Why did Drake and Future come together for WATTBA?

Now that Drake and Future's collaborative album What A Time To Be Alive is out, the first question worth asking is why did these two come together at all? Drake and Future are easily rap's biggest names at the moment and while they technically have a history together, the music they've made hasn't necessarily left more collabs to be desired. When Drake jumped on "Tony Montana," that was one of the first times Drake chose to hop on a song by a lesser known artist nationally whose song was very successful regionally as a way to boost his own image. That song was even that big of a hit, and it's still the most successful song they've had together. Part of that is the technicality that "Bitches Love Me" was a Lil Wayne song, but the other tries – "Never Satisfied", "Shit (Remix)", "We In This Bitch 1.5" – all came and went.
Drake was the only feature on Future's DS2 and that's likely how the idea for this album came about. Future had been on a unbelievable run in 2015, so of course Drake, who continues to delay his own album Views From The 6, decides to hop on that wave. And for Future, the quick success at radio for "Where Ya At" because of the sheer presence of Drake and the potential to expand his fanbase are the likely catalysts for a project like this. So in that sense, WATTBA had a purpose – to keep both their name's hot – even if only Drake needed that to happen. And as a result the album feels like a very clock-in-clock-out job.
It's evident that Future and Metro had most of these songs in the stash before Drake came into town. Four of the nine joint songs showcase Future on both the first verse and the entire hook while Drake only contributes one verse at the end of each. The songs that sound more like equal parts Drake and Future almost feel out of place on the album. "Change Locations," produced by Drake co-hort Noel, is downtempo and elicits 40's old low pass filter. They trade places on the hook, but it becomes a Drake song on an album that doesn't need one.
Were this a solo Future project, it would continue his solid streak of solo tapes but would probably fit in somewhere between Monster and Beast Mode on the tail end of the rankings. "Diamonds Dancing" is the obvious highlight. I don't know how many other songs could make you want to cry and throw money in a strip club at the same time. If anything, Drake's involvement was a detriment to both the album and his own star power. Drake can have a positive impact on other artists' songs, clearly, but he can also really drop the ball and it's fair to say he does not fit on songs like these and we probably shouldn't let him get away with him singing hooks like "Live from the Gutter" and "I'm the Plug."

Tinashe – Party Favors (feat. Young Thug)

I really like how Tinashe has handled her short career. She's picked the right singles. She does the public thing as well as she can. Her album was great. Once you know the album though, it's hard to get as much out her bedroom songs. They're a little too unstructured, not as polished. That's what "Party Favors" feels like to me. It is, by all means, the right decision for her. She's probably got a Max Martin song ready to go. This is a re-introduction that doesn't alienate the fanbase. It also re-establishes her strong hip-hop connection, something that Rihanna – her only real competition in terms of the superstardom she strives for – no longer identifies with. I appreciate what the song's trying to do. Putting Young Thug on there is a nice, smart touch. The song just doesn't do it for me.

TV Recap: Narcos

Netflix has more than 20 original series and at this point it's probably fair to say only one or two have really been worth watching. Even House of Cards and Orange is the New Black, their two flagship shows, fizzled out with their most recent seasons and aren't talking points at all anymore. Two years into their binge watching experiment, it's hard to come up with any positive arguments for that manner of delivering shows. Very few people are actually watching an entire season all the way through. It makes shows hard to discuss. It amplifies the feeling of emptiness and loss and confusion as to what to watch next when the season is done.

At most Narcos is a good show. Really it's an okay show. You've got to appreciate that it's filmed entirely in Columbia and that most of the dialogue is in Spanish. While it means I have to actually watch the screen to know what's happening, it does provide a layer of authenticity to the show that it probably deserves. It's also narrated. One, by a white man who can't even pronounce Bogota properly. And two, in a way that provides no deeper look into what the characters are thinking. The narration is essentially a Wikipedia entry that bridges the real life events the show portrays. That's the other thing. This could have been a fully, fleshed out show. Instead it's a glorified documentary re-enactment. Sure it's an interesting story and concept. The success of Breaking Bad showed we're all in on giant drug operations. But Narcos isn't that. Part of me wants to see how the government deals with the narcos and how Escobar deals with the enemy cartel but I also don't really care.

I'm not familiar with Escobar's actual story. Though I think I'd rather scan Wikipedia than sit through multiple seasons of the show.

Film School: Crash Test, Dear White People, Best In Show

Crash Test
Crash Test is a live show at UCB hosted by Paul Scheer and Rob Huebel that usually features your typical UCB names and a bunch of people that also appear in Children's Hospital and the like. Huebel and Scheer took that show, put it on a bus that drove around Los Angeles and taped it for this special that's available for $3.99 on Vimeo On Demand. If you get a chance to check it out, it's pretty funny. If you watch the trailer and read the names on the poster, that's exactly what you're getting. There isn't some game changing twist or special appearance aside from maybe how some of these actors make their entrances. Scheer and Huebel host the show with the audience all on the bus, playing off each other and things they see on the street. They parody Star Maps tours. They give an earpiece to one of the audience members and make him do weird things on Hollywood Boulevard. Tom Lennon and Ben Garant show up as security guards at the Paramount lot. Natasha Legerro does five minutes of stand up. There's nothing cynical to note about any of this. It's fun and enjoyable. Toward the end, Earl Sweatshirt performs a song from the first album, so chances are this was recorded a while ago. The credits show there's another one coming in the near future.

Dear White People
It's hard to watch a trailer for a movie called "Dear White People" done in the way it was for this movie and not think the entire movie isn't literally just a laundry list of dos and don'ts for white people. I've been on a pretty anti-white people stance for some time now, but making that a movie didn't interest me as a moviegoer. It turns out that idea is buried here in what is still a movie with a story and characters (...obviously). The movie part is okay. It probably focuses on too many characters. On one hand doing that establishes how there's no single black identity, but the stories get convoluted and uninteresting, the dialogue at times a little too self-congratulatory. The culmination of the movie, and likely the entire purpose of this movie's existence, shows a fraternity throwing a blackface party with all its white members. During the credits, actual photos of real life events that resemble this one, are shown. The movie, itself, probably isn't that great but the realization that this still is a huge problem even for people aware of the racial climate we're in is a worthwhile one.

Best In Show
I literally knew nothing about this movie and watched it randomly on Labor Day. Best In Show was directed by Christopher Guest and written by Guest and Eugene Levy. It's a mockumentary style movie about a Westminster-style dog show. The movie starts off pretty slow and considering it came out in 2000, it felt very dated, especially 20 or so years after one of Guest's best Spinal Tap. I almost stopped paying attention to it. Once we get to the actual show, I was cracking up. Literally everything the announcer, played by Fred Willard, says is hysterical. There are all sorts of one liners that I could not stop laughing at. When I went to Chicago earlier this year, I went to the Second City theater and they have pictures of all the alumni that went on to do bigger things. Most of the cast of this movie is part of the Second City family. It's just really hard for me to not be bothered by the fact that literally the entire cast is white. And the movie came out in 2000?

The Carmichael Show

It's not ambitious for a trendy, young stand up comedian to get a show deal with a network and develop it into a multi-camera sitcom. It's downright cocky. Even if the reasoning is that it's nostalgic or it's what we grew up on, not only has it not worked if you pretend CBS doesn't exist for a second, it's not how we've experienced comedy on television during the last ten years. Especially not on NBC, home of The Office, 30 Rock, Community and Parks & Recreation. Jerrod Carmichael is an incredibly likable comic. There's not too much of his material out there. He's never done a late night spot or anything on Comedy Central. His debut hour that premiered on HBO last year was shot at the Comedy Store, directed by Spike Lee and was this tremendous combination of standard joke telling and awkward spontaneity. It seemed promising that he was doing a show, but you also understand how these things end up.

The Carmichael Show's first season was six episodes aired two at a time over three weeks. It initially seemed like a lot all at once, but it didn't end up being a bad thing. The show is about Jerrod, who lives with his girlfriend Maxine, his parents (David Alan Grier and Loretta Devine), his brother (Lil Rel) and his brother's ex-wife. Each episode revolves around a discussion between Jerrod and Maxine and his traditional, Southern parents. What separates this show from shows that tried to be multi-cam sitcoms (Mulaney) and multi-cam shows that don't even try (Les Moonves' filmography) is how real and heartwarming it feels. Not in an every-episode-gets-resolved-with-a-lesson way but in a manner in which the dialogue and reactions seem in the moment and uncontrived. His parents can be foolish and ridiculous but they're also parents. Their reactions to healthy diets and transgender people feel genuine and honestly funny. Grier and Devine do such a great job. Jerrod probably has some room to grow as an actor, but that works because his character is the one that's figuring things out.

You have your moments that seem a bit easy and multi-cam-y but I actually laugh at the show. It feels good to watch. It might be too much to say they tackle serious issues within it, but that's very much part of the show. How we talk about certain issues – Obama, protest, gay marriage – how a black family discusses these issues, how this family in particular resolves these issues.
Who knows where network TV goes in the next five years. Four episodes into a six-episode first season, it's hard to not root for Jerrod and company.

Travis Scott – Rodeo

Let's, for a second, set aside all the rumors and accusations surrounding Travis Scott. About him stealing music from studios in Houston or his a little too quick rise to prominence. After two mixtapes, packed with literally the biggest names in music, and now this debut album, it's fair to say Travis Scott has literally zero value as a rapper. He can just barely put words together and there's a slight chance they technically rhyme. Nine out of ten times his rhymes make no sense. Take the hook on "Skyfall." It's like madlibs with material from (Atlanta) rappers that actually matter. The track lists on his projects read like vision boards for 15-year-old hypebeasts – "Drugs, You Should Try It," "Pornography". His entire shtick is nearly impossible to grasp.
But there is an evident aspect to his music both from a distance and even to Scott's detractors that is audibly appealing. His music has some of the biggest, cleanest, crispest basslines and 808s in rap history. It's hard to not enjoy. He works with the biggest producers in Atlanta, but they're stuff doesn't sound like this on their own. He also has quite the ear for melody. Again, the words don't make any sense but it's hard to get a tune like "Mamacita" out of your head. This is also where his music differs from all the artists critics complain that he rips off. Scott's style is entirely mechanical. When you lay his vocals over bass that's already destroying subwoofers, it's just going to work. But that's not what makes Future Future. That's not what makes Young Thug Young Thug. When Future's voice curls into a whimper on "Now," you can feel the pain in his voice. It literally takes a couple bars for you to connect with him on an emotional level. That doesn't even come close to happening with Scott. Scott's music barely scrapes the top level of the hip-hop fan's pyramid of intrinsic values.
The weird thing about Rodeo that even if those are the only type of songs you expect, it's a very underwhelming listen. The songs, again, make no sense together, alone, in whatever combination. His rolodex is impressive especially considering he has copied every guest on this album's steez to a tee. The beats are lackluster. The guest verses are equally unimpressive. If anything, maybe not so much given this album but his entire career, he has quite the ability to A&R. From placing WondaGurl beats on a Jay-Z album to bringing together Quan, Migos, Longway and Thug to literally having Justin Bieber and Young Thug on a song together. He'll probably never grasp what he's doing wrong musically, but his ideas look good on paper. It doesn't help that he doesn't seem to be a good person, but it might be the best idea for him to quit trying to be an artist at all. He doesn't make beats. He's not a strong writer. He's kind of funny looking. He may, however, be the right last minute ingredient for many a rapper's albums today.