💰 Grifter Anthony Fantano / TheNeedleDrop - "The Internet's Busiest Music Nerd"™, heelturned since 2017, slowly becoming smug SJW, threw Sam Hyde under the bus

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Fantano was on the H3 Podcast recently and looking at this picture:

4AB0FBCA-BD31-4A13-AE75-778ACBC6DA68.jpeg


It’s pretty clear that both of them already look like former shells of themselves and they’re not even trying to hide it.
 
>Make your entire album about repenting your own infidelity
>Get Kodak Black on the album, a known serial abuser

:thinking:
 
Overrated slam poetry nigger garbage. Only white hipsters and Jews like this blasphemous faggot. Black people don't even listen to Kendrick Lamar.
Dude, I've tried getting into TPAB. It's not """bad""" but I'll be damned if I could jam to more than two songs on the record. And that's not even the racist asshole in me coming out. I can't see for the life of me why the fuck people love it so much other than the obvious crowd. There have been so many better albums from the last three decades that did what it was trying to do better and were actually fun to listen to. Fuck, a lot of the stuff that was better was actually made by unironic black nationalists and I still can at least enjoy it better than this shit.
I can only imagine the kind of jew dick Kendrick had to suck off for that to become the most praised album of the last 10 years. It's even funnier when you think how he's trying to talk about 'the black experience' when the majority of the shit he's about is only appealing to upper-class whites. The majority of black people I've met either are listening to actual nigga shit or they actually like the nerdy 'cringe' rappers like Hopsin that are verbotin for faggots like Anthony. I don't know a single nigga who actually bumps TPAB.
Wait, could it be that a lot of the better rappers who deserve more credit are actually more conservative and not that big a fan of a certain type of people as they're supposed to be? Hmmm...
 
On Kendrick,
You can see him leaning into his reputation as "rap's second coming" harder and harder with every album, coincidentally the number of re-listenable songs on his albums go down with every album.
GKMC was an instant classic. Almost every song slapped.
TPAB still has King Kunta U I and Alright, but it's where Kendrick makes his primary focus race with every other topic being filtered through that lens specifically.
untitled unmastered is unmemorable.
DAMN. came out and it still had DNA, HUMBLE and ELEMENT. It was also full on black-Isrealite.
At this point I was still onboard with Kendrick even though it was his weakest album.
I became increasingly fed up with the race-hustlers in that time, and it left a bad taste in my mouth when he shamed a girl for daring to rap along to the dreaded nigga word at his concert. That's fragility, but playing innocent while you ask the crowd "does she deserve another chance?" (basically giving them a special moment to boo her before sending her back into the crowd) is just cruel.
Five years passed, Kendrick released his new album and I just didn't care outside of being mildly put-off by his crown-of-thorns. Part of me wanted to give it a real fair shake, but any trepidation in discussion was met with very angry black power fist avatars assuring me that "it's not for you white boy!"
I realized "you know what? They're right. Why give it thought?" All of his music is made very specifically for the pseudo-intellectual black middle class and the pseudo-intellectual white liberal caste. It doesn't slap anymore, he's not cutting edge anymore, and everything really meaningful on a universal level is there in GKMC or Section.80
 
Nigger music was fine in small doses as a novelty but when it was inflated into this humorless self-fellating oppression porn that everyone was meant to blindly clap for it was stripped of what little value it ever had.
 
RateYourMusic and Fantano do agree on one thing:

View attachment 4433392

Everything after this album just never existed.
Slightly off-topic but RYM definitely warrants a thread on here. The owner of the site sharifi is a power hungry douchebag and raging SJW, and has basically censored or banned any reviewer to the right of Mao, in addition to purging any sort of list with even the slightest hint of a right wing bent. I've had an account on the site for 12+ years at this point (well, I deleted my old account and started up a new one earlier this year) and have seen it descend into leftist tyranny firsthand. It's so cucked that even the using the term SJW is filtered out on the boards.

As for the topic at hand, of course Fantano is cooming over the new Kendrick, giving his boring generic hate whitey music anything less than an 11/10 is considered sacrilege in the circles he desperately wants the approval of. I'm not even a "all rap music is nigger shit" kind of guy (look at my avatar ffs), but Kendrick's music is pretty generic and bland, he just checks off the right boxes lyrically for having the correct opinion on the state of affairs in the USA in 2022. He's not horrible or anything but there's way better rap music out there, not that Fantano would know that cause all his consumes is Billboard slop nowadays. I can't believe this is the same guy who made underground acts like Death Grips blow up back in the day.
 
Slightly off-topic but RYM definitely warrants a thread on here. The owner of the site sharifi is a power hungry douchebag and raging SJW, and has basically censored or banned any reviewer to the right of Mao, in addition to purging any sort of list with even the slightest hint of a right wing bent. I've had an account on the site for 12+ years at this point (well, I deleted my old account and started up a new one earlier this year) and have seen it descend into leftist tyranny firsthand. It's so cucked that even the using the term SJW is filtered out on the boards.
there's a thread but it's pretty dead: https://kiwifarms.net/threads/rate-your-music-rym-sonemic.63916/
 
Gotta disagree on the Kendrick analysis in this thread. In my view he’s been calling on the black community to better themselves and solve their own problems since TPAB but has been more or less ignored. I think this angle has been totally ignored by critics too. Kendrick has been toeing a very fine line between saying what he thinks needs to be said without being so overt as to fall out of favor. MM&TBS strikes me partly as Kendrick growing exhausted from being ignored and giving up on trying to deliver this message to focus on his own more personal issues.

A couple of cherrypicked pieces of evidence:

TPAB​

Institutionalized:
Kendrick talks about the black obsession with wealth and clout and how they’re brought up to be willing to do anything, eg crime, to acquire it. He admits he’s guilty of this mentality and acknowledges that blacks cannot progress until they cleanse themselves of it.

“Shit don’t change until you get up and wash your ass nigga”

The Blacker the Berry:
He talks about the oppressor/oppressed narrative that blacks are told for most of their lives and how they use the resulting victim complex to externalize their own issues. Most of the song he repeats this narrative only to twist it back with the final lines;

“So why did I weep when Trayvon Martin was in the street?
When gang-banging make me kill a nigga blacker than me.
Hypocrite!”


MM&TBS​

N95:
He’s calling out activists by using materialism as a metaphor for virtue signaling and doing things for appearance only without truly caring about issues or working to solve them.

“Tell me what you would do for aesthetic
[…]
Where the hypocrites at?
What community feel they the only ones relevant?”


Savior:
This is where Kendrick grows exhausted in my opinion. He talks about how people look up to idols for guidance on what to think without thinking for themselves, but points out that as the one lookup-up-to one wrong opinion can cost you. He again calls out the fakeness and the virtue signaling and how even staying silent on certain issues will lead to people attacking you.

Maybe my analysis is retarded but I think Kendrick routinely uses himself as a surrogate for the black community in general and is often critical of his own mentality as an indirect way of criticizing the mentality of blacks at large. I think the song “Savior” in particular talks about how difficult it is to provide criticism directly without getting cancelled and that he’s tired of treading lightly. Later, on “Mirror,” he says “I choose me, I’m sorry.” Although it’s outside the context of the song it’s almost as if to say “I’m done trying to be your savior. I’m going to focus on my own problems now.”
 
Gotta disagree on the Kendrick analysis in this thread. In my view he’s been calling on the black community to better themselves and solve their own problems since TPAB but has been more or less ignored. I think this angle has been totally ignored by critics too. Kendrick has been toeing a very fine line between saying what he thinks needs to be said without being so overt as to fall out of favor. MM&TBS strikes me partly as Kendrick growing exhausted from being ignored and giving up on trying to deliver this message to focus on his own more personal issues.
Yeah but notice how you had to pick out a couple of lyrics from like three albums and then expound upon them at great length to reach the conclusions you did. And I'm sorry but are you really going to tell me this:
“Tell me what you would do for aesthetic
[…]
Where the hypocrites at?
What community feel they the only ones relevant?”

is the best that he could do to elaborate on the issue you say he was?
I mean subtlelty is a thing but jesus christ.
 
I’m willing to argue that ever since Fantano gave moderate to just OK review scored to Kendrick‘s TPAB and DAMN., he’s been trying his hardest to curry his favor with what’s left of Kendrick’s “woke” fans just so he does not look like a bad guy.

It’s been said before, but 2015-2017 did a number on people forcing to care about social justice warriors, to the point where now these so-called “activists” are trying to justify and (at worse) lecture others about the state of hip-hop music and other forms of music that have minorities that are no longer minorities — mainly music with semi-famous to famous musicians who happen to be black and shaming musicians who happen to be white for not allowing more “black spaces” into their genre of music.

I wish I were kidding on that last part, because Fantano was and is a part of the issue of this happening.
 
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