Postmodern Culture

Juice Soul and L.T. Terror’s “Let Me Have My Way”: A Critical Review

"Let Me Have My Way" Juice Soul

(Photo Courtesy of Juice Soul)

“Let Me Have My Way,” the second single from the forthcoming album Too Dark to Turn Back, features the ingenious collaboration of R&B and soul artist Juice Soul, rapper L.T. Terror and producer Chevalier Coleman. These gifted independent black male talents are among the best in the music industry. Without question, they will soon be household names. Last summer’s hottest song, “Tasteless,” their brainchild, put music fans in the mood for romance. With “Let Me Have My Way,” the hot, the sexy, the romance returns—just in time for summer love and lovemaking.

Trained in the Department of English and Modern Languages at the renowned Albany State University, Juice Soul masterfully wields compelling storytelling in his new single; this engrossing storytelling is a singular and characteristic element in his oeuvre. Mr. Soul’s euphonious, mellifluous vocals never disappoint, never auto-tuned, always delivering classic and disarming sounds that drive the ladies wild.

Drawing on the power of vivid, evocative storytelling, Juice takes his listeners on a journey, a love journey, one where sexual satisfaction is promised. We, the listeners, witness a cohesive and intriguing narrative, one apposite for an episode of a quality television drama.

A general proclivity in postmodernism, a historical and cultural phenomenon and the historical and cultural epoch in which we reside, as articulated by cultural critic and theorist Fredric Jameson and scholar Elizabeth Atkinson, is to welcome disorder and ambiguity. Resisting this postmodern impulse, Mr. Soul proffers a substantive story that’s logical and perspicuous and that resonates—he does not simply string some words together, as is, unfortunately, increasingly becoming the case for many popular singers and songwriters. Even some of his distinctive lyrical phrasing, where the vocal styling appears to blur or fade words intentionally for musicality purposes, still permits audiences to understand fundamentally what he attempts to convey.

The song anticipates feminist critique: both artists respectfully invite their desired women to share in an intimate experience with them. In Soul’s case, he wants it to last perpetually: “I never wanna let you go.” Sexual intercourse for him is communal, appropriately tasteful and delicate, never sacrificing, though, healthy masculine performance: “I’m going to give it to you so nice/Tell me how you feel about this?” The artist expresses a genuine interest in evaluative feedback—even during the sexual encounter, suggesting a true wish to please his woman. As artist, father, and professional, Juice Soul remains relentlessly authentic.

While L.T. Terror maintains this authenticity in the song, the rapper does it in a divergent way from Juice. The sagacious rapper, disabusing potential critics of arguments about the song being too idyllic, too mawkish (and it’s not), communicates frank intentions about his desires for the sexual experience, one ephemeral by design, yet vowed to delight. A central characteristic of postmodernism is an explicit embracing and engaging in textual fragmentation, that is, intentional textual discontinuities, and Terror’s lyrics, from a first reading, seem to represent radical textual fragmentation, especially when one juxtaposes them with Juice’s. Sex, however, does not have to be an enduring commitment; it can be a “one-time” experience, as Juice Soul intimates.

For L.T. Terror, this “one time” sexual interaction will include psychic stimulation: “My favorite position is in your mind.” Although the artist isn’t looking for a long-term physical commitment (and isn’t willing to give one), he hopes the woman will eternally remember their time together: “trying to find a home inside of your thighs.” Candid as possible, though, the rapper does not want good sex mistaken for love: “Might see love inside of my eyes/But that’s one big disguise/I’m such a horrible guy.” In other words, enjoy this magical moment, but don’t catch any abiding feelings.

Ironically, the divergences between Juice Soul’s lyrics and L.T. Terror’s form a totality, a unified whole, one reflecting real possibilities, diverse interactions and reactions, and nuanced notions of authenticity.

The track can be purchased on iTunes, and one can hear it on all digital streaming platforms, including Spotify, Apple Music, and Tidal.

Let’s make this single go viral by sharing this piece and keeping the song in constant rotation on our favorite listening devices and music platforms.

Dr. Antonio Maurice Daniels

University of Wisconsin-Madison

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Postmodern Fashion Resists Tradition

Postmodern Fashion

(Photo Credit: Postmodern Gentleman)

If one desires to stay in harmony with postmodern fashion, then he or she cannot be beholden to traditional matching strategies. In Postmodernism or, the Cultural Logic of Late Capitalism, Fredric Jameson (1991) posits that we reside in a historical epoch where fragmentation is celebrated in virtually every area of life. Fashion is not exempt from this celebration of fragmentation. One of the most vivid ways we see this fragmentation in fashion is in how people intentionally pair colors that have traditionally been considered inappropriate. For example, a man may have on a purple shirt, burnt orange jeans and brown shoes. While those colors may seem to compose a disjointed outfit, postmodern fashion finds value in challenging traditional color schemes and aesthetics.

Home décor is a serious dimension of postmodern fashion. Just as it’s common to see a resistance to traditional color schemes in the clothing postmodern people wear, we find this similar phenomenon in home décor. A homeowner can have a dominant color scheme of brown in his or her living room, but can have a stylish red chair in the corner of the room to disrupt the monotony of the central color scheme. People often refer to this as adding a “pop of color.” Postmodern fashion views this fragmented “pop of color” as a beautiful contribution to one’s living room or outfit.

Although the postmodern impulse opposes more conservative color schemes and fashion styles, one should not feel compelled to conform to these schemes and styles. One’s style of dress and home décor can still look appealing and creative without embracing many of the elements of postmodern fashion that can reflect a lack of maturity. Even though postmodern fashion strives to efface the traditional notion of “tacky,” you and your home can still be quite tacky—if you succumb to many of the pressures of postmodernism.

Being self-absorbed is a dominant characteristic of postmodernism, and one of the most crippling results of being self-absorbed is a failure to have a felicitous appreciation for history. While postmodern fashion gurus see themselves as creating “novel fashion,” they’re really not producing anything new at all. Jameson (1991) has asserted that what numerous postmodern artists, including fashion gurus, do is recycle styles, traditions, and art from the past in simplistic and random ways. You should, therefore, embrace only those elements of postmodern fashion that are useful and concatenate them with elements of the past to generate truly productive fashion styles and strategies.

Dr. Antonio Maurice Daniels

University of Wisconsin-Madison