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#Fugees the score full album series#
Alptraum and Peterous ultimately build toward a concluding thought that’s a little too optimistic for my sensibilities, but the series nevertheless offers a solid meditation on why we bother with public apologies in the first place. Say You’re Sorry recounts the details of these stories in forensic fashion, sometimes to an extreme degree, but the meticulous approach is a big part of what makes the show work. A few installments are dedicated to unpacking celebrity apologies - perhaps the most popularly traded form in the genre - while the rest stretch across significantly heavier material: apologies from institutions, corporations, and countries, along with apologies grounded in situations involving sexual assault. Say You’re Sorry is built as a survey of case studies from a few different “apology arenas.” Its nine episodes run the gamut. (Alptraum, by the way, also hosted the second season of New York Magazine’s audio-documentary series, Tabloid.) The premise is instantly head-turning, made even more compelling by the fact that Say You’re Sorry is a project by Bucket of Eels, the new audio studio founded by Rose Eveleth, best known as the creator of the popular futurism podcast Flash Forward. Created by the writer Lux Alptraum, who co-hosts the series with producer Siona Peterous, the series bills itself as a study of public apologies that intends to understand why they’re so hard to execute well and why they’re often difficult to believe. Into this muck steps Say You’re Sorry, a new Audible Original that dropped earlier this month. It’s a sorry state of sorries, enough to make one wonder why we even bother at all. Such pronouncements hardly ever transcend suspicion of being mere exercises in image management. Furthermore, the apologies we do get rarely feel consequential. On the other hand, the air is utterly thick with powerful individuals and institutions that simply see no need to apologize at all. Would it be inaccurate to say that we seem to be in an era where public apologies have never felt more ubiquitous and elusive? On the one hand, whether from a celebrity or a corporation, they are a routinely expected occurrence nowadays, coming and going like the weather. Yesterday, ten days after Time Machine’s release, Fugees announced that they were reuniting for an international tour to celebrate the album’s 25th anniversary. When Abdurraqib describes Lauryn Hill’s vocals in “Killing Me Softly” - “I heard he sang a good song, I heard he had a style” - as gliding over the harmonies and beats, one can say that he is doing the very same thing himself.
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Kicking Abdurraqib’s lyrical deliveries up to a higher gear is some excellent scoring and sound design by Raj Makhija. The basement is where you might go to get away with something, and when you get away with something enough times, you’ll chase the next forbidden thing until everything feels like an unlocked door. It can summon low-stakes experimentation with high-stakes results. The basement was a place where one could be both brilliant and foolish depending on the hour or second. Of the Booga Basement, the home studio where Fugees recorded The Score: The essays are also, of course, gorgeously written. But for the unfamiliar, here’s what to expect: vignettes that stretch across time and memory sharp observations that conjure vivid imagery reflections on the ways in which a piece of art can attach to one’s self and help form the basis of an identity.
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If you are familiar with Abdurraqib’s work in any way, you probably know what you’re getting here. Adhering to the concept-album conceit, Time Machine: The Score takes the shape of a two-parter - “Side A” and “Side B” - each containing four essay “tracks.” Here, the team has built a “concept album” featuring a series of essays from Abdurraqib about The Score, the second and final studio album by the legendary hip-hop group Fugees that broke records when it was released in 1996. Time Machine: The Score comes as the second release from The 11th, Pineapple Street’s feed dedicated to publishing works that don’t naturally fit conventional podcast structure (at least according to the studio’s judgment). Given my deep enjoyment of Hanif Abdurraqib’s previous podcast work - his season of KCRW’s Lost Notes was in my top-ten list for 2020 - it shouldn’t be a surprise that I was quick to pick up his latest audio effort, and even less of a surprise that I enjoyed that too.