The Free Black Artist: Frank Ocean Through a Decolonial Lens
This paper examines the historical degradation of Black artists in the music industry as a form of neocolonialism wrought by largely White-owned parent companies. Using Frank Ocean's 2016 rebellion against Def Jam Recordings and the GRAMMYs, this paper uplifts Ocean as a model for the liberatio...
| Published in: | Black theology |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Routledge, Taylor and Francis Group
[2019]
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| In: |
Black theology
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| IxTheo Classification: | KBQ North America NBE Anthropology |
| Further subjects: | B
Decolonial
B Frank Ocean B Neocolonialism B music industry B GRAMMYS B Hip Hop |
| Online Access: |
Volltext (Verlag) |
| Summary: | This paper examines the historical degradation of Black artists in the music industry as a form of neocolonialism wrought by largely White-owned parent companies. Using Frank Ocean's 2016 rebellion against Def Jam Recordings and the GRAMMYs, this paper uplifts Ocean as a model for the liberation of other Black artists. This paper employs a decolonial approach that reads Negritude thinkers Aimé Césaire and Frantz Fanon and theologian Kelly Brown Douglas through the lens of Ocean's actions and artistry as a means to envision new possibilities for the disruption and destruction of neocolonial structures and the affirmation of Black lives as sacred. |
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| ISSN: | 1743-1670 |
| Contains: | Enthalten in: Black theology
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| Persistent identifiers: | DOI: 10.1080/14769948.2019.1554329 |