Amidst the global pandemic musicians continue to utilize their expression as a means of civil and artistic protest. Although performing has definitely become more difficult to execute safely, it is essential that we keep live music going. Music has been one of the biggest and longest platforms for black Americans to express their discontent with continued systemic oppression, and still continues to serve as an enormous platform in society today. This summer, for one of my UNC Asheville classes “Humanities 324: The Modern World,” I wrote a paper entitled “The Exploitation of Black Expression and Voice: Examining the Modernity and Postmodernity of Contemporary Black American Protest Music.” The launching point for my paper was Alan Scherstuhl’s New York Times article “Jazz is Built for Protests. Jon Batiste Is Taking It to the Streets.” In my post today, I’m going explore some of my arguments from that paper on the concepts of modernity and postmodernity, while tying in how musicians have managed to use their voices during the current pandemic to create community and unity.

First and foremost, I’ll address my working definitions of modernity and postmodernity. To me, modernity is the idea of breaking out of tradition, finding and preserving one’s sense of self, and innovating and transforming the internal and external attributes of society. Postmodernity, on the other hand, includes all of the attributes of modernity, but pushes even further to a higher level of consciousness, self awareness, and action. Postmodernity, would therefore include reinvention, a theme that we see more and more in contemporary American music. In posing the question in my Humanities paper, ‘is contemporary black American music both modern & postmodern?’ I argue yes. Forms of artistic expression have always been embedded within the modern world and we continue to see that expression today, defining us as living in a “modernity.” However, in 2020, there seems to be more of an overall increased population of ‘privilege’ or ‘class’ conscious white people, who have been reflecting upon the power dynamic between black and white artists, and that larger consciousness and skepticism seems to fit well into my definition of “postmodernity.” Many people are now positively overlapping the equality, individualism, and liberation ideals of modernity with a larger push for reinvention. This “reinvention” and collective recognition of music that was once used as a mechanism to oppress black Americans, could be considered a “postmodern” mindset. Modernity can be characterized by individualism, innovation, and a strong break of tradition. These modernist ideals have influenced all fields and activities within everyday life, drawing people to break standard expectations and mold their individual futures. In looking at the history of black Americans in the United States, music has been constantly used as a means to build collective unity and power, while also providing an opportunity for black individuals to discover their identity and sense of self. Postmodernity may refer to a newfound questioning or skepticism of these modern ways. This newfound “self-conscious” or deliberate use of black music as a means of truly shifting our systemically racist society can reflect the continued modernity and postmodernity of the 21st century. Musicians have the extreme power to convey their own emotions and reflect the times around them through their music, helping unify people who may otherwise be isolated. However, with the rise of cases of the coronavirus today, everyone has literally become physically isolated. This has made it often impossible to come together face-to-face and unify through collective musical performances. 

With that being said, Alan Scherstuhl’s article, “Jazz is Built for Protests. Jon Batiste Is Taking It to the Streets,” focused on jazz music and how it has acted and continues to act as a form of protest music, and can ultimately “lift anguish or outrage toward a collective joy.” Writer Alan Scherstuhl wrote about the renowned jazz pianist, Jon Batiste, who both marched and played his music at a series of Black Lives Matter protests in New York City. Black music directing people towards collectivity and progress is not a new concept. African Americans utilized work songs, protest songs, spirituals, and field hollers in the early stages of American history, as a means of individual and collective progression. White voices have been exploiting, suppressing, and silencing black voices for hundreds of years; nevertheless, black musical artists and creatives have managed to pervade through much of their cultural, commercial, and economic suppression. The repeated act of white people exploiting black voices has very much limited and removed the ability for black individuals to reconcile with their own identity and continue to fight for collective equality.

Within the article, Batiste proclaimed that “Four hundred and one years of people and their voices being completely marginalized has led to systemic racism and sexism that has been perpetuated even in our triumphs. The idea that we can have triumphs and also perpetuate toxic ideologies is a nuance that we have yet to explore in the public dialogue. But now there’s a chance for a real collective consciousness shifting.” Batiste’s statements emphasized the significance and implicit postmodernity of black music. In contemporary America, the amorphous quality of musical genres has in many ways mirrored the modernity and postmodernity of society. The genres of blues, ragtime, jazz, rock and roll, hip-hop, and rap, were all genres highly developed by black Americans. The democratization of music has helped more explorative music genres and significant historical music become accessible to various listeners. During these intense times, people are very fortunate to now have access to unlimited music on various platforms. However, many people like me believe that there can be something more unifying and collective about live performance (as we see in Batiste’s performance in NYC). As I’ve talked about in some of my previous posts, musicians and artists have been finding many alternative ways to hold live performances. Drive-in concerts, spacious outdoor concerts, and live streamed performances, are just some of the alternative types of performances people have begun to use more in our new “social distanced” reality. In Margaret Renkl’s New York Times article, “How to Keep Music (and One Another) Alive,” she talks about the dire need for musicians to continue to find ways to perform. Renkl said, “The real beauty of an in-person concert is the relationship between the audience and the performer, and among members of the audience.”

During the Coronavirus pandemic, it is nearly impossible to hold live performances and promote live artistic expression. Unlike 15 years ago, most people now have the ability to access any genre of music from anywhere in the world with the press of a button. But without live performances, will that be enough to continue to supply a platform for unity and individualism? Live performance and art has been essential to supplying power, unity, history, and context to previous protests and movements. 20th century musical artists Nina Simone, Sam Cooke, Marvin Gaye, Stevie Wonder, and Miles Davis are just a few of the black artists who have left a monumental impact on the musicality and structure of songs, as well as on the power of music in societal and cultural movements. Today, people continue to see musical artists meshing genres together to share their newfound art with the world. Some of the more recognized contemporary black musical artists like Jon Batiste, Childish Gambino, Rhiannon Giddens, Kendrick Lamar, Erykah Badu, Esperanza Spalding, Cecile McLorin Salvant, and Janelle Monaé, are all creating their own legacy with music that often holds layered social and political statements. Childish Gambino’s “This Is America,” calls attention to the devaluation of black Americans, and Kendrick Lamar’s “Alright,” also calls attention to the continued police brutality and violence towards black Americans.

Black music has truly been revolutionary, in the various ways in which it has transformed and pervaded cultural prejudices and norms. According to Scherstuhl’s article, “On June 12, Mr. Batiste opened his protest concert, part of a series called “We Are,” seated at an upright piano in front of the Barclays Center in Brooklyn, wearing a mask and bright-blue protective gloves. Unaccompanied, surrounded by hundreds of silent protesters, he dug deep into a song that he says demands reinvention: “The Star-Spangled Banner.’” Postmodernity not only includes the concept of innovation, but also the idea of reinvention. Batiste proposed to the people of the 21st century to not only create their own musical identity, but also for them to help reinvent some of the previous distasteful, yet frequently praised American music. This “reinvention” and collective recognition of music that was once used as a mechanism to oppress black Americans, can be considered “postmodern.” During Batiste’s performance, he was even reinventing the ways in which people perform live music in 2020. Amidst the Coronavirus Pandemic, it is a lot more dangerous to hold live performances and gatherings. However, Batiste utilized various safety precautions to reinvent and adapt to this new norm.

Since the murder of George Floyd on May 30, 2020, protests have filled the streets with many arguing for various forms of reformation. Many steps have begun to be taken by public officials and leaders in trying to address the generations of systemic oppression towards black Americans. Following the several nights of protest, many white musicians have also come out to take a stand on what they believe to be the way to make change within their artistic communities. For example, formerly named Lady Antebellum (now known as Lady A) and the Dixie Chicks (now known as The Chicks) changed their names as they believed that the names were in some ways condoning the beliefs that lived within the eras by which they were referencing. These artists’ sentiments to change their names can reflect the postmodernity and further “reinvention” or “self consciousness” of white Americans in helping lift black America, rather than suppress it. However, I do think it is important to consider that up until now, me and many others had never heard any critiques or pushback by black Americans of these band names. So is this really a constructive use of one’s voice in addressing black Americans concerns? Personally, I think a better tool was that of “The Chicks,” when they released their new single “March, March,” a song in which they used their white female voices and music to help lift and empower people of color (not just reconstructed their name).

A new band of prominent black artists, Dinner Party, also just released a new album addressing systemic racism and oppression. Made up of the artists, Kamasi Washington, Terrace Martin, Robert Glasper and 9th Wonder (Patrick Douthit), the group released a new single entitled “Freeze Tag” that addressed police brutality and racism. Within the Pittsburgh Post Gazette article, “How a jazz/hip-hop supergroup makes protest sound like Marvin Gaye,” Robert Glasper said, “It’s a protest album but also not. You can listen to it and not feel like you’re watching the news. When people write songs about police brutality, often it’s more of a hardcore rap where you can feel the anger. We came from a Marvin Gaye standpoint where the music and vibe is calm, but the message is: ‘What are you doing? Come on.’ You can do it in a way to let people know ‘I’m just trying to live life and make it to next summer.’” Music groups like these are powerfully continuing to use their voices and expression as a platform to address systemic societal issues.

As a singer-songwriter myself, I’ve written many songs that subtly and/or loudly address sexism and the oppression of women. For me, my music is my way to communicate and express my own life experiences, whether those experiences were positive or negative. All artists, especially songwriters, should utilize their own experiences and respectfully observe those of their peers, to help elevate one’s own experiences and the experiences of their peers. Alan Scherstuhl’s article, “Jazz is Built for Protests. Jon Batiste Is Taking It to the Streets,” can help remind Americans of the sincere significance of black music in America. As Jon Batiste said, “Now there’s a chance for a real collective consciousness shifting.” The increased population of white people who recognize the generational exploitation of black individuals, will be essential in helping contemporary black artists and music continue to thrive. In the 21st century, musicians and artists need to continue to utilize their expression like Batiste, in order to help reinvent and move forward from the detrimental historical oppression of black artistic voices. We can continue to live in a more productive modern and postmodern world only if musicians continue to use their musical identities as a constructive means of protest and thought.

Bibliography – 

Scherstuhl, Alan. “Jazz is Built for Protests. Jon Batiste Is Taking It to the Streets.” https://www.nytimes.com/2020/06/24/arts/music/jon-batiste-jazz-protests.html. New York Times, June 24, 2020. Web. Accessed June 26, 2020.

Brown, August. “How a jazz/hip-hop supergroup makes protest sound like Marvin Gaye.” https://www.post-gazette.com/ae/music/2020/07/21/Dinner-Party-Freeze-Tag-jazz-hip-hop-George-Floyd-Kendrick-Lamar-Marvin-Gaye/stories/202007220006. Pittsburgh Post Gazette. July 21, 2020. Web. Accessed July 24, 2020.

Blistein, Jon. “Robert Glasper, Terrace Martin, Kamasi Washington, 9th Wonder Debut New Supergroup Dinner Party.” https://www.rollingstone.com/music/music-news/robert-glasper-terrace-martin-kamasi-washington-9th-wonder-dinner-party-supergroup-1019966/. Rolling Stone. June 25, 2020. Web. Accessed July 25, 2020.

Renkl, Margaret. “How to Keep Music (and One Another) Alive.” https://www.nytimes.com/2020/07/05/opinion/coronavirus-chase-rice-country-music.html. The New York Times. July 5, 2020. Web. Accessed July 25, 2020.

Jenkins, Craig. “It Wouldn’t Be ‘The Chicks’ If Their Comeback Didn’t Piss Off Some People.” https://www.vulture.com/2020/06/dixie-chicks-name-change-march-march-review.html. Vulture. June 25, 2020. Web. Accessed July, 26.