“deep as a skinny girl’s cunt”
“fuckin’ on the sink, bought my mama a mink”
“butt nekkid in the kitchen flippin’ pancakes/plus she tricking from the dough that her man makes”
“ladies get their hair done, and men, we notice/you get high grade indian weaves, at the lowest/prices, chivalry is no longer lifeless”
wow. it was so hard to just pick one lyric from this problematic ode.
it was probably fitting that this album prompted a man whom i experienced in a particularly stunted moment to reach out to me because a good common album reminded him of me.
my conflict over rachid was immortalized in writing during my freelance stint in montreal, and one particularly scathing album review (for which one now, i have no idea), and this latest album (that i’m late to, i know), falls right into formation.
it must be said, too, that this man’s breadth of work and the variety of styles/positions that he has held has now, in my opinion, put his body of work in line with madonna‘s. what i perceive as common not knowing who the hell he is from moment to moment could really be common being all of the things, all of the time.
i have listed a few of the lyrics that have always just rubbed me the wrong way, but it’s undeniable that he has always held my attention enough to keep listening. so, there are so many lyrics and songs that i’ve loved, and water for chocolate will always be one of my favourite albums.
i couldn’t get a proper version of da struggle, but key and peele completely captured his likeness, and i think, even more aptly, with his name, captured the problematic “border” between “conscious” and “jiggy” rap. this is a line that common has always straddled, and that is why his bullshit gender politic is always so disappointing, because he’s otherwise, so very good.
the fact that this song features bj the chicago kid only annoys me more because it reminds me that the only song that i hate on his otherwise brilliant album is “it’s a woman’s world”. is there something dillusional going on in chicago’s feminism?!
i must also say that noID is flawless. the beat part of the rap equation is very, very strong, on this project and the one before that. he’s a bigger man than most for picking up the pieces after being left for ye, and staying in the shadows of producing may be the most feminist aspect of this album.
it is also something of note that pops is gone, and it’s officially the end of an era of albums punctuated by a daddy outro. i was sad to learn this in the song, and acknowledge that it must be hard to lose a parent who obviously had so much of an impact on his life and work.
which brings me to the song with nas that came out at the same time as “otis”, and the contrast between that other ny/chicago rap duo was mostly about how those other doods were just rapping about their money and these two were “conscious”. the bigger contrast for me was that these two were examples of men who clearly had their fathers, and jay-z and kanye famously did not. so perhaps that has no bearing whatsoever on your relationships with women, or it has everything to do with your relationships with women. but, jay-z could only commit to beyonce after his dad died, so perhaps common can actually evolve now that his is gone?
“i said i got my SAG card, baby i’m an actor”
“think they be mackin’ but they actin’…”
well, he is starring as a rapper having a mid-life crisis so…perhaps he knows all about this?