Battle of the Afrocentric Albums: Diaspora vs. The Gift Album
Congratulations daughters and sons of Africa, “we’ve finally made it”.
By “we” I mean you lot who are first generation African kids, whose parents immigrated to the far west. The ones who can trace their bloodline right back to their parents, parents birth place and tribe. And of course, by “made it”, I mean, we’ve passed the painfully mind-boggling threshold of being acknowledged and moderately accepted by our skin folk of the western world – Caribbean and African-Americans alike.
Gone are the days where we’d hide our unique cultures and only speak about where we are from when we are around other Africans, as a safety precaution. In case you happened to be getting teased as an African booty scratcher and another African who was from your country was around, you could double team and begin to throw insults around without your bully’s comprehension, the words “kwasia” and “óde“ never sounded so sweet.
Whether we knew about our sauce back then and were too afraid to step into our power or were representing our countries the entire time, there is no greater time than to be a millennial African than right now. It seems American rappers and R&B artists, the likes of whose culture we grew up admiring and listening to have taken an ancestral journey all the way back to the creator of it all, Queen Mama Africa.
di·as·po·ra /dīˈaspərə/
- people settled far from their ancestral homelands
“Goldlink is a Black work of art”
– Goldlink (“Yard”, Diaspora, 2019)
I hate to prematurely dub bars as double entredras but hear me out. Goldlink, is not only a Black work of art in theory as an artist and in physicality (whew chile), his artistry also parallels as a golden link to all forms of Black art birthed directly out of the continent or created by it’s global sub-sectors.
Born and breed in the tri-state, D.C native does an exceptional job piecing together a body of work that draws upon the genre of Go-go music (a sub genre of funk music derived out of the late 70’s).
The track I feel like is the most heavily afrobeat inspired is “Zulu Screams” featuring British-Nigerian afrobeat artist, who hope’s his Ghana girl can cook waakye, Maleek Berry and Congolese’s own, Bibi Bourelly singing in Lingala during the bridge. Other than being a sure fire bop, the song title adds another even other element of Africa paying homage to the South African Zulu tribe.
“Diaspora was inspired by universal blackness. My inspirations have changed drastically, naturally because I was able to be exposed to more globally. D.C. is still the root of all my success as far as perspective, but I wanted to create a bridge between cultures around the world. It’s important because we’re 6-8 generations removed from where we started from. It’s about time we turn around and bridge that gap before it becomes 15-17 generations removed, and we have to do the work of interconnectivity before it’s too late.”
Shortly after we are seamlessly transitioned to the latter half of the album that evidently adds sounds of the Caribbean diasporas. The most obvious ode to Jamaica would be a song titled Yard, accompanied by Haile the west London group Wstrn. Reggae rhythms continue through “No Lie” featuring Nigerian master mind Wizkid, who takes the feels one step further singing vibes on the hook that are either in patois or pidgin (or both – I’m asking, really). Honorable mentions include an on brand Pusha-T coke flipping verse and a great Tyler the Creator feature verse.‘Link’s cover art centers the sun-kissed Justine Skye, with shades that to me resemble Genevieve’s in an early Nollywood film - Black work of art, indeed.
“You’re part of something way bigger… Bigger than you, Bigger than we…Bigger than the picture they framed us to see but now we see it, and it ain’t no secret.”
- Beyoncé (“Bigger”, The Gift Album, 2019)
It’s important to note that latest Bey album is not the remake Lion King’s official soundtrack but her contribution to the film and project incorporating sounds she believes speak to the diversity and beauty of Africa. We all grew up loving Disney’s The Lion King, as black kids all over the world. We knew where the movie took place and where such safari animals are from so even though the movie didn’t feature Black cartoon characters like say The Cleveland Show, it was a classic film to us. Now, to every African or afrobeat enthusiast, the track list alone was enough to put your hands on your head like an Aki and Pawpaw meme.
Due to the two and a half day anticipation of this project and that list, my expectations were high. A lot higher than the Goldlink release and with high expectations come high(er) disappointments. I haven’t had enough time to sit with the project, but after 4 listens over the past few days, I could confidently say I’ve got about a top 5 (whispers top 5, top 5, top 5) favourites that will probably make way to my every day playlist.
“Bigger” is a necessary opener, “ Find Your Way Back” and even better follow up, “Don’t Jealous Me” (shout out to Tolulope Ogunmefun, shieeet) – great, Burna Boy did what he had to do – lovely, but I’m not moved until “MOOD 4EVA”, which is about halfway through the project. I can envision a slow but steady twerk to this one already and what’s a Beyoncé album without a immaculate Jay verse. Although, I wonder how many Fela Kuti name drop bars we gon’ get from Jay, I almost anticipated this one. Are there no other iconic African artists? Now that Mansa Musa line isn’t as common, but he’s spit similar before (See: The Devil Is A Lie). Nonetheless, we get about 1.5 Jay-Z features a year and each one makes for a glorious day. That Nipsey Hussle, “ “real kings never die, we multiply” is an infamous Jay line “I arrived on the day Fred Hampton died, real n*ggas just multiply” – a flip if you will #TMC.
I wish I had a song like BROWN SKIN GIRL when I was younger. If I had this song when I was growing up, things might have turned out differently for me, I mean probably not but it would have hit in my MSN display name, amongst all the “bright light” and “black-a-nese” stuff that was going on. That song is so incredibly uplifting and beautiful and Blue Ivy and –ahhh. Lupita and Kelly Rowland and every other beautiful dark skin that was mentioned gave me the feels. Wizkid’s verses and vocals are not to be overlooked especially the fact that Bey was harmonising with him and not the other way around. AFRICA WE IN THIS *Kawhi voice * BAYBEEEEE.
One time for the one time, shout of Shattawale *pam, pam, pam* on “ALREADY” #GHSTANDUP. It’s an exceptional performance and a proud moment of excellence, amidst the vast majority of Nigerian artists on the album. Ghanaians got that one count in by Mr. Eazi on “DON’T JEALOUS ME” and that was about it, although our presence was heard in and out the album, the Shatta feature was direct. He’s a Ghanaian dancehall artist for anyone who isn’t aware or was confused, don’t be alarmed - they exist too. I for one would have liked to see Sarkodie on a track but I guess, for lack of a better phrase, beggars can’t be choosers. Also, where was Davido? Honorable mentions, Tierra Whack the force to be reckoned on “MY POWER” verse, “KEYS TO THE KINGDOM”, and “SCAR”.
The GOOD
I couldn’t front and act like the recognition and acknowledgment from the western world isn’t flattering. Both Goldlink and Beyoncé managed to remain themselves and commendably deliver bodies of work that infused sounds from elsewhere. Neither album felt too far-gone or “off”, in authenticity and sound, to me.
Also, Wizkid’s artistry is undeniable at this point. He was featured on both projects like an African music stamp of approval.
The BAD
The fact that I’m moved in the slightest that artists that aren’t African decided to make music for and by the continent is telling. An African-American’s culture or upbringing is completing different than mine. Rappers and singers in North America don’t look to African artists from the continent for approval of their music, and fans don’t seek approval from African kids. I’d hope that with the afrobeat takeover African artists are doing the same in not seeking approval elsewhere, and neither are we – the fans.
THE…IN BETWEEN
I don’t think any of is “cultural appropriation” so y’all bugging with ‘em think pieces and tweets. African Americans aren’t stealing a culture and repacking it as their own, they are simply inspired by art and even inviting artists of that specific art form to join them in creation - very different stuff people.
It’s fair to feel like your culture is being cheapened or made to enjoy by the masses, but most things created with a “for everyone” label are cheapened like drug store skin care or cultural fast food joints. It doesn’t mean the commodity is any less enjoyable, it just means you shouldn’t expect the most authentic or quality product upon purchase.
What’s great about albums like these, I think, are it provides one’s take on their experience of Black music without discrediting or undermining another. What you believe is a universal Black sound is different to what another might believe and both takes are valid. No one hold’s a keycard to some arbitrary top-secret safe that withholds the receipt to authentic Black music. If this is Goldlink’s ear to his version of universal blackness versus Beyonce’s love letter to Africa, they are both bridging gaps for us all.
We could argue “this ain’t it” and “this isn’t African – enough” but what’s African to you may not be to someone else, and heck some African-Americans are probably still trying understand where this wave came from all together. The nerve of us African’s to not be itching to scratch are bottoms in public and be the bud of the joke any longer. One thing’s for sure though, I’m excited about all this desire to return home… see y’all in December #yearofreturn.
