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...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
Routledge, Taylor and Francis Group
[2019]
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In: |
Black theology
Year: 2019, Volume: 17, Issue: 1, Pages: 52-68 |
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 |