Oxnard review — knotty rapper weaves grit and glee Posted on by Jessica Harington Anderson. The onset of G-funk in the 90s channeled the whining synthesizer experiments of Zapp and Parliament Funkadelic into something sepulchral and nihilistic and, in doing so, defined parameters for L. And now, you can hear Parliament-by-way-of-Dr.
The album weaves together personal narratives with political thought on issues from colorism to the commodification of musicians. The genre is once again brazenly political. In the past six months, rappers have released a plethora of songs advocating political change. Rather than becoming mired in the tropes of violence, drugs and misogyny for which commercialized hip-hop is often criticized, the two artists rail against them.
Indeed, the role of rapper as social critic goes back decades, to the very foundation of hip-hop.
Some people trace its roots to the rhyming games that earlier African-Americans used to resist slavery and other systems of oppression. This form of creative resistance itself originated in the oral tradition of West Africa, where storytellers called griots were responsible for entertaining and for maintaining tribal and family histories.
Whether or not it was a direct descendant of these traditions, rap rose to prominence in the South Bronx during the s in an environment of social and political oppression. This was the era of Reaganomics, of deindustrialization, and of the racialized urban ghetto.
The predominantly African-American South Bronx, like many other urban neighborhoods across the country, was ravaged by crime and unemployment, along with many other forms of deprivation. Many early rap songs coming out of the South Bronx addressed this desperation, and hip-hop culture quickly spread to other urban communities under similar conditions.
Cultural critics claim that white record label executives, as they signed hip-hop artists, altered their product to appeal to a wider market, and in doing so stripped hip-hop of its political power. Cole and Kendrick Lamar have managed to bridge these two separate worlds, much like other exceptional rappers in the past.
Tupac is exalted as a model of the politically-conscious, commercially successful rapper. In recent years, artists like Kanye West, Lauryn Hill, and Talib Kweli have all enjoyed financial success while speaking out against social and political issues afflicting African-Americans.
He should be an example and a savior to the young black people who listen to his music. Although vastly popular activist rappers like Lamar are rare, they have historically risen to the occasion during moments of desperation for communities of color. The recent focus on racial divisions in light of Ferguson is a logical continuation of this tradition.
The politically-charged album decried poor conditions in the ghettoes of the South Bronx. Since the death of Michael Brown last August and the subsequent protests of his death, the United States has been forced to examine the human rights crisis of police brutality.
It is no surprise that rappers, figures with a history of political activism, are responding to this moment of necessity with political music.
Coles and Kendrick Lamars of the world are unique because they possess not only the awareness of political scientists, but also the widespread appeal of pop stars.
In using their popularity to decry racist policing, they prompt millions of listeners to examine political issues.
They take ideas often confined to underground circles and present them to a huge body of listeners hungry for change.Berlin and Vancouver are obvious hot spots right now (and that's reflected in the mix), but there are developing scenes in Atlanta, D.C., Melbourne, Glasgow, Cairo and Tokyo that are generating.
() While Kendrick Lamar was building his legacy as an album architect over the past four years, he was also establishing himself as a performer with seemingly timeless performances at award. Album Review: Kendrick Lamar, DAMN. April 14, Edward Bowser album reviews, Kendrick Lamar, music 0.
DAMN, Kendrick’s fourth studio album is similar to – yet sometimes nothing like – his previous albums. As you’d expect, K. Dot takes a deep psychic dive into black culture and society at large. Nov 25, · On Oxnard, Paaks follow-up to his breakthrough Malibu, the rapping, singing, and drumming polymath approaches funk from a rap perspective.
When Paak allows himself to be instinctive and loose, Oxnard blends these influences with a comforting ease. Search the history of over billion web pages on the Internet. Six years after Kendrick Lamar’s released his mad (literally) studio album, Good kid, m.A.A.d.
city, the album continues to make history. Billboard has revealed that the hip-hop album still sits in its Billboard charts. Standing at number , what this translates to is weeks on the chart.