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Do You Hear Me Now Black Male Vulnerability Don Cornelius Soul Train

February 7, 2012 – 8:51 am | 5 Comments |

I cowered at the revelation that our soul brother number one, musical architect Don Cornelius, whose funky good time was always buoyed by a distinguished gentleman aesthetic, had taken his own life. Not by a pill popping escapade gone woefully astray, but rather a volatile projectile to the dome. This was personal. A profound proclamation of sadness with a mountainous burden: Do you hear me now?

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Killer Mike Fahamu Pecou Summon Henry Ossawa Tanner On Rap Music Album Cover

Submitted by From Afros To Shelltoes on February 15, 2012 – 4:08 pmNo Comment |

Hip hop heads get a bad rap…literally. Simple-minded critics are all too fixated on his moniker, which is an extended metaphor itself, to offer any cogent analysis on the loaded subtext permeating the cultural productions of Grammy winning artist Killer Mike. Yes, he is a spit -fire rap phenomenon who peppers his lyrics with unnerving truths. But, Mike is also a thinking man who can expound on the comic relief in Shakespearean tragedies, list Zora Neale Hurston as one of his favorite authors, and break down notions of black identity comprising the work of painter Henry Ossawa Tanner.

While media outlets have lauded his EL-P produced new single “Big Beast” (feat Bun B, T.I. and Trouble), all of them have missed Mike’s larger instructive purpose. Bold black art unafraid of its b-boy stance. Instead of employing the magic of photoshop, brother Mike hired internationally acclaimed painter Fahamu Pecou, whose work is a creative dance between classic stereotypes and new visions for black male masculinity, to create a piece of fine art for his new album R.A.P. (Rebellious African People) Music. In an exclusive interview with From Afros To Shelltoes, Mike and Pecou explain how their artistic love fest will change the game.

Killer Mike on Fahamu Pecou as told to Ed Garnes:

“My album is titled R.A.P.(Rebellious African People) Music. But, the album is really not about rap at all. The album is about how the voices of the oppressed, whether in jazz, literature, or fine art, are often suppressed and part of a bigger art struggle. I was very deliberate in choosing Fahamu Pecou to paint… not just design or illustrate… my album cover. I wanted him to be my own personal Henry Ossawa Tanner, who was one of the first black painters to have international fame. Like Tanner, Fahamu is a realist painter who can give your fictionalized portrayal and also classic Americana. Fahamu has the brain of Andy Warhol, Jean- Michel Basquiat, and Norman Rockwell with the flair of P. Diddy. He is greatest painter of modern times and should be a100 millionaire because his work is that important. Atlanta is now known as a money city with entertainment and strip clubs. But, Atlanta, for over 100 years, has been a city of cultural significance to the worlds of art and music. There is a deep importance in an Atlanta painter doing a piece for one of the city’s own for the greater good of the community. This is truly arts, beats, and life. “

Fahamu Pecou on Killer Mike as told to Ed Garnes:

“I’ve long been a fan of Killer Mike, not just as an artist, but also as an activist and someone who puts his message where his music is. I was honored that he asked me to do the artwork for this project, especially because I know him to be someone who is an avid collector and appreciator of fine art. I also appreciate that Mike keeps it 100! He makes music that paints a vivid picture of the complexities of black culture. He’s as authentic in his lyrics as he is in his living. When I first heard the album, I recognized instantly that this was a project that would change the game. The message, the passion and the power resonated with a lot of the ideas and issues I approach in my own work. My work deals with concerns of black masculinity and popular culture. Similarly, what Mike does as a rap artist is often in direct challenge and confrontation with the entertainment industry. I salute the brother Killer Mike for the message in his music and the commitment in his living that seeks to empower black people and elevate our thinking as well as our collective vision.”