Gunplay ) (MP3) Miami rapper Gunplay, who first caught my ear when he appeared on Kendrick Lamar s Cartoon Cereal, will be in NYC TONIGHT (418) at Santos Party House with Bodega Bamz, Ratking, Deanie Man (DJ) and King Solomon (DJ).
Kendrick Lamar Cartoons And Cereal Link For Free At DatPiffGunplay recently dropped the Bogota Rich: The Prequel mixtape on Maybach Music which you can download for free at DatPiff.More videos and streams below. Gunplay - Jump Out Official Video Gunplay - Bogota Official Video Gunplay - Jump Out Kendrick Lamar - Cartoon Cereal (ft. Gunplay) Filed Under: Bodega Bamz, Dean Bein, Deanie Man, Gunplay, Kendrick Lamar, King Solomon, Ratking, Santos Party House Categories: Hip Hop news, MP3, Music News, tour dates Comments Leave A Comment Back To Top Check It Out 45 Great Music Documentaries to Stream Right Now Recent Stories Listen to Clint Mansells intense, eerie In the Earth synth score My Chemical Romance postpone tour to 2022 Cornelius shares new track Forbidden Apple designed to showcase 360 audio Our favorite songs of the week (playlist) Hearts Nancy Wilson pays tribute to Eddie Van Halen with new song 4 Edwar Iced Earths Jon Schaffer pleaded guilty to 2 US Capitol riot charges Information Home About Us Contact Us E-mail List Sign Up Privacy Policy RSS Follow Us 2021 BrooklynVegan, Townsquare Media, Inc. So how, once again, is Lamar running it By living a nonviolent life, and by using his art in a morally positive and politically transgressive way. Peep that if you havent yet, rap fans.) Im not sure if thats because the beat is totally outer-space weird, or because Lamars delivery and lyrics are so expressive and literary. Lets focus on the latter, since this is a website about language (and culture (and lots of parentheses)). With the help of guest performer Gunplay and visionary producer THC, Lamar manages both a vivid autobiography and a compelling thesis about genre in contemporary rap. I wanna hit line drives, Wanna lose weight and keep eat, inaudible, for you. What, in my financial situation, ehhhh munch, munch, munch, munch whats up, doc With just these initial choices, the scene has been evocatively and strangely, and a bit ominously set. Lamar then sets the terms of the conversation with the tracks first lyrics, a bridge that he (and another track of his own voice, pitched up) rap-sings in a clipped stutter no doubt intentionally reminiscent of the cadence of the TV samples. Next to you and her You was holding a handgun she was giving birth To a baby born to be just like you, I-I wonder whats that worth I-I-I wonder if you-you ever knew that you was a role model to me first The next day I-I woke up in the morning, seen you on the news Looked in the mirror, then realized that I-I-I had something to prove You told me, dont be like me. Before we get there, though, we have to address just how pregnant with meaning these lines are. Lamar transports us back to his childhood, to the sandbox, a setting that conjures all sorts of associations (perhaps the most illuminating from that list are Sandbox Therapy, a tool used by child psychologists and a slang name for the Middle East, used by the American military). Clearly, this place is metaphorical, perhaps even metaphysical, because Lamars discourse is so abstract as to serve as a description of every sandbox ever inhabited by a member of Section.80. This review over at blog The Grey Way summarizes fairly well what Section 80 refers to in Lamars discourse. He seeks to narrate their past experience and articulate the issues they face currently. You and her represent the paradigmatic male and female Section.80 members who would fall prey to handguns and giving birth (teenage single motherhood, one of the factors that contributes to the baby being born to be just like you), respectively, as they reached their formative years. For Lamar, this male figure initially served as his role model, until he saw him on the news, presumably shot or imprisoned, at which point he decided that he had something to prove, remembering how he told him dont be like me, to just finish watching cartoons. This is advice that he apparently took to heart well, at least the first part of it because indeed, he now runs it, leaving raps Wile E. The hints provided by Gunplay, a rapper from Miami ( and a colleague of Rick Ros s ) who contributes to the track (more on his contributions below). In this way, the choices he recounts in the opening lines of the song can be interpreted not only as his rejection of a hopeless, self-destructive life path, but also of a nihilistic, artless rap (the kind that The Diplomats, T.I., Gucci Mane, and others all got rich off of in the early-to-mid-2000s) that profits from and glorifies that tragic path. Rap ought to be socially conscious, morally nuanced, and narrative, Lamar argues. He and Gunplay simply enact (defined in Campbell and Jamieson 1978, previously employed by yours truly in this essay ) their genre criticism in their verses. With the double-entendre wreck into a polepoll like a right to vote, he alludes to the political effect of black suffrage in the 1960s, how it forced a positive adjustment by hegemonic dominant culture, an adjustment of the sort that is urgently needed at present. Next, he narrates the experience of living in Compton, of everyday conflicts which frequently end with the participants zebra lookalikesi.e., in prison garb. He discusses the desensitization of ghetto youth to violence (hope another homocide dont numb you), recalling the most heartbreaking moments of The Wire. He even fits in a critique of capitalism as an economic system, arguing that wanting to earn soon is an error that we can smell in the air, in hopelessly polluted urban landscapes, in the widespread feeling that were all doomed by the greed and immorality of transnational corporations. For my part, as a resident of Beijing, China, where capitalist development is polluting the skies to a nearly catastrophic extent, these lines pack something of a punch.) He concludes with another personal confession, of collecting public assistance at the county building, which, in itself, serves as a critique of the political and economic structures that he seeks to transcend. The above scene feels to me like a hybrid of 6b Panorama by Aesop Rock and Shakey Dog by Ghostface Killah the former for its narrators lack of direct involvement, and the latter for its suspense, its action, and its authors ability to relate minute details with stylistic grace. Lamars story works on its own, as a dope narrative, but it also serves as a message to young blacks, to live a truly transgressive life by staying out of this destructive fray. This block stay jerkin, the feds stay lurkin, he points out; one of the two is bound to destroy you.
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