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Lisa Marie Presley: The Remaining Part

          The King of Rock and Roll’s daughter in January of this year passed away.


                                 Lisa Marie Presley in a black fedora for a glam photoshoot.

The only child of the “King of Rock n’ Roll” Lisa Marie passed away at 54 years old on January 13, 2023 at the start of the new year. The singer and songwriter was known for her musical career that consisted of three studio albums and released singles that included her using her father’s appreciable voice from his tracks that he released before he died. Presley continued the legacy and added on her own twist that earned her the spotlight along with her contributions to various organizations. 

Born to Elvis and Priscilla Presley on February 1,1968, the artist turned philanthropist was born in Memphis Tennessee as an only child. Her parents divorced less than a year after she was born and lived with her mother in Los Angeles and visited her father often at the Graceland in Memphis where she became the sole heir of the mansion with her grandfather and great-grandmother. She inherited the well-known property in 1993 that had a value increase to $100 million. She later sold 85 percent of the estate in 2004 for charity, making her a highly respected humanitarian. Unlike the Kardashian’s children that are consistently in paparazzi photos, the King’s only child had a true level-headed upbringing by her mother. She accomplished a sense of normalcy during adolescence.

From early on she showed a love of music. She went to a Jackson 5 performance when she was 7 years old, and later to her first rock concert as her ears embraced Queen and caught Freddie Mercury’s attention by giving her Elvis’s scarf to him. She talked about her recording career at 16 years old and was warned by her mother that doors would open too easily for her as she was already considered the princess of rock n’ roll without contributing anything. She wanted to bring back her father’s dignity which was the most important thing to him.

The rock n’ roll princess’s voice carries a raw authenticity, a reflection of her own life experiences and emotions. While Elvis Presley’s voice was known for its powerful and smooth delivery, Lisa Marie’s vocals are marked by a certain grittiness that adds depth and sincerity to her music. Her ability to convey a range of emotions, from vulnerability to strength, distinguishes her as an artist with a voice that resonates on a personal level.

In addition to her vocal prowess, Lisa Marie is a talented songwriter, contributing to the authenticity of her music. Her albums serve as a platform for self-expression, allowing her to share her perspectives, struggles, and triumphs with her audience. Each album becomes a personal journey, with lyrics that delve into the complexities of life, relationships, and self-discovery.

Her heartbreaking addition to her father’s “Don’t Cry Daddy” 1969 track gathered attention as Presley presented it at a 1997 concert to commemorate his 20 year death anniversary. She released a continuation to her father’s song in 2007 with her voice included in  “Just Because.” Presley continued her father’s lasting legacy, but she added her voice; she was not a carbon copy but instead carried a piece of him with her own creativity. Critics asked if it would have been different if she had not had the distinguished last name and the unintentional attention, would she have had the chance to release albums? Personally speaking, if she wanted to have the easy way for her bloodline, she could have been on a reality TV show and become Paris Hilton or simply have her own cooking show to talk about her fortune and inheritance. But the singer wanted to be authentic and show her true colors. 

In essence, Lisa Marie Presley’s voice and talent, distinct from her father’s, have played a crucial role in shaping her identity as an artist. Her albums stand as testament to her individuality, making a lasting impact on the music industry and solidifying her status as an artist with a voice worth listening to.

Elvis Presley’s only daughter released her debut studio album To Whom It May Concern on April 8, 2003 with Capitol Records. Before releasing her own work at 35, she expressed concern about establishing her own identity and not relying on the previously well-known rock icon. To Whom It May Concern really spoke out loud with the messages in each song talking about regrets, disillusionment, and blaming herself and others for relationship failures, hinting the audience at her failed relationships with Danny Keough and Michael Jackson. The album received critical acclaim for its honesty and vulnerability, marking Lisa Marie as more than just the daughter of Elvis but as an artist with a distinct voice and message. Her debut single “Lights Out”  gave a raw insight on living her life with the King’s legacy and the weight it held on her. It became an instant VH1 hit. “Sinking In,” is another one of the eleven songs that composed the album that reached No.15 on CMT Top 20 Countdown and received a four star rating from AllMusic on her album. Songs like “Lights Out” and “Sinking In” showcased her ability to navigate various genres, blending rock, blues, and country influences into a cohesive and compelling sound. 

The album was known for Presley’s blue-edged voice and stark tone. Her album showed that she was not like the other 2000s divas according to AllMusic and that she had a real character and voice in her songs; a trait that has been passed down the line from her family. Her album ranked number nine in US Billboard 200 and number thirteen for Canadian Albums. In the album cover, her striking blue eyes resemble those of her father’s. The cover showed her classic look with her hands in a glossy black jacket. Her first album delivers the message of the harsh reality the Graceland mansion faced; the debut artist found writing as a therapeutic way to deal with all of her familial loss in that mansion as she saw it lost its life. What’s the purpose of living in a multimillion dollar mansion when the people around you are gone eternally? 

Her second album released in 2005 called Now What has an album cover of Presley sitting crossed legged with a pair of Converse dressed all in black with an intense expression on her face as she stares deep into the camera’s soul. The artist is more vulnerable in this album as she refers to her mother’s shiny black hair in “Raven” and includes a voice sample from when she was 3 years old that features Pink as a backup singer in “Shine.” She provided a warm tone in each of her songs and a consistent message that never lost meaning. She continued to keep dignity by adding a twist of her own style to her music. Now What showcased Lisa Marie’s growth as a musician. It explored new musical territories while staying true to her roots. Tracks like “Dirty Laundry” demonstrated her willingness to experiment with different styles, creating a dynamic and evolving musical landscape.

While her music career was moderately successful, her love life took on the headlines, but not as much as Pete Davidson to the extent people forgot his comedic career. She met a man from a humble background named  Danny Keough and married him in 1988; she had two children named Riley Keough and Benjamin Keough. Danny Keough was considered a nobody with an impressive singing voice, when he married Presley, he suddenly had the last name attached to him and swiftly became a recognized person. As more cameras kept following, he became a magnet for Elvis fanatics, which led to a split over his cockiness from his newly high profile. After divorcing Danny Keough in 1994, she married Michael Jackson twenty days later. She did not want to be with another unknown person as she did not want to be used for personal gain. Instead, her relationships became more complicated as she believed that loving another international sensation similar to her father who held the throne for a different genre would promise her happiness.

Presley dealt with Jackson’s fight against  drug addiction and was an emotional support as he went through a variety of child molestation accusations. While they attempted to save their marriage from drowning by traveling around the world together, yet she only was able to deal with this for 18 months and eventually split from 1995 as she drew a parallel of her father’s addition and asked her husband if she would choose their future or the painkillers prescribed to him 10 years ago. Before she ended her second marriage, she appeared in Jackson’s “You are Not Alone” music video that gave a perception that they had a happy marriage as they appeared as an intimate couple.  She later revealed to Oprah in 2010 that they were better off as companions than lovers due to their dramatic differences.

Lisa Marie battled with drug addiction when she felt like a loner at the different private schools she was sent to. In 2008, she had an opioid addiction that started after she was recovering from the birth of her daughters Vivienne and Finley. She was able to successfully overcome it because of the encouragement her children gave her; she was motivated to stop and stay alive for them as her love for them was worth more than her inherited fortune. 

While Lisa Marie Presley’s music may not have garnered widespread commercial success, her albums have been praised for their authenticity and emotional resonance. Her songwriting often delves into personal struggles and triumphs, allowing listeners to connect with her on a deep and intimate level.

Lisa Marie’s unique voice plays a significant role in her musical identity. While she undoubtedly carries some vocal traits inherited from her father, Elvis Presley, her voice has a distinct raspiness and emotional nuance. Her delivery is often characterized by a raw and unpolished quality, contributing to the genuine and heartfelt nature of her music.

Despite not achieving the same level of fame as Elvis, Lisa Marie Presley has earned recognition for her contributions to the music industry. While she may not boast a plethora of awards, her impact is felt through her ability to connect with listeners on a personal level, allowing her to carve out a space for herself in the vast landscape of contemporary music. Lisa Marie’s unique voice and sincere approach to songwriting have earned her a dedicated fan base, solidifying her status as a respected artist in her own right. Her albums held importance in the music world for their authenticity, emotional depth, and the genuine connection they establish with listeners. She has carved out a niche that goes beyond comparisons to Elvis, establishing herself as a unique artist with a voice that resonates with those who appreciate heartfelt music.



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Unveiling the Multidimensional Tapestry of Harry Smith’s Life

 John Szwed’s descriptive and personal lines reveal the entire career and life of the folk      revolutionist.

                                                                                        Harry Smith 

                                                       Cosmic Scholar: The Life and Times of Harry Smith 

While playing multiple jazz gigs at night, writer John Szwed certainly does not deny the marvelous success he has had throughout his life, even as he developed a passion for anthropology during his graduate studies. In fact, his magnum opus Cosmic Scholar: The Life and Times of Harry Smith by John Szwed transcends the boundaries of conventional biographies. In this meticulously researched and captivating gem, Szwed dives into the enigmatic figure’s life of Harry Smith. The biographer and jazz writer, brings his expertise to the forefront as he unravels the complexities of Smith’s existence along with the incandescent star’s accomplishments.

Szwed begins the journey through Harry Smith’s life by meticulously detailing his early years, giving readers insight into the influences that shaped this polymathic figure. From Smith’s early fascination with folk music to his voracious appetite for collecting various items ranging from seashells to films, Szwed captures a vivid image of a mind constantly seeking and synthesizing various elements. Smith’s esprit is tracked from his roots in the tranquility of the Pacific Northwest to his immersion in the hectic cultural scenes of New York City.

From his role in the folk music revival, where he curated the seminal “Anthology of American Folk Music,” to his experimental filmmaking and involvement in the Beat Generation, Smith emerges as a complex and dynamic individual. Szwed skillfully navigates these diverse arenas, offering readers a holistic understanding of the collector’s impact on folk music and the overall American culture.

At the heart of Smith’s legacy lies his pivotal role in the folk music revival of the 1950s and 1960s. Szwed dedicates significant attention to this period, highlighting Smith’s passion for preserving and disseminating traditional American music. The creation of the “Anthology of American Folk Music” becomes a central narrative thread that shows how Smith’s efforts were not just musical but inherently tied to a larger social and artistic movement.

The Anthology, a collection of pre-war recordings, served as a catalyst for the folk revival, influencing musicians like Bob Dylan and Joan Baez. Smith had several curatorial decisions, showcasing how his eclectic taste and deep appreciation for regional musical traditions contributed to the Anthology’s enduring significance. Through Szwed’s lens, readers gain a profound understanding of the Anthology as a cultural artifact that not only preserved a musical heritage but also ignited a transformative movement.

Beyond his contributions to music, Smith’s foray into experimental filmmaking and visual arts is another dimension. Smith’s pioneering work in animation and his avant-garde films provides a nuanced understanding of his artistic vision. The cultural figure’s creations were not isolated endeavors but interconnected expressions of a multifaceted artist.

Smith’s engagement with the visual arts also extended to his fascination with the occult and esoteric symbolism. Szwed investigates this aspect of Smith’s life with sensitivity, neither sensationalizing nor overlooking its significance. By delving into Smith’s spiritual pursuits and interest in the mystical, the author presents a more complete picture of the revolutionary folk figure, illustrating how his artistic and spiritual explorations converged to create a unique tapestry of creativity.

The book goes beyond the realms of music and art to delve into Smith’s pursuits in anthropology and linguistics. Szwed sheds light on Smith’s fieldwork among the Kiowa people and his attempts to document their language and culture. This aspect adds another layer to his intriguing dimension, positioning him not just as an artist and musician but as a dedicated scholar with a genuine interest in preserving cultural heritage.

The narrative skillfully connects Smith’s anthropological endeavors to his broader ethos of preservation and documentation. The reader is invited to witness the symbiotic relationship between Smith’s diverse pursuits, demonstrating how his passion for cultural preservation manifested across different disciplines. This interdisciplinary approach enriches the story emphasizing the interconnectedness of Smith’s endeavors and the holistic nature of his cosmic scholarship.

The structure of the book is another strength, with the former Columbia professor employing a thematic approach that allows for a nuanced exploration of Smith’s various roles and interests. This thematic organization enhances the reader’s understanding of the interconnectedness of Smith’s pursuits and provides a cohesive narrative that spans his entire life. The commendable attention to detail stands as a testament to his commitment to presenting a comprehensive and accurate portrait of its subject.

Harry Smith’s qualities define the book’s details. Rather than reducing Smith to a singular archetype, Szwed captures the essence of his complexity. The folk revolutionist is portrayed as a man driven by an insatiable curiosity, a relentless seeker of knowledge who defied categorization. The contradictions within Smith’s personality—the eccentricities, the intensity, and the idiosyncrasies—are provided with empathy and understanding.

The nuanced portrayal of Smith extends to his personal life, including his relationships and struggles. These aspects are not forgotten as they played a role in destroying some of his personal and professional relationships. However, they are handled with sensitivity, presenting a well-rounded depiction of a man whose brilliance coexisted with human frailties. By humanizing Smith, Szwed’s audience can connect with the cosmic scholar on a deeper level, transcending the myths that often surround iconic figures.

Szwed defines Smith’s lasting legacy and influence; his impact reverberated through subsequent generations, influencing musicians, artists, and cultural movements. Smith is not a relic of the past, but instead a timeless figure whose ideas and creations continue to resonate in contemporary culture.

Szwed acknowledges the challenges and controversies that marked Smith’s later years, yet still does not diminish his contributions. These explored aspects are explained with a balanced perspective, presenting a nuanced reflection on Smith’s legacy that acknowledges both his brilliance and the challenges he faced.

Cosmic Scholar: The Life and Times of Harry Smith by John Szwed is a masterfully crafted biography that transcends the genre’s limitations. Through meticulous research, thematic exploration, and nuanced characterization, Szwed brings Harry Smith to life, inviting readers to traverse the varied landscapes of his existence. The book is a testament to the author’s scholarly prowess.

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SZA in New York

          The neo soul musician turned heads with her costumes and set design 

              The superstar went on her first tour in 2018 and is now going on her highly anticipated tour in 2023.

New York is the city that never sleeps, and SZA’s October 9th performance at “Barclays Center” made it even harder to doze off. On a busy Saturday evening in the center of Brooklyn, I took my place amongst thousands of ticket holders hyping themselves outside the arena to hear her unique brand of  intense, relatable passion.

The artist may have only three letters in her stage name, but a lot more than three hits in her career, along with an eye-catching appearance that has her supporters’ fall head over heels. She led off her flashy presentation with one of her biggest hits, “All the Stars,” which was on a whole different planet with the bright orange flashing lights as she sang “All the stars are closer.” From where I was sitting, far from the stage, it looked like there were hundreds of stars amongst the audience as they held up their phones. The white lights flashed in a slow cadence, achieving the task of showing a luminous appearance. While the original recording with Kendrick Lamar accompanied Black Panther in 2018, the live version was elongated with the additional electric guitar solos that extended before the Top Dawg Entertainment performer sings “This may be the night that my dreams might let me know.” 

SZA kept engaging her fans by strategically removing the prototypical lyrics; there was only the chorus sung with more instrumental solos instead of the majority of the words sung as the other vocalist was not present at the gig. She devised this plan to promote an interactive experience by including what her supporters enjoy listening to instead of losing their attention by finishing up the masterpiece. She focuses on singing the most popular choruses that fire up the audience. Although the track from five years ago could not be reinvigorated with the exact lyrics, the passion intensified as SZA repeated the chorus and closed off with “closer” and developed an illusion of living in a galaxy. 

Her noteworthy inflection set the tone for the remainder of the show. Eager fans screamed, “I love you” and mirrored the main star’s enthusiasm in each piece. She took her imagination to a land far beyond the galaxy and combined her talent and visual designs, which are two qualities that pop artists aspire to attain. 

The curiosity combined with people’s 3am wandering thoughts reached the impossible as she floated on a raft with her knees folded to one side. The display resembles her album cover of her sitting on a diving board in the middle of an ocean as she is above the water in the middle of nowhere. Parallel to her SOS cover photo released in 2022, she matched the flying object by dressing in orange, stood up, then kneeled. As she sang “Usually special, just like you”, a lighthouse was spinning around in the center of the stage that created an illusion of the singer flying from the sky. 

A couple of phrases from “Kill Bill” were performed and were easily identifiable as a dark shade of red transitions the stage color as she warbled, “I might kill my ex.” The star of the night went back to the beginning of the song, “Still a fan even though I’m still salty,” the organization of the original tune was rearranged during the live appearance as the recognizable chorus was introduced instead of the opening line listeners are accustomed to. A personal hint of a breakup was spotted as soon as the fans passionately screamed about committing the same actions and relating to the feelings of hurting from a broken relationship. 

A transition to the next song “I Hate U” occurs with the light’s color turning fiery red as she continues, “And if you wondered if I hate you I do.” Her black and white glow in the dark bodysuit contrasted with the feeling of anger emphasized during the catchy phrase. The astounding costume went against the phrase she delivered, “Treat me like corduroy” as she was not wearing what she thought she felt like she was; her power was reflected from this outfit selection. 

A lot more energy as she melodically yelled “I do” during each chorus showed her interactive energy with the audience as it got them even more ecstatic to match the level the lead presented. “Seek & Destroy” quelled the fierce and hidden emotions from past relationships as a cool shade of blue relaxed the environment. Although the heat calmed in her voice, the lyrics about her life after the breakup as she exclaims, “Now that I’ve ruined everything, keep it all for me,” the entertainer is embracing the beauty of her independent and celebrating the new freedom that her ex that she wanted to kill did not provide. 

Unlike a shooting star that is seen for seconds, SZA’s stunning image remained for the entire two hours. In fact, she became as radiant as the sun towards the end of her show. The finale felt like a transition from Earth to Heaven as the R&B soloist appeared in a white dress that made her look like an angel welcoming the crowds watching her to the new world. While the melodious words of “My man is my man” from “The Weekend” mixed well with her godlike appearance, she jumped eagerly to the beat of the instrumental music. She went from bold movements that sang about getting revenge and breakups by pacing back and forth across the stage to more joyous gestures that reflected the tone of a tranquil break from work. 

The props used during each song reflected the release’s features and mood of each song from the colors used. SZA shattered my expectations through the roof. She previously canceled a couple of performances as she was sick. I was skeptical about whether she would cancel her concert or not. Did I come all this way to New York City just to see her to find out she would bail last minute? Luckily, that did not happen. Instead, I left the concert reminiscing about her choreography and color combination of the outfits and stage props that will have my mind floating in space until I return to Ithaca to continue studying. Although her artistic theme was not outer space, but rather a beach town away from the noise, she was not from planet Earth.

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Porchfest: The Immortal Peaches

             The longtime duo brought liveliness to an upstate university town this past weekend.

The lead playing guitar during one of her greatest hits.

Ithaca’s several trees and clapboard houses replace the city lights of the majestic casinos and resorts. The sudden weather drop, the unexpected rain, and the wind had me shivering as I sprinted up the hill that rises from Fall Creek to Cornell University. I was trapped inside all day, struck with the reality of living in frigid weather in the next few months. But the sounds of the guitar and drums convinced me to get out of my apartment and take a quick walk to see what was going on. After all, hearing the music from my window brightened my mood at home. I wondered if my mood would improve by getting closer to the source of music that was replacing the sun. As I walked past several houses, the distinct sound of a flute solo guided me. As I inched closer to where the flute was coming from, my hands started tapping to the rhythm along my side, feeling more awake than when my alarm clock rang. The cure to this gloomy weather was found on the steps of 408 E Marshall St: The Immortal Peaches. There were not actual peaches that cured the gloomy weather, but instead the sounds of a guitar, flute, and keyboard that cured.The gray skies suddenly were nonexistent, it was no longer chilly as I stood in front of their steps and listened to them play. 

There stood the duo from the band named “Carly and Paul” on the porch of a red and beige house. Clad in a blue dress, black tights and a striking black and gold blazer, the singer had an undeniable chemistry with her band-mate and longtime friend, Paul. Carly had long grayish blonde hair; she wore a blue dress with black tights and a black and gold blazer. After Carly took a break from her flute solo, she and Paul had undeniable chemistry on the porch as they talked about their early career days 18 years ago at the Farmer’s Market. Paul, wearing his MIT light gray hoodie, only showed admiration during the brief intermission as Carly drank her water, “Carly is so charming, I go along with her.” It was apparent that these words were not scripted and nor rehearsed prior to their gig. The audience showered them with “Aw” as it is undeniable that the pair worked well together and nurtured their growth for nearly two decades. After a moment of interacting with the observers by exchanging a few encouraging words, Carly realized she had a few more minutes to perform and agreed to cue Paul to play “Milk and Honey.” Paul opened the tune by playing the keyboard in a rhythmic pattern that consisted primarily of eighth notes. He accompanied the shell shaped guitar that Carly was playing along with her voice throughout the performance. Carly started singing, “You and me now living free” and melismatically extends the “e” in “free” for a couple of seconds. She made the lyrics memorable and harmonized with her guitar and Paul’s keyboard. Her lyrics “Now ain’t the money, about the milk and honey,” also provided a fast-paced rhythm to keep up with. The lyrics were relatable as Carly explained how the song is supposed to balance work and life; we cannot toil every single hour while we are alive. Her words served me as a reminder to enjoy each moment, with her giddy up guitar and wispy keyboard from Paul evoking a giddy up and roaring melody of a Western movie soundtrack with the sound of fulfillment at the finale.  While the keyboard sounded like the wind blowing through the desert, it remained in harmony with the words she sings in a tone similar to a gentle lullaby that doesn’t put anyone to sleep, “Got a lot of things to say, not a lot of things to do,” her captivating lyrics had me tapping my feet to each syllable. I admired how there was a two minute guitar solo. As Carly muted her voice at the start of the instrumental part, she played the guitar with as much vibrancy as her vocals; the guitar added youthfulness to the song; it could continue for years to come without deteriorating over time; it  provided me hope with an everlasting life. The performance however ended as soon as Carly realized she was playing over the expected time. I did not want it to be over. I felt rejuvenated listening to live upbeat music in a dreary small town. She had a creative goodbye by quickly saying “BBDE” in a cheery tone that had the audience walking out with a smile on their faces. Carly made me believe that I can live forever as she sang her ecstatic melisma into the microphone as a memorable farewell. She had a charming expression and whimsical tone on her face that lived up to her band’s name as it made me experience birth again during a season where I consider myself to be dead.

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Gambling for Drake

               The record-breaking Canadian rapper is making it rain in the desert

The “Hotline Bling” singer shocked the world by turning into a butcher during his show.

Tourists typically flock to Las Vegas with the hopes of winning a fortune. However, the casinos this weekend were overshadowed by Drake, because his concert treated the attendees better than any of the tourists who waste their life savings with the hope of earning enough money to achieve a dream lifestyle. A Drake concert these days appears to be like gambling; and no, it isn’t because of the once-in-a-chance to listen live to Drake sing the catchy songs on the radio such as “God’s Plan,” or “In My Feelings.” Even though Drake sang at his September 2nd concert “God’s Plan,” and “Nice for What,” he created a literal blur during his “It’s All a Blur” tour by singing a couple verses of these songs and swiftly singing the next song without giving his guest a chance to enjoy listening to the entirety of the track. The real reason for attending his concert feels like a now or never opportunity from the lavish gifts Drake provides to his participants. At his September 2nd concert, Drake handed $50,000 to his fan; this same person spent his furniture money to attend that concert. This lucky duck won the lottery by gaining recognition by Drake for spending his furniture money to see his concert. Unlike other enthusiasts who spent their life savings to see their idol and don’t even get acknowledged by the record-breaking icon, this fortunate person hit the jackpot by winning $50,000 to pay for their furniture that they could have bought if they did not attend the concert. 

The Vegas September 2nd concert gained attention not because of the artist’s music, but rather extravagant spending. Drake’s ability to perform his beloved songs heard on the radio have declined. He wore bizarre outfits as in an apron during “Her Loss”  that left his observers confused about his intentions as only cooks and serial killers wear aprons. His wardrobe is not creative, but rather questionable. Meanwhile, his previous outfit during his “Summer ‘16” tour left a memorable impression from its simple black color and yellow capital letters spelling REVENGE. He wore it while singing “Summer Sixteen” during his tour that had people thinking of Drake’s rhythm when he sang the verse “Looking for revenge.” Does Drake think that throwing out a $50,000 check makes his show interesting? Is his decline in having a creative wardrobe covered by him splurging on a Birkin bag to a random admirer? 

Drake has a lot of supporters. From their money, the Billboard Hot-100 artist is giving back to his concert attendants in a similar way the slot machines are giving back to the tourists. But with the gifts, there are no jaw dropping performances that will have people talk about it. He provided a mouth watering offer to a concertgoer to impress his visitors. If the audience was left disappointed from Drake partially singing “God’s Plan” by switching the verses to not let the audience engage with the catchy chorus “She says ‘Do you love me?’ I tell her ‘Only partly,” they immediately forget about that disappointment. He really displays “God’s Plan” by giving a splendid reward to his followers as a way of saying his supporters attending his concerts are God’s plans. It is a way of them exciting themselves without having them only love their bed and mothers but also loving Drake by attending the concert. They hope to become the next fortuitous person and provide a lot of memorable energy. Drake pampering his fans might be the new feature of his concert to compensate for his atrocious wardrobe. Similar to betting, it keeps them drawn by hoping to be the lucky winner one day. After all, Drake giving ridiculously expensive presents will have more people purchase tickets to his upcoming concerts, and similar to a casino, it will increase his number of admirers for future gigs.

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SoundCloud Rappers, Alcoholics, and English

Name something modern-day “musicians” and alcoholics have in common. They both refuse to admit that they have a problem and relate to decline of grammar in English. Social media’s dominance causes the language to become inaccurate–words such as “going to” are now written as “gunna,” and younger people are using this kind of spelling in their daily life outside of social media. Society no longer cares for the value of the rules in English; they continue their bad habits thinking they are making a positive contribution to the language. An alcoholic holds similar qualities to the rules of English as he constantly drinks alcohol to forget his problems, thinking he will achieve something great besides a damaged liver.

Music relates to English due to its decline in quality that will not be addressed. Anyone can make music today as there are platforms to create and share the composition with anyone. But it does not mean that all of the songs created by 13 year old SoundCloud Rappers or Bhad Bhabie or the “Lil” rappers create the music that deserves to earn a Grammy.  Instead, “music” by these SoundCloud Rappers do not have any meaning. Even though the local radio station does not consider releasing their ruckus, “musicians” exert their influence on social media and gain popularity through their music, which further inspires young people to create their own music with the technology available to them. “Musicians” relate to alcoholics as they refuse to acknowledge their unusual habits and learn how to fix them. The youth on social media create their own music, which sounds like a glass shattering against the floor that makes your heart skip a beat and have you jump up startled. While anyone can be a “musician,” literally anyone can be a “musician.” When can the expectation to take singing lessons, instrument lessons, or a school specialized in the arts to deliver music come back? It needs to come soon before high quality music vanishes.