By Frederick Joseph
In times of turmoil and unrest, where the world seems to tilt on an axis of uncertainty, music emerges as a sanctuary, a temple not made with hands.
It is in the harmonies and rhythms that we find an echo of our innermost selves, a mirror to the chaos and beauty that resides within us. Music, by itself, does not discriminate or judge; it simply exists in its pure form, an unspoken language that transcends barriers and connects souls.At its best, music becomes a vessel for our fears, our tears, and our dreams. It speaks to the part of us that yearns for something beyond our trauma, beyond the strife and struggles that mark our daily lives. In the depths of its melodies, we find a refuge, a place where we can lay down our burdens, if only for the span of a song.
It is a witness and a testimony, a reflection of the times we live in and a prophecy of what we could become. In music, we find not just an escape but a return, a journey back to the very core of who we are. It is in this sacred space that we can confront our sorrows and find the strength to carry on, buoyed by sounds that resonate within our soul, reminding us that even in the darkest of times, there is a song to be sung, a note of hope to be sustained.
When I consider the profound force that music wields, my thoughts invariably drift to Marvin Gaye’s seminal album, “What’s Going On.” In this masterwork, Gaye transcends the boundaries of mere melody and rhythm to enter a realm where music becomes a vehicle for profound social commentary and emotional exploration. This album, more than a collection of songs, stands as a monument to the power of music to reflect, challenge, and transform the consciousness of a society.
Gaye’s voice, rich and evocative, carries within it the weight of a generation’s struggles and hopes. Through his melodies, he articulates the anguish and aspiration of a people grappling with the realities of war, racial injustice, and environmental neglect. All of the things we are still grappling with at this very moment. In “What’s Going On,” Gaye does not merely sing; he testifies. He pours his soul into every note, turning each song into a powerful narrative of pain, love, and longing for change.
Recently, in the solitude of my car, tears found their way down my face, a silent testament to a heart burdened with the weight of a world in turmoil. The air was thick with the scent of sorrow and rage, a mix as potent as it was devastating. Atrocities, not only in distant lands, but here, in our very streets, in our communities, in the very essence of our lives, seemed to press against the car windows, fogging them with the breath of despair.
It was in this moment of profound grief, in this crucible of pain, that I reached for “What’s Going On.” Like a trusted friend, this album has been a companion through the tumultuous journey of life, a balm in moments of unbearable ache. As the first notes spilled into the space around me, something remarkable began to unfold. The music did not push the sorrow away, nor did it silence the rage. Instead, it embraced them, acknowledged them, made them its own.
And I knew in that moment, that now, as we struggle forward as a society. This album must be called upon now, as it has been called upon in the past.
The purpose of this essay, then, is to delve into the profound sanctuary that “What’s Going On” provides, to explore its uncanny ability to offer solace during both global and local hardships, and to underscore why, in this era fraught with turmoil, its message and essence are more necessary than ever.
Like a steady flame in a raging storm, this album speaks to the soul of humanity in its most vulnerable state. It is in Gaye’s piercing lyrics and the soul-stirring melodies that we find a reflection of our own hurt, a resonance with all that is aching inside of us. In a world where the drums of war and genocide beat incessantly, where the specter of racial injustice haunts our streets, and the cries of the oppressed rise into an explosion, “What’s Going On” emerges as the enduring spirit of hope and resilience.
When considering the significance of “What’s Going On,” it is crucial to frame it within the social and political climate of its era. The early 1970s, a period marked by tumult and transformation, when cities were cauldrons of unrest, streets echoed with the cries for justice, and the very oxygen the world breathed in, was laced with change — change that was as inevitable as it was painful.
In this maelstrom of upheaval, “What’s Going On” emerged not merely as an album but as a searing commentary on the state of the nation. Gaye, with the soul of a poet and the keen eye of a social critic, encapsulated the despair, hope, and the search for meaning that defined this era. The album spoke to the heart of the African American experience, echoing the anguish over racial injustice and the longing for peace and equality. It was a mirror held up to society, reflecting the deep divisions and unhealed wounds of a nation grappling with its soul.
The Vietnam War, with its senseless carnage and imperialistic motives, bled into the consciousness of the American people, leaving scars that would never truly heal. Gaye’s poignant lyrics in songs like “What’s Happening Brother” and “What’s Going On” captured this disillusionment, the sense of betrayal felt by many, especially the African American soldiers who fought and killed for a country that still denied them basic rights.
The album also resonated with the emerging environmental movement, a cry for the wounded earth, as evidenced in “Mercy Mercy Me (The Ecology).” It was a prescient warning about the dangers of neglecting our planet, a message that remains alarmingly relevant in our times.
Initially, the album was met with skepticism from Gaye’s record label, wary of its departure from his established hit-making formula. Yet, upon its release, “What’s Going On” was a revelation, a commercial and critical success that shattered the conventions of what soul music could be. It transcended boundaries, appealing to a diverse audience, and breaking new ground in its thematic depth and musical complexity.
The album’s genius lies not only in its lyrical prowess but also in its musical innovation. Gaye blends elements of jazz, gospel, and rhythm and blues, creating a sound that is both familiar and revolutionary. This fusion serves as a metaphor for the unity he seeks in society—a harmonious blend of diverse voices and experiences. The music, layered and complex, mirrors the complexities of the social issues it addresses. It invites the listener to delve deep, to feel not just the rhythm, but the pulse of the times.
I remember, as if through a veil of years now worn thin, the moment I was first introduced to Marvin Gaye’s “What’s Going On.” I was no older than eight-years-old, a child still unacquainted with the burdens of the world, its pains and its inexplicable injustices.
My uncle Butch was in the guest room of my grandmother’s apartment in the projects of Yonkers, NY, a place that despite its pitfalls, often sang with life and familial warmth. But that day, it was different. The air was heavier, laden with a palpable sorrow. I found him there, tears carving silent paths down his cheeks, the album playing softly, almost like a prayer or a plea.
Curious and untouched by the complexities of adult grief, I asked him, “Uncle Butch, what’s wrong?” He didn’t answer directly, his gaze lingering somewhere far off, perhaps in a place where words find it hard to reach. But then, he looked at me, and in his eyes, I saw a deep, unspeakable sadness, a depth I had yet to understand.
He asked me to sit beside him, not in words but with a gentle motion of his hand, to stay and listen with him. So, I did. I sat there, at the foot of the bed, watching him, listening to the strains of Marvin Gaye’s voice weaving through the room.
Uncle Butch, in those months that followed, grew more silent, more withdrawn, as if the weight of something unseen was pressing down upon him. And then, he was gone, taken by a disease that was spoken of in hushed, fearful tones — AIDS. I wouldn’t come to learn this until I was much older. For that word, at the time, was a sentence unto itself, cloaked in stigma and sorrow.
I also did not know then, could not have known, how those songs he introduced me to, in that room filled with his tears and Marvin Gaye’s soulful voice, would become my companions through trials I could scarcely imagine.
I recall, with a clarity that stings, moments such as finding a noose hung on my friend’s dorm room door, the tragic night George Zimmerman was acquitted of Trayvon Martin’s murder, and watching George Floyd plead for his life — plead for his mother. In each of these moments, Gaye’s voice was a soft place, wrapping around me, reminding me that in the midst of this persistent struggle, we are not alone. His words, “Mother, mother, there’s too many of you crying,” resonated with a truth that was as painful as it was necessary.
Gaye’s voice, rich with a kind of knowing, spoke to the very marrow of my being. It was as though he had seen the world through the same lens of heartbreak, had walked the same path of outrage. In his melodies, there was a recognition of the pain, an understanding that transcended time and space. This album, with its poignant lyrics and soulful rhythms, did not offer empty platitudes or shallow promises of a brighter tomorrow. Rather, it offered something far more precious: the feeling of being seen, truly seen, in all the complexity of one’s anguish and hope.
Now, as I find myself in another chapter, reflecting on current genocides, wars, and personal strife, the album plays again. Its notes are familiar, yet they always bring something new, some undiscovered wisdom or comfort.
I believe the essence of “What’s Going On” is a universal language, a dialect understood by hearts across the globe, irrespective of the tongues they speak or the lands they inhabit. This album, much like the soulful cries of a gospel choir or the melancholic strains of a blues guitar, speaks to a shared human condition — a narrative woven with threads of pain, hope, love, and an unyielding quest for understanding and peace.
It is here, in this harmonious congregation of instruments and lyrics, that Gaye’s work transcends the boundaries of mere musical composition. It becomes a source of comfort, something soothing for the wounded spirit. The album does not just resonate; it empathizes. It does not merely communicate; it consoles, sharing in the collective sorrows and joys of its listeners.
Psychologists and music therapists have long recognized the potency of music as a tool for emotional healing and resilience. They speak of its ability to access parts of the human psyche that are often barricaded by the rubble of trauma and grief. This concept is vividly encapsulated in “What’s Going On.” Therapists often talk about the concept of ‘musical mirroring’— the idea that music can reflect our inner emotional states, providing a sense of validation and understanding. In this album, mirroring is not just an artistic technique; it is a lifeline. It reaches out to those adrift in the tumultuous seas of despair and pulls them towards a shore of understanding and empathy.
Moreover, the universality of Gaye’s message in this album speaks to a collective longing for a world that is kinder, more just, and more attuned to the cries of the oppressed and the marginalized.
The lasting resonance of Marvin Gaye’s “What’s Going On” persists as a lantern, guiding me through the maze of my thoughts, my griefs, and my yearnings for a world reborn from the ashes of its own destructive ways. This album, like a sermon, continues to shepherd me through the process of understanding, of coping, and, most crucially, of demanding more — not just for myself, but for all of us, for humanity in its totality.
A few days ago, the cruel hand of fate snatched away a friend, Michael Latt, a beacon of change in his own right, extinguished by the senseless violence that plagues our world like a relentless shadow. Losing Michael Latt has left a profound impact on me, both personally and in the way I view the world. Michael was more than just a community leader; he was a ray of light and a living example of what it means to use one’s privilege for the greater good. As a white man, he dedicated himself to creating access and opportunities for marginalized people, and his work was a testament to the power of empathy, understanding, and action.
He listened, he learned, and he committed himself wholeheartedly to the cause of justice and equality. His passion for making a difference was contagious, and it inspired many others to look at how they could contribute to creating a more equitable society.
Reflecting on the loss of such a person, I often find myself struggling with a profound sense of injustice. Why do terrible things happen to the best among us? Michael’s untimely departure left a void that is difficult to comprehend and accept. His absence feels like a stark reminder of the fragility of life and the sometimes inexplicable nature of pain.
His departure left a tear in the fabric of our human potential. In the aftermath of this tragedy, compounded by the constant parade of despair that our daily lives seem to have become, I found refuge in the familiar yet ever-evocative strains of “What’s Going On,” particularly in the heartfelt cries of “Save The Children,” the soulful affirmations of “God Is Love,” and the poignant lament of “Mercy Mercy Me (The Ecology).”
As the songs played, a wave of emotions washed over me. It was as though each note, each lyric, was a key unlocking chambers within my heart. In “Save The Children,” there lies a haunting urgency, a plea that transcends time, speaking to our collective responsibility for the innocence that we, as a society, have failed. It is a song that echoes the cries of children lost to war, to hunger, to the very violence that claimed Michael. It is a reminder of the world we have forged, one where the laughter of children is too often drowned out by the roar of injustice.
Then, as the album flows into “God Is Love,” there is a shift, a gentle yet powerful affirmation of the divine love that underpins our existence. Here, Gaye reminds us of a fundamental truth that we often forget in our scramble for survival and significance: that to love another person is to see the face of God. This song, in its serene conviction, offered a moment of solace, a brief respite from the noise of loss and anger.
Finally, “Mercy Mercy Me (The Ecology)” wrapped its arms around me. This song, a mournful ode to our planet’s desecration, resonates with a deeper grief — a grief for a world that continues to turn its back on the very womb that nurtures it. In the haunting beauty of this melody, I found a space to release, to sit with my pain and the pain of the world, to acknowledge the wounds we inflict upon our Earth and upon each other.
In this trilogy of songs, there is an encapsulation of the human condition: our capacity for destruction and our profound longing for redemption. Gaye’s voice, etched with the wisdom of a prophet and the tenderness of a friend, became a conduit for my own grief. It allowed me to grieve not just for Michael, but for all that we have lost and continue to lose in this relentless march of time and human wickedness.
There is something simmering in so many of us, a simmering volcano of discontent and despair. Yet, in this rage, there is also a thread of hope, a belief that even in our darkest hour, there is a chance for transformation, for love, for a return to the sacred truths that bind us.
In “What’s Going On,” Marvin Gaye does not offer easy answers or superficial solace. Instead, he offers a mirror, reflecting our flawed humanity, our collective suffering, and our enduring spirit. Which is often — exactly what we need. In this album, I find not just a means to process and cope with the tragedies that life throws my way, but also a clarion call to push for progress — for Michael, for the children, for the Earth, and for the very soul of humanity. It is a reminder that in the midst of our pain, there lies the potential for profound change, for a love that transcends the boundaries of our brokenness.
This is why “What’s Going On” remains a vital balm for souls battered by the relentless tide of global events. In a world that often feels devoid of empathy, where the news cycle churns out stories of pain and injustice with a chilling detachment, this album stands as a counterpoint. It is a reminder that our struggles are not invisible, that our pain is not unheard. Gaye’s music reaches into the deepest recesses of the human experience, touching the parts of us that are too often left to languish in silence.
To listen to this album in moments of despair is to participate in a form of communion, a shared experience that connects us in our humanity. It is to be reminded that, despite the overwhelming suffering that threatens to engulf us, we are not alone. There is a power in being seen, in being acknowledged, not as a statistic or a headline, but as a living, feeling being. This album offers that recognition, that validation.
In a world that seems increasingly bent on tearing itself apart, where the cries of the oppressed are too often drowned out by the clamor of indifference, “What’s Going On” resonates with a clarity that is both haunting and healing. Listening to it, we find a kind of solace, a reminder that, even in our darkest hours, we are part of something larger, something profoundly human. And it is in this recognition, this feeling of being lifted and seen, that we find the strength to carry on, to keep fighting, to keep hoping.
For in the end, it is not just an album we are playing; it’s a map, guiding us back to ourselves and to each other.
