Speak Your Piece is Frequency News’ Op-Ed feature.
Each issue Dr. Pamela D. Reed will ‘sound off’ on a variety of issues pertaining to music, gender and culture – giving us all food for thought. Dr. Reed is a widely published cultural critic and public intellectual and is a tenured associate professor of English and Africana Literature at Virginia State University. Holding the Ph.D. in African American Studies, from Temple University and the M.A. in Communications-Public Relations from the University of Louisiana-Monroe, she is uniquely equipped to dialogue on matters of race, gender and culture.
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In 1969 or 1970, I began to re-evaluate my whole concept of what I wanted my music to say…I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world.
—Marvin Gaye, Rolling Stone (1971)
Black History Month is the time each year when we celebrate the diverse contributions of African descended peoples around the world. As well, February is a time to reflect on the state of our people…and our culture, of which music is a substantial piece. Indeed, music is a major socializing agent within our communities.
No matter the genre, Black Music tells our story.
As Chuck D famously proclaimed, “Rap is CNN for Black people.” And ever since 1948—when Memphis’ WDIA went on-air with its all-Black disc jockeys, playing “race music”—Black radio remains inseparable from our music.
To be sure, Black Music is a reflection—a sound track, if you will—of our existence, both historically and contemporaneously. But it also propels our people.
In other words, Black music chronicles our culture, while at the same time driving it.
Perhaps the celebrated African American painter and sculptor Elizabeth Catlett said it best: “I have always wanted my art to service my people — to reflect us, to relate to us, to stimulate us, to make us aware of our potential. We have to create an art for liberation and for life.”
Marvin Gaye understood this…and today’s young artists would do well to consider-long and hard-the profundity of Catlett’s and Gaye’s words in Rolling Stone, explaining what drove him to write his masterpiece, “What’s Going On?”
The landmark “concept album” featured poignant songs that lamented poverty, drug abuse, and even environmental pollution. The 1971 single also shined a light on the unjust Vietnam War and on American police brutality against war protestors. More, Gaye made an impassioned appeal for family, love and understanding in his soulful plea.
And Gaye was not alone. Consider the consciousness-raising lyrics of The Godfather of Soul, James Brown’s 1968 Black Power anthem, “Say it Loud-I’m Black and I’m Proud.”
Brown inspired a generation of Black people to love their Blackness, which is not always a given in a world predicated on a black=evil:white=good dichotomy. And it still has that same effect today.
Which raises this question: With today’s perpetual wars raging, where are the voices of this generation on world events and self love? Are they using their musical platforms to raise awareness?
To the contrary, much of today’s American Black music is sounding a different kind of message. The lyrics and fashions glorify prison-culture and depict Black men as heartless, menacing, thugged-out, glock-toting, vodka-guzzling pimps, dripping “bling” and bent on amassing ill-gotten gains. And every other word is “Nigga,” “bitch,” and/or “hoe.”
Even some “conscious rappers” have no compunction about using this degrading, misogynistic language, most recently in the track, “The Dreamer,” which ironically features the iconic, beloved poet, Dr. Maya Angelou.
Exquisite thick bitches that body bless us…
Told my nigga ‘Ye I’m about to win the Grammys now…
Mad hoes like they throwing tantrums…
I’m a dreamer
At least this soon to be anthem deems the “bitches” exquisite. Glory!
At any rate, Black women are overwhelmingly portrayed as hyper-sexed, potty-mouthed, self-proclaimed “bitches” and “hoes” in today’s Black music. And, almost without fail, dark-skinned, natural haired girls/women need not apply.
And apparently our women are internalizing these images.
For example, the highly anticipated new beef track by today’s premier female rapper is called “Stupid Hoe.” The lyrics are, at best, base, pedestrian, and coarse. At worse, they are destructive, with profoundly deleterious long-term effects on our youth…and our culture. Peep this and tell me I’m wrong.
Them nappy headed hoes, but my kitchen good…
I wish a bitch woooooouuuulllldddd
You a stupid ho (x3)…
How you gonna be the stunt double to the nigga monkey?
So…not only does “Barbie,” as she is billed, denigrate natural hair, but her “nigga monkey” quip raises the specter of the age-old stereotype depicting Black peoples as primates.
It boggles the mind that this idol, arguably the hottest female rapper in the game, has millions of young girls (and women)—her “Barbz,” she calls them—wanting nothing more than to be like her. Mattel has even rolled out a special one-of-a-kind doll in her likeness.
James Brown once predicted that his son “don’t have to say it loud, I’m Black and I’m proud. He don’t have to be called those crazy names.” If only that were true.
How far the music has devolved since “Say it Loud,” or even Queen Latifah’s “U.N.I.T.Y.,” with it’s prideful, empowering message: “Who you calling a bitch?”
But those days are gone.
One new song “The Way You Love Me” stands out in this destructive genre, as it leaves nothing to the imagination, with it’s raunchy hook:
I got that kinda p**sy that’ll keep you off the streets
F*ck me, f*ck me, it’s the way you f*ck me
It makes you nostalgic for the days when the recently departed songstress Etta James’ “Sunday Kind of Love” filled the airwaves. Sure, carnal affairs were alluded to, but the lyrics were flirtatious and they left something to the imagination.
But, as bad as the present state of Black Music is, I remain hopeful. I was especially encouraged to read that D’Angelo has begun his eagerly anticipated “Occupy the Music” tour. And I sure hope it’s about more than lamenting the current spate of Auto-Tune and studio musicians in the industry.
Whatever the case, it got me thinking about this concept, in relation to the Occupy Wall Street Movement, which many credit with putting America’s unfair wealth inequity on the national agenda.
Which leads to this question: Has the time come to Occupy Black Music?
By this, I mean that a close examination of the state of Black music and Black radio, and the effect they are having on Black culture, and vice versa is long overdue.
Specifically, I am urging an inter-generational commission, charged with promoting healthier Black music lyrics. It should be comprised of artists, radio and label executives, radio personalities, and African American music and cultural experts.
The hope is to begin a dialogue about the role that Black Music can play in healing our community, in the spirit that Marvin Gaye suggested in “What’s Going On?”
Talk to me…
Tell me what’s going on
I’ll tell you what’s going on
I believe we can do better. We owe it to our children. And it shouldn’t take the birth of a daughter—or son—to make our artists and music moguls responsible enough to realize that lyrics matter.
I’m just sayin’… Can we find a way to elevate the music, and by extension, our people?
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