I just watched T-Pain’sFreaknik: the Musical. At first glance, the crude animation, stereotypes, and just the concept of a revived Freaknik celebration made me cringe. However, while not hilarious, this cartoon was smart. As hell.
What is most disturbing about some of the brilliant undertones of this show was the fact that T-Pain had to shroud his smart social observations in the midst of booty-shaking and ignance (yes folks, ignance is the HIGHEST form of ignorant). While cartoonists/satirists like Aaron McGruder are expected to present smart and humorous social analysis, T-Pain would be considered by some to be King Coon and unable to see past his own circus hat. What is problematic and just as intriguing about this show is the idea that while probing some of our most troubled areas as black people, Freaknic also reaffirms some of those same problematic images that it calls out.
Two tropes caught my attention that I’d like to investigate a bit further: the ideologies of (deteriorating?) black leadership and (il)literacy.
I May Not Get You, but the Permanator Will, Bitch!: The End of Black Leadership?
The earliest scene that caught my attention was the meeting of the “Boule” – a conglomerate of black male leaders that 
included Bill Cosby, Russell Simmons, Al Sharpton, and Jesse Jackson. Ironically, they were spearheaded by Oprah Winfrey and her arsenal of snacks and fatty foods. Shrouded in red robes and medallions with 10% on them, these men seethed with anger at the rejuvenation of Freaknic and Freaknic’s ghost. With the exception of Simmons, these men represent the old guard of the Civil Rights Movement where uplift and progress in the black community were spearheaded by men of color and men of the church. Simmons is an intriguing member of this “niggerati” (shout to Wallace Thurmond) because he represents the shift in leadership from Civil Rights to Hip-Hop. Different era, same expectations; the black messiah to save a fragmented black community. How this image is inverted, however, is that this small elitist group of power is led by a black woman.
Winfrey’s character stood out because she wore a sphinx medallion and carried a sphinx decorated rod. While the obvious reference on the men’s medallions allude to the DuBoisian theory that 10% of the black community must be educated in order to lead and help the majority of African Americans to progress, Winfrey’s sphinx suggests mystery, cunning, and a sinister nature. This representation of the Boule and what they represent is further problematized by the stigma attached to Winfrey as being symbolic of the black woman matriarch. The black matriarch was considered a threat by many black leaders of the 1960s and the ultimate downfall of black men; that is, the matriarchs’ power and authority emasculated the black man in his own home and community. And, on top of that, Winfrey is leading the Boule, which is the most powerful group of men in the African American community. It is a highly selective and privatized organization where a black man has to be invited, over the age of 35, and a leader in his respective field. While Winfrey holds all of these qualities sans the requirement of being a man, her womanhood refrains her from joining the Boule in reality. What Freaknik does here is suggest that Winfrey has transcended these formal constraints not only because of her money, but because of her power in both the black and white communities. She can navigate both spaces.
The dichotomy of religion and faith often intersect with the trope of black leadership throughout this episode. While the reverends Al Sharpton and Jesse Jackson are self-explanatory, one of Freaknic’s most intriguing characters is Trap Jesus, played by Lil’ Wayne. I can’t lie. I laughed hard when I heard Weezy’s voice. While I can think of some other rappers who might have played the role for Trap Jesus (T.I. or even Young Jeezy) Lil’ Wayne fit because miracle after miracle is keeping him out of jail. But seriously, Trap Jesus resides in the wards of New Orleans, a city of death and resurrection, where he makes his living as a drug dealer. One particular segment shows Trap Jesus throwing a bag of crack to the door and a drug addict, with only hands and eyes visible, grabs the bag and disappears back into the darkness. This quick scene, though disheartening, ironically reaffirms Weezy’s notions in his tirade on “Misunderstood” from The Carter III where he discusses the helplessness of crack addicts and how society makes them nonrehabilitative
bodies. While talking to the protagonists the Sweet Tea Mob (which stars a voice cameo by Rick Ross) Trap Jesus presents the ghetto commandments and then returns to conversing with his street disciples in an eerily similar fashion to the Last Supper.
The blurring of sacred and secular boundaries is embodied within Trap Jesus’ character and his hood discourse. Instead of presenting himself as the embodiment of Christian perfection (the son of God), Trap Jesus presents himself in the perfect form of a hood savior. Image wise, Trap Jesus dons dreads, a goatee, and a grill, which further removes any associations with a white Jesus (literally and figuratively) or Christianity. It is possible to see his physical attribute suggest a nod towards Rastafarianism. Instead of spiritual beliefs, Freaknic’s Jesus uses trap discourse to construct a framework of visibility. Because his character and actions challenge the work of black leaders like the Boule, Trap Jesus is restricted to a hood setting. Trap Jesus suggests that religion is a belief system constructed as a framework for survival in an abrasive environment.
Read a M$^&@* Book while Shakin’ Your Booty: Themes of Illiteracy and Representations of Women
The first scene that struck me was when the character Light Skin (voiced by Cee-Lo) tries to enlighten his friends on white privilege. His catchphrase “It’s in the Book” while his friends laugh at him pays homage to the age old idiom “what whites don’t want niggers to know is put in books.” It was disturbing that Light Skin, though physically representative of a “trill nigga” (gold fronts, baggy clothes, shades at night lol), was ostracized from his friends and his blackness questioned because of his pursuit for knowledge. Light Skin’s character also lightly touches on the sensitive conversation of colorism and color privilege, the belief that light skinned blacks have access to and are more privileged than those who are darker complected. This notion of elitism teeters with the idea of literacy being available to small percentage of blacks – Light Skin is the only character that openly expresses his pursuit of knowledge and flaunts critical reading skills. He constantly reads and quotes from the book Behold the Pale White Horse vol II: The Black Donkey. This fictitious book in itself is emblematic because of its allusion to the actual book Behold the Pale Horsewhich infers that society lives on and is complacent with perceptionism and intentionally blocks out truth. In other words, black folks are happy with where they are and are completely oblivious to the circumstances that frame their world.
The subtitle “The Black Donkey” particularly stuck out and made me think about Alice Walker’s reference to black women as “the working mule of the world.” Walker’s observations can be used to tease out the meaning of black women in Freaknic, where we were objectified and typecasted into the same tired, overdone representations of hypersexuality that have plagued women of color for centuries. One particularly problematic scene was in the ghost of Freaknik’s office where his secretary puts on knee pads and prepares to give him fellatio. Tie that with the ghost of Freaknik’s rehabilitative site for “Scrippers” and you have a traumatic relationship between illiteracy, power, and black women.
Freaknic: the Musical would not be considered Oscar worthy. I’ll be the first to tell you that there are some extremely crude scenes and that you have to shift through the bullshit to see the cartoon’s true intentions. Freaknic can hold its own against sketches like those seen on Chappelle’s Show and The Boondocks. It’s fascinating how crude humor or (I’ll go there) coonery forces us to not only watch with a mix of horror and fascination but also confronts those issues that makes us cringe. Whether commenting on the actual issues being discussed or simply discussing its bad taste in presentation, Freaknic is a tool of discussion.
T-Pain did his job.
Article by Red Clay Scholar
Red Clay Scholar is a doctoral candidate in African American Lit. at Florida State University. She earned her BA in English from Albany State Univ. (GA) and MA in African American Studies from Indiana University Bloomington. A 'Bany girl (Albany, GA) through her core, her Paw Paw told her hustling is in her blood and to get as much education as she can. Can't argue with a good man. Part time critic, full time learner. Let's get it. Follow her on twitter: @redclayscholar
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FRESH: Freakin’ in the Key of F: Freaknik the Musical: At first glance, the crude animation, stereotypes, and just… http://bit.ly/awRGa8
This comment was originally posted on Twitter
I was afraid to watch Freaknik after reading all of the comments, but since I read your take on it. I might just check it out next time it comes on.
As someone that did not watch it (to be fair, I don’t own a T.V. so even if so moved, I couldn’t watch it) I’m intrigued by your analysis. If the cartoon was truly as deep and profound as you describe (which wouldn’t surprise me) then I think that makes me even more upset. LOL Mainly because chances are for those that would have gotten all that, T-pain is preaching to the choir. To the majority that wouldn’t have made those connections, he’s encouraging and marketing that minstrel behavior. That’s what bothers me. Why make something like that and hide what the point that you’re trying to make from those that need to hear it? To me it boils down to money and making a lot of noise. Because if you really wanted to wake people up and open their eyes, you’d find a more obvious way to do it. I assure you that many children in the hood with cartoon network have never read Behold The Pale Horse, or know who Alice Walker is, or anything about the Boule. It would be nice if they did though.
I sincerely applaud you though for watching it and truly seeking out it’s deeper meaning! This was great to read. Not what I expected! Thanks!
I agree. T-Pain should have made it more obvious. I am pretty sure that if I watch the movie, I would not have came close to making the connections the author made. I would have saw the movie as a minstrel show. Maybe I am a product of mainstream entertainment or maybe I am just lazy. *kanyeshrug*
Red Clay Scholar,
I applaud you for your insight and ability to break down “freaknik” to point out some key issues of concern that were embedded in the show. However, given its target audience I’m sure most lessons were lost in translation. Once again America has embarked in the slave trade the “pedaling of black flesh” for profit. Has anyone taken note that all of these oversexed, drug using, crime promoting images are coming from men and women in their 30s and 40s but being pitched to the 20 and under demographic? All done for profit. How dare T-Pain or anyone else, kill off Al Sharpton (symbolic or otherwise) degrade Bill Cosby, Jesse, or Ophra Winfrey?! Until T-Pain, or any other of these coonin entertainers make a difference or long lasting contribution to the Black Community, KEEP YOUR DISRESPECTFUL MOUTHS SHUT.
Bernard
crush29830@yahoo.com
*blinking disclaimer* This wasn’t easy for me to watch.
I agree with you all about the loss in translation of many of the analyses that I looked at. Unfortunately, allusions to the Pale Horse, Boule, and other symbolism probably DID go over T-Pain’s intended audience’s head and that may have been intentional. The iconic figures and what they represent suggest an elitist and upper to middle class school of thought that Pain suggests is outdated and, to an extent, minstrel. Critics from the “Hip Hop Generation” have been battling with the delapidated construct of Civil Rights Black Leadership for a while now. I don’t deny that T-Pain or even his production team (i.e. Carl Jones, a producer for The Boondocks) were cognizantly aware of this.
How can one be deemed “socially” responsible or even a critic/forward thinker with the pool of black and brown butt shakin’ (literally, a swarm of asses!)? There was no need to explain and he knew there would be no explanation sought after because of who he was and the stigma attached to his act. An illiterate sounding, circus performing, clown type of nigga who actually pays attention to what’s going on??!!?! Impossible. But he did.
Good Read!!! Freakin’ in the Key of F: Freaknik the Musical http://ow.ly/1fAOl
This comment was originally posted on Twitter
I turned to Freaknik 30 minutes into the program, and I couldn’t get past the excessive use of the word nigger and the cooning and shucking and jiving that went on. When President stepped down as President, named Freaknik as President, and said “lets get this muthaf*ckin party started” that killed it for me. Although you bring out excellent points, something just won’t allow me to give T-Pain credit for thinking that deep. Maybe its the “big ass chain” he wears around his neck, or his history of coonery, but I don’t think he was personally thinking that deep. I know a co-producer of the Boondocks partnered on this, so maybe that helped, but like I said… the excessiveness of the imagery killed it for me. I know that everyone on my Facebook page, all the said of the program is that “it was comedy” or “hilarious”. They didn’t get the message. It was lost in translation. And white people damn sure didn’t get the message.
This was actually a fail. Maybe it can be twisted into an educational tool in the future in order to bring the points you make out. Because the average viewer… the one that is up at midnight watching Adult Swim, wont make the connection.
I appreciate the insight offered by this analysis; and I did not partake in the viewing of this controversial material either, BUT I think that if we consider the source providing this content (Cartoon Network) we can safely assume that the target audience will not be able to make those same deductions.
One majorly underdeveloped skill of Black community at large is Media Literacy. I mean, if we are statistically struggling to read at middle school levels how can we expect people to be able to sift through all of the garbage and stereotypes that exponentially overshadow these political messages? Children, teens, and young adults who admire these artists will see it as nothing more than pure entertainment. And the same applies to the white counterparts who may not even bother to look past the coonish figures because they are blind to the fact that this is not how all Black people act. So at the end of the day…mission failed.
I honestly believe that there is a battle going on between art and commercialism. It’s in music, television, film, and every other creative media outlet put forth. Hell, true journalism is at war with modern day blogging (no shots fired) and entertainment news. Art is created to spark inspiration, debate, and out of self expression. Commercial materials are solely created for profit. These happenstance undertones presented by T-Pain and company, IMO, are as far away from art as possible and did nothing more than put another bullet in the head of “Black Entertainment”.
Given that it was on Adult Swim it always had a chance to contain something of value. There was mention of intended audience…well A.S. has a very different audience. They have plenty of shows that are almost “Spongebob for 20 – 30 yr olds”. They also have a staple of other shows that have alot more depth to them. Moral Orel is one I bypassed for a while and now love. Venture Bros. doesn’t have a message…but I identify with it because of older cartoons my mother used to show me like Johnny Quest. I considered Freaknik…but T-Pain made it hard for me to check it out. Eventually I see it.
I’d say that majority of people I know that watch A.S. totally wouldn’t have gotten all of the above references. I like to think I’m smart, but I’m sure I wouldn’t have caught them all myself.
The thing is, it’s not about intelligence…it’s just frame of reference. Like Robot Chicken. Alot of people might watch it, but for people around my age it’s like watching a who’s who of cartoons and toys from my youth. Same with the rest of the line up…the humor and any message in a program tends to be easily referenced by certain generations like the seeing Jesse, Al, etc. as the “old guard”.
True indeed. I also feel like this particular cartoon was probably marketed to people outside of A.S. typical audience like you describe. It was on Facebook ads, and many people just saw “Freaknik” and “T-pain” and decided to watch it.
@rolandsmartin Did you catch Adult Swim last night? What did you think of it? http://thefreshxpress.com/2010/03/freakin-in-the-key-of-f/
This comment was originally posted on Twitter
Awesome in depth analysis of Freaknik the Musical: http://tinyurl.com/ydv53fv
This comment was originally posted on Twitter
Call me cynical but I highly, HIGGGGHHHLY doubt that T-Pain was considering anything about the historical significance that Oprah Winfrey played or the…well ANYTHING. T-Pain showed up to the recording of “We are the World” (R.I.P) with a bookbag on and sunglasses. Call me crazy, but I just dont think he has it in him to “educate”. Im critical of who I follow on twitter so most of my peeps were disappointed with the show. Most people dont even get the deeper meaning behind The Boondocks with it being as plain as day, am I supposed to believe that these same people will, somehow, see the light and get it? NAHHHH!
Though I understand people’s concern over the potential impact of “minstrel” images I would like to caution that a celebration of decadence is not necessarily negative. After Katrina the entire culture of New orleans was maintained and performed in the subsequent Mardi Gras. Additionally, every year on Mardi Gras there is the Zulu parade. In this parade Black women and men wear minstrel make-up. They have been doing this since 1909. This is not some sort of self hating ignorant performance, rather it’s tool for interrogating the racist images of the culture and society in which they act. Furthermore, expressions and practices of decadence are often bound and directed by culture and thus they are unique. We should not apply the strict moral categories of an outside hegemonic class and culture to that of African Americans, or any other distinct cultural group. The African American population is not homogenous, so it is a disservice to the community as a whole when people assume that there does not exist an African American who is both intelligent and to some extent represented in the Freaknik movie. A person can also be a successful PhD student and find Adult Swim funny. Comedians are often the most accurate social critics even if they make some people uncomfortable. It is possible to celebrate the entire extent of one’s culture without orienting their entire worldview towards the projected opinions of an elite, marginalizing, class of people.
I couldn’t agree more Marcel!! I think people think the message is lost mostly because they are too afraid of what “they” think. I haven’t seen it..but I’m sure there was a message
Its false to assume that because T-Pain enjoys “stereotypical black” things..that he isn’t intelligent. It bothers me that some of us assume we have to embrace white american professional culture to be considered intelligent.
I never even heard of this show until I stumbled on your article. I am interested in seeing it now. Personally, I can’t see T-Pain being that intelligent (although the “Big Ass Chain” was a pretty tongue in cheek joke). I would not say that Adult Swim people wouldn’t get things. A good portion of the humor on those shows go beyond the gags. But you have to be knowledgeable to get it. I always assumed that the average AS viewer was exceptionally smart. The only thing that I have about it is that black humor tends to be more literal and obvious. I can’t see most black people getting it.
I don’t think it’s necessarily that A.S. people aren’t smart. *I’m* smart and I’m pretty sure that I wouldn’t have picked up on all the above connections. The fact that they were marketing this on Facebook and other avenues means that more than likely, more than just your typical A.S. watcher would choose to take a gander. One that probably wouldn’t even mentally prepare to see beyond the images. I also say that due to the fact that within my network most people viewing it were completely appalled. But it could just be the people I know. LOL
I saw it online. It was not as bad as I thought it would be. Yes the movie consisted of every stereotype that you could think of, but it made me laugh. I definitely would not have drawn the same conclusion as the author, but hey I am just taking it for what it is.
Please read RT @ThaAdvakit: For those that watched “Freaknik” last night: http://thefreshxpress.com/2010/03/freakin-in-the-key-of-f/
This comment was originally posted on Twitter
This cannot be real. I’m convinced it’s actually “Bamboozled” and Spike is just trying to trick us, lol. I will def check this out, because I would love for myself what this is all about!
I didn’t watch it. Maybe it was the T-Pain association with the project that turned me off or Jesus with tear drop tattoos and played by Lil Wayne. I enjoyed reading this review of the satire however. Honestly, I don’t think for T-Pain it was that deep. No way will I believe that T-Pain had a deeper hidden message. My impression of T-Pain is, It’s ALWAYS about making money, shucking and jiving. I’d like to insert “BIG ASS CHAIN” and his auto tune iPhone app as an example. Well written piece.
Stereotypes (black and white) intentionally obvious and emphasized. Depictions being inaccurate provide basis for humor. Laugh simultaneously at the presence and the absurdity of ill-conceived notions in our society. Let it be fun. Thanks to everyone who worked on Freaknic! And thank you adultswim – we love you – keep us jaded and laughing, cradle to grave!
Good read. I watched freaknik and while the actual history of the Bule or allusions to the behold the pale horse, I do think that most anyone with common sense would get the that it is a satire and make many of the revelations that you discuss here. I hate when discussions of this nature come up and Educated black people start the “us against them” we get it but most black people wont. The majority of black people have common sense and can and will get it. Correction, those with common sense ready to watch it with an open mind.
I also think there is something ridiculously hypocritical with the thought process where t pain is automatically blasted and cant be given credit for “deep thought” because of the fact that he has gold teeth and locs? I mean seriously he has gold teeth, he spent money on “a big ass chain” which says more about his sense of humor than his intelligence. Yet Aaron Mcgruder or Dave Chappelle who have made equally satirical “dual message” skits are given the a huge amount of leeway and automatic stamp of approval.
It is what it is, but some times it aint what you want it to be….
I think the cartoon is designed for a certain type of viewer…someone ignorant to higher meanings in broadcasts, literature, etc. I do not know how to reach people like that other than to pray for them.
People wise enough to see the affects of negative portrayls of blacks should encourage their children/those they mentor to read really good books with positive characters.
Red Clay Scholar,
First of all, what a great review you wrote on the show. Second, I hate how people have to wait and read other’s opinions to determine if they want to watch something or not, why can’t you just take initiative and watch it? But that is neither here nor there. I was really skeptical about watching this show at first but I decided to give it a shot since Adult Swim’s programming is one of the best on TV. I agree with you 100% Red Clay Scholar, the crude animation was a little hard to get used to but the numerous political messages in there blew me away in amazement. I think people are not grasping the overall greater picture here. I am applauding T-Pain and all these artists because we are always complaining that hip hop artists are too worried about cash, cars, and girls and never about today’s issues. The show was one of the best satirical shows I have seen in a while because it gave its opinion from a hip-hop point of view. I think people are taking this too seriously if they are getting offended, especially on Adult Swim, which is a station that challenges societal issues and opinions head-on. The short musical parts were great too. I give the show 9/10 stars.
P.S – I go to USF in Tampa so I’d thought I let you know that the Green and Gold will always triumph over FSU haha