What a world we live in. Funk is still relevant, especially apparent from Kendrick’s new album, but what about D’Angelo? I remember back in the day listening to him, grooving in my youth ages. My dad would play him when he would have his boys over for Madden. Blasting the Sony system through the prehistoric devices. Even though I was past the time for funk, I still appreciated the music and the feeling it gave me. Every muscle in tune with the beat. Every heart beat pleading for the funk to rise in my soul as it grasped my emotions, to relive the music of the 1990’s and respect it for every penny it was worth. His voice speaking volumes…”How does it feeeeeel?” So discrete. So passionate.
While his legacy lives, the problem of racism still lives on today and what a shame. To think music and so many others that died for this cause, pushed for better lives for us. What a shame and better yet how selfish of us …
With another album in 2014 by D’Angelo, “Black Messiah” we still struggle to accept. We hesitate to avoid our past and hurt people that are very similar to us despite our skin color and comeuppance.
When will we learn?
The Delete Bin portrays the sad truth about society and the aging of our knowledge over time becoming obsolete due to blindness and complete ignorance. Not just in the black community, but even how we perceive Muslims, Asians, Hispanics and Indians. People who are not guaranteed the American dream because of the color of their skin and from where they’re from.
Yet, even if it was current events that sparked the expedient release of this long-awaited record, the sad fact is that these issues seem to be the same as they’ve been for decades. They are at least as current as the many strains of classic American music referenced on this song, and on the rest of the album. Even if the release of this record, or any record, doesn’t solve the problems that those specific events of 2014 have made more visible for so many, what it does do is frame the artistry of those coming out of various black communities all over the United States, where lives seem so cheap and insignificant to so many who hold positions of power. In many instances, songs on the record evoke soundbites that communicate an important sense of rage around all of this, designed to help continue vital conversations happening in disenfranchised black communities all over the nation.
What can we do to work on these issues and can we find a balance in power? Can music exceed these boundaries that deny human rights day-to-day? I raise you these questions to change the world. Probably not tonight, or this morning. But maybe by the individual.
Let us be the change in the world that we see today. God Bless.