The least memorable songs on this record are its most blatant appeals to the Billboard chart, as if Nash were trying to seduce somebody he doesn’t respect. “High Art” lumbers around in search of a club until Jay-Z shows up, sounding like he recorded his verse while booking plane tickets. “Turnt,” which uses the same refrain with a different Knowles-Carter, only inspires longing for what it replaced—another Beyonce collaboration, built around a Culture Club sample they couldn’t clear, said to be the album’s lost treasure. Obliquely recalling Future’s “Same Damn Time” (“got my left hand on that booty / got my right hand on that pussy”), “Pussy” follows the album’s best guest appearance with its very worst, as Pusha T gives way to Big Sean, a rapper so inert he can be legally killed in Holland.

Wrote about the new Terius, got to namecheck both Trotsky and Lily in the process.

seinfelt:

Kramer bursts through Jerry’s door, but the apartment doesn’t look anything like usual — it is a white, circular room with tall, slit-shaped windows placed regularly around the perimeter. He looks behind him and finds that the door though which he entered is not there. He tries walking forward, and although he can’t be certain, he feels as though he’s not moving around the room so much as it’s being moved underneath him like a turntable. His walking quickly turns into running. Elaine attends a pleasant brunch and, at her boyfriend’s recommendation, orders a bloody mary despite usually disliking them. To her delight, it’s delicious, and unlike any other she’s ever had. She quickly gulps it down and orders another, but her waiter apologizes, explaining, “We’ve just drained her last pint.” George rubs his eyes and notices little colors dancing in the darkness. Curious, he rubs harder and the colors become bright lights, organized in highly geometric shapes. He pushes until he finds meaning in the phosphenes, believing the geometric shapes have made way for words, full sentences, and eventually a lengthy sacred text that he commits to memory. Jerry is pleased with the zoetrope he has constructed, finally able to demonstrate that, when properly galloping, there comes a point where Kramer’s feet are entirely off the ground. He tells George to stop rubbing his eyes so he can check it out, but when George lowers his hands, his eyes are shown to have completely eroded away. He long ago reached a point where he was directly stimulating his optic nerves with his hands. “For Pete’s sake, George, you’re blind!” George turns his head directly toward Jerry, despite his hollow eye sockets, and calmly says, “No, Jerry. Now I can finally see.”