Why Craig David’s ‘Born To Do It’ Is Still A Gem 18 Years Later

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Credit: Apple Music

R&B music was at its prime throughout the ‘90s with then-emerging acts, including Aaliyah, Brandy, Monica, Mýa, Destiny’s Child, Usher, Boyz II Men and Jodeci, working their heads off to keep the genre exciting and fresh. Quincy Jones enlisted Teddy Riley to work his new jack swing magic on the late Michael Jackson’s Dangerous album (e.g. “Remember the Time” and “Jam”) in 1991, marking the King of Pop’s foray into more of an urban sound. After ruling the ‘80s, Whitney Houston transitioned into the ‘90s seamlessly with the help of Kenny “Babyface” Edmonds, who co-wrote the No. 1 hit, “I’m Your Baby Tonight.” A new generation of rising superstars forced veteran performers to take notes.

As 2000 ushered in a new millennium, British R&B singers wanted in on the excitement as well, but they had their own unique musical style to offer– enter Craig David’s Born to Do It, which fused R&B with England’s distinctive garage beats. Selling upwards of 8 million copies worldwide, the 12-track LP went on to become the fastest-selling debut album by a British male solo act. Just nine years ago, MTV UK viewers voted Born to Do It as the greatest album of all time behind MJ’s Thriller.

Nearly 20 years after its release, Born to Do It holds more relevance than ever before. Insert Drake’s vulnerability on “Find Your Love” (2010) or the intricate lyrical rhythm on Ed Sheeran’s “Shape Of You” (2017). Justin Bieber’s “Recovery” (2013) borrows from “Fill Me In,” the lead single off Born to Do It.

The Born to Do It title was inspired by a quote in the classic 1971 film, Willy Wonka & the Chocolate Factory, but it also presented David as the next big breakout star.

Read more of my latest article for Vibe [here].

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Jennifer Lopez’s Best Hip-Hop Songs & Moments, Ranked

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Photo credit: YouTube

Before Jennifer Lopez landed the “role of a lifetime” in 1997 as the late Selena Quintanilla-Pérez in the biopic Selena, we were introduced to the aspiring singer-actress as Janet Jackson’s backup dancer in the video for “That’s The Way Love Goes” and as a Fly Girl on In Living Color, which was rooted in hip-hop culture.

Naturally, when Lopez ventured off into music, those influences followed her as an artist. “I love the hip-hop, I love the R&B; it’s gonna manifest itself in my music,” she told MTV News in 2013. Nearly 20 years after the release of On the 6, Lopez’s hip-hop collaborations have made her a familiar face within the community.

In celebration of the multi-faceted star’s 49th birthday this week, VIBE Viva ranked her greatest hip-hop tracks and moments throughout the decades.

Check it out below.

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13. “I’m Glad” (2002)

Don’t let the elegant harp strings on “I’m Glad” fool you. The mid-tempo track samples Schoolly D’s “P.S.K. What Does It Mean?” Schoolly D has been recognized as the OG gangsta rapper; therefore, sampling anything from his discography proves that the World of Dance judge is a real G.

Co-written by Lopez herself, “I’m Glad” still goes hard to this day, and the accompanying Flashdance-inspired video ranks among her best.

12. “I’m Into You” feat. Lil Wayne (2011)

The island-flavored “I’m Into You” is hands down one of the most underrated songs of Lopez’s discography. And Lil Wayne’s clever wordplay is impressive, e.g., “You’re way too fly, I could be your jet fuel.” The second single released off Love? failed to crack the Top 40 in the U.S., which is absurd since “I’m Into You” is the perfect soundtrack for sipping piña coladas with the crew all summer. Reaching No. 9 on the U.K. Singles Chart, the Stargate-produced track further solidified Ms. Lopez’s international appeal.

11. “Get Right” (Remix) feat. Fabolous (2005)

Without a doubt, the lead single off Rebirth brought the funk, but Fabolous’ verse took it to the next level. “I ain’t Mr. Right, I’m Mr. Right Now,” he raps over those infectious horn riffs. Co-produced by On the 6 collaborator Corey Rooney, “Get Right” was a bit unorthodox at the time, but it translated into a classic J.Lo sound. Bonus points for the multiple characters (from a DJ to busy bartender to an exotic dancer) Lopez portrayed in the original video.

Read my latest piece for VIBE VIVA [here].

Flaunting Freedom: The History of Louisiana’s 18th-Century Tignon Laws

Beyoncé in How to Make Lemonade social image
Beyoncé in How to Make Lemonade (Photo courtesy of Parkwood Entertainment)

Frank Schneider’s portrait of Marie Laveau (painted in 1920 and based on an earlier work by George Catlin) hangs inside the Cabildo of the Louisiana State Museum, and shows the legendary “Voodoo Queen of New Orleans” wearing a butternut-yellow headwrap with burnt orange stripes. When Angela Bassett portrayed Laveau in American Horror Story: Coven, a headwrap was also an essential part of her wardrobe. Coven was loosely based on true events, but Laveau’s headwraps were real—and her decision to wear them was deeply rooted in the so-called tignon laws that prohibited Black women from displaying their hair in public for nearly 20 years.

During the 18th century, the tignon (a headwrap or handkerchief) emerged as a symbol of pride for free women of color in New Orleans. In 1769, the law of coartación allowed enslaved people in Louisiana to purchase their own freedom, which afforded them the opportunity to be able to build wealth and status, according to Jennifer M. Spears’s 2009 book Race, Sex, and Social Order in Early New Orleans. Toward the end of the Spanish colonial period (1763 through 1802), nearly 1,500 enslaved people in New Orleans “had acquired their freedom by cash payments,” according to Know Louisiana, and by 1810, free people of color made up 44 percent of the city’s free population.

Free women of color dressed elegantly and embellished their hair with feathers and jewels. They were flaunting their femininity because they now had the freedom to do so. While most free women of color married free men of color and raised families with them, they were also attracting the attention of non-Black men, which threatened an already fragile social order.

Read my latest piece for BitchMedia.org [here].

THE BEST THROWBACK TV THEME SONGS, RANKED

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Credit: IMDb, iTunes

The ’90s were a simpler time: Beanie Babies, girl power, the Macarena dance craze, fanny packs and dial-up internet. The year 2000 ushered in a new millennium, which caused panic to erupt over a Y2K disaster that never actually happened. Ah, those were the days, right?

Because a little nostalgia never hurt anybody, we’ve revisited—and ranked—some of the most beloved theme songs from our favorite television shows. If you were born anywhere between the mid-’80s and late ’90s, this list is for you.

Disclosure: We focused on TV shows with a target audience of children and preteens, so amazing shows such as In Living Color, Martin, GirlfriendsLiving Single and A Different World were purposely left off this list.

Honorable mentions include WayneheadThe Boondocks and The Famous Jett Jackson.

Everybody Hates Chris

2005-2009

Despite not containing any real lyrics besides “Awwww, make it funky now,” this underrated theme transports the viewer all the way back to the ‘80s.

Family Matters

1989-1998

“As Days Go By,” is as family friendly as they come with squeaky-clean lyrics, e.g., “It’s a rare condition, this day and age/ To read any good news on the newspaper page/ Love and tradition of the grand design/ Some people say it’s even harder to find.” Not to mention, the raspiness of Jesse Frederick’s voice feels like a warm blanket at times2

One on One

2001-2006

Starring Flex Alexander and Kyla Pratt, One on One chronicles the ups and downs of a single dad and his teenage daughter living under one roof. For the show’s theme, Flex—who also created and produced the sitcom—enlisted his wife Shanice (“I Love Your Smile”) andgospel singer Tonéx. Together, their vocals are unparalleled and Shanice’s high note (skip to 18 seconds) will take you to church. A remixed version kicked off season 5’s opening credits, but it doesn’t compare to the original.

Read my latest piece for The Boombox [here].

MUSIC OF THE SUN: A RANKING OF RIHANNA’S BEST REGGAE SONGS

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instagram.com/badgirlriri, Jeff Kravitz/FilmMagic, YouTube

Rihanna (born Robyn Rihanna Fenty) has been hella busy taking the beauty and fashion industries by storm with the launches of Fenty Beauty and Savage x Fenty, leaving her navy of fans to wonder if she’ll ever release new music again. The 30-year-old style icon told Vogue recently that she’s planning to record a reggae album, which would be the first time she’s done so since 2005’s Music of the Sun. During a sit-down on “The Graham Norton Show” in June, fans rejoiced as the Ocean’s 8 actress confirmed she was “actually in the studio at the moment.”

As reggae celebrates 50 years, we’re digging deep into the Barbados superstar’s discography to rank all the times she nailed the genre.

“Crazy Little Thing Called Love” feat. J-Status

A Girl Like Me, 2006

Not to be confused with Queen’s “Crazy Little Thing Called Love,”Rihanna finds herself gushing over a guy whose mere presence gives her butterflies. Lyrically at times, “Crazy Little Thing Called Love” feels like a continuation of “SOS,” but its distinct dancehall beat sets it apart.

“Selfish Girl”

A Girl Like Me, 2006

Rihanna’s not a selfish girl except for when it comes to bae—and she’ll do whatever it takes to receive his full attention, i.e., “You might think I’m greedy, but I just don’t care.” Nonetheless, the then-budding star’s innocence shines through.

“Here I Go Again” feat. J-Status

Music of the Sun, 2005

A perfect blend of pop and reggae, “Here I Go Again” instantly brightens your mood. From the sunny, reggae-infused melody to the song’s relatable lyrics (i.e., “I look into your eyes and then/ My heart remembers when/ And I realize I neva gotten over you”), why wasn’t “Here I Go Again” released as Music of the Sun’s third single?

“You Don’t Love Me (No, No, No)” feat. Vybz Kartel

Music of the Sun, 2005

Rihanna flaunts her Caribbean charm on a well-suited cover of Jamaican singer Dawn Penn’s classic ’94 hit “You Don’t Love Me (No, No, No),” putting her own spin on a beloved song in a way that feels organic and effortless.

Read my latest piece for The Boombox [here].

A Ranking Of Beyoncé’s ‘Dangerously In Love’ Tracklist

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Credit: Genius

Going it alone takes guts, especially when you’ve spent over half of your life as the frontwoman of a wildly successful group, selling millions of records and establishing a mountain of platinum hits. Riding solo means that the public’s criticism grows harsher and the expectations become preposterously higher, but Beyoncé Giselle Knowles-Carter pulled off the transition seamlessly.

At the time, R&B trio Destiny’s Child, who started their musical career in 1990 as Girl’s Tyme, were on a hiatus. Michelle Williams’ Heart to Yours and Kelly Rowland’s Simply Deep were both released within six months of each other respectively. Beyoncé was riding high off the success of Austin Powers in Goldmember, The Fighting Temptations, as well as the smash hit “‘03 Bonnie & Clyde” with future hubby JAY-Z.

Meanwhile, the young starlet’s first solo project was quietly bubbling beneath the surface.

Behind the scenes, Beyoncé was patiently waiting for her turn to dazzle critics. The long-awaited Dangerously In Love had been postponed, which allowed the then 21-year-old more time to record additional tracks, including “Crazy In Love.” Determined to carve out her own destiny (pun intended), Beyoncé enlisted several well-known hitmakers, including Rich Harrison, Scott Storch, Missy Elliot and Bryce Wilson, to create the most anticipated album of 2003.

Read my latest piece for VIBE [here].

How Zelda Wynn Valdes reinvented fashion

This designer you’ve never heard of was the go-to designer of the midcentury freakum dress, and made sure every Playboy Bunny’s seam was pressed to perfection.

 

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Love it or hate it, the infamous Playboy bunny suit — iconic strapless corset, bunny ears, pantyhose, bow tie, collar, cuffs, and fluffy cottontail — will forever be immortalized in popular culture as a symbol of female seduction and allure.

But what you probably didn’t know was that Zelda Wynn Valdes, a black woman, sewed the original costumes — and that the late Hugh Hefner personally commissioned her to do it.

“Fitting curvaceous women was what Zelda did, so it was a perfect fit,” says Nancy Deihl, author of “The Hidden History of American Fashion: Rediscovery 20th-Century Women Designers” and director of New York University’s costume studies program. “Even though she’s [often] erroneously credited with the costume’s [original] design, it’s been the key thing that’s led to the rediscovery of her.”

But of course, there’s so much more to this incredible woman’s legacy than Hefner’s vision and Playboy lifestyle. The eldest of seven children, Valdes (born as Zelda Christian Barbour) was raised in Chambersburg, Pennsylvania, where she learned to sew from watching her grandmother’s seamstress. Her first attempt at design came when she offered to create a dress for her grandmother. “She said, ‘Daughter, you can’t sew for me. I’m too tall and too big,'” Valdes recalled in a 1994 interview with The New York Times, but the dress she created was a perfect fit. After graduating from Chambersburg High School in 1923, her immediate family moved to White Plains, New York, where Valdes worked at her uncle’s tailoring shop. In the 1930s, she worked as a stock girl at an upscale boutique, where she eventually became the first black sales clerk and tailor. In 1948, Valdes opened her own boutique, called Chez Zelda, making her the first black person to own a store on Broadway in Manhattan.

In her store, Valdes sold her signature low-cut, body hugging gowns, which unapologetically extenuated a woman’s curves. Valdes’ sexy-but-sophisticated dresses were worn and adored by Josephine Baker, Diahann Carroll, Dorothy Dandridge, Ruby Dee, Eartha Kitt, Marlene Dietrich, and Mae West, to name a few. She even designed Maria Ellington’s “Blue Ice” wedding dress when she walked down the aisle and tied the knot with jazz singer Nat King Cole in 1948.

Read more of my latest piece for Shondaland [here]. 

I don't write articles. I tell stories.