Within two weeks of his self-titled fifth studio album, FUTURE, the Atlanta rapper returns with HNDRXX, his sixth studio album with a lot of emotions to spill. To release two full-length albums merely weeks apart gives us a spilt metaphor of trap and R&B and the separation between the mind and body. Future becomes brutally honest throughout the codeine and confessions of the women, drugs, money and success. FUTURE gives us some highlight hits like “Rent Money,” “Draco,” “Mask Off,” “High Demand” and “Feds Did a Sweep,” but fails to live up to the hype.
A 17-track flow with expertly produced beats, HNDRXX features melodic and lyrically impressive Future with standout features from The Weeknd and Rihanna. It’s safe to say that the radio hits will be prevalent as Future gives the astronomical trapper room for truth. HNDRXX was first announced on Future’s Instagram as “The album I always wanted to make.” Perhaps Future wanted to complete his
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“Lookin Exotic” takes us back to the Future we’ve consistently heard. An obvious reminder of what he can provide, Future wants to spend his money on a girl and make her look “exotic.” His ego may be a problem but, with a heavy bass drop every verse, Future remains an extravagant trap rapper by adding another hit with no edge. The song doesn’t say anything that he hasn’t told us before.
Being there for someone means more than the physical. “Damage” is an infectious hit. Sampled by “Piece of My Love” by Guy, Young Thug provides background vocals and the underlined collaboration is one for the books. Future trades vocals and rapping while aggressively contrasting love, women and money. The emotional production and honest lyricism is what we’ve all experienced when we unknowingly give someone our entire self—“Getting money and I count it all, Stop trying to fuck my life up.” Future resonates with disappointment as he mistakenly sets trust above his own sanity—“My role model fucked my life
The song is not only expressing his love for girls, it’s also a metaphor for his love Hip-Hop. This is another example of Lupe’s Fiasco lyrical skills.
"Bio | The Pharcyde - 20 Years of Hip Hop." The Pharcyde 20 Years of Hip Hop. N.p.,
... acoustic jam that had the crowd swaying to its lifting rhythms and happy-go-lucky lyrics. He then promised to play a little bit of “East Coast and West Coast hip-hop,” a promise he fulfilled near the end of his set by covering a song from both A$AP Rocky and Kendrick Lamar.
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
The second song, Change, also shows the problem with systematic oppression. J. Cole recounts the time that he saw his friend get shot. This is the main point of the whole album and the song revolves around the tale of this friend who is killed. The last song, 4 Your Eyez Only, brings everything back together and tells the full narrative of his friend’s unfortunate fate. While attacking the life that many people glorify and empathizing with those who are stuck in this life, J Cole closes out his fourth album on a hopeful note. Using the perspective of his deceased friend, he writes a song (the actual album), for his daughter, condemning all that is bad and hoping for her to grow into a somebody. In a heart touching verse the father states “Maybe you hate me, maybe you miss me, maybe you spite
In the song talks meanly about how a guy pretends to be someone who he isnt so that people get along whith him. Based upon a research about the song, its basically about how a guy takes to dinner pretndending to be a good person, in conclusion he drugs her so that he can take her to a hotel and raped her.
When looking at the landscape of Hip-Hop among African Americans, from the spawn of gangsta rap in the mid 1980s to current day, masculinity and an idea of hardness is central to their image and performance. Stereotypical to Black masculinity, the idea of a strong Black male - one who keeps it real, and is defiant to the point of violence - is prevalent in the genre. This resistant, or even compensatory masculinity, encompasses: the hyper masculinity rife in the Western world, misogyny, and homophobia, all noticeable in their lyrics, which is in part a result of their containment within the Black community. The link of masculinity and rap music was established due to this containment, early innovators remaking public spaces in their segregated neighbourhoods. A notion of authentic masculinity arose from the resistant nature of the genre, but the move to the mainstream in the 90s created a contradiction to their very image - resistance. Ultimately, this in part led to the construction of the masculinity defined earlier, one that prides itself on its authenticity. I’ll be exploring how gender is constructed and performed in Hip Hop, beginning with a historical framework, with the caveat of showing that differing masculine identities in the genre, including artists
"DAMN" contains fourteen songs, each with powerful messages. Kendrick Lamar uses his song LOYALTY, as a platform to discuss the “value and necessity of complete trust, faithfulness, and dedication in both platonic and romantic relationships” (cite). Through the repetition of the lyrics “tell me who you are loyal to”, not only gets stuck in the listeners head but it causes them to question the songs deeper meaning. When the video was released it became clear that the song is about a volatile relationship between man and women; portraying the power each one of them holds.
So our little metalling rock star goes into hiding for a while trying to find all the dirt he can about DXM: the drug that makes you
Hip-Hop’s criticism of George W. Bush is a good example of hip-hop’s reflection of Black public opinion. The Republican candidate who already had a low approval rating of 57% amongst African-Americans received an even lower approval rating after his lackluster efforts to support Louisiana after Hurricane Katrina in 2005 (Jones, 2003; Cillizza & Sullivan 2013).
It goes without saying that hip-hop has changed. It began as a social practice of African-centered liberation to transform the black community or bring the youth together in unity, but towards the 90’s and onto the hip-hop scene in todays day and age, it is anything but that. The youth of today will know Tupac Shakur and beautify or streamline his self-destructive “thug life” but remain in the dark of figures like Mutulu and Afeni Shakur. Although this is a sad reality to live in, it is not hip-hops responsibility to change this. It is the responsibility of artists alike representing an oppressed populace to speak meaningfully in their art, in someway or another, for the liberation of their people.
... see that being involved in the hip hop industry is difficult and there are many disputes involved with it but there are also reasons for its need in today’s society.
Hip hop has multiple branches of style and is a culture of these. This essay will examine Hip Hop from the point of view of the following three popular music scholars, Johnson, Jeffries and Smitherman. It will delve deeper into their understanding of what hip hop is and its relation to the different people that identify with its message and contents. It will also identify the history of Hip hop and its transition into popular music. In particular this essay will focus on what hip hop represents in the black community and how it can be used as a social movement against inequalities faced by them. This will then open up the discussion for the how this has influenced society, and the impact it has had in terms of race issues which hip hop itself often represents through music.
As mentioned earlier, the expectations for mixtapes have shifted within the past decade, which may work against Y-3 .The project has a traditional mixtape sound, which inherently isn't a bad thing, but may disappoint some. There isn't a clear, cohesive theme or sound that can be found beneath the tracks a whole. Mickey's latest is a collection of loosies which is intent on showing off his skills with little to tie them together. Topics range from social issues to relationships to video game punchlines. Production varies from chaotic (such as on "Syzygy") to slowed down like on "Heaven's Whisper" and everywhere in-between. The variety and diversity can be viewed within a strength once contemporary biases are put aside. The strong lyricism on "Hayworth" with Elzhi and Cyhi along with the relationship woes of "Never Bout Us" gives listeners the best of both worlds.