#camae

 Photo by Karen Almond. 

Crime Waves is a collaboration between Philadelphia-producers Moor Mother and Mental Jewelry. The EP features six tracks recorded during a session at Philadelphia's Kawari. The music speaks about systematic violence and racism. From a productions standpoint, these songs bridge avant-classical sounds with modern broken beat/sample based technologies and live instrumentation implemented via laptop. "Two of these tracks - "Hardware" and "Death Booming" - were meant for Fetish Bones but I couldn't get them to sound how I wanted," writes Moor Mother. "I really loved Mental Jewelry's production though, so I suggested that we make an EP. We had bonded over free jazz, drum and bass, and heavy dub - we just spent hours talking about music before we even recorded a track." Moor Mother's debut album Fetish Bones was named one of the top experimental albums of the year by Rolling Stone and Pitchfork as well as one of the best albums of the year by The Wire and she was named Artist of the Year 2016 by Bandcamp. Cover art: Mila Severtseva

 Photo by Karen Almond. 

In the play, God canonically uses she/her pronouns. This isn’t to say that She’s a woman, but it is of note, as most people use he/him pronouns on God. This may be because Hall had such a strong connection with many women role models in her life, including her mother, grandmother, and even the local hair stylist.

This is yet another instance of Camae being there to make MLK’s last moments as stress free as possible.

This foreshadows that Camae knows that MLK will die soon. It also shows that Camae knows who is in heaven, hinting that she has some connection to God.