Then it suddenly shifts to a tone where everything is like, well, almost devilish, divine evil. I believe that it represents a time when they both were smoking probably green ( assuming hes rick ross and was crazy back in the day) and it represents youth, as when you are YOUNGEr you experience love and being high much more than when you have a kida nd your a dad. Im in love when we are smokng that lalalala sorry for gramatical errors.Īnother thing: i know this album has politically charged stuff, but im ignoring all the previous thought about theories and explanations and this is my explanation.Īlso, i skipped some songs, if you want you can try to do the same in the comment section or whatever I believe that his father must be olderīecause of authentic experience, i stopped listening to his album for 3 months and listening and writing at the same time. In this storyline, the boy was not yet born, and this was around the time his father (which happens to be rick ross) and his mother. In AWL however, this story isnt about the boys life, it is about his parents. Being the genius Mr.Glover himself is, this is totally fucking possible. this means the "alternate universe" one would say that is the world created by Donald Glover like a painting, delicately put together and thought out. I believe that everything gambino released (studio albums) are some how contributing to "The Boy"'s world. To this "personal perception" of AWL, keep in mind: I look at the music CG creates as a tribute to "The Boy's" life, and ive had some pretty cool realizations after doing that. The result is an experiment in time travel: Through sounds of the past, he captures the tensions of the present.So im a frequent gambino listener, and after listening to camp and because the internet so much i have developed a new approach to listening to gambinos music. Coming from an artist known for taut wordplay and manically constructed similes, the broad strokes of Awaken are a shift: You’ll think eventually, but mood comes first.Īnd in the wake of Black Lives Matter protests that followed the deaths of Eric Garner, Michael Brown, Tamir Rice and so many more, Glover’s choice to echo a period in Black music when artists took on an explicitly revolutionary cast is a canny complement to albums like Kendrick Lamar’s To Pimp a Butterfly and Solange Knowles’ A Seat at the Table, both of which explored Black identity with new urgency. It makes for a tonal fluidity that also marks his work on the television show Atlanta, which he created. Like a funhouse mirror, he stretches his influences into weird shapes: The freak-outs are exaggerated to the point of comedy (“Me and Your Mama”) and the ballads romantic to the point of creepy (“Terrified”). Glover said he’d started with childhood memories of his parents playing Funkadelic and The Isley Brothers on the stereo: specific sounds and songs, but more importantly, a general feeling-one that Glover wasn’t quite old enough to grasp. On the face of it, Donald Glover’s “Awaken, My Love!” is a museum-quality rip of early-’70s funk and soul: the faded vocals, the fuzzed-out guitars, the collective sense of chaos and exuberance.
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