""I traveled back into the 1970s and I saw him do Ziggy Stardust and it was incredible," Monáe said. I mean, I maybe would've instead stopped the bombing of Pearl Harbor, or shuffled Baby Hitler off this mortal coil. Still, a nice concert after some chrono-skipping sounds lovely, too. Now, you're likely feeling exactly like Dacus looked: A little shocked, and maybe even a tiny bit incredulous to boot. But open your ears and your mind, as what Monáe says next really matters."
""And so I jetted back to, you know, the 2000s. And I was like, 'I can have the musical, make the music, create the lyrics, and create community around transformation and being queer.' And not even just in sexuality, but in how we see the world." Yes, slack-jawed reader, this whole thing is likely a creative little metaphor for Monáe's own connection to Bowie's music, and how it gave her the courage to embrace her own chameleon-esque powers of artistic reinvention and genre-smashing personal growth."
Janelle Monáe describes traveling back to the 1970s to see David Bowie perform Ziggy Stardust and returning to the 2000s with a creative plan. She intended to develop a musical, write music and lyrics, and build community focused on transformation and queerness. The Bowie encounter provided courage for artistic reinvention and genre-smashing personal growth. The account mixes literal-sounding time travel with metaphorical influence on identity and creativity. The narrative includes humorous hypothetical interventions in history and references a public transformation at the 2025 Grammys. The emphasis centers on reshaping how people see the world through transformative art.
Read at Consequence
Unable to calculate read time
Collection
[
|
...
]