THE B-SIDE Music, of all kinds, has always been an unshakeable force in bringing people together. In a world that too often feels disorienting — especially when we realize how independently we embark on each of our journeys — we look for things that ground us. Often, we fumble, searching for concrete anchors that bring us back to raw, unfiltered feeling in the day-to-day of subdued emotion. And, often, we exist quietly, looking for ways to physically synthesize what weʼre feeling.

In all this uncertainty, Iʼve found that there are few things more exciting than finding someone who shares the same music as you, or finding a friend who can open up your eyes — and ears — to a whole new genre of sound. There are few things that make me as happy as knowing that, when you listen to something with someone else, youʼre being moved in the same way by the same thing.

Thatʼs what music does for me. And thatʼs what The B-Side has done too.

As U.C. Berkeleyʼs only online and print music magazine, weʼve created a small haven of sonic respite in a world that so often feels too large. In creating this community, we learned how to open our minds to discovery, trying out artists and sounds we werenʼt sure we would like. In creating this community, we grew as artists ourselves. We picked up cameras to shoot our first shows and spoke with musicians we looked up to on the phone. We pushed what we felt comfortable defining as artistry and showed the world.

In making this magazine, we learned how to manifest the way music makes us feel into a real, concrete creation — the second issue of The B-Side.

As Editor-in-Chief this year, I have never been so proud to see such a beautiful team grow so much in such a short amount of time. I have no doubt that The B-Side will go onto create many more beautiful memories and experiences after I leave. I know that it — like music — will continue bringing people together. It will remain a brilliantly genuine — and some- times flawed — synthesis of how we are or are not feeling.

It will be a welcome respite to everyone whoʼs looked for themselves in quiet.

So, thank you for being a part of The B-Side community. And thank you for reading.

With love,

Eda Editor-in-Chief 2016-2017

1 Which are you? Matt Sater, page 4

Cue the Violins: Trump’s band to release masochistic debut, SAD! Natalie Silver, page 5

Live at Fury and Primal Rite Sam Jameson, page 9

The many forms of ’s unconditional “Love” John Lawson, page 11

Overheard at Berkeley: A human playlist Desiree Diaz, page 14

Songs for literally everything: A playlist The B-Side staff, page 15

Namaste Shawty on freedom, community, and women empowerment Vivian Chen, page 17

What Black artistry looks like in 2017 Shelby Mayes, page 23

Greatest Ever? A Drizzy retrospective Adil Siddiqee, page 25

Unseen moments at SXSW Ally Mason, page 29

Going to Mateo Savala, page 33

Staff list, page 34

2 A quiz designed by Matthew Sater w/ illustrations by Farida Radwan Which of the

Migos are you? Whatʼs your Do you find that preferred Yes 2 you repeat cookware? yourself often?1 Pots and START Crockpot pans No Did your mama tell you to sell work?3 Have you had trouble What do you Yes with the law?4 hit it with?4 No No Skrr! Yes The left! Did you use to trap by the Did you ever have The right! 2 Subway? Never any old money?2 Yes Are you No problematic?

Whatʼs your Do your friends preferred sometimes No method of Good gracious!5 5 leave you out? transport? Spaceship5 Woo! Woo! 2 All Toyotas3 Woo! Woo!

Youʼre ! Youʼre ! Youʼre !

Youʼre laid-back, and usually feel more comfortable You think the only way for listening than talking. You re Youʼre smooth, talented, and you something to be done right is ʼ know how to dress. Friends are all about giving back to your to do it yourself. Youʼre a family and friends, even shocked by your ability to know perfectionist, but you everybody who s anybody, sometimes mess up on purpose, though you canʼt always be ʼ present in person with them. everywhere you go. just to keep it interesting.

3 1) “Versace” 2) “” 3) “T-Shirt” 4) ”Fight Night” 5) “Slide” A quiz designed by Matthew Sater w/ illustrations by Farida Radwan Which of the

Migos are you? Whatʼs your Do you find that preferred Yes 2 you repeat cookware? yourself often?1 Pots and START Crockpot pans No Did your mama tell you to sell work?3 Have you had trouble What do you Yes with the law?4 hit it with?4 No No Skrr! Yes The left! Did you use to trap by the Did you ever have The right! 2 Subway? Never any old money?2 Yes Are you No problematic?

Whatʼs your Do your friends preferred sometimes No method of Good gracious!5 5 leave you out? transport? Spaceship5 Woo! Woo! 2 All the time Toyotas3 Woo! Woo!

Youʼre Takeoff! Youʼre Quavo! Youʼre Offset!

Youʼre laid-back, and usually feel more comfortable You think the only way for listening than talking. You re Youʼre smooth, talented, and you something to be done right is ʼ know how to dress. Friends are all about giving back to your to do it yourself. Youʼre a family and friends, even shocked by your ability to know perfectionist, but you everybody who s anybody, sometimes mess up on purpose, though you canʼt always be ʼ present in person with them. everywhere you go. just to keep it interesting.

1) “Versace” 2) “Bad and Boujee” 3) “T-Shirt” 4) ”Fight Night” 5) “Slide” 4 5 6 7 8 9 10 The Many Forms of Lana Del Rey’s Unconditional “Love”

By John Lawson Design by Camilia Kacimi

11 The Many Forms of Lana Del Rey’s Unconditional “Love”

By John Lawson Design by Camilia Kacimi

One month after Lana Del Rey released But there is a sense of intimacy in “Love” off her upcoming Lust For “Love” that isnʼt quite as drug-induced, Life, she performed the single for the or macabre as her anthems on Born to first time at 2017ʼs SXSW music festival Die (remember that tatted-up hottie that in Austin, Texas. Her set featured none groped at her neck and dragged her of the cringe-worthy falsettos and vocal underwater in video for “Blue tics that marred her notorious SNL Jeans”?). If was told behind debut in January of 2012. Wearing a the heart-shaped sunglasses of the draping white dress with her hair down, young, rich, and beautiful, “Love” is she seemed at home and even-keeled, told from the perspective of someone performing her new song along with who has already been around the iconic titles like “Ride” (Born to Die, block. Though jaded by the limelight of 2012). The departure from the grandios- fame, Lana addresses the youth in ity of her early appearances was “Love” with a tender feeling of hope: welcomed; it seemed that, for once, “Look at you kids, you know youʼre the both critics and the audience (begging coolest / The world is yours and you to no avail for an encore) received the canʼt refuse it.” Queen of Perpetual Pout without snarl. “Love” signals yet another aesthetic At first listen, the slow-burning “Love” transformation for Lana Del Rey, a seems another echo of the idealized glimpse at the popstar without as much Hollywood Americana that propelled contrived glitter and glam. In the music Lana Del Rey to superstardom in her video directed by , Lanaʼs major-label debut, Born to Die. Her signature Botox lips donʼt look as breathy voice radiates over a twanging swollen as they used to. Her designer bass and atmospheric synths, touching one-piece and Jackie Kennedy updo on favorite talking points like old vinyls has been traded for a loose sundress and melancholic loneliness crooning, and daisies in her hair. No longer the “Look at you kids with your vintage lonely hot mess of upper-echelon Holly- music.” The filter and grain of the music wood, she has transitioned into a video recalls her early fit-for- celestial goddess of youth — specifically productions, complete with the beautiful that of her young fans — overlooking white hipsters and cameos of Venice their triumphs and failures affectionate- Beach. ly with a maternal tug.

12 “Seen so much, you could get the blues, but / That donʼt mean that you should abuse it,” she “Thatʼs why this is the perfect first single, because sings, issuing depression or a subtle caution this one is for you and I luv you,” Lana Del Rey against prescription drug abuse. wrote to fans in a sugarcoated caption. Itʼs no accident that the for “Love” is situated in the flower-child era of the American As the final verse switches to the first-person 1960ʼs. The hippy utopia of “Love” is another (“Doesnʼt matter if Iʼm not enough / For the fetishized version of Lanaʼs “America,” but itʼs and the things to come”) we see a glimpse less corny than the Don-Draper-era derivatives of something virtually absent in the rest of her present in most of her oeuvre, usually consisting work. For someone who has defined their entire of sloppy references to JFK, Great Gatsby, and career on depression and self-loathing, this is the the Beats. “Love” is less paranoid, strained, and closest Lana Del Rey has come to seeming com- jealous — the object of desire isnʼt for a one-night fortable alone. While it might be another ode to stand, a pimped-out mansion, or even her her fans, “Love” is also the first real love song one-true love. she has ever addressed to herself.

13 14 HOWHOW DODO YOUYOU FEELFEEL By Jordan Aronson and George Green Design by Jackie Nam

OPTIMISTIC

i want to stay grounded i want to celebrate

“T-Shirt Weather in the Manor” by ”Hit the Road Jack” by Throttle ”Ginger” by Marek Hemmann ”Fester Skank” by Lethal Bizzle “Here I Am” by The Juan Maclean ”HUMBLE.” by “Sex Drugs and on the Dole” by The Manor ”Traum” by Cro ”Making ” by Peaks ”T-Shirt” by Migos ”Spread Love” by ”” by ”All I Need” by feat. Xavier Omar ”Devolva” by Sango ”Watch Me Dance” by Tom Misch ”YOUʼRE THE ONE” by , Syd

WHAT’S THIS FOR?

GOING OUT STAYING IN

bar crawl house party

“Dance Wiv Me” by “Bagbak“ by Vince Staples “I Bet That You Look Good “Come Alive“ by Chromeo on the Dancefloor“ by “Come Down“ by Anderson .Paak “Take Me Out“ by Franz Ferdinand “REDMERCEDES“ by Amine “All Night (feat. Knox Fortune)“ by clubbing one man dance party

“You Want Me“ by Tom Zanetti “Cutting Shapes“ by “Egyptian Lover Latmun Remix“ by The Golden Boy “September“ by Earth, Wind, and “Function“ by Justin Martin & Ardalan “Get Stupid“ by Aston Merrygold “Man at Parade“ by Frits Wentink “Some“ by Steve Lacy

15 ABOUTABOUT THETHE FUTURE?FUTURE?

PESSIMISTIC

i want to be uplifted i want to wallow

“Everybodyʼs Happy Nowadays” by The Buzzcocks “I Canʼt Go To Sleep” by Wu-Tang Clan “Mama Said Knock You Out” by LL Cool J “Is This What You Wanted” by “Do Me a Favour” by Arctic Monkeys “Day of the Lords” by Joy Division “If Youʼre Crying” by IAN SWEET “Nude” by “Needle and a Knife” by Tennis “You Should Be Hated Here” by Carissaʼs Wierd “Norgaard” by The Vaccines “Cranes in the Sky” by Solange “Beautiful Escape” by Tom Misch ”I Wanna Be Adored” by “One Day Wankelmut Remix” by Asaf Avidan “Call Across Rooms” by Grouper

WHAT’S THIS FOR?

I WANT TO BE ALONE I WANT TO BE W/OTHERS

i just want to be angry i want to cheer up

“Next Hype - Vocal” by Tempa T “Ringo” by Joris Voorn “Control” by Chase and Status “Letʼs Push Things Forward” by The Streets “All I Need” by Radiohead “The Killing Moon” by Echo and the Bunnymen “You Will Never Be One Of Us” by Nails “Waves” by Electric Guest

i just want to cry i want to be held

“I Know Itʼs Over” by “All My Tears” by Ane Brun “Into My Arms” by Nick Cave and the Bad Seeds “Soco Amaretto Lime” by Brand New “Japanese Denim” by “Stonemilker” by Bjork “Jesus Christ” by Brand New “Thinkin Bout You” by

16 NoNo

Namasté Shawty

By Vivian Chen

Photos by Fiona Duerr

Styled by Camilia Kacimi Oakland-based DJ Namaste Shawty — known more familiarly as Nono — positivity through movement, making wastes no time in making her pres- a point to avoid playing anything ence known when she walks into a that might achieve the opposite of room. Her wardrobe reflects the that — a substantial feat in a world eccentricity of her mixes — take, for of misogynistic hip-hop and rap in a instance, her lightning-bolt-embla- male-dominated industry. zoned, red leather jacket or her fur-covered lilac handbag — which In her interview with The B-Side, contain anything from hip-hop to punk Nono offered words on her inspira- to clean, dance-y house. tions, how she expresses, and the importance of building a community But no matter the genre, what Nono through empowerment — and aims to bring through her music is through music, of course.

17 NoNo

Namasté Shawty

By Vivian Chen

Photos by Fiona Duerr

Styled by Camilia Kacimi Oakland-based DJ Namaste Shawty — known more familiarly as Nono — positivity through movement, making wastes no time in making her pres- a point to avoid playing anything ence known when she walks into a that might achieve the opposite of room. Her wardrobe reflects the that — a substantial feat in a world eccentricity of her mixes — take, for of misogynistic hip-hop and rap in a instance, her lightning-bolt-embla- male-dominated industry. zoned, red leather jacket or her fur-covered lilac handbag — which In her interview with The B-Side, contain anything from hip-hop to punk Nono offered words on her inspira- to clean, dance-y house. tions, how she expresses, and the importance of building a community But no matter the genre, what Nono through empowerment — and aims to bring through her music is through music, of course.

18 Whatʼs the inspiration behind your mixes? Do you think being a female DJ carves a narrative in an untraditional space? Dancing is one of the main things. My goal is always to inspire people to move. Yeah, definitely. I feel like there are a lot more women artists in general, just coming What express through your up in the DJ scene. More women see other music? women DJing and feel inspired to do it. I think even being called a “female DJ” can For me, itʼs about expressing freedom and be a of a thing for a lot of women. feeling liberated. When Iʼm DJing, I kind of Itʼs like, why canʼt we just be DJs? go into another world where nothing really The whole thing is, “oh, female DJ,” which matters. Itʼs all about having fun and is like, we canʼt compete with the guys? We expressing joy through movement and have to have our own category or what? dance and music. I feel liberated because Just being considered a “female DJ” or Iʼm orchestrating a whole party. “female anything” really is limiting in this For that hour, I feel free, I feel heard, and I patriarchal society. feel seen. As a Woman of Color, itʼs often that we donʼt get seen or heard. When I What first inspired you to start mixing? play music, I get to experience that through performance art…and fashion too. I like to I was inspired by the scene. I never really dress up when I perform. When I perform, I said, “Iʼm gonna be a DJ.” It was kind of kinda go a little extra, you know? like, I listen to a lot of music. People say I have a good ear, so I was able to DJ house Going off of that, what was the hardest part parties. Just for fun, not seriously at all. And about making your way through a people were like, “Yo, youʼre actually male-dominated industry? really good, you should start DJing,” and I was like alright, Iʼm down. Iʼll start DJing. I I havenʼt really experienced any real started doing little bars and friendsʼ parties battles yet. I feel like, dealing with bigger and now, tonight, Iʼm DJing at F8 which is a cities, like L.A. or New York, it is more of a pretty poppinʼ club in . fight sometimes. In the Bay, itʼs not like that. At least in Oakland. San Francisco can be a little bit challenging, but Oakland — Iʼm from here. I have a pretty strong communi- ty. Iʼve actually gotten a lot of support from friends who DJ and promote, who are males, so I feel really blessed about that.

19 In an article with SFMOMAʼs Open Space, you talked a bit about your spiritual journey in connection with your radio show. Do you mind telling me more about Las Brujas Brujas.” We want peopleto ask us super Radio and its mission? personal questions that we can answer anonymously. Thatʼs almost my favorite I wanted to talk about what I was experi- part. encing in a way that wasnʼt super personal, And I play music. Not a lot, but I try to but relatable. Mostly, Las Brujas focuses on choose music that is women-produced or conversation around femininity and what with vocals by women, or anything thatʼs that looks like. Itʼs me, my friend Queens about something empowering and beautiful. D.Light from House of Malico, and another I never play mainstream music or anything friend called Imani. thatʼs degrading towards women. Iʼll play We basically just have a conversation about anything from hip-hop to punk music, just trauma, abuse, addiction — anything that whatever I feel like. weʼve experienced, that weʼre trying to or have overcome. Keeping it very WOC-ori- Is there anything you really want to talk ented, trying to spread news thatʼs empow- about or something you want people to ering for our community versus all the know? negative shit the media is always trying to show us. We try to get community involve- I just — I donʼt know if itʼs corny or some ment too in a segment called “Ask Las shit... 20 Go for it.

Sometimes, I really feel like this spirit is running this show for me, the way that my DJing career has unfolded. Itʼs happened in a very synchronized way while I know a lot of people struggle. And I wonder if itʼs because Iʼm just doing this for fun. When youʼre doing things for fun, youʼre not really thinking or the fame. Youʼre literally just doing that shit for fun. You know, you read books and shit where itʼs like, “Do what you love” and that shitʼll pop off, and thatʼs kind of whatʼs going on with me. I mean, I love it. I love fucking DJing. I can be heartbro- ken, but as soon as I get on the decks, Iʼm in another world. I go into another realm and itʼs almost healing, to be able to do that and not give a fuck. I really donʼt give a fuck about anything.

@berkeleybside

21 @berkeleybside

22 BLACK ARTISTRY By Shelby Mayes Design by Jackie Nam

“C.S.N.E,” a song can also somewhat by 22-year-old ironically be linked Mylo Mu, opens with to his connection to kaleidoscopic images mainstream figures in and a shirt that Black art and culture. reads Free Tupac. Names like Jean Michel Heavy bass quickly Basquiat, , John accompanies the Coltrane, and Pharrell rapper, the visuals oscillat- Williams were just a few of ing between psychedelic Mylo’s many sources of designs, sporadic Angela inspiration. For him, Black Davis audio clips seem- artistry “is sort of like a ing to date back from 1972, ‘cultural DNA.’ They’re my and the back of Mylo’s ancestors even if I’m not baby pink shirt. Then, thirty connected by blood. I feel seconds in, Mylo smiles like Basquiat, I feel like shyly at the camera before Tupac,” he expressed firmly. , “walk outside, and I don’t know what the fuck this shit In regards to negative stereo- is.” types and the impact they have standing his own Blackness. on Black art and its respective The shot cuts to a close-up, filling the His use of experimental, ambient, and communities, he expressed that frame is filled by his face and a wide, sometimes funky, instrumentals layered “it all comes back to the Black confident smile. This is what Black under his deep rap vocals — a style body. And how America under- artistry looks like in 2017. evidenced by his most recent EP, Free stands the values of them.” The Despite the political bleakness that Radical (2016) — also makes perfect liberation of Black Americans is has so far accompanied this year, sense alongside his edgy and raw weaved into Mylo’s work Black art and culture have always photography series, “Nood Book.” because he feels it should be found ways to creatively reflect the His intentionally imperfect photogra- addressed by all Black artistic adversities of the time while highlight- phy compliments his hard-hitting bars visionaries. ing the beauty that exists within the and abstract, atmospheric beats to All too often people are quick to struggle. And Mylo, a Cal alumnus convey his intentions of “healing and associate rap and hip-hop with and rapper now based in the East celebrating identities commonly descriptives like “hood” or Bay, is a perfect of that, silenced.” “ghetto” without realizing the with his artistic vision that brings “A lot of my work is visually based,” divide it creates between Black together hip-hop, , and afro-psy- Mylo explained. “Photography and art and Black humanity. The chedelic elements in both his sound visuals is another space where I can stigma associated with rap and his visuals. explicate my image.” culture can be discouraging to The intersection of these elements, And the image Mylo communicates young artists who simply wish to Mylo shared in an interview with The through his art is indeed radical — but express themselves creatively B-Side, ultimately helps him in under- through rhythm and poetry. 23 Mylo’s vision attempts to go against these stereotypes, falsely accused by an officer,” Elujay recounted, as the artist expressed that “foundationally, it’s all explaining his process in writing the song. “ about inferiority. And that’s what we’re combatting.” ended up tackling me to the ground, putting me in “We know what’s going on,” Mylo said. “As Black handcuffs, and calling me a n*gger.” artists, we see what’s happening, so I feel that if you These instances of police brutality in America are more don’t call that out and speak about it you’re part of the than just news stories you hear every so often — problem.” rather, it’s a reality for most Black people in America today. Elujay’s ability to take a traumatizing experi- ence and transform it into a beautifully vivid — even “photgraphy and visuals joyful — song is what makes him an embodiment of Black artistry in 2017. For Elujay, Black artists are is another space responsible for shaping the outlook of their communi- where I can explicate ty, the rapper expressing that many are “misled by the system, the environment, and the individuals they my image” surround themselves with. That’s why it’s important for Black artists to have an influence on the youth.” And while the problem and process of Black liberation “We have a responsibility to our community,” he Mylo discusses will not be easily solved, his insistence concluded passionately. on freedom and clarity in all forms of artistic expres- Elujay’s insistence upon creating a positive image for sion puts us one SoundCloud link closer to the solu- Black youth, his music’s unabashed joy, and Jentrify’s tion. overwhelming success — evidenced by his recent 20-year-old Elujay is another Oakland rapper who’s appearances in platforms like Noisey and MTV — working to create honest, soulful music that reflects the show exactly what the Black artist narrative looks like vibrant personality of the Bay. Elujay has been in an in the Bay. And it’s a perfect rendition of the socially on-and-off relationship with music and music produc- conscious, thoughtful rendition of what Black artistry tion for six years now. He grew up around music and looks like in 2017. had always expressed an interest in poetry, so rapping seemed like the next natural step. Although currently living in L.A., he spent the majority of his “we have a youth in Oakland — and many of his powerful lyrics are based on his own experiences as a young Black responsibility to man on the East Bay. “The most important thing people should know about our community” me is that I want to be a good example for young musicians coming out of Oakland,” Elujay remarked in Self-expression through hip-hop is — and has always an interview with The B-Side. “I want to give back been — a reflection of the times, whether it be Elujay’s more than I’ve taken.” vibrant, optimistic songs or Mylo’s experimental and With a truthful and heartwarming track like “Soul individualistic work. Elujay and Mylo are both Food” on his debut release Jentrify late last year, it’s one-of-a-kind artistic visionaries contributing to Black clear that Elujay is delivering on his promise of giving art and its perception in surrounding communities. back to the Oakland community. The song addresses This is what Black artistry looks like in 2017. Isn’t it the social issues of the current generation head on stunning? without any sugar coating. “‘Soul Food’ was actually written around the time I got 24

? ? EVER EVER T T S S TE TE A A GRE GRE

A Drizzy Drake Retrospective By Adil Siddiqee Illustration by John Lawson Graphics by Jackie Nam

25 In the music video for energize the countryʼs approach in lieu of a “Forever,” released in middle school dances. high-profile, heavily Thereʼs a weird spot in 2009, a 22-year-old produced record. hip-hopʼs history that Aubrey Drake Graham Writing him off as takes place somewhere towers over the camera another urban-lite between 2009 and against a massive back- crooner lost in the wave COMEBACK 2011. Itʼs a time where drop of pyrotechnics and of the late ʻ00s mess of Iʼm able to recall more flashing lights. An air ringtone rap should SEASON atrocities than classics, horn blares overhead, have been easy. But 2007 when jerk rap was in its and Drake sings the while the likes of Sean death throes, and Lil songʼs hook as it moves to Kingston and Hurricane Stars with widespread Wayne released his the instrumental, his gaze Chris all drowned in their appeal like , worst , ever. cast downward. The indistinct impermanence, , and young newcomerʼs face Drake refused to do the legitimized the It was also when Young dissolves , briefly, to same. Instead, he fronted as a project. Money signed Drake. introduce his guests: “Forever” — one of the Beatmakers from to Kanye West, silhouetted most stacked posse cuts of DJ Screw drew curiosity alongside pillars of fire, all time — making it clear from fans outside of sparks raining from the that he was to be taken traditional hip-hop. The THANK ceiling; Lil Wayne, seriously. And what better EP was the last surrounded by women, way to establish yourself time a Drake album ME LATER diamonds lining his teeth; than have the three gods would fail to peak at #1 2010 , flanked by his of modern rap music hand on . crew, eyes merciless and the torch over to you Drake must have known cold. themselves? At 12 years old, I had how nothing but disdain for (2010) would turn out, As the chorus . I seethed because no one would fades out, Drake ROOM FOR at the fact that this have thanked him right glances downward *Canadian* had there and then. Of all at the three IMPROVEMENT ripped off 808ʼs and the things that made So biggest rappers of 2009 Heartbreaks and that Far Gone decent, Drake his generation, the undis- every girl on Myspace decided that stuffing it puted kings of the last “Forever” and “Best I had “Best I Ever Had” on with big names was the decade, and scowls. Ever Had” drew interna- autoplay. In retrospect, move to make on his tional attention to the itʼs a good debut mixtape debut album. “Last name Ever, first mixtape Drake released — some call it one of the name Greatest.” in February of 2009: the best. Drake, the newest It didnʼt work. career-launching So Far kid on the block, already “Forever” followed that Gone. Although the sounded like a veteran. Iʼm not sure what summerʼs “Best I Ever project was his third, Juggling confidence and whispered in Had,” which introduced following Room vulnerability, his persona Drakeʼs ear at the the Canadian artist to the for Improvement (2006) was atypical, and one of YMCMB headquarters, public as suburbiaʼs latest and Comeback Season the first to embrace but it must have really contemporary R&B icon: (2007), it was the first to emotionally-charged screwed the guy up. For a new one-hit wonder to abandon an independent hip-hop. whatever reason, 2010 DRAKE26 Drake decided to rap opus — the frustrated, ten thousand of the Was The Same. His through his nose instead self-aware “Marvinʼs writers who worked on sound had been of his mouth. His voice is Room,” which, for many, this record, this Drake is shed of any defining so ridiculously nasally is still Drakeʼs best work, by far the least personal, qualities; his bold, throughout the entirety of as well as the first to least relatable variant of dynamic persona the album that itʼs more receive widespread the artist heʼs shown yet. became rigid and In an interview with MTV thought-provoking than critical acclaim. For a uninteresting. Naturally, self-proclaimed rapper to earlier that year, Drake I was ready to dismiss If the actual content of his succeed on a R&B track stated that he wanted “to Youʼre Reading This Itʼs lyrics - ghostwritten or like “Marvinʼs Room” was sing the world's triumphs Too Late (2015) as soon otherwise. more or less unheard of in and problems on one as it dropped. 2011. Drakeʼs artistic record.” Yet, listening to But if Thank Me Later reinvention from one this succeeded in one aspect, album to another empha- album, IF YOUʼRE READING it was catapulting Drake sized his newfound status one to the highest rung of the as a hip-hop juggernaut, would THIS YOUʼRE TOO LATE pop-rap ladder. The view all while showcasing suppose 2015 must have be great from improvements in his the warped, solipsistic there, because Drake overall sound. world Drake lives in But I couldnʼt. Drake probably saw the albumʼs doesnʼt share the triumphs may have ripped colossal banalities and Take Care sounds like a and problems of our own. Migosʼ , he may dropped them entirely. deeply private retrospec- have hopped on the tive, but succeeds The myriad ostensible trap train for profit, but in encapsulating issues on this album are I listened to the mixtape the 21st century privileged and mundane; for weeks. Although his TAKE CARE Western tempera- Drake simply cannot find braggadocio remains 2 011 ment through an a woman to love/- standard fare, it fit here abundance of accessible fuck/trust, all while being in ways that didnʼt on Take Care (2011) was a themes: heartbreak, cursed with millions of prior releases. And hard departure from the selfishness, loneliness. dollars. Have a problem Drake may have the electronically driven, with it? Kill yourself, bro — least struggle creden- commercial It became a millennial Drake “Started From The tials out of any rapper, heard in previous albums. doctrine. Bottom” to get here. “The but he sells it here with The production Bottom” being a teenage a conviction unlike ever remained extensive sitcom star, I guess. I before. and expensive, but NOTHING WAS recall when I first 40 and his collabo- listened to Nothing Aside from delivering rators swapped the THE SAME Was The Same, quality music, If Youʼre high-energy sound unnerved by how Reading This Itʼs Too for a darker, low tempo 2013 artificial this Drake Late accomplished atmosphere. Thereʼs more sounded compared to the another purpose: it R&B than pop, and the 2013ʼs Nothing Was The barefaced Take Care recalled the idea that rap is delivered through Same Drake, however, Drake. The thought Drake was a capable, the mouth rather than the wouldʼve drowned in a entered my head that he varied artist. The transi- nasal cavity. bathtub, because his was never the best actor. tion from Thank Me supposedly deep content Later to Take Care was The tracks are better and in the album is so, so I stopped taking Drake crucial evidence of his include Drakeʼs magnum shallow. Disregarding all seriously after Nothing ability to expand

27 beyond a previous because people will still albumʼs buy it. None of More sound. So, after Nothing VIEWS Life exudes greatness, Was The Same presented 2016 and is far and away a puffed-chest, lazier MORE from what the greatest rendition of Take Care, And then Views (2016) he proclaimed himself Drake adapted. Reminis- came out. as in 2009 should cent of the ambitious, yet LIFE sound like. candid young man from If the previous albumʼs 2017 2009, this albumʼs Drake energy were to be When I listen to More is a formidable, snarling, weighed against that of The title is apt; Life, I think back to at times wounded rendi- lackluster Views, it would is filled with more life — Drake in the “Forever” tion of the artist. be crushed under the producers, writers, music video. A rookie, weight of its monotony. features — than any standing amidst If only heʼd kept it up. Keeping his R&B elements former Drake project. Lost legends, with a hunger and trading hip-hop for in a sea of randomly and staunch determina- I mean, for a while, he , Drake assorted atmospheres and tion to rise above them. did. Feuding with rapper released his most bland instrumentals, the other He wasnʼt the greatest (known better and uninspired work to elements of Drakeʼs music rapper, he wasnʼt the as Nicki Minajʼs ex-boy- date. faltered. The attempts to greatest singer, but he friend), Drake dropped resuscitate his trap sound sounded convincing — diss track “Back to Back.” On Views, Drake took were lazy, and what as if it were only a And, in a time where rap what made him unique, appeared to be his efforts matter of time before he beef is about as legit as driven, and visionary — at standard hip-hop were became either. Taco Bell, the track was a and cast it to the wind. He pointless. His singer-song sensation, even making loaded up on Jamaican writer tracks are where he When I listen to old Drake look threatening writers and producers, sounds most at home, but Drake — Drake on Take for the first time. It sound- adopted an accent he they were frequently only Care, or on So Far ed like a reawakening — didnʼt grow up with, and mediocre — nothing less, Gone — I wonder if that as if the self-proclaimed released twenty of essen- . Drake is still somewhere greatest was finally tially the same song. He in the back of this winding up to entrench sounds foreign, and not A playlist meant to encap- Drakeʼs head, if he himself in history. just in the accent, but in sulate a career should remembers the selfish every aspect of the music. sound fluid and consistent brilliance of “Marvinʼs But the universe had a despite crossing a range Room” — if he still different plan, and Drake The growth through his of styles. Instead, More remembers his mastery released “.” discography — the devel- Life is a disoriented over both rap music and In essence, he returned to opment of his character — collection of songs that R&B. the late-night bitterness of was gone, vaguely suggests Drake “Marvinʼs Room,” but replaced by a hollow, without ever sounding When I listen to Drake opted to sing it over the careless imitation of what distinct. It sounds like a now, I wonder if he still Wii Shop menu screenʼs he once defined himself Drake who, after achiev- has any desire to be the soundtrack. The ball had as. ing a spot at the top, lost greatest ever — because been dropped, deflated, the drive to impress and he couldʼve been. and cast aside. Of course, it couldnʼt get stand out. It sounds like a worse than Views. But the Drake content with releas- I wonder if he still can. next year brought More ing a middling array of Life (2017). whatever he wants,

28 SXSW Photos by Ally Mason

an inside look at SXSW: a collection of derps

SXSW SXSW 29 SXSW Photos by Ally Mason

an inside look at SXSW: a collection of derps

SXSW SXSW 30 31 32 By Mateo Savala

California Electric Relaxation A Tribe Called Quest

Super Keak Da Sneak California Nights Best coast

California Blink 192 101 Albert Hammond Jr.

Eraser No Age California Delta Spirit

Los Angeles X L.A. Elliot Smith

California Love 2Pac ft Dr. Dre Telegraph Ave Gambino

Hotel California The Eagles Champagne Coast Blood Orange California Joni Mitchell Going to California

33 Editorial

Eda Yu Editor-in-chief the b-side Meaghan Allen Managing Editor

Emilie Dylewski Copy Editor

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