#kendrick is the greatest fucking rapper of this generation
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drake is fucking COOKED. kendrick won y’all idgaf
#kendrick is the greatest fucking rapper of this generation#his lyricism goes CRAZY#kendrick lamar#drake#champagne papi#j cole#future#metro boomin#kdot#reia rambles idk
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since reader and mig r so big on music i like to think they have debates abt it sometimes 😭😭 definitely turned into an argument somehow fr 💀💀 (not a serious one thouu)
“Tyler the Creator!
“Kendrick!”
“Tyler. The. Creator!”
“Nooo, you are not listening to me! Kendrick. Lamar!”
“Tyler literally won a grammy for his IGOR album! It was considered to be the ultimate success and became top of the billboard charts!”
“But did he sit down and scored an interview with Ice Cube, DJ Yella, MC Ren?? Nope. He didn’t !”
It has been like this for twenty minutes. Which it was all started something innocent with this or that music edition, only for it leads to the two of you having a bicker on which rapper produced the best music and album,
In the kitchen. Where his frat brothers could hear.
“God, someone needs to fucking duck tape both of their mouths” Carlos groans, rubbing his face. “They’re giving me a headache”
“You know they fight over the dumbest thing? Last week was about a cereal”
“The cinnamon toast crunch and special k? Shit, and i thought my girl was insane”
“Yeah. I swear my head was about to explode” Glen shakes his head,
“I think it’s true love, to be honest” Beck chimes in, looking over at the two of you with a small smile,
You are standing behind the counter while Miguel stands in the opposite, continuing the non-stop banter.
“And as for the grammy?! Kendrick won one too for his DAMN album! So your opinion is invalid, muneca” Miguel shrugs, throwing you a winning smile,
your arms are crossed over your chest. “Nooo, it’s not! Besides, Tyler is creative”
“So is Kendrick!”
“Tyler managed to actually add a touch of jazz to his music. Makes it more smooth and tranquil like! He literally improved that all ever since the Odd Future days. You know that he got the praise for making younger audience hooked with jazz?”
“New York post! Legit called Kendrick as the greatest rapper of our generation. Black Panther soundtrack features Mr. Lamar himself. His music literally speaks so much. About politics, cultures, societies, etc. That man himself, is a masterpiece!”
“Tyler is funny. Kendrick not”
“What the- what that has to do with anything?!”
“I like funny men”
He frowns, taking an offense to that. “I’m funny”
“You’re dad jokes funny, Miggy. Tyler is stand up comedic funny. Like Dave Chapelle”
“Okay now you’re breaking my heart, muñeca”
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My white ass little brother is getting all the Kendrick v Drake tiktoks for some reason and has been INVESTED even without listening to rap much. He said 'have you seen the Kendrick diss stuff?????' and it was the biggest 'LET ME TELL YOU SOMETHING' moment of my adult life. Had to give him all the backstory, starting with Meg!!!!
KDSHFKJSD it's genuinely like CRAZZYYY. LET ME TELL YOU SMTH FOR REAL BECAUSE MAN......
i have a lot of the thoughts on the situation because like. i think a lot of people who are only hearing the recent diss tracks don't know how deep the drake kendrick beef and speculations go !!!! like almost as far back as drakes career as a musician.... that tension is so long-standing and they mutually have several records that people have speculated have been digs about the other.
THE THING IS THEY'VE KEPT THAT RELATIONSHIP MOSTLY OUT OF PUBLIC VIEW. when kendrick dropped a verse dissing the other two in the supposed big three - it was a big deal because the three of them have had a mostly amicable relationship to outsiders. there was a rumored jcole kendrick record for years (which ill mourn forever). everyone was anticipating the response!!! jcole even made one before pulling away !!!!
when drake releasd his intial response it was like.. the first time we've heard drake actually rap in YEARS LMAOO. IT WAS CRAZY AS IS!!! but then they just kept going. AND THEN KENDRICK RELEASED DOUBLE DISSTRACKS??? the same move drake pulled when he had his beef with meek mill years ago!!!! AND THEN DRAKE RELEASED ANOTHER RESPONSE FAMILY MATTERS AND KENDRICK RELEASED MEET THE GRAHAMS WITHIN A FEW HOURS OF THAT?
it's crazy. some of the most influential musicians of the genre and kendrick, one of the greatest lyricists of the 2010's , publicly beefing in such a way is insane. it's genuinely historic in terms of rap beef. and all of kendricks tracks have crushed all of drakes - despite the fact drakes diss tracks WERE GOOD!!! if he were going up against anyone else it would hold up. but it's kendrick, pulitzer winner, so he really hasn't been able to get up since 😭😭😭
on top of that kendricks disses and generally his music are heavily intergrated with black american culture and issues - and his criticism of drake through these means can't be overlooked. again these are longstanding critiques rappers have had against drake. its largely not just about music but about black culture overall. outside of celebrity drama its unbelievably relevant in that aspect as well. and i say this as an outsider to it repeating from other people interested in it, but its just too relevant to the conversation to ignore
meet the grahams is FATAL TOO. kendrick has been consistently bringing up the industrys issues with drake as a rap artist and how it's been in contention with his upbringing in his disses and then drake brought up his family. meet the grahams is making insane allegations that supposedly kendrick has receipts for, and it's not like people haven't known drake is fucking weird. but the way meet the grahams set it up.... im not over it.... shot after shot after shot. it is nothing like 6:16 in L.A. or euphoria it is crazy to me to witness real time.
like no wonder there is so much media attention for them right now this is like. INSANE. AND I HAVE NO INVESTMENT IN EITHER OF THESE RAPPERS as much as i just have for rap and it's history. and i cant believe the direction its been going on
im wondering if this is going to be the era of drake disses releasing and im dying to see who and what has something to say because the industry has had issues with drake for YEARS. its just crazy all of it is insane
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Okay I can give you a Kendrick and Drake beef rundown. Apologies if I’m explaining shit you already know but IDK your background on this so I’ll be thorough just to make sure.
Major Characters:
Drake. Aubrey Graham, AKA Drake, is extremely financially successful, but not very well respected in actual hip hop scenes. He’s generally seen as a culture vulture because of his privileged child actor background and white suburban upbringing putting him at odds with other people in hip hop culture. Also, in 2018, he very publicly lost his beef with another rapper named Pusha T, who revealed he had a secret newborn son named Adonis. Lastly, he has a long history of being kind of a misogynistic creep, the worst parts being a history of being sketchy around underaged girls.
Kendrick. Kendrick Lamar is an extremely respected rapper, though his songs aren’t always the most radio friendly and he doesn’t release them super frequently. He’s extremely artistically minded, though, and is one of those artists who’s just so good they can feel borderline untouchable. If I had to pick a rapper who was the consensus greatest at the moment among big hip hop heads, it would be Kendrick.
Backstory: Drake and Kendrick are arguably the two biggest rappers right now. A third rapper, J. Cole, had a lyric about the “big 3” in October naming himself, Kendrick, and Drake. The second part is that in March, Kendrick had a bar where he said “fuck the big 3, it’s just big me.” Cole tried beefing back, dipped out pretty quick.
Drake released two diss tracks against Kendrick on April 19, Push Ups and Taylor Made Freestyle. The latter was especially controversial because he used AI to replicate the voice of Tupac, which is… a huge no-no.
Last Tuesday, Kendrick finally responded with his first track, Euphoria. It was what people were expecting, for the most part: he went in on Drake in the ways a diss track normally would, just with extra finesse since he’s Kendrick. Still an excellent record on its own.
On Friday morning, he released 6:16 in LA on Instagram, which mostly got attention for implying that Kendrick had a mole from among Drake’s own crew. Also, the cover image was an image of a black glove.
On Friday evening, Drake released his response to Euphoria, Family Matters. Among other things, Drake accused Kendrick of beating his wife, though since Drake has a history of lying people are unsure how seriously to take that. Notably, though, some of Drake’s bars seem to have been preempted by Euphoria, which lends some credence to the idea that he may have a leaker.
Only thirty minutes after Family Matters dropped, Kendrick released Meet the Grahams, which directly responded to several things Drake said, which confirms he has a leaker. Not to mention, the cover image was a zoomed out version of the 6:16 image, which now includes items like literal receipts and prescription bottles of Ozempic and Ambien with Drake’s legal name on them. So this photo was taken inside Drake’s mansion. The song itself is the equivalent of bringing a switchblade to a cage fight, and among other things drops that Drake also has a secret 11 year old daughter, as well as it accuses him of being a pedophile and a sex trafficker. This song is why everybody’s talking right now. Nothing like this has happened before.
Anyways, Kendrick dropped another track tonight, but the dust hasn’t quite settled on that yet so I won’t say too much.
Thank you sooo much for the context.
Rap as a genre is always interesting to me because it's characterized so much by not only the songwriting and lyrics, but also the messiness and drama that goes on behind the scenes. I don't necessarily listen to it on the daily, but it would be insane not to recognize the cultural influence it has on American pop culture. And hell, up until recently tumblr was a huge supporter of Drake through his weird career decisions.
But like.... homie's gotta hang it up flat screen. Drake and his team of ghost writers literally ain't got shit on K. Dot. Like how can you pay folks actual money to take up in your defense over a dance beat while this other dude's dishing out bar after bar of straight fire getting after you, your career, your family, your crew, your lies, your shitty behavior...
Like okay, it's a rap battle but also this has got to be THEE cultural reset of 2024
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Kendrick Lamar - A hip-hop Genius
Bitch don’t kill my vibe. I’m sure many of you recognize this line from the famous rapper Kendrick Lamar. That was the first song I heard from him, and got more into him as I heard more and more. Although I have listened to a considerable amount of his songs, I have never really looked at the deeper meanings behind his work (I know. It's a crime). I’ve always known that his songs usually have complex themes but I have never actually figured out the whole story. In fact, I don’t really know much about Kendrick besides that he makes good music and is considered one of the greatest rappers of his generation (so seriously: I know nothing). This post will hopefully figure out what exactly helped him gain such a title.
Background
In Compton, on June 17th, 1987, Kendrick Lamar Duckworth (like the song? :O) was born and became one of the most influential rappers of the 21st century. Compton was an area that was plagued by violence and poverty. According to Britannica, Kendrick grew up in a high-crime area of Compton and began writing rhymes as a teenager relating to this. In 2003 he released his first mixtape called Youngest Head Nigga in Charge, which impressed a record label known as Top Dawg. I tried to look for this mixtape but surprisingly it was not online. Although the mixtape is hard to find, Kendrick explained in an interview with HipHopDX that the record label told Kendrick he “sounds just like he’s Jay-Z.” Also, a lot of people in his life and at school were talking about him made him, which made him realize the influence that he has.
Kendrick: “Damn, my shit is really making an impact on the city and go full force with this shit.”
Discovering the influence music brings as well as his upbringing in Compton, Kendrick Lamar had found something to shape his music and storytelling around.
Rise to Fame - Section.80
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In 2011, Kendrick dropped his first album: Section.80, a 14-track tape that received a high amount of praise. Through this album, Kendrick uses his storytelling abilities to address complex social issues. Medium described the album as “a meditation and analysis on the vices and pitfalls that follow his generation, all while painting a loosely-tied narrative about two women, Keisha and Tammy.”
According to Genius, the reason for the name of the album is that in 1982, Ronald Reagan cut funding to the Section 8 program in half. This means that he believed social programs were not necessary and his campaign increased the divide between the rich and poor in America. I have learned about Reagan in history class and his Cold War policies, but I never thought about the effect it had on the poor. I even loved the song Ronald Reagan Era, but hearing the context makes the song hit harder.
The first song on the album is literally called “fuck your ethnicity.” This is one of my favorite songs on the album because not only is the instrumental a bop, but his message is very empowering. Kendrick is trying to express how race is leading to more division between people and he welcomes anyone who can understand his story. He also introduces two characters: Keisha and Tammy to explore two different stories of people who grew up in Compton. The characters are explored on their own in other songs. For example, Keisha’s Song (Her Pain) talks about how prostitutes get treated badly by their boyfriends. The women are vulnerable, and it's a challenge to keep fighting.
The album as a whole reflects on issues like the crack epidemic, gang violence, and the effects of Ronald Reagan's policies on the African-American community. Kendrick was able to incorporate musical abilities, such as rhyme patterns and unique instrumentals, with narrative abilities to produce a compelling first album, but this was just the first album. I feel that although Kendrick nailed the narrative component, all of his songs were not musically interesting. He had his high moments, with killer songs like HiiiPower and Rigamortis, but there is room for improvement in terms of making it sound good. And he improves just that through his second album: good kid, m.A.A.d city.
A Turning Point - Good Kid, M.A.A.D City
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As mentioned previously, the first Kendrick song that I heard was Bitch, Don’t Kill My Vibe. This song came from his second album, good kid, m.A.A.d city (gkmc), which was released in 2012. After this album was released, Kendrick exploded in popularity. It “debuted at number 2 on the Billboard 200 chart” and Kendrick was even nominated for seven 2013 Grammy Awards, including Best Album and Best New Artist. Although he didn’t win (which I think showed how stupid the Grammys are imo), Kendrick continued to gain millions of fans and supporters, even making major TV appearances such as performing on SNL. His fan base grew as well, with not only hip-hop fans, but more college students and alternative rock fans. (I have no idea where alternative rock fans came from but thanks biography.com.)
Like Section.80, this album continues the narrative approach except in a more autobiographical sense. The album paints a vivid picture of Kendrick's personal teenage experiences in Compton. The title itself explains how he is just a good kid in a crazy city. Interestingly, according to Spin, "M.A.A.D" stands for both "My Angry Adolescence Divided" and "My Angels on Angel Dust," indicating the juxtaposition between his desire to maintain innocence and the chaos of his environment. Along with his complex themes, he also upgrades the musicality and there are a lot of musically pleasing songs on this album.
A song on this album that encapsulates the artistic genius of Kendrick is Swimming Pools. Without looking deeply, this song sounds like a song you would drink and vibe to (which is what I always thought), but looking at the lyrics there is so much more deep stuff going on. Kendrick talks about how peer pressure affects alcoholism. The irony is that although this song sounds like a club song, it talks about the negative effects of alcoholism and how much it is normalized in Kendrick's environment. Tying a metaphor between a swimming pool and alcoholism shows how easy to drown in either. Even towards the end of the song, he builds on the overarching story by talking about how K. Dot’s (a character of this album) actions led to his brother being killed.
Listening to the whole album was such an experience. As Pitchfork put it, “It feels like walking directly into Lamar's childhood home and, for the next hour, growing up alongside him.” Kendrick discusses his struggles with the effects of gang violence, drugs, and poverty in his community. I wanted to discuss certain songs that I really enjoyed, but honestly, Kendrick did such a good job with the consistency. I was going through my playlist to see which songs I liked and I realized I have most of the songs except the first song and the last two songs (Real and Compton). Maybe I’ll convert and like these as well one day. The music and lyrics speak for themselves, and the entire album does a great job of keeping a narrative theme as well as maintaining this sort of serious yet chill vibe throughout.
A Masterpiece - To Pimp a Butterfly
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Just when you think an album can’t get any better, Kendrick Lamar releases To Pimp A Butterfly (tpab) in 2015. Kendrick continues to keep the narrative theme and explores society as well as self-worth. This time, however, there are even more unique musical factors such as jazz, funk, and spoken word poetry. According to Britannica, the album broke a Spotify record because it was streamed more than 9.6 million times within a week of its release. President Barack Obama even declared a song on this album his favorite song of 2015. He also finally won the Grammys (I still don’t like them) with best rap performance and best rap song (both for “Alright”), best rap/sung collaboration (for “These Walls”), best music video (for “Bad Blood”), and best rap album (for To Pimp a Butterfly).
Considering how successful this album was, what made it so good? The diversity. Like good kid, m.A.A.d city, and Section.80, tpab follows the typical narrative story that Kendrick had previously portrayed; however, this album has a lot more variety of characters and includes a lot more themes that relate to society as a whole. There is also a lot more variety in terms of genres. Although this is a rap album, there is half a jazz band present at all times, a pianist, a sax player, slam poetry, and sound effects (according to Pitchfork).
“ALLS MY LIFE, I HAVE TO FIGHT.” Alright is a song on tpab that showcases the jazz aspect of the album. The music is so catchy and just makes you want to shout the whole song. Although this song is very short, Kendrick shows how he is going to escape his troubles. It’s a simple idea: “we gon’ be alright.” Under the surface, however, this song creates awareness of police brutality. In fact, in 2015, the Black Lives Matter movement used the phrase “we gon’ be alright” to protest against police brutality.
Throughout this album, Kendrick delved into the depths of black identity and societal struggles, painting a picture of personal conflict within racial injustice. Although I love this album, unlike gkmc, I only really liked a half of the songs on this album. But when I did like it, I REALLY liked it. I appreciate the experimentation and am happy on how this album turned out. Alright is probably one of my favorite songs, but I also really love King Kunta, The Blacker the Berry, These Walls, i, and How Much a Dollar Cost.
Continuing the legend - DAMN.
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Continuing his streak of groundbreaking albums, DAMN. was released in 2017. This album earned Kendrick his first Billboard No. 1 single with HUMBLE. and won the Pulitzer Prize for Music, which made him the first rapper to receive this honor. According to Britannica, HUMBLE. won Grammys for Best Rap Album, Best Rap Song, Rap Performance, and Music Video. That is a lot of categories! This man is just collecting everything (and rightfully so).
In DAMN. Kendrick used a raw, more direct narrative. This album is a lot more broad and explores the themes of fate, spirituality, and the complexities of the human condition. And although the album sounds simple, there was a lot of conspiracy that followed the release of this album. According to Medium, Kendrick confirmed a theory that the album could be played in reverse, telling two different stories: weakness and wickedness.
In a more broad sense, This album had a lot of hits like DNA. and HUMBLE. Honestly, comparing this album to the others, this album is not one of my favorites. I liked a few of the songs but in terms of diversity, I felt that it was lacking. This is more of a contemporary and mainstream rap album, which is fine. I like the idea of how the album tells two stories. I feel like listening to it backward was interesting, especially considering how the first song was DUCKWORTH. (one of my favorites from the album). Hearing the little reversed part from DUCKWORTH reversed back blew my mind. According to Genius, that audio symbolized “a flashback or a wormhole representing Kendrick’s life”. Kendrick was able to use his outro to portray such a unique idea.
Expanding outside of Albums - Afterwards
Throughout the releases of these albums, Kendrick has been featured in many great songs. For example, family ties, made me find out that Baby Keem and Kendrick Lamar are blood relatives (they definitely act like it). In 2018, Lamar produced an album that was from and inspired by the famous movie Black Panther. Think about that: he made music for a famous Marvel movie.
He also again won a Grammy for best rap performance. In 2022, Kendrick Lamar performed at the Super Bowl halftime with the infamous Snoop Dogg, Dr. Dre, Mary J. Blige, and other hip-hop stars. In the same year, he released his fifth studio album, Mr. Morale & the Big Steppers. It won Grammys and produced some banger songs like N95.
The Influence
Kendrick Lamar is not just a rapper; he's a storyteller, a social commentator, and a visionary artist. Watching his journey, either through directly listening to his albums, or watching how much he has grown as a musician, is definitely an experience. Fans are invited to be a part of his lifetime from the streets of Compton to his present global success as an artist. That is what is so amazing about him, Kendrick Lamar started off great and just kept on getting better. It’s no wonder that he is called one of the most influential rappers of his generation.
Not only is his music in a league of its own, but Kendrick was able to use his fame in the hip-hop world to make an impact on American culture through his insight into Black culture and the flaws of modern society as a whole. What I really enjoy about Kendrick is that he creates a space that allows everyone to listen to music. As a casual listener myself, his songs sound good and are so unique. He also manages to not sound too preachy throughout the whole process, which is pretty impressive. Kendrick Lamar does the inconceivable and can successfully tell a compelling story while also making banger music.
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remember when people said that Auntie Diaries by Kendrick Lamar was transphobic? lmao.
one of the most beautiful and trans-positive hiphop songs ever, especially from a straight cis man with a straight cis man target audience. it's profoundly empathetic and shows a lot of growth and humility. yes, he misgenders his trans uncle and trans cousin and deadnames them throughout the song. but he never dehumanizes them, far from it. he genders them correctly a bunch of times too.
the album it's on, Mr Morale and the Big Steppers, is about how Kendrick is not a hero, not a savior, and absolutely not perfect. and he's not just saying that, he gives example after example of bad things he's done, harmful ways he's behaved, people he's hurt, and all the things he's learned from all that. the generational trauma he's experienced and wants to try not to perpetuate further. another theme of the album is that people are so concerned with being squeaky clean that they avoid the dirty, ugly, uncomfortable conversations that we all need to have. the album is structured like a play and it's full of theatric motifs and details, because we're all "tapdancing" around the issues. we're all performative.
yes, he says the f slur in Auntie Diaries. quite a few times, actually. but the song is about how even though he thought it wouldn't hurt people because he had no malice behind it, or at least he thought he didn't, he had to learn that that's not how it works. Auntie Diaries includes the f slur and misgendering not because it's what Kendrick believes, but because he's showing us his flaws. in the song, when he explains to his cousin that he didn't say the f slur to hurt people, his cousin reminds him of the time a white fan came onstage during a Kendrick song and rapped the n word with him, and he took the mic away from her and it was a big controversy. clearly that bothered him, as it should, even though that girl had no malice, she was just rapping along with presumably one of her favorite songs. but did that make it okay? no. it did not. and Kendrick's cousin tells him that it's the same with the f slur. "faggot faggot faggot, we can say it together. but only if you let a white girl say [n word]". and that's the mic drop moment that the song ends on. no rebuttal, no justification, it just ends there.
it's not a song of Kendrick gloating about how tolerant he is while misgendering and being casually homophobic, it's a song in which, even though he's always been empathetic towards his trans relatives and only really joined in with the use of the f slur because of peer pressure, that is not enough, and he gets humbled. devastatingly so. but at the same time, he stands up for his family members in the song, gendering them correctly. it's such a powerful song. and you can tell from the fact that homophobes fucking hate the song that it worked. the message got across. hopefully all the people that the song made uncomfortable have a similar journey, and grow out of their usage and bigotry. hopefully this song helped get their ball rolling on that, forcing them to comfront ideas that to them right now are ugly and uncomfortable, but need to be confronted.
Kendrick is the greatest rapper of all time
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Letters to a MAGA Communist, #1
Kanye West, Tribalist Trumpism, and Mental Illness
Thursday, October 6, 2022 8:22 AM
From: a-certain-plurality
To: [redacted]
Subject: Kanye related stuffs
Just a general share.
Tuesday, October 11, 2022, 06:11 -0700
From: [redacted]
To: a-certain-plurality
Re: Kanye related stuffs
This guy is all over the place.
I always go back to money when someone like this is making pronouncements.
Seems to me another shock merchant trying to keep in the public eye to sell his products that have already made him a billionaire.
The way of the world we live in....
Tuesday, October 11, 2022, 07:18 -0700
From: a-certain-plurality
To: [redacted]
Re: Kanye related stuffs
Right??
But it’s not money for Kanye anymore, he’s taking the Christ method of eschewing worldly goods right now.
What he’s tripping on is power (money is definitely power, I hear that.)
A lot of his music is about money and power, I’ll send you some lyrics in the future, I know you love some rap/hip-hop (I should listen to that Linkin Park/Jay-Z collab)
I also think he may still be very sick with his bipolar disorder. Hard to say but grandiosity is core to the manic/psychotic experience, people start acting like they are God. (Sound familiar? I was acting like A God in the coffee shop for sure!)
Yeezus, his 2013 album, broke the internet back then, he was already ahead of the Trump curve. It’s definitely a Tea Party type album, often about taxation without representation (and sleeping with Kim Kardashian, of course.)
In my opinion, once the Citizens United ruling came down from the Supreme Court, America ceased to be a liberal republican democracy. Corporations are. not. people. And Yeezus speaks to that.
The track New Slaves is about blackness and consumerism. I Am A God is his grandiosity talking, but it is also true.
Kanye West is an icon and a iconoclast. As far as modern popular hip-hop is concerned, he is A God. His only rival as far as power and influence and visibility goes is Kendrick Lamar, and Lamar ain’t close as a producer, to my knowledge, his influence is strongest as an artist, Kanye’s greatest influence is as a producer. He’s not a David Geffen per se, but it’s who he makes me think of as far as iconography and historiography goes.
There’s a reason why A Conversation with YE spoke to me so strongly when I was having a psychotic break. Either he was manic/psychotic and I was too, or just I was, hard to say.
But I find it highly unlikely that West would take psychiatric medication. Big Pharma? Kanye is likely super paranoid about it, fairly so. It’s one of the reasons taking meds has always bothered me, I’ve been walking the Fuck Big Pharma beat since I was a teenager talking shit about George W’s war-mongering. (Microphone Fiend by Rage Against the Machine is my personal politicking anthem right now. RATM became Audioslave after the lead singer left, by the way, the band stopped being political and wrote love songs instead. No wonder the lead singer hit the heroin again, love is a drug as much as politics is.)
But all sick people fear meds, too. It’s not just political for sure. I’m glad we have them now.
I do wish he was well and not tripping on power, because his thoughts on the class struggle are legit, and the MAGA movement is rooted in the class struggle, in my eyes.
Conservatives are trying to conserve a way of life that has been swallowed up and shit out by neolib and neocon globalists and free trade. Shit rolling downhill from the 90s, downhill from the 70s, and on and on, all political history is connected somehow.
If Kanye was well and also not an asshole (I think he’s likely both sick and a prick, and all humans can be the latter), he’d been hooking up with Coleman Hughes or Kmele Foster, who are anti-idpol.
Not Candace Owens, who is a race hustler and profits from idpol. She’s just another Dave Rubin, who peddles his gayness as he sucks up the cash. Shit, Joe Rogan too, though I like some of his guests and agree with him sometimes. (I don’t think Rogan has ever had an original thought, tho, he’s just a stoner.)
I really love discussing political philosophy. I am working hard to keep it healthy for myself.
#I’m not an audiophile#I may have some of the industry shit wrong#but you catch my drift#Kanye West#YE#A Conversation with YE#Candace Owens#Coleman Hughes#Kmele Foster#Adolph Reed Jr.#MAGA communism#Red MAGA#political philosophy#letters to a maga communist#maybe I’ll attempt a series#psychosis#my lived experience#socialism#Marxism#neoliberalism#neoconservativism#politics
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My 25 favourite albums of the 2010′s
When it came down to making a list of my favourite projects through the 2010's, it really became clear to me how difficult of a task this was - I've listened to hundreds and hundreds of albums, EP's and Mixtapes during this time frame with artists from different genres, during different times of my life, where I needed different types of music to soothe my soul. When I started writing down the albums I want to put in my decade list, the first thing I set as a rule to myself was that I'd have only one album per artist, just to avoid repetitiveness and so I can actually think about which artists really did leave a mark on me during this time frame and not just have a list of 10 artists with my favourite 2-3 albums from each. Even then, I originally had more than 35 albums written down as standouts for me during this time and I wanted to originally make a top 20 - I quickly realized that wouldn't be possible, but a top 35 or top 30 would be way too big, so I decided to settle on a top 25 and even then I realized I'd leave out some generational artists like Gambino, JID, 6LACK and more. After that I just decided I wouldn't rank them, it would just be 25 albums that were my favourite during the decade - no rankings, because really, how can I compare a hip-hop album to an Indie album for instance? I couldn't. I hope this list raises a discussion and we can talk about your favourite albums during this period as well or you can tell me I'm braindead for leaving out someone from the list. So in no particular order, I'll list the albums and leave some thoughts on each:
A$AP Rocky - AT.LONG.LAST.A$AP (2015)
Althogh this album was released in 2015, it took me till about two years later to really appreciate it as a project - it was my coming of age album, where I realized that I need to love myself and focus on my own well-being, to have that self-confidence that reflects the reality of who you are as a person and that attracts others to be interested in what's going on with you. The album was and still is very relevant to the environment I didn't want to be in and to push myself to achieve what I've been dreaming of, as well as reflect on the existential topics I've always raised within myself regarding love, violence and pain.
Car Seat Headrest - Twin Fantasy (2018)
I was a bit late to the party with this one, as I only started listening to it in 2019, a year after its release, but I have to admit, Twin Fantasy really reflects all of the impulsive emotions I have within myself regarding loneliness, being insecure and counting on the people you love so that you help each other out, outgrowing your childish opinions and understanding of relationships and realizing your partner struggles just as much as you do. This might be my favourite indie-rock project right now.
Chance the Rapper - Acid Rap (2013)
This album was a big part of me during my teenage years - I remember it reflecting the issues I was facing when I was 16-18 and it really made me vibe with it, due to the appreciation I had for my friends and my free time during that time, at the same time addressing the inner feelings of whether you're doing the right thing with your life. Listening to it now, years later gives me an alternative view of it as well, as an adult who looks with nostalgia at his younger self and realizes how much emotions I've missed from this project.
Freddie Gibbs & Madlib - Pinata (2014)
Arguably the album with the best production of all time - the free-flowing jazzy and soulful beats from Madlib, underlined with Gibbs's absurd flow, the story-telling of him having to sell drugs and rob people to make a living, the absurd amount of genius features and the disgusting verses Gibbs had on songs like Harold's, Real and Robes just puts this project in a bracket of its own - I was wondering whether I prefer Pinata or Bandana, but as Bandana is a very fresh project still, this one has aged like a fine wine for me.
Frank Ocean - channel ORANGE (2012)
Oddly enough, I'm one of those people who doesn't like Blonde as much as channel ORANGE. This album really hit home when it came down to my break-ups and realization I'd have to start all over again, both with myself and with someone else in the future - it really made me miss some people in my life time and time again and has brought me to tears more than you'd think. Frank's commentary on the album on different aspects of love and society really puts you in a frame of mind where you'll relate to almost everything he's experienced.
Schoolboy Q - Oxymoron (2014)
This was the best story-telling album of the decade for me. The production which had a very modern take on old-school Gangsta rap really sticks to you with every song, the themes which Q explores with growing up in his ghetto neighbourhood, being part of the Crips, selling drugs and being part of gang-related crime really hits hard, combined with the realization he wants something better from life after growing up in poverty. Looking at Q grow up as a person after the release of this album and achieving all of his dreams really adds to this project as a modern day classic.
Flying Lotus - You're Dead (2014)
Honestly, this one isn't for everyone - when making this list FlyLo had completely slipped my mind, even though I absolutely destroyed Flamagra with replays this year and had destroyed You're Dead in 2018 and 2017 due to the amazing production and vibe the album had. This project has an absolutely one of a kind take on combining modern jazz with psychedelic beats and hip-hop features, showcasing exactly why Flying Lotus is one of the best producers of modern times.
Danny Brown - Atrocity Excibition (2016)
The culmination of Danny Brown's career for me, Danny addresses what it's like to completely hit rock bottom in this project, being a crackhead, who'd party, have sex with groupies and strangers and have no control over his life - there's a very neurotic and dark production on this album, combined with Danny's hilarious, but unsettling one-liners and verses which really could have been interpreted as a cry for helf, especially on songs such as "Ain't it Funny".`
Anderson. Paak - Malibu (2016)
I recently wrote about Paak in a blogpost, discussing how he brought soul music back into the mainstream through a fantastic combination of rapping and singing with soul-inspired production and keeping a very funky vibe alive. This album was his best work for me and really showcased how much he's loving life, living to his best and enjoying every day of it, whilst at the same time addressing how difficult, but worth it love can be.
Mac Miller - Watching Movies With The Sound Off (2012)
Mac was one of the first artists I wrote about, as I basically grew up with him, although he was a bit older than me (he's 92 and I'm 97). Every album of his was a part of my life and something I could relate to and live through, sometimes a bit later than its release, but no album has had such an eternal feel to it as Watching Movies. Both at 19 and at 22, I could find life lessons in this album and songs that could really describe what I'm going through, both on the end where my ego is taking over and I don't feel in control (Red Dot Music), to the downpoints of my life and addictions (Objects in the Mirror).
Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside (2015)
I love Earl. Realistically, I couldn't keep him out of this list, although none of his albums really are crazy standouts, as he has an extremely consistent body of work, but I decided to settle with this one. With its melancholic production, dark and slow beats and topics of depression, suicide and self-isolation, this album has been one of my main therapists every time life has absolutely killed me and had kept me afloat, thanks to having someone to relate to in those difficult, dark edgy times.
Denzel Curry - TA13OO (2018)
Probably one of most inovative albums in the end of the 2010's, Denzel split the album up into three parts, all reflecting the emotions he felt during the proccess of creating it: Light, embracing his success and feelings of positivity; Grey, being introspective about his life and looking at the people trying to use him and hate him objectively; Dark, channeling all his anger and darkest emotions.
Vince Staples - Summertime '06 (2015)
Vince really is one of the most complex artists of modern times for me personally, as his music is always very difficult to gauge and he always strives for innovation, rather than mainstream appeal. Summertime in reality is probably his most mainstream album, being an excellent storytelling project of his origins from Long Beach, California, the gang culture and harsh reality around him, his friends being shot down or turning into coke fiends and the way his environment has shaped him as a person of distrust and scepticism.
Sons of Kemet - Your Queen's a Reptile (2018)
I really wanted to have a jazz project in this list and I was torn between this one, Everything's Beatiful and Drunk, but I always go back to this one the most. The avant-garde jazz-funk sound of this album, combined with traditionally african melodies and beats and progression each song goes through really makes this a multi-layered album which you will need to listen to again and again, as it also had a very political message in itself.
Kendrick Lamar - To Pimp a Butterfly (2015)
If anyone asks me what's the greatest pure hip-hop album of all time, I always answer and have answered "To Pimp a Butterfly". This album was and in my opinion still is very much before its time - the jazz-rap production, social and political messages and discussion, the absurd beats and flows, the rhyme-schemes, everything about this album absolutely shines and whatever I say, will not do it justice, you need to listen to this start to back.
Jpegmafia - Veteran (2018)
Being one of the most experimental and non-fuck giving rappers in the game right now, this album was really a step in the right direction for hip-hop, as it had production that you'd probably hear nowhere else, DYI samples, political comments and messages in a very unfiltered manner, showcasing Peggy's no-fucks-given attitude to everything in music, something he has continued to prove to this day.
Tame Impala - Currents (2015)
I originally listened to this project for the first time in late 2016, but I really wasn't too much into Indie back then, so I gave it little thought. 3 years later, after listening to it again I realized what a genius piece of art Kevin Parker had created with its topics of self-discovery, introspection on life and it's psychedelic indie-rock production, really creating something that no one else had heard before.
Joey Bada$$ - 1999 (2012)
What really makes me not believe this project exists is that Joey released it when he was 17. Having some of the best old-school inspired production and beats, with a jazzy, soulful sound, this album showcases a very young man challenge the political climate of its time, as well as have very matures takes and opinions on gang-culture, smoking weed and needing to grow up, realizing he can't live a life of parties and drugs if he wants to leave something that's worth it in the world.
Kanye West and Kid Cudi - Kids See Ghosts (2018)
I was really wondering if I should put this album in my list, as I'm not the biggest Kanye fan and I haven't really liked much of Cudi's work past 2010, but in the end, this album is one of a kind. It tells the tale of two people struggling with their mental illnesses, but in the end conquering them, loving themselves and realizing that they have so much to give in life. The album shares a very heavy inspiration from Tame Impala's production as it has a fantastic psychedelic rock production, combined with samples and yells from Cudi and Kanye which you'd never hear in another project, which people take seriously.
Death Grips - No Love Deep Web (2012)
Disgusting. Raw. Overpowering. Back in 2012 when this project was released, Death Grips completely took the internet by storm, as nothing like this had ever been released even in the underground hip-hop scene. Glitchy production, combined with guitar riffs, sudden breaks, yelling and completely unrelated gibberish in most of the songs, topped off with an album cover of Zach Hill's dick, this album inspired a decade of experimentation in rap music, leading to albums such as Kanye's Yeezy and Tyler's Cherry Bomb.
Ab-Soul - Control System (2012)
Lyrically one of the most complex projects I've ever heard, Ab-soul's rhyme schemes and punchlines deserve a place in a literature course in University, as you'd need multiple listens on his songs to catch every little reference the rapper makes. The album has a fantastic jazz-inspired production, songs with a very disjointed beat, showcasing his emotional instability during making it, as he references his past and the personal issues he had to go through during life, the suicide of his beloved Alori Joh, which has caused him to contemplate suicide himself and the references to his co-stars in TDE's projects makes for a project you'll spend hours on end to try and figure out.
The Internet - Ego Death (2015)
One of the best contemporary R&B projects, the Internet combines a very blues and soul inspired production for this one, giving face to their fantastic members ability to create a vibe and atmosphere in their music - the most impressive part for me with them is that this album really was the start of multiple fantastic artists solo careers: Syd, Steve Lacy, Matt Martians.
Little Simz - GREY Area (2019)
This and Tame Impala were my only projects by non-american artists and for a reason. Little Simz crafted a fantastic hip-hop album filled with a mixture of aggressive, eerie production and classical jazz and blues samples, showcasing her talent to both sing and rap in every single song, exploring the difficulties of being a female MC in the modern era, the pressure and negative emotions she experiences having to work much harder in the industry than men and the pain she's felt during the years of her coming of age.
SZA - Ctrl (2017)
My favourite R&B album of the past decade, SZA created one of the rawest, most emotional albums I've ever heard, reflecting on modern romance from a very personal and subjective point of view, gives this project a very aunthetic and deep feel you'd have to dig deep to find elsewhere. The album also underlines SZA's struggles as a modern woman, jealousy and the anxiety of being in your 20's. The project's classic R&B production combined with its features from artists like Travis Scott and Kendrick Lamar, really adds to an experience which could leave you heartbroken.
Isaiah Rashad - Cilvia Demo (2014)
Although during the past year The Sun's Tirade has been my favourite and main album, it really is more of a vibe album and not as much as a personal abum as Cilvia. In Cilvia I found myself, Isaiah talks about his addiction issues, wanting to make it in a world full of hate, the horrible relationship with his father, thoughts of suicide, the lack of commitment he has in love and has received in his relationships and the social climate which makes him feel like he's less of a person. This isn't an album for everyone, but the people who can relate to what he's feeling will likely fall in love with this project.
#albums#list#favourite#decade#2010s#2010#rap#indie rock#RnB#Jazz#Isaiah Rashad#SZA#Chance the Rapper#Little Simz#Cilvia Demo#Ctrl#Acid Rap#Grey Area#The Internet#Ego Death#Ab-Soul#Control System#Death Grips#No Love Deep Web#Kids See Ghosts#Kanye West#Joey Badass#1999#Tame Impala#Currents
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Blog Post #4: Representing Compton
Prompt: How is “representing” related to the construction of one’s subjective identity in hip hop?
While reading the article “Representing,” I stumbled across a quote that I believe is substantial when digging through and understanding West Coast hip hop; Tricia Rose stated that “during the late 1980s Los Angeles rappers from Compton and Watts, two areas severely paralyzed by the postindustrial economic redistribution, developed a West coast style of rap that narrates experiences and fantasies specific to life as a poor young, black, male subject in Los Angeles.” Two Compton-based artists that are a great example of this are N.W.A and Kendrick Lamar. With their music, they are able to vividly describe what life was like for them to grow up in this type of environment. While representing their hometown of Compton, they ultimately establish their own identity in hip hop.
Through their music, N.W.A. was able to articulate what life was like for them growing up during a time, and place, where violence, drugs, police brutality and racism was prevalent. Through their songs, like “Fuck Tha Police,” they were able to be a voice for the people and stand up for what they believed in. They were also able to speak about their personal experiences and what they saw on a day-to-day basis. For them, in order to really get their message across, they felt that they needed to present their message in a way that was very aggressive and confrontational; their songs, especially “Fuck Tha Police,” are very in-your-face. With that, of course their listeners became very hyped and emotional. This style of rap, Gangsta Rap, would basically define them as artists and people; they would later become known as “The World’s Most Dangerous Group.”
On the total opposite side of things, you have an artist like Kendrick Lamar. Kendrick’s music is all about sticking to your roots—remembering who you are and where you come from. He is also an artist who is not afraid to voice his opinions; he’s an artist that is very political and will stand up for what he believes in, despite the backlash that he may receive later on. He is a strong voice for the people. Like N.W.A., Kendrick grew up in Compton and experienced similar issues. However, he continuously makes the decision to create music that is a little more low-key and not so in-your-face. A great example of this is his song “Alright.” In this song, he is basically talking about the same issues that N.W.A. talked about in “Fuck Tha Police.” Though they are speaking about similar issues, Kendrick is definitely more comforting and hopeful. In this song, he is saying that, despite how bad everything is right now, in the end, we gon’ be alright—this chorus was chanted multiple times on different locations; it was chanted in a 2015 Black Lives Matter assembly. It’s songs like these that add to his greatness—he’s the voice for our generation. It’s songs like these that make him one of the greatest hip hop artists of all time.
In all, “representing” plays an important role in creating one’s identity in hip hop. Majority of the time, it’ll determine what you choose to speak about through your music. The only thing, besides “representing,” that will determine your identity would be the manner in which you choose to portray it. You can be as aggressive as N.W.A. or as hopeful as Kendrick Lamar.
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Review: Logic - Confessions of a Dangerous Mind
On his fourth album, Logic proves himself to a rapper but fails to be an artist.
Confessions isn't as conceptual as Logic's previous two efforts and that isn't necessarily a bad thing because Logic's concepts don't tend to be fully fleshed out anyway. The Incredible True Story features skits that don't tie into the songs at all and Everybody attempts to be more topical but fails because Logic only really knows how to rap about himself or how he's biracial or something to that effect. It's hard to understand the creative decisions that led to Logic making Confessions of a Dangerous Mind and why it's so disappointing without some context first so let's get that out of the way now...
Let me be clear: Logic is an incredible rapper. He's technically proficient, his vocals are easy on the ears, he's likable, charismatic, and expressive. He can sing (unlike most rappers who believe they can sing). He has always shown incredible potential but, in the years since the release of his debut, Under Pressure, he's failed to capitalize on that potential artistically. He borrows his style from his contemporaries, namely Drake, Kendrick Lamar, Kanye West, and Eminem. This is fine on it's face. It's okay to have influences but Logic tended to take this a little far. Under Pressure saw Logic wearing his influences on his sleeve to the point where I half expected to hear Kendrick's 'Sing About Me' refrain on the title track. Still though, I was optimistic about where Logic's career would take him, especially since he was so great at emulating other artists so early on.
The Incredible True Story brought us more of the same but also carried with it some of the best beats Logic would ever rap on in my opinion. Not only this but the album also brought with it a space theme that completely failed to tie into what Logic was even rapping about. Overall it was fine but it wasn't Logic's masterpiece yet. He still needed to develop into his own voice, sharpen his focus, and deliver a unique perspective on more topical things. I could sense a masterpiece in him. All of the pieces were there, this just wasn't the right time yet.
Then we had Everybody, another concept album and another failure to quite hit the mark. This album brought with it Logic's signature 1-800 Suicide Prevention song, a track with a solid message that would be dumb to argue against. Aside from that however most of the tracklist is loaded with duds and the messaging is inconsistent. This wasn't the masterpiece fans had been clambering for quite yet.
This finally brings us back around to the subject of this review, Confessions of a Dangerous Mind, and why it's such a failure overall.
First off, after listening to this thing I struggle to understand why this album is titled "Confessions of a Dangerous Mind" because Logic isn't confessing to anything, he isn't dangerous, nor is the album thought out well enough to have a 'mind' behind it at all. The project's title is irrelevant to the content of the record and was seemingly just tacked on because it sounded interesting or something. The Incredible True Story suffered from the same problem too as the Story it tells wasn't Incredible nor was it true.
Titles aside though, Logic's Confessions of a Dangerous Mind is terrible from start to finish. Individually the tracks aren't so bad but, when listened to all at once, I struggle to see how anyone could believe they'd made a cohesive album.
The title track kicks us off and carries little weight. Logic occasionally reaches to make a point but never does. He talks about things and makes observations that are fairly rudimentary about himself, his culture, and caring for one's self. And that's it. The track just leads to nothing substantial and continues to the next track. The dissatisfaction is overwhelming.
Homicide with Eminem is a major highlight for me, even if it's an isolated one. Eminem handles himself surprisingly well considering his abysmal output as of late too. The track introduces itself with Logic's father joking that his son is the greatest alive because he came out of his balls. Not only is this not funny but it doesn't connect to anything else in the song at all. Over the course of the song nothing notable in particular is said. This circles back to one of my core problems with Logic as a performer. He raps well but overwhelmingly finds himself without anything to talk about. He struggles to stay on topic for longer than two or three bars before changing the subject or providing a throw away line that carries no weight. Every word is low impact because each line is just filler to fill time until the next track where you could responsibly expect more filler.
On the off hand, however, when Logic does manage to say something consequential, the line usually borders on questionable to downright inappropriate. Take for instance the track 'Pardon My Ego' where Logic wishes he could have bipolar disorder so he could make an album as genius as Kanye's Ye. I could rant about this line forever. This is ridiculous on it's face and Logic's intention with the statement is unclear. He should understand having bipolar disorder won't help him to make better music but says the line anyway. He's weirdly complimenting Kanye but gives credit to his disorder for the success of the album. The two aren't necessarily related. Sure, Ye is, in part, about kanye's struggle with mental illness and how these experiences helped to form him into the man he is today. Though it's important to point out that Ye is more about Kanye prevailing despite the illness and not about how his mental illness helps him to make great albums. This point seems totally lost on Logic who seems to believe that mental illnesses are somehow like the real life equivalent to superpowers and that, if you're just mentally fucked up enough, you too could be a creative genius. This is a huge misconception.
This segways nicely into another thing that rubs me the wrong way about Confessions of a Dangerous Mind. It's an amalgamation of several ongoing tropes in hip-hop right now:
- Illusions to being different, being politically conscious, or woke.
- rapping about bitches, money, drugs, or being better than everyone else.
- Society being bad or expecting you to act a certain way.
- Social Media is addictive and is something you should ignore.
- Logic is 'killin' the game. He's a 'game changer'. He's a self-proclaimed Genius. He's biracial. He's this. He's that.
It's all just noise at this point and, truthfully, I no longer believe that Logic has the same potential to create the masterpiece I once believed he would. His latest album isn't about anything in particular. The tracklist could be ordered in any way and carry the same weight, which is next to none.
On the upside, the beats are well-produced and Logic is a proficient rapper. He sounds great over these instrumentals but this is about all the credit I can give the album before checking out completely. Nothing of substance ever happens on Confessions. Logic never has a topic and seems to just spit whatever he wants to in that moment. The best line he manages on this album is: "Scarecrow Flow, I'm outstanding in my field". It's a stroke of brilliance that never manifests itself again on Confessions.
Overall, the more I listen to the album, the more I struggle to find it's appeal outside of just being background music. The whole album is filler, loaded with Hip-hop's most rudimentary tropes and tracks that take up space rather than generate interest. There's no artistic vision to be found here, no plan, no surprises, no concept. The whole album just feels empty, without tension, conflict, purpose, a driving force behind it's creation, or anything to provide appeal or intrigue at all. Logic lacks depth of character and has nothing interesting to say. No new perspective or anything even remotely noteworthy to tell his listeners. Why was this album made? The answer to that question still eludes me and, for that reason, Confessions of a Dangerous Mind is one of the worst, most uneventful hip-hop albums I've ever heard. I definitely recommend you sit this one out even if you kind of liked Logic's music up until this point. His charm is just non-existent on this project.
Highs: Homicide, Mama/Show Love
Lows: Pardon My Ego, The Title Track, Commando, Icy, BOBBY
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A General Analysis of Kendrick Lamar’s Duckworth: What. The. Fuck.
Kendrick Lamar’s fourth studio album, DAMN, was by no means his best work. Kendrick has proven to be an absolute lyrical and artistic powerhouse ever since 2011, and the fact that he can release an album that would be a masterpiece by most other artists’ standards and be criticized because “It’s not nearly as influential as his other projects” is an unspoken accomplishment in itself.
My favorite part of DAMN, however; isn’t the juxtaposing bars and staccato piano riff of “HUMBLE”, the INSANE beat switch on “DNA”, the indie rock influence on the “PRIDE” beat, it is the message portrayed and the story told in “DUCKWORTH,” the last track on the album.
“DUCKWORTH” is about fate, to put it simply. It is about pure coincidence. It tells the story of how one small choice could have changed a lot in the bigger picture. It draws out a puzzle of an event that Kendrick is begging the listener to put together. The story starts off from Kendrick’s point of view, but the lyrics at the beginning don’t really make much sense without the rest having been deciphered. That is one of the things that makes this song so amazing. Kendrick tells it in 3 pieces that are somewhat out of order. In most other pure storytelling songs, the artist’s take on the situation or point of view is traditionally found after the story is told, not before (Or in the case of many other Kendrick songs, throughout the story). The first lines hold so much power and meaning in this song, but we can’t get to those without hearing the story itself first.
The story itself starts at the line “ Anthony was the oldest of seven, Well respected, calm and collected, Laughin' and jokin' made life easier; hard times, Momma on crack, A four-year-old tellin' his nanny he needed her.” This line is describing a senior child of a broken family. The child in question just so happens to be Anthony ‘Top Dawg’ Tiffith, the person who signed Kendrick to his first and only record deal to this day when Kendrick was 16. The story of Anthony continues, with Kendrick Describing his many brushes with hard drugs, crime, violence, and the police.
“Fifteen, scrapin' up his jeans with quarter pieces
Even got some head from a smoker last weekend
Dodged a policeman, workin' for his big homie
Small-time hustler, graduated to a brick on him
10,000 dollars out of a project housing, that's on the daily
Seen his first mil twenty years old, had a couple of babies
Had a couple of shooters
Caught a murder case, fingerprints on the gun they assumin'
But witnesses couldn't prove it
That was back when he turned his back and they killed his cousin
He beat the case and went back to hustlin'
Bird-shufflin', Anthony rang
The first in the projects with the two-tone Mustang
That 5.0 thing, they say 5-0 came
Circlin' parking lots and parking spots
And hoppin' out while harrassin' the corner blocks
Crooked cops told Anthony he should kick it
He brushed 'em off and walked back to the Kentucky Fried Chicken”
And thus ends the story of Anthony. Kendrick provides a perfect backdrop of Anthony’s life and struggles leading up to the most important moment. The Kentucky Fried Chicken line. This is where the puzzle starts to be put together.
The next story Kendrick greets us with is that of a man named Ducky. The only true background we get on Ducky’s life is that he moved from the Robert Taylor Homes in Chicago to California with a woman and a relatively empty wallet, eventually having a son and trying to keep a job to be able to put him through college. The job in question is at a certain KFC that Anthony Tiffith was heading to after brushing off the police. The next lines detail that Anthony is planning to rob the KFC, which he has done before and shot people in the process.
“Cross the street from the projects, Anthony planned to rob it
Stuck up the place before, back in '84
That's when affiliation was really eight gears of war
So many relatives tellin' us, sellin' us devilish works
Killin' us, crime, intelligent, felonious
Prevalent proposition with 9's
Ducky was well-aware
They robbed the manager and shot a customer last year
He figured he'd get on these niggas' good sides
Free chicken every time Anthony posted in line
Two extra biscuits, Anthony liked him and then let him slide
They didn't kill him; in fact, it look like they're the last to survive
Pay attention, that one decision changed both of they lives
One curse at a time”
Kendrick tells us in these lines that Ducky knew he quickly needed to compromise with Anthony, and how he made one simple decision to permanently get on the good sides of bad people. The puzzle is almost put together now, it’s just missing one really small detail: Why is this “Ducky” guy so important? What does he have to do with this being one massive coincidence?
The answer presents itself in a haunting, almost condescending way at the end of the song.
“Reverse the manifest and good karma, and I'll tell you why
You take two strangers and put 'em in random predicaments
Give 'em a soul so they can make their own choices and live with it
Twenty years later, them same strangers, you make 'em meet again
Inside recording studios where they reapin' their benefits
Then you start remindin' them about that chicken incident
Whoever thought the greatest rapper would be from coincidence?
Because if Anthony killed Ducky, Top Dawg could be servin' life
While I grew up without a father and die in a gunfight”
When I first pieced this story together, I was in shock. The fact that my favorite rapper and artist could’ve been prematurely killed by his future boss is absolutely absurd to me. Anthony ‘Top Dawg’ Tiffith could have shot and killed Ducky, Kendrick Lamar’s father, who could then never have fathered Kendrick Lamar, who could then never get signed to ‘Top Dawg’ Entertainment. It is truly a harrowing story about fate and how so many things could’ve been different for everyone involved if one small detail of an event never had happened.
And now back to the opening lines. As I mentioned earlier, the opening lines of this song provide Kendrick’s commentary on this whole situation.
“Oh Lamar
Hail Mary and marijuana, times is hard
Pray with the hooligans, shadows all in the dark
Fellowship with demons and relatives, I'm a star
Life is one funny mothafucka
A true comedian, you gotta love him, you gotta trust him”
Kendrick is not only providing commentary but also foreshadowing the story. He reflects on praying and smoking weed during his upbringing, and also his affiliations with gang culture and how he almost went down that path before he rose to fame as a rapper, coincidentally enough because of that one event.
“DUCKWORTH” is an especially powerful song from a powerhouse of an artist. Kendrick weaves through the story in such a flawless and nonchalant way that the importance of the story could easily be overlooked at first listen. This is a hell of a storytelling song, and after writing this I have a whole new appreciation for the song and Kendrick Lamar as a whole.
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15 Ones to Catch at Lollapalooza 2018
Lollapalooza comes around once a year to showcase some of the best music there is to offer, and this year’s rendition of the annual festival is just around the corner. Taking place August 2-5 at Grant Park in Chicago, Illinois, the city will be engulfed in the sounds of rock, electronic, pop, hip-hop, and so much more. This year sees the lineup being led by the likes of Arctic Monkeys, Bruno Mars, The Weeknd, Jack White, Khalid, Camila Cabello, Post Malone, Tyler, the Creator, Vampire Weekend, Odesza, and frankly far too many others to list. It is a veritable treasure trove of amazing music.
However, with nearly 200 acts slated to play Lollapalooza this year, you want to be sure you are not missing out on a single hidden gem. Well, no need to spend the coming weeks painstakingly combing the fine print for this year’s not-to-miss acts, as we have already taken care of all that for you. These are 15 acts you have to catch at Lollapalooza 2018, as well as a helpful playlist to get your pregame started right.
Clairo
When & Where: Friday, 12:50pm at the American Eagle stage
The term bedroom pop has begun to feel ever so slightly ironic, as more and more of these acts are playing shows leagues beyond the four walls where they craft their hazy, ethereal music. Clairo is the latest in a line of bedroom pop artists to go viral. Following the release of her breakout single “Pretty Girl,” which at the time of writing currently has over 35-million plays across streaming platforms, Clairo has transitioned into a serious artist deserving of both critical and commercial attention. Her debut EP, diary 001, is as a dazzling demonstration of pop that runs the full gamut from distorted lo-fi pop-rap hybrids to meticulously-crafted pop earworms. Clairo is an artist who has the promise of becoming the world’s first bedroom pop superstar.
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YUNGBLUD
When & Where: Saturday, 1:00pm at the Bud Light stage
“If you're not representing something, you're not an artist-you're a singer. And I don't wanna be a fucking singer," proclaims YUNGBLUD. Dominic Harrison, more popularly known by YUNGBLUD, is an artist in the truest sense of the word. The English artist makes socio-politically-fueled alternative rock that feels vital and necessary. His debut album, 21st Century Liability, is a shining testament to this notion. Touching upon themes of mental health, gun violence, rape culture, and more, it is an electrifying and refreshing statement of an artist with something to say. And YUNGBLUD manages to do it all in such a way that it can sonically stand on its own impressive musical merits.
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Charlotte Cardin
When & Where: Saturday, 12:45pm at the Grant Park stage
Charlotte Cardin’s fusion of jazz, electronica, and R&B is pure ecstasy. There’s a timelessness to it all and an intangible hidden element behind it that lures you further and further in. The Montreal-born singer-songwriter originally found her start as a model, but for her, it was a means to achieve a dream of one day becoming a musician. Now, the rising artist is standing at the precipice of her dream, having toured with Nick Murphy and releasing a noteworthy debut EP, 2017’s Main Girl. Lollapalooza will undoubtedly be another step forward and those lucky enough to catch this performance will be graced with Cardin’s velvety, alluring vocals that seem to emanate from a jazz club out of place in time.
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Billie Eilish
When & Where: Thursday, 5:45pm at the Tito’s Handmade Vodka stage
If there is someone who is deserving of the name wunderkind, it’s Billie Eilish. The Los Angeles-based musician was raised in a household of actors and musicians alongside her brother Finneas O’Connell. Eilish released her breakout hit, “ocean eyes,” which now sits at over 86 million plays on Spotify alone, at the tender age of fourteen. Despite her young age, Eilish’s music resounds with both the polish and thematic depth of an artist decades her senior. Her brand of leftfield electropop is infectious and innovative, as is expertly demonstrated in her debut EP don’t smile at me. Truly an artist talented beyond her years, it would be no understatement to say that there is no limit to what Eilish will accomplish in the years to come.
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Rex Orange County
When & Where: Sunday, 1:50pm at the American Eagle stage
Rex Orange County’s brand of easygoing pop music is nothing short of an absolute delight. It’s the sort of music that seems like it was designed to serve as the backing soundtrack for a joyous sun-soaked road trip. Born Alex O’Connor, the English musician originally found major breakthrough success with two features on Tyler, the Creator’s Flower Boy and the radio hit “Loving Is Easy.” Effortlessly blending together elements of jazz, hip-hop, soul, and bedroom electronica, it’s a sound that feels wholly unique yet strangely familiar. Placed amongst the Chicago skyline, Rex Orange County’s set is destined to bring a smile ear to ear and an unshakable groove to the crowd below.
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nothing,nowhere.
When & Where: Friday, 2:10pm at the BMI stage
The emergence and fusion of late-stage emo and hip-hop is arguably one of the greatest things to happen to the respective genres. Vermont’s nothing,nowhere. is one of the artists on the cutting edge of this next wave in music. The rapper, singer, songwriter, and producer makes emotively downtrodden hip-hop that is not afraid to hold its still-beating heart on its sleeve. Beyond being signed to Fueled By Ramen and being Pete Wentz’ protégé, the best way to describe nothing,nowhere. is by his succinct yet profound bio, “it is what it is.” Often opting to remain directly out of the limelight, he’s a musician who lets his music speak for itself, and it speaks volumes.
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Sasha Sloan
When & Where: Sunday, 12:50pm at the American Eagle stage
Truth be told, Sasha Sloan’s breakout hit “Normal” has been on repeat for quite some time now. It beautifully encapsulates everything Sloan is as an artist–unassuming yet captivating, a wholly relatable sonic experience, and just downright infectious. Originally breaking into the industry writing songs for artists such as Camila Cabello and Dua Lipa, Sloan has since stepped into the spotlight with her debut EP, sad girl. A six-track exploration on themes of love, heartbreak, and angst, it is a moving and vulnerable look into Sloan as an artist. Sonically, it’s left-of-center pop at its best, which is sure to translate impeccably to her live performances, with many sing-a-long moments sure to be had.
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Buddy
When & Where: Friday, 5:40pm at the BMI stage
Buddy, formally known as Simmie Sims, is the Compton rapper ready to usher in a new generation of hip-hop fans. Having honed his skills since the young age of 11 through performances at a myriad of industry showcases and a brief stint writing for a rap group, Buddy arrives as a well-versed artist enmeshed in Los Angele’s rap scene. You don’t have to take our word for it though, with Pharrell Williams mentoring, producing, and signing the young emcee. Williams is only one of the numerous impressive endorsements Buddy has under his belt thus far, having collaborated with the likes of Khalid, Nipsey Hussle, Ty Dolla $ign, Wiz Khalifa, and Kendrick Lamar. Buddy is poised to be the future of rap.
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Cuco
When & Where: Thursday, 1:15pm at the Bud Light stage
Cuco is the Chicano, bedroom pop heartthrob of a new generation. The 19-year-old artist makes hazy bedroom pop that has gone on to strike a chord amongst both the industry’s biggest tastemakers and adoring fans alike. Omar Banos, the multi-instrumentalist, producer, and singer behind Cuco has since grown the project out of his bedroom walls to a friend and family affair. A live Cuco show more closely resembles a music collective gathering than it does a bedroom pop performance, with Cuco being joined by a full band and breaking out to rap-heavy songs at the drop of a hat. Simply put, a Cuco show seamlessly shifts between a full-out party and an enchanting dream. It’s an experience that is not to be missed.
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Amy Shark
When & Where: Saturday, 1:50 at the American Eagle stage
Emerging from the Gold Coast of Queensland, Australia Amy Shark is a notable songwriting talent. Finding initial success with her viral hit “Adore,” the world was introduced to a singer-songwriter whose voice was as anthemic as it was deeply emotive. Shark expounded further on that sentiment with the recent release of her debut album Love Monster. A sprawling 14 tracks of pop-leaning songwriting perfection, it is brimming with power ballads that are begging to be shouted into the heavens. Shark’s intrinsic ability for channeling forlorn love into deeply moving numbers is something to be applauded. It’s something we can say we have been lucky enough to witness live and are elated to witness yet again in Grant Park.
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Two Feet
When & Where: Friday, 2:50pm at the American Eagle stage
It is a kneejerk reaction to constrain Two Feet’s artistry to the world of electronic music, but it’s deeper than that. At its core, the New York-based musician draws upon a wellspring of jazz and blues influence to craft something new yet recognizable. His breakthrough came in the form of “Go Fuck Yourself,” an electro-heavy, jazz-infused track with an inescapable guitar riff. Since then, Two Feet has gone to release two transfixing genre-meshing Eps, 2016’s First Steps and 2017’s Momentum. The way in which he interweaves the worlds of electronic, jazz, and blues into a cohesive and dark experience with such seeming ease have earned him much-deserved comparisons to Chet Faker and Darkside.
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Lewis Capaldi
When & Where: Friday. 1:45 at the Lake Shore stage
Lewis Capaldi could sing of anything, and it would never fail to tug at your heartstrings. This is a testament to the intrinsic power of Capaldi’s voice. The Scottish singer-songwriter first burst onto the scene with the standout single, “Bruises.” To this day, it remains a moving piano ballad that carries the same amount of emotional weight as the very first moment we heard it. It’s because of the way Capaldi’s voice stays with you long after the culmination of any of his tracks. More than just a simple notion of Capaldi feeling like he is singing directly at you, but rather that it feels as if he is speaking to something universal hidden inside all of us.
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Wes Period
When & Where: Thursday, 2:10pm at the BMI stage
Wes Period is the embodiment of sun-drenched Los Angeles rap. The rising Los Angeles pop-rap star spits with a lyrical flow that is the sonic personification of his sunny surroundings. It’s a vastly unique style that translates to an absolute all-out party experience. Trust us, we threw a pool party with Period himself and we were fighting between jumping into the mosh pit or the pool throughout his set. Or let Period’s long-awaited debut album, Pretty Words speak for itself. It’s a wonderful assortment of rap-pop hybrids that please one after another and are sure to go off at this year’s Lollapalooza.
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The Wrecks
When & Where: Sunday, 5:40pm at the BMI stage
The Wrecks is a tried-and-true rock band. From sneaking into a recording studio to record their debut We Are the Wrecks EP to creating joyous, high-energy alternative music, The Wrecks is impossible to ignore. Since their inception, The Wrecks has toured with Nothing But Thieves, New Politics, The Main, All Time Low, and sold out their debut headlining tour. More recently, The Wrecks released their sophomore EP, Panic Vertigo (which hopefully didn’t require them sneaking into a recording studio to finish this time around). The follow-up EP heightened the guitar-driven, anthemic rock approach of its predecessor for another series of songs that are perfect for the ensuing mosh pit that is bound to erupt during their set.
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The Aces
When & Where: Sunday, 4:30pm at the BMI stage
If there is a band that is deserving of being championed as hometown heroes, it’s The Aces. Forming in Provo, Utah, the all-female quartet found their start playing school assemblies and teen events around town, and eventually found themselves shortlisted by Paste Magazine as one of the “10 Best Utah Bands You Should Know.” Now, they’re definitely one of the 15 acts you need to catch at Lollapalooza this year. Coming hot off the heels of their debut album, When My Heart Felt Volcanic, the quartet will have a wellspring of new, shimmering material to pull from. Prepare to fall in love with The Aces and their impeccable indie pop perfection.
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#ones to catch#Lollapalooza#clairo#yungblud#charlotte cardin#billie eilish#rex orange county#nothing nowhere.#sasha sloan#buddy#cuco#amy shark#two feet#lewis capaldi#wes period#the wrecks#the aces
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○○ eyez | epilogue
The bedroom was spacious now that most of the things were gone from the shelves and walls—the closet was nearly empty, and the dressers were completely barren. The bed was vaguely dressed, and sitting at the end of the bed was a young woman with a head full of curls. With a phone pressed against her ear, she yawned slightly as she listened to the conversation on the phone. She ran her polished toes against the white carpet below her, and she chuckled softly as she licked over her lips.
“Girl, it’s already amazing up here. It’s gonna be everything when you get here,” The female’s voice on the other end insisted.
“Yeah, I can’t wait to see you, Neisha. It’s been boring as hell down here since you went up there,” She said before she noticed the male coming in her doorway. “But I should be there soon. It’ll take us a couple days for all of us to get up there. Then I’m going to visit my uncle while I’m up North Carolina so it’ll be a minute before I actually get there,” She said.
“Bet. Well I’ll see you then?” The female named ‘Neisha’ said, and the girl nodded. “Be safe on the road, Niya.”
“I will,” She hung up her cell phone beore she glanced up at the young man. “What’s up, B?” She asked.
“They’re ready to go,” He said, and she nodded as she stood up slowly. “Wait…before we go, I got you somethin’,” His deep baritone filled the young woman’s ears, and she stopped moving before he took a step forward.
He pulled a box through his pocket, and he handed it to her before she raised her eyebrows, opening it slowly before she laughed softly. “Yo…is this real platinum or are you trying to fuck my skin up?” She asked.
“Shut up and put it on, Janiya,” He smirked before she pulled out the platinum charm bracelet. “I saved up a year’s worth of cash for this shit, so you better not lose it,” He warned.
“Nah, I won’t,” Janiya stared down at the charms on the bracelet, and smiled a bit before she reached over and hugged the male tightly. “Thank you, Braeden,” She mumbled.
“You’re welcome,” He said before he pulled away from her slowly. “Don’t be acting up in New York, a’ight? You know the streets is watchin’, and I don’t need no problems,” He warned.
“Shut up. I’m a good girl,” She chuckled a bit before she grabbed her duffle bag. “You just take care of mom and dad while I’m up there. And Brianna and J2—care for them too,” She said.
“I got you, sis. But for real…take care of yourself up there,” Braeden said, and she nodded before he grabbed her bag, and they headed out of the bedroom.
They headed downstairs of the familiar home, and once Janiya hit the last step, she glanced around the first floor before she took a deep breath.
The memories that flooded her mind seemed to hit her at full speed; from the cookouts in the summer that she spent with her family, to the nights she spent where her father would help her with her homework, to the first time her and her mother argued through her teenaged angst—it was all in the house. She remembered watching her younger brother grow, and the night her parents came home with her other two siblings. She remembered when they brought home a ‘girlfriend’ for Leo, and when the two had puppies. She remembered burying Leo in the backyard when age finally got to him, and she remembered raising one of the puppies as a ‘replacement.’ She remembered the first boyfriend she snuck in to hang with, the first sleepover, the first time she cooked in the kitchen with her mother, and the first time her father attempted to teach her how to make an instrumental beat. It was bittersweet—she wouldn’t be seeing this house for a while.
Janiya Cole had spent most of her life in this house, and now she felt like she was leaving a part of herself behind.
The young woman had just turned 18 in the spring that she graduated high school, and it had been a long road for her family. She didn’t realize the power of her parents until she was twelve years old—when her father Jermaine was honored at an awards show, and her mother Beija was given a humanitarian award from Harvard University. Ever since she had tried to find a way to balance being Janiya and being ‘J. Cole and Beija Cole’s daughter.’ Even with the stress that came with trying to pull herself from her parents’ shadow, she couldn’t have been more elated that her parents had contributed so much to the world. Janiya felt this sense of pride knowing what her family had accomplished.
Her father was considered a legend in the eyes of many rap fans, but to her he was just her father. Jermaine was a silent guy for the most part when it came to showing his personal business to the world but to his family, he was a goofball with wisdom beyond his years and the kindest eyes one could ever see. He’d give the shirt off his back for those he loved.
To the world, Beija was the ‘wonder woman’ of the music industry, finding and shaping the talents of music’s biggest names that had become staples of Janiya’s generation of music and music culture. She was a philanthropist and a highly-regarded advocate for women’s and civil rights. But to Janiya and her siblings, Beija was the soft as silk yet tough as nails matriarch who worked hard for everything she wanted and would burn the very earth she stood upon for her husband and children.
it was a trait that both parents shared, and what they taught their children with all their effort - family was always the most important thing in life.
Throughout her childhood, Janiya could remember every dance recital and every basketball practice Jermaine attended. She could remember all the times Beija sewed a ripped leotard, and every new pair of sneakers she bought to make sure her daughter had the best game going for her. She remembered all the tutoring they made sure she went through so she could be as smart as she was talented. She felt like she was only a fraction of the woman she was because of the love her parents showered her with. She was certain her siblings were just as blessed to have Beija and Jermaine in their lives.
The love she had with her siblings was just as strong; Braeden was the second born of the family and the two were as close as close could be. When Jermaine officially retired from rapping, he decided to open a business—he inherited the Demarco family restaurant and named it after Janiya’s late grandfather; it was then that they discovered Braeden’s singing skills. It was always said that he was basically his Uncle Rashaad reincarnate. He damn near looked like the man, acted like him, and had musical talent just like him. Jermaine always said that it was no coincidence that Braeden was born on the same day Rashaad was murdered and as Janiya grew older and learned more about her late uncle, she was starting to believe it as well. Her other two siblings had the luxury of being fraternal twins—Brianna and Jermaine Jr. were literally like two peas in a pod; wherever one was, the other wasn’t too far behind. Their bickering made it seem less and less likely that they’d stay close, but whenever one needed help, the other was always there for them. Janiya was the oldest and she took care of all of them the best she could.
“Niya?” Janiya looked over her shoulder at her mother, and she tilted her head as Beija smoothed out her flowing skirt. “You ready to go? Everyone’s outside,” She said. Beija had gained a bit of weight over the years, but she was exactly how Janiya saw her all the time: curvy with an afro of curls and a smile glimmering even within her brown eyes. Although Janiya adoped her father’s height and was a bit taller than her mother, Beija’s no-nonsense attitude always seemed to make it clear that she was a figure of authority.
“Yeah,” She said before she hoisted her bag on her shoulder, following her outside.
Once everyone was in the rented RV, the Cole Family were off towards their destination—New York City.
“Why you hogging all the food for? Stop being fat,” Brianna’s shrill voice sounded throughout the RV as she snatched the bag of chips from one of the boys’ hands. The female’s light brown eyes rolled before she plopped down on the couch, before she popped a ruffled potato chip into her mouth.
“You two can’t go a minute without acting up,” Janiya calmly commented as she flipped through the issue of Essence magazine, seeing the article on her younger ‘cousin,’ and her latest art exhibit that she had hosted with her father. She had to remind herself to call Uncle Cody to see how he was doing.
“It’s not my fault Junior is a bottomless pit. All he does is eat and be a burden,” Bri crossed her legs as she spoke, glaring at her twin brother.
“Wow. You sure you’re not some stray mama got off the street?” Junior sneered, and Janiya shook her head as she watched Bri toss a chip in his direction.
“Y’all better not be acting up back there,” Janiya chuckled softly to herself as she heard Jermaine’s voice from the front of the vehicle.
“That’s your son,” Bri complained.
“I will not miss these fights of yours,” Janiya mumbled to herself as she crossed her legs, scrolling through her phone before she heard Childish Gambino on the oldies station—she could hear Beija exclaim how this was her song and the RV soon rumbled with the bass of the song. Niya could remember the endless Saturday afternoons when “Redbone” was played through the house while the family cleaned. It was either Beija with the R&B oldies, or it was Jermaine playing old Nas and Big Daddy Kane.
That was the one perk of having parents that dabbled in the entertainment industry—even though he mostly worked with movies and music production now, Jermaine was known as one of the greatest rappers of his generation; he and Kendrick Lamar were Braeden’s favorites. As for Beija, she had been the A&R for many successful artists until she decided to go back to school to get her doctorate. Now, she taught others on how to be successful A&R’s and managers. The story was that they both worked for Dreamville Records when they met over 20 years previous, and it was one of the ironies that the label was still going strong. Her uncle Ibrahim was still hard at work as the head of one of the leading labels in the industry, and he promised his daughters and his nephew Braeden positions within the label once they finished college.
Janiya still wasn’t sure what she wanted to do with her life, and sometimes it troubled her. She was on the way to her father’s legacy college on a general studies major at the moment only because she was still unsure what she wanted to do. Braeden had made it clear that he was going in their father’s footsteps, Brianna was certain that she wanted to get into image branding and advertising, and Junior was convinced he’d be in the NBA. All the Cole kids seemed to be focused upon becoming something great and living along the same lines of excellence as their parents did before them. But as for the oldest Cole, she just was uncertain of what she would do. She was just grateful she made it to 18, and to college—she figured she’d figure out what she wanted to do with time.
After a day of listening to her siblings bicker and her parents reminisce of past days on the open road, the family stopped at a rest stop to get some rest for the night. They had been driving for most of the day, and they didn’t have too far to go once they woke up in the morning. They’d make a quick visit to Uncle Zachary’s house, then take on the rest of the way towards New York City. While the rest of the kids got their dinner and bedtime rituals in, Janiya was sitting on the steps of the RV, glancing up at the sky as she felt the sweeping August heat.
“Hey there,” Janiya glanced up and saw Beija standing over her. “Wanna go sit?” She nodded her head towards one of the nearby picnic tables, and Niya nodded before she stood up to her feet. She led the way towards the table, and she sat on top of it while Beija sat in the seat. The chirping of crickets surrounded the area as the stars twinkled above them. The slight smell of exhaust fumes seemed to almost mask the scent of pine, and now that the sun was gone a small breeze seemed to chill the air. “How are you feeling?” Beija asked.
“I don’t know,” Janiya scratched at her leg before she wrapped her arms around her knees, leaning over as she felt some of her curls fall in front of her face. “I guess the usual anxiety that comes with going to a new school. And I’ll be so many states away from the family,” She explained.
“I felt that way when I transferred to NYU,” Beija nodded as she sighed, glancing up towards her daughter. “I remember how afraid I was to move, and wondering if what I set out to do would even come to fruition,” She explained.
“At least you knew what you wanted to do. I have no idea,” Niya chuckled softly to herself before she sighed, glancing down at her shoes. “I feel so much pressure, ma. You and daddy set this real high bar and I don’t think I can reach it. I know I’m going to go through a whole semester of ‘Oh my God, you’re J. Cole’s daughter,’ and I just…I can’t even fathom trying to fit into you or dad’s shoes,” She revealed.
“Then don’t try. Be you, Janiya. You know J and I wouldn’t care what path you choose…as long as you’re happy and you’re living legally,” Beija placed a hand on Janiya’s knee. “You want me to tell you a story?”
“I’m not in the mood for one of your tour stories. I know all of ‘em anyway,” Janiya could tell the most likely edited version of the story of how her mother and father met, fell in love, and took over the world.
“Not that. It’s a story about you,” Beija replied, and Janiya raised her eyebrows slowly as she glanced at her mother, slightly more intrigued and willing to listen. “I never told you about the story of your birth,” Beija further explained.
“Oh…you haven’t,” Janiya hardly heard stories about her birth—she had always heard about Brae’s birth, or about the fact that Bri and Junior were born in the waiting room of the emergency room instead of an actual hospital room, but she hardly ever heard about the day she was born.
“I found out I was pregnant with you when I was living in New York. Jermaine and I had been with each other for a little while and well, I was terrified of course. My first child, and the way we got together still had me feeling a way about myself as a woman,” Beija began. “The whole pregnancy, I just wanted a healthy baby and to be a good mother to it. We moved to North Carolina, and we found out you were a girl…that same day, your father proposed to me,” She chuckled to herself, and Janiya smiled a bit. She could vaguely remember her parents’ wedding, but she was so young that she could only piece together memories through stories and photos. “But when you were born…your umbilical cord suffocated you. The doctor told me that you died for a couple of moments.”
“What?”
“Yes. And I…I was so heartbroken. I thought that I had failed you,” Beija had never disclosed this information to Janiya and not only was that surprising, but the strong and confident woman Janiya always knew seemed to be way more subdued in front of her now. “I was so depressed afterwards that I tried to end my own life,” She continued, and the turn in Niya’s stomach made her bite into the flesh of her bottom lip. “Looking back…that was the worst decision my depression ever made for me. You taught me a valuable lesson throughout my recovery, though. I learned how to fight through my demons because your love for me was greater than any hate I had for myself,” Beija looked up at Janiya before she reached up and gently rubbed her cheek. “That’s why I try to keep you from being discouraged about your life and where it’s going. You fought death and won…and so did I. I got to watch you blossom into the most beautiful woman I know, and I’m so happy that we’re both here,” Beija sighed before she looked down at her sandal-clad feet, sniffing slightly. “I’m sorry…emotions.”
Janiya didn’t say anything as she watched her mother try to pull herself together; she slowly moved off the table and sat on the seating area next to Beija before hugging her tightly. “I love you mom,” Niya said softly.
“And I love you always,” Beija leaned over and kissed her temple. “Go take your shower so you can get into bed.”
Janiya nodded slowly before she headed onto the RV. As she was getting on, Jermaine was getting off; she chuckled when he ruffled her curls, and Janiya glanced back as she watched the older man walk over to where Beija was sitting. He sat next to her, and the two of them embraced each other once he sat down. Janiya smiled softly to herself before she closed the door behind her.
The next morning, the Coles had a breakfast at a local pancake diner, and they got back onto the road. The rest of the way towards New York was pretty much a straightaway until they made a stop in North Carolina. Janiya got a chance to see the first home she ever lived in; her father gave an animated tour of the home, right down to where her nursery was. After making more stops to visit the kids’ uncle and paternal grandparents, the family drove to Fayetteville, which was only a few towns over; the kids got to finally see the now ‘historical’ 2014 Forest Hills Drive, and Janiya was given another new story for her memory bank; apparently, this was the spot that not only Jermaine started his dreams of becoming a rap star, but the day he realized he was in love with Beija. It was weird seeing her parents reminisce over something so odd, but she couldn’t ignore the sparkle in her mother’s eyes when she spoke of Jermaine’s kindness and care for her throughout that fateful summer that they worked with one another. Janiya had dated here and there; some were amicable break-ups, while others were full blown heartbreaks. But no matter what she felt about love, she knew that if it didn’t feel the way Beija looked when she laid eyes upon Jermaine, she didn’t want it.
The family parked the RV at her ‘uncle’ and ‘aunt’s’ house in New Jersey for the night—Ibrahim and Nicole were Jermaine’s oldest and dearest friends, and had been a vital part of all the kids’ lives from when they were young on up. Janiya had a squad of ‘uncles’ who served as proper godfathers; Abbas had always been seen as her ‘cool’ uncle, always knowing about the latest trends and electronics. When he and her aunt Lauren returned from their constant trips, Janiya could always expect a gift from him. Cody was definitely the ‘Hennessy Uncle,’ who was loud, vulgar, and funny as hell. Whenever he came down for the yearly ‘family reunion,’ he was always leaving Janiya in a fit of laughter. She wasn’t sure how auntie Yana dealt with him, but she was the only one who could subdue the man. Her uncle Damon and aunt Sara were mysterious and a bit more serious than the rest of the uncles and aunts, but they were kind-hearted and were whom Janiya talked to whenever her parents didn’t ‘get her.’ But out of all of them, she was the closest to her ‘Ibby;’ Ibrahim was her favorite, and she never ceased to make it known. It was a joy to see him and she was happy that he and Jermaine would be driving her and Beija to New York personally.
The next morning, Janiya parted with her siblings and hit the road with Ibrahim, Jermaine, and Beija—they’d be dropping Beija off at NYU first for her semester of teaching, then Janiya over at St. John’s.
“Man, remember when we first drove to New York, J? I remember you literally fogging up my windows trying to look up at everything,” Ib laughed softly as he drove into the city. Janiya chuckled a bit at her uncle’s jab, but she couldn’t help but to peer out the window herself.
“Shut up—I was amazed, shit. It was like nothing I had seen before. I knew right then this place was a long way from Fayetteville,” Jermaine replied.
“I can’t believe it,” Janiya mumbled to herself. “I’ve been all around the world because of you guys, but this…this is different.” She said. “Even though I’ve been here several times, it still feels different and new.”
“Oh yeah, it’s different indeed—wait until you’re paying $10 for a burger meal every other day,” Beija joked.
The four continued their conversations until they finally reached the apartment building that wasn’t too far from the New York University campus. “First stop,” Ibrahim parked the car before he got out to attend to Beija’s bags.
“Y’all get out and give me my love,” Janiya followed her mother’s instructions, and was embraced by Beija as soon as she could get out the car. “I love you so much, Niya! Call me if you need anything at all, I’m right across town you know,” She reminded.
“Of course,” Janiya nodded.
“And please don’t be afraid of the subway—the rats aren’t that bad if you don’t stare at them too long. And don’t let these cab drivers bully you,” She rambled.
“Yes ma’am. Now go,” Janiya chuckled before giving her mother one last hug.
Janiya watched as Beija approached Jermaine, and the two embraced before the man placed a kiss upon his wife’s forehead. “I’m proud of you,” He replied, and Janiya couldn’t help but smile.
“I’m proud of me too,” Beija said, and once she gave Ibrahim and hug and cheek kiss, she grabbed her bags before she headed towards the building.
“Alright, let’s get you to your spot,” Jermaine patted Janiya’s shoulder, and the remaining three returned to Ibrahim’s car.
The ride to St. John’s was quiet; Janiya didn’t mind the silence, however. She licked over her lips as she saw a bunch of kids walking along the sidewalks, heading towards their dorms. The whole weekend had been move-in day for those who were living in dormitories. Janiya had her things sent up to her dorm a couple days before she arrived, and all she had now was the two bags in Ib’s trunk. She’d have a week to unpack and organize, then she’d start her classes the following week. The thought of walking into a lecture hall seemed to make her nervous—she had to remember Beija’s words from a couple nights back, and she had to focus on the positives. She had made it to college; a lot of her friends didn’t. Some of them fell under the spell of the streets, others got babies, and some lost their lives along the way. Janiya had fought to be able to go to college, so getting through it would be her ultimate goal. She just hoped that by then, she’d know what to do next.
“Alright, all passengers off,” Ibrahim announced, and Janiya slid out of the backseat before Ibrahim grabbed her bags. “You need me to carry these, Niy?”
“If you want. Show me around a bit, guys. These are your stomping grounds,” She joked, and Jermaine chuckled as he adjusted his shirt.
“They were, baby. But it’s been a long while since I’ve even seen this place. God, it’s changed so much,” He grabbed Janiya’s hand, and the three of them walked through the parking lot towards Janiya’s dorm building.
They walked through the lobby and Janiya took the time to register herself and grab her building entry card before she headed up to her floor with her relatives. Once they got to her room, Ibrahim sat her bags on her bed. “Come here, girl. Give me a hug,” Ib embraced Janiya tightly, and she giggled as he rocked her from side to side. “I’m so fuckin’ proud of you, Niya. I mean it. If you need a day or two away from this shit, come down and see me and Nic. I’m sure Sabrina and Selina would be happy to see you too,” He said.
“I’ll keep that in mind! Thanks for the offer,” She smiled. “Thanks for driving me down here too. I love you Ibby.”
“I love you too, baby girl,” Ib kissed her temple before he patted her shoulders, pulling from her before he looked her over. He shook his head before flashing a small smile; it almost seemed like he was reminiscing about something. He glanced back at Jermaine and he nodded at the man. “I’ll be in the car,” He walked towards the door and before long, Jermaine and Janiya were alone in the single-spaced dorm.
Janiya glanced at her father and she took a moment to look him over—Jermaine had looked the same all her life. Aside from the elongated dreadlocks and the glasses he wore, he still looked like a lanky and tall figure. Signs of age shown in his features, from smile and frown lines to the crow’s feet that slightly creased the corners of his eyes. But his eyes still held that soft yet powerful stance that was able to make anyone trust his word. Some of his hair was grey as well, but Janiya Cole would always recognize her father. He cracked a smile, and his slightly crooked teeth only made her smile as well. “You look just like your mother. It’s insane,” He said.
Janiya chuckled softly before she crossed her arms over her chest. “Oh yeah?” She asked.
“Yeah. But you got my eyes…I can tell, now. Because you looked at me how she said I looked at her when we met. Like you were looking through me…” He paused before he rubbed at his beard. “This is so weird.”
“It is,” Janiya agreed before she looked down at her sneakers. “But hey…I’m a phone call away, you know that, right?” She asked.
“I know. It’s just…when you were born, I was the first one to hold you. Now I’m the one letting you go,”Janiya glanced up and she could see the light dim in his eyes—the sadness that filled them next was enough to make her eyes water. “I’m proud of you, Niya. You gotta know that.”
“I do. You tell me every day,” Janiya chuckled as she wiped away the stray tear that escaped her eyes. She was soon welcomed with Jermaine’s warm embrace. She laid her head on his chest, and she listened to the thumping of his heart.
“Remember when you were younger and you asked me why I didn’t wanna be ‘super famous��� anymore?” He asked, and Janiya burst into laughter.
“Yeah! I remember that, actually. You never gave me an answer either,” Janiya glanced up at her father as she spoke.
“This is the reason why. Imagine…I could still be rapping, and somewhere overseas giving a concert to tens of thousands. But I would have missed this. There’s so much I would have missed if I had kept going. You, Brae, Bri, Junior, your mama—you all are the lights of my life. Sure, I have awards, plaques, and lifelong fans, but you guys are the reason why I feel like I’m the greatest,” He explained. Janiya held onto Jermaine a little tighter, and the two quietly embraced for a moment. She could hear the soft sniffs from her father as he pulled away, and her eyes fluttered close when he placed a tender kiss to her forehead. “I left a gift in one of your clothing boxes. Take care of it,” He said, and he pulled away fully before he headed for the door.
“I love you daddy,” Niya spoke to him, and she watched Jermaine stop his movement.
He nodded before he reached for the doorknob. “I love you too. Always.”
He finally opened the door, shutting it behind him.
Janiya sghed softly before she began to unpack her clothes and began to put them away. She had gotten through three boxes before she found the gift Jermaine spoke of—on top of her folded clothes, there were two notebooks. One was worn and torn, and the other was brand new. She grabbed the notebooks and she sat on the bed before she opened the older notebook. She bit into her bottom lip as she ran her fingers over the page, and she gasped when she read over the familiar words. “Dad,” She croaked before tears brimmed her eyes, and she wiped them away before they could hit the page. She remembered reading through her mother’s favorite book—it was a book of poetry Jermaine did during his years in college. Despite Beija’s copy becoming a bit worn itself, she said that she had no idea what the original copy looked like or where it was. But now, Janiya had what she was sure to be the original copy. She sniffed before she grabbed the new notebook, and opened it to see the first page—‘I wrote what I saw. What do you see? Tell me,’ was written on the first page.
Janiya laughed to herself before she shook her head, closing the newer notebook. “Soon, daddy. I’ll tell you everything,” She said to herself.
She moved from the side of the bed to the head of it before she grabbed her music player. She put her earbuds in and turned on one of her playlists before she began to read through the poetry as she had done so many times before. Once she experienced college, maybe some of his poetry would start to make more sense. It would motivate her through her hard times and although she wasn’t able to see him all the time, Jermaine was always by her side in this manner. Soon enough, she hoped that she would be able to tell her own story of her life from this point forward and one day, she would tell Jermaine all about it.
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My Top 25 Albums
Nobody reads this blog so this is more for me than anyone else (ordered by release)
Daft Punk - Discovery (2001)
This is the album that solidified my love of chopped vocal samples. Crescendolls and High Life have really awesome ones in them. I always liked the use of vocals in music in a way that sounds more awesome than it does make sense.
Favourite Song: High Life
Maroon 5 - Songs About Jane (2002)
Incredibly nostalgic. This is one of many albums that my parents used to listen to all the time. It’s grown on me a lot.
Favourite Song: She Will Be Loved
Madvillain - Madvillainy (2004)
Earl Sweatshirt once said that this was this generations ‘Illmatic’ and I completely agree. Madlib kills as a producer and Doom is the same old awesome doom.
Favourite Song - Fancy Clown
Gorillaz - Demon Days (2005)
Fuck genre, just make awesome shit like this.
Favourite Song - Feel Good Inc
mc DJ - Love Letter In An Unbreakable Bottle (2007)
Donald Glover before he was Childish Gambino. He had some work to do before getting to his current amazingness but this is a great start, I’d recommend it for all those into instrumental hip-hop/electronic stuff.
Favourite Song - Booty LSD
Gorillaz - Plastic Beach (2010)
On Melancholy Hill and Broken are two of the greatest songs of all time and nobody can convince me otherwise.
Favourite Song - Broken
Frank Ocean - Nostalgia, Ultra (2011)
Frank putting his vocals onto already existing instrumentals from other bands was a great idea, and the original shit he puts in here are rad to.
Favourite Song - Nature Feels
Logic - Young Sinatra (2011)
There’s something very relatable about this mixtape that I can’t really describe. It’s just Logic fucking around with sampled beats and mad flows.
Favourite Song: Mind Of Logic
Childish Gambino - Camp (2011)
1.6 my arse. Choirs and violins aren’t something you hear often in Hip-Hop (at least not throughout an entire album) and Bino’s relatable lyrics and clever punchlines are awesome to.
Favourite Song - That Power
Childish Gambino - Royalty (2012)
Not much to say here, it’s just cool.
Favourite Song - Wonderful
Kendrick Lamar - good kid, m.A.A.d city (2012)
A masterpiece. Everything about this is catchy, invoking and intelligent. Kendrick is a fucking god.
Favourite Song - Bitch Don’t Kill My Vibe
Captain Murphy - Duality (2012)
This whole thing is a trip. The psychedelic instrumentals and the creepy cultish deep voice of Captain Murphy give this a unique vibe.
Favourite Song - Mighty Morphin’ Foreskin
Tyler, The Creator - Wolf (2013)
Tyler’s got a really unique style that varies from moody teenager to hyped and wild teenager, sometimes within a split second. Incredibly creative.
Favourite Song - Tamale
The 1975 - The 1975 (2013)
Every song sound like a single and has a strange nighttime feel to it, if that makes any sense? Really cool.
Favourite Song - Menswear
Eminem - The Marshall Mathers LP 2 (2013)
People seem to always hate on older Eminem. Personally I think the more mature style leads to music that still has a controversial edge and a wild style, except more refined and with more thought put into it.
Favourite Song - So Far...
Childish Gambino - Because The Internet (2013)
best album Best album BEst album BESt album BEST album BEST Album BEST ALbum BEST ALBum BEST ALBUm BEST ALBUM!!!!!!!!!!
Favourite Song - 3005
Childish Gambino - STN MTN / Kauai (2014)
A mix of banging southern rap and smooth beach soul is fine by me
Favourite Song - Pop Thieves
Kendrick Lamar - To Pimp A Butterfly (2015)
A politcally charged trip through Funk and Jazz influenced beats with thoughtful lyrics and a very cool vibe.
Favourite Song - Wesley’s Theory
Tyler, The Creator - Cherry Bomb (2015)
Find your wings.
Favourite Song - Fucking Young/Perfect
Logic - The Incredible True Story (2015)
Incredibly epic production and a mad flows from logic. The feel of the album is off the charts.
Favourite Song - Paradise
David Bowie - Blackstar (2016)
There will never be another album like this one, a swan song that’s completely aware of it’s creators imminent demise. Atmospheric and entirely existential.
Favourite Song - Girl Loves Me
Kendrick Lamar - untitled, unmastered. (2016)
If this is what ‘unmastered’ sounds like then every album should be made as such. Another ‘nighttime’ album for me personally.
Favourite song - untitled 02 06.23.2014
Kanye West - The Life of Pablo (2016)
I don’t know why I love this so much, I just kind of do.
Favourite Song - Saint Pablo
Chance The Rapper - Coloring Book (2016)
There was clearly a lot of love and passion going into this and it shows.
Favourite Song - Summer Friends
clipping. - Splendor & Misery (2016)
This album is less about catchy hooks and melodies and more about setting an atmosphere and creating a captivating story. Amazing stuff.
Favourite Song - True Believer
#daft punk#maroon 5#madvillain#gorillaz#mc DJ#Frank Ocean#Logic#Childish Gambino#Kendrick Lamar#Captain Murphy#tyler the creator#The 1975#Eminem#David Bowie#Kanye West#Chance the rapper#clipping
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Dr. Dre
Andre Romelle Young (born February 18, 1965), better known by his stage name Dr. Dre, is an American rapper, record producer, and entrepreneur. He is the founder and current CEO of Aftermath Entertainment and Beats Electronics. Dre was previously the co-owner of, and an artist on, Death Row Records. He has produced albums for and overseen the careers of many rappers, including 2Pac, The D.O.C., Snoop Dogg, Eminem, Xzibit, Knoc-turn'al, 50 Cent, The Game and Kendrick Lamar. He is credited as a key figure in the popularization of West Coast G-funk, a style of rap music characterized as synthesizer-based with slow, heavy beats. In 2014, Dr. Dre was ranked as the second richest figure in the American hip hop scene by Forbes with a net worth of $550 million; he is at the top of the 2015 Forbes list, with an estimated pre-tax take of $620 million in 2014.
Dre began his career as a member of the World Class Wreckin' Cru and later found fame with the influential gangsta rap group N.W.A with Eazy-E, Ice Cube, MC Ren, and DJ Yella, which popularized the use of explicit lyrics in rap to detail the violence of street life. His 1992 solo debut The Chronic, released under Death Row Records, led him to become one of the best-selling American performing artists of 1993 and to win a Grammy Award for the single "Let Me Ride". That same year he produced Death Row labelmate Snoop Dogg's quadruple platinum debut Doggystyle, and even molded artists into top-notch producers such as his step-brother Warren G, which led to his Multi-Platinum debut Regulate...G Funk Era in 1994, and Snoop Dogg's cousin Daz Dillinger which led to the double platinum debut album Dogg Food by Tha Dogg Pound in 1995.
In 1996, he left Death Row Records to establish his own label, Aftermath Entertainment. He produced a compilation album titled Dr. Dre Presents the Aftermath in 1996, and released a solo album titled 2001 in 1999. During the 2000s, he focused on production for other artists, while occasionally contributing vocals to songs. Dr. Dre signed Eminem in 1998 and 50 Cent in 2002 to his record label respectively, while contributing production on their albums. He has won six Grammy Awards, including Producer of the Year. Dr. Dre has also had acting roles in movies such as Set It Off, The Wash and Training Day. Rolling Stone ranked Dre at 56 on their list of "100 Greatest Artists of All-Time".
Early life
Young was born in Compton, California, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur R&B singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Young began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. His mother later married Warren Griffin, whom she met at her new job in Long Beach, which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G.
Young is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. Young attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Young fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.
Music career
1984–85: World Class Wreckin' Cru
Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", he often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under the independent Kru-Cut Records in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.
Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website Allmusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only".
His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.
1986–91: N.W.A and Ruthless Records
In 1986, Dr. Dre met rapper O'Shea Jackson—nicknamed Ice Cube—who collaborated with Dr. Dre to record songs for Ruthless Records, a rap record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content.
After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self title'd debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness
1992–96: The Chronic and Death Row Records
After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G. Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.
On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.
Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts.
In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.
Dr. Dre also appeared on the single "No Diggity" by R&B group Blackstreet in 1996: it too was a sales success, topping the Hot 100 for four consecutive weeks, and later won the award for Best R&B Vocal by a Duo or Group at the 1997 Grammy Awards. After hearing it for the first time, several of Dr. Dre's former Death Row colleagues, including 2Pac, recorded and attempted to release a song titled "Toss It Up", containing numerous insults aimed at Dr. Dre and using a deliberately similar instrumental to "No Diggity", but were forced to replace the production after Blackstreet issued the label with a cease and desist order stopping them from distributing the song.
1996–98: Move to Aftermath Entertainment
The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas' "Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".
The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability.
1999–2000: 2001
Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Chronic 2000: Still Smokin in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.
During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.
2001–07: Focus on production and Detox
Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem’s landmark Marshall Mathers LP, including the Grammy-winning lead single, “The Real Slim Shady”. The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001. He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem’s 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for “Without Me”. He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".
Another copyright-related lawsuit hit Dr. Dre in the fall of 2002, when Sa Re Ga Ma, a film and music company based in Calcutta, India, sued Aftermath Entertainment over an uncredited sample of the Lata Mangeshkar song "Thoda Resham Lagta Hai" on the Aftermath-produced song "Addictive" by singer Truth Hurts. In February 2003, a judge ruled that Aftermath would have to halt sales of Truth Hurts' album Truthfully Speaking if the company would not credit Mangeshkar.
Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.
Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful sophomore album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xplosive" as where he "got (his) whole sound from".
In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.
Planned but unreleased albums during Dr. Dre's tenure at Aftermath have included a full-length reunion with Snoop Dogg titled Breakup to Makeup, an album with fellow former N.W.A member Ice Cube which was to be titled Heltah Skeltah, an N.W.A reunion album, and a joint album with fellow producer Timbaland titled Chairmen of the Board.
In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine. After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties. In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.
2008–14: The Planets, a break and Coachella
On December 15, 2008, Dre appeared in the remix of the song "Set It Off" by Canadian rapper Kardinal Offishall (also with Pusha T); the remix debuted on DJ Skee's radio show. At the beginning of 2009, Dre produced, and made a guest vocal performance on, the single "Crack a Bottle" by Eminem and the single sold a record 418,000 downloads in its first week. and reached the top of the Billboard Hot 100 chart on the week of February 12, 2009. Along with this single, in 2009 Dr. Dre produced or co-produced 19 of 20 tracks on Eminem's album Relapse. These included other hit singles "We Made You", "Old Time's Sake", and "3 a.m." (the only track Dre did not produce was the Eminem-produced single "Beautiful").
On April 20, 2010, "Under Pressure", featuring Jay-Z and co-produced with Scott Storch, was confirmed by Jimmy Iovine and Dr. Dre during an interview at Fenway Park as the album's first single. The song leaked prior to its intended release in an unmixed, unmastered form without a chorus on June 16, 2010: however, critical reaction to the song was lukewarm, and Dr. Dre later announced in an interview that the song, along with any other previously leaked tracks from Detox's recording process, would not appear on the final version of the album. Two genuine singles – "Kush", a collaboration with Snoop Dogg and fellow rapper Akon, and "I Need a Doctor" with Eminem and singer Skylar Grey – were released in the United States during November 2010 and February 2011 respectively: the latter achieved international chart success, reaching number four on the Billboard Hot 100 and later being certified double platinum by the RIAA and the Australian Recording Industry Association (ARIA).
On June 25, 2010, the American Society of Composers, Authors and Publishers honored Dr. Dre with its Founders Award for inspiring other musicians.
In an August 2010 interview, Dr. Dre stated that an instrumental album titled The Planets is in its first stages of production; each song being named after a planet in the Solar System. On September 3, Dr. Dre showed support to longtime protégé Eminem, and appeared on his and Jay-Z's Home & Home Tour, performing hit songs such as "Still D.R.E.", "Nuthin' but a 'G' Thang", and "Crack a Bottle", alongside Eminem and another protégé, 50 Cent. Sporting an "R.I.P. Proof" shirt, Dre was honored by Eminem telling Detroit's Comerica Park to do the same. They did so, by chanting "DEEE-TOX", to which he replied, "I'm coming!"
On November 14, 2011, Dre announced that he would be taking a break from music after he finished producing for artists Slim the Mobster and Kendrick Lamar. In this break, he stated that he would "work on bringing his Beats By Dre to a standard as high as Apple" and would also spend time with his family.
On January 9, 2012, Dre headlined the final nights of the 2012 Coachella Valley Music and Arts Festival, on the weekends of April 13–15 and April 20–22, 2012.
In a June 2014 interview with RapUpTV, Marsha Ambrosius talked about working on Dr. Dre’s third album. She stated that she had gone to Hawaii before the end of 2013 for a few weeks to work with him on “so many things” including his upcoming album and a project of her own among other unspecified projects. Ambrosius also told RapUpTV that Dr. Dre’s third album is no longer called Detox, but didn’t reveal the new title. In a September interview with Shots Fired that same year, Aftermath Entertainment in-house producer Dawaun Parker confirmed the title change. Parker also refrained from revealing the new title because of the fact that the title hadn’t been leaked online. He also told Shots Fired that there are as many as 300 beats that have been created for the album over the years, but few of them have had vocals recorded over them.
The length of time that Detox had been record for, as well as the limited amount of material that had been officially released or leaked from the recording sessions, had given it considerable notoriety within the music industry. Numerous release dates (including the ones mentioned above) had been given for the album over the years since it was first announced, although none of them transpired to be genuine. Several musicians closely affiliated with Dr. Dre, including Snoop Dogg, fellow rappers 50 Cent and Game and producer DJ Quik, had speculated in interviews that the album will never be released, due to Dr. Dre's business and entrepreneurial ventures having interfered with recording work, as well as causing him to lose motivation to record new material.
2015–present: Straight Outta Compton film and Compton album
On his Beats 1 radio show "The Pharmacy" on August 1, 2015, Dre announced that he would release what would be his final album, titled Compton. It is inspired by the N.W.A biopic Straight Outta Compton and is a compilation-style album, featuring a number of frequent collaborators, including Eminem, Snoop Dogg, Kendrick Lamar, Xzibit and The Game, among others. It was released exclusively for iTunes and Apple Music on August 7. A physical version was published on August 21. In an interview with Rolling Stone, he revealed that he had about 20 to 40 tracks for Detox but he didn't release it because it didn't meet his standards and he thought he was done being an artist. He also revealed that he suffers from social anxiety and due to this he remains secluded and out of attention.
On February 12, 2016 it was revealed that Apple would create its first original scripted television series and it would star Dr. Dre. Called Vital Signs, it is set to reflect the life of Dr. Dre. Dr. Dre will additionally be an executive producer on the show.
In October 2016, Puff Daddy brought out Dr. Dre and Snoop Dogg, and others on his Bad Boy Reunion tour.
Other ventures
Film career
Dr. Dre made his first on screen appearance as a weapons dealer in the 1996 bank robbery movie Set It Off. In 2001, Dr. Dre also appeared in the movies The Wash and Training Day. A song of his, "Bad Intentions" (featuring Knoc-Turn'Al) and produced by Mahogany, was featured on The Wash soundtrack. Dr. Dre also appeared on two other songs "On the Blvd." and "The Wash" along with his co-star Snoop Dogg. In February 2007 it was announced that Dr. Dre would produce dark comedies and horror films for New Line Cinema-owned company Crucial Films, along with longtime video director Phillip Atwell. Dr. Dre announced "This is a natural switch for me, since I've directed a lot of music videos, and I eventually want to get into directing." Along with fellow member Ice Cube, Dr. Dre produced Straight Outta Compton (2015), a biographical film about N.W.A.
Entrepreneurship
In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple Inc. made a bid for the Beats by Dre brand for a reported $3 billion. This makes the takeover Apple's most expensive purchase by far. The deal reportedly made Dr. Dre the "Richest Man in Hip-Hop", surpassing former leader, Diddy.
Philanthropy
During May 2013, Dr. Dre and Jimmy Iovine donated a $70 million endowment to the University of Southern California to create the USC Jimmy Iovine and Andre Young Academy for Arts, Technology and the Business of Innovation. The goal of the Academy has been stated as "to shape the future by nurturing the talents, passions, leadership and risk-taking of uniquely qualified students who are motivated to explore and create new art forms, technologies, and business models." The first class of the Academy began in September 2014.
Endorsements
"St. Ides"
"Coors Light"
"Dr. Pepper"
"Chrysler 300S" - Imported From Detroit
Dr. Dre started Burning Man rumors
An urban legend surfaced in 2011 when a tumblr blog titled Dr. Dre Started Burning Man began proliferating the notion that the producer, rapper and entrepreneur had discovered Burning Man in 1995 during a music video shoot and offered to cover the cost of the event's permit from the Nevada Bureau of Land Management under an agreement with the festival's organizers that he could institute an entrance fee system, which had not existed before his participation. This claim was supported by an alleged letter from Dre to Nicole Threatt Young that indicated that Dre had shared his experience witnessing the Burning Man festival with her.
Business Insider mentions the portion of the letter where Dr. Dre purportedly states "someone should get behind this...and make some money off these fools" and compares Dr. Dre's potential entrepreneurial engagement with Burning Man as a parallel to Steve Jobs' efforts to centralize and profit from the otherwise unorganized online music industry. According to Salon, Dr. Dre's ethos seems to be aligned with seven of the ten principles of the Burning Man community: "radical self-reliance, radical self-expression, communal effort, civic responsibility, leaving no trace, participation and immediacy."
Musical influences and style
Production style
Dr. Dre is renowned for constantly evolving his production style through the years, while always keeping in touch with his roots and re-shaping elements from previous work. In the start of his career as a producer for the World Class Wreckin Cru with DJ Alonzo Williams in the mid-1980s, his beats were in the electro-hop style pioneered by The Unknown DJ, and that of early hip-hop groups like the Beastie Boys and Whodini. These influences are evident in Eazy-E's 1986 song "Boyz-n-the-Hood," which Dre produced. Sampling was at the time a key element of Dre's production, the E-mu SP-1200 being his primary instrument in the N.W.A days.
In 1987, Dr. Dre sampled the Ohio Players' ARP synth riffs from their 1973 funk hit "Funky Worm" in the N.W.A song "Dopeman". Being the first hip-hop producer to sample the song, Dre both paved the way for the future popularization of the G-funk style within hip-hop, and established heavy synthesizer solos as an integral part of his production style. Dr. Dre was also one of the very first producers to interpolate the then little-known drum break from The Winstons' "Amen, Brother" in the N.W.A song "Straight Outta Compton". This break has since becοme a staple in not only hip-hop, but all popular music, having been used in over 1700 songs.
From Straight Outta Compton on, Dre uses live musicians to replay old melodies rather than sampling them. In Ruthless Records, collaborators included guitarist Mike "Crazy Neck" Sims, multi-instrumentalist Colin Wolfe, DJ Yella and sound engineer Donovan "The Dirt Biker" Sound. Dre is receptive of new ideas from other producers, one example being his fruitful collaboration with Above the Law's producer Cold 187um while at Ruthless. Cold 187 um was at the time experimenting with 1970s P-Funk samples (Parliament, Funkadelic, Bootsy Collins, George Clinton etc.), that Dre also utilized. Dre has since been accused of "stealing" the concept of G-funk from Cold 187 um.
Upon leaving Ruthless and forming Death Row Records in 1991, Dre called on veteran West Coast DJ Chris "The Glove" Taylor and sound engineer Greg "Gregski" Royal, along with Colin Wolfe, to help him on future projects. His 1992 album The Chronic is thought to be one of the most well-produced hip-hop albums of all time. Musical themes included hard-hitting synthesizer solos played by Wolfe, bass-heavy compositions, background female vocals and Dre fully embracing 1970s funk samples. Dre used a minimoog synth to replay the melody from Leon Haywood's 1972 song "I Wanna Do Somethin' Freaky to You" for the Chronic's first single "Nuthin' but a "G" Thang" which became a global hit. For his new protégé Snoop Doggy Dogg's album Doggystyle, Dre collaborated with then 19-year-old producer Daz Dillinger, who received co-production credits on songs "Serial Killa" and "For all My Niggaz & Bitches", as well as Warren G and Sam Sneed, who are credited with bringing several samples to the studio.
The influence of The Chronic and Doggystyle on the popular music of the 1990s went not only far beyond the West Coast, but beyond hip-hop as a genre. Artists as diverse as Master P ("Bout It, Bout It"), George Michael ("Fastlove"), Luis Miguel ("Dame"), and The Spice Girls ("Say You'll Be There"), used G-funk instrumentation in their songs. Bad Boy Records producer Chucky Thompson stated in the April 2004 issue of XXL magazine that the sound of Doggystyle and The Chronic was the basis for the Notorious B.I.G.'s 1995 hit single "Big Poppa":
In 1994, starting with the Murder was the Case soundtrack, Dre attempted to push the boundaries of G-funk further into a darker sound. In songs such as "Murder was the Case" and "Natural Born Killaz", the synthesizer pitch is higher and the drum tempo is slowed down to 91 BPM (87 BPM in the remix) to create a dark and gritty atmosphere. Percussion instruments, particularly sleigh bells, are also present. Dre's frequent collaborators from this period included Pittsburgh, Pennsylvania natives Stuart "Stu-B-Doo" Bullard, a multi-instrumentalist from the Ozanam Strings Orchestra, Sam Sneed, Stephen "Bud'da" Anderson, and percussionist Carl "Butch" Small. This style of production has been influential far beyond the West Coast. The beat for the Houston-based group Geto Boys 1996 song "Still" follows the same drum pattern as "Natural Born Killaz" and Eazy E's "Wut Would U Do" (a diss to Dre) is similar to the original "Murder was the Case" instrumental. This style of production is usually accompanied by horror and occult-themed lyrics and imagery, being crucial to the creation of horrorcore.
By 1996, Dre was again looking to innovate his sound. He recruited keyboardist Camara Kambon to play the keys on "Been There, Done That", and through Bud'da and Sam Sneed he was introduced to fellow Pittsburgh native Melvin "Mel-Man" Bradford. At this time, he also switched from using the E-mu SP-1200 to the Akai MPC3000 drum kit and sampler, which he still uses today. Beginning with his 1996 compilation Dr. Dre Presents the Aftermath, Dre's production has taken a less sample-based approach, with loud, layered snare drums dominating the mix, while synthesizers are still omnipresent. In his critically acclaimed sophomore effort, 2001, live instrumentation takes the place of sampling, a famous example being "The Next Episode", in which keyboardist Camara Kambon re-played live the main melody from David McCallum's 1967 jazz-funk work "The Edge". For every song on 2001, Dre had a keyboardist, guitarist and bassist create the basic parts of the beat, while he himself programmed the drums, did the sequencing and overdubbing and added sound effects, and later mixed the songs. During this period, Dre's signature "west coast whistle" riffs are still present albeit in a lower pitch, as in "Light Speed", "Housewife", "Some L.A. Niggaz" and Eminem's "Guilty Conscience" hook. The sound of "2001" had tremendous influence on hip-hop production, redefining the West Coast's sound and expanding the G-funk of the early 1990s. To produce the album, Dre and Mel-Man relied on the talents of Scott Storch and Camara Kambon on the keys, Mike Elizondo and Colin Wolfe on bass guitar, Sean Cruse on lead guitar and sound engineers Richard "Segal" Huredia and Mauricio "Veto" Iragorri.
From the mid-2000s, Dr. Dre has taken on a more soulful production style, using more of a classical piano instead of a keyboard, and having claps replace snares, as evidenced in songs such as Snoop Dogg's "Imagine" and "Boss' Life", Busta Rhymes' "Get You Some" and "Been Through the Storm", Stat Quo's "Get Low" and "The Way It Be", Jay Z's "Lost One", Nas' "Hustlers", and several beats on Eminem's Relapse album. Soul and R&B pianist Mark Batson, having previously worked with The Dave Matthews Band, Seal and Maroon 5 has been credited as the architect of this sound. Besides Batson, Aftermath producer and understudy of Dre's, Dawaun Parker, who has named Q-Tip and J Dilla as his primary influences, is thought to be responsible for giving Dre's newest beats an East Coast feel.
Production equipment
Dr. Dre has said that his primary instrument in the studio is the Akai MPC3000, a drum machine and sampler, and that he often uses as many as four or five to produce a single recording. He cites 1970s funk musicians such as George Clinton, Isaac Hayes and Curtis Mayfield as his primary musical influences. Unlike most rap producers, he tries to avoid samples as much as possible, preferring to have studio musicians re-play pieces of music he wants to use, because it allows him more flexibility to change the pieces in rhythm and tempo. In 2001 he told Time magazine, "I may hear something I like on an old record that may inspire me, but I'd rather use musicians to re-create the sound or elaborate on it. I can control it better." Other equipment he uses include the E-mu SP-1200 drum machine and other keyboards from such manufacturers as Korg, Rhodes, Wurlitzer, Moog, and Roland. Dr. Dre also stresses the importance of equalizing drums properly, telling Scratch magazine in 2004 that he "used the same drum sounds on a couple of different songs on one album before but you'd never be able to tell the difference because of the EQ." Dr. Dre also uses the digital audio workstation, Pro Tools and uses the software to combine hardware drum machines and vintage analog keyboards and synthesizers.
After founding Aftermath Entertainment in 1996, Dr. Dre took on producer Mel-Man as a co-producer, and his music took on a more synthesizer-based sound, using fewer vocal samples (as he had used on "Lil' Ghetto Boy" and "Let Me Ride" on The Chronic, for example). Mel-Man has not shared co-production credits with Dr. Dre since approximately 2002, but fellow Aftermath producer Focus has credited Mel-Man as a key architect of the signature Aftermath sound.
In 1999, Dr. Dre started working with Mike Elizondo, a bassist, guitarist, and keyboardist who has also produced, written and played on records for female singers such as Poe, Fiona Apple and Alanis Morissette, In the past few years Elizondo has since worked for many of Dr. Dre's productions. Dr. Dre also told Scratch magazine in a 2004 interview that he has been studying piano and music theory formally, and that a major goal is to accumulate enough musical theory to score movies. In the same interview he stated that he has collaborated with famed 1960s songwriter Burt Bacharach by sending him hip hop beats to play over, and hopes to have an in-person collaboration with him in the future.
Work ethic
Dr. Dre has stated that he is a perfectionist and is known to pressure the artists with whom he records to give flawless performances. In 2006, Snoop Dogg told the website Dubcnn.com that Dr. Dre had made new artist Bishop Lamont re-record a single bar of vocals 107 times. Dr. Dre has also stated that Eminem is a fellow perfectionist, and attributes his success on Aftermath to his similar work ethic. He gives a lot of input into the delivery of the vocals and will stop an MC during a take if it is not to his liking. However, he gives MCs that he works with room to write lyrics without too much instruction unless it is a specifically conceptual record, as noted by Bishop Lamont in the book How to Rap.
A consequence of his perfectionism is that some artists who initially sign deals with Dr. Dre's Aftermath label never release albums. In 2001, Aftermath released the soundtrack to the movie The Wash, featuring a number of Aftermath acts such as Shaunta, Daks, Joe Beast and Toi. To date, none have released full-length albums on Aftermath and have apparently ended their relationships with the label and Dr. Dre. Other noteworthy acts to leave Aftermath without releasing albums include King Tee, 2001 vocalist Hittman, Joell Ortiz, Raekwon and Rakim.
Collaborators and co-producers
Over the years, word of other collaborators who have contributed to Dr. Dre's work has surfaced. During his tenure at Death Row Records, it was alleged that Dr. Dre's stepbrother Warren G and Tha Dogg Pound member Daz made many uncredited contributions to songs on his solo album The Chronic and Snoop Doggy Dogg's album Doggystyle (Daz received production credits on Snoop's similar-sounding, albeit less successful album Tha Doggfather after Young left Death Row Records).
It is known that Scott Storch, who has since gone on to become a successful producer in his own right, contributed to Dr. Dre's second album 2001; Storch is credited as a songwriter on several songs and played keyboards on several tracks. In 2006 he told Rolling Stone:
Current collaborator Mike Elizondo, when speaking about his work with Young, describes their recording process as a collaborative effort involving several musicians. In 2004 he claimed to Songwriter Universe magazine that he had written the foundations of the hit Eminem song "The Real Slim Shady", stating, "I initially played a bass line on the song, and Dr. Dre, Tommy Coster Jr. and I built the track from there. Eminem then heard the track, and he wrote the rap to it." This account is essentially confirmed by Eminem in his book Angry Blonde, stating that the tune for the song was composed by a studio bassist and keyboardist while Dr. Dre was out of the studio but Young later programmed the song's beat after returning.
A group of disgruntled former associates of Dr. Dre complained that they had not received their full due for work on the label in the September 2003 issue of The Source. A producer named Neff-U claimed to have produced the songs "Say What You Say" and "My Dad's Gone Crazy" on The Eminem Show, the songs "If I Can't" and "Back Down" on 50 Cent's Get Rich or Die Tryin', and the beat featured on Dr. Dre's commercial for Coors beer.
Although Young studies piano and musical theory, he serves as more of a conductor than a musician himself, as Josh Tyrangiel of TIME magazine has noted:
Although Snoop Dogg retains working relationships with Warren G and Daz, who are alleged to be uncredited contributors on the hit albums The Chronic and Doggystyle, he states that Dr. Dre is capable of making beats without the help of collaborators, and that he is responsible for the success of his numerous albums. Dr. Dre's prominent studio collaborators, including Scott Storch, Elizondo, Mark Batson and Dawaun Parker, have shared co-writing, instrumental, and more recently co-production credits on the songs where he is credited as the producer.
Anderson Paak also praised Dr. Dre in a 2016 interview with Music Times, telling the publication that it was a dream come true to work with Dre.
Ghostwriters
It is acknowledged that most of Dr. Dre's raps are written for him by others, though he retains ultimate control over his lyrics and the themes of his songs. As Aftermath producer Mahogany told Scratch: "It's like a class room in [the booth]. He'll have three writers in there. They'll bring in something, he'll recite it, then he'll say. 'Change this line, change this word,' like he's grading papers." As seen in the credits for tracks Young has appeared on, there are often multiple people who contribute to his songs (although often in hip hop many people are officially credited as a writer for a song, even the producer).
In the book How to Rap, RBX explains that writing The Chronic was a "team effort" and details how he ghostwrote "Let Me Ride" for Dre. In regard to ghostwriting lyrics he says, "Dre doesn't profess to be no super-duper rap dude – Dre is a super-duper producer". As a member of N.W.A, The D.O.C. wrote lyrics for him while he stuck with producing. New York City rapper Jay-Z ghostwrote lyrics for the single "Still D.R.E." from Dr. Dre's album 2001.
Personal life
Relationships and family
Dr. Dre has had four sons and two daughters, by five different women.
In 1981, Dr. Dre and Cassandra Joy Greene had a son named Curtis Young when Dr. Dre was 16 years old and Greene was 15 years old. Curtis Young is an aspiring rapper who goes by the rap moniker "Hood Surgeon".
In 1983, Dr. Dre and Lisa Johnson had a daughter named La Tanya Danielle Young.
In 1988, Dr. Dre and Jenita Porter had a son, Andre Young Jr. In 1990, Porter sued Dr. Dre in Orange County Superior Court seeking $5,000 of child support per month. On August 23, 2008, Andre Young Jr. died at the age of 20 at his mother's Woodland Hills home. The coroner determined that he died from an overdose of heroin and morphine.
From 1987 to 1996, Dr. Dre dated singer Michel'le, who frequently contributed vocals to Ruthless Records and Death Row Records albums. In 1991, the couple had a son, Marcel.
In 1996, Dr. Dre married Nicole Threatt, the ex-wife of NBA player Sedale Threatt. They have two children together: a son named Truice (born 1997) and a daughter named Truly (born 2001).
Violence against women
Dr. Dre has been accused of violence against women in the past.
On January 27, 1991, at a music industry party at the Po Na Na Souk club in Hollywood, Dr. Dre assaulted television host Dee Barnes of the Fox television program Pump it Up, because he felt dissatisfied with her news report about the feud between the remaining N.W.A members and Ice Cube. Barnes filed a 22.7 million dollar lawsuit in response to the incident. Subsequently, Dr. Dre was fined $2,500 and given two years' probation and 240 hours of community service, as well as a spot on an anti-violence public service announcement on television. The civil suit was settled out of court. Barnes stated that Young "began slamming her face and the right side of her body repeatedly against a wall near the stairway." Dr. Dre later commented "People talk all this shit, but you know, somebody fucks with me, I'm gonna fuck with them. I just did it, you know. Ain't nothing you can do now by talking about it. Besides, it ain't no big thing – I just threw her through a door."
In March 2015, singer Michel'le accused him of physical abuse during their time together as a couple, but did not initiate legal action. Former labelmate Tairrie B also claimed that Dre assaulted her at a post-Grammy party in 1990, in response to her track Ruthless Bitch.
During press for the popular 2015 film Straight Outta Compton, questions about the portrayal and behavior of Dr. Dre and other prominent figures in the rap community about violence against women - and the question about its absence in the film - were raised. The discussion about the film led to Dr. Dre addressing his past behavior in the press. In August 2015, in an interview with Rolling Stone, Dre lamented his abusive past, saying, "I made some fucking horrible mistakes in my life. I was young, fucking stupid. I would say all the allegations aren't true—some of them are. Those are some of the things that I would like to take back. It was really fucked up. But I paid for those mistakes, and there's no way in hell that I will ever make another mistake like that again."
In a statement to The New York Times on August 21, 2015, Dre again addressed his abusive past, stating, "Twenty-five years ago I was a young man drinking too much and in over my head with no real structure in my life. However, none of this is an excuse for what I did. I've been married for 19 years and every day I'm working to be a better man for my family, seeking guidance along the way. I'm doing everything I can so I never resemble that man again." He went on to apologize to all the women he abused, saying, "I apologize to the women I've hurt. I deeply regret what I did and know that it has forever impacted all of our lives."
Other convictions
Dr. Dre pleaded guilty in October 1992 in a case of battery of a police officer and was convicted on two additional battery counts stemming from a brawl in the lobby of the New Orleans hotel in May 1991.
On January 10, 1994, Dr. Dre was arrested after leading police on a 90 mph pursuit through Beverly Hills in his 1987 Ferrari. It was revealed Dr. Dre had a blood-alcohol of 0.16, twice the state's legal limit. The conviction violated Dre's battery conviction in 1991 and he was sentenced to 8 months in prison in September 1994.
Income
In 2001, Dr. Dre earned a total of about US$52 million from selling part of his share of Aftermath Entertainment to Interscope Records and his production of such hit songs that year as "Family Affair" by Mary J. Blige. Rolling Stone magazine thus named him the second highest-paid artist of the year. Dr. Dre was ranked 44th in 2004 from earnings of $11.4 million, primarily from production royalties from such projects as albums from G-Unit and D12 and the single "Rich Girl" by singer Gwen Stefani and rapper Eve. Forbes estimated his net worth at US$270 million in 2012. The same publication later reported that he acquired US$110 million via his various endeavors in 2012, making him the highest–paid artist of the year.
Income from the 2014 sale of Beats to Apple, contributing to what Forbes termed "the biggest single-year payday of any musician in history", made Dr. Dre the world's richest musical performer of 2015.
Suge Knight conspiracy accusation
April 4, 2016 TMZ and the New York Daily News reported Knight as having accused Dre and the Los Angeles Sheriff's Department's department of a kill-for-hire plot in the 2014 shooting of Knight in club 1 OAK.
Discography
Studio albums
The Chronic (1992)
2001 (1999)
Compton (2015)
Soundtrack album
The Wash (2001)
Collaboration albumsWith World Class Wreckin' Cru
World Class (1985)
Rapped in Romance (1986)
With N.W.A.
N.W.A. and the Posse (1987)
Straight Outta Compton (1988)
100 Miles and Runnin' (1990)
Niggaz4Life (1991)
Awards and nominations
BET Hip Hop AwardsGrammy Awards
Dr. Dre has won six Grammy Awards. Three of them are for his production work.
Wikipedia
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Good Jay-Z vs. Evil Jay-Z: A history
Jay-Zreleased album No. 13 on Friday. The project, 4:44, is a return to form:No I.D.’s production is sounding good so far, and fans are responding favorably across the board to the album’s confessional lyrics and pop culture zingers. These days though, we hear more about Jay-Z in the context of Tidalmishaps rather than his music.
Since he “retired” as a rapper way back in 2003, Jay-Zhas had major ups and downs as a celebrity(See: Lemonade.) He’ll excite hip-hop culture with an inspired performance on a remix,but then release clunker albums.
As we spend our day trying to re-download Tidal, lets look back at all the good and evil Jay-Z spells.
Good Jay-Z
Music from 1996 to 2003 Theres no doubtthat Jay-Z earned his place in the Songwriters Hall of Fame as one of the biggest rappers in history. His 1996 debut album Reasonable Doubt went platinum with no major label record deal and featured his friend, the legendary Biggie Smalls. Hes won 21 Grammys, and three of his recordsare on Rolling Stones 500 Greatest Albums of All Time. The list of Jay-Z hits is long, including “Izzo,” “Hard Knock Life,” “I Cant Get Wid Dat,” and countless others. Theres a reason his nickname is Hov, short for Jay-Hovahe’s a rap god.
He seems to be a good dad We dont have any real way to prove this, but the GIFs and photos of Jay-Z with Blue Ivy make him seem like a loving father.
Of course just like any good dad, Jay-Z doesnt really *get* Twitter, and has rapped a fair amount of dad lines. Take this verse from Tom Ford from 2013’sMagna Carta album: Fuck hashtags and retweets, 140 characters in these streets.
Oh, Dad.
Screengrab via Clevver News/YouTube
He signedsome of the best artists Music todaywouldnt be the same without Jay-Z putting on some of the best artists around. Were forever indebted to him for bringing us Rihanna. Today he runs Roc Nation, founded in 2008, which represents new and old artists we love like Vic Mensa, T.I., and Big Sean. He’s not just here for hip-hop and rap artists either. The entertainment label also managesfavorites like Haim, Grimes, and Shakira. For all his failed prodigies (Memphis Bleek, anyone?), he also unsheathed Kanye West upon the world.
Jay-Z is the supportive dad behind the scenes for so many artists, even if hes not signing them. In a few of his recent tweets he shouted out everyone from Snoop Dogg to Playboi Carti. Hes keeping up with the times and giving his support to the otherrappers, regardless of generation.
Thank you to all the people that have inspired me . Rakim KANE KRS chuck cube Jaz Em Andre Nas big PAC cole kendrick chance jayE ..wait,
— Mr. Carter (@S_C_) June 16, 2017
I promise I'm not drunk . Lord Pusha . Carti (Magnolia incredible)ASAP Sean P , Mobb , cudi . Tyler , earl, Snoop!!( almost played myself)
— Mr. Carter (@S_C_) June 16, 2017
2013’s Pound Cake This collaboration with Drake was money, a standout recent track that shows he’s still got it. In the song Jay-Z raps that he’s made more millionaires than the lotto did. Dame made millions, Biggs made millions. Ye made millions, Just made millions. Lyor made millions, Cam made millions. Jay-Z doesnt just make money for himself, hes making sure everyone gets a slice of that cake. (Way back in 2010, Jay-Z likewise helped usher in the age of Drake when he performed on his major label debut album.)
Screengrab via DJ Akademiks/YouTube
Kevin Durant Jay-Zmight have sold his stake with the Nets, but his business insports hasnt ended. The mogulfounded Roc Nation Sports back in 2013, and the company represents NBA champ, Warriors forward, and University of Texas alum Kevin Durant. Truly a slam dunk investment by Mr. Carter.
Gif via GIPHY
Evil Jay-Z
Music from 2003 to 2013 Save a handful of tracks from Watch the Throne, Jay-Zs bars havent been what they used to be. Some of the songs are boringand others completely miss the mark. The Blueprint III still hurts. Sorry Jigga.
Cheating on Beyonc The world watched Knowles sister Solange attack Jay-Z in an elevator at the 2014 Met Gala. We spotted the smoke, and whenLemonade came out in 2016, we really saw the fire. Beyonc’s latest, and most ambitious album gave us a raw glimpse into the lows of the Knowles-Carter marriage. It was a shock coming from a couple that is known for its high level of secrecy. When Beyonc’s voice cracks during “Sandcastles,” our hearts break.How could you hurt our Queen B like that Jay?
Screengrab via Beyoncevevo/YouTube
Tidal When Jay-Z tookover the music streaming company, and announced it to the world surrounded by mega artists like Nicki Minaj, Jack White, Daft Punk, and others, it seemed like artists couldfinally take back some of the power they allegedly lost from streaming services like Spotify. We all have started free trials when something we really wanted to hearhas an exclusive release through the app, but with so many bugs, a clunky layout, and a limited library, Tidal isnt worth the $19.99 a month for its “HiFi” sounds.
Screengrab via YouTube/Hollywood CIA
Some of Jay’s, um, lesser signings Jay-Z has put on some incredible artists, but with the good there are always a few bad eggs. Im looking at you J. Cole. The North Carolina rapper’s fans are insufferably sanctimonious,and while Jay-Z supports a lot of younger artists challenging the genre, Coleattracts some very puritan rap fans. (He’s the only rapper who apparently makes real hip-hop music these days.)
99 Problems Jay-Zmight be with the woman who invented feminism, but that doesnt mean his career hasnt containeda plentifulamount of misogyny. 99 Problems is one of Jay-Zs biggest hits, and one of his most annoying. In the song and video, Jay-Z addresses poignant points about racism and exploitation of black art, but ruins it by contrasting those issues with images of strippers and bitches.
Its a story as old as time, but unlike his wife, Jay-Z hasn’t used his fame to help us realize that black men aren’t the only ones subjected to those daily instances of violence. Black women encounter the same issues and yet are constantly reduced to “problems” not even worth having. Bey needs to upgrade his reading list with some Chimamanda.
Screengrab via MTV
There have been good Jay-Z moments and a healthy number of sinister ones, but who are we kidding? From his early days to now, Jay-Z has remained a powerful symbol of hustle, even in his evil times. Theres a photo of Jay-Z that represents this. Hes standing on the roofof his old stash house, staring at the new Barclays Center a few blocks away. Jaynot only performs at that center, but had his own money invested in Barclaysat the time. He is standing on his past, while looking directlyathis present and future. It’s the American dream:
Photo via Hip-Hop Wired
Today Jay-Z has the baddest wife in the game, is the second-richest man in hip-hop, and has managed to stay relevant across generations despite a constantly changing musiclandscapewhether thats through his own music or supporting other rappers of the moment. Hes a business, man.
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