#black panther the album music from and inspired by

[laromp3]

I Am - Jorja Smith

[morganhopesmith1996]

What a beautiful song!

[samueldelany]

For Ytasha Womack, the Afrofuture Is Now

The writer and filmmaker discusses the blend of theoretical cosmology and Black culture in Chicago’s newest planetarium show.

Ytasha Womack, a screenwriter on “Niyah and the Multiverse,” currently playing at the Adler Planetarium in Chicago, is the author of numerous works including “Black Panther: A Cultural Exploration."

By Katrina Miller, New York Times, March 16, 2024.

On Feb. 17, the Adler Planetarium in Chicago unveiled a new sky show called “Niyah and the Multiverse,” a blend of theoretical cosmology, Black culture and imagination. And as with many things Afrofuturistic, Ytasha Womack’s fingerprints are all over it.

Ms. Womack, who writes both about the genre and from within it, has curated Afrofuturism events across the country — including Carnegie Hall’s citywide festival — and her work is currently featured in the Smithsonian’s National Museum of African American History and Culture. Afrofuturism is perhaps most popularly on display in the “Black Panther” films, which immerse viewers in an alternate reality of diverse, technologically advanced African tribes untouched by the forces of colonialism. (In 2023, Ms. Womack published “Black Panther: A Cultural Exploration,” Marvel’s reference book examining the films’ influences.)

But examples of the genre include the science fiction writer Octavia Butler, the Star Trek character Nyota Uhura and the cyborgian songs of Janelle Monáe. Some even envision the immortality of Henrietta Lacks, a Black woman whose cells were taken without consent for what became revolutionary breakthroughs in medicine, as an Afrofuturist parable.

Ms. Womack was one of the scriptwriters for “Niyah and the Multiverse.” She spoke with The New York Times about what Afrofuturism means to her, the process of weaving the genre’s themes with core concepts in physics and how the show aims to inspire. This conversation has been condensed and edited for clarity.

How do you define Afrofuturism?

Afrofuturism is a way of thinking about the future, with alternate realities based on perspectives of the African diaspora. It integrates imagination, liberation, technology and mysticism.

Imagination is important because it is liberating. People have used imagination to transform their circumstances, to move from one reality to another. They’ve used it as a way to escape. When you are in challenging environments, you’re not socialized to imagine. And so to claim your imagination — to embrace it — can be a way of elevating your consciousness.

What makes Afrofuturism different from other futuristic takes is that it has a nonlinear perspective of time. So the future, past and present can very much be one. And that’s a concept expressed in quantum physics, when you think about these other kinds of realities.

Those alternate realities could be philosophical cosmologies, or they could be scientifically explained worlds. How we explain them runs the gamut, depending on what your basis for knowledge is.

Which Afrofuturist works have influenced you?

I think about Parliament-Funkadelic, a popular music collective of the 1970s. As a kid, their album covers were in my basement. A lot of artists during that era — Herbie Hancock, Miles Davis, Earth, Wind & Fire, Labelle — had these very epic, Afrofuturistic album covers, but Parliament-Funkadelic sticks out. There’s one depicting Star Child, the alter ego of George Clinton, the lead musical artist, emerging from a spaceship. That sort of space-tastic imagery was abounding for me as a kid.

“The Wiz,” a reimagining of “The Wizard of Oz,” was on all the time in my house growing up. It had this fabulosity to it — a heightened dream world that reflected 1970s New York. You had the Twin Towers in Emerald City, the empty lots Dorothy walked through with all the trash, the Wicked Witch running a fashion sweatshop, representing the garment district. The film took an urban landscape and made it fabulous, tying in this theme of Dorothy coming into her own through her journey.

Those are images that had a very strong impact on me. As I matured, I got into house music and dance, and began to see relationships between rhythm, movement, space and time. It’s not always something I can give language to, but it’s certainly become a basis for how I talk about metaphysics, in a physical kind of way.

What inspired your team to create “Niyah and the Multiverse”?

We wanted to tell a story about a young girl named Niyah, who wants to be a scientist and who is figuring out who she is — not just on Earth, but also in the universe.

Niyah looks for insight from her grandparents, who explain some of the symbolism of the African artwork in her home. She thinks about concepts she has learned from her science teacher. And she even meets her future self, who is a theoretical astrophysicist. Together, the two explore some of the more popular multiverse theories that scientists are looking at today.

Which theories are those?

Niyah learns about the many-worlds theory, which is this idea that all of your choices evolve into different universes. The choices you make create new paths, essentially creating multiple existences of yourself.

She learns about bubble theory, which says that after our Big Bang, more universes sort of bubbled off, each with their own laws of physics. Niyah also explores the idea of shadow matter, in which particles get reassembled as similar entities in mirror universes.

So there’s this parallel between Niyah learning about the multiverse and also exploring her own identity through her ancestral heritage.

Right. Because both of these are paths of meaning, different ways of understanding who we are. Afrofuturists tend to think in a way that is accepting of a lot of different realities anyway, so it was a pretty seamless experience to weave the physics and other aspects of the genre together. There’s already this intergenerational, or interdimensional, element to the conversation and the art that comes out of it.

The show is presented in the planetarium dome, which has a 360-degree screen, so it’s very immersive. Stepping into the space and watching the show feels like an interdimensional experience of its own.

The first audience to see it had a very emotional response. Some people were crying. There were Black women in the audience saying they always wanted to see this kind of imagery, that they had wanted to be scientists at one point in time. Others were deeply touched by the vibrancy of the show, of how it was able to bring these multiverse theories to life.

It’s impressive that these physics concepts, which can be difficult for people to understand or relate to, are made so accessible with examples that are not only imaginative but very rooted in Black culture.

Right. And it wasn’t difficult for us to do that, because as Afrofuturists, we operate in that space. It’s just about mirroring a way of being that we have always been immersed in.

I think “Niyah and the Multiverse” expresses that we all have different relationships to space and time. We are all looking to understand who we are, where we come from and where we can go in this broader space-time trajectory.

And maybe for some, the show normalizes the idea that there are kids who are Black who dream and are curious about the world. That curiosity can take them in the direction of becoming an artist, or becoming a scientist.

What challenges did you face in tackling the multiverse?

In trying to write some elements of the story, we had to push our own imagination to come up with what a universe might look like if you’re not using the laws of physics that exist in this one. Like, what does it mean to have your particles reassembled into something else? Sometimes we’d come up with ideas for different worlds, and our science consultants would say that already exists.

For me, this shows the beauty of bridging art and science. Artists can give visuals and narratives to ideas that scientists come up with. Or it could happen the other way around: Artists imagine something, and scientists think about what might be needed to support a universe that looks that way.

Image

[aresgodofwar23]

MF DOOM, born Daniel Dumile, crafted his supervillain persona from a mix of personal tragedy and a love for comic books. After the tragic death of his brother DJ Subroc and the disbanding of their group KMD, Dumile disappeared from the music scene for several years12. When he reemerged in the late 1990s, he adopted the MF DOOM persona, inspired by the Marvel Comics villain Doctor Doom12.

He began performing at open mic events, wearing a metal mask similar to Doctor Doom’s, which became his signature look1. This mask symbolized his transformation into a supervillain, both in the music industry and against societal norms2. His debut solo album, “Operation: Doomsday,” featured this persona prominently1.

MF DOOM’s intricate wordplay, unique flow, and enigmatic presence made him a legendary figure in underground hip hop1. His supervillain persona allowed him to critique the music industry and society while maintaining a mysterious and compelling image2.

Backstory: MF DOOM, once a brilliant lyricist and underground hip-hop legend, discovered an ancient artifact known as the “Mask of Rhymes.” This mask granted him the power to control the very essence of music and speech, allowing him to manipulate minds and bend reality with his words. With this newfound power, he set out to conquer the world, reshaping it into his vision of lyrical perfection.

Powers:

Flow Manipulation: Can control the rhythm and flow of any sound, including speech and music.

Mind Control: Uses his lyrics to influence and control the thoughts and actions of others.

Reality Warping: Alters reality through his rhymes, creating illusions or changing the physical world.

Enhanced Intellect: Possesses a genius-level intellect, especially in strategy and lyrical composition.

The Wu Defenders

GZA as Mr. Fantastic:

Powers: Superhuman elasticity, able to stretch and reshape his body at will. His brilliant mind makes him the team’s strategist.

Role: The leader and brains of the Wu Defenders, always coming up with plans to counter MF DOOM’s schemes.

Ghostface Killah as Iron Man:

Powers: Wears a high-tech suit of armor with advanced weaponry and flight capabilities.

Role: The tech genius and powerhouse, providing the team with cutting-edge technology and firepower.

Method Man as Ghost Rider:

Powers: Possesses the Spirit of Vengeance, with a flaming skull, hellfire manipulation, and a mystical chain.

Role: The team’s enforcer, dealing out justice with a fiery vengeance.

RZA as Iron Fist:

Powers: Master of martial arts with the ability to summon the power of the Iron Fist, channeling chi energy into his strikes.

Role: The martial arts expert and spiritual guide, keeping the team focused and disciplined.

Inspectah Deck as Daredevil:

Powers: Heightened senses and acrobatic prowess, with expert combat skills.

Role: The team’s scout and stealth operative, gathering intelligence and striking from the shadows.

Raekwon as Blade:

Powers: Half-vampire with superhuman strength, agility, and healing, skilled in swordsmanship and combat.

Role: The vampire hunter and close-combat specialist, taking on the supernatural threats.

Cappadonna as Punisher:

Powers: No superpowers, but an expert in firearms, explosives, and hand-to-hand combat.

Role: The team’s tactician and heavy hitter, bringing a relentless approach to taking down enemies.

1. U-God as The Silver Surfer:

Backstory: Once a herald of a cosmic entity, U-God now roams the universe seeking redemption. He joins the Wu Defenders to atone for his past and protect Earth from MF DOOM’s tyranny.

Powers:

Cosmic Energy Manipulation: Can absorb and manipulate cosmic energy for various effects, including energy blasts and enhanced strength.

Flight: Travels at incredible speeds through space and atmosphere.

Enhanced Durability: Nearly invulnerable to physical harm.

2. Masta Killa as The Black Panther:

Backstory: The king of a hidden, technologically advanced African nation, Masta Killa brings his wisdom and resources to aid the Wu Defenders.

Powers:

Enhanced Abilities: Superhuman strength, agility, and senses.

Vibranium Suit: Provides protection and enhances his physical capabilities.

Strategic Mind: Expert tactician and leader.

3. Ol’ Dirty Bastard (ODB) as Deadpool:

Backstory: Resurrected with a twisted sense of humor and a penchant for chaos, ODB joins the team as their wildcard.

Powers:

Regeneration: Rapid healing from any injury.

Combat Skills: Expert in hand-to-hand combat and weaponry.

Unpredictability: His erratic behavior makes him a formidable and unpredictable ally.

MF DOOM’s Lair: The Rhyming Fortress

Location: Hidden deep within an abandoned underground subway system, the Rhyming Fortress is a labyrinthine stronghold that echoes with the sounds of MF DOOM’s powerful flows. Accessible only through a series of secret passages and coded messages embedded in his lyrics, the lair is virtually impenetrable to outsiders.

Exterior: The entrance to the Rhyming Fortress is disguised as a derelict subway station, covered in graffiti and urban decay. However, once inside, the true nature of the fortress is revealed. The walls are lined with intricate murals depicting scenes from DOOM’s rise to power, blending street art with ancient hieroglyphs.

Interior:

The Control Room: At the heart of the fortress lies the Control Room, where MF DOOM orchestrates his plans. This room is filled with advanced technology, including holographic displays, surveillance systems, and a massive soundboard that allows him to broadcast his mind-controlling rhymes across the globe.

The Vault of Rhymes: A heavily guarded chamber containing DOOM’s most powerful and secretive lyrics, written in ancient scripts and stored in indestructible scrolls. These rhymes hold the key to his reality-warping abilities.

The Training Grounds: An expansive area where DOOM’s minions train in combat and lyrical warfare. The walls are adorned with motivational quotes and battle strategies, ensuring his followers are always prepared for battle.

The Hall of Masks: A gallery showcasing various masks worn by MF DOOM throughout his career, each representing a different phase of his evolution as a supervillain. This hall serves as a reminder of his journey and the power he wields.

The Studio: A state-of-the-art recording studio where DOOM crafts his mind-bending tracks. Equipped with vintage equipment and the latest technology, this is where he perfects his art and hones his abilities.

Defenses:

Soundwave Barriers: Invisible barriers that emit powerful soundwaves, disorienting and incapacitating intruders.

Lyric Traps: Hidden traps that activate when specific words or phrases are spoken, ensnaring or neutralizing trespassers.

Mind-Controlled Minions: Loyal followers who patrol the fortress, ready to defend their master with their lives.

The Rhyming Fortress is not just a base of operations; it’s a testament to MF DOOM’s genius and his unyielding quest for lyrical domination.

Wu Defenders’ Preparation to Bypass the Rhyming Fortress Defenses

1. GZA (Mr. Fantastic) - The Strategist:

Research: GZA studies MF DOOM’s lyrics and past performances to decode potential traps and security measures.

Blueprints: He acquires blueprints of the abandoned subway system to map out the fortress’s layout.

Plan: Develops a detailed infiltration plan, assigning roles based on each member’s strengths.

2. Ghostface Killah (Iron Man) - The Tech Genius:

Gadgets: Creates specialized gadgets to counter the fortress’s defenses, such as soundwave disruptors and hologram projectors.

Armor Upgrade: Enhances his suit with stealth capabilities and EMP emitters to disable electronic defenses.

Surveillance: Hacks into the fortress’s surveillance system to provide real-time intel to the team.

3. Method Man (Ghost Rider) - The Enforcer:

Hellfire Resistance: Uses his hellfire abilities to withstand and neutralize the soundwave barriers.

Chain of Justice: His mystical chain can disable traps and clear paths for the team.

Intimidation: Uses his fear-inducing presence to demoralize DOOM’s minions.

4. RZA (Iron Fist) - The Martial Arts Expert:

Chi Focus: Channels his chi to sense and avoid hidden traps.

Stealth Training: Trains the team in silent movement and evasion techniques.

Meditation: Keeps the team focused and calm, ensuring they are mentally prepared for the challenges ahead.

5. Inspectah Deck (Daredevil) - The Scout:

Heightened Senses: Uses his enhanced senses to detect traps and hidden passages.

Acrobatics: Navigates the fortress’s labyrinthine structure with ease, scouting ahead for dangers.

Intel Gathering: Collects crucial information on enemy positions and security measures.

6. Raekwon (Blade) - The Close-Combat Specialist:

Weaponry: Arms the team with specialized weapons to counter DOOM’s minions.

Vampire Strength: Uses his superhuman abilities to break through physical barriers.

Combat Training: Prepares the team for close-quarters combat, ensuring they can handle any confrontation.

7. Cappadonna (Punisher) - The Tactician:

Firepower: Brings an arsenal of weapons to deal with automated defenses and heavily armed minions.

Explosives: Plants charges to create diversions and breach fortified areas.

Tactics: Coordinates the team’s movements, ensuring they stay on track and avoid unnecessary risks.

Execution of the Plan

Phase 1: Infiltration

Stealth Entry: Using Ghostface Killah’s tech and Inspectah Deck’s scouting, the team enters the fortress undetected.

Disabling Traps: Method Man and RZA neutralize soundwave barriers and lyric traps with their unique abilities.

Phase 2: Navigation

Real-Time Intel: GZA and Ghostface Killah provide real-time updates on enemy positions and security measures.

Avoiding Detection: The team moves silently and swiftly, using RZA’s training and Inspectah Deck’s guidance.

Phase 3: Confrontation

Minion Neutralization: Raekwon and Cappadonna take on DOOM’s mind-controlled minions, using their combat skills and firepower.

Final Showdown: The team confronts MF DOOM in the Control Room, using their combined strengths to counter his reality-warping rhymes.

Phase 4: Victory

Disabling the Mask: GZA deciphers the Mask of Rhymes’ secrets, allowing the team to neutralize its power.

Restoring Balance: With DOOM defeated, the Wu Defenders dismantle the fortress’s defenses and restore freedom to the world.

[synergysilhouette]

Plotting out "Khoeli" (Disney movie)

Check out my post with the summaries of the fanmade Disney Reinvention era (which includes "Khoeli") here.

Background: After the positive feedback to "Kizazi Moto," Disney decides to greenlight a pitch based on African culture, using the story of "The Child with a Moon on his Chest" from the Sotho people of Southern Africa. Ryan Coogler is courted for the role of director thanks to his success of "Black Panther" with the MCU, which he agreed to and agrees to write the script as well. While the film is originally planned to focus on the Sotho tribe specifically, it eventually evolves to a Panafrican story, mainly with West African influences based on African empires, though they consolidate the change by making the protagonist's mother a woman who comes from a South African-inspired land. Early on, the story of Hercules--and it's many adaptations, particularly Disney's own film and the 90's live-action tv show--is a big inspiration for the story. There was some discourse on whether the antagonist in the story was another wife of the king, a scorned lover, or someone who pined for him. In some versions, the king had several wives, and in other versions, just two. While Disney planned to go the monogamous route, desire to showcase non-western marriage ideals was used instead, making the antagonist one of two wives of the king. The animation was originally planned to be 2D, then hybrid, but ultimately Disney wanted it to be a spectacle and found that 3D would be the better option to showcase the action and environment. Upon deciding to make the film a musical, Disney reaches out to Beyonce due to creation of "The Gift" for the remake of "The Lion King," with contributions from Kendrick Lamar thanks to his production of the Black Panther album. Originally, the protagonist was planned to have vitiligo, but criticism early on for how Disney portrayed it was omitted, with the moon on his chest only glowing at night.

Plot

In the prosperous Kingdom of Jioni, King Dakarai and his line's divine right to rule appears in the form of a full moon gleaming on their chest at night. However, when his favorite wife gives birth to a son that carries this trait, her jealous rival gives the child away to be killed without anyone's knowledge. But the prince survives, and when he learns of his true heritage, he must travel to reclaim his kingdom and defeat his wicked stepmother.

Characters

(Note: In case this isn't already obvious, for all my posts, I usually only post 3-4 characters just to give you an idea of the world rather than a full character list.)

Khoeli--The son of King Dakarai of Jioni and his favored wife Lerato. As the true heir, he is able to communicate with animals and nature in general, as it bows only to he who "carries the blood of the moon." Having grown up in obscurity away from the kingdom, he only learns of his birth heritage when his adoptive father dies, and the his is overwhelmed with the revelation, as well as the expectation that he will dethrone his wicked stepmother Ameyo. However, the journey to understand his destiny strips away his naivete, and the trials his stepmother puts him through threaten to corrupt and destroy him. His journey to find out who he can become may require him to lose who he is. To compliment his the contrasting pattern on his skin under the moonlight, his clothing is black and white and emulate a zebra design.

Nandipha--A woman taken in by Khoeli shortly after his adoptive parents' passing, her brother was a noble from Jioni and severed her right arm. A boomslang accompanies her everywhere she goes, and Khoeli knows it is a benevolent companion. Despite vowing to never return to Jioni, she joins Khoeli on his quest out of blossoming feelings for him, but also because of a note her parents each gave her after giving their blessing to her after passing. When Khoeli loses confidence and hope, she is there to boost his up, as well as others in their group.

Queen Ameyo--The second wife of King Dakarai and a jealous rival to Lerato. While Lerato was originally the queen, Ameyo taking her child in secret and replacing him with a stillborn made the queen die from grief, elevating Ameyo's status. While she expected this to turn Dakarai's affections towards her--especially after she gives birth to a son the same year--he grows despondent and a tyrannical king. Years later, seeing a possible civil war at hand, Ameyo convinces Dakarai to suppress the rebels, though this leads to his death shortly before he and Khoeli reunite. She had given him as a baby to a poor family during the daylight, so they would not see his birthmark, and paid them to kill him, but out of pity, they did not, and upon discovering this, she sends a pack of wild hyenas to attack their home. To go with the animal imagery, her clothing is very reminiscent of crocodiles.

Prince Askia--The son of Dakarai and Ameyo, he grew up only knowing his father as a stern and complicated man, never daring to ask his mother about what made him this way. An accomplished warrior, he was otherwise coddled by his mother, who had planned to rule through him as he got older. While selfish, he is not evil, and the revelation of his mother's deeds and his father's death puts him on the brink of madness. Seizing the chance, Ameyo turns his mind to killing Khoeli, who is seen as the root of all the destruction. Growing up in the lap of luxury, his associated animal is a flamingo.

Songs:

Left You Behind--Ameyo takes Khoeli shortly after his birth and gives him to a couple who had recently had a stillborn son of their own, and tells them to kill the former. She manipulates Lerato into believing that there was something wrong with her that led to her stillborn child, and tries to uplift Dakarai by telling him that she believes she's pregnant herself.

Live Forward--Khoeli's adoptive parents reveal his heritage during their death, but they implore him that if he is to seek out his birth family, he must not force destiny, but let it come to him. They fear his dreams of reuniting with his birth parents and being a prince will quickly be crushed with his stepmother in the way.

Expect/Except--During their journey to Jioni, Nandipha reveals how she lost her arm, and despite her grief of losing her family, she believes that for every evil deed, there will be a good outcome eventually, and she will not let her brother's evil corrupt her.

Make it Your Own--Ameyo convinces Dakarai to suppress the rebellion growing in the kingdom, especially since rumors (that she started) of a usurper are growing in the kingdom and Dakarai's aloof behavior has alienated him from his people.

Destiny Finds Me--A day away from returning to his birthplace, Khoeli is anxious to understand how his life will change, and how his adoptive siblings will do without him. But he realizes it's too late to question his choices now.

Make it Your Own (Reprise)--Ameyo turns a grief-stricken Askia into declaring war on Khoeli, reminding him that he is now king (well, not exactly), and that he cannot be inactive in the affairs of the kingdom like his father was; he must show strength and efficiency.

Save Me--Khoeli and Askia battle for the crown, but Nandipha sees how madness and heartbreak has scarred them. She and Khoeli's group beseech them to not allow the darkness inside them to result in more death, and the moon comes out, revealing Khoeli's heritage to all and stunning Askia.

Hope you enjoyed it! Lemme know if you have any questions/need more clarifications. On to the next post!

[namor-the-submariner-dot-net]

Wednesday Wonderful Merchandise

MONDO Marvel's Black Panther: Wakanda Forever - Original Score 2 Disc Vinyl LP

An absolute triumph of film music, Grammy®-winning Ludwig Göransson worked tirelessly for years on his follow up to the gargantuan achievement that was his Academy Award®-winning original score for the first film. Traveling to Senegal, Lagos, Mexico and collaborating with talented artists from each region to authentically capture instruments and vocalists to craft the masterful sonic landscape that comprises the battle between the underwater Talokan and the country of Wakanda. 

The iconic “T'Challa” theme is still present, but this score is anchored by Ludwig's truly inspired new theme for Shuri, a piercing melodic synth with a haunted melody that, much like the character in the film, goes through a journey to find itself in the shadow of grief. The music of the Talokan is lush and powerful in its own right, with its centerpiece, “Con La Brisa” featuring vocals by Foudeqush, being a standout in an album full of masterpieces. There are a few other song/score hybrids - featuring Toby and Fat Nwigwe, Vivir Quintana - something that Ludwig has been proudly incorporating into his releases since his score album for Creed.

Featuring original artwork by Mateus Manhanini and pressed on 2x 180 gram Mondo exclusive color vinyl (also available on 2x 180 gram black vinyl) this is one of the best scores of 2022, and we are incredibly honored to feature it in our on-going Marvel Music series.

Pre-Order at Mondo. Release date July 2023

This is the score, not the soundtrack, but I don't think they released the score on CD, so this may be the only physical release of the score.

[x--daughters-of-darkness--x]

British Guitarist SOPHIE LLOYD Shares 'Spooky Shred Version' Of METALLICA's 'Enter Sandman'

British guitarist Sophie Lloyd has released her " spooky shred version" of the METALLICA classic "Enter Sandman". The song's accompanying music video, which was filmed at Alma De Cuba in Liverpool and edited by Clearwaymedia, can be seen below.

Says Sophie: "I hope you enjoy my spooky shred version of Enter Sandman by @metallica . Yes I a real spider, her name was Rosie, and no, I couldn't see anything with those eye contacts in!

"Huge thanks to @dylansreptiletime for providing the snakes and spiders! They were so cute!"

Earlier this month, Sophie released the official music video for her latest single, "Imposter Syndrome", a collaboration with HALESTORM frontwoman Lzzy Hale. The song is the title track of Sophie's upcoming full-length album, which will arrive on November 10 via the guitarist's own Autumn Records. Other guests set to appear on the CD include STEEL PANTHER's Michael Starr, ATREYU's Brandon Saller, TRIVIUM's Matt Heafy, Canadian singer Lauren Babic and BLACK STONE CHERRY's Chris Robertson.

The 27-year-old Lloyd told Guitar World about the LP: "I always said this album was going to be me paying homage to my 15-year-old self. This is an album I wrote for that girl.

"I'm so fortunate to work with all of the amazing singers on the record, and I can honestly say I've been listening to them for years.

"I can't tell you how gratifying it's been — I'd write the songs, and then we'd send them off and hear back from the singers. They were, like, 'Yeah, I really dig this. I'm up for it.' It's all turned out better than I could have imagined."

Regarding the album title, Sophie said: "Well, the imposter syndrome is a thing. It's a phenomenon a lot of people experience in any field; not just music, but you basically feel like you're an imposter. You don't deserve to be where you are, and at any moment people will uncover you for what you are. I feel like I've broken out of that now. I proved to myself, like, 'Yeah, you're here for a reason. You're good enough.'"

Asked if she is thinking of forming a band with one dedicated singer, Sophie said: "That's what we're trying to think about: 'How do we tour this?' We've got a few ideas. We're not sure whether we want to get a full-time vocalist — well, maybe. I guess it's just about finding a vocalist that fits you and inspires you. We might try something where we have big screens and we get vocalists to record a performance. The violinist Lindsey Stirling does that. Visually, it's pretty amazing.”

[brooklyndadshow]

Music on my mind

I have music on my brain all the time so thought I'd share a little of the songs crossing my mind today. Listening to the lyrics of Changes by 2Pac. What a poet! Can you imagine what he would have been writing if he was still alive? Bittersweet to listen to him rapping about there never being a black president - and thinking about what's happened in my lifetime since... So much is so true still about everything he's singing - Changes - trying to come to terms with change happening in my life, in the country, and the world, it's a sense of inspirational comfort to know over time this struggle is not new. We move a little forward, but there's still so much more to do and so often in times like this we feel alone.

I've watched Wakanda Forever - more than once in the last week. This song also regularly gets surfaced to me by Spotify. If you know me at all you know my love of everything Black Panther. I think there's something in Wakanda Forever that's resonating with me right now - this song plays after Wakanda is attacked and they are at their lowest but trying to rebuild... I guess it's actually not such a mystery why the movie and song have been drawing me in... I actually may have to watch the scene where this song is played right after I finish writing.

Lastly, I will actually leave you with the first music that hit my brain today. It's from Meshell Ndegeocello's latest album inspired by James Baldwin - I had the treat of listening to this at the last show of the summer at the Prospect Park bandshell - absolutely in my top most Brooklyn evenings of the year for 2024. It has Baldwin's writings, Audre Lorde's words , and is just amazing. It makes me think about love and life in a way that touches my soul - it also is all in an amazing NPR Tiny Desk! So tonight going to leave this on a good note - the thoughts of life and music and moments they touch your life and inspire you. You're welcome!

[freetowns0unds]

I was thirteen years old when Freetown Sound first came out. I had only been thirteen for a little over a month. According to my Spotify history, I listened to my first Blood Orange song at age thirteen. There it is, “You’re Not Good Enough” by Blood Orange (off his sophomore album Cupid Deluxe, but I found it through the Palo Alto movie soundtrack) added to my Spotify likes on exactly June 26, 2016. Freetown Sound would come out two days later; and me, I wouldn’t listen to the album in its entirety until August 21, 2017. Nine months into Trump’s presidency, the blossoming into my teenage years were defined by fear and anxiety. In the span between Summer 2016 and the end of Summer 2017, darkness arose and embraced a fourteen-year-old Black girl from the suburbs whose loss of innocence was marked by the televising of black deaths.

Freetown Sound situates itself perfectly in the landscape of when Kendrick Lamar released To Pimp a Butterfly (2015) and Beyonce dropped Lemonade (2016). It was birthed during the time of Kendrick rapping, “We hate the po-po / Wanna kill us dead in the street fo sho’” on late-night talk shows and Beyonce fashioned in an outfit reminiscent of the Black Panthers in her “Formation” live performances. However, Freetown Sound introduces something different in the realm of Black protest music in mainstream culture. I don’t want to follow the line of thought that validates Blood Orange by referring to Beyonce and Kendrick Lamar as “performative.” I’m not even going to follow the argument that Beyonce and Kendrick Lamar lack radical potential in the ways in which they only offer a type of protest palpable to white liberalism. Although tempting, I cannot fully deny that Freetown Sound or Blood Orange aren’t without critiques in those areas either. What set Blood Orange’s Freetown Sound apart from the other albums was the glimmers of hope offered in discussions of pain and trauma. 

The album gave me a new way to understand grief and loss without physical displays (or sounds) of brutalization and violence. I came of age during a time when the brutality placed upon black bodies, their screams and blood, played out on my phone screen for me to watch over and over again, without even meaning to. What impact does it have on a young black girl to see her white peers reposting the murder and assault of black lives as some representation of their allyship and empathy; to see them type out, “We see you. We hear you. We stand with you,” as they attempt to reproduce the terrors of my community. 

One of Freetown Sound’s most devastating songs would have to be “Hands Up.” That being said that song is also a striking continuation of Blood Orange’s pop influences. He sings with a nasality on top of lush synths and a catchy beat. The sound, both vocally and instrumentally, is reminiscent of the female pop stars he typically produces for (Kylie Minogue, Sky Ferririra, early Solange Knowles, and almost Britney Spears in 2013). For me, there is a nostalgia to the vocal styling of “Hands Up,” that is eerily reminiscent of Britney Spears’ “Oops!...I Did It Again.” Both have verses sung in a whimpering and pleading manner, hinting at a type of innocence; the singers’ augmentation in the heaven-like, ethereal-sounding pre-choruses, stress innocence as they stretch out the melody of each line. Then, the innocence breaks, and falls apart, to the reveal of a hard-hitting chorus that inspires sensuous dancing.

The pop production and vocality of “Hands Up” diverge from the song’s theme of police brutality. It almost sounds more like a coming-of-age anthem, carrying the a similar tone to Britney Spears when she sings about how “She’s not that innocent.” The song can almost be placed within the score Blood Orange did for the teen drama film Palo Alto (that I watched when I was 13). The song’s composition is romantic and full of yearning, tension, and sudden change. Even listening to the lyrics, “You were just another loudmouth, cute-faced girl,” makes me nostalgic, struck with hope. In this sense, the artist defamiliarizes the performance of black pain “in which terror can hardly be discerned,” similar to how Fred Moten does when he declares, “Defamilarizing the familiar, I hope to illuminate the terror of the mundane and quotidian rather than exploit the shocking spectacle” (Moten 3). In his song, Blood Orange places terror and brutalization against the backdrop of coming-of-age and innocence. It drew parallels to my own fragmented experience with pain as a Black teenage girl. The daily pain was inscribed into my daily life as I went to school, scrolled through Instagram, fought with friends, had crushes, rebelled against parents, felt my youth fleeting.

One can argue that the style of the song distracts from the lyrics, “Keep your hood off when you’re walking ‘cause they (Hands up)” and denies the pain of recounting a phrase and scenario that holds so much weight in the black community. What does it mean for Blood Orange to not reproduce the darkness and grief through sound but still write lyrics that intentionally emphasize it? In Blood Orange’s denial of producing pain through musical composition, he situates listeners in a different space. Pain manifests itself in Blood Orange’s pop sounds of pleasure, and so I look to when Moten writes about  “The possibility of pain and pleasure mixing in the scene and in its originary and subsequent recountings” (Moten 4). Saidiya Hartman would argue that this mixing represses the encounter of suffering. The layering of pop sounds, nostalgia, and romance in “Hands Up” erases the grief tied to the actual event of police brutality. However, for Moten, the song’s composition and tone holds the ability to resist “formations of identity and interpretations” through the challenge it brings through its divergence and fragmentation.

“Hands Up” ends with a recording from a Black Lives Matter protest, but then gets interrupted by a clipping from Time magazine’s 2015 interview with rapper Vince Staples. The song’s conclusion encapsulates how Blood Orange never attempted to fully capture the devastation of police brutality. The abrupt cut between protest and performance demonstrates the potential of unresovilability. Each time I listen to “Hands Up,” as well as Freetown Sound in its entirety, there is always an openness waiting for me. Blood Orange unsettles black identity rather than arriving at an understanding of it. He allows for contradictions and jarring transitions to emerge so that his music turns back in on itself. The beauty lies in his ability to not necessarily move listeners forward, but instead, around the untraceable landscape of blackness. Blood Orange’s Freetown Sound is a record of fear and celebration. It's also the tension between Black joy and trauma that remains inexplicable through language, but natural to feel. 

[clearwonderlandprincess]

Check out Lift Me Up (From Black Panther: Wakanda Forever - Music From and Inspired By) by Rihanna on Amazon Music

https://music.amazon.com/albums/B0BKPDJ8GK?trackAsin=B0BKP2YW4M&do=play&ref=dm_sh_WLQJRgtO4owoFf0jbo7HwITtI

[thraveenperera]

First Person Shooter - Drake feat J. Cole

He morphs from a wolf into himself. The album is For All The Dogs but he's a wolf. While every Drake fan is trying to be "One of the Dogs", Drake is The Wolf ahahahahahaha. You think you're Top Dog? Well Drake is the Top Wolf. ahahahahaha. A little corny for me but good for Drake. This was totally influenced by the Black or White music video, one of the best music videos of all time. Please do yourself a service and spend 10 minutes out of your day watching that video because Drake is definitely inspired by Michael Jackson here. Black Panthers or Wolves? Tough choice.

What a cool video concept though. At the time of the song's release or whenever it was written, Drake was only 1 No. 1 song on the Hot 100 away from surpassing Michael Jackson who holds 13 No. 1 songs on the Hot 100. After the release of his highly anticipated new album, For All the Dogs, this song went on to chart at #1 on the Billboard Hot 100. This now ties Michael Jackson's record of 13. In the final verse of the song, Drake ends his verse with...

N****s talkin' 'bout when this gon' be repeated What the fuck, bro? I'm one away from Michael N*****, beat it, n****, beat it, what?

"When this gon be repeated"

Drake asks when this could be repeated but he really means to tell us that it likely won't... or at least not for a long time. Let's look at the artists with the most No. 1 songs on the Billboard Hot 100.

The Beatles (20)

Mariah Carey (19)

Rihanna (14)

Michael Jackson (13)

Drake (13)

Madonna (12)

The Supremes (12)

Whitney Houston (11)

Taylor Swift (11)

Janet Jackson (10)

I could've proven my point with the top 5 but 10 makes it better actually, notice anything? Drake is the only rapper on this list. "When this gon be repeated?" if he means by another rapper, then yeah, probably not for a long time... or ever again.

The giant Drake statue..... another reference to Michael Jackson, more specifically Jackson's HIStory album teaser video and cover.

As he delivers those last 3 bars, he adds one of Jackson's signature dance moves while showing off a Swarovski crystals glove and to add salt to the wound, he references one of Jackson's best charting/performing songs, "Beat It".

I don't even care this much, I just like the referencing. How long until people are gonna start to compare the two or even claim that Drake is this generation's Michael Jackson? WRONGO! I've seen people online mention the dance and statue as references to Jackson but nothing I've seen talked about the morph. The coolest part! #HeardItHereFirst

I also wouldn't be surprised if Drake ended up buying or sponsoring the Scotiabank Arena (Air Canada Centre) and actually naming it "October's Very Own Arena", I guess we'll see.

[afrotumble]

Black Panther The Album Music From And Inspired By

Black Panther The Album Music From And Inspired By https://open.spotify.com/track/3GCdLUSnKSMJhs4Tj6CV3s