As someone who is sort of a rap fanatic, I have been frightened, thrilled, upset, and most of all confused of what the rap genre is becoming in this day and age. With media darling Kendrick Lamar garnering heaps of attention and awards with his newest project "DAMN." (the latest being the Pulitzer award), it seems rap music has reached new heights in terms of popularity. Perhaps Lamar's success can be attributed to the media finally recognizing that hip-hop is quickly becoming a dominant, unstoppable force. In short, it seems like Lamar is the sexy pick for anyone handing outwards, and rightfully so. Lamar's discography is unique, thought-provoking, brilliant, and his music almost stands alone in the genre.
But there are some like me who always take a sudden acceptance with a grain of salt. I remain very appreciative of Lamar breaking new ground, and I am proud that rap music--often called destructive and violent for so long--is garnering positive attention. Sometimes I feel that Lamar's ascension into poster child status is giving some groups an opportunity to use his popularity and success to place attention onto themselves. Ismail Muhammad of Slate writes "the recognition feels belated, even opportunistic." He also invokes Doreen St. Félix's argument, that "[the] prize does more to bolster the Pulitzers’ credibility than hip-hop’s." Such arguments are valid, as it seems like the undying love for Beyoncé--who recently stole the show at Coachella this year--and Lamar these days are doing wonders for their popularity and little for the genre as a whole. Will the love for the genres of R&B and rap continue when Beyoncé and Lamar are not releasing new albums or touring? For me, it seems that mainstream white audiences and publications loved DAMN due to it being an album that has "vignettes capturing the complexity of modern African-American life," which is what the Pulitzer's described it as. As Muhammad notes in his piece, DAMN., while containing moments critical of race relations in the US, it is more about the individual rather than a broad critique of how or what it is to be black in America. I consumed and accepted the album as it being a man's journey as he battles conflict within himself, dealing with his Feelings (FEEL), love (LOVE), pride (PRIDE), fear (FEAR), humility (HUMBLE), and finally battling with religion and God and the truth that he is a true Isrealite (GOD and BLOOD). It seems to me that if the board who awarded Lamar the prize had actually looked at the tracklist they would not have offered the bland, generic summary they did. In laymans terms their summary says that since Lamar is black, then his album must be about black life in America. If anything, the recent developments in the media are generating stimulating conversation. It will be very interesting to see where rap goes from here in terms of media reception, but as Muhammad points out "we shouldn’t base hip-hop’s cultural legitimacy on their (media) praise or evaluate it according to their criteria. If we do, we risk losing sight of the sonic and lyrical innovation that is the genre’s hallmark." I now turn my attention to another, more perplexing trend in rap music that I have taken notice of. With the recent release of J.Cole's new album "KOD"--which Cole says has three meanings "King Overdosed, Kill Our Demons, and Kids on Drugs"--I find it necessary to gauge the temperature of the reception of the album, versus the trend of trap rap. When J.Cole's album released, a friend of mine said on Snapchat that Cole's album was "trash." I was very perplexed by his statement. I didn't get angry, though. As a J.Cole fan I felt obligated to defend one of my favorite artists. But I didn't. The only question I had in my head, is "what kind of music do you listen to?" I also asked close friends of mine of their opinion, and one young woman whom I attended high school with said she loved it. When I told her of someone calling the album trash, she respond "his intellect must be trash." This debate, though, convicted me to examine what makes trendy rap fun, versus why J. Cole's music has been called "boring," and also why also examining what KOD means for me and the larger implications it has on the genre. Listen to KOD here: open.spotify.com/album/4Wv5UAieM1LDEYVq5WmqDd When I started diving into what was trending on YouTube, Complex Magazine, what i recently listened to, and the XXL Magazine Freshman Lists, I quickly discovered that there was an influx of "Lil'" rappers that have flooded the mainstream. These "Lil' rappers, such as Lil' Xan, Lil' Skies, Lil' Yachty, Lil' Uzi Vert--whom I love--Lil' Pump, Lil' Peep (now deceased), and Lil' Windex (yes, there is a lil' windex), have all to some degree--and some more than others--glorified drug use. There are also other rappers without the moniker "lil" that also invoke drugs, violence, and other vices such as Tekashi69, Smokepurpp, YBN Nahmir, and Trill Sammy. Most of them have a plethora of tattoos, dread locks and colorful hair. When I listen to their music, save for Lil' Uzi Vert and Lil Yachty who are probably the most distinct of the entire group, it honestly saddens me. I am disappointed by the lack of lyrical ability, how much they insist on being under the influence, and most of all, how popular it is. Some rappers have even said that they aren't with "that lyrical sh*t." The rappers combined have millions upon millions of views and streams on YouTube and Spotify. Their comeuppance is undeniable. Many young teens are drawn to their music as the generation seems hellbent on rebelling against traditional values. The ambiance of their music lends itself to fast money, popping pills and living a fast lifestyle. Lil Xan's name for example, is a play off Xanax. Lil Xan' says in multiple interviews that he was addicted to Xanax for years. He raps in "Betrayed": "Xans gon' fake you Xans gon' betray you Xans gon' take you Xans gon' betray you Xans gon' take you Xans gon' take you" As you can see by the lyrics, the subject matter is extremely simple. He raps about selling his soul for a "good price," orgies with women, and other vulgarities. Mind you, this is the same rapper that called Tupac's music "boring" in an interview. Rappers Lil' Pump and Smokepurpp, also teased a song called "F*ck J.Cole." So, not only are these new rappers praising drug usage at an alarming rate, they are also disrespecting the generation that came before them. But, there is a shining light in the clouds for some of the newer rappers though. Lil' Xan has now changed his name to Diego and detracted his statements about Tupac, and rapper 21 Savage has claimed that he will stop wearing jewelry in order to focus on real estate and other business endeavors. It would be easy for me to condemn their music as stupid, irrational, or overly aggressive in lyricism, but there is a reason why their music is popular. Young teens feel a connection to their lyrics because they are possibly disenchanted with sobriety because it is simply uncool, or they do not know how to deal with their personal problems. This new generation of rappers are not going without challenge though. Radio personality DJ Ebro said of Xan's comments on Tupac that "certain things in hip-hop are not tolerated." Other celebrities such as Michael Rapaport have also lashed out against him in profanity-filled tirades. But the most damning criticism of the "lil" rappers came from J.Cole in his 2016 single "Everybody Dies." He says: Bunch of words and ain't sayin' shit, I hate these rappers Especially the amateur eight week rappers Lil' whatever – just another short bus rapper Fake drug dealers turn tour bus trappers It seems that there is somewhat of a split that is going on in rap music. There are those who rebel against the minimalist approach of J.Cole's instrumentals compared to the uber-popular trap inspired, drum-heavy approach of artists like the ones listed above. The most glaring difference between J.Cole and newer rappers of the last three years or so, is that Cole's lyricism takes precedent over the actual sounds of the beat, where as younger artists lyrics are simple, but energetic. Please note that the following vidoes are NSFW (Not safe for work).
Cole continues his assault on the new generation of rappers on the last song of KOD called "1985." In my own interpretation of the song, I think he is addressing every modern rapper period who has pinned their fame on this social media trend. In short, he tells the rappers to never stop touring, because that's how rappers make the majority of their money, and to stop playing up to white people's stereotypes of rappers. He also says that they should save their money instead of buying fancy cars and jewelry. Basically, Cole dons the role of a big brother or father figure and lectures the young men on how they should conduct themselves. But, Cole's preaching is what turns the younger audience away from his music. In my experience as a church-goer, is that people usually do not want to hear what's wrong with them, or understand why the things they are doing is wrong. For preachers such as Joel Osteen who preach prosperity, sometimes I feel that Lamar can make generic songs, such as LOVE, or LOYALTY and have them be radio hits because of his outstanding ability. Lamar is a caterer; a brilliant one at that who never fails to please his listeners. DAMN. made me a fan, and I cannot wait to he releases his next album. Cole, however, has never pulled punches or spent a slot on album trying to get hit songs on the radio. What Kendrick does do better than Cole, however, is make songs that people want to hear. The last three albums that Cole has released contains NO features. He is the lone, singular voice on his projects. As a staunch Cole fan, I believe he has proved his point by going platinum TWICE (double platinum in the case of 2014 Forest Hills Drive) with no features. This criticism is shared by a plethora of people, as some are off-put by his constant preaching, his off-key singing, and his minimalist and jazz-influenced instrumentation on his albums.
While the negativity towards J.Cole is somewhat uncalled for in my opinion, his fan base is rabid, and loyal. They support him unequivocally, and his recent release has showed that J.Cole relates to Everyman maybe to a degree that Lamar doesn't. I have heard some say that Lamar represents a pantheon; his music is so otherworldly or a place that no one can really feel close to him. When some speak of Cole, you would have thought that he was the second coming of Christ himself, which is another reason why some do not like his music. KOD, however, has generated so much criticism--both positive and negative--that has made Cole a legend. He released the album five days ahead of its release date with no press and people flocked to it. He even broke the record for opening day streams on Spotify with the title track "KOD." The buzz that he generates whenever he releases a project ensures that he will always be a relevant force within the hip-hop community. KOD has received glowing reviews from hip-hop icons such Logic, Fabolous, as well as other celebrities such as NBA champion Kevin Durant, who says that Cole "was in [his] head." Broadly, KOD is Cole's attempt to parody the modern rapper by mocking the triplet flow that is prevalent in mainstream rap, but also condemn drug usage. Cole's proclamation to "meditate" instead of "medicate" drove some to anger, and others to praise. Yoh Phillips of DJ Booth says of KOD, "the man who made No Role Modelz made his most earnest attempt at being one." Alexis Petridis of The Guardian gave an albuma 4 out of 5 stars and states "J Cole casts himself as rap’s moral compass with this masterfully pared-back fifth album." There are others, though, who do not share their sentiment. Aaron Williams of Uproxx says that the album is "half-assed" in its critique on mumble rap, and also says he falls short of his critiques on drugs and modern culture. And then, in the most surprising turn, Williams blames Cole's fans for "holding him back." Personally, if one thing my education at Hendrix has taught me, was how to critique a critic. Williams does offer some good analysis, particularly when he says that Cole can sometimes "preach to the choir." But, it seems somewhat disingenuous of him--being that he is a hip-hop editor of a somewhat relevant magazine, or website--to take an album review and then criticize the artists fans. I have never, ever read an album review that had nothing good to say about any of the songs. When Williams does offer praise, he quickly diverts back to negativity. If anything, his review was half-assed. He also gives an off-hand statement that "hip-hop doesn't have a drug problem after all" and provides a vague source to compliment his statement. I mean, has he listened to new rappers at all? If anything, it seems he includes the source just to go against Cole. With bad criticism now aside, I believe KOD is what I needed to hear, as well as what the younger generation needs to hear. I believe that the genre now is almost too casual in its invocation of drugs. We should aspire to Kill Our Demons and face our most horrifying moments in our lives. As a person who has sought out counseling for traumatic instances in my life, this album is exactly what the culture needs. Cole doesn't promise that the road to recovery would be easy, nor does he say that he had all the answers, but meditation is still (in some instances, not all) is better than turning to any form of a temporary high that can lead to addiction or sometimes even death. The tragic passing of Lil' Peep, Pimp C, and a plethora of other rappers can attributed to opioids and promethazine respectively. I am by no means attacking new rap. I enjoy some of it, but I desperately believe that there needs to be a balance in what is being played in the mainstream--which is mainly social media stars listed above, and conscious rap by artists like Cole, Lamar, Big KRIT, Wale, Joey BadA$$, and others. When I turn on the radio now to a rap station, there is only party music and glorification of a lifestyle that the average consumer cannot relate to. But, as Lamar, Beyonce, Cole, and other rappers successes have indicated, there is still plenty, plenty of hope.
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Christopher Partridge uses some phrasing that I find to be particularly helpful in explaining Romanticism and how popular music creates an "affective space." I personally define the affective space as a dimension to which ones feelings are. In this space, there is a variety of emotions and thoughts that exist, and popular music can bring those emotions out sometimes unexpectedly. Speaking on Romanticism, Partridge says it is a "retreat from the everyday, this immersion in that which is in some sense other than the everyday" (118). Partridge also invokes Wordsworth's description of the Romantic impulse, as "the spontaneous overflow of powerful feelings." In connecting this chapter of Partridge's chapter on Romanticism and our time spent listening to Jazz in class, I was reminded that l have always had a keen affection for jazz music. In high school, I spent three years in jazz band as a percussionist, playing primarily the drum set. I learned simple jazz and bossa nova grooves, as well as the lasting impact the genre had. My love for jazz followed me to college where I spent a year in Jazz Ensemble at Hendrix before I ultimately focused on Wind Ensemble material. Regardless, I feel that my experience with Jazz allowed me to discover emotion in music without the presence of words. Jazz accomplished what classical music could not do for me, which was engulf me in a feeling so overwhelming that my personal mood would change with the song regardless of how I was feeling at the time. No matter how happy, sad, or indifferent I was, jazz had this way through amazing instrumentation that could say what could not be said. There are some breathtaking moments in life where all of your passions come together. This recently happened for me when I bought LA Noire from GameStop not too long ago. The crime-action game follows a young war veteran as he transitions to detective within the LAPD. I was about to go and grab something from my bedroom when I heard the game's menu theme. At that point, I realized I did not need to play the rest of the game to know it would be one of my favorites. I listened to the opening theme for about ten minutes before I transitioned into playing. The music begins with what seems to be some vibraphone and piano chords with some brushes being used on the snare. After about thirty seconds of a contemplative intro, the trumpet lashes out over the song like a lone streak of lightning over a dark sky. The song immediately pulled me and I was overtaken with a strange feeling. It was like it was describing everything that I had subconsciously felt through the day. While I deal with my emotions pretty well--or at least I think I do--that trumpet and those keys just captivated me. There aren't a lot of songs that can immediately entice me such as the opening of the game did, but the feeling is something that I will truly remember. I was reminded of this "other" feeling that Partridge explicated on. I did not know what this "other" feeling was, other than that it was something I could not experience caught up in the sometimes monotonous trance of everyday activity.
In conjunction with some of our Rumi Tuesday events on R&B and rap, here are some Rap, R&B songs that would fit the bill of evoking intense, emotional arousal that arose in the Romanticism era.
The songs here can definitely provide a realm to which one's emotions can be at the forefront. They hit some of the major characteristics of Romanticism that Partridge expounds upon in The Lyre of Orpheus, such as nature, imagination, and melancholy. I end, however, by listing one more song that gives musical significance to Paul Marshall's invocation of All-Einheit, or all-unity, which he describes as the unity of the subject and object... in the creative act of perception. In "UNITY" raps about a more perfect world where he wants to lead the children while talking about social ills in his community. The chorus though, is what deeply romantic. He sings: "I be outside with the Sun in my eyes demons we face see the day and light looking for some change ran into some spite tryna stay afloat while you swim in high tides" It is a deeply imaginative song as he says that his problems are in no comparison to those that the Syrians are facing--which is a very fitting lyric in this current moment in time. Ultimately, the song is sort of a stream-of-conscious attempt of achieving a whole, put together self while in his own world. Christopher Partidge defines the term "transgression" as "the act of stepping across a boundary." He goes on to say that in Western traditions it has also mean to trespass, or break some law against the sacred. As a church-goer throughout most of my life, I have seen the lines between sacred and secular skated upon quite a bit. My first experience with transgressions in a church setting came as an adolescent, around the age of 8 or 9. At the time, Usher released his extremely popular album "Confessions." His hit song "Confessions Part II," had achieved mainstream success on the Billboard charts and was consistently played on the radio. The church I attended with my grandparents in small town Arkansas had extremely talented musicians, and after church sometimes when people were busy greeting one another, our musicians--comprised of uber-talented high schoolers--would play secular music. Of course, the elders did not know "what" was being played, other than that it sounded decent. It gave them no reason to complain. Younger adults, though, would always cast slight glances and give wry smiles as they walked towards the exit. It was more like "if I you don't say anything I won't either" type deal. The instrumental to Usher's song is simple as its just a F-Minor scale on piano, with a drum and string sample; but, the song's subject matter made it a no-no to play in a church setting. In "Confession Part II," Usher sings about getting his mistress pregnant and wondering what to do about the situation. In short, the musicians got away with their shenanigans for about three Sundays. I think I remember the young men getting verbally chastised for their performances of the secular songs during a church service, but at the time, their secular songs in such a sacred space felt like a dirty, yet blissful secret. Personal experiences aside, some popular music looks to explore these boundaries to express feelings and emotions that cannot always be expressed in a sacred setting. Understandably, many artists get disenchanted by the traditional, highly formalized ways of religious expression. Via music, artists have a way of directly challenging institutional religion.
Ultimately, the listed songs would go against traditional religion of any sort. These "devil songs" as described on page 77, are in fact "taboo." Most popular musicians steer clear from outright denouncing religion, but there are in fact, times where musicians make songs that are thought-provoking. At minimum, these songs have made me question my faith by either challenging it, or by reaffirming my own belief.
Rhythm and Blues has undergone many changes since its inception in the 1940's. The genre was composed largely of black artists and geared towards a black audience. Socially, the blues was a way for black people to express love, dissatisfaction, and address the civil injustices they experienced. My partner, Derrick King, will be touching on some early songs that laid the foundation for the musical genre. So, my task is to analyze the spiritual and social significance of modern R&B. The evolution of the genre probably had its most poignant shift in the nineties. During this era, group R&B sensations such as New Edition, TLC, BBD (Bell, Bev, Devoe), Xscape, Boyz II Men, and so forth. This decade was rich and bursting with young talent who captured the youth movement in music. From a production standpoint, music in the nineties leaned towards a slick, pop-ish, rhythmic sound but they still paid attention to the spirit of early blues influences. The artists tasks were to lay down silky, smooth vocals to created a pioneering sound that is still prevalent today. Derrick has mentioned his love for 90's R&B at the end of his section on early blues music, and the songs he listed were a great indicator of what the music then sounded like. Here, you will see some iconic album artwork that defined primarily the 90's but there is some more recent artwork. Since Derrick has offered us a few songs that came from the nineties I won't rehash any music from that era. Instead, I'll focus on some music that is popular today, and in the last fifteen to twenty years or so. Love. Pain. & Longing.H.E.R.'s music is so thought-provoking being that she does the R&B genre justice. On "Focus" she sings about regaining the attention of her lover. She fights with herself on how much attention he should give her because he maintains and takes care of the household. In our Religion and Pop music course we have talked about the individual aspect of romanticism, or wanting something that you think is special to you. H.E.R's music is indicative of wanting or desiring a true love experience. From a lyrical standpoint, her music represents in my opinion a purer form of the love-song without the overindulgence in lust (which she still sings about in some of her songs). So, let's get back to the social significance of R&B. In "Cranes in the Sky," Solange says how she deals with being a black woman in America. In response to the mental trauma she experiences due to her race, as well as the many injustices that have happened across America, she says: "I tried to drink it away I tried to put one in the air I tried to dance it away I tried to change it with my hair" Such criticism stems from how early rhythm and blues confronted the trials and tribulations that the spirit deals with. Here, she doesn't turn to religion, rather she goes to liquor, weed, or changing her physical appearance to cope with her issues. In class, we also talked about rock, blues, and rap have been called "devil music." While this song doesn't necessarily have satanic influences, many elders who grew up with church would condemn her turning to mind altering substances to deal with personal issues. But at the heart of R&B, is the acceptance of the person and confronting life's challenges head on. For those younger individuals who cannot find peace in church or a religion, Solange's "Cranes In The Sky" represents how black women in particular deal with the stress of everyday life. J.Cole's "Be Free" performed on David Letterman is such a poignant song that looks at the injustices that have taken place as recently as last week. While J.Cole is a rapper, I classify "Be Free" as rhythm and blues due to the instrumentation and his social critique. While he does add a verse in which he raps, the song is largely about the race relations between the police and black men, and how his friends struggle to make ends meet. There is such pain in Cole's voice, and it reminds me of what I heard as a child when my parents played R&B legends such as Marvin Gaye or Bobby Womack. Lasting 90's Influences and the rap/R&b Crossover Songs
Christopher Partridge's The Lyre of Orpheus is a very challenging book. In it, he confronts the way we look at popular music and how we engage with it. Chapter 2 focuses on emotion and meaning. Partridge brings up how music deals with the "affective space." This means that music deals with the individual and their social realm. Partridge also invokes Adorno's claim that music has "everyday significance." I really like Adorno's statement. As a young adult, I gravitate music that reminds me of what I see or experience on a daily basis. Primarily, my music tastes do not deviate from what I felt like I have been through or what people close to me have gone through. This blog post will focus on some music that has what Adorno calls "everyday significance" and will try to focus on different artists and genres. I never gave XXXTENTACION's music a chance (I will be using X for simplicity). I think what originally turned me off initially was how weird I thought his music was. I did the same thing that the generation before me did, and that was denounce a type of music without giving it a chance. X makes emotionally raw music. The song "SAD!" explores the feelings surrounding his experiences with depression, and could also be an ode to his friend Jocelyn Flores who committed suicide (and whom he also named a track after). The lyrics are deeply haunting: "I gave her everything She took my heart and left me lonely I think broken heart's contagious I won't fix, I'd rather weep I'm lost then I'm found But it's torture bein' in love I love when you're around But I fuckin' hate when you leave" X is no stranger to making music that deals with the deepest, most unsaid feelings. His music has grown on me, and I look forward to seeing what he brings forth in the future.
Overall, Partridge's offering that music can "restructure our perception of time" is an important one. Music can make us feel the same way we did years ago and can incite a wide variety of emotions. I still feel an inescapable joy whenever I play Nelly's Nellyville album. The song "CG2" holds a special place in my heart due to the St. Lunatics fun they had on the track. The songs listed above have that everyday value that can uplift or make one ponder their lives.
In honor of Women's History Month, I am going to be examining some great singers and artists both past and present (and in some cases future) : Ann Powers of NPR states in her book Good Booty that the "women's world of gospel was not a separate sphere; it could complement or overcome male domination as necessary. It was a family realm...and its maternal feeling was expansive and erotically charged." Growing up in a COGIC (Church of God in Christ), I really feel this quote to be true. There have been many times in the patriarchal COGIC Church were women took over the services with their irresistible charisma and passion. In my experience, I got tired of the dogmatic, brow-beating black preachers sometimes. When women took the mic, it quite frankly provided me with relief. Shirley Caesar will forever be my rock star; she is a bomb of energy, vigor, and zeal. When I was growing up, I would emulate the spiritual dances of the elders and mothers of the church when they caught the Holy Ghost. Shirley Caesar's voice was often my soundtrack and go to singer for this act. Regardless, Caesar, with her raspy cries and strong voice controlled the crowd with a vise-like grip. She was always an immaculate dresser as shown by the video. With her shimmering black jacket, Caesar captures the audience with a rock-esque performance. She captures you with her shrills, hypnotizes you with her footwork and dancing, and before long, she has you dancing as well. I also see Caesar's work here as an encounter with the numinous. She is completely immersed in the music which is a tool for her encounter with the Holy Spirit. The audience is taken into this realm as well, as shown by their shouting and singing. Ann Powers adds that "when gospel made the erotic divine, popular music's room was wrecked and made ready for...innovations of rock and soul." Study the video at the six minute mark, and you'll see Caesar in full swing. She starts her dance, and over the span of two minutes, she has people rushing towards the altar. To me, that is pure Rock N' Roll.
Concluding thoughts:I love how Ann Powers identifies the power that gospel had in molding rock and soul. She says of gospel: "its deepest contribution was the conviction that the soul's erotic fulfillment is a matter of life and death... The mothers and queens who demonstrated longing and satisfaction through their performances... showed how yearning and devotion could become even stronger when shared." While the women featured in this post all have different sounds and vibes pertaining to their music, they are influenced by the yearning, fulfilling element of the gospel genre. Below are some videos highlighting the women above, and other offerings by women who are making great music.
This Monday, we discussed how eroticism can manifest in music. Our conversation arises from Ann Powers' (NPR) book Good Booty. Powers proposes that "being who you are is inherently sexual." And this notion has manifested in our music. From jazz music, to Rock N' Roll, sexual undertones have always existed. But, eroticism does not have to explicitly mean sexual intercourse. We watched a video of a group of African-American women performing in a ring shout. They were dancing in a way that was largely celebratory: they were enjoying life and dancing in a manner that mostly involved their hips. We spoke for a while on if their movements could be considered sexual or erotic. It was interesting to see how in our society we automatically associate eroticism with sexual intercourse. I was challenged in a way, to think outside of that box that I subconsciously placed myself in. I was particularly aided by Audre Lorde's offering that "eroticism is, in essence, both sensual and sacred, self-fulfilling and interpersonal. Spirit plays a central role in meaningful desire, though it need not be named “god."" I wanted to focus on some music that focused on "somebodiness." More specifically, music that focuses on self-love and interpersonal dealings that define our personal essence. But, I was also interested in the spiritual erotic not always being happy. It also allots for one's mind to be challenged. To me, this means exploring one's injured mind and attempting to repair. Like the numinous, I believe that this type of deep exploration of the mind may not be particularly healthy. In this post, I will try my best to explore some music that looks at the good and bad of this spiritual eroticism. Sabrina Claudio's "Confidently Lost" is a proclamation of independence and freedom. It is the accepting of any uncertainty that exists in one's life. In short, it is a love song about yourself. Claudio sings: "I'm alone but I'm not lonely/ Comfortably indulging/ And trying to get to know me" When I thought of the definition provided by Lorde, I immediately thought of this song. The visual enhances the music in a way that we see Claudio randomly going about her day in her home. She writhes around the floor in a way that is provocative and boisterous which immediately reminded me of the ring shout video. I like this song and video because sometimes we may turn to other people or relationships for confirmation. Claudio debunks this notion, saying that you "don't define me." Overall, I love "Confidently Lost" because it is simplistic, beautiful, and wonderfully sung.
This week in class, I was pricked by our guest speaker Phillip Fletcher (founder of COHO, City of Hope Outreach) when he mentioned crises of faith. In short, he said that a crisis of faith can mean moments where your faith in a deity, yourself, or life is challenged. I was also interested in Dr. McDaniel's comments that music can be a place where one finds comfort, understanding and a renewing of their faith. The songs below have helped me question, affirm, and even challenge the way I thought about the world. I feel a spiritual connection to these songs being that they were with me in my most intimate moments.
Kanye West said that since he made Jesus Walks he "can't go to hell." "Jesus Walks" is a proclamation that Jesus walks with the prostitute, dope addict, and so forth. Jesus, according to the Bible, did walk among those deemed as undesirable in our time. The song seems to follow a theme in rap music that proclaims in short that Jesus' story is that of the gangsta' since God used people like Saul for the edifying of his kingdom. Part of the black experience in America is the constant questioning of one's surroundings. This song is blunt in the fact that Kanye is asking God to walk with him while he endures racism and institutionalized systems that prevent black people from achieving a higher status.
Phillip Fletcher's offering on the presence of rap music in a religious setting is a prevalent topic. I believe that rap music accomplishes what traditional church/religion does not do, and that is make the effort to connect with something that so readily pushes the rap genre away. Many musical artists find a way to navigate religion. They seek God in a space where they are most comfortable. I believe God finds them there. Since many preachers love to say that the "church is in you," I think that God comfrots the souls who are humbly seeking a better way in life. I was also encouraged by Fletcher's closing comments that crises of faith are a part of life. They help us to mature and find meaning through our struggles. Music, though, as Dr. McDaniel suggests, is not a bad companion to have on that road to self-discovery. Mainstream music today values instantaneous hits. Take for example DC rapper Wale being released from Atlantic Records. Wale, like J.Cole, Kendrick Lamar and others have pioneered the new generation of conscious rap music. However, Wale failed to garner the recognition and maintain the buzz that the latter artists achieved. I digress, this blog post will spend time highlighting rappers who do not glamorize that fast-paced, luxurious lifestyle that is often played on the radio. I enjoy every part of the rap culture, even the songs that do spend an inordinate, unnecessary amount of time rhyming about women, cars, and jewelry. This post will spend time recognizing the artists that speak on the negative consequences that arise from the choices they've made. In a time where any rapper with face tattoos and dreads can become a viral sensation, I have come to appreciate musical that analyzes the mind in work. More specifically, I appreciate rap music that comes forth only through intense reflection, questioning, curiosity and introspection. When Phillip Fletcher - our guest lecturer- came to our class, I appreciated his words that rap music is a constant critique. I think that is applicable in the case of introspective rap, being that the artists are critiquing themselves and the decisions that they have made.
NAV - a Toronto native -is not known for complex lyrics. He is simply honest, and truthful in what he feels, no matter how vain or shallow his songs may seem. "Myself" is NAV'S way of diving into his own mind. He says "when I'm sober I just don't like who I am." This is a very haunting, introspective lyric. Pressured to constantly maintain success, he realizes that he has become dependent on drugs to navigate his day-to-day routine. Near the end of the actual video pills rain down on a gloomy NAV, and in the background he croons "roll me up some dope and I feel like myself again."
I have always felt that music and images that we see are somewhat (not always) a representation of what is occurring within people's lives. With the death of Lil' Peep, Pimp C, and countless other rappers and everyday citizens due to substance abuse, I think its time that we start to pay attention to what people are sonically digesting as others no doubt experience the same thing that NAV sings/raps about. All in all, introspective rap is about examining the deepest depths of one's soul. It is about confrontation of ones self and realism, rather than hiding behind narcissistic imagery that is so prevalent in rap music now. Introspection, I believe, allows an artist's music to flourish and evolve. Take August Alsina for example, who has seemingly disappeared from the music industry due to the a variety of circumstances. His last offering This Thing Called Life was the last major project I have heard from him other than a couple of singles. Alsina's tracks on TTCL was his way of examining his life, the death of those closest to him, and the day-to-day problems he faces. Had it not been for that album I would not have gained closure in an important part of my own life. His music was key for me to explore the deaths of my own mind after the death of my own grandmother. That said, all forms of rap music should be recognized, but introspection in rap is almost criminally underrated. It's always been hard for me to not like a type of music. As a child I was drawn to instruments even when I couldn't play them. As a percussionist, I was always drawn to drumming and banging on things; but, my adulation would always be with those who had the passion, time, and dedication it took to become proficient at their respective instruments. Regardless, I believe my willingness to listen to any type of music without condemnation stems from an early and oft-forgotten time in my childhood. On the original XBOX, SEGA released a game called Jet Set Radio Future (JSRF). The game featured diverse, eclectic genres of music, ranging from rap, breakbeat, EDM, pop and disco, and so forth. As we've learned in class, EDM has garnered millions of fans. While the examples listed below are different from mainstream EDM now, I believe it would be accurate to say that these songs are what helped influence the culture of EDM today. All of the crucial elements are there: hi-hats, kick-drums, layering, synthesizers, simple melodies, and perhaps what the songs below are lacking is a definitive "drop" like we hear in EDM today. Basically, JSRF opened my virgin ears to the sounds of the world as the soundtrack was developed by Hideki Naganuma and Richard Jacques. If you are interested in learning more about the history of JSRF - which did get high reviews from IGN and other media outlets despite low mainstream success - and the music behind it, check out this awesome blog: http://segabits.com/blog/2015/04/30/the-music-of-jsrf-singing-a-tune-thats-both-unique-and-familiar/ For now, let the songs below take you as they did me. I just don't know how to explain the joy I felt playing the game and experiencing the sound track. It just...the music just...turns me on...
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Rem HarrisSr @ Hendrix College Music and Reviews |