Floyd brother drums on protest anthem album
Project joins history of messages crossing into US pop culture
Before a late night rehearsal in December, Terrence Floyd couldn’t remember the last time he squatted on a drum throne, sticks in hand and ready to perform. Surely, he said, it had not happened since his brother, George Floyd, died at the hands of police in Minneapolis last May, sparking a global reckoning over systemic racism and police brutality.
Now, Terrence is lending a talent he honed as a youngster in a church band to help produce and promote a forthcoming album of protest anthems inspired by the Black Lives Matter demonstrations prompted in part by his brother’s death.
“I want to pay my respects to my brother any way I can, whether it’s a march, whether it’s just talking to somebody about him or whether it’s doing what I do and playing the drums,” Terrence said.
“His heartbeat is not beating no more,” he said, “but I can beat for him.”
The untitled project, set for release one year after George Floyd’s death, follows a long history of racial justice messages and protest slogans crossing over into American popular music and culture. In particular, music has been a vehicle for building awareness of grassroots
movements, often carrying desperate pleas or enraged battle cries across the airwaves.
Terrence was recruited for the project by the Rev. Kevin McCall, a civil rights activist who said he believes an album of street-inspired protest anthems does not yet exist.
“These protest chants that were created have been monumental,” said McCall. “It created a movement and not a moment.”
Some songs make bold declarations, like the protest anthem album’s lead single, “No Justice No Peace.” The well-known protest refrain, popularized in the U.S. in the 1980s, is something that millennials grew up hearing before they joined the front lines of their generation’s civil rights movement, McCall said.
McCall is featured on the track, along with his fiancee, singer Malikka Miller, and choir members from Brooklyn’s Grace Tabernacle Christian Center. The song is available for purchase and streaming on iTunes, Amazon Music and YouTube.
Godfather Records, a label run and owned by David Wright, pastor of Grace Tabernacle Christian Center, plans to put out the seven-song album. His late father, Timothy Wright, is considered the “godfather of gospel music.”
“We’re mixing gospel music with social justice, to reach the masses,” Wright said. “We have always been strengthened through songs, like ‘We Shall Overcome’
and ‘Wade in the Water.’ I want to put a new twist on it.”
There is a history of interplay between music and Black protest. The 1991 beating of Rodney King by Los Angeles Police Department officers — as well as the contemporary “war on drugs” — amplified NWA’s 1988 anthem “(Expletive) tha Police,” and Public Enemy’s “Fight the Power,” released in 1989. More recently, Kendrick Lamar’s “Alright,” Beyonce’s “Freedom” featuring Lamar and YG’s “FDT” provided a soundtrack for many BLM protests.
Musician and activist Stevie Wonder released his hit 1980 song, “Happy Birthday,” as part of a campaign to recognize the Rev. Martin Luther King Jr.’s birthday as a federal holiday. Martin Luther King Jr. Day, which faced years of opposition at the national level, was officially recognized in 1986, three years after it won the backing of federal lawmakers.
Some historians cite Billie Holiday’s musical rendition of the Abel Meeropol poem “Strange Fruit” in 1939 as one of the sparks of the civil rights movement. The song paints in devastating detail the period of lynching carried out against Black Americans for decades after the abolition of slavery, often as a way to terrorize and oppress those who sought racial equality.
The new film “United States vs. Billie
Holiday” depicts the jazz luminary’s real-life struggle to perform the song in spite of opposition from government officials. Singer and actress Andra Day, who portrays Holiday in the film, recently said the song’s significance influenced her decision to take on the role.
“It was her singing this song in defiance of the government that reinvigorated the movement,” Day said. “And so that was really incentivizing for me.”
Todd Boyd, the Katherine and Frank Price Endowed Chair for the Study of Race and Popular Culture at the University of Southern California, said many of the most well-known protest chants came out of the civil rights and Black power movements, and then inspired songs.
“That’s how culture works,” Boyd said. “Something that starts out in one space can very easily grow into something bigger and broader, if the movement itself is influential.”
Terrence Floyd said the protest anthem project feels like a fitting way to honor his brother’s memory. Many years before his death, George Floyd dabbled in music — he was occasionally invited to rap on mixtapes produced by DJ Screw, a fixture of the local hip-hop scene in Houston.
“If his music couldn’t make it out of Houston, I’m using my Floyd musical ability to reach people in his name,” Terrence said.