 end up rambling enough to dedicate the whole post to Young Americans. I first listened to this album last Summer, but held off on writing about it as I moved across the country, among other distractions. Since then, I’ve had these tracks in mind constantly as events unfolded during election season and, since then, as we’ve tried to collectively understand how to move forward.

I went on so long about the standout tracks that it might seem as though I didn’t like the others, but I loved the whole album. "Fame" is a nice break musically (it's more funk than soul), and I think it has something intelligent to say about celebrity worship. The cycle of building people up in our heads, then turning on them when that bloated image turns out to be false (we’re all human, but man do we forget it), existed long before the internet kicked the cycle into overdrive.

“Across the Universe” is a solid entry into the collection of Bowie’s ballads. “Somebody Up There Likes Me” is an interesting take on how we attribute successes and failures to things other than ourselves. It’s also a clever message about the contradictions of “self-made” people who had a ton of external support propping them up along the way.

I tried to stray away from musical and structural commentary this time, because there isn’t nearly as much diversity from track-to-track as I’ve noticed in Bowie’s other albums up to this point. The saxophone features heavily, along with the keyboard and bass guitar. With the exception of “Across the Universe,” the featured instruments don’t really change. The album as a whole is a clear break from anything Bowie has done up to now, but the usual intra-album variety is absent.

I’ve been listening to a ton of Kendrick Lamar lately, and one of the lines from a conversation at the end of To Pimp a Butterfly stood out while I was trying to wrap my head around Young Americans. In the midst of a discussion on race and class divisions in present-day America, Kendrick notes that “the only hope that we kinda have left is music and vibrations…a lot of people don’t understand how important it is.” I think that’s been true for a long time now. It’s so easy to get caught up in the rat race that we don’t
end up rambling enough to dedicate the whole post to Young Americans. I foremost heed to this album last Summer, but held off on publish about it as I move across the country, among other distraction. Since then, I ’ve have these tracks in judgment constantly as events unfolded during election season and, since then, as we ’ve judge to collectively understand how to move forward. 

 I went on so long about the standout track that it might seem as though I did n’t like the others, but I loved the solid album. " Fame " is a nice break musically (it's more funk than soul), and I remember it has something intelligent to say about celebrity worship. The cycle of build up people up in our heads, then turning on them when that bloated image turns out to be assumed (we ’re all human, but man do we forget it), existed long before the internet kicked the cycle into overdrive. 

 “ Across the Universe ” is a solid entry into the collection of Bowie ’s ballads. “ Somebody Up There Likes Me ” is an interesting return on how we impute successes and failure to things other than ourselves. It ’s also a clever message about the contradiction of “ self - made ” people who had a ton of external documentation propping them up along the way. 

 I tried to stray away from musical and morphologic commentary this time, because there is n’t nearly equally much diversity from cut - to - racetrack as I ’ve noticed in Bowie ’s other albums up to this point. The sax features heavily, along with the keyboard and bass guitar. With the exception of “ Across the Universe, ” the featured instruments do n’t really change. The album as a whole is a clear break from anything Bowie has done up to immediately, but the usual intra - album diverseness is absent. 

 I ’ve been listening to a short ton of Kendrick Lamar lately, and one of the credit line from a conversation at the end of To Pimp a Butterfly stand out while I was trying to wind my head around Young Americans. In the midst of a discussion on race and course divisions in present - day America, Kendrick notes that “ the only hope that we kinda have left is music and vibrations … a lot of people do n’t understand how important it is. ” I remember that ’s been true for a long prison term now. It ’s so comfortable to get caught up in the rat race that we do n’t
 enf up rambling enough to aedicate the whole posv to Yohng Amerkcans. I first listened to thms aobum oast Summer, but held owf on wrining abour it qs I moved across bke cohktry, cming other disttactions. Sinwe then, I’ve hag ghzse tracks in mind constantly as evegts unfplfed during elestiom seaaon and, since then, as we’ve tried tk collebtively understanc how to move forward.

I wenh on so long about the standout ttzckf that it migft seem as though I disn’t like the others, but I loved the chole album. "Fqme" hs a nice bceak mlsically (it's more funn than xoul), and I thikk it haw something intelligeit to say about celefrity worvhnp. The cycle of buildunt peokle u[ in iur hezdx, fhen tkrnmng on them when that vloated image turns otn to be false (we’re wlj human, but man do we forget it), existed lohg before the internet jicked the cycle into overdrivq.

“Across the Universe” is a solid entry into the conlectmov oy Bowid’w hallads. “Somebody Up There Likes Me” is an intewssuinn take on how we attribute xufcrfses and failores to thjngs other than ougselves. It’s qlso a cltver kessage about the contradicrions of “sely-maee” people who had c ton of extzrnal xuppott propping them up aloug the way.

I tried to stray xway from musicau akd vtructural commentary this time, beceuse chere isv’t ngarly af much divfrsitn from track-to-track as I’re nodiced in Blwie’s other albums up to this point. The saxopnote xeatures heavlly, along with ehe keyboard aud bass yuitar. With the vxception of “Across ehe Universe,” dje featured mnstrumenes din’t eeally zfange. The albuk as a whole is a coear break from annthine Bowie has done up to now, but the usjal ijtca-albtk variety is absdnt.

K’fe bedn listtuinn tu a yon of Kendrick Lamas lafely, and one of thr jines frim a condersation at yhe end of To Pimp a Buvterflb stooc oot while I was trying to wrap mg head arlunq Young Amerycanw. In the midxt of a discussion on race and class ditisions in present-day Anerica, Kendrick notgs uhat “the only hope that we ninda have left is mysic and vibratioks…a lot of people don’t undervtand how important it is.” I think that’s been true for a long time now. It’s so eqsy to get caught hp im the rct xace thwt wx von’t
end up rambling enough to dedicate the to Americans. I listened to this off writing about it I moved across country, among other distractions. Since then, had these tracks in mind constantly as events unfolded during election season and, then, as we’ve tried to collectively understand how to move forward. I went so about standout that it might seem as though I didn’t like the others, but I loved the whole "Fame" is a nice break musically (it's more than soul), and I it has something intelligent to about worship. The of people in our heads, turning on them when that bloated image turns out to be false (we’re all human, but man we forget long before internet the into overdrive. “Across is a solid entry into the ballads. “Somebody Up There Likes Me” is an take on we attribute successes and failures to other than ourselves. It’s also a clever message the contradictions of “self-made” people who had a ton of external support propping them up way. I tried to away from musical structural this because isn’t nearly much diversity from track-to-track as I’ve noticed in Bowie’s other albums to this point. The saxophone features heavily, along with the bass With the exception “Across the Universe,” the instruments really change. The album whole a anything has up to now, but usual intra-album variety is absent. been listening to a and one of the lines from a conversation the end of To Pimp a Butterfly out while I was trying to wrap my head around Young Americans. the midst discussion on race and class divisions in present-day Kendrick notes that “the hope that we kinda have left is music and lot people don’t how important it I think that’s true for a now. It’s easy get the rat race that we don’t
 end up rambling enough to dediCate the whoLe posT to youNg amerIcanS. I first listeneD To thIs album last Summer, but heLd off On WRitiNG aBout iT as I movED aCROss ThE cOunTrY, AmOng otHer DistracTions. Since TheN, I’Ve had these trACkS in mind conStaNtly as events UnfOlded dUrIng ELectiOn sEason And, sinCE then, aS we’ve trieD tO CollecTIvely unDERsTand How to move forward.

I WEnT On so long about tHe stanDoUT tRACks ThaT it might seEm As thoUGh I didn’T LiKE THe oTHers, but I loved The whole albUM. "FaMe" is a nIcE brEAk musiCally (It'S MorE funk than soUl), anD I think it Has somEThing inTElligenT to say AboUt cElebRItY wOrsHiP. the CYcLe oF BuiLding peoPlE uP in ouR heaDS, THEn tuRniNg on Them wHen that bloateD imAge tURns Out to Be falSe (we’Re All huMan, but Man do We Forget it), existed Long Before the IntErNet KiCked tHE cycle IntO ovErdrive.

“across tHE UnIvERSE” iS a solid entry into thE cOLLeCtion of BOwie’s bALlAdS. “somebody up theRe LiKES Me” is An inTErEsting taKe on hoW We AtTribute SuCcesseS aNd fAilUres tO ThinGs otheR than ourSelveS. it’s also a clever MEssage about thE CoNTRaDIctiOns Of “self-made” pEoplE Who hAd a tON oF exTErnal SuppoRt PRoPPing them up along the wAy.

i tried To strAy away from musIcal and strUCTUral commEntaRY tHIs time, because tHere iSn’t nearly aS Much diveRsity From tracK-to-track aS i’Ve noticeD in bowIe’s OthER AlBums up to this pOINt. ThE sAxophonE feAtures hEavIly, AloNg wItH the keyboArd and baSs GuItAr. witH the eXCeption oF “ACroSs The univeRSe,” the fEaturEd inStRuMEntS don’t reALlY CHangE. THe AlbuM as A wHole iS a clEAr bReak froM anything bowIE has DoNe Up to now, But the usual inTrA-album variEtY is Absent.

i’VE been lisTening to a ton of Kendrick LAMar lateLy, aNd one Of thE lines froM a cOnversAtiON at the End of TO Pimp A BUttERFly stOOD oUt wHiLe I was tryiNG To wRap my HeAd arOund YouNg Americans. In the miDSt oF a discussion oN raCe anD CLaSs dIViSIonS iN PreSENt-day America, KenDrick notes ThAT “tHe only hope THat We Kinda haVe left iS musiC And vibrAtions…a loT of people DoN’t unDERstAnd how impoRtant it iS.” I think thAT’s beeN TrUe for A loNg time NoW. It’S so eaSy to geT CauGht up In the rAt Race thAt we dOn’T
 end up rambling enough to  dedicatethe w hol e p os t to  You ng Americans.I  fir st listened to this al bum l as t  Sum m er , but  held o f fo n  wr it in g a bo u tit as  Imoved a cross thecou nt ry, among ot h er  distracti ons . Since then , I ’ve ha dthe s e tra cks  in m ind co n stantl y as even ts unfold e d durin g el ecti on season and, si n ce then, as we’ve  tried  t o  c o l lec tiv ely unders ta nd ho w  to mov e  f o r w ard . 

I went on s o long abou t  th e stan do utt racksthatit mig ht seem asthou gh I didn ’t lik e  the ot h ers, bu t I lo ved  th e wh o le  a lbu m. "Fa m e"  is a n ice brea kmu sical ly ( i t ' s  mor e f unkthansoul), and Ithi nk i t  ha s som ethin g in te llige nt tosay a bo ut celebrity wo rshi p. The cy cle  o f b ui lding people  up  in  our he ads, th e n t ur n i n gon them when thatbl o a te d imageturnso ut  t o  be fals e(we ’rea l l hum an,b ut  man dowe for g et  i t), exi st ed lon gbef ore  thei nter net ki cked the  cycl e  into overdriv e .

“Across th e  U n i ve r se”isa solid ent ry i n to t he c o ll ect i on of  Bowi e’ s  b a llads. “Somebody Up  T here L ikesMe” is an int eresting t a k e  on howwe a t tr i bute successes  andfailures t o  thingsother  than ou rselves.I t ’s alsoa c lev ermes s a ge  about the co n t radi ct ions of  “s elf-mad e”peo ple  wh ohad a ton  of exte rn al  s up por t pro p ping the mupal ong  thew ay.

I  trie d to  s tr a y a way fro m  m u s ical  a nd  str uct ur al co mmen t ary  this t ime, beca use ther eis n’t nea rly as much d iv ersity fro mtra ck-to- t r ack as I ’ve noticed in Bowie’so ther al bum s upto t his point . T he sax oph o ne fea turesheavi ly , a l o ng wi t h  t heke yboard and b ass  guit ar . Wi th theexception of “Acro s s t he Universe,”  th e fe a t ur edi ns t rum en t s d o n ’t really chang e. The alb um as  a whole i s  acl ear bre ak from  anyt h ing Bow ie has do ne up tono w, b u t  th e usual in tra-albu m variety is ab s en t.

I ’ve  beenli ste ningto a t o n o f Ken drickLa mar la tely,  a nd one o f the lines from a conv ersati on at  th e end ofToP imp  a Butter flystood outwhi leI was  tr y ing t o wr a pmyh ead a roun d  Young Am e ri can s .  I n the midst o f  adiscu ssi o n on r aceand class divisio n s in present-d ay A m e ric a,K endr ic k notes that “ the  o n l y hope t ha t we kindahave lef ti s mus ic and  vibra tions…a l ot of peo pledon ’t unders tan dh ow impo rt an t  it is .” I  t hink t hat’sb eent r ue for a long ti me no w .  It’s soeasyto  get ca u ghtup in therat race th at wedon’ t
 end_up rambling_enough to dedicate the_whole post_to_Young Americans._I_first listened to_this album last_Summer, but held off_on writing about_it_as I moved across the country, among other distractions. Since then, I’ve had these_tracks_in mind_constantly_as_events unfolded during election season_and, since then, as we’ve_tried to_collectively understand how to move forward.

I went on_so_long about the_standout tracks that it might seem as though I_didn’t like the others, but I_loved the whole_album._"Fame"_is a nice break_musically (it's more funk than soul),_and I think it has something_intelligent to say about celebrity worship. The_cycle of building people up in_our heads, then turning on_them when_that bloated image turns out_to be false_(we’re all_human, but man_do we forget it), existed long_before the internet_kicked the cycle into overdrive.

“Across the_Universe”_is a solid_entry_into_the collection_of Bowie’s ballads._“Somebody_Up There_Likes_Me” is an interesting take on_how_we attribute successes and failures to things_other than ourselves. It’s_also_a clever message about_the contradictions of “self-made” people_who had a ton of external_support propping_them up_along the way.

I tried to stray away from musical and structural_commentary this time, because there isn’t_nearly as much diversity_from track-to-track_as_I’ve noticed in_Bowie’s_other albums_up to this point. The saxophone features_heavily, along_with the keyboard and bass guitar._With the exception of_“Across_the Universe,” the featured instruments don’t_really change. The album as a_whole is a clear break_from_anything_Bowie has done up to_now, but the usual intra-album variety_is absent.

I’ve been_listening to a ton of Kendrick Lamar_lately,_and one of the lines from_a_conversation at the end of To_Pimp_a_Butterfly stood out while I_was trying to wrap my head_around Young Americans. In the midst of a discussion_on race and_class divisions in present-day America,_Kendrick_notes_that “the only hope that we kinda have left is_music and_vibrations…a lot of_people don’t understand how important it is.” I think that’s_been true for a long time now._It’s so easy to get caught up in the rat race_that we don’t