DAY TWENTY-FIVE: Song I Like by an Artist No Longer Living
Amy Winehouse – Some Unholy War
I was devastated when Amy died. Her discography wasn’t as massive as many other artists before here because of her untimely death, but to choose one song by her is difficult, to say the least. ‘Some Unholy War’ is top 5 for sure. Amy always sang about love and this song became one of the strongest testaments to love being given that I know of. Loyalty, trust, and dedication is what love means to me, and that’s exactly what she sings about in this song.
DAY TWENTY-FOUR: Song by a Band I Wish was Still Together
NSYNC – Gone
I was always a Backstreet Boys fan when it came to the
debate of the boy bands in the 90’s, but after hearing the acapella version of ‘Gone’
randomly scroll across my iPod one day, my whole life changed. The way those
boys harmonized, you would’ve thought that they were a young Boys II Men. The physical
music of the track really does the song no justice. To be able to hear them do
that again would make me so happy!
DAY TWENTY-THREE: Song I Think Everyone Should Listen to
Noname (feat. Saba, Smino, Phoelix) – Shadow Man
This song touches on a subject that we all must face one day, our deaths. But it’s more significant because every artist on the song is a young black person talking about their funerals. One wouldn’t imagine a person thinking of their funerals at such a young age, but in this America, it has become commonplace. Lives lost too soon by the systematic oppression and violence from the days of slavery up to now is what this song represents, and it stands as a prayer for those who we’ve lost. Everyone should give it a listen.
The first time I heard this song was during one of the more
difficult times in my life. I was trying to adjust to leaving my hometown, my
friends and family, and my boyfriend. Moving would be beneficial for my career,
but it weighed heavily on my spirit. Emeli Sandé’s voice literally melted away
most of those fears. It’s a song about having doubts regarding everything yet
staying true to oneself, and in turn being free because of it. It has gotten me
through many a tough day.
DAY TWENTY-ONE: Song I Like with a Person’s Name in the Title
How can anyone choose one song for this category? I find it nearly impossible. When names are added to titles, somehow it just feels more personal. Don’t get me wrong, you’ll never find my name in a song title unless the artist is a friend. But when you hear names, it’s as though you get a personal peek into the artist’s life with the said person.
Dolly Parton – Jolene
When Dolly Parton sang to Jolene, begging her not to take
her man, I could see myself crooning right beside her (Why would you do that
Jolene? She’s asking you nicely!). Dolly has a voice that rings out and demands
attention, some much so that she gave the name Jolene a new appeal to me.
Elton John – Bennie and the Jets
I was obsessed with ‘Bennie and the Jets’ from the moment I heard
it in its entirety. I loved the stutter of the name Bennie. I loved the added artificial
audience noise given to the track for a live feel. And I loved the futuristic
woman that Elton John sang about.
Rick James – Mary
Jane
I remember ‘Mary Jane’ from my childhood, but it didn’t hold
any real significance to me until college… when I realized that I was in love
with Mary Jane as well. I mean, he did say that he knew that he wasn’t the only
one who loved her. And I loved Mary Jane for the same reasons that James did, making
the song so much more relatable.
Prince – Darling Nikki
Darling Nikki was probably the first song that I immediately
knew was about sex (and I used to sing along to Ginuwine’s ‘Pony’). It felt
sexy, even before I watched Prince perform it in Purple Rain. Nikki seemed to be a bad bitch and I really wanted to
be able to command the attention of men like Prince as she did, I think I still
do. I use it as my confidence-song; whenever I want to turn my inner sex kitten
on, I listen to ‘Darling Nikki.’ And even more interesting, THIS SONG was the reason
that record labels had to start using warning labels on albums that contained
explicit content.
Although today’s song and yesterday’s song speak on the topic of forgiveness, Ms. Hill pointed out that people are selfish and stupid. There are backstabbers and cruel people in this world, and although we may forgive them, that doesn’t mean they won’t pay for their transgressions. It stands as a song of karmic justice. Some people wear two-faces and sometimes that ends with you being betrayed by them, but those who do wrong by you will always end up reaping what they sow. I.e. Cain and Abel, Caesar and Brutus, and Jesus and Judas.
Maybe Hill is also asking God not to be too heavy with His punishment, for they know not what they do…
This song is all about forgiveness and learning to forgive.
I think that’s one of life’s biggest lessons. I know that if I could forgive
more people, and forgiven others sooner than I chose to, life would’ve been different
for me – probably better. India.Arie’s Testimony:
Vol. 1, Life & Relationship is all about the lessons that she learned
up through the years of her life that influenced those songs. To me, it reads –
or sounds – like personal advice from a close friend.
I mean, if Nelson Mandela could forgive his oppression, if Gandhi
could forgive persecution, and if Jesus could forgive crucifixion, we can all forgive others for the wrong that they’ve
done.
I used to love listening to this song while riding in the
car with my dad. I can’t say that I remember it from 1990 (since I was only
being born) but at least a decade after its release, it remained one of my
favorite songs AND a song that I know all the words to. EVERY. SINGLE. WORD.
And I also think that it’s pretty cool that Tupac started his career in this
dope ass rap group. Fun rap is what it was, and I have fun every time I hear
the song and must sing along.
DAY SEVENTEEN: Song I’d Sing a Duet with Someone on Karaoke
Patti LaBelle & Michael McDonald – On My Own
This was the first vinyl that I bought when I was gifted a record player. It wasn’t as if I heard the song often in my childhood but when I did hear it blaring through my grandma’s home, the emotion that she sang matched LaBelle’s fervor. When my mom sang along with it she hit every note. It was more of nostalgia, and I can’t wait for the day that my duet karaoke moment happens and I get to do my rendition of Patti LaBelle. Also, Michael McDonald’s voice is epic to me – it’s the perfect mix of easy rock and soul. If my duet partner could bring that flavor, we’d kill our performance.
Growing up, my grandpa picked us up from school every day. And instead of listening to the station that played the Black oldies, like one would assume, my grandpa listened to Lite 96.1, which played lite classic rock. It was my first introduction to the music of that kind, and although it was different I grew to love it and sing alongside my grampy. Hotel California was one of our favorites. At the time, I didn’t know who The Eagles were or that the song was deemed a classic; I knew that it was a song that made me happy and made my grandpa smile on our daily venture to his home. Whenever I hear it now, I can see my grandpa nodding his head along to the beat and tapping his fingers on the steering wheel. If I could turn back time I would sing a little louder with him and appreciate the music that he found such joy from.
DAY FIFTEEN: Song I Like Covered by Another Artist
Once again, I’m stuck between two songs that I love dearly.
Snoh Aalegra – Don’t Explain
Snoh Aalegra is a Swedish singer that I learned about from one of our many playlists at H&M. Her song ‘Emotional’ cemented a deep-rooted love for her voice, and from then on, I followed her music as closely as possible. She’s well on her way to superstardom, and I’m grateful enough to say that I’ve kept up from as close to the start as I could manage. Her take on Nina Simone’s ‘Don’t Explain’ by far, by my standards outshines the original. It’s one of my favorite songs to sing in the shower; her take on the piece is as soulful as the first and remains apart of many of my playlists.
JoJo – Caught Up in the Rapture
Jojo’s ‘Get Out’ was a favorite for me in high school. It was one of those songs that I would sing along to, wishing that I had some sort of love troubles that the song would help me relate to… but alas, I never did. She disappeared from the music scene shortly after, leaving me to wonder what happened to the soulful Jojo. When she returned, she began to put out music that she was unable to make a profit from (it had a lot to do with her management), but she was able to show her range on covers of iconic songs, such as ‘Caught Up in the Rapture.’ The melodic range of Jojo’s version gives Anita a run for her money. It would suffice to say that I only enjoy covers of songs that I dare to argue are better than the originals, and this one does not disappoint on any level (she even outdid Beyonce’s concert rendition… and that’s also saying A LOT).
DAY FOURTEEN: Song I’d Like to be Played at My Wedding
Prince – Diamonds and Pearls
Simply put, this is our song. Dubbed an artist who only performed rock music by my boyfriend, Prince was multifaceted. He wrote pop, funk, AND R&B. 'Diamonds and Pearls' was my first and the best example of the latter, and after hearing it for the first time my boo fell in love… which just made me love him more. It’s his ringtone when he calls, those are the lyrics that he writes in the cards alongside bouquets of flowers he sends, he hums it as I fall asleep on his chest; it better be the first song we dance to at our wedding.
With such a broad category and so many songs to choose from,
I went with one of the most famous artists of all time – Michael Jackson. Off the Wall is the album that set Michael’s
solo career in motion, and one of his most understated songs of all time – in my
opinion – is “I Can’t Help It.” It’s so soothing and his voice is so melodic, I
wish it was played more often. Mike with the afro was a smooth guy. If I was a
teenager in the 70’s, I would’ve had a major
crush on him!
I
immediately thought of riding in the car with my dad and listening to the Backstreet
Boys. It was a shock for me because my dad was an avid oldies guy, his ideal
playlist included the Temptations and only came as recent as Arrested
Development (at that time). When ‘Everybody’ came blaring through the speakers,
my entire musical identity began to morph into a new phenomenon. I liked pop
music and boy bands from then on.
B2K - Uh Huh
Name one black girl in their preteen years who did not have
a poster ripped from a magazine of B2K or their favorite B2K member plastered
to their wall. You can’t do it because we were obsessed! They took over our
lives for at least a good 3 years with albums and movies (You Got Served), and it all started with this song. As embarrassing
as it may be, I think this song goes HARD, not as hard as the trap music of
today, but it served its own purpose during its tenure.
Introduced to me by my bestie, Rashad, Smino has an effortless flow that attracted me to his music immediately. That combined with the sweet melodic voice of Ravyn Lenae make for a song that I could listen to on repeat for hours on it. I don’t get tired of hearing it or singing along with it… other people probably get
tired of hearing me sing along though.
I was in high school when I first heard Miri Ben-Ari play
the violin. Kanye West brought her on stage to perform a small set in between
his songs. She had the audience enthralled from beginning to end, and I’ve been
in love with her talent ever since. I have such an affinity for classical
music, but when paired with hip-hop, I always need more. I also have always
wanted to learn how to play an instrument, so being envious about watching a
badass woman merge the genres together was inevitable. No matter how I’m
feeling, anytime I hear this song, I become extremely happy; it’s my happy
song.
Kendrick rapped about so many different drugs, I had to look
some of them up! The song itself always reminded me of those hazy nights at one
of the many college house parties that my friends dragged me to. It’s the
perfect amount of chill, due to the drugs, with a bit of anxiety due to the abundance
of drugs in the vicinity. Drugs, check. Alcohol, check.
As uplifting as it was meant to be in the 60's during times of anguish to promote solidarity within the black race, the song Now reminds me of a traumatic past. I hate imagining my ancestors being chased by dogs and shot with high-powered water hoses in an effort to gain equality in a land where it should have been free. Cooke sings that A change is going to come and, probably to his dismay, we're still working towards that change now. Every time I hear it, I cry. I cry because of the past and because I think of all the new police brutality cases and how we're still being treated as less than.
This one is a sentimental one for me, it always reminds me of my dad. He, my brother, and I would drive around the city listening to all types of music. I can actually attribute a lot of the different genres of music I listen to from those rides. From here, I began listening to Corrine Bailey Rae, Joss Stone, Amy Winehouse, and Duffy.
South African singer-songwriter and guitarist, whose music is classified as jazz fusion, has a discography with many gems, but this song was specifically about a relaxing ride with his lover at his side. This song still makes road trips easy and I’ll always feel like my dad is right by my side, no matter how far away he may be.
Don’t let this song catch me while I’m at work, driving in the car, or doing anything that would prohibit me from dancing BECAUSE NOTHING WOULD STOP ME FROM GROOVING. Justin Timberlake and Timbaland together are unstoppable, which made every song from The 20/20 Experience a masterpiece. My workout jam, my bop to play when getting ready to head out, and my song with a set dance routine; thanks to you Justin.
The first thing Kanye says on this song is to “turn his headphones to up” in the booth, and every time I obey by cranking my volume up ALL THE WAY. The sparring lyricism between JAY Z and Kanye is epic. It makes me miss the good ol days when there were no 20-minute rants and confessions of loans paid. I hope these two can make up one day; until then, I play this song as loudly as humanly possible.
DAY FOUR: Song that Reminds Me of Someone I’d Rather Forget
Robin Thicke – I Need Love
Yeah. It’s about a guy, but isn’t it always? It was the summer of 2007, and the Evolution of Robin Thicke was constantly playing, as I was determined to find my summer love. Looking back, Robin Thicke singing about love was WAY too grown for a 17-year-old girl to use as a roadmap. Even in college Robin Thicke almost got my little too-grown-to-know-better ass in trouble. I’ll never forget the summer, but I could stand to forget him.
A bit on-the-nose I’m sure many would say, but when I think
of summer, this is the first song that comes to mind. My first summer job was
in 2009 and it was at a small former popular clothing store, Body Central. Perhaps
the budget for the store’s playlist could’ve been a bit more generous because
this was one of the only songs I remember being played multiple times during
each of my 5-hour shifts. It became the backbone of every cookout playlist
since its release. And, above all, Will Smith rhymed “monotony” with “gotten to
be,” thus proving he is one of the superior lyricists of our time.
I remember riding in my mom’s car and singing along with Ms. Badu as if I was the one in love. It just always made me feel like if you found love, you were one lucky guy, which is what Erykah meant. If a guy was LUCKY enough to get her to fall in love with him, he would receive all the magic that came along with it. This might have translated to the way that I see love these days, and I still scream the song at the top of my lungs.
Jackson Hole, Wyoming has been Kanye’s refuge prior to and since the TMZ media fiasco. He has committed to the production of five albums with the time that he’s spent in seclusion. Pusha T’s Daytona was his first release and we’re expected to hear Teyana Taylor, Nas, and Kid Cudi’s 7-track albums soon. Last night, Kanye invited 150 family, friends, and members of news outlets to his Wyoming sanctuary for his album’s listening party.
Centered around a huge bonfire and introduced by Chris Rock, Ye took a step in the direction towards old Kanye. Disregard the fact that Kanye has personally footed the bill for personal jets for most of the members of the news outlets and provided airfare for his friends. And forget about the out-of-the-way listening party location – what it lacked in grandeur in comparison to The Life of Pablo’s listening stage, it made up for in travel time. Kanye is still the arrogant and loud-mouthed rapper, unafraid speak his truth, but in a hushed manner.
In seven songs, Kanye successfully touches on this past “shaky-ass year”, his mental health – more specifically his bipolar disorder, and disappointing Kim with his social media mayhem, while admiring the fact that she’ll stand by him eternally.
The features on the album also work well. For most of the songs, each featured artist meshes so well with the composition of the track it feels as though each overlapping layer is indistinguishable. The composition of each song and the album’s progression reminds me a lot of My Beautiful Dark Twisted Fantasy and a bit of The Life of Pablo combined. West still maintains control over his expert lyricism and razor-sharp tongue that I remember from Graduation and Yeezus. And the soulful beats of Kanye’s repertoire are very reminiscent of College Dropout and Late Registration.
On ‘No Mistakes,’ I believe, Kanye subtly even addresses his personal rap beef alongside Pusha T and Drake,
“The true soul of Ice Cube/ Too close to snipe you/Truth told, I like you/ Too bold to type you/ Too rich to fight you/ Calm down, you light skin”
It was small, to not give any extra attention to the issue. It was honest in a way that it neither specifically (by name) or brutally harm anyone’s already marred reputation – conceptualizing the idea of ‘loving everyone’. But it sends the message that lets everyone know that Drake’s snub towards Kanye was received yet disregarded.
My favorite song of the entire album is ‘Violent Crimes.’ It’s a song for his daughters. Kanye is finally beginning to comprehend the struggles of having a daughter while praying that his karma doesn’t catch up to himself and his girls. He wants North to stick to playing the piano and learning karate instead of yoga and Pilates. He hopes that they get his body stature instead of Kim’s, because “niggas is savage, niggas is monsters, niggas is pimps, and niggas is playas.” He should know, he’s a nigga too – he’s said so himself. And after seeing what that type of damage he’s done and seen done to women, he now understands that women are to be nurtured.
It’s ironic to note that Kanye confronts his bipolar disorder diagnosis with this album because it appears this has been the key the entire time. There is no “old Kanye” or “new Kanye,” there are just the two parts of himself that he has now accepted. Maybe his self-acceptance is what he needed all along – now that he has his own approval, I think Kanye has opened his limitless potential.
I hate that Kanye is bipolar too, but it does seem to be pretty awesome.
Of course, Kanye drops many noteworthy lines that will shake up social media:
“Russell Simmons wanna pray for me too/ I’m gon pray for him, cuz he got MeToo’d” – ‘Yikes’
“That’s my bi-polar shit nigga, what/ That’s my superpower, nigga/Aint no disability, I’m a superhero” – ‘Yikes’
“Sometimes you gotta back the boss up/ I call that taking Corey Gambles” – ‘All Mine.’
“All these thots on Christian Mingle/ Almost what got Tristan single/ If you don’t ball like him or Kobe/Guaranteed that bitch gonna leave you” – ‘All Mine’
“My wife calling screaming/Sayin we bout to lose it all/ Had to calm her down/ Cuz she couldn’t breathe/ Told her to leave me now/But she wouldn’t leave” – ‘Wouldn’t Leave’
"I hope she like Nicki/ I make her a monster/ Not having ménages/ I’m just being silly/ I answer the door like Will Smith and Martin/ Nigga, do we have a problem?” – ‘Violent Crimes’
‘YE’ is available to stream through most digital streaming platforms – Apple Music, Spotify, Tidal
The joys of being in love mingled with the suspicion
that the relationship might have reached its pinnacle with its end very near. It
was my favorite song from Blonde due
mainly to its composition and the harmonious blend of Frank Ocean and Beyoncé’s
voices into the second half of the song.
In an effort to continue my journey to find my favorite song, I’m participating in the 30-Day Song Challenge for the month of June. And I hope that you, my readers, will also do so. I must admit, this is gonna be very difficult for me. My iTunes alone has over 5,000 songs and that’s the sum from when I stopped my musical piracy, I’ve heard SO MUCH MORE music since then. Some of the days might have multiple songs, but for the most part, I think that I can simplify my choice.
Comment your favorite songs for the days as we go through the month. Happy listening!
Every day I get on Instagram or read through Google News and I see a new story about the oppression of the colored race. It has become a social norm throughout history and to me, that is the real tragedy. It saddens me, and I can’t imagine how watching these occurrences every day doesn’t sadden us all. I find that through music, I am encouraged to look beyond the stress and inspired to carry on. That’s the power of music and the power of black music speaks specifically to our strife.
1.James Brown – Say It Loud, I'm Black and I'm Proud
One of the most significant songs in the Black community, Brown composed this number to strengthen black pride in America during the 1960’s – it became an anthem for the black power movement. The call-and-response style of the song was a fixture in many of Brown’s music and further enforced the idea of black pride. He recorded it live with a group of children from the Los Angeles area. And although Brown admits that the song cost him a lot of his crossover audience due to its seemingly militant concept, he knew that it was necessary to teach black pride. “I don’t regret it, though, even if it was misunderstood," Brown explained.
2.Kendrick Lamar – Alright
Despite all the bad times, with God on his side, Lamar roars that he will be alright. It reminds many black people of the tribulations that they face daily and many, myself included, identify with the uplifting chanting of ‘we gon be alright!’ Lamar was inspired by his time in South Africa and the hardships that he watched the population endured. “That was the moment I knew, OK, I could either pimp this situation or fall victim o it. That was a turning point,” Lamar explained. The song has been repurposed and used in several protests against police brutality across the United States – the song has even been informally considered a modern Black National Anthem.
3.Solange – F.U.B.U
Solange entitled this black-empowerment anthem after FUBU, and we all remember FUBU as the black community fully embraced the brand. “I named it ‘F.U.B.U.’ because I wanted to empower, and I looked to people who have done that in their own ways. I thought of the FUBU the brand, meaning ‘For Us By Us,’ and how normalized it became to wear that kind of symbolism every day,” Solange explained. The song was specifically for ‘us’ because it depicted situations that black people or any people of color endure every day while giving the motivation to continue on.
4.Childish Gambino – This is America
This politically-charged anthem addresses the police brutality, gun violence, and racism that continues to ravage America in 2018. The strong images of the music video helped to solidify the song’s place in the hearts of those who oppose the injustices that we face today, not just as a race but as a country.
5.Bob Marley – Get Up, Stand Up
Although Marley was singing about his upbringing in Jamaica where he had to fight for respect and acceptance for his Rastafarian religion, the song speaks of taking action to avoid oppression. Marley felt that finding one’s worth in life on Earth would help give the strength to rise and rebel against injustices. And the injustices of today won’t be solved or made right unless we stand up for our rights.
6.Nas – I Can
At the request of his mom, Nas wrote this song to promote children’s belief in themselves. Not only does the song encourage children to believe that they can do anything in the world, it also gives a history lesson about the strength of those before them and warns them of the damage of drugs. In a way, it was as though Nas undermined the negative notions that society provided for black kids and replaced them with positive self-images. The song was played during countless graduations and its inspirational lyrics still help me get through tougher times.
7.Buddy, A$AP Ferg – BLACK
This song is a celebration of blackness in the face of discrimination and oppression. The anthem speaks of Trayvon Martin and Huey P. Newton as heroes and promotes self-love when speaking about the physical characteristics that make them black but proud. The chanting of the word ‘black’ solidifies the idea of being black and proud that James Brown screamed in the 60s. With this modern twist, the idea of black pride is back and can usher the new generation into the same kind of change we’ve seen in the past.
8.Common, John Legend – Glory
The motivational ballad was recorded for the film Selma. It resonates with the film, which recounts the three 1965 voting rights marches from Selma to Montgomery, and current social unrest – the fact that it can resonate through # years is part of the problem, I’d say. “This is not only paying honor to those who lived in these times during the ‘60s, but also really relevant to today,” Common explained, “So I really was thinking about encouraging people that we’ve come a long way, but we’ve still got some fighting to do, and we are capable. We’ve got to carry this torch and take it to the next level.”
9.Wale – Cassius (Excellency)
An anthem of excellence that starts off with the boastful Muhammad Ali, Wale intricately raps about how it feels to be a black man in a country that sees him as less than. It also defends an idea that having black pride means a hate for the white race, all while addressing the discrimination and oppression that we still face. “Pro-black isn’t anti-white/But how we act like we don’t see no tiki torches at night.”
10.Stevie Wonder – Black Man
Stevie Wonder had many songs that referenced his desire for equality and disdain for the oppression and discrimination of the black race (i.e. “Living for the City”, “Misrepresented People”), but “Black Man” was written about Wonder’s desire for worldwide interracial harmony. The song criticized racism and used color-based terminology (i.e. black, red, yellow, white, and brown men) to explain how we all belong in America and should be treated equally. We all have achieved accomplishments for the progress of this country – a country that is a melting pot of many races who deserve the credit that they are due. And at the end of the song, in call-and-response style, children answer questions about the key players of America’s history and their respective races.
Out of the darkness and in the nick of time, Childish
Gambino rescues us and lets us know that the struggles and strife of being Black
in America are not going unnoticed by the famous like Kanye would like for us
to think. This is America is not only
a lyrical masterpiece describing the plights in the United States, the video is
artfully crafted by Hiro Murai and Donald Glover himself to jolt and awaken
emotions on the topic.
What can initially be viewed as a visually confusing and
chaotic piece, each nuance gives meaning to being Black in America. The
lyrics say: we just want to party/ party just for you/ we just want this money/
money just for you, along with the images of a group of kids dancing alludes to
the shucking and jiving that has allowed Black people to create some form
of “success” since minstrelsy began.
However, in the background, all sorts of anarchy
are occurring. People are scattering and jumping to their deaths, and the
images of police cars burning likely alludes to the riots of the Black Lives Matter
marches. The dancing could represent one (or all) of three different ideas: 1)
The children and Gambino all are clueless about the drama around them, 2) They
are all dancing to distract themselves from the trauma of their situations, or
3)they are dancing for the camera or for
social media video and know their dancing is a distraction or an invisibility
cloak, seeing as those who don’t seem threatening will survive; none of the
children were killed in the video, so whether you call this dancing cooning or
surviving, it's a strategy for dealing with death.
This is America
Don't catch you slippin' up
Don't catch you slippin' up
Look what I'm whippin' up
As his hit “Redbone” when Gambino warns us to “stay woke,”
the phrase “don’t catch you slippin up” is a warning of its own. It can refer
to how little Black lives are worth these days in America. When discussing police
brutality, many of the murders occur when the victim made incredibly minor or
no mistakes at all. In March when Stephon Clark was killed while trying to
explain to police that he only had a cellphone in his hand, the police believed
otherwise – alluded to in the song with the lines “this is my celly/ that’s a
tool.” Apparently, cell phones are weapons now, as “tool” is slang for a gun or
pistol. “Slippin up” could literally lead to the end of a Black person’s life
in the America that we know. And the lines “look how I’m livin now/ police be
trippin now” continues the explicit reference to that same brutality.
Yeah, this is America (woo, ayy)
Guns in my area (word, my area)
I got the strap (ayy, ayy)
I gotta carry 'em
Beyond the deaths of Black people in America, death by gun
violence is also an important trope played out in the music video. Whether the
guns belong to the police, terrorists who commit terrorist acts, or those who
carry weapons for protection, guns are a mainstay of everyday life now in America
and it makes life a bit scarier than ever before. American culture is becoming symbolic
with gun culture. In the beginning of the video, we see Gambino shoot a hooded
man in the back of the head and walk away as if he is desensitized to the act
of killing especially gun death that occurs on as the result of American
politics. And later we see him dance in to massacre a small choir with an
AK-47, alluding to the Charleston church shooting – he once again walks away, as
easily and freely as Dylan Roof did. Even moreso, each gun after it is used to murder is treated with delicacy and care, much more than can be said for the bodies of the victims that are dragged from the frame.
Many Black Americans, specifically, carry firearms for
protection on a day-to-day basis. Although this may seem glorified by the
culture of music we are surrounded by, it is a harsh reality for many. Gambino
is alluding to America’s persistence on refusing to tighten gun control laws
and necessitating gun ownership. However, people seem to remain stubborn and feel
the need to carry firearms.
You just a Black man in this world
You just a barcode, ayy
You just a Black man in this world
Drivin' expensive foreigns, ayy
All the cars in the video were old, unlike what we are used
to with other rap music videos. The makes and models are mid to early 90s, if
not 80s cars. This speaks to the whole idea that a fair number of Americans
aren't driving new whips; many people are pushing boxy cars. And for those who exercise
the stereotypes of buying unnecessary luxuries like foreign cars, this
mentality depreciates their worth to nothing but a ‘barcode’ for corporations
to market from.
In the end, still nigga. And if anyone is too blinded to see
that, I encourage you to watch the video again, especially the last few seconds
of it, when Childish Gambino ended up running in what seems to be a cycle that
never ends.
Beyoncé’s return performance just happened to be the headlining set that she had to skip out on last year due to her pregnancy with her twins, Rumi and Sir. The world anticipated what she would do, but we KNEW that we wouldn't be disappointed. Beyoncé came and sat back down on her throne with a performance that broke all types of records and earned accolades galore. And while we ALL thoroughly enjoyed Beychella, I feel as though Black people enjoyed it much, MUCH more.
“Coachella, thank y’all for letting me be the first Black woman to headline Coachella. Ain’t that bout a bitch!”
The first Black woman to headline Coachella. That’s a crazy concept to me. The Coachella Valley Music and Arts Festival inaugural weekend was back in 1999. While there may not have been scores of Black women who could be deemed headliners in the past 19 years, I know Janet Jackson should have had the honor at least once. Beyoncé took this platform and this lifetime chance and let loose on one of the world’s biggest stages. She gave us a sneak peek of the On The Run II tour by inviting Jay-Z out for “Déjà Vu” AND gave us a Destiny’s Child reunion to die for! But above all else, Beyoncé took that Coachella stage and was as unapologetically Black as she could be.
Beyoncé’s concert production is always over the top because of the performer that she is, she is always going to give a great show. The lights warm and on the stage, we see two sets of tiered bleachers with stairs down the center; these bleachers are sky high because a full-fledged brass marching band sat in its seats. The acoustics of the band itself set the tone for her performance and I knew we were in for a treat.
With a familiarity of high school football games and collegiate social life, Beyoncé created and introduced us to BΔK. It seemed to be a fraternity that Beyoncé founded and ran alongside her female backup dancers because obviously girls run the world AND fraternities. It was as though I was attending an HBCU within the set, and it provided a glimpse into a culture that not many people without color would get a chance to see. Beyoncé provided a probate-like interlude, crammed with all the stepping and chants that one would expect to see on the yard.
She even took time out to mix “Drunk in Love” with “Swag Surfin,” the unofficial song of Black celebration – it’s actually a part of some HBCU commencement ceremonies.
Beyoncé’s performance also paid homage to those who came before. “Lift Every Voice and Sing” was blended into “Formation.” Malcolm X’s words were woven into her set. And Nina Simone’s “Lilac Wine” was used as a transition while performing “Drunk in Love.”
But nothing was more breathtaking than Beyoncé’s group of majorettes dressed in bodysuits painted as Tutankhamun. And Beyoncé, the drum major dressed as Nefertiti herself, dripping in a metallic covered robe and staff in hand striding confidently and effortlessly towards the stage. She was giving us melanin from throughout history!
Beyoncé’s performance was an HBCU homecoming and I LIVED for it. It’s been so refreshing to see our representation on a platform where it is normally never shown. I want nothing more than to see this continue within our culture. Beyoncé once again steps it up and becomes our Beychella Homecoming Queen.
Mahala “Halie” Jackson was born on October 26, 1911, in New Orleans, Louisiana. Jackson loved to sing, especially in church, and that is where her singing career began – at the local Mount Moriah Baptist Church.
In 1927, at the age of 16, Jackson moved to Chicago, Illinois, during the Great Migration. After her first Sunday school service, where she had given an impromptu performance of her favorite song, "Hand Me Down My Silver Trumpet, Gabriel", she was invited to join the Greater Salem Baptist Church Choir. She began touring with the Johnson Gospel Singers, one of the earliest professional gospel groups.
She refused to sing secular music, a pledge she would keep throughout her professional life although she was frequently offered money to do so. She even divorced her first husband because of his unrelenting pressure on her to sing worldly music.
"I sing God's music because it makes me feel free", Jackson once said about her choice of gospel, adding, "It gives me hope. With the blues, when you finish, you still have the blues."
In 1948, Jackson recorded the William Herbert Brewster song "Move On Up a Little Higher", a recording so popular stores could not stock enough copies to meet demand. The success of this record rocketed her to fame in the U.S., and soon after, in Europe. During this time, she toured as a concert artist, appearing more frequently in concert halls and less often in churches. Because of this change in her venues, her arrangements expanded from piano and organ to orchestral accompaniments.
In 1950, Jackson became the first gospel singer to perform at Carnegie Hall. She started touring Europe in 1952 and was hailed by critics as the "world's greatest gospel singer." With her mainstream success, Jackson was criticized by some gospel purists who complained about her hand-clapping and foot-stomping and about her bringing jazz into the church. But that didn’t stop Jackson, she went on to have many noticeable accomplishments, such as singing for at John F. Kennedy's inaugural ball, singing at the March on Washington, and singing at the funeral of Martin Luther King Jr.
Jackson played an important role during the civil rights movement. She was contacted by Martin Luther King Jr and Ralph Abernathy about singing at a rally in Montgomery to raise funds for the bus boycott. Despite death threats, Jackson agreed to sing. There was a good turnout at the concert and they were happy with the amount of money raised. However, when they returned to the Abernathy's home, it had been bombed. Jackson said that she hoped her music could "break down some of the hate and fear that divide the white and black people in this country.”
Jackson devoted much of her time and energy to helping others. She established the Mahalia Jackson Scholarship Foundation for young people who wanted to attend college. For her efforts in helping international understanding, she received the Silver Dove Award. Jackson was described by Harry Belafonte as "the single most powerful black woman in the United States," and anyone who can claim that title deserves recognition to me.
With the NCAA’s March Madness quickly making its way to its conclusion, I decided to take part in brackets that piqued my interest. Enter, Kanye Madness.
Twitter user Carrington Harrison (@cdotharrison) strategically built this Kanye Madness Bracket with care in mind, by forcing formidable Kanye hits to go head-to-head. The 64-song bracket split some of the best music into 4 regions: North West, Donda, Chicago, and Saint.
He’s already finished up Kanye Madness on his twitter page. I’m not gonna tell you who won! But you can find it here. What I can say is that my love for “The Old Kanye” seems to run DEEP. But I could also respect the juxtaposition that I saw in the earlier rounds with the song match-ups. Either song, both from different albums and different “Kanyes,” could focus on the same theme in a with a different sound.
I more so did this bracket to figure out what I would consider my favorite Kanye songs. I could listen to my Elite 8 on repeat for the rest of my life, I suppose. Print it out and do it yourself and be sure to check out @cdotharrison twitter page or use search the hashtag #KanyeMadnessBracket to see how your bracket held up against Harrison’s and others who have shared.
The youngest child of the Quintanilla family, Selena became the lead singer in her family's band, Selena Y Los Dinos. The musical group started out playing weddings and clubs in their native Texas. Her father, Abraham, a former musician, managed and produced the group. Selena grew up speaking English, but her father taught her to sing in Spanish so she could resonate with the Latino community. Selena began recording professionally in 1982. In the 1980s, she was often criticized and was refused bookings at venues across Texas for performing Tejano music—a male-dominated music genre. However, her popularity grew after she won the Tejano Music Award for Female Vocalist of the Year in 1987, and for nine consecutive years after.
Selena released her self-titled debut album on October 17, 1989. Selena peaked at number seven on the US Billboard Regional Mexican Albums chart, becoming Selena's first recording to debut on a national music chart. The album performed better than other recordings from other contemporaneous female Tejano singers. That same year, she became Coca-Cola’s spokesperson.
In September 1990, Selena released her second studio album, Ven Conmigo. One of its singles, “Baila Esta Cumbia” became one of Selena's most successful single. It was around that time that Yolanda Saldívar asked the Quintanilla family about starting a fan club for Selena. In hopes of bringing more attention to the band, they agreed.
Against her father’s will, Selena eloped with Chris Pérez, the band’s guitarist. A month later, Selena released her breakthrough album, Entre a Mi Mundo. The recording peaked at number one on the US Billboard Regional Mexican Albums chart for eight consecutive months; it was certified 6x platinum by the RIAA. Entre a Mi Mundo became the first Tejano album by a female artist to sell over 300,000 copies. "Como la Flor" became Selena's signature recording; it helped Selena to dominate the Latin music charts and become immensely popular in Mexico.
In 1994 Selena began designing and manufacturing a line of clothing; she opened two boutiques called Selena Etc., one in Corpus Christi and the other in San Antonio. Both were equipped with in-house beauty salons. Saldívar managed both boutiques after the Quintanilla family were impressed with the way she managed the fan club. Hispanic Business magazine reported that the singer earned over five million dollars from these boutiques. She was ranked among the twentieth-wealthiest Hispanic musicians who grossed the highest income in 1993 and 1994.
Amor Prohibido became one of the best-selling Latin albums in the United States and has been certified 2x diamond by the RIAA. “Bidi Bidi Bom Bom” was one of my favorites that went number one from this album. Amor Prohibido popularized Tejano music among a younger and wider audience than at any other time in the genre's history. Billboard magazine ranked Amor Prohibido among the most essential Latin recordings of the past 50 years and included it on its list of the top 100 albums of all-time.
It was discovered that Saldívar had embezzled more than $30,000 via forged checks from both the fan club and the boutiques. Selena's father presented Saldívar with the inconsistencies concerning the disappeared funds. He told her that if she did not provide evidence that disproved his accusations, he would involve the local police. Saldívar also began to show obsessive tendencies with Selena. So much to the point that Mr. Quintanilla Jr. forbade Saldívar from contacting Selena. It was as if Saldívar refused to stay out of Selena's life.
Saldívar delayed handing over the bank statements and financial records with many outrageous stories. And when Selena met up with her at a Days Inn to demand the financial paperwork, Saldívar shot Selena. She was pronounced dead upon arriving at the hospital.
Selena's murder had a widespread impact. Her death was front-page news in The New York Times for two days. Numerous vigils and memorials were held in her honor, and radio stations in Texas played her music non-stop. Her funeral drew 60,000 mourners, many of whom traveled from outside the United States. On April 12, 1995, two weeks after Selena's death, George W. Bush, governor of Texas at the time, declared her birthday, April 16, Selena Day in the state. He said Selena represented "the essence of south Texas culture."
Aside from music, Selena was active in her community and donated her time to civic causes. During her childhood, Selena helped organizations such as Toys for Tots. She was active in the U.S. Latino community, visiting local schools to talk to students about the importance of education. he also donated her time to civic organizations such as D.A.R.E. and planned a fund-raising concert to help AIDS patients.
Selena has been credited for helping redefine Latin music by breaking barriers in the Latin music world. She is considered "one of the most significant Mexican American singers of the end of the twentieth century" and her death was "the most devastating loss" in Tejano music history – the Tejano market died with her. But her memory and her legacy lived on through the music that she has left behind. And who knows? One day, a little girl may hear that music and decide to bring Tejano music back to life.
Born Yvette Marie Stevens on March 23, 1953, Chaka Khan was born into an artistic and bohemian household in Chicago's rough South Side housing projects. Khan has described her father as a beatnik and her mother as "able to do anything." She attributed her love of music to her grandmother, who introduced her to jazz as a child. Khan became a fan of rhythm and blues music as a preteen and at eleven formed a girl group, the Crystalettes.
Although she joined the Black Panther Party in the 1960s, her true love was in her music. She left the party and dropped out of school in 1969 and began to perform around Chicago, first with a group called Lyfe and then on her own. It was while performing alone that she met the group Rufus and ended up replacing their singer Paulette McWilliams.
Rufus’s breakout hit was “Tell Me Something Good,” produced by Stevie Wonder. It peaked at number 3 on the Billboard Hot 100 and won the group it’s first Grammy. The single's success and the subsequent follow-up, "You Got the Love", which peaked at number eleven on the Billboard Hot 100, helped their second parent album, Rags to Rufus, go platinum. From 1974 to 1979, Rufus released six platinum-selling albums.
In 1978 Khan released her debut album, Chaka. It featured her disco-crossover hit, “I’m Every Woman.” The success of the single helped the album go platinum. After her first solo success, she spent a lot of time collaborating with multiple artists on multiple projects, even teaming back up with Rufus for a few albums. It was from this final stint with Rufus that we received the hit “Ain’t Nobody.” The band separated for good afterward.
In 1984, Khan released her sixth studio album, I Feel for You. The title track, the first single released, was originally written and recorded by Prince in 1979. Khan's version featured a harmonica solo by Stevie Wonder and an intro rap by Grandmaster Melle Mel. It became a million-selling smash in the U.S. and United Kingdom and helped to relaunch Khan's career. "I Feel for You" topped not only the U.S. R&B and dance charts, but achieved great success on the U.S. pop chart and reached No. 1 in the U.K. Other singles which helped I Feel For You go platinum included "This is My Night" and the ballad "Through the Fire."
The Chaka Khan Foundation educates, inspires and empowers children in our community to achieve their full potential by giving children who are at risk, either through poverty or through health issues like autism, the ability to achieve their dreams and give back to the community.
Khan was the first R&B artist to have a crossover hit featuring a rapper, with "I Feel for You" in 1984. Khan has won ten Grammys and has sold an estimated 70 million records worldwide. On May 19, 2011, Khan was presented with a Hollywood Walk of Fame star plaque on a section of Hollywood Boulevard in Los Angeles. Chaka Khan created her separate success away from Rufus and influenced many of today’s artists such as Mary J. Blige and Erykah Badu to Kanye West. To this day, Chaka Khan remains one of the most prominent figures in funk.
Dolly Rebecca Parton was born January 19, 1946, as the fourth of twelve children born to Avie Lee Caroline and Robert Lee Parton Sr. She has described her family as being "dirt poor." They lived in a rustic, one-room cabin in Locust Ridge, just north of the Greenbrier Valley of the Great Smoky Mountains. Music played an important role in her early life. She was brought up in the Church of God and began her earliest performances there when she was six years old. She received her first real guitar when she was eight years old. At 13, she was recording on a small Louisiana label, Goldband Records, and appeared at the Grand Ole Opry, where she first met Johnny Cash.
The day after she graduated from high school in 1964, she moved to Nashville. Her initial success came as a songwriter, her songs were recorded by many other artists during this period, including Kitty Wells and Hank Williams Jr. Although her first singing musical break came as a duo with Porter Wagoner and launched a six-year streak of virtually uninterrupted top-10 singles for the pair, her first commercially successful song came from “Mule Skinner Blues.” It was used as a gimmick to attract attention because of the yodeling like quality of the song, a sound that Parton pulled off effortlessly. It was followed by her 1st number one "Joshua," and then by an array of successful solo hits and duet hits with Wagoner.
Her biggest hit of the time and my favorite Dolly song was “Jolene.” Parton’s most covered song topped the country chart in February 1974 and charted in the UK, reaching number seven, in 1976 – it was her first UK success. Parton wrote “I Will Always Love You” about her professional break from Wagoner; it went to number one on the country chart.
Parton made a transition over to pop music at the height of her country music success, she created Here You Come Again – her first million-seller. For the majority of the 1970s and into the early 1980s, many of her singles moved up on both pop and country charts simultaneously. The theme song to the 1980 feature film 9 to 5, in which she starred along with Jane Fonda and Lily Tomlin, "9 to 5," not only reached number one on the country chart, but also, in February 1981, reached number one on the pop and the adult-contemporary charts, giving her a triple number-one hit.
Parton is one of the most-honored female country performers of all time. The RIAA has certified 25 of her single or album releases as either Gold Record, Platinum Record, or Multi-Platinum Record. She has had 26 songs reach No. 1 on the Billboard country charts. Parton has earned nine Grammy Awards – including her 2011 Lifetime Achievement Grammy. She is one of only six female artists, to win the Country Music Association's highest honor, Entertainer of the Year. And in 1999, Parton received country music's highest honor, an induction into the Country Music Hall of Fame.
Since the mid-1980s, Parton has supported many charitable efforts, particularly in literacy, primarily through her Dollywood Foundation. Her literacy program, Dolly Parton's Imagination Library, a part of the Dollywood Foundation, mails one book per month to each enrolled child from the time of their birth until they enter kindergarten. In 2018, Parton was honored by the Library of Congress because of the "charity sending out its 100 millionth book.
Without Dolly Parton, Whitney Houston would’ve never belted out that amazing ballad. She has used her success to give back to her community by providing scholarships for children, donating thousands to hospitals and providing technology and supplies for classrooms. She remembered her childhood of being “dirt poor” and tried to do what she could to make the world a better place. Actress, singer, songwriter, and philanthropist, Dolly Parton deserves her recognition this Women’s History Month.
