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12 Hip-Hop Quotes as Motivational Posters

September 24, 2018 by Talia Caldwell in Music

Hip-hop is a poetic art form. The stories hip-hop artists’ paint are uniquely creative, rugged and often times autobiographical. What has propelled hip-hop to its current all time high level of popularity over a short 30 years is the genre’s ability to directly and intimately relate to people. The best rappers are vulnerable, soul bearing and stylish in the way they express their feelings. My favorite rap songs have gotten me through some trying days subtly offering me wisdom. So instead of cloying Hallmark cards (The Mahogany Collection is wild), generic canvas art courtesy of Target’s dorm collection, or posters made for Christian book stores, I made a dozen inspirational rap posters for you to enjoy. Many of these lyrics I quote on a daily basis driving my friends mad. Life throws challenges our way and sometimes we need fun little pick me ups reminding us that we are still in fact the dopest person ever and that losses don’t last forever. Much love, keep your head up.

1) “Fo’ fo’s I'm tippin'/ wood grain I'm gripping
catch me lane switching with the paint dripping/ turn your neck and your dame missing” -Mike Jones, “Still Tippin’”

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Translation: I’m cruising in my 1984 Cadillac equipped with the most luxurious amenities; 30 spoke wire rims and the finest wood grain steering wheel. If you are lucky, you will see me and my car parlaying in and out of lanes with a paint job so fresh that it’s still wet and may even drip a bit. Oh, and I’m so charming that if you turn your head for the slightest second, fixing your gaze elsewhere, your partner will be gone in an instant as they have decided to come with me instead.

Even if you don’t have a car this line give you the confidence to attack your day with vigor and a bit of Houston cool. It’s not what you do, but how you do it. So go out there and stunt in whatever capacity available to you and let people know you are that person.

2) “Flaws ain’t flaws when it’s you that makes the call” -Pusha T, “So Appalled”

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Translation: When you are in charge, performing the hard labor and making the tough decisions, your shortcomings aren’t weaknesses.

Be the Beyoncé of your life. When Beyoncé had a slip at the Super Bowl, she recovered so nimbly that it actually made you admire her even more.

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You are the boss of your life, micromanaging your daily duties and taking full responsibility of what you do. Flaws aren’t deficiencies but rather small obstacles you simply maneuver through.

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3) “I trip to make the fall shorter” -Chance The Rapper, “Acid Rain”

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Translation: I give myself permission to make mistakes that will ground and prepare me for life’s inevitable lows and valleys.

As Yeats says in his poem “The Second Coming”, “Things fall apart; the centre cannot hold”. It’s not a matter of if you fall, but when you fall. In fact, the longer you delay the inevitable forces of gravity, the harder the fall will be. Strive to do your best, let go, and know that it’s okay to stumble along the way. This is where you experience the most growth and learn prime lessons.

4) “Neva let me slip, ‘cause if I slip then I’m slippin” - Dr. Dre, “Nuthing But a “G” Thang”

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Translation: Please don’t let me slip, because if I slip in this one particular area of my life, then I’m slipping in all other areas.

Accountability to oneself and others is a key to success. Dr. Dre is asking his comrade, probably Snoop Dog, to not let him slip up because logical fallacy states that if we allow error A to happen then error Z will eventually happen, so avoid error A. It’s a good daily reminder to put quality into everything we do in order to avoid continuous carelessness.

5) “Girl recognize game, before game recognize you - Chingy, “One Call Away”

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Translation: Girl, don’t get played. People with ill intentions looking to scheme and plot will have their sights set on you from a mile away, so spot them first; head on a swivel at all times.

Art of War by Sun Tzu says, “If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle”. I’m certain this is what Chingy was talking about.

6) “I’ll be there in 5 minutes/5 hours later, ‘I’ll be there in 5 minutes’” - Kanye West, “Late”

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Translation: I said what I said. I will be there once I get there.

We are constantly acquiescing to the needs of everyone besides ourselves. It is not possible or healthy to try and fulfill everybody’s desires at their demanding pace. There is nothing wrong with slowing down, taking our time, and arriving when we feel good and ready. Ownership of our time, body and energy is imperative to our total well-being.

7) “So, now, I’m back spittin’ that heat, could pass a polygraph” - Jay Electronica, “Exhibit C”

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Translation: The words coming from my mouth are such truth that I would pass any lie detector test.

In hip-hop, it’s all about credibility and keeping it real. If Twitter finds out you’ve been lying about where you come from or what you’ve done, your career could be ruined. Jay Electronica, being the wordsmith that he is (we’re still waiting on that album), found one of the most creative ways to tell us how honest he keeps it. What’s even savvier is when you play the song the line works as a double entendre as it sounds like he is also saying “so now I’m back spittin’ that ‘he could pass a polygraph’”.

Like Jay Electronica, your word should be bond. Whether people like what you have to say or not, always tell the truth.

8) “I never let a statue tell me how nice I am” - Phife Dawg, “Award Tour”

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Translation: Never will I allow an engineered award voted by people I do not know nor who know me define who I am, assign my worth, or label my talent or work ethnic. I will not give subjective benchmarks of public opinion the authority to declare if me or my art matters.

First and foremost, Rest in Peace Malik “Phife Dawg” Taylor, part of the legendary hip-hop group A Tribe Called Quest. We miss you.

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Too many times we place our value in external affirmations. We lose sight of refining and enjoying our craft for the craft’s sake and forget that we are important no matter what other people say or do not say about us. If you know you are great, that’s all that matters. No dollar amount, sheet of paper, or award will ever encompass our fullness.

9) “My future so bright I’d probably go blind before I blink twice, I ain’t lying” - Kendrick Lamar, “The Heart Pt. 2”

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Translation: My future is so incredibly bright that if you look at it, it can blind you.

Sometimes your own future will inspire you.

10) “Spaceships/don’t come equipped/with rear view mirrors/ they dip/as quick as they can” - Andre 3000, “Int’l Players Anthem (I Choose You)”

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Translation: Entities with the potential to travel so far that they break atmospheres don’t come with rear view mirrors. With that type of trajectory, you’ll be moving so quickly that you won’t have the time to look back.

In the poem, “Our Deepest Fear”, Marianne Williamson writes that, “Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure.” We often hinder our own progress; lamenting our past, intimated by our future. We spend too much time looking back, rather than letting our journey take us to heights we didn’t imagine for ourselves. Williamson continues on saying “your playing small does not serve the world.” We are supposed to squeeze every ounce of purpose embedded in each of us. And Andre 3000’s spaceship analogy says it best. Nothing with such great power has time to look back when what is ahead is so vital.

11) “I’m not sayin’ I’m number one/Uhh I’m sorry I lied, I’m number one, two, three, four, and five!” - KRS-One, “Step Into a World”

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Translation: I apologize if you thought I was being humble when I said I’m not number one. What I meant was that I am not exclusively number one, but that I am in fact number one, two, three, four, and five.

Instead of choice a, it was choice e, all of the above. Self promotion is good. You have to believe you are the best option in order for other people to believe it as well. Next time you ask for a raise, which should be every year, just quote this line when explaining to your boss why you deserve a salary increase.

12) “Stay far from timid/only make moves when your heart’s in it/and live the phrase ‘Sky’s The Limit’” - The Notorious B.I.G., “Sky’s The Limit”

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Translation: Keep nervous, fearful, wavering energy far away from you. Instead, passionately pursue that which burns inside you. There is no ceiling on what you can accomplish.

People will tell you what you can and can’t do, that your dreams are crazy. You will face rejection, doubt will creep in, but if you stay focused and work in a way that blocks out the noise and distraction, your path is boundless.

September 24, 2018 /Talia Caldwell
music, Hip-Hop, Rap, Inspiration, Motivation, Comedy, Kanye West, Art
Music
6 Comments
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Top 5 Kendrick Lamar Songs

April 14, 2017 by Talia Caldwell in Music
“And, uh, I don’t - what keeps me alive? Shit. Music, I have to listen to music all day long. I’d say that keeps me going. I’m a pretty dark person, I’ve thought about ending it a million times. And I have to say that music keeps me here, by far, the main thing.”
— Dash Snow

This is the introduction for Kendrick Lamar's "The Heart Pt. 2". Here, Kendrick takes an interview clip in which photographer and New York based artist, Dash Snow, is asked what keeps him alive. Behind Dash's response we hear the beat slowly and softly build; the instrumentation is an extended version of The Roots "A Piece of Light". Immediately after Dash gives his somber answer, Kendrick Lamar starts his verse with a "thank you" for the honesty of Dash's words. Dash Snow died of a drug overdose in 2009.

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"The Heart Pt. 2" was released in 2010, appearing on Kendrick Lamar's fifth mixtape, O(verly) D(edicated), also known as “OD”. Since that very moment, Kendrick Lamar has been my favorite rapper. Growing up in Los Angeles, I was an outsider when it came to my tastes in hip hop. I would listen to 92.3 The Beat, where the playlist was dominated by west coast g-funk and gangsta rap: Tupac, Dr. Dre, Snoop Dogg, DJ Quik, Warren G, Kurupt, Nate Dogg, Ice Cube. All of these artists are great and have given us incredible music. But my ears craved all things east coast; A Tribe Called Quest, Wu-Tang Clan, Black Moon, The Fugees, Slum Village, The Roots, Mos Def & Talib Kweli, J Dilla, Common, Dipset, DMX, Nas, Biggie, and every single Bad Boy Records artist. It was Tribe in particular who stole my heart. To put my affection and fanaticism for the Linden Boulevard Queens rap group in perspective, I had about a dozen friends call or text me the day Malik “Phifie Dawg” Taylor of A Tribe Called Quest died. Anyone who is close to me knows what Tribe has meant for my life. They grew my love for hip hop and to them I am forever grateful.

RIP Phife Dawg (1970-2016)

RIP Phife Dawg (1970-2016)

Not having an LA artist to call my own was tough. I love hip hop and I love my city, but no one's story spoke to me. I wanted a voice of my generation from my area. In 2010, while a freshman at the University of California Berkeley, friends of mine kept suggesting I listen to this rapper who went by K.Dot. I was a stereotypical backpack hip hop fan straight out of the movie Brown Sugar. I wanted to save hip hop. If the artist wasn't from the golden era of the 90's, I didn't want to listen. But everyone I knew and trusted insisted that this guy named Kendrick was my vibe. I finally acquiesced and downloaded O(verly) D(edicated) and never looked back.

On the night of March 23rd, Kendrick Lamar released "The Heart Pt. 4", a new edition to a series of songs he’s been doing since 2010. The song is comprised of 3 different beats and varies from "introspective" Kendrick, "diss track" Kendrick, to "spazz out" Kendrick, accompanied by all his different voices-just like a true Gemini. At the end of the track, Lamar warns every other rapper that they have until April 7th to get ready. Right there we have an album date. 

Fast forward to March 30th, exactly one week after the surprise release of "The Heart Pt. 4", Kendrick releases a video for a track called “Humble”. I was driving five and a half hours from Los Angeles to Sacramento when the video was released. I spent 30 minutes of that drive not paying much attention to the Golden State 5 Freeway, but instead watching the visual over and over again. It was perfect. "Humble" is Kendrick in ultimate flex mode. He takes fellow rapper Big Sean’s own ad-lib to eviscerate him and tells us that the song he released the previous week, “The Heart Pt. 4”, was simply his left stroke, a warm up, that went viral. The internet lost its collective mind. "Humble" generated half a million views in about 90 minutes. Between YouTube, Facebook, Twitter, Instagram, SnapChat, we were salivating for this album.

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The night of April 5th, I tweet:

So here we are, Kendrick Lamar Day. We have been gifted with Damn. on this beautiful day of April 14th 2017. I have already played this album 5 times and will surely need a couple of months to absorb and dissect all its gems before I even attempt to write about this masterpiece. In celebration of the release of Damn., let’s countdown some of K.Dot’s best songs. Disclaimer, not all of these are my favorite, or necessarily his best. I used a criteria of content, significance, mainstream popularity, cultural relevancy, and listener digestibility.

5) Bitch, Don't Kill My Vibe

“And I’m lookin’ right past you
We live in a world, we live in a world on two different axles
You live in a world, you livin’ behind the mirror
I know what you scared of
The feeling of feeling emotions inferior”

A radio favorite from his major label debut and certified classic Good Kid, M.A.A.D. City, the hook is Kendrick grappling with this new level of attention. Kendrick feels the expectations and energies of those around him shifting. He needs people to know that he isn't their messiah and does not want to be idolized, but is simply a sinning man who needs his alone time. The ability to tap into his truest internal emotions is something he holds dearly and does not want it to fade away. He refuses to play a role, chasing a false image in order to reach commercial appeal. Kendrick powerfully declares, "I'ma break out, and then hide every lock, I'ma break out, and then hide every lock". Lamar lets us know early on in his super-stardom that he will not compromise or be pigeonholed into the industry's idea of what he's suppose to be as a rapper.

4) Poetic Justice

“I mean you need to hear this, love is not just a verb
It’s you looking in the mirror, love is not just a verb
It’s you looking for it, maybe, call me crazy, we can both be insane
A fatal attraction is common and what we have common is pain”

Another single from Good Kid, M.A.A.D City, "Poetic Justice" features a rare collaboration between sometimes rivals, sometimes peers, Kendrick and Drake. The song was inspired by the John Singleton directed film, Poetic Justice, starring Janet Jackson and Tupac. Janet's intimate and sultry "Anytime, Anyplace" is used as a sample. "Poetic Justice" mirrors a spoken word piece in that it's detailed, compassionate, yet urgent. Kendrick's edifying words are used to tell this woman just how worthy she is. He understands the power of truth and empathy held in his pen.

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3) Alright

“Alls my life I has to fight, nigga
Alls my life I...
Hard times like, “God!”
Bad trips like, “Yeah!”
Nazareth, I’m fucked up
Homie, you fucked up
But if God got us, then we gon’ be alright”

The significance of this song is deeper than its radio appeal. Released in the middle of 2015 post-Ferguson uprising, the song became the unifying and uplifting chant for Black Lives Matter protests across the country. Over Jazz and Funk beats, Kendrick is battling his inner-demons on To Pimp a Butterfly. Ending a majority of the songs with the line, "I remembered you was conflicted, misusing your influence". Kendrick is fighting a spiritual battle between pursing his career, and wanting to do more while keeping his sanity. More acclaim, more money, yet none of those material comforts can ward off the depression and pain he feels watching the struggles of his people.

It was fitting that as weary protestors took to the streets in solidarity with victims and their families to demand justice for the killing of black bodies at the hands of public servants, the words "we gon' be alright!" became the rallying cry. Amongst the militarized police tactics used against the bodies of peaceful protesters; violent arrests, painful tear gas, dehumanizing speech and treatment, Kendrick's "Alright" offered a bit of hope and strength for the freedom fighters.

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2) A.D.H.D.

“You can have all my shine,
I’ll give you the light”

Section. 80 is centered around the damage done to the babies of the Ronald Reagan Era.  "A.D.H.D." in particular focuses on the self-medication these youth have been conditioned to rely on. How do you relieve yourself of the pains of systematic oppression that plague your community? Resources are either inadequate or non-existent, you're painted as nothing more than a problem, you're met with daily trauma as the people in power feel they must institutionally "fix" you. Eventually you are left feeling emotionally and physically empty. So you engage in any behavior that reminds you that you're alive; the distractions are numerous, the solutions aren't available, you can't focus. Everything you crave is a means to detract and distract from the problems that leave you feeling hopeless. Environmentalist and author Paul Hawken wrote about this saying:

We can't -- whether through monetary means, government programs, or charity -- create a sense of value and dignity in people's lives when we're simultaneously developing a society that doesn't need them. If people don't feel valued, they will act out society's verdict in sometimes shocking ways. William Strickland, a pioneer in working with inner-city children, once said that "you can't teach algebra to someone who doesn't want to be here." He meant that urban kids don't want to be here at all, alive, anywhere on earth. They try to tell us, but we don't listen. So they engage in increasingly risky behavior -- unprotected sex, drugs, violence -- until we notice. By that time, their conduct has usually reached criminal proportions -- and then we blame the victims, build more jails, and lump the costs into the GDP.

1) The Heart Pt. 2

“But really I’m just caught in the loop
of understanding the truth
Because it seem like it’s always clashing with science
I got a big fear of flying
My future so bright I’d probably go blind before I blink twice, I ain’t lying”

"The Heart Pt 2". is Kendrick's most emotionally raw recording and my personal favorite. He seemingly raps the 5 minute track in one breath. It literally ends with him gasping for air as he urgently and emphatically chokes out his final verse. Touching on an array of topics ranging from his impending career ascent, the fear in recognizing there's no limit on how great he can be, survivor's remorse, and his desire to stay connected to those in the struggle; he understands that people are facing very real life and death decisions everyday. "The Heart Pt 2." is Kendrick passionately prophesying that his artistry is not only going to change rap, but change the world around him. He told us seven years ago that he will not be influenced or swayed by the powers that be: "I pray these bars get farther than Compton, and if our record never break, I still won't break my promise, I promise to keep it honest". You have more than kept your promise, Kenny.

Honorable Mention: Rigamortis

“We all are sinners
Won’t you send us to bible study faster
Your hypocritesque reaction a blasphemy
I assassin my casualty
And it’s casually done
And tell ‘me my salary come ”

"Rigamortis" is what I call quintessential “spazz-out” Kendrick. "Spazz-out" Kendrick transcends into this intentional yet chaotic stream of conscious rapping style. His wordplay, metaphors, entendres, and punch lines hit like a flurry of sharp jabs, hooks and uppercuts. Absent of a chorus, Kendrick increases the speed of his verbal assault as each verse progresses. You wonder where he gets the lung power to execute this piece as he rarely takes a breathe. All the while, the improvisational jazz instrumentation grows its pace like a freight train with no intention of stopping. The listener's adrenaline and pulse increase with the track as Kendrick Lamar warns them that their favorite rapper will have an ill awaited fate if they dare to duel. The songs title comes from the Latin term Rigor Mortis, meaning “stiffness of death”; a condition that occurs a few hours after death when chemicals are depleted from muscle fibers. By the end of the song, Kendrick has in fact demolished everything in his path and respectfully ends with “amen”. The New Orleans style funeral procession jazz horns in the background are perfectly fitting.

Sleeper: Momma

“Been in it before internet had new acts
Mimicking radio’s nemesis made me wack
My innocence limited the experience lacked”

“Momma” is my favorite song on To Pimp a Butterfly. Following the theme of the album, Kendrick continues to confront the source of imbalance in his life repeating to himself, “I remembered you was conflicted, misusing your influence, sometimes I did the same, abusing my power, full of resentment, resentment that turned into a deep depression”. The forthright Gemini has a man in the mirror moment acknowledging that all of his talent, success and achievements still don’t match the securities of his upbringing which bring him ultimate peace. While Kendrick theorizes and self-analyzes, he goes through a checklist of all the things he knows, only to circle back and realize he knows nothing. It’s not until he returns home to God, his city, his family, his people, that he sees real truth.

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April 14, 2017 /Talia Caldwell
Kendrick Lamar, Hip Hop, Music, DAMN, Rap, Compton, Black Lives Matter
Music
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Celebrating the Insecure Rapper

April 05, 2017 by Talia Caldwell in Music
“I invented swag
Poppin’ bottles, puttin’ supermodels in the cab, proof.
I guess I got my swagger back, truth
New watch alert, Hublot’s
Or the big face Rollie I got two of those”
— Jay-Z

The opening lines of Jay-Z and Kanye West's debut single, “Otis,” from their 2011 collaborative album Watch The Throne. And if you listen to any radio station that plays rap, you will here a dozen more songs that go something along those same lines.

“They ain’t seen me cause I pulled up in my other Benz
Last week I was in my other other Benz”
— Kanye West

I love rap. I enjoy the hard hitting beats, the storytelling, the clever metaphors and wordplay, the uniqueness of rappers' voice and dialects (unless you're Desiigner), all of it. Rap is a sport and I'm drawn to its competitiveness. The stakes are high in a genre centered around knowing who's better. Rappers have to be hyper aggressive, tough, and self-confident in order to have a chance at "making it".

The egotism rappers exude is more than fun showmanship. Their brash is an attempt to immortalize and elevate themselves to legendary status. The ante is constantly being raised on who can be the most outlandish, flagrant and braggadocios. One of the boldest examples of this is on 2013's Yeezus. On a song titled, "I Am a God", Kanye West literally gives God a feature credit. I mean that is next level narcissism right there and I love it.

Excess and opulence are important themes in the vivid and imaginative lyrics of many rappers. It's all about obtaining colossal sized Picassos, putting 5 carats in your baby girl's ears, driving around with rims whose inch size match your age number. Whether it's cars, clothes, women, jewelry, or houses, the aim is to have as much as possible. Rappers are so infatuated with luxury, that you can point to over 20 songs in which rappers have compared themselves to Liberace himself:

“Liberace fingers, ni—-s hit Lorraine up”
— Pharrell Williams
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“Diamonds shining, looking like I robbed Liberace”
— Dr. Dre

Paris, Hublots, Benzes, and of course, the women. In rap, the guy always get the girl; or at least they tell us they do. Even as I continue to confront my conflict with raps’ objectification of women, one of my favorite moments in rap history is on rapper DMX and Sisqo's "What They Really Want". DMX, in the most DMX way, raps and barks the names of 44 women he keeps on constant rotation in his Rolodex.

"There was Brenda, LaTisha, Linda, Felicia (okay!)
Dawn, LeShaun, Ines, and Alicia (ooh!)
Teresa, Monica, Sharron, Nicki (uh-huh!)
Lisa, Veronica, Karen, Vicky (damn!)
Cookies, well I met her in a ice cream parlor (aight?!)
Tonya, Diane, Lori and Carla (okay!)
Marina (uhh) Selena (uhh) Katrina (uhh) Sabrina (uhh)
About three Kim's (What!) LaToya, and Tina (Whoo!)
Shelley, Bridget, Cavi, Rasheeda (uh-huh)
Kelly, Nicole, Angel, Juanita (damn!)
Stacy, Tracie, Rohna, and Ronda (WHAT?!)
Donna, Ulanda (WHAT?!) Tawana, and Wanda"

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For fans, it can be hard to listen to music that is so far from your life. How many of us are throwing our Rollies in the sky, popping bottles in VIP, taking PJs (private jets) around the world and courting anyone we desire? We're constantly being reminded that we aren't where they are, doing what they're doing as fresh and cool as them.

“We were down in Pari, keepin’ it Eiflin
You was at home, keepin’ it triflin.”
— 2 Chainz

Rappers and their god like personas can create a distance between us and them. But good music is for the people, to unify us through shared experiences we can all relate to. The pictures these artists paint aren't real life. They are fun stories that take us to a fantasy land. The world isn't a 90's Puff Daddy music video; these guys have mo' money and mo' problems too. Even Yeezy comes clean in his classic song "All Falls Down" saying, "we all self-conscious I'm just the first to admit"; that's real, that's keeping it "one hunnid".

Rappers should feel free and safe enough to talk about their disappointments, their heartbreaks, their desires to change their circumstances. So let's give praise to the rappers who aren't "ballin", who don't get the dream girl, and who aren't the big man on their block.

Pharcyde's "Passin' Me By", Skee-Lo's "I Wish", and Biz Markie's "Just a Friend" are classic hip hop songs most casual listeners have heard at least once. While recognized for their mesmeric beats, catchy hooks, and savy rhyme schemes, rarely do people acknowledge the relatability of the stories told. Each rapper presents scenarios many of us have been in, but are too embarrassed to share. This is a unique gift and responsibility of true artists; to beautifully express the mundane, the normal, the commonalities with which we're all familiar.

1) The Pharcyde's "Passin' Me By"

"Passin Me By" has the quintessential 90's boom bap sound to methodically nod your head to. Hailing from my hometown of Los Angeles, California, Bootie Brown, SlimKid3, Imani, and Fatlip's articulated cadences make rhyming along easy. When I first heard this song at the age of 11, I ran home, printed out the lyrics, and proceeded to memorize every word. It is one of my favorite songs of all time and I still know every line verbatim.

Although the chorus clearly repeats "She keeps on passin' me by", it wasn't until recently at the age of 25 that I realized just how sad their love lives were. All of their crushes really do pass them by. The last verse in particular illustrates the overall mood of the song and plight of these fellows. It's here Fatlip puts his heart on the track while rapping about the dopest Ethiopian woman who simply won't give him the time of day.

Now there she goes again, the dopest Ethiopian
And now the world around me be gets movin in slow motion
when-ever she happens to walk by - why does the apple of my eye
overlook and disregard my feelings no matter how much I try?
Wait, no, i did not really pursue my little princess with persistence;
And I was so low-key that she was unaware of my existence
From a distance I desired, secretly admired her;
Wired her, a letter to get her, and it went:
My dear, my dear, my dear, you do not know me but I know you very well
Now let me tell you bout the feelings I have for you
When I try, or make some sort of attempt, I simp
Damn I wish I wasn't such a wimp!
'Cause then I would let you know that I love you so
And if I was your man then I would be true
The only lying I would do is in the bed with you
Then I signed sincerely the one who loves you dearly, PS love me tender
The letter came back three days later: Return to Sender
Damn!

Poetry. We've all experienced rejection in some form. But it's not often that a rapper admits to being overlooked and disregarded by a woman. Already, his vulnerability is tugging at my heart strings. This woman is the apple of Fatlip's eye. He calls her his little princess, not some b---ch or h-- . Describing a woman you're fond of without using derogatory terms always gets you a win in my book.

Fatlip is so unassuming in his pursuit of this woman that in order to make this young woman aware of his existence he has to write her a letter. Compared to today's suitors who simply slide in your DMs or swipe you to the right on some dating app, Fatlip's efforts are impressive. His salutations are chivalrous and polite harmonizing, "my dear my dear my dear". To be honest, I'd probably marry the first person who wrote me a letter.

While writing the letter Fatlip gets introspective in his admiration for this woman. He admits that he hasn't been able to work up the nerve to approach her and calls himself a wimp and simp. These are fighting words in the hip hop community. Urban Dictionary defines a simp as "a man that puts himself in a subservient/submissive position under women in hopes of winning them over." Unsubscribing to toxic masculinity, Fatlip clearly does not care what you or I think about his emotions. He knows what his heart wants.

Finally, Fatlip builds up the courage to send off the letter with a "the one who loves you dearly" farewell. 3 longs days pass and what happens? The letter is returned to sender. As a listener all you can do is echo Fatlip's final line; a defeated and breathy "damn!". Sometimes you can't win for losing.

2) Skee-Lo "I Wish"

Her boyfriend's tall and he plays ball
So how am I gonna compete with that?
'Cause when it comes to playing basketball
I'm always last to be picked
And in some cases never picked at all
So I just lean up on the wall

I wish I had a brand-new car
So far, I got this hatchback
And everywhere I go, yo, I gets laughed at

Intentionally or unintentionally, Skee-Lo is breaking black male stereotypes by airing out his perceived shortcomings; he's not tall and he's not good at basketball. Meanwhile, Ice Cube was still trying to convince us that he registered a triple double in a pick-up game. There is a historical symbiotic relationship between basketball and hip-hop. Every rapper wants to be a hooper and every hooper wants to be a rapper. This is a biblical fact. Fortunately and unfortunately, many have dabbled in both. 

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In this case, the undersized Skee-Lo is not a basketball playing, hip hop rhyming double threat. And he believes these perceived limitations are holding him back from being a cooler, more prosperous guy. So doing what he can with what he has, he brilliantly creates a hit rapping about the things he wishes he had.  Most rap songs sound something like "Yo, I got this, yea I got that, of course I got her, and I even got way more of that". Skee-Lo does the exact opposite, saying "Yo, I wish I had height, I wish I had basketball skills, I really wish I had a girl and a '64 impala, I'll even take a rabbit in a hat". This would have been the perfect time for Shaquille O'Neal as Kazaam the genie to appear.

I'm don't know if Skee-Lo ever got his wishes, but his song sold over 600,000 copies, went gold, and was nominated for Best Rap Solo performance at the 1996 Grammy's. He lost to Coolio's "Gangsta Paradise", but he was so close.

3) Biz Markie "Just a Friend"

So I came to her college on a surprise visit
To see my girl that was so exquisite
It was a school day, I knew she was there
The first semester of the school year
I went to a gate to ask where was her dorm
This guy made me fill out a visitor's form
He told me where it was and I was on my way
To see my baby doll, I was happy to say
I arrived in front of the dormitory
Yo, could you tell me where is door three?
They showed me where it was for the moment
I didn't know I was in for such an event
So I came to her room and opened the door
Oh, snap! Guess what I saw?
A fella tongue-kissin' my girl in the mouth,
I was so in shock my heart went down south
So please listen to the message that I say
Don't ever talk to a girl who says she just has a friend

This is what us young people call "getting played".

Biz Markie's "Just a Friend" is a great karaoke jam. Released in 1989, before rappers were singing hooks and choruses, it's a 80's hip hop love ballad that I will always choose over LL Cool J's "I need love" which has aged terribly.

No matter where you go in the country, most people join along when they hear Biz belt out, "Ohhh babyyy youuuu! Youu got what I neeeeeed!".  A contrast from the tough guy role rappers portray, Biz's playfulness makes this one of the most lighthearted song's in hip hop. His infectious personality and fun rap-a-long style gains the affection of fans. This makes his predicament even more devastating. We love Biz, we are rooting for Biz, we want Biz to win and get the girl.

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Being the consummate gentleman, Biz makes a trip to surprise his lady friend while she's at college. He probably has a nice romantic weekend all planned out for him and his lady; beat boxing, taking long walks in the park, making mixtapes on his boombox. You can visualize the whole thing. Yet, to his shock, he finds the lady he's been dating kissing another guy.

We don't know the dynamics of Biz and this woman's relationship, but he's soundly invested. And while she has the right to do what she pleases without his permission, communication could have definitely been clearer. Biz thought his lady was hanging with a platonic friend. She thought Biz was just another friend. You can't help but empathize with the guy.

After such a tragic ordeal, you wonder if Biz developed serious trust issues. But, as a consolation prize, Biz's misfortune has made him a fortune. This hit is still popular 30 years later and has gone on to influence music today. Taking Biz's advice, Chris Brown would go on to make an anthem reminding us that "these h--- ain't loyal".

Hopefully rap will continue to evolve and become more comfortable being self deprecating and despondent. Talking about our pain is a human right that helps us lead healthier lives. We all take L's, but what's most important is that you keep showing up for the game. Law of averages says that you're eventually going to win. Keep swinging.

“Last night took an L but tonight I bounced back”
— Big Sean

 

 

April 05, 2017 /Talia Caldwell
Music, Hip-Hop, Classic, Kanye West, Rap, Confidence
Music
1 Comment

Purple Moonlight Mixtape

March 08, 2017 by Talia Caldwell in Music

Moonlight recently won the Academy Award for Best Picture, Best Adapted Screenplay, and Mahershala Ali won Best Supporting Actor for his role. The film is visually captivating. Please see this film if you have not already.

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Moonlight holds a special place in my heart. I saw it on November 8th, 2016 (kind of a big day). It was late in the evening, the Electoral College numbers were coming in and my friend and I figured we should go see Moonlight to distract from what was happening. When the credits rolled, I was an emotional mess. Then my friend and I turned our phones on and saw the election results. I couldn't move. 

Barry Jenkins, Moonlight's director, listens to chopped and screwed music everyday. Robert Earl "DJ Screw" Davis Jr. created the chopped and screwed (or "slowed and throwed") technique in the early 90s on turntables by slowing down the tempo of a song, skipping beats, and using stop-time to give the song a cool, sedated Houston lean.

Unfortunately, DJ Screw passed in 2000, but his legacy is strong and his influence is everywhere in hip-hop. Popular Harlem based rapper A$AP Rocky heavily relies on the chopped and screwed technique, Kanye West used it in the chorus of 2012's hit song "Mercy," and Houston rapper Mike Jones featured the sound on his break out hit "Still Tippin'."

Now, I need to take a moment to pay homage to "Still Tippin'." I was 13 years old when this record came out and it quickly became my pre-game ritual for every basketball tournament that spring. I balled out thanks to it. "Still Tippin'" was a track that made the rare crossover from the Houston streets to the airwaves of Los Angeles where I grew up. At the time, LA rap stations really only played West Coast artists with the occasional mainstream East Coast/Midwest artists, and the only taste of southern rap being from Atlanta.  I was mesmerized by the thick slowed chorus, the abrupt strong keys and the rappers' smooth Houston dialects. In Shea Serrano's New York Times Best Seller The Rap Year Book: The Most Important Rap Song From Every Year Since 1979, Discussed, Debated, and Deconstructed, "Still Tippin'" is crowned the most important rap song of 2004. It's in this song, Mike Jones blesses the world with his iconic line, "Back then h--s didn't want me, now I'm hot h--s all on me". He raps this phrase 4 times in a row because repetition supports emphasis. He needs us to know what's up. Featured artists Paul Wall and Slim Thug give nice supporting verses. Paul Wall wall in particular has been integral to the grill culture in Houston, The South, and hip-hop in general. In Moonlight, gaudy grills become part of Chiron's shielded exterior in his manhood. He even drives an old school "slab" (slow loud and banging) car, like the ones featured in the "Still Tippin" video. Grills, chopped and screwed sounds, slabs, this is peak southern hip hop culture. Disclaimer, this is not an edited version and the lyrics are explicit:

Moonlight's use of chopped music works perfectly with the film's mood and southern coastal backdrop. Like the story and its protagonist, Chiron, the music is dense, haunting and trudges along. Thanks to the success of the film, Barry Jenkins teamed up with Houston's very own collective, The Chopstars, to bring us the Purple Moonlight mixtape. "Keeping DJ Screw alive since 2001," the Chopstars honor DJ Screw in everything they do. They've chopped popular projects from Drake's Take Care to Little Dragon's Nabuma Purple Rubberband. Most recently, the collective chopped parts of Frank Ocean's Blonde and created a Houston throwed mash up of the Knowles sisters' Lemonade and A Seat at the table. The Purple Moonlight mixtape is a 26 track "chopped not slopped" version of the movies soundtrack as well additional recent releases at the end. I've listened to it everyday since it came out. "When life movin' too fast, let the Chopstars slow it down for you". Enjoy.

March 08, 2017 /Talia Caldwell
Hip-Hop, Rap, Moonlight, Houston, Beyoncé
Music
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