. I don’t know how true that is, but what I do know is that it’s a complex country. Very lovable, yet hard to understand and to capture. The movie business in Lebanon is only now flourishing and in a very shy way. But I guess movies are a way to represent its tangled history. So, if you’re interested in discovering a new culture, here’s my top 5 to help you out.

Top 5 – Blind intersections, Lara Saba, 2012

Three protagonists, one city. Coming from different backgrounds, they pass each other but they never meet, though, the effect of one incident will drastically alter the lives of the three of them in just a matter of seconds. Unfortunately, this movie did not get the audience or the critical response it should have received. Therefore, you won’t find it in any other top Lebanese movies list (See? I turned out to be useful). The Lebanese public was so conditioned to either war movies or cheap comedies that they hardly accept any other style. However, the young generation of filmmakers claims that we’ve all had enough of these two genres and that it is time to try out different styles and stories. That is what Lara Saba tried to do with this very script-based movie. It might not be perfect, and maybe you’ll find it boring or think – what did I just get into? But in any case, it surely helped widen the Lebanese artistic scene to more diverse subjects.

Here’s a trailer. AND it’s well done for once (who’s working for ya?)

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Top 4 – Bosta, Philippe Aractingi, 2005

Bosta is a story of young Lebanese artists who meet again, after being separated, and tour different cities of Lebanon in an old bus (Bosta in Arabic), performing a techno version of the dabkeh (the traditional Lebanese dance) that shocks conservatives, but moves forward towards the future. Being a Lebanese version of a Bollywood film, it tends to deliver an atmosphere rather than a real script. Even though I’m a script fan, and I realize we still haven’t really achieved good scriptwriting skills in Lebanon, I still believe this movie is essential because feeling the Dabke mood is a must when trying to understand Lebanese traditions. The amount of craziness Lebanese people put into that dance is completely out of proportions and a vital part of our identity. And trust me, even the gloomiest man in the world (Putin…?) would want to visit our country after this movie, as it conveys such joy and spirit that it eventually gets to you.

Now I couldn’t find a trailer with English subtitles, but if you want to give the atmosphere a try before you watch it, here it is:

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Top 3 – West Beirut, Ziad Doueiri, 1998

Now I know all these names sound strange, almost barbaric to you. What if I told you that Ziad Doueiri was the director of Baron Noir, the Canal + French series that was critically acclaimed? There, now that I got your attention and you feel less a stranger in all this, you must know that Doueiri talked about the Lebanese war in the most sensible way. As I said before, we Lebanese people have been so obsessed with our big tragedy that you will mostly find, in our film catalogue, movies about this period of time. Under the bombs, Zozo, In the battlefield or Where do we go now are a few of the best examples (in case you don’t give a damn about my list and you just want to harm yourself with dramatic war movies). But Doueiri’s version of our tragedy is, for me, the most elaborate one. In April 1975, civil war breaks out; Beirut is divided along a Muslim-Christian line and is segregated into East and West Beirut. After the line was created, Tarek, a Muslim, is now considered to live in West Beirut (the Muslim part) and is in high school, making Super 8 movies with his friend, Omar. At first the war is a game for them, as the school gets closed; the violence is fascinating, and getting from West to East is a joke. Tarek starts spending time with May, a Christian, orphaned and living in his building. Later on, and as he comes of age, the war inevitably stops being an adventure and becomes a nationwide tragedy. As I said, Lebanon has been badly hurt by the 1975-1990 war, it has affected its people so much that we can’t ignore it in our process to discover the local culture. And West Beirut will probably be your best ally for that. Encrypted in the West-East division of the capital, the story of these 3 youngsters is harsh, touching and yet full of humor. A mix that Doueiri managed to cook in the wittiest way possible, away from useless melodrama.

Again, couldn’t find a proper trailer. Sorry, I realize I’m not really encouraging you to watch these. Anyway here’s an extract that you might like:

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Top 2 – Caramel, Nadine Labaki, 2007

This is the movie that will describe best to you what living in Lebanon feels like. The film premiered at the 2007 Cannes Festival, in the Directors' Fortnight section and it ran for the Caméra d'Or. It was distributed in over 40 countries, easily becoming the most internationally acclaimed and exposed Lebanese film to date. The story focuses on the lives of five Lebanese women dealing with issues such as forbidden love, binding traditions, repressed sexuality, the struggle to accept the natural process of age, and duty versus desire. Labaki's film is unique for not showcasing a war-ravaged Beirut but rather a warm and inviting place where people deal with universal issues. The title Caramel refers to an epilation method that consists of heating sugar, water and lemon juice. Labaki obviously was inspired by an Almodovar touch, but also managed to put her story in a typical Lebanese frame. The movie is in every bit representative of our daily routines in Lebanon, dominated by the over presence of religion, the scare of getting old, the struggles of an unmarried couple and the fear of affirming one’s sexual orientation. In a mix between humor and a more dramatic tone, it managed to give a truthful spectrum of different women and their struggles in a conservative yet rebellious society.

YAS! A proper trailer with English subtitles! Who’s your favourite Lebanese movie blogger?

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Top 1 – Very Big Shot, Mir-Jean Bou Chaaya, 2015

Listen to me. This movie is really worth watching. Because when I watched it, I found it very good and for the first time ever, not only compared to Lebanese standards. It was just plain good. Still not convinced? Well, it was screened in the Discovery section of the 2015 Toronto International Film Festival and was selected as the Lebanese entry for the Best Foreign Language Film at the 89th Academy Awards even though it was not nominated in the end. But it tells the story of brothers Ziad and Joe who run a small but lucrative drug-dealing business out of their takeout pizzeria in one of Beirut’s working-class districts. Ziad’s supplier, a powerful drug lord convinces the brothers who wanted to retire to take on one last job: smuggling a million-dollar shipment of amphetamine to Syria, where the drug is wildly popular with militia fighters. To succeed in it, they decide to hide it in cans of exposed film reels and to avoid raising doubts around them, the three brothers become the producers of a feature film directed by Charbel, a talentless filmmaker and customer in debt of their pizzeria. The script is smooth, the actors amazing, it is embedded in a very Lebanese nature but without overdoing it. And it’s just very smart. The very young filmmaker actually made a short version of it with the same story as his senior project in film school. And no, I didn’t get that information from the internet; believe it or not, everybody knows everybody in Lebanon, and I have met the filmmaker in person as we are both graduates from the same film school (very small country). Anyway, he approached the very common subject of drug-dealing in his own way. The film is so well-built that it drags you down to its very special atmosphere, and dishonest reckless characters. The whole is located in a third-world country where scam and cheat are the way to avoid authorities and get what you want.

Very good trailer. Why ? When did I ever give you bad ones?

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