Top 23 Albums of 2016, Part 2!

 PART ONE HERE

Freetown Sounds- Blood Orange 

Dev Hynes, the real person behind Blood Orange, is as much a cultural trendsetter as he is a musical artist. Creating musical works that often revolve around gender and sexuality and incorporate input from the wealth of modern Queer artistic movements. On this latest record, Hynes captures the exact sound prevalent in 80’s pop music (which was during a time when Queer artists where becoming more well-known and recognized in mainstream media) and channels his own story through that sound. So while the way the synths, funky basslines, and drum machines all come together may be very retro (Prince levels of funk, mind you), it feels more original than anything else. Speaking on poverty, love, identity, and culture, Hynes often has women vocalists (such as Nelly Furtado and Carley Rae Jepson) share songs with him and play integral roles in establishing tone for every song. This album is personal, but is not just Hynes story, struggles communicated in this album affect so many different people, and instead of trying to talk for them he lets them sing and speak for themselves. This is an album from a different musical era that still captures so much of what is relevant about art today, and stays gorgeous while doing it.

Blonde- Frank Ocean 

After 4 years of utter silence, R&B Singer and Producer Frank Ocean finally dropped his sophomore release. Much to many people’s surprise, he decided to stick with a musical approach much more akin to minimalism than the grand sweeping songs of his first album, Channel Orange. Oddly enough, this only serves to bring out the true talent of Ocean’s singing prowess and his musical ear. Blonde is filled to the brim with miniscule details and uncredited features (such as Beyoncé and Andre 3000), that make it near impossible to fully comprehend the weight of each song on a first listen. This album is much more abstract and was released alongside Ocean’s “Boys Don’t Cry” Magazine to make this entire project less about music and more about making an artistic statement. Make no mistake, the music is intricate and lovely, but if Channel Orange was made up of bright neon hues, then this album by contrast is made up of light pastel colors. There are interludes throughout the album (which all smartly share the same instrumental) that comment on social media, fame, drug culture, and love, all extensions of Ocean’s life that he articulates on every song. The simple love story has been turned into a complex tale of discovering oneself in the modern age, and coming to terms with how you live and what makes you happy.

A Seat at the Table- Solange 

While many would assume that Solange, younger sister of Beyoncé, is destined to live out her life in her sister’s shadow, she has proven herself as an independent artist time and time again. With her latest album she gives the world a chance to look through her eyes and experience the daily strife that comes with it. Everything from micro-aggression’s to blatant racism and harassment are set to the tune of electronic Neo-Soul, and given a wide variety of guest artists (Lil Wayne, Sampha, Bj The Chicago Kid) to really bring out their unique potential. In the 21 tracks there are 9 interludes, yet they often take on the musical properties of the song before or after them, leading to seamless transitions between song and stories related to that song. In the interludes we hear members of Solange’s community speaking out about racism they have endured, what it means to have pride in your color, and the overwhelming power of the Black spirit. The album does more than cement Solange as a leading artist in the social moment to empower people through music; she reassures people of color that it is okay to feel hurt. In a society where oppression is often the result of the oppressed not being given “permission” to feel a certain way, this album is a musical essay that addresses and debunks many of the falsities attributed to the Black revolutionary. It lets them know that our struggle will be worth it when we are finally recognized as a complete people.

Telefone- Noname 

Noname has been in my ear since I first heard her feature on Chance the Rapper’s Acid Rap mixtape, wherein her soft approach combined with her excellent writing made her a highlight of an already great project. Since then she has been appearing more and more on singles and as a featured artist, and with her debut mixtape out she has thrown her hat in the ring for the title of best Chicago rapper. Up against such powerhouses like Mick Jenkins, Vic Mensa, Chance, and Saba (who is featured on this mixtape) Noname takes a much different than approach to rap than many of her peers. Set to some of the most beautifully smooth instrumentals of the year, a mix of Jazz chords and Neo-Soul with a wide variety of unique percussion that gives the music a nice pop, Noname’s raps are more akin so spoken word. The way the lines transition and flow to one another and her sing-song way of delivering lines give her an air of mastery that many other rappers lack. It is less that she is writing to the instrumental and more that each instrumental is conforming to her stories. The stories are of losing friends, abortion, and violence in her hometown, all with the sweet vibe of a mother’s love. The content of the short 33minute mixtape is dark, but the way Noname holds the listeners hands and guides them through her world never lets you get to bummed out, because you know that everything will be okay.

Black Terry Cat –Xenia Rubinos 

Music genres have only become more and more complicated as more people have created music. Things break off into sub-groups, then those sub-groups get so much traction they are basically a new genre all together. Artists like Xenia Rubinos thrive on this confusing middle ground between the lines and created an album that is the lovechild of R&B, Soul, Rock, and Punk all with Latin rhythms thrown in for a bit of texture. The music can be anything from a smooth ballad to a noisy rock anthem all held together with the tightness of the instrumentals and Rubinos’ fantastic voice. She has stated that the album is about being a brown girl in America, draws from her experience watching her fellow Latin American brethren being mistreated but also experiencing American culture.  It is a diverse project that carries a serious message but is executed by a musician who is 100% comfortable with her skill and her sound. With so many politically charged albums coming out, this stands out as being one of the most fun. Rubinos often pokes fun at stereotypes and racism and even herself whilst still carrying the torch for a very under represented group of people in the musical world.

Coloring Book- Chance the Rapper 

Arguably one of the most important figures in music right now, Chance the Rapper has made his name without being signed to any major label. For the most part, this means that his sound is allowed to expand and change however much he wants it to. With his third mixtape, this becomes more apparent than ever. Drawing from the Gospel he is so enamored with and the Pop friendly sounds of last year’s Surf,   Coloring Book is Chance’s most musically diverse project to date. It fuses the aforementioned styles with his signature hyper-conscious yet fun writing and songlike delivery. The project sounds like a celebration, with the artist commenting on raising a child, looking back on his musical journey, and finally enjoying the opportunity to make the music that he loves with the people he loves most. With this mixtape getting the nomination for a Grammy (the first Grammy offered to a freely released mixtape), Chance is staking his claim in the musical world. The point was never to make something that changed the game, but rather just to show that change was possible. In this mixtape lies the inspiration for you to get through a rough day, it lifts your spirits and makes you want to dance, because you know no matter how bad things have gotten, when you are listening to Chance you cannot help but smile.

HEAVN- Jamila Woods 

Another Chicago native on the list, Jamila Woods first came to my attention as the voice on Sunday Candy, my favorite song from 2014. When I checked out her album, the content did not surprise me, but the grace and elegance with which that content was utilized was astounding. Through grandly orchestrated Neo-Soul and beautiful written lyrics, both by her and guest artists, Woods tells the all too familiar to me story of the black struggle. Yet it is a very logical approach to the narrative. She comments on the mistreatment of Black women, how much she loves her city despite the bad press, and re-occurring love of lakes and water (which I assume implies some sort of purity or cleanse). It is spiritual and moving, but it never tells you to feel that way. Often when writing a political message it can be easy to push forward your own view so much so that the overall point is lost. Yet with this album, it feels like we are taking a look at Woods’ diary, in which she simply chronicles things as they happen and how she feels about them. If it makes you angry or makes you want to make a difference, it isn’t because she told you to draw blood, it is because she made you realize that you have been able to fight and see injustice this entire time. She does not claim to be an authority on how to change the world, she simply tells us how she feels, and that alone is enough to move many to tears.

Sun’s Tirade- Isaiah Rashad 

Depression can be a difficult thing to ingrate into music. Considering its effect on every artist differs, capturing that feeling on a track can be near impossible without the right approach. Luckily for Chattanooga native and TDE’s Isaiah Rashad, capturing that feeling is one of the things he does best. On this lengthy record, we get what Rashad has described as “the longest day ever,” wherein listeners are given the full spectrum of his inner thoughts and lifestyle choices. The instrumentals are gritty yet so pleasing, adding real instrumentation to give more life to the Jazz and Soul elements of the albums production. Despite all this the tone of the project is dark and stays dark, almost as if it is a musical representation of how Rashad perceives life. There are the up’s and down’s of course, but all of that is filtered through this dark could that does not seem to go away. Oddly, it feels almost comforting. A person who spoke so highly of suicide on his last full musical release has now survived long enough to drop one of the most introspective and honest albums of 2016, all while possibly never being able to enjoy the end result. I would like to believe that he lives for making music and making something so good has to bring him some sense of joy, but whether or not that is true, Rashad has proven himself to be one of (if not the most) sincere member of his label. ScHoolboy Q and Kendrick Lamar get the most attention, but somewhere on a hot day in Chattanooga, you can bet that Rashad is thinking about the value of life and finding new and creative ways to breathe fresh air into the rap game, all the while beating depression.

Malibu- Anderson .Paak 

Anderson .Paak, a drummer/singer/rapper from Oxnard, California, is the best new artist of 2016. “New” being used very loosely since the man has been around for a while, producing for people such as Watsky and being featured on albums with such megastars as Dr.Dre. Even after being selected as a XXL freshmen this year and hype building over his new features, people had still yet to grasp the depth of his ability as a musician. However with the release of his second album, .Paak gets a chance to show the world the full extent of his musical talent. This album takes the golden age sound of soul and keeps it current with funky basslines, rap verses, and Jazzy chords atop the already smooth sound. This year .Paak has blown up, releasing another critically acclaimed album, Yes Lawd!, as NxWorries (a duo he is a part of) and touring everywhere. With his band he has created a name for himself that doesn’t depend on being the feature on someone else’s album, and at the core of that is this album. A musically diverse project that is a fusion of every influence .Paak draws from and a bold declaration of his independence as an artist. Many artists on my list are talented singers/rappers/and writers, but not very many are seasoned musicians, and with .Paak often singing to the tune of his own drumming, it gives him an extra layer of command and mastery over his work. If 2016 has proven anything, it is that .Paak is here to stay, and it is only a matter of time before he is a household name among the greatest to ever do it.

We got it from Here…Thank You 4 Yourservice- A Tribe Called Quest 

Tribe has nothing to prove to anyone, with 3 classic albums under their belt, and being widely recognized as one of the most important rap groups of all time, their legacy is set. So when it was announced that a new album was being released, in the same year that one of their members, Phife Dawg, passed away, there was plenty of surprise to go around. As it turns out, the album had already been in the works prior to Phife’s passing, and while many were worried the quality of the album, the group managed to make magic one last time and create a phenomenal record. With Q-Tip handling production, it certainly builds upon the Jazz-Rap standards that the group was known for. As well as soulful chord changes, it incorporates samples from Willy Wonka to Elton John. The end result is an album that sounds incredible cartoonish and chaotic on one hand, but focused and tight on the other. Each song has its place and purpose, and with topics ranging from the current state of American politics to the remaining members of the group reminiscing on their fallen brother. The album was also recorded entirely in person, so every feature on the album flew into the studio in order to lay down their parts, and this includes such favorites as Jack White and Andre 3000. Due to this, the album feels complete, every part blends in and verses flow in an out of each other seamlessly because everyone involved could play off of everyone else in the room. Hearing Phife rap alongside Q-Tip again and capture some of that chemistry is one of the most satisfying musical experiences of the year.

Awaken, My Love! - Childish Gambino

Simply put, Donald Glover AKA Childish Gambino is one of my favorite creators. Doing everything from acting, writing amazing TV shows, and releasing music, it seems there is nothing this man cannot do. Earlier this year when it was rumored a new Gambino album was in the works, I tried my best not to explode, and when the first single dropped I was so shocked that I had to listen over and over again. The Atlanta born Renaissance man had now shifted his focus toward making a Funk album, and not just any Funk, but as vintage as he could get. He takes the modern mindset and lyrical content of Rap and funnels it through the sound that our parents grew up with. Punchy percussion, buttery smooth basslines, explosive guitar solos, fantastic keyboard work, and the most dynamic vocal performance I have heard on an album all year. He touches on Race and the prejudice that comes from just existing as a Black person, explains to his newborn son the story of said child’s mother, and encourages the listeners to stand on their feet and be proud no matter how the world tries to bring you down. It is a glorious sentiment from a creator whose only motivation in his art is to make something real. Everything boils down to authenticity and quality, because when all is said and done music is simply an extension of life. The sounds and lyrics we throw together are reflections of who we are and what we stand for. So as you listen to this sound directly inspired by Sly and the Family Stone and Funkadelic, you get a sense for the kind of person Gambino is. You hear an album meant to breathe new life into such an important part of Black music, and through it all it never feels fake or dis-genuine. Through it all Gambino, the man who wears a million hats, never feels like anything other than himself, just the way any great artist should. 

Thank you all for joining my once again through my journey of 2016's best! Have a Happy New Year and keep song listening to the sweetest jams you can find.

Top 23 Albums of 2016, Part 1

            Welcome all to my yearly super-bias list of music that I found most enjoyable. This year I finally just shut up and complied all of my music into one list, instead of making people suffer through multiple blog posts for no reason. That being said, this list is being broken up into two parts, so the end result is still the same and I am still the worst! On a more serious note, 2016 was such a great year for music, specifically black music. After the major resurgence of black sound with The Epic and To Pimp a Butterfly last year, in addition to the growing traction of Black protests and the importance of having our voices heard, most of my top music reflects this.  I want to push forth music that sounds amazing and helped change me or teach me something along with way. With all that being said, let us begin a trip down the melody that was 2016.

Love and Hate- Michael Kiwanuka 

            I discovered this gem while watching “The Get Down” on Netflix over the summer. A significant chunk of the album was used to set the stage for a musical show that told a soulful story about a young man’s discover of Hip-Hop music in the Bronx during the 70’s. The music fit the setting remarkable well, combining the smooth soul sounds of Otis Redding and Bill Withers with a modern tale of being a Black man in America. Although the music is beautiful and crisp, it hits your ears like one long ballad of turmoil and revolution. From Kiwanuka’s small person booms out a voice aged far beyond his years. It tackles themes of racial prejudice (openly proclaiming to understand the full weight of being a Black man in a White world), wronging loved ones, and also coming to terms with himself after that same wronging. Here is an artist who has found a way to tell his story without compromise or remorse. This album is a masterful piece of modern soul music that will make you sway and throw your hands in the sky. It is an unapologetic black album that breathes life back into older music and never loses sight of its oppressed roots.

           

            Floss- Injury Reserve 

Last year Injury Reserve topped my underplayed rap album list with their debut Live From The Dentist’s Office, a wonderfully cartoonish project that put a trio of down on their luck rappers in the spotlight and allowed them to blow the Hip-Hop world away. Needless to say I was pumped to hear about them dropping an album not even a year later. Hands down, this album has my favorite hooks of 2016, each song has an insanely simple yet catchy hook that completely pulls you into the song. Over the course of the album this results in a project that grabs your attention from moment one and demands you listen to its insanity and it is very insane mind you. Injury Reserve, with their fusion of Jazz/Blues/Gospel samples with wonky atonal bass and drums, hits everything from spending money, to party culture, to trying to do well for the sake of making their families proud, and back to the futility of trying to sound like any other rap group and make hits. It is seamless transition between the introspective conscious movement that so many old heads rave about and the fun bangers that can make rap so engaging. Through this project they challenge convention and establish themselves as one of the of best rap groups emerging on the scene, and they do it all while smiling like idiots.

            RTJ 3- Run The Jewels 

            Run The Jewels, a Hip-Hop power-duo consisting of Killer Mike and El-P, will most likely end up going down as the most important rap duo since Outkast. The two veteran rappers have not only dropped another genius project, but did so weeks before their expected release date simply because they couldn’t think of a good enough reason not to. Returning with their signature style of anarchistic themes delivered through clever and often comically dark wordplay, the group now sounds more advanced than ever. El-P (the producer of the duo) stepped it up and managed to concoct the groups most musically focused album yet. While still dark & gritty, the addition of heavy synth work gives the album a futuristic vibe that bodes well with the groups out of this world aesthetic. RTJ has created a very specific niche for themselves, they talk shit about the government while at the same time encouraging their listeners to be more active participants in their own lives. They carve out paths of destruction with their music, while at the same time paving the way for people to rise up, rebel, and have the courage they need to fight for what they believe in. Considering the year we had in 2016 this album could not have come at a better time.

        American Boyfriend- Kevin Abstract

A year ago I remember reading an article about this up and coming indie rapper, Kevin Abstract, in which he was talking about how much of an influence Childish Gambino was on him as a creator. Due to that interview alone I kept him on my radar, and when his sophomore release dropped I had to check it out. What I got was an eclectic mix of Hip-Hop with everything from Pop to Indie Rock and Acoustic music. This album chronicles Kevin’s life growing up in the white suburbs of his home state, Texas, and doesn’t shy away from the hardships he had to face coming to terms with his sexuality and environment. There are specific portions of the album where he points to his best friend being racist and others where he is painfully grieving over his conflicted love life. It all feels like the soundtrack to an Indie movie about teenagers going through the same thing, and I believe that was the purpose going it. The pictures painted on this album are clear, and by sacrificing subtly it becomes naked and vulnerable, which is where it gets its charm. Here a Black artist not only opens up about being gay, but embraces musical styles from his surroundings that would get him ostracized if he lived in another community. He makes the best with what he was given, and his best turns out to be one of the most diverse and sonically pleasing projects this year.

IV- BBNG 

         Aptly named 4, the now Jazz Quartet (previously being a trio) celebrates the beginning of a new era for one of my favorite bands out there. In adding Saxophonist Leland Whitty, the already dynamic group was given another layer of sound to work with. This album sound like the results of a the one long jam session, wherein the group plays off of each other perfectly and songs are more akin to conversations that they recorded with their instruments. There is a bit of a vintage tinge to this album harking back to the 60’s and 70’s era of the stereotypical Jazz musicians who never leave the studio, but this is not a bad thing. Outside of their trademark tightness and lavish solos there are even vocals hidden through this album. Sam Herring and Mick Jenkins both make an appearance to the album in order to give it a dash of experimentation and flavor, but even in their fantastic cameos you never forget that this is a Jazz album. The kind of album you put on at the end of a long day to relax and let yourself get swept away by BBNG’s lush tunes.

            99.9%- Kaytranada 

            This album reminds me of a planetarium. Through the upbeat and dance provoking rhythms, House producer Kaytranada takes you on a trip into his mind. Once inside you are treated to bright stars in the forms of the many guest artists on this album, all leaving a distinct touch that blends perfectly with Kaytranada’s wavy sound, and vast space as the music lasts a lifetime but never feels like it is overstaying its welcome. This is an album designed to make you move, but if you decide to sit and listen instead you can find the myriad of details in each song that feels almost like discovering musical secrets you weren’t meant to find. The tracks all feel like they are doing their own separate thing, but all come together under the theme of being a byproduct of one artists colorful vision. There are splashes of synths, dabs of heavy bass, a light coat of rap/sung parts, all on the decorated canvas of steady drum loops. Kaytranada upholds the tradition that DJ’s are and always have been musicians, and can make amazing music without ever having to touch an instrument.

            Atrocity Exhibition- Danny Brown 

            This one of the darkest albums released this year, wherein Danny Brown sounds like a person at the end of his rope trying to cope with his own insanity rather than recover. It is a twisted stream of conscious that often sounds, musically, like a nightmarish carnival. With that being said, I loved every minute of it. Raw is a term often used to describe rap that is grittier in its story telling and therefore perceived as more “real” in some circles, yet on this album we see raw in a new light. Here raw is a rapper saying anything and everything on his mind, opening up a dependency on drugs and reminding us of his trademark sexual appetite. Sonically the album is diverse, but every peg of that diversity hits some sort of dark corner, from haunting old vocal samples looped in creepy ways to blaring horns that could not possibly be perceived as anything but maddening. All the while Danny Brown navigates this hellscape like he was born in it, which is both impressive and depressing. While some people may ask for an artist to invite them to their world, the menacing rabbit hole that is this album may be more than some bargained for, but if you survive the trip you are treated to one hell of an experience.

            Splendor and Misery- Clipping. 

            A week after having watched Alien for the first time I listened to this album, and throughout listening to it, I kept hearing semblances between the music and the suspense I felt watching Ripley hunt down the Xenomorph. This album is a conceptual story about a lone space survivor on a ship from the experimental Hip-Hop trio Clipping, whose musical arsenal includes such things as power drills, steam hisses, and electrical currents.  The main MC for this group, Daveed Diggs (known mainly now for his role of Lafayette and Jefferson in the musical Hamilton) has slowly become one of my favorite writers in Hip-Hop. He possesses a lethal combination of lyrical dexterity and the performance skill to back it up. His verses on the album are often delivered at breakneck speeds but still contain novel worthy passages about the albums main hero, Cargo #2331. Through the album’s clever use of experimental production that is made to sound like the interior of a large industrial space ship juxtaposed with gospel A Capella provided by the group Take 6 (which are meant to simulate Cargo #2331’s faith), listeners are hear a story of struggle and desperation. This album has challenged how I approach my writing, showing me different ways of telling a gripping story without having to rely on expected musical elements. It may not be the easiest listen if everything you listen to is pretty and resolves nicely, but the experience of hearing 2331’s tale is well worth it.

            Bucket List Project- Saba 

Saba is a Jazz fueled record producer and rapper who is the first of many artists on my list from the Chicago area, boasting a steady mixture of stark introversion and wild percussion. Much like the title suggests; the album is thematically about chances and opportunities. Just about each song ends with a person explaining what their bucket list consists of over the phone, people ranging from Lupe Fiasco to Chance the Rapper. The songs preceding these interludes often reflect Saba’s own desires from his personal bucket list. We are given lyrics that talk about his college experience and how that didn’t end up changing his life like many would suspect, memories of riding around his city when he was younger pretending he was king, and dealing with his family’s history of mental illness. The production on this album is a mixture of smooth neo-soul chords changes, Jazz solos, and excellent drum work, all ranging from live instrumentation to artificial tones. It shows you the side of Chicago that is not often shown without artists pushing the narrative: residents strong desire to help their city grow. The album does its best to show Saba and the many guests involved in the making of it as people. All natives of Chicago who are doing their part to help support and love their city one way or another, albums like this remind me that there is always a way to better yourself and help your kin.

Blank Face LP- ScHoolboy Q 

A modern Gangsta Rap masterpiece, Blank Face does something many people would consider impossible. It gives a voice to one of the most feared groups of Americans in the country. Being a native from the harsher areas in Southern California, ScHoolboy Q is no stranger to poverty and violence; however instead of fearing his hometown he embraces it and shows you what a day in the life is like. Throughout the albums powerful mix of G-Funk, Soul, and heavy production, Q introduces us to the people who inhabit the areas that are heavily criminalized and stereotyped. He talks about drug dealing, violence, sex, and power, yet it never comes off as malicious. The blank face seems to refer to all of these actions being constantly attributed to a nameless faceless threat, when the reality is these are all ideals and survival methods of real human beings. These same people that are grouped together as being dangerous are often misunderstood or have methods to their madness. This album is a testament to the lifestyle that so many have had to succumb to due to factors outside their control, and ultimately serves to remind us all that before they were blank faces and statistics, they were people.

Lemonade- Beyonce 

I have never been a fan of Beyonce, I respect her as a performer but just never got into her music. So when I randomly decided to check out this album, I wasn’t expecting much. I expected a collection of pop singles, but what I got was a carefully crafted story about infidelity and power told through everything from reggae to soul. On the surface the album is about Beyonce having to deal with her husband being unfaithful during their marriage (whether or not that actually happened doesn’t matter). She grieves through her music and goes from rage to sorrow to hopelessness in a matter of songs. All of this was accompanied by the albums visual component which not only gave certain songs new context but shined a light on a bigger issue plaguing Beyonce: the mistreatment of Black women. While upset at her own martial problems, she smartly used this as a chance to talk about vindication of all Black women everywhere. This is a call to arms encouraging her sisters not to let people (especially not their partners) walk all over them. It is a beautiful statement coming from the most cherished woman currently in the music business. By the albums end she wraps it up by forgiving the man who wronged her, showing the burden of being the better person never falls on perpetrator, and once again solidifies herself as a type of role model for the very women she fights so hard to give voice to.

Emily’s D+Evolution- Esperanza Spalding

Esperanza Spalding is one of my favorite artists in music right now. A self-taught Jazz Bassist from Portland, Spalding was the first Jazz artist to ever win the “Best New Artist” award at the Grammys. So far her musical career has consisted mostly of Latin and contemporary Jazz with some Neo-Soul thrown in for fun, but her latest album is a hard turn in a new direction. Now her neo-soul has been replaced with funk and rock, giving her music a bite that it did not have previously. This isn’t to say the music is no longer beautiful, it still very much is, but now she has proved that she can expand her sound and make an incredible album drawing from influences many people did not even know she had. She has stated in interviews that this album is meant to be a sort of spiritual release, and Emily is another part of her that she let loose during the making of the project. This lead to the album taking on a more chaotic and raw sound, since Emily was all about experimenting with new ways to express herself. The pianos and keys we are so used to have been replaced with electric guitar riffs and dynamic vocal work. Without any warning, Spalding changed up her entire musical image and aesthetic in order to satisfy her own cravings as an artist, and ending up crafting one of the most powerful musical projects this year. 

PART 2 HERE!

The Cultural Impact of "The Get Down"

Back at the beginning of the semester I saw a trailer for a show called The Get Down coming to Netflix. First and foremost, I am down for any kind of music show related to Hip-Hop and its culture, but this was advertising itself as something different. Set in the Bronx during the birth of Hip-hop, this drama is meant to show off the culture that grew into a global phenomenon, but from the perspective of the kids that gave it it’s unique flavor. Not only that, but the series was claiming to be a musical, unafraid to embrace more theatrical elements to tell an entertaining but relevant story.

Music biopics are usually hit or miss with me, mostly because the decision to keep their themes so gritty and dramatic usually fails to actually be compelling. This is especially true when it comes to Hip-hop; the dark tone is often appropriate but not very effective. Few films (e.g. “Straight Outta Compton”) do this well enough to keep hold of your attention, teach you about the music, and make you care about the setting that lead to this musical revolution. Presentation, however, is The Get Down’s biggest strength. Even when the themes and story of the show take a darker turn, it never takes itself too seriously. While this may seem like an odd choice, I assure you it is all in good taste. Stories like this would often choose to have their main character be a desensitized anti-social genius of some sort, aware of the darkness of their area but have no way to fight it (that is of course until the plot kicks in). Ezekiel, the show's front-runner, is a smart kid from the Bronx who spends his time courting his crush and geeking out over Star Wars. Already, this protagonist proves to be much more relatable than the dark brooding heroes we have grown accustomed to. The show covers everything from the death of one’s parents, the violence and gang wars present in the Bronx, rape, drug abuse, departure from God, and the slave mentality of the streets all without feeling like it is trying to push an agenda. Many minorities watching the show already know what goes on within their communities, especially if they live in impoverished areas, so having a show constantly berate the Bronx or imply the hopelessness of the city itself would be disrespectful to the culture. The show chooses to view the Bronx through a lens of color, flair, funk, and love.

The Get Down represents much more than the sum of its parts, so much so that trying to fit it all into the tiny margins of my laptop screen seem impossible. But the show does such an amazing job of doing its represented cultures justice. What so many people seem to forget is that although Hip-hop and rap are seen as Black music, it didn’t just come from us. This music and cultural identity was the pushback of all minorities in the outer boroughs of NYC fighting for a chance to have their voices heard and risking their lives (often times literally) to leave their art behind. As such, there is an appropriate abundance of not only Black culture in the show, but an equal amount of Latino culture blended in as well. In addition to main characters speaking Spanish, they are displayed as more than just villains or sex symbols. All of this blends seamlessly into the world created by the show. As I watched it didn’t feel like the show was pandering to my culture and I hope my Latino and Latina friends feel the same.

Next on the list of my favorite things about the show, is the plethora of nerd culture and references that take up the forefront of it. To an outsider this may seem odd, but so much of Hip-Hop comes from the idea of being a superhero. It comes from old martial arts movies that blew in the 70’s and gave kids a chance to learn about Eastern philosophy that revolved around peace and knowledge as well as motivate them to practice the moves seen on the big screen. Through pop-culture these kids were able to escape some of the darker parts of their reality, and make some color for themselves through this new culture that they were creating in basements and block parties. So if at first the show seems to be Karate Kid levels of cheesy, as characters latch onto Bruce Lee’s words and pretend to know Kung-Fu, bare in mind that all these kids had were distractions and and their actions.

In addition to racial and pop-cultural representation, there is also a large emphasis on the LGBT community and the idea of freedom. Freedom takes on multiple meanings throughout the show but freedom of sexuality and the ability to love whomever you chose is a big part of the it. The shows presents these characters as free-loving fashion moguls who ultimately have all the power in the Disco scene of the 70’s. This is another instance of the show being historically appropriate due to the sanctity of disco clubs being powerful and influential enough to sway the music industry.

The Get Down's emphasis on music is top notch, to say the least, but it is also so baked into the show that it might as well be another character. On top of having a killer soundtrack that fuses old school favorites like Donna Summers and new school like Michael Kiwanuka (whose album ‘Love & Hate’ is slowly becoming one of my favorite albums of the year), the seamless transitions of these songs throughout the show was carefully crafted and fantastic. Some musical scenes hit harder than others mind you, but the ones you find most enjoyable will impact you on an almost spiritual level. Hip-hop was never about creating the ultimate form of music, rather it is a celebration of all music. Break beats were created out of anything from Donna Summers to Miles Davis, and the sound it created led to one of the biggest revolutions in music history. Poets, artists, musicians, and kids with no place to go all gathered to share some of the magic that was coming out of the Ghettos and share it with their friends and family. And this show explores not only Hip-hop but Disco and pop music as well, juxtaposing the underground nature of one with the glorified money-making capabilities of the other. All the while our characters experience this music and learn about the importance of each over time, and as they do, so do we as an audience. You will want to dance, fight the power, and cry all before a musical scene is over, and that is as perfect a blend of Black as I have ever seen portrayed in a TV show.

The Get Down is a respectful homage to an amazing culture, hell even the name itself was derived from Grandmaster Flash’s revolutionary DJ-ing technique. As I watched this series it reminded me of my own parents, the church raised singer grown into a harder worker that is my mother and the comic book nerd and martial artist that would become my father. This show is my heritage and tells a story of love and struggle all while never losing its personality. It is by no means a flawless show, but what it does well it does better than anything of its caliber that has come before it. This is the epitome of Hip-hop culture. This is the anthem for social change and love we need in 2016. This is a reminder that we have gone through Hell and still made it back alive.

This is The Get Down, and you need to watch it.

Words in Frame, 8/5

“I swear to god, if we are late because of Ty’s food stop, I’ll kill you both.” Mika crossed her arms and sank deeper into the passenger seat.

“Sorry Mika, but Arby’s and I have a deep connection that cannot be broken,” Ty replied as he grinned from the backseat. "Curly fry?"

Mika took the fry before starting again, “Why don't you care if we are late to our own party?”

Isaac chimed in from the driver’s seat, “It’s precisely because it’s our party that we don’t have to worry about being late, dude. We set up this whole thing so we can show up whenever the hell we want." Ty passed him a fry before smirking confidently at Mika.

“Yeah, plus the headliners are never the first ones to show up; we gotta give the people something to look forward to.” Ty posed in the backseat as he spoke.

“Ugh, whatever, there better still be ice cream when we get there...” Mika looked off in the distance, re-folding her arms.

“Ahh,” Isaac started, “The truth comes out: she just wants food like the rest of us. You just wanted to arrive early to take all the good stuff!”

Mika turned, gave the two boys the same smirk Isaac had thrown her way a second ago, and the three shared a laugh. Their old Subaru rolled down the road en route to the shore where a very informal graduation party was being held. The whole thing started as a joke during the final days of class when Mika mentioned that she wanted to have a potluck on the beach after graduation. Her goal was to hoard as much free food as possible, but someone in band overheard her musing and decided to announce that Mika, Isaac, and Ty were throwing a party. The Trio then somehow managed to scrape together invites, get food donations from local stores they had worked at previous summers, coordinate times, and calling city hall to see if they could reserve a public space all whilst dealing with the whole graduation thing.

“Oh goddammit,” Mika hurried to unbuckle her seatbelt and throw open the car door just as Isaac pulled into a parking space. “I can already see Joe’s greedy ass gunning for the strawberry.” Mika jumped out of the car and sprinted full speed toward the beach, tackling Joe before he could dig into the ice cream.

“Jesus Christ, she’s a monster,” Ty closed the door behind him walked onto the beach with Isaac.

As the trio arrived the 20 or so other partygoers let out a collective “Ayee!” and went to go greet their late hosts.

After all the formalities, the trio proceded to lay down blankets they had brought and enjoy the get together they had so hastily assembled.

“Well…it took us 4 years but we finally threw a party.” Ty was basking in the attention and soaking up the sunny day.

“Yeah we did, but not for lack of trying. Remember that time we were gonna throw a band party at your house but your dad came home early from his conference?” Mika’s interjecting laughs made it difficult for her to finish the story.

Ty popped up excitedly, “Yeah we had to convince him that we were just filming something for Mr. Mihoan’s class?”

“He walked in on a bunch of kids huddled around a table with board games, In-N-Out bags, and solo cups scattered around, and still let us off the hook. What a day...”

“To be fair I think he was just as shocked as we were, he did ask me later if I was part of a cult though.”

“What?! Are you serious? How come you never told us that?”

“I was too busy dying!”

Ty and Mika were doubled over in pain holding their stomachs before they noticed that Isaac seemed intensely focused on something other than Ty’s cult history.

“Ayo,” Ty broke Isaacs line of sight, “What are you looking at  dude?”

“What?” Isaac was snapped out of his daydream, “Oh, nothing, just that log over there.It kind looks like a little mountain.”

In front of where the group was sitting, a jagged log jutted out of the sand. This wasn’t uncommon in this area in any way, but the way the water looked behind the log really struck Isaac as beautiful.

“We really did it guys.” Isaacs’s words were distant and sincere.

“Did what? Throw a party? Yeah we covered that dude, we're onto cults now.” Ty seemed a bit confused.

“Cul- what? No I mean like, we climbed the mountain, we graduated and stuff. We are out.”

“Ahh,” Mika chimed in, “so you were just reflecting on life and all of your school experiences…at this beach party.”

While Ty and Mika were trying to understand Isaacs’s line of thinking, Isaac stood up and just started running toward the water. There was no hesitation in his stride and no sign of him stopping. Instinctively Mika and Ty got up and ran after him, confused as to why he took off but too loyal to not chase after him. The trio took a beeline directly into the water, making waves and shouting obscenities as the cold water clashed with their skin on this hot day. 4 years of turmoil, laughs, pain, and food. They had stuck it out and climbed the mountain. In Isaac’s head they had done the impossible and done it together.

This was their party.