Vogue Down, a Minneapolis ballroom collective, is bringing the ballroom tradition and more to a new generation in Minneapolis.  

With a successful April event and more on the horizon, the group says that its main goal is to bridge the generational gap in the ballroom community and create space for queer BIPOC individuals to get together. 

Their next event KIKI ZONE: Pride Edition will be held at Lush Lounge in Minneapolis on Wednesday, June 14. 

, a founding member of Vogue Down, to speak about KIKI ZONE: Pride Edition and what Vogue Down is. He acted as a representative for the collective, which also includes Yoni (

 “Our mission was just to find a place at first, to have space for queer BIPOC individuals to get together and be able to learn about ballroom and be in community with each other, and we just did not have that,” said Vogue Down.  

 Vogue Down has been a collective for a little over a year, starting in March of 2022. “At first we were just in studios, randomly booking things. Then it turned into a whole collective and we thought, let's share this with the community. We started making the sessions open to anybody who would like to come,” shared Vogue Down.  

 “Vogueing is an expression of oneself, an expression of all the energy and the feelings someone has. They’re expressing that through their dance. Vogueing is not just a dance, it’s a lifestyle,” explained Vogue Down.  

 “Vogueing is a part of ballroom, but ballroom is so much more. Ballroom means different things to everybody, but ballroom was made by Black and Latinx people of color to help us have a space that was just for us,” Vogue Down clarified, “A place to be our own celebrities, because the world just wasn't made for us that way.”  

 “Energy is the biggest thing. The energy of the room is what people go away with and why they keep coming back,” said Vogue Down.  

 “You start the night with everybody coming in. Everybody's piling in from different states, maybe even different countries– different walks of life, when everyone comes in, they will start LSS,” told Vogue Down. LSS which stands for legends, statements, and stars, is a fundamental component of ballroom.  

 “LSS is calling out people in the community who are at those status points,” explained Vogue Down.  

 “Somebody who has been walking, they’re new, but they maybe have an ‘Of The Year’ award or some type of acknowledgement from the community for walking and being new.” 

 “A person who’s solidified in their category.” 

 “Somebody who is undeniable, somebody who has done more than that average person walking in that category and gone beyond. They have brought something unique from their own personality and their own self to the category.” 

 “Somebody who everybody knows, everybody has seen people learn from them, everybody has seen the work they've done in the community, the change that they have brought to ballroom, there's been something there.”  

After LSS, categories will begin. Categories for the KIKI ZONE: Pride Edition event are as follows: OTA (open to all) runway, OTA performance, OTA hands performance, realness (Male Figure, Female Figure), face (MF, FF, Gender Non-conforming) and sex siren (MF, FF, GNC)."

 “KIKI ZONE: Pride Edition is different from any old ball because it is made by younger people in the Twin Cities that have been doing ballroom for about a year now and have immersed themselves in it,” said Vogue Down. “It is really just showing that ballroom has been reignited in this city by the younger generation.” 

“When we started opening these sessions and walking, it really got the older generation excited to throw balls again. So, they're starting to throw balls again. It's just a whole domino effect,” explained Vogue Down.  

“KIKI ZONE: Pride Edition is more of an event than a ball, it’s an event plus a vogue night. It’s really to encompass all BIPOC artistry in every different form that the Twin Cities brings. That’s why it’s drag, rapping, singing, and dancing. All types of experiences,” said Vogue Down.  

Who: Anyone who’s interested in seeing the performances and learning about the scene. 

 Anyone who’s interested in seeing the performances and learning about the scene. 

“I'm calling anybody eager to see amazing BIPOC performances and amazing BIPOC talent. I'm calling anybody who was in a house here, anybody who's interested in ballroom, anybody who loves artistry from Black entertainers, put on by Black entertainers. I'm calling everybody who will be respectful and understand that this is a space put on by young, Black, Queer adults.”  

“Pop out with your best outfit. Your best creative outfit. You could spend $10 and still be in an amazing outfit. You could be in Gucci and it looks crazy. It's all about your creative mind. We're really pushing people to get into the creative mind. There's no theme. There's no nothing. It's pride. Be creative. Come in with your best things. Step out. Bring your unique style to the table.” 

What to know: Come with respect and positivity.  

 “Do not disrespect what you don't know. That's my number one thing. I would say second, when you come in a space, it's already built off positivity. So bring positivity. We don't want any negative vibes if you have them. Don't come. And then thirdly, I would say, one of the biggest rules, is to have fun. This is something that has never been brought to the Twin Cities. People have been loving it so far, and I want people to keep loving it. Really just bring good energy to the space and have a good time. Get a drink, sit down, watch the performers, maybe walk in a category if you feel up to it, have a good time.” 

How to prepare: To walk a category, just show up and step out!  

To walk a category, just show up and step out!  

 “To walk a category, just show up and step out there. Before walking, you should do your research. If you put in ballroom on YouTube, so many things will pop up. Look at clips, watch documentaries.” 

Vogue Down works to try to teach the community about the rich history of Ballroom culture with their series “History 101,” (check out these videos on their Instagram page 

Another place to learn more about the culture Vogue Down is bringing to Minneapolis is through documentaries. Vogue Down recommends “Paris Is Burning,” “How Do I Look,” “My House,” or “Pose,” and “Legendary,” which is a ballroom competition show.  

 “I think what it means for us is a connection of all people in the cities who have been interested in ballroom and who also are in ballroom to know each other. I think the biggest thing you can give people is a platform, and we're giving people a platform to showcase who they are. The four of us are new, we have only been doing this for about a year, but I know there are people that will have those answers for you. So I just want everybody to be able to network and connect with people that they could get something from and give something.”  

“I'm most excited to meet new people. I'm excited to see the creative expression people bring to their category. I'm most excited to see the drag performers we have with our Lady Camille Cassadine (

), your recent flip phone superstar Cariño (

), who is the host of Drag Duels - a really big drag show in the city, and a great drag performer as well. We’re also having Destiny Spike (

), who is a Black woman artist who is going to shut down the stage as a rapper. So, it is going to be amazing. I'm excited just to see all the creativity.”

{"type":"doc","content":[{"type":"paragraph","content":[{"text":"","type":"text"}]}]}

Joely Kelzer

The Minneapolis-based collective is celebrating Pride Month with an event at Lush Lounge in Minneapolis on Wednesday, June 14.


Courtesy of Vogue Down

Vogue Down brings ballroom to a new generation in Minneapolis

On June 19, 1865, about 2,000 Union troops arrived at Galveston Bay, Texas, announcing that the Civil War was over and the 250,000 enslaved Black people in the state were now free after more than 200 years of enslavement. This was more than two years after the end of the war and the signing of the Emancipation Proclamation. After 158 years, Juneteenth has evolved into a celebration of culture, family, and Black joy, as well as an honoring of the legacy of Juneteenth.

In Minneapolis, Juneteenth celebrations date back to 1985, but with 2023 marking the first year that Juneteenth is an 

, celebrations across the Twin Cities are looking bigger than ever before. 

Juneteenth Jubilee: A Black Burlesque Show

The king of burlesque Tre’ Da Marc presents Juneteenth Jubilee, a celebration of liberation of black and brown bodies in burlesque. See a dazzling lineup including RuPaul’s Drag Race's own Dax ExclamationPoint and Lou Loi la Duchesse de Rier, hosted by Foxy Tann.

, The Capri Theater, 2027 West Broadway, Minneapolis

Hear songs made famous by Aretha Franklin, Etta James, Chaka Khan, Sade, and more at The Dakota for a night dipped in old-school R&B. 

, The Dakota, 1010 Nicollet Mall, Minneapolis

Black Bodies in Motion: The Ultimate Expression of Freedom

The Midtown Global Market celebrates health, heritage, and harmony with poetry, music, a reenactment of the proclamation, and above all, motion — what many consider the greatest expression of liberation, resistance, self-care, and freedom. There will be biking, Zumba, yoga, line dancing, meditation, and more. 

, Midtown Global Market, 920 E. Lake Street, Minneapolis

Juneteenth Minnesota - A Family Celebration!

Celebrate with the whole fam at the Allianz field. Learn through art and history exhibits, and see performances through 50 years of hip hop. There will be a fun zone for kids, and wellness resources, economic empowerment, and scholarship awards for the community.

, Allianz Field, 400 Snelling Ave. N., St. Paul

Enjoy food, vendors, family activities, a live painting by Kenneth Caldwell and almost a dozen performances including music by Jamecia Pettiford, Obi Original, BdocCroc, and more.

, Bethune Park, 1304 N. 10th Ave., Minneapolis

The Art of Freedom: A Juneteenth Celebration

The University of Minnesota hosts its second annual Juneteenth Celebration block party and march. This year the events will be centered around Black joy, Black resistance, and Black rest. There will be a rose memorial, a moment of silence, performances, Black vendors, workshops, books, free food, free haircuts, a petting zoo, and more. 

, UROC, 2001 Plymouth Ave. N., Minneapolis

For a more natural atmosphere, head to the Dodge Nature Center for a scavenger hunt, aquatic life exploration, and more outdoor activities with Dodge naturalists. DJ Jae Myth will provide music for movin’ and groovin’.

, Dodge Nature Center, 1701 Charlton St., West St. Paul

Frogtown Farm sets their sights on a more equitable future with a special community event. Celebrating freedom and unity, they honor Juneteenth with an opening ceremony, story circles focusing on sustainability and community building and a potlikker-and-smoke-themed dinner curated by chef Lachelle Cunningham.

, Frogtown Farms, 946 Minnehaha Ave. W., St. Paul

Burnsville Juneteenth Celebration — Free to Be

Burnsville’s Free to Be is a chill, and inclusive party. There will be performances by Heather McElrath, Catalyst Artist Collective, Chadwick “Niles” Phillips, and Afrocontigbo Dance Group. Get crafty with kids and unwind in the cooling bus or their sensory-friendly spaces.

, North River Hills Park, 1501 19th Ave., Burnsville

Juneteenth Minnesota West Broadway Block Party

With two stages welcoming names like Ilhan Omar and Andrea Jenkins; history exhibits; and activities for the whole family, the West Broadway Block Party provides all sorts of entertainment, education, and resources.

Carbon Sound is ringing in their 1st birthday on Juneteenth. Celebrating a year of supporting local music and Black musical expression with a lineup of rising Twin Cities DJs, including Ech0astral, Byzzara, Yhanté, Fanaka Nation, DJ McShellen, Kwey, Fluidtranquility, and DJ Pin. 

, Fine Line, 318 N First Ave., Minneapolis

The Capitol hosts an array of fun activities on the Capitol lawn that includes food, music, games, and face painting by Keshawn's Characters.

, Minnesota State Capitol, 75 Rev Dr Martin Luther King Jr. Blvd., St. Paul

The Legacy Building will take over the block for their second annual Soul of the Southside Festival. Hook & Ladder will be hosting more than a dozen performances spanning jazz, hip-hop, and R&B by local artists including iLLism, Nur-D, Jada Lynn, Huhroon, and Ricki Monique. See local Black artists in Art Walk at the Healing Square and attend family storytelling sessions at Moon Palace Books. 

, Hook & Ladder, 3010 Minnehaha Ave., Minneapolis

​​Take the whole family to Centennial Lakes where you can plant a tree, take a story stroll, or take in music at the beer and wine garden. There will be plenty of food trucks and activities to reflect on the legacy of Juneteenth.

, Centennial Lakes, 7499 France Ave. S., Edina

Rondo Center of Diverse Expressions (RCODE) hosts their third annual Juneteenth observance serving the community. To highlight the connection between labor and Juneteenth, RCODE prepares entertainment, food trucks, and information for job applicants. They have a mission to provide resources and a goal to connect people with job leads “as a celebration of the human spirit, respect and the hope for better days ahead and its fundamental pillar of freedom to work with the expectation to be paid.”

, Rondo Commemorative Plaza, 820 Concordia Ave., St. Paul

Orchestra Hall puts on a special program in honor of Juneteenth. Conductor André Raphel leads the Minnesota Orchestra through Adolphus Hailstork’s Three Spirituals and one of the most celebrated American symphonies ever written, William Grant Still's Afro-American Symphony. A product of the Harlem Renaissance, the symphony combines orchestral stylings with elements of the blues. Justice Alan C. Page joins the orchestra to narrate Aaron Copland’s Lincoln Portrait, reading excerpts of Abraham Lincoln’s letters and speeches. A former Minnesota Viking and member of the Pro Football Hall of Fame, Page is the first African American judge to serve on the Minnesota Supreme Court.

, Orchestra Hall, 1111 Nicollet Mall, Minneapolis

Here is The Current’s Juneteenth playlist, curated by Derrick Stevens:

This feature is part of The Current’s 

 series, helping you enjoy the best of the season with weekly guides to events, entertainment, and recreation in the Twin Cities.

Cynthia Maya

Plan ahead for a busy weekend of celebrations, concerts, block parties, and more.


Juneteenth

Tim Evans for MPR News

How to celebrate Juneteenth in the Twin Cities this year

redveil stopped by for a conversation with Carbon Sound before his sold-out show at Amsterdam Bar & Hall in St. Paul in April. The rising young rapper had a lot to say about his process as an artist, conscious rap, and what it means to make the music that he does for the audience that he has.

Tune in to Carbon Sound 24/7 to hear redveil’s tracks 

Subscribe to our YouTube channel for more!

Watch the rising rapper’s interview with Carbon Sound on YouTube.


Carbon Sound

redveil talks tour, "Playing With Fire," and more with Carbon Sound

redveil talks growing up, playing with fire, and more with Carbon Sound

Each week, we add new music, older tracks, which are known as “Gold adds”, and tracks that might not fit our general format, but still deserve a place in rotation because they serve our mission of showing the depth, breadth, and influence of Black musical expression - These are known as “Variety adds.”

. If you make music and want it considered for rotation, 

 If you want to give feedback directly, reach out to me at jgreen@mpr.org.

Tune in to hear our host Sanni B. live on The Message from 10 AM to 1 PM Monday through Thursday!

Keep all these tracks in one place with the 

 Spotify playlist. This playlist is updated weekly with all the new adds. When that playlist is cycled with new tracks, the tracks live forever on the 

 playlist. That playlist contains all of the music that we've added since the week of July 11, 2022 in chronological order of when it was added. All of the tracks available on Spotify, at least.

Julian Green built and manages the music library for Carbon Sound and oversees content creation.  


Julian Green

All of the tracks added to rotation on Carbon Sound the week of June 5, 2023.


Image for New on Carbon Sound Spotify playlist

Natalia Toledo

New on Carbon Sound

Old on Carbon Sound

New Music on Carbon Sound - Week of June 5, 2023

Fatima Rahman

Blu Bone’s 2nd Hi Cotton Ball was decadent mix of live music, dance breaks, and a ballroom showdown at the end.


Darin Kamnetz for MPR

Blu Bone enraptures the crowd at the Hi Cotton Ball

Rico Nasty brought the house down with a fiery performance at Amsterdam Bar & Hall in St. Paul on Tuesday, May 23. Watch all the concert in Carbon Sound Correspondent Liam Armstrong’s video above.

 and tune in to Carbon Sound 24/7 to hear tracks like 

Liam Armstrong

Watch Carbon Sound Correspondent Liam Armstrong’s full video of Rico Nasty’s St. Paul show here.


bearBOI Photo for MPR

Rico Nasty LIVE in St. Paul | 5.23.23

Video: Rico Nasty LIVE in St. Paul | 5.23.23

Janet Jackson has been working tirelessly for the last half-century to build a name and sound all of her own. Along the way, she has won five Grammys and entered the Rock and Roll Hall of Fame. Back in the Twin Cities for the first time since 2015, Jackson danced all attendees down memory lane at Xcel Energy Center Tuesday evening on her Together Again Tour. 

On her journey to success as a performer, Jackson was a singer in Vegas, had a TV stint on 

, and released two sunny albums overseen by her father, Joseph. Her next album, 

 went platinum six times. The latter’s loud themes of Black female empowerment and unity led her to begin openly expressing her own eroticism and sex appeal – something that continues to tap into to this day. Jackson performed an extensive 40-song set, and she brought Atlanta favorite Ludacris along for the ride. 

 actor Ludacris kicked off the night with a swift 30-minute set dressed in black leather joggers, a red-and-cream varsity-style jacket, crisp braids, and a gleaming, icy necklace dangling on his chest. Now 45, Luda smashed through a medley of his top hits, including snippets of songs in which he was featured, like Fergie’s “Glamorous,” Usher’s “Yeah!” and Jermaine Dupri’s “Welcome to Atlanta.” Although the 612 was not called out on the original “Area Codes,” he ensured it was included on the screens behind him. The amped-up crowd bounced and danced like it was a club for much of his set, and there were ample opportunities for sing-alongs. Luda seemed like he was having fun, bantering with a fellow emcee, Arbie Fate Wilson, and DJ Infamous spinning from a platform above. Later, he appeared wearing what he referred to as “big-a** sneakers” during “Stand Up,” and on his final song, “Get Back,” he donned the oversized arms 

 to the approval of the enthused crowd. 

After a short break, it was time for Ms. Jackson herself to take the stage. The racially diverse crowd of mostly 30-to-50-somethings, dressed in their best bedazzled and floral going-out clothes, screamed with anticipation when a montage of Jackson’s photos spanning her career played on the screens above the stage. A drapey cloth was ripped away to reveal an ethereal Ms. Jackson shrouded in a purple hooded cloak that hid a slim-fitting glittering gold one-piece and large purple bow that showed off her figure. Backup dancers wearing matching purple boilersuits writhed onstage with Jackson as she launched into the first segment of the evening. 

Her set broke down into four acts encompassing many hits and a few new songs. Each act had a distinct color theme and outfits that matched the dancers – act one: purple and gold; act two: a flouncy black skirt that was removed to show wide-legged pants and high-necked, glittering black-and-white top; act three: a powerful-shouldered, blaze-orange-and-neon-pink dress with plaid accents; act four: a bedazzled shirt with RHYTHM NATION glistening across the front. Jackson’s hair was tied up in a sleek high ponytail that she occasionally had to battle and pull from her headset, and later she used to whip around her head like a helicopter blade. 

With help from her backup dancers, she showcased some of the legacy choreography that launched her, and countless other dance segments showing what a fit 57-year-old body could do. Jackson’s soft domination took center stage multiple times as lithe and muscled dancers surrounded her, knelt at her feet, and sensually submitted to her. The crowd whooped as she traced her fingers down one dancer’s chest and onto his crotch, and one got a good, deep smooch from Ms. Jackson herself at the end of act two during “So Lonely.”

A live band and DJ were mainly obscured for much of the set behind mesh curtains but were pushed forward for a few select moments. They played cleanly and loud enough to sometimes interfere with some of Jackson’s vocals, particularly during “No Sleep.” Jackson’s sexy, sumptuous mezzo-soprano breathily rang true a few times during the set, but the high-caliber calisthenics-like dance moves warranted what seemed to be some lip-syncing. The crowd didn’t seem to care or mind and sang along during hits like “What Have You Done for Me Lately,”  “Nasty,” “When I Think of You,” and “All For You.” There were a few lulls from Jackson and the crowd throughout the night. It was mixed results when she let attendees do the singing a few times while she sat primly onstage during “Come Back to Me,” “Let’s Wait a While,” and “Again.” Jackson also debuted a new song, “Put It On You,” during act three.

Some of the highest moments were in act four. “Miss You Much” showcased sharp and precise choreography. “Escapade” had great crowd appeal but cut off before her iconic callout to Minneapolis. The middle-aged crowd, slowly growing sleepier, perked up and became animated again when Jackson performed “Scream,” the duet with her late brother, Michael. Screens showed clips from the original music video as the crowd roared and the song bled into an energetic version of “Rhythm Nation,” featuring the original powerful choreography. For the night's final song and the encore, the teases and snippets throughout the night ramped up for the closeout of the entire track “Together Again” before screens rolled the credits for the high-production event.

Although she didn’t provide much banter, Jackson’s enthusiasm for her performance and dedication to putting on a good show, regardless of where it was or whom it was for, was very apparent. Jackson is a true performer whose night was dedicated to showcasing a medley of her take on Prince’s Minneapolis sound, new jack swing, smooth R&B, and pop. Although it could have been a little shorter, Jackson provided an entertaining set that gave die-hard fans and those who only knew her hits exactly what they wanted: a one-way ticket to her steadfast Rhythm Nation, and it sure felt nice to be Together Again. 

Natalia Mendez

Her first Twin Cities performance since 2015 featured Ludacris as the opening act.


2022 Essence Festival Of Culture - Louisiana Superdome - Day 2

Bennett Raglin/Getty Images for Essence

37th Annual Rock & Roll Hall Of Fame Induction Ceremony - Inside

Theo Wargo/Getty Images for The Rock and Roll Hall of Fame

Janet Jackson dazzles in career-spanning Xcel show

On the three-year anniversary of George Floyd’s murder, I find myself reflecting on the past few years and how our city and community navigated such profound emotional turmoil. I often look back on that time and remember the fires that engulfed Minneapolis, the businesses that crumbled, and the violence inflicted upon Black individuals by the state as we demanded justice. However, amidst the chaos, I also remember the ways our community came together, the outpouring of love, and the instinctual desire to hold each other close.

Music has always played a crucial role in amplifying Black stories and narratives, serving as a universal language to break barriers, foster understanding, and promote healing. As I’ve reflected on the last three years, I think about the music that inspired me and kept me going through that turmoil. I felt called to speak with some of the artists who created it.

Just days ago, I had the privilege of sitting down in my home with four talented Minneapolis musicians who have been using their art as a powerful tool for healing, unity, and resistance. SoulFlower, Breezy2Fresh, Mack OC, and Oaojooo shared their experiences, inspirations, and thoughts on the role of music in bringing about social change.

The murder of George Floyd and the subsequent uprisings around the world left an indelible mark on these artists' lives, compelling them to respond to the profound moment. Here are selected moments from our two-hour-long table talk.

SoulFlower described the summer of 2020 as surreal, with the widespread dissemination of traumatic events through social media. " I wasn’t as into making music as I am now, but during that time I really wanted to connect with community,” she said. “There was a lot of destruction but how do we get together and heal?" To fulfill this purpose, she co-founded Revolution Radio, a platform that provided resources and mutual aid. By channeling their emotions into art, rallies, and protests, artists like SoulFlower found spaces to connect with others experiencing the same emotions, fostering a sense of unity amidst the chaos.

For Breezy2Fresh, the unrest following George Floyd's murder was a tipping point in a long-standing struggle against police brutality and systemic racism. “It had already been brewing,” he said. “Even before George Floyd, there were a few of us that were making music geared toward this moment in history. I had made music about Philando [Castile] — that was right in our back yards too. I didn’t really make music directly about George Floyd because I realized as angry as a lot of us were, there needed to be uplifting messages as well.” Outside of his own craft, Breezy saw beauty in the chaos, witnessing fellow artists use their art to support our community. 

Mack OC felt a strong sense of responsibility as an artist during that time. He wanted to be able to answer his future children's questions about what happened in Minneapolis in 2020. He explains, “We’re all living in history, and I realized how monumental that was to have in our own backyards. Even if it never ends up in history books I had to think ‘How can you make an impact when it’s right in front of you?’”  While thinking about how this would impact the state of the world going forward, Mack’s creativity was heavily fueled by the desire to relate to the people around him in that moment and create something that allowed people to feel understood in their pain, frustration, confusion, etc.

Oaojooo expressed the challenges he faced in creating at the time. “It wasn’t till 2022 that I learned about toxic positivity, and I realized that I stunt my creation sometimes because I worry about being too negative or frank but that’s equally a part of it all,” he said. “The pain and turmoil are equally a part of the beauty and the creation.” Despite the difficulties, he drew inspiration from the sense of purpose that arose during those events, witnessing the flame of purpose ignite in people who previously searched for meaning.

The conversation then shifted toward the role of creativity and art as a form of resistance. SoulFlower emphasized that creating art challenges the notion that individual voices do not matter. “I think art is inherently activism because the world wants to push that your voice doesn’t matter and society wants to dim your light but when you make something that comes from you, it actively pushes against that narrative,” she said. “By making things and sharing your perspective on them you’re actively resisting a narrative that’s against you.”

Breezy2Fresh added that ideas are powerful, and art serves as an effective medium for conveying those ideas. By daring to put forth ideas for positive change, artists engage in activism that challenges societal norms.

Mack OC shared frustration with the notion that artistic expression is often discredited as a form of activism. He recalls a high school protest where he felt he could best contribute to a protest by making a song, only to be told that it did not count. He believed that speaking through music is just as impactful as giving a speech. “People underestimate the effect,” he said. “While we go through these traumatic experiences everyone can pick out a song that got them through or really inspired them. It’s about the effort and speaking from your own heart. Adding your own piece to the puzzle.” 

With the three-year mark upon us, the artists shared their personal growth and reflections on the journey. Breezy2Fresh, known for his introspective music, expressed a change in his approach, stating, "I’ve shifted more towards making people comfortable with introspective music and actively trying to process our emotions." He also highlights the importance of community outreach and pondered ways to uplift the community beyond rallying together. 

Oaojooo recounted his personal journey during that time, acknowledging the bittersweet nature of his experience. "I forget about what I was going through at that time because of how much community I did have and how much inspiration I had and creativity I was indulging in," he shared. However, on a broader scale, he expresses a sense of simmering down and returning to survival mode, rather than feeling liberated to create and show up in the world as he desired.

Mack OC emphasized the ongoing responsibility to support and amplify Black voices, acknowledging the need for continued activism and community engagement. “Feeling like I’m already a Black man that’s here but that complacent mindset and victim mentality sets me back at times,” he said. “Since then, it’s made me feel disappointed in myself and my change in mindset. Now that everything’s died down it feels like nobody cares what you have to say unless you have a major platform — but this is still my responsibility. People still need support and help, and to be heard.”

SoulFlower reflected on the evolution of her artistry. “I’ve done a lot of self-growth into my artistry and being more grounded as an individual,” she said. “I still have a lot of passion now for making music. I can see in my writings the passion that I had that summer was fueled by anger but now it’s fueled by love. I’ve also learned to stand and affirm myself in the face of people who had different thoughts and views as my own and not losing my perspective to others while still seeing them.”

The artists further revealed the profound impact of their music during that period. Oaojooo discussed his song "21KCUF," emphasizing his commitment to work regardless of his circumstances and his intention to shed light on the harsh realities of the world. 

Mack OC highlighted his tracks "Activated" and "The Bigger Target," which serve as self-motivational anthems and reflections on navigating a predominantly white society as a Black man. 

Breezy2Fresh shared insights into his song "Love," which delves into the complexities of anger and malice, and how he realized the necessity of fighting with love rather than perpetuating the cycle of hate.

SoulFlower recalled her involvement in rallies, choosing to sing Nina Simone's "Blackbird" for its evocative nature. She also highlighted her song "Passion," which explores carrying the weight of identity and the desire to be seen authentically. 

“I talk about carrying something around and around and you never put it down,” SoulFlower said. “I feel like it translates to the baggage we all hold to this identity that’s put on to us not only being Black, but being proud of being Black and all that comes with that label and how we’re supposed to be and I think the song speaks to all of us wanting to be seen for who we are truly at our core.” 

As artists, Breezy2Fresh, Oaojooo, Mack OC, and SoulFlower continue to grapple with the aftermath of George Floyd's murder and its impact on their artistry. Their voices serve as a testament to the power of creativity in driving change and the ongoing need to address systemic issues and create a more just and inclusive society. Through their music and activism, these artists inspire others to engage in meaningful conversations and work toward a better future.

Taycier Elhindi

Three years later, SoulFlower, Breezy2Fresh, Mack OC, and Oaojooo came together to share their experiences, inspirations, and thoughts on the role of music in bringing about social change


21KCUF / PIW

Activated

Love

Passion

Taycier Elhindi for MPR

How George Floyd's murder changed four Minneapolis musicians' paths

Tina Turner, a soul and rock powerhouse known for her octave-defying voice and mesmerizing stage moves, has died at the age of 83. 

She died Wednesday in her home in Switzerland after a long period of illness, according to a statement from her publicist. In her 2018 memoir, 

, Turner detailed a litany of health issues she had dealt with since 2013, including a stroke, intestinal cancer and kidney failure. Her second husband, Erwin Bach, donated a kidney to her in 2017, saving her life.

In a recording career that spanned six decades, Turner found fame both as a solo artist and in a duo with her first husband, Ike Turner. With the latter, she was inducted into the Rock & Roll Hall of Fame and became a staple of the U.S. pop and R&B charts in the 1960s and '70s. The duo's high-energy soul and rock was informed by Tina's disparate vocal influences. She grew up listening to country music, but had many idols: '50s R&B singers LaVern Baker and Faye Adams; gospel great Mahalia Jackson and rock pioneer Sister Rosetta Tharpe; blues legend B.B. King; and soul greats Ray Charles and Sam Cooke. Accordingly, she had a malleable and versatile voice, and could unleash a scalding rock growl, or dip into her lower register and sing the smoky blues or velvety R&B numbers. One of Ike & Tina's most well-known songs, "River Deep, Mountain High," was even a Phil Spector-produced, orchestral-gospel triumph.

An agile vocal interpreter, Turner also made other people's iconic songs her own — adding a tone of yearning and desperation to The Beatles' already-pleading "Come Together," and layering on more of a country twang to The Rolling Stones' "Honky Tonk Women." Her signature tune, a fiery transformation of Creedence Clearwater Revival's laid-back "Proud Mary," became a showcase for her sultry soul drawl and raspy rock 'n' roll yelp. The latter song won Turner her first Grammy Award, for best R&B performance by a duo or group with vocal. She would win eight Grammys overall — including best female rock vocal performance for three years in a row during the '80s.

In addition to her vocal prowess, Turner had a commanding stage presence that was often characterized as "electrifying." This descriptor somehow always seemed like an understatement: At the microphone, Turner vibrated with energy, like a simmering pot about to boil over, and she possessed natural athleticism that translated to lithe but powerful onstage dancing. "Someone once called Tina 'the female Mick Jagger,'" 

 in 1971. "In fact, to be more accurate, one should call Mick 'the male Tina Turner.'" (This is no mere critical hyperbole: In the same 

 feature, Turner herself insinuated that Jagger studied her moves rather closely when she and Ike toured with the Rolling Stones in 1969.) Naturally, when the pair teamed up for a

 of the Jacksons' "State of Shock" at Live Aid in 1985, the combination was incendiary.

Born Anna Mae Bullock on Nov. 26, 1939, Turner grew up in rural Nutbush, Tenn., but also spent time in Knoxville, as her parents moved there for work. Growing up, she had a distant relationship with both her father, who abandoned the family when she was 13, and mother. But performing came naturally, and became her solace. In 

, she describes music-filled shopping excursions — being 4 or 5 years old and being paid by salesgirls to sing radio hits she had memorized — and the exhilaration of leading her cousins, half-sister Evelyn, and sister Alline in pretend stage shows. Later, she honed her performing presence further by singing at picnics with a regionally famous trombonist named Mr. Bootsy Whitelaw.

Turner moved to St. Louis at age 16 to live with Alline and her mother, and began going to the famed East St. Louis venue Club Manhattan, where she first saw Ike Turner & The Kings of Rhythm. In 1957, she ended up joining the group after her impromptu performance of B.B. King's "You Know I Love You" wowed the bandleader. The troupe was eventually rechristened the Ike and Tina Turner Revue, highlighting her elevated role.

By all accounts, Ike was excessively cruel toward Tina, both personally and professionally. "Looking back, I realize that my relationship with Ike was doomed the day he figured out that I was going to be his meal ticket, his moneymaker," Turner wrote in 

. She then described how she was a last-minute replacement to sing on "A Fool In Love" — which became the duo's first hit, reaching No. 2 on the R&B charts in 1960 — and was impressive enough that a label head told Ike to make Tina the group's centerpiece. "What went through Ike's head when he heard that advice?" she continued. "He had to find a way to protect his interests, and that's when the trouble began."

Over the years, Turner has been open about certain aspects of their time together, although she told the

 in 2019 that she's never divulged all: "I think I'm ashamed. I feel I told enough." But Ike was mentally controlling — for example, he rechristened her "Tina Turner" and then trademarked the name, both without her consent — and physically abusive. She was nearly penniless when she left him in 1976, while the pair were on tour in Dallas. "I walked out without anything and had to make it on my own for my family and everyone so I just went back to work for myself," she said during a 2017 appearance on

Turner had released two solo albums while still performing with Ike, 1974's 

a stripped-down LP featuring her take on songs by Bob Dylan, Dolly Parton and Kris Kristofferson — and 1975's rock-oriented covers album 

 Her first entertainment forays post-split geared toward mainstream fare — the game show 

 and Cher's variety TV series — and cabaret-style live concerts, as well as two albums that didn't chart. She also recorded a sleek, electro-pop take on the Temptations' "Ball of Confusion" on 

Music Of Quality & Distinction, Volume One

, an album released by Heaven 17 members Martyn Ware and Ian Craig Marsh under the name B.E.F.

The year 1984 would be pivotal for Turner. She dueted with David Bowie on the reggae-influenced title track of his 

LP, and finally achieved widespread mainstream success on her own thanks to the blockbuster 

. As with "Ball of Confusion," the album embraced the decade's slicker, cutting-edge production values — in fact, two songs were co-produced by Ware — while still highlighting Turner's muscular voice and eclectic influences.

The album's tracklisting included the Mark Knopfler-penned title track, as well as covers of tunes by David Bowie ("1984"), the Beatles ("Help!"), and Ann Peebles ("I Can't Stand the Rain"). 

 also featured her first and only solo No. 1 hit, the vulnerable and luxurious "What's Love Got to Do With It." The single, which also won Grammy Awards for record of the year and best female pop vocal performance, boasted a cathartic, lived-in vocal performance that ushered in her sophisticated second act and cemented her reputation as a survivor, a tag and aesthetic she embraced.

Turner's commercial renaissance continued as the decade progressed. She co-starred in the 1985 film 

, which spawned the dramatic power ballad "We Don't Need Another Hero (Thunderdome)" and the Grammy-winning "One of the Living," and racked up more hits with the Bryan Adams duet "It's Only Love," breezy seduction "Typical Male," and the empowerment anthem "The Best." With her spiky wig and power miniskirts that showed off her legendary legs, Turner also became an early MTV icon: She

 at the first-ever MTV Video Music Awards in 1984, and won best female video the following year for "What's Love Got to Do With It."

Turner continued to be a commercial force into the '90s, notably thanks to the 1993 biopic, 

, the movie starred Laurence Fishburne as Ike and Angela Bassett as Tina. Both actors were nominated for Oscars, while Bassett won a Golden Globe for best performance by an actress in a comedy or musical. Turner herself also received a career boost, as the soundtrack song "I Don't Wanna Fight" became a worldwide hit, cracking the top 10 in the U.S. In 1995, she landed another prestigious honor, singing the slinky, elegant James Bond theme song "GoldenEye" for the titular film.

The pioneering vocalist, who played a pivotal role in the history of rock and soul music, had suffered a litany of health issues in recent years.


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