“Some Rap Songs”

A brief album provides an eye-opening look into Earl Sweatshirt’s life.

Earl Sweatshirt’s latest record, “Some Rap Songs,” follows the ups and downs of his life, the evocative lyrics telling stories of drug abuse, childhood trauma and loss, all in 24 minutes.

Since joining the hip-hop collective Odd Future in 2009, Earl Sweatshirt, whose real name is Thebe Neruda Kgositsile, has released four albums and grown as a solo artist. Before the release of “Some Rap Songs,” he was on a musical hiatus, and this fourth album gives listeners an insight into his life since his extended leave from the music scene.

Listening to “Some Rap Songs” gives the listener a deep look into Kgositsile’s messy mind. As the album begins, Kgositsile dives headfirst into the trials and tribulations of 2018. He speaks about his increased struggles with depression and anxiety, even stating that these issues have defined him throughout the year. “Fingers on my soul, this is 23,” he raps in “Red Water,” discussing how this past year  as a 23-year-old has been especially hard for him.

This verse leads into Kgositsile talking about his substance abuse, and how it is still a coping method he turns to when dealing with depression or loss. “Red Water” discusses death, particularly the loss of his father. His father was an acclaimed poet, but he left Kgositsile at only 6 years old. Growing up, and pursuing a career in music, there was a pressure to live up to the work that his father had produced. In an interview with Vulture during the past year, Kgositsile explains that his relationship with his father was always complicated after he left the family, but his death sent Kgositsile into a strange mental state. He explains that one reason for his hiatus was to take time to properly grieve before returning to performing.

The discussions of loss present in “Red Water” show up in a few other songs, “Cold Summers” and “Nowhere2go,” neither of which surpass two minutes. The beats are overwhelming, and the heavy bass and various samples cover his voice, as if he doesn’t want the listener to listen too closely to what he’s saying.

“December 24” breaks this pattern; the beat is simple and the track sounds like it is looping, but the lyrical content remains the same. Kgositsile dives into his past, bringing up aspects of his childhood that affected the way he grew up, including violence, substance abuse and problems regarding mental health come up. Within the first verse of “December 24,” he mentions the Crips – a Los Angeles gang, hiding out at his house – and growing up learning not to snitch on anyone. His voice grows louder as he delves into more traumatic experiences, emphasizing the painful emotions in his lyrics.

“Ontheway!” is the first of three songs that contain features. It picks up with a sample of the song “Trust in Me Baby,” by the Soul Superiors. Gio Escobar — a songwriter and vocalist from musical project Standing On the Corner — paints a vivid image in his feature. Kgositsile raps alongside him, both saying, “I said the dark face on the news / Clouds grey on the move.” This line strays from the topic of mental health, but still connects to the overarching feeling of hopelessness, and the control that the media has on the public’s opinion.

The mention of hopelessness makes a smooth transition into “The Mint.” It has a similar feel to “December 24,” repetitive and monotone, yet still captivating.

“The Mint” transitions into a few consecutive interludes, “The Bends,” “Loosie” and “Azucar,” all containing the same feeling of being overwhelmed; these tracks bombard the listener’s senses.

“Playing Possum” is less music and more a message from his parents. The beat in the background has heavy drums and various instruments. It is primarily his mother speaking, thanking the important people in her life, including Kgositsile. While his father’s words are interspersed, the particular line “to have a home is not a favor” summarizes the effect Kgositsile’s father had on his life.

–Review by Sophia Date

“On The Basis of Sex”

The 2018 film offers a closer look at the pivotal moments of Ruth Bader Ginsburg’s successful career.

Young Ruth Bader Ginsburg, played by the perfectly-cast Felicity Jones, enters the opening scene as the only woman amidst a thick crowd of dapper men as they make their way toward Harvard Law School. Ginsburg’s determined and inspired face flashes across the screen as a percussion-heavy, classic military march blares in the background. The audience grows eager as the students file into the building and Ginsburg’s journey begins.

“On The Basis of Sex” highlights Supreme Court Justice Ruth Bader Ginsburg’s early adult years, and the pivotal Charles E. Moritz v. Commissioner of Internal Revenue federal court case she argued in 1972. This case was not only a springboard for Ginsburg’s career, but for equal opportunities between men and women in the workplace.

Compared to the spring 2018 release of “RBG,” a documentary about Ginsburg, this new film focuses much more on Ginsburg’s personal growth as a woman and an attorney. It also depicts a universally inspiring theme: the journey toward gender equality.

The film’s release was particularly well-timed, considering the negative coverage surrounding the Supreme Court after the controversial appointment of Justice Brett Kavanaugh. Despite this, the film sheds light on the strength that still remains, especially from Ginsburg.

“On The Basis of Sex” begins with Ginsburg’s schooling at Harvard. As one of only nine women studying law at the school, Ginsburg notices the ever-present sexism inside and outside of the classroom.

When she enters the workforce, gender equality remains unadvanced. At one point in the film, an employer at a law firm explains that Ginsburg was not hired because the wives of her potential male coworkers could become jealous of her.

Following numerous job rejections because of this explicit sexism, Ginsburg channels her experience into a position as a college professor teaching Sex Discrimination and The Law at Rutgers University Law School.

Ginsburg continues conversations focused on sex discrimination with her husband, Martin Ginsburg — played by Armie Hammer — while simultaneously balancing the struggles of parenting her teenage daughter, Jane. The emphasis on the Ginsburgs’ marriage is heartwarming, especially because of the role Martin played in the development of Ginsburg’s skills as an attorney.

It is moving to watch Ginsburg’s relationship with Jane flourish as they shared ideas and views of how to combat sexism, especially after a disagreement surrounding whether Jane was allowed to attend a peaceful protest against gender discrimination.

Eventually, Ginsburg is given the opportunity to argue her first court case: a tax deduction case involving unjust laws surrounding sex.

After much preparation, the Ginsburgs argue the Charles E. Moritz v. Commissioner of Internal Revenue together, which jumpstarts Ginsburg’s career and the fight for gender equality for years to follow.

Although the film was inspiring and hopeful, it felt too light and could have included deeper personal scenes. Snippets of Ginsburg’s emotional and vulnerable moments were sparse; including more would have allowed the audience to easily relate to and connect with her journey. Her accomplishments took an incredible amount of hard work and dedication, yet the film made them seem unattainable for viewers wanting to follow in her footsteps. At times it can be difficult to remember that she is a real person, since her character is portrayed without flaw. Ginsburg could be considered a superwoman, but she too experienced more moments in which she lost motivation to continue the countless hours of work — or doubted and questioned her strength — than the film portrays.

The one scene that shows Ginsburg’s vulnerability is when Martin Ginsburg explains to their daughter the impact of Ginsburg’s close relationship with her mother. He states that Ginsburg’s mother encouraged her to strive to be successful because of the passionate discussions they would share. This would have completely opened the door to an understanding of Ginsburg’s dedication, which viewers who consider Ginsburg a role model would have appreciated. For the rest of the film, the reason for Ginsburg’s persistence is left unanswered. Digging deeper into this theme could have provided a profound connection to Ginsburg’s personality and success in her career.

All of that aside, the film did create a brief, entertaining yet educational look into the rise of Ginsburg’s career. Her story is captivating on its own, and the classic “hero’s journey” arc of the plot adds an exciting dimension.

“On The Basis of Sex” is worth the watch, especially for those wanting to learn a brief backstory on the “Notorious R.B.G.”

–Review by Haley Koski