The concept of Black existence through the singing experience envisioned by 21 Savage.
For more than a century, black artistry has been exploited and monetized, and even parts of the Mindless narratives have been more commercialized than consciences conversation hidden through the samples and 808 drums beats. It draws me to the Old Testament and the Book of Hymns (Psalms). Intertwined are constant narratives of common understanding that there is an existence of God. There are times when we are in forms of orientation with God’s affirmation of our existence and then mostly a reorientation to affirm that God is on the side of those oppressed. Juxtaposed to times, there are points where God may not actually be tuned to the issues of the people who have been oppressed. We are left to interpret our subjugation with songs that set out with questions, and then we return to those questions with answers from our comprehension of what we are experiencing. I think it feels like we are forever at a point of Disorientation. Our Disorientation allows us to form spaces to share what it means to be Human. In times when black flesh was monetized to white personhood, there have been arguments that we found ways to celebrate one’s flesh in the secret spaces away from the watchful eye of White Folk. The hidden realm served as a sanctuary where our souls replenished themselves, seeking refuge from the influences of Western Christianity, chattel slavery, and the pervasive effects of over-sexualization perpetuated by white owners. These influences often aligned with capitalism, as biblical narratives were co-opted to justify the pursuit of global dominance. When faced with challenging circumstances, disorienting encounters prompt us to delve further into the depths of human experience and its intrinsic significance.
Our Expression of Humanity is the greatest gift given to us by our creator.
In our spaces, we galvanized opportunities to amalgamate Jesus, freedom, and pieces of West African indigenous practices.
We can still see the spaces today, though they might be different and might include ass-shaking, laughing, singing, and encoding languages, all used to express the gift of humanity. Jesus, freedom, and West African indigenous practices represent a rich tapestry of cultural and spiritual influences. Jesus, as a central figure in Christianity, symbolizes faith, love, and the teachings of compassion and redemption.
Freedom signifies the liberation of the human spirit and the breaking societal chains. It embodies autonomy, self-expression, and the ability to celebrate one's identity without inhibition.
In these spaces, freedom manifests through various forms of expression, including movement, joy, and uninhibited celebration. West Africa is home to various traditional beliefs, rituals, and customs passed down through generations. By incorporating elements from these practices, individuals in these spaces embrace their ancestral roots and connect with their heritage's spiritual and cultural traditions. They offer opportunities to express spirituality, cultural identity, and personal freedom. Though these spaces may have evolved and transformed over time, they continue to serve as vibrant cultural hubs, reflecting the fusion of diverse influences and the indomitable spirit of those participating.
Dr. Michael Thomas contributed to the journal "Kendrick Lamar and the Making of Black Meaning." This article focuses on exploring the concept of blackness as a form of engagement with musical experiences. Thomas argues that certain artists' music compels us to confront the redemptive power it holds, enabling us to perceive the world from a different perspective. This transformative process, achieved through the interplay of distance and proximity in music, necessitates an ethical approach to listening, fostering a heightened level of awareness.
The article suggests that many artists grapple with a dual consciousness, navigating the conflict between their stardom and belonging to marginalized communities.
Thomas then delves into the timeless question posed by DuBois about being seen as a problem, drawing insights from his own experiences and the complexities black people face.
According to Thomas, artists prompt us to dwell upon the realities of our world without necessarily offering solutions.what'sInstead, they encourage us to embrace the tensions that arise, thereby achieving emancipation through listening and providing models for navigating the systematic oppressive forces present in America.
Thomas argues that artists should embody the notion of Fanon's "Cultural Intellect," embracing Sekou Touré's idea that true revolution occurs when one joins forces with the people, creating hymns that reflect this union. Embracing authenticity, artists become agents of liberation by acknowledging the importance of Africa in the quest for freedom. Furthermore, The Artist’s singing experience manifests as a "Cultural Diviner," conjuring a spirit of unity that allows audiences to witness the unfiltered reality through verbal and visual communication, even without immediate solutions. The singing experience of artists provides a space for affirming life despite the systemic oppressive Nature of America.
Shéyaa Bin Abraham-Joseph, known professionally as 21 Savage, is a British-born rapper, songwriter, and record producer. He was born on October 22, 1992, in Plaistow, Newham, London, England. 21 Savage's family relocated to Atlanta, Georgia. 21‘s music often reflects his experiences growing up in Atlanta and his challenges as an immigrant. His lyrics often touch on violence, street life, and social issues. His distinctive voice, gritty delivery, and introspective lyrics have contributed to his popularity as a rapper—21 Savage faced legal issues related to his immigration status. In February 2019, he was detained by the U.S. Immigration and Customs Enforcement (ICE) due to an expired visa. This incident shed light on his British citizenship, which surprised many fans and the wider public.
"A Lot" is a song by 21 Savage, released in 2018 as part of his album "I Am > I Was." The track reflects on various personal experiences and societal issues. The song begins with introspective lyrics about his upbringing, mentioning his family's struggles and losing friends to violence. 21 Savage also addresses the public's perception of him, expressing his frustration with stereotypes and misconceptions. He touches on topics such as loyalty, trust, and his desire for success—additionally, the track delves into larger issues like immigration and the treatment of black individuals in America. "A Lot" serves as a contemplative and reflective piece that sheds light on 21 Savage's journey and the challenges he has faced.
Though the song is simplistic in Nature, the music video is said to be inspired by the Movie Cold War and the God Father Part II. Taping into the Nigrescence of the visual, you can explore the complexity of reaching spaces. The duality of having peace but the reality of all that had to be done to get to space. The Reality of Black America is that we all desire to be in spaces of peace regardless of the traversing one must do in American capitalism. But the question must be asked? God? Are we supposed to remain in these disoriented spaces with no space for reorientation? Do you even see what’s going on? Cause it’s a whole lot of shit going on just for a mere space for survival. The question could be asked, is it our ability to still form testimony in your silence that we still survive? Can a communal understanding of survival be the sheer comprehension that you exist?
Please accept the profane language as my expressing how I feel at the moment. I do curse, though frequently
Here is the Video. Below...