West Coast Wednesday: Old & New School West Coast Music, Hip-Hop Honesty, plus Who am I, to critique???
I think west Coast Hip-Hop & Rap artist are still sifting through their sound. Some artists doing well evolving their impression are Jay Stone, AJ, the One, LA Wray, and Wallie the Sensei. Jay Stone stepped his style up on his latest project with DJ Drama 'Rollin' Stone'. 'Stoney Og' ft Currensy and 'Hit Different' has a chill and catchy chorus, the perfect Sunday cruise around the city music. 'Get Money' reminds me of a west/east coast mash-up sound, something you'd hear on a paid and full soundtrack. I think more artists should put the boom-pap sound in their songs. Aj, the One and LA WRAY are representing LA female rap with their single Nervous, songs like this are great for working out, the energy gets me hyped. Aj, the One's lyricism utilizes metaphors and a "sassy girl" persona to convey to her listeners that, "she is not the one to be played with". Talking your $h!7 is a significant part of female rap expression. LA Wray preserves the west coast sound with her rap style similar to west coast rap artist Sugar Free. LA Wray's rap flow is rapid, smooth, and precise. Wallie the Sensei popularized his hit single 03 Flow in 2021 and released his album 'Golden Child'. The album displays his maturity from discussing gang violence and dissing rivals to focusing more on other stories of the land familiar to natives. When it comes to the West Coast sound I suggest artists study the pioneers of west coast rap and listen to g-funk, hyphy, and early artists in conscious west coast Hip Hop music for inspiration on preserving the original and authentic sound.
I think music and entertainment, in general, are in a state of soul-searching and re-emergence of originality, relatability, and freedom of artistic expression. The birthing of a renaissance. Consider my thoughts, ideas, and opinions, in the manner, as you would an art instructor assisting in narrating a story. However, you as the artist, are the creators of the visual. More, "consider this", instead of, "do it this way". I think there are elements required to categorize things as such (i.e. there is a difference between rap and hip-hop and there are key components that set them apart) and I think that particularly regarding the contributions of Black American culture, those deemed to be leaders and pioneers must do better with gatekeeping who is allowed to proliferate, monetize, visualize, and dictate the culture. Being too accepting and surprised by the disrespect, is a fo'sure formula in taking an "L". I'd like to see artists of all forms whether it be music artists, producers, managers, writers, media influencers, etc understand the social currency they offer and the way those not of the culture exploit it for personal gain. (i.e. No Jumper) This cultural reset will require the release of the leeches draining music and entertainment culture and artists. A release of heavy drug and alcohol use is influencing the artists' frequency/conscience, no longer offering validation in our spaces, not allowing the worst images to be projected, and amplifying art that is not a fair/equal representation of us or our culture. There is joy, love, great moments, family, unity, community, and positivity worth highlighting and being featured cameos. (Show us at the family BBQ's on the spades and dominoe tables, Chi-Town Stepping, the black rodeos, carnivals, and Sunday dinners at Granny's)
I grew up in an era when black students and staff predominantly ran, taught, and attended Los Angeles public schools. We had elective courses such as typing ( Ms. Oates-Moons, Audobon M.S.), journalism (Ms. Johnson, Audubon M.S.), entrepreneurship ( Mr. Pounders, Audubon M.S.), Spanish( Senora, Flores, Audubon M.S.), and home economics (Ms. Green, A.M.S.) all lead by Black instructors. We were also provided electives expressly, for the Arts, such as dance (Ms. Brown, 59th Street El & Ms. Stevenson, Audobon M.S.), 3 Chaine turns, two scissor leaps, a battement, and a hitch kick were standard. Choir (if you went to Crenshaw Ms. Stevenson), and Band (Mr. Tarvar, Crenshaw H.S.) were provided as well. Lula Washington and Debbie Allen had dance companies locally offering lessons and opportunities. If you were raised in the Black Church, be it Baptist, Apostolic, Holiness, Methodist, etc. many of our choir directors were professional singers, musicians, and songwriters. At a minimum, we were required to know how to harmonize. Some of us participated in praise dance ministries, church and school plays, and community programs like cheer, drill, and dance teams. The coaches were former Laker and Clipper girls, and our music directors toured with the top artist in music and were current and former backup singers. My point is, my generation of L.A. natives was taught by some of the best in music and entertainment and generationally groomed to cultivate our artistic and creative capabilities to some level. I developed a keen eye for identifying talent, authentic artistry, and great performers. Being a critic is an art. I think you must have the correct components of historic knowledge, exposure to the arts, and the capacity to perform at some level in which you critique, and the feedback should be constructive for improvement not in an effort to break an artist down. I think consumers and genuine supporters have a right to provide those they support with honest commentary good and hard to hear. It's all in the way it is done.
I want to see great artist do well. Good music and entertainment cannot be rushed. Take moments to live and let lif be a muse.
Comments