Ihear2tones

[twotonevibes]

Drill’s Impact on the Rap Industry

“Baby Welcome to the Party”... What a hook? I’m not sure about the rest of the world but based on the reaction from the small Rutgers Newark community I could predict the trajectory for Brooklyn artist Pop Smoke. In  2019 Welcome to the Party emerged as the hit of the summer and probably the year, allowing Pop Smoke to take the hip-hop industry by storm. By the end of 2019 Pop Smoke had already dropped his hit song Dior, exposing the world to Brooklyn Drill Scene once again but this time he grabbed the attention of major powerhouse artists such as Quavo, 50 Cent, and Travis Scott. Due to his untimely death, Pop Smoke was unable to witness the insane amount of love people had for his music and his New York style. Here a link to Welcome to the Party https://youtu.be/usu0XY4QNB0

In the Summer of 2019, there were plenty of amazing and catchy summer hits to choose from but at every frat/sorority party or regular summer cookout vibe, Welcome to the Party took the cake as the littest song of the night that everyone was waiting for. Pop’s distinctive scruffy baritone voice attracted the ladies but the Brooklyn lango and drill topics attracted the attention of the men. An online blogger site, The Cultured Nerd reviews Meet the Woo Vol.1 and the author makes a striking statement detailing Pop’s voice. He refers to Pop’s style as, “ [a] murderous junkyard-dog energy that makes his music stand out” (https://theculturednerd.org). Of course Pop was talking street shit, however it appeared as a great party anthem notorious for causing excitement in the crowd. After Genius posted a youtube video featuring Pop Smoke describing his lyrics, one particular clip of the interview went viral on social media, drawing more attention to the single Welcome to the Party.

Drill music emerged as a subgenre in hip-hop that started in the early 2010’s in Chicago. Artists like Chief Keef, Lil Bibby, Lil Reese, Lil Durk, and most notably King Louie introduced the world to their sound, however messages about gang activity and gang violence caused the genre to be silenced by record labels and police authorities. At the time drill music came to prominence Chicago had been named the murder capital in the US, hence it only makes sense as to why drill music was always going to inherently contain themes of gun violence and drugs. When the scene was phased out in Chicago, drill music found a new home in the UK amongst rappers living in the Brixton community. Rap groups: 67, Harlem Spartans, and Skengdo & Am made drill music the face of the UK rap scene after 2016. The genre was then reintroduced to mainstream Hip-Hop in the US when producer 808melo collaborated with Pop Smoke to create Welcome to the Party. When drill music reached New York it revitalized the sound of east coast rappers and there were plenty of hungry artists eager to stake claim over the genre. Pop Smoke, Fivio Foreign, Sheff G, 22gz, and Sleepy Hollow were of the New York rappers who gained popularity talking about gang culture in New York but also putting on for Brooklyn and the Bronx. Ever so often we get major stars emerging from New York, but these artists were apart of a larger movement and it's still too early in their history to codify specific impacts their movement has made on the industry. The forerunners Pop Smoke and Fivio Foreign drew attention to New York with their songs Welcome to the Party and Fivio’s Big Drip, another big hit for 2019. Here’s a Chicago Drill classic that gives some context to what themes recurring in Drill Music. 

After the release of Dior, another single released from his debut mixtape Meet the Woo, Pop gained attention from 50 Cent. The song PTSD poses a strong resemblance to the voice of 50 Cent, which consequently led the pair to meeting. As mentioned earlier Quavo and Travis Scott collaborated with Pop to produce his second mixtape Meet the Woo 2.A Pitchfork review of Meet the Woo 2 by Reed Jackson writes, “but Pop’s lyrics aren’t built for close inspection; they work best hurling out of a big speaker system”. Jackson is accurate when he describes how Pop Smokes charisma and illustrious status compensates for his simple and lackluster lyrics. As a 20 year old emerging rapper, Pop's lyrics weren’t the greatest, however his ability to shake a crowd was more important.

After Pop’s tragic murder rapper 50 Cent took the initiative to get all Pop’s unfinished music cleared so they could create Pop’s Shoot for the Stars, Aim for the Moon. All three powerhouses saw tremendous talent in Pop and wanted to spread his legacy globally. Of course Shoot for the Moon, Aim for the Stars included several different music styles including drill, however the drill sound didn’t dominate the sound of the album, it was simply the phenomenon that stratified New York rappers and drill rappers into mainstream hip-hop. Pop smoke represented Canarsie, Brooklyn and New York until his passing. The culture of New York and drill music was reintroduced into the Hip-Hip scene because of Pop Smoke and 808melo’s vision. The success of Shoot for the Starz, Aim for the moon was widely celebrated in commerated not only in Canarsie and Brooklyn but around the world.

Can I get Woooooooo?!?

[twotonevibes]

How Steve Lacy Surmounted Beginners Luck ...

We can’t discuss Steve Lacy without The Internet, because without the Internet would there be a Steve Lacy...? On second thought, yes! Steve Lacy’s journey to becoming a full-time musician and producer seemed effortless, almost even inevitable. Imagine being 15 years old and you are inducted into an r&b/ hip-hop band simply because you’re a guitarist and you can make a beat or two? Then to make this dream even more bizarre you are going to produce a significant portion of an album using beats you created on GarageBand.

Before we get to Steve Lacy’s independent albums we have to start with The Internet.

At fifteen years old, Lacy met future bandmate, Jameel Bruner, at a school they attended together and eventually Bruner began to invite Lacy to studio sessions with Syd, The Internet’s lead vocalist. The group began to use the beats Steve Lacy made off his iphone and added live instruments to make the album a more cohesive project. In an interview with Mikey Alfred from the Green Label, Lacy explains how he connects his guitar to his phone using an adapter piece called the IRig. The IRig tool allows Lacy to play the guitar over drum beats that he produced on GarageBand. The simple and bare minimum production created Ego Death- an album that breaks the mold of traditional r&b production and exposes the ear to an alternative contemporary r&b sound, overall the album just has Gen. Z written all over it. Craig Jenkins from PitchFork refers to the album as “an offspring of early neo-soul pillars like Groove Theory and Maxwell’s Urban Hang Suite, bedroomy but also lush and progressive” (Craig Jenkins, 2015).  Themes of love and heartbreak cycle throughout the album with the help of Syd’s vulnerable yet chill songwriting style. Lacy was given co- executive producer credits after producing six out twelve tracks from the album. My favorite production from Lacy off of Ego Death has to be Palace/ Curse. The song is reminiscent of a 90’s block party stemming from its upbeat tempo and knocking- basslines. The retro beat plays underneath Syd’s sultry and enticing vocals, which creates the perfect party vibe. A feature from Tyler, the Creator brings the track all together when he suddenly begins a “call and response” verse that is signature in Hip-Hop. Ego Death went on to receive a Grammy nomination for Best Urban Contemporary Album in 2016, which is literally insane being that Lacy was only 17 when he was nominated for a Grammy.

Following the major success of Ego Death, The Internet announced that they would work on solo projects to flex their own skills, but also explore their talents independent of the group. Lacy decided that music was the career he wanted to pursue so he created Steve Lacy’s Demo in 2017. The album is full of funky unconventional beats- that are also produced off the iphone- but nonetheless they still slap! The cool thing about the EP is that fans finally got to hear Steve's vocals and I can say that his voice is just as eclectic and unique as his beats. Although the album is 13 minutes long, each song differs from the next, gently introducing themes relevant to the teenage experience. Tracks like Ryd, Some, and Thangs contain effortless vocals that disguise the seductive and temptatious lyrics. While the tracks such as,  Looks and Haterlovin, cover themes of toxicity in relationships. In 20 years I look forward to looking back on Steve Lacy’s Demo and getting the nostalgic feeling of being 17 years old again- living care-free.

Now, onto the official debut solo album, Apollo XXI! What an exciting and highly anticipated debut album?! Of course, Lacy included the topics of sex and individual freedom, but what makes the album even more unique from his other projects is he proves to be stronger as songwriter and vocalist. Like Me is not the most commercially successful song off the album however Lacy addresses his growing pains as he tries to settle comfortably in his pansexual identity and, he also wonders if it’ll impact his image as an artist. Lacy hopes that someone can relate to his dilemma as he sings,

How many out there are just like me?

How many work on self-acceptance like me?

How many face a situation like me?

I wonder, oh

Sam Walton, a writer from the blog Loud and Quiet gives the album a harsh 6/10 review. Even though the album is not my favorite, I do not agree that it is worthy of a 6/10. The album does lack concrete themes or in-depth lyrics but remember Lacy is a guitarist first and a singer last. I think Lacy begins to expand on his vocal ability, especially in songs like Playground' where he exercises a high falsetto. Although Lacy considers his producing style as “Plaid”, a metaphor for plain boring plaid clothes and indie-rock drums kicks, Lacy embarks on a new psychedelic-funk guitar sound, as well as catchy, attention grabbing hooks that are used for mainstream pop. Lacy used this album to reach higher heights regarding his sound development and I think that deserves an A for effort. Also, Walton is giving big hater vibes being that once again Lacy strikes gold receiving another Grammy nomination for Best Urban Contemporary Album in 2020. Here’s the video for Playground where Steve matches his psychedelic- funk sound with trippy visuals.

So somewhere in between Ego Death and Steve Lacy’s Demo, Lacy produced Kendrick Lamar’s, Pride and J.Cole’s Foldin Clothes. In an interview with the Fader Steve Lacy explains how he connected with Kendrick and their exchange in the studio. Among Kendrick and J.Cole artists such as Solange and Blood Orange have also worked with Lacy. Imagine being so lucky that you end up at the right place at the right time ALL THE TIME. I have been a fan of The Internet since their second album but the emerging star- Steve Lacy- from their third album Ego Death, instantly caught my attention. First and foremost he is the youngest member and he is an immensely talented guitarist who can make any style of music fun. I never know what to expect from a Steve Lacy song but I’m always eager to listen. As an avid fan of the HBO series Insecure, I was delighted to hear Some being featured in season 2, episode 5. I look forward to his future projects and all the artists who will gravitate towards his Plaid style of music.

[twotonevibes]

Neo-Soul Memory Lane

The term “woke” has been circulating around for quite some time, gaining popularity around 2014 after the murder of Trayvon Martin, Mike Brown, and Eric Garner. It’s not unusual for terms created by socially conscious Black people to be reappropriated to enhance the profiles of people chasing overnight social justice trends, but nonetheless the definition has not been changed. Per usual there is a blatant disregard for the origins of the term woke and the communities that created it. All of a sudden when the term woke came into recognition on social media, there was an influx of people rocking their natural hair and rocking cheap dashiki shirts to “get in touch with their roots” but there was no homage being paid to the Neo-soul movement of the late 90s and early 2000’s. There was a re-emergence of social consciousness about the state of Black people in America, however people were coining the term as if defiant acts of wokeness did not exists. Artists such as Jill Scott, Lauryn Hill, Erykah Badu, and D’Angelo embodied the spirit of the socially conscious Black men and women. Prior to the emergence of these artists, it was not common for R&b singers to make socially conscious observations of Black society. R&b singers were known for either their love ballads or break-up songs, not their critique of the politics, the meaning of race in America, or the solidarity in the Black community.

Have you ever watched a Hip-Hop video from the early 2000’s? Well, if not, welcome to the world of video vixens, foreign cars, and expensive champagne bottle service. The climate of Hip-Hop was beginning to change dramatically and the door for socially conscious rap was slowly closing, even hard-core rap from the west-coast was slowly going out of style. The need for flashy jewelry, women, cars, and expensive bottles swept the Hip-Hop scene leaving little to no room for Black artists to put out authentic and thought-provoking messages. 

The neo-soul community provided a safe haven against the materialism and misogyny that plagued the Hip-Hop community. In the neo-soul community being Black and beautiful was celebrated.

Lauryn Hill’s famous Doo-Wop (That Thing) served as a cautionary message to young Black girls and boys to withdrawal from chasing “that thing”, which is metaphor for all the negative validation the ego craves. Instead of falling victim to self- hate, sexual exploitation, or greed, she encourages Black men and women to love themselves for the betterment of themselves and their communities. Although Lauryn Hill raps a significant portion of the song and sings the vocals for the hook, the song was considered R&b and received commercial success as an R&b record. While Lauryn Hill delivers messages that should help one empower themselves, artists like Musiq Soul, Maxwell, and D’Angelo put forth positive and loving depictions of Black romance and sensuality. No disrespect to the 2000’s video vixens because the beauty and killer fashion sense was unmatched, however the women were always depicted with the intention of feeding the insatiable appetite of the Black male gaze in Hip-Hop communities. The women were overly sexualized and objectified, however on the neo-soul plane, Black women were worthy of romance, courtship, and respect. Neo -soul often featured Black women in the ordinary, yet their most beautiful attribute was their ability to embrace naturalness. 

Musiq Soulchild has gifted the world with some fairytale-like romantic love ballads, but he has also gifted us with some fire music videos. For example, the music video for Just Friends by Musiq depicts an average Black community in Philly, but something about the culture seems rich and exciting. The women all wear natural hair and are confident in their own style which was totally different from what mainstream hip hop was pushing. Something about the cat-and-mouse dynamic between Musiq and his love interest consequently leads to a wholesome and adoring friendship or relationship.

Themes of Black-love, solidarity, spirituality, and hope for healthy communities reside in neo-soul. Artists such as India Arie created songs like Video that encouraged Black women to love themselves despite the superficial lifestyle the media promoted. Arie also made the song Brown Skin which is of course a love song, but it’s tailored to romanticize Black men in ways that are not often depicted in music. Just as it is important to tell Black girls they are beautiful and that they don’t have to conform to European standards of beauty, India Arie felt we should celebrate and show adoration to Black men as well.

I remember this neo-soul scene distinctively and it's so nostalgic. I remember riding around with my mom in the car listening to these songs and feeling the uplifting messages. Also the messages resonating with the things I saw in my community when growing up. Every single neo-soul artist should be labeled as woke, considering they were spreading positive images and representations of Black communities through their music and their music videos. Although Hip-Hop pioneers, and soul legends of the 70s promoted Black unity and preached Black is beautiful, R&b’s neo-soul division created a lane for soul singers to give a nuanced and modern perspective on love, community, and social justice in the Black community. I’ll leave you guys with a timeless Neo-soul bop that’s sure to uplift you. 

[twotonevibes]

Superwomen of Soul

“You are gonna have to work your ass off to have half of what they have. You are going to have to work twice as hard because you’re Black and because you're a woman” is said gently, fervently, dismissively, encouragely, and most importantly damagingly.

What a subtle form of abuse. Mental abuse. Imagine living in a world where bad shit happens but because of your body and skin, and it happens disproportionately to you rather than anyone else. The kind of mental pain and battery Black women are subjected to at various points in our lives has catastrophic potential but no one one ever really sees us break down though, isn't it funny?… You’ve probably never even seen a Black teenage girl, a Black young adult woman, or grown ass Black woman crying in public, just crying, just sad, just broken. I’ll let you in on a secret, you won’t. They just do that shit at home, not in public...because we wouldn't dare let the racist get the best of us, and we wouldn’t dare let Black men think we don’t love them.

But what do we do when we are just so damn tired? I don’t know. I really don’t know but I’m on the journey to figure it out. Most of my life I’ve always listened to music to identify, relieve, and then release my pain. There’s something healing about music. Even more healing when it’s soulful and enriching, and soothing. Sometimes the gut-wrenching belts are even therapeutic. This playlist  encourages Black women to continue to use our resilience as a means of resistance but also provide emotional awareness. 

Mad

Solange may sound sweet and angelic on the track Mad but she is mad. Mad as hell.

And we hear the perspective of Hip-Hop’s beloved prince Lil Wayne. Together they create an uncharted scale of vulnerability unforeseen in Black men and women.

Solange heeds with the warning You got the right to be mad But when you carry it alone, you find it only getting in the way They say you gotta let it go.

She’s urging us that it is okay to be very angry but do not let the fire consume you. Too often we see hurtful images of violence against Black bodies. That’s enough to drive someone crazy, but who will fight the fight, live another day to fight? After this ominous message Solange proceeds to explain her encounter with a girl who represents the population of people who just can’t seem to understand why Black people, particularly Black women are so mad, however they fail to recognize that constantly being overloaded with tragedy and injustice can affect someone’s mental health.

ran into this girl, she said, "Why you always blaming?" "Why you can't just face it?" (Be mad, be mad, be mad) "Why you always gotta be so mad?" (Be mad, be mad, be mad) "Why you always talking shit, always be complaining?" "Why you always gotta be, why you always gotta be so mad?" (Be mad, be mad, be mad) I got a lot to be mad about (Be mad, be mad, be mad)

Solange sings melodically under Lil Wayne verse, as he exposes himself to be someone so torn down and broken that he admits to a past suicide attempt  as a child. He also discusses his ongoing public struggle with drug abuse.

Yeah, but I, got a lot to be mad about Got a lot to be a man about Got a lot to pop a Xan about I used to rock hand-me-downs, and now I rock standing crowds But it's hard when you only Got fans around and no fam around And if they are, then their hands are out And they pointing fingers When I wear this fucking burden on my back like a motherfucking cap and gown Then I walk up in the bank, pants sagging down And I laugh at frowns, what they mad about? 'Cause here come this motherfucker with this mass account That didn't wear cap and gown Are you mad 'cause the judge ain't give me more time? And when I attempted suicide, I didn't die I remember how mad I was on that day Man, you gotta let it go before it get up in the way

The reality that plagues so many in our community… mental illness. The depression emerging from a hopelessness that Black suffering may never end and the anxiety of will it be me next? Both artists exhibit so much vulnerability. Both artists have helped me identify my emotions as well as the potential source of my anger. Most importantly this song let me know that although at moments it may feel impossible to not internalize the pain of racism and exclusion, but we can’t. We have to continue to live and breathe, not letting our rage consume us to the point where we are self destructive.

Solange reveals an even more sad reality

I ran into this girl, I said, "I'm tired of explaining" Man, this shit is draining But I'm not really allowed to be mad

Bag Lady

Erykah Badu, Queen Mother Erykah of the Neo-soul genre. Mrs. Badu sparks the incense and burning away in the fumes are feelings of insecurity, uncertainty, and most importantly how the journey of  loving others and yourself will forever be a continuous spiritual ascendance. Similarly to Solange Badu encourages Black women to overcome their pain and sorrow. Bag lady is just that, a song about a lady carrying a bag that’s too heavy, it trips her up, crowds her space, and leaves her feeling excluded from the likes of care-free happy women. That bag of pain needs to be dropped and left because there is an alternative life available - freedom and relief.

Bag lady you goin' hurt your back Draggin' all 'em bags like that I guess nobody ever told you All you must hold on to Is you, is you, is you

Black girls often carry the burdens of our mothers pain, toxic lovers, hostile work environments, abuse, and mental illness. It’s hard to believe that the strong and resilient front that Black women put up hides this magnitude of emotional trauma. The promotion of healing and growth amongst Black women is spreading like wildfire. Through spirituality, therapy, and valued self-care routines, Black girls all over the world are learning that all we must protect is ourselves. However to let go of pain we have to embark on a journey of self. What does it mean to live your true self?

This journey sounds like peaches and roses but it’s not. It takes a hell of a lot to call out those who wrong you with or neglected your cries. Erykah Badu acknowledges that part of the journey too

And we can't let go ooo ooo Ohh, when someone hurts you Ohh, so bad inside You can't deny it You can't stop cryin' So, ohh ohh ohh ohh ohh ohh But just as the dark hole of the past is about to wraps around you and send you down a trip to memory hell, she offers sound advice If you start breathin' babe You won't believe it babe You'll feel so much better

Badu makes it clear that to be able to release all the pain that others have caused is rewarding and creates a feeling of true contentment.

I Gotta Find Peace of Mind

From Lauryn Hill’s MTV Unplugged No. 2.0 album, we are gifted with I Gotta Find Peace of Mind and I’m with you Mrs. Hill we all have to find some peace right now.

I Gotta Find Peace of Mind is such a beautiful song to me because it does not make an urgent and generalized message of let it go Black girl, Instead Hill skillfully arranges the song to call out the negative thoughts that are holding on to us.

He says it's impossible, but I know it's possible He says it's impossible, but I know it's possible He says there's no me without him Please help me forget about him He takes all my energy, trapped in my memory Constantly holding me, constantly holding me I need to tell you all, all the pain he's caused I need to tell I'm, I'm undone because

Hill explores the idea that although negativity can be overwhelming at first because it feels burdensome, eventually that feeling creates a blanket of comfortability. Not believing that things will change is a horrible mindset; it creates a foundation of stagnancy: accepting the bare minimum, because you feel inherently unworthy of the best things this world has to offer. That’s quite a journey to embark on but Lauryn Hill explains that when negativity tells us that things don’t change she uses her faith in God to encourage her need to want more and better.

Essentially Hill is singing about a long defeat against beast of self-doubt He says it's impossible, but I know it's possible He says it's impossible without him, but I know it's possible To finally be in love And know the real meaning of A lasting relationship, not based on ownership I trust every part of you, 'cause all that I All that you say you do You love me despite myself

The battle between negativity and positivity is a war Hill describes quite literally. She repeats the negativity ingrained in her psyche from trauma versus the oracle that’s leading her to a life of peace. Although I am not religious, I am highly spiritual and I believe that faith is transformative. Hill is resisting scarcity in love and restoring her hope. All the positive messages young Black girls need to explore deeply and more personally for themselves and their healing.

Hill documents the journey she goes through fighting with her less self-determined versus her higher self and being, that fulfills purpose. They go back and forth viscously

He says it's impossible But I know it's possible He says it's improbable But I know it's tangible He says it's not grabbable But I know it's haveable 'Cause anything's possible Oh anything is possible

The moment the bickering is done, Hill knows with conviction that her faith will grant her a peace of mind. She will be granted a break from the habitual lies that negativity has held over her.

At this point of the song Hill is making guttural belts that signal the importance of freedom. Hill just wants to be free of her pessimistic thoughts. She’s begging for change and a peace of mind.

Oh free, free, free, free your mind Free, free your mind Free, free your mind Free, free, free, free your mind Oh, it's so possible

This moment of the song makes me feel that I am watching a live performance of an alchemy. I’m hearing and watching despair being  transformed into hope. Fear transformed into exploration, And most notably I’m hearing pain being turned into joy.

The demand for free- will and free-thinking has been granted to Hill.

The gags and choke ups that crying produces in our throat is indication we are being held back from announcing our truth. Hill is declaring the opposite, crying with joy can choke you up to.

That old me is left behind You're my peace of mind You're my peace of mind He's my peace of mind He's my peace of mind He's my peace of mind What a joy it is to be alive To get another chance, yeah Everyday's another chance To get it right this time Everyday's another chance Oh what a merciful, merciful, merciful God

God has given her a second chance to live a life without pain and constant struggle. The heavy sob Lauryn Hill release is one of relief.

This song is very personal and dear to me because whilst being at the mercy of functional depression for a significant portion of my life, I would always question if life truly gets better than this. Not seeing a life well-lived and enjoyed by those in my personal life was a running narrative and it was outright depressing. I would always look for happiness when I eventually decided that I had to choose happiness and peace. I had to fight for my happiness by first believing happiness is true and obtainable. I now feel freedom too and yes I do sob uncontrollably like Hill while singing this song

My Life 

My Life by Mary J. Blige samples the summer classic, Everybody Loves the Sun by Roy Ayers. The original sampled song is typically thought to be upbeat and uplifting gaze into tranquility. The song was recorded to mimic that clarity that befalls us just as the sunset. Sounds like a beautiful perspective right? I was delighted to find that Mary J Blige released a documentary to celebrate the 25th anniversary of her most prolific and personal album. In the documentary Mary J Blige’s My Life, Mary dissects the origins of her love of the track Everybody Loves the Sunshine. As cameras roll she repeats the lyrics “in the sunshine” and “my life in the sunshine” from the Roy Ayers original. She cites, “that record made me feel like I can have something...my life in the sunshine is what I wanted”. Similarly to Mary J. Blige I was brought up in a household where music was everything and I distinctly remember hearing Everybody Loves the Sun and crying because the sound was alluring and haunting. Just like Blige I recognized the joy ingrained in the production of the music from the singers to the composer to the instruments. I have wanted to find that kind of joy and peace ever since I was a child. The initial perspective to the song is to be uplifting right? But for me it became my cry for help. I needed to be that happy but how? I digress back to My Life though. Mary J Blige uses her single My Life to reveal that she has seen some terrible dispiriting things in her life but the desire to be happy should remain the constant focus instead of the negativity of a painful past.

If you looked in my life

And see what I've seen...

If you looked in my life

And see what I've seen...

If you looked in my life

And see what I've seen...

If you looked in my life

And see what I've seen..

The reason why this song is so powerful is because it connects to the broken black girls who have witnessed abuse, who have been victims of abuse themselves, to black girls who had to survive in unsuitable impoverished communities, and most importantly Black girls who physically survived hell. This song transforms our pain into a hope that we too will one day see the sunshine.

Cause He'll give you peace of mind Yes He will And you'll see the sunshine For real, yes you would And you'll get to free your mind And things will turn out fine Oh, I know that things will turn out fine Yes they would, yes they would

Blige believes heavily that a relationship with God will help one remain hopeful that things in our life can be changed and with faith follows freedom.

This exercise has helped me choose from a plethora of songs that acknowledge the core of Black women’s pain and internal struggles,but also triumph. Although these songs definitely put me in my bag, I find that listening to sad songs has its perks, because it really allows you to identify with an artist that also wants to be seen and heard. In the case of Black women we are tired of being accused of being angry and combative, or using misdirected anger to get our point across. Deep down we are sad, tired of feeling neglected and misunderstood. The intersectionality of Black women’s struggles include sexism, racism, classism, etc. National issues such as maternal mortality, rampant sexual/physical abuse, single-parenthood, adultification of Black youth, the appropriation and theft of Black women’s fashion and style, and mental illness are all the burdens that rest of the backs of Black women at some point in their lives, but how do we cope?  I’m still researching the ways that Black find healthy coping mechanisms to soothe the never-ending fight for the liberation of gender based violence and discrimination, but for now if you ever need raw insight to the emotions that conflict Black women daily, you can start with this playlist.

https://www.dailymotion.com/video/x17pz5k

https://randbeing.com/2000/09/11/erykah-badu-bag-lady-review/

https://www.buzzfeed.com/sylviaobell/beyonce-interviews-solange

[twotonevibes]

Heart Don’t Stand a Chance has been in constant rotation in my playlist since 2016, when I first sat down and listened to the Malibu album from start to finish. Surprisingly I wasn't aware of the Anderson Paak and Free National’s Tiny Desk performance until 2020. Yikes, I know right… as I call myself a fan but I was put on to the Tiny Desk youtube videos pretty late in the game. After watching damn near every NPR’s Tiny Desk video uploaded, I can say I was most delighted to have stumbled across this short performance by Anderson Paak. As Heart Don’t Stand a Chance is the most remarkable song the band plays during their live performance, the track list offers a diverse and insightful look into the then recently released Malibu album.

Although Malibu is Paak’s second album, it is his breakthrough album. The critical acclaim Malibu received is well deserved because the sound he delivers is totally original and incomparable to the mainstream R&B and Hip-Hop genre. Paak is a very talented rap artist lyrically and he consistently serves up rap punchlines better known as bars, great hooks, and an overall original style. Whilst being an amazing rapper, Anderson Paak is an outstanding singer and songwriter despite his raspy but never strained vocals. Having a difficult and obstacle-filled rise to stardom, Paak offers an authentic and realistic perspective of a struggling artist that used self-determination and community to help him create a hip-hop/ RnB classic. Michael Madden of Consequence Sound argues, “it might be a challenge for him to make something as relatable and soulful as Malibu again, but fortunately, the album has the kind of substance that suggests he’s built to last.”

Paak starts off the band’s performance by noting how unbearably hot the Tiny Desk concert area is, he follows that statement up with an appropriate track, Come Down. The confident and boastful tone projected from Anderson Paak lyrics are delivered accurately and robustly thanks to the amazing instruments chosen. The bassist of the Free Nationals and Anderson Paak on the drums delivers a cool funky bass that gives us the same vibes provided in the Come Down video.

The band transitions into Heart Don’t Stand a Chance and it is very noticeable that Paak was trying to perform the song similarly to the album version, but questioned how it might sound in such a small confined space. The intro to the song is a plethora of beautiful airy sounds until the subtle entrance of the hook of the song. At 4:08, you can see Anderson Paak’s face filled with excitement and amazement that the melody came out even more beautifully than on the album version. The rest of the show includes Put Me Thru and Suede. Anderson Paak delivers amazing vocals that mimic his voice on the album. The raspy, gritty yet soulful vocals surpass the album versions of all his songs. With all that being said Anderson Paak is certainly a better live performer than a recording artist. Paak remains engaging throughout the show and offers humor to the crowd, he even lets the audience choose the last song in the performance, side-note this an example of Paak being so comfortable with live performances that he’s flexible with the songs he and the band perform.

The most viewed NPR Tiny Desk Youtube upload is the Anderson Paak and Free Nationals concert. The writer, Austin Miller, a blogger from thissongissick.com list Anderson Paak’s performance in his Top 15 Best Tiny Desk Concerts. The confidence and comfortability to perform is noted by Miller stating, “Just another example of how the up-close nature of the concerts and camera work gives an unmatched look at the performance character of these artists.”

https://www.youtube.com/watch?v=-OqrcUvrbRY

https://consequence.net/2016/01/album-review-anderson-paak-malibu/

https://thissongissick.com/post/the-15-best-tiny-desk-concerts-of-all-time-vol-1/

https://www.reddit.com/r/AndersonPaak/comments/bdmrck/malibu_album_art_without_text_hd/

[twotonevibes]

Is There a New Royal Family

I believe royalty knows how to make an entrance, Kendrick’s younger cousin Baby Keem introduces himself as the face of a new rap wave and Kendrick offers sharp and eloquent bars that prove he is still the reigning king of lyricism and artistry.

Although Kendrick’s highly anticipated verse from Family Ties offers a lot of content to dissect, we have to start with Baby Keem’s verse because well... it’s his song and two he might be dropping subtle hints that he is the face of a new Hip-Hop Era. Baby Keem, a relative of Kendrick Lamar, offered a new and original sound with his catchy single Orange Soda. Keem released a mixtape Die For my Bitch in 2019, which led to him being inducted into the 2020 Freshman XXL. Although Baby Keem has been credited in some songwriting for the Black Panther soundtrack, it was unknown to the public that Baby Keem and Kendrick were cousins. However in 2020 Kendrick and Keem released a mysterious launch of their new creative content platform, PgLang and also it was revealed that the pair were actually cousins. Keem has since released several highly successful singles, however he has only utilized his social media for the promotion of his singles, Keem dropped two EPs in 2018, however did not reach stardom and international attention until 2020 with the release of his mixtape Die For My Bitch. Baby Keem never really trended on TikTok however that made him no less successful than other artists who received instant stardom from trending on the popular app. Through hard work and consistently being counted out Keem has become a successful artist, and his victorious and boastful opening on the track covers that pinnacle he’s reaching. Baby keem offers the audience a cocky and arrogant tone, yet one of victory and triumph. Aspiring to surpass the greats, Keem deems himself a trendsetter, or the future.

When we ask who is the G.O.A.T of post-golden era Hip Hop, we have to reserve that title for Kendrick Lamar. Kendrick has reserved his goat status by frequently staying free from the public eye and ducking menial social trends. In 2018 Kendrick Lamar won a Pulitzer Prize for this critically acclaimed album Damn and that same year Lamar released the soundtrack he produced for another award winning movie Black Panther. After the release of these two massively impressive projects Lamar took a three year hiatus from music and the public eye. During Kendricks interlude three major events changed the climate of hip-hop; tik-tok, gun violence against rappers, and the intense protests for social justice reforms. All three phenomenons are addressed by Kendrick and Keem but from the perspective of Hip-Hip royalty and a rising underdog.

Now which artists lyrically dismantles the trendy gimmicks?

Baby Keem addresses the likeness of fatal gun violence against rappers and Kendrick addresses the mediocrity of successful TikTok artists as well as the corny social media gimmicks that contribute nothing to the culture of hip hop.

For the past few years, beginning in 2018 with the murder of rising rapper XXXtentacion, hip hop audiences have witnessed a sharp increase in violent crimes against mainstream rap artists. Since then the Hip-Hop community has lost Nipsey Hussle, Pop Smoke, and King Von. This tragic pattern of violence needs to come to an end and Baby Keem has the right message that there is no room in hip-hop for death and hostility so Keem offers the right command, “if we see a bum with a gun in the party beat him up!”

As for Kendrick, he takes the stance of don't take, silence for meekness. Kendrick states that even in his hiatus he is still the most talented hip-hop artist and he does not need to trend and stay relevant through the use of social media and gimmicky trends. Naming himself the Omega of the rap industry, Kendrick hops on the fast pace unconventional sped up beat which is the perfect match for superior rhyme techniques. Kendrick switches flows three different times to exhibit his versatility in style. The prevalence of fast stardom and instant success has become higher due to the widely used TikTok app. With the like of a million likes an artist will receive fame, however that creates a disadvantage for the artist because they have no time to develop their skills. Kendrick makes it clear that TikTok has ruined the ears of many listeners because society is now only looking for a hit to post videos and dances to, however the tracks and singles do not offer any positive contribution to hip-hop and are far from timeless. Pertaining to the social justice reforms, Kendrick is famously known to contribute his ideas on race relations in America on his albums therefore when Kendrick yells he’s been ducking the “overnight activist”, he sincerely wittingly advises his audience that he is not supportive of performative protest and demonstrations simply because the issue of race is trending and controversial right now.