Showing posts with label Hip-Hop. Show all posts
Showing posts with label Hip-Hop. Show all posts

Saturday, January 3, 2015

S1-EP1 Notes: Ramen, Theology, Hip-Hop

If you want to listen to the first episode, click here.

First things first: for those of you who are not my mother, allow me to introduce myself. As I’ve said, I’m Nick and I am currently a Masters student at Fuller Theological Seminary in Pasadena. My wife, Allison, is a PhD student at the Center for Advanced Theological Studies and may be one of the smartest people I know. So here’s to hoping that intelligence can be imputed through kissing and…dancing.

Anyway.

My degree can be put under the emphasis of biblical studies and theology, though most of my electives will take up Greek exegesis and language courses. I do have some interest in systematic theology, mostly related to theological anthropology (the theological study of the human person), eschatology (the study of the last things: heaven, hell, the intermediate state, etc.) and Christology—almost all of which can be found in studying the Apostle Paul. My background before Fuller includes a Bachelors in Film (specifically screen writing and film theory) with a minor in biblical studies, and an Associates Degree from Saddleback College, also in film production. So I was training in writing specifically for film, and now I’m undergoing a second period of training for theological education. Funny how that works. Going from a job market that will have me living off Ramen to a job market where Ramen exists only in the abstract.

I’ve just finished my first quarter here at Fuller, taking Greek One and Systematic Theology: Eschatology and Ecclesiology. I wrote a research paper about Paul and his view of the Resurrection, but I’m going to keep that one fairly close to my chest, as I’d like to develop it further in the future. Possibly at a theology conference that will be happening in seven months from now.

So that’s my education background. As for religious upbringing, I was raised in a pretty conservative environment by two wonderful parents who were themselves less conservative than the prevailing culture we lived in. Once I turned 13 or so, I became an agnostic for many reasons, some of them more interesting than the other, and lived in a period of existential flux for maybe 5 years until I decided to give this religious thing another go. During those 5 years, to my knowledge, nobody knew I wasn’t a Christian. I still went to church (though I did protest), went to youth group (less protesting because there were girls there), and read my bible once or twice, usually because I wanted to keep up appearances to the contrary.

I’m tempted to speak about a reconversion or a baptism or something equally Christian, but it was simply a place where I knew there was nothing much else out there. None of the beliefs my friends had (atheism to Buddhism) were of any interest to me. So out of existential curiosity—and perhaps a desire for closure—I reopened my New Testament and read the Gospel of John. Chapter 11, verse 35. The shortest verse in the Bible. Jesus wept. For some reason, maybe the stars aligned, it hit me right in the chest and I didn’t know what to do with this verse.

I come from a tradition that sees a biblical prophesy underneath every headline, and rarely preached from any Gospel other than John. Nothing against John, he’s a cool cat, but John was the singular Gospel to end all Gospels, at least as far as I can remember. So I was uniquely struck by how the God-Man John portrays was also moved to tears over the death of Lazarus. Forgive me, but this was not the Jesus I remembered from Scripture. In some sense, this Jesus was completely foreign to me.

So I read John a bit more, then moved on to Paul, as all good Protestants do. I confess to loving Paul a lot, especially 1 Corinthians and Colossians. If I had to pick an epistle to get lost within, I’d have to flip a coin. I don’t quite know when my love for Paul came about, but it was probably after I met my girlfriend (now wife) at Biola during her last semester and we had a talk about women in ministry. But that’s a topic for another episode. Suffice to say, Paul is fascinating and infuriating, and that’s why I can’t stop reading him. The way he frames his arguments, his passion, and his theological convictions that are often elusive: makes for a compelling apostle and for our first major interpreter of the life of the Messiah.

Shifting paradigms a bit—but not too much—I’ve begun to reconsider many theological convictions. For one, I’ve changed my mind regarding the doctrine of eternal punishment and have become agnostic on several other doctrines as well. I’ll deal with these in the future because I, well, I feel like it. It would feel weird to offer up my views at the beginning because, well, I change my mind sometimes and I don’t like getting on your good (or bad side) this early on. So there’s that.

But I can tell you about some major theologians who have had a profound influence upon my reading of Scripture, specifically about Paul. This is by no means exhaustive, but a mere survey.

Philip Payne has written a marvelous book, Man and Woman, One in Christ, that exhaustively argues for an egalitarian reading Paul. I found that it resolved some strong tensions and I’m always struck by what I learn upon further readings. A knowledge of Greek is helpful, but Payne explains everything so you learn a lot by, well, learning a lot.

Raymond Brown, the late great Roman Catholic New Testament scholar, really piqued my interest in the Christology of the New Testament with his short introduction to Christology. While certainly mainline and skeptical about some aspects of the New Testament, Father Brown was always fair in how he presented his exegesis. I miss him dearly.

Who else? Ah. F.F. Bruce. A theologian my father turned me onto early on. Bruce was the great conservative who somehow managed to annoy many conservatives. He was skeptical of Pauline authorship regarding the Pastoral Epistles, which are 1-2 Timothy and Titus, but he was very much about the evidence. A theologian for the church, I miss him dearly. May he sleep in peace until that great Day. 


Well, since this podcast has been relatively biographical and introductory and probably boring, I figure I’ll list off my top five favorite rappers. To make it more difficult, I’ll pick those among the living, and in no particular order…

This is not to suggest that these are the greatest rappers of all time. Just some personal favorites.

Fifth, Lupe Fiasco.

Fourth, Hopsin and Tech N9ne, because I can’t decide and won’t leave them off the list.

Third, Ice Cube and Lady of Rage, because I refuse to decide. Afro Puffs.

Second, Game (300 barz, no lie).

Eminem is number one for me. Why? Because Game says so.

Putting them here does not mean I endorse everything they say, or like everything they say. Its because of their technique, flow and ability to work with a good beat. Also, this list is subject to change in case they resurrect Tupac.

Also, for recommended Podcasts, check out Rethinking Hell. You can find them by just googling them in the Internets or in iTunes. A great group, one that I am involved in.

Well, that’s episode one. Thanks for listening and suffering through the learning process with me. I hope to do at least three episodes a month, maybe a few with some friends should they act right.

Until we meet again,

NQ

Saturday, December 14, 2013

Eminem's "The Marshall Mathers LP 2" -- A Review

Well this has been a long time coming. Eminem hasn't always been a welcome addition to my musical library. When I was 16 I used to hide The Eminem Show under my pillow like one hides a naughty magazine. So I've been a pretty big fan for about a decade, and took the time to listen to every album released.

I offer a brief sketch of his (single) studio works in order of worst to best, excluding of course MMLP2.

Infinite -- while certainly entertaining in a "aww how cute look how far you've come" way, most of the album listens as well as a metal scrub brush.

Relapse -- it may just be me, but this album struck me as incredibly out of place in regards to Eminem's story. Coming out of addiction and depression, and to release this album felt like a bit of a slap in the face. Plus, the really obnoxious accent he brought back wasn't welcome in the first place for me. However, Beautiful is one of my favorite tracks and highlights the needless addition of the other 19 songs.

The Slim Shady LP -- this may get me in some trouble, but I didn't care for this album when I was in my prime immature stage. Despite the borderline obnoxious tone, I still find it in my heart to enjoy My Name Is.

Encore -- most likely the most schizo Eminem has ever been, with half the album sounding like a confession and the other half sounding like a series of raps designed to appeal to children. Still, Mockingbird, Never Enough, Like Toy Soldiers and Yellow Brick Road remain among some of my favorite tracks.

The Marshall Mathers LP
-- I didn't listen to the entirety of this album until a few years ago. I must say, listening to this all the way through helped. The Real Slim Shady, The Way I Am, and especially Stan offered a serious of dark tracks packed with emotion. I will admit that much of the content has made me uncomfortable as of late, and I have never been able to listen to Kim; I find it too emotionally traumatic.

Recovery -- this is the album I wish Eminem had released instead of Relapse. While certainly not in his lyrical prime, Eminem nonetheless shows a strong introspection that was sorely needed in Relapse. My favorite tracks include Not Afraid, No Love, Space Bound, Cinderella Man, 25 to Life, Talking 2 Myself and Love the Way You Lie.

The Eminem Show -- frankly, this album was the one that hit me square in the head. Combining the hit-or-miss introspection in his previous works with the aggression needed to hit my adrenal glands, Em simply nailed this one. A perfect mixture of rage and regret. 'Til I Collapse, White America, Business, Cleaning Out My Closet, Sing for the Moment and Without Me are still on my main Em playlist.

Onto the actual MMLP2 review.

The way I structure my film reviews doesn't really work here, so I have created something new. Hope you are able to track with me.

THE CROWN

Flying above the album, judging it from a special perspective, the album is fairly strong. It includes a mixture of tracks and perspectives, and doesn't overstay it's welcome. While I find myself cringing during certain tracks, overall my thoughts are generally positive. I won't be speaking on every single track, as I prefer to focus on the best representations of each category.

THE GOOD

The highlights are several fold. Eminem's lyricism and introspection are welcome as usual, and he delves into deeper territory than before.

Before I can jump into the specifics of the album, I must begin with the opening track, Bad Guy. A sequel of sorts to Stan, this track is the most difficult one to sit through, and is thus the most rewarding. It sets the stage for the remainder of the album. While I don't want to spoil it too much, the finale completely subverts a majority of his rapping career in terms of themes. The homphobia, misogyny, all of it is presented as something he is now entirely aware of. The final two minutes is the most self-eviscerating and scorching minutes of music I've ever heard. Its simply something waiting to be experienced, and you do yourself a disservice if you miss it.

Legacy, with its haunting chorus, is a strong compliment to Eminem's reflection of bullying in his past. Nostalgia suits him well, and we're given glimpses into his childhood.

While Survival isn't particularly innovative like Bad Guy, the rock track works nicely and helped me press twenty extra pounds while at the gym. So it suits itself well, and I find myself enjoying it.

Berzerk, as I mentioned a while back, took me a few listens to get it. Once that happened, its become one of my favorite tracks. The energy and free-falling fun is far too fun to ignore. Rick Rubin nailed this one.

Rap God is another track I reviewed and my opinion has grown. It is lyrically insane and the beat works nicely while running. His 97 minute blitzkrieg in 15 seconds is, well, something to behold.

Stronger Than I Was is an incredibly vulnerable tale of Eminem and his wife Kim. The vitriol is largely absent and this almost reads like a letter of regret to someone who hurt him. The openness reveals the humanity behind the guy who wrote Kim. While hope is in short supply, the track is revealing and the sung chorus is laden with emotion.

In the same way, Headlights (sung by the dude from fun. so don't let that be a negative) nearly had me in tears, I can't lie. My wife, who enjoys some of Eminem, found it incredibly moving. So, just keep a tissue nearby.

So Far … is funny and, well, just damn odd. Its a clear throw back to Slim Shady. It depends on how much you enjoy Slim. I don't like him, but this had me laughing, especially with the country vibe.

While The Monster isn't as good as Love the Way You Lie, Rhianna always sounds nice when paired with Eminem.

THE MIDDLE

Asshole is one of those tracks that probably sounded great on paper, but doesn't lend itself to multiple listens. The throw back to his rapping past where he was, well, an asshole isn't really worthwhile. But, that said, the beat is beastly and Skylar Grey is good as usual.

Eminem sings on Rhyme or Reason. While I enjoyed the chorus interpolation, the lyrics are relatively uninteresting and I haven't found myself listening to the track again. Of course, his references to his father provide a bit of food for thought.

Brainless is curiously listenable, even though I hated hated hated it when I first heard it. The story telling of Eminem's past is intriguing, but the beat really bothers me still.

Love Game is most like the most offensive track in regards to Eminem's view of women. The sexualized lyrics aren't atypical of rap, but they feel out of place. That said, holy crap some of these lines are hysterical. Kendrick Lamar echoes Eminem nicely, and this brings to mind Kendrick's freestyle that got him in hot water.

THE BAD

Parking Lot is annoying, even if one understands the context of the skit. Its simply unnecessary.

So Much Better claims a pretty epic beat, but the tirade against a woman (lover? general women?) is tired and eye-rolling. Likewise, Evil Twin is Slim Shady gone wrong.

CONTEX/NT

While the homophobia and misogyny is unneeded, Eminem shows an acute awareness of this. Instead of being an album that celebrates such things, at most all we can claim now is that he is inconsistent.

END

Despite some severely obnoxious tracks and unfortunate content, Eminem nailed this one. The introspection has been lifted almost to center stage and Eminem's production is unique, curious and most often compelling. Lyrically and technically, he's as good as he's ever been and in the case of Rap God and Bad Guy, far greater.

Where does MMLP2 fit into my above scale of worst to best albums? I'd stick it as better than Recovery and beneath The Eminem Show.

4 stars out of 5.

--Nick

Wednesday, October 23, 2013

Eminem's Rap God, A Brief Review

After the odd beginning, the beat drops. The galloping flow (I'm not experienced with the specific term, but it fills like Em' is leaping while rapping) is stunning, even if you are an Eminem fan. The swirling beat is welcome, if a bit obnoxious and repetitive. Aside from the technical gymnastics present in each verse, the chorus took a few takes in getting used to.

In fact, I think I could do without the chorus as it is presently being replayed on radio. The lack of a guest star (2 Chainz cough) is a nice change of pace.

Overall, aside from a 'meh' chorus, Rap God is a blistering fun track. The zingers about Bill Clinton had me laughing, which is always a nice touch.

3.5 out of 5.

--Nick

Sunday, September 29, 2013

Eminem's Berzerk, A Brief Review

Produced by the legendary Rick Rubin (99 Problems for Jay-Z), 'Berzerk" is a hip-hop goldmine of classical rap, bewilderingly anarchistic and gleefully giddy.

The feedback in the beginning threw me for a bit of a loop before catapulting us into the track full-force. Sampling the Beastie Boys 'The New Style' and 'Fight for Your Right', as well as the Billy Squier's 'The Stroke', Eminem is clearly shown he hasn't passed his prime.

Oddly, the first time James sent me a link to this track, I wasn't feeling it. Mostly because of everything I wrote above. It's old school, aggressive, full of piss and vinegar. I simply wasn't expecting this from Eminem. Now, I'm in love with the track.

The chorus is beastly, pure bombastic hip-hop, jamming like it's got nothing else to do. Fierce, aggressive, and in love with the past, 'Berzerk' is simply a beast of a track. I'm now fully pumped for Em's next single.

Five Stars out of Five.

--Nick

Wednesday, November 28, 2012

30 Days of Thanks: Day 28

I was listening to some radio hip-hop (Lil Wayne, 2 Chainz, Tyga) on my drive to the gym, which of course made me thankful for the following comment:

I'm thankful for intelligent hip-hop. Lupe Fiasco is my current fix, but folk like Common, Childish Gambino and Public Enemy make me content to own an iPod instead of being stuck with 2 Chainz.

You?

--Nick

Sunday, September 30, 2012

DMX "Undisputed," a review


DISCLAIMER

The structure of this review will not take each track in order, but will instead lump the necessary tracks all into various categories: Hits, Mixed, Misses.


INTRO

I should explain my history with X. I first heard him through the headphones of a movie theater manager named Matt, and when I asked him who he was listening to (I had just heard of this person named 'Biggy') he simply turned and looked at me and said:

"You ain't ready for him."

I really wasn't. I went and asked my best friend Holland who X was, and he gave me the same response. I suppose being known as "the spiritual guru" at the theater may have created a few earned thoughts on my musical preferences.

Well, when I first sneaked a listen to X, I was instantly hooked. Ruff Ryder's Anthem. I mean, the song was deplorable, but every time I heard it was at the theater (a deplorably awesome time in my life) it became a hidden sound track to my life. Since then, I've gotten all of his albums and listened almost religiously.

It's been over five years since X released a studio album. Does X bring it back?

HITS

What They Don't Know brings the heat. X starts barking and growling over the sounds of trumpets and saxophones. The lyrics aren't particularly deep, but references to Deebo and Cee-Lo made me chuckle.

Cold World ft. Adreena Mills is a bomb track. Adreena can sing, man can she sing. The lyrics aren't as probing as I would've liked, but her singing voice is angelic. X tries keeping a low bass rap that works well with the piano and low-end production.

I Don't Dance is a highlight for me, and it features Machine Gun Kelly, one of my favorite rising rappers. The song is X channeling Party Up, setting the club on fire. The song also has some killer lines in the chorus about X dancing. Which had me wondering how that would look.

Get Your Money Up is X back in his natural flow. A barking aggressive track where X finds his groove. What!

Already is another highlight. X's barking works with the beat, the bass booms and the backing synths and tone are a symphony of beauty. X is hot here.

MIXED

Sucka For Love has Dani Stevenson doing a great job setting the stage, with guitar work that reminded me of RHCP. However, X sounds a little tired here, and his voice sounds off. Closer to Scarface than X. Which is cool. And X equates love with big butts. I'm sure the two aren't mutually exclusive.

I Get Scared is a decent confessional, but X's opening barking and growling were, for me, distracting. I half-expected Young Jeezy to pop out instead of Rachel Taylor. She is awesome. X is at his best when he is reflective, but he doesn't come close to A Minute for Your Son. Also worth noting is that the album is notoriously missing a tough female MC.

Prayer is a staple of X's material, often opening and ending an album with him praying to God. As usual, it is passionate but still feels out of place. I wish X had done more of this thematically throughout the album.

Have You Eva is yet another track of X moving slow. X can definitely pull it off, but he sounds like he's trying to write a radio hit here, and it doesn't work that well. The guitar and clapping reminded me of Love The Way You Lie by Eminem. Its a solid if unremarkable track.

MISSES

Looking Without Seein' unfortunately has excellent production, but X sounds like he's trying to pull a Drake. Singing slow has never been X's strong suit, and it doesn't work here.

Slippin' Again doesn't work at all. X sounds tone-deaf. The beat is slow, and X is still growling.

I'm Back is too slow of a song for the energy X puts into it. The production would work better if X wasn't as into it. He sounds too fast for the beat.

Frankenstein's production sounds like it was made on a laptop. The chorus is annoying and X's voice sounds like the volume has been pumped up. By far one of the worst tracks on the album.

Fire, F*ck You B*tch and Love That B*tch all suffer from sounding the same, and being roughly similar in content. Each is boring and unnecessary.

OUTRO

Already is the seventeen track on Undisputed. Three tracks follow, and they are all similar and weak. Already was a major highlight of the album, and the following three tracks needed to be cut and dropped.

Overall, this album is not as bad as Relapse (which had one good track, which was Beautiful), but it is a mediocre album compared to X's previous work. However, there are enough sparks in here to warrant some hope for the future. What is good is really good. What doesn't work really doesn't work. Eminem started with Relapse and moved to Recovery, one of my favorite albums.

I'm expecting X to really come back soon.

3 out of 5. 

--Nick

Thursday, May 10, 2012

Dual Impressions, "Lecrae's 'Church Clothes' review"


In time for Lecrae's new release, James and I recorded this podcast earlier this evening. Check it out. We delve into the album as a standalone piece, Lecrae's evolution as an artist and the controversy surrounding his "assimilation" into the mainstream of hip-hop.

Mild spoiler:

The album doesn't suck.

Dual Impressions/Lecrae's Church Clothes

--Nick

TCM, "Lecrae, Gospel & Culture"

Calvin Moore, Matt Jerles and others go in on this informative podcast about Lecrae's latest potent and mildly controversial mixtape.

TCM Roundtable

--Nick

J.F. Arnold, "Lecrae, Church Clothes, and Mainstream Attention"

My boy James wrote this. 


James:
Over at XXL Mag, a hip-hop oriented magazine, Lecrae was interviewed about his mixtapeChurch Clothes, which is set to release today, May 10th. I’ve watched a couple of debates on the topic already. People tend to land in one of two places: either Lecrae is doing God’s work by making music that will reach more people, or he has lost touch with the Gospel and forsaken the name of Christ.
On one side of the argument, folks say that Lecrae’s recent decisions–performing in the BET Cypher, releasing a mixtape with DJ Don Cannon, and appearing on an album by secular producer Statik Selektah–give Lecrae a unique position to spread the Gospel. His music will reach a broader audience, and while his lyrics may not explicitly present the Gospel itself, his songs will end up pushing people to learn about him, about his ministry, and about his Christian life. This is an approach often talked about it terms of ‘gateway music’: Lecrae’s music will bring people into the sphere of Christian hip-hop, and then they can hear the explicit Gospel. 
The other side suggests quite the opposite: by stepping away from producing tracks that explicitly proclaim the Gospel, many say that Lecrae has forsaken Christ and lost his sight. The moment Lecrae talks about seeking to be authentic hip-hop, grouping himself with the likes of Brand Nubian, Wu-Tang, and Lupe Fiasco, he seems to be placing hip-hop above Christianity, at least in certain respects. The assumption here is that music produced in such a way that it does not convey explicit Christian doctrine is not God-honoring. 
I’ll admit, I tend towards the former position. 
For the rest, click HERE.
--Nick

Saturday, May 5, 2012

Common, "Blue Sky"

One of my favorite songs and music videos from last year. The emerging track, the lyrics, the flow, everything works mellow like La La.


Check it out!

--Nick

Friday, March 2, 2012

Sunday, February 26, 2012

Dual Impressions #20, or why I should not review music when sick

I write music reviews for The Christian Manifesto, and often my friend J.F. Arnold and I go in on an album together at Dual Impressions and give our thoughts. We reviewed High Society Collective's Circa MMXII. It's a decent review of an above-decent album, but the final minute is pretty funny. Feel free to skip ahead. I just did.

Dual Impressions, High Society review

Enjoy!

--Nick