In recognition of Black History Month, Atwood Magazine has encouraged artists to contribute essays that reflect on themes of identity, music, culture, inclusion, and more.
•• •• •• ••
Today, Miami-based queer audio-visual artist ROZET shares their reflections on the challenges faced as a Black artist and the inspirations behind their recent ‘HEAD’ EP in a poignant personal essay for Atwood Magazine’s Black History Month series!
From an early age, Rose Booker-T found empowerment and significance in reinventing performance art. As they refined their artistic and educational voice, Rose developed the immersive persona ROZET. After spending years in the background and following a recent feature on “RISE” with Machinedrum via Ninja Tune, ROZET unveiled their first single for TOKiMONSTA’s Young Art Records, titled “Thinking A Lot” (co-produced by Yakob, Machinedrum, Jesse Boykins III, and Richard T). ROZET serves as an alchemist, a sonic time traveler—reimagining an expansive genre for the future. The newly released ‘HEAD’ EP is an eclectic fusion of sounds and genres, influenced by ROZET’s studies in Psychology, Buddhism, and mental health, along with their background in dance and music, finding the intersection where sound, mind, and body unite.
Read ROZET’s essay for Black History Month below, and listen to ‘HEAD’ on your preferred music streaming service!
•• ••
•• ••
“How a Brother-and-Sister Musical Duo Broke Apart & Found Its Way Back Together”: An Essay by ROZET for Black History Month
by ROZET
As a Black artist, I confronted an industry that thrives on exploitation, especially from a young age.
The hyper-sexualization of Black female artists is a silent yet widely recognized issue, often shaping their careers before they can even define themselves. In the absence of proper representation and guidance, cognitive dissonance surrounding identity can arise, complicating the navigation of an industry that values marketability over authenticity.
The allure of opportunity frequently concealed a desire for control.
Contracts were designed to eliminate creative freedom, constraining artists into molds that prioritized profit over artistic development. Gatekeepers perceived me as a product rather than an artist, and true mentorship was rare. If anything, they were simply waiting for my parents to depart and my brothers to be otherwise occupied, enabling them to manipulate my decision-making. That's one aspect. Additionally, systemic racism within the industry compounded the difficulties in accessing the same resources, protections, and opportunities as my white peers. When I was victimized, institutional support was minimal to hold my abuser accountable, underscoring the deep-seated issues embedded within the industry’s structure.
Another significant obstacle was the erasure of contributions—serving as the blueprint for non-Black artists without receiving recognition. Black artists, particularly Black women, have historically led culture-shifting movements in music, yet our contributions are often appropriated without credit. This reality poses a challenge, but the new generation of artists actively resists it, determined to prevent history from repeating itself.
ROZET © 2025
The industry viewed the bond between my brother and me as a threat rather than an asset.
The strategy of divide and conquer was a conscious attempt to inhibit our growth together, understanding that our unity would lead to greater control over our own careers. Contracts, manipulation, and external pressures systematically worked to keep us apart, discouraging collaboration and restricting our potential as a duo. It was a deliberate tactic—keeping us apart resulted in diminished power, reduced control over our narratives, and fewer opportunities to uplift one another.
Realizing the extent of this manipulation took time, but through self-reflection, therapy, and legal assistance, we began to unravel our shared experiences. The industry had labored relentlessly to create distance between us, yet in the end, it failed. Today, my brother and I share an unbreakable bond. We have reclaimed our strength and are flourishing together in ways that once seemed unattainable.
Breaking free from these systemic constraints mandated a complete reclamation of my voice—artistically, emotionally, and spiritually.
Therapy aided me in processing years of trauma inflicted by the industry, while my Buddhist practice became a guiding principle in transforming pain into empowerment. I had to unlearn the deeply embedded belief that validation from the industry was the ultimate metric for success. That validation, often imposed at a young age by older men with dubious intentions, served primarily as a tool for control. Instead, I resolved to define success on my own terms, allowing my art to represent my truth rather than conforming to industry demands.
This journey encompassed not just healing but also regaining authority. Ownership became essential—claiming my masters, my creative process, and, most importantly, my story. The industry has historically shaped artists for profit rather than power, and I refused to be molded
Emerging singer, songwriter, and multi-instrumentalist Danny Singh presents his essay titled ‘Embracing Creativity and Shaping PUNKNB as a Guyanese Kid from Queens,’ featured in Atwood Magazine's Black History Month series!
French-Congolese producer/DJ KARABA showcases the essence of Afro House with a curated playlist that includes artists like Kitty Amor, Drumetic Boyz, and others for Atwood Magazine’s Black History Month series.
The weighty burden of unreturned affection is expressed in Love Spells’ “Lovers Only” – a dreamy, gentle storm and the subtly moving expression of a wounded heart and broken spirit.
Miami-based queer audio-visual artist ROZET reflects on the challenges they have faced as a Black artist and the motivations behind their new EP, 'HEAD,' in a heartfelt personal essay for Atwood Magazine's Black History Month series.