In celebration of Black History Month, Atwood Magazine has invited artists to contribute essays that delve into themes of identity, music, culture, inclusion, and more.
Today, Anthony Briscoe, the frontman of Down North and co-founder of Black & Loud Fest, provides insightful commentary in his essay titled "The ‘So What’ Mentality: Reclaiming Black Art & Ownership," as part of Atwood Magazine’s Black History Month series!
The music created by Down North is energetic, expertly crafted, and exceptionally tight. It has elements of funk, but it's not strictly funk; it combines strong pop melodies with intense punk energy and technical virtuosity reminiscent of Alternative rock, perhaps best described as funky gospel metal. Regardless of the label, the band’s music reflects the creators' intense focus and resolve. It is powerful, defiantly celebratory, and utterly captivating. No Retreat, No Return, No Surrender indeed.
Down North consists of Anthony Briscoe on vocals, Brandon Storms on bass, Nick Quiller on guitar, and Conrad Real on drums, who also collaborates with renowned group Digable Planets. The band stands out in the music scene as pioneering creatives who selectively incorporate diverse elements from the entirety of modern Western music, akin to artists with unrestricted palettes. Their second album, No Restraint Volume 2, which explores the enduring theme of love, is now available across all platforms.
Reclaiming Black Art & Ownership
by Anthony Briscoe
As a Black artist, I find myself contemplating an emerging trend in the music industry that I cannot overlook. We are the architects of culture and the trendsetters, yet we frequently do not own what we create.
In the past, my grandfather's generation adopted a “so what” mentality. Yes, the system was unjust and racism presented obstacles. But so what? If you desired something enough, you learned how to achieve it. It wasn’t about dismissing injustice; it was about overcoming it through hard work, cleverness, and triumphing regardless.
Today, however, it feels as though we’ve lost some of that tenacity. Our focus is more on obstacles than solutions. We wait for others to open doors instead of constructing our own. In an industry where Black creativity generates billion-dollar revenues, we still don’t control enough of our creations, our influence, or our future.
We Developed Social Media – Yet Reap Minimal Benefits.
Every significant social media platform gained traction due to Black creativity. Consider this:
TikTok? It gained attention only after Black artists made it popular. Lil Nas X went viral, prompting a rush of interest from other artists.
Instagram? Its rise was partly fueled by hip-hop culture and dance trends.
MySpace? Music pages, particularly for hip-hop and R&B, kept it relevant.
Even Facebook and Twitter? Black culture drives engagement, from memes to viral moments and the very essence of “Black Twitter.”
We infuse value into these platforms, but instead of creating our own, we continue to give our creativity away for free. That’s why I’ve been observing Fanbase, a Black-owned social media platform founded by Isaac Hayes III, which aims to better compensate artists. So why aren’t more Black creatives utilizing it? Why do we persist in enriching others while scrambling for leftovers?
The Music Industry is a Hustle – But Who Truly Benefits?
The music industry has always included intermediaries profiting from Black talent. Contracts? Many are exploitative. In the U.S., when a song is broadcast on the radio, only the publishers receive payment—not the artist.
This is why artists like Beyoncé advocate for publishing rights. She’s criticized for seeking a share even if she didn’t pen the song, but can she be faulted? The system is structured to exclude artists from their own accomplishments.
Each decade, the industry discovers new ways to exploit us—through 360 deals, inadequate streaming payments, and AI recreating our voices without compensation. Yet, we continue to surrender ownership, placing our trust in labels, platforms, and companies that disregard our needs. When do we cease waiting for a seat at the table and begin constructing our own establishments?
Create the Art, but Ensure It Moves.
One thing my grandfather’s generation grasped was that talent alone isn’t sufficient—you must be undeniable. If you wish to be heard, your music must make an impact first. Messages matter, but if the music isn’t exceptional, people won’t engage.
Take Marvin Gaye’s “What’s Going On.” It is a protest anthem, but fundamentally, it’s a remarkable song. The melody, production, and rhythm all evoke emotions. The same goes for Rage Against the Machine. They delivered a message, but the music was powerful. They weren’t just making statements; they were making statements over beats that compelled movement.
That’s the key—if the music doesn’t resonate,
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Anthony Briscoe, the lead singer of Down North and co-founder of Black & Loud Fest, offers valuable insights in his essay, ‘The ‘So What’ Mentality: Reclaiming Black Art & Ownership,’ featured in Atwood Magazine's Black History Month series!