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UMass women’s basketball handles Duquesne at home -

January 16, 2017

UMass men’s basketball’s late comeback falls short after blowing 15-point first-half lead -

January 15, 2017

UMass hockey outlasted at home against No. 6 UMass Lowell -

January 14, 2017

Hailey Leidel hits second buzzer beater of the season to give UMass women’s basketball win over Davidson -

January 13, 2017

UMass football hosts Maine at Fenway Park in 2017 -

January 12, 2017

UMass men’s basketball snaps losing streak and upsets Dayton Wednesday night at Mullins Center -

January 11, 2017

UMass women’s track and field takes second at Dartmouth Relays -

January 10, 2017

UMass hockey falls to No. 5 Boston University at Frozen Fenway -

January 8, 2017

UMass professor to make third appearance on ‘Jeopardy!’ -

January 8, 2017

UMass women’s basketball suffers brutal loss on road against Saint Joseph’s -

January 7, 2017

UMass men’s basketball drops thirds straight, falls to VCU 81-64 -

January 7, 2017

UMass men’s basketball drops tightly-contested conference matchup against George Mason Wednesday night -

January 4, 2017

Late-game defense preserves UMass women’s basketball’s win against rival Rhode Island -

January 4, 2017

AIC shuts out UMass hockey 3-0 at Mullins Center -

January 4, 2017

UMass professor to appear as contestant on ‘Jeopardy!’ Thursday night -

January 4, 2017

Penalties plague UMass hockey in Mariucci Classic championship game -

January 2, 2017

UMass men’s basketball falls in A-10 opener to St. Bonaventure and its veteran backcourt -

December 30, 2016

UMass woman’s basketball ends FIU Holiday Classic with 65-47 loss to Drexel -

December 29, 2016

UMass men’s basketball finishes non-conference schedule strong with win over Georgia State -

December 28, 2016

Brett Boeing joins UMass hockey for second half of season -

December 28, 2016

Trashy Chief Keef album regresses rap back to stereotypes

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Overall, 2012 was a good year for hip-hop releases. T.I. made a startling comeback with “Trouble Man: Heavy Is the Head,” Nas had the surprisingly fantastic “Life Is Good” and, of course, the man everyone is raving about, Kendrick Lamar shot to the limelight with “Good Kid, M.A.A.D. City.”

It is a little disheartening then to see Chief Keef bring out the worst of the genre with his debut album “Finally Rich.” Lyrically weak and rhythmically challenged, Keef has done himself no favors with music critics anywhere.

The majority of rhymes on the album represent why rap is a genre that is so heavily criticized for being violent, misogynistic and encouraging of a drug-induced lifestyle. At times, it gets so ridiculous that it’s almost as if “Finally Rich” is a parody of stereotypical gangsta rap.

The perfect example of this would be the song “Hate Bein’ Sober,” which features 50 Cent and Wiz Khalifa. Part of the chorus reads: “When we roll up bitches be on us/So the hoes that love smoking and love drinking/Anti-sober for no reason/Cause we can’t spell ‘sober.’”

Enough said.

It is important to keep in mind that Keef’s fan-base is not one that consists of people who are hoping to find some profound message in his lyrics; the tracks on “Finally Rich” are more hip-pop than hip-hop, only there to entertain and sound good with a catchy beat, and here is where the problem lies – Keef does not fully accomplish that either.

The songs on the album are all so similar sounding from start to finish that they start getting annoying and lose significant replay value. Khalifa is an example of an artist who is just as bad content wise, but he manages to make every song so different sounding that it is much easier to overlook his lack of lyrical prowess. This is the main flaw of the album. It does not manage to be a fun album you can bump in the car or at a party. It simply gets monotonous too quickly.

There are only two factors that save “Finally Rich” from being the worst hip-hop album of 2012. First, there is the fact that you cannot deny that the music is mostly strong even though there is no lyrical substance to back it up.  “I Don’t Like,” “No Tomorrow,” “Kay Kay” and “Laughin’ to the Bank” are all songs that feature fresh sounding production, with beats that boom with the right amount of bass.

It comes as no surprise then that Kanye West, one of the most original and inventive producers in the industry today, chose to remix “I Don’t Like,” though his edit ended up being better than Keef’s original.

Secondly, as borderline idiotic as some of the lyrical content is, Keef becomes pretty endearing by the end of the album. After 15 tracks of hearing him brag about his recently acquired riches and fame, one can’t help but feel happy for him. His confidence is consistently sky high, and that’s something that nobody can take away from him at these early stages of his career.

It’ll be interesting to see whether Keef chooses to do something different on his sophomore effort than he has with “Finally Rich.” The potential is there, but he needs drastic improvement lyrically.

Ayush Kumar can be reached at ayush@student.umass.edu.

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