[Musica] Hip Hop

[Wesley Pentz]

 

Não é hip-hop mas que se f*da, acaba por ser o sítio em que se enquadra melhor.

A That's Not Me logo no início :prayer:

[Ruas]

 

Não é nada novo mas ODB :prayer:

[Wesley Pentz]

[Keef]

[Arnold]

lança masé

[Wesley Pentz]

O Surf é que me anda a meter um nojo do crl, nunca mais sai.

 

[Che]

O porquê de amar o Kanye, o porquê do College Dropout ser a melhor coisa que já ouvi:

 

Golly, more of that bullshit ice rap

I got to 'pologize to Mos and Kweli (probably)

- This is a reference to the Black Star song "Respiration".

 

Instead of rapping about the world around him, he finds himself rapping about his fame and wealth.

 

He is apologizing to Mos Def and Talib Kweli because of their reputation as "conscious" political rappers, whose 1998 album Mos Def and Talib Kweli Are: Black Star was critical of the materialistic turn in hip-hop. As of College Dropout, Kanye saw himself as someone with one foot in the underground. Indeed, he collaborated with Mos and Kweli on a variety of tracks and public appearances.

 

Kanye tried to keep his connection to "conscious" rap alive in 2005, changing his track "Diamonds Are Forever" to the more politically-charged "Diamonds From Sierra Leone". Today, though, rapping about unimaginable wealth is Kanye's metier, and this kind of apology is unthinkable.-

 

But is it cool to rap about gold

If I told the world I copped it from Ghana and Mali? (Mali!)

- Kanye suggests that his gauche raps about wealth and precious gems might be made acceptable to Mos/Kweli if he framed it as support for an indigenous African industry. Ghana and Mali are two of Africa's more stable democracies, and buying precious metals from them can be considered a form of economic support. -

 

First nigga with a Benz and a backpack

- Kanye claims to be the first rapper to unite the two warring factions of 1990s hip-hop: backpackers (a derogatory term for rappers/fans that make/listen to alternative hip-hop) and Benz drivers (those who consume mainstream materialistic rap — Jay-Z, Biggie, and their many imitators). His music, he suggests, is the best of both worlds. -

 

Always said if I rapped I'd say somethin' significant

But now I'm rappin' 'bout money, hoes, and rims again

- Kanye always felt that he would be a conscious rapper like Mos Def or Common. Instead, he just wants to rap about his possessions. This could be taking a jab at other MCs who decide to talk about things that don't truly matter.

 

Kanye also literally spends the rest of the song rapping about money, hoes, and rims, in that specific order. The rest of the first verse is devoted to material wealth and consumption (money), the second verse is about trying to seduce women (hoes), and the third uses car-related wordplay (rims). -

 

Tem musicas muito fixes. Jesus Walks, All Falls Down, Spaceship, Never Let Me Down, Slow Jamz e Breath In Breath Out. E a própria mensagem do álbum é mesmo fixe.

[Wesley Pentz]

[Arnold]

https://soundcloud.com/kevinabstract/not-on-doasm-02-ft-matt-champion-prod-bearface-romil-kiko

[Wesley Pentz]

[La Flame]

Bom som, esse do Vince.

 

btw,

 

Editado 7 Maio 2015 por K-Dot

[Wesley Pentz]

Btw, há a possibilidade de o album sair na próxima semana.

No site do Vince está uma contagem decrescente, faltam +- 4 dias.

[totch]

Ando viciado neste som:

 

 

And I'm hight

 

:heart:

Editado 7 Maio 2015 por totch

[Wesley Pentz]

 

E o Future é aquele gajo que eu ainda estou a tentar perceber porque é que gosto dele.

 

Album do Asap adiado para dia 2 de Junho :-|

Editado 8 Maio 2015 por Wesley Pentz

[Wacko_Jacko]

[El Shafto]

 

Nehru :heart:

[Arnold]

[El Shafto]

[Wacko_Jacko]

[Peplin]

[La Flame]

Kendrick Lamar – “To Pimp a Butterfly”: O regresso triunfal de kkk

 

 

“To Pimp a Butterfly” conta a história de uma lagarta, prisioneira das ruas, que tem como único objetivo consumir tudo em seu redor, de forma a proteger-se da cidade louca que a criou. Enquanto leva a cabo a sua missão, a lagarta apercebe-se que o mundo a repudia, enquanto elogia e adora, ao mesmo tempo, a borboleta, símbolo da beleza e talento. Assim sendo, e aproveitando as fraquezas da borboleta (traduzindo “to pimp” à letra: chulando-a), a lagarta começa a procurar a mudança, de forma a libertar-se das quatro paredes do casulo onde fora aprisionada e colocar um ponto final na sua luta interior.

 

Não há que enganar: a história que Kendrick Lamar metaforiza no seu novo álbum, é, na verdade, a sua. A de um jovem que recorreu à música para se libertar do casulo de Compton e voar em busca de uma nova vida, longe das grilhetas que um dia o acorrentaram à cidade louca. Ainda que a associação pareça óbvia, Kendrick Lamar não deixa esta ideia chegar ao ouvinte de forma imediata e vai descortinando a história aos poucos, em pequenos excertos entre as músicas, até desembocar, nos últimos minutos do álbum, numa falsa conversa/entrevista com Tupac Shakur (o audio samplado data de 1994 e é referente a uma entrevista dada pela lenda a uma rádio sueca), altura em que o rapper desenrola o que falta do novelo da sua obra.

 

"To Pimp a Butterfly” é um álbum que respira a atualidade da instabilidade social norte-americana, gerada pela desigualdade social e pelo reacender dos tumultos na Terra das Oportunidades (o próprio título é uma alusão a “To Kill a Mockingbird”, livro de Harper Lee, tido em conta como um clássico da literatura moderna americana, que tem como epicentro a injustiça racial). Aliás, coincidentemente (ou não), o novo disco de Kendrick Lamar é editado numa altura em que as manifestações em Ferguson e Baltimore enchem as ruas e as páginas da comunicação social, sendo os primeiros versos de “Wesley’s Theory”, o tema de abertura, uma espécie de premonição do que poderá estar para vir: “When the four corners of this cocoon collide / You’ll slip through the cracks hoping that you’ll survive”.

 

Mais que um manifesto anti-racista, “To Pimp a Butterfly” é o grito de alguém que sente orgulho nas suas origens, na sua cor de pele, e apela a que os seus também partilhem desse sentimento, daí “Wesley’s Theory” abrir com um excerto de “Every Nigger Is a Star”, de Boris Gardiner, um tema que entrou no filme homónimo e que procurou, nos anos 70, mudar a percepção da palavra “nigger” na Jamaica e estimular o orgulho negro. Mas os exemplos não se ficam por aqui. O jazz de artistas como Sun Ra e Miles Davis, bastante presente em temas como “For Free” (um verdadeiro exercício de métrica), “u”, “Alright” e “For Sale”, bem como o r&b de Stevie Wonder em “Hood Politics” e o funk de James Brown e George Clinton - que chega, inclusive, a dar o seu contributo - em “Wesley’s Theory” servem de reforço à ideia que o artista quer transmitir.

 

“The Blacker The Berry”, um dos singles do novo álbum de Lamar, é, provavelmente, uma das melhores canções anti-racistas alguma vez editadas. O instrumental de Boi-1da e Koz, o excerto de Tupac Shakur que dá título à música (“the blacker the berry, the sweeter the juice”) e o refrão de Assassin casam na perfeição com o discurso de Kendrick Lamar, que se terá inspirado nos pregões de Malcom X. “You hate don’t you? / You hate my people, your plan is terminate my culture”, versa o rapper nas primeiras estrofes da canção, acrescentando, perto do fim, “so don’t matter how much I say I lime to preach with the Panthers / Or tell Georgia State «Marcus Garvey got all the answers»/ Or try to celebrate february like it’s my B-Day / Or eat watermelon, chiken and Kool-Aid on weekdays / Or jump high enough to get Michael Jordan endorsements / Or watch BET cause urban sport is important / so why did I weep when Trayvon Martin was in the street? / when gang banging make me kill a nigga blacker than me?”, como forma de sublinhar a hipocrisia que existe dentro da própria comunidade afro-americana.

 

“To Pimp a Butterfly” é uma obra de arte como há poucas, com cabeça tronco e membros, um conceito, um fio condutor e, acima de tudo, uma mensagem forte. É um álbum que ultrapassa a fasquia alcançada por “good kid m.A.A.d. city”, lançado em 2012. Lamar seguiu o conselho deixado por Dr. Dre no interlúdio de “Wesley’s Theory”, não se deixou adormecer à sombra do sucesso alcançado pelo seu primeiro álbum (à imagem daquilo que aconteceu com 50 Cent e The Game - e quem melhor do que Dre para lançar o alerta?) e reuniu esforços, conjugando com toda a sua arte e engenho, para editar, quem sabe, e arriscamos o palpite precoce, o álbum do ano. O trono pertence a Kendrick King Kunta (KKK).

 

Alinhamento:

 

01. “Wesley’s Theory” (feat. George Clinton and Thundercat) (prod. Flying Lotus)

02. “For Free?” (Interlude)

03. “King Kunta”

04. “Institutionalized” (feat. Bilal, Anna Wise e Snoop Dogg)

05. “These Walls”

06. “U”

07. “Alright” (prod. Pharrell)

08. “For Sale?” (Interlude)

09. “Momma”

10. “Hood Politics”

11. “How Much A Dollar Cost” (feat. James Fauntleroy e Ronald Isley)

12. “Complexion” (feat. Rapsody)

13. “The Blacker The Berry”

14. “You Ain’t Gotta Lie (Momma Said)”

15. “i”

16. “Mortal Man”

 

Classificação Palco: 9,5/10

 

Manuel Rodrigues

 

 

http://palcoprincipal.sapo.pt/noticias/Noticia/kendrick_lamar_to_pimp_a_butterfly_o_regresso_triunfal_de_kkk/00013377/all#news_content_conteiner

 

Deixo aqui este artigo, para quem quiser ler. Está muito bem conseguido, na minha opinião.

 

Noutro registo completamente á parte, deixo aqui este som.

 

 

Mais uma produção do crl, do Preemo. Não conhecia isto.

[Taj]

 

bgd deus

[Che]

Eu já aqui cheguei a dizer que depois de 2007 o gajo pifou mas isto está muito bom. E quando surge a Rihanna fiquei todo feliz.

[Arnold]

eu pessoalmente acho que ele está a ficar um bocado "stale" apesar de ser o meu preferido.

 

 

acho que não é preciso mostrar mais nada do que isto para atestar a qualidade do que fez nessa altura. o filme inteiro é bastante bom também.

 

aquela parte no fim com a voz dele cheia de auto-tune e distorcida é :heart: encaixou perfeitamente no resto da música.

[La Flame]

Joey Bada$$ Balances "Christ Conscious" & The Possibility Of Being The Voice Of His Generation

Joey Bada$$ dropped by to talk "B4 Da $$," and why he's representing the lyrical side of the new generation.

 

Joey Bada$$ has been the future for a solid three years now. His mixtape 1999 shook New York Hip Hop to its foundations as, it seems, everyone forgot about what a soulful, New York sound actually looked and felt like. High school kids immediately found themselves revisiting classic New York influences through Pete Rock, DJ Premiere and more, but Joey’s sound wasn’t a rehash so much as a revelation.

 

Now, after his debut album hit shelves in January, the under 21 star has been handling his career while being on the front lines of marches in New York against corrupt city police officers and startlingly consistent abuses by them happening around the country. Joey’s first album was also an achievement, as he managed to pin down a sound mainly driven by vibes and spiritual leanings.

 

The de facto Pro Era leader is slim and introverted, and we find him at DX HQ taking to Thai food like he hadn’t eaten in days. We banter back and forth about the significance of being under 21 and growing up in the game: “I didn’t want anybody to listen to my shit and be like, “Yo, he sounds like this.” No, I want people to be like, “Yo, he sounds like Joey” or, “This guy sounds like Joey.” You know?

 

Joey Badas$$: First off, thankful, honored, blessed to have been a part of that history. I worked with Premo a couple of times there and every session there, you know, was… really special and golden. ‘Cause that place just has history. Like it has this energy, like this spiritual energy there. The first time I went there I felt like Big L was just looking at me, or some shit like, “Look at this nigga recording in my booth.” [Laughs] Like, “What you finna do on this Premo beat?” [Laughs] You know what I’m saying? It was a great place, just like everybody else, sad to see it go but… “Paper Trail$,” “Unorthodox,” couple of tracks you guys never heard. Maybe one day…

 

DX: The new album is a direct cut away from the stuff that you’ve done in the past. It feels like you came into your own with your philosophy as well as your voice. Can you talk about what that record means to you?

 

Joey Bada$$: That record right there, it means the whole first quarter of my life. I’m glad you caught that ‘cause I really wanted to solidify myself as an artist, as an emcee, with this record. Because when I first came onto the scene — when I was 17, when I made 1999 — I was getting a lot of comparisons, and the comparisons were cool, like, it was an honor to be compared to Nas, or somebody. I really wanted to focus on sounding like myself. I didn’t want anybody to listen to my shit and be like, “Yo, he sounds like this.” No, I want people to be like, “Yo, he sounds like Joey” or, “This guy sounds like Joey.” You know? Yea man I feel really great about the record. I feel like, mission accomplished.

 

DX: The sounds on the album are really intricate and you didn’t use a lot of sampling on the records. I just want to talk about a few. I want to talk about the Kirk record, “Big Dusty,” that’s one of my favorite records on the album. Can you talk about the making of that?

 

Joey Bada$$: Pretty much like how we make most of our records. Kirk was just in the crib one day and he was chilling in a dark room. Like, he was on some whole other shit. [Laughs] Just producing… And I got him this light for his room so it was just like when the lights go off it’s just this colorful light and it changes with the beat. So each bass thump it would be like red-green-yellow-blue, you know, trippy shit. So I basically walk in to him just playing what is the chords of “Big Dusty,” and I was like… [Laughs] I pretty much just walked into the vibe, I’m like, “Yo what is this?” He’s like, “I don’t know, some beat I was making.” And I was like, “Alright I got some bars wussup.”

 

DX: And it’s as easy as that, no doubt. There’s an idea of you in New York and what this album means and represents. And it kinda means and represents that New York is kind of being creative again. Can you talk about what it means to be at the forefront of that?

 

Joey Bada$$: I feel like New York was always being creative.

 

DX: There’s like, for example, all the reunions that are happening right now is almost like a older generation. And then there’s a younger generation of people like Ratking doing dope shit, you guys are doing dope shit, A$AP…

 

Joey Bada$$: I really think the older generation of New York needs to connect to the younger generation. I don’t think that happens on our side enough. What I really admire about the West side is their unity. I really think that they’re definitely more unified than the East Coast and, you know, we definitely need to do something about that…

 

DX: Any collaboration in the works?

 

Joey Bada$$: I’m working with Raekwon really soon, Meth, Ghostface, everybody… We just gotta make it happen. The thing about Cali is so open, that you can just make things connect easier. Where in New York there’s so much static, you know, there’s so much things going on. So it’s like, yeah we wanna connect, we’re tryna connect but it’s just so fast paced.

 

DX: It kinda got expensive to make records. Did you guys feel anything like that?

 

Joey Bada$$: Man, I think it’s pretty expensive everywhere. LA is expensive, the only reason I don’t really stay out here for a long time is because every day I gotta pay to fucking sleep. [Laughs] If I had some more homies out here or just somewhere I could crash then I’d be out here more. But I only have like one real friend out here, and that’s Chuck.

 

DX: Just move it to the tour a little bit before we go back, you went international and it was incredible. Can you just talk about your favorite venue from the tour?

 

Joey Bada$$: Santa Ana is definitely one of those joints right there. London… London was one of my best shows to date, the last part of the show. It was like 2,000 people, it was probably the biggest headline that I had just by myself. Paris was insane. There’s a sick video online of me performing “Christ Conscious” in Paris, literally the sickest thing ever. That’s when I started walking on the crowd. Yeah that shit was cra… crazy! It makes me feel invincible — like I could jump and do a backflip, I could do anything.

 

DX: Because you grew up in Hip Hop and, you know, sometimes the game is kinda weird. But when you perform like that and you get that kind of response, does it make you seem like “Yo this is where I’m supposed to be.”

 

Joey Bada$$: Yes because I could easily be doing some trap, which I like. I actually got like a couple… I got this one trap record that I perform at my shows and shit and I’m working on some more. But like it’s dope that I can do a Hip Hop record, you feel me, and get the same — if not more type of energy — than where everybody do the regular trap shit and everything. It’s really dope.

 

DX: “Christ Conscious” is a special record.

 

Joey Bada$$: [Laughs] We knew that when we first heard it. I made it and then I picked up the homies in the whip and I was like, “Yo, peep this shit.” I was in BK, I was just driving my uncle’s pick up truck and shit. Sound system and all that was crazy so everybody just in the whip, [really got things spinning like they’re supposed to…]

 

DX: You guys have your own special sound. Is it tough to keep other influences out?

 

Joey Bada$$: Before I was really anti-everything-that-anybody-else-does, but now to me is more like making music and I’m coming to an understanding of the music game and the music world. And you know, sometimes you make records, not to adapt or change or to fit in, but you make records to connect to larger audiences. When I made “Teach Me,” for example, I wasn’t trying to make any specific type of record, it was natural. It happened just like any one of my other records.

 

You know, heard a beat, fell in love with it, and then the rest was just ready to settle for whatever. It comes to a point where you realize like, “Oh okay, you could do this, you could do that,” and you know that a record like this will appeal to more audiences… a bigger audience. So that’s at least what it is for me.

 

DX: You guys are pushing forward with something, and not only you, Kirk as well and the other numbers. You guys are pushing forward with something that is really really unique to NY. Is that important to you?

 

Joey Bada$$: Definitely important, definitely important. I mean, it’s not my mission to be like, “Yo I wanna represent New York or anything,” ‘cause music is an expression of one’s self… My music is gonna represent New York regardless ‘cause I’m from there but I don’t have to say, “Yo I wanna represent New York, so I’m make music like this.” Nah, I mean because I’m from New York that might be… that’s probably most likely what influenced my expression but it’s not anything that is my mission. I’m worried about putting on for Hip Hop, period. Because even me, I started getting exposure outside of New York. It was a outside then it came back in, you know? Yeah I mean, I represent New York of course but I’m not trying to, you know, I’m not trying to create a New York sound or anything.

 

Nah I’m trying to create my sound. And it’s gon’ keep switching up, like me I’m a spontaneous person, I like to be versatile. I don’t like creating the same song twice. So it’s a gonna be alotta different things, you know? Shit they might be mad at Joey next year. They love you, then hate you, then love you again. I mean at this point there’s a lot of different things I did on one type of style. I definitely wanna expand out more, you know, I wanna bridge out, I wanna work with different artists. You know I just wanna make good music. It’s always gonna be good music, you know, ‘cause I’m never gon’ put out anything that sounds bad to me. So if you respect Joey Bada$$ as the artist, then you should respect anything that comes from me. Don’t prejudge it or don’t have any expectations set, you know, just know that I loved this when I made it and that’s all that matters.

 

DX: A lot of people look back at 1999 and they say, “Yo, that was an incredible start out the gate but then you’ve only gotten better from there.” Like, do you think that right now 2015, in the hierarchy of things, you’re up there as an elite emcee?

 

Joey Bada$$: Yeah, I do. I see it when I meet other artists. It’s like, I don't know, I see that they see something in me and it’s weird. For me because I’m younger and everything and I’m just so eager to work but I see sometimes people are intimidated by my presence or something like that. I’on know it’s kinda weird. I can tell that it’s because of that like I’m the only one of the generation really holding it down as an emcee so they’re just like, “Yo respect, respect my G, you out here. And you from New York, and you from Brooklyn, and you from Bed Stuy.” [Laughs] So it’s just like, “Yo, that nigga right there, word.”

 

DX: What do you think the change has been in Hip Hop?

 

Joey Bada$$: Hip Hop over the years has really expanded and has really grown, even to like the 2000s era. That was a new time for Hip Hop right there. We had bling, we had the real South country music really starting to take over, so it was like people was hearing a different sound from the real original Hip Hop that they was hearing before. I just think over the years Hip Hop has opened itself and now it’s like this super-genre which has so many other mini-genres within it. It’s Hip Hop, then there’s club-rap, there’s trap-rap, there’s real rap-rap, you know, it’s so many different subgenres of it. There’s hip-pop, you know, which is really the dominating force now because I think that pretty much explains it. Now it’s like you got these pop songs that people are rapping over now.

 

So that’s what’s taking over the charts ‘cause I believe rap, Hip Hop is the biggest genre in the world right now. So they’re fusing it, rolling in these other genres… Me, I’on wanna complain, I don’t wanna be that artist that be like, “Yo I don’t feel like I’m getting enough of this…” I’m just gonna prove myself. If not this album, alright I’ll do it the next one. I know I’ll be at the Grammys one day, I know I’m a win a Grammy one day. I know whoever is not giving me my respect now is gonna give me my respect one day cause my artistry won’t permit them not to. My work ethic, my job, my dedication, it just won’t permit them not to. I’m not even tripping, like I’m 20 years old right now, I’ve accomplished so much, I’m just blessed. I’m happy to be alive, I’m happy to open my eyes everyday. I’m happy to have a team, I’m happy to be doing this shit on my own, to be independent. You feel me? Niggas ain’t in my pocket like that. I’m happy to make $6 off an album. Word up.

 

DX: You spoke about the team man, you guys are a really, really tight squad. You don’t see squads a lot these days. Can you talk about what having those people around do as your brothers?

 

Joey Bada$$: That’s another thing I’m really happy about. I’m happy about having everybody take off the ground. Kirk is next and his project is like, so fire. And I’m just so glad that he took out the time to really craft it… Me, what’s really dope is that I got to step my foot in first. All the knowledge that I’ve gained, you know, it transferred into wisdom that I can now tell them like, “Yo, there’s a fire in this room so go this way.” It makes them better and it’s just like a leapfrog effect, it’s like, “Aight now I’m here. Yo Kirk, step over.”

 

You feel me? That’s the dope part about it too. Like you know sometimes I trip out about like how the older artists like the Kanye’s and the Jay’s and everything, sometimes I feel like I wanna be a part of them more, I wanna be in the mix with them, but then I realize that I have my own mix. With them it’s like they’re the bosses of their little mixes and shit. With me it’s like, “Word, I’m the boss of mine.” So in like 5 years we still gon’ be here, we gon’ be the ones. It’s just tight man. It’s just patience, balance and just, you know, understanding.

 

DX: The balance man, it’s gotta be tough because you grew up in Hip Hop and there’s so many different influences. It’s not the best place to grow up. Is it tough to necessarily stay down and stay focused on just making music and doing amazing shit?

 

Joey Bada$$: I mean it’s always gon’ get tough. That’s what I’m starting to realize now like, there’s always gonna be times where I feel like I can never create a good song again. And it’s cycles that musicians go to, just like, “Damn, I feel so like… brain farts all day and shit.” But then there’s gon’ come a time where God is just gon’ be like give you the inspiration that you need again. It’s just patience man. With me, I just like to let things come to me naturally, I don’t like to force things.

 

 

http://www.hiphopdx.com/index/interviews/id.2725/title.joey-bada-balances-christ-conscious-the-possibility-of-being-the-voice-of-his-generation

 

Deus. Que maturidade imensa, ainda com 20 anos e tudo sem que a fama lhe suba á cabeça. O futuro do Hip Hop está aqui.

 

Bela entrevista.