The Genius Of Janelle Monáe

Janelle Monáe has created a phenomenal allegory for America’s love of squandering free-thought, expression, and anything that makes its inhabitants human and special. In favor of mindless beings (or computers) for the upkeep of capitalism. She flawlessly addresses the intersections of race, gender, and sexuality as her android persona — Cindi Mayweather — tries to navigate a dystopian world that’s similar to our own.

Sci-fi stories usually never take place in the medium of music. Sci-fi stories even more rarely have black and/or brown faces occupying those spaces. A visual genocide and protection of white supremacy under the disguise of entertainment. In the rare occurrence that this happens it is through Afro-Surrealism and Afro-futurism. However, Afro-Surrealism and Afro-futurism sometimes parallels the real life hierarchy within the black community by depicting cisgender-straight black men as the main heroes of the story, placing black women as supporting characters. With the eradication of Black queer folks. Those with intersecting identities facing double erasure.

I had never heard of a piece of art that placed black women and queer folks at the center of a sci-fi or Afrofuturistic narrative. This was until Janelle Monae released her major studio debut The Chase EP (there were hints of these themes on the song Cindi from her mixtape The Audition but nothing really begin to fall into place until The Chase). It is the first official entry in her Metropolis Saga, successfully starting a cohesive narrative over the course of multiple projects. The EP follows an android named Cindi Mayweather living in a society suffering from social stratification in the year 2719. Mayweather falls in love with a human, named Anthony Greendown, and is sentenced to disassembly. Cindi Mayweather escapes disassembly and begins her revolt. Every genre of art comes with its own pre-existing conventions. Science fiction often explores exhistial questions of existence. While encouraging the use of big ideas and pushing boundaries. And she does just that. Using the vast universes she created to explore the vast resillence of black women and black queer people. The complexity of Black women’s lives, desires, and perspectives mixed with the complexity of multiple universes. Throughout the EP, the metaphorical lyrical content and accompanying visual show the fight Cindi Mayweather as an allegory for marginalization. Although most of it doesn’t seem to take place in the same time frame. Most of the songs depict Metropolis while reflecting the same ideas in our world. Allowing listeners to easily draw parallels between Metropolis and Earth. Janelle sings in first person while embodying Cindi, exemplifying the similarities between her sentiments and our reality. A clever use of the idea that a musician’s art and personhood are synonymous, and revolutionary figureheads’ ideologies is everlasting. Metropolis uses another common element of the sci-fi genre as a critique of society. Cindi’s fight doesn’t just exist in a fictional dystopia, but also in real life for all oppressed people.

The ArchAndroid opens with an orchestral overture to give the project a cinematic feel. The first four songs deal with a similar theme of varying coping mechanisms. The album then begins to focus less on a broader or more communal fight for freedom and more of an internal one. The song Cold War makes it clear that oppression does not have just physical ramifications but also a psychological ones. But, then challenges the listener about how they’re going to combat it. Tightrope advises how to prevail through life’s troubles. Cold War segues seamlessly into Tightrope and together they form a bigger picture that discuss both the negative and positive aspects of realizing one’s purpose. After reflecting on love, with parallels to a human’s relationship with God in Oh, Maker, Cindi seems confident in her position as Messiah-like figure of Metropolis. Throughout the remainder of the album, world building Metropolis (with mentions of locations like Mushrooms & Roses and Neon Valley Street), and queer themes with mentions of a woman named BlueBerry Mary, are introduced. As Cindi Mayweather’s final call to her lover, Anthony Greendown echoes in BaBopByeYa. Freedom and love shining through are the themes used in Metropolis. In the song booklet for The Arch Android, it is said that the story isn’t based in a logical structure. Janelle uses the unique advantage of her medium to divert from the standard structured fictional story and more of an amalgamation of ideas that span multiple times periods and worlds. Thus making the concepts and music itself feel reminiscent of our past, relevant for the present, and timeless for generations to come.

The LP Electric Lady follows by continuing the story of Cindi Mayweather and some supporting characters with the addition of new supporting characters. The album adds more color and upbeat anthems to the world of Metropolis. The world of Metropolis is more fleshed out and more world building takes place throughout this album. Thematically, The Electric Lady continues the dystopic cyborg themes of its predecessors, while presenting itself in a more plainspoken and personal manner. It’s also stated in an interview with Billboard that The Electric Lady is a prequel to The ArchAndroid. The prequel elements of this project are evident through the radio interview skits detailing the beginning of Cindi Mayweather’s rebellion against the droid control. Showcasing the fear felt by those that are privileged as those they have wrong start uprising. The fear of the other. As well as the music video for song Primetime. In the video the adventures of Cindi Mayweather and her first love Joey Vice (Miguel). The video not only gives further nod, to Janelle/Cindi fluidity but also puts the magnificent world building on full display. The beginnings of the rebellion start to take form with songs like Givin Em’ What They Love, Electric Lady, and Q.U.E.E.N. Cindi’s stardom begins to take off as a performer. During Q.U.E.E.N and Electric Lady Janelle/Cindi sends an urgent distress signal to question the strict boxes of femininity. Janelle/Cindi asks, “Am I a freak because I love watching Mary?” This is the same Mary whom she encounters during Mushrooms And Roses. Queer themes are sprinkled throughout, including with the track Dorothy Dandridge Eyes. A ballad dedicated to 60’s actress Dorothy Dandridge with queer themes of admiration. The 1960’s and Motown era of music are of course a known time of political change, often expressed through music. Janelle uses this cultural context to influence the artwork and some sonic elements to mirror Cindi Mayweather’s rebellion with our world again. The project ends with the joyous What An Experience. The album is truly an experience from its nuanced production, lyricism, and artwork. The project feels joyous and confident. Where The Case and The ArchAndroid find our revolutionary on the beginning her journey somewhat fearful, while she may be frustrated during Sally Ride, she has informed Mary that her narrative does not have to be defined by any patriarchal figure. All in all it was an experience. Our android leader may have to take some time away. But, in due time will be ready for the revolution that lies ahead.

Through Dirty Computer, Janelle introduces the concept of growth within the android world she’s constructed by including even more openly queer themes and moving away from strictly black and white to introduce color. Which she calls the reckoning, celebration, and reclamation. She has shown she can conquer any music genre, and weave in a compelling dramatic storyline, but now and strip it all back to reveal the person beneath. The growth is through her persona Cindi currently named Jane 57821. Which allows for a more personal approach, while still in continuity with her persona Cindi. Both Cindi and Janelle are allowed to be more open. This is all evident from the opening scene of the accompanying visual, as Jane 57821 and a friend, are pulled over by an authoritative robot. Making black people’s interactions with law enforcement feel just as dehumanizing, even without another human present. While arriving at a party that follows, high-end fashion concepts that seem to be influenced by First Nation, David Bowie, Afro-Punk, and Mod are introduced. These were spaces of intermingling of style, culture, and ideas that presented rebellion, and freedom of expression. Through the first four songs on the album she details her struggle with the restrictions and anger that come with living in an oppressive society. She details living in a space that commodities, sexualizies, and dehumazines female bodies, particularly of color. The lyrics of Screwed, represent the ambivalence many people toward times of stress. The feeling of pure exhaustion, being dealt through temporary numbing bliss. She acknowledges her reality. The song defanges violent oppression (mainly police brutality and harmful policies against black bodies), which has infamously occurred with the use of toy guns. During the bridge the grimly blunt outlook is justified. Sexualiziation can be to her advantage. If it really is all just sex, then she has every right to take back her sexuality. There is no shame in questioning or taking advantage of a system that first put you in a taxing position. However, in the Emotion Picture seeing that the consequence of that to be her lover taken away soon after, everything cannot just be screwed away. Engaged involvement and action must be taken for any progress towards any true eventual freedom. Beautifully holding multiple ideals and meanings through one word in a singular song. Django Jane through I Like That represent the celebration — an awakening of self-love and a celebration of everything that makes you unique. The exhale of joy after traumatic events and before self accountability. Don’t Judge Me and So Afraid harken back to Cold War. The internal struggle in the midst of political turmoil. However, So Afraid is even more introspective than its predecessor. Janelle/Cindi frames the personal reflection for the majority of Cold War as a shared time of reflection for both herself and the audience. So Afraid directly addresses the insecurities and anxieties that Janelle/Jane feels herself for its entirety. The song is accompanied by background vocals that sound almost like tired haunted screams. The moment of doubt before facing fear. In the end of the Emotion Picture, Jane 57821 marches out of the house of the dawn with her lovers Zen and Che as if she had been on the cross, as a biblical reference. Blueberry Mary and Mary Apple have the same DNA. In my interpretation, their names allude to the biblical Mary’s and Mary Apple connects Jane to Eve. There’s a balance of innocence and “dirt” or defiance in Mary Apple. This gives insight as to why Zen gives Jane a tattoo during the beach sequence hat looks like a female crucifix. Americans shows the growth that Janelle has acquired throughout this journey. The Dirty Computer universe and/or America still have white supremacy and patriarchy deeply ingrained into its systems. This growth isn’t without struggle, however, as the Emotion Picture shows us it ultimately better to be yourself than to be an android. Even in a world that is unwilling to accept you or let you live peacefully if you aren’t white, male, straight, cis, able-bodied, and/or complaint. Rendering you…invisible. This isn’t our America, but it is our right to create the one that we see fit.

The struggles of womanhood and queerness, particularly black womanhood and queerness, can make you feel utterly invisible stuck at a crossroads of invalidation from all sides. The formation of chosen family is imperative for survival. Queerness is both individual and communal. It is both the sexual and platonic. Janelle displays the complexities of this experience perfectly in her musical and fictional narratives with her crew filled with ‘’black girl magic.” And broadens this concept onto the stage. Her concerts feel like church. The kind of acceptance, spirituality, and community rarely found in an actual sanctuary. This outward demonstration of liberation further strengthens her art, those around her, and her onstage presence. The fog that surround her onstage seems to be the same fog as the nevermind gas in the Emotion Picture. In the Emotion Picture she is fighting for her life. In life, and now live shows, she walks freely. Giving hope to all the dirty computers she encounters. Now invincible. No matter the odds against her or her musical persona(s), the avenues in which Janelle Monáe can take her art are endless. Janelle Monáe is a genius.