Malls Across 80s America by Michael Galinsky
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Malls Across 80s America by Michael Galinsky
“We keep waiting for her to turn 78. For the last twenty years she’s been telling people that she’s 77. It got a little awkward when some of her kids reached their seventies. We told her, ‘Mom, it’s going to seem like you gave birth when you were five.’ But she didn’t care. She’d rationalize it by saying: ’77 is the age I feel.’ She fell and broke her hip two months ago. But until then she’d always been extremely active. She’d meet her friends for coffee. She was on the board of two charities. She was always alert and kept her sense of humor. After the accident I drove her to the hospital, and I couldn’t convince her that we needed to tell the doctor she was 97. And when she finally agreed, she wasn’t too happy about it.” (Cairo, Egypt)
Red
via color-wheel-pro
My favorite color.
“Last week I was picking through the trash, looking for bottles and cans to recycle, and my social worker walked by with her family. She walked just a few feet from me. And I know she saw me. But she didn’t say a thing. Not even ‘hello.’ I asked her about it during our next meeting, and at first she denied seeing me. But then she told me that she had been in her ‘private space.’ That really put a stake in my heart. Why can’t you say ‘hello’ to me in your private space? So I’m writing her a letter. I’m using a dictionary because I want the words to be perfect. If you mess up your words, then it’s easy for people to ignore what you’re trying to say. And I want to be sure she knows exactly how it made me feel.”
So sad....
5 Things To Remember When Your Life is Falling Apart
This is so important
AYA NAKAMURA - DJADJA
[6.00]
And finally in Bad Poetry Tagline Wednesday, it’s Aya Nakamura and her kiss-off bravura.
Jonathan Bogart: When this popped up for review only a few days after I’d gone through all of Aya Nakamura’s singles in an effort to beef up my awareness of current French-language Afropop (and/or French pop of African origin), I admit I was a little startled: are the Jukebox selectors watching my YouTube history? But no, “Djadja” is charting in France, which is no doubt why the algorithm served it up to me in the first place, and while it’s not my favorite of her recent singles (that would be the rather more sinister “Drogué”, from January), it’s a solid vaguely tropical pop song, a kiss-off to a guy spreading rumors about her. The rather lycée-age topic feels a bit odd coming from such a self-possessed thirty-two year old, but songs about fuckboys are evergreen. [6]
Crystal Leww: The song starts with a some steel drums, a “Hello papi, que pasa?,” and the dancehall beat kicks in, so it’s a bit of a surprise to hear that “Djadja” turns out to be in French! Aya Nakamura is supposed to be giving a dude attitude, but something about her tone and the production feels too light and sunny to fit. This can’t figure out if it wants to care about him or not – either give him hell or act like you’ve above it, girl! – and ends up leaving very little impression at all. Aya Nakamura ends up looking like that fine but eh girl you ghosted earlier this year. [5]
Tim de Reuse: An airy, half-empty trop-pop template, in which Nakamura seems to be having fun – not a lot, but at least she’s not phoning it in. The stretchy rhythm of “en Catchana baby tu dead ça” is pleasant on the ears and slightly hilarious before it’s repeated and repeated and slightly revised and then repeated some more. [5]
Jibril Yassin: A refreshing slice of dancehall that has Aya Nakamura casually breezing past the bouncy percussion, rattling off verses with the energy of the kiss-offs they happen to be. [6]
Rachel Bowles: Aya Nakamura seems to be thoroughly over her recent love d'un voyou immediately shaking off any starry eyed dreams of Byronic anti hero thugs with a barbed “Hello papi mais qué pasa?.” “Djadja”’s irresistibly danceable afrobeats belie just how serious Aya is as she proves that she is not a lady to be fucked with (“Catchana baby tu dead ça….”) It’s not a surprise that the Malian French singer hails from the griot tradition, her seamlessly polyglot vocals offer a smart, flippant counterpoint to the song’s rhythms – perfect for hip swinging as you low key simmer about your douchebag ex. [7]
Iain Mew: She named herself after a character from Heroes, everyone. Appropriately it’s the sense of larger-than-life revelling in drama that is the most charming thing about “Djadja.” She’s so over what this guy is doing that the only thing left to do is turn it funny, to give all the details in a “can you believe this shit?” tone, as withering as something more direct, but more enjoyable for her. [7]
[Read, comment and vote on The Singles Jukebox]
Awesome song
“My daughter is always asking me to play with her Barbie dolls. I try to tell her that I’m just going to watch but she starts begging me. So I try to do the man stuff. You know… fix the roof, move the furniture, maybe wash the Barbie car.”
Omg so me and my daughter...
CARDI B FT. 21 SAVAGE - BARTIER CARDI [6.18] This one’s for Offset, obviously. (I don’t think he reads The Singles Jukebox, but he should.)
Crystal Leww: Cardi B and Offset’s endless relationship drama is stuff of Bossip headline legend at this point, but “Bartier Cardi” – presumably recorded before the endless round of leaked videos – makes Offset a central figure front and center in Cardi’s life. Cardi B’s obviously very talented, but it’d be naive to pretend that her relationship with 1/3 of the “Bad and Boujee” superstars didn’t significantly help raise her profile. It’s the endlessly upsetting tale of women in hip-hop in the last ten years: that male cosign is so important to getting that label attention, which ends up getting you that placement on radio and streaming. “Bartier Cardi” is all right; it serves the means of continuing to raise the Cardi / Offset profile higher. But as Cardi’s proven with her megahits “Bodak Yellow” and “Motorsport,” she always just sounds more energized and like herself when she’s bragging. [5]
Alfred Soto: “Bodak Yellow” got by on charisma and billing. “Bartier Cardi” shows a Cardi who doesn’t sweat the technique, giving 21 Savage the side eye as she eyes the Spotify streams. [7]
Maxwell Cavaseno: One-note trap exhaustion as far as beats go, and performances from both rappers where I can’t decide if everyone’s just dealing with a lot of redundant flows and bars or if they’re not particularly trying, since they don’t have to. The issue with Cardi long-term isn’t even that she’s bad at rapping; she’s more than adequate and actually has started to feel a lot less clunky than she was on “Bodak Yellow.” But at the same time, her records are some of the safest and most conservative rap records besides the fact that Cardi’s success means a lot to people for reasons folks can’t clearly explain these days. It’s a shame to have as prominent a female rapper in the industry as her feel so musically uninteresting. [4]
Ryo Miyauchi: “Bartier Cardi” is very dependent upon your familiarity with “Bodak Yellow” and more so the success it garnered. Even the beat seems to faintly reference that hit’s synth riff. Cardi B doesn’t feel much need to explain her place in pop, but there lies the song’s downfall. This is better as an update of her shopping habits than a rightful sequel to the year’s most ubiquitous hit. [5]
Leah Isobel: Cardi’s evolution as a rapper is the main attraction here – she once barreled through beats with sheer force of personality, but on “Bartier Cardi” she handles triple-time flows with ease and ably moves from her usual yelp into a throatier, growlier register and back. (For his part, 21 Savage’s verse starts strong and devolves after about four lines, but the beat has enough momentum to carry him anyway.) She tosses rhymes on each other like she’s piling on furs before stepping out on a cold night, and the haughty grandeur of it all is a lot of fun, even if dropping Offset’s name in the hook is a little much. [7]
Austin Brown: 21 is the best matchup Cardi’s had yet. The problem with “Motorsport” was that Cardi’s relationship to flow isn’t nearly as formalist as Nicki and Offset’s – she thrives in environments where she can highlight the idiosyncrasies of her delivery and tone, using her voice as an instrument not melodically, but theatrically. 21 gets that – his monotone and the lifestyle it communicates (and renders memetic) is the flipside to Cardi’s brash jubilance. This is where I’d insert some requisite line about it being too bad New York rap’s greatest new hope is opting for the brooding sonics of the ATL, but honestly who cares? A pleasurable victory lap for Cardi, and better composed instrumentally (if not as much of a head-turner overall) than “Bodak Yellow” to boot. [6]
Stephen Eisermann: When someone comes as hard as Cardi came with “Bodak Yellow,” it’s hard not to worry about a sophomore slump. I was really nervous coming in to this song, but I’ve gotta say Cardi once again knocks it out of the park. Self-aggrandizing lyrics are nothing new for Cardi, but when delivered as aggressively as she delivers the lines combined with the natural swag she’s got – it’s a winning formula. The beat knocks, too, which gives Cardi an open canvas to work with. We’re seeing the rise of a superstar and as long as she keeps releasing bops like these, there’s no telling how big she’ll become. [8]
Joshua Minsoo Kim: Cardi B’s verses here are simultaneously better and worse than before. She has a lot of energy, sure, but it constantly wavers between exciting and tediously forced. Even worse, there’s less consideration for how her flows can progress over time. This makes the technically impressive rapping toothless despite being better than on “Bodak Yellow.” 21 Savage suffers from a similar problem, consequently making him a perfect companion to Cardi. He uses the same tired flow that has been consistently been either appropriately cold or insufferably boring. It’s often his lyrics and production that shape how people read what he’s doing, and both of those elements make him feel superfluous here. His adlibs are especially meaningless, dimishing the commandeering presence that Cardi is fully capable of projecting. Still, “Bartier Cardi” gets enough right to serve its purpose as a follow-up single that prolongs her stay on the charts and in people’s minds. [5]
Edward Okulicz: Cardi’s bragging is imperious and impressive, but weirdly not that much fun because there’s only so many ways you can brag about dating Offset. Still, she’s relishing her time in the spotlight, and selling herself on her own terms rather than doing something dumb like releasing something slight. It’s nice to hear someone ooze confidence and give zero fucks about anything else, though I wish she had a fuck or two to give about 21 Savage’s terrible and gross line about valuable sperm. [5]
Thomas Inskeep: Cardi spits fire, 21 is trash, the beat works. She ain’t goin’ nowhere except up, folks. [8]
Ashley John: Cardi doesn’t take her foot off the pedal for this one. Even with the unrelentingly force moving it ever forward “Bartier Cardi” still talks like she’s conversing with fans on her Instagram story, which is a credit to her natural understanding of language and just her innate likability. If this is her building a sustainable path, she’s even smarter than we all thought. [8]
[Read, comment and vote on The Singles Jukebox ]
Love love love this single
purest moment in tv history….
(via DrMassicotte)
“I want to be a comedian. A lot of people in my class think I’m funny. Sometimes it can be hard to think of a good joke that isn’t about Trump. But even if you don’t get any laughs, you can usually just keep silent for a few minutes and try again. Sometimes I accidentally make jokes that only I get. Like the other day I tried to tell a joke about that lady who handed out cashews instead of candy for Halloween. But only my friend Aiden knew about the Cashew Lady so nobody laughed. But then later my teacher asked where I got my sources for my constitutional rights paper. And I told her I got them from ‘a sorcerer.’ Even she laughed at that one.”
Falling in love feels amazing, but it’s also terrifying. The moment you admit to loving someone, you admit to having a lot to lose.
Mandy Len Cantron (via thelovejournals)
If you love someone, you believe she is the best person in the world. She doesn’t see herself like that, and that’s the only thing he wants to show her. That’s love. He wants her to love herself the same way he loves her.
Robert Pattinson (via thelovejournals)
Damn i wish she saw herself like i see her. I really love her.
As a 4 year old, this was the funniest thing I’d ever seen. I think I talked about it for days.
lmfao just walking away at the end like fuck this shit I’m out
There is nothing sweeter in this sad world than the sound of someone you love calling your name.
Kate DiCamillo, The Tale of Despereaux (via thelovejournals)