{"id":431,"date":"2016-12-14T17:41:15","date_gmt":"2016-12-14T17:41:15","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/?page_id=431"},"modified":"2016-12-14T17:41:15","modified_gmt":"2016-12-14T17:41:15","slug":"music-of-the-black-lives-matter-movement","status":"publish","type":"page","link":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/shameya\/music-of-the-black-lives-matter-movement\/","title":{"rendered":"Music of the Black Lives Matter Movement"},"content":{"rendered":"

\u201cAlright<\/a>\u201d \u2013 Kendrick Lamar (2015): In the present day and age, the time of the Black Lives Matter movement, we have \u201cAlright\u201d by Kendrick Lamar. A Compton, California native, Lamar was troubled, yet inspired by the happenings in black America, specifically gang violence, the growth and spread of materialism, and police brutality. He has stated that he wrote \u201cAlright\u201d in order to give hope to his audience. This song has been dubbed the modern black national anthem, mainly because it came during a time in which it was necessary. Coming out in 2015, a year after the Ferguson Resistance and in the midst of a number of police killings involving black men and women, \u201cAlright\u201d directly addresses police brutality and systemic racism. It signifies a shift in the expression of self-love, as it reaffirms blackness in a society that is structurally set up against it. Much like previous examples, Lamar\u2019s song is a blunt example of being proud and hopeful in one\u2019s race, while also being able to address issues that affect the community directly. Not only was the song influential, but the music video that accompanied, as well as his many performances, only cemented his criticism of structural racism and inequality.<\/p>\n

Lyrics:<\/p>\n

Alls my life I has to fight, n*gga<\/p>\n

Alls my life I\u2026<\/p>\n

Hard times like, \u201cGod!\u201d<\/p>\n

Bad trips like, \u201cYeah!\u201d<\/p>\n

Nazareth, I\u2019m f*cked up<\/p>\n

Homie, you f*cked up<\/p>\n

But if God got us, then we gon\u2019 be alright<\/p>\n

 <\/p>\n

N*gga, we gon\u2019 be alright
\nN*gga, we gon\u2019 be alright<\/p>\n

We gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Huh, we gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright<\/p>\n

 <\/p>\n

Uh, and when I wake up<\/p>\n

I recognize you\u2019re looking at me for the pay cut<\/p>\n

But homicide be looking at you from the face down<\/p>\n

What MAC-11 even boom with the bass down?<\/p>\n

Schemin\u2019, and let me tell you \u2018bout my life<\/p>\n

Painkillers only put me in the twilight<\/p>\n

Where pretty p*ssy and Benjamin is the highlight<\/p>\n

Now tell my momma I love her, but this what I like, Lord knows<\/p>\n

20 of \u2018em in my Chevy, tell \u2018em all to come and get me<\/p>\n

Reaping everything I sow, so my karma comin\u2019 heavy<\/p>\n

No preliminary hearings on my record<\/p>\n

I\u2019m a mother*ching gangster in silence for the record<\/p>\n

Tell the world I know it\u2019s too late<\/p>\n

Boys and girls, I think I\u2019ve gona cray<\/p>\n

Drown inside my vices all day<\/p>\n

Won\u2019t you please believe when I say<\/p>\n

 <\/p>\n

Wouldn\u2019t you know,<\/p>\n

We been hurt, been down before<\/p>\n

N*gga, when our pride was low<\/p>\n

Lookin\u2019 at the world like, \u201cWhere do we go?\u201d<\/p>\n

N*gga, and we hate po-po<\/p>\n

When they kill us dead in the street fo sho\u2019<\/p>\n

N*gga, I\u2019m at the preacher\u2019s door<\/p>\n

My knees getting\u2019 weak, and my gun might blow<\/p>\n

But we gon\u2019 be alright<\/p>\n

 <\/p>\n

N*gga, we gon\u2019 be alright
\nN*gga, we gon\u2019 be alright<\/p>\n

We gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Huh, we gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright<\/p>\n

 <\/p>\n

What you want you: a house or a car?<\/p>\n

40 acres and a mule? A piano, a guitar?<\/p>\n

Anything, see my name is Lucy, I\u2019m your dog<\/p>\n

Motherf*cker, you can live at the mall<\/p>\n

I can see the evil, I can tell it, I know it\u2019s illegal<\/p>\n

I don\u2019t think about it, I deposit every other zero<\/p>\n

Thinking of my partner, put the candy, paint it on the Regal<\/p>\n

Digging in my pocket, ain\u2019t a profit big enough to feed you<\/p>\n

Everyday my log get another dollar just to keep you<\/p>\n

In the presence of your chico, ah!<\/p>\n

I don\u2019t talk about it, be about it, everyday I sequel<\/p>\n

If I got it then you know you got it, Heaven, I can reach you<\/p>\n

Pet dog, pet dog, pet dog, my dog, that\u2019s all<\/p>\n

Pick back and chat, I trap the back for y\u2019all<\/p>\n

I rap, I black on track so rest assured<\/p>\n

My rights, my wrongs: I write til I\u2019m right with God<\/p>\n

Wouldn\u2019t you know,<\/p>\n

We been hurt, been down before<\/p>\n

N*gga, when our pride was low<\/p>\n

Lookin\u2019 at the world like, \u201cWhere do we go?\u201d<\/p>\n

N*gga, and we hate po-po<\/p>\n

When they kill us dead in the street fo sho\u2019<\/p>\n

N*gga, I\u2019m at the preacher\u2019s door<\/p>\n

My knees getting\u2019 weak, and my gun might blow<\/p>\n

But we gon\u2019 be alright<\/p>\n

 <\/p>\n

N*gga, we gon\u2019 be alright
\nN*gga, we gon\u2019 be alright<\/p>\n

We gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Huh, we gon\u2019 be alright<\/p>\n

N*gga, we gon\u2019 be alright<\/p>\n

Do you hear me, do you feel me? We gon\u2019 be alright
\nI keep my head up high<\/p>\n

I cross my heart and hope to die<\/p>\n

Lovin\u2019 me is complicated<\/p>\n

Too afraid, a lot of changes<\/p>\n

I\u2019m alright, and you\u2019re a favorite<\/p>\n

Dark nights in my prayers<\/p>\n

 <\/p>\n

\u201cFormation<\/a>\u201d \u2013 Beyonce (2016): Finally, we end our journey with \u201cFormation\u201d by Beyonce. This song is a testament to the innovation of musical expression of self-love and affirmation towards affirming blackness in all of its forms, respectable or not, as well as validating women. Everything about the song serves as a declaration and a political statement, from the date that it was released (one day after Trayvon Martin\u2019s birthday and one day before Sandra Bland\u2019s birthday) to the images in the music video, to the tour that followed. What makes this song so significant in its expression of self-love is the focus on feminism and the subversive cultural references that many black women will relate to. Beyonce, known for staying somewhat quiet on political and private matters, spent the entire song embracing the black features and stereotypes surrounding her family and heritage at a time when blackness was under attack and black womanhood was being erased. This was seen through the alarming rate of black men and women being killed by police, yet only male names being remembered. The erasure of black women was also prevalent in the movement, as despite the sheer number of black women heading protests and organizations, men were often credited for their work. \u201cFormation\u201d, voted the #1 song of 2016 by Complex Magazine, has certainly left its mark on the culture. It continues to be an anthem for black womanhood while also raising the bar for self-expression and musical revolution.<\/p>\n

Lyrics:<\/p>\n

What happened at the New Wil\u2019ins?<\/p>\n

B*tch, I\u2019m back by popular demand<\/p>\n

 <\/p>\n

Y\u2019all haters corny with that Illuminati mess<\/p>\n

Paparazzi, catch my fly and my cocky fresh<\/p>\n

I\u2019m so reckless when I rock my Givenchy dress (stylin\u2019)<\/p>\n

I\u2019m so possessive so I rock his Roc necklaces<\/p>\n

My daddy Alabama, mama Louisiana<\/p>\n

You mix that Negro with that Creole, make a Texas Bama<\/p>\n

I like my baby heir with baby hair and afros<\/p>\n

I like my Negro nose with Jackson Five nostrils<\/p>\n

Earned all this money but they\u2019ll never take the country out me<\/p>\n

I got hot sauce in my bag, swag<\/p>\n

 <\/p>\n

Oh yeah, baby, oh yeah I, ohhh, oh yes, I like that<\/p>\n

 <\/p>\n

I did not come to play with you h*es, haha<\/p>\n

I came to slay, b*tch<\/p>\n

I like cornbread and collard greens, b*tch<\/p>\n

Oh yes, you besta believe it<\/p>\n

 <\/p>\n

Y\u2019all haters corny with that Illuminati mess<\/p>\n

Paparazzi, catch my fly and my cocky fresh<\/p>\n

I\u2019m so reckless when I rock my Givenchy dress (stylin\u2019)<\/p>\n

I\u2019m so possessive so I rock his Roc necklaces<\/p>\n

My daddy Alabama, mama Louisiana<\/p>\n

You mix that Negro with that Creole, make a Texas Bama<\/p>\n

I like my baby heir with baby hair and afros<\/p>\n

I like my Negro nose with Jackson Five nostrils<\/p>\n

Earned all this money but they\u2019ll never take the country out me<\/p>\n

I got hot sauce in my bag, swag<\/p>\n

 <\/p>\n

I see it, I want it, I stunt, yellow bone it<\/p>\n

I dream it, I work hard, I grind til I own it<\/p>\n

I twirl on them haters, albino alligators<\/p>\n

El Camino with the seat low, sippin\u2019 Cuervo with no chaser<\/p>\n

Sometimes I go off (I go off), I go hard (I go hard)<\/p>\n

Get what\u2019s mine (take what\u2019s mine), I\u2019m a star (I\u2019m a star)<\/p>\n

\u2018Cuz I slay (slay), I slay (hey), I slay (okay), I slay (okay<\/p>\n

We gon\u2019 slay (slay), gon\u2019 slay (okay), we slay (okay), I slay (okay)<\/p>\n

I slay (okay), okay (okay), I slay (okay), okay, okay, okay, okay<\/p>\n

Okay, okay ladies now let\u2019s get in formation, \u2018cuz I slay<\/p>\n

Okay ladies now let\u2019s get in formation, \u2018cuz I slay<\/p>\n

Prove to me you got some coordination, \u2018cuz I slay<\/p>\n

Slay trick, or you get eliminated<\/p>\n

When he f*ck me good, I take his *ass to Red Lobster, \u2018cuz I slay<\/p>\n

When he f*ck me good, I take his *ass to Red Lobster, we gon\u2019 slay<\/p>\n

If he hit it right, I might take him on a flight on my chopper, I slay<\/p>\n

Drop him off at the mall, let him buy some J\u2019s, let him shop up, \u2018cuz I slay<\/p>\n

I might get your song played on the radio station, \u2018cuz I slay<\/p>\n

I might get your song played on the radio station, \u2018cuz I slay<\/p>\n

You just might be a black Bill Gates in the making, \u2018cuz I slay<\/p>\n

I just might be a black Bill Gates in the making<\/p>\n

I see it, I want it, I stunt, yellow bone it<\/p>\n

I dream it, I work hard, I grind til I own it<\/p>\n

I twirl on them haters, albino alligators<\/p>\n

El Camino with the seat low, sippin\u2019 Cuervo with no chaser<\/p>\n

Sometimes I go off (I go off), I go hard (I go hard)<\/p>\n

Get what\u2019s mine (take what\u2019s mine), I\u2019m a star (I\u2019m a star)<\/p>\n

\u2018Cuz I slay (slay), I slay (hey), I slay (okay), I slay (okay<\/p>\n

We gon\u2019 slay (slay), gon\u2019 slay (okay), we slay (okay), I slay (okay)<\/p>\n

I slay (okay), okay (okay), I slay (okay), okay, okay, okay, okay<\/p>\n

Okay, okay ladies now let\u2019s get in formation, \u2018cuz I slay<\/p>\n

Okay ladies now let\u2019s get in formation, \u2018cuz I slay<\/p>\n

Prove to me you got some coordination, \u2018cuz I slay<\/p>\n

Slay trick, or you get eliminated<\/p>\n

 <\/p>\n

Okay, ladies, now let\u2019s get in formation, I slay<\/p>\n

Okay, ladies, now let\u2019s get in formation<\/p>\n

You know you that b*tch when you cause all this conversation<\/p>\n

Always stay gracious, best revenge is your paper<\/p>\n

 <\/p>\n

Girl, I hear some thunder<\/p>\n

Golly, look at that water, boy, oh lord
\n <\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cAlright\u201d \u2013 Kendrick Lamar (2015): In the present day and age, the time of the Black Lives Matter movement, we have \u201cAlright\u201d by Kendrick Lamar. A Compton, California native, Lamar was troubled, yet inspired by the happenings in black America, specifically gang violence, the growth and spread of materialism, and police brutality. He has stated […]<\/p>\n","protected":false},"author":2204,"featured_media":0,"parent":27,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-431","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/pages\/431","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/users\/2204"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/comments?post=431"}],"version-history":[{"count":1,"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/pages\/431\/revisions"}],"predecessor-version":[{"id":432,"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/pages\/431\/revisions\/432"}],"up":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/pages\/27"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/powerofblackselflove\/wp-json\/wp\/v2\/media?parent=431"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}