This work is part of a series the artist started in 2020 in response to the civil uprising and protests recognizing the brutal murder of George Floyd. For the artist, helicopters symbolize the feeling Black men have of constantly being watched—a feeling of being hunted even in their own neighborhoods, including being subjected to restraining curfews. This composition invites the viewer to intimately participate in the Black experience; it is intended both as a gift and an empowering act that operates beyond just inclusion.

In this painting, the artist commemorates the experience of a real event. In 2017, Kenneth Gleason shot and killed two Black men at random in Baton Rouge, Louisiana. One was an unhoused man named Bruce Cofield who was sitting at a bus stop at the time of his murder. The other was Donald Smart, a dishwasher on his way to work. The shooter was convicted for the killing of Donald Smart. Kenneth Gleason was 27 at the time. In this painting, the artist wonders whether Gleason "was a sacrifice made to maintain a precarious perceived peace there is no longer a need for? Are we fully to return the promise of Black Life as disposable, the 'God Given Right' for white men to murder us, any that stand with us with the full protection of the courts? Was Kyle [Rittenhouse] excused as he is an example of youth being raised right?"

Azikiwe's artistic practice encompasses an active social justice bend—including the nomadic New Davonhaime Food Bank and the Black Painters Academy. The artist works serve as images of and productions for Black prosperity. Azikiwe uses uplifting bright colors to depict serious scenes of: shared meals; comfort foods; helicopter searches; waves enclosing on empty lifebuoys; and raging fires that have been metaphorically (and literally) witnessed in 2020/21. In his works, the artist employs carefully placed ephemera, philosophy and vague silhouettes to record and share Black stories.