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The goal of the album is to promote an awaking among young people especially. That awakening has to do with both a sense of history – that's what the "Never Forget" is about, but also to fuse fun with the struggle for freedom. 'Cause I don't wanna down play the fun. -Dr. Cornel West |
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You call the album Never Forget: A Journey of Revelations. So, what exactly are the revelations that we are getting?
Dr. Cornel West |
First, they are revelations that we can go back to the best of the roots of not just hip-hop but black music. And those roots need to be revealed. They need to be disclosed because they have been ignored, and sometimes even denied - sometimes out of ignorance, sometimes out of not wanting to go back because you can't make money. When I talk about the spirit of Curtis Mayfield at work in the album it's a matter of disclosing and revealing what Curtis Mayfield and others represent, and then saying something about where we are now, where we are now in the present, revealing the struggles not just the suffering and the misery, but the struggles against the resistance, the resiliency. We're still here, America. America, we understand who you are and we're still trying to change the world, we're still trying to make you better, we're still trying to redeem your soul on a certain level, to use Martin King's language. And then to try to reveal a future that can be different. The future doesn't have to be just a repetition of the present with all the hedonism and narcissism. So again, it's revelations but it's linked to those three dimensions of time.
You touched on the history of black music. Do you feel that in some way that hip-hop is what jazz used to be to black Americans?
That's a tough question because the communication systems are so qualitatively different. The idea of being able to watch Coltrane or Monk on TV 24 hours [a day] is just so alien. Jazz is America's greatest art form, but at the same time it never had the scope of popularity that hip-hop has. So, I wouldn't really want to say that hip-hop is today what jazz was then because jazz just never-ever had that kind of public.
Considering all the topics you touch on in the album, from 9/11 to the Imus stuff and everything that we've been talking about, do you feel, in the context of the past 20 or 30 years, America is moving forward? Are we getting there or are we slipping backwards? Where are we?
I think on the one hand we have definitely moved forward to the degree [where] America now embraces black professionals and a black middle class in a way it never has before. That's significant, and that's part of the success and triumph of the Civil Rights Movement, Martin Luther King and Fanny Lou Hamer's legacy. On the other hand, we're going back because the vicious white supremacists that relate to the black poor, the young black brothers especially, but also the black sisters who are locked into the hoods - [people] who are not reveling in the American Dream, who are locked into the disgraceful school systems, unavailable health and child care, the under-employment and unemployment and so forth. For them, things are even more hopeless. And they often are rendered invisible when it comes to public policy even though they are highly visible when it comes to videos. In that sense, we're really in a paradoxical situation. On the one hand, we have the Oprah Winfreys and Obamas and Robert Johnsons who are thriving in a way their grandparents could never conceive of. On the other hand, the cousins of those same folks are locked into the hood and wrestling with levels of hopelessness that are just beyond description.
Taking a step back, how does somebody go from revered professor and famed author to a hip-hop artist? How do you make that jump?
Dr. Cornel West |
I think they probably just say the brother is a bit schizophrenic. He wants in the classroom and on the street and in the studio, and I say to them that basically it's somebody whose fundamental need is to tell the truth, expose lies, bear witness and try to promote education at its deepest level, that Paideia that I talked about. It just takes a variety of different forms of expression. I see it as a seamless web.
So, is this album an attempt to reach a sect of people you might not otherwise reach?
Absolutely, those who may not necessarily read the 17 books I've done. Granted, I don't want to imply that hip-hop culture doesn't read, because that's not true. I encounter young folk who listen to hip-hop all the time who also have read Race Matters, who also have read Democracy Matters, but there are millions of young folk who have not read Race Matters or Democracy Matters or any of the other books who very well may pick up this CD and say, "Wow, this brother's got something going on. I gotta think about myself. I gotta think about society. I gotta think about the world."
Obviously, music has the ability to change and to do amazing things. Do you feel that an album has the ability to change the world?
Absolutely. There's no doubt about that. [Percy Bysshe] Shelly's wonderful last line in "A Defense of Poetry" [is], "Poets are the unacknowledged legislators of the world," because you have to have vision and imagination in terms of your action. All action is informed by some vision and some imagination and I would add, one hopes, empathy, too. When you look at the degree to which albums have changed my world - What's Going On [Marvin Gaye] changed my life in a deep way [and] the same is true for Songs In the Key of Life [Stevie Wonder] - that is to say, it didn't just sustain me, it helped provide a different way of looking at the world and gave me strength and fortitude and determination. And that's precisely what changes the world, when you actually touch people's lives and souls and minds and get them to go a different way.
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