D’Angelo’s Voodoo is a genre-defining moment of the neo-soul movement. Critically acclaimed, ranking on Rolling Stone’s list of the 500 Greatest Albums of all time in 2003, the album melds together the sounds of the African diaspora into one body. Jazz, funk, hip-hop, and the blues all find a home within Voodoo, creating a cohesively Black listening experience.
Music is an experience that brings forth the personhood of an artist, “an outgrowth of people’s experiences heard in notes and sounds” (Banfield 49). Through their lyrical depth and stylistic choices found throughout their songs, they give insight into their character, experience, and understanding. D’Angelo pulls carefully from his musical inspirations to create something new and unique to himself as “a young black artist making a previous generation’s black music” (Sanders). Writing themes of bravado, sensuality, and self-determination, D’Angelo presents an image of himself with Voodoo, a picture of Black Masculinity.
Black music, inherently linked to experiences of Blackness, creates images that are both positively and negatively tethered to society’s perception of Black people. Rappers are gilded as larger-than-life figures, their every move cataloged and reported. Celebrities are representatives of the populace, and their ideals, beliefs, and statements are taken as gospel. To be Black and reach stardom is to have your expression of Blackness broadcasted as the model that all Black people should uphold. At this level, “artistic depictions in popular culture [serve] as one of the potentially visible and influential ways in which the African American community [can] create a controlled image of Black culture that [reflects] a self-proclaimed identity” (Engels 2). Powerfully, this positions music as something that can shape the desires, attitudes, and behavior of people of similar identities. Honoring this capability, when speaking about the album, D’Angelo says, “I named the album Voodoo because I really was trying to give a notion to how powerful music is and how we as artists, when we cross over, need to respect the power of music” (Jet Magazine 62). Music serves as one of the ways a society communicates ideas at a radical scale.
Social Identity Theory posits that people, on the individual level, create their perceptions of self in relationship to their involvement within a larger social group. For Black people, their value of self stems from their ability to discern how well they relate to the larger Black community. Black artists, with their status, have the makings to establish how the community is defined. Postulating how this impacts identity, “a Black girl may utilize the language, beliefs, and values communicated in the music of commercially successful Black female artists to develop an understanding of the behavior expected of her” (Avery et al. 161). The musical styles that reach popularity, the aesthetic design of commonly displayed apparel, and the cadence of voice people speak with establish the culture of a community and are championed by the artists that come from them. Historically, Black music has served as the foundation from which Black culture is built while simultaneously being the fruit of the culture’s labor.
The early history of Black America’s music is rooted in the annals of chattel slavery and its impact on displaced Africans. Carried with them into America, the musical traditions of Africa landed ashore and melded into something new as Christianity and its musical stylings were labored onto enslaved Africans. Utilizing percussive motifs, enchanted call-and-response, spontaneous adlibs, and careful syncopation, the cultural timbre of African music gave rhythmic life to biblical tales of freedom. Singing about empowerment, a community was built as they gathered in prayer houses and sang commonly of deliverance from bondage. Music was used to uplift each other as a whole, communally, “a people speaking to each other and reaching for God. Together” (Morris 366). The beginning of music in Black America is innate to the creation of Black community in America. The heart of Black American music has always been community. Through that community, the culture has been able to intersect, speak, and connect on varied topics and issues.
From the larger Black community, narrowing the intersection to center the images crafted by individuals portraying Black Masculinity creates a unique perspective. Gender exists as an expression of self and societal expectations. The musical decisions an artist makes throughout their songs, such as their vocal delivery, genre choice, or lyrical content, serve the listener as a public display, a performance of their masculinity (Reznik 120). United under the commonality of gender, the sociological creation of their masculinity establishes social norms, extending into the music created. Shifting between periods, the musical norms of each era stand as a representation of Black Masculinity at the time. Voodoo pulls from various points in Black American history to establish a portrait of masculinity that captures the character of D’Angelo.
Soul Music, growing in popularity during the Civil Rights Movement, depicted Black Masculinity as champions of love amidst social unrest. Adorned in suits and ties, the tradition of community carried on as Black America continued to sing of freedom, justice, and affection. With lavish instrumentation, invoking the emotionally romantic sounds of string sections and orchestras, Motown, a renowned label of the time, painted Black Masculinity with sensuality and sensitivity that the contemporary culture of the time never fathomed as possible. The White Patriarchy of America pushes the expression of Blackness to the margins, to the extreme. Men, under patriarchal design, are seen as dominant, commanding, and powerful. However, these designations are pushed further for Black Men. Black Masculine performance was seen as a hypermasculine performance, an overtly aggressive and unruly being denoted as other, a monster that had to be broken and tamed. The juxtaposition of the image Motown gave of masculinity with the description White America created exemplifies the impact of Motown, of Soul Music, on the understanding of Black Masculinity at the time. Soul Music speaks to the sensitivity of Blackness, the romance and sensuality that Black Masculinity is capable of. Speaking on the
legacy of Motown as it relates to Black History, Wesley Morris voices,
The fact that the label specialized in love songs was crucial to its impact. Love was the
void at the center of the country. Laws, policies, and codes both stated and implied that
Black people were unsuitable for loving, that they were unsuitable for life. Now here was
music-popular music, American music-that insisted the opposite was true (362).
Romantic sensuality, love, and sexuality are dynamic pieces of gender expression. Together, these are common themes found throughout soul music. These facets all come together to create gender performance. Contemporary society limits Black expression within narrow margins. When “offerings suggest that love is a restricted commodity, an endeavor accessible only to a small, privileged population that can afford to engage in it” (Baker), it is important for Black voices to speak on this topic positively. D’Angelo’s Voodoo pulls from the articulation found in Soul Music to help build D’Angelo’s depiction of self as it relates to these sensitivities.
Voodoo’s 5th track, “Send It On”, was the first song conceptualized by D’Angelo for the album. The song embraces themes of love, sincerity, and hope following the birth of his son. Angie Stone, the mother of his son and contributor to the album, spoke to Vibe Magazine, saying, “Voodoo started the day we were with our son” (hampton). These sensitivities are uncharacteristic of how the dominant superstructure sees Black Masculinity. Despite these notions, D’Angelo conceptualized a body of work that speaks to the sensitive possibility existing at his intersection of identity from the beginning. Musically, “Send It On” is a smooth soul ballad with a steadily slow groove. Roy Hargrove created the brass section for the song. Brass instruments were defining pieces of early jazz, soul, and funk music pioneered by Black musicians. The art of soloing with brass instruments became a marker of musicianship. Used among virtuous male musicians such as Miles Davis and Dizzy Gillespie, the trumpet gained a reputation as a masculine instrument. Jazz trumpeters would take to the stage to “[make] brilliant use of the trumpet to assert that they were men and not boys” (Gabbard 62). Historically utilized as a masculine expression of showmanship and confidence, Roy Hargrove’s contribution to Voodoo on “Send It On” reflects the softer side of performance.
A trumpet, as utilized by musicians such as James Brown, would embrace traditional tenets of masculinity by echoing excitement. Playing staccato lines, often accented in time with the snare drum, driving the rhythm forward, brass sections created high energy. Brown, with his use of brass musicianship on songs such as “Say It Loud (I’m Black and I’m Proud)”, would “[bring] all the athleticism and showmanship of a boxing match to his stage” (Woodworth 127). A fast-paced track carrying musical intensity in volume and timbre would commonly employ horned instruments to help create that mood.
“Send It On” uses the brass in a more subdued manner as sprawling legato tones mimic D’Angelo’s smooth and layered vocal performance as he sings:
Send it up
Send it through
Send it back to you
Send it up
Send it through
Send it back to you
Musically, repetition can serve different purposes when utilized within a song. D’Angelo uses repetition to accentuate his lyrics, beginning every line with the same word and repeating the phrase fully. D’Angelo speaks of love, a topic often kept from Black expression. His reiteration of words and theme speaks to the importance of combating that narrative. Speaking on love’s relationship to Blackness, bell hooks says that “we do not commonly hear about the black males and females who love each other. We do not hear how they manage to find their way to love when the odds are so stacked against them” (We Real Cool 109). For the narratives surrounding Black Masculinity and the negative connotations placed upon it, it is necessary to interrogate the way love is expressed. D’Angelo adds a story of positivity with “Send It On”, especially as the first song created for the album.
Choosing to start the song with these lyrics helps to further the song’s point. The lyrics D’Angelo starts the song with belong to the chorus, another shift from normality as contemporary popular music has a history of beginning with the verse. Starting with the chorus immediately introduces the main idea. The recurrence of the chorus between verses recontextualizes and reinforces that idea.
Chords help to convey a particular mood. Chords are within the dichotomy of being a major chord or a minor chord. These differing chords respectively reflect happy or sad sounds. Harmonically, Send It On is structured with a series of minor chords that resolve into the tonic within a major chord. Chords are built out of triads, harmonic collections of three notes. The distance between these notes gives a chord the quality of being major or minor. Chord extensions, the act of building on top of triads and adding more notes, create a different character outside the simple binary. Every chord utilized within Send It On is an extended chord. These extended minor chords are not easily described as simply sad, instead creating a feeling of warmth with the music as the added texture of more notes adds to the complexity of the emotion portrayed.
When speaking on love as it relates to the Black experience, it is important for conversations to center on positivity. Within a culture where black love faces ridicule, division wedges itself between Black Masculinity and Feminity. This creates a living condition where people refuse to be vulnerable to one another. Black identity is habituated to be untrustworthy, creating a void of love for each other. Addressing this, bell hooks speaks that “the inability to be vulnerable means that we are unable to feel. If we cannot feel we cannot truly emotionally connect with one another. We cannot know love” (We Real Cool 115). To counter this framework, work centered on love has to be inviting for it to resonate with people. D’Angelo’s sensitivity, as he portrays musically with “Send It On”, invites positive discourse about how Black Masculinity welcomes, seeks out, and champions love
“Feel Like Makin’ Love” portrays the contentment and fantasy of romance. Released originally in 1974, D’Angelo covers Roberta Flack’s song of the same name. Flack herself, speaking about her process as an artist, describes her art as such: “My music is inspired thought by thought, and feeling by feeling…Not note by note. I tell my own story in each song as honestly as I can in the hope that each person can hear it and feel their own story within those feelings” (Powers). For D’Angelo to cover the work of such an artist speaks to the same idea he wishes to portray with his music. D’Angelo’s personhood is found throughout his music. As described by his peers, “he is stormy and light, and cerebral and earthy. He truly is … his music” (hampton). His music captures his essence, and “Feel Like Makin’ Love” speaks to the romantic character he embodies, the romance possible in Black Masculinity.
While “Makin’ Love” is a romantic euphemism for sexual intimacy, the lyrics of the song highlight the importance of nonphysical intimacy within romance. The song begins, “Strollin’ in the park / Watchin’ winter turn to spring”, depicting the passage of time spent with a loved one during a simple outing. This line in the first verse is followed by, “That’s the time / I feel like makin’ love to you”. Sexual intimacy is commonly portrayed as the result of lustful thinking, “the outcome of a spontaneous, emotional reaction, of suddenly being gripped by an irresistible feeling” (Fromm 56). This song contradicts this common notion of how sexuality is experienced and points to simpler pleasures working to create intimacy.
It is through the nonsexual acts of intimacy that a romantic relationship is established. Sexuality and romance are interconnected concepts with different margins of description. As described by Lisa Diamond, “sexual desire typically denotes a need or drive to seek out sexual objects or to engage in sexual activities, whereas romantic love typically denotes the powerful feelings of emotional infatuation and attachment between intimate partners” (116). Associated with garnering romantic love, it is the behaviors that intimate partners engage in that establish and define romantic intimacy. The song continues with, “In a restaurant / Holdin’ hands by candlelight”, a romantic encounter utilizing the simple act of hand-holding as the spark of an intimate moment. Nikki Giovanni, a renowned poet who often speaks on love, relays a related message in her work. “A Poem of Friendship” ends with,
I will never miss you
because of what we do
but what we are
together (Giovanni 30).
The meaning of a relationship does not lie within the minutiae, the specifics of what people do. Meaning derives itself from the feelings that emerge when around someone. Each verse of “Feel Like Makin’ Love” speaks to a particular moment between intimate partners. The chorus, following each verse, communicates the feelings that arise from each moment. Speaking of love, the chorus is repeated throughout the song, accentuating this point and recontextualizing it each time.
Despite the negative portrayals it receives within media, Black Masculinity deserves and requires positive romantic affection. D’Angelo’s choice to cover the work of a Black Woman shifts the way masculinity is presented through a feminine lens. Coupled with D’Angelo’s falsetto vocal range, a texture commonly depicted as soft and feminine, “Feel Like Makin’ Love” is an ode to positive love that uses a different context of gender to challenge the ways masculine love is represented. Christina Baker speaks about the impact of art, describing that “film and television offer the possibility of moving closer to the fullness and liberation of love by traversing time and space” (Baker). This same notion is possible with music, and D’Angelo’s artistic direction and choice make it happen. Voodoo traverses time through its musical choices and recording processes, creating a vintage experience. Russell Elevado, the audio engineer, speaks on the project, saying:
“I grew up on classic rock and soul — like, Stevie Wonder and Marvin Gaye, Led Zeppelin, Pink
Floyd, that’s really where my roots are,” Elevado says. “My whole concept was, hey, people are
sampling these records. I can create those sounds — using the microphones they were using,
using the consoles they were using, the same techniques — and make it our own thing
organically.” (Sanders)
“Feel Like Makin’ Love”, as a cover song, is inherently a piece of the past. By contemporarily using the song and vintage recording methods, D’Angelo pulls from the past and creates a model that the present and future can model. Art is a reflection of emotion. Through art such as D’Angelo’s, it becomes known that “love from times past need not remain in the past, that a future inclusive of love is within sight”
(Baker).
“Untitled”, one of the closing tracks on Voodoo speaks to the power of eroticism and sexuality within Black Masculinity. Facing narratives of intense hypersexuality and aggression, depicting the sexual desires of Black Masculinity as predatory and dangerous, the smooth texture created by “Untitled” paints a different image.
Musically, “Untitled” is an arrangement of lush sounds. The stereo field captures trailing guitar lines and rich chord extensions. “Untitled” is composed within the key of D Major. Reflecting on the descriptions of D Major given by the German music theorist John Mattheson, Jared H. of Ledgernote describes the key as being home to “screaming hallelujah’s, rejoicing in conquering obstacles. War marches, holiday songs, [and] invitations to join the winning team” (H). While this description of musical key qualities was created for music composed before the 20th century, it still has modern applications. D’Angelo’s voice creates a lavish atmosphere with full vocal stacks filling space. He sings with,
“an androgynous croon that shifts in multiple tones throughout the song’s seven minutes. At
times, it’s mumbled and quiet, his pleas practically indecipherable. Others, it’s confident and
triumphant, the lightness of his voice propelled by cathartic screams meant to make you feel the
satisfaction his lover gives him” (Watson).
Using this framework of joy and victory as a reference of comparison for the mood created by D’Angelo’s “Untitled”, it describes a song that rejoices in the power of ecstasy.
To speak on the sensuality in Untitled is to mention an influence of the song and D’Angelo’s artistry, Prince. Before the creation of Voodoo, Prince heavily inspired D’Angelo’s production on his debut album, Brown Sugar. D’Angelo played the role of producer for the entirety of the album, an act he attributes to his admiration of Prince and his virtuous capability of playing every instrument on his own albums. Prince’s influence colors D’Angelo’s career and finds itself inspiring Voodoo as well. Questlove, a contributor to the album speaks about the song and says, “called by most as the best song on the album ”Untitled” (aka ”How Does It Feel”) is our homage to (the ”Controversy” era) Prince” (Questlove).
Prince is an artist that defied societal expectations of normality. With his aesthetic and musical expression, Prince embodied an energy that melded notions of masculinity and femininity.
“Anima is psychologist Carl Jung’s term for the feminine part of a man’s personality. Machismo
can be thrilling to women but a fully integrated man who embraces his female side and thus
understands women on a deep level can also be thrilling. Prince maximized his sexual potential
by wearing his anima on his sleeve” (Touré 79).
Prince often sang with a falsetto, a higher-pitched vocal timbre that produced an airy sound resembling a feminine texture. It is this same texture utilized by D’Angelo on “Untitled” that fills it with sensuality. This erotic sensuality displayed by Prince and D’Angelo with their music is revolutionary in the face of the images an overarching white supremacist framework depicts as capable of Black eroticism. In her essay, “Black Bodies. Fear, Fascination, and Fetishization”, speaking on the intersections of race, gender, and sexuality, Elexus Jionde concludes that the historical propaganda of society made it so “both black men and women were whittled into sexual predators incapable of being victims or sexually autonomous beings” (Jionde 105). With his stalwart ownership of his persona and exuding confidence, Prince was a dominant force for Black sexuality to be seen in a different light. Prince gave something new to the world since “rarely has Black sexuality been presented in such a raw, rough, wild, carnally dangerous, bigendered form as it was in the body and persona of Prince” (Touré 83). While his music confidently exuded sexuality and a new masculine performance of aesthetics, Prince’s music crafted images that uplifted Black Womanhood as active erotic participants. Prince wrote songs with a “way of empowering
the women he was speaking about, giving them agency and sexual force, rather than making bodies or conquests. His sexual narratives are rarely about being dominant” (Touré 83). D’Angelo carries this same idea into “Untitled”, detailing the careful attention he wants to give his lover. This posits Black Masculinity as highly receptive to the eroticism possible of femininity, contrasting the hypersexual and aggressive character it has been given.
“Untitled” is a conceding of power, putting the needs of one’s partner at the forefront. Compared to a contemporary understanding that posits masculinity as the dominant force in a relationship, especially concerning race, this song portrays a gentler image centered on pleasure. This notion comes directly in response to the indecency that systematic whiteness characterized Blackness. “Early in the twentieth century, black males and females sought to create an alternative sexuality rooted in eros and sensual pleasure” (hooks 65). Eros love is erotic love. Embracing eroticism, D’Angelo sings,
Girl, it’s all on you
Have it your way
And if you want, you can decide
And if you’ll have me
I can provide everything that you desire
D’Angelo withholds aggression and domination, ceding to follow the lead of his lover and what she wants. These lines describe the moment as a shared experience and not one where the masculine is dominating over the feminine and doing as it pleases. Speaking on the space that exists within this shared space, Audre Lorde describes one function of the erotic as
“providing the power which comes from sharing deeply any pursuit with another person. The
sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the
sharers which can be the basis for understanding much of what is not shared between them, and
lessens the threat of their difference” (Lorde 56).
“Untitled” is an invitation to share a moment of erotic intimacy. Masculinity has impacted femininity as an oppressive force throughout history, taking all agency away from it. D’Angelo’s lyrics work opposingly by utilizing his masculinity to uplift and embrace. Erich Fromm conceptualizes erotic love with one assertion, “that I love from the essence of my being–and experience the other person in the essence of [their] being” (Fromm 55). “Untitled” seeks to tell a story that embraces the fullness of erotic and sensual love for another person.
A person’s relationship with music can be a catalyst for change or an augmentation of self. Music links culture and identity. This intersecting link gives music utility as a means of personal expression. Personhood is expressed by the music created and listened to. Through analyzing Voodoo by D’Angelo, an image of sensitivity, romance, and erotic sensuality develops. The impacts of white supremacy and the narrow margins of patriarchy have stripped Black Masculinity of being defined as capable of such things. With her work on love and inspiriting change, bell hooks “endeavored to create images of men that demonstrate their beauty and integrity of spirit” (The Will to Change 119). D’Angelo’s Voodoo, musically serves this purpose, a positive depiction of the possibilities of Black Masculinity. Ravaged by images depicting Black men as abusers and attackers, D’Angelo and his music exist as a foil for what Black Masculinity can look like outside of the current system’s shadow.
D’Angelo pulls inspiration from the legacies of Black Music to create a narrative of Black Masculine love in spaces of paternity and partnership. Relating to crafting a future of love, Christian Baker speaks on the importance of studying the works of earlier artists, saying that “vision is expanded by traveling back in awe and appreciation before traveling forward” (Baker). The musical history of Soul Music is a history of creating a counterculture that depicts Black love in a positive light. One of the biggest influences on D’Angelo’s artistry from this history is Prince, a genre and gender-defying icon who gave a vast spectrum of expression with his music. Prince is described as “a man unafraid to tap into the fullest spectrum of emotion, of masculinity, and of Blackness” (Whiteneir Jr. 141). D’Angelo carries these same sensibilities into Voodoo.
Voodoo ends with a declaration of love, a message that D’Angelo wants the listener to take from the album. “Africa”, the last song on the album, embraces love for Black history and the future. Starting the last verse, D’Angelo sings, “From which you came was love / And that’s how it all should be”. Beginning the end with these lines, he imparts the importance of love within his narrative. The themes of love present in Voodoo lend themselves to music’s potential, “[challenging] heteronormativity and violence, and at the same time can serve as a means of healing and articulating affection” (Reznik 116). Analyzing these elements throughout D’Angelo’s Voodoo, a sensitive portrayal of Black Mascunility is discovered. Expounding on this portrayal is a model of positivity that stands as an inspiration for change.
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