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...rock. In this latest effort, Wayne abandons rap’s sampled beats for a bass, drum set, and electric guitar. Power ballads of unrequited love replace tales of street violence and self-promotion, and the dissing and calling out of other rappers is tossed out in favor of punk-inspired castigation of society and nameless enemies. This bold step, however admirable it might be in theory, comes nowhere near the creation of good music...

Author: By Alexander E. Traub, CRIMSON STAFF WRITER | Title: Lil’ Wayne | 2/2/2010 | See Source »

...success in all its forms and the problems and re-evaluations that result from it. Worse, the narrative that carries this theme is banal and in many senses childish. There is an inherent incongruity in the combination between Wayne’s hackneyed stories and the punk-influenced, angsty rock music that he is drawing upon...

Author: By Alexander E. Traub, CRIMSON STAFF WRITER | Title: Lil’ Wayne | 2/2/2010 | See Source »

...Prom Queen” is one of the worst examples of Wayne’s lyrics running directly against the musical background. The music is forceful and angry as an electric guitar pounds out a progression identical to that found on the punk-metal band System of a Down’s 2001 hit single, “Chop Suey,” and Wayne’s slow, aggressive, auto-tuned drawl recalls Marilyn Manson. On top of this, Wayne tells an unbearably trite story about high school in disappointingly simplistic language. Explaining how his feelings for the prom...

Author: By Alexander E. Traub, CRIMSON STAFF WRITER | Title: Lil’ Wayne | 2/2/2010 | See Source »

Wayne continues this trend of combining punk, metal, and rock influences with middle school pop lyrics throughout “Rebirth.” In “Paradice,” Wayne copies the narrative structure of Journey’s legendary “Don’t Stop Believin’,” rapping first, “she was a young girl,” and then, “he was a young boy;” and directly references Smash Mouth’s equally famous “Allstar...

Author: By Alexander E. Traub, CRIMSON STAFF WRITER | Title: Lil’ Wayne | 2/2/2010 | See Source »

...Thanks to a ferocious Facebook campaign launched by Jon Morter, a 35-year-old part-time deejay and logistics expert from Essex, and his wife Tracy, the Californian punk group Rage Against the Machine's 1992 hit "Killing In The Name" was propelled to the top spot on download sales of roughly 500,000, beating out X Factor winner Joe McElderry's cover of Miley Cyrus's "The Climb" by 50,000 copies. It was the first time a group has topped the British charts based on download sales alone. (See the top 10 songs...

Author: /time Magazine | Title: Rage Against Simon Cowell? A British Pop Charts Upset | 12/21/2009 | See Source »

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