** Ich kann es echt nicht mehr verstehen. Erst "Closer" (Chainsmokers), dann "Black Beatles" (Rae Sremmurd) und jetzt das hier. Wie kann es sein, dass solch langweilige Songs an die US-Chartspitze gelangen? Kein Wunder, dass sich alle beschweren, wenn die "Chartmucke" seit ein paar Jahren so grottig ist. 2* Last edited: 20/01/2017 20:50
** I'd say that I can like this type of music, in fact, I would say that I like more songs of this type than I don't (of what I have heard), but this, I don't really get it. It's just so boring and flavourless. And somehow, this managed to make #1 in the US. I'll never understand people sometimes. Last edited: 04/02/2017 08:12
** Das ist so Musik, bei der ich mich frage, wer sie freiwillig öfter als maximal 2-3 Mal hört, ohne vor Langeweile einzupennen. Ich mein, der Song geht über fünf Minuten und besteht fast ausschließlich aus demselben "Yo, Nigga, yo!"-Geplapper und dem an sich guten, aber in der Penetranz seiner Nutzung dann doch ziemlich schnell nervigen Beat im Hintergrund. Laaaaame!
**** This could almost pass as a Key & Peele sketch. It's inexplicably iconic, as on face value it just sounds like some ScHoolboy Q off-cut. Not that it's bad at all though, as I do like the beat and flow and also how the length doesn't bother me like it probably should. 3.75
** Tja, also ich bin ja froh, wenn dieser neue Rap-Trend wieder durch ist. Zum Glück sind die Songs wirklich nur in den USA erfolgreich. Mir fehlt da schlicht die Melodie - wie brillant der Text ist, entzieht sich meiner Kenntnis... Abgerundete 2.
***** This song provides a fascinating look into class relations. It's always a topic I've found unusual just because of how repugnant it sounds when you explain it. It's perpetually been made clear to me that people find it easier to empathise with people who are similar to them, and thus harder to empathise with people who are less similar. This manifests itself in frankly ugly ways.
With class relations, I'm reminded of the concept of the nouveau riche, the people whose riches come from their own hustle rather than inheritance. Historically, the latter group has shown themselves to despise the former, it's basically the plot to The Great Gatsby, where a perfectly reasonable man is put into conflict because of his status. I've also recently been reading a tranlation of Luo Guanzhong's Romance Of The Three Kingdoms, where nobility plays a key role in how people are respected; Yuan Shao is ready to dismiss Liu Bei from his contingent as a commoner despite the fact that his sworn brother had just slain a previously unstoppable enemy general. It's only once he makes the claim that he's a descendant of an emperor, that suddenly everything's ok.
This concept is actually brought up in "Bad and Boujee", just about the first thing Offset mentions in the song is his 'new money' status. He flaunts it in the way that the nouveau riche are characterised as doing, something that will actively offend just about anyone not in the same situation.
As it were, people are hideously offended by this song. Sometimes so blatantly that I see complaints seemingly made up on principle from the same people who just conveniently seem to hate every single rap song that doesn't have some overt pop element to tide them over (if they don't hate that for having the gall to cross over because of it!). I see this called mumble rap and that makes no sense to me whatsoever, Offset & Quavo's bars are so thoroughly pronounced, as per the typical fare for Migos.
The flow is actually the main point of my review. Because the success of this song should be seen as a victory for (now hear me out because this next word is going to be extremely difficult to accept) talent. Music history is filled with artists taking the basis of something that someone else has done, scoring more success without pioneering anything. For years there were countless rappers coming through with songs co-opting the 'Migos flow', involving an extensive use of triplets to create a compelling flow. All while this was happening, Migos had only barely cracked the Hot 100 at all, and only after a co-sign from Drake.
But in the aftermath of all that, it's Migos who have the Billboard #1 single and I find that inspiring. Even internally there's something to like about it. Quavo has always been the breakout star of Migos, perhaps due to his prolific collaborations around the place more than anything else, and Offset was in danger of being seen as the Pras of the group. So it's kind of amazing that their huge hit does so on the strength of Offset's hook, with that & his verse taking up well over half of the whole track. It's a shame Takeoff doesn't even appear on the song, as I'd readily take him over Lil Uzi.
I'm ready to love this song all over again when it becomes a throwback. It's destined to be nostalgic as all heck. Last edited: 30/03/2017 14:31