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Read Ebook {PDF EPUB} a Flash in the Pan by Lilian Kendrick Read Ebook {PDF EPUB} A Flash in the Pan by Lilian Kendrick How Much Time Is Needed to Declare a Rap Album “Classic”? The release of Kendrick Lamar's new album, and the questions it raises about today's fast-paced, hyperbolic cycle of criticism. Written by Ernest Baker (@newbornrodeo) and Noah Callahan-Bever (@N_C_B) This week saw the official release of Kendrick Lamar 's major label debut, good kid, m.A.A.d city . It's the best-reviewed rap album since Kanye W est 's My Beautiful Dark Twisted Fantasy , lauded and slobbed by everyone from us to Pitchfork to everyone on Twitter and beyond (except Shyne , of course). The question isn't whether or not the album's of quality—that's universally acknowledged. The question is whether or not it’s a “classic.” It's especially significant because—in the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. In the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. Classic is defined by the Oxford English Dictionary as something that's "judged over a period of time to be of the highest quality and outstanding of its kind." Classic albums are more than just "great." They're game changers, inflection points in creativity. And it's a truth that can only unfold over time. How many fine artists died in obscurity, their work achieving acclaim in their absence? F. Scott Fitzgerald ’s The Great Gatsby took two reprints and nearly 30 years to receive acknowledgement as a Great American Novel, long after his death. But we’re talking about hip-hop, where “wait and see” has never been a popular mantra. Consider albums recently deemed “classic(s)” prior to their release, by publications like XXL and The Sour ce : Nas ’s Stillmatic, Clipse ’s Hel l Hath No Fury , and Common ’s Be . The latter two are clearly perfect albums, absent of any discernible flaws, but years later, do they stand up—in terms of sheer impact, specifically —to records like Ready To Die or Illmatic ? Be honest. Stillmatic is far from a perfect album, but it did manage to successfully ride a wave of anti-Jiggaman sentiment to an inflated reception. It was a moment of triumph for Nas, sure. But not for hip-hop. Or in a broader sense: for culture. Is the designation of "classic" more about impact and influence, or is it a pure measure of overall quality? Albums like All Eyez On Me , It's Dark and Hell Is Hot , and The Marshall Mathers LP were critically lauded as “pretty good” to “very good” albums, but as the years passed, each earned its own mythology, and eventually became calcified in the pantheon of essential rap recordings. When considering the canon of rap classics, what seems to differentiate hyped, flash-in-the-pan albums from classics is: Were they were quality outliers, or genre-shifting pace-setters? Lil Wayne ’s Tha Car ter III is a classic for similar reasons—a million-plus units moved in the first week, a Grammy, etc.—but with one crucial difference: It didn't have five records to get rid of, it had five records worth keeping . Believe it or not, readers under 30, even Jay-Z ’s Reasonable Doubt was touted as just “surprisingly good” when it dropped. No one was screaming about its immortality. Yet years later, having had the opportunity to absorb the album’s nuance and observe its ripples of influence on just about every person to put out a rap album since—and grow in value as a crucial piece in understanding the origin legend of Jay-Z, today—to call Reasonable Doubt anything other than a classic is absurd. When considering the canon of rap classics, what seems to differentiate hyped, flash-in-the-pan albums from classics is: Were they were quality outliers, or genre-shifting pace-setters? Were they good albums in a shit year, or did they go from good, to great, to absolutely necessary over time? It’s that long-tail influence that affirmed an album like Raekwon’s Only Built 4 Cuban Linx ’s standing. The quality was always there, but it wasn’t until its lush stylings and mafioso narratives unfolded in la ter releases—not from Rae, but from Jay-Z, Nas , and The Notorious B.I.G.— that we realize how its influence was seeded. Which brings us back to Kendrick Lamar, and good kid, m.A.A.d city . Is it a great album? Definitely. Is it a perfect album? Quite possibly. But is it a classic? The level of conversation that the album inspired this week is perhaps what’s most indicative of its potential to be considered one down the line. [Incidentally enough, it was Dr. Dre ’s last prominent protégé, 50 Cent , whose Get Rich Or Die Tryin’ is cemented in classic status by way of conversation just as much as by content. Upon release, and for many months after, Get Rich Or Die Tryin’ was impossible to avoid.] Give it a decade. Are storyline-driven albums part of a regular rap repertoire? Has the range of off-kilter cadences narrowed or broadened? Even Lamar himself is aware that classic standing doesn't come overnight. When asked about the response to good kid, m.A.A.d city in an interview Complex ran with him today, he replied: "It's classic worthy. Once it gets a few years behind it, they'll be looking back, saying: 'Yeah, Kendrick Lamar made a classic his first album.'" Whether or not that's the case, we'll eventually know—not in a few days, or a few weeks, but in time—beyond a reasonable doubt. Top 15 WWE Superstars Who Perform Under Their Real Name. WWE Superstars become globally recognizable athletes when they are signed to the company. This means that WWE likes to ensure that they keep all of the copyrights to the wrestlers name so that they ca. WWE Superstars become globally recognizable athletes when they are signed to the company. This means that WWE likes to ensure that they keep all of the copyrights to the wrestlers name so that they can't move on to another company and use something belonging to WWE. CM Punk is a fantastic example. Phil Brooks has been known by that name his entire wrestling career and when he came to WWE they allowed him to keep the name as part of his contract. Punk has now walked away from the company and continues to be known as CM Punk in UFC which must annoy WWE slightly. The company has recently allowed the same thing with AJ Styles, but mostly because he was already a well known star under that name. Wrestlers often choose their own ring name so that it makes sense that they are a completely different person compared to their in-ring persona. Wrestlers like to maintain a private life as much as they can so they attempt to keep their own names private from the WWE Universe. Many stars do now follow these rules. There are some wrestlers who have preferred to keep their real name as their ring name, which must become confusing when they have to sign for anything and are trying to be inconspicuous. This also gives WWE a headache when it comes to copyrighting their names, since the likes of John Cena and Mickie James performed under their real name and so own the copyright to it. That being said, many current WWE Superstars continue to do this. Here is a list of the top 15 Superstars who have been allowed to wrestle under their given names. 15 Jerry Lawler. The commentary desk wouldn't be the same without the addition of the King of Wrestling himself Jerry Lawler. The legendary wrestler and Hall of Famer has been a part of the business for well over three decades. Despite the fact that Lawler retired from wrestling almost 16 years ago, he still manages to play a key part in storylines when called upon. Lawler suffered a heart attack at ringside on a live episode of Monday night Raw back in 2012. Lawler returned to the announce desk just two months later. Being the legend that he already was in Memphis, it makes sense that both WWF and WWE allowed Jerry to keep his real name and continue to wrestle whilst using it for so many years. 14 Mickie James. The former five time WWE Women's Champion and one time Divas Champion is still considered to be one of the greatest female wrestlers of all time. Mickie burst on the WWE scene in 2005 as Trish Stratus' crazy stalker and rode that gimmick all the way to her first Women's title the following year. Mickie and Melina then began on a new generation of women's wrestling before she was released from the company in 2010. Mickie is the only woman to have held the Women's, Divas, and Knockouts Championships and had a lengthy career in TNA following her WWE release. It is unknown why Mickie was allowed to keep her real name in the ring since she was known as Alexis Laree for much of her Independent career before she was signed to WWE. 13 Brian Kendrick. Known as Spanky during his early career, the former Tag Team Champion has always been known by his given name while he has been in WWE's spotlight.
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