Renowned journalist, author, and activist Kevin Powell has unveiled a profoundly moving poetic tribute to musical icon D'Angelo, published exclusively on Vibe.com. Released on November 6, 2025, the powerful piece, titled "Inspired by the life and passing of D'Angelo," dives deep into themes of Black identity, systemic trauma, resilience, and the enduring spiritual power of music.

Powell's poem transcends a mere eulogy, painting D'Angelo as a "black messiah who is the unshaken cowboy square root of voodoo and brown sugar and chicken grease fingering the devil’s pie." It's a complex portrayal that celebrates his artistry while acknowledging the profound struggles and expectations placed upon Black figures in the public eye.

The work makes an urgent plea for respectful acknowledgement, stating, "please call him ay-yo please call him call him king like it is really love." This refrain underscores a demand for reverence and understanding, rejecting dehumanizing labels and emphasizing the profound cultural significance of D'Angelo's contributions.

Interwoven are poignant reflections on the vulnerability of Black youth, with lines like "for colored boys who have considered suicide/when the rainbow ain’t for us." Powell confronts deep-seated pain, asking, "dear god, can you please scrape this bloody trauma from my flesh?" and "dear god, can you please wash this dirty laundry from my eyes?"

The Bigger Picture

Kevin Powell's poem for D'Angelo is more than a tribute; it's a vital piece of contemporary music criticism and cultural commentary. It strategically positions D'Angelo within a rich lineage of Black musical and cultural giants, from "muddy waters and howlin’ wolves" to Donny Hathaway, Marvin Gaye, and Sly Stone.

This contextualization elevates D'Angelo's legacy beyond genre, framing him as a crucial voice in a continuous dialogue about Black existence, creativity, and survival. The poem’s imagery—"secret beehives of emcee walter mitty" and "ninjas sizing up prison bars and penny jars"—underscores the multifaceted resilience and often hidden depths of the Black community.

By connecting D'Angelo to figures like Billie Holiday, slave ship rock stars, and hip-hop pioneers like De La Soul, Powell asserts a holistic view of Black artistic expression as both a burden and a powerful tool for liberation. It’s a powerful statement on how Black artists, particularly those as introspective and genre-bending as D'Angelo, carry the weight of history while simultaneously forging new paths.

Ultimately, the poem serves as a powerful call to recognize the divinity and dignity in Black artistry and life. It reiterates, "it does swing if it got that thing and it does sing if you call him king," culminating in a hopeful vision where "heaven got a section for colored boys who have considered suicide/when the rainbow ain’t for us ‘cuz it do—".

Source: Original report via Vibe.com