and
of the
CONTRIBUTI
IONS BY Season Cooper
Micah Moono
Damir Creecy
Conor Nally
Rahsel Holland
Adam Polansky
Mikhail James
Jack Saltwick
Nathaniel Kim
Jaye Thompson
Table of Contents
TABLE OF CONTENTS
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Hip Hop and R&B of the 2010s
The Foreword ...........................................................
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Childish Gambino .....................................................
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The Weeknd ..............................................................
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J. Cole .........................................................................
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Future ........................................................................
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Vince Staples ...........................................................
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A$AP Rocky ..............................................................
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Miguel ........................................................................
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Rihanna .....................................................................
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ScHoolboy Q .............................................................
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Chance the Rapper .................................................
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Frank Ocean .............................................................
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Drake .........................................................................
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Kendrick Lamar ......................................................
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Kanye West ...............................................................
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BeyoncĂŠ .....................................................................
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The Foreword
The Foreword Jaye Thompson
Since the birth of the small artistic movement called hip hop in the 1970s on the streets of The Bronx, New York, the genre has grown into a global enterprise cultivating artists who have gone on to make some of the most influential music in history. As times have progressed, so has the music and the people who make it. In this digital age where streaming numbers are the the new album sales, record labels are no longer a necessity, and the rate of over night success stories seems to increase every year, it is evident that hip hop has permanantly impacted the music industry and the way we choose to consume music
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Most people would like to point to the ‘90s as the pinnacle of hip hop, with the decade championing the likes of Nas, Tupac, The Notorious B.I.G., and the Wu-Tang Clan to name a few. While there was undoubtedly a plethora of talent and groundbreaking music that came from the 90’s to create the foundation for today’s hip hop artists and their music, I believe that rap in its current state has far surpassed the nostalgic Golden Age. Music in the 2010s is much more diverse than what it was, with artists embracing various genres to produce new sounds and arrangements with ever-increasing
Hip Hop and R&B of the 2010s frequency. The genre has become so popular that subgenres are now being created to categorize the vastly different types of rap music as there is no longer one type of sound or aesthetic that can be used to accurately describe everything the culture encompasses. This post-Bling-Bling era which saw the departure of oversized white tees and baggy pants was first ushered in by Kanye West back in the early 2000s with the release of his debut album The College Dropout, which received critical acclaim for his unapologetically self-aware lyrics and perspectives on family, religion, institutional prejudice, and materialism. West’s consistent track record of releasing classic albums solidified his place in the pantheon of hip hop greats and made it possible for artists like Kid Cudi, Drake, J. Cole, Kendrick Lamar, and Chance the Rapper to be find success because Kanye had already developed a brand of conscious, emotionally driven hip hop that mainstream audiences connected with. Rap music post-808s &
Heartbreak is sonically and thematically more diverse with artists choosing to tackle topics such as relationships, fame, racism, drugs, and classism all the while experimenting across genre lines for infinite possibilities. As a way to honor the progression of hip hop, this book features fifteen artists who I believe have made a monumental impact on the genre by pushing the envelope with their innovation and creativity. While this selection may very well be biased in favor of my tastes, the authors of each essay have made compelling analyses that argue the significance of the respective artists. I would be remiss to ignore key figures such as Migos, Run the Jewels, YG, and Tyler, The Creator who definitely deserve a place in this book, but for undisclosed reasons had to be left out. What better reason to one day do a second volume! Of the artists featured, I am confident to say that they have remained free from the typical mold and they will continue to shape the culture of hip hop.
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The Foreword
Rap artists in the 2010s are given more leeway now to emotionally expose themselves and their own flaws for the sake of their music. As listeners, we adopt this voyeuristic role in which we are given access to these artist’s most personal thoughts. The kind of blunt honesty expressed with lyrical finesse over compelling production is the defining characteristic of today’s hip hop, relaying to the listeners that behind all the money, the fame, and the Gucci glasses, they are just people trying to be heard and understood.
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Hip Hop and R&B of the 2010s
“People always tell you, ‘Be humble. Be humble.’ When was the last time someone told you to be amazing? Be great! Be great! Be awesome! Be awesome!” -- Kanye West
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Hip Hop and R&B of the 2010s
Childish Gambino Mikhail James
The trajectory of Donald Glover’s career can be likened more to that of a startup CEO than a traditional rapper or hip hop artist. From deep within the bowels of his NYU dorm, Donald was already building the foundations of his creative empire, one brick at a time. In joining an elite improv theater troupe (Upright Citizen’s Brigrade), co-founding and acting in his own popular YouTube
sketch series (Derrick Comedy), and writing for a nationally syndicated and critically acclaimed television show (30 Rock), his resumé before graduating was already one that many professionals would be happy to tout. These accolades contributed to landing him a lead role in the hit NBC show Community, which amassed a near
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BLACK Childish Gambino
cult-like following and thrust Donald directly into the spotlight. At this point, Donald’s path to acting and comedy stardom seemed all but set in stone -- to everyone but Donald, of course. This is because, almost simultaneously, he began undertaking yet another endeavor. This one a foray into the world of hip hop. Enter Childish Gambino.
Armed with a rap name bestowed upon him by a Wu-Tang name generator, and his usual dose of ingenuity and determination, Childish Gambino was born, substituting script readings and green screens for booth sessions and a seemingly endless supply of witty punchlines.
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Gambino dropped his first mixtape, Sick Boi, in 2008, with the second, Poindexter, following a year later. The latter, funnily enough, was released the same day as the Community series premiere. Perennially busy, Childish dropped three more projects throughout the following year. I Am Just A Rapper, I Am Just A Rapper 2, and Culdesac, saw Bino delve deeper into the game, growing in his flow, and covering more serious and personal subject matter. Additionally, he established his own unique and distinct
Hip Hop and R&B of the 2010s voice within the genre. A black kid raised in the suburbs of Atlanta, educated at a distinguished university, and already exposed to the tumultuous entertainment industry, Gambino’s eclectic experiences brought a texture to his rapping that many had never heard before. His zany flow, wide-ranging references, and candid lyrics attracted a fan base that was as diverse as it was dedicated. After signing to Glassnote Records in 2011 and releasing his first studio album, Camp, Gambino’s momentum only increased. Camp boasted many of the same elements that had originally won followers over, while bringing even more to the table, backed by lush production, impressive singing, and a level of showmanship yet to be seen. From including an almost 5-minute monologue in the album’s outro, to inviting an 18 year old Chance The Rapper on tour as his opening act, it seemed as if Gambino’s creative risk taking and artistic discernment were growing with every step.
This was more than confirmed upon the dropping of his second album, Because The Internet, a sonically ambitious and commercially successful project released along with a 75-page screenplay, intended for the listener to read simultaneously. With moves like this, it’s difficult to describe Childish Gambino’s role in hip hop as anything less than pioneering-breaking boundaries, redefining rules, and dissolving stereotypes. As a self proclaimed “Blerd” (Black Nerd), Gambino’s style and subject matter challenged the mainstream’s perception
NERD 13
Childish Gambino
“... it seemed as if Gambino’s creative risk taking and artistic discernment were growing with every step.”
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Hip Hop and R&B of the 2010s
of not only what it means to be a rapper, but what it means to be a young black man living in today’s America. His consistent refusal to stick to any single flow, sound, or topic, have created a discography that blurs the lines between rapping and singing, pop and hip-hop, rap and r&b. In fact, his third and most recent album, Awaken, My Love!, abandons rap entirely, and is a fullfledged funkadelic journey. It seemed almost prophetic when, in a recent interview, Donald Glover proclaimed that “Genre is Dead�, considering that his own music and influence have contributed substantially to its undoing.
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Hip Hop and R&B of the 2010s
The Weeknd Jaye Thompson
In this age of excessive partying, materialism, hidden insecurities, love and loss, and drug-induced visions, The Weeknd is a beacon that has come to represent millennial disillusionment and hedonism. Classified as part of the Alt R&B subgenre, his brand of music consists of an airy, nocturnal aesthetic drawing influences from indie rock, contemporary R&B, and trip hop, accompanied by his
ethereal falsetto which is reminiscent of Prince. His lyrics contain lustful tales recalling the night before: a blurry montage of naked women, drugs, and sex. In the song “Wicked Games”, his first single released to radio, he croons “Bring your love, baby I could bring my shame/ bring the drugs, baby I could bring my pain/ I got my heart right here/I got my scars right here” The Weeknd is probably
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The Weeknd
everything your parents warned you to stay away from, but that is exactly where his appeal comes from. He embodies the smooth, mystique of the classic bad boy, all the while serenading his listeners into his hazy world. First discovered off of the strength of a trio of mixtapes, The Weeknd quickly gained the attention of the music industry. House of Balloons, the first mixtape of the series, helped to introduce the world to The Weeknd’s signature voice over down tempo synths which has become a staple of the Toronto hip hop scene where he is from. His rapid buzz quickly caught the attention of Drake, who recruited The Weeknd to
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assist in crafting several songs on his Grammy winning sophomore album Take Care. This further helped to establish The Weeknd as a household name, gaining a large following of fans as well as scoring big features with the likes of Rick Ross, Wiz Khalifa, Beyonce, and Disclosure. It was not until 2015’s Beauty Behind the Madness, did The Weeknd really claim his stardom with the lead single “Can’t Feel My Face” which is a Michael Jackson inspired pop-ode to cocaine in which he uses his relationship with a woman to personify the drug. For that entire summer,
HIGH FOR THIS
Hip Hop and R&B of the 2010s
whether it was done intentionally or not, people endorsed cocaine by claiming “And I know she’ll be the death of me/At least we’ll both be numb.” Online streaming service Spotify even labeled it as their official song of the summer. Other hits from the album included bass heavy booty call anthem “The Hills”, the sexually explicit “Often”, and the romantic ballad “Earned It” which was featured in the movie Fifty Shades of Grey.
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The Weeknd
“The Weeknd speaks to our deepest inner vices by making it appear glamorous...” The Weeknd’s ability to create addictive R&B pop hits reached a career high when he released Starboy in 2016, which saw him team up with the French DJ duo Daft Punk to create an opus of living the high roller life we’ve come to expect from the artist. In the song “Party Monster” we see him in the familiar form as he states “I’ve been poppin’ just took three in a row/I’m down to do it again, I’m on a roll.” The picture of potential self destruction
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he paints is strangely alluring and is complemented by the excitement that comes with being The Weeknd when all you do is party and chase women. These tales of self-indulgence and the pursuit of happiness in all the wrong things create this interesting dichotomy where as the listener we are more than aware that we are putting ourselves in harm’s way, but the potential for a
Hip Hop and R&B of the 2010s
good time outweighs the danger. The Weeknd speaks to our deepest inner vices by making it appear glamorous and by being completely un-phased by the repercussions. It is the “live fast, die young” mentality that millennials idolize and aspire towards. And when you execute it as well as The Weeknd does, with calm braggadocio, I don’t blame him for refusing to slow down.
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Hip Hop and R&B of the 2010s
J. Cole Jaye Thompson
The growth of Jermaine Cole has seen great leaps and bounds since his early mixtape days when he was still considered Jay-Z’s protégé. Concerned even then if “fame in this game have to change who you are?/Or could I be the same one who came from a far away life…”, J. Cole has matured to be one of the leading voices in this generation of hip hop icons while maintaining the
integrity of his art. With four studio albums under his belt, two of which went platinum with no features, and a thriving record label, J. Cole is the embodiment of homegrown talent evolved into successful entrepreneurship. In recent years, we have seen Cole depart from the commercial mainstream sound in favor of returning to his Friday
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J. Cole
DOLL
Night Lights roots which showcased his vivid storytelling and ability to create personable records. His song “03’ Adolescence” from 2014 Forest Hills Drive is reminiscent of his track “Too Deep For the Intro” from Friday Night Lights as he paints a picture of his inner-most thoughts, struggling to find his footing as a fledgling artist and touching on themes such as low selfesteem, troubles with women, and the misappreciation of his blessings. J. Cole’s fearlessness to reveal his insecurities also happens to be his biggest critique, which has prompted the labeling of his music as “unengaging and irrelevant”. This is a claim I completely refute because coming out of the early 2000s where ignorant braggadocio reigned supreme and authenticity was disguised by expensive chains, J. Cole’s candid honesty is comforting and refreshing. He is not putting on a front trying to distract listeners with club anthems or stoner tales; rather he is creating captivating music by repurposing his vulnerabilities.
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Hip Hop and R&B of the 2010s
LA AND A
J. Cole has also taken on a more visibly political role both in and outside of his music. In August 2014, he visited Ferguson Missouri, the site of Michale Brown’s murder, where he and his Dreamville crew made an appearance to participate in the peaceful protests. It is very important for a celebrity of J. Cole’s stature to use their platform to advocate for social causes, something that the vast hip hop community has been lacking in with high profile artists refusing to identify for the Black Lives Matter Movement for fear of it damaging their brand. J. Cole has been a lot more vocal about his thoughts on police brutality and
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J. Cole
COLE “... he does not need complex roll out schemes or singles manufactured for mass consumption...” 26
racial injustice in comparison to some of his peers, and this can be seen in his 2016 album 4 Your Eyez Only. This project can be described as a track-by-track journey of one black man’s experience growing up in America, encountering ghetto violence, harassment from law enforcement, and coming to terms with death around every corner. J. Cole packages this narrative for his listeners to help break down barriers and make the experience relevant in this urgent time. It is also proof that sacrificing radio play to create music meant to initiate conversations between people is equally as rewarding if not more so.
Hip Hop and R&B of the 2010s
E WORLD As the Fayetteville rapper’s career has progressed, he has shown that he does not need complex roll out schemes or singles manufactured for mass consumption; rather he can achieve big sales numbers and critical acclaim by appealing to his cult-like fan base that made him popular in the first place. J. Cole has become something of a hip hop
rappers/Lil’ whatever–just another short bus rapper” that have begun to permeate the culture and he stands by the tenets of hip hop that made it great. His artistry and vision certainly make him among the most necessary voices in the genre today.
purist, disapproving of the “Eight week
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Hip Hop and R&B of the 2010s
future Adam Polansky
Hip Hop in the 2010’s has seen a drastic change to the way artists create their work. There has been a shift from the textbook definition of hip hop involving complex lyrics and story telling, to more of a focus on production and making sure the music simply sounds cool, new, and unique. This is more evident today than ever before. Some frown upon it, but you would be lying if you
said at least some of it didn’t make you want to stand up and start dancing uncontrollably. Future was the messiah of trap music in hip hop. He took over clubs everywhere with songs such as “Karate Chop”, “Trap Niggas”, “March Madness”, “Fuck Up Some Commas”, “Where Ya At”, and his biggest, most recent song to date “Mask Off” which inpired a viral trend encouraging people
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It is difficult to look at hip hop these past few years and deny that Future has had a significant influence on the music that’s out now. From his first project, Pluto to his latest album HENDRXX, Future has maintained a certain raw and hypnotic sound that is adored by millions of listeners around the globe. After
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Such a powerful influence doesn’t come without it’s perks. Just recently Future dropped back to back albums, the trap heavy FUTURE and the R&B crossover HENDRXX. with these two albums, Future made history in just seven days. In nearly
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releasing his album Honest, he was met with skepticism of if he had fallen off due to the songs not being very good to begin with, poor album sales, and a messed up release procedure. Future went back to his roots in Atlanta for a spectacular turn around, specifically between 2014 and 2015 when he dropped Monster, Beast Mode, 56 Nights, and his best received album to date, DS2 all within one year of each other. Future came back strong with the use of a bass heavy, unique sounding, and novel Atlanta trap sound that we all know and love today. Future was on a roll.
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Hip Hop and R&B of the 2010s
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Future sixty-one years, Future was the first artist to have two separate projects debut at the number one spot on the charts. In addition to this, he was also the first act in nearly a year to have both the number one and number two spots on music charts. This is certainly no small feat.
years. Pushing boundaries others would call stupid, Future has created a unique and diverse take on hip hop that has almost materialized into a new genre on it’s own. If there is anything to take into consideration for the longevity of hip hop and the culture around it, it is
Another thing that Future executes excellently are his collaborations. He has worked with a wide range of artists such as The Weeknd, Gucci Mane, Travis Scott, Drake, 2 Chainz, Pusha T, A$AP Rocky, and A$AP Ferg. No matter who Future works with, he is able to easily adapt to the sound of the other artist and create great sounding music. Some of his most notable collaborations include the joint album What A Time To Be Alive with Drake, his work with new and upcoming artists including 21 Savage on X and Lil Uzi Vert on “Too Much Sauce”, and his work with prolific producer Metro Boomin.
“...Future has cr diverse take on materialized int
From producer taglines to full albums, nobody can deny Future is a driving force in Hip Hop over the past seven
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an openness to new sounds and a strong caution to make sure that at the very least, Young Metro Trusts you. If not, you are in for a world of trouble if you cross paths with Future Hendrix.
Hip Hop and R&B of the 2010s
reated a unique and hip hop that has almost to a new genre on it’s own.�
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Hip Hop and R&B of the 2010s
Vince Staples Jaye Thompson
Vince Staples’ introduction to music came much later compared to most other rappers. According to him he “really didn’t give a fuck about music. Music was something you heard in church or on the radio. It was always around me but it was not one of focuses”. Luckily for him, he seemed to pick up a knack for it after spending time with Odd Future members Syd and Earl Sweathshirt who
were quick to see Staples’ talent. Vince’s first exposure came from being featured on several of Earl Sweatshirt’s early projects. This led to Vince completing his first body of work, Shyne Coldchain Vol. 1 in 2011 which was well received more so than he anticipated and he decided that he would attempt to pursue a career in music. In 2012 Staples would go on to collaborate with Michael Uzowuru,
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Vince Staples
a music producer based in Southern California, to create Winter in Prague, and through Earl Sweatshirt, he was introduced to Mac Miller who produced the entirety of his 2013 mixtape Stolen Youth which was released around a tour. The second installment in the Shyne Coldchain series was released in 2014 and peaked at number seven on Billboard’s Rap Albums chart receiving praise from critics and garnering Pitchfork’s ‘Best New Music’ honor. Many of Staples’ older projects he believes were a prelude, something to bide his time as he mastered his craft and waited for better opportunities to become available.
“... the theme of ‘hunt or be hunted’ echoes throughout his gritty narratives.” 36
Hip Hop and R&B of the 2010s
Since joining No I.D.’s Def Jam/ARTium imprint, Staples has entered a period of protracted artistic fulfillment and is making the music he has always envisioned making. This began to realize itself in his 2014 EP Hell Can Wait where the theme of “hunt or be hunted” echoes throughout his gritty narratives. It directly parallels his own life experiences growing up in Long Beach where fatalism and nihilism were cultivated after years of encountering “long clips, clipped lives, and closed caskets”. Summertime ’06, Staples’ studio debut album, is the maturation of himself as a fully actualized artist and storyteller where he confidently
flows over production from No I.D., Christian Rich, DJ Dahi, and Clams Casino, viscerally portraying the story of an impactful summer that went on to shape Staples into the man he is today. Throughout the album, Staples vividly illustrates both glorious moments and grim details of his California paradise lost. In 2006, a thirteen year-old Staples witnessed many of his close friends lose their lives to gang violence. One critic described the album as being considered a “microcosm of the deeply wounded state of Black America” which Staples is a product of and lives to bring attention to the situation.
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paradis L For many Long Beach residents, Staples’ music has inspired those within the community and created a notable cultural shift. Vince’s cousin, Joey Fatts himself decided to retire from his gang involvement to pursue a rap career after seeing one of Staples’ early shows. For Joey Fatts and others like him “Vince speaks to us and he’s giving everybody in my hood a voice. My homies are really
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going to school now. It’s all because of Vince. It’s a domino effect”. That is exactly the kind of effect Staples’ hopes for with his music. He would much rather be considered “the voice of the youth” and use his position to cultivate a positive influence with his music.
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Hip Hop and R&B of the 2010s
A$AP ROCKY Conor Nally
There aren’t many rappers of the 2010’s that can consistently put out hit songs while also creating songs that are thematically complex. There are great rappers who excel at creating songs that top charts annually, but lack the ability to evoke an emotional response from the listener. A$AP Rocky is one of the select few of rappers who can do both. A$AP Rocky exemplifies the idea that a rapper
can easily create huge hits while also putting out emotionally complex raps. A$AP Rocky’s first studio album, LONG. LIVE. A$AP debuted at number one on the Billboard Charts in 2013. His second studio album, AT.LONG.LAST.A$AP, followed suit and debuted at number one in 2015. A$AP Rocky clearly knows how to make hit songs, with the numbers
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A$AP Rocky
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to back this up. LONG. LIVE. A$AP had a handful of songs that were playing constantly in the foreground of 2013 like: “Goldie”, “PMW”, “Fuckin’ Problems”, “Wild for the Night”, and “1 Train”. A$AP proves he is able to be more than just a hit maker with such songs as “Phoenix”, and “Suddenly”, both of which showcase the true emotional range of A$AP. “Phoenix” shows a contemplative side of A$AP as he compares the flaws of his current life to a life he knows would be hard if he never rapped, “It’s like you heard, God spoke, I’ve seen the ghetto gospel/The choir like my reefer and the preacher got my eyes low/Sister Mary Jane to make me sleep from singing high notes/ The bible or the rifle, goodnight folks.” In these lines A$AP vocalizes his struggle with finding his morality. He juxtaposes religious motifs, like Sister Mary and preacher, against darker elements of his life. He raps about how he chose his reefer over the choir and how he feels so impure he can’t look the preacher in his eyes. He ends the verse by giving in to his darker side, choosing the gun over the Bible. “Suddenly” tells the story of A$AP’s youth through vivid images of him with his childhood friends. The song builds up the great images he had with his youth, but how those youthful days are gone because his friends have fallen victims to their environment. He is able
Hip Hop and R&B of the 2010s
to vocalize the sadness he feels for his friends through the bridge, “I only got one vision, that’s for kids in every color, religion/That listen, we gotta beat the system, stay the fuck out the prisons.”
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AT.LONG.LAST.A$AP was able to capitalize on A$AP’s abilities to make quality hit rap songs with such songs like “Everyday”, “Fine Whine”, and “Lord Pretty Flacko Jodye 2 (LPFJ2).” However, this album saw A$AP pushing his abilities as a songwriter further. In “L$D” A$AP describes his inability to tell a girl he loves her. With the lines “I look for ways to say “I love you”/But I ain’t into makin’ love songs” describes his inability to vocalize his love for this unnamed girl. However, he continues telling her indirectly he loves her, but he
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A$AP Rocky
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can’t directly say it due to something deeply personal blocking him. A$AP is able to connect to his Millennial fan base in this song. The lyrics express a shared ideal of many Millennials who feel lost in their relationship. They want to express their feelings, but the very nature of a relationship has changed. A$AP vocalizes this frustration. “Excuse Me” explores A$AP’s feelings about coming home rich and famous and how it’s affected him, “That’s when the new you becomin’ different since they knew you/I guess the new me is just gon’ take some gettin’ used to.” A$AP has trouble coming to terms with the fact that he
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will no longer be able to be himself, even in his own neighborhood. He is lost in his own world, unable to connect fully with either of his lives. A$AP’s best strength, outside of his musical talent, has been his ability to connect with his listeners. He does this by giving them songs that fit all of their emotions. Need a song when you’re getting ready for the championship game? Turn on “Wild for the Night.” Need a song to help you unwind from a hard day? Close your eyes and turn on “L$D.” A$AP goes deeper than just having songs that cover a wide variety
Hip Hop and R&B of the 2010s
“... You can’t be a one trick pony in the rap world anymore.” of moods. His songs contain themes that resonate deeply with the listeners, be it love, loss, death, or life. A$AP has created songs that are able to accommodate a wide range of situations that his listeners find themselves in. A$AP Rocky has pushed the rap genre forward by proving that you can’t be a one trick pony in the rap world anymore. A rapper of the 2010’s has to be able to tap into their emotions and express them. They can’t simply keep rapping
about cliché topics. They have to delve deep into themselves to find their voice because it’s this voice that people relate to. A$AP Rocky has done this and has translated it into producing both huge hits next to deep, personal raps. A$AP Rocky changed the game by showing that the best rappers have to do both.
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Hip Hop and R&B of the 2010s
Miguel Nathaniel Kim
R&B in the 2010s has experienced a renewal in the form of troubled introspective auteurs, producing great odes to lust and longing and soundtracking many a late night hookup. But conspicuously absent from most current-day adult R&B is the specific type of old-fashioned sexual passion that just happens to be directed towards someone with whom you’re in love. Luckily, this
is exactly the type of emotion Miguel traffics in. Compared to the anguished confessionals of The Weeknd or melancholy forbidden longings of Frank Ocean, Miguel’s work seems positively quaint. “I don’t wanna wake you, I just wanna watch you sleep”, he croons to his dozing lover on Wildheart’s “coffee”. His biggest hit to date, “#Beautiful”, a Mariah Carey collaboration with a decidedly
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Miguel
cali forn ia
modern title, conveys the most traditional of sentiments: “You’re fucking beautiful/And I can’t pretend that that doesn’t mean a thing to me”. From this description it’s tempting to mistake Miguel for an outmoded idealist, but nothing could be further from the truth. His thematically timeless ballads work with lush, fresh production, synthesizing influences from across the spectrum of R&B’s history. The guitar work on Wildheart is comparable to Prince’s—not necessarily in technical proficiency but in mood, the riffs churning underneath Miguel’s soaring and intimate vocals. The modern swirl of the synthesizers in “Adorn” is matched by horn accompaniment that would make Quincy Jones proud. While the Los Angeles singer’s studio albums fuse modern beats with strains of classicism, this is only
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Hip Hop and R&B of the 2010s
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half of his contribution to the industry; he also moonlights as one of the most in-demand featured artists of the moment, collaborating with a vast range of different artists. He has worked with J Cole, Wale, and A$AP Rocky, contributing to each artist some of their most memorable hooks. His duets with Janelle Monaé and Mariah Carey seep with passionate chemistry. His single “waves” was remixed by everyone from Travis Scott to Australian psych-rockers Tame Impala. Miguel truly has his hand in every corner of the musical landscape. And while he may not have crossed over to enter the larger pop consciousness as some of his peers such as The Weeknd have, he’s established an equally important lane as an immensely talented singer who continues to produce excellent, pure R&B. And he seemingly feels no pressure to change this formula; while he may never amass Billboard Top 10 singles, this also means he doesn’t have to compromise
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his music to conform to the flavor of the month. On his breakout single “Sure Thing” he says “We can do it plain and simple baby, ‘cause this love is a sure thing”. He’s speaking to a significant other about the stability of their relationship, but he might as well be talking to R&B fans about his music. In a time when the boundaries between R&B and pop are becoming more blurred than ever, it’s comforting to know we have Miguel to make music outside of that dichotomy—a bona fide, traditional R&B star whose creative instincts and commitment to continuously fusing the past and the future of the genre are plain, simple, and sure.
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“... the L
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Hip Hop and R&B of the 2010s
Rihanna Season Cooper
Rihanna is R&Bs resident cool girl, she is fashionable, unique and unfiltered. As a creative, she continues to innovate and dodge any categorization despite the music industry’s attempt to do so. Only twenty-nine years old, the singer’s influence has transcended music itself. Seeing her contributions to fashion and charitable causes, her amount of influence is a rare privilege
that many artists of her age and experience have yet to grasp. She is the youngest solo artist to score 14 no. 1 singles on the Billboard Hot 100, and the fastest to do so. Rihanna has also sold more than 54 million albums and 210 million tracks worldwide making her one of the best digital selling artists of all time. With more than 100
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Rihanna million [RIAA] gold & platinum song certifications, an eight-time grammy award winner in addition to fourteen Billboard Music Awards under her belt, Rihanna has solidified herself on a path towards icon status. Born Robyn Fenty in St. Michaels, Barbados, the Barbadian hit maker made her debut in 2005 with the dancehall influenced hit “Pon de Replay.” While the genre chameleon continues to reinvent herself with each release, Rihanna’s Caribbean upbringing remains a strong influencer and identifier of her music. Her fusion of R&B and Caribbean style music can be heard across all her albums and more recent hits like “Work.” Acting as a lead single for Rihanna’s most recent album ANTI, “Work” has become rihanna’s 27th top 10 hit on Billboard’s Hot 100, tying her with Mariah Carey, Janet Jackson and Elton John for the fifth-most top 10’s in Hot 100 history. Experimenting with dance-pop, house
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music, and eighties influences, Rihanna has no repetitive formula for her success. Notable influences of the singer include Madonna, Janet Jackson, Grace Jones and Prince, all industry innovators in their own right, with clear influences in her work. Similar to her music style, her lyrics have no formulaic boundary. Tackling issues of sexual assault in “Man Down”, unhealthy relationships in “We Found Love” and “Russian Roulette” or being open and frank about sex in “S&M” Rihanna commits herself to tell stories, even those that are difficult to mention. Drawing influences from her personal life and experiences Rihanna gives the listener the privilege of accessing her point of view which is raw, vulnerable and scratches more than just the surface.
MELEON
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“
...Rihanna gives the listener t privilege of accessing her poi view which is raw, vulnerabl scratches more than just the
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the int of le and e surface.
”
Like any artist, the most important instrument they possess is their voice. Rihanna is no different. On her most recent ANTI album, her voice is distinct and dynamic. A voice capable of being lighthearted or agressive, the songstress can belt ballads and pop hits; notable tracks include “Love on the Brain”, or “Bitch Better Have My Money” At a quick glance, Rihanna could be misidentified as one of pop’s biggest stars. However, with her significant crossover appeal and maintaining popularity amongst R&B listeners; Rihanna stands strong compared to her contemporaries making her, upon every release a fresh breath of “American Oxygen.”
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Schoolboy q Jaye Thompson
In today’s realm of hip hop, it is important to be self aware and understand the lane in which you occupy. While some artists thrive in making hit dance records there are others who choose to do feel good anthems. ScHoolboy Q does neither. His street hardened demeanor delivers often bleak and ominous narratives detailing his illicit activities as a gang member of the
Hoover Street Crips in Los Angeles, an essential part of his identity and why he has been a major influence. What makes ScHoolboy Q so compelling includes his gritty, aggressive cadence that can usually be heard over bouncy yet dark production that embellishes his gang activities and penchant for partying.
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ScHoolboy Q
“This dualit between good an audiences a peak in of the former gan ScHoolboy, born Quincey Hanley, is signed to Top Dawg Entertainment, which flaunts a seriously stacked line up of artists such as Kendrick Lamar, Ab-Soul, and Jay Rock. Amidst that roster, ScHoolboy’s place falls into the category of the street hustler, plagued by the perils of pill addictions, police brutality, and moral uncertainty. He is an example of years of institutional
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ty of floating nd evil, gives nside the life ng member...�
prejudice culminated into black rage and aggression, juxtaposed by blunt confessions in which he knowingly condemns his behavior. His second studio album entitled Habits & Contradictions made these flaws apparent as he contrasts his bad habits with contradictions of trying to live a more righteous life. This duality of floating between good and evil gives audiences a peek inside the life of the former gang member as he wrestles with his demons. His album Oxymoron is
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ScHoolboy Q
riddled with juxtapositions as the title suggests, and he highlights that “the oxymoron in this album is that I’m doing all this bad to do good for my daughter.” In his song “Prescription / Oxymoron” he recalls his addiction to pills and the toll it took on him as he raps, “I had a ball sellin’ 80s but yo/ the karma’s worse/ I cry when nothing’s wrong, I’m mad when peace is involved/ My senses harmed, sluggish ruggish/ A couple Xannies popped, open my pill box.”
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Although Oxymoron was a commercial success and was even nominated for a Grammy at the 2015 awards, it would be the follow up album and a growing list of strong features that allowed ScHoolboy to hone his style. With his 2016 release, Blank Face LP, ScHoolboy crafted a dark saga of gangsta rap that was charged with political commentary. On songs like “Neva Change”, Q addresses police brutality making his aggression palpable with lines like “You see them lights get behind us/They pull me out for my priors/Won’t let me freeze ‘fore they fire/You say that footage a liar”. He also takes the time to discusses tensions within the black communities on songs like “Black Thoughts” where he urges “Let’s put the rags down and raise our kids/Let’s put the guns down and blaze a spliff/Let’s do it now aint no buts or ifs”.
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Q
ScHoolboy’s honesty about his upbringing, his willingness to see better days, and his inclination to being a jokester are the reasons why he is not immediately labeled as a bad guy beyond salvation. He represents the communities that are not given much choice about the type of environment they are born into. Where he is from, gang banging is less of a conscious choice and more of a lifestyle imbedded in the community. Compared to more poetic forms of resistance, his is a militant approach similar to Malcom X’s “by any means necessary”. ScHoolboy Q’s is one of the many necessary voices to help combat racial disenfranchisement by bringing it to the forefront of people’s consciousness and making it known that he will not let it slide.
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Hip Hop and R&B of the 2010s
CHANCE THE RAPPER Conor Nally
Chance the Rapper became a part of the music world with the release of his mixtape #10day in 2012. At just nineteen years old, Chance Bennet established himself as a prominent rapper in Chicago. He was able to blend meaningful, personal lyrics into captivating songs with large replay value. Over his career Chance evolved with each mixtape he realeased, by adding layers of
jazz, r&b, soul, and gospel music. Chance the Rapper earned the title of a standout rapper of the 2010s due to his ability to combine powerful lyrics with music that draws from a wide variety of sources. Early on in #10day, Chance proved he had the skill to create meaningful songs that rivaled the best rappers. In “Windows” Chance recreates a scene of life as a kid in Chicago: “Cause some of
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Chance the Rapper
our teachers act as if summer was for class/Some of us is seeing summer, some of us have passed/Some of us ain’t seeing summer, some of us have passed/So I’m just glad to say I’m sippin’ rum up out a glass” He is honest in his words, not trying to be anything more than a kid whose struggling to balance school and his real life. His lyrics are consistently meaningful throughout the mixtape. In every song, he is able to add a layer of depth through his lyrics that many rappers of the day fail to do. This is again highlighted in the song “Prom Night” where he discusses his struggle
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“Chance creates an enduring song by diverging from common rap themes of the day.”
with pursuing his love of music at the sacrifice of being a normal high school kid: “And rode up out of Chatham, the whole hood clapping/And damn it would be crazy if any of this shit had happened/But it didn’t, I missed prom, I missed it to spin/I did a show at AKIN and I would do it again.”
Chance’s second mixtape Acid Rap not only highlighted his expertise as a wordsmith (a mainstay in all of Chances’ projects) but showcased his originality as a musician. He starts off the mixtape with “Good Ass Intro.” The song features mainly keyboard and various voices harmonizing in the background before the drums and bass finally explode into the song. Chance creates an enduring song by diverging from common rap themes of the day. Throughout the album, Chance is able to mix various musical elements into a unique mixtape that proves its worth as one of the best of 2013.
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RELIGION & r All of Chance’s talent is highlighted in his third project Coloring Book. The mixtape was highlighted by its Gospel overtones, a presence that is usually lacking in rap albums. This was expertly incorporated with Chance’s own incredible lyricism, mesmerizing hooks, heavy drum beats and bass lines, jazz, and dozens of other musical styles that shouldn’t work on a rap mixtape. Yet they do. Coloring Book is a work of art. A true musical masterpiece. The song “Blessings (Reprise)” highlights
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every one of Chance’s skills. He addresses his uniqueness in the rap world stating, “I speak of wondrous unfamiliar lessons from childhood/Make you remember how to smile good” over a simple background. Chance continues to rap as the choir builds in the background. They sing lightly in the background before taking over the song and singing out the remainder of the song. This is what Chance does best. He has excelled at combining his favorite musical elements
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rap and putting them together on his songs. Chance has shown the rap world that you can make a gospel inspired rap album. More importantly, he has proven that any artist can be successful by following their own path. Chance carved his own way by only releasing music that he fully believed in, even if it wasn’t top 100 material. Besides creating remarkable, original rap, Chance forever changed the rap world by
proving you can make it even if you never sell an album or sign to a label. This resonates with Chance’s listeners. Chance’s personality comes through on every song because he has the ultimate say on everything he makes. The listener can hear the joy he has for music in every song for his heart is in every note and line. Chance’s fans listen to him not only because they love his music, but because they know he makes his music with love. Chance the Rapper is a unique artist in the rap world in that he creates memorable music while breaking from the traditional ‘rap artist’ mold. He is paving the wave for a new generation of rappers who create musical that breaks free of the rap mold.
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FRank ocean Nathaniel Kim
During the seemingly interminable gap between 2012’s Channel Orange and 2016’s Blonde, Frank Ocean expressed an interesting sentiment in an interview: “[storytelling is] the more interesting part of making music for me…I might just write a novel next”. And as sad as it would be for fans if he were to leave music behind, it’s easy to see where he’s coming from. The characters in
his songs feel fleshed out on a literary scope: the relationship formed with a stripper at Coachella in “Novacane”, two lovers’ journey from ancient Egypt to a modern-day strip club in “Pyramids”, the late night confessional to a Muslim taxi driver in “Bad Religion”. Sonically, his songs match this intimacy, with sparse production often taking hold—his 2016 studio album, Blonde, features only three
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songs with drums. Each instrument feels like a carefully chosen extension of Ocean himself, whether it be the muddled guitar part in “Ivy” sporadically hitting high notes like synapses firing off and bringing back memories of lost love, or the blissful horns backing the chorus of “Sweet Life” as he sympathetically asks “why see the world when you’ve got the beach?” Ocean rose to prominence on the back of his debut mixtape Nostalgia, Ultra. The project is aptly named, as nostalgia is a driving theme of all the Los Angeles singer’s work. “Say hello, then say farewell to the places you know”, he reflects on that mixtape’s “Strawberry Swing”, examining the fleetingness of life. On Blonde opener “Nikes”, he tells us he’s “living so the last night feels like a past life”, and on the outro of “White Ferrari” he sighs “if you think about it it’ll be over in no time, and that’s life”, once again examining the role memory plays in perception of time. Perhaps his most famous ballad, “Thinkin Bout You”, also invokes rumination on cognition when he asks the man he loves if he “[thinks] so far ahead? Cause I’ve been thinkin bout forever”.
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P R
C I T E O P , E S U L C RE R E T S MA R E L L E T Y R O These small moments of reflection and interpersonal connection in between the banality of day-to-day life are where Ocean really shines as a songwriter, whether from the perspective of the characters that inhabit Channel Orange and Nostalgia, Ultra or in the more personal testimonies of Endless and Blonde. He seems to have a limitless capability to examine the issues facing the various sinners of the world (including himself) without becoming either whiny or self-righteous: when the drug addict narrating “Crack Rock” laments that “my brother get popped and don’t no one hear the sound”, it’s presented candidly as a bleak look at the reality of life.
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Frank Ocean Ocean has come to own a revered place in the R&B world for this ability to weave these minute emotions and moments into grandiose albums. And while musically and lyrically it’s easy to spot some of his influences in the soul men of the ‘70s, one would be hard pressed to name anyone who could be considered his contemporary. So particular and deliberate are his observations and artistic method that they are almost irreplicable,
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t night feels with no other artist even attempting to do something similar. This is just as well—there’s only one Frank Ocean, and the uniqueness of his perspective is what makes him so special an artist. On 2017 single “Chanel” he proclaims “I see both sides like Chanel”, a fitting sentiment for a man who occupies an important and singular place as a true visionary.
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Hip Hop and R&B of the 2010s
Drake Micah Moono
Whether you love him or you hate him, Aubrey Drake Graham, better known by his stage name Drake, has without a doubt made a lasting impact on the hip hop and R&B genre. From his very first mixtape, 2006’s Room for Improvement, to 2017’s playlist More Life, he has remained an extremely controversial figure in the hip hop community. This is because he breaks
nearly every rule previously used to define a rapper. We all know Drake did not grow up in the projects. However, instead of trying to conform to the stereotypical image of a rapper, Drake remained authentic by rapping about the struggles of growing up with a single mom, conflicts of rebuilding a relationship with his father, and other
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“... he breaks nearly
EVERY RULE previously used to define a rapper.�
insecurities not often told by rappers within the genre. The main focus of these insecurities, and a common theme throughout his music, is the phenomenon of emotions, love, and heartbreak. Now, I call this a phenomenon because these are things that were almost never heard of in the hip hop community pre-Drake. In the hyper-masculine world of rap, Drake opened up the genre to a much
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His first studio album, Thank Me Later, debuted at number one on the US Billboard 200 on first-week sales of 447,000 copies and was eventually certified platinum. He has continued this immense success by releasing a consistent stream of albums, mixtapes, and playlists, satisfying the hunger of his fans by never quite doing the same thing twice and allowing his exploration of himself as a person to shape the sound of his music. His second and third studio albums, Take Care and Nothing Was The Same, are widely regarded as two formative points in his career, in which
STARTED FROM THE BOTTOM
wider variety of stories by forcing it to rethink the way it approaches women, proving that singing and rapping can work in perfect harmony, and essentially redefining masculinity within the genre. And to everyone’s surprise, it worked.
he really established himself as an artist. In his most recent works, the studio album Views and the playlist More Life, he has drawn heavily from the sounds of the U.K. grime scene and embraced Jamaican dancehall-flavored influences in tracks such as “One Dance” and “Passionfruit”, drawing his inspiration from a wide array of culturally diverse voices in the music industry.
KNOW YOURSELF
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ALL HAIL THE Despite everything just mentioned that makes Drake a unique voice within the hip hop community, what has made him an enigma is his ability to thus far remain undefinable. It’s impossible to classify him as R&B when he raps over hip hop beats, and you never know if he’s going to drop the next emotional, late-night love anthem like “Marvin’s Room”, or a seething diss track, such as his now legendary rebuttal to Meek Mill, “Back to Back”, which figuratively shut down the internet by
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causing memes to be made at lightning speeds. He switches from album, to mixtape, to “playlist”, revolutionizing what a mixtape can be by changing them from low production, wholly sampled collages to chart-topping masterpieces such as “If You’re Reading This It’s Too Late”, which sold 495,000 copies and broke Spotify’s first-week streaming record with over 17.3 million streams, all in the first three days.
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GOD Drake has paved the way for a new generation of rappers, singers, or a combination of both, to continue pushing the boundaries of the hip hop and R&B genre and challenging the narrative that has existed within the community for so long. While many will continue to disagree on all things Drake, by now it’s clear that he’s going to continue to exectue his plan regardless of what others think. He often, and quite seriously,
proclaims himself to be the greatest ever (as heard in his hit single “Forever”) while simultaneously making fun of himself by creating an entire Bar Mitzvah parody video for the “HYFR” music video and appearing on skits for Saturday Night Live on more than one occasion. It’s clear that at this point in his career Drake just wants to run through the Six with his woes, and by now the entire music industry knows how that shit goes.
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Kendrick Lamar Damir Creecy
There isn’t one person who can hold a conversation about the present greats of hip hop without mentioning Kendrick Lamar. Often called the modern Tupac, this humble 5’5” giant of a man has turned the entire music industry on its head multiple times, to the point that he literally puts the game on standby every time he releases an album. From being named one of Time’s 100 most influential people in 2016 to
receiving seven Grammys over his career, Kendrick’s accolades are anything but few and far between. His albums have been recognized on many End of Year Awards lists and To Pimp a Butterfly has already been included in Rolling Stone’s 100 Greatest Albums Of All-Time list. Kendrick Lamar is indisputably GOAT-worthy.
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KING
Kendrick’s entrance into the rap industry marked a paradigm shift in hip hop; the average fan would not consume hip hop in the same way after hearing his thought provoking lyrics. In the 2010 decade, Kendrick has released four acclaimed studio albums, three mixtapes, and one compilation album. His career started to take off after producer Anthony “Top Dawg” Tiffith discovered him at the age of fifteen and proceeded to prop him up. With the support of cosigns from high profile artists like Lil Wayne, opening for industry titans like The Game and Jay Rock, and off the strength of his early mixtapes, Kendrick was able to amass a great deal of attention very quickly.
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Hip Hop and R&B of the 2010s To follow up the success of his mixtapes, Kendrick released his first studio album, Section.80. which was met with positive reviews, debuting at 104 on the Billboard 200 list with little media coverage. The two singles from the album “HiiiPower” and “A.D.H.D.” were both very well received, “A.D.H.D.” garnering a greater
the release of his second studio album, good Kid m.A.A.d. city. After the release of good Kid m.A.A.d. city in 2012, Kendrick’s success skyrocketed. The album was named album of the year by multiple media outlets and he received multiple Grammy nominations. The amount of features he was on dramatically increased as well, but one particular sample caused the entire rap game to stir. The noteworthy feature was Kendrick’s verse on Big Sean’s song “Control”. Kendrick spat a two minute verse that seemed to upset every mainstream rapper that was out at the time, even Jay Electronica who was featured on the same track. Kendrick also angered other rappers by stating that he was the King of the West Coast as well as the King of New York (a title that is very disrespectful to claim being that Kendrick is not from New York). There are still beefs that exist today because of this verse, namely Drake and Jay Electronica, who both slyly continue to send subliminal shots at Kendrick. After
kunta amount of attention than the former. These singles assisted in providing Kendrick momentum, elevating his music to a national stage rather than his local, West Coast audience. The next year would be the biggest year of his career yet, with
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Kendrick’s “Control” verse, many artists took offense that he had the audacity to issue such a challenge. Some took the call but others remained terribly silent about the whole thing. Kendrick Lamar is possibly the only rapper to cause such a huge commotion that lasted months after the fact over one verse. Kendrick really solidified his bid as the Greatest of All Time after he released his third studio album To Pimp A Butterfly in 2015. To Pimp A Butterfly is possibly the magnum opus of this decade’s hip hop, creating a layered concept album that addressed contemporary issues such as race relations in America. There are so many things one can say about this album and it’s influence. It was a glimpse of
Kendrick’s life that was both unique and relatable. It caught the attention of unconventional media outlets such as Fox news, whose statements would be later used on his fourth album DAMN. to highlight how much he disagreed with them. The powerful use of imagery, tight lyrics and perfect production caught the eyes of so many people that the album itself won six Grammys. To Pimp A Butterfly really is the album that boosted Kendrick to superstardom. Now when he releases an album, it becomes an event. His influence over the hip hop industry is boundless. He constantly reinvents himself with each album, while simultaneously creating music that is enjoyable to the masses.
“Kendrick Lamar brought thought to the mainstream in a way that wasn’t preachy.”
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Kendrick Lamar brought thought to the mainstream in a way that wasn’t preachy. It opened up the door for other artists to do the same. He is one of the only artists to hold the power to unsettle every other rapper in the game. He caught the attention of news outlets as well as hometown politicians, receiving two civic honors from California State Senator Isadore Hall III. With over 120 nominations, forty-four awards and seven Grammys, Kendrick Lamar will most undoubtedly go down as the most important and influential rapper of the 2010’s.
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KANYE WEST Jack Saltwick
Whether in the mainstream media for controversial opinions, releasing fashion lines, or updating his album post-release, Kanye West has never strayed far from the center of attention. His studio debut, The College Dropout, combined a colorful palate of samples and strings with conscious, humorous lyrics that allowed him to discuss topics such as religion and materialism from a fresh
perspective. Although this album and his mid-2000’s follow-ups Late Registration and Graduation would forever change the landscape of hip hop, inspire a generation of imitators, and give him massive mainstream fame and success, Kanye’s later releases may have had an even greater impact on the genre.
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West’s 2008 release of 808s & Heartbreak was a stark—and to many, confusing and frustrating—departure from the open, infectiously confident tone that was so essential to his early music (perhaps the departure of the “old Kanye”), possibly due to the recent death of his mother. The album made heavy use of drum machines, synthesizers, and auto-tune, the last of which had West turn his back on his clever rhymes in favor of electronically-assisted, and often sad, singing. Although still received positively, it did not evade criticism, especially when compounded with Kanye’s antics at the 2009 MTV Video Music Awards. At the time, it spelled a low point for his career, but in the long run, 808s influenced a popular wave of rappers post-2010. The likes of Drake, Kid Cudi, Future, and Young Thug along with their peers owe a debt to this project either due to their emotional subject matter or melodic composition. West was breaking new ground with his wavering, melancholy auto-tune over electronic beats—it’s just that the foundation wasn’t used to build until years later.
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Kanye certainly didn’t stop there. Intending to take a break from music and pursue fashion, West ended up writing and recording his next album in Hawaii. The end product was the 2010’s My Beautiful Dark Twisted Fantasy, a huge concept album complete with a free-music “GOOD Fridays” promotional rollout and a film. The recording process assembled a wildly
diverse crew, which saw Rick Ross and Bon Iver’s Justin Vernon featured on the same songs. These far-reaching collaborations and elaborate release scheme have undoubtedly spurred the unique crossover features we so often see today. Further, the expansive concept and narrative arc of Fantasy may have influenced more recent hip hop concept records, the largest being Kendrick Lamar’s good kid, m.A.A.d city and To Pimp a Butterfly. Kanye followed up with Watch The Throne, a full-length collaborative project with Jay-Z, Cruel Summer, a compilation from West’s GOOD record label, and 2013’s Yeezus, an industriallyinspired and dark project. In early 2016, Kanye released The Life of Pablo in a mysterious and amorphous project. Pablo was so flexible that West even went as far
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West’s works have undoubtedly shaped the landscape of today’s hip hop...
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as changing the tracks and mixing post-release, making clever and resourceful use of the streaming services that have come to dominate today’s airwaves. West’s works have undoubtedly shaped the landscape of today’s hip hop and the influences of his latest releases have yet to be seen. Whether in music or fashion, Kanye is constantly reinventing himself and keeping the rest of the game off-guard. Undoubtedly, popular culture will feel the waves of his works for years to come.
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Beyoncé Rahsel Holland
Music has the power to move its listeners physically, mentally, and emotionally. Disc Jockeys use that to their advantage to encourage movement in a space. Beyoncé is one of the most influential artists in R&B; she has the power to make people listen to the stories she tells with her angelic voice. In the film Cadillac Records, Beyoncé plays Etta James, and during the scene
where she sings “At Last”, she uses her entire body and even her tears to express the love that Ms. James was feeling. Beyoncé was a childhood star who went from hits released with Destiny’s Child like “Cater 2 U”, “Say My Name”, and “Survivor” to hits in her solo career like “Irreplaceable”, “Upgrade U”, and “Halo”. She has worked with the most talented performers in the genre, from
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Luther Vandross to Kanye to Mary J. Blige. Her early career shaped her into the artist she is today. She learned how to deliver powerful messages, how to encourage, how to motivate, and how to perform. Today as a well defined artist, she has become a very prominent figure in the media due to her stances on female empowerment and philanthropic initiatives.
Beyoncé has been able to quickly adapt to the changes that have been made in music and culture. She has blossomed into a creative genius that has learned to use her music to craft narratives. She has begun to use slang and codes such as “surfboard” and “swerv” that transcribes to the modern generation.
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Hip Hop and R&B of the 2010s From generation to generation the definition of love changes, but Beyoncé has made it clear that the everlasting feeling of love has remained the same. In songs like “1+1”, where Beyoncé says, “I don’t know when I’m gone die but I hope, I’m gone die by you,” and “Love on Top”, which is an upbeat fun song about being in love. She reminds us that love is serious, yet fun and it’s open to all ages. Most of all, love is sexy. “I wanna show you how much I really care about your heart… tonight I’m gonna dance for you,” Beyoncé states in “Dance for You”.
En bey
Though it feels amazing to be in love, Beyoncé also makes it clear that if a man won’t treat his lady right then it will be easy to leave him. This encourages women not to settle for less. “Thank God you blow it/ I thank God dodged a bullet,” she sings from “Best Thing I Never Had”. 2016’s Lemonade was a major force in furthering Beyoncé’s artistry. The film that accompanied the music portrayed the experiences of the black American woman and the struggles they often encounter, highlighting independence and empowerment. This was spearheaded by hits like “Formation”, “Sorry”, and “Love Drought”. The album carries heavy emotions of love and self worth that listeners are able to find comfort in.
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“She r is seri In the age of the rising feminist it is unavoidable to be a female artist that does not offer women empowerment to her fans. Lemonade gave women courage and strength to stand up and speak out if they had been wronged in relationships. Other examples of empowerment are shown in her hits “Run the World” and “Grown Women” where Beyoncé displays
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reminds us that love ious, yet fun and it’s open to all ages.” the fun in promoting womanhood. “Mama said, you’re a pretty girl/ What’s in your head it doesn’t matter,” are the lyrics in “Pretty Hurts”, which uses irony to advocate for beauty on the inside. With her powerful voice and willingness to push the boundaries of her music, Beyoncé is a incredibly influential artist respected by people all over the world.
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Designed and Illustrated by: Jaye Thompson
With Written Contributions From: Season Cooper Damir Creecy Rahsel Holland Mikhail James Nathaniel Kim Micah Moono Conor Nally Adam Polansky Jack Saltwick Jaye Thompson