Over the last four decades, hip-hop has emerged as the lingua franca of global pop culture, a force that has gleefully imposed itself in every corner and crevice. Television and film, politics, fashion and more — hip-hop has reshaped them all. Throughout the genre’s ascent, the message has been clear: Hip-hop can do anything.
But that elides the somewhat sticky question of what hip-hop should do. All barriers are problems, but some doors aren’t worth knocking down.
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That tension between hip-hop’s ambition and greed comes up again and again on “Climate Change,” the 10th album by the Miami rapper Pitbull, who over the last decade has become a star of parallel universe club-rap, increasingly detached from the hip-hop mainstream and nourished by the pop masses who have an affinity for hip-hop, but only from a comfortable remove.
In this universe, Pitbull is an opportunist, an internationalist, a thought leader. He was making dance-floor-oriented hip-hop long before others hopped on the bandwagon — sometimes thrillingly, like on the updated hip-house of “Planet Pit” in 2011.
The jubilant but spotty “Climate Change” takes those gestures as a jumping-off point, expanding notions of club music to include rock, reggae, 1980s pop and more. Pitbull is agnostic about genre — almost any sound or style can be put in service of his buoyant creations. Savor these notes in the credits to this album: “Bad Man feat. Robin Thicke, Joe Perry & Travis Barker,” “Written by Mick Jagger and Keith Richards with additional material by Pitbull and Richard Pearl.” Sometimes Pitbull reaches for an obvious sample; sometimes he reaches for a blender.
On the one hand, this is hubris of the highest order, almost admirable in its resilience. On the other: Wow, please slow down.
Take “Bad Man,” which does indeed feature Mr. Thicke yelping about being a bad man looking for a “goody-two-shoe girl” while Mr. Perry plays lazy guitar slashes and Mr. Barker lays down uncomplicated harrumphs loud enough to signal an oncoming invasion. Yes, Pitbull is here, too, but he has a way of cloaking himself so as not to interfere with the work of his collaborators, of which there are many. He’s a raspy, percussive rapper who understands how to slip alongside a beat, spitting slick pitter-patter while more exciting things erupt around him.
In this, and other ways, he’s reminiscent of another Miami enthusiast: DJ Khaled, who has built a career out of just-happy-to-be-here exuberance and, more recently, the Zen that comes with the success that accompanies having been there. Like DJ Khaled, Pitbull is first and foremost a motivational speaker.
No story is more inspiring than his own — son of Cuban refugees turned into unlikely and extremely well-tailored pop star — so he raps about it from different angles, using mildly different terminology. “Went from selling perico and reefer, to New Year’s Eve with Snoop and Latifah/I shut down Spain and I ain’t even have to take a pill in Ibiza,” he raps on “Better on Me.” On “Can’t Have,” which refracts modern-day Los Angeles gangster rap bop through fuel-injected club music, he gets wistful:
I see Central Park from my hotel room And it’s got me thinking about the crazy things we used to do For the fame, for the power, for the fortune Ducked prison, ducked death, I’m fortunate
You can forgive Pitbull, then, if he has a robust lust for life. Or just lust. His other primary pose is loverman, one that he strikes with both utter nonsense — “They say the devil’s in the details/and baby you detailed” — and bluster: “How you want it English or Spanish? Both of them I’m fluent.”
That is, of course, not insignificant. As a Latin rapper in the early 2000s, Pitbull was something of an outsider. Hip-hop, as bold and unsparing as it can be, still has many barricades to success, so Pitbull wisely created a space where his fluidity was an asset, not a liability.
But on this album, he’s so malleable as to be spineless, hiding his charms behind broad, borrowed gestures. There’s “Dedicated,” which steals the fake-flute sound from Justin Bieber’s recent hits; the shrugging “Freedom,” which sleepily takes from the Rolling Stones’ “I’m Free”; the hasty remake of “Love Is a Battlefield” called “We Are Strong” (featuring Kiesza); or the fun but tepid collaboration with Jennifer Lopez, “Sexy Body,” which pilfers the signature honking horn from Jomanda’s 1991 club-soul anthem “Got a Love for You.”
The effectiveness of these songs — well, of “Sexy Body” — has little to do with Pitbull. They make him less a rapper than a party-starter, the hip-hop salesman who eggs on the crowd while fading into the shadows. The harder he works to push hip-hop into places it hasn’t previously been, the less his presence is noted, or required.
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(Pet Handbooks)
Owners of this assertive breed are advised on the importance of rigorous but humane obedience training. All other aspects of purchase, health care, feeding, and housing are discussed in detail. Titles in Barron's popular Pet Handbooks series instruct pet owners on health care, proper feeding and housing, and other facts important to owners and their pets.
Published April 1st 2000 by B.E.S. Publishing
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Jun 08, 2008Joe rated it really liked it
There's nothing surprising - good or bad - about this handbook. It's clearly written and sprinkled with great photos and illustrations. Handbooklightly covers breed basics - history, selection, feeding, training etcetera. Expect to read more than one inexpensive, introductory text if you want intermediate or advanced knowledge of APBTs - or any other pet. One notable thing I like about this book is its repeated emphasis on responsible APBT ownership - 100% warranted. It doesn't matter what you o...more
APBT lovers and owners must read!
The Pitbull Training Handbook
I read some of it while still in Barnes and Noble; I figured since I'm in love with pits, why not read everything I can get my hands on that makes sense?
shannon scheuneman rated it it was amazing Oct 08, 2015
Heather Bennett rated it really liked it Dec 22, 2012
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