We Are Living In A Peak Of Black Musical Artistry
When crises like the painful, incomprehensible deaths of Alton Sterling or the brutal, up close video of Philando Castile dying near his family, we look to our leaders for answers. Leaders serve the purpose of contextualizing chaos; they serve as an anchor against the brutality of the world by placing themselves in the line of fire, shining a light on the uncomfortable aspects of society we’d rather sweep aside.
Rather than court a neutral middle ground that will avoid detracting their audiences, many black mainstream musicians have turned their music into a platform that breaks the cyclical acceptance of violence, legitimizes rage, supports the strength of black people, questions the status quo, and calls for change in their listeners. Instead of shying away from their blackness, artists like Beyonce, Chance The Rapper, Kendrick Lamar and D’Angelo (to name only a few) lean into their race. In the process, they’ve created some of the most interesting and politically-potent art in years.
We are living in a peak of black artistry and it is more important than ever that we acknowledge it, praise it, and hope this artistry causes ripple effects for other artists both big and small. An impactful leader will levy their visibility or wealth or intelligence to lead when others can not. In the 21st century, our most popular and prominent leaders are entertainers and musicians; their millions of followers and repeated appearances in the public eye make them key figures for navigating the broader world. Their visibility ensures that someone–anyone–is listening.
It is important to remember that these artists did not have to do this. In 2014, producer Pharrell Williams called himself “New Black” in an interview with Oprah, stating, “The New Black doesn’t blame other races for our issues. The New Black dreams and realizes that it’s not a pigmentation; it’s a mentality. And it’s either going to work for you, or it’s going to work against you. And you’ve got to pick the side you’re gonna be on.” Williams was swiftly criticized for the statement, which places blame on black people rather than looking at the cultural forces like hypersegregation, systemic racism, generational poverty, and microaggressions that often limit the livelihood of black people.
Two years later, many of our most prominent pop culture figures have loudly rejected Williams’ narrative, “picked a side,” and dropped seminal works of art that engage with larger questions of personhood and survival in a world actively against the black body. This is black artistry at its peak; it leans in to its blackness, speaking for black people on micro and macro levels, plays with conventional structure or genre and defends itself rather than apologizing for its existence.
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Consider, for instance, the popularity and fandom of Beyonce. She has slowly and methodically built a unified fanbase that finds purpose and drive through her music, and uses it as a necessary balm to survive in today’s world. Most recently, she has used her Formation tour–which has grossed over $120 million already–as a place of protest. Recent shows include moments of silence for the lives lost to police brutality or murder. And even on social media (a form of technology Beyonce prefers to use sparingly), the singer has taken a stand by making her opinion known. On July 7th, she posted a simple image on her Instagram that said, “We all have the power to channel our anger and frustration into action.” She captioned the image with a link to her website offering information for fans to contact legislators and council members.
http://www.instagram.com/p/BHkodbPBOGC/?taken-by=beyonce