Album Covers: Power In The Black Female Image

When I look at album covers of the past, I notice the various images of black women. This is particularly so with funk and soul albums, although jazz and disco had a fair share. The Ohio Players and The Stylistics were known for placing women on their album covers.  

As I look at these covers, I’m reminded that black women were the reason why a lot of albums sold. Fellas would look at those covers and see beautiful sexy sistas. It was a perfect pairing.  

What I admire most about these covers or the cover art is the celebration of black woman’s beauty. Many of the covers are sensuous avoiding overt raunchiness.  Much is left to the imagination of the viewer.

I appreciate the power that exudes from these images.  The women on these covers take firm possession of their sexuality.  One can see flirtation, contemplation and confrontation in some of the eyes that look back at you. Looking at these covers, I see self assured sistas tastefully sharing their pride.  Now, I could get on my soapbox about images that we see of black women today, but that is to come at a later time.  

Today, there’s so much objectification of black women’s bodies in ways that are terribly denigrating.These images are not about big asses and fake breasts. I can view these covers and see black women in their natural beauty without the modern technology of photoshop or reconstructive surgery. There is an authentic representation.

Female soul singers also have covers that draw the eye. Their covers boast of a simple beauty; women filled with dignity and grace. They have a story to tell. It is true, that these women did not sell sex appeal, but their talent.   

I thoroughly take pride in collecting this vinyl.  I have them as artifacts of great importance. I just imagine that when I am no longer living, someday-someone will stumble upon my collection and see the treasure of black beauty that I’ve collected.The records and their cover art will stand as a testament. They’ll understand that there once was a time when the black women were revered, honored, powerful, and sensual.

Put Your Weight On It Ep.2, Vol. 2

It is well known that hip hop samples music of the 70's religiously which is the reason for two volumes of this Put Your Weight On It episode.  Not only was the music taken and repurposed, fashion was also emulated. The blaxploitation genre created a time and space that gave black folks something cool. Many of the current producers of hip hop were adolescents at the time and went on to show their love for the blaxploitation genre through their creative perspective of music.  Take the time to enjoy the funky and groovin' sounds, ya dig?

Put Your Weight On It Episode 2, Vol. 2 by Art On Wax on Mixcloud

Playlist:

1. Shaft In Africa: Johnny Pate, You Can't Even Walk In The Park

2. Cool Breeze: Solomon Burke, Fight Back

3. Truck Turner: Isaac Hayes, Breakthrough

4. The Lost Man: Quincy Jones, Main Squeeze

5. Diamonds: Roy Budd, The Thief

6. Sheba Baby: Monk Higgins, Alex Brown and Barbara Mason, A Good Man Is Gone

7. Trouble Man: Marvin Gaye, "T" Plays It Cool

8. Sparkle: Curtis Mayfield and Aretha Franklin, Giving Him Something He Can Feel

9. Foxy Brown: Willie Hutch, Hospital Prelude of Love Theme

10. Black Caesar: James Brown, Make It Good To Yourself

11. Coffy: Roy Ayers, Shining Symbol

12. Gordon's War: Al Elias and Andy Badale, Hot Wheels

13. Charles Earland-Snake

14. Willie Dynamite: J.J. Johnson, Parade Strut

From Broken Glass to Bugattis: Where Is The Urgency In Our Music Today?

-"If you will suck my soul, I will lick your funky emotions", Funkadelic 1970

-"Broken glass everywhere, people pissing on the stairs, you know they just don't care", Grandmaster Flash and The Furious Five 1982 

-Uhh, I get cheese, whip sprees, big D’s, but it ain’t Bentley, it’s a Bugatti", J.R. Writer ft. Lil Wayne,    2013

As I've been researching the entity that is The Funk Movement Genre, so many thoughts have fired off in my mind.  When we look at how funk came into existence, we see that it came from blues, gospel, soul and jazz. Both the blues and jazz come from the people. "The people", being black folks, who were marginalized disenfranchised citizens getting by with the bare minimum of what the system had allowed.  Blues, jazz, funk and later hip hop were spawned out of necessity.  The genres were a form of free expression, a breaking of the metaphoric shackles that is the "American standard".  People who had nothing, created something out of that nothingness.  

Over time, due to trends and fads, the essential reasons for a movement's materialization begins to fade or become lost. The pop commercial aspect of the genre takes over and lessens the power behind it.

This has all leads me to the question of "where is the urgency in our music today?" Now that the last great innovation born out of the people, hip hop, has become an over saturated capitalistic beast, what is next? How do we as black people, express ourselves in an authentic way stripped of materialism. How can we get back to what comes from our soul?

I was born in 1978. My generation is the first to be fully integrated post Civil Rights Movement. We are pastiches of our great grandparents, grandparents and our parents who had to endure the shit of white folks in America. So, there is an understanding and rearing the we have from those generations past. We grew up listening to funk and jazz only to hear it re-emerge and reincarnated in hip hop.  The music was diverse in subject matter. Now it is the voice objectifying women or glorifying violence and materialism. The  origins of meaning in hip hop has radically shifted. It is now a tasmanian devil of lost energy.  

I pose the question again:  Where is the urgency in our music today?

How will the music morph into something exceptional that is not tied to capital gain? Where are the collective voices of the "blues" people? 

Funk became the irreverent representative of black people. It was counter cultural and could not be contained. Funk was bred in the late sixties having its hey day in the seventies. Within that time frame, the country was in great upheaval, turmoil. Soul music united the people, but funk catapulted action. Hip hop was active, it was not only innovative, but it was art. All music that black folks have created has been art. Where is our musical art of today? I'm not saying that musical content has to solely be based around politics or social issues. However, I am saying that creating a new genre, style and form of music which pushes boundaries is-in itself-a political statement.

So many atrocities have been occurring to the black community for centuries with no signs of ceasing in 2013. We have become anesthetized and complacent so much that our music does not carry sustenance anymore.  The music's originality carries a different meaning. The music of now degrades more than it solidifies. It is my belief that this is exactly how the white infrastructure wants it to be. We carry it out without thinking about community. We perpetuate it with pride. 

I don't mean to sound cliche, but the Sankofa  adage holds true: "Return and get it". The reason why I as a black woman, am returning to the analog of vinyl is because I am returning to music's past in order to bring about change now and for the future. I'm finding a rich history that was carried in spirit and movement hoping that we as a people will be sparked by music, in a fresh and invigorating way, again.

Fist In The Air

Fist In The Air by Art On Wax on Mixcloud

This is my way of expressing what is currently going on in American culture at present. To be black in this country is still oppressive. The poignant music gifted to us from a past generation is still incredibly relevant. I've gone into my vinyl collection to find songs that truly encapsulates the current emotions of the time. Please take the time to listen.

Don't Mistake Me For A Guy: Reflections From A Female Music Aficionado

As I begin to seriously study music in a deeper more historical and cultural way, it is becoming clearer that women are not very visible in this work. It may sound cliche, but I  would absolutely say that I've been a music geek from very early on.  I was a reader of liner notes to find out who was involved in the production of the album and what song has been sampled. I was a "name that tune" kinda person. There was a brief stint in trying the whole DJ thing; however, that was a hustle that I was not interested in for various reasons. After a hiatus from music while studying directing in a grad theatre program, I became disconnected from what I love so much. Thankfully, with some very deep self work and honest realizations-I now know that music is exactly where I belong.

On this leg of the journey I see that I want to study and express music in a different way that does not require me to stand behind the decks. About 10 year ago I started collecting vinyl. I've picked up the past time again and it is truly invigorating. Art on Wax is my platform for exploring cultural analysis through music. With all of this said-there is one caveat, the invisibility of women. When people see Art on Wax it is accompanied by a logo, not my face. Therefore, when I interact with folks in social media they automatically assume that I am male. I graciously correct their presumptuous position. Their response always comes with an embarrassed apology or aw, my bad. The more and more as I grow Art on Wax-the more I realize that this is truly my way of creating a voice for women who love music as much as dudes. Don't get it twisted, I respect the brothas out their who are doing there thing. I just don't always want to be in the position where men think that I'm one of them or act shocked because a "girl" is well versed in music and has a pretty nice collection or can play a mean 45's set.
Another tidbit that I notice is when I see someone like Andre Torres speak about Waxpoetics being a magazine geared toward the 20 and 30 something year old "guy"-it makes me take pause. I think to  myself "I am a 30 something year old woman and I like Waxpoetics". Is it not for me? It just reinforces the fact that we are not taken into account as being interested in the world of the music aficionado.

So, I am here to make our presence known and to share with the world an outlook that comes from a woman who is a  keen eared vinyl junkie who craves music knowledge. I also ask you out there to support women who are taking their place in the world of music in all facets.

Put Your Weight On It Episode 2

Put Your Weight On It Episode 2 Vol. 1 by Art On Wax on Mixcloud

I think that it is a well known fact that music, particularly from the 70’s is the bedrock of hip hop.  The pioneers of hip hop took the songs that they loved and looped the break; therefore, giving the emcee a beat to rhyme over. The DJ was once in charge of manually playing breaks on turntables which then gave way to a house band recreating those breaks. That all changed with the invention of the E-mu SP-12 which was a drum machine and sampler, which revolutionized the way that hip hop was made.

The artform of sampling is quite brilliant. In this episode of Put Your Weight On it, we explore the songs that have been interpolated and reinterpreted through hip hop.  On a side note, I did include one song that is a remake, technically not a sample. You will hear that this compilation is Isaac Hayes heavy. His music from Shaft kicked down the door for blaxploitation soundtracks setting a precedence which is made evident by the plethora of producers who used his music.

See if your ears can pick up the songs in which the music you will hear has been sampled and transformed into.