Music is a part of my everyday routine. Every where I go and everything I do has a soundtrack. What’s important about this soundtrack is not just the music, but also the experiences that accompany it.
I actively search out new music several times per week. However the greatest joy is when great music finds me.
Very often I will be going about my normal day and I over hear a car at a light, or push shuffle on my computer. I’ll eat in a restaurant or chill with my daughters. I’ll practice bass guitar or roam the internet. During these activities a song will present itself and put a stamp on that experience. Creating a musical accompaniment for the moment.
It is proven that triggers to our senses can transport us back in time. Certain smells and tastes remind you of select times of your life. Music can do the same thing.
As a father of two incredible daughters, (Aaliyah and Lola) and the husband of the most special woman on the planet (Pilar Ramos). I know that they are experiencing life right along with me. All the music I hear, they hear, Everywhere I go they go. We are experiencing BEATS, TIMES, and LIFE together. I want to create new musical experiences that will build triggers to different times in our lives. Creating not only the playlist of a lifetime, but creating sustainable memories. so we can vividly remember the experiences that go along with it.
The content of this site will chronicle my experiences as a father, husband, DJ, and educator. All through the lens of a music lover. We will use the sound track of life to better understand the past and the present.
As a 37 year old Hip Hop head, when I hear mumble rap I cringe. The beats are hard no doubt, but I am used to creative, loquacious lyrical content. Lyrics that tell the story and make me say daaaaaamn, that was tight, I got to hear that again. What’s funny about this is is that my parents would cringe at the Hip Hop I was listening to in the 80’s and 90’s. Granted it was mostly due to the vulgarity, but they also used to say. “I can’t understand what they are saying” “In my day people sang, and you could understand every word” (Except for James Brown I’m guessing because he lets some seriously primal shrieks)
Every generation believes their music is “Real music” and the music of the new generation shouldn’t even be considered. Hip Hop was said to be a fad at it’s genesis. I think now no one would deny its cultural impact. Why is this mindstate so prevalent? Why did Swing lovers hate Bebop, why would classical musicians say Rock is not music, Elvis was the Anti-Christ. Hip Hop is just N***** talking right? I admit to falling victim to this hypocrisy, mostly in terms of Trap music (It’s just not for me).
A few nights ago I watched Nasir Jones (Nas) perform his classic Hip Hop album Illmatic, with the backing of The National Symphony Orchestra at the Kennedy Center. This album tells the story of a young Black man living in the Queensbrigde housing projects. The imagery is sharp and vivid, the stories are poignant, and the use of the english language is sheer beauty. Illmatic is an album where every drum, horn stab, lyric, and measure have meaning. Illmatic contains no throw away verses or tracks, every bar is perfectly placed and used to build upon the last. The production is filled with banging carefully equalized drums and soulful samples. Let’s just say it’s everything a Hip Hop head needs from an album.
What does a non Hip Hop head think of Illmatic? Well when PBS connected Nas and the National Symphony Orchestra we found out. This could have gone either way. Illmatic is perfect to me, but to a layperson what does it sound like? Does it give them the chills too? It’s sort of like when Lorraine Hansberry’s A Raisin in the Sun first opened on Broadway. A Raisin in the sun is a Black play about the complexities and intricacies of Black life. Black people already loved the play, but would a White audience care about our story? The answer in both cases was yes.
Nas and the National Symphony Orchestra gave a euphonious performance. The arrangements of conductor Steven Reinke were lush, full and most importantly funky as hell. From “Genesis” to “It Ain’t Hard to Tell”. We heard each sample, drum loop and scratch played live in real time.
I’m happy to report that Classical Hip Hop did to the Kennedy Center crowd the same thing A Raisin in the Sun did in 1959. Non Hip Hop heads some who may had never heard Illmatic before connected with story of Black man from Queensbridge, saw his humanity and caught the vibe. It was beautiful.
There is no question that Hip Hop is real music, It touches folks all over the globe, and is built upon the traditional sonic principles of Black music. The connection between the cultural DNA of break dancing cyphers to the ritual of the Ring Shout, or a freestyle battle to playing “The Dozens” is clear. There is no denying the genius of a Nas, or Black Thought. DJ Premier, RZA, and Dr. Dre are national treasures. Hip Hop Culture is a true art form created to give a voice to the voiceless, and it has worked. The voices of young Black and Brown folks are being taken seriously. Everyone must stand up and respect the artistry. Hip Hop has helped me and many other practitioners discover and live out our artistic passions as well as support our families.
So thank you Nas your vision and inspiration on this one. Also thanks for all the preparation and work that was put into this performance. Only top notch musicianship was exhibited, and DJ Green Lantern killed the cuts. As for Nas’s performance, to spit all those intricate lyrics with clarity and breath control is extremely difficult. He is not 19 anymore and he was on it. Sharp in every way.
I really recommend taking the time to watch this performance. It’s free on the PBS app, along with a lot of other great content to learn from.
“IT AIN’T HARD TO TELL” NAS
“WE WILL BE HERE FOREVERRRRRR, FOREVER AND EVER… EVER AND EVER.
The foundation of Black music is THE BEAT. The beat and the rhythm hold all the other parts up. From Chain gangs to gospel choirs, to Mobb Deep a knocking beat is an essential element of any authentic piece of Black music. The Beat of Black music is often made up of short repetitive phrases or sections that are based on a steady, usually polyrhythmic percussion patterns. In Hip Hop we take a short piece of this pattern and loop it indefinitely.
This small portion we loop in Hip Hop is known as “The Break” A section of the music where either the record shifts into a new direction for a short time, or a section where all other instruments fall out leaving the percussion to shine. This opening, or break in the music is another element handed down from our ancestors. Black music started out as these open drum patterns that we now call “Breaks”. Remember at first all we had were drums, voices and bodies. Over the centuries Black music has become extremely lush and complex. However has always been and is still part of the foundation. When we “break open” the flow of a complex composition, stripping it down to its core, our roots are revealed.
Tricia Rose writes in Black Noize (pg67) “Rap Music techniques, particularly the use of sampling technology, involve the repetition and reconfiguration of rhythmic elements in ways that illustrate a heightened attention to rhythmic pattern and movement between such patterns via BREAKS and points of musical rupture.” These breaks and “ruptures” as Rose calls them are the legs of any hip hop beat, they hold the rest of the production up and help it to move from one place to the next.
In its true form Black music and dance are synonymous. When a djembe, tambourine, wood block and bone handled shaker make a pattern together, this is a breakbeat. When dancers move in a circle to these breaks, trading spaces in the middle to get so, this is called a Ring Shout. What is the difference between the African tradition of the Ring Shout and a Break Dance cipher? Nothing. Leaving the drums agape has always compelled us to dance and or show off other musical gifts, including virtuosic instrumentation.
In Jazz the break is used for each member of the band to solo, or improvise within the structure of the song. Jazz follows in the African tradition of communal music making, but allows each artist to show off his or her own style and improvise as they feel.
“If there is any one aspect of performance that almost all the contemporary sources agree upon, it is the fact that slaves improvised their songs. “This improvisation goes forward every day….. The rhyme comes as it may, sometimes clumsily, sometimes no rhyme at all, sometimes most wonderfully fresh and perfect. (Southern 201)
The tradition of a solo break made it’s way from early Jazz into the Blues. The Blues expanded into Rock and Roll where the guitar solo became prevalent. Rock and Roll morphed into funk. Funk music took the musical element of vamping to make entire songs. (Christian McBride from- Mr. Dynamite HBO)
A vamp is a repeating musical figure that was normally used at the end of tune to fade out. Funk (most notably James Brown) took that small two to four measure section and had the band play it over and over and over. Looping the section while adding little improvisational hits and varying harmonic techniques. These ceaseless rhythms became the understructure of Hip Hop music. Hip Hop producers took the breaks and vamps of funk music, collaged them with fat kick drums and samples from around the globe to create the latest and most dynamic form of Black music….Hip Hop.
Below are some sonic examples of “The Break” and its growth within Black music.
West African Break–
Kiyakiya- Babtune Olatunji– At the start we hear the full timbre of the piece. At 19 seconds the vocal falls out and we just hear the drums. This is a break, it rocks for about 30 seconds then the vocal comes back in and the song continues. In Hip hop we rap over these breaks.
Gospel Break
Mavis Staples- I’ll Fly Away- In this listening example we will hear how Hip Hop techniques create original “breaks” from openings within the song. The full ensemble is present when the recording starts. At 31 seconds I again manipulate the record with a technique called back spinning. Allowing myself to repeat the same portions over and over again, in any pattern I see fit. After I am done using the first part of the break in a Hip Hop format I allow the organ to return and play out a solo until the vocal returns at 1:40 seconds, ending the break. The way I manually repeat the phrase “Oh Yes” is a foundational characteristic Hip Hop built from the breaks and vamps of earlier forms of Black music.
Blues Break
This is Muddy Waters performing “I just wanna make love to you” After the hook we hear a break beginning led by a harmonica solo. About a minute into the piece I addd the Hip Hop element of looping a small portion to create a new rhythm. After the loop I allow the song to start back up and the break finishes with some stop time, then ends.
Jazz Break-
St. Thomas by Sonny Rollins is one of the most recognizable melodies in Jazz. The song happens to open with a break beat, and courtesy of master drummer Max Roach at 52 seconds we get to hear an extended drum break. How many different rhythms can he play around the main groove? A seemingly infinite amount.
Rock Break–
This is snippet from I Just Want to Celebrate by The Rare Earth. First we hear the chorus/hook, as the instruments fade out you here the drums begin to take the lead at (35 sec). The drummer plays a hypnotic rhythm that ignites the crowd, while the singer ad libs around the groove eventually bringing the full band back in.
I Just Want to Celebrate- The Rare Earth
Funk Break
Bar-kays- Holy Ghost Break begins at 21 secs. I then bring the track back to the start so your hear the full composition, eventually returning to the break section at 1:10.
Soul Break
Melvin Bliss- Synthetic Substitution/ DWYCK by Gangstarr
This break has been sampled over 700 times in Hip Hop, it is an essential part of the Hip Hop sound vernacular. Pay attention to the opening break from Synthetic Substitution then the drums from DWYCK. Dj Premier flips it into a certified classic.
Synthetic Substitution
DWYCK- Gangstarr
DWYCK encompasses all the elements we have been discussing. DJ Premier provides the POPL with drums from Synthetic Substitution and the break from Hey Jude by Clarence Wheeler and the Enforcers. We can’t forget about the classic Preemo scratches that create another layer of sonic texture. GURU and Nice and Smooth show us how to use the Voice as and instrument, then at 1:19 we have a Break section.
Hip Hop is the ultimate manifestation of all Black Music in America. We improvise with “Freestlye” sessions, Dance in circles like a ring shout, layer our percussion with sample upon sample. We employ call and response, write lyrics with common themes all while using the voice as an instrument. We use the foundations of prior generations to create something fresh. Samuel Floyd wrote
“African American music has the same characteristics as its African counterparts, but also the musical tendencies, the mythological beliefs and assumptions, and the interpretive strategies of African Americans are the same as those that under lie the music of the African homeland, that these tendencies and beliefs continue to exist as African cultural memory, and they continue to inform the continuity and elaboration of African American music.
Louis Armstrong learned from King Oliver, Bessie Smith learned from Ma Rainey, James Brown learned from Little Richard. Our ancestors learned from their parents and griots the ancient musical traditions. What each generation did, was take a portion of what they learned and add their flavor to it, allowing something truly beautiful to be born…. Hip Hop.
Jay-Z raps on “Renegade” “You see I’m influenced by the ghetto you ruined”
The modern ghetto Jigga raps about is the place where Hip Hop’s stories of gang life, violence, sex, and drug use came from. A ghetto created by policy makers who did not care about poor people of color.
It is important to know this history, so that we can understand the foundations of this culture. If Hip Hop is important to you, and helped to shape you, at some point you will want to share it with your children. As they get older they will be exposed to it anyway. It is up to us as parents to help guide their listening. Unearthing the social context behind the music, and helping them see the lineage of Hip Hop as part the African diaspora. While also giving them the right information to just listen and enjoy the vibes as entertainment.
Hip Hop started out as party music. DJ’s spun break beats (open drum parts of tracks with little instrumentation around them) to get B-Boys and B-Girls to lose themselves in the music and to dance more furiously. From park jams, to the Sugar Hill Gang on to LL.Cool J, The Beastie Boys and RUN DMC, a good time was the main objective.
We then move on to the likes of Eric B. and Rakim, Public Enemy, EPMD and KRS ONE. Party tracks were still filtered in there, however having a message, original style and knocking beats became the objective.
As time moves into the 90’s with N.W.A, Biggie and Pac the street stories became more vivid and more vulgar. Lyrics became highly evolved poems, that painted pictures for the listener. Hip Hop always had a bad rap but, at this point the American government was cracking down on it, trying to censor it and use it as a scapegoat for society’s ills.
Eventually major corporations saw the economic power of hip Hop and began to mass market it. This transition produced the cookie cutter images of gangsters, pimps and hoes we see in hip hop today. These images that reflect almost no diversity within the spectrum of the artists. If you have a message in your music, you will be stuck in the periphery of Hip Hop culture. This should not be the case. We as parents who love Hip Hop should not hide the music we love from our kids. We also should choose wisely how we share this music, and create a foundation for what we think is acceptable.
How do we do this? Well here are 5 steps to sharing hip Hop culture with your kids.
STEP ONE
Choose the right artists- You don’t have to jump in with the rawness and try to explain it. Talk about the historical portion a bit and play some fun old school songs like.
Catch The Beat by T-Ski Valley- It samples Heartbeat by Taana Gardner. Start with that, discuss how at first Emcees were rapping over disco records.
King Tim III (personality jock) – By Fatback Band A straight funk jam that shows how early emcees rocked it. I mean it’s a stone groove with old school rapping over it, it’s gonna make you dance, always a good thing with kids.
The Messageby GrandMaster Flash and the Furious Five. – This song has an intriguing beat that can capture a young listener from the start. We also hear the first set of lyrics that really dig into social issues experienced by people of color in these ghettos constructed to keep them voiceless. This is a great one to read along with. Lines like
“It’s like a jungle sometimes it makes me wonder how I keep from going under”
“Don’t push me cause I’m close to the edge, I’m trying not to lose my head”
These lyrics are a great starting point for discussing where hip hop came from and why this expression was so important to these incredibly creative individuals.
Hip Hop Hooray by Naughty by Nature- Kids love songs that have dance moves . Once you start the Hip Hop Hooray Hoooooooo, Haaaaaaaay hands in the air dancing around, its going to fun and memorable.
More examples- Eric B and Rakim – Paid in Full (Song and Album) Jungle Brothers- Straight out of the Jungle, (Album) MC Lyte- Cha Cha Cha, RUN DMC- Peter Piper. Hard Knock Life by Jay-Z
STEP TWO
Approach the topic of misogyny and sexism and homophobia with care
Hip Hop culture has always been a boys club, a few women have made it, but not many. As Pilar and I raise up two black girls in this sexist society it is important to let Aaliyah and Lola know a few things. They must know that they are powerful, brilliant, creative, independent and capable of being in charge, not just being a prop for someone else. Hip Hop can be detrimental to a young women of color. Mainstream images of females in Hip Hop are less than flattering. Mostly “sex objects”, or a “boss type bitch” no in between or artistic variety. We must present hip hop to our kids that is made by amazing, diverse, strong women. As well as records that women and give inspiration for growth. Here are some selections.
That Thing- Lauryn Hill – Filled with soulful harmonies and L-boogie at her finest, this is a great record. A nice segway into how relationships work, the good the bad, and what to be careful of. (Really the entire Miseducation of Lauryn Hill album, just listen to it)
Latifah’s Had it up 2 here by Queen Latifah- This is the Queen at her best. Dana Owens letting other emcees know Who is in charge. If you say negative things about me, I will let you know. I’m better than you and never step to the mic when I’m around. If you are trying to build strong leaders, play this record. The double entendre of “Some of these commercial entertainers are commercially a pain to my rhyme and my behind TRYING TO DISS DANA. I love it because her name is Dana, but she enunciates the line so it could be saying DANA or Disdain her.
U.N.I.T.Y. by Queen Latifah- All we have to say about this song is “Who you callin a bitch?”
Keep ya Head Up- 2 Pac– This record takes on domestic violence, reproductive rights, single motherhood and black love all in just the first verse.
Flawless by Beyonce- She is out shining Jay-Z! She does not need a man, or marriage. She is living her artistic vision, she’s in charge and everyone knows it. The poem by Chimamanda Ngozi Adichie tackles the question: why we ask women to aspire to marriage, and see other women as competition. Great talking points for raising informed women who are aware of their power.
Total Wreck by Bahamadia- Lyrics of fury is all you can say about Bahamadia. She is not very well known, but rips the mic majorly.
STEP THREE
Make it Fun and show the artistic diversity.
I know I can very easily take Hip Hop too seriously. My life is dedicated to all of its beautiful intricacies. However to bring kids in, you have to keep it fun. Here are some fun songs that you can dance to, and just have a good time.
Me, Myself and I- De La Soul- An Uptempo track that samples Parliament. The track opens up with a Hip Hop take on Snow White, then the trio let us know its ok to just be yourself. De La is a perfect way to show how Hip Hop can have diverse sounds, imagery and subject matter. The track just feels good, brings nostalgia for parents and is fun to party to. The whole album (Three Feet High and Rising) is kid friendly and a Hip Hop classic.
Tennessee and People Everyday (remix) by Arrested Development- Tennessee, great beat with lots a quotable lyrics that address dealing with the stresses of life. “I challenge you to a game of horseshoes…..A game of HORESHOOOES!”
People Everyday- The Call and Response at the start will hook any one of any age. Play it, dance. Then maybe play Sly Stone Everyday People to bring it full circle. Arrested Development in general is a positive group with true hip hop aesthetic.
Hey Ya by Outkast- All generations love this song, it just makes everyone happy. Count in with Andre 3000 1,2,3 uh and Get up, get into, get involved.
I Can by Nas- Nas gives us a history lesson while simultaneously uplifting the youth. Hard work and perseverance are the main themes within this record. I really like how he says “Nothing is easy, it takes much practice” A lesson that is hard to teach in an age of instant gratification.
Let me clear my throat by DJ Kool- A classic party record that also has a call and response dance section. Try it out, “when I say freeze you just freeze one time, when I say freeze yall stop on a dime, FREEEEZE!
Alphabet Aerobics by Blackalicious. Kids learning the alphabet and new words? Two measures at a time Gift of Gab raps words that all begin with A then b, then c all the way to Z. This takes some close listening but there is a lot to learn about connecting words, and learning words that begin with each letter of the alphabet.
More music- The Low End Theory by A Tribe Called Quest
STEP FOUR
Read along with the lyrics as you listen
An excellent way to see how great an emcee is to try to repeat the lyrics in time with the same cadence and rhythm the rapper used. It’s a fun activity that involves reading and musical timing. Whenever I read lyrics of songs I think I know by heart, I realize I don’t really know it exactly. It’s really challenging so the bloopers are fun. You can gain a real appreciation for the rappers delivery and the message of the song as whole by doing this activity.
Who to read along with? Outkast, Black Thought (Emcee from The Roots), Busta Rhymes, Jean Grae. all of these artists present complex rhyme schemes in extremely musical and creative ways. Try to rap along with them, its tough.
STEP FIVE
Emphasize that Hip Hop is a culture. A culture with it’s own music, art, dance, fashion, speech and customs
Hip Hop culture consists of DJing (the music) Graffiti (the art) Breaking (the dance) and rapping (speech)
These aspects are rarely discussed in mainstream Hip Hop. If you can show you tube videos of DJ’s cutting breaks, while dancers spin on their heads, kids will be into it. A freestyle battle where emcees are improvising lyrics based on their surroundings, with someone beatboxing is a great way to draw them in. Unfortunately the 5 pointz is gone here in NYC but there are plenty of pieces and murals around to show our children. If you are not in a city with graffiti, hit up the internet. You can find great graffiti art to share. Maybe even work on some bubble lettering together. If you can connect those murals to Hip Hop, they will see that this culture was created to give a voice to young people that society threw away.
I Hope this piece helped to give you some ideas on how to share this beautiful art form with your children. Enjoy the music, dance, have fun, talk, share ideas on life and society. Hip Hop can help us learn more about each other. Helping to shape critical thinkers, listeners, and build an informed citizenry.
I know you all have been out there fighting the good fight. I started a Facebook thread last week about “Favorite Protest Songs” This mix is the product of YOUR suggestions and YOUR willingness to stand up for what is right and virtuous. As I listened back to the this mix on the train yesterday I got goosebumps and my eyes welled up several times. This mix tells a story, and addresses the social issues we are dealing with now head on. I have not felt this creatively satisfied in a while, and I thank everyone who took the time to comment, and share and listen. Seriously THANK YOU!
Ancestor Intro- Speech (Arrested Development)
Make America Great Again- Pussy Riot
April 29th, 1992 (Miami)
Borders- MIA
They Don’t Really Care About Us- Michael Jackson
Sly Fox- Nas
Killing in the Name Of – Rage Against The Machine
Sound of Da Police- KRS-ONE
Impeach The President- The Honey Drippers
What’s Going On- Marvin Gaye
You Haven’t Done Nothing- Stevie Wonder
Alright- Kendrick Lamar
Ladies First- Queen Latifah ft. Monie Love
When You Gonna Learn?
My Country- Tune-Yards
Arrest the President- Intelligent Hoodlum
Bullet Proof- Ray Mang
Zombie- Fela Kuti
Keep on Pushing- The Impressions
War- Bob Marley
The Warriors- The Gladiators
Ghetto People Song- Everton Blender
Ohio- Isley Brothers
Which Side Are You On?- Ani Difranco
Which Side Are You On?- Talib Kweli (feat Tef Poe and Kendra Ross)
Feat Not of Man- Mos Def
This Land is Our Land
Devices, Devices Divisive. Am I the only one who gets into fights with people over the internet? I mean days long battles. Attack, counter attack, air strikes, followed by insults and character judgments.
One of these epic struggles with an old roommate of mine. We basically have opposite views on everything involving social and political issues. It got to a point where we were insulting one another, pretty badly. But we were tight,tight, tight in college. These issues never arose for us. We were teammates on the defensive line. We partied, ate a lot of food, and kicked it hard. I had no idea we were so fundamentally different then, even though we were living in the same house. Now we both have lost just a little respect for one another. There has to be a way to reconcile right? Or has our President-Elect and the avalanche of feelings that stem from this election been too much?
Sometimes we get physically and emotionally consumed writing a response on Facebook. It’s a crazy feeling, and not a healthy one. We put a lot of ourselves into writing these responses, but so much of our point is based on our humanity and emotion. Seeing three dots flash, then reading words will never be the same as sitting in someones living room, favorite drink in hand and having a face to face conversation.
The problem is that race and socio-economic status have segregated how and where we live. These homogenous communities allow stereotypes and ignorance to fester. Lets imagine if folks with different backgrounds and cultures all got a chance to at least meet and interact as humans some minds would change. Some. How often does this happen? When does a Black female film maker from Brooklyn have a conversation with a Miner from West Virginia?
Over this holiday season the topic came up as I was talking with my parents at the table. We were discussing the fact that there are people who have never met a person of color in their entire lives! Yes, this is true. There are citizens in this country who have never met a Black person before, or a Puerto Rican person, or insert any minority. They only know people who look and think just like them. TV shows, movies and mainstream media have built their understanding of who we are.
This conversation brought up a memory for my Father that he had never told me or my Mother.
He was the sophomore at Aurora College in Illionis, and the class president. Two White freshman students from Jacksonville, Florida were on the campus for the start of the year. When they found out that the Sophomore class president was Black, they pretty much lost it. They went to the Dean and said essentially that they were going to leave the school, and there is no way they could go to a school where a Black person was in this position. The Dean calmed their fears and told them to just go hear this man speak.
This is a photo of my father Marvin McMickle and a few of his classmates at Aurora College.
After the speech these two students approached my father for a dialogue. They told him, “We almost left this school and did not attend because of YOU” Baffled, he asked them how he could have that effect on them. The answer is rooted in the segregation we began this piece with.
They said “We had never met a black person who could speak english” Of course even in college my father was extremely eloquent and a master orator. He blew their minds, and completely shattered all their prior experiences. But think about it this way. What would have happened if they just left school and never heard the speech? They would have gone back to the same community in Florida with the same views.
The only reason they came into contact with a Black person like Rev. Dr. Marvin A. McMickle, was because they were engaging in higher education outside of their comfort zone. A majority of people do not get this opportunity. We never get to meet each other, and see the humanity of one another. This happened in 1967, and there are still people today who believe that Black people are stupid and lazy. These beliefs are passed down through the generations based upon myths (myths like, black skin can rub off onto you and make you black, he encountered that one as well)
How do we get to really know people who are not like us, especially in this social media era. The algorithms are set to only show us posts and news in line with our beliefs and “likes”. We don’t even get to read how other people are thinking and feeling, let alone actually talk to them. My President Barack Obama said in his farewell speech. “If you are tired of arguing with strangers on the internet, try talking with one in person”
My same old roommate also said this (Sorry to keep blowing your spot, but you give me so much material)
“If you are going to a black neighborhood you are taking a risk. All black neighborhoods are dangerous.”
He also told me that I have never experienced racism and it’s not as bad as I think. Thanks for telling me about my black experience homie, appreciate that.
This is a person who claims to not be racist. When asked how many black neighboorhood’s he has visited …. radio silence. We know the answer. Now would a face to face conversation change his mind about black communities? That’s a hard battle. Trump is normalizing the belief that all black people live in crumbling inner-cities, that need fixing. Since he doesn’t talk to or interact with any people of color his attitude is not likely to change. Guess he has never heard of Prince George’s county either.
This is not the fault of any individual, and it really isn’t a choice for most Americans. We just do not live in the same places together. It is a systemic problem based upon racist practices in housing like redlining.” Redlining is the practice of denying or limiting financial services to certain neighborhoods based on racial or ethnic composition without regard to the residents’ qualifications or creditworthiness. The term “redlining” refers to the practice of using a red line on a map to delineate the area where financial institutions would not invest”
Below is an example of a housing covenant in Washington D.C.
Sooooo no Blacks, no Jews, and no one from the Middle East. I know this song, heard it somewhere before.
The US government was complicit in this type of discrimination for decades. Complicit in keeping us apart. This is one of the reasons we don’t really live together. We may be in the same city or town, but not truly living a life together.
Until we are sitting down with people who think differently from us, hearing them, and letting them hear us. No stereotypes or myths will be dissolved, and we will continue to grow apart. I am not saying this is easy. It takes patience along with compassion. It has to come from a place of love. We have to be willing to stop saying “Oh he or she is just a stupid redneck” and the other side needs to chill with the thought that people of color are lazy, criminal thug, rapists who only live in inner cities and collect welfare.
Can we do this? I really don’t know. Just like with our environmental problems as a planet. I go through points of hope, and sometimes I think nah we’re too for gone, just forget it.
“She had finally gathered in the whole audience with her love chants and work songs, her tearful ballads of love requited and un-. Nina’s voice never overpowering is an even more fragile instrument. As she works more she will get stronger and more in control.
“She still has a sound and presence that sum up the whole epic of human feeling”
Amiri Baraka wrote these words about his friend the great Nina Simone. Though I never met her or heard her perform live, I feel him on that last sentence. “The whole epic of human feeling”
The House of the Rising Sun- Nina Simone
I once fell into a Nina Simone YouTube rabbit hole. Started with her version of House of the Rising Sun then onto Sinnerman, then I just clicked and clicked on more of her music. Happiness, worry, anger, and some two step type dance moves all came out during this session. I awoke from my trance about an hour later. I had to ask myself. How was she able to do this? How does she have the ability to put chills down your spine? Take over your consciousness. What is she doing that sounds so divine? How does she encompass the whole epic of human feeling? Well,
The uniqueness of her voice is paramount. The timbre of her vocal is different from any other singer. The moment the first note vibrates you know exactly who is singing, and as a whole the music she creates invokes the foundations of Black Music.
Nina melded together Work Songs and Gospel with masterful Jazz improv. She possessed the soul of the Black church, the harmonic knowledge of a classical musician, and a burning fire for social justice. Put all these traits together and you have yourself an icon of modern music.
So, let’s talk about the music!
Nina Simone was master of interpretation and ruled the stage with improvisation.
Musical interpretation is the “way” in which Nina decided to perform an already existing piece of music.
Improvisation- Includes all the ill ad-libs, piano runs, shouts, hollers and solos Nina and the band perform on the spot. Taking what may be a pre-arranged piece and adding that brand new flavor in your ear, in real time.
One of the best ways to analyze differences in interpretation is through the art of the cover. Nina was a prolific original songwriter, however some of her most famous songs are covers.
In the Western music scale there are only 12 pitches that can be played. A, A# ,B,C,C#,D,D#,E,F,F#,G,G#, or their corresponding flats. No matter if you are rocking out to Metallica, vibing on King Tubby or bumping some DJ Premier. You are only hearing those 12 pitches. So what makes each style or song different from the next?
I would say the difference is in how the musicians interpret the notes using musical elements, and what instruments are being played.
Let’s listen two very famous Nina Simone songs. Both of these tunes she covered, but killed em in such dramatic fashion that she took possession of the song. You will hear the original and then her version back to back.
As you listen look out for differences in these musical elements. Try to figure out what made her version the seminal one.
Tempo- How fast or slow she plays
Dynamics– How loud or soft she plays
Timbre ( pronounced tambor)- The characteristic sound that an instrument produces. In her case the voice is the most distinctive.
Arrangement– Where sections of music are placed within a composition. Nina does a lot of repeating phrases, section extensions and just straight up improv.
Expression- How Nina talks to our soul with her voice, her playing, and human energy.
Feeling Good
Feeling Good is a song originally written by Leslie Bricusse and Anthony Newley for the musical “The Roar of the Greasepaint- The Smell of the Crowd.
(Original)
Feeling Good– Sung by Cy Grant (Roar of the Greasepaint-The Smell of the Crowd)
Feeling Good- Nina Simone
What did Nina do to this piece to make it rightfully hers? Number one, she added syncopation and improvisation to the vocal. She places accents in the most perfect little rhythmic pockets, and never uses the same pocket twice.
Musically we would say she has more freedom with her “rhythmic phrasing” (Where you place notes within the flow of the meter) as compared to Cy Grant.
He sang the song with a very “Theatre” sounding timbre. Almost like an orator, he pronounced every lyric properly, and sang very straight ahead rhythmically. Nina on the other hand just oozes black church. She say’s “Suuuuun up in the skyyyyy Youknow howi feeeeeel. Slurring words together, letting her feelings and emotions come to the forefront.
She adds some classic ad libs- “Dragonfly out in the sun you know what I mean -Dontcha Know- There is just a sense of honesty and freedom in her delivery that makes the listener want more.
Both versions open up with just a vocal and no instruments. What stands out is the choice of instruments used to bring in the verse. The original piece used some bass, light percussion and a flute, eventually a trumpet does some accompaniment.
But Nina! Whoa, there is a horn section! They come in playing a descending pattern that sets the tone for the whole piece. It’s that part that makes you want to sway your hips and snap your fingers.
A big horn section playing a funky line can make a track. Think about what the horn line did to Spottiottiedopalicious by Outkast.
Spottieottiedopalicious- OutKast
As soon as you hear Dada dot da daaaa, you know it’s Spottie. When we hear the horns Nina used, we know we are hearing “Feeling good” immediately, no question.
The ability to improvise is a necessity within Black Music. We have been coming up with songs, dances and jokes on the spot since day one. We let our spirit lead, all you gotta do is let the beat ride out and see what happens. What happens is Call and Response, Field Hollers, Ring shouts at Congo Square, chain gang work songs, Jazz soloing, Rap Freestyle battles, Soul Train lines, and Scat singing.
Scat singing is a method where the singer uses the voice to imitate an instrument, usually in a spontaneous fashion. Often times using guttural sounds and combinations of words. Words that are not meant to make sentences. Just to make musical phrases
Nina does a masterful job of scatting at the end of Feeling Good. Around 2:20 she goes into a section that contains no words or lyrics, just sounds. Sounds that not only help build tension as the song ends, but they also shine a light on her originality and willingness to be totally free with her music. Honestly I could listen to her do that ending over and over again. It always stands out to me. That kind of shouting and hollering she does, it’s just pure guts being poured out onto a recording. Dapatidapatiidaaaaaaaaa,baaambadiaaaapaaaninaaaaaa, moaniamoana, neeehaaaaa neeehhaaaa iiiimm feeeeeeling, goooooooood! (that’s how it sounds to me) I get chills just writing it.
In the end I would say that Expression and Timbre were the elements that separate her version from the original.
Listening to Nina’s musical expression is like an amazing piece of marble. Marble has intricate patterns and layers that took a long time to form. It is very smooth but also hard. Let us not forget that marble is extremely beautiful, and every piece is unique. Just like Nina Simone’s music and musical expressions.
Her freedom of expression is what leads and shapes her sound. The Timbre of Nina’s version is more soulful due the prominence of the rhythm section and the horn riff. She also puts more momentum in the tempo, allowing the band swing and drive with a grittier feel.
It’s the feel that makes “Feeling Good” Nina’s song. No question, she owns it now.
Sinnerman
This song has incredible DNA. From folk spiritual to, gospel, to barbershop quartets. It just has Black music roots all up in it. Many additions and interpretations came before Nina got to it but continuity of culture keeps this music alive and growing.
Let’s start with the lyricial history.
The lyric “The Rock cried Out” and “Oh Sinnerman” (about 1:48) originated with
“No Hiding Place Down Here” and old Negro Spiritual. Here is a quartet version.
Then The Sensational Nightingales got a hold of it in 1954 and recorded a song called
“On Judgment Day”
They added the “Sinnerman, where you gonna run to” and do a soul infused barbershop quartet version.
On Judgment Day- The Sensational Nightingales (this is a rough recording, apologies)
Leading us to our listening comparison. Try to listen out for the same elements. Tempo, Timbre, arrangement, dynamics, expression.
Les Baxter- Sinnerman
Nina Simone- Sinnerman
In her version Nina alters every element of music we are analyzing. Tempo, Timbre, Dynamics and arrangement are all dramatically shifted. She turns the piece upside down, employing Classical music, Blues, Jazz, and Gospel techniques. She also arranged the song into several extended sections that make this piece truly legendary.
Tempo- The main difference you hear right away is the driving rhythm section. The hi hats and Nina on the Piano set a feel that has more momentum than the original, but is actually slower in tempo. The pace feels like she is taking us somewhere, and you want to present on this trip.
Timbre– The Les Baxter version uses instrumentation that gives the tune a folk/rock sound. The rhythm guitar is leading the feel, where as in Nina’s version it is the drums and piano.
Once again, the voice, it’s own very special instrument. She just gives this tune so much soul “The whole epic of human feeling” all in one song.
Also notice the accents and freedom of expression Nina has with the vocal. Les Baxter sings it like “`Sinnerman Where you gonna run to, Sinnerman. With the emphasis on first syllable. When Nina sings
“Oh, sinnerman…… where you gon run to, sinnerman……where ya gon runto- all on that day.
It is much more laid back and relaxed. The phrases just flow together. Sometimes she leaves a word or phrase out, then picks back up the next time around.
She also is a master of back-phrasing. Back phrasing is when you speed up or slow down a portion of the lyrics to add color and emotion. Being slightly behind or ahead the beat creates a certain feel that draws the listener in. Here is an excellent explanation of back phrasing.
Killing me Softly sung- Straight ahead with no anticipation, then hear how it really sounds with the singer ahead of the beat. Hit the link below to check out the explanation.
Les Baxter– He uses the last 45 seconds or so to really up the volume. They sing and play with more fervor, you can tell the end is nearing, as they build into a clean finish.
Nina’s version
This is a 10 min song. With unpredictable changes in dynamics. It starts off at a medium volume with a nice pulse. Nina plays and sings through the verse and chorus steadily getting louder and louder. The Vocal picks up steam as she elevates the volume, and the power of the delivery. Eventually background singers come in helping us to reach an apex. Then they stop short and go into a quiet instrumental portion for a few minutes. Next they pick up speed and tempo again to finish out with the “Get By” Piano sample. The song is a journey. Up and down, loud and soft, funky and smooth. Blues and Jazz, Gospel with soul by pound. So much to listen to.
Arrangement– Lex Baxters version has a simple arrangement that repeats throughout the song. A section where he sings the lyrics with a more dynamic rhythm section, a portion where he kind of talks over the beat, then a bass guitar interlude, back to the top. As it moves on background vocals come in as well as some strings, and it gets a very Hollywood in the 1950’s polished sound. I like the dramatic ending of this arrangement a lot.
Nina just owned the song with her arrangement.
Opening piano and percussion
About three minutes of verse/ chorus
One minute of improvising over Nina belting out – POWEEEEER, POWWEEEEER.
Next we have 2 min of jazz improvisation- that just sounds so sweet. The guitar is playing little blues chords just in the right spot. The bassist is playing some excellent supportive harmony creating several layers of listening. Nina in the background adding hand claps.
You hear Nina come in with a very familiar piano sample. (Talib Kweli- Get By)
Now they build back into the POWER section for 2 min – Each musician playing more and more furiously.
Nina improvises a field holler section that is also used in Get By.
With Her piano sounding like an African Baliphone and the drummer getting out his emotions along with her. They build tension for almost 90 seconds before the song comes to an end.
Talib Kweli- Get By
The Queen of Interpretation, “She’ll take the wackest song, and make it beeeeettterr” How does she encompass the whole epic of human feeling? She has a recipe. “And it goes a little something like this”
2 cups soul of the Black CHUCH! Yes, pronounced Chuch! Let that simmer in a base of Negro Sprituals. After about an hour add a 1 ½ cups of Blues feeling, tone and inflection. Next, two teaspoons of Bach like harmony. When it all starts to blend nicely, add 2 chopped cups of Jazz Improvisation, (must be finely chopped). Now bring the whole pot to a boil, cause you know she serves it up hot. Garnish that joint with field Hollers, hand claps, and heaping teaspoon of political protest, then enjoy!
Nina Simone, thank you for embodying all the beauty of Black Music. You continue to be a benchmark for greatness. Myself and many others are inspired by you daily.
Well, it’s football season again. I for one am happy. I love the game. I played football from middle school all the way through my college years. What I loved most about the game was what my High School Coach David Sedmak called “Controlled Intensity” You have to be ready to bang heads and be in physical combat with the other team. But at the same time be thinking on your feet and using the cues you learned from film study to play the best game possible. You cannot let your emotions and adrenaline take you for a ride. The Kapernick anthem protest has raised a lot of adrenaline levels, many people have intense feelings about it. When what we really need is the controlled intensity. The ability to think about the issues, not just let emotion lead. We need people to have the strength to look past their own experiences and realize that we do have a problem when it comes to inequality in America. Just because it may not be happening to you does not mean that it is not happening. Kaepernick is forcing us to address these issues head on.
Wether you are football fan or not you have probably heard about Colin Kaepernick. A quarterback for the San Fransisco 49ers. On August 26th the media finally noticed that he was not standing for the national anthem. (He sat for two previous games on August 14th and 20th) Once the media noticed they of course asked him about it. Clearly he was not doing it for attention, so why was he protesting. He said, paraphrased “This stand wasn’t for me it was for those do not have a voice, I’m in a position to do something to effect change and I do not want to stand for song and flag that allows injustice to go unnoticed and unpunished.
The next thing you know, we have two sides. So called “patriots” who think he is disrespecting the flag and the troops. On the other end are those who agree with what he is doing. Those that see the injustice and are not afraid to admit that America may be a great nation, but it has major problems with inequality and the balance of justice.
Americans give Athletes and celebrities a huge amount of status, and we are always badgering them about being a role model. “Kids look up to you” “Do what’s right” “You make all this money, and what do you do for the community” Well, isn’t that what CK is doing ?
I mean, people of color are oppressed in America, police brutality and recklessness is a problem. For the most part people of color in America are not in control of the avenues where their voices can be heard (Do not say “Well we have a Black president). Kaepernick is giving the downtrodden a voice. But he has been met with hatred and disgust.
What are the haters saying?
He is disrespecting the troops– Nope. He said that he has friends and family in law enforcement and the military, and that he is in full support of the troops. In fact it was Nate Boyer former Green Beret officer who helped him come up with the taking a knee strategy. There have been heads of state, people from all branches of the armed forces and law enforcement that have come out in support of him. He is just expressing himself using his rights as an American. You don’t have to like it.
The underlying card here is that there is a black man talking about race during NFL Sunday. This creates a visceral reaction from those who deep down wish he would just shut up and play. CK is forcing millions of Americans to discuss and think about something ugly. Something that touches nerves. Especially for people who think America is 100% equal. Yes, some people believe that we have 100% equality, and all these lazy people are just crying wolf.
Another argument is the use of his salary and status as an NFL player against him. Oppressed? He has a 100 million dollar contract. What does he know about oppression? Let me be clear. You do not have to be experiencing oppression to know that it is wrong and want to do something about it. Look up John Brown, a white man who lead a slave revolt, look up William Lloyd Garrison, or Susan B. Anthony, or John F. Kennedy. The list is large, of people who saw injustice and wanted to use the position they had to make a change, even though they were not the ones being oppressed.
Another way to look at it. If a loved one is ill. Do you say to them, suck it up your fine, I don’t think its that bad. No you do not. You sit and empathize with them, let them know you understand and want to help. The fact that millions of people cannot do this when it comes to racism and unfair treatment shows how deeply ingrained white supremacy is.
Look at these quotes from real Americans about the CK protest.
“The reason there is more blacks on unemployment is because they would rather sell drugs and kill other people then get off there sorry ass and go find work so sorry but don’t talk about its the United States fought put the blame where it really needs to be on yourself if it’s so hard for blacks it’s because it’s your fault you or your mom or your grandma were slaves so do try to bring that up stop with that bullshit”
“So we can’t all agree that CK is a dipshit? Who here hates ‘Merica. SHOW YOURSELF!!!!!!”
“Every race, ethnicity and religion has been oppressed at one time or another. Also been enslaved at one time or another, So the battle is not worth continuing to fight. It’s an imaginary battle.”
“Slavery? At least as a slave, you’re alive. A whole bunch of Jews (white people) while enslaved in biblical times, were simply rounded up and murdered, not very long ago.”
” he’s an overpaid dick.”
Down playing slavery really makes me upset.
I have a friend who told me that going into a black neighborhood is risky and dangerous. This same person also said “I see blacks being treated well” Really? How would you know if you never go into a black community? It is a huge case of
If it is not happening to me it’s not happening.
You see the hate and lack of information. It’s reprehensible.
The art that goes along with this piece is by Jeff Rothberg. A Brooklyn artist who is using his work to make people really think about what CK is doing. It depicts Colin Kaepernick taking a knee with American flag running under him. A sun bursts from his back, shining a light on injustice. The most important part of the piece is the blind fold. It is a play on Lady Justice. An American symbol that depicts a woman with a blind fold, holding two balanced scales. The blindfold is to show the justice should see no color, or religion or lifestyle. It’s supposed to be the same for everyone. But we know it’s not. Her scales are balanced, but what about what actually goes on in courtrooms (Brock Turner)
so big ups to Jeff for the dope piece
Another stance I agree that there is a problem, but this not the way to protest.
So what is the right way? We had an entire civil rights movement where people marched peacefully. They were beaten and sprayed with fire hoses. People performed sit ins at restaurants, and they got food thrown at them, spat on and degraded. Just for using their unalienable rights.
Then we have the opposite. Like Watts, and Chicago, and LA and Baltimore. Rioting. When that happens its – “See, look at those thugs” So there is a catch 22 here. Don’t protest peacefully or violently. Just shut up, you are not slave any more be happy.
Who cares if you live in fear of the police force whose salary you pay. Honestly I am more afraid a police officer than any so called “Thug” You now why. Most human beings that some call thugs are not instinctually afraid of me. It is a fact that police think Black men are more dangerous, this is a problem. Generations upon generations of Americans saw people of color as slaves, or share croppers, or their nanny, or the person who cleans their floors. Never really having to know them, they just work for us. This mentality is not easy to shake, it gets passed down through generations. I mean there are buildings in New York City today with “poor doors” Doors made for the low income housing units to use. While those who live in the upper floors with lots of money get to use the front door with a doorman. Sickening. It says, if you are not like us we don’t even want to have to walk past you. Ugh
Kaepernick is making “Murica” watch and listen to sports commentators and hall of fame athletes not discuss x’s and o’s but instead they are talking about civil rights and history and equality. What is wrong with that? Oh right that song that lyrically supports slavery. Got to pay tribute to it. Even though the department of Defense paid the NFL 10 million dollars to have the players come out and stand for the Anthem. Paid Patriotism.
Where were all these people before 2009? The fact is no one noticed or cared the players were in the locker room. People only care now because a black man is forcing the truth on them during NFL games.
When we really think about it this is nothing new. Jackie Robinson did not stand for the anthem, and came out against it. He was and Army veteran. I do not hear any one bad mouthing him. No one currently would say Muhammad Ali was piece of Sh** for standing up for his values. The fact is a large portion of America thinks free speech is cool, as long as you say things they agree with.
All Kaepernick is saying is that America has problems we need to address so that we can live up to our so called mottos and credos. All people are created equal, and have full protection under the law.
However the same people who say “Make America Great Again” think nothing is wrong. So why do we need to make it great (again). Also when was it great? What year do should we go back to. 1619 when the slaves arrived? Or should be go back colonial America where genocide on Native Americans was all good? Or should we go back to 1955 when Emmitt Till was mutalated for whistling at a white woman?
In this crucial election year, there is no middle ground. You either care about others and believe in equality for all, or you do not. We need to have open uncomfortable conversations. It’s the only way to make this thing work. People with differing view points sitting down and talking honestly and showing compassion for the lives of others.
If you disagree with me on any point I made here. I would love to grab a beer or google hang out or skype anytime to have open conversation.
I take music very seriously and place a lot a value in its meaning. For this topic I say. It’s just a song. Lets talk about the real reasons he his kneeling. Let’s bang heads thoughtfully with”Controlled Insensity” Maybe we can make some progress.
Work songs, Gospel, The Blues and Jazz are the roots that hold up the influential behemoth that is African American music. These roots are buried deep. They are the kind of roots that make your sidewalk uneven and crack your driveway. The roots may lay 20-30 feet under the surface, but the lushness of the tree sits high in the sky spreading its influence into the environment, giving out the breath of life to American music as a whole.
This, is how Work Songs became Gospel, Gospel became Blues and Blues became Jazz.
Roots had to grow up through the ground sprouting branches. Branches like Rhythm and Blues, Rock, Funk, Soul Disco, House, Reggae, Hip Hop, Salsa, Zouk, Son, Soca, Kompa, Rhumba, Samba and countless other styles. These branches have leaves that change color, fall off and grow back in different variations each season. Sometimes branches snap off, leaves come and go. But the trunk and the roots are always there, always present, always holding the foundation strong.
Tree Roots grow best in un-compacted soil. That means soil that has not been compressed, or tampered with. No machines have dug it up, no one has ever turned it over. Work songs, Gospel, Blues and early Jazz grew in this un-compacted soil. Musically they are raw, stripped down and untouched. They grew from the heart of the Black Slave and sharecropper. They grew out of the ground through the pain of bondage.
James Weldon Johnson wrote “Stony the road we trod bitter the chastening rod.” In the Black national anthem for a reason. Black music is the direct reflection of a life filled with rough roads and scarred backs. It can be sad and dark, joyful and free, uplifting and depressing. It’s also trance inducing and full of layers to listen and dance to.
Lift Every Voice and Sing- Women of the Calabash
Work Songs, Gospel, Blues, and Jazz gave life to Black music in the Americas and in turn all of western music. Each branch growing with similar features and DNA, displaying the continuity of African culture. These similarities are ever present throughout generations of growth all the way to Hip Hop.
We can find similarities thematically and sonically, but also in the presentation and performance of Black music. Throughout this series we will breakdown these similarities, connecting the dots within the history of Black music in America. We jump into this cipher with.
THEME
Since the plight of the African in America began with chattel slavery we find that getting to freedom or to heaven became a very common theme. Spirituals like Ain’t That Good News and Swing Low Sweet Chariot lyrically show us what was on the minds of the African slave.
Ain’t that good news says “I got a crownup in the kingdom, ain’t that good news, got me a savior in the kingdom, ain’t that good news” Through long hot days in the fields some hope or mental escape was needed. Spirituals helped slaves to KEEP ON PUSHING! (Another song about the plight of Blacks in America)
Aint That Good News- Barbara Hendricks and Moses Hogan Chorale (Audio below)
“Swing Low Sweet Chariot” like “Ain’t that good news” and many other slave songs were most likely passed down orally from generation to generation. Generations of people who needed hope in a strange land. Swing Low and Negro Spirituals in general played an integral role in our spiritual sustenance. That is why spirituals are a part of the roots of the tree. Helped to keep us strong from jump.
The lyrics
“Swing Low Sweet Chariot, comin for to carry me home”. “A Band of Angels coming after me, comin for to carry me home.”
Again shows slaves looking for a home in heaven free from the chains of bondage. However like many songs we will analyze, it has a double meaning. When slaves heard this song being sung he/she knew to get prepared to escape. A “chariot” was coming to bring you north.
Do we still sing of being carried off to another land. A land of freedom and peace and love? Of course.
One of today’s most gifted and most successful emcees Common raps about being able to find that heaven here on earth through the gift of music and love.
Let’s take a look and a listen to a song from Common’s album “Like Water For Chocolate” A song entitled “Ghetto Heaven” The main theme is to try and find heaven in yourself and in the music while on this planet wherever you can.
Although we are not physically slaves. Poverty, racism, self hate, poor health and lack of education still have us in chains. Common grew up on the Southside of Chicago where the whippings and hard labor of our ancestors have manifested into one of the highest murder rates in America. Add in widespread segregation and poverty, fear of the police and lack of education. Black people still live in tough situations with a lot of struggle. Finding heaven and inner peace can be a difficult task.
Within African Culture music and dance play a role in every part of life. There is music for the morning, music for working, music for weddings, music for cleaning, music for worshipping, and a dance associated with it. Hence we also have music for stress relief and overall healing. Common is hoping to have music bring us the bliss of freedom, if only for a few minutes.
Geto Heaven Part Two- Common feat D’Angelo (Quotes 1,2,3)
“I walk through the valley with a life preserver, feeling at times that I just might murder. But that ain’t what I was sent for. I want my folks to say his life it meant more, than any car, any rock, and any broad. He found Geto Heaven in himself and God.” – Common
With some clever word playing off of the 23rd Psalm Common tells us he is not afraid of the valley of Death. He has life preservers to protect him from the chains of racism, and discrimination. His music and God. He is looking for that escape route. The connection between the spirituals “Aint that good news and “Swing Low” is clear.
We still make music about getting to that place of peace and freedom, we probably always will. The roots just grew that way. Work Songs, Gospel, Blues and Jazz made it so.
“But to choose words and be heard across waters. Doing something you like to support daughter’s. Keeping your guys from collecting court orders. Conveying messages that the ancestors brought us.” – Common
This line holds a special place for me because I actually use the music of my ancestors across waters to support my daughters. So does Common, and so do many others. Music has saved a lot of souls.
With this lyric Common is describing to us power of Black music. We can use it to send our message all over the world, and convey the message passed down through generations. It is our voice in a world of pain. We can use it to support our families and our dreams, while at the same time always keeping the roots strong allowing the tree to thrive.
“Thought of things to say to become the in thing for the day. Somehow that didn’t seem the way for me to make it. MUSIC IS A GIFT THAT IS SACRED. Whether serving or a surgeon, you gon go through it. Can’t imagine going through it without soul music. It’s like Donny Hath helped me see Lonnie’s path. On my behalf let’s take whole steps to I mhotep. And show depth as we make people nod. Find HEAVEN IN THIS MUSIC AND GOD.”
This is it! Music is our sacred gift. We can use it to reach heaven spiritually, here on earth, and within ourselves. No matter if you are a drug dealer or a pediatrician. You have struggles and soul music can guide you towards greatness like Imhotep. No matter how much pain, you can find some relief in the vibrations of song.
Common used music to relieve some of the pain of racism and second class citizenship. Just like we sang Swing Low Sweet Chariot, We now sing Common’s lyric “Find heaven in this music and god” The ability to let the music soothe you, let the beat bear the weight of your suffering. Allowing the rhythm to take you to a place of peace.
“Maybe someday I’ll reach that higher goal. I know I can make it…….. with just a little bit a soul. -Curtis Mayfield
“Some say we pro-black, but we professional. We missed a lot of church so the music is our confessional. Big Boi
OutKast! A Hip Hop duo consisting of Antwan “Big Boi” Patton and Andre “3000” Benjamin. On their third album entitled “Aquemeni” They created a song called “Liberation” The song features Erykah Badu, Big Rube and Cee-Lo Green.
Sonically they infuse elements of Work Song, Gospel, Blues and Jazz to create a sound palette that oozes soul. Not to mention on an album with ferocious lyrical prowess there is no rapping. They tap into the roots of the tree, extract the base (bass) and create a musical gift.
Lyrically this song shows another side of what freedom can be.
We are not tied by the neck and feet physically anymore. That treatment however led to economic instability, unfit housing, and systemic racism. Mental liberation is what we need now. To know that we are not second class, or 3/5ths, or a burden.
Big Rube says ” It’s a hard road of hope when the rain don’t fall, and the ground is dry, BUT THE ROOTS ARE STRONG so some survive”
Even though sometimes it feels like all hope is gone, remember those roots are there. Unwavering, allowing the continuity of African culture and its music to sustain us, and bring us to mental liberation. A place where we know we are equal, a place where we accept and expect only the best.
A few quotes from “Liberation”
“Can’t worry about what another Ni**a think, now that liberation and baby I want it”
This kind of mentality was not even a possibility for black people until recently. We had to worry about what our oppressors thought. We did so, or face grave consequences. OutKast is praying and wishing and hoping to be able to have this kind of freedom. Which they do, through the medium of music. But do we?
Even still we have to be more than careful. Remember Amadou Diallo, and Freddie Gray, and Tamir Rice, and Alton Sterling, and Sean Bell. I have never had a positive interaction with an on duty Police Officer. As a matter of fact, I’m afraid of them. What is really sad is that I type those names with so many more that could be listed. This shows we are still searching for that “Liberation” Our freedom to be alive and breathing is not guaranteed.
“Ya have a choice to be who you wants to be its left upa to me, and my Momma dem told me”
First thing I noticed about this lyric is its delivery. Its is spoken in a southern dialect and uses a line you may know. If you grew up around southern black people you have heard someone say “My Mama n dem” with the syllables pushed together. That’s black vernacular handed down through generations.
Now the thematic element. A choice to be who you want to be? A very new freedom for people of color. 50 short years ago which is a blip in history. Discrimination, segregation and Jim Crow were still completely legal and huge part of our society. Black people for the most part did not grow up saying “ I can do whatever I want to do.” Black people lived with struggle, struggle that affects us mentally to this day.
“I’m so tired been so long, struggling, Hopelessly 7 and 40 days”
The timbre with which this line is sung along with its biblical references (Noah and flood) is reminiscent of a Work Song or Field Holler. Envision a native African, on a sugar cane plantation, can’t find his wife, on his knees, both hands to the sky singing for some relief. Now envision Marvin Gaye on his knees singing “Make me wanna Holler, throw up both my hands” It’s the same thing. This however is Cee- Lo Green of the Dungeon Family throwing up both his hands, praying for a better day.
“Shake that load off, Shake that load off, Shake load off, Shake load off, Shake that load off”
With cascading three part harmonies moving behind it, the phrase “Shake that load off” is repeated 32 times. Since Black people arrived here, we have been looking for ways to shake the load off, to escape from the captivity. We used music, religion, dance, anything we could to KEEP ON PUSHING. Leading us right into a quote from the great
Erykah Badu
“Spend your life trying to numb the pain, You shake that load off and sing your song, liberate the minds then you go on home.”
This is everything we have been discussing. Black people, from slavery into 2016 are still trying to numb the pain. We attempt to shake the load off with, prayer, with drugs, with sex and many other things, but nothing is a strong as our SONG. Songs that liberate the mind, then we go on “home”
“Born under a bad sign, Been down since I began to crawl. If it wasn’t for bad luck, I wouldn’t have no luck at all” – Albert King
Not only did we sing of a new life in heaven and freedom from the pain. We also used music to tell the story of the daily grind. The everyday struggles. Bills, women, men, relationships, parties, hanging with friends, just the ups and downs that life brings. One of the greatest gifts we get from songs that tell real life stories, is the glimpse into the life and head of the performer.
Let’s compare a Blues song from 1942 by T-Bone Walker and and Hip Hop song that lyrically is a blues song from 1994 by The Notorious B.I.G.
Mean Old World- T. Bone Walker
Everyday Struggle- Notorious B.I.G
T- Bone– “Yes, I drink to keep from worrying, Mama I smile to keep from crying. Just to keep the public from knowing just what I have on my mind.”
Biggie– “They don’t know about your stress filled day, baby on the way, mad bills to pay that’s why you drink tanqueray. So you can reminisce and wish wasn’t living so devilish”
These songs were written 52 years apart. T-Bone Walker is from Linden, Texas and Biggie is from Bed Stuy, Brooklyn. Yet the their lives seem to have similar issues going on. Stresses of life pushing them to drink is the obvious, and that is prevalent in all cultures. What makes this unique to the Black experience is the generational effect White supremacy has had on our progress, opportunities, self fulfillment and expectations.
I’m no “Blame Whitey” kind of dude either. But let’s look at it like this. If you run a race where you are the only healthy contestant and everyone else has a pulled hamstring, you are gonna win most of the time. Sometimes a really strong person who can’t be stopped will get ahead. But for the most part healthy legs win. Generations of Black people have been running with the tweaked hammy, even Biggie and T-bone Walker. They were the strong ones, and they still did not think highly of themselves.
Biggie wishes he wasn’t so devilish and T-Bone hides his emotions in smiles and booze so the world can’t see him. These are mental shackles that come with generations of hate.
For someone as gifted and influential as Biggie to take away from his life that he is nothing but a devil says a lot about our culture.
Sadly that thought process is a daily operation for a black man in America. Living the duality of being Black and trying to exist in a country that hates you. Dubois spoke of the “Double Consciousness”
‘Looking at yourself through the eyes of others. Measuring your soul by the tape of world that looks on in amused contempt and pity. ” The Notorious B.I.G. was a poetic genius. Excellent with the word play, a truly unique delivery, with vivid story telling abilities. He touched millions of people world wide with just two albums. However he was still forced to look at himself through eyes of country who did not truly value him. “Heart throb never, Black and ugly as ever” This is what he thought of himself.
They both go on to say-
“Someday baby I’ll be six feet in the grave, then I won’t be running the streets like a low down dirty slave” T-Bone Walker
“I don’t wanna live no mo, sometimes I hear death knocking at my front door. I’m living everyday like a hustle, and another drug to juggle. Another day another struggle” – Biggie
Both of these men reached the pinnacle of their industry. Yet, the everyday struggle was still real for them. The above lyrics were written in 2 totally different generations by seemingly very different people. Doesn’t it seem like they could have worked together? (whooo, what a dope album). The continuity of theme is so strong because the roots and the trunk are always buried deep, holding strong, allowing the branches to flourish, if only for a brief moment.
Slaves sang coded songs about getting to freedom, T- Bone Walker sang songs about getting through the day in this “Mean old World”. Common helped us find Heaven in ourselves. Marvin Gaye threw up both his hands to the Inner City Blues, Outkast created praise music to help “Shake that load off” and Biggie rapped about his everyday struggle.
We create music to help us shake off the load of oppression, to turn that sore into scab. The basis of this music comes from Work Songs, Gospel, The Blues and Early Jazz. The theme of wanting to be truly free and find peace in this world runs from Work Songs all the way to Hip Hop. Continuity of Culture.
These are only a few of the thematic connections we can make, but the fact is this.
Black music throughout its growth in America has similarities that run deep between styles that are centuries apart. The Roots of the tree will always be there, season after season.
Playlist
Songs of getting to physical Freedom
Ain’t that Good News– Spritual
Swing Low Sweet Chariot. – Wallis Willis
Song of getting to mental Freedom
Lift Every Voice and Sing- James Weldon Johnson and John Rosamond Johnson
Geto Heaven (pt II)– Common
Liberation– OutKast
Keep On Pushing– Curtis Mayfield
Songs of the everyday struggle and self reflection
This is a look inside my growth as a DJ. I mix through tracks that I used to spin a lot into deeper styles that I am now learning about. I am trying to encompass what music and art really mean to me through the narration. So the music and the vocal interludes are equally important.
Please if you have the time. Listen to the whole mix, identify a theme, connect it to your own life.
This is a link to the scene the narration is based on. This is from an HBO show entitled SIX FEET UNDER. Lauren Ambrose who plays Claire Fisher on the show is getting a lesson on puling art out of yourself, and being original. It really meant something to me and has stayed with me for years. The main piece I take from the show is……
“It’s what happens when exactly what is inside of you connects with what is outside of you. The Eye Inside.
An assortment funky joints made to make that neck snap. I made this mix after digging in New Orleans, and spending a week taking in all of the city’s magnificent culture.
Includes,
The Meters, Brass Construction, Brothers Johnson, Wilson Pickett, The Soul Searchers, Maceo and the Macks
