…And I bought it legally on Amazon, so I feel less bad about sharing links to the full album. They deserve my monies.
Amazing line, amazing song, amazing artist, ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
It’s a good sign that D’Angelo does not see himself as the black Messiah. But to quote Jay Z, this is black superhero music. And in a multitude of ways. From having the album channel the pantheon of black artists before him to the black fists in the cover artwork to the album title to the political nature of some of the songs, to simply new D’Angelo, it’s what people need right now. Even if D’Angelo’s not a hero, the act of releasing Black Messiah when he did feels heroic. Because it’s giving his culture a sorely needed boost.
It’s rare that the public needs a record more than the artist does. One may think D’Angelo’s legacy was in dire need of a jolt, but no more so than the rest of us. It’s almost as if D’Angelo looked around at society and felt like it was time.
(via the dopest ethiopienne)
Also I’m here for this sibling awesomeness.
“Anaconda” shifts the common narrative of a man conquering female bodies to Minaj’s own stories of sexcapades without apologies. Towards the end, the only man in the video appears: Drake, seated in the middle of an empty room with roaming spotlights and Minaj treating him to a lap dance. In the final seconds, he reaches to touch Minaj’s ass after she had been flaunting it in his face, and she immediately swats his hand and struts away. Her body belongs to her, and she can twerk it and work it however she pleases, and she doesn’t owe anything to anyone.
(via because i am a woman)