If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____In today’s political climate, it is imperative that we do everything to assure that everyone gets involved in the 2020 elections. Our country is in turmoil and the only way for us to grow is if we all understand how much our vote matters. In order for us to have change, we must ignite change. Nationally and locally, it is very important that we understand the issues that affect our daily life and  educate others.DJs Vote is a movement assembled with national and celebrity DJs and influencers across the country to bring political education and engagement. As an organizer and co-founder, alongside celebrity DJ The Franchise Jay Claxton, we're bridging the gap and uniting DJs to use their voices for more than hosting a party.DJs Vote is a nonpartisan organization designed to represent the concerns and interests of all people. We are not affiliated with any political party. We are invested in promoting and displaying the message of the importance of becoming politically involved, educating all to use their rights to assist in creating a stronger community.DJs across the country have united to support the message of the importance of voter’s registration. Currently an army of 10 and growing, we have collaborated with talents such as Diondeezy (SiriusXm The Heat), on-air personality and influencer April Watts, Mid-Day Diva, WPGC’s Poet, Beats One DJ and LA Leakers’ B-Eazy and RSDJ Mizzy Matt (formerly of KVEG), to name a few.Anyone who is of legal age to vote and does not yet have a voter's registration card can go to djsvote.org and register to vote. You can also follow us on Instagram.We want to hear from you. Let’s change the world one vote at a...

If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____There seems to be a constant battle between music artists and record labels when it comes to contracts. Whether you're signing to a major company like Universal, or an independent label, reading is fundamental.Record labels often sign artists to "standard contracts," commonly known as a 360 deal. These deals typically include a lot of language that the artist doesn't understand. To put it in black and white, a 360 deal is an exclusive recording contract between a label and an artist in which the label shares in the profits from music sales, touring and live performances, merchandise, endorsements, appearances, etc. A 360 deal is a contract that essentially includes full-circle all-revenue from an entertainer. Record labels make these contracts standard as insurance to them. If an artist isn't successful, they are still able to profit off of everything that artist did make. These contracts are not good.Imagine going to one grocery store for all of your food items. People want variety, and so do artists.Megan Jovon Ruth (Thee Stallion) Pete, is currently suing her first record label, 1501 Certified Entertainment for refusing to allow her to release music. The Houston rapper signed with 1501 in her early 20s and since then has re-signed to ROC Nation. After requesting to renegotiate the terms of her contract, 1501 Certified Entertainment not only refused to negotiate her terms but they also refused to release her new music, expected this Friday March 6, 2020. Long story short, a judge granted an injunction (this restrains a person from beginning or continuing an action threatening or invading the legal right of another) against 1501 Certified Entertainment, allowing Thee Stallion to release her music, Friday.Until then, here are some helpful do's and don'ts when signing with a recording label:Do’s1. Lawyer UpRecord labels know that you’re not going to understand the language or terms of the contract. They prey on this. Having an attorney that specializes in recording contracts, or just contracts in general, will help with a lot of confusion. Ask questions!2. NegotiateYou can always negotiate your contract. Specifically, try to negotiate advances, publishing, recording costs and album commitment, and tour funding. If you can, negotiate the likeness license royalty rate and, lastly, a renegotiation clause. This ensures that at the end of the contract term you can renegotiate.3. AdvancesRecord labels know artists are eager to "get signed" and lack the money needed to produce and record an album. Thus, the label will "advance" artists money for those needs. Take note of whether the advanced money will recouped (repaid) by the royalties earned from the songs of the artist under the label.4. Recording CostsThese costs include the editing, recording, studio time, musicians and mastering of a record. So many artists do not own their masters because the record label contracted to own them. Recently, however, artists have been able to own their masters by negotiating or buying them from the label.5. Exclusivity ClauseThis will commit the artist solely to the label company for the use of image and likeness as well as recording, performing and singing for the company. This is another clause that can cause artists to miss other opportunities.Don’ts1. Don't sign a contract without thoroughly reading and understanding each and every clause included — with your attorney!2. Don't be scared to negotiate terms of the contract that you disagree with. As the artist, you are the talent but realistically, the label holds the money and power. Do not let that discourage you. If you are being offered a deal, you are more than likely good enough to sign elsewhere.3. Don't fall victim to record labels. Google is your best friend. Ignorance of the law is no defense.4. Don't neglect to review the percentages of every aspect of the contract. If there is a payment or money made, ensure that you know the breakdown and ask for an example.5. Don't be Megan Thee Stallion!____Che' Thomas, Doctor of Jurisprudence, is a class of 2018 graduate from Howard University School of Law. During her matriculation, she studied contract law, trademark law, licensing and other relevant intellectual property and entertainment law courses. Dr. Thomas's opinions do not reflect those of her alma mater, employer or any other affiliation. Connect with Che' on...

Written by Donna M. Cox, University of Dayton____From the moment of capture, through the treacherous middle passage, after the final sale and throughout life in North America, the experience of enslaved Africans who first arrived at Jamestown, Virginia, some 400 years ago, was characterized by loss, terror and abuse.The Abolition of the Slave Trade Act of 1807 made it illegal to buy and sell people in British colonies, but in the independent United States slavery remained a prominent – and legal – practice until December 1865. From this tragic backdrop one of the most poignant American musical genres, the Negro spiritual, was birthed.Sometimes called slave songs, jubilees and sorrow songs, spirituals were created out of, and spoke directly to, the black experience in America prior to the Emancipation Proclamation of 1863, that declared all slaves free.West African rootsSpirituals have been a part of my life from childhood. In small churches in Virginia and North Carolina, we sang the songs of our ancestors, drawing strength and hope. I went on to study, perform and teach the spiritual for over 40 years to people across the U.S. and in various parts of the world.Despite attempts, white slave-owners could not strip Africans of their culture. Even with a new language, English, and without familiar instruments, the enslaved people turned the peculiarities of African musical expressions into the African American sound.Rhythms were complex and marked by syncopation, an accent on the weak beat. Call-and-response, a technique rooted in sub-Saharan West African culture, was frequently employed in spirituals. Call-and-response is very much like a conversation – the leader makes a statement or asks a question and others answer or expound.An example of this is the spiritual, Certainly Lord. The leader excitedly queries, “Have you got good religion?” and others jubilantly respond, “Certainly, Lord.” Using repetition and improvisation, the conversation continues to build until everyone exclaims, “certainly, certainly, certainly, Lord!”In Africa, drums were used to communicate from village to village because they could be used to mimic the inflection of voices.As early as 1739 in the British colonies, drums were prohibited by law and characterized as weapons in an attempt to prevent slaves from building community and inciting rebellion.As a result, enslaved people “played” drum patterns on the body. Hands clapped, feet stomped, bodies swayed and mouths provided sophisticated rhythmic patterns. This can be observed in Hambone, an example of improvised body music.Oral traditionSome spirituals were derived from African melodies. Others were “new,” freely composed songs with a melodic phrase borrowed from here and a rhythmic pattern from there – all combined to create an highly improvised form.The spiritual was deeply rooted in the oral tradition and often created spontaneously, one person starting a tune and another joining until a new song was added to the community repertoire. The sophisticated result was beautifully described in 1862 by Philadelphia musicologist and piano teacher Lucy McKim Garrison.“It is difficult to express the entire character of these negro ballads by mere musical notes and signs,” she said. “The odd turns made in the throat; the curious rhythmic effect produced by single voices chiming in at different irregular intervals, seem almost as impossible to place on score.”Textually, the spiritual drew from the Hebrew-Christian Bible, particularly the Old Testament, with its stories of deliverance and liberation. Songs like “Go Down Moses” direct the awaited deliverer to “go down” to Southern plantations and “tell ole Pharaoh” – the masters – to “let my people go.”Songs of survivalFor the slaves, the spiritual proved to be an ingenious tool used to counter senseless brutality and the denial of personhood. In order to survive emotionally, resilience was critical. In the spirituals, slaves sang out their struggle, weariness, loneliness, sorrow, hope and determination for a new and better life.Yet these are not songs of anger. They are songs of survival that voice an unwavering belief in their own humanity and attest to an abiding faith in the ultimate triumph of good over systemic evil.Interspersed within these seemingly hopeless texts are phrases that reflect the heart’s hope: the words “true believer” amid the acknowledgment that “sometimes I feel like a motherless child,” for example; and “glory, hallelujah” interjected after the text, “nobody knows the trouble I see.”Songs declaring, “I’ve got a crown up in a dat kingdom. Ain’t a dat good news” proclaimed the certainty of a future hope totally unlike the day-to-day reality of enslavement.People whose every movement was dictated audaciously declared, “I’ve got shoes. You’ve got shoes. All God’s children got shoes. When I get to heaven gonna put on my shoes, gonna walk all over God’s heaven.” In the same song they denounced the hypocrisy of the slaveholders’ religion: “Everybody talkin’ ‘bout heaven ain’t going there.”Spirituals weren’t simply religious music. In his seminal work, “Narrative Of The Life of Frederick Douglass An American Slave,” published in 1845, the abolitionist explains,“they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains.”The spirituals were also acts of rebellion. They were used to organize clandestine meetings, and announce activities of the Underground Railroad. For example, songs like “Great Camp Meeting,” were used to announce when secret gatherings were being planned.The spiritual served as a mediator between the dissonance of oppression and the belief that there was “a bright side somewhere.”Four hundred years after the birth of slavery, as the world still struggles with racial division, injustice and a sense of hopelessness, spirituals can teach how to build hope in the face of despair and challenge the status quo.[ Like what you’ve read? Want more? Sign up for The Conversation’s daily newsletter. ] ____Donna M. Cox, Professor of Music, University of DaytonThis article is republished from The Conversation under a Creative Commons license. Read the original...

Written by Nolan Jones, Mills College____When Cassie Crim, a high school math teacher in Joliet, Illinois, introduced herself to her advanced algebra students in 2017, she did it through a rap video.Using a rendition of Cardi B’s “Bodack Yellow,” renamed “Codack Yellow,” Crim referenced math terms and laid down classroom expecations:“These exponents, these is ratios, these is power rules Algebra and a lil’ trig, I don’t wanna choose And I’m quick to take a couple (points) off so don’t get comfortable”With rap music continuing to rule as America’s most popular music genre for a second straight year in 2019, according to Nielsen Music’s annual report, it makes sense for educators to use rap music to reach students who might otherwise not find a subject relevant. And Crim is by no means the only teacher who is doing just that.In Pasadena, California, Manuel Rustin, a social studies teacher at John Muir High School, uses rap songs to get students to make meaning of current events and history through a course entitled “Urban Culture and Society.”At Detroit’s Frederick Douglass Academy, Quan Neloms has students search the lyrics of their favorite rap songs for “college-level vocabulary and references to key events and concepts from American history.”Collectively, the three teachers represent part of a new generation of educators who embrace a form of teaching known as Hip Hop Pedagogy. It’s a form of teaching that takes the most popular genre of music in the U.S. and uses it to foster success in the classroom.But is it paying off?As one who has taught Hip Hop Pedagogy courses to K-12 teachers and instructors in higher ed for the last 10 years, I believe hip-hop has the potential to connect students to important subjects they might otherwise dismiss. But it all depends how it is done.In my Hip Hop Pedagogy courses, K-12 teachers and college instructors learn how to tap into the richness of hip-hop culture to engage students in topics that range from Shakespeare to neuroscience. But I also stress the need to be authentic – in other words, don’t lie about where you are from – and steer clear of gimmicky hip-hop instructional strategies, such as parroting hip-hop lingo out of context, or showing a random rap video that has nothing to do with the course subject.Hip-hop through the yearsHip-hop in America’s classrooms is not new. For the past decade or two, scholars such as Marc Lamont Hill, Chris Emdin and Jeff Duncan-Andrade have explored the impact and effectiveness of hip-hop in educational settings.Collectively, their research has found that hip-hop can be used to teach critical thinking skills, critical literacy, media literacy skills, STEM skills, critical consciousness and more.Hip-hop has made significant inroads into higher education as well.Hip-hop in higher edHip-hop academic scholarship goes back at least as far as Tricia Rose’s groundbreaking 1994 book, “Black Noise: Rap Music and Black Culture in Contemporary America.” Since then, numerous hip-hop education books have been written. More than 300 colleges and universities have offered courses on hip-hop. The University of Arizona offers a minor in Hip Hop Studies, and McNally Smith College in Saint Paul, Minnesota, offers a hip-hop diploma, which includes 45 credits and three semesters of hip-hop music production, language and history courses.These developments are no light feat. In order for hip-hop to reach the level of prevalence that it enjoys on today’s educational landscape – at least 150 educators at the K-12 level were using hip-hop in their class in 2011, the last time a hip-hop education “census” took place – it had to overcome the skepticism of critics who questioned its validity in educational spaces. How would hip-hop explain its controversial history of glorifying violence, consumption and misogyny? Is hip-hop music appropriate for classrooms?But hip-hop, despite what some may view as its flaws, is a mirror of the complexity of society. Hip-hop did not invent violence, excessive consumerism and mistreatment of women. What it does is provide a platform to talk about these issues.Breaking it downThat’s what Rustin, the social studies teacher in Pasadena, did when he used rapper Childish Gambino’s provocative video “This is America” to get students to critically analyze the state of affairs in American society. As one student stated in an article about watching the video in class, “It relies on the shock value of violence and capitalizes on our society’s growing numbness to seeing black bodies being brutalized – it’s exploitative.”Drawing conclusions from hip-hop lyrics requires a certain level of critical analysis, one of the course expectations. Thus, in line with state education standards, Rustin’s course requires college-level writing, reading and critical thinking. Alums of Rustin’s class have indicated that discussions in the class not only increased their critical thinking skills but prepared them for college courses.Other teachers who use hip-hop in the classroom have achieved similar results. For instance, Crim, the Joliet math teacher, said she noticed improved student engagement after her video, as well as “an increase in performance from one unit test to the next.”Neloms, the Detroit educator who had his student search rap songs for college level vocabulary, did so after only 33 percent of his students passed a vocabulary exam. After he introduced his class to Rhymes with Reason, an “interactive online series that teaches college-level vocabulary and U.S. history concepts using hip-hop lyrics” rooted in African American speech, Neloms documented a “dramatic increase” in his students’ test scores.I think similar results could be achieved by more teachers if they tap into the richness of hip-hop culture to reach today’s students. Many students are already forming their views of society and the world based on the lyrics of their favorite rap artists. It only makes sense to infuse what they’re already listening to into the class so that – at the very least – there’s a common point of reference.[ You’re smart and curious about the world. So are The Conversation’s authors and editors. You can get our highlights each weekend. ]____Nolan Jones, Associate Adjunct Professor, Mills CollegeThis article is republished from The Conversation under a Creative Commons license. Read the original...

If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____A post from a social media user read: “LiZzO sHoUlDn’T hAvE wOrN tHaT.”Do you think Lizzo really gives a f**k what you think?On Sunday night, Lizzo in all of her voluptuous and BBW glory, attended the Los Angeles Lakers game, likely to unwind after just having wrapped up her Cuz I Love You Too Tour a few weeks prior. The Houston songstress made headlines for wearing an outfit that blended the concepts of risqué and couture, resulting in an oversized dress, or shirt, with a cut out hole in the buttocks area. Yes, her ass and thong were on full display for the world to see.To add insult to your injury (because not all of us were pissed — I was geeked!) she celebrated the fact that the Los Angeles Lakers' Laker Girls performed their half-time routine to Lizzo’s hit song "Juice." How did she celebrate this momentous occasion? Twerking, of course!Personally, I was flabbergasted when I logged online to see people really taking time out of their day to bash Lizzo’s outfit choice, deeming it inappropriate for a family friendly event. Isn’t this the same family friendly event where Nicki Minaj showed up last year in literal leather bondage? I can’t recall her receiving nearly as much backlash as Lizzo did. That is not to say either of the two deserved it — no one should receive backlash for their clothing choices, especially Black women. Unfortunately, most of the world feels comfortable policing the bodies of Black women and how they express themselves, but when we as Black people start to follow suit, then it becomes a bit more alarming.When I see people taking the time out of their “packed schedules” to degrade this Black Queen on her outfit choices, that’s high-key rooted in fatphobia. I’m reminded of Sara Baartman. For those who are unfamiliar, Baartman was a South African woman who was put on display in the manner of a freak show attraction during 19th century Europe. Onlookers were able to gawk at her while commenting (probably criticizing) her appearance. Are you all not doing the same thing? I mean, surely the generation, who is so “booked and busy” doesn’t have time to partake in the cyber-bullying that I’ve seen in the past few days — at least that’s what I hoped.It’s unfortunate that so many people are still holding on to archaic standards of beauty that have been largely forced upon us by external sources that prioritize white beauty standards. These standards are so internalized that a lot of folks react in such a visceral way to anything or anyone that doesn’t fit that mold. We don’t know for sure what the responses would’ve looked like had Rihanna or your favorite wannabe Black girl, Kim Kardashian, worn something similar, but we have an idea.In 2014 when Rihanna was presented the Fashion Icon lifetime achievement award from the Council of Fashion Designers of America, she wore a lovely sequined dress with her breasts on full display. The Barbadian musician was largely praised for this daring fashion statement, so why isn't Lizzo receiving that same energy? Before you go on to state that those were two different events, with a family-friendly NBA game being incomparable to a Fashion Awards show, please keep in mind they are both high-profile celebrities, deserving of the same criticisms and the same level of respect.For years, those of us who don’t fall in those rigid confines of what society deems physical beauty have been subjected to mistreatment and unfair bias when it comes to our weight and what we wear. I’ve been seeing a lot of folks making statements along the lines of, “Well of course other fat people will support Lizzo.” And you know what? You’re damn right! We have a full-figured, talented superstar stepping up as an advocate for real body positivity and we love to see it. Everyone should love to see it — it being the fact that Lizzo is actively trying to deconstruct the toxic ways in which we think of beauty and body politics.I honestly don’t think Lizzo cares about the fatphobic backlash that she’s receiving. In fact, she even said so. A part of me feels when people who belong to communities that have largely been ignored and treated with contempt and start to simply not give a f**k, their oppressors become angry. They become angry because despite their attacks and ridiculing, people like Lizzo will continue to rise up, secure the bag and leave you with that silly ass frown that you think means something.Why do you care so much what people wear? Look within yourself and try to make strides towards understanding why Lizzo should pay for your...

If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____Let’s talk about mental health.A topic that has been previously tabooed in the Black community is making its way to the forefront of discussions and being catapulted to first-class priority. As we grow, so does our awareness of mental health issues, alongside activism in supporting the mental flourishing and preservation of our people. Discussions that were once never acknowledged are becoming regular topics at our dinner tables, lunch dates, places of employment and in our friend groups.While one can acknowledge mental health is an issue that scopes beyond racial boundaries, it's no surprise that Black Americans are exponentially ailed by this issue but have been less prone to seek help. The stigma associated with mental health issues, or the implication that once took over the probability of seeking assistance, continues to makes its way out of our community, substituted for treatment and safe spaces. While we continue break out of the physical chains of demographic and societal detriments, we are freeing our mental chains as well.Recently, this topic rose to the celebrity limelight when award winning R&B artist, Summer Walker, shared the effect social anxiety has on some aspects of her life. In a post she made on November 12, Walker shared the importance of self-preservation when she announced she will be cutting her tour short.For the most part, this post was met with positive responses filled with support and understanding, but still there were some who suggested she was not being sincere and accused her of pretense. More and more, celebrities are beginning to share their connection to emotional and mental issues that highlight the commonality we all share. However, one can understand the apprehension when their transparency is often met with ignorance.Summer’s public acknowledgement and treatment of the issues she fights mainly exposed that mental health is not an issue of class or socioeconomic status. It is an issue that discriminates against and pardons no one. Even more so, her bravery highlights that self-preservation is a must and should take priority at all times.Many people shared how they identified and sympathized with Summer’s fight and supported her choice to shorten the tour. As mentioned, even with the positive support that flowed through, one could not help but notice the film of disrespect. In another Instagram post, the singer took the time to respond to comments that were less than understanding and further dived into the issue that has affected her since age six.Summer is rallied with support from the phenomenal, Golden Globe winning, Taraji P Henson. The actress showered her with support during this fight while also acknowledging the work that is left to do. Her comment read, “It’s stigma baby and it is killing US!!!!!!!!! You are brave. I adore you!!!”Bravery, indeed, is the sentiment of anyone who expresses their struggle with any mental health issue. Summer’s post, for the majority, continued to be met with sympathy and allies. While this is just one instance of the effects and the prominence of mental health, it is yet another discussion at the table, it is another step towards the irradiation of stigma and...

If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____On Friday October 25, I released my first single, “What If We.” As the clock struck 12 a.m., my heart dropped and I found myself unable to stop the tears as they flooded my eyes, sending me into an emotional release that contained excitement, fear and the overwhelming gratitude of a dream fulfilled, 20 years in the making. This pop tune, inspired by Afrobeats and created as an ode to house music, represents more than just my debut as a musician, but also as a message of liberation for all people, and my contribution to the Black queer revolution (led by the likes of Lena Waithe, Billy Porter, Frank Ocean, Janelle Monáe and so many others) that is taking shape as we close this decade. As we enter 2020, I envision a new decade of authenticity, visibility and impact, where we demand to be seen and heard. Oh, what a time to be Black and Queer!Being Black and achieving success in this country probably means that you were raised on the idea that you have to work “twice as hard to get half as much.” This idea is inflated when you add the word "gay" to the equation. Because of these two traits, I've been tirelessly pushing myself, doubting myself, working and training to attain my dreams since I was five years old. These dreams were not considered normal for a young Black boy raised in a small town in North Carolina by his great grandmother. It made me different, and living in the margins made me seek a place of wonder and magic where my aspirations could be realized. Through time and perseverance, it taught me to believe that sometimes what seems to be the impossible can become possible.Throughout my life and career, I never really saw myself represented — and certainly not the intersections of my identity liberated or celebrated. Being a Black gay man, my experience always felt as if my authentic self wasn’t enough, wasn’t marketable and was actively erased. It felt as if to be given opportunities, I must hide parts of myself or play into tropes to fit into the puzzle of someone else’s vision. I would be lying if I said I never played into this, and I would also be lying if I said doing so brought me no success. What I can say is that while I achieved the Broadway dreams of my childhood, I began to feel less and less like an artist, and was left not feeling whole.I decided to open the idea of my own creative expression, rather than working to fulfill someone’s vision on stage. I turned to recording the songs and poetry that lived in my journal and in the notes of my iPhone. My writings circled themes exposing the feelings and words that were my cathartic release while dealing with the pressures, heartbreaks and experiences of a young millennial navigating life in New York City. I quickly realized that for the first time, I had something that was just mine, and the control and vision laid solely in my hands. This artistic freedom has become my salvation and a type of high that carried over into all areas of my life and artistry.My mission and intention became so clear — to share my music through full authenticity, lift others up to inspire them to go beyond their own expectations and discuss the emotions that connect us all. It all hinged on the power of exposure, to refuse to hide parts of myself to fit the ideas of who or what I should be. I desire to show all the layers that make me whole: my masculinity, femininity, my desires as a sexual being, who I am when I’m at my best and what I learn when I’m at my worst. The through line of all this expression is to highlight and celebrate the struggles and beauty of being a gay African American man in today’s society, and all the spaces within that have contributed to making me who I am.“What If We” is not a culmination of what I hope to do, but rather an introduction to the music industry as I prepare to release a full EP in 2020. It came to life as a necessary word that I needed to pause the constant questioning of my needs and desires. I needed to feel free of the pause that blocks us from giving into a heightened reality, from feeling pleasure and from taking chances. This feeling or emotional block is something that we all deal with. This introduction and message of release only felt right as a dance track.As a performer, one thing I understand is the power of movement. Dance is, in my opinion, one of our human superpowers. The physical action and response of our bodies in motion is innate and primal. It has the power to release tension, change one's mood, seduce and, of course, entertain. By combining my words with piano, African percussion and a driving house beat, “What If We” was created — and it's a call of freedom.As those uncontrollable tears fell from my eyes in the early hours of October 25, I found myself thinking about that little Black boy in North Carolina, dancing and singing in his room pretending that within his mirror was a stadium of thousands. A boy crafting dreams while never seeing an example of himself to lean upon. He deserved more, and he is the reason that I will work everyday to build a bigger dream for myself, so the confines placed on little Black boys will be forever broken.I hope you take a second to listen to “What If We.” May it liberate you to do, have and feel exactly what you want. Join me in the revolution!____Brad Gibson is an actor and singer currently starring on Broadway as Simba in 'The Lion King,' Disney's longest-running stage...

If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____It has come to my attention that people really don't know what "amazing" singing sounds like. I could credit this to many things in our current pop culture, but mainly the sheer randomness of sound that is looped by the hour on mainstream radio.One of the more defining moments for me that cemented the ineptitude of discerning beautiful sound is when I first started to hear the shade thrown toward the sheer beauty in the voice of the one and only Brandy Norwood.So two things have to be addressed here: 1. The horrific misconceptions of  Brandy's immaculate voice. 2. The complete and utter disregard for the legacy that she has created for Black music. It has been 25 years since the release of Brandy's self-titled debut album. Many of us were around to witness the phenomenon of the young Black girl with braids belting out the lyrics of "I Wanna Be Down" as we sat mesmerized by the image — it was unlike anything we had ever seen before. She was 15 and stood before us with what became her signature "Brandy braids" as she released hit after hit from her debut album (which included, "I Wanna Be Down," "Baby," "Best Friend" and "Brokenhearted") with extraordinary grace under the pressure of fame. We loved her so much that she went on to star in her own TV show (Moesha), released her follow-up album, Never Say Never, was featured in hit movies, received a Cover Girl contact and had a Barbie created in her own image. Most of this was achieved before she even turned 18.It almost seems normal now to accomplish what she did in the '90s. It was not. Brandy was incredibly young, Black and talented, and for the first time for many of us, we were able to celebrate what all of that meant.To this day, Brandy is widely considered your favorite singer's singer. She has been crowned the literal vocal Bible and didn't stop being a talent to be reckoned with although she isn't heard as often on mainstream radio. Brandy has perfected her craft throughout all 25 of these years and has not stopped pushing to make it better every day.  And for anyone who has ever seen her live, you can testify to her voice sounding like actual liquid butter. It is an experience, chile!We, as a people, have a ridiculously poor memory and this is reflected in what can often be seen on social media outlets. The internet has found ways to harp on foolishness and hold onto it like a dog with a bone, keeping a blip in life at the front of the conversation instead of what is important. (Y’all know what I’m talking about.)People are not flawless, even the famous ones.However, it has become the cool thing to say, "they not making those hits, though." It's a dangerous path to go down, as the greats in our culture are almost forgotten about. Imagine if we had ever dared to state that Aretha, Gladys, Patti or Anita were no longer dope because we hadn't seen them in awhile. I shudder at the mere thought!It's crazy to consider, but we are the ones responsible for protecting the integrity of Black musical legacies, just as our parents did and just as our grandparents did before them. If y'all are really cringing at these sounds bombarding us on the radio, it's time we start to take the task seriously, and give them their flowers and respect while they are here. And please believe, the gift that is Brandy Norwood is right at the tippy top of that...

This piece was submitted from a member of our enthusiastic community of readers. If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.September 2018, after Kanye West received an old-fashioned tongue-lashing on public radio and an outpouring of community spiritual uplift, making appearances in his hometown, Kanye West declared he's moving back to Chicago. October 2018, Kanye took this energy to Uganda, where he sat amongst young children and elders, bearing gifts and receiving rituals of healing and community. In essence, when he returned home to Calabasas, California, he recreated these experiences in the form of Sunday services — bringing the healing pulse of Chicago and Uganda to him. In 2019, Kanye West plans to bring this experience to every home by way of his newest album, Jesus is King.Kanye began having almost-weekly “Sunday services” in Calabasas, California, in January 2019 as a private sanctuary for family, friends and a host of musicians and artists he admires. As Calabasas has been said to mean, “where the wild geese fly,” after a whirlwind year of erratic behaviors and impulsive speech, Kanye’s flight to “making music on the hill” was timely and perhaps symbolic. Kanye turned Calabasas, a known site for the white rich and famous, into a small, largely Black collective gathering with an aesthetic of the age-old African “healing circle.”Healing from what, for Kanye? I imagine his travels made him aware of the injury of speaking “slavery is a choice,” aligning with the occupant of the White House and the deeply felt ways Kanye has too often devalued and dismissed Black women’s concerns for his treatment in representation and everyday life. In addition, he suffered the duress of mental health issues, which potentially heightened these episodes of public misfitting. Kanye needed work; he needed community and he sought redemption.Sunday services in Calabasas were what the doctor ordered: a return to Chicago sonic heaven and healing, within the private confines of his home, away from spectacle-hungry public.As a Chicago Southsider who sang in some of the premier gospel choirs of the '90s, the choir in Calabasas was like a childhood memory — where making music allowed folks a space to build community and reflect on something greater than the self, far away from the realities of our complex, Black lives. Instruments were at the center — from keyboards to drums — while the choir and guests gathered in song and elation, humming and belting classic Chicago gospel anthems. As the choir moved into songs such as “Jesus Walks” and “Ultralight Beam,” playing with melody, rhythm, cadence and voice, the connections between Chicago gospel and Kanye production were clear. Compared to concert performances, which frequently place Kanye at center stage, the common absence of his body from the frame of the livestream allows us to focus on the community built. This was a healing circle for Kanye, but it felt like church to so many of us.Yet, the Sunday service in Calabasas was far away from the churches we had come to know in our youth (and adulthood), which housed the contradictory presence of holiness and hell-raising. Everyone was welcomed at Calabasas; notably present, were those for  whom the church commonly denied access. Kanye’s Sunday service was something ethereal, otherworldly — an escape into the wild on a land of plenty.Kanye’s hilltop performances of gospels and hymns, outside of the traditional church structure, allowed for a disregard of Black church etiquette, creating space for all types of freedoms. Children danced and sang around the circle, flying through the space and often grabbing the microphone, with no finger-wagging or stares. Choir members moved from gospel two-steps to the milly rock, without any looks of disapproval or questions of “time and place.” Here, we see the wildness of Kanye's musical sensibility and thought rub intimately against the winds of inspiration and individual experiences.In the hills of Calabasas, there were little constraints; creativity was the order of the hour, and Kanye and friends were master chefs. Those of us who were religiously attuned to Sunday service were witnesses to a clear break away from the church — the felt absence of  the echoes of hierarchy, licensed misogynoir and misogyny, homophobia and femmephobia, sex-negative culture and the tendency to tame. Indeed, these are ingredients ripe for making a better man. The Sunday service was an unapologetic merger of raw, uncensored hip-hop and the holy, sacred, gospel, made available to all people.Enter the church.On September 15, 2019 Kanye stood in the large sanctuary of New Birth Missionary Baptist Church — one of Atlanta, Georgia's Black megastructures — near silent, absorbing the rays of sonic celebration. As the choir commands “there is nothing too hard for God,” contemplative Kanye signals a decrescendo and begins to engage in testimonial. He speaks: “You sent your son to die for us and all you ask is for radical obedience to you." While what he states here and everything beyond it is common Black speech in front of church congregations around the world, Kanye addressing this audience with this line (along with his elongated pause) communicated a sort of transformation.Although I am unclear as to how “radical obedience” will activate in Kanye’s creative work or in his life, I cringe at the choice of  New Birth Missionary Baptist Church as the site of “healing work.” This church is now home to Reverend Jamal Bryant and previously the late Bishop Eddie Long — both whose widely-known abusive practices have been met with little remorse and no acts of restoration. Of course, the church as an institution is marred by its numerous, unaddressed violences. As if drawing from the school of Jay-Z, Kanye’s partnership with the church ignores an important fact: the church (and its leaders) have yet to re-earn the people’s trust.While Kanye may not have known this church venue or its past, the history of this church (and the larger church) as spaces largely unapologetic for its injuries to the public in the name of Jesus makes inhospitable to the collective community so-present and precious in the choir of Calabasas. With Kanye having his own injuries to atone for, the church — and particularly this church — should have been the last place of collaboration.The church cannot contain the wildness of Mr. West, neither can it render the salvation he needs. While I imagine the Jesus is King album will possess the wild, sonic and often secular Kanye-esque moves, I do not think this “move to gospel” necessitates a relationship to the church and its all too common ailments.Kanye, go back to Calabasas!I am afraid in your search for redemption, you have moved from being pimped by the president to being a pawn for the church.Neither is your home.____Jeffrey Q. McCune Jr. teaches African & African American Studies and Women, Gender, and Sexuality Studies at Washington University in St. Louis. He is an award-winning author, who is completing a book on Kanye, a critical engagement with black genius, iconography, and monster aesthetics. McCune has been featured on Left of Black, Sirius XM's Joe Madison Show, HuffPost Live, Pitchfork, the Christian Monitor and a guest expert on Bill Nye Saves The...

This op-ed was submitted from a member of our enthusiastic community of readers. If you’re interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.I have been in a long-term, one-sided, semi-obsessive relationship with Mrs. Beyoncé Knowles-Carter for many years now. I have seen her live every year since 2013, and with every show I only fall deeper in love with her and her insane talent. After the Homecoming documentary dropped on Netflix earlier this year, as I watched it over for the millionth time trying to be sure I got all the choreography memorized, I was sure that I had reached the peak of my obsession. As someone who went to an HBCU (the only one that matters, Howard University), seeing my college experience so immaculately represented and respected, I didn’t feel that I could be any more proud to be a Beyoncé fan and member of the Beyhive. But then on Friday morning, July 19, 2019, she dropped The Lion King: The Gift, her accompanying album to the Disney classic live-action 2019 remake, The Lion King. Beyoncé refers to this album as a “love letter to Africa,” and as a Nigerian woman listening to the album track after track, hearing the voices of my countries’ artists using our native tongue, I definitely felt the love. The album features 10 African artists from four African countries (Nigeria, Ghana, Cameroon and South Africa) with nearly every track incorporating drums and beats synonymous with the African music “Afrobeats” genre. In an era where cultural appropriation is running rampant, she could have easily used Afrobeats and gotten mainstream American artists to sing over them, and her being Beyoncé, she probably would have gotten away with it. But instead, she made the purposeful decision to have actual African artists use their voice and talent to authentically represent their cultures — and this is what will always make her the queen above all. In her interview with ABC news she explains, “I wanted to make sure we found the best talent from Africa and not just use some of the sounds and did my interpretation of it. I wanted it to be authentic to what is beautiful about the music in Africa.”Dear cultural appropriators, take notes.Afrobeats has been gaining serious traction in the last few years with major crossover into American mainstream music. Wizkid’s 2016 collaboration with Drake, “One Dance,” gave the Toronto hip-hop star his first Billboard #1 record as a lead artist. Artists like Chris Brown, Trey Songz and Major Lazer have all teamed up with African artists in recent years. It has become a crucial part of DJs' playlists, and only last month I walked into my local nail salon to hear them blasting Burna Boy’s hit song “Ye.” So given the current popularity of African music, the question now is: what is it about this album, about Beyoncé’s recognition of African music and artists, that has made the culture so proud, especially if our music was already doing so well?The morning of the album release, I sought out the answer to this question by googling “the Beyoncé gift album” to see what the mainstream news publications had to say about all the African magic that was sprinkled through the work. To my surprise, a majority of the major news publications completely missed out on the mission of the album, instead highlighting the American artists, attempting to sort out the music’s reference and relevance to the plot of the film and commenting on Blue Ivy’s feature (which was greatness that cannot be denied). However, in many of the articles the African artists were simply referenced as “and others” next to the names of the American artists on the album. And in some cases, their names were not spelled out at all. It was my hope that most would reference the importance of this work to the African community and culture, given that was Beyoncé’s whole point of this phenomenal body of work.To me, and those in my community, the release of this album and the impact it had was monumental. It brought many of us close to tears and recruited new members to the Beyhive. Hearing Yoruba (native Nigerian tribe) words infused with Beyoncé’s voice on the track “OTHERSIDE,” brought a sense of joy, experiencing my mother’s tongue being vocalized on such a huge platform. In my state of joy and euphoria, all I wanted to do was speak to other people who were experiencing the same level of happiness that I was. Thus, I sought out the answer to my question about why the album made us so proud from Africans I knew, asking them to express their thoughts on the album and how the music and inclusion of African talent made them feel.See their words below:“I appreciate the inclusion in the album. Shoutout to Beyoncé for being a social conscious woman on all levels! It is everything the Black Panther album should have been. If you’re going to appropriate our culture, at least appreciate our music and PAY us for it!”— Tolu“I couldn’t stop smiling while I was listening to the album. It made me super proud of Nigerian artists and it was truly a gift! I expected them do to great like they usually do, and they definitely exceeded my expectations. We Nigerians do THAT.”— Toyin“She made me feel beautiful in my own skin. Having actual Africans on the soundtrack made it even better and more authentic than just bring Black Americans on the album.”— Yewande“The album was actually amazing. It made me appreciate being Nigerian even more than I already felt. I felt like my people were finally getting some recognition for their art and it was a joy to listen to.”— Abisola“Finally proper Nigerian representation to the world! Beyoncé is the number one. She’s showing these artists the respect they deserve, not trying to steal their work and this just makes me so proud to be Nigerian. Africans are such rockstars but the media can be shady towards us, so this album highlighting the musical talents in our countries is awesome. Lastly, this places Beyoncé on a higher pedestal (like it can get any higher). It’s our time!!”— Oyinda“The album is so dope. I don’t typically listen to foreign music but this album is the best so far. It remind me of how blessed we are in Africa."— Ifedayo"It made me feel proud of where I come from. It's more than music, the message is important. The take home message for me is to always believe in myself regardless of what anyone thinks of me, my culture, or where I come from. Beyonce made my day, she is a true artist and everything she does actually means something. She is everything."— Eniola The African artists on the album also took to social media to express their thoughts and the work’s impact:“It is dedicated to African men and all men of African descent. Our kings are being killed and some jailed without justice. Yes I know this is a movie that shaped a lot of our childhood and we didn’t really see the true message behind it but I believe this soundtrack is a celebration and reminder of who we are. I pray you are blessed while you listen to this song. You’ve been hurt too long and we appreciate you African kings. Omo oba ma gba gbe, run it oruko Baba re (Son of a king, don’t you EVER forget.)”— Tiwa Savage on her song "KEYS TO THE KINGDOM"“Time and chance, preparation meets opportunity. Thank you for your gift, the opportunity, lending us your team, inviting me to the premiere and your kind words #AFRICATOTHEWORLD"— Yemi Alade“Growing up I watched lion king but never imagined that someday I would be part of the project…Sending big love to Beyoncé for putting this project together! It’s bringing the World to Africa.”— Mr Eazi“I have no words to explain and express my gratitude for being one of the chosen ones for the lion king soundtrack by my ultimate favorite artist in the world Beyoncé. Anyone who knows me or googles interviews has heard me say one day I’ll work with the Queen. They laughed. Look who has the last laugh now. Dreams come true and nothing is impossible”— Moonchild SanellySo, while to mainstream media this level of inclusion and recognition may not seem like a big deal, to most Africans everywhere this album is a major celebration of everything it means to be an African and to stand in the pride of our countries. Granted the Afrobeats genre has gained some popularity in recent years, it would be foolish to deny that this new platform has elevated the fame and appreciation of these artists, the African culture, our music and our heritage.As a Nigerian woman listening to this album, I have never felt more proud of my culture. To have one of my favorite artists recognize my country and my sister countries for our talents and giving them this platform makes me so proud to be a fan. The Lion King was a huge piece of my childhood and to have it take on this new meaning and significance makes the movie so much more important.Thank you Queen Beyoncé for this gift. Long may you...