The blog of Luther M. Siler, teacher, author and local curmudgeon
This is emphatically not a review, mostly because 1) I’m still about 130 pages from the end, and 2) I’m still dog-sick and have already taken tomorrow off, but I’ve spent most of my waking hours today with Willow Smith & Jess Hendel’s Black Shield Maiden in my hands, and thus far I’ve quite enjoyed it. And the cover is pretty as hell, so feel free to stare at it for a while while I go finish the book so that I can review it tomorrow.
Fun fact: under certain circumstances, I’m not at all convinced that nepotism is a bad thing. Take sports, for example. My understanding is that there’s been some debate about whether Lebron James’ son Bronny ought to be entering the NBA draft or not. But here’s the thing: maybe (I have no idea, and don’t intend to check) Bronny can use his dad’s no doubt impressive influence to get drafted higher than he might be otherwise. But if he can’t perform at the NBA level, he’s not going to perform at an NBA level. There’s nothing Lebron can do if his kid goes out there and averages two points and six turnovers a game. He’s not gonna get playing time, and if he does, there are a billion people out there who are going to be losing money when he’s on the court and eventually it’s going to catch up with him. I remember when Bob Knight insisted on recruiting his son Patrick. Patrick dragged down the team. It was a terrible fucking idea and IU’s basketball program paid for it.
It seems like the place where nepotism is the biggest problem is in politics and business, along with those parts of the entertainment business where, y’know, knowing things can be useful. There are too many examples here for it to be really necessary to list any, but nonetheless, the previous occupant’s wastrel children and Meghan McCain come to mind immediately. You don’t even know about Meghan McCain because her dad was good at something. You know about Meghan McCain because her grandfather was good at something. Similarly, Eric Trump would be living in a trailer park if his grandfather hadn’t been rich. Go find a picture of Rudy Giuliani’s kid sometime. He barely even looks human.
Which brings me to Will Smith and Jada Pinkett Smith’s children. They have tried, tried oh so hard, to make Jaden Smith a thing. Jaden Smith’s not a thing. He’s not gonna be a thing. Because in order to actually be a thing in the entertainment industry he’d have to be talented, and if he is talented I have yet to see any evidence of it. Which is why he doesn’t show up in things that don’t have his parents’ money and influence behind them.
Now let’s talk about Willow.
Okay, you would never have heard Whip my Hair if it wasn’t for Willow’s parents. Fine. But do you happen to remember how that story ended? The kid shaved her head in the middle of the tour so that she didn’t have to perform the song any longer. She’s got all kinds of interviews talking about it, but I’ve always enjoyed hearing Will discussing it here.
Willow just released empathogen, a … jazz album? I have her two previous albums; I haven’t listened to anything earlier, although I think I’m going to have to bite the bullet and dive into her work before I discovered her on lately I feel EVERYTHING. Her last two albums have been punk rock, and they have kicked ass. This is completely different, and from what I’ve seen her first three albums don’t sound like any of these last three either. I’m not convinced empathogen is a jazz album, although it’s definitely jazz inflected, but most of the instrumentation is guitar, bass and drums; if there are any horns or other strings on there I didn’t notice them on my first listen, which I will admit was in the car and not exactly careful. The vocals are definitely jazzy. I’m not even sure I liked the damn album, but I’m absolutely fascinated by it. (Thinking about it, empathogen is as much of a jazz album as Cowboy Carter is a country album. The influence is clearly there, but you can’t pin either album down to a single genre.)
There’s been some talk in the last few days about whether Willow is a “nepo baby,” in other words, whether she owes her career to her parents’ influence or not. I would like to suggest that given how wildly, insanely eclectic Willow’s musical output over the last nine years had been, I’m really fucking glad that her parents are Will Smith and Jada Pinkett Smith and not Steve and Carol Smith … because the kid wouldn’t have a career if she didn’t have a leg up. The music industry doesn’t work with people who refuse to fit into boxes like this. Can you imagine what would have happened if some random fuckin’ kid told Jay-Z that she was done with her fun little hair song and wasn’t touring any longer? We’d never have heard from her again. And, I mean, we can argue about whether Will Smith as a parent should have said “Okay, baby, I got you” or, uh, something else(*), but the fact is if her parents weren’t famous I wouldn’t have these albums, and if nepotism gets me lately I feel EVERYTHING and empathogen once in a while, I’ll maybe put up with some fourth-generation news nitwit if I have to.
Suri Cruise and Shiloh Jolie-Pitt are both either already or about to turn eighteen, by the way, so I look forward to the two of them owning the world in, oh, five years or so.
(*) “Baby, Mr. Jay-Z is going to cut Daddy’s balls off and bury both of us underneath Madison Square Garden. You’re gonna grow that hair back today if I have to sell your soul to Satan to make it happen.”
I bought about an album a week this year, which is roughly on par with previous years, although this year my music purchases seem to have been focused on filling holes in my collection– I spent a lot of time listening to Outkast and REM and Black Crowes and Jane’s Addiction and Alice In Chains, and it turns out that I didn’t have everything they released. Prince had a new release and that got me to go back and pick up a few of his records that I didn’t have before. A lot of the new stuff (as in 2020-21 releases) was kind of experimental and a lot of it didn’t work out. But this article from Albumism, full of shiny new music mostly by artists I’ve never heard of, popped up on my radar today and that got me thinking about the new, or at least newer, music that I bought this year that made an impact, so I figured since I always write a ton of end-of-the-year pieces during the week between Christmas and New Year’s I may as well start with this. Other than one album I’m not going to be ranking anything, but here are six albums that I bought this year (mostly; we’ll get to the exception) and that I think are worth you checking out.
Mazbou Q, The Future Was. I actually encountered this guy through his TikTok feed, believe it or not, where he talks about the musical theory behind hiphop, and does so at great length and in incredible detail in a way that is incredibly interesting and illuminating, especially to someone like me who doesn’t have much technical knowledge about music and frequently struggles to talk about it in a way that is compelling. The guy’s smart as hell and his lyrics are complex and fascinating and I’m pretty sure I’m the only person I know who has heard of him, so let’s see if we can’t bring that number up a little bit.
Counting Crows, Butter Miracle Suite One. Technically an EP– this includes four new songs and four single edits of those four songs, but that didn’t stop me from keeping it on repeat for quite a while after it came on. Adam Duritz is one of my favorite singers, and while the Counting Crows aren’t nearly as big as they were in the nineties everything they release is directly up my alley.
Lil Nas X, Montero. A confession! I’m not actually that big of a fan of Old Town Road, the song that made sure that everybody on the Goddamned planet knew who Lil Nas X was, mostly because we all had our own guest spots on the remixes. That said, this album is fucking brilliant, and the fact that I still think it’s brilliant despite the fact that I can’t turn on the radio without hearing three songs from it is damned impressive. The guy’s got an incredible amount of talent, both as a musician and a visual artist (my jaw was hanging open for the entirety of my first couple of viewings of the music video for Call Me By My Name) and I hope he has a really, really long and prolific career.
Billie Eilish, Happier than Ever. This was probably my single most eagerly anticipated album of the year, as I was looking forward to Billie Eilish’s follow-up to When We All Fall Asleep, Where Do We Go? pretty much from the moment I first listened to it. I’m not sure this is quite the triumph that Asleep was (and I have utterly no idea at all what the relative sales were like) but it’s a damned impressive record. I also bought her brother Finneas’ debut, Optimist, and while I enjoyed it I think his skills are probably more on the production end of things. That sounds like an insult. It’s not. I had this whole metaphor here about playing tennis against LeBron James but I don’t think it quite makes sense so I’m just going to assume you know what I’m talking about and move on.
Taylor Fuckin’ Swift, Evermore. Yes okay technically this came out in December of 2020 but it’s close fucking enough, and I only bought this because I wanted to see if my enjoying Folklore was a fluke, and then I found out the reasons behind her re-releasing Fearless and Red and I ended up buying both of those on release date too, just out of, like, solidarity, and Jesus Christ have I turned into a fucking Swiftie?
Okay: Evermore and Folklore are both really good. I couldn’t tell you which one I like more because they tend to blur together in my head. And I found myself really enjoying Fearless’ re-release, but Red is kind of the perfect example of Why I’ve Never Really Liked Taylor Swift, because I wasn’t even remotely a fan of hers until this year and yet somehow I can tell you every dude she’s ever dated and that’s kinda fucked up. And I am absolutely on Team Conspiracy Theory about the ten-minute version of All Too Well, because no song written back when that was supposed to have been written would have had the words fuck the patriarchy in it. But fuck it; I’ve always been very clear that Taylor is phenomenally talented if for no other reason than that I have half of her catalog memorized without ever deliberately listening to the songs, and I like the idea that she’s re-releasing all of her old music so that she can screw over this asshole record executive dude, so I’m going to keep buying the re-releases even though I’m going to sigh a lot and roll my eyes while listening to some of the songs.
(I also, and this is related, bought Olivia Rodrigo’s debut Sour this year. I have nothing to say about it until Olivia Rodrigo is no longer a minor.)
(I have just discovered that Olivia Rodrigo is 18.)
(Someone needs to give this kid a hug and a therapist.)
Anyway.
Willow, lately I Feel EVERYTHING. I am not sure that Willow Smith really deserves to be a single-name person yet, but picking this album up was another one of those impulse, what-the-hell-it’s-$9 purchases this year, and I actually haven’t dug into her backlist but whatever the hell era of her music she’s in right now I want a lot more of it. lately I feel EVERYTHING is only 26 minutes long and all but one of the tracks don’t even make it to three minutes, which makes it even more ridiculous that I love it as much as I do. I said I wasn’t going to be doing any ranking, but this is still hands-down and far away the best new music I bought this year; the only thing close to it would have been Montero, which is also full of short-ass songs. If like me you’re an old person and you haven’t given Willow Smith a single thought since back in her Whip My Hair days, you owe it to yourself to check this out, especially if you’re an old 90s head like me. Her music weirdly blends together everything I love about rock and roll, alternative music and hiphop, and it’s just great.
I actually had a reasonably busy day today– I did not, as planned actually set foot in my classroom, but I spent about $160 at the teacher store for stuff I’ll get put up tomorrow, and I did a lot of prep work at my computer at home, including sending many emails to my principal and sending out invites to my Google Classroom way early to see how many of my kids are on the ball enough that they notice this early. The answer: four in my advisory, three in my first block, three in second, and one in my third, which probably doesn’t represent more than five or six actual kids but I haven’t compared yet. My class webpage is mostly updated and I’ve got some forms that needed to be created and/or updated for this year done. I got a few other errands that I’ve been putting off taken care of while I was out as well, so today wasn’t a complete waste.
I noticed a thing about myself recently that I don’t like, which is that I have this weird idea that there are people out there who might judge me for my music tastes. You can, perhaps, imagine what albums might trigger that impulse when looking at the above. I have decided, now that I’ve noticed this, that I don’t give a shit, and I’m going to listen to whatever the hell I want with no regard to the nonsense of others, which is as it should be. I’ve purchased all three of the above within the last few weeks. I am terrible at writing music reviews, which is why I’m cramming all three of them together into the same post. The short version: I approve of all three.
Willow Smith’s (I guess she just goes by Willow, but that’s that Willow) lately I feel EVERYTHING is the big surprise of the lot, as I already knew I was a big fan of Prince and Billie Eilish. I saw Willow shave her head during her recent performance of Whip My Hair, which was what brought her back into my consciousness, and when I found out there was a new album and it was a lot more rock-themed than what she’d recorded when she was nine (which won’t surprise anyone) I went ahead and grabbed it. And it’s great. The production takes a little getting used to, as the album sort of sounds like it was recorded in a basement, but in a sort of “I want this to sound like it was recorded in a basement” kind of way, but Willow’s got a great voice and, frankly, this is not an album I would ever expect to hear from a young Black woman, which is part of why it was such a damn pleasure to listen to.
Prince’s Welcome 2 America is his first posthumous release, and yes, I’m still mad at God for taking Prince away from me. And … well, I liked it a lot, because it’s fucking Prince, but I can sort of see why he didn’t release it. The album is shockingly topical given that it was written and recorded ten years ago; there’s nothing about it that feels dated, but what I liked about the New Power Generation years was the big, banger-type of songs: Gett Off and Se7en and Thunder and Cream, and there’s nothing on here that sounds like that. It kind of feels like an album of b-sides, in a way– there is plenty on here to like but you’re not going to find your new favorite Prince song or anything like that.
And, well, you’ve probably already heard most of Billie Eilish’s Happier than Ever, since it seems like about half of it has been released already. That said, there are some gems on it that haven’t been released yet– I’m a big fan of Oxytocin, and GOLDWING and the title track are pretty damn good too. It does sound a lot like her previous two albums, which is its only weakness. I don’t know that I feel like her sound has evolved at all since her last album, which isn’t that big a problem– I like that sound– but the other two albums I’m talking about here both represent stylistic differences from what we’ve seen before from those artists.
At any rate, I’d recommend any or all of them, so hit up Spotify or whatever you’re doing to get your music nowadays.
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