-The Guardian
The video for Kendrick Lamar’s latest single, Humble, opens with the seven-time Grammy winner bedecked in papal robes. Later he pontificates about his supremacy in a scene reminiscent of Da Vinci’s The Last Supper. It is not the only rap imagery inspired by the 15th-century painting to be released this year; the cover of Stormzy’s February debut Gang Signs & Prayer sees the Croydon MC hovering over another ominous feast, his fellow diners’ faces hidden behind balaclavas.
Meanwhile, Freddie Gibbs’s latest record, You Only Live 2wice, hammers home the implications of its title with a painting depicting the Indiana rapper as a Christ-like figure, floating above his camera phone-wielding followers. On one level, Kendrick and co are positioning themselves as modern-day deities – a stance that aligns neatly with society’s belated recognition of rappers as cultural giants. Yet the slew of religious imagery in modern hip-hop goes beyond bravado.
Of course, God has been omnipresent in rap from the beginning, when Grandmaster Flash referenced him in The Message. But where earlier allusions to Christianity were often relegated to single lines or odd tracks, the new generation of MCs are pushing religion to the forefront of their music and using it to explore their psyches.
Kanye West’s follow-up to 2013’s Yeezus (no guesses there), The Life of Pablo, was inspired in part by Paul the Apostle. Chance the Rapper’s Coloring Book – SoundCloud’s most popular album of 2016 – is an overt reimagining of gospel. Stormzy’s aforementioned debut album repeatedly references his faith, while evangelical themes are also the bedrock of Kendrick’s career. His breakthrough album, Good Kid, M.A.A.D City, is built around the sinner’s prayer and his magnum opus, To Pimp a Butterfly, loosely manoeuvres through conversations with Satan and God.
In recent years, both the sound and subject matter of rap have opened up, putting to rest the idea that the genre presents a singular, easy-to-define experience. By placing their faith among rap tropes, these artists are drawing attention to the multifaceted lifestyle of modern believers. Yet this newfound self-expression is by no means limited to the exploration of religious beliefs. From the swathes of Drake-influenced “emo rap” dealing in black, male pain and queer-identifying rappers such as iLoveMakonnen or Young M.A, new voices are telling their stories directly, with nuanced detail. Sure, a level of braggadocio remains, but between the boasts is a simple message: we’re showing you who we are.
No comments:
Post a Comment