Niela Orr

Kendrick Lamar, who calls himself a ‘certified boogeyman’, is a contemporary Dracula guy, wending his way onto the dance floor; he’s someone who ‘wiggled through that sentence’, as he puts it in one of his new songs, then into your subconscious. Lamar’s latest album, GNX, released unexpectedly on Friday, 22 November, is both a music box and a jack-in-the-box in the tradition of ‘Bad Times’: a forum for groovy, spooky, electro-influenced West Coast sensibilities and a meditation on ego death, false humility and braggadocio.

De La Soul’s 3 Feet High and Rising is to Public Enemy’s It Takes a Nation of Millions to Hold Us Back what Bob Kaufman’s Abomunist Manifesto is to Allen Ginsberg’s Howl: a text that’s less a rallying cry than a high-concept hosanna for outliers. Where Kaufman was surveying the Bay Area’s brain fog, the Cold War and the menace of the A-bomb, De La Soul looked out at the macho rap landscape and added their small-pond sensibilities and day-glo colours to an overwhelmingly leather and gold NYC rap scene.

Bernadette Mayer died on 22 November, aged 77. Earlier in the month, New Directions published the career-spanning collection Milkweed Smithereens. In ‘The Joys of Dahlias’, a nonsense taxonomy of sensual feelings inspired by flowers, Mayer writes:

sleep now, smart pants or the midnight dancer
will tutti frutti your fabulous memory
             toodle-oo

I don’t know who the midnight dancer is, but if I’m up late, grinding away for some deadline or other, they’re someone I might hallucinate. Listen how lovely Mayer’s invented verbs are: ‘tutti frutti’ could mean to chop up, desiccate and sweeten, like the ice-cream topping, or to reduce your ‘fabulous memory’ into little more than a rolling playback of Little Richard’s rock and roll squeal. (‘A wop bop a loo bop a lop bam boom’ might be sound poetry produced in the witching hour, the cry of an insomnolent artist under pressure to make a hit.)

Kendrick Lamar’s recent single ‘The Heart Part 5’ samples ‘I Want You’, Marvin Gaye’s torch song for Janis Hunter. The 1970s saw Gaye whipsaw from socially conscious poet (What’s Going On, 1971) to lover man (Let’s Get It On, 1973) to lovelorn Janis-stan (I Want You, 1976). (Maybe he was all of these things at many times in his life, as David Ritz’s biography suggests, but his public-facing self seemed to transform with each new record.)