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rap

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What’s The Beef With Rap and Hip Hop?

by Briana Tracy 11/03/2015
written by Briana Tracy

Photo by Scott Williams via Flickr

 

Raise your hand if you like rap and hip-hop?  If you’re like me you enjoy listening to both genres and when given the chance will blast Jay-Z or Kendrick Lamar. Within the last year I have noticed that rap and hip hop music has put a large spotlight on the Black community but given it’s content I’m not sure that’s a good thing.

Earlier this year Big Sean released his hit “I Don’t F— With You” featuring E-40. While it does have a great beat when you listen to the lyrics the content is questionable. The way he goes about depicting some Black men’s attitude after breaking up with their woman is heartbreaking. Now I’m not saying that Big Sean himself is a woman hater but the song could have expressed how he felt without using the word “b-tch” so many times.

In the 1980s, 90s, and even early 2000s rap and hip-hop was used to speak out on the struggles that the Black community faced like the fight against drugs and gun violence. While these problems are still prevalent in the Black community today, not many artists choose to use their platform to talk about these issues and their consequences. O.T. Genasis’ “I’m in Love With the CoCo” is an example of the glorification of drug usage and the disregard of authorities. In the video he is seen making “CoCo”, or cocaine with no worries of being caught as he quips “I’m in love with the coco/ I got it for the low, low” and “Heard the feds takin’ photos/ I know nothin’, f-ck the popo.”

Photo by Mike Licht, Notions Capital via flickr

Photo by Mike Licht, Notions Capital via flickr

Music in the last couple of years has also focused more on putting Black women down and objectifying them despite the fact that Black women already struggle to prove that they are more than what they are portrayed as in the media. The lyrics to Chris Brown’s “Loyal” explicitly call women out of their names and accuse them of being unfaithful saying “Oh these hoes ain’t loyal.” He then goes on to say how he can make a girl rich, but at the same time does not want to mess with them if they are broke. How are Black women supposed to overcome negative stereotypes about themselves with songs like these coming from Black males?

The Black community already struggles with obstacles from the outside that are meant to keep us down and impede our success and happiness. Kendrick Lamar addresses these problems in his latest album “To Pimp a Butterfly.” The album brings to light issues being ignored and overlooked in the community as he tries to draw people’s attention to it through his rhymes.

Now, I don’t want it to seem like I am only going after male rap and hip-hop artists because there are female artists who do the same thing in their music. Nicki Minaj, for example, is talented and has made a name for herself in the industry. However she repeatedly draws attention to two areas of Black women that are continuously hypersexualized: their breast and butt. Having a big butt and breasts seems to be adapted as characteristic of the Black female body despite the fact that this does not apply to all.

Music is a way of expression and I  understand that. It can be used to get a message across but often becomes representative of a community and influences how others perceive individuals who are a part of that community. Rap and hip-hop are a big component of the Black community and we should be careful of the images that our music puts out there. Not all Black people are like the ones we hear about in our favorite songs.

11/03/2015 0 comments
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Archive

Kendrick Lamar Leaves Grammys Empty-Handed

by 01/29/2014
written by

kendrick-lamar

This past Sunday, the 56th Annual Grammy Awards caused quite a stir for rapper Kendrick Lamar, who was nominated for seven Grammys, but won not one. Most shockingly, he lost to Macklemore and Ryan Lewis for Best Rap Album.  Macklemore and Ryan Lewis’ The Heist not only beat Kendrick’s Good Kid, M.A.A.D City, but also Jay Z’s Magna Carter… Holy Grail, Drake’s Nothing Was the Same, and Kanye’s Yeezus.

However, as it was a surprise to many that Kendrick Lamar did not win in any category, a debate sparked in the music world on the perpetual pattern of Black musicians’ lack of recognition.

Yet, Macklemore expressed through Instagram his reaction to winning Best Rap Album:

Source: Macklemore's Instagram

Source: Macklemore’s Instagram

“You got robbed.  I wanted you to win.  You should have.  It’s weird and sucks that I robbed you.  I was gonna say that during the speech.  Then the music started playing during my speech and I froze.  Anyway, you know what it is.  Congrats on this year and your music.  Appreciate you as an artist and as a friend.  Much love”

Also, along with the Instagram post Macklemore addressed in his caption:

Source: Macklemore's Instagram

Source: Macklemore’s Instagram

“My text to Kendrick after the show.   He deserved best rap album… I’m honored and completely blown away to win anything much less 4 Grammys.  But in that category, he should have won IMO.  And that’s taking nothing away from The Heist.  Just giving GKMC it’s proper respect.. With that being said, thank you to the fans.  You’re the reason we were on that stage tonight.  And to play Same Love on that platform was a career highlight.  The greatest honor of all.  That’s what this is about. Progress and art.  Thank you. #grammys”

Although, the fans can be thankful for Macklemore’s acknowledgement that he did not deserve the award, the big question is why wasn’t Kendrick awarded for any nominations?

One may argue that it has nothing to do with race or ethnicity. However, this calls into question the many other Black musicians, throughout the history of the Grammys, who also did not win the Award.  For example, Run-DMC, Tupac, Nas, Mos Def., The Notorious B.I.G., and Snoop Dogg (now known as Snoop Lion) fall under the “Never Won a Grammy” category.

Instead of a Grammy in a specific music based category, artist of color such as Bob Marley, Chuck Berry, Jimmy Hendrix, and Diana Ross have won the Grammy Life Time Achievement Award.

Is the Lifetime Achievement Award the category for prominent musicians whose race and ethnicity once got in the way of acknowledging their significant contribution to the music industry?  Taken into account that certain categories were not in place during the career of some of the musicians such as Best Rap Album, which did not become an official category until 1996.  But what about the many other categories such as Album of the Year, Best New Artist, Record of the Year, or even Best Dance Recording? Although music seems to progress, the music industry and its idea of “progress” is still at a standstill.

To the public, the number of Grammys a musician has defines his or her quality as a musician, and in Kendrick Lamar’s case his quality as a rapper.  Yet, when a musician wins zero out of seven awards centered around or connected to the Hip-Hop genre, what is the excuse?  What is the basis of the judging system in deciding who wins Grammy Awards and who doesn’t? Do Black musicians pressure and question the voting system, or do they let the music speak for itself?

 

01/29/2014 133 comments
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Archive

Album Review: Pusha T – My Name is My Name

by 10/15/2013
written by

album cover

“My Name is my Name” is the long awaited debut album by Pusha-T (Terrace Thorton), the latest member on the G.O.O.D. music roster to receive Kanye West’s ardent blessing (made evident by the impassioned drunken rant at Pusha’s release party). But Kanye’s enthusiasm is understandable if you paid any attention to his work with his brother Malice with the hip-hop group The Clipse, who released two of the most memorable hip-hop albums of the last decade, most notably 2006’s Hell Hath No Fury. Pusha-T and Malice combined callous coke dealing imagery with intelligent-but-gritty lyrics over sonically progressive production (courtesy of the Neptunes) that caused many to draw comparisons to New York’s Mobb Deep in the 90s. And with Pusha-T undoubtedly being the star of the group, thanks to his attention stealing verses and signature smugness, the hype-machine has been at an all-time high for this release.

 The album starts out strong with one of the album’s main singles, “King Push”, at the helm. A certified banger that features stellar production by Kanye West, who handled most of the album’s production, has Pusha spitting some of the finest brag rap to be on an intro track and has him proclaiming to be rap royalty. The two following tracks “Numbers on the Board” and “Sweet Serenade” are also pre-released singles and are also great in their own right. The disjointed minimalistic beat and witty rhymes on “Numbers” makes it one of the best rap songs of 2013. “Sweet Serenade” features Chris Brown for an alluring hook and gloomy production for a solid radio track. “Hold On,” is the conscious motivational track, and features Kanye doing some of his best auto-tune work since “808’s and Heartbreaks” throughout a majority of the track. Rick Ross also delivers another one of his standout guest verses going bar for bar with Pusha on “Hold on”. “Suicide” features some Clipse-sounding production courtesy of Pharrell Williams that is probably included to appease older fans, and a verse from Ab-liva, a Re-Up Gang familiar. The next three tracks are sadly rather un-inspired filler tracks that don’t particularly stand out, especially “40 Acres,” that for some reason has a beat that is completely dimmed out for the verses. Thankfully things start to pick up around “Who I Am,” which is another stellar single featuring great verses from G.O.O.D. music signees 2-Chainz & Big Sean and another killer minimalist beat from Kanye. “Nosetalgia” is another standout track featuring vicious spitting from both Pusha and Kendrick Lamar, no chorus just raps. And then album finishes nicely with “Pain” and “S.N.I.T.C.H.”, which are both decent songs but may still leave more to desired as these songs would have probably been more suited towards the middle, while having the album end on stronger note.

This is a definitely an album that relies heavily on features, which may be troubling to those who were expecting a more epic debut from Push. But besides some consistency issues in the middle section, it is a solid outing with plenty of decent cuts. It may not be the next-level hip-hop some were expecting, or even compare to some of his older material with the Clipse, but it’s solid.

Rating: 8/10

Author: Rasheed Tulay

Nommo Staff 

 

 

10/15/2013 28 comments
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