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.
Read the Post The Rise Of Beyoncé, The Fall Of Lauryn Hill: A Tale Of Two Icons