– 500 word reflection:
As I began this assignment and attended the lectures I began to gather a deeper understanding of the role art plays in maintaining the relevance of a movement. I had not been aware of the capacity that creative dissent played in determining how successful a movement may become, and how an effective act of creative dissent insures that a protest may remain historically relevant.
I followed each lecture by researching more into the topics at hand by reading books, articles and journals, forming rough ideas of the subject a particular blog would include.
Week 3 offered interesting insights, yet I couldn’t find anything new or refreshing that I could offer to the works presented at the performative lecture, the ASI offered a large range of items that became images of protest.
Week 4 is when I began to form my blog, we had looked into cultures of dissent throughout the sixties. I researched into a variety of artists, musicians, politics and activist from that era, and one in particular stood out to me; the famous portrait of Che Guevara. The reason it stood out was because I felt his message had relevance in todays British society, with the cost of living crisis being at an almost unprecedented high level, worker unions regularly going on strike and the consistent amount of lying by the government, I felt a piece about the peoples ability to librate themselves would be relevant.
In week 5 we covered the view that “every human being is an artist” and the concept of Social Sculpture. This wasn’t a concept I completely understood, I researched more into it and explored artists who offer a refreshing and vibrant take on said concept.
Week 6 was of particular interest, having been a huge fan of American Rap music since I was a child, exploring the role music plays in dissent was a topic I had to cover. One of the best pieces of cinema I have watched is “Straight Outta Compton” a biopic about an old rap group. These musical artists were controversial, direct, and often problematic, yet their music is undeniably impactful and plays a huge role in reflecting the revolutionary attitudes of Black Americans to this day. I also explored Kendrick Lamar’s Discography and history of dissent.
The Zapatista Art Activism was a thrilling experience, an example of the creativity and resilience of indigenous communities, the strength it takes to consistently fight the overpowering influence and oppression of settler colonial narratives is evident. I looked towards another group who fought a similar war against their oppressors; that group is the Black Panther Party, a revolutionary group that weren’t willing to stand down. I have long been a fan of the way they conducted themselves and the creativity and power shown in their planned imagery, posters, organised events and marches.
One blog wasn’t nearly enough to cover the many ways the Panthers influenced a variety of movements and creative outlets that transformed Black activism and protesting. Therefore, my last blog was also dedicated to them.
1. Art Immortalising Man:
“I know you are here to kill me. Shoot, coward, you are only going to kill a man” (allauthor, 2023)
The last words uttered by Argentinian guerrilla leader and Marxist revolutionary icon, Che Guevara, ring true to this day.
Guevara grew up in a middle upper-class family, with ambitions to become a doctor. However, he turned away from that path after journeying through Latin America and witnessing the poverty and oppression at the hands of brutal oligarchies, valuing profit over human life (Sinclair, 2023).
Fidel Castro and Che Guevara led the Cuban revolution, fighting against the right-wing capitalistic ideals of the west. After the revolution Guevara left Cuba to spread Marxist and revolutionary rhetoric to those oppressed around the world. However, his journeys resulted in very little significant change (Harris, 1970, pg. 10 – 30).
Che Guevara was a hero to many, a freedom fighter, his aim was the liberation of the oppressed. His legacy was was under attack from the moment he began to threaten the status quo and the distribution of hounded wealth among the higher echelons of society. Western media outlets (especially American) attacked his image with propaganda fuelled by anti-communist rhetoric.
The notion of Guevara fighting injustice wasn’t one they wished to portray.
So what role did Irish artist, Jim Fitzpatrick, play in the phenomenal legacy that has proceeded the Argentinian revolutionary?
Immortality may seem impossible, a person dies and over the years their memory fades into non-existence, it’s the harsh and heartless reality of life.
Art offers the chance of immortalising a man; through art you may live forever (Bruschi, 2020). When art is observed it offers a window into a different field of existence, one where the audience can connect to the represented long after they have passed away.
The 1960’s – 70’s saw Jim Fitzpatrick respond to the attacks of Che Guevara by creating an artwork that would become one of the most widely distributed pieces of political media over the last few decades.
Jim Fitzpatrick, a long time fan of the revolutionary and what he represented, looked towards an already immortalising artwork of the man by Alfredo Korda; a photograph captured in 1960. Fitzpatrick created the iconic portrait of Guevara that now appears on t-shirts, posters, key-rings, postage stamps… etc. and many another item owned by those who admire the Argentine.
In 1967, Jim created the black and red screen print that made this all possible (YEO, 2023). He began by distributing his design throughout England, yet abandoned this approach in favour of major free distribution following in the footsteps of the man he admired. This work was also recreated by Andy Warhol.
Guevara’s theories and historical influence were never going to be forgotten, yet it is through art he speaks to those seeking to fight injustice as he did.
2. Eduardo Kobra; Art for Everyone:
1988, São Paulo, Brazil, an eleven year-old child is illegally tagging buildings all over the city, little did he know at the time of his arrests, that he would go on to become one of the world’s most renowned mural and graffiti artists, adding flair and creative life to the concept of social sculpture.
Carlos Eduardo Fernandes Léo, nicknamed Kobra, was born January 1, 1976, São Paulo Brazil. After his early years of illegal tagging, he would join nationally famous Brazilian graffiti group “Hip-Hop” as a teenager. He received no professional training or attended art school, rather he was self-taught, looking towards inspirations in the world around him. Keith Haring, Banks and Diego Rivera heavily influenced his outlook on society and art (Marshall, 2017).
After his interactions with “Hip-Hop”, Kobra would go on to define his own path on the streets of São Paulo by the 1990’s. His work began to have a distinct style, theme and colour palette that could all be observed in his earlier works.
At this point his portfolio of work was fragmented, falling into commissioned projects, competitions and personal designs. His defining moment would begin in the early 2000’s; Kobra took to the streets of São Paulo with the goal of transforming the urban space and insuring the past memories of the city he called home would never fade away.
This is also the point where his creative process behind the productions of his memorials would begin, and it would remain the same throughout his career (Moore, 2015).
Kobra began by researching historical photographs of his city, traveling through the streets and creating small memorials of them in as many places as he could. These memorials of ancient photographs were combined with his now defined style of work. By 2007 his 10,000 square feet project was covered by media outlets around the world (Lark, 2014).
The goal behind his work was also glaringly obvious; he aimed to bring art to the masses, art needn’t be solely for those who visit museums and gallery openings. His phenomenal works were for everyone, regardless from which walk of life they come from.
Kobra also aimed to bring people together with his work, looking towards art to heal the wounds of a modern day society plagued by injustices, fear and division.
Large in size, vibrant in colour tones, plastered across famous landmarks around the world, easily accessed and viewed by everyone; Kobra’s work is unavoidable and accomplishes it’s goals.
Kobra uses spray cans, brushes and air-brushes to complete his enormous memorials (Lark, 2014), the subjects of his work are often historically significant individuals, while others are the invented protagonist or personas he uses to promote a message and narrative.
The best example of this is probably his most famous artwork, and the worlds largest memorial created by a single person, “Las Etnias” translated to “The Ethnicities” (Dupere, 2016).
Created for the 2016 Rio Olympics, it depicts the indigenous people of the world, with the aim of reminding us all we come from the same origin, that we are all one.
3. “Fuck the Police” & the Commodification of Black Male Outrage:
During the 1980’s the N.W.A rose to fame, a rap group consisting of Ice Cube (O’Shea Jackson), Dr. Dre (Andre Young), Eazy-E (Eri. c Wright), DJ Yella (Antoine Carraby), and MC Ren (Lorenzo Jerald Patterson). Their music was controversial, violent, and often problematic, yet it spoke of the reality that they lived in (Crawford, 2014). What white and middle-class America perceived as discomfort was the day-to-day existence of young black men from the impoverished, overly-policed, and systematically disregarded neighbourhood of Compton.
“Fuck the Police” was a pointed and controversial song; an unforgiving and outspoken attack of racial injustice. It begins with a skit where the N.W.A take the police department to trail, Dr. Dre acts as judge, while Ice Cube, Eazy-E and MC Ren perform the role of prosecutors. They each take a turn to critique the police from each of their personal experiences, explaining the reason for their hatred of the men in blue. The song concludes with the verdict of Dr. Dre finding them guilty of using their given power to perpetuate racism (Knopper, 2020).
The song caused nationwide outrage, with the government condemning the group, and the FBI attempting to have the song completely erased (Grow, 2020). This piece of art survived censorship, and has since become a solidified song on the soundtrack of revolution and creative dissent, just as relevant today as it was in the 80’s.
During the horrific event of George Floyd’s murder “Fuck the Police” saw a 300% rise in streams across all musical platforms (Grow, 2020). It played at marches, was chanted by protesters, printed onto posters, and graffitied onto walls.
However, it is vital to insure that this song remains true to its source as it gains popularity similar to that of its initial release. The pain and tears that caused this defiant artwork to be created must not be watered down or conflated.
The term “Fuck the Police” and the song are an embodiment of what Black men feel regarding police officers, their justified anger at facing government mandated violence.
Dr. Dre perfectly explained this in a statement regarding Floyd’s execution “it felt like that cop had his knee on all of our necks, Black men”.
In an age where social media popularises terms, having them put onto t-shirts, posters, banners… etc. often to promote a product, or a within a society where protesting is often “trendy”, and Black art is gentrified and commodified (Okoye, 2019). It’s vital that this term remain for those who it was made for.
This also includes those movements addressing the rampant sexism and homophobia within the police.
This mantra, slogan and song is an outlet for Black male outrage regarding police officers and the treatment at their hands.
Therefore, it isn’t for anyone to use as a response to injustice at the hands of the police.
Nor is it a song for young and passionate activists to use for their own protests.
4. The Black Panthers & Black Power:
By 1964 the Civil Rights Movement’s relevance began to slowly ebb away; this was due to them accomplishing their goals of passing the Civil Rights Act and the Voting Rights Act, coupled with Dr. King’s denouncement of the Vietnam war and turning to fighting economic inequality leading to further loss in popularity (Nelson, 2015).
At the same time America’s “golden age of capitalism” had come to an end, the economic state of the country was in complete disarray (Stiglitz, 2014), and Black Americans suffered more than their counterparts, and had not seen any material improvement after the passing of the acts (Pugh, 2020, p. 448 – 450).
It was around this time that the Dr. King’s message of nonviolence seemed less appealing to Black Americans, they turned in favour towards Malcolm X’s narrative of Black Empowerment and combating the violence of White Supremacy with violence if necessary (Breitman, 1967, p. 23 – 25).
His assassination alongside the election of the racist Ronald Reagan in 1966, saw the formation of the Black Panther Party for Self-Defence, lead by Bobby Seal and Huey P. Newton (Duncan, 2023).
The goals of the movement were precise and clear, aiming to define the progress of Black Americans for the next decade.
They demanded housing, clothing, education, bread, land, justice and peace. However, chief among their demands was bringing an end to the state mandated police brutality and murder of Black and Indigenous Americans, and other people of colour (Austin, 2008).
If this particular element of their manifesto wasn’t met they would turn towards their American rights to bare arms in self-defence of a tyrannical government.
Aesthetics were of vast importance to the movement, they were aware of how American media depicted revolutions. Yet they didn’t shy away from being perceived as resilient and dangerous, they were a movement unafraid of turning to violence to protect Black Americans being brutalised by their own government.
They structured and organised themselves as a military organisation, coordinating the way they dressed, and how they marched and stood defiantly in protests.
The Black Panther members looked for inspiration from African revolutionists and rebels, adorning black leather jackets, black berets and would carry legal firearms.
They realised the power of successfully using intimidating imagery to promote their rhetoric. They were a militant group, tired of the non-violent approach in the face of abhorrent White violence (Austin, 2006).
Their most successful and recognised protest came after the US government passed the Mumford act in retaliation and fear of the Black Panther Party, forbidding open-carry of weapons by civilians.
The Black Panthers marched to the Sacramento Capitol and entered the assembly chamber in uniforms, armed with weapons, at the time it was still legal as the bill was yet to be passed. They spoke out against the bill, reiterating that its creation was only made to limit their freedoms specifically.
The Black Panther Party’s unraveling and demise was brought about by illegal actions committed by the FBI and sanctioned by the government, acts such as assassinations and planting evidence and moles/informants within the party. These acts would lead to internal conflict, lose of power and influence, and eventually the party faded into non-existence (Bloom & Martin, 2013).
5. The Black Panthers Pt.2: Angela Davis, The Afro, Black is Beautiful, and Unity:
As mentioned previously, the Black Panther party came to fruition during the late 1960’s after the assassination of revolutionary leader Malcolm X, and Reagan’s election on the grounds of reversing the progress made by the great Dr. King.
The Black Panther members held true to their promises and began counter patrolling the police as they predominately targeted and harassed Black Americans and systemically impoverished communities.
However, militant stances weren’t their only acts of protesting and creative dissent. They formed community outreach programs with the aim of spreading their revolutionary rhetoric and bringing people together to fight for both Black Liberation and economic equality for all. Outlets they turned to after the Mumford Act.
These came in the forms of free breakfasts for children and health clinics that specialised in ailments that predominately affected the Black community (Bassett, 2016, pg. 1740 – 1743).
Fred Hampton formed the “Rainbow Coalition”, a group unifying various multi-racial gangs and leftist communities.
These attempts were incredible successful. Gaining support around the country, including internationally in China, Cuba, Vietnam and Algeria, and in the case of the “Rainbow Coalition” both the crime and violence dropped significantly (Austin, 2008).
During the Olympics of 1968 in Mexico, Black athletes Tommie Smith and John Carlos lifted their clenched fists in protest upon receiving their medals on the podium (Britannica, 2023). They bowed their heads as the American Anthem played, leading to one Olympic history’s most powerful images, the Black Power salute that was popularised by Malcolm X and the Panthers.
J. Edgar Hoover (Director of the FBI) saw how this unity and outreach represented an armed and radical underclass. The FBI subsequently set out to destroy the Black Panthers; they did so by assassinating and imprisoning their leaders, planting evidence and moles within the party to cause mistrust, violence and conflict. Including using the media to spread a particular narrative and depiction of the Panthers.
One of the misconceptions the perpetrated pieces of propaganda by the FBI about the Black Panthers was its rampant issues with misogyny. However, in reality most of the members were Black women and the majority of the members fought for women’s reproductive rights outside of their party involvements.
They also joined forces with Angela Davis, a Black and Communist and Feminist professor. Who in turn was later targeted by the FBI with false accusations of supplying fugitives with weapons, leading her to flee from fear of an unjust trail (Davis, 2015).
They aimed to destroy her public image with the release of a wanted poster that included an edited photograph that depicted her with a fully grown natural afro (Smithsonian, 2023). They wanted her to be perceived as violent and aggressive.
This backfired; her photograph became a symbol of freedom, reflected on posters, pins, banners and leaflets. A powerful image that spread around the world, it was the symbol of the liberation struggle, and became a symbol of Black Pride and accepting natural Black Beauty in its true form (Davis, 1981).
Angela Davis Wanted Poster – 1970
6. Kendrick Lamar: The Greatest Artist of all Time:
An incredibly bold claim, music is subjective, a topic fiercely discussed.
Yet, allow me to make the case for Kendrick. I will do so using a few premises.
The things that will be considered will be the playable consistency of the music, there are plenty of songs about protest and civil disobedience, yet how many are actually playable in all settings and environments, i.e. the overall enjoyability of the songs.
Next, we’ll consider the artistic creativity and diversity of the albums, how many boundaries does it break? Will it have a lasting influence/impact? Has the it brought something new to the table?
The last point to judge upon will be the evaluation of the artist in question, did they consistently improve with each album? Did their journey through music make sense? Or were there too many ups and downs regarding quality?
I will be looking specifically at Mr. Lamar’s four studio albums, his mixtapes, while phenomenal, will not be considered.
First up, “good kid, m.A.A.d city”, a young and raw Kendrick describes this album as “a short film by Kendrick Lamar”, and it fulfils the promise of its description.
This album set Kendrick apart from his competitors, it stands out due to it’s ability to combine that boastful theme with poetry, humility, and passion. There’s soul to his music that is rare to come by, storytelling rap is offered a new challenge. It could just easily be the script of a musical or a play.
The messages within covers heavy topics of systemic racism, misogyny, alcohol and drug addiction.
Despite this, certain tracks are played at parties, barbecues, clubs… etc. “Swimming Pools (Drank)” a song about alcohol addiction is a great example.
An incredibly powerful start to a musical career.
Next up, his second album, “To Pimp a Butterfly”. After such a powerfuul start to continoue that journey by creating one of the greatest musical pieces full stop, is nothing short of remarkable.
Kendrick aims his scope at those who systemically oppressed Black Americans. He promotes self-love, and furiously fight racial injustice. Lamar makes it clear that he will not be silenced.
“Alright” another song we all listen to in every occasion, a song about racial insjustice also acting as both a protest and party song is way to insure the messsage never be forgotten.
“DAMN” his next third studio album can also be played in reverse. A masterclass in musical creativity and pushing the boundaries of what “rap” means to the mainstream.
Once more, incredibly deep and heartfelt songs that are also playable in any situation, from gyms, to party’s, to protests. Yet the songs never lose their message.
His last studio album “Mr. Morale & The Big Steppers”, performs as a stage play.
Kendrick looks back at his life and the mistakes, regrets, victories and successes that all formed the man he is today. We feel his strive to become a heal and improve as a person, we are painted an image of Kendrick at peace.
Bibliography:
BLOG 1:
- Allauther. (2023). Che Guevara Quotes. [online] Available at: https://allauthor.com/quotes/142762/(accessed date: 07.06.2023)
- Bruschi, R. (2020). Art is a two-way mirror with society, immortalizes death, and transcends life. [online] Available at: https://medium.com/the-collector/art-is-a-two-way-mirror-with-society-immortalizes-death-and-trascends-life-23ea947f2637 (accessed date: 07.06.2023)
- Sinclair, A. (2023). Che Guevara: Argentine-Cuban Revolutionary. [online] Available at: https://www.britannica.com/biography/Che-Guevara (accessed date: 07.06.2023)
- Harris, R. (1970). Death of a Revolutionary: Che Guevara’s Last Mission. W. W. Norton (New York), pg. 10 – 260.
BLOG 2:
- Artspace. (2023). Eduardo Kobra [online] Available at: https://www.artspace.com/artists/eduardo-kobra(accessed date: 07.06.2023)
- Braga, Brunno. (2021). Eduardo Kobra: The Brazilian Man Behind the World’s Most Stunning Murals. [online] Available at: https://travelnoire.com/eduardo-kobra-brazilian-man-behind-stunning-murals(accessed date: 07.06.2023)
- Cloete, K. (2023). Eduardo Kobra’s Mural Celebrates Sustainability Ahead of the 2022 UN General Assembly. [online] Available at: https://www.artshelp.com/eduardo-kobra-un-general-assembly/(accessed date: 07.06.2023)
- D’Angelo, E. (2021). The Importance of Reading the Artwork by Eduardo Kobra. [online] Available at: https://www.theculturemap.com/worlds-largest-street-art-murals-rio-de-janeiro-kobra/ (accessed date: 07.06.2023)
- Dupere, K. (2016). 15 Public Art Projects that Boldly Advocate for Social Justice. [online] Available at: https://mashable.com/article/public-art-social-good (accessed date: 07.06.2023)
- Fresh Creative. (2023). Eduardo Kobra. [online] Available at: https://freshcreativeltd.co.uk/eduardo-kobra/?v=79cba1185463 (accessed date: 07.06.2023)
- Lark, J. (2014). Eduardo Kobra. [online] Available at: https://www.widewalls.ch/artists/eduardo-kobra(accessed date: 07.06.2023)
- Lark, J. (2014). Eduardo Kobra. [online] Available at: https://www.widewalls.ch/artists/eduardo-kobra(accessed date: 07.06.2023)
- Marshall, E. (2017). Meet Eduardo Kobra, World Record-Breaking Street Artist. [online] Available at: https://theculturetrip.com/south-america/brazil/articles/meet-eduardo-kobra-world-record-breaking-street-artist/ (accessed date: 07.06.2023)
- Moore, E. (2023). The Greatest Graffiti Artist in the World: Eduardo Kobra. [online] Available at: https://www.bemsaopaulo.com/the-greatest-graffiti-artist-in-the-world-eduardo-kobra/ (accessed date: 07.06.2023)
- Memo, P. (2021). Where are the Murals of Eduardo Kobra in New York City? [online] Available at: https://www.new-york-city-travel-tips.com/eduardo-kobra-new-york-city/ (accessed date: 07.06.2023)
- Outside Folk Gallery. (2023). Who is Kobra? [online] Available at: https://outsidefolkgallery.com/kobra/(accessed date: 07.06.2023)
- Pariante, F. (2022). 4 Questions for Street Artist Eduardo Kobra. [online]. Available at: https://museum-week.org/magazine/2022/01/18/4-questions-for-street-artist-eduardo-kobra/ (accessed date: 07.06.2023)
- The Culture Map. (2019). Ethnicities by Kobra: One of the World’s Largest Street Art Murals in Rio De Janeiro. [online] Available at: https://www.theculturemap.com/worlds-largest-street-art-murals-rio-de-janeiro-kobra/ (accessed date: 07.06.2023)
- Wells, M. (2022). Brazilian artist’s mural ‘for the planet’ proves big draw for UN General Assembly. [online] Available at: https://news.un.org/en/story/2022/09/1126741?_gl=1*bmupuj*_ga*MTEyNjY1NTk3OS4xNjg1OTczMzY0*_ga_TK9BQL5X7Z*MTY4NTk3MzM2NC4xLjAuMTY4NTk3MzM2NC42MC4wLjA (accessed date: 07.06.2023)
BLOG 3:
- Grow, K. (2020). How N.W.A’s ‘Fuck tha Police’ Became the ‘Perfect Protest Song’. [online] Available at: https://www.rollingstone.com/music/music-features/nwa-fuck-tha-police-protest-song-1010355/(accessed date: 07.06.2023)
- Crawford, B. (2014). “Fuck tha Police” in Historical Context. [online] Available at: https://medium.com/cuepoint/fuck-tha-police-in-historical-context-d87c691715d4 (accessed date: 07.06.2023)
- Hip-Hop & Politics. (2023). “Fuck Tha Police”, N.W.A. [online] Available at: https://wordpress.clarku.edu/musc210-hhp/hip-hop-culture-politics-exploring-the-narrative-and-power-of-rap-lyrics/fuck-tha-police-n-w-a/ (accessed date: 07.06.2023)
- Okoye, S. (2020). The Black Commodity. [online] Available at: https://cas.nyu.edu/content/dam/nyuas/casEWP/documents/mercer2016/okoyeblack.pdf (accessed date: 07.06.2023)
- Knopper, S. (2020). The True Story of N.W.A. Playing “Fuck Tha Police” Live in Detroit. [online] Available at: https://www.gq.com/story/nwa-fuck-the-police-live-detroit (accessed date: 07.06.2023)
BLOGS 4 – 5:
- Austin, C. (2008). Up Against the Wall: Violence in the Making and Unmaking if the Black Panther Party. The University of Arkansas Press (Arkansas)
- Bloom, J. & Martin, W. (2013). Black Against the Empire: The History & Politics of the Black Panther Party. University of California (California)
- Britannica. (2023). Mexico City 1968 Olympic Games. [online] Available at: https://www.britannica.com/event/Mexico-City-1968-Olympic-Games (accessed date: 07.06.2023)
- Bassett, M. (2016). AJPH Special Section: Black Panther Party. Editorial (New York), pg. 1741 – 1745)
- Breitman, G. (1965) Malcolm X Speaks: Selected Speeches & Statements. USA: Grove Press.
- Cunningham, D. (2004) There’s Something Happening Here: The New Left, The Klan, & FBI Counterintelligence. University of California Press (California)
- Duncan, G. (2023). Black Panther Party. [online] Available at: https://www.britannica.com/topic/Black-Panther-Party (accessed date: 07.06.2023)
- Davis, A. (2015). Freedom is a Constant Struggle. Haymarket Books (Chicago)
- Davis, A. (1981). Women, Race & Class. Haymarket Books (Chicago)
- Pugh, M. (2020) ‘Malcolm X & the Philosophical Theology of James H. Cone’ Journal of African American Studies, pp. 434 – 450.
- Stiglitz, J. (2014). The Myth of Americas Golden Age. [online] Available at: https://www.politico.com/magazine/story/2014/06/the-myth-of-americas-golden-age-108013/(accessed date: 07.06.2023)
- Smithsonian. (2023). FBI Wanted Poster for Angela Davis. [online] Available at: https://nmaahc.si.edu/object/nmaahc_2012.60.8 (accessed date: 07.06.2023)
- The Black Panthers: Vanguards of the Revolutions. (2015). [Apple TV]. Directed by Stanley Nelson Jr. New York: PBS and Firelight Films
BLOG 6:
- Billboard. (2012). Kendrick Lamar, “good kid, m.A.A.d city”: Track-By-Track Review. [online] Available at: https://www.billboard.com/music/music-news/kendrick-lamar-good-kid-maad-city-track-by-track-review-1066796/(accessed date: 07.06.2023)
- Empire, K. (2015). Kendrick Lamar: To Pimp A Butterfly – Review, Fearless in its Scope. [online] Available at: https://www.theguardian.com/music/2015/mar/22/kendrick-lamar-to-pimp-butterfly-review-fearless-in-scope (accessed date: 07.06.2023)
- Empire, K. (2017). Kendrick Lamar: DAMN Review – another dial shifting release. [online] Available at: https://www.theguardian.com/music/2017/apr/22/kendrick-lamar-damn-review-another-dial-shifting-release (accessed date: 07.06.2023)
- Empire, K. (2022). Kendrick Lamar: Mr. Morale & the Big Steppers Review – Towards a State of Grace. [online] Available at: https://www.theguardian.com/music/2022/may/21/kendrick-lamar-mr-morale-and-the-big-steppers-review(accessed date: 07.06.2023)
- Green, J. (2012). good kid, m.A.A.d city. [online] Available at: https://pitchfork.com/reviews/albums/17253-good-kid-maad-city/ (accessed date: 07.06.2023)
- Jenkins, C. (2015). To Pimp A Butterfly. [online] Available at: https://pitchfork.com/reviews/albums/20390-to-pimp-a-butterfly/ (accessed date: 07.06.2023)
- Kearse, S. (2022). Mr. Morale & The Big Steppers. [online] Available at: https://pitchfork.com/reviews/albums/kendrick-lamar-mr-morale-and-the-big-steppers/ (accessed date: 07.06.2023)
- Weingarten, C. (2017). Review: Kendrick Lamar Moves From Uplift to Beast Mode on Dazzling “DAMN”. [online] Available at: https://www.rollingstone.com/music/music-album-reviews/review-kendrick-lamar-moves-from-uplift-to-beast-mode-on-dazzling-damn-112650/ (accessed date: 07.06.2023)
Creative Dissent: Protest, Activism & Art 