by Janina Strohbecke

Although it is not musicians’ job to educate people on permeating global issues, the construction and diction of their songs create an art form that places a mirror to society. While we are currently facing the pandemic of Coronavirus, it is important to recognise that the pandemic of racism is still prevalent in this world, one that cannot be ignored. This ongoing fight against systemic racism is not only heard in the chants of street protesters, but also in music. By exploring music by artists from different backgrounds and genres, one can recognise how they approach the same topic differently while interpreting it using their individual songs and lyrics.

The Playlist:

“Fight The Power” - Public Enemy (1989)
“Hell You Talmbout” - Janelle Monae ft. Wondaland Records (2015)
“Untouchable” - Eminem (2017)
“Nina Cried Power” - Hozier ft. Mavis Staples (2018)

Black artists have played a significant role in shaping music, from genres like blues and jazz to hip-hop. Verse by verse, literally or metaphorically, an artist uses their songs and lyrics to vocalize their message. Many of these artists use music as a form of protest art, containing unapologetically honest lyrics about racial injustice. Public Enemy’s “Fight the Power” (1989) has been an anthem used to protest against racism for decades. This political hip-hop song was delivered by Chuck D, who maintains a confrontational and dynamic tone throughout the whole rap. The leitmotif and force of the beat effectively represent the anger and appeal of Public Enemy for an urgent and serious change in systemic racism. Lyrics of social critique like,“What we need is awareness, we can’t get careless”, demands people’s involvement against racial inequality, to inspire (“I'm ready and hyped plus I'm amped”) and inform. Public Enemy produced “Fight the Power” with the inclusion of impressive funk and jazz track samples, which surge throughout the song, alluding to other black artists like James Brown and his song “Say it Loud - I’m Black and I’m Proud”. The rhythmic flow is created through inner rhyme to pervade the candid message of “Fight the Power”. Public Enemy’s bluntness grips listeners to confront the lack of social awareness on racial prejudice.

“We got to pump the stuff to make ya tough/ From the heart/ It’s a start, a work of art/ To revolutionize make a change nothing’s strange/ People, people we are the same/ No we’re not the same/ ‘Cause we don’t know the game”

The same overwhelming power is seen in Janelle Monae’s song “Hell You Talmbout”. However, what makes this track differ from “Fight The Power” is the undeniable intensity it receives from its simple construction. It confronts listeners by exclaiming the names of Black Americans, who were victims of racially motivated police brutality. Individuals’ grieving vocals alternate to repeat “say his/her name” as they chant names of these black victims of systemic racism and police violence over a consistent marching drumline. This song is similar to slam poetry, a megaphone to protest and pay tribute. The chanting and accents of gospel deliberately highlight the frustration and suffering of African-Americans being mistreated and discriminated against throughout history. This hard-hitting and effective lyrical repetition addresses the societal issues of racial injustice.

“Walter Scott, Jerame Reid, Philip White, Eric Garner, Trayvon Martin, Sean Bell, Freddie Gray, Aiyana Jones, Sandra Bland, Kimani Gray, John Crawford, Michael Brown, Miriam Carey, Sharonda Singleton, Emmett Till, Tommy Yancy, Jordan Baker, Amadou Diallo… ”

An underlying topic within the protest against racism is the subject of white privilege. Eminem’s politically-charged and punk-rock inspired track “Untouchable” raises the subject of his own privileged status. His attack on white privilege seamlessly interweaves through his lyrical rhyming scheme. The multiple perspectives and characters in “Untouchable” taps into Eminem’s previous works, with conversations of an exchange between an African-American and a white cop: “Hands up, officer don't shoot/ Then pull your pants up, promise you won't loot”. Eminem first raps as a racist white cop: “Black boy, black boy, we ain't gonna lie to you [...] we don't like the sight of you/ Pull up on the side of you/ Window rolled down, 'profile'”. This perspective demonstrates racial profiling and prejudice where African Americans are stereotyped as drug dealers “[p]robably comin' from the dope house”. Eminem reflects on his white privilege by acknowledging “[...] having black-skin is risky/ 'Cause this keeps happening/ Throughout history, African-Americans have been treated like shit/ And I admit, there have been times where it's been embarrassin' to be a/ White boy”. Throughout the song, Eminem continues to interrogate and critique the issues. Furthermore, he suggests possible solutions to issues of police brutality: “I wonder if we hire more black cops, the crap stops [...]”. How do listeners respond to these different perspectives?

“White boy, white boy, you’re untouchable/ The world’s coming to an end, I don’t even care/ Nobody can tell me shit ‘cause I’m a big rockstar/ Black boy, black boy, we don’t get your culture and/ We don’t care what our government’s done to f*ck you over, man.”

In stark contrast, Hozier’s poised and powerful voice in “Nina Cried Power” was inspired by other artists who made protest songs against racial inequality: Nina Simone, Bob Dylan and James Brown to name a few. Compared to the aforementioned songs, this more mellow and alternative/indie song still blares the anthem of change. Choir singers in harmonious unity convey a deep emotion that allows the voices crying power to be heard. Hozier clearly reiterates throughout the track that “it's not the song, it is the singing” that has the power to make an impact. Furthemore, the chanting and singing at “Black Lives Matter” movements are where the protests are “rising” against racial discrimination and injustice. Along with Hozier, the soulful vocal backing is empowering as they repeatedly “cried power”. “Power has been cried by those stronger than me” is a line where Hozier pays homage to protesters and activists who fought for civil rights. What stands out about “Nina Cried Power” is Hozier’s approach, where lyrics are a commentary on the influence and importance of people to continue fighting against racism.

“James Brown cried power/ Seeger cried power/ Woman cried power/ Yeah ah, power/ James cried power/ Millie cried power/ Kenny cried power/ Billie, power/ Dylan, power/ Woody, power/ Nina cried power.”

The songs mentioned are, of course, only the tip of the iceberg of what needs to be said and addressed about systemic racism and the unjust treatment of the Black community; following George Floyd’s death, they are all necessary listens and just as relevant today. The lyrics of all four songs are not shrouded in metaphors, which emphasizes the awareness that each artist has about racism and inequality. Topical subjects for protest such as discrimination and white privilege show that these songs are highly contemplative. Engagement with these protest songs is accessible to any listener and thus should be acknowledged as people continue to battle for justice and racial equality.