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olive-recs · 1 year ago

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guess who's back from the dead?!?!?!!?!?!?!?

omg, my funky little mingyu bias @permanentreverie, you simply must read this, it was sickeningly sweet and oh so cute. i'm rather fond of mingyu and can i just say that he 🥺. i mean he 🥺 in general, yes, but he 🥺 in this fic????????? unparalleled pleading emoji energy. 🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺🥺

i also!!!!!!!!!! love!!!!!!!!!!!!! all the other members in this chapter 🥺🥺🥺🥺. they're all so lively and lovely and wow i needed this after these last few weeks i've had. escapism?????? i need her in this chili's and this fic understood it's assignment.

under the sun [mingyu]

pairing: non-idol!mingyu x gn!reader

prompt: darl+ing inspired fic.

word count: 9.2k~

warnings: food mentions. skinship. slight angst (mingyu’s own need to take care of the others + some cheol (and implied chan) angst later on). mingyu gets a first degree burn from being clumsy in the kitchen. reader also gets poked by a sewing needle once. mingyu being a goddamn hottie and KNOWING it.

daisy’s notes: sorry for taking so long with this one!! i got kinda caught up in some writer’s block and some emotional bullshit for a bit </3 but i’m actually pretty happy with the ending of this one more than i am anything else hehe.

summary: It all starts when you wake up in a field without a name or any memories to define yourself with. Thirteen men take you in as one of their own, and slowly you begin to wonder what is going on within this world… and between you and one of them.

< day 3 || masterlist ||

After your first week, Mingyu realized he wasn’t sure how he felt about you. His feelings were completely positive, sure: he liked you well enough to begin with, especially since he did find your nickname a little cute. But you were still new. He thought you were cute, sure, but Mingyu thought everyone in the group was cute. It sort-of came with being the one of the biggest in the group, in his opinion. He worked out, he’s tall, he’s handsome: come on. Everyone was cute in his eyes, especially if they were on the shorter side (even Jihoon, who might kill him if he told him that at the wrong moment). Plus, you were just… cute. Mingyu liked how curious you were and the way your eyes sometimes lit up when you learned something new. He liked how much of yourself you dedicated to working hard, since he could appreciate someone like that. He liked how much you already were getting along with everyone, or at least trying to. Sometimes that took the form of making sure Minghao was being heard, or sometimes it was giving people space when they seemed like they needed it most.

Ultimately: Seungcheol seemed to be fond of you, and Mingyu (much like everyone else) fully trusted his opinion. If Seungcheol trusted you, Mingyu trusted you. That was the end of that. Everything else would be his own personal feelings.

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#fandom; seventeen #author; wooahaes #starring; kim mingyu #also can i just say i love how SOFT they are for each other its sooooooo cute to see <3 #i just want the world for them thank you very much <3 #maybe because its of you lindsay (you better be reading my tags 🔪) but i feel very Older Sister to this fic #like i'm watching all of it go down with a knowing smile #it's a very gentle feeling 🥺

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incredibly-delirious-biznasty · 8 months ago

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So now that I have an opportunity to scream about Kendrick Lamar’s Genius on Tumblr

Help yourself to this analytical essay I wrote in 2016 examining “To Pimp a Butterfly” and dissecting the stance that Kendrick is, by definition, a conscious rapper.

Shoutout to Drew Lindsay, the professor whose class I wrote this for. Also, please engage in lyrical analysis and music theory with me 🥺

Throughout his album To Pimp a Butterfly (TPaB), Kendrick Lamar is grappling with big issues of race and resentment. There are many layers to each song on the album and like any modern masterpiece, the true meaning lies below the surface and must be teased out. Many songs on TPaB come across as strictly fighting racism and helping along a powerful message in support of his roots. When digging deeper, we find that even the most overt black support anthems on the album have an argumentative element which questions Lamar’s roots and his thoughts on perceived racism. The conflict evident throughout the album is the incarnation of Kendrick’s personal struggle and reflects the conflict within the black community. TPaB’s message is not overtly positive or uplifting and is highly conflicted and therefore can not be classified as realist or conscious. At it’s core, To Pimp a Butterfly is not a conscious manifesto, telling the viewer exactly what to think, but a conversation about current racial issues that is not firmly positive or negative.

! “King Kunta” is the only track on the album that has a seemingly triumphant message all the way through; however this message takes on a sad note when put in the context of the rest of the album. When taken out of context, “King Kunta” comes across as a celebratory anthem, not only for Kendrick himself but for his homies and his people as well. The Lyrics, “Black man taking no losses” extends from his personal success to the triumph of a black art becoming the most popular music form in the mainstream. Even the title references the prolific slave “Kunta Kintae” who’s leg was

hacked for his “slights” against his white captors. Like a conscious track, it seems to have a clear surface meaning. However, as it happens over and over across the album, the traditional wholesome respectful themes of conscious rap are largely disregarded. The beat and production on this track are some of the most radio friendly and “trendy” on the album and the the first track to carry a piece of Kendrick’s Poem at the end. This seems to give “King Kunta” the high note before the gut punch of meaning. The message of “King Kunta” is predominantly “We made it guys,” but as the album progresses, we are made to beg the question “Made it where?”. As the next track on the record starts to deal with Kendrick’s old neighborhood and the clear negative points of contention start to reveal themselves, “King Kunta” becomes bleaker and more hollow in hindsight as the record progresses.

! “Institutionalized” compares Kendrick’s Compton neighborhood to a prison and starts to unpack conflicting feelings about the draw to his personal roots, and all the negatives that come with. As the preceding snippet of The Poem states “At fist you was conflicted,” it only makes sense that this theme rings throughout this song in many ways. There are many layers of conflict as well as many layers of persona in this track that should all be taken into account. Kendrick himself is “trapped in the ghetto” in more ways than one as he struggles to make a name for himself in the industry. Kendrick misses his home, but feels he can no longer relate to his old station after finding success; and yet he can never shake his ghetto roots and the baggage that comes with. There seem to be no positives left about Kendrick’s home and this displacement is furthered after he takes his homies to an award show and their first instinct is to steal from the celebrities around them. He so desperately wants to have a safe place in his

home when faced with the chaos and pressure of the music industry, but finds his home is now just as confining as the industry. As with most of the tracks on this record, Kendrick also acts as a surrogate for members of the black community to reflect common issues. The BET situation can easily be applied to any black kid who comes out of the ghetto and attempts to make something of themselves. The neighborhood and the attached stigmas follow any possible success and no matter how successful any one of these people gets, the inherent shame and conflict of their less successful or motivated peers and life station will always weigh on their minds. Throughout a predominantly conflicted and negative track, the chorus gives a single ray of hope through the mantra of “Shit don’t change unless you get up and wash your ass”.

! “Alright” uses a black stereotype to grapple with his personal struggle through life and compares it to the struggle of the black community as a whole. When we reach this track, the Poetic additions have reached “the evils of Lucy was all around me” and on the preceding track of “U” Kendrick and the album had hit their lowest point. As the track starts, a slew of new conflicts hits the table. Kendrick is facing his vices and the path he is headed down due to his fame and the influence of the music industry; comparing the game to “Lucy,” an incarnation of the devil in the form of a crafty woman. Again, he doubles as surrogate for the black community and the communal struggle, but fans out this connection to God. The “lawd lovin darkie” is a stereotype that Kendrick is playing on as a positive and embracing despite the pull against such topics in the mainstream rap industry. The voice of the track feels vastly positive; the bounce after the rock- bottom of “U”. However, “Alright” is nothing if not weighed down with struggle and sadness. The conflict of depression and hope clashes with every run of the chorus.

Lucy’s echo of Uncle Sam on “Wesley’s Theory” is a direct comparison of The Music Industry to Satan, a notion that Craig points out has been “a prominent, reoccurring theme [in music] for the past 30 years.”(Vigilant Citizen, 4). The bars have the same rhythm, but manage to hold their identity despite the change from 112 beats per minute(bpm) on “Wesley’s Theory” to the 56bpm of “Alright”. For a composition standpoint this is so impressive and Connor’s description of “...genius level record management in the tradition of Dr Dre”(Connor, 2) is not an exaggeration. The bpm change reflects Kendrick’s state in each song. “Wesley’s Theory” begins the album with a whirlwind ride to money and success with a fast beat and and a blasé attitude. By the echo, Kendrick has hit bottom and his life is crawling through the mud at a snails pace, prolonging his inner conflict and misery. “Alright” has the blurriest line between Kendrick as himself and Kendrick as the silhouette stand in for his people. Although the hook is positive and uplifting, the lyrics have weight and imply that Kendrick’s problems are also the problems of black individuals and the black community as a whole. The hook tells us that “We gon‘ be alright,” yet he describes his hope and his faith failing in times of deepest struggle, leaving the listener feeling (what a shock) conflicted.

! “The Blacker the Berry” is the summation of Kendrick’s struggle throughout the rest of the record; pitting racism against the existing problems perpetuated in the black community, resulting in an inconclusive conversation. This track is easily the most mind- bending and certainly the hard-hitting thesis of the record. Kendrick begins by claiming to be the “biggest hypocrite of 2015” in a mantra that gains weight as the song progresses. With the first verse confronting the white population and police brutality shattering the black community, the weight of the line “You made me a killer,” seems

obvious and, although striking, not extremely unique. As the track progresses, Kendrick accuses The Music Industry of making him a killer. Finally, Kendrick aims his accusations at his black brothers; gangbangers and thieves. If that wasn’t enough, the tracks introduction states “sometimes I get off watchin' you die in vain,” referring to his people. Although this could be the product of internalized racism, or Kendrick’s roots in the Blood/Crip war, nonetheless, it’s taking a stance that is not seen in conscious rap. Kendrick is facing that there is not one reason for violence or racism and therefore the problem can’t be fixed in any simple manner; certainly not one he holds the answer to. So who really made Kendrick a killer? Who made killers of any black man? As a representation, summation, and thesis of the rest of the album, Kendrick is having a conversation about where violence starts and presenting many possible options. They all repeat the same mantras, making them all equal and not singling any one out as more or less valid. In the end there is no clear resolution; just the statement of a problem and an intellectual presentation of thought. “The Blacker the Berry” states that many people and many groups are responsible for the perpetuation of racism, violence, and stereotypes, without attempting to “fix” the situation or even place blame as conscious rap is wont to do. When all of these things are called out, it is no longer about pointing a finger and starting a lynch mob. It becomes a critical reflection and the seed of a conversation. The running theme of the album persists as Kendrick becomes the echo of the black community and his inner conflicts become the conflicts within his community.

! As the album closes, Kendrick’s personal struggle is completely conveyed in a masterful comparison of himself to Tupac Shakur. His journey is not tied up in a neat

bow and the entirety of the album is left open-ended. We are not told explicitly “Kendrick will/will not meet the same end as Tupac,” but left to ponder and discuss. In the same way, we follow Kendrick’s reflection of the black community to its close without resolution. Many believe that “Underneath the tragedy and adversity, To Pimp a Butterfly is a celebration of the audacity to wake up each morning to try to be better, knowing it could all end in a second, for no reason at all,”(Jenkins, 3) and although that is a fair assessment of the album; trying to wrap up a record as complex and nuanced as To Pimp a Butterfly in a neat bow of optimism like that doesn’t do it any justice. TPaB would be nothing without its unending conflict and roller coaster of ups and downs. This blend of conflict and pain is our heart line direct to Kendrick’s soul as his confessional develops and our uniting point as a community under the problems he presents. As The World’s Busiest Music Nerd stated, “[Kendrick’s] not telling us what to think... [he’s] contradicting himself”(Fantano, 11:08). This inability to take a stand (among other explicit sexual and violent gangster themes) is ultimately what disqualifies To Pimp a Butterfly from the conscious spectrum. If the album was anything but what it is, we as the listener would not be able to discuss how we address the problems presented. The album would lose all intrigue and conversation if we were left with a solid resolution. To Pimp a Butterfly is a 78 minute conversation, to create a century’s conversation.

Sources Sited

Theneedledrop, and Anthony Fantano. "Kendrick Lamar - To Pimp A Butterfly ALBUM REVIEW." YouTube. YouTube, 18 Mar. 2015. Web. 14 Apr. 2016.

An in-depth analysis of the formal elements of “To Pimp a Butterfly”. A moment I found really compelling was just around 11:18 when Fantano talks about the conflicted nature of the album. Alludes to Kendrick making a conscious album, but pays very close attention to the music beneath the flows and how it compels the message. The rare 10/10.

Connor, Martin. "Kendrick Lamar: Rap Music Analysis." The Composer's Corner. Blogspot, 24 July 2015. Web. 14 Apr. 2016.

Connor analyzes Lamar’s production unity despite multiple producers. He hails this foresight into record management as genius level: on par with Dr Dre’s production insight and Jay-Z’s ear for album unity. Connor goes on to compare the seeding of musical ideas across tracks to classical compositions. He uses the example of an echoing verse with identical musical rhythms; despite the bpm change across tracks (56bpm on “Alright” and 112bpm on “Wesley’s Theory”

Jenkins, Craig. "To Pimp a Butterfly." Kendrick Lamar: Album Review. Pitchfork Publications, 19 Mar. 2015. Web. 21 Apr. 2016.

“Underneath the tragedy and adversity, To Pimp a Butterfly is a celebration of the audacity to wake up each morning to try to be better, knowing it could all end in a second, for no reason at all.”

Business, Music. "Kendrick's Deeper Story." Vigilant Citizen. The Vigilant Citizen, 27 Nov. 2015. Web

#kendrick lamar #k dot #to pimp a butterfly #tpab #tupac shakur #rap #musical analysis #conscious rap #gangsta rap #lyrical analysis #academic writing #long post #*shoves my hyperfixation down your throat*

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