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.

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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.

Turner, who moved to Switzerland in 1995, started easing up on her workload in the late '90s and '00s, and ended up retiring after a 50th anniversary tour in 2009. However, she was still an active steward of her own legacy; in fact she also worked closely on the development of 

, which opened on Broadway in fall 2019. And at the 2008 Grammy Awards, she performed a

 of "Proud Mary" with Beyoncé. With hindsight, it's easy to interpret the moment as Turner passing the torch to a younger musician. However, the performance also once again reaffirmed that she was squarely in control of her rich musical legacy.  

Annie Zaleski

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.


Mark Mainz/Getty Images

Brian Rasic/Getty Images

Tina Turner, rock and roll icon, dead at 83 

bearBOI Photo

The rapper was joined by Omeretta the Great for her stop in St. Paul


bearBOI Photo for MPR

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Macie Rasmussen

The Minneapolis-based artists hopes to provide listeners with sonically satisfying tunes that embody any mood on his new project.


Awa Mally for MPR

Moise manifests optimism on "WE SURVIVED THE STORM"

Joely Kelzer

The 20-year-old Minneapolis rapper first performed at First Avenue at age eight and has shared the stage with Lizzo.


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Music’s ability to transform lives and create hope in desolate situations is something that humans will never fully understand. Music is especially important in the lives of those currently living in incarceration. Opportunities to pursue creative endeavors are highly restricted for those in incarceration, but the need for rehabilitative and restorative programming is incredibly high, so as to help people find a sense of normalcy within and after leaving incarceration.

Organizations like Minnesota Prison Writing Workshop have been working for years to incorporate creative pursuits in prisons across the state of Minnesota, but the opportunities for students of MPWW to work with music have been limited. However, as of April 3rd, four studio booths and a podcast room have been installed at MCF-Faribault thanks to a new partnership between MPWW, Radical Reversal, and the MN Department of Corrections. MPWW proudly shared on their Facebook that these spaces will be home to “songwriting, beat making, audiobook narration, podcasting, and so much more.”

Minnesota Prison Writing Workshop’s journey to making creative writing classes a mainstay of Minnesota prisons began in 2011 with a single class at MCF Lino Lakes. Today, the organization proudly hires over 25 instructors “who have taught more than 250 creative writing classes to over 3,000 men and women in every adult state prison in Minnesota,” according to their 

Radical Reversal, the organization that has partnered with MPWW to bring the music studio in MCF Faribault to life, describes its mission as providing rehabilitation through creative endeavors in correctional facilities across the country. According to their 

, they “conduct poetry workshops, seminars in music and music production, readings and performances.” So far, they’ve successfully implemented studios in Massachusetts, Alabama, and Minnesota.

Jennifer Bowen, founder and artistic director of MPWW, shared that the key to making these programs a success is to be consistent in the pursuit of community. These programs require a willingness to be vulnerable and to be dedicated to the craft without needing to be celebrated for it. Their priority is creating transformative arts programming that intentionally breaks down barriers to education in incarcerated spaces, and a massive part of that is having teachers that are ready to listen to the needs of their collectives (groups of MPWW students). 

The work that MPWW has done up to this point has only been possible thanks to 12 years of careful planning and protective work. Building trust and maintaining relationships is essential to creating long-lasting arts education programs in spaces like MCF Faribault, but these steps have also required a deep understanding of the systems at play in prisons across the state.

Radical Reversal, MPWW’s partner through the creation of the MCF Faribault Studio, is a relatively new program co-founded by Dr. Randall Horton. Through their mission of amplifying dialogue revolving around incarceration and rehabilitation through creative outlets, they’ve already implemented three studios across the country. Their partnership with MPWW came about after Dr. Horton reached out to Jennifer Bowen, and after months of meeting and coordinating funding between the two organizations, a studio space was established at MCF Faribault akin to other studios Radical Reversal has created across the country.

Studio Space

With organizations like MPWW and Radical Reversal leading the charge for greater arts education opportunities for incarcerated communities, it’s important to remember that their missions are core to making Minnesota a more equitable place for all of us. Prior to MPWW establishing itself in 2011, Minnesota had no opportunities for prisoners to receive arts programming education. Since the recording studio of MCF Faribault is the first of its kind in Minnesota, it’s a powerful reminder that our state still has a long way to go in order to alleviate the equity issues that impact not just the incarcerated, but all of us. The power of strong arts education, especially music education, cannot be underestimated - and we all deserve the opportunity to make music a part of our lives.

If you’re interested in learning more about Minnesota Prison Writing Workshop or Radical Reversal, you can check them out at their websites. If you or someone you know is interested in donating musical equipment to MCF Faribault’s new installation, please email 

Kai Cook

The Minnesota Prison Writing Workshop and Radical Reversal seek to make change through providing access to recording equipment to the incarcerated.


Courtesy of Radical Reversal

Music programs in prison aim to make change

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 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 weeks of May 22, 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 May 22, 2023

Larry June brought his brand of laid-back, luxury rap to the Varsity Theater in Minneapolis on Monday, May 8. Watch all the full concert in Carbon Sound Correspondent Liam Armstrong’s video above.

View Carbon Sound Correspondent Awa Mally’s photos from the show 

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

Liam Armstrong

Watch Carbon Sound Correspondent Liam Armstrong’s full video of Larry June’s Minneapolis show here.


Larry June LIVE in Minneapolis | 5.8.23

Video: Larry June LIVE in Minneapolis | 5.8.23

St. Paul-based artist Juice Lord visited Carbon Sound's studio for an interview and live performance of four tracks. Watch the full video above and visit our YouTube channel for videos of his performances of “The Thrill,” “Sequence,” “Out The Peezy,” and “Change Clothes.”

Subscribe to our YouTube channel for more!

Watch St.Paul-based artist Juice Lord do an interview and live session in the lab with Carbon Sound


Carbon Sound

Juice Lord in The Lab with Carbon Sound

Juice Lord - "The Thrill" (in The Lab with Carbon Sound)

Juice Lord - "Sequence" (in The Lab with Carbon Sound)

Juice Lord - "Change Clothes" (in The Lab with Carbon Sound)

Juice Lord - "Out The Peezy" (in The Lab with Carbon Sound)

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Stories

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