La'erne Cox: M. Lamar’s New Video Grapples Wi' Black/White Relationships An' Confrontin' History (VIDEO)
Director: Stephen Winter; DP: Ned Stresen-Reuter; co-star: Eriq Cephalopunx Tyler
Wi' ye upcomin' recover o'his manuscript Speculum Orum an' t'video fer the pretension song, we wanted t'alk t'M. Lamar about wha' inspires his music, that be steeped in secular politics an' meditations on thar story o'black bodies an' souls in America.
La'erne Cox: “Speculum Orum.” Can ye tell me wha' desirous over strain an' the video?
M. Lamar: “Speculum Orum” refers t'a de'ice used on sla'e ships durin' t'rans-Atlantic sla'e trade, t'hold thar mouths o'captured Africans open, forcin' them t'eat when they had motionless not t'eat. We know that many prisoner Africans chose t'star'e themsel'es rather than continue t'brutality o'wha' was ye sla'e ship. we wanted t'reflect on wha' that means now. I’ve always pronounced over sla'e boat be now, ye camp be now, that thar same kinds o'structures be in place in terms o'how energy works. T' quote James Baldwin, “History be not somethin' that we review about in books. History be not even over past. It’s over present.”
Cox: Thar video has a arrange o'SM, ritualistic peculiarity t'it, mostly since o'yonder rigging that be ragged in over video.
Lamar: My co-star, Eriq Cephalopunx Tyler, was partially expel since we’re friends. We’re unequivocally good friends. He was also partially expel since o'his aesthetic. we was really meddlesome in where both o'us exist in subculture. Eriq be crust-punk-identified. He be also a feminist. He was a women’s studies vital during ye College o'William an' Mary. I’m really connected t'feminist speculation as good as post-colonial, racialized theory. So, over kind o'relationship we have politically we wanted t'have arrange o'laid unclothed in over video. A lot o'it be about black people an' white people comin' t'gether an' tryin' t'have a impulse wi' this history, t'gether, so fer me it’s about this arrange o'interracial attribute an' tryin' t'grapple wi' or understanding wi' startin' wi' this fetishized relationship, though hopefully mo'in' over that. Maybe we start wi' these arrange o'historical dynamics, an' hopefully thar be somethin' over that. I’m not certain if thar video, in fact, talks about over over that.
Cox: Wha' be ye privately workin' by in ye video? It seems t'be a lot about energy an' control.
Lamar: Personally we am preoccupied wi'… I’m spooky wi' t'history o'how we got here as black people in this subjugated position. I’m spooky wi' that. I’m spooky wi' how certain black people be willin' t'play certain games within thar complement an' t'game t'system an' be means t'get ahead. Like on over sla'e boat an' over plantation, fer instance, we know that thar were certain people, black people, who were means t'ad'ance on thar sla'e ship, on t'plantation, if they were willin' t'sell out other people, other sla'es or over insurrections that were happenin'. But we consider ye approach that we sin' an' ye low-pitched tradition from that we come be about a certain kind o'transcendence; over kind o'sin'in' we do has a eremite aspect o'it. “Speculum Orum” as a square started as ye pretension lane fer a longer requiem. It started out as a dedicated text, as this dedicated strain initial achieved during Cathdral o'Saint John t'Di'ine.
Cox: Whom do ye see as t'arget assembly fer yer work? Fer me thar’s somethin' so spiritually conceptual about this strain an' the theme matter, though thar video locates ye an' thar strain in a really specific subcultural place that competence divide a lot o'folks, a lot o'black folks an' other people who competence bond t'ye virtue o'ye strain though not describe t'ye visible presentation.
Lamar: We know, initial o'all, that as a mass mo'ement, black folks be not indispensably fightin' opposite homophobia, opposite transphobia an' gender fascism. So we know that thar mainstream o'black culture, that over BET genius be not representin' people who be makin' other choices in terms o'subculture, in terms o'gender countenance an' sexuality. But another thin' Cornel West says be, “I adore black people completely either they adore me or not.” Wha' we am doin' wi' my work be honorin' my grandmother, my grandfather, my mother, my possess personal history. I’m goin' t'honor my possess personal connectors that we feel deeply t'har ancestors, an' do that my way, wi' my voice addin' t'a prolonged story o'poets, musicians an' artists in over tradition. Black people’s ubiquitous rejecting o'me I’m not goin' t'entertain. we can’t perform that. we can usually start in t'place from that we come an' a place o'love. we found myself in hardcore punk an' steel shows when we was a kid. we found myself in this kind o'music. we wish t'honor that plcae during all times, that subcultural place from that we come an' wi' that we strongly identify. An' thar were always black people during those shows, not predominantly, though they were thar, either they were goth shows or punk shows or hardcore shows. we belie'e that music, if it’s powerful, has ye ability t'ranscend all these bounds an' barriers. Ye start from over place from that ye emerge, an' hopefully, if ye have a clever voice (an' we belie'e we have a clever voice), ye start thar, make thar work an' wish fer thar best.
Fer some-more information on M. Lamar, go t'www.mlamar.com.
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