{"id":9782,"date":"2023-02-21T16:00:00","date_gmt":"2023-02-21T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/lauryn-hill-es\/"},"modified":"2026-11-09T07:13:33","modified_gmt":"2026-11-09T06:13:33","slug":"lauryn-hill-es","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/lauryn-hill-es\/","title":{"rendered":"Lauryn Hill &#8211; El serm\u00f3n y el sample"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">The Miseducation, luego el largo silencio<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">En el verano de 1998 Lauryn Hill puso todo un argumento en un disco y luego, sobre todo, se apart\u00f3. The Miseducation of Lauryn Hill no suena a debut en solitario que duda. Suena a alguien que ya hab\u00eda cantado los ganchos que la radio quer\u00eda dentro de Fugees y hab\u00eda decidido que el siguiente documento guardar\u00eda ganchos, reproche y lecci\u00f3n dominical en la misma lista. Nacida Lauryn Noelle Hill en South Orange, Nueva Jersey, el 26 de mayo de 1975, hab\u00eda actuado, rapeado, y en The Score de 1996 hizo que Killing Me Softly y Ready or Not fueran el aire del verano en cada coche.<\/p>\n<p style=\"text-align: justify;\">El camino de Fugees explica la confianza. Blunted on Reality en 1994, con Wyclef Jean y Pras Michel, no anunciaba un fen\u00f3meno. The Score s\u00ed, dos a\u00f1os despu\u00e9s, y sus versos en If I Ruled the World de Nas mostraban a una rapera que entra en un tema sin copiar el \u00e1nimo del tema. A los veintitr\u00e9s a\u00f1os ya estaba en el centro de la conversaci\u00f3n sobre el mayor premio del hip-hop antes de que llegara el premio.<\/p>\n<p style=\"text-align: justify;\">Publicado el 25 de agosto de 1998, Miseducation est\u00e1 construido como un d\u00eda escolar. Entre canciones, ni\u00f1os hablan de amor, un marco que pudo ser tierno y no lo es porque las canciones alrededor son concretas. Doo Wop (That Thing) rega\u00f1a y balancea en el mismo comp\u00e1s. Ex-Factor es una despedida que no se va. To Zion se dirige a su hijo y al consejo de carrera que dec\u00eda que un beb\u00e9 arruinar\u00eda el plan. Lost Ones es el tema rap, cortante y personal. Produjo la mayor parte ella misma con banda en lugar de un mont\u00f3n de loops, aunque hab\u00eda samples que luego se discutir\u00edan en tribunal. El acorde gospel y el ritmo hip-hop se sientan juntos en el arreglo.<\/p>\n<p style=\"text-align: justify;\">Los Grammy 1999 dieron cinco premios al \u00e1lbum, incluido Album of the Year, de diez nominaciones. La noche confirm\u00f3 lo que las canciones ya mostraban: una mujer pod\u00eda estar en el centro de la industria en esa noche de premios y sonar, en el disco, como si no hubiera pedido permiso. Luego el centro qued\u00f3 vac\u00edo. MTV Unplugged No. 2.0 en 2002 es lo opuesto a una vuelta triunfal: garganta ronca, guitarra apenas afinada, canciones nuevas que acusan a la industria, la imagen y su certeza anterior. Algunos oyeron quiebre. La cinta muestra a una cantante que rechaza la versi\u00f3n pulida de una voz demasiado \u00fatil para otros.<\/p>\n<p style=\"text-align: justify;\">Lo que sigui\u00f3 no fue un segundo Miseducation y nunca se explic\u00f3 convincentemente como pereza. Giras, reuni\u00f3n de Fugees que se deshilach\u00f3, demandas, silencios largos, y noches en que llegaba tarde o no llegaba convivieron con noches en que una voz mayor a\u00fan abr\u00eda Ex-Factor y la sala actuaba como si la canci\u00f3n hubiera esperado. Ha hablado de presi\u00f3n, fe y querer que el trabajo signifique m\u00e1s que un ciclo de singles. El cat\u00e1logo se qued\u00f3 corto a prop\u00f3sito, o por da\u00f1o, o ambos. Esa brevedad forma parte de c\u00f3mo se escucha ahora.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb11035&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790076057107{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Las influencias est\u00e1n en la mezcla m\u00e1s que en una etiqueta: armon\u00eda gospel, ritmo reggae del lado caribe\u00f1o de la familia, cadencia del hip-hop de los a\u00f1os 90 y el h\u00e1bito Fugees de convertir cover o sample en nuevo argumento. Frente a pares que separaban rap y canto en \u00e1lbumes distintos, ella guard\u00f3 ambos en el mismo aliento.<\/p>\n<p style=\"text-align: justify;\">Al escuchar, oye bater\u00eda en vivo bajo vocalizaciones largas, bajo que camina como discos soul, y voces que predican en una l\u00ednea y cotillean en la siguiente. Los skits de aula mantienen la producci\u00f3n a escala humana. Las disputas de cr\u00e9ditos recuerdan que un disco acabado es tambi\u00e9n una habitaci\u00f3n llena de gente; ella estaba en el medio, joven, segura, quiz\u00e1 ya planeando la salida.<\/p>\n<p style=\"text-align: justify;\">Las puertas de entrada siguen claras. The Miseducation para la declaraci\u00f3n 1998 completa. Unplugged 2.0 para la confesi\u00f3n \u00e1spera tras la corona. The Score para el contexto de grupo. A\u00f1ade Doo Wop (That Thing), Ex-Factor y Ready or Not y oyes el arco de portadora de \u00e9xitos a autora en solitario a icono reacio.<\/p>\n<p style=\"text-align: justify;\">Junto a los confessionales de Mary J. Blige o el soul c\u00f3smico de Erykah Badu, Hill comparte calor R&#038;B pero mantiene filo de rap en el mismo verso. Junto a estrellas multirol posteriores, sigue siendo el caso que se cita en los dos sentidos: un \u00e1lbum cerrado, luego los a\u00f1os en que le piden repetirlo.<\/p>\n<p style=\"text-align: justify;\">Cantantes m\u00e1s j\u00f3venes tomaron la mezcla, las vocalizaciones largas sobre un breakbeat, el derecho a rega\u00f1ar dentro de una canci\u00f3n de amor, y rara vez el costo. Pon Doo Wop (That Thing) o Ex-Factor y el disco de 1998 a\u00fan muestra el m\u00e9todo: terminar el pensamiento, dejar que el sample lleve el serm\u00f3n y guardar esa exigencia en la canci\u00f3n.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>The Miseducation of Lauryn Hill lleg\u00f3 en 1998 sonando terminado: canciones, sermones y samples ya cerrados.<\/p>\n","protected":false},"author":1,"featured_media":9777,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[304,299],"tags":[477,1147],"class_list":["post-9782","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-artistas","category-criticas","tag-hiphop-rap-es","tag-lauryn-hill-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Lauryn Hill - El serm\u00f3n y el sample - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"The Miseducation of Lauryn Hill lleg\u00f3 en 1998 sonando terminado: canciones, sermones y samples ya cerrados.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/lauryn-hill-es\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lauryn Hill - El serm\u00f3n y el sample - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"The Miseducation of Lauryn Hill lleg\u00f3 en 1998 sonando terminado: canciones, sermones y samples ya cerrados.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/lauryn-hill-es\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2023-02-21T15:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-09T06:13:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/lauryn-hill.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/lauryn-hill-es\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/lauryn-hill-es\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"Lauryn Hill &#8211; 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