Why USC and not a black college, Dr. Dre? (The Los Angeles Times) Make no…
By Guest Contributor Janell Hobson; originally published at The Feminist Wire
Fifteen years ago, the stardom of then-23-year-old Lauryn Hill had peaked when she released what would become her defining musical legacy. After rising to popularity as part of the hip-hop trio The Fugees, with fellow members Wyclef Jean and Pras, she later released her solo album, The Miseducation of Lauryn Hill, which went on to garner multiplatinum sales and five Grammy Awards for the recognizably brilliant singer-rapper. Such accomplishments made her the first female artist to be nominated for and to win the most Grammys in a single night and her album the first hip-hop-themed work to win the Grammy’s top prize of Album of the Year.
Interestingly, the same year of Lauryn’s solo album debut, a 16-year-old who would later be known only by her first name – Beyoncé – also emerged on the pop scene when Destiny’s Child released their self-titled debut album. And in a curious one-degree-of-separation of the two icons, Destiny’s Child’s collaboration with Wyclef on their song “No No No” led to the group’s first successfully released single, which topped R&B charts.
In retrospect, it seems easy to trace what would become a commingled narrative: one star rises while another one declines. One star (Ms. Hill) presumably declined a starring role in the Hollywood faux-feminist blockbuster, Charlie’s Angels, while the other star (Beyoncé), along with fellow group members, provided the necessary “girl power” anthem – “Independent Women, Part I” – for the movie’s soundtrack. One star virtually disappeared from the mainstream media while the other star appeared ubiquitously, covering every magazine from Sports Illustratedto Vogue to GQ to the feminist publication Ms.
One star proved a lyrical genius – rapping and crooning on politics, love, religion, and the resistance of corporate media – while the other preferred more superficial fanfare concerning clubbing, looking fabulous, and having her own money to spend as she fends off heartaches and trifling lovers, while occasionally championing women’s empowerment. One star refused the pop-culture make-over, preferring instead to rock her natural hair and bask in her dark-skinned beauty, while the other has made a signature look out of blond weaves and other variations on white beauty standards that her light-skinned beauty can more easily appropriate.
By Arturo R. García (Note: Language NSFW) Technically, “Bow Down/I Been On” is a mini-medley…
By Andrea Plaid
I find myself increasingly defending someone whom I otherwise wouldn’t look around at or wouldn’t listen to: Beyoncé.
I haven’t converted to listening to her discography: To me, she sounds like every other Black female soloist in a Black church choir, so her voice–her timbre and melisma–isn’t unicorn-unique to my ears. In fact, I find it gratingly common because I heard so many women with her voice every Sunday from the age of five to my late twenties; Beyoncé just has a better production team.
And, as I’ve said on the R, her female-empowerment messages aren’t my feminism:
[S]ome of folks who see Bey as “girl power” may have never heard of Valenti or may even want to be bothered with her writings or what they perceive to be “white feminism” that she embodies. Bey is their feminist text and their idea–and ideal. And whatnot…On the real though, Bey is not my sort of feminism–and that’s not blasphemous to say. Then again, neither were the Spice Girls…or the Riot Grrls, for that matter. And I remember folks tripped on each of those pop-cultural “generations” of feminist representations, too, trying to figure out their effects on younger people.
Feminism is rather malleable as each generation figures out what it means to them, even when we’re fighting the same old battles. Or because of them.
And let’s not forget Beyoncé now-notorious photo layout in French Vogue, which she said was an homage to “African queens in the past” and “African rituals”:
And I was quite happy to leave Beyoncé to her ideas about race pride and “girl power” with a genuinely heartfelt “bless her heart”…until Harry Belafonte came along.
By Arturo R. García and Kendra James
So God Made A Latino Farmer: While most of us watching the Super Bowl were creeped out by the latest GoDaddy crime against humanity, Dodge tried to get slick with its “So God Made A Farmer” ad, attaching the words of right-wing radio host Paul Harvey to a collage of “heartland” images depicting the agricultural trade.
Only there weren’t any Latinos in it. At all. Even though 72 percent of farm workers are immigrants. So the video above is Isaac Cubillo’s remixed version, which strikes us as a bit more true to life than Dodge’s appeal to the CMT crowd.–AG
Read the Post The Racialicious Entertainment Roundup 2.8.13
By Arturo R. García and Kendra James
World Baseball Classic: I was one of the five people in world outraged when baseball and softball were announced in 2005 to be ousted from the Summer Olympic Games for a variety of reasons. (One being that baseball didn’t have a large enough following outside of the United States; I can’t roll my eyes enough at that.) So, when the World Baseball Classic came around I was thrilled. Though, given all the attention America pays to the WBC, I’m probably the only one.
America hasn’t fared well in the WBC in the past; the best we’ve done is finish in 4th place over the 2 tournaments that’ve been played, with Japan winning both of them. South Korea and Cuba both have 2nd-place finishes. If you’re not heading down to Phoenix to catch the USA games live, you have to have one of the many ESPN channels or MLBTV to watch the games. You won’t find them on regular cable, and certainly not on network television, and that’s honestly a shame.
Read the Post The Racialicious Entertainment Roundup: 1.25-31.13