I'm just glad you said Unfuckwithable.

— jay diamond on March 26, 2009

two cents on bad vs. good covers: arguably emily pushes boundary of what to expect from the tradition biggy helped to create, but this presumes that she's re-addressing what has come before instead of a) apeing/karaoke b) treating it like a novelty, a momentary crossing-over to a different history, to quickly step back afterwards into the genre/tradition she wades through normally. in that respect, is it tribute, or tourism? in wider terms, if someone of her stature out of the hip hop community covered the rolling stones or david bowie, many would have the same problem separating the performance from the novelty of the performer changing costume. yeah, there are both racial and gendered undertones to this hostility towards even attempting to cross these borders, (who cares? it's a fucking song), and i truly admire eva for jumping in and defending her against my merry clan of hip hop-lovin dudes: i think this back and forth is just a long-running conversation about 'equality' in musical license, and she's on the right side of the conversation. in the end, tho, i personally return to nick's thought... this cover fucking sucks massive cock.

— jeremy on March 14, 2009

now that we've been regulated... I'm curious. Eva, what to you makes this cover legitimate? Or any cover an important contribution to a song's continuing legacy?

— blake on March 14, 2009

I'm jumping in this BLOG BEEF!!! I think Wells has all the right in the world to cover a biggie song. I think anyone should be able to cover anyone's song, cuz who really cares? and blake, white people plus the internet does not destroy culture, it makes a whole new culture, which we both participate in, as evident in this site. But Eva, this cover fucking sucks massive cock. You have to admit it's awful. It's an epic failure, like the girl who forgot the words to the star spangled banner while singing it at that hockey game, and then fell down on the ice and ran backstage. I was less embarrassed watching that video than I was watching Emily Wells act a fool on this post. ANNNDDDD, whoever posted this video on youtube must feel the same way because they took it down! HAW!! Maybe Emily got tired of the countless negative comments, and not just from this site. www.somanyshrimp.com got her, too.

— nick graham on March 14, 2009

how do you know what personal connection is had/felt by Wells to Notorious B.I.G.? Do you have personal, first hand knowledge of Wells' life, childhood, upbringing? You're opinions regarding the quality of her music and vocals, are just that, opinions. To assume from one performance in one video that this person has no personal connection to this song, to the artist is presumptuous at best. To extrapolate from her performance and the color of her skin that she is part of your racist equation of the 'destruction of culture', is, in my opinion, ludicrous.

— Eva Darling on March 13, 2009

well Eva, unless Emily's intention was to mock Notorious B.I.G.'s message, a la Dynamite Hack covering "Boyz In The Hood," I would say personal connection. She merely made a portishead-light beat, and recited his lyrics verbatim in a Macy Gray goes brit voice. A cover such as this is amateur at best, since it lends nothing to new discovery to an already popular song. Instead its just some white girl stepping on a classic. basically the internet + white people = destruction of culture

— blake on March 13, 2009

JAY DIAMOND: please explain your comment under the Emily Wells "Juicy" video: "Glad to know the lesbian community has finally embraced CocoRosie". What are you not so subtly implying? I would like to be clear on exactly what you mean by this statement and just how this relates (or again, what you are implying about Emily Wells) prior to continuing any further action.

— Eva Darling on March 13, 2009

what in your esteemed opinion Blake grants one 'license' to cover a song?

— Eva Darling on March 13, 2009

its jokes. Emily Wells may be talented, but she's halfstepping if she thinks she has any license to cover "Juicy."

— blake on March 13, 2009

What do these statements/comments have to do with the inherently talented Emily Wells? Firstly, you comment on Francie Nolan's Brooklyn and Christopher Wallace's. Both grew up impoverished and as the fictional character's family had to scrape by on pennies, Francie continually struggled to achieve a better life for herself and her family despite all the pressures and struggles at home, as did Christopher Wallace. Fictional Francie did not enjoy lollipops from the candy shops in the pre World War 1 era novel; glocks and crack rocks did not exist. Also, JD, in a blog about Emily Wells, what exactly are you implying with your comment about the lesbian community finally embracing CocoRosie

— Eva Darling on March 13, 2009

God it's like 2 girls 1 cup, where you try and see how long you can watch before you turn it off in disgust and go vomit.

— Nick Grizzle on March 12, 2009

LAMEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE

— Nick Grizzle on March 12, 2009

At least she kept the original "World Trade" lyric later edited out.

— nate d on March 11, 2009

Glad to know the lesbian community has finally embraced CocoRosie

— jay diamond on March 11, 2009

Does this ring any bells: http://www.youtube.com/watch?v=34YV2Ads9Xk

— jay diamond on March 11, 2009

but if she was truly gangsta she would have kept the n-word (no nas)

— blake on March 11, 2009