About with special guest Linqua Franca
In linguistics, “lingua
franca” is a term for a language used to communicate across cultures. For
instance, the lingua franca of the Internet is typically English; in
post-colonial Africa, French is often the lingua franca. For Athens,
Georgia-based rapper, linguist, activist, parent, and politician Mariah Parker
(they/them), aka Linqua Franqa, music is the tool they use to communicate – and
educate – across cultural boundaries. Parker is a linqua franqa for the people.
Weaving a rich tapestry of
hip-hop lyricism and neo-soul hooks, Parker imbues every song with a sense of
urgency and keen social consciousness. This is particularly evident on the
forthcoming sophomore album Bellringer, produced by Parker, Reindeer
Games, and Joel Hatstat and featuring guest spots from Jeff Rosenstock, of
Montreal, Kishi Bashi, Dope KNife, Wesdaruler, and Angela Davis. On Bellringer,
Parker does not hold back, touching on issues like police brutality, social
media addiction, mental health, anti-capitalism, labor organizing, among other
topics ripped from the headlines.
As a county commissioner
serving the poorest district in Athens, Georgia, Parker is well-versed in the
forces that threaten vulnerable communities. But as the pandemic took hold and
threw the world into a constant state of tragedy and unease, Parker began
writing the songs that would shape Bellringer as a way to “process the
crisis we were living through, and then use that as a form of mass political
education.” As Parker puts it, Bellringer is about taking the “aesthetic
pleasure of hip-hop to educate people about why things are so bad and what can
we do about it.”
The name Bellringer,
which follows Parker’s 2018 debut album Model Minority, reflects
Parker’s love of language play and double-entendres. “I thought of the word
bellringer in two ways,” they explain. “A bellringer is a jab to the face that
knocks someone out completely, but it also invokes someone ringing the bell to
sound the alarm about something.”
Parker started out their
artistic journey scribbling notes in their journal during high school anatomy
class and traveling with their mother, a touring gospel singer. By the time
they got to college in Asheville, North Carolina, Parker started exploring slam
poetry and freestyling. “There was these white boys in my dorm that would have
Freestyle Fridays and freestyle together,” Parker says. “And I was like, ‘what
the?’ Like, I'm not gonna sit back here with my notebook full of sick bars and
not show these cats what's up.”
Parker has arguably spent
their entire career to date doing just that. Channeling issues-minded lyricists
like Noname, Jay Electronica, Meek Mill, and Immortal Technique on the
clattering, modern day labor anthem “Wurk,” Parker directly addresses frontline
employees and calls for organization in the face of exploitation. “The pandemic
saw the greatest transfer of wealth from the working class to billionaires,
perhaps in the history of humanity,” Parker elaborates. “I'm shouting out the
people driving FedEx trucks and getting spit on in the hospital and whipping
the grocery carts around the parking lot of Kroger. I’m saying, ‘Y'all don't
have to take this. Come together and fight and you can get what you actually
deserve.’”
Meanwhile, the album's
cacophonous title track loops in Jeff Rosenstock to revisit the 1991 murder of
15-year-old Latasha Harlins, who was shot in a South Central convenience store.
Both reflective and braggadocious, Parker nods to the ways that trauma like
Latasha’s manifests: hot temperedness, antagonism, substance abuse, and
belligerent boasting.
In the same vein, album
closer “Abolition” considers the work left to do to free the people. Over a
looped harmony of civil rights hero Angela Davis’ famous quote – “to be radical
simply means grasping things at the root” – Parker calls out performative (and
ultimately empty) gestures made by prominent politicians when members of the
Black community are killed by police. The song’s outro then features Davis
herself describing her excitement about the new vigor of the abolition movement
after 50 years of lonely anti-prison activism. “What shocked me the most was
her humility and willingness to learn from the younger generation,” Parker says
of working with Davis. “She expressed a lot of excitement about the current
moment that we're in.”
Bellringer is also not without its
intensely personal moments: On the soulful, funk-flecked “Necessity,” Parker
dissects the chaos of pursuing ill-fitting relationships in lieu of
self-actualization while dropping in references to Parker’s since-passed cat
Eggs and the since-shuttered Athens dive bar The Max Canada.
Later, Parker offers a
sequel to Model Minority track “Eight Weeks,” where they described the
difficult decision to have an abortion. Here, on the piano-accompanied “13
Weeks,” Parker, who recorded Bellringer while pregnant with their first
child, ponders the joy and anxiety of parenthood.
Ultimately, Bellringer
is a natural continuation of the work Parker has committed themselves to both
as an artist and politician. Boiled down to a word, Bellringer at its
heart is about liberation – and the obstacles that prevent us from achieving
it.
