the gal who took the west
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roaring story of the west' s wildest feud... and the gal who split an empire wide open !
frenchie fontaine sells her successful business in new orleans to come west. her reason? find the men who killed her father, frank dawson. but she only knows one of the two who did and she' s determined to find out the other .
this list was compiled to inspire games of deadlands, the best weird west rpg .
tags: drake, jay - z, kanye west, lil wayne, pusha t, t. i. , the lists
in order to gain passage to the west, a woman poses as an opera singer, and causes a feud between two cousins .
30. jay z feat. beyonce, “’03 bonnie & clyde” (the blueprint 2: the gift and the curse, 2002) who would’ve thought the best way for modern day music’s first couple to mesh was with a song that took its inspiration from prince and the once upon a time in mexico soundtrack? bringing staccato acoustic guitars to the streets of west harlem, kanye’s “’03” finds a strong medium somewhere between bachata and burgundy - braised r & b. — b. c .
a man is chasing four outlaws who killed his wife and finds them in a small town' s jail but they escape to mexico .
a gunfighter' s main hope lies in the trust of a beautiful woman who hides him out when he is wrongly suspected of a stagecoach massacre .
even with new york’s decline from the last cycle, l. a. fared better in the overall downward pilot spiral than vancouver and the great state of georgia. the canadian west coast city and home to almost every cw show and the likes of amazon’s the man in the high castle took a 16% drop and the tax credit friendly peach state was down a hard 20% from the 2015 - 2016 cycle .
i only saw this film once and it was many years ago, not long after i had unexpected found myself in a contemporary version of what the west was once... .
there is precedent for men in the same roles to be paid the same amount; chris evans took home a reported us $ 300k for his first tilt at being ‘ captain america. ’ ‘course his take - home fist - o’ - change has increased significantly in the ensuing series .
34. pusha t, “lunch money” (upcoming, 2014) the musical equivalent of riding a rickety wooden coaster that threatens to derail at any minute, pusha’s playground clears out room for kanye’s plunging sirens and synthesizers. it’s the rare producer who knows that the clipse rapper’s rubber - raw snarls are strong enough to combat booming production. who needs sparsity when kanye’s got the keys to the kingdom and a handle of cuervo? — b. c .
this satirical western has three old men telling their versions of the story of the legendary o' hara family and the two cousins (russell and brady) who feuded over singer decarlo. someone forgot to put the humor in this comedy. excellent cinematography from william daniels .
review: this satirical western has three old men telling their versions of the story of the legendary o' hara family and the two cousins (russell and brady) who feuded over singer decarlo. someone forgot to put the humor in this comedy. excellent cinematography fro… (more )
helming her first large - scale production at the shaw festival, corcoran turns me and my girl, a west end hit from the 1930s (and again in the 1980s) that is little known today, into a high - energy crowd - pleasing romp .
74. consequence feat. kid cudi, “on my own” (curb certified, 2011) an oddball kanye production, matching synth - bass burbles with sweeping strings and a vocal chop from brazillian tropicália legend gal costa. it doesn’t totally gel, but the fact that it even comes close is a hell of a credit to kanye’s cross - genre cut - and - paste abilities. — a. u .
44. john legend feat. rick ross, “who do we think we are” (love in the future, 2013) the already - forgotten lead single from love in the future, “who do we think we are” finds previously unheard multitudes in the “ohhhh yeaaaaahhh! ! ” exhortations from jean knight’s ’70s funk classic, “mr. big stuff, ” as legend turns them into gospel - like pleas for universal humility. it’s a little sanctimonious, but the black - tie elegance of the video is earned with the production’s expertly interwoven strings and piano, and one of legend’s most show - stopping vocals. — a. u .
41. cassie, “king of hearts (kanye west remix) ” (unreleased, 2012) the icy dance - pop of cassie’s underrated original “king of hearts” left little in the way of needed improvement, but that didn’t stop kanye from having his way with the track on this unofficial remix. upping the synths and handclaps to blood - pleasure - raising levels, folding the lead vocal in on itself and throwing all kind of vocal samples and scrapes in the background for punctuation, west amplifies the song’s sonic harshness to match its emotional brutality, making an already striking jam even more piercing. — a. u .
now, before we begin there’s gonna be some obvious arguments to make here about not being able to gauge how well the film would’ve performed at the box office prior (due to a lack of female - driven superhero flick would you even bloody believe) and the fact that gal gadot wasn’t a proven lead draw before taking on the film (even though she’s been in four ‘ fast & furious ‘ films * and * ‘ batman vs superman ‘ which drew in bonkers money even though it sucked tremendously) .
13. twista, “overnight celebrity” (kamikaze, 2004) kanye’s presence totally overwhelmed twista’s chart - topping breakout hit, so for the follow - up, yeezy is kind enough to stay out of the speedster’s lyrical way as he makes timely promises to “put you in a chameleon ’04 range” and “give you ice like kobe wife. ” no matter: kanye is still the star of the show, with his show - stropping strings, twinkling piano, and entranced chipmunk vocals, taking the song’s sleazy come - ons all the way to carnegie hall. twista may be the one guaranteeing the cinderella transformation, but it’s pretty clear who’s making who a celebrity overnight here. — a. u .
younger - liza is a 40 year old woman who pretends to be 26 in order to get a job in the highly competitive publishing industry. now she has to make sure no one discovers her secret. new episode wednesdays 2pm aest - same day as the u. s. - only on stan .
los angeles still leads the nation in television pilot production, but a study released today by filml. a. reveals that the home of hollywood took a double - digit hit this year to fall to its lowest total since 2009. however, with pilots down this most recent cycle in all the major production centers except tax - incentive lucrative louisiana, a jump in straight - to - series orders by cable outlets and the streaming services might be part of the problem .
101. maroon 5, “this love (kanye west remix) ” (this love remixes, 2004) not the most enduring thing yeezy’s ever done, but thickening the drums and backing vocals, then laying some strings over the closest maroon 5 has come to legitimate funk was an idea worth pursuing, at least. — andrew unterberger
hence, kanye without kanye: spin ’s list of the 101 greatest yeezus - produced, but not yeezus - rapped, tracks. it spans from the work kanye did on forgotten chi - town rapper grav’s down to earth album back in 1996, all the way up to his work on madonna’s rebel heart album from earlier this month, without a single rap from the late registrant featured. (he does chime in on a couple tracks, but stops well short of an entire verse on any .) read on, discover songs you never even knew were ‘ye’s in the first place, and gain a new appreciation for west’s legacy as a dude who (sometimes) lets other people do the talking for him .
we’ve hung on every word of kanye west’s for so long — in his verses, on his twitter, in his interviews — that it’s hard to remember sometimes that he first came to prominence saying nothing at all. by the time of his debut single, 2003’s “through the wire, ” west had been building his resume as a producer for seven years, manning the decks for hits, deep cuts, and one - offs for cam’ron, talib kweli, jay z, and more. guest features were sporadic, but generally speaking, kanye let his beats speak for themselves, with their pitched - up vocal hooks, knocking drums, and instantly striking melodies .
68. jay z, “girls, girls, girls (pt. 2) ” (the blueprint, 2001) jay z had so many girls across the globe that he devoted two (!) entire tracks on his finest hour to boasting about his multicultural conquests. the first featured rarely better power - soul production from just blaze and served as the blueprint ’s second single; the latter appeared as the album’s final hidden song and came courtesy of mr. west, who pilfered from and tightened up the persuaders’ 1973 # sorrynotsorry statement, “trying girls out. ” as a jay and ‘ye collaboration, “girls, girls, girls (part 2) ” is overshadowed by the duo’s bolder, more opulent work together; as a sequel, though, it’s a cult classic. — k. m .
54. lil kim, “don’t mess with me” (the notorious kim, 2000) once you hear the chorus from pat benatar’s “heartbreaker” swiped here for kim to “get on some left eye s–t” over, you’ll wonder why it took two decades for anyone to come up with the sample idea. and if that’s not enough, kim also invokes mark morrison, joni mitchell (via janet jackson), and even angela bassett in waiting to exhale to properly express her fury over her man’s malfeasance. consider it expressed. — a. u .
84. john legend, “open your eyes” (love in the future, 2013) majorly redundant, considering how a mutual friend of legend and west’s had already turned bobby caldwell’s “open your eyes” into a veritable hip - hop classic, but legend’s vocals are so velvety, kanye’s drums are so crisp, and the original song is so damn heart - melting that it’s hard to really begrudge the double - dip. — a. u .
21. lupe fiasco, “the cool” (food & liquor, 2006) lupe liked this track so much he conceptualized (and named) his whole second album after it, not least because of that nonstop classic drum break and the dying - arcade synth expressing whimsical fantasy and mortal reality in tandem. the perfect universe to contain the story of an undead hustler who “kicks the casket open” and returns home (“with a right hand that was all bones”), only to get robbed himself. — d. w .
64. the madd rapper feat. raekwon & carl thomas, “ghetto” (tell ‘em why u madd, 2000) a ballad of “dear summer” - like twinkling ’70s nostalgia, almost disconcerting in its low - stakes gentleness. raekwon takes to it as he took to “heaven & hell” a half - decade earlier, delivering striking cold - word couplets like “society’s grown too black and too strong to prolong / got my woman with a gun in her thong. ” where’s carl thomas at these days, anyway? — a. u .
27. scarface feat. jay z & beanie sigel, “guess who’s back” (the fix, 2002) kanye’s dreamy, swirling backdrop on this noted highlight from scarface’s 2002 comeback the fix deserves to echo through castle halls — jay z lets it build for 45 seconds before even rapping. and putting one of the deepest, bluesiest voices in the rap history against the nursery - gentle melody as that majesty piano floats upward… that sort of brilliant juxtaposition signals less of a return than a new challenger altogether. — d. w .
75. jermaine dupri feat. nas, “turn it out” (life in 1472, 1998) one of the very earliest kanye west productions, and even if 20 - year - old ‘ye isn’t doing much but imitating jd with his snaking, snare - heavy beat, it shows that the producer could convincingly hang with the grown - ups from a very young age. (and moby would use the same willie hutch vocal sample on his play album a year later .) — a. u .
no other collaborator has defined kanye west’s career as much as jay z, and as much brilliance as he was responsible for after, it’s entirely possible that without the always - timeless work the two did together on the blueprint, we’re not still talking about kanye today. the takeover was jigga’s, but kanye was the kobe to jay’s shaq, elbowing his way into the spotlight and dripping with thirst for the crown, his ascent to mvp status inevitable. it’s a decade - and - a - half later and we’re still utterly in awe of him running this rap s–t. — a. u .
69. lorde, “flicker (kanye west remix) ” (the hunger games original soundtrack, 2014) what’s good to know about “flicker” is that kanye was willing to lend his recent brush with minimalism to a slamming thunderf–k of a lorde song. his “flicker” rework goes for baroque, colliding ambient reverb with howlingly scratched - up auto - tune and twinkling, “yeah, i wrote ‘runaway, ’ don’t forget it” keys. — b. c .
42. t. i. , “let me tell you something” (trap muzik, 2003) rather than dipping into his limitless reserves of ’70s soul samples, kanye took a rare trip to the late ’80s for t. i. ’s “let me tell you something, ” hijacking roger’s vocoder - drowned, late - ’80s r & b smash “i wanna be your man. ” it’s an unusually obvious sample for ‘ye, but he contorts it well enough for tip’s purposes, looping it over insistently rapping drums and thickening up the keys. the lift serves to soften the rapper’s edges without making him sound completely cornball, making for a loverman ballad worthy of tribute in yeezy’s own “slow jamz. ” — a. u .
32. jay z, “jockin’ jay z” (non - album download, 2008) pretty ridiculous that it took until 2008 for someone to deliver s dot a beat built around this run - d. m. c. vocal sample, but kanye does the most with it, setting it over jam master jay - worthy old - school drums and stabbing guitars that zoom in from out of nowhere. nobody has more fun with it than jigga himself, taking the opportunity to respond to noel gallagher’s comments about the rapper headlining glastonbury (“that bloke from oasis said i couldn’t play guitar / somebody shoulda told him i’m a f–king rock star”) before launching into a couple bars of “wonderwall. ” how exactly did this miss the cut for blueprint 3? — a. u .
60. grav feat. al tariq & lil ray, “city to city” (down to earth, 1996) a high - water mark on grav’s entirely west - produced down to earth album, with ‘ye not far from pete rock territory in the song’s swirling synth wash, popping slap - bass, and boom - bap drums. he’d leave this style in the dust soon enough, but it’s interesting to hear how a mid - ’90s kanye would’ve sounded if he was just trying to create his own illmatic soundscapes. — a. u .
51. hot karl, “armand assante” (i like to read, 2003) probably the song on this list whose existence is the most puzzling, this forgotten jam from art dealer, usc alum, and battle rapper hot karl actually shows what could have been a pretty promising collaboration between karl and west. karl’s battle - style rhymes (“making suckers disappear like amil’s career”) sound pretty great over kanye’s laura nyro steal, funny and just self - aware enough to excuse his generally unearned boastfulness: “can’t wait until i’m platinum and drowning in wealth! ” oh well. — a. u .
57. pusha t feat. 2 chainz & big sean, “who i am” (my name is my name, 2013) possibly the scariest - sounding be - yourself song ever, king push’s evil - dripping plea to “sell dope forever” can’t be serious can it? he dares you to think so, over kanye’s tripped - alarm sonics and ominously crawling drums. every time pusha howls “ woo! ” it feels like a dictator slapping you on the back, with fatal consequences if you don’t laugh along with his joke. only kanye can understand how to turn all that power into music. — d. w .
26. jay z feat. big boi, killer mike & twista, “poppin’ tags” (the blueprint 2: the gift and the curse, 2002) it’s stunning to look back at how versatile ‘ye’s beats could be, back when rap was still significantly more divided into factions. “poppin’ tags” was the blueprint for “slow jamz, ” with shiny ’80s - r & b glitz underneath twista’s high - pressure flow, but also accommodating a significant twang quotient from big boi’s rubbery - as - ever flow. and it’s stunning how placid killer mike once sounded, even when speed - reading. plus, what screams kanye west more than a six - minute epic about shopping? — d. w .
49. common, “real people” (be, 2005) it’s not one of his more famous innovations, but kanye’s an old tribe called quest fan who knows how to mine the loungiest, airport - iest easy listening jazz for serious hooks — see also “we major, ” which an approving friend once described as a “racecar driving down a rainbow. ” even a mere sub - three - minute album cut like common’s “real people” is juicily musical, with a wordless chorus of downstairs sax that lays on an ostinato keyboard bed. not to mention the gravitas it adds to song where common compares himself to upn. — d. w .
28. trina feat. bathgate, “do you want me” (diamond princess, 2002) at the height of hip - hop’s puppy - love duet era, “do you want me” should have been massive. kanye’s electric production here for trina and bathgate, riding on jackson five guitar and what sounds like a whole lot of warriors - esque bottle - clinking, is intoxicating like the best summertime anthems. maybe the problem is that both rappers want to play ja rule and neither wants to play ashanti; the best compromise they can agree on is trading raps off on the hook and the verses — which might actually make it a better song, but makes it a harder sell to radio programmers who preferred “love it when you look at me baby” to “i’ll be that bitch that’ll hold the steel for you / gild and kill for you. ” — a. u .
intrepid frontiersman chris holden foils the political and personal ambitions of renegade martin garth in the ohio valley following the french and indian war .
despite the solid - sized budget, and despite the massive financial windfall it’s proving to be, gadot’s pay cheque to fill the lead role in the blockbuster was ah… comparatively quite small .
22. jay z feat. santigold, “brooklyn go hard” (notorious soundtrack, 2008) the biggest tribute jay could’ve paid to his fallen hip - hop peer and continued role model on the soundtrack of his biopic was to try to come up with a chant for his home borough to match biggie’s own perennial “ where brooklyn at? “ soundbyte. not quite — that biggie freestyle is as unkillable as “new york, new york” — but jigga and santi do bk proud with their new anthem over kanye’s smoked - out canvas, and as much as christopher wallace may have done for bed - stuy, jay z’s the one who promised to bring a basketball team to atlantic yards, and actually did it a couple of years later. — a. u .
11. beanie sigel, “the truth” (the truth, 2000) the first hit single on kanye’s cv, with one of his all - time greatest sample choices in the eerily wobbling hook to graham nash’s change - the - world hippie anthem “chicago, ” letting the song’s disquieting bass and piano rumble as the organ straight hypnotizes. beanie’s the one claiming to be bringing nothing but the truth throughout, but as potent as his “arsenic flow” may be, the realest talk is still coming from the yeezus production, drumming on the front lines while the entire roc army marches into battle. — a. u .
during the 1850s, crooked lumber syndicate man beauvais tries to take over the local mill while sequin, the sensual owner of a gambling riverboat, tries to control the heart of mississippi lumberjack dan corrigan .
she has gone from running the indie company theatre smash to becoming artistic director of the thousand islands playhouse in gananoque; she has done small - scale touring productions like the gay heritage project and big ones like the magic flute at the canadian opera company .
one of the biggest comedic through - lines comes from the repeating choreography of jay turvey’s parchester in his theme song “the family solicitor, ” the silly moves spoofing the elite family’s willingness to cheer on each other’s foolishness in their lack of self - awareness .
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the film was originally known as the western story and was meant to be a vehicle for deanna durbin .
in only a few years, director ashlie corcoran has become one of the most productive directors in the country .
the fun of this film is telling the story from three different viewpoints - - each version diametrically opposed to the others - - what is the truth? probably a mixture of all of them - - it' s a fun film with decarlo in fine form and the feuding brothers fighting it out for her affections is half the fun .
the latest cycle saw a 1% decline in the so - called “non - traditional” category, from the 19% it made up last year. netflix made 14 pilots in the 2016 - 2017 cycle, amazon seven, directv five, hulu with four and new kid on the block cbs all access had two .
as for sean carter’s contributions, recounting the way he absolutely eviscerates nas and mobb deep here is like detailing the way the ’01 lakers tore through the nba playoffs: there’s almost no point, and we’ve seen the highlights anyway. suffice to say, jay plays trump card after trump card, vanquishing his foes with the expertly plotted strategy of a navy general and the charisma and gleeful menace of a batman villain. and then, just to make sure, he salts the earth in the final verse, making sure no new haters can spring up to replace those he just chopped down (“
5. alicia keys, “you don’t know my name” (the diary of alicia keys, 2003) the best of yeezy’s non - hip - hop beats, and one of his most inspired steals, from the piano - waterfall section of ’70s soul stalwarts the main ingredient’s gorgeous “let me prove my love to you. ” kanye doesn’t do much with the sample except play conductor, cutting and splicing it until it sounds like keys is leading the philharmonic herself. and the vocal is one of alicia’s greatest as well, from the alternately anguished and ecstatic “baby, baby, baaaa - byyyyyy! “s that flesh out the verses to the finger - twirled - around - the - cord sexiness and intimacy of the phone conversation in the song’s unforgettable spoken - word breakdown. keys goes so big with her vocals that sometimes it seems her producers don’t even care to follow her to the peaks, but kanye will race her to the top of that mountain any day. — a. u .
a cowboy finds the spoiled son of a railroad magnate lost in the deserted hills and teaches him survival skills and hard work values .
today’s news comes as los angeles mayor eric garcetti will be heading to the nbcuniversal set of the revived will and grace this afternoon to give a high five to the pilotless production being based in the city of angels. that’s a point worth noting because, as tax credits in california are bringing more relocating shows to the state and the l. a. area like nbc’s resurrected timeless, fx’s legion and showtime’s the affair, the proliferation of small - screen efforts in this era of peak tv also has seen more already packed programming schedules .
of the approximately 426 “live action scripted series, ” as filmla calls them, made in america for the upcoming tv season, 173 are produced in california – outstripping the golden state’s top five competitors put together .
79. glc feat. bj the chicago kid, “so real” (love, life & loyalty, 2010) one of the better songs from glc’s long - overdue and largely underwhelming debut album, with a percolating urgency to the kanye beat missing from most of the album’s productions. contains the lyric “i’m col’ man, like derrick, ” which is pretty incredible for a song from the year 2010. — a. u .
59. john legend, “used to love u” (get lifted, 2004) the world’s introduction to john legend’s brand of ‘ye - curated neo - soul, “used to love u” wasn’t the most scintillating thing kanye was involved with in the mid - ’00s, but his drum loops and vocal samples do give the break - up anthem an energy badly missing from most of legend’s crooner peers at the time. gotta love yeezy delivering the church sermon in the video, too. — a. u .
2. pusha t, “numbers on the boards” (my name is my name, 2013) “ how ya feelin? ya feel all right? ” the voice of philly soul grinder bunny sigler asks at the beginning of “numbers on the boards. ” by the end of the song, the question has become purely rhetorical. “numbers” is one of the most purely satisfying hip - hop tracks of the decade, a slam dunk with every lyric (including the ones where push actually brags about dunking from the free - throw line), over the most hyper - charged livewire of a beat since snoop and pharrell’s “drop it like it’s hot. ” pots ‘n’ pans and morse - code bass pulses, humming along over cigarette - stained drums as pusha indelibly taunts, “your sl’s missing an ‘s’, nigga / your plane’s missing a chef, ” and the crowd roars with approval as push and kanye continue to run up the score. as whtie sox announcer bud “hawk” harrelson would say, “you can put it on the booooooooard… yyyyesssss! !! ! ” — a. u .
stephen fry’s embellished book thankfully adds some self - awareness to the 1930s humour, playing up the cockney rhyming slang, adding clever references to my fair lady and inserting another noel gay song, “the sun has got its hat on, ” to open the second act with a bang (boosted by kyle blair’s performance as the dandy gerald bolingbroke). but in corcoran’s production, it’s pleasant filler until the next big musical dance number .
condor - a young cia analyst stumbles onto a terrible but brilliant plan that threatens the lives of millions, forcing him on the run in a desperate attempt to uncover the truth. new episode thursdays 8pm (aest) - same day as the u. s. - only on stan .
73. state property feat. beanie siegel & freeway, “got nowhere” (state property, 2002) mildly underwhelming after the intro, as neither sigel nor freeway really bring their a - games to the track and the chorus lets the sample do too much of the work. what a sample, though — entire steven seagal movies have contained less drama and action than those blaring horns, and the squeaking cry of a disembodied smokey. — a. u .
72. tyga, “40 mill” (the gold album: the 18th dynasty, 2014) doesn’t quite live up to the mark wahlberg dialogue sampled from pain & gain in the intro and outro, but the rapid - fire drum and synth spits and the growling brass do keep up the track’s intensity, even amidst a barrage of lousy tygaisms (“my bitch’ll fight ya / hillary swank ya”) and a chorus (“i don’t want to be famous, i just want to be rich”) that seems somewhat insincere. — a. u .
6. travis scott feat. t. i. & 2 chainz, “upper echelon” (owl pharoah, 2013) one of the most exciting hip - hop singles of recent years, the highest of drama from the sound of its first cascading drum spits. the percussion hits like an aerial assault, the bass like an subterranean tremor, the synths like an exploding smoke bomb — and we haven’t even mentioned the air horns yet. the music takes such precedence that the verses are virtually irrelevant: it’s hard to remember much from the lyrics besides “we so f–kin’ high / upper echelon, ” because what else is there to say, even? kanye was far from the only voice that went into the sound of this one — he’s only credited with “additional production, ” along with primary knob - twiddler jgramm beats, regular collaborator mike dean, anthony kilhoffer, and scott himself — but the song is simultaneously so classic and so future, it’s hard to imagine his involvement not being essential. — a. u .
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since its release, ‘ wonder woman ‘ has done gangbusters both in the critical stakes, and (arguably) more importantly in the financial ones as well .
62. kid cudi, “sky might fall” (man on the moon: the end of the day, 2009) one of the better tracks on the kanye protege’s debut lp, with muted synths and echoing drums providing a worthy backdrop for an alternately foreboding and hopeful cudi lyric. the highlight is in the ultra - minimal bridge, where everything drops out but those rickety drums as cudi tries to self - motivate, “i keep running, i gotta keep up, gotta keep up. ” you forget how crazy this guy’s potential seemed at first. — a. u .
61. black star, “brown sugar (raw) ” (brown sugar soundtrack, 2002) a too - rare ’00s black star collaboration, from the mos - starring movie of the same name. the rapper did three separate ‘ye - produced “brown sugar”s for the flick’s soundtrack, but the “raw” version was probably best, with jamming funk guitar, tart vocal harmonies, and drums that knock harder than anything on black on both sides, talib kweli boasting of his producer, “my man kanye murdered the beat! ” wouldn’t be the last time. — a. u .
17. common, “the people” (finding forever, 2007) for whatever reason, everyman softie common brings out the best in his producers, from? uestlove’s extra - dusty soul on like water for chocolate to the messianic yeezus helming two entire albums. “the people” was the standout on 2007’s finding forever, with its gorgeous applications of musique concrete: open - arms organ intro, hummed male voice underpinning the verses with chime punctuation, wackadoodle synth pulling the rug out from dwele’s calm - sung chorus. as complex and beautiful as anything kanye’s done, perhaps because common’s the rare rapper willing to be another instrument in someone else’s symphony. — d. w .
gadot received a base salary of just us $ 300, 000 for her role in the dc comics flick. reportedly, that’s the same amount she was paid for a supporting role in ‘ batman vs superman, ’ and it’s the same amount she’ll be taking home for a role in the upcoming ensemble film ‘ justice league. ’
53. jay z feat. luke steele, “what we talking about” (the blueprint 3, 2009) the much - maligned blueprint 3 has its head (for business) on straighter than most people think. once this royal fanfare of a beat kicks in, it’s clear that the first four minutes of the album are about one thing: jay z taking control of the conversation. the song declares how powerful he’s become in a significantly more mature way than having money or pushing weight: by being a “small part of the reason the president’s black. ” kanye helps revive jay’s sneering energy when he espouses his paternalistic view of the rap game and how you can’t sit on his lap. go play somewhere, he’s busy. — d. w .
so, adjustments and all, the lights are still staying on bright in tinseltown .
70. nas, “poppa was a player” (the lost tapes, 2002) per the title of this standout from nas’ 2002 the lost tapes collection, the queens rapper’s poppa — jazz musician olu dara — was a playa. as such, kanye and mentor the madd rapper cleverly paired this sentimental yet honest portrait of a flawed man — someone perhaps better suited to be a father than a husband — with a misty arrangement that samples “the newness is gone, ” a 1976 solo lament by the temptations’ eddie kendricks. clear - eyed, but full of heart. — k. m .
with 68 pilots made in the greater l. a. area during the 2016 - 2017 cycle, the town saw a 14% decline from last year to hit an eight - year overall low, according to the nonprofit film permit office. including the 22 dramas and 46 comedies made here, there were 173 pilots produced nationwide for broadcast, cable and digital — a total that includes netflix, amazon and hulu among others .
however, looking at the new normal of tv production, this latest cycle also saw a 14% increase overall in the number of straight - to - series orders compared with 2015 - 2016. between the cablers and streaming services, that’s 65 straight - to - series orders, over the previous high of 57 in the last cycle. put in a larger perspective, there were eight total straight - to - series orders in the 2010 - 2011 cycle, aka before netflix jumped into the original programming game. today, shows that received straight - to - series orders make up 38% of all pilots – a huge rise from the 4% that made up that total just six years ago .
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breaking down the overall drama and comedy categories a bit, the former stayed even for l. a. in terms of share of all pilots produced, while the latter actually increased 3% over 2015 - 2016. focusing on the bottom line, about $ 303 million was spent on pilots in l. a. during the 2016 - 2017 cycle, which makes up 30% of all pilot spending nationwide, an increase of 1% over the last cycle. that $ 303 million is also up $ 6 million from 2015 - 2016 .
91. dj kay slay feat. jaheim, nore, nature & left gunz, “no problems” (the streetsweeper vol. 2: the pain from the game, 2004) timebomb drum - tapping under security blanket - like al green strings, rapped over by a not - quite - all - star team organized by the new york radio fixture dj kay slay. contains a sweetly smooth vocal hook from jaheim, and the hilariously dated lyric “i’m on the internet, catch me on your buddy list” from nas affiliate nature. — a. u .
frustrated with the lack of opportunities in his hometown, young jess harker plans to leave, but sympathetic stagecoach armed guard race crim persuades his boss to give jess the stage driver job .
3. ludacris feat. shawnna, “stand up” (chicken - n - beer, 2008) on 2003’s chicken - n - beer, luda mastered the art of seducing, commanding, and incredulously commenting at the same time atop a stu - stu - stuttering drum that goes all butterfly effect at the end of every slickly spat bar. peep the choral humming that ‘ye warped into an instrument all its end at the tail end of every chorus, and carry mr. eudoxie’s pronunciation of the phrase “worry about” to your grave. — b. c .
and therriault and frank lead a rousing performance of the show’s signature song, “the lambeth walk, ” which sparked its own dance craze in the 1930s. with sue lepage’s (many) exuberant costumes, these numbers are pure spectacle and joy. therriault’s leading man performance also puts the physical first, pratfalling his way around drew facey’s set with an enviable grace and ease .
47. jay z feat. beanie sigel & scarface, “this can’t be life” (the dynasty: roc la familia, 2000) kanye’s first beat for the jiggaman to see release, “this can’t be life” doesn’t quite have the sophistication of yeezy’s later beats for his professional big brother, but it does set a properly sentimental shuffle for jay and friends to wax anti - nostalgic over. it’s also one of his more creative soul twists, as you might not recognize the shards of harold melvin and the bluenotes’ eternal slow - burner “i miss you” as they come in, even as the feeling of the song is completely transported over. if this was kanye’s audition for the blueprint, it’s no wonder he nailed it. — a. u .
as the filml. a. chart (above) makes clear, that nationwide number is also down 14% from last year. perhaps even more telling, this past year marked the first time since the 2012 - 2013 cycle that the total number of pilots produced was less than 200. in terms of total share of all pilots produced, l. a. was even with the 2015 - 2016 cycle with 39% — down 68% from the city’s all - time peak in 2006 - 2007, when 82% of all pilots were made in tinseltown .
the point is, there’s a heck of a lot of cash being flung around the flick. it’s just that not a lot of it got flung gadot’s way, as it turns out .
but then again the at - the - time unproven henry cavill is said to have pocketed a whopping us $ 14million for his first appearance as superman in 2013’s ‘ man of steel. ’
82. keyshia cole, “i changed my mind” (the way it is, 2004) an important track in ‘ye’s career development, as it was one of the first breakout singles he produced by a new artist, and one of the first where he got to do a good deal of talking on the track without actually providing a guest verse. it’s enjoyable, but ten seconds into this thing and you already have everything you really need from it — the rapid - fire handclaps, the endlessly looped solomon burke hook, even a yeezy self - id — and there’s not a ton to stick around for in the three minutes to follow. — a. u .
86. theophilus london, “do girls” (vibes, 2014) a near - throwback kanye beat for the year 2014 — the knocking drums, vibrating lead - guitar hook, and lightly creeping bass is a major key away from being pure ’04 yeezy. the song’s story of theophilus seducing a lesbian starts off a boast, but by the time the girl in question calls her friend to tearfully confess her infidelity, it sounds more like a cautionary tale. — a. u .
24. pusha t feat. chris brown, “sweet serenade” (my name is the name, 2013) hard - hitting drums, booming bass, and ghostly choir chants in the background: about as empirical a kanye beat for pusha t as the king could ask for, as he rhymes “ric flair s–t” with “blair witch. ” and as terrifying a three - word phrase as “feat. chris brown” has become in the 2010s, “sweet serenade” is the rare opportunity to be grateful for breezy’s guested presence, the singer never overstepping his bounds on the restrained, distorted chorus: “i’d rather say i did than let them busters say i didn’t. ” — a. u .
96. mos def, “sunshine” (the new danger, 2004) mos made a moderately controversial half - rock album a decade ago dubbed the new danger and “sunshine” is from the other half, which not enough purists heard due to said controversy. but despite its interpolation of melba moore’s version of hair ’s “the flesh failures / let the sunshine in, ” it’s a purist’s delight of nothing but beats, rhymes, and soul, a rare time when kanye played to others ’ strengths. — dan weiss
parker esse’s choreography captures an old school elegance and exuberance, a romanticism that the film la la land rode to the oscars this year. in “thinking of no one but me, ” élodie gillett’s jacquie carstone floats across the stage, held aloft by ensemble dancers david ball, travis seetoo and jonah mcintosh .
23. janet jackson, “i want you” (damita jo, 2004) kanye takes damita jo waltzing, courtesy of sumptuous strings swiped from the bt express’ cover of “ (they long to be) close to you. ” despite the whispered “ have your way with me ” insistences on the chorus, it’s not even really all that sensual by janet’s standards, instead prioritizing a motown - era sweetness that makes the ballroom just as fitting a setting for janet’s balladry as the bedroom. — a. u .
in a career filled with perfect brushstrokes, it’s arguably the most masterful thing s - dot ever did .
since then, yeezy has obviously grown more loquacious, to the point where his lyrics and quotes have become such an integral part of the pop vernacular that you can echo him regularly without even realizing it. but every now and then, he’ll still offer a beat to a worthy (or occasionally less so) contemporary without speaking on the track, just to remind us that even if he can change the musical conversation with a single line, he hasn’t forgotten which half of the rapper / producer equation he made his bones with .
43. jay z, “lucifer” (the black album, 2003) to help ease hov into his (infamously short - lived) retirement, ‘ye generously gifted mr. carter with the heart - stopping beat for “lucifer, ” powered by a pitched - up — but downright possessed — “chase the devil” sample. and to his credit, jay was grateful for the production, opening the track with a hall - of - fame shout - out: “ kanyeezy, you did it again! you a genius! ” — k. m .
95. beanie sigel feat. kurupt, “gangsta, gangsta” (the reason, 2001) a piano - leaning, horn - heavy march that ranks as one of the more imposing early - yeezy beats. why the chorus is more slick rick than n. w. a is anyone’s guess, though. — a. u .
25. monica, “knock knock” (after the storm, 2003) it’s not a direct thievery of just blaze’s beat for “song cry, ” but kanye’s gently glistening, ultra - tenderized beat for monica’s break - up statement of intent certainly feels like the blueprint classic. “knock knock” is less melodramatic with its emotion than the jay z tearjerker, though, as monica allows the production (and the interjections by co - producer missy elliott) to do all the sentimentalizing for her, instructing with matter - of - fact bluntness: “stop knocking / don’t come knocking at my door. ” can’t see it coming down monica’s eyes, for sure. — a. u .
1. jay z, “takeover” (the blueprint, 2001) the greatest diss track of the 21st century. (yes, we may use “ether” more in common parlance, but that’s just because it’s more fun to use as a verb .) “takeover” is jaw - dropping from jay’s first wooo, a behemoth of a beat the likes of which hip - hop had never seen before. kanye doesn’t sample the doors’ “five to one” as much as he rebuilds and reanimates it, harnessing all of that group’s swampy bluster for a lurching, snarling, and demonically radiating track more purposeful and focused than anything jim morrison and co. could ever muster. “takeover” isn’t a jam, it isn’t a head - nodder, and the words boom bap certainly need not apply: it’s a slow - creeping juggernaut, plowing closer on the horizon with every measure. it’s the terminator with a fitted yankees cap .
76. john legend, “let’s get lifted” (get lifted, 2004) kanye is wise to mostly stay out of john legend’s way on this quasi - title cut from the piano man’s debut, letting legend’s ivory - tickling and soaring vocals do most of the, um, heavy lifting while ‘ye just lays a classic hip - hop drum loop underneath to give the song a little propulsion forward. it was clear early on that the man born john roger stephens was one of the few collaborators that yeezy respected enough to not risk overshadowing. — a. u .
36. trina feat. ludacris, “b r right” (diamond princess, 2002) a spiritual sequel to ludacris’ turn - of - the - century breakthrough smash “what’s your fantasy? , ” with trina and luda switching off sexual play - by - play responsibilities on the hook over a moaning, wriggling beat of eastern strings and pinballing drums. it’s not as sexy as “fantasy, ” but the chorus is nearly as catchy, and with trina making promises like “i’m f–king niggas in the face, ” it’s plenty memorable just the same. — a. u .
arizona, 1890' s: two men, bitter enemies in a long - standing feud, fall for an opera singer. using her feminine wiles, she lands the man she wants and gets the other as her protector .
10. pusha t feat. kendrick lamar, “nosetalgia” (my name is my name, 2013) examinations of the drug trade don’t often get as chilling, personal, and succinct as this double - sided exposé cooked up by kanye and co - producer nottz. pusha t plays the dead - eyed dealer while kendrick lamar takes the role of secondhand victim, watching the crack epidemic eat away at his family. the real star of this production, though, is that stark, fanged guitar sample ripped from “ (if loving you is wrong) i don’t want to be right” by bluesman bobby bland. “ wanna see a dead body? ” kendrick asks menacingly at the start of his verse. the answer: no, but for some reason we can’t look away. — k. m.
the gal who took the west is a 1949 american technicolor western film directed by frederick de cordova starring yvonne de carlo , charles coburn , scott brady and john russell . it was nominated for an award by the writers guild of america 1950 . 
the gal who took the west is a 1949 american technicolor western film directed by frederick de cordova starring yvonne de carlo, charles coburn, scott brady and john russell. it was nominated for an award by the writers guild of america 1950.
the gal who took the west is a 1949 american technicolor western film directed by frederick de cordova starring yvonne de carlo, charles coburn, scott brady and john russell. it was nominated for an award by the writers guild of america 1950.