Give this post a soundtrack

[…] The mini-fad for referencing turn-of-the-'90s hip-hop may just be
an accident; the samples Pretty Ricky, Lloyd and Musiq Soulchild employ
have been mined by other artists, including Nelly and Ini Kamoze.

by vocalizing these hooks instead of just interpolating them, the
younger artists claim a legacy. Lloyd and the members of Pretty Ricky
were barely in grade school when Salt-N-Pepa and PM Dawn were at their
peak; Musiq probably admired De La Soul as a teen. This music echoes
forth like a favorite children's story, a hint of a more innocent, if
not simpler, time.

Perhaps the pumped-up Lotharios of today
want a break from all the bump and grind, and dream of eroticism as a
realm that celebrates not just performance, but as Prince Paul said,
bodies of all kinds.

"The talk turns suggestive," Ann Powers, Los Angeles Times

[…] During her '90s crusade against rap's habit of degrading women, the
late black activist C. Dolores Tucker certainly had few allies within
the hip-hop community, or even among young black women. Backed by folks
like conservative Republican William Bennett, Tucker was vilified
within rap circles.

In retrospect, "many of us weren't
listening," says Tracy Denean Sharpley-Whiting, a professor at
Vanderbilt University and author of the new book "Pimps Up, Ho's Down:
Hip-Hop's Hold On Young Black Women."

"She was onto something,
but most of us said, 'They're not calling me a bitch, they're not
talking about me, they're talking about THOSE women.' But then it
became clear that, you know what? Those women can be any women." […]

"Has rap music hit a wall?" Nekesa Mumbi Moody, Associated Press

[…] Local hip-hop artists Boots Riley from the Coup and rapper and producer
Kirby Dominant express reservations about hip-hop university classes. "One
time, someone came up to me, and said, 'I know so-and-so, they're a professor
at Harvard, they're a big fan of your work,' " Riley says in a phone interview.
"But that doesn't impress me more than any other people feeling that way. I
don't need to be validated by academia because that presupposes that academia
is a pure endeavor and not guided by market forces, which is not the case.

"Anthropology, for instance, was all about studying the natives so they
could figure out how to control them. Again, the natives are being studied."

Dominant, a UC Berkeley alumnus who actually attended the much-publicized
class on Shakur in the late '90s, says that he finds value in hip-hop studies,
provided they take the long view. "With hip-hop and all black music, you can't
talk about the art separate from a lot of other things," he says. "You can't
talk about hip-hop as an art form without talking about the people, the
economics, how and why it was made. You have to be pretty thorough." […]

"Academic hip-hop? Yes, yes, y'all" Reyhan Harmanci, San Francisco Chronicle

Popozuda and circumstance

“The reasons are purely aesthetic, not medical, especially for women. They want to get thin no matter what, all
because of images from north of the Equator. It is a cruel cultural
imposition on the Brazilian woman.”

Dr. Elisaldo de
Araújo Carlini, "a professor at the Federal University of São Paulo

“To be fat used to be considered wonderful in Brazil, because it
showed that you eat very well, which is important to Brazilians. That you have three meals a day and eat
meat and beans, calmly, at a table with friends and relatives, means
that someone is taking good care of you.”

Roberto da Matta, "an anthropologist and newspaper columnist who is a leading social commentator."

“Those huge breasts you see in the United States, like in Playboy, were
always considered ridiculous in Brazil. But there is now more of a
tendency than before to want breasts that are a bit larger — not to
make them huge, mind you, but more proportional as part of a body that
is more svelte and more athletic.”


p style=”text-align: right”>Ivo Pitanguy, "the
country’s most renowned plastic surgeon."

“This abrupt shift is a feminine
decision that reflects changing roles […] Men are still resisting and clearly
prefer the rounder, fleshier type. But women want to be free and
powerful, and one way to reject submission is to adopt these
international standards that have nothing to do with Brazilian society.”

Mary del Priore, "a historian and co-author of 'The History of Private Life in Brazil'"

Larry Rohter, New York Times, "In the Land of Bold Beauty, a Trusted Mirror Cracks"