#57821

Janelle Monáe - 57821 (feat. Deep Cotton)

May this song reach your heart

May your ears love the sweet melody

Every note, every chord

I've arranged them for you and for me

May the sound of my voice be your guide

Bring you closer to me

Let us bathe in the noise

If you know anything about pop culture, chances are, you know about Janelle Monáe. You may recognize her from Hidden Figures, Welcome to Marwen, or Homecoming. Maybe you saw her opening performance at the 2020 Oscars. At the very least, you know her as the female vocalist on “We Are Young,”  fun.’s 2011 chart-topper. In short, she’s everywhere.

Monáe’s talent has brought her widespread critical recognition and media attention, especially since the release of her most recent LP, Dirty Computer. In 2018, Dirty Computer received a Grammy nomination for Album of the Year, Monáe’s eighth nomination in total. Entertainment Weekly ranked the album’s lead single, “Make Me Feel,” as the best song of 2018. In spite of this, mainstream success has eluded Monáe; her highest-charting song as a solo artist only reached the 99th spot on the Billboard Hot 100. She is well known, but her music is not.

Monáe’s work is distinctive because it is not simply a collection of albums, but a dystopian future which serves as an allegory for modern societal injustice. Her first three albums comprise the Metropolis saga, and are heavily influenced by Do Androids Dream of Electric Sheep? and Fritz Lang’s Metropolis. They tell the story of Cindi Mayweather: Android #57821 and Monáe’s alter ego. She lives in the year 2179, when androids face widespread persecution and heavy legal restrictions. In Metropolis, Suite I: The Chase (2007), Mayweather is slated for disassembly for falling in love with Anthony Greendown, a human. The Archandroid (2010), which contains Suites II and III, sees Mayweather come into her role as the Archandroid, who is destined to free the people of the future from oppression. Lastly, 2013’s The Electric Lady (Suites IV and V) looks at Mayweather’s role in android society and further explores social justice issues.

While not listed as part of the Metropolis saga, Dirty Computer continues the themes of earlier albums. This is especially evident in the adjoining film (or “emotion picture”), which sees Jane 58721 being reprogrammed in a 1984-esque facility. A “dirty computer,” as the film states, is a person who lives in a way that society deems “improper.”

In Monáe’s world, androids represent the marginalized groups of society. Most notable are the ties to race and sexuality, which are informed by Monáe’s own experiences as a queer Black person in America. She has used her platform as a call to action since The Chase, with tracks such as “Dear Mr. President,” an open letter addressing race and class inequality. Her message is strongest in The Electric Lady, which promotes self-expression through music as a form of peaceful protest. The standout track, Q.U.E.E.N., addresses prejudice and inequality head-on, questioning the true nature of morality and how the interpretations of some are used against others. The song ends in a powerful rap, in which Monáe urges listeners to fight for equality: “March to the streets ‘cause I’m willing and I’m able / Categorize me, I defy every label […] Will you be electric sheep? / Electric ladies, will you sleep? / Or will you preach?”

Monáe’s talent is undeniable, so why hasn’t she achieved mainstream popularity? One major reason is the format of the Metropolis saga. Aside from the tracks released as singles, much of the music alienates the general public. Certain songs, even whole albums, don’t make sense outside of the context of the overarching story. A casual listener streaming The Archandroid on Spotify doesn’t see the album’s liner notes, which provide important backstory. Even when one has read the liner notes, listened to the albums in order, and watched the Dirty Computer motion picture, the story is difficult to decipher. It takes multiple listens, which doesn’t seem worth it if one isn’t committed.

The Archandroid is particularly difficult to get into. The storytelling, while interesting, is anything but straightforward. Much of the music is an acquired taste: “Neon Gumbo” is a segment of “Many Moons” played backwards; “Mushrooms and Roses” is slowly paced and heavily synthesized; and “Make the Bus” is highly experimental, to say the least. Some songs are wonderfully made, but completely unsuitable for pop radio airplay. This especially applies to “BaBopByeYa,” a nearly nine-minute track which combines smooth jazz, an orchestral score, African drum influence, and spoken word. On top of all this is Monáe’s public image. During the Metropolis era, she leaned heavily into her robotic alter-ego, and was as eccentric and android-centric as her music. When asked about her sexuality during a 2010 Rolling Stone interview, she replied, “I only date androids.”

That being said, it’s hardly a surprise that Dirty Computer caused Monáe’s popularity to spike. In loosening her ties to Cindi Mayweather, Monáe adopted a more glamorous image, trading her signature tux and pompadour for more fashion-forward attire. She’s strange in a way that’s more intriguing than alienating. Her dreamy track “PYNK,” while highly alternative, received significant attention for its music video’s vagina-shaped pants.

The media has embraced Monáe, and now it’s the general public’s turn. “Tightrope” is just as fun and upbeat as Pharrell Williams’ “Happy,” just without the simplistic, feel-good lyrics. The groovy and infectious “Make Me Feel” could easily be a Prince song. “Screwed” is a catchy song that cleverly combines sex and antiestablishmentarianism, two things millennials love. “Americans” is more relevant than ever: half of it is tongue-in-cheek praise of old-fashioned American values, and the other half is a condemnation of racism, sexism, homophobia, xenophobia, and police brutality. Lastly, “Turntables,” released just three weeks ago, is about the impending societal shift in the take of the Black Lives Matter protests. One can only hope it receives the attention it deserves.

Oh, Maker, have you ever loved

Or known just what it was?

I can't imagine the bitter end

may your light lead them both back to one

The Droid Patrol would like to remind members of the community to be alert for potentially seditious and propagandistic releases such as the one noted here.