Janet's Back! With a little FEEBBACK

If you know me, then you know my favorite female vocalist is Janet Jackson. When I was a kid, my sister and I both were in love with the Jackson family. She was the Micheal fan and I was Janet's. I can remember placing all sorts of Janet posters on my wall. Gosh, memories...oh well, Janet is back, again and I hope this time she will hit the top of the the charts with her new single 'Feedback.' Unlike 'Just a little while' and 'Call on Me' her first singles from her last two Cd's 'Damita Jo' and '20 YO,' I think 'Feedback' maybe just the right combination of pop and r&b that her last two disk have lacked.
'Feedback' seems to be Janet's answer to the current 20 somethings pop frenzy. Artist like Ciara, Beyonce, Brittany(not so much anymore) Christina, and the occasional one-hit wonder like Cassie, making or leaving their mark on what's successful in the industry, artist such as Ms. Jackson have to copy their styles to really get any attention. what's ironic about that is it was female vocalist like Janet and Madonna whom inspired these girls. Go figure, right?
The single itself relies heavily on voice manipulation and the whole synthesized sound that is currently taking over the industry. Is this the best Janet? No! But, it will propel her career--placing her back inside the radar of teenagers--the driving force behind much of 'what is' and 'is not' popular in pop music--the MTV kids.
Janet's 10th studio album is set to drop in Late February. I for one can't wait.

New Music Reviews

BLAKE LEWIS- AUDIO DAY DREAM***

On the sixth season of American Idol, viewers were treated to an array of talented singers; the best A.I. could offer. Well, this could be a drastic overstatement, considering that last season’s ratings were some of the worst since idol debuted in 2001. But out the myriad of fame thirsty contestants, one may emerge to be a formidable force in the very fickle and ever-changing pop scene. Let me digress and take you back to a time when Prince and Michael Jackson battled for dominance on the pop charts. A time when other male recording artist seemed to all eschew at least on characteristic of these two singers, Jermaine Stewart, Morris Day, Zapp & Roger, El Debarge, Johnny Kemp, and the System all recorded music that was recognizably influenced by Prince and MJ’s style. Then it was hard to distinguish some of these artists, but Prince and MJ were completely different. There music was stylized; when a Michael Jackson song came on the radio, you knew it was Michael Jackson. Today, few artists have captured that stylized recognizable sound that these two artists did. Were they innovators, pioneers? In a sense, their music is synonymous with an entire decades sound [80s], but they were influenced by the sounds of James Brown and Jimi Hendrex, still they managed to create a sound all their own. Although today’s musicians seem to be relying more and more on sampling and paying homage to artists or musical concepts, some of the music is much in its own right eclectic.
Eclectic seems to be the most accurate term to really describe pop music today, or the best way to describe successful pop albums. Today, artist such as Fergie, Gwen Stefani, Kanye West, Ciara, etc…all try to mask their music behind a variety of styles and genres. Fergie’s The Duchtess album hosted an array of musical styles such as reggeton, 80s bubble gum pop, hip-hop, and R&B. The album did not have one defining feature and as a result became one of the best selling albums of 2006-2007. Now, I know what does this have to do with Blake Lewis? Well, Audio Day Dream is no different. It is an eclectic mix of 80s bubble gum pop mixed into a more contemporary sound.
Audio Day Dream reflects Lewis’s desire to create a sound that although isn’t uniquely original, but seems to praise the computerized synthesized music zeitgeist of the time. What I really like about this album is that there are really no surprises. How can this be a good thing? Well, Lewis doesn’t take any chances, which run the risk of not paying off. He sticks to what he knows—beat boxing and I for one, think it was a wise decision. On tracks such as ‘How Many Words’ and ‘What’cha Got 2 Lose’ he shows or better flaunts his vocal acrobats—and although there are not Christina Aguilera vocal tricks here, Lewis does manage to display his zeal for beat boxing. Unfortunately, there are some lulls on the disk; Lewis should stick to mid-tempo or fast pop songs. He doesn’t have the vocal maturity of Maroon 5’s Adam Levine or Idol predecessor’s Elliot Yamin and Chris Daughtry. The slower tracks such as ‘Without You’ or ‘End of the World’ are not horrible pop songs, but Lewis doesn’t have the ability to take these songs where they have the potential to go. Overall, this disk is fun, especially if you are an eighties buff; I think this disk is one you should check out. Download these- ‘Gots to Get Her,’ ‘How many Words,’ and ‘I Got U.’

ALICE SMITH, FOR LOVERS, DREAMERS, & ME*****

A week ago I discovered one of the most innovative and original artist to come along in quite awhile. Her name is Alice Smith, and her debut album entitled For Lovers, Dreamers, & Me has been in my CD player since I got it. This new chanteuse in the pop world is the best thing since I discovered how fabulous a drink mojitos were this summer. Actually, like the crisp, clean and sweet taste of a mojito, Smith’s album is just as refreshing. Really, that description probably doesn’t do the album justice, but if you know me, then you know I like to drink. So, comparing my favorite new album to a superb drink should come as no surprise. And, unlike so many of today’s female pop tart vocalist, Smith shines so brightly. Really, she is in a league all her own; she is the kind of artist I hope will have the kind of longevity women such as Aretha Franklin, Chaka Khan, Annie Lennox, Tina Turner, and even her self- proclaimed idol, Bjork. Smith has a unique and meticulous sound. She is the smooth, sensual, and seductive voice, reminiscent of eighties British soul diva Sade, but Smith’s voice commands your attention when she sings. Lyrically, this album is flawless. You will not find worn our clichés or overproduced tracks on For Lovers, Dreamers, & Me; instead you will a young artist’s life experiences shelled out in the visceral ten songs on the disk. She leaves her listener yearning for more. Don’t just download single tracks; go out and buy the entire album. If you like Amy Winehouse, then you’ll love Alice Smith. Download these- ‘New Religion,’ ‘Fake is the New Real,’ and ‘Love Endeav

Is Hip Hop Dead? A metaphor to carry voices

The history of hip-hop defines itself in a time when black youth demanded a place, a voice. Hip-hop, the music produced gave them that voice. Did artist like the Sugar Hill Gang, Kurtis Blow, Grand Master Flash, Run-DMC, Salt & Pepa and Mc Lyte make any political or social statements about black experiences? Yes! & No! In some instances a song such as ‘ Check Yo self’ did make a social statement about ‘ghetto’ life. Many artists’ work spoke directly to the diverse experiences of black youth disillusioned with a class system that from their perspectives, didn’t seem to offer them any real chances for social mobility.
As a child in the early eighties, I can remember the array of music my dad had stored in his wooden album cases. I grew up listening to music in many genres. Although I may not have some of the inner city experiences much of early hip-hip pioneers music encompassed, I did, and do relate to the some of the themes presented within it. For example, In the movie Breakin 1984, I can remember the words to the song ‘Ain’t no stopping us’ as clearly in my mind as if the song were popular today. My point here is to suggest that being tied to the experiences hip-hop artists tried to embed within their music is not a prerequisite for understanding or enjoying it.
Today, the idea that hip-hop is dead seems illogical. To say that hip-hop is dead is somewhat a misnomer or mis-leading because to die means something does not exist. Hip-hop exists because the ardor of hip-hop music is still alive. Hip-hop was [is] about having a voice. And within the many voices of hip-hop lives a passion and zeal to share often black experiences—to tell stories that may not otherwise get told. Some critics may disagree about the authenticity of the voices in today’s hip-hop music, or whether or not they are making as profound social and political statements as the pioneers within the genre. But I believe that is a different argument all together.
Essentially, like most music genres hip-hop is evolving. It has evolved. Like most and all things in pop culture, hip-hop now, is almost indistinguishable from mainstream pop music. Mainstream culture demands mutuality. Mutuality demands inclusion; it’s a party and everyone is invited, and everyone likes it. The more broad the audience, the more people to sell and thus buy a product, the more money, the artist and music industry executives make. The bottom line is profit, which is what trumps all in pop culture.
In 1998, Lauryn Hill , a former member of the hip-hop trio The Fugees released her ground-breaking album entitled The Mis-Education of Lauryn Hill. The title was play on the Carter G. Woodson book entitled The Mis-Education of the Negro. In it, Carter discusses ways in which African-Americans in the early part of the twentieth century were enslaved, not physically, but mentally. He challenged African-Americans to educate themselves out of the sort of back door mentality keeping so many confined to poverty and subjugation. I consider Hill’s 1998 release a novel venture into “real” hip-hop territory. Most of the albums overall message or themes centered on her experiences and worldview. For Hill, hip-hop represented story telling—it was her social and political narrative about ghetto life. The Mis-Education of Lauryn Hill album had meaning in a confusing world. Her release was a breath of fresh air in a sea of weak lyrics and empty messages. While female artist such as Lil Kim and Foxy Brown occupied stereotypical representations of black women, loose, lavish, and promiscuous, Hill’s record seemed to take a strong social stance against misogyny, sexism, and materialism. For example, in the first single That Thing Hill cautions young women and men to beware of Eurocentric ideals and values. The album itself is a sort of iconoclastic message against euro centrism, in which the content on many songs suggests Hill’s identity as an Afro centric thinker.
Although I did find Hill’s album too preachy in many instances, it was a an authentic voice in the evolution of hip-hop; she maneuvered through the ups and downs of life with rich lyrical ease. Unfortunately, today, much of hip-hop music seems empty—void of any real substance. But that is not to say it is dead. Hip-hop is alive and well; much of what is recognized as hip-hop music has been taken over by artist such as Lil Mamma, Chris Brown, Lil Jon, The Ying-Yang Twins, Ne-Yo, and a list of other mainstream artist whom are changing the landscape of hip-hop music. Hip-Hop has evolved, but the zeal to record music that speaks to a particular group is still represented. Ben Harper, Lil Wayne, 50 cent, Fat Joe, Kanye West, Nas, Common, Jay-Z, Kevin Micheals, and Leela James are all pioneers in this new evolution. Their music combines some of the classical ideas of hip-hop with a more contemporary sound.

Britney Spears, ‘The Blackout’ A Laudatory Review

About two months ago, I discussed that week’s recent Britney Spears’ antics with a good friend of mine. We both agreed; she was [is] a complete dumb ass. I know pretty harsh words, but we both agreed she was becoming more and more vexing. Okay, you may be wondering why we even care. Well, I think we began to wonder, too. Let’s see; was it her amazing singing voice? No! I guess we just thought, “She is a good entertainer.” Yeah, but so are a lot of strippers, too. Well, at least the patrons who frequent strip joints would probably agree that their entertained. Essentially, we both thought she was throwing away her career. We were disappointed. Of course, she did not renew our confidence with that pitiful VMA performance, just tragic. To put it plainly, “we didn’t expect much from her next supposed comeback album.” I said, “This album will fail; it will be a flop; Britney’s career is over.” Well her career may fail, but it won’t be because of ‘The Blackout.’ In fact, ‘The Blackout’ is a lot better than I expected. Nonetheless, it did take a few spins in my CD player, before I thought, “you know this is not that bad; in fact it’s produced really well.” What do I like about ‘The Blackout?’ The sound, it has great beats that make you want to jump on the nearest stripper pole. No, actually I think the sound is catchy, it makes you want to move [dance] it's electric--yes, you will want to boogie woogie. This is a pure quintessential dance album. It is nowhere near Madonna's 2005 hit 'Confessions on a Dance Floor,' but it's a close second. 'The Blackout' is my newest guilty pleasure, and trust, I have plenty. It’s also pure raunch, too. It is girls gone wild meets Jenna Jamison porn. If you can get past Britney’s tone deaf voice as she breathes and whispers over every track, then you may be able to enjoy this album. Download these; ‘Get Naked,’ ‘Radar,’ ‘ooh ooh Baby,’ and ‘Break the Ice,’ I don’t think you will be disappointed.

Fall Music Preview: Four More DIVAS

Annie Lennox: Songs of Mass Destruction ****
With this follow-up to 2003’s Bare, Songs of Mass Destruction, Lennox’s new album does not disappoint. The lyrical chanteuse returns with a vivacious album that is both innovative and empowering. Lennox follows in the vein of her Eurhythmics sound on tracks such as ‘Ghost in my Machine’ and ‘Big Sky’ (my personal favorite). But, it is on the standout feminist driven tracks ‘Womankind’ and ‘Sing’ where Lennox’s voice really shines. ‘Sing’ is a wonderful track dedicated to increasing awareness about global sisterhood. ‘Sing’ boast an array of female vocalist, it is a sort of “who’s who” in pop music, everyone from Madonna to Joss Stone, and Celine Dion, literally sing on this track. This is one of the most uplifting and powerful tracks to hit the music scene. Will it be a single? I hope, but probably not. There are stronger more radio friendly tracks on Destruction. Download these: ‘Love is Blind,’ ‘Smithereens,’ and ‘Big Sky.’

Carrie Underwood: Carnival Ride ****
On her sophomore effort Carrie SOARS. Carnival Ride is an infectious album. If you are not a country music fan, don’t worry this album packs a punch; it has something for everyone. A little pop, a little country, and dare I say, even a little rhythm and blues. The lead song, ‘Flat on the Floor’ is an up tempo song with fierce, that’s right fierce lyrics. Carrie displays that “in-your-face” attitude she had on the hugely successful ‘Before he Cheats’ record. ‘Flat on the Floor’ is a great song to kick off the album. It’s seems to take her out of her element; you know the sort soft safe ballads one might expect from the American Idol alumni. Other notable tracks include, ‘All-American Girl,’ ‘Just a Dream,’ ‘Crazy Dreams,’ and of course the final track, which is a metaphor for the album title ‘Wheel of the World.’ I predict even greater success for Carrie on this album than her debut ‘Some Hearts.’ Underwood’s voice shows more maturity and growth. Unlike Kelly Clarkson’s latest effort, ‘My December,’ Underwood does not take as many risks musically, but the one’s she does take seem to pay off. Download these: ‘Last Name,’ ‘I know you Won’t,’ and ‘Crazy Dreams,’


Jennifer Lopez: Brave **1/2
On her first two albums, Lopez crafted pure “pop” bliss. The songs were a mesh of Latin salsa, pop, and r&b. The albums On the 6 circa 1998 & JLO circa 2001 reflected a fun, energetic, lively sound. She created music that was exciting. Remember the dance sequences in ‘If you had my Love’ and ‘Love don’t Cost a Thing’ this was pop at its best. Unfortunately, Lopez has not been able to recapture that same feel on her last two albums and on her latest effort, ‘Brave’ she seems to fall short once again. Where is the “MOJO” JLO? ‘Brave’ is another sub-par album, although I do like the sort of eighties vibe, all some songs seem to really lack that fire or spark to ignite enough interest. The lead single, ‘Do it Well’ boast a great beat, but vocally Lopez sounds rushed and a little uncomfortable. “Rushed” is a great way to describe this album. Not a single track is “brave” as the title would suggest. Lopez work has become very generic and boring. Although her first two albums were not perfection, many of the songs had great hooks and break beats. Maybe she needs to recruit Diddy again, he was obviously doing something for her sound that subsequent producers since, have not been able to capture. Mediocre songs won’t cut it in this day an age of here today gone tomorrow, especially if you don’t have the vocals. Download these: ‘Do it Well,’ ‘Stay Together,’ and ‘The way it is.’


Chaka Khan: Funk This ***
If you remember “funk” music, then this is the album for you. If you are a Chaka Khan fan, then this is the album for you. If you love divas, “real” divas, then this is the album for you. On ‘Funk This,’ Chaka brings back the old-school funk sound of the 70s on tracks such as ‘Back in the Day,’ and ‘ ‘Foolish Fool.’ Once I discovered Chaka’s work with the funk band Rufus, I was instantly hooked on her voice. It is so rich and powerful. I don’t believe any other female artist can take songs to such massive heights as Chaka. She is on in a million. ‘Funk This’ is a return to creating the Rufus and Chaka Khan sound. Download these: ‘Disrespectful,’ ‘Sign ‘O’ the Times,’ ‘Back in the Day,’ and ‘Hail to the Wrong.’

Walk the Line: Barack Obama’s Slippery Slope

Obama’s statement in response to appeals that he abstains from his commitment to participate a political function with Grammy award winning Reverend Donnie McClurkin:

"I have clearly stated my belief that gays and lesbians are our brothers and sisters and should be provided the respect, dignity, and rights of all other citizens. I have consistently spoken directly to African-American religious leaders about the need to overcome the homophobia that persists in some parts of our community so that we can confront issues like HIV/AIDS and broaden the reach of equal rights in this country. I strongly believe that African Americans and the LGBT community must stand together in the fight for equal rights. And so I strongly disagree with Reverend McClurkin's views and will continue to fight for these rights as President of the United States to ensure that America is a country that spreads tolerance instead of division."

What Obama lacks in judgment, he seems to make up in eloquence. His statement is very powerful. As a gay man, I would love to support a candidate whom will fight for the rights and privileges all Americans are bestowed. I do believe Obama has good intentions for the LGBT community. In his book, The Audacity to Hope, he makes some compelling arguments for gay marriage rights and defining the institution in general. When I read about his association with Reverend McClurkin, I was dismayed. I am familiar with McClurkin’s autobiography—he believes in the sort of “ex-gay” transitions that so many gay and lesbian people fall victim. These people, their organization prays, literally on people’s insecurities—making them believe a relationship with “GOD” is only possible and accessible if they change “who” and “what” they are in this world. That being said, I am all for an open dialogue with people whom disagree. As a politician, Obama has to be able to dialogue with people that will often hold fanatical beliefs. In order to be a man of the people, he has to be willing to meet and greet with those who hold all kinds of views. But, and this is a big BUT, he must defend his views and support what he claims to support. So, if you are for inclusion and protecting every citizen’s rights in this country, then you cannot sweep under the rug your position on issues that are brought to the table. Reverend McClurkin’s public persona and reputation as an “Ex-Gay” automatically bring the issue to the table.

Benjamin DeMott’s The Trouble with Friendship: Why Most Americans can’t think straight about race

The Trouble with Friendship has for me, since I put the book down almost twenty-four hours ago, been one of the most compelling and insightful books I have read in years. This is a noteworthy statement; many, many, many of the books I have read in the past five years have been “academic” in nature. Most dealing with cultural topics such as race, sexuality, and gender, the three topics I am most interested. Let me back track for a minute, and consider the idea of “thinking clearly” what does it mean? I teach freshman composition and one of the claims of my department is that we teach our students how to “think clearly” in order to write clearly. This concept is anything new or earth shattering, but the most students don’t. So, getting back to DeMott’s work, what does “thinking clearly” have to do with his book. Well, for the most part he presupposes that in America, there is a distinct problem with “friendship” [black, white, and brown] which is why “we” as a collective nation cannot think straight or “clearly” about it.
“Why can’t we all get along” are the words that run through my mind. Of course, if we buy into everything popular culture tells us about ourselves, we in fact do get along. This idea of “getting along” or that we are all the “same” is at the heart of DeMott’s work. The friendship orthodoxy as he terms it, tells us that we are all the same, we have the same values and beliefs. We are essentially a people with the spirit of “can do.” But for African-Americans, simply given our history in this country, DeMott paints a very different picture than the one “pop culture” tries to sell.
What he has created is a methphorical testament about racial troubles in American society. He has given a voice to concerns that I feel, have gone astray in the past twenty years. I really believe if we look at films and television as a sort of cultural text, then we can really “see” DeMott’s ideas come to life. For example, I discussed in my graduate thesis the ways in which African-Americans, specifically women are depicted on television and film. I asserted the idea that authenticity rest in the realm of multiplicity. Many of the depictions of Black women I observed relied on convention and stereotype to rely or to create a sense of authentic “Blackness” for the viewer. In terms of DeMott’s work, this is classic pop culture; informing much of what the general public believes about social groups. Friendship orthodoxy becomes a narrative text in movies and on television because the mediums are seemingly telling a story about American experiences. The stories in films like White Men Can’t Jump or Six degrees of Separation often paint a misleading picture of racial integration.
A film, that I believe would appeal to DeMott’s taste is Crash. The film won the Oscar for Best Picture in 2005, although it was not favored to win in this category. The film is a metaphor for many of the complex and complicated racial tensions still present in American culture. A lot of the backlash surrounding this film was in-part because it did not really fit into the friendship orthodoxy theme. Unlike, many movies dealing with racial tensions, Crash painted a very unapologetic picture of life in Los Angeles, California. It did not make us feel good. In fact, it was a wake-up call---shouting, “things are not okay, we don’t all get along, in fact, we may not really like each other.” A film like Crash is important because it is brutally honest. Unfortunately, honesty is often hard to find in popular culture.
Friendship is intelligent, prophetic, and realistic about the racial and social problems that continue to plague our country. We can choose to keep our heads buried in the sand, or we can choose to educate ourselves. I choose to educate.

Visit this address for an interview with DeMott
http://www.pbs.org/newshour/bb/race_relations/race_matters_1-15.html