deep dive

an ode to patience (ryan beatty’s dreaming of david)

The sophomore release from the contemporaneous artist Ryan Beatty sees this musical ingenue challenge the traditional pop sound by meshing together various influences while still discovering a new sound of his own. This work, Dreaming of David, follows the release of Beatty’s critically-acclaimed debut album Boy in Jeans and tells the intimacies of (queer) love through the lens of Beatty’s own lived experiences. It has this haunting, eerie, yet otherworldly sound that encapsulates you in the story Beatty unfolds before you. I think that it is certainly one of the best albums of 2020, and there is a lot to be discovered with every listen.

(5)

The seemingly new artist Beatty has had a long yet complicated relationship with the music industry. After finding his initial success as a new-wave Justin Bieber and being marketed as a new teen heartthrob, he spent his teenage years working on music under this image and with Radio Disney (1). However, after much thought and agonizing, Beatty cut ties with his old management, came out as gay, and started to explore what it was that he really wanted to pursue musically. This initial sense of reclaimed freedom led to the conception of his debut album Boy in Jeans which is an intimate chronicling of his discovery, acceptance, and celebration of his own identity. Throughout this time, he also collaborated with his newfound friends Kevin Abstract and BROCKHAMPTON, musical individualist Tyler, the Creator, and well-known producer Benny Blanco (2). These projects ranged from Abstract’s ARIZONA BABY, BROCKHAMPTON’s Ginger, Saturation II, and Saturation III, and Tyler, the Creator’s Igor (3).

After finding his voice in Boy in Jeans, Beatty looked toward how to further his sound in this sophomore endeavor. In this regard, he worked heavily with producers Daniel Fox and Austin Anderson, who play in the band Slow Hollows, to create this moody, heart-baring album that seems to carve out Beatty’s innermost thoughts and transform them into heavenly sounds. This 12-track album that pushes the limits of the pop sound was released on January 31, 2020, after being worked on for two years– before his debut album was even released (1). The sound is a unique blend of tender vocals with iridescent production that calls back to the work of his frequent collaborators BROCKHAMPTON as well as the candid lyricality and genre-pushing production of Frank Ocean. The tracks touch on themes of love and longing, complicated relationships, and the queer experience with deeply personal lyrics and an even more intimate production.

(5)

Personally, there is a lot about this album as a whole that I really love. I remember the first time I listened to a song from this album I was hooked by its incredibly touching sound and message. It provided a sort of comfort in a tough and lonely period of my life that I really appreciate it being there for. I think there is something ethereal about the way Beatty and his producers worked on his vocals with the various effects of layering, pitching, and more to create this all-encapsulating and “atmospheric” sound as Beatty describes it (4). The songs really can feel like wrapping yourself in a warm, fuzzy weighted blanket and letting the sound and story wash over your whole being. Other times, the songs can feel like levitating through the clouds or letting yourself go surrounded by the people you love. The difference each song can hold while still all coming together to make one cohesive record is one of my favorite things about this album and other albums like it.

Artists like Beatty have a genuine passion for making staunchly individualistic sounds and carving out a personal space for their voices which is one of the most beautiful things about music and all art forms. In fact, when Beatty was describing the creation of this album and its namesake, he compared it to Michaelangelo’s David: “To me, it felt like I was staring at marble and I was constantly chipping away at something. I could see what was inside but it took me a while to shape it into what I wanted it to be” (2). This care he took with the construction of this album can be seen in the fine details of its conception; while the beats and synths can seem very disordered at times, each one has its place and has been meticulously placed by Beatty and his producers. He even said that creating this album was a process that taught him “perseverance, patience and to listen to the world around me” (3). When you listen to each of the songs on the record, you can notice and feel the extra care he put into making sure everything came together just right. It is truly a beautiful album from beginning to end.

a beacon of emotion (sza’s sos)

Five years after the release of the monumental album Ctrl, critically-acclaimed artist SZA comes back with a brand new album for her patient and eager fans. Building on the themes laid out in her debut album, SZA’s SOS is an album overflowing with cutting, raw emotion that takes the listeners on an emotional rollercoaster as the singer-songwriter works through intensely-felt emotions in song. From a desolating, vast sadness to a wave of fiery anger, SZA’s sophomore album showcases her growth as a singer and as a songwriter as she captures the rawness of these emotions perfectly, transporting listeners to the vivid landscape of SZA’s mind, soul, and heart. It has just reached 6 weeks at Number 1 on the Billboard Top 200, and it is incredibly well-deserved (4).

Released on December 9th, 2022, SOS sees the singer-songwriter dive into the vast depths of the human condition while also exploring various genres and sounds. With a 23-song tracklist and a run-time that’s over an hour long, the album is a whirlwind journey braving the hurricane of emotion. This album is a major departure from her debut album: it’s less cohesive, it’s more experimental with various different sounds, and yet, it demonstrates SZA’s tremendous growth as an artist. In the five years between Ctrl and SOS, SZA did not slow down at all. From penning over a hundred songs for this album to singles, collaborations (musical and more), and videos, she has kept incredibly busy during this time (4). Some highlights include the award-winning collaboration with Kendrick Lamar “All the Stars” for the first Black Panther movie, the Grammy award-winning collaboration with Doja Cat “Kiss Me More” which was the song of the Summer of 2021, and the release of the captivating singles “Hit Different”, “Good Days”, “I Hate U”, and “Shirt”. Her continued success during the five years is a testament to her irresistible talent as well as the insatiable hunger of her fans for her art.

The album itself is an amalgamation of experiences and feelings scrapbooked together to create a sonically stunning final product. She described the sound of the album in People Magazine as “a little bit of literally everything. It’s a little angry as an overview, but some of it is really beautiful and soft and heartfelt. It’s about heartbreak, it’s about being lost, it’s about being pissed” (2). With contributions from “Don Toliver, Phoebe Bridgers, Travis Scott, [Lizzo,] and The Wu-Tang Clan’s Ol’ Dirty Bastard”, SOS exists as a labyrinth with something new around every corner (1).

There was a lot to love about the album: its fresh, yet familiar sound, the ability of each song to encapsulate a story and emotion perfectly, the unexpected collaborations (hi Phoebe Bridgers), and so on. Going deeper though, I loved the parallel between the difference in sounds throughout the album and the different, visceral emotions one experiences when battling through a warzone of self-doubt toward peace. SZA’s pen while writing this album was unbelievable yet completely on-brand. She has this uncanny ability to evocate an experience most potently and vividly as possible while imbuing brevity and humor throughout. She knows exactly what her voice is and how to use it effectively. It’s incredibly unique and calls upon the abilities of the legends of the R&B past. SZA’s creativity is boundless. From referencing herself in “Love Language” by repurposing the chorus of her previous single “Hit Different” to her incredibly poignant and beautifully strung-together lyrics in each of her songs, she continues to transform as an artist.

Additionally, I loved the arrangement of the album. Bookending the album with the tracks “SOS” and “Forgiveless” feels like an intentional choice as both songs serve to remind listeners, and herself, that though she suffered through droughts of self-love and periods of self-doubt, ultimately, she knows her worth. Beginning the album, in “SOS”, she, first and foremost, lets her haters know that she is back and that she’s done playing around; simply put, “No more fuck-shit, I’m done” (5). But she also affirms herself and her worth as she sings “Damn right, I’m the one” (5). It prefaces the album perfectly and sets the tone: though the next hour of listening will be overpouring with devastating and terrifying emotions, she has survived and grown to become the person today that can write, record, and perform these songs. She is the one, and we, as listeners, should not forget that. Then to close off her heartfelt album, she reminds listeners again of her growth and that she’s “not in the dark anymore” (6). Through it all, she has found the ease she has been seeking, and now, she’s choosing to “center peace” (6). And though these are SZA’s personal lessons she has learned and is sharing, there is something here in this story for everyone to take a page out of and keep: you have to learn to trust in yourself and all of your capabilities. This is a persistent thread throughout the album. SZA professes to her faithful listeners that, sometimes, it is incredibly necessary to put yourself first. From “Low”’s “I’m moving selfish” to “Conceited”’s “‘Cause I’m bettin’ on me”, learning to trust and rely on yourself amid the feelings of self-doubt, self-loathing, and self-pity is a subtle yet major theme of the album that I couldn’t have needed more (7, 8). Overall though, this album feels like a cathartic shedding of the baggage she’s been holding onto, and it’s really moving to see someone be able to work through their issues so candidly. SZA’s SOS may be titled after a cry for help, but it is far from a sign of defeat. Conversely, it demonstrates the incredible growth she had to endure and persevere through in order to perfectly explicate these complex emotions. It showcases the strength and courage she has forged through her endeavors. Most of all though, it perfectly encaptures her ever-expanding talent and artistry. SOS reminds listeners that though they have survived some incredibly testing times, peace is on the horizon.

This album came at a perfect time for me; I remember it vividly. It was the Thursday before finals week, and I had just gotten through another long and stressful week, but at midnight, SZA was going to make her official comeback. Despite my exhaustion, I stayed up until the clock struck midnight (envious of fans around the world where midnight had already come and gone) to listen to the whole album as others did so at the same time. That full hour and eight minutes, I was rattled and shaken to my core. With each song, I knew that this album would quickly become one of my favorites– and I was right. I was also reminded of why I love music; it builds a community with people you’ve never met– and likely never will– and links you all through the shared experience of the song. From that night on and through the next week, I listened to the album nonstop, and I mean that literally. I had it on repeat as I studied for and got through finals week and then some. It was such a calming experience to let all of the powerful emotions wash over me as the lessons of trusting yourself stayed and found a home in my heart. It quickly became my most-streamed album of the year (quite difficult considering I had listened to over 100,000 minutes of music) despite being released in the twilight of 2023. Some of my favorites from it as of right now are “Blind”, “Low”, “Ghost in the Machine”, and “Forgiveless”. It’s a very special album to me, and I am sure it will continue to find and hold meaning as I carry it with me through the years. As I continue to find my way through this life, I will hold SZA’s message close to my heart and always keep “good days on my mind” (9).

reflecting on rihanna (rihanna’s anti)

On October 28th, 2022, multi-hyphenated talent Robyn Rihanna Fenty– known mononymously as Rihanna– returned to the music scene with a song for the soundtrack of the upcoming Marvel movie Black Panther: Wakanda Forever. The song, “Lift Me Up”, is a tribute to the deceased actor Chadwick Boseman who played the role of King T’Challa, the Black Panther, in the first movie. A moving song with heartfelt lyrics and a comforting softness to it, “Lift Me Up” was a fitting tribute song. With this new release though, I wanted to look at where Rihanna left off in the music scene back in 2016 with the release of her eighth studio album ANTI.

Released on January 28th, 2016, ANTI by Rihanna was a stellar album that saw the artist explore the depths of her sound and vocal abilities to construct a body of work that feels representative of Rihanna in her totality. Speaking in an interview with MTV about the album, Rihanna said that “I just wanted to focus on things that felt real, that felt soulful, that felt forever. … I want to make songs that are timeless.” (1). Now reflecting on this album six years after its release, I can assuredly say that she definitely flourished in her goal. These songs– with the exception of “Work” which, like most radio hits, became a monument of the time period it was released in– haven’t aged one bit. As her first album after signing to rapper Jay-Z’s entertainment agency Roc Nation, she took full advantage of her new home by taking the reigns on this album. As the executive producer and co-writer of essentially all of her songs (“Same Ol’ Mistakes” is actually a cover of Tame Impala’s song “New Person, Same Old Mistakes”), this album saw the veteran artist genuinely get to have some fun and discover what it means to her to create music that felt like forever.

Singing about the universal themes of love and connection, this album seems to encapsulate all the different shades of Rihanna. From her soft and vulnerable self on tracks like “Close to You” and “Higher” to her confident, femme fatale self on tracks like “Pose” and “Sex with Me”, they all coexist as one on this album. In addition to this thematic contrast, there also lies a delicate dichotomy between the more beat-driven tracks and the balladic songs. This variety and richness of the album are what make it so timeless for me. While it doesn’t have the strong narrative that I usually enjoy in albums, it still feels whole in the way Rihanna bares her soul through these tracks. They genuinely feel like Robyn Rihanna Fenty in all of her glory from all that she was to all that she has become and to all that she has yet to discover. In fact, in a 2015 interview with NME prior to the release of the album, she said that she has stayed true to herself in her life and her music because then she can “sleep at night, knowing there’s no pressure to be anything else.” (2).

Another point of interest that displays Rihanna’s creative freedom is her album cover. While her other albums until then had captured her in that present moment in time, ANTI features a child Rihanna with a crown covering her eyes. This album cover, designed and created by artist Roy Nachum, was unveiled at an intimate gathering at the MAMA Gallery in Los Angeles (3). By putting her childhood self on the cover, it again speaks to the longevity of the music she is hoping to make. It is as if she is saying that this album encompasses her entire being instead of just who she is at that moment in time. This is corroborated by a placard at the installation that explained the meaning of her album name: “ANTI. A person opposed to a particular policy, activity, or idea. In her collaboration with Roy Nachum, Rihanna has changed the history of album art. By continuing to follow her own instincts, her work strives to make an impact by doing the very antithesis of what the public expects.” (3). This album is representative of the common thread that has driven Rihanna in her career and life so far: her rebellious nature. In fact, she spoke about this in her interview with NME where she explained, “I take risks because I get bored. And I get bored very easily.” (2). There’s more to this album cover though. You may not notice it at first glance, but Rihanna actually included a poem in braille on the album’s cover. Written by poet Chloe Mitchell and titled “If They Let Us”, it reads,

“I sometimes fear that I am misunderstood./ It is simply because what I want to say,/ what I need to say, won’t be heard./ Heard in a way I so rightfully deserve./ What I choose to say is of so much substance/ That people just won’t understand the depth of my message./ So my voice is not my weakness,/ It is the opposite of what others are afraid of./ My voice is my suit and armor,/ My shield, and all that I am./ I will comfortably breath [sic] in it, until I find the moment to be silent./ I live loudly in my mind, so many hours of the day./ The world is pin drop sound compared to the boom/ That thumps and bumps against the walls of my cranium./ I live it and love it and despise it and I am entrapped in it./ So being misunderstood, I am not offended by the gesture, but honored./ If they let us…” (2)

Like the rest of the album, this poem that is silently yet impactfully featured on the cover speaks to the truth of Rihanna and her own timeless nature. She’s a rebel. She pushes boundaries. She is unafraid to take risks and try new things because that is who she is, and that makes her this ever-shining jewel of the many ventures she has undertaken.

ANTI was truly the epitome of Rihanna at the time, and with this new release, it is incredibly interesting to reflect on how she has grown over this time. From starting her cosmetics company Fenty Beauty to appearing in the movie Ocean’s 8 in 2018 and the birth of her son earlier this year in 2022, she has stayed true to who she is by taking risks, having fun, and starting new adventures in her personal and professional life. Can you even believe all of that was only in 6 years? With everything that she has accomplished, it feels like it has been much longer which certainly speaks to her innovative, boundary-pushing nature. In fact, she even alluded to this nature back in 2015 while talking about possibly living in London for a while: “I want to try it. While I’m childless, and I can run around. I wanna do it.” (2). She has truly made the most of these six years away from music to really discover all that she is and what she has to offer to the world. With this new single, Rihanna again shows us that she does things on her own terms. Though she is grateful to her fans, the Rihanna Navy, she refuses to release music unless her heart and soul is in it, and she rightfully found that reasoning in singing a tribute to the late actor Chadwick Boseman. There is a neverending excitement for Rihanna as there is a certain effervescent allure to this already timeless artist and mogul. She continues to astound the world, and I can’t wait to see what she does next.

the art of to pimp a butterfly (kendrick lamar)

One of my favorite rap albums from one of my favorite rappers, Kendrick Lamar’s To Pimp a Butterfly is a masterpiece that weaves together the history of African Americans from their musical styling to their movements to their humanity. The critically acclaimed hip-hop album was released on March 15th, 2015, and from the Grammys to Billboard, it definitely won a couple of awards and topped a few charts! From its vibrant sound to its potent lyrics, this album is truly one of Lamar’s best works.

The creation of this album and thematic narrative of reconciling African American history while pioneering forward came as a result of Lamar’s visit to South Africa, especially sites such as Nelson Mandela’s jail cell on Robben Island (3). A truly life-changing visit, Lamar said of the visit that “I felt like I belonged in Africa. I saw all the things that I wasn’t taught. Probably one of the hardest things to do is put [together] a concept on how beautiful a place can be, and tell a person this while they’re still in the ghettos of Compton. I wanted to put that experience in the music.” (3). He wanted to conceptualize all the beauty and pain that he had seen in his community into an honest record that examines his own experiences as a Black man in order to reflect the many experiences of his community. One of these feelings that he wanted to encapsulate was the idea of being taken advantage of by the music industry for his artistry without getting much in return. This idea spawned the title of the album. Lamar said that he wanted to “break down the idea of being pimped in the industry, in the community and out of all the knowledge that you thought you had known, then discovering new life and wanting to share it”, and he definitely achieved that goal (3). Similar to many of his other albums, Lamar sheds light on and brings awareness to the acute experience of Black depression, African American culture, institutional discrimination, and racial inequality. He speaks on his own struggles with anxiety, depression, and suicidal thoughts– as seen in the track “u”–, and by doing so, he opens the door for conversation and a destigmatizing of the topic of mental health. Truly though, he wanted to create a beautiful work of art that would help bring his community closer together.

From its release, the album has garnered significant importance for its political messaging and celebration of Black culture. One of the key indicators of this lies in Lamar’s discussion of Black activism in tracks like “Alright”. What would eventually become a unifying song for the Black Lives Matter Movement, “Alright” has an unapologetically joyful and hopeful sound to it which is reflected in the repeated phrase “We gon’ be alright” throughout the album (6). In an interview with NPR about the album Lamar said, “Four hundred years ago, as slaves, we prayed and sang joyful songs to stay level-headed with what was going on. We still need that music to heal. And I think that ‘Alright’ is definitely one of those records.” (5).

Additionally, the album reconciles with his own flaws as well as things he believes could be improved in his community. In tracks like “Complexion (A Zulu Love)” and “Blacker the Berry”, Lamar tackles the topic of colorism that he sees as prevalent in the Black community. Talking about the conception of the album, Lamar said that one of his goals was to create something that “reflected all complexions of black women. There’s a separation between the light and the dark skin because it’s just in our nature to do so, but we’re all black.” (3). Overall though, this album is a call for love and community during a time when Black activism started to gain traction again. It serves as a reflection of the injustices that Black Americans have faced for an excruciating amount of time, specifically on the police brutality cases that have been more prevalent in the media, as well as a push forward into brighter days. Lamar urges his community to rally together and recognize their own beauty as they fight for a better future. In this way, Lamar has truly become a voice of a generation.

There is so much to love about this album. From its rich hip-hop sound that is infused with the smoothness of jazz and the personality of funk to its beautifully soulful and powerful lyrics, To Pimp a Butterfly is truly a record to behold. When I first listened to some of it years ago, I immediately fell in love with its unique sound. There’s a certain characteristic to it that makes the listener want to have the songs on repeat and just bathe in its totality. It’s hard not to find something to love about this album, and as I revisited it throughout the years, I was able to find different songs and different parts of songs to obsess over. Whether you listen to it straight through or each track individually, it definitely strikes a chord. I can’t recommend this album enough!

This masterpiece of an album truly cannot receive enough praise. It has strengthened community ties and cemented Lamar as one of the most creative and influential artists of our time. As a precursor to his eventual Pulitzer prize win for DAMN., To Pimp a Butterfly only begins to hint at Lamar’s creative power. Robert Blair for Highsnobiety said of it that this album “is the crystallized moment in time where Kendrick became a generation’s most potent artistic voice.” (1).

the kpop phenomenon

From a South Korean sensation to a global phenomenon, the wide-ranging and ever-expanding genre of Korean Popular music (KPOP)– specifically modern, idol-driven KPOP– has grown exponentially in the past few decades. The success and global expansion of this genre have been largely due to the successive successes of various generations of South Korean artists. Worldwide stars like BTS and Blackpink that pioneered and paved a new path for subsequent artists were only able to do so as a result of the efforts of the groups that came before them. The genre’s success has also resulted from its continuous cultivation of new sounds and strong influence from other established genres such as those from the west. KPOP has truly grown to become a global phenomenon.

The wide-ranging genre of Korean Popular music has a rich history that goes back to the 1800s and the influence of other countries’ cultures during their occupation of Korea. Modern KPOP, however, only developed recently in the early ‘90s. One of the first major moments that began South Korea’s fascination with and focus on beat-driven, teen-centered songs was the trio Seo Taiji and Boys’ performance of their eventual hit song ‘Nan Arayo (‘I Know’) on a Korean talent show in 1992. Though the judges scored them the lowest, their hip-hop-inspired song found great success paving the way for a new kind of KPOP (2). A couple of years later in 1995, the company SM Entertainment (one of the “big three” South Korean entertainment companies) was founded by South Korean producer Lee Soo-man, who was educated in the US and experienced western music styles. Following suit, Yang Hyun-suk (former member of Seo Taiji) founded YG entertainment in 1996, and JYP Entertainment was established in 1997 by Park Jin-young. These three big companies have influenced and dominated the KPOP scene since their conception.

Beginning in 1996, SM Entertainment launched the boy group H.O.T. (High-five Of Teenagers) which was met with massive success and provided further proof of the profitability of generating music catered toward teens. One of the first Korean boy bands, H.O.T. was “the first [Korean] pop group to sell a million albums”, which was made all the more impressive by the fact that South Korea was experiencing a financial crisis during the time. Following groups like H.O.T., other companies such as DSP Media released new idol groups such as Sechs Kies, S.E.S., and Fin.K.L. (1). This constituted what would be considered the first generation of modern KPOP. Though relatively new and still exploring the depths of this new shift in popular music in Korea, many groups followed strict guidelines that were based on American boy bands and Japanese idols.

Before transitioning into the second generation of modern KPOP, the genre experienced a sort of generation 1.5 where more “experimental groups” were formed. Some of these idols included Shinhwa, Click-B, god, and BoA (the “Queen of Korean Pop”) (1, 2). In this brief period around the late ‘90s and early 2000s, KPOP began to gain traction in other East Asian countries such as China and Japan. It was during this time period that the term “Hallyu” (Korean Wave) was coined, representing the massive spread of South Korean influence around the world through music, TV dramas, and reality programs.

Following this, the second generation of KPOP started to emerge in the middle of an economic crisis in Korea. The format of KPOP became incredibly commercialized and developed into “one of the most profitable industries in the country” (1). It was during this time period that the “tightly-controlled” model of idol groups was birthed. Oftentimes, contracts from major labels, especially one of the big three, would be incredibly strict, long-lasting, tenuous, and leave little pay for the actual artist. This aspect of the KPOP has been widely criticized by many and has eventually led to companies loosening their grip slightly. However, in the second generation of KPOP, the expansion of the genre started to grow as groups like TVXQ, Girls’ Generation, and BIGBANG found massive success across countries as well as in their own nation. Many groups would go on tours to various countries as well as starring in Korean TV shows, shooting reality programs, and snagging KDrama roles. After this, there was generation 2.5 where multifaceted idols became commonplace. Artists had to be competent singers and dancers along with having other talents and charms. Groups like SHINee, f(x), 2NE1, and SISTAR debuted during this time in the late 2000s and early 2010s. Additionally, social media and video-sharing sites such as YouTube started to gain popularity, providing the genre with another means of reaching international fans. Then in 2012, the paradigm shifted forever with the release of PSY’s “Gangnam Style”. Becoming the first YouTube video to reach a billion views, PSY’s addictive and incredibly catchy song spread like wildfire, bringing KPOP to fans all over the world.

The third generation of modern KPOP swiftly followed this as the genre became a truly global phenomenon. With the dawn of the age of social media, KPOP groups utilized platforms such as Twitter, Instagram, and YouTube to incur the globalization of the genre. This led to the internationality of the idols’ “target audience” that defined this era (1). Additionally, during this time of EXO, BTS, Red Velvet, TWICE, and BLACKPINK, there was a greater emphasis on creating a vivid storyline/ group concept/ “universe” to attract fans who sought out more from the groups than just music as well as a refining of the quality of all aspects of KPOP from songs and choreography to music videos and merchandise (1). Following this era was generation 3.5 which had another major shift in the KPOP genre. In this time of around 2016, the survival-based, talent and reality program PRODUCE 101 series became a massive hit in Korea as well as overseas. Though it has been proven to be a scam, the show led to a shift in the world of KPOP by giving more voice and power to the fandoms thus leading to a change in focus to fulfilling the needs of fans (1). It was during this era that groups such as SEVENTEEN, MONSTA X, NXT, and Wanna One debuted.

This brings us to the current generation of modern KPOP: generation four. By this point, all the former restrictions have been removed as the genre continues to reach new heights. Pioneers of this new era include groups like TXT, ITZY, ATEEZ, Loona, and Stray Kids. It is important to note that the later generations of KPOP were much shorter than the initial and generations shifted much faster. This relates to the exponential growth of the genre and how it is still constantly pushing boundaries.

Though initially influenced by Western genres such as US pop, rap, and hip-hop music, KPOP has developed its own niche as groups begin to explore and create new sounds. It is now very interesting to see newer groups reference older generations of KPOP rather than strictly taking inspiration from Western genres as the first few groups did. Additionally, idols are becoming increasingly prolific in their capabilities and opportunities. Many idols have become ambassadors for fashion brands as well as South Korean provinces as well as finding modeling and acting experiences domestically and abroad. KPOP continues to grow every day, and it will be interesting to see how the genre and its idols continue to reach new heights around the world. Thus, it is fair to say that through the world’s influence and impact on KPOP, the genre has, in turn, definitely been able to influence and impact the culture of the world.

hope sonified (blood orange’s negro swan)

Some of my favorite albums are the ones with a strong narrative and thematic focus. There’s a sort of gravitational force to those works that pulls me in and gives me a sense of fulfillment from hearing a complete, seamless story told through the moving medium of music. Along with a stellar composition, Blood Orange’s Negro Swan fully encapsulates what it means to be an album with an incredible narrative. The album feels whole in a way that is unique– it’s as if the album is a supernova with loving warmth emanating from its center. It is truly a masterful work of art.

The artist Blood Orange is actually the alias of the British musician Dev Hynes who has had a prolific career in the music industry up to this point. In his late teens, Hynes was part of a short-lived punk band called Test Icicles with some of his friends. After their eventual split, Hynes worked under the moniker of Lightspeed Champion– which worked in the indie rock genre– for a while until he decided to focus on another project of his: Blood Orange. This new alias would be more heavily based on the genre of R&B and electronica. Beginning with his debut album Coastal Grooves in 2011, Hynes as Blood Orange immediately showcased his innovative style and variety of influences. This was followed by Cupid Deluxe in 2013, then Freetown Sound in 2016, and finally Negro Swan in 2018.

The album itself has a unique perspective which is first heard in its sound and composition. Structured by the narration of writer, director, and transgender rights activist Janet Mock on tracks 1, 5, 6, 11, and 13, this spoken part throughout the album helps to hone the album in on the themes of fitting in, the idea of family, and the overall Black, queer experience. This addition, along with the album’s various features and vocal stylings, gives the work a comprehensive feeling that helps to convey the idea of community that its subject matter emphasizes. The narration also adds an element of warmth and levity to the tracks. It infuses hope. For people in the intended communities, it’s like coming home to your family and feeling the warm embrace of their love, their laughter, and their presence. As for the sound of the album itself, it is based heavily on bedroom pop, hip-hop soul, and R&B while also incorporating elements of many other genres such as funk, post-punk, jazz, and more. These different influences work and mesh together to create a sort of heavenly, ethereal sound that feels transcendent. It is this unique and powerful sound that made me fall in love with the songs before I learned the lyrics and the meaning behind them. There is also a church/ gospel influence that can be heard throughout in the vocal layering (“stacking” multiple vocal recordings on top of each other) that Hynes utilizes to create this expansive aura which aids in the sort of heavenly sound that results from his genius production. After listening to this album numerous times in the past few years though, I think that it sounds the most like hope sonified.

After the album has drawn the listener in with its beautiful sound and composition, one can truly begin to appreciate the meaning of its lyrics. The album’s gravitational center resides in the honest portrayal of the Black, queer experience. While it stems from Hynes’ own perspective growing up in Ilford, East London in the ‘80s and ‘90s, there is beauty, pain, and hope in lyrics that many can relate to and have experienced. Specifically, Hynes notes that a large part of the experience growing up Black and queer was the idea of fitting in and feeling normal. This idea is highlighted in the album’s lead single ‘Charcoal Baby’, where Hynes repeats the phrase “No one wants to be the odd one out at times (No one wants to be, yeah)/ No one wants to be the negro swan (Swan)” (2). From this comes the album’s title and provides one of the central themes that the album plays with throughout. The idea of feeling like the outcast of your family, school, and/ or community is something that, unfortunately, many Black and queer people may experience growing up. Society has had a long history of shunning those who were too different from the established “normalities” of the time. This isolating experience is all too common for queer people and Black people, and thus, to be both can be an incredibly difficult and isolating journey. The album encapsulates the many feelings that are associated with this lived experience ranging from frustration and melancholy to joy, hope, and love.

Additionally, the album’s name and the lyric in ‘Charcoal Baby’ incorporates a play-on-words of the common phrase “black swan” by replacing the “black” with “negro”. Someone who is a “black swan” is regarded as incredibly rare, which ties into the album’s focus on fitting in and feeling like an outcast. It shifts the perspective of what it means to be different in society, which is typically seen as unusual and unfavored, and reframes it in a positive light as being this rare and unique person. Then by replacing the “black” with “negro”, Hynes hones in on the specific experience of Black, queer individuals. This simple phrase that rightfully serves as the album’s title fully summarizes Hynes’ intent: to reach those who went through this experience and let them know that their differences should be celebrated and loved instead of pushed down as society suggests. One way to reach this point of acceptance and self-love that Hynes highlights is the idea of community and (chosen) family. Specifically and explicitly in the song ‘Family’, writer Mock speaks the entirety of the song on what her idea of family is, and she says, “I think of family as community/ I think of the spaces where you don’t have to shrink yourself/ Where you don’t have to pretend or to perform/ You can fully show up and be vulnerable/ …/ So we get to choose our families/ We are not limited by biology/ We get to make ourselves/ And we get to make our families” (1). It is important to note that this song deliberately comes before ‘Charcoal Baby” and serves as an introduction to the lead single. Hynes does so to remind his audience again that to be Black and queer is to be unique, and beautiful, and should be celebrated in spaces where you do not have to “shrink yourself” as Mock puts it. This idea is also iterated in the song ‘Out of Your League’ as Hynes sings explicitly, “Follow me under and never to be too unique” (3).

Through these reminders, Hynes creates a sense of hope and a metaphorical light at the end of the tunnel for his listeners that may be experiencing a turmoil that many others have lived through and still are living through. Through his masterful lyricism, Hynes throws a lifeboat for his listeners to hold onto and steady themselves on. This album serves as a refuge for listeners as they’re “waiting for the smoke to clear” (4). Speaking about the album in a press release, Hynes tells us that “The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness” (5). From his sincerity comes a sense of intimacy that draws listeners in as if embracing, and that is exactly what the album feels like to me: it’s like the warmth of a hug from a loved one who pulls you in and tells you that despite your pain, you will be okay and be loved.

The album is truly a magical experience that I would recommend to anyone. From its dreamy sound and composition to its beautiful lyrics, Negro Swan is one of my perfect albums. Some of my favorite songs on the album include ‘Orlando’, ‘Hope’, ‘Charcoal Baby’, ‘Dagenham Dream’, and ‘Smoke’. I listen and re-listen to this work of art constantly, and every time, I fall in love with it more and more.

While I consider this album to be some of Hynes’ best work, he has proven himself capable of continually growing and expanding. He has shown his talent and ingenuity as an artist as well as his lyrical and production capabilities on his own projects and others– Hynes has written and produced for many other artists such as A$AP Rocky, Carly Rae Jepsen, Kylie Minogue, Mac Miller, Mariah Carey, Tinashe, and Solange Knowles. Since the release of Negro Swan, he has released various singles along with the EP (Extended Play) ‘Angel’s Pulse’ in 2019 and the recent release of his new EP ‘Four Songs’ on September 16 of 2022. Hynes is truly a creative force of nature and is sure to bring about new works that push boundaries in music.

a modern classic (sza’s ctrl)

Released on June 09, 2017, SZA’s Ctrl has established itself as a cultural phenomenon. This album full of raw emotion certainly encapsulates the word “classic”, which is defined by the Merriam-Webster dictionary as “a work of enduring excellence” (1). With its five-year anniversary earlier this year, it has become increasingly clear that Ctrl has catapulted to the status of a modern classic not only for its narrative and musical excellence but also for its relevance to today’s generation.

In the 14-track album, artist SZA (Solana Rowe) masterfully utilizes the medium of music to bare her heart, mind, and soul to her audience as she sings about love, loss, growing up, and her relationship with control. Set in the genres of alternative R&B and neo-soul, and with influences from other genres, Ctrl is an intimate conversion that SZA has with her listeners; the album almost feels like taking a peek into SZA’s personal diary.

The narrative of this album follows a woman in her 20s as she intimately recounts her past loves, contemplates her relationships with others and herself, and looks within to decide what she’s worth, what she’s looking for, and how she fits in society. SZA is painstakingly honest as she delves into these topics to which many people growing up can relate. Sometimes it even feels like she can see into your soul and lyricise the raw fears, insecurities, and worries that hide away deep in your soul. Her songs make you feel seen in a way that strips away all the outer layers and leaves only your still-beating heart. The themes of finding control in life, figuring out self-love, and grappling with growing up that she presents throughout the album are extremely relevant to the mentality of today’s generation.

Written in the burgeoning era of destigmatizing mental health issues, the frank and real nature of SZA’s lyrics and vocal performance meshed perfectly with the climate of society at the time. It is as if she declares to the world that she is a woman; she is beautiful; she is insecure; she is worthy of love; she’s a work-in-progress, and that’s all okay. These messages resonated– and still do– with an overwhelming amount of people due to the universality of the album’s concepts.

One of the major themes of this album is the idea of growing up and the emotions associated with it. On the track ‘Prom’, SZA sings, “Fearin’ not growin’ up/ Keepin’ me up at night/ Am I doin’ enough?/ Feel like I’m wastin’ time/ Promise to get a little/ Better as I get older” (6). No matter where you are in life, these fears of wasting your life and not doing enough follow you everywhere. Since our time on this earth is so ephemeral and fleeting, we constantly worry about how to make the most of it, but SZA wisely states in an interview that “You don’t always have to rush. You can always just grow” (2).

I know that, personally, this song was on my senior year playlist as I dealt with my biggest indication of growing up so far: graduation. It can be so scary waking up one day and realizing that all those years you thought you had still had slipped by without your notice. You never think about it because it’s so obvious, but every day we grow a little older. It’s terrifying and wonderful and overwhelming and magical all at the same time, and SZA captures some of that allure in this album.

Additionally, as suggested by the title of the album itself, SZA grapples heavily with the idea of control throughout this album. Ctrl begins with an excerpt from SZA’s mother as she remarks, “That is my greatest fear/ That if, if I lost control/ Or did not have control, things would just, you know/ I would be… fatal”, which sets the tone of the album from the start (5). Control and the lack of control is a concept SZA and a majority of people tackle constantly. Throughout the work, SZA ponders how much control she has over her life, her loves, and herself. This is something that a lot of people struggle with in life; it can be hard to accept the fact that there are things you can not control, especially when people and life become extremely aggravating and disappointing. The album twirls these ideas around, culminating in SZA’s overall message and revelation that it’s better to let go and be open in the present moment rather than get caught up in trying to control every aspect of life. It is a virtue that SZA has learned from her mother, who she describes as “living in openness and acceptance” that she “really never understood” (2). This idea is reflected in one of her mother’s excerpts as she says, “then it’s out of my hands. And, y’know, while as I said it can be scary, it can also be a little bit comforting” (7).

It can be freeing to allow yourself to live in the moment and move through life adapting to its obstacles. SZA expanded on her attitude toward control in an interview and said, “I’ve lacked control my whole life and I think I’ve craved it my whole life. … There’s no such thing as control anyway. It’s just a concept, a word, a fantasy. But if you focus on the way you feel in the now and what you do with the now, I feel like it leads to having true control in the future” (3).

This idea definitely helped me in the many years I’ve listened to this album as I personally had to work through situations where life didn’t go my way or people let me down. SZA and her mother’s comforting words held my hand as I faced, endured, and survived each of those situations.

All in all, SZA’s debut album is a love letter to all the versions of herself that she has been and all the versions of herself she has yet to become. It is a promise that the future will be better. It is a broken and battered heart choosing to still beat despite all the damage it has sustained. It is resilience and hope personified and lyricised. Bathed in vulnerability and forged through pain, this album has emerged as a diamond, which is reflected in its 3x Platinum status in the United States (4).

The themes of growth, love, and control are the pillars with which SZA has constructed this modern feat of brilliance, and the realness of her songs brings about a sense of solace as if she was holding your heart tenderly through all of your tough times. I know that, for me, these songs have been there through all of my darkest nights and even some of my brightest days. It has allowed me to reflect on myself and find strength in letting myself be vulnerable. My friends have even joked about having a “Ctrl” kind of day, and we instantly know that even though it feels like an insurmountable time now, we will get through it like we have done numerous times before.

There is also a certain kind of power that resides in having a community of people that you know share the same insecurities, fears, and worries that you do. Ctrl provides that connection to people we have never met and may never meet, and it reminds us that no matter alone we may feel, there is someone who understands, who has gone through it, and who has prospered despite the hardships. That is something incredibly meaningful and unique about this album as it reflects the mentality of this generation. Few other albums capture the mindset, feelings, insecurities, and essence of an age the way Ctrl does, and that is why it has earned the status of a modern classic.