Podcasts about kendrick lamar's to pimp

In this episode, Wellington and Savon review Kendrick Lamar's 2015 masterpiece To Pimp A Butterfly, how the album was ahead of its time and Kendrick's cultural impact and unique storytelling. They also review the 10-year anniversary of Drake's Thank Me Later, how this project shaped the beginning stages of his rise and up-and-coming Mahalia's Love and Compromise Review. In the second half, they're joined by special guest Serge Privert, a current college classmate of Wellington's to review Just Mercy, the 2019 legal drama directed by Destin Daniel Cretton, starring Michael B. Jordan, Jamie Foxx, and Brie Larson; before Savon has to make an early exit. They discuss the social injustice and truth being humanized, Michael B. Jordan and Jamie Foxx's stellar performances, and how both of their careers have had differing but still amazing paths.

For whatever reason, Tony's finger has always been miles away from the pulse when it comes to music. After every music critic shared their "Best of the decade" lists it became woefully apparent that he had a bajillion blind spots. To remedy that, Matt put a bunch of "best of" lists through a statistical gauntlet to come up with a consensus on what the top five records of the decade were: Robyn's "Body Talk" (2010); Kanye West's "My Beautiful Dark Twisted Fantasy" (2010); Kendrick Lamar's "To Pimp a Butterfly" (2015); Beyonce's "Lemonade" (2016); Frank Ocean's Blonde (2016). Matt and Tony talk about why Tony hadn't engaged with these or other big albums from the last decade, the secret shame of not knowing the work of personalities who loom large over our cultural conversations (looking at you, Kanye and Beyonce), and what connected all five of these records in defining the 2010s.

The musical Avant-Garde in general and Avant-Garde jazz, in particular, have either misleading or no connotations at all for most listeners (and non-listeners.) Say the words "free jazz," and most will think of musical anarchy—sonic chaos. And then they'll run for their lives. But when you consider the most prominent practitioners of so-called "free jazz"—the likes of John Coltrane (late period), Ornette Coleman, and Cecil Taylor—one thing should be clear: these are great musicians. So before you run, at least consider why they might be doing what they do, and what they're really doing. And also consider some of your favorite mainstream music may be imbued with musical ideas brought into the world by the so-called Avant-Gardists. The Choice By definition, there is not much in common in the music of artists like John Cage, John Coltrane, Edgar Varese, and Sun Ra. They are, after all, musical outliers: they don't hang out in the same clubs together. But all of them do have one thing in common: they made a choice, somewhere along the line, to create their own musical languages. Making such a choice can, of course, be artistically and personally dangerous, leading to ostracization within the artistic community, derision by fans, and diminished employment opportunities. So why do some do it, where others are satisfied to work solely within the "accepted" musical frameworks, seemingly passed on down for generations? Here's the thing: what we think of as the "accepted" frameworks are almost always languages created by some bold musical soul in the past. Now, I will be the first to admit that we will probably never walk around humming Cecil Taylor or Schoenberg tunes. This music is too extreme in its willingness to push boundaries to become part of the popular music culture in its own right. Seeping Into the Mainstream But these extremes of musical expression, if they are any good, do enter the musical lexicon, even if we're not consciously aware of them doing so. They have a way of filtering down into more mainstream forms, enriching them with surprising turns and details. Listen to the experimental elements in later albums by the Beatles, like Sergeant Pepper's, then go check out modern "classical" composers like Edgar Varése or Karlheinz Stockhausen. The Beatles did. Or, as a more recent example, check out Kendrick Lamar's To Pimp a Butterfly. Then check out late Coltrane,or Ornette Coleman. And movie music? Psychologically challenging scenes would be nowhere without Arnold Schoenberg's serialism. To be sure, Schoenberg created his twelve-tone system for reasons that had nothing to do with Hollywood (though ironically, he ended up living there) but the point is that once these new musical languages are let loose into the world, they find many "uses" beyond the composer's original intention. They simply add to to the ever-growing musical palette. So before you run away from the Avant Garde, seriously consider what it has given us. Artists Mentioned in this Podcast: Cecil Taylor: Conquistador certainly gets right down to it. Cecil's pianistic language is so distinctive as to be recognizable in about 3 seconds. If you're looking for traditional song structures, tunes, recognizable chord changes, etc., you've come to exactly the wrong place. But, try to get through it. There is a structure there, just not one you're used to. And, more importantly, it's simply beautiful music by an oft-maligned genius. Late Beethoven: I mentioned the Great Fugue(Grösse Fugue) in the podcast. It is really a strange and difficult piece of music. Fugues, in general, are intellectually challenging, and this is what's known as a double fugue (two themes interacting.) Also, check out Hammerklavier. The first movement is particularly challenging; the 2nd highlights an interesting trait in late Beethoven wherein he seems to be hinting at a swing (jazz) rhythm. What's up with that? Late Coltrane: Interstellar Space, is one of the last things John Coltrane recorded. It' a suite with just him and drummer, Rashied Ali. To say the least, it's relentless and challenging. But even as Coltrane was always pushing boundaries, there is always something of his lyrical side here. Carlo Gesualdo: The madrigal, Moro lasso al mioduolo, is so strange, and harmonically ahead of its time that people probably thought the composer was crazy. And he probably was. Edgar Varése: Perhaps Poem Eletronique sounds like so much noise and effects to our ears—sound design in modern terms, and pretentious sound design at that. But while it may not be something you put on to chill (or sing along with) it does prove my point about sounds of the Avant-Garde being incorporated into the mainstream. So you can easily hear elements of this being incorporated into a "chill vibe" if not being a very chilly vibe itself. I don't' know if that's good or bad. It just is. Follow: Podcast Homepage Episode Transcript Subscribe on Apple Podcasts Bandcamp Page Patreon Page Twitter Peter Saltzman Website Facebook Contact: info@petersaltzman.com

What follows is one of our favorite interviews we've recorded this year. Seriously. It's with an artist you probably haven't heard of. His name's Tom Scott. He's from New Zealand. He's been a rapper there for about 10 years now, he's one of the biggest role players in the small, burgeoning scene there. Last year he created the group Avantdale Bowling Club and released a self-titled record for the group. It combines jazz with hip-hop in the same way Kendrick Lamar's To Pimp a Butterfly did. It's lush and beautiful like Pharoah Sanders or Alice Coltrane. Tom's rhymes are deeply personal and affecting and honest. It's one of our favorite albums of the year. Don't miss this one!

Welcome to another episode of OPPThis episode features Sacramento native Cole Cuchna, host of Spotify’s 'Dissect' podcast. Dissect does long-form deep dive musical analyst on some of your favorite albums. Cole has examined modern classic albums like Kendrick Lamar's ‘To Pimp a Butterfly’, Kanye West’s ‘My Dark Twisted Fantasy’ and Frank Ocean’s ‘ Blonde.’In this interview we get to to learn more about Cole, how he got into podcasting, his new role at Spotify, and the makings of 'Dissect'.LISTEN TO 'DISSECT' NOW ON SPOTIFY, APPLE & STITCHER.FOLLOW 'DISSECT' ON INSTAGRAM & TWITTER.Follow OPP on INSTAGRAM AND TWITTERFOLLOW COREY ON INSTAGRAMLISTEN COREY'S OTHER PODCAST SILENT GIANTS ON APPLE OR SPOTIFYThis episode was mixed by Mark Byrd.Music by Richie Quake. See acast.com/privacy for privacy and opt-out information.

Today we're talking to Cole Cuchna, creator and host of the Dissect Podcast. He performs musical analysis (just like us!) by going track-by-track through albums, breaking the format into short, easily digestible episodes (not just like us!).  The first season featured Cole going through Kendrick Lamar's To Pimp a Butterfly, and the second will continue with Kanye West's My Beautiful Dark Twisted Fantasy. Chris and Travis sit down with Cole to get his StorYe: When he first heard Kanye West, how his relationship has evolved since then, and what it was like to intricately dissect one of the most important hip hop albums of all time. If you would like to support the show, visit our Patreon page.