Megan Thee Stallion: Critique de l’album Good News


Bullets ravage bodies, and often the work of repairing the injuries they cause is just as destructive. The rib cages are cracked. Victims are sometimes intubated without anesthesia. The limbs are amputated. The instruments surgeons use in the operating room appear to be made to install a hardwood floor, not to repair a body. If you are lucky enough to survive a bullet, your body could change forever. You could be paralyzed. You might have to poop a bag through a hole in your stomach for the rest of your life. A man from Philadelphia had to live with a wide open abdominal cavity, making his intestines visible for 11 months.That says nothing of the emotional trauma of being shot, especially as a 25-year-old black woman with no parents, but of the millions of people watching her, some of whom believe she lied or caused her stroke. Considering the range of disabilities that survivors may face, it’s a bit of a miracle that rapper Megan Thee Stallion could twerk song after song during a virtual concert broadcast live 48 days after being shot in the foot. , allegedly by rapper Tory Lanez.

So on its latest version Good news, after a scathing record-breaking turnaround on “Shots Fired” on the same sample Biggie used in his alleged Tupac taunt “Who Shot Ya?” And more nebulous grievances (false friends and pesky men) over the New Orleans rebound of “Circles,” Megan turns her attention to more pressing issues. She goes from reducing her assailant’s bullets to simple dumplings to bang someone she’s fucked so good he’ll want to carry to hoodie. Once she leaves filming this summer, she rarely looks back. Its beats are more playful and more popped than ever, but anchored in basic rap and R&B. His rap is still razor sharp, littered with punchlines and beards that make your ears and jaw drop. Its layout is unexpectedly choppy. In a year when a virus, a man and a group of misogynistic spectators could have killed her, Good news is a celebration of life.

When the album ends with the massive success of “Savage Remix”, as well as the singles “Girls in the Hood” and “Don’t Stop”, it feels elated, like confetti falling from the ceiling for a Madison encore. Square Garden. The 14 tracks that precede them are varied – slinky and sexy, dance-ready, or thrilling with 808s – which makes sense, given that there are more than 14 producers in charge. Good news, compared to Megan’s two regulars, Lil Ju and Juicy J. Here, the duo are joined by top beatmakers such as Tay Keith and Mustard, as well as Dutch amateur Avedon, who comes out swinging to ‘What’s New ”. The producers’ various approaches are unified by their optimism, a new tone for Megan.

The album’s pulse is constantly upbeat, which might appeal to the casual hip-hop fans she’s gathered via the viral “Savage Remix” more than those of Make It Hot, Tina Snow, and Fever. “Don’t Rock Me to Sleep,” a daring experiment with the same Day-Glo light synths that Dua Lipa and The Weeknd use to smuggle towards the end of new releases (almost as if not to distract). evoke nostalgia for the ’80s. It’s the kind of song any pop star today could do, and it doesn’t suit Megan. The “Outside” Poppy-like tracking works best, perhaps because it’s harder, which feels like a more natural pose for her. “I’m not for the streets, because bitch, I’m the street,” she hisses.

Even though Megan experiments with sounds that appeal to a wider audience, her hip-hop traditionalism remains undeniable. Webbie, Trina, Adina Howard, Juvenile, Naughty By Nature, and Eazy-E are sampled throughout, and she does each one justice with her relentless rap. The myth of Megan as the daughter of an MC from Texas – conditioned for gambling, and rising to prominence as a fierce freestyler – is now a rap lore. She is at her peak Good news. “Freaky bitch, I do this / Suck it like I’m toothless,” she suggests on a song. “Bitch, touch their toes / Bitch, take this paste / If you’re in love with your body, bitch, take off your clothes!” She spits in staccato on “Work That”. It’s not that Megan’s raps are deeply intimate – on Fever, she reminded us that that’s not why she’s here. (“They want to know about me / They say, ‘Tell me your story’ / The only thing you need to know is that I’m in love with money,” she says). Is that after four years in the game, she can still bark good sex, hot girls and unwavering confidence her again.

A handful of hooks scattered around Good news feel insidiously simple yet strategic – they’ll stay in your head and roll out of your tongue. “Body-ody-ody-ody-ody-ody-ody-ody”, they say. His worms, however, are like premium spirits, sweet and biting. Whether she is referring to the island’s exclusive cognac on a dancehall song with Popcaan (“Intercourse”) or exchanging dissent with City Girls (“Do It on the Tip”), her spirit and performance are seamless. the same. This album has the most features of her career and when she gets rap assistance – like on “Movie” with Lil Durk or “Cry Baby” with DaBaby – she does her hardest, collaboration-fueled (or more) work. probably, the competition). In popularity and skill, Megan is ahead of her peers regardless of gender.

Even with her handful of stars, Megan Thee Stallion unequivocally decided that her debut album would be hers. Two and a half months after the shooting, his alleged attacker dedicated a statement bearing his name to slander his, his rage swallowing him whole. Good news, however, this is his own agency. “I’m still not doing anything I don’t want to do!” She barks at “Sugar Baby”. “Don’t fuck me like that, fuck me like that!” She orders on “Cry Baby”. As always, she locates her power in the bedroom, mirror, and recording booth. But unlike her previous works, with their dark and fiery undertones, what she ultimately cemented as a studio album carries the Spars’ victory with death. Two years before Megan’s birth, Lucille Clifton wrote a poem for this very triumph:

come celebrate
with me every day
something tried to kill me
and failed.

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