Here’s Justin Bieber’s weird justification for sampling Martin Luther King Jr. – Screen Shot
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Here’s Justin Bieber’s weird justification for sampling Martin Luther King Jr.

Let’s be honest here, Justin Bieber’s new album, titled Justice, isn’t going to change the world. This didn’t stop the pop star from acknowledging that, although he “cannot simply solve injustice by making music,” the singer wrote on his socials when announcing the record, “but I do know that if we all do our part by using our gifts to serve this planet, and each other, that we are that much closer to being united. This is me doing a small part. My part.”

So far, so good—if you put aside the fact that Bieber’s artwork for his new album is a blatant copy of the French electronic duo Justice’s logo. This minor detail put aside, there also seems to be more contrast between what the pop star shared above and what his album truly achieves. Righting the wrongs of the world is no easy task, but I’m pretty sure Bieber speaking mainly about how great God and his wife are is not the way forward for the rest of us. Still, “most listeners concurred that the album is pretty good—aside from the MLK stuff,” reports Mic.

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Une publication partagée par Justin Bieber (@justinbieber)

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Une publication partagée par JUSTICE (@etjusticepourtous)

The track ‘MLK Interlude’ featured on the album uses samples of a famous Martin Luther King Jr. speech. Bieber didn’t stop there. The samples from King Jr.’s powerful speeches are sprinkled throughout Justice. “Injustice anywhere is a threat to justice everywhere,” Dr King says in a prologue-of-sorts to ‘2 Much’, a completely unrelated love song dedicated to the singer’s wife Hailey Bieber. Why? That’s what many people asked themselves. And Bieber had to explain himself!

Speaking in a Clubhouse chat on Tuesday 30 March, the singer addressed the controversy, acknowledging that the sample usage had confused music critics and fans alike, Billboard reports. “I want to keep growing and learning about just all social injustices and what it looks like for me to be better, what it looks like for my friends to be better. And I know I have a long way to go. I love that when people are listening to my album, these conversations are coming up and they’re like, ‘Well, how is he going from Martin Luther King into a love song?’” Bieber said.

“I’m not trying to make a connection between me and Martin Luther King. That’s why I never try to talk about social injustice or I didn’t want to be the one to talk about it because I just have so much more learning to do. But I have this man who was ready to die for what he believed to be true. If I’m not willing to face some sort of ridicule or judgment of people wondering my motives or whatever that is, for me, it was a no brainer.”

Right, let that sink in for a second. I don’t know about you, but this whole rant made absolutely no sense to me. Speaking about ‘MLK Interlude’, Bieber continued on Clubhouse by dismissing claims that he was fashioning himself as a “white saviour,” adding that he was just trying to “amplify” King’s powerful speeches.

“Being Canadian, they didn’t teach us about black history. It was just not a part of our education system,” Bieber said according to Billboard. “I think for me, coming from Canada and being uneducated and making insensitive jokes when I was a kid and being insensitive and being honestly just a part of the problem because I just didn’t know better. For me to have this platform to just share this raw moment of Martin Luther King in a time where he knew he was going to die for what he was standing up for.”

Despite the controversy—and the pop star’s poor abilities at explaining his point—Martin Luther King Jr.’s daughter Bernice King approved of his use of the sample and the singer’s support of social justice organisations, tweeting “Each of us, including artists and entertainers, can do something. Thank you, @justinbieber, for your support, in honor of #Justice, of @TheKingCenter’s work and of our #BeLove campaign, which is a part of our global movement for justice.”

At least that story ended up better than what Bieber faces now: accusations that his Justice album art and merchandise infringe on the French duo’s trademark, resulting in them filing a cease-and-desist against the singer. Oh, and some elocution lessons perhaps?

Kanye West versus Akon: How should musicians correctly use their power and influence to progress black history?

A few days ago, New York producer Salaam Remi released the music video for his song ‘One Time’ featuring Akon. While the location for the music video has not yet been confirmed, all signs are pointing to Africa, possibly Senegal, as Akon gave hints away with his bold ‘Do It For The Culture’ hoodie.

In the spirit of giving back to the community, on 13 January, Akon tweeted the news, “Just finalized the agreement for AKON CITY in Senegal. Looking forward to hosting you there in the future.” And just last week, reports stated that the 3D layout for this futuristic city was soon to be revealed.

This announcement forced me to look more closely at celebrity influence, and more specifically at Akon’s ‘side work’ and how many lives he has succoured. Initially singing about girls smacking it on the dance floor and being lonely—Akon is now running his own energy company, which started in 2014 and manages to provide 600 million Africans with electricity. Looking at Akon’s accomplishments, it made sense to then compare them to the ones of the self-titled messiah, Kanye West.

Staying true to his Gemini roots, Kanye West is provocative by nature, and is prone to sparking controversies. Remember in 2005 when he said deadpan on-air that “George Bush, doesn’t care about black people”? What about two years ago, when he proceeded to explain his thought process behind the statement, “400 years of slavery was a choice”? With these proclamations in mind, it should come as no shock that the black community reacted with scepticism when West broadcasted taking the ‘gospel route’ to his new music.

When the news broke out, the heavy and constant media coverage of West and his new dedication to Christianity was baffling in more ways than one. An array of questions sprouted to mind, and many wondered what good it would bring to the black community. On the one hand, West has created an album that showcases only black gospel singers, which should be appreciated. But West’s motives behind this cult-like behaviour and why we as the media continue to entertain it are two things that remain unclear. What is clear, however, is how Kanye West’s Sunday Service is eclipsing Akon’s attempt to transcend Africa’s future.

So, let the comparisons begin. Both Akon and West are in their 40s and released their debut hit singles in 2004. One is said to have brought Lady Gaga to the scene, and the other helped elevate beloved Rihanna. According to Business Insider, Kanye West is estimated to be worth $150 million, making him the highest-paid hip-hop artist. Akon’s funds are not fully known to the public but he is said to be valued at $100 million. Now the real question is, how have both artists used their profits to enable or elevate black culture?

West’s influence on the fashion industry has undoubtedly changed our perceptions of streetwear and shapewear. The brand Yeezy initially started as a collaboration, but soon turned into a for-profit endeavour. Despite not publicising his giving nature, it was reported last year that West donated $1 million to four criminal justice charities on behalf of his wife, Kim Kardashian. He has aided in elevating black creatives such as Virgil Abloh and Teyana Taylor and his introduction of Sunday Service continues to shine a light on black musicians, regardless of faith.

On the other hand, the Aries within Akon has always demonstrated leadership throughout his music career. Since founding his two record labels Konvict Muzik and KonLive Distribution in 2004, Akon has helped raise artists such as T-Pain, WizKid and P-Square. Using those profits, the project Akon Lighting Africa was born to provide a smart solar and small energy system for all. Since launching in 2014, Akon’s project has operated in 14 nations, including Guinea, Sierra Leone, Niger, Mali, Benin and Senegal.

In some form, both artists have used their power and influence to progress black history. In spite of West’s constant coverage with underlying cultural interest, he has given black gospel singers a chance to be heard, alongside a generous pay. Similarly, while Akon’s own music career has toned down, his investment in specific artists has helped them flourish, while his focus shifted to his motherland. Needless to say, both have paved a way for black empowerment and proved that sharing is caring.