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One witness Alex Heasman-Bailey, 16, said he heard a "clunking noise" as the Oblivion ride suddenly came to a halt shortly after 3pm. 

T-Pain’s greatest strength ever since the early days of his career was his versatility. Plenty of listeners took his “Rappa Ternt Sanga” persona a bit too literally at first, and didn’t necessarily recognize the guy was actually a multi-talented and proficient as a singer, rapper, musician and producer-- that sort of display of talent took years to demonstrate and win over fans with. This was married to an excessiveness as a songwriter, as someone who loved to take modern subjects that people don’t necessarily look at as romantic, like strippers or drinking in the club, and make them feel worthy of passion. T-Pain would infuse the emotion and heart that any classic soul-singer might have for their traditional love song, yet he would often provide a comedic bent in order to show he didn’t take the material he was singing all too seriously. However, a decade later, there’s a real awkward sort of cloying edge to his persona, making T-Pain feel like a comedian whose unable (or unwilling) to recognize that their act need to be updated. Sure, there’s a lot of guys in R&B right now who willingly embrace the art of being an asshole, who actually take pages out of T-Pain’s book (including Ty Dolla Sign, who shows up for a pretty uninspired sounding performance on “2 Fine”); but there’s something about the songs on Oblivion , where instead of charming he can tend to sound obnoxious or gross. For example, you get the feeling that when he croons about coming on some other dude's pillowcase on “Straight” that he thinks this might be funny or cool, rather than cringeworthy.


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