Book Review: Mark Manson's "The Subtle Art of Not Giving a F*ck"

As a part of an ongoing bookclub with my boss and mentor, we decided to read Mark Manson’s best-selling and critically-acclaimed self-help book “The Subtle Art of Not Giving a F*ck”. A change of pace from our equally intriguing and insightful read-through of James Clear’s “Atomic Habits”, we were drawn in by the book’s abrasive title, intimidatingly orange cover, and seemingly under-discussed subject matter. Where Atomic Habits looked to guide its readers to improve upon their daily routines and create habits that would last a lifetime, it initially seemed that, through his many crude jokes and personal anecdotes, Manson’s advice was just the opposite of Clear’s. Instead, however, the effectiveness and importance of Manson’s book come from the first half of its title — instead of embracing nihilism and disregarding everything, Manson suggests that there are subtle yet importance nuances that distinguish which values we should consider, encourage, and help guide us.

Despite Clear’s many steps, protocols, and devices that he encourages the reader to use to develop good habits, I actually find Manson’s philosophy more difficult to apply in my daily life. I wouldn’t necessarily classify myself as a “worrier”, but I do strive to achieve the best results that I’m capable of, and sometimes I can be self-critical when any shortcomings arise. Manson encourages his readers to align their values to accept that failure is inevitable, and instead of avoiding it, we should instead accept that inevitability and use it to grow and improve ourselves. At the same time, instead of getting caught up in the small details of life that can sometimes be overwhelming, we should often reassess what is most important to us — whether it be family, good relationships, our health — and strive to give a f*ck only about those factors.

Manson’s unique perspectives are as welcoming and approachable as they are soothing; that is to say, his anecdotal approach and laid back attitude eases the reader into extremely conceptual and philosophical self-reflection. By choosing to value certain aspects of our lives, we inherently deny others. By embracing our mortality and deciding to make the best of life, we deny the negativistic viewpoint that could arise from the inevitability at the end of our lifespans. Manson, in many ways, flips conventions on their head for a more direct and honest conversation with his reader — one that teaches the important lessons that some values should be more important than others, that we often are too obsessed with material accomplishments, and that the subtle art of not giving a f*ck is instead choosing what we actually give a f*ck about in the first place.

Album Review: Mr. Morale & The Big Steppers - Kendrick Lamar

After 1,855 long days Kendrick Lamar has returned with the release of his fifth studio album Mr. Morale & The Big Steppers. The follow-up to the critically-acclaimed and Pulitzer prize-winning DAMN. was very highly anticipated despite its remarkably short and mysterious rollout, as this project had neither a lead single nor a tracklist teased before the project’s debut. Even with the absence of these hallmark aspects of a traditional rollout, fans and critics alike tuned into Kendrick’s newest project with their curiosities piqued, ready to learn where the world-renowned artist would take his sound next, but more importantly, how he had navigated the tumultuous, unforgiving, and traumatic half-decade that had passed since we last heard from the Compton native. Luckily, Kendrick was more than willing to share what he has gone through, and with that, he has given us Mr. Morale & The Big Steppers: the most ambitious, revealing, and challenging album yet from his unrivaled discography.

Before discussing the tracklist, sounds, and themes on this project, it’s important to discuss the context in which it’s being released, the album’s overall concept, and how the gorgeous cover art helps frame an appropriate listen to the project. Up until the release of DAMN., Kendrick Lamar’s discography largely featured discussions of prevalent issues, critiques of broken institutions, and stories of an unspeakably difficult upbringing for himself and those in his community of Compton, California. After his debut Section.80, good kid, m.A.A.d city was a cinematic experience that outlined growing up with gang affiliations and the negative influence of peer pressure, while To Pimp A Butterfly was a poetic conversation and contemplation about the state of race, inequity, and self-acceptance at the time of its release. DAMN. found Kendrick vulnerable, discussing emotions such as how fear has affected him at each stage of his life and how his feelings often overwhelm him. Although DAMN. was a great record that wore its heart on its sleeve, the lack of a sense of closure and catharsis on this project made the great span of five years feel even longer than it actually was. Kendrick still had work to do, but this time not for his community or the world around him; instead, he needed to first look within and address the traumas that were affecting himself, his family, and, consequently, everyone that consumes his art.

Mr. Morale & The Big Steppers uses a unique framing device, which is a tactic that Kendrick has mastered over the course of his rap career. Essentially, this project demonstrates a series of therapy sessions that highlight the progression of his mental health, introspection, and eventual breakthrough that leads to the breaking of an intergenerational curse that he hopes to bring light to for others who have likely experienced or suppressed themselves. The album’s cover art seems minimalistic and straightforward at first, but upon further analysis, layers of duality and conflict arise. Kendrick and his family are rather distressed here - together, but in a less-than-ideal setting. Kendrick holds his daughter in his arms while shielding her from the outside world while wearing a crown of thorns and tucking a pistol, which represents his need to protect his family while choosing to represent himself as a savior figure to the community around him. All of themes — family, saviorship, trauma, mental health, and self-acceptance — are discussed on this 18 track double-album.

The album’s first song, “United In Grief”, adds to a legacy of incredibly captivating and stage-setting intro tracks through Kendrick’s discography. The album’s narrator exclaims “I hope you find some peace of mind in this lifetime,” and Kendrick’s wife encourages him to tell the truth to the therapist he has decided to see to address what he has been going through. Initially, Kendrick poses questions and answers them from unconventional perspectives - something that was promised with the release of “The Heart Part 5” just a few days prior to the album’s release. We discover that Kendrick has decided to see a therapist because he’s troubled by everything around him, depicting the world that he’s in as a cul de sac that he can’t find meaning in. Then, backed by a tempo-changing beat switch, Kendrick discusses the pitfalls and indulgences of his luxurious lifestyle, capping all of this off with the introspective excuse of “I grieve different (everybody grieves different)” that addresses the reason for his recent outlook, but without coming up with solutions.

“N95” follows - a hard-hitting banger that discusses the metaphorical masks that we wear in life and the vacuous emptiness that lies beneath them. At the beginning of Kendrick’s therapy, it’s important that he outlines distinctly what he sees wrong with the world around him before addressing why any of it is problematic, which is exactly what he does on this track. “Worldwide Steppers” is essentially disc one’s title track, finding Kendrick using a very direct and blunt delivery. He opens up about a previous lack of creative motivation with the lines “Writer’s block for two years, nothin’ moved me / Asked God to speak through me / That’s what you’re hearing now / Yours truly.” Kendrick then reflects on the internalized prejudices he has toward white women stemming from previous sexual experiences, which he believes his ancestors would view as retaliatory. Kendrick acknowledges the damage that can be done when caught up in the lifestyle, but also suggests those who are “noble” and live “like they’re supposed to “are just as ruthless, only with less direct and punishable consequences.

On “Die Hard”, Kendrick opens up about the insecurities that he has, primarily in his relationship. He questions the commitment and trust of his partner, while recognizing how difficult it is to put up with his uncertainties. Sonically, this track goes more in a pop direction, and while an interesting and revealing song, isn’t one of my favorites on the album. The exploration of trauma continues with “Father Time (feat. Sampha)”, which finds Kendrick discussing the complicated relationship he had with his father while growing up. “I’ve got daddy issues, that’s on me” is an incredibly vulnerable line that also serves as the first example of unspoken, communal trauma that Kendrick is bringing to light on this project, which we will see again multiple times later on. Sampha’s fantastic chorus and the production on this track are impeccable, and the discussions of the normalization of toxic masculinity in the Black community are poignant and impactful.

“Rich - Interlude” utilizes the contributions of controversial figure Kodak Black - the perfect representation of a “big stepper” or contributor to “the culture.” It seems that Kodak has shown some maturation, though, recognizing how far he’s come on his own while still wary and aware of how far he has to go to escape his former lifestyle. “Rich Spirit” finds an irreverent Kendrick navigating criticisms that he has faced, remaining steadfast in a newfound confidence that is beginning to emerge due to his therapy sessions. “We Cry Together” is unlike anything I’ve heard before: an Alchemist-produced, nearly 6-minute-long argument that depicts “what the world sounds like.” The female voice found on this track is portrayed by Taylour Paige, who pours her heart out into her viscerally uncomfortable performance. Argument-style tracks have been attempted before, but none executed as memorably and impactfully as “We Cry Together” - this is a perfect track so uncomfortable, toxic, and unsettling that I will likely have to avoid it on future listens. Disc one closes with “Purple Hearts”, and while this is a melodic pop cut, it doesn’t add much more to the project’s narrative besides condemning the toxicity of the previous track, and the features here didn’t leave an impact on me. Luckily, though, there is an entire second disc to follow.

The back half of Mr. Morale & The Big Steppers starts with “Count On Me”, a breakthrough session with Eckhart Tolle that catapults Kendrick into confronting his traumas throughout the rest of the project. This track represents closure, acceptance, and a willingness to move on from prior negative experiences in his life. On “Crown”, Kendrick grapples with the idea that truly conquering his traumas and mental health journey will involve making decisions that can’t please everyone in his life, including the listener. Kendrick recognizes the savior role he has played in his career up until this point, with the lines “Heavy is the head that chose to wear the crown / To whom is given much is required now.” This piano-backed track builds and culminates in Kendrick choosing to pursue his mental health journey, accepting that he has to come first. “Silent Hill” is next, a mellow trap cut featuring Kodak Black that, while inoffensive, would’ve fit much better in the album’s first half of tracks. “Savior - Interlude” features Baby Keem, who echoes the opening refrain from Eckhart Tolle discussing the negative consequences of basing one’s identity on prior traumatic experiences. On “Savior”, Kendrick severs himself from the savior persona that many have associated him with. Toward the end of the track, he discusses how he was likely taken for granted, and states that while he was away, he was “protecting [his] soul in the valley of silence”.

Now that Kendrick has acknowledged that he needs help, that seeking this help will change the way others perceive him, and relieved himself from the self-imposed responsibility of solving other people’s problems (or so he thinks), he is ready to address and explain the traumas and experiences that shaped him. This, naturally, leads to three of the best songs that Kendrick Lamar has even written, starting with “Auntie Diaries”. The track opens with the lines “Heart plays in ways the mind can’t figure out”, and Tolle frames the song by stating “this is how we conceptualize human beings.” On this track, Kendrick outlines his relationships with two different transgender individuals close to him, using this narrative structure to address his internial biases, the hypocrisy of the church, and all-too-often societal condemnation and mistreatment of the LGBTQ+ community. After describing how he naturally accepted the transition of his Auntie and of his cousin, he reflects on the accidental mistreatment he partook in by deadnaming these individuals, using derogatory and hurtful slurs, and hiding their identities from those around him. In the moving track’s climactic moments, Kendrick likens the use of the f-slur to that of the n-word, attempting to convince an often homophobic and transphobic hip-hop community to recognize how their prejudices are hurtful by reflecting on their own inequities and mistreatment. Overall, this is an amazing track, and I personally excuse Kendrick’s use of certain language on the song as it serves a much greater, very necessary purpose. More pro-trans and pro-LGBTQ+ songs need to be normalized in rap, and I commend Kendrick for “Auntie Diaries”.

The second disc’s title track, “Mr. Morale”, is next. This Pharrell Williams-produced banger continues discussions of generational trauma over a bouncy instrumental with unique flow from Kendrick. The most important line to pull from this track is Kendrick stating “I’m sacrificing myself to start the healing” not just of himself, but of his community and society altogether. “Mother I Sober (feat. Beth Gibbons of Portishead)” is next, and is quite honestly one of the most moving songs I’ve ever heard. On this track, Kendrick reflects on his childhood, his mother’s experience with sexual assault, his shortcomings and disloyalty to his wife, and how the often under-discussed presence of sexual abuse of young members of the Black community is a generational curse that needs to be addressed before any advancements can be made. Kendrick’s initially quiet and raw vocal delivery builds in the track’s most impactful moments, with lines like “So I set free the power of Whitney, may she heal us all / So I set free our children, may good karma keep them with God / So I set free the hearts filled with hatred, keep our bodies sacred / As I set free all you abusers, this is transformation.” The track closes with a recording of Kendrick’s daughter thanking him for owning his shortcomings and allowing their household the freedom to begin healing, which is what Kendrick wants his entire community to do. The closing track “Mirror” reiterates that Kendrick is choosing to focus on healing himself and his family instead of addressing systemic issues as he did on previous projects, apologizing but definitively stating that this is the decision that his therapy has led him to. This closing track is cathartic and triumphant, demonstrating how far Kendrick has come from where he started the album. The Mr. Morale persona is now in full effect, and the healing can start.

But not just for him. Although throughout this project Kendrick Lamar seems to create a dichotomy between healing his own instead of healing the world, I think that he can do both incredibly effectively, and that this type of masterfully introspective, contemplative project is an example of how. By discussing issues like toxic masculinity, sexual abuse, toxic relationships, and internalized prejudices in his community, Kendrick is leading by example on how to reflect, put in the work, and heal instead of preaching or acting as a savior for others. Now a role model, Kendrick has proven that he can continue to grow, advance, and succeed as an artist, but more importantly as a man who escaped insurmountable adversity in his upbringing. Because of that, and because of all of the good that will do for anyone who truly listens, this project was absolutely worth the wait.

Favorite tracks: “United In Grief”, “N95”, “Worldwide Steppers”, “Father Time (feat. Sampha)”, “Rich Spirit”, “We Cry Together”, “Count Me Out”, “Crown”, “Savior - Interlude”, “Savior”, “Auntie Diaries”, “Mr. Morale”, “Mother I Sober (feat. Beth Gibbons of Portishead)”, “Mirror”

SCORE: 9/10

Analysis: The Heart Part 5 - Kendrick Lamar

He’s back. After five long years since the release of his fourth studio album DAMN., Kendrick Lamar has returned. To classify him only as a musician or rapper seems like a disservice; instead, I prefer to refer to him as an all-around artistic genius. His previous projects, from the critically-acclaimed good kid, m.A.A.d city and To Pimp A Butterfly to the aforementioned Pulitzer prize-winning DAMN., discussed a wide range of topics and themes like systemic racism, societal injustice, and self-empowerment. Most of these amazing eras, sonically and thematically unique from one another, were preceded by a stream-of-consciousness-style single that, together, make up “The Heart” series. The same is true for his upcoming highly-anticipated album Mr. Morale & The Big Steppers, as just yesterday, Kendrick Lamar released “The Heart Part 5”.

The unexpected and atypical release is easily my favorite from “The Heart” series. Unlike ever before, Kendrick released a music video alongside the song. Seemingly simple at first, with Kendrick performing in front of a red backdrop, it quickly becomes apparent that the visual aspect of this song is just as important as the written lyrics. In spoken word format, Kendrick opens the track by discussing how he’s realized, as he’s grown older, that understanding varying perspectives is hugely important in life, and that his perspectives on issues might differ from his listeners’. Suddenly, then, Kendrick ballistically starts his first verse, which explores his upbringing and the lifestyle he grew up trying to escape. This time around, instead of just depicting the atrocities he has seen growing up with gang affiliations as he has done previously, Kendrick begins to critique “the culture” he sees around him that perpetuates and sustains a lifestyle that leads to generational suffering among his community. The chorus follows, utilizing a classic funk sample from Marvin Gaye and introduces the topics to follow, with the lyrics: “I want the hood to want me back / Look what I done for you.”

In verse two, Kendrick demonstrates the reflections he has done on the importance of perspective by utilizing DeepFake technology in the song’s music video to “transform” into various icons whose relevance and important we will discuss later. This visual effect is jarring at first, but serves an important purpose in communicating that Kendrick is stepping outside of himself for this single, and will likely do the same on the following album, evidenced by the “I Am. All of us.” quote that starts the music video. Kendrick continues to discuss “the culture,” describing how desensitization to atrocities and exploitation have normalized inequality, especially in impoverished Black communities. By embodying the likes of O.J. Simpson, Kanye West, Jussie Smollett, and Will Smith, Kendrick argues that these culturally iconic Black men have moved their communities forward despite their shortcomings or the controversies they’ve found themselves in, but that those controversies are ultimately still damaging. Brilliantly, Kendrick pairs each DeepFake with relevant lyrics, such as “Friends bipolar” for Kanye West and “Hurt people hurt more people” for Will Smith.

On verse three, the drums drop out of the instrumental, and Kendrick begins discussing a way out of the systemic and perpetual struggles that his community continues to face: “Celebrate new life when it come back around / The purpose is in the lessons we learnin’ now / Sacrifice personal gain over everything / Just to see the next generation better than ours.” The third verse sees Kendrick transform into Kobe Bryant and Nipsey Hussle, two extremely culturally impactful Black men who were once embroiled in their own controversies only to eventually overcome them to serve change to those around them. “Reflectin’ on my life and what I done / Paid dues, made rules, change outta love / Them same views made schools change curriculums / But didn’t change me starin’ down the barrel of that gun'“ addresses the elephant in the room: untimely demise. Kobe Bryant became a cultural role model before his tragic death, and Nipsey Hussle vowed to better his community after prior gang involvement before being killed. On The Heart Part 5, Kendrick speaks from their perspectives and says that even though they were taken too soon, they should regret nothing because of the positive impact they had on those around them - despite the cost. The song closes on a hauntingly beautiful tribute to Nipsey Hussle from his perspective, and the closing lines “And though my physical won’t reap the benefits / The energy that carry on emits still”, a play on words and striking reference to Emmett Till, whose horrifying lynching was a turning point of the Civil Rights movement in the 1950s - a spot-on personification of paying the ultimate price of tragedy to spark an absolutely necessary movement.

Kendrick Lamar has once again proven his genius artistry with The Heart Part 5, and the most incredible part is that it likely won’t even be on his upcoming album. By defining and outlining both the problems his community faces and ways to fix them by embodying cultural icons, Kendrick sets the tone and precedent that the rumored double album Mr. Morale & The Big Steppers is going to be a very contemplative and dense project. My expectations are now at an all-time high, and I hope Kendrick continues to discuss topics like the separation of art and artists, the misnomer idea of a “cancel culture”, and the importance of art in search of solutions to society’s most pressing issues. This was everything I hoped for in the past five long years, and Friday’s album drop can’t come soon enough.

One Year Post-Grad

One year ago today, I graduated college with a Bachelor’s degree in English from Georgia State University. Four years of hard work, growth, challenges, and determination culminated in the payoff of receiving my diploma and recognition at our Class of ‘21 ceremony. My time at Georgia State will always hold a special place in my heart - it’s where I met the love of my life, where I refined and honed the skills I still use every day, and where I grew more as a person than in any other phase of my life. As I’ve started to see photos and videos being posted online of the Class of ‘22’s graduation ceremonies, I’ve been reminded of the excitement and joy that day brings, but also of the uncertainty that comes alongside those highs.

Those of us who are fortunate enough to attend and graduate college live very regimented and straightforward lives up until the big day, for the most part. In pre-school, middle school, high school, and college, there are rigid guidelines that directly tell you what success looks like. You are told where to be every day and when to get there. You’re told exactly what’s needed from you to get good grades, recognition, and rewards like scholarships. The loss of that direction by the time of college graduation can lead to a daunting, existential reflection that makes you ask “now what?”

But that is when you use the skills you’ve gained over the years more than ever before. The lack of direction shouldn’t be perceived as intimidating or scary, but instead as an opportunity to embrace the journey of young adulthood and of life altogether. In my first year post-grad, I’ve been proud of the steps I’ve taken to elevate my circumstances, and I’m confident in what the future has in store for me. I’ve moved in with my wonderful girlfriend, am coming up my first anniversary at a job that supports and engages me, and have maintained healthy relationships with those around me. None of this was by mistake, but none of it was necessarily difficult, either; instead, it only took me relying and trusting myself as an able, capable lifelong learner who embraces and learns from challenges that arise.

The freedom that graduating gives you is liberating. You are able to create your own schedules, define what success what looks for yourself, and create your own guidelines that define what makes a day good or bad. Instead of competing with others for grades, results, and scholarships, you are able to compete with who you were yesterday for growth, maturation, and fulfillment. I’m as confident in my own skin and in myself as I have ever been, and that’s because I’ve embraced and accepted that there is always so much room left to grow, but that steady improvements and small wins fuel that growth every day.

To those who are graduating this year: Don’t be afraid. Now is the time to reflect on how far you’ve come, look forward to how far you’ll go, and be patient with yourself as you navigate life post-grad. Now is also the time to rely on your support systems, and make sure they know how much you appreciate them. Tell your past self how proud you are, and tell your future self you can’t wait to watch things unfold. My first year post-grad has been everything I could’ve hoped for, and I can’t wait to continue this amazing ride.

Album Review: It's Almost Dry - Pusha T

New York native and skillful rapper Pusha T cemented his spot as one of the hardest-hitting and aggressively passionate rappers alive in 2018 with the release of his critically-acclaimed album DAYTONA. Part of Kanye West’s legendary run of producing albums for other artists, Daytona’s lightning-in-a-bottle production saw Pusha T delivering ruthless bars over powerful instrumental beats. Luckily for fans of DAYTONA, Pusha T’s newest album also enlists Mr. West’s production skills while also calling upon Neptunes legend Pharrell Williams to make beats for the project. Pusha has given fans exactly what they wanted from this project, which is a slightly more playful but still impressive cropping of songs that stay true to the rest of his discography.

The album’s opening track “Brambleton” utilizes a bouncy trap instrumental and lets Pusha air out grievances about his previous manager Geezy. Pusha T has never been one to avoid confrontation or conflict, and by setting the tone so directly as early as track one, he’s reminding his colleagues to never forgot who they’re dealing with when interacting with him. Pharrell’s production is immediately recognizable on this track with his signature sonics again making an appearance. The next track, “Let The Smokers Shine The Coupes”, takes inspiration from the sounds of classic rap tracks from the likes of RZA and the Wu-Tang Clan. Notoriously known for his many references to cocaine, Pusha T brings out one of his funniest drug-related bars yet as he calls himself “Cocaine’s Dr. Seuss.” “Dreamin Of The Past (feat. Kanye West)” is one of my favorite songs on the project, as it uses a soulful sample flip similar to those found earlier on in Kanye’s discography. braggadocious and the furthest thing from humble, this track lets Pusha and Kanye emulate the self-important energy that fueled the confident DAYTONA four years ago.

“Neck & Wrist (feat. JAY-Z and Pharrell)” uses its features extremely well, and lines like “Summertime, Winterfell / I’m the Night King” demonstrate Pusha T’s occasional tendency to work in niche pop culture references into his verses. I’m also a sucker for JAY-Z features, as he’s consistently able to prove why he’s considered one of the best rappers of all time. “Just So You Remember” uses an instrumental that sounds to me like it was left on the cutting room floor of Kanye West and Kid Cudi’s KIDS SEE GHOSTS and features some of the most savage lines on the entire project. “Seein’ you rappers apply for the stimulus / Livin’ a lie, but die for your images” and the intense delivery of “Just so you remember who you’re dealing with” stand out as highlights on this track. “Diet Coke” was the lead single for this project, and I still see it as one of the best Pusha has put out in years. Kanye’s production is immaculate, and Pusha’s singing delivery on the chorus is a nice change of pace from his typical cadence.

“Rock N Roll (feat. Kanye and Kid Cudi") is probably my favorite song on the album, bringing back the members of KIDS SEE GHOSTS together for one final collaboration according to Cudi. It seems that whatever beef the two of them are having is serious enough to commit to avoiding each other over tracks. Drama aside - the playful production on this track is addicting. The Beyoncé sample, passionate verse from Ye, and great contributions from Pusha and Cudi result in a fantastic track overall. “Call My Bluff” is one of the more forgettable cuts on the album, but it’s hard to tell if that’s just because it’s in the shadow of the song coming before it. Its production is still clean and simple, but Pusha’s lyrical delivery seems more subdued here than I would’ve preferred. “Scrape It Off (feat. Lil Uzi Vert & Don Toliver)” is another oddball for me, as it sounds completely out of place on the tracklisting. The features make for interesting collaborations, but It’s Almost Dry has established an aesthetic up to this point that just doesn’t match this song’s vibe.

“Hear Me Clearly (feat. Nigo)” is the same track found on Nigo’s most recent album I Know Nigo!, and while I enjoy the song, it feels like Pusha’s verses would instead be found on one of his features instead of one of his tracks - the same criticism I had on Nigo’s project. “Open Air” features one of the hardest beats on the project, and while this song is only 2:12, it makes the most of its short runtime with killer bars and confidence. “I Pray For You (feat. Labrinth & MALICE)” is likely Pusha’s strongest closing track to date, with hymnal and gospel-esque production. Appearances from Clipse are few and far between, so I’m glad that their collaborations here lived up to my sky high expectations. Pusha closes the project discussing his accomplishments and how far he has come - great introspection from an often ruthless artist.

Pusha T has done exactly what I look for from artists, which is growing thematically and sonically while retaining the fundamental elements of what makes them who they are. One of the most lyrically intricate and skillful artists in the game, Pusha has yet again proved that he has what it takes to hang with the best. Great features, a refined tracklisting, and stellar production make It’s Almost Dry another great album from Pusha and one of the best hip-hop records of 2022 so far.

Favorite tracks: “Brambleton”, “Let The Smokers Shine The Coupes”, “Dreamin Of The Past (feat. Kanye West)”, “Neck & Wrist (feat. JAY-Z & Pharrell Williams)”, “Just So You Remember”, “Diet Coke”, “Rock N Roll (feat. Kanye West & Kid Cudi)”, “Open Air”, “I Pray For You (feat. Labrinth & MALICE)”

SCORE: 8/10