2011 MTV Video Music Awards - Show
The musical group Odd Future speak onstage during the 2011 MTV Video Music Awards at Nokia Theatre L.A. Live on August 28, 2011 in Los Angeles, California.
Jeff Kravitz

Growing Up Queer And Black With Odd Future's Music

I.

“This is for the ni**as in the suburbs and the white kids with ni**a friends who say the n-word” – Tyler, The Creator

The first time I was ever called a ni**er to my face I was, for lack of a better phrase, "spared” the indignity of it also being in English. Language will leave you grateful for the strangest things I suppose. The year was 2012 and I was, for reasons I’ve long since forgotten, at a frat party at my alma mater wearing some raggedy KD35s, a still kind-of-new pair of Levi’s with a belt patterned with some classic mixtapes that was enveloped by a voluminous white tee with the name and logo of every Negro League Baseball team which I’ve owned since eighth grade but never grew into. Outside the house with the suffocating bass, a cloudless Pennsylvania fall was maturing. Dew dusted every suburban road in Swarthmore and October was settling into the trees. In the dark, the trees are everywhere. The streetlights are far between in suburbia, so you have to be within inches to see the changes flourishing around you, the kaleidoscopic qualities of death; even now, it is almost beautiful.

The man who called me ni**er was not a stranger. Until relatively recent to that point, we had lived within feet of each other as freshman year roommates. I’m telling you this less to blunt his violence than to explain why he was standing close enough to me for me to hear him. Everything about the sound system in a party like that seems to have a bone-deep hatred for the foundations of the building. It’s not hyperbole when I say the first time I was ever called a ni**er to my face everything was already vibrating, everything was already coming apart. The man, freestyle rapping very poorly to a song that was seemingly all bass to my deeply faded best friend, rhymed my name with “Mulignon” which in Italian translates directly to “Eggplant” and colloquially, on that night, me. The transfiguration I prefer is to tell you “Everything in me became a fist” but the reality is everything in me became a lens. I flitted a quick look to my friend who seemed to have lost the line in the bass or was biting his tongue. I studied the party, I counted the white people in the basement (too many), I counted the Black (we were standing next to each other, it went quickly); I uncurled my fist. I could see every possibility for the fight I knew I could win: the jaw I knew I could break and in that same breath, looking into the dew populating his face, my own expulsion if I laid hands on him. I was and am ashamed, he had called me a ni**er and all I could think of was the consequences I would face.

I turned, said I was getting another drink but really I hustled past the partygoers; the slick and swelter of their arms pushing the names of my shirt closer to me until finally I was up the stairs and pulling open the door. I was out in the air too furious even to shiver where the wind hit me. Pushing into the dark, t-shirt clinging to me heavy with the excess of other people’s want, I stared out first towards the train tracks then a light I trained myself to imagine as Philly, I was alone staring up and into the unpunctuated night, Black and without witness. I’m not telling you this story for sympathy, but to tell you how a boy governed by consequence and shame could fall wholeheartedly and dangerously in love with its absence. I’m telling you how I first fell in love with Odd Future.

In 2012 I was the hapless manager of an equally hapless rap collective that was paid in pizza and exposure, in that order. Disowned by policy, we rolled 5, 10, 12, 15 deep across a campus that could have never imagined us. Our songs were wack but that didn’t really matter, for once everywhere I looked, we were legion. I imagined this was what it must be like to be famous and unconcerned with consequence. This was what it must be like to be in love, I was sure of it.

The real magic of Odd Future is that for some Black boys, we imagine heaven to be a place where we and we alone are the greatest danger to ourselves. Odd Future, in their best moments, loved in a syntax of sheer, reckless desire. They seemed most of the time governed by impulse that delighted in existing right at the edge of familiar logic. Many would call their work “raw” because we love lazy approximations for tenderness in America, we love the taste of the wrong word said confidently. This is less about rawness than it is a story of the perils of falling in love with being unabashedly ugly, and that’s what they were and what I wanted most.

Nobody in Odd Future was good looking. In fact, many of their lyrics seemed to be in open conflict with the idea of being attractive. They were ugly, and we were ugly, and this was how we were beautiful to one another. In the worst fall, I believed I would ever endure, my hair was often dirty, my beard scraggly and uneven in a way I can now identify as my body’s signal for a depressive episode. My clothes were also pretty wack and I was shopping size-wise for the person I was and desperately wanted to return to being, a me whose muscles were shredded but at least his sadness was quieter. But Tyler, the Creator was wearing short-sleeved shirts with hand-drawn donuts on them. Earl Sweatshirt, nearly my exact age, constantly referenced his globular forehead, rapped seamlessly of his bulbous lips as the contrast of his face as he swilled cough syrup and set fire to sheriffs’ whips. At 19, I wanted to be so ugly it made me hyperbole; unassailable, loved by my ni**as and only them.

Beauty, as we had been taught it, was for people with something to lose and there was something, is something, still in me that wants nothing so much as to not give a f**k. To weaponize not giving a f**k, to weaponize all my ugly as an act of trust that I am not alone in that ugliness. We moved like bastardizations of another man’s light, eager patrons of each other’s flaws, content to call this love. And it was love, in the Odd Future way—15 boys who knew beauty not as a look, but a looking past. We grew fluent in each other, like boys do; we grew too fluent in looking past.

II.

“I’m high and I’m Bi…wait I mean I’m straight” – Frank Ocean

I didn’t know, and I did, that I wanted to call boys beautiful in a whole other reckless way in 2012. But just as the trees of Swarthmore shrank from imagining me, so too could I not imagine who could love me that way; if I was indeed, that way. Being a teenager is mostly going to class and trying to decide what sorts of violence you are prepared to tolerate, and I was only really good at the latter. The first time I ever heard Tyler, the Creator rap I was, true to form, skipping class because I was “sick.” This wasn’t untrue, but rather than the vomit I was naming in a series of well-manicured emails that could only semi-plausibly come from somebody who had just finished vomiting, it was a sadness ricocheting from synapse to synapse—a drumbeat without a melody. There are few more pitiful lonelinesses than percussion in isolation. What I remember about listening to “Yonkers” for the first time has very little to do with the roach and everything to do with the way the Blacks and whites seemed to pulse in lock step with my temples. That, and the way Tyler said “fa**ot.”

Tyler, the Creator says “fa**ot” with the tenor of someone casting a curse they don’t want to believe is already spoiling somewhere in their marrow. I was a boy. I am a boy. I have heard the word because I am alive among the afraid. Tyler’s enunciation, though, was always that of a man who was rapping with a cleaver already lodged in his windpipe and he said each slur as if it were another quarter inch that the weapon could come out and we were invited to take the blade’s place. I am an American, I am always learning to justify. The distance between what someone says and what you want to believe they mean isn’t especially hard to traverse if you’re a freshman in college. If you’re just a witness to the knife it doesn’t take much to think he doesn’t mean you specifically.

It goes like this often in boyhood, unfortunately—proximity and tenderness are too often mistaken for each other. I became infatuated with Frank Ocean on the song “Super Rich Kids” in the summer of 2012 at a job where I was paid to sit in a room with my headphones on removing staples from the insurance files of long dead people. I didn’t know at first that Frank Ocean was part of Odd Future, content simply to hear someone else sing of the emptiness of rich folk that had alternately grounded or terrorized me all my life. Frank seemed to know what I knew, against all odds, that the rich have no children, only sad assets.

Looking back, it begins to make sense that someone who we could know so intimately to be in a group but not of it could produce a song like that. It was only the introduction of Earl Sweatshirt’s verse that tipped me to the reality that the two could be friends. I loved Odd Future and I loved Frank Ocean and had not known that, at least theoretically, to love one was also to love the other. Reading more about Ocean’s sexuality, I would stare at the videos for “She” and “Oldie” and wonder what was he doing around so many people who claimed to love him—and maybe even did—but spoke as if they might shank the boy he loved, too? The real question, true to form, was why was I doing the same?

The reality is that too much of boyhood is proving what you are not. When you’re Black somewhere that you’re not supposed to be more than theory, Blackness itself can become uncharacteristically rigid. Passing as straight was not as much of an active effort for me as it has been for some that I love. Really to sit and feign ignorance of my own bisexuality, to sit and listen to most of Odd Future call me out of my name was not especially difficult because I didn’t need to do much to pretend it wasn’t my name. That’s the thing about Odd Future level violence: some of it was so hyperbolic that I could neglect the crucial fact that when we imagine a violence, it brings it further into the realm of plausibility. To be around some folks in the collective as they spoke with fear about “that gay sh*t” or said “fa**ot” wasn’t as much a knife to the throat as it was a subscription service, a tax I could forget I was paying until it cost me.

After being almost implausibly different from the backdrop of the alma mater, I think we were all grateful for loyalty that demanded a different strain of assimilation from us. I am American, I am always learning how to justify. One of the many ways I wasn’t doing my job as the manager of the collective was that there wasn’t very much of an endgame outside the production of an album-length follow-up to a 2011 mixtape that was mediocre at best. I think, at some level, we were all invested in stasis. There’s an ecosystem to masculinity: what does not yet demand to be confronted can, at least theoretically, be endured. For some of the members from outside the college, as long as the album wasn’t done there was still always a place to sleep and people who found you useful and called it love. For some of us inside the college, we had a love from outside the suffocating loneliness in which we lived. We could ride with folks who looked like us and pretend we didn’t see or weren’t responsible for the violence they brought upon us and people we loved. We could pretend we were home. So long as the album was not done, nobody needed to know what I was, and I could be anyone and nobody would cast me out. Better, I thought, to be like Frank and have friends you must look past to love, who said fa**ot to pull you closer, to say “you are like us, so long as you are our ugly, we will not let you pass into the dark.”

III.

“And you don’t even have to look ‘cause we gleam obscene in the light” – Mike G
It seemed like Odd Future’s love for each other for many years was based on a simple, familiar logic: There is no greater love than to resolve never to be out-violenced in the name of those you love. This, to me, was the real magic of the video for “Oldie,” the final track on the last Odd Future mixtape. There’s an almost surreal collective innocence to the group as they wander around the set, shoving into each other with mischievous impatience to lip sync their assorted verses. It’s a simple concept on a simple beat, a collective that was already showing signs of inevitable fracture together and young, it could almost distract me from the very real effects of the violence weaving through the lyrics. Almost.

It is a privilege when a transgression can remain theoretical. It was a privilege to pretend that when Odd Future wrote extensively of the murder, rape, and dismemberment of women and queer people that they couldn’t be serious. Maybe they weren’t, but even if they weren’t, that’s not the point. The point is that Odd Future was a collective of young people for whom mental illness was a kind of superpower. When I was at the onset of my depression, depression seemed like a rarity in the Black communities I was from. To many, it still is. I felt like so many who look like me a sense of kinship with these boys who seemed, rather than choked and heavy from this unsustainable summer fevering through my brain, supercharged with their own ugly possibility. I was willing to do what I knew about beauty to stand in the Black and white of that a little longer. I looked past, and looked past, until I couldn’t. It was frighteningly easy to pretend that the deprivation of privilege that accompanied the surge of my depression precluded anyone suffering a similar season from having the power to commit the violence they described.

Surely, I justified, there was a way that this was persona, and persona alone. To a degree I was right, there is a level of persona to anything written, the space between imagination and utterance is often wide. But the imagination too is, for better or worse, a deeply personal thing. The violence of Odd Future lyrics then was not merely observed, but a sickness that, like depression, I was in conversation with and the longer I looked past, the longer I was only delaying acknowledgment the call was coming from deep inside the house. Which is to say my imagination itself was and is sick to be able to do the work of looking past, it is my ugliest thing and I am trying these days to reimagine what its health might look like.

What does one do when the inconceivable future becomes the consistent present? When the president’s casual speech is soaked and powered with a deeper violence than any the collective imagination of a bunch of Black teenagers, foraging for their place in violence, could conceive of? Jay-Z once said that he admired that Odd Future was the highly creative and vicious byproduct of years of systemic neglect who were now lashing out at what made them; how they are saying to America, “This is the son you made. Look at your son.” I used to like this idea a lot, tried to embody the best of it; a nation’s shame living a shameless life. For me, this seemed like it must be freedom because I was young and freedom seemed a monolithic prospect. You were free or you weren’t. Either you were the greatest threat to you or someone else was. This, of course, then the proof that in a nation dedicated to exploring every imaginable violence, where the Atlantic Slave Trade found root and queer people are murdered regularly, that there is no such thing as hyperbolic violence in America, there is merely Tuesday. I’m old enough now to know that I once wanted the worst of freedom, I tolerated violences upon myself and others in the name of being less lonely. I don’t think I’m special, just an American trying to be less so these days.

The lucky thing about being the same age as many of the members of Odd Future is that the story is, barring tragedy, not over. I’m cautiously optimistic in a world where Tyler, the Creator is openly gay but jokes about refusing to date Black men that one day we might simply be beautiful to each other. I don’t know what will happen, I can’t until I’m there. Many folks in the collective don’t talk anymore. I hope where all of us are from our various spectrums of sadness, isolation and complicity in masculinity and violence we’re moving towards the healing we needed from what we could not mend alone in each other. My depression is still, as it was at 19, an unsustainable summer and I am doing my work to divorce myself from the idea of it being a superpower. Rather, I’m listening to “Oldie” in the fall with an older man’s ear to take what I can from the best of imagination in better company, in more healing love. Beyond the window the trees are changing again. This autumn is welcome and may last all my life.

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Toots Hibbert performing at Hammersmith Palais, London in 1983.
Photo by David Corio/Redferns

Remembering Toots Hibbert

The best singers don’t need too many words to make their point. Otis Redding could let loose with a sad sad song like “Fa-fa-fa-fa-fa-fa-fa-fa-fa” and get you all in your feelings. Bob Marley got pulses pounding with his “Whoi-yoooo” rebel yell. Gregory Isaacs melted hearts with nothing more than a gentle sigh. Toots Hibbert, who died last Friday at the age of 77, could sing just about anything and make it sound good. One of the world's greatest vocalists in any genre, Toots paired his powerful voice with the understated harmonies of Raleigh Gordon and Jerry Mathias to form The Maytals, a vocal trinity that never followed fashion and remained relevant throughout the evolution of Jamaican music—from the ska era to rock steady straight through to reggae, a genre named after The Maytals' 1968 classic “Do The Reggay.”

Whether they were singing a sufferer’s selection (“Time Tough”), a churchical chant (“Hallelujah”), or the tender tale of a country wedding (“Sweet and Dandy”), The Maytals blew like a tropical storm raining sweat and tears. The lyrics to Six and Seven Books,” one of The Maytals' earliest hits, are pretty much just Toots listing the books of the Bible. “You have Genesis and Exodus,” he declares over a Studio One ska beat, “Leviticus and Numbers, Deuteronomy and Joshua, Judges and Ruth...” Having grown up singing in his parents' Seventh Day Adventist Church in the rural Jamaican town of May Pen, Toots knew the Good Book well.

The Maytals broke out worldwide in 1966 thanks to the song “Bam Bam,” which won Jamaica's first-ever Independence Festival Song Competition, held during the first week of August as the island nation celebrated both independence from Great Britain in 1862 and emancipation in 1834. They would go on to win the coveted title two more times, but “Bam Bam” was a singular song with a message every bit as powerful as Toots' voice. “I want you to know that I am the man," Toots sang. He was young and strong, ready to "fight for the right, not for the wrong." The trajectory of "Bam Bam" would not only transform Toots' life but make waves throughout popular music worldwide.

"Festival in Jamaica is very important to all Jamaicans," the veteran singer stated in a video interview this past summer while promoting his latest entry into the annual competition. "I must tell you that I won three festivals in Jamaica already, which is “Bam Bam,” “Sweet & Dandy” and “Pomp & Pride.” Toots described that first festival competition as a joyous occasion. "Everybody just want to hear a good song that their children can sing," he recalled. "Is like every artist could be a star."

In 2016, on the 50th anniversary of "Bam Bam" winning first place, Toots looked back over the legacy of the tune that made him a star. "I didn’t know what it means but it was a big deal," he told Boomshots. "You in the music business and you want to be on top and you write a good song and you go on this competition and if they like it then it becomes #1." After The Maytals won, the group was in demand not just all over the island, but all over the world. "We start fly out like a bird," he says with a laugh. "Fly over to London."

"Bam Bam" went on to inspire numerous cover versions, starting with Sister Nancy, Yellowman, and Pliers. It would also be sampled in numerous hip hop classics, and interpolated into Lauryn Hill's "Lost Ones." But according to Toots, he did not benefit financially from these endless cover versions. "People keep on singing it over and over and over, and they don’t even pay me a compliment," he told Boomshots. "I haven’t been collecting no money from that song all now."

 

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“This man don’t trouble no one... but if you trouble this man it will bring a Bam Bam” Original Maytals Classic @tootsmaytalsofficial 🎶 All them a talk, them nuh bad like Niya Fiya Ball ☄️🔥💥 via @tonyspreadlove . 💥💣🔫#Boomshots

A post shared by Word Sound & Power (@boomshots) on Sep 12, 2020 at 8:19am PDT

When Toots began singing in his parents' church, music was not seen as a career prospect, and the profits were slim for Jamaican recording artists in the 1960s. "Those days we get 14 cents for the record to play on the radio," Toots said. "I get three shillings and five shillings for a number one record, which I had 31 number one record in Jamaica... It’s not about money for me. It’s about the quality that Jamaicans need to go back in the festival jamboree... You gotta talk to the children."

On the poignant “54-46 (Was My Number),” Toots recalls the dehumanization of his arrest and 18-month imprisonment at Jamaica's Richmond Farm Correctional Center for what he always insisted was a trumped-up ganja charge just as his music career was taking off. The song's crescendo comes two minutes in when Toots breaks into a scat solo that cannot be translated into any language known to man, delivered with palpable passion that made his message universal. During Toots' ecstatic stage performances he would follow this riff by commanding his band to “Give it to me... one time!” Then the 'd make 'em say Uh!  (Way before Master P!) “Give it to me... two times!” Uh! Uh! And so on and so forth until Toots worked the place into a frenzy.

The Maytals' live show was so explosive that Toots began touring all over the world, opening for rock megastars like The Rolling Stones and The Who. While Bob Marley richly deserved the title King of Reggae, his friend Toots was performing internationally before The Wailers, and remained a force to be reckoned with throughout his life, blazing a trail for generations of reggae artists to follow in his footsteps.

On his Grammy-winning 2004 album True Love, Toots recorded some of his greatest hits with a host of legendary artists, many of whom were also good friends, including Willie Nelson, Mick Jagger, Keith Richards, Bonnie Raitt, Sheryl Crow, and Eric Clapton. His 2006 cover of Radiohead's "Let Down" was a favorite of the band's, who used to play it on their tour bus. Radiohead guitarist Jonny Greenwood called Toots’ version “truly astounding,” according to Easy Star Records Michael Goldwasser.

Toots supported himself and his family by touring all over the world. During a 2013 show in Richmond, Virginia he was singing John Denver's "Take Me Home Country Roads" when a teenager in the crowd threw a vodka bottle at the stage and hit him on the head. He suffered a concussion and had to stop touring for several years. As his first album in a decade, Got To Be Tough was highly anticipated when it was released on Trojan Jamaica label August 28. On the cover the former boxer and lifelong fighter can be seen throwing a punch. Just a day after the album dropped, Toots came down with symptoms similar to COVID 19. Within a few days he was hospitalized where doctors placed him into a medically induced coma from which he never recovered. As his Tidal obituary pointed out, he passed away exactly 33 years after his old friend Peter Tosh died by gunfire.

Songs like "Just Brutal" from the hit different now, with Toots pleading for more love in a world gone wrong. "We were brought here," Toots sings. "Sold out. Victimized brutally. Every time I keep remembering what my grandfather said before he died."

“I’m feeling alright,” Toots said the last time we spoke, while he was still sidelined with stress issues due to the bottle-throwing incident. "I’m feeling alright. I’m feeling alright. I’m feeling just cool because is Jah works. You seet?" I asked him if the song "Bam Bam," was about him—a peaceful man who should not be provoked—or else. "Nooo don't trouble him," Toots said with a laugh. "It’s gonna be double trouble, triple trouble. A lot of trouble."

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(L-R) Siobhan Francis, Tasha Dougé and Amneris Alvarado with piece “This Land is OUR Land” aka Justice
Photo By: Kay Hickman

In Celebration Of Juneteenth: Read 'we them people,' A New Poem By Kevin Powell

dream on

dreamer

the way Alvin Ailey

and Maya Angelou

and George Floyd

and Breonna Taylor

dreamed of

southern-baked

pilgrims

dancing and

slow marching

their sorrows

down the yellow

brick roads

of

second-line members

humming from

the heels of their dirt-kissed feet:

i wanna be ready/to put on my long white robe....

we are survivors

we are survivors

we are survivors

of people

who were free

and became slaves

of people

who were slaves

and became free

we know why the caged bird sings

we know what a redemption song brings

we them people

we the people

we are those people

who shall never forget

our ancestors all up in us as we sleep

our grandmother all up in us as we weep

because we are

native american

black irish welsh french german polish italian

jewish puerto rican mexican greek russian

dominican chinese japanese vietnamese

filipino korean arab middle eastern

we are biracial and we are multicultural

we are bicentennial and we are new millennial

we are essential and we are frontline we are everyday people and we are people everyday

we are #metoo we are #metoo we are #metoo

we are muslim christian hebrew too

we are bible torah koran atheist agnostic truer than true

we are rabbis and imams and preachers and yoruba priests

tap-dancing with buddhists and hindus and rastafarians

as the Nicholas Brothers

jump and jive and split the earth in half

while Chloe and Maud Arnold

them syncopated ladies

twist and shout and stomp and trump

hate

again—

again—

again—

yeah

still we rise still we surprise

like we got Judith Jamison’s crying solo in our eyes

every hello ain’t alone every good-bye ain’t gone

we are every tongue every nose every skin every color every face mask

we are mattered lives paint it black

we are mattered lives paint it black

we are mattered lives paint it black

we are every tattoo every piercing every drop of blood

every global flood

we are straight queer trans non-gender conforming

we are she/he/they

we are disabled abled poor rich

big people little people in between people

we are protesters pepper-sprayed with knees on our necks

we are protesters pepper-sprayed with knees on our necks

we are protesters pepper-sprayed with knees on our necks

we them people

we the people

we are those people

who will survive

these times

because we done

survived

those times

where pandemics were

trail of tears and lynchings and holocausts

where pandemics were

no hope and no vote and no freedom spoke

we them people

we the people

we are those people

while our planet gently weeps

we bob and bop

like hip-hop

across the tender bones

of those tear-stained photographs

to hand to

this generation

the next generation

those revelations

yeah

that blues suite

yeah

that peaceful dance

inside a raging tornado

we call

love

 

Saturday, June 6, 2020

5:37am

 

-

This poem is an exclusive excerpt from Kevin Powell’s new book When We Free The World, published by Apple Books. Kevin Powell is a poet, journalist, civil and human rights activist, and the author of 14 books. His next will be a biography of Tupac Shakur.

Photography by Kay Hickman

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Jay Electronica backstage at Brooklyn Bowl on May 31, 2018 in New York City.
Johnny Nunez

The Curious Case Of Jay Electronica

A year before Jay Electronica’s momentous 2010 Roc Nation signing, the hoopla surrounding his mystique was nearly deafening, but online music junkies, tastemakers and refined rap connoisseurs had already been intrigued by his persona and music for some time. His grand introduction came by way of Act 1: Eternal Sunshine (The Pledge), a 2007 Myspace release spanning 15 minutes over the course of one track. As if the novelty of rapping over drum free selections from Jon Brion’s film score of the same title wasn’t startling enough, listeners found heavy cosigns from Erykah Badu and Just Blaze that stressed this arrival as that of a pivotal juggernaut.

The greatest press release a mildly buzzing rapper could ask for at the time, voicemails from Roc-A-Fella’s production mastermind and Jay Electronica’s one-time romantic interest made him seem larger than life, with a mind greater than anything we had previously been exposed to. Contextualizing him as a pure-hearted artist capable of becoming a savior figure, it felt like we were being introduced to an extraterrestrial superhuman from Marvel’s cinematic universe. Left with the impression that we were lucky to even know about him via their reflections, this rollout was an organic dash of marketing genius that set the upstart’s career in motion before Twitter and other technological resources advanced hip-hop careers.

Though Jay Electronica went over a decade without releasing a full-length body of work until his recent formal debut A Written Testimony, invested fans were fortunate enough to discover older material through unofficial compilations found on blogs and file-sharing services. Many of his earliest musical visions were demo quality recordings that appeared to be unfinished though sporadically impressive, considering his performances were accentuated by production from Detroit guru Denaun Porter on top of hand-chosen recognizable beats from the late J. Dilla. Paying clear homage to the likes of Jay Z, Notorious B.I.G. and Nas, Jay Elec’s command of the microphone was enough for many to believe that his novelty would manifest into something special once he settled into a groove.

With the help of his well-established benefactor Just Blaze, the two years following Act 1: Eternal Sunshine (The Pledge)  made Jay Electronica one of the more widely touted and anticipated emcees since Canibus a decade prior. A deep dive into his earliest music uncovers a bit of untapped potential, but much of the work was haphazard and conceptually aimless until the earth-shattering “Exhibit A.” Initially released in conjunction with Guitar Center, the song felt like an apocalyptic harbinger that validated the praise that had been heaped upon the newcomer.

Dark and futuristic in nature, familiar followers were elated as this was a fully-realized production with improved audio quality. The song’s remix featured a latter-day Mos Def who was still sharp as ever, this collaboration bringing Jay even closer to acceptance and a place at the table with rap’s elite Jedi fold.

October 27, 2009, started the fateful chain of events that elevated Jay Electronica’s myth beyond reasonable expectations. Just Blaze premiered “Exhibit C” on Shade 45 and while it wasn’t a far stretch from the producer’s trademark sound (a classic soul loop accompanied by hyperactive drum patterns i.e. Jay-Z’s “Hovi Baby” and “Show Me What You Got”), it caught instant wildfire. Released as social media was beginning to sprout wings, the song became a moment forever etched in hip-hop’s ethos, setting a new standard and perhaps unfairly redefining how he’s been received since. Looking back, this was a perfect storm moment where preparation met opportunity, as the hook free barrage of upper echelon quasi-autobiographical rhymes (complete with mentions of encouragement from Nas and Diddy) sparked a frenzy in traditionalists already aggravated by autotune and Drake’s fusing the genre with R&B.

At a moment when the fervor surrounding him being spiked and hit a feverish peak, Jay Electronica’s next steps (or lack thereof) would throw his audience for a confounding loop while holding them entranced in the palm of his hand. Accustomed to a business model where record labels rush to capitalize on hot names and mold new stars out of clay, it became evident this was a one of a kind nomadic enigma who moved at his own pace. Unlike storied names such as Kid Hood, whose untimely passing came after impressing the world on A Tribe Called Quest’s “Scenario” remix, Jay Elec engaged the world in a tug of war between frustration and excitement making brief cameo appearances on songs or dropping a song intermittently before disappearing again. The past decade also found him in a short-lived love affair with an heiress to the UK’s upper-class Rothschild family, only adding to the culture’s confusion surrounding his mystique and every move.

Album done .

— J A Y E L E C T R O N I C A (@JayElectronica) February 7, 2020

“...my debut album featuring Hov man this is highway robbery”

— J A Y E L E C T R O N I C A (@JayElectronica) February 7, 2020

Recorded over 40 days and 40 nights, starting from Dec 26

— J A Y E L E C T R O N I C A (@JayElectronica) February 7, 2020

Releasing in 40 days

— J A Y E L E C T R O N I C A (@JayElectronica) February 7, 2020

Salivation and hunger for a full-length Jay Electronica project would spawn eventual restlessness and doubt, with his backstory remaining largely untold short of going down intricate internet rabbit holes and taking context clues from his music. Attention to detail uncovers his roots in New Orleans, residencies including Detroit, Philadelphia, New York and his steadfast devotion as a practicing follower under Louis Farrakhan’s Nation Of Islam, but the question remained: Would we ever be introduced to his fully fleshed-out visions, grounding philosophies and principles the way legends like Nas and Jay Z so expertly did with Illmatic and Reasonable Doubt? To everyone’s surprise, last month Jay Electronica exited seclusion to inform Twitter that an album had in fact been completed, this revelation even met with a bit of well-deserved skepticism.

In the short time since A Written Testimony world premiered on Instagram and Youtube via a studio session and its subsequent release to digital streaming platforms, the long-awaited release has already been met with passionate debate akin to “Ether” vs. “The Takeover” or any other topic rap passionates devote energy to. Stylistically a bridge between the influences of Five Percenter legends such as Rakim and New Orleans hometown heroes not limited to Soulja Slim, it would serve well to remember that Jay Electronica has rendered himself a magician, as his initial 2007 greetings displayed a fascination with the film The Prestige. By this logic, one could assume he initially set out to be an idea, a concept or a spectacle designed to inspire and exist outside of the conventional confines of the music industry.

With mixed reviews of his debut in mind, we’re left with new questions to consider: Did the initial hype and excitement amount to smoke and mirrors? With him still having Just Blaze’s public support, why is the album mostly made up of underdeveloped self-produced beats? Is Jay Electronica a hot business commodity and an investment for Roc Nation or is there an actual kinship with Jay-Z who guest stars throughout the effort?

Without question, Jay Electronica is one of the more complex personas we’ve come across in ages. There’s a noteworthy delivery and a sharp knack for writing in his newest verses, but the extended hesitation to develop into a polished act and deliver output suggests he may have never wanted this level of attention, to begin with. Though he remains shrouded in mystery, it’s a pretty safe bet that we’ll be watching his next act – that is, if he ever chooses to resurface in the public eye.

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