Given the simultaneously pointed (Don't touch Solange's hair. In fact, I'd argue that DTMH, along with A Seat At the Table as a whole, serves as a plot of freshly tilled fertile ground gifted to each listener, an opportunity to plant, grow and harvest one's own thoughts on the album's subject matter-which range from clear cut talks on Black artists knowing their self-worth to ambiguous reflections on airborne cranes and unrelenting metal clouds. As abstract as the complex paintings of Black abstractionists Romare Bearden, Shinique Smith, and Alma Thomas.
![solange dont touch my hair city park solange dont touch my hair city park](https://img.buzzfeed.com/buzzfeed-static/static/2017-08/1/23/asset/buzzfeed-prod-fastlane-03/sub-buzz-28019-1501644335-1.png)
Nestled among multi-textured layers of lush, thought-provoking tracks, DTMH is one of the more lyrically abstract numbers on the album. So, it came as no surprise to longtime fans that the same sparkle of self-determination Solange shared with the world seven years ago had matured into her latest album A Seat At the Table, a dazzling beam of self-love, Black pride and kujichagulia.Īnd seeing as how this is a thought piece on Black hair and Black music and the personal experiences that tie them together, let's focus on “Don't Touch My Hair."
![solange dont touch my hair city park solange dont touch my hair city park](https://i.ytimg.com/vi/YTtrnDbOQAU/maxresdefault.jpg)
So, yes, Solange's pioneering decision to sport an unconventional hairstyle historically reserved for Black men and run the risk of public ridicule was a big deal to me and many other Black women, young and old. It was also a year after Solange debuted her psychedelic, post-neo soul, #carefreeblackgirl-before-it-became-a-thing album Sol-Angel and the Hadley St.