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Sunday, 23 June 2013

A Creation: How to make it as a music journalist

In the current climate I plan to conduct a series of interviews for my new project A Creation with go-getters who can share their experiences and advise about the pitfalls on the way to achieving their goals.
music rap hip hop
Damon Campbell interviews Kid Ink
SD: I love how music is your life. Did you ever want to make music, or did you watch music interviews and aspire to that career straight away?
DC: Thank you. I’ve always been interested in seeing quote unquote “celebrities” for the human beings that they are and learning about their life stories, so I grew up reading a lot of biography books about my favorite athletes and musicians and watching documentaries like VH1’s “Behind the Music,” even some of Sway’s interviews on MTV. But it definitely took a while for me to see interviewing, or even journalism as a whole, as a viable career choice for myself. In terms of wanting to make music, not many people even know this about me, but there was actually a brief period of my life when I wanted to grow up to be a rapper. It was just a phase, though, and I eventually grew out of it. But I definitely spent a lot of time in 5th grade writing out the lyrics to my favorite rap songs and memorizing/reciting them, which ultimately lead to me performing “Number 1” by Nelly in front of all my classmates at the school talent show that year. Somewhere along the line, I started writing some songs of my own as well, but thankfully they never saw the light of day.
SD: Looking at your site, it looks like you present for your own website MuziksMyLife.com. Is this website how you established a name for yourself?
DC: Definitely. Ever since I realized that I wanted to make a career out of this, I’ve always sort of looked at my site as a public portfolio: all of my interviews, write-ups, and — to a certain extent —experiences in the music industry on full display for the world to see. Basically, my intentions with the site have always been to ultimately use it as a stepping stone to greater opportunities, once I’ve proven myself worthy of them.
SD: How long ago did you set up the site and did it begin as a music interview website?
DC: I started the site in 2007, when I was a junior in high school, as a way to help keep people up to date with the latest music because at the time, hip-hop blogs (and music blogs in general) weren’t nearly as common as they are today, and not many people even knew about the few that existed. Friends of mine were often asking me to update their iPods for them, so I saw it as a way to help people out on a larger scale. I was spending all my time on these other sites anyways, so one day I just decided to start one of my own, and I called it MuziksMyLife. As things progressed, I eventually started doing interviews in 2010 as a way to contribute exclusive content to the culture, while also giving my viewers a chance to learn about certain artists and hopefully feel more connected to them as human beings. But for a while I just dabbled, even though I was becoming more and more known for it. I didn’t like the thought of being boxed in and felt like people were overlooking the fact that I could do other things too, so at the time I was still trying to expand my repertoire. About a year and a half ago, however, I had somewhat of an epiphany. I finally realized that interviewing was what would not only take me the furthest in my career, but also where my passion and talent truly lied. So I decided to fully embrace the role by eliminating all distractions and focusing solely on conducting as many quality interviews as possible.
music life wiz khalifa
Taken from muziksmylife.com Damon Campbell with Berner and Wiz Khalifa
SD: Was your first interview of a famous person? How did you achieve your first interview, and how did you achieve your first interview with an established person?
DC: I feel like ‘fame’ is a relative term, but the first interview I ever did was with a Miami-based rapper named Billy Blue, which was pretty surreal ‘cause his song Story of My Life was the summer anthem for my friends and I the year before. If memory serves me right, I think I got a hold of him over Twitter and he messaged me his manager’s number, who in turn helped me set up a phone call with the man himself that ended up lasting a whopping 26 minutes. That was the first time I realized what types of doors my site could open for me. But the first time I felt like I had knocked a door down, so to speak, was when I interviewed Wiz Khalifa, and I credit that one in particular to persistence. It was only my third on-camera interview (fourth overall), so clearly I hadn’t established myself yet. Not only that, but “Black and Yellow” was already No. 7 on the Billboard Hot 100 well on its way to becoming No. 1. Needless to say, the odds were stacked against me—so much so that I actually got ignored for like a week straight. But I knew deep down that I could make it worth their while, and that it would ultimately give me the credibility I needed to move forward, so I refused to accept defeat and was eventually able to convince Will, his manager, to give me a chance. From there, I knew that anything would be possible.
SD: How did you achieve your goals in terms of writing and interviewing? Does it help being based in Michigan?
DC: I had to learn to appreciate it, but I’ve definitely come to realize that being based in Michigan gives me a competitive advantage. For starters, I conduct the majority of my interviews when artists come through on tour, and it seems like almost every single tour makes at least one stop in Michigan, if not more. We have so many different markets — Detroit, Grand Rapids, Lansing, Ann Arbor, the list goes on — and each one has multiple venues varying in capacity, which allows for a wide range of talent to come here and perform. And when all else fails, I’m still only three hours from Chicago. Not only that, but if I lived in a media hub like New York City then I’d be further down the totem pole and therefore less of a priority for artists seeking press coverage while in town. Whereas here in The Mitten, I feel like I’ve marked my territory in a sense and really established myself as the go-to guy for on-camera interviews—at least in hip-hop, anyway. Over the years, I’ve also become increasingly familiar with different venues and their tendencies, built rapport with certain staff and security, etc. And since none of these interviews are ever truly guaranteed until they’re completed, it helps to know your way around in case you happen to find yourself in a pinch.
​SD: Did you receive any help to get to your position? What tips would you give people trying to make a name for themselves?
DC: Oh, definitely. I mean, on the one hand I’m essentially a freelance journalist who just so happens to have his own platform, so it’s certainly an independent grind in the sense that I’ve had to create a lot of my own opportunities. But at the same time, I’d be foolish to think that I could have made it this far without all the people who’ve supported me over the years and ultimately contributed to my success—whether they even realize it or not. I try my best not to take anything for granted, so I could go on for days recalling certain situations and thanking those who’ve played a role up until this point. But to save on time I’d just like to say that this entire journey, much like life in general, has been about one thing leading to another. It all adds up. Taking that into account, my advice to anyone reading this would be to try and live a regret-free life from this point forward. I know, easier said than done. But think about it: not only are you dwelling on the past, but you’re allowing its negativity to seep into your present. Sure, it can be beneficial to look back on things from time to time and learn from the direct consequences of certain decisions so that you can apply those experiences down the road if you so choose. But the fact of the matter is…even if you could go back in time and change something, it’s utterly impossible to know what type of outcome that would have on even the world in general, much less your own specific situation. It’s the butterfly effect, plain and simple. So there comes a point when dissecting your past only distracts you from your future. ​
SD: Would you consider yourself an artist? Or how would you describe yourself?
DC: Absolutely. I don’t go around referring to myself as an artist, per se. If someone asks, I’ll say I’m an interviewer or, at most, an interview personality. But if you really break it down, interviewing has become my outlet for creative expression. Just like any other art form, it’s my craft for others to critique, study, and — most of all — enjoy, and I take great pride in my work. I strive for all of my interviews to be the best that they can possibly be, and in the process, refuse to ever sacrifice their artistic integrity.
​SD: Are you working 24/7 in your field to maintain a name for yourself?
DC: The last thing I would ever want to do is get caught up in the past and rest on my success, so I eat, sleep, and breathe this stuff. Not only to maintain a name for myself, knowing that all of this could be gone tomorrow if I allowed it to be, but more importantly to continue pushing the boundaries and building upon my accomplishments — always taking things to the next level. As I mentioned earlier, I named my site MuziksMyLife because at the time, I was spending all of my free time listening to music and studying the game, trying to keep up with everything that was going on within the industry. But since then, music — and more specifically as of late, interviewing musicians — truly has become my life, 24/7. One of the things that I love most about what I do is that I don’t have time to be bored. Regardless of what it is, there’s always something productive that I can be doing to help further my career. Even when I am off doing something else, which is rare, I’m usually still multitasking or, at the very least, thinking about my musical endeavors. ​
SD: Is there anything else you’d like to add?
DC: I’d just like to thank you for taking the time out to interview me. I really appreciate the opportunity and can’t even begin to tell you how much I enjoyed your questions. I’d also like to thank anyone who took the time to read this. If you’re interested in watching any of my interviews, you can find them all on MuziksMyLife.com. My contact info is on there as well. Thanks again.
Visit Project A Creation here, and email us to be considered as a featured artist!

Saturday, 27 April 2013

Soul of the UK: Jazzie B of Soul II Soul launches Classic Collection line for Harvey Nichols



The DJ, producer and face of the iconic Soul II Soul movement - Jazzie B - has launched his clothing line The Classics Collection at Harvey Nichols this month.
Jazzie B in Harvey Nichols launching The Classics Collection. Photo: Supersleen instagram
Jazzie B in Harvey Nichols launching The Classics Collection. Photo: Supersleen instagram
The Leeds store's first floor became a reinvention of Soul II Soul's Camden clothes store (in the 80s and 90s) on Thursday evening, with retro posters and vinyl trinkets from the group's archive. The loveable funk-master's infamous voice richly filled the room as he cracked jokes and he was very approachable in-between his DJ set, laughing with fans and taking photos.
Lloyd Bradley, author of Bass Culture was on hand to host a Q & A session. He began by noting the super-producer's backwards route of beginning his career with a fashion-line and then moving in to music.
Jazzie B is proud to fly the flag for Britain: The Soul ll Soul T-shirts were handmade with British materials. Photo: Harvey Nichols
Jazzie B is proud to fly the flag for Britain: The Soul II Soul clothes were handmade in Britain. Photo: Harvey Nichols
The Funki Dred logo which dons the clothes is drawn by illustrator Derek Yates - and the original T-shirts were sold as the group began gaining momentum. Jazzie B explained that the idea behind Funki Dred (and Soul II Soul) was the community idea being inclusive and affirming a British identity.
In connection with that - comics - which were always a part of the Soul II Soul brand were also given out during the evening. Jazzie said: "The idea was we came from a planet called Ard, and we were sent to the earth as pleasure-givers, to put on parties and get into the funk."
He continued about the group's mission: "We wanted to have the biggest sound-system in the world with our own followers that were inclusive, not exclusive - because growing up at that time (60s and 70s), we didn't have a group to connect with. The mods didn't want to know us, nor did the teddy boys. We were only accepted by the skinheads and punks."
He set-up the story about the humble beginnings of the Soul II Soul style of life which begun around 25 years ago - how his technicality as a sound-man mixed with his street-wise ways landed him a record contract.
And Jazzie B was sincere in his affirmation of Britain being a land of opportunity and  his appreciation of Harvey Nichols - who being a window of that mentality- would celebrate Soul II Soul's  history and impact.
To see more of The Classics Collection available to buy from Harvey Nichols which begin at £45, click here and follow Jazzie B on Twitter here.
Soul II Soul Club Classics Vol.1: The multi-platinum debut in 1989 includes Keep on Movin and Back to Life (However Do You Want Me). It introduced people to bass heavy dance music in an irresistable way and carved a British movement identity. Photo: Discogs
Soul II Soul Club Classics Vol.1: The multi-platinum debut in 1989 includes Keep on Movin and Back to Life (However Do You Want Me). It introduced people to bass heavy dance music in an irresistable way and created a British movement. Photo: Discogs

Sunday, 21 April 2013

Black or White: Opinion piece


The "blackface" issue has cropped up again. Within days of each other I saw Iman Bowie and Ebony Magazine post examples on Instagram:


The photos are from May's Dutch Vogue; In a tribute spread to Marc Jacobs called "Heritage Heroes”,  models are dressed up in the style of Grace Jones and Josephine Baker.
The fashion industry should be trying to improve its standards, not go backwards - in any aspect.
In some spreads, girls are made up in all sorts of colours, and that can be beautiful, creative art but in instances as the Dutch Vogue, a black model could simply have been hired and it would have been a beautiful tribute without controversy.
Maybe it was done just for publicity, but it's an unnecessary debate, when "blackface" is a reference to times when white people performed minstrel shows.

Saturday, 20 April 2013

East is East: An opinion


The children have a right to know - Ella
What do you mean, "right"? - George
Somehow, when I originally watched East is East years ago, I didn't take into account that the film focuses on men being forced into unhappy marriages.
I'm so used to thinking of arranged and forced marriages from a woman's perspective that I forgot about the hard situation men are put in.
East is East

There are a couple of real life scenarios I know of which should have opened my eyes:
Scenario 1
A Pakistani family (including the extended family) all live under one roof. They own businesses which must remain in the family. So the eldest boy and eldest girl from the relevant families must marry:-
  • Boy - has a girlfriend, the family know but don't speak about it.
  • Both are told it is time for you two to marry.
  • Both speak with each other and don't want to.
  • Girl receives the most pressure because, boy says publically - " I will marry her, she doesn't want to".
  • They get married, he still cheats on her with the longtime girlfriend.
Scenario 2
  • Boy is dating/in love, but gets told to get married in an arranged marriage. In this case, the boy just agrees despite heart not being in it.
  • (In East is East, Tariq puts up a fight but cannot reason with his father who gives his son no say in the matter - this will be a true to life scenario).
  • The boy ends up married, unhappy, and cheats  on his wife.
While watching East is East this week, it did make me think, "why can't all (Pakistani) men fight for their freedom like Tariq's character does?" Instead, they cowardly choose to live an unhappy life and ultimately make their wives unhappy.
The boy in scenario one, told me when he was venting, that he wasn't bothered whether he married his cousin or not. When I told him he should tell the elders  he wanted to marry his girlfriend, he said it was in his best interest not to. He would rather live an easy life, where the pressure is put on the girl, and he can do no wrong, because after all, he is a man.
I wonder, do boys like the ones in East is East exist anymore? 
I think a lot of Asian families that live in the UK have progressed, especially if our parents grew up here, but there are sections of the community which still use marriage as a tool of control, not of happiness.
Whether it's  to control women, or to control businesses, the mentality needs to be abolished. The men need to respect themselves by treating their wives respectfully if they choose to marry them.

I know I'm generalising - I know of marriages which were arranged in a mutual way between all parties and handled in a caring way. How some parents can pressure their children to marry without a care for their happiness is what baffles me.
The Forced Marriage Unit
If you or someone you know is being forced into marriage either  in the UK or abroad, you can contact the Forced Marriage Unit (FMU).
The FMU helps and advises men and women who are being forced into marriage.
The FMU’s caseworkers also understand the issues that
people from the LGBT community can face, including the family  pressures and how difficult it is to talk about these situations.
They do not judge.
The FMU offers confidential support and information and can also put you in touch with organisations that can support you.
You have a right to choose, and the FMU is there to help you.
You can:
Call (+44) (0)20 7008 0151 between 9am and 5pm, Monday to Friday
Emergency Duty Officer 
(outside office hours) 
(+44) (0)20 7008 1500
OR e-mail: fmu@fco.gov.uk
Find out more about the work of the FMU at 
www.fco.gov.uk/forcedmarriage

Friday, 4 January 2013

Maxwell: Summers'


Partial track list to Summers' Photo: Maxwell's Instagram
US singer Maxwell released a teaser at midnight, New York time for his upcoming record Summers’.

It is the second part of his trilogy BlackSUMMERS’night, and Maxwell’s cryptic clues to the record online has kept his fans gripped in the anticipation of an artist who has consistently released great music.

On his Facebook biography; Summers’ is said to lean more towards a gospel sound, and in more recent interviews Maxwell has described the album as a hybrid of music. He cited some artists he enjoys such as the xx and Fleet Foxes, and suggested a subtle influence of indie rock and alt-rhythm and blues sound might creep onto the record.

Maxwell always surprises; n 2008, he came on stage for his first televised performance in seven years at the BET Awards – to pay tribute to Al Green – and to prepare audiences for a new album.

Black was released in 2009. He recorded the album with a live band and archaic microphones to give the record more character, and hearing his magnificent falsetto and tenor voice on tracks such as “Bad Habits” and “Love You” made some of my favourite music moments.

In the wait for Summers’, fans were elated with Maxwell’s surprise appearance on the smoky ballad “Fire We Make”, a duet with Alicia Keys on her current Girl On Fire album .  Their voices, together, accompanied by synth bass and quiet horns is the kind of material that soul fans dream of.

It makes the prospect of a collaboration with Marsha Ambrosius on Summers’ even more exciting, which came about from a hint Maxwell tweeted.

What’s interesting about Maxwell’s Twitter, is that he has assured his artistic integrity. He doesn’t pander to his listeners or give in to them, instead he challenges them. 

The music industry is ever changing and while some artists have to release albums to support their tours, Maxwell, thankfully, is in a position where he can create the timeless album that he wants to.

It’s a work ethic which reminds me of Michael Jackson’s; he cared about every chord change, every sound and always wanted to do something different and recorded hundreds of songs for each album. Not to say you can’t be prolific - Prince is evidence of that, but that’s two ends of the spectrum of genius.

With the release of Maxwell’s Urban Hang Suite in 1996, wheels were set in motion for him. He was claimed as a “saviour of soul”, “the new Marvin Gaye” and “the king of neo-soul”, as the critics tried to put Maxwell – the commodity in his box.

Maxwell told Vibe Magazine’s Selwyn Seyfu Hinds around the release of “Now” in 2001 about the pressures of competing against his highly acclaimed debut record:

"You know sometimes when you want to do your own thing and people just kind of want you to fit within their world...it's a revelation. So I learned a lot about just perseverance and pure faith. And about humility”.

Embrya, released in 1998, with its enigmatic sound and interesting lyrics actually makes it a fan favourite.

Plus his audience had already come to realise that Maxwell had more depth to him. The year following Maxwell’s Urban Hang Suite release, he would perform on MTV Unplugged and cover “This Woman’s Work” by Kate Bush and “Closer” by the Nine Inch Nails. People realised he wasn’t only a single-minded Curtis Mayfield and Marvin Gaye fan.

Like Erykah Badu surprised critics on her second album for sampling Dr. Dre when her first album had her acclaimed as the neo-soul Billie Holiday; Maxwell was making the music he needed to.  It’s not a new thing or just confined to the soul genre. Janet Jackson went against advice from her record company to release Control – part II.

I like those kinds of artists, they don’t’ compromise their art or just fall into line. Maxwell, Badu and Jackson have all spoken about growth – personal, spiritual and artistic when asked on their follow up albums.

Which is why I enjoy listening to Maxwell, I know he’ll always surprise and challenge me as a listener and I too can grow.

Follow Maxwell on Twitter: @_maxwell_

 

Thursday, 3 January 2013

Austin Brown: Highway 85 mixtape review

From J Dilla to Sly Stone: Austin Brown's album Highway 85
Austin Brown has been making a name for himself over the last four years. Nephew to the legends Michael and Janet Jackson, and the son of Rebbie Jackson, he released a free mixtape "Highway 85", on his website www.austinbrown.com last week.
  
It is an especially good career move for Brown; releasing free mixtapes has worked wonders for Frank Ocean, The Weeknd and Azealia Banks.
 
Brown's influences include Miles Davis, Sly and the Family Stone and the Beatles; he has said in interviews he wants his listeners to dig deep and discover the artists he's referencing in his music.
 
The black and white video for the single "Ménage à Trois"  showcases he has a band behind him and demonstrates in true Jackson style, that his music is dance music.
 
The song’s intro is a reminder of the stomping feet at the beginning of "Where Did Our Love Go" by The Supremes; and sounds like classic Motown with a twist. Brown has described the process of creating “Ménage” with his producers as an attempt at marrying the hard drums of a Dilla beat with a James Jamerson vibe bass.
 
Brown has been mentored by Q-Tip, Rodney Jerkins and Jermaine Dupri and has been ghost-writing for a while. He and his group, The Backpackkids, recently produced JoJo's mixtape AgápÄ“ and wrote four records on it.
 
Austin Brown is a singer, writer, producer and dancer
 
So “Highway 85” - the title referring to his musical journey since birth - is a delicious collection of funk grooves and infectious hooks.
The opening track, "Highway to the Sky", is a stomper with a touch of Beatles influence. Brown instantly makes his mark with his mellifluous voice soaring over the marching beat.
 
"Where Were You" has 90s house influence stamped all over it; and then there are more sublime moments, like “What Did I Lose To Love You", which could give Bruno Mars some healthy competition.
 
Within the melting pot of influences that can be recognised; it is "City of Angels" that solidifies Brown to his musical family. This track is showered in a multilayer of Jacksonified falsetto notes and is a wonderful mid-tempo groove.
 
“F'd With My Mind” is when you know for sure, Brown is putting his heart into his music. He opens the song by telling the girl it's dedicated to: "I know you think that you're the shit," as he pleads "I still want you" over and over.
 
The record has blazing funk-groove moments, such as “Stargazer” which has elements reminiscent of Isaac Hayes’s Walk On By; to 90s hip hop. “Groove 92”; an easy going summery track to simmer down to after all the funk, is chock- full of early 90s references and winds-down to more slower tracks.
 
The standout track for me is "Volcano"; Brown’s voice catches onto a pulsating beat which builds up into a frenzy of chord changes which you can’t help but dance to.
The closing track, "All I Need" has a bubbling bass and crashing brass section which his voice effortlessly shines over –making it a good song to end on –because, you're tempted to press play again right away and put this record on a loop.
 
Twitter: @austinbrown
 
 
 
 
Watch the Music video here:
 
 
 
 

Saturday, 22 December 2012

Janet Jackson is the global face of Blackglama: Becoming a legend

My article below, about the impact of Janet Jackson being the global face of Blackglama, was printed in the inaugural issue of Ombré Magazine.

Ombré Magazine

View the entire magazine here: http://issuu.com/ireneojo/docs

Becoming A Legend

Janet Jackson Blackglama
Janet Jackson is the biggest selling brand face for global company Blackglama

Ombré takes a look at a superstar’s rise to global spokeswoman.
Words Selina Ditta

“What becomes a legend most?” is the question that has been adorning ad campaigns for luxury mink house Blackglama since its inception in 1968.

For the last three years, African American triple-threat beauty, Janet Jackson has been one of Blackglama’s “legendary” faces, joining a roster of icons including Judy Garland and Barbara Streisand. She is by no means the first person of color to represent Blackglama, which has had representation from Lena Horne, Diana Ross, Naomi Campbell and Ray Charles, but has led the most successful ad-campaign for the brand since its start.

Blackglama is world-renowned for providing exclusive ranch-raised natural black mink and has always featured a celebrity in its black-and-white print ads posing behind its famous slogan. Given that Jackson is one of the best-selling female artists of all time, selling over 100 million albums worldwide and being the only recording artist whose Grammy nominations span the categories of Dance, Pop, Rap, Rock and R&B, her universal and multi-dimensional appeal was a no-brainer to the Blackglama company.

Joe Morelli, CEO of Blackglama said: “Janet is an icon in the world of music and entertainment, a true legend. She embodies glamour, luxury and sophistication, everything that Blackglama stands for.” Jackson’s ad campaign for the brand was unveiled with a billboard in Manhattan’s Times Square, seen by hundreds of thousands of people. Charles DeCaro, co-creative director of Laspata DeCaro, who shoots Blackglama’s “WBALM”campaigns, said of the ad:  “It visually communicates Janet’s legend – her approachability, her sparkle, her smile, her magic.”

After her start with the brand in September 2010, not only was she was the first announced Blackglama “legend” to be featured for a consecutive year running, her own line for Blackglama debuted in Fur Salons at select Bloomingdales and Saks Fifth Avenue. Jackson, who is often seen at the front rows during Fashion Week has said: “The art of fashion is one of my great passions. “I’ve worked for years to bring a collection into the world.” The Janet Jackson Blackglama collection was released in 2011 and consists of 15 pieces ranging from contemporary coats, vests, scarves, gloves and other accessories.

Jackson once sang, “Because of my gender, I’ve heard no too many times. Because of my race I’ve heard no too many times”, on a track demanding respect, with Chuck D called “A New Agenda” from her 1993 multi-platinum album “Janet”. When Jackson was born in 1966, other African American women were fighting to be seen as more than just their color or gender. She grew up idolizing Dorothy Dandridge, also a triple threat talent, who fought to not play roles of slaves in film. Dandridge represented black glamour in the days of Marilyn Monroe and Grace Kelly.  During Jackson’s childhood, the most glamorous, black leading ladies were Diahann Carroll and Nichellee Nichols. Dorothea Church Towels who was the first successful black fashion model in Paris at the time, similarly struggled with racism at home. Towels used her model discount to buy material from top designers like Dior, who she modeled for and created her own couture line to raise funds for Alpha Kappa Alpha Sorority Inc.

Finding black spokespeople for luxury products back then were few and far between and some may argue that it still is like that today. However, the  evidence of African-American women’s beauty strengthening couture brand recognition worldwide has been historically recognized.

Kimberly D. Brown, Association of Black Women Historians Website member and Ph.D. Candidate in the Department of History at Howard University said: “During the first half of the 20th century, most African-Americans suffered racist and socioeconomic ills that harmed with even greater devastation during the Great Depression, World War II, and the Post War eras. Even then, several brands knew the mass appeal and selling potential of darker beauty and sought out Black models to bring lustre to their products.”

During the 1930s and 40s, Josephine Baker captivated audiences in Europe with her comedic theatrics and show stopping dance routines. She was the highest paid entertainer in Europe as well as one of the most photographed women in the world of her time. Baker’s infamous banana dress is an iconic fashion statement that has been imitated throughout the decades and worn by entertainers and models alike including most recently Beyoncé.

Her beauty and star appeal, much like Jackson’s meant designers flocked to dress her. Baker was a friend and muse to French couture designers Balmain and Dior themselves. She has even been credited with saving the French fashion industry post-war. Jackson, who Mattel immortalized  into a Barbie doll two years ago, has likewise created statement outfits. The Rhythm Nation attire has dressed Mickey Mouse and Keri Hilson among others and her Rolling Stone cover in 1993 has been replicated countless times.

Today, Janet Jackson’s affiliation with Blackglama echoes Josephine Baker’s attachment to Dior. Both international multi-talented women, were sought to revitalize classic brands using celebrity to sell their desirability.

Jackson’s Blackglama ads run in international issues of magazines such as Vogue, Tatler and Marie Claireand her inclusion in the long-running campaign, which has also featured Elizabeth Taylor, Liza Minnelli, Liz Hurley and Cindy Crawford, implies the line’s acknowledgement of a black woman as a timeless attraction and also suggests the same to its consumers, according to Kimberly D. Brown.Brown said: “Much like Dorothea Towel’s employment with Dior and Balmain proved that a Negro model can sell a $1,500 gown in Europe, Jackson’s endorsement deal with Blackglama says a Black girl from Gary, Indiana can sell a $10,000 mink anywhere. In a universe where beauty culture and race ideology in general is still informed by European inclinations, that’s a big deal.”

Being one of very few persons of color representing a luxury brand in 2012, Jackson is seen as an iconic woman worldwide.