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National Features >
Broward-Palm Beach New Times
The Agent from Iran
How a mother of two ended up in a plot to smuggle high-tech gear to the enemy.
By Deirdra Funcheon
Westword
Murder By Design
In life and death, tattoo artist Kauri Tiyme made her mark.
By Alan Prendergast
Village Voice
My Brother the Slumlord
Amy Neustein never could resist going public with her family dramas.
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The Ghosts of Galveston
A visit with the hurricane victims that a country forgot.
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G-Unit
T.O.S.: Terminate on Sight (G-Unit)
By Michael Roberts
Published on August 06, 2008 at 12:02pm
Like corrupt politicians and David Hasselhoff, gangsta rap isn't going away—but the played-out quality of T.O.S. suggests that it's headed for an extended stretch on the down-low.
Five years ago, the smashing aggressiveness of "Straight Outta Southside" would have offset its lack of originality. Now, though, redundant imagery of the sort employed by 50 Cent, Lloyd Banks and Tony Yayo (assisted by Young Buck) feels tedious, like a police drama in its 12th season that should have been canceled years ago.
G-Unit's members don't seem interested in updating their stereotypically doomy sound; semi-twists such as the vocoder-heavy "Rider Pt. 2" come across as half-assed and obligatory. One cut claims that the "Party Ain't Over," and it's probably not. But the refreshments are running short and the DJ's asleep.
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