TWO DAYS BEFORE the 2019 Grammys, much to the chagrin of her team, Janelle Monáe went skydiving. Her album Dirty Computer was nominated for Album of the Year, she was scheduled to perform, and still she and some adventurous friends drove two hours outside Los Angeles on a clear and sunny afternoon. They watched a training video about the inherent risks of throwing yourself from a plane with only a parachute to bring you safely back to earth. As Monáe waited at 14,000 feet, preparing to dive into the great wide blue below her, she was ready. If she died, she thought, at least she would die doing what she wanted. She stared down and marveled at how small the world seemed—tiny houses, tiny cars, tiny people—and in that moment, she felt fearless.
There was something cathartic about that jump, the exhilaration of flying through the air and the simple satisfaction of realizing she had the courage to make that leap. It was the beginning of what would become a year of introspection and evolution for Monáe. “I wanted to skydive into different parts of my life,” she said when we met for dinner in L.A. We were ensconced in a booth in a darkened corner of a private club in West Hollywood where celebrities and other assorted fancy people have to put stickers over their camera lenses before they gather to eat and drink and see and be seen. It’s a silly gesture, because what can be applied can just as easily be unpeeled, but, like airport security, I suppose, it allows members to feel like their privacy is safe.
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