The Middle of Nowhere #7

Welcome back to The Middle of Nowhere. Some new(ish) music and some wrestling on the docket but first, I’ve been thinking about the cozy escapism found in music videos.

Which Music Video Are We Spending Our Whole Life?

If you’ve read my work for more than a few pieces, I’ve always talked about being a 106 & Park baby. Not that stretch with AJ and Free, but the Terrence J and Rocsi regime, where the lights were a bit brighter, the colors were glitzier, and the music was louder. Every weekday, I’d come home from school, jolt to the TV, and flip through the channels until BET came on. It was the only way I discovered new music, save for times the CDs grew exhausting in the car riding with mom in the car. The lifestyles and stories artists portrayed in their videos, fact or fiction, was incredibly comforting, the ideal world when life proved not to be.

Rather than discuss the best music videos — there are dozens of those kinds of lists and articles — I want to talk about the videos that simulated the life I would want to live in. My friend and great writer Yoh Phillips said he’d live in the Kanye West “Power” video. My other good friend and writer Dylan Green said Busta Rhymes “Gimme Some More.” Respectfully, those are both insane answers; amazing videos but also wildly chaotic and intense. The best videos may simulate different frequencies but the degrees to their escapism vary. To truly live the best life in a music video, there’s some sense of peace in these environments.

My friend and great writer Nora Lee made an excellent point in arguing that the best music video to spend forever in has to be a song worth listening to for an eternity. “Frontin” by the Neptunes immediately came to mind. The best Neptunes songs have chords that lounge in your head for hours at a time, sweet and light in a way that teeters the line of background music (see N.E.R.D. “You Know What,” for example). Drums have emphasis but never boast over the core melodies. Fitting that this sugary mid-tempo unwinds in a house party, sly flirting amongst gorgeous people, a DJ, and a skating ramp. It’s heaven for those never looking to raise their heart rate.

In another sense, the perfect music video to live in can’t be claustrophobic. As sublime as the “Frontin” video is, it’s largely contained to the house party. A terrifying pandemic showcased just how maddening a year in one space is, let alone a lifetime. I began to think of videos like “Relationship” by Young Thug and Future — one spot removed from ‘it smells crazy in there’ consideration Nelly’s “Tip Drill” headlines — Jagged Edge and Nelly’s “Where The Party At,”and Snoop Dogg’s “Beautiful.” The common factor, aside from these all having beautiful women, is there is so much space. “Relationship” is an MTV retro dreamscape, blessed by the cool saltwater breezes afloat a lavish yacht as dozens of women flock to them. In the latter two videos, artists are granted the luxury to prosper in different settings. The lame cliche of how ‘the world is our oyster’ holds truth.

By this point, I was troubled by the conclusion I reached. Despite how idyllic life as a bachelor on the prowl seems, there was a void left behind. I started to recall the days I was in love. Perhaps I’ll share the full story on this column one day but the gist is, those moments were euphoric. The depth of this crush made the mundane captivating, the chase invigorating. If I were to spend forever somewhere, I’d have to be helplessly in love. Tyler, The Creator’s “WUSYANAME” was the closest representation to the romantic ecstasy I’d want living in a music video. Perhaps, I wouldn’t catcall like Tyler but it’s the chase and the eventual settling that enrapture me. I’s that yearning that burns so bright without tipping into ‘begging in the sand like Jodeci’ territory. Not to mention, there’s so much to explore in the video, whether it be off-roading by the water or merely indulging in pastries overseas. Neighbored by countless colors that burst through the screen and blanketed by a stunning H-Town sample, the answer felt clear. Where Tyler, the Creator videos can feel excessive and worth an occasional eye-roll, “WUSYANAME” was perfect.

The Cut

• My friend Brandon told me the reason Boldy James keeps dropping so many projects is because the IRS beatin’ his ass. “He definitely loves rap but this n — is also BROKE AS FUCK.” Absolutely hilarious and maybe even true. Who knows? I’m just glad he’s not doing corny gimmicks like selling fake cocaine bricks and calling his concerts ‘Cokechella’ to make ends meet. Anyways, “Designer Drugs” might be my favorite Boldy song to date, every album has a distinct style and texture to it.
• I’m mostly disenchanted by the Griselda experience by this point. However, I’m pleasantly surprised by Rome Streetz’ KISS THE RING, the aggression and nonstop barrage of punchlines a battle rapper would gush over. Every time I start to think the formula grows stale, there’s a tape that feels hungry and vital.

• What doesn’t sound hungry or vital is the lousy Freddie Gibbs album $oul $old $eparately. It struck me as deeply confusing and dishonest that this was promoted as his “big moment” or that it was the debut album he always wanted to release. It definitely has that Debut Album™ touch to it, vacant and colorless, stitched together by awkward Jeff Ross and Joe Rogan voicemails. Just because he has the opportunity to rap for a variety of different producers and has out of place features like Moneybagg Yo does not make this his crowning moment. It was very clear last year’s Alfredo fit that mold without forsaking personality.
• Currently waiting to formulate my end-of-the-year lists because MIKE drops in December. All of the singles he’s dropped so far have been fantastic but it’s “Nuthin I Can Do is Wrong” in particular that is magical. I said on Twitter a few times that MIKE makes music in the same vein as Future’s best — bred in adversity yet life-affirming and motivating because of the struggles.
• Lil Baby dropped the most tedious album of the year as bad karma for his Budweiser World Cup song. Evil music right there.
• I wish I liked Smino’s album Luv 4 Rent a little more than I do. I respect it in the same way I respect and liked Saba’s album earlier this year, Few Good Things. They’re both healing albums while not overlooking the journey that got them to this point. Luv 4 Rent, by comparison, is far quieter and mellow in approach, making for an album that smooths over me on repeated listens.
• I watched AEW Full Gear. Owner Tony Khan’s massive chest full of indie toys and burgeoning megastars remain in flux, a consistently frustrating truth when taking in the full scope of All Elite Wrestling. For every great match (ROH World Title 4 Way), there is a head-scratching booking decision shortly behind it (Wardlow now in an even greater state of flux). Every great wrestler (Jamie Hayter/Toni Storm) takes back seats to whatever chaotic interest Tony has at the moment (it’s usually Jay Lethal). Momentum from the best wrestlers are so often halted and skewered by less interesting creative decisions. But it’s also the closest a relatively big wrestling company gets to even slightly understanding what good wrestling is — outside of my Brock Lesnar and Roman Reigns spectacles. In short, (mostly) great graps, occasionally bizarre TV choices.
• Jim Legxacy is one of the best artists I’ve ever discovered through the YouTube algorithm. I’m particularly enthralled by “Dj” and its tenderness. It initially plays like the kind of guitar ballad that made teens who wore Thrasher starstruck by Brockhampton in 2017. Instead, an angelic voice is skittered and ricocheted across an ocean of drums. This infectious sugar bomb paired with the warm, communal music video made for a truly enrapturing experience. Additionally, “Candy Reign,” an addictive set of afro-beat drums flaunting a sticky Soul for Real sample is an unbelievable ear worm. I’m fascinated what his next moves are.

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