JESUS, The Good News and Beyonce
As the dust settles after the spectacle of the Super Bowl, it's hard not to reflect on the myriad of sensations and spectacles that unfolded on screen. The commercials, always a cultural barometer, reflected a peculiar mix of consumerism, nostalgia, and attempts at social commentary. Yet, amidst the glitz and glamor, there was an uncomfortable undercurrent. The apparent celebration of Christian nationalism, the NFL's missionary endeavors in Africa, and the larger-than-life performances by Usher Raymond and Beyoncé all seemed to underscore a sense of unease, a discomfort with the intersection of entertainment, politics, and global affairs.
Meanwhile, as the world indulged in this extravagant display, reality outside the bubble remained stark. Unseasonably warm temperatures hint at the looming specter of climate change, while news of raids in Rafah serves as a grim reminder of ongoing conflicts and injustices. And to add to the surreal atmosphere, the unsettling news of a criminal vying for the highest office in the land only adds to the sense of disquiet. Finding comfort amidst such chaos becomes an increasingly elusive pursuit in a world where the lines between spectacle and substance blur ever more.
For weeks, I prepared to work on getting my high notes for Usher's Superstar Solo during the Halftime show, in which the whole room agreed that I could have stepped In with the Microphone gone out a couple of times. I was working on my Dance moves in case my friends decided to let me join in on the concert for an encore. Sadly, there was no encore. We all tuned back into a very entertaining football game. I try not to be overly obsessed with messaging and staging of work, but I couldn't believe my eyes during the Super Bowl. I had a strange urge to sit and reflect on a Few Commercials and how troubling the merging of some of the terroristic experiences from history and the bible have morphed into a crushed-up pill form wrapped in millions of dollars consumed and called business. During the five hours, I spent with friends, my mind drifted back to the first commercial I saw—an advertisement for the latest installment in the Planet of the Apes franchise. It triggered childhood memories, stirring up a realization that this film legacy, which I once admired, might have darker origins.
I couldn't shake the feeling that it was somehow connected to the insidious roots of racist propaganda dating back to 1919 with the release of "Birth of a Nation. President Woodrow Wilson famously screened the film at the White House and allegedly called it "history written with lightning." This endorsement further solidified its controversial legacy. I wrote that sentence so politically correct. What I meant to say is that this film and its reboots are attached from the bowels of Birth Of Nation, and it Is just some sick depiction of white folks' dystopic view of Afro-futurism. "Planet of the Apes" is a science fiction franchise that originated with the novel "La Planète des Singes" by French author Pierre Boulle in 1963. The story follows a group of astronauts who land on a planet where intelligent apes dominate society while humans are relegated to a primitive existence. The franchise gained immense popularity with the release of the 1968 film adaptation starring Charlton Heston (Moses/ the NRA GUY), which spawned multiple sequels, reboots, and adaptations across various media formats. Throughout the film's legacy, we have eight films that could be a coincidence, but they always seem to be attached to some event tied to racial tension on a global scale. In 1963, we had the historic March on Washington. From the television perspective, it was a significant convergence of people demanding rights. In 1963, Nigeria became a republic. While all this is happening, some French guy is writing about astronauts going to another planet controlled Only by Apes. Doesn't that seem suspicious? I was going to write a whole essay on why the Planet of the Apes was racist, but if you have gotten this far in my post, You would think that something else would compete with that, but it continues to be a sore thumb.
Given that Afro-futurism has morphed from just an artistic expression of our existence in the future to the newly altered idea of Moderation and what is to come. Do we own the term Afro-futurism? It was coined by someone who is white. It is so popular because it was assigned to us. I mean, just food for thought. As far as these Planets of the Apes films are concerned, the new one comes out in May, five months from the finale of American democracy. I can not Unsee that people are propagating the fears of the white subconscious with a rugged view of the future if left to the apes. Trust me in outlining this: I thought deeply and hard about being a researcher and drawing the lines for you, but alas, that's a lot to do, and I need more time. This isn't the essay to do that.
Not only were the film commercials repulsive to me, but I was also appalled by the auction block where the National Football League sold Jesus this past Sunday. Like any shrewd businessman, we could discern that for 104 years, the League will peddle nearly anything to boost viewership. It's alarming that the NFL is exploiting the likeness of our Jewish Palestinian brother Jesus to endorse their new missionary endeavors, further entrenching themselves with Christian Nationalist agendas aimed at homogenizing diverse identities. Those commercials about faith and 'He Gets Us' felt like the NFL created a big messy shit and used the cheapest one-ply toilet paper to wipe away the rhetoric Christian Nationalists have been promoting for the last four decades.
I'm very aware that it's someone reading this, and they are saying he doesn't believe in Jesus and he isn't Christian. BLAH blah blah, yes, you have me figured out before we depart. So, I've been noticing this guy on social media lately—a black man running a nonprofit in Africa. He's all about Christianity, working with young men, and hey, that's great, right? But then I found out they're playing American Football. And in one of his TikToks, he called himself the "Greek Slave reference." It made me cringe because it seems like someone taught him to romanticize the language of slavery, all in the name of Jesus. But come on, Jesus wanted us to be free. Let's do the math here. I can't shake off the feeling that there's a clear agenda at play, retrofitting the history of the transatlantic slave trade. Are those NFL commercials promoting their nonprofit work on a global scale? They're blitzing through, pushing this message: "Give us your body, and you can be a millionaire." It's unsettling, to say the least. I remember a book saying they gave us the Bible and Took the land. I'm saying now. There will be a new revival of the transatlantic slave trade, just this time with jets.
Where is the Good News?
Usher Raymond's performance was an electrifying celebration reminiscent of the greats who have paved the way before him. Much like Maya Angelou, who often spoke of bringing her community with her to the stage, Usher honored those who came before him with a profound sense of reverence. As he took the spotlight, one could almost feel the presence of icons like Cab Calloway, Little Richard, Prince, Michael
Jackson, and the incomparable James Brown.
Each note echoed these legends' spirit, guiding Usher's movements and infusing his performance with a timeless energy.
Watching Usher on stage, it was as if I had been transported back to my youthful days, eagerly absorbing every detail of music videos and performances, soaking in the essence of what it means to be a fan. His homage to the musical luminaries who have shaped our cultural landscape was not just a performance but a journey through the annals of music history. In the heart of Atlanta, Usher brought together generations of music lovers on this particular night, creating an atmosphere of joy and nostalgia that lingered in the air long after the final notes had faded.
For the city of Atlanta, Usher's performance was more than just a concert; it was a moment of pride and celebration. As he paid tribute to the legends who have left an indelible mark on the world of music, he also reaffirmed Atlanta's place as a hub of artistic excellence and innovation.
Through his dynamic performance, Usher entertained and honored the city's rich musical heritage, ensuring that its legacy will continue to inspire generations to come.
Beyoncé, a force of nature in the world of music, persists in channeling the depths of her spirit. She captivatingly captures audiences with her unwavering determination to reclaim all that has been unjustly taken from her. She demonstrates unparalleled resilience with each performance and album, transcending boundaries and expectations. She is making significant progress in defying expectations and standing out from the crowd, especially with her dynamic and captivating presence in the commercials.
While I may not necessarily align with Jay-Z's approach of publicly advocating for appreciation of his wife's talents, I can comprehend its strategic intent. In the grand scheme of music history, setting records and solidifying legacies often requires more than just raw talent—it necessitates shrewd maneuvers and calculated moves. By advocating for Beyoncé's recognition, Jay-Z isn't just promoting his spouse; he's actively shaping the narrative, ensuring her rightful place in the annals of music history.
Their personal and professional partnership is emblematic of a symbiotic relationship—a union where each party elevates the other to greater heights. Beyoncé's relentless pursuit of excellence, coupled with Jay-Z's strategic prowess, forms a formidable alliance that continuously reshapes the landscape of contemporary music.
In essence, while some may perceive Jay-Z's actions as mere pleas for acknowledgment, they are, in reality, strategic maneuvers in a broader narrative—one that seeks to cement Beyoncé's status as an icon for generations to come. It's not just about appreciation; it's about securing her place in the pantheon of musical legends—a feat that requires talent and tact. And with each passing triumph, Beyoncé proves herself more than worthy of such acclaim, her spirit indomitable, her resolve unwavering.
Reporting Live from the Culture Wars
Zuogwi
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