Scrolling Headlines:

2017 Hockey Special Issue -

October 19, 2017

International Relations Club tackles tough issues at ‘Foreign Policy Coffee Hour’ -

October 19, 2017

Sexual assault spikes on campus -

October 19, 2017

Californian students react to wildfires back home -

October 19, 2017

‘My Little Pony: The Movie’ is a surprising animated treat, whether you’re a fan of the show or not -

October 19, 2017

With a young team, Carvel is preparing the UMass hockey team to thrive -

October 19, 2017

Letter: UMass hockey is great, but where are the students? -

October 19, 2017

Boino’s blast gives UMass men’s soccer sole possession of first place in the Atlantic 10 -

October 19, 2017

UMass freshmen look to play physical, make an impact and improve early on -

October 19, 2017

UMass hockey sets out to create new program, identity in 2017-18 -

October 19, 2017

Cale Makar: UMass hockey’s crown jewel -

October 19, 2017

Ames: If first four games are any indicator, this UMass hockey season could differ for the better -

October 19, 2017

Josh Couturier looks to find where he fits within UMass lineup -

October 19, 2017

The straw man fallacy: missing the point on Indigenous Peoples Day -

October 19, 2017

Power to the Thin Mint: improve the Girls Scouts program -

October 19, 2017

‘Blade Runner 2049’ has a lot of ideas that it fails to develop -

October 19, 2017

Early season challenge awaits for UMass hockey in weekend set with Ohio State -

October 18, 2017

UMass Professor Barbara Krauthamer receives award from Association of Black Women Historians -

October 18, 2017

The 2017-18 women’s soccer team differs from others Matz has coached at UMass -

October 18, 2017

Hockey East Notebook: OT Goal caps BC comeback over Providence -

October 18, 2017

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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