Melody Thornton

Melody Thornton

Photo: Strangers In A Fire

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Melody Thornton On How Her Comeback EP 'Lioness Eyes' Reshaped Her Musical Identity

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The GRAMMY-nominated singer tells GRAMMY.com why she skipped out on the Pussycat Dolls reunion and how she carved her own artistic path after life in the "mega-huge pop group"
Bianca Gracie
GRAMMYs
Aug 16, 2020 - 1:19 pm

What does one do after surviving the whirlwind of being in one of the world's biggest pop groups? Some artists may try to hold onto that success. But in the case of Melody Thornton, she left it all behind.

After joining The Pussycat Dolls in 2003, Thornton left the group in 2010, the year the ensemble disbanded, to figure out who she was as a solo artist. The singer independently released her debut mixtape, P.O.Y.B.L, in 2012, and after a winding road of one-off singles, she's now returned with Lioness Eyes, her first project in eight years.

Released earlier this month (Aug. 7), the seven-track EP is more of an emotional release: With each song, Thornton slowly rediscovers herself. Taking notes from brooding singers like Nancy Sinatra and Eartha Kitt, cinematic scores such as Quentin Tarantino's Kill Bill and Thornton's own Arizona upbringing, Lioness Eyes is a self-reflective journey set to an Italian-Western-inspired soundtrack. 

"This crossroad that I met won't conquer me," Thornton croons on the haunting opener "Pray For Me." The song and lyrics embody the EP's concept, where she takes risks without the constraints of a major label. (She's remained an independent artist since her departure from The Pussycat Dolls).

"It's just really nice that somebody understands what I've been trying to say, because it's been a long road. It's nobody's fault when you are introduced a certain way," Thornton tells GRAMMY.com over Zoom. She gets emotional for a moment, and it's clear the EP's process was a weight lifted. "But I started realizing how every great female artist in the '90s was associated with a film: Whitney Houston, Celine Dion, Barbara Streisand, Bette Midler. That really resonated with me and how I wanted to have my own soundtrack."

GRAMMY.com spoke with Melody Thornton about the journey that led to the Lioness Eyes EP, how she drew inspiration from her Mexican and Southern Black heritage and how she regained her musical identity.

I'm going to get this out of the way now: Why did you decide to opt out of last year's Pussycat Dolls reunion?

My introduction to the industry just happened to be this mega-huge pop group, you know? It was really just a starting point [for my career]. I was 19 when I joined the group, but honestly, my maturity level was probably like 15 years old. I had no idea about the world and never left home before. 

I don't think the label ever considered that we were only going to release two albums. So all throughout [that time], I just needed people to know that I sang. It didn't seem like a situation that was going to last forever. But it did leave me in limbo with respect to who I am as a vocalist and developing myself artistically. I don't know whether or not there were plans to extend the group and record more music. I think life is meant to be abundant, and you've got to keep moving forward. 

So returning [to the group] wasn't the right thing for me. I do wish them all the best and hopefully they wish me the best because we come from the same place. It's recycled energy. But my focus is this music that I write. Look at this pandemic, you know? You just gotta live your life. You get to a certain point where you go where you are loved and where you can be successful. 

You were thrown into stardom because the group was immediately successful. Was it difficult to re-establish yourself after leaving?

Yeah, it was challenging. There were so many elements, like, "How am I going to pay my bills?" The more people involved, the more money is being divided. The type of music that we made is not the kind of singer that I am. So there were a lot of unraveling layers. I didn't want to create another rabbit hole that I could not get out of. I just tried to stick to my guns, and I released a mixtape in 2012 [P.O.Y.B.L] that took really popular instruments from the '60s.

The mixtape had retro elements, but with a modern twist.

Yes! I made it a free project to get people thinking of me in a different way. Then after that, I needed to find normalcy. The industry is just wacky. When you're just chugging along to something that is not the common man's day-to-day, it's a little bit scary because it's almost like you're becoming more and more accustomed to dysfunction. I did not want that. I still want to be able to go to the hardware store with my dad and be present. So I actually did take a step back to say, "This is Hollywood. Don't get lost in that thing." Now I've come back with a clear mind.

We've known you for having such a particular sound for years with PCD, and then you moved away from that radio-friendly pop. How did you figure out your musical identity? 

I love [The Pussycat Dolls' 2005 debut single] "Don't Cha." I didn't at first, but I understand why record labels liked it. Growing up in the '90s, Anita Baker didn't sound like Betty Wright. Paula Abdul didn't sound like Janet Jackson. Everybody had their own thing. It was a beautiful platter of all of these different vocalists who have a musical identity. 

Fast-forward to the '00s when I got into the game alongside Napster and labels being like, "I want my money back." I realized that a lot of songs sounded the same. You saw it in the pop game where Christina Aguilera was obviously talented vocally, but she was pushed to compete with Britney Spears. 

So to avoid that, it came down to me understanding that I have to fund myself if I want to carve my own path. It was really important for me to [ask myself], "Who are you? What do you want to say?" I'm giving up my house, my car. I'm putting everything in storage and going to live on tour. I'm gonna play Rachel Marron, Whitney Houston's character in The Bodyguard, for five months in mainland China. It took me years to do that, but it was a commitment that I was willing to make.

Watch: JoJo Is Back, And She Lets The World Know The Kind Of "Man" She Wants On Press Play

You've become this one-woman show: co-producing your songs, producing photoshoots and even doing your own hair. Is that more you wanting to make sure the vision is executed properly without different voices tainting it?

I'm always open to collaboration as long as someone understands what I'm trying to say 'cause that's how a lot of the writing process is with me. But when it comes to fashion, my mom came from Mexico when she was 15 and she taught me how to sew. She was always really big on doing things your way, no matter what there is out there. If you don't have the money for it, you can make it. Don't get me wrong, I look forward to a day where I don't have to do it all. 

But I'm happy to put in that extra time for makeup. I come from a pop group. There was a long time where I was like, "Hi, I need a Black makeup artist. Don't make me look ashy please!" I remember one of my bandmates laughing with me when we were standing outside. I was like, "You see this gray pavement on the sidewalk? Look at my face. How's this any different?" I lost my hair at one point because [the label] was like, "Let's get her some Beyoncé-looking hair!" So they sent me to somebody and she bleached my head six times. All of that led to me being in a position to do all of these things for myself.

That explains why the Lioness Eyes rollout has been so consistent. The music, videos and promotional photos all have an Old Hollywood-inspired throughline. Were you inspired by any particular films?

I just love Kill Bill. I love the editing from the '70s with all the panning because they only had like two lenses. So they had to be more creative. There's actually this low-budget film called The Good Witch. The storyline is all over the place, but I loved the fashion. The lead actress really committed to this softer, Jackie O-inspired voice. I also love this documentary about Maria Callas. She was an opera singer in the '50s. She was not delicate at all—she was a real diva.

I'm actually glad you brought up Kill Bill. When I first heard "Love Will Return," it immediately reminded me of Quentin Tarantino's signature film scores. 

If you listen to this body of music, it's a combination of cowboys and natives. My mom's mom was a phenomenal vocalist. She just passed away in March, and she's from Mexico. So the kind of music that she listened to actually sounds like [Tarantino's scores]. 

It's the Native American flute that stands out.

If you listen to José José, or I know my mom used to love Eydie Gormé, it's just this really romantic music. A lot of Tarantino's films use that Western sound because it is so cinematic.

Well speaking of cinematic, the EP is just that. It's a love story where the main character is falling deep, but learns she doesn't need a relationship. But it also reveals your personal story.

Yes, exactly. By the time you get to the final track, it's a whole new person. I think a lot of people can relate, and that's why I describe [the EP] as going from innocence to experience. From a woman's perspective, you do turn a corner somewhere where you're like, "I don't care. I'm not doing that." It's not because you're a b*tch or you're jaded. I need to now be very clear about where I'm going. 

I do think it reflects in the eyes, hence the name. I know when I meet a woman, I can see it in her eyes that she's got it together. With "Phoenix Rise," it's about not hiding behind anyone and running towards your fear. You can bypass some of that pain, but experience builds character. 

You previously mentioned that Nancy Sinatra and Eartha Kitt inspired the EP, but I also hear a bit of Brenda Lee and even the Shangri-Las. 

Shirley Bassey is a big one, especially with Goldfinger and all the other James Bond film soundtracks. The thing about Eartha Kitt that I love so much is that she was not concerned about being in a box. I love how those Black women really pushed against [the norm]. We should be able to do anything and have it be Black music.

The idea of Black artists being multifaceted still isn't the norm.

And let's not box ourselves in. From our ancestors who have molded us through evolution, we're good at taking something and making a whole meal out of it. So with Black music, I feel the same way. You know, at one point, they were calling Whitney Houston "Whitey Whitney." We cannot do that to each other. We should all be able to try [all genres]. I'm Black, so I'm making Black music.

You brought up the concept of seeing the light in a woman's eyes earlier. But as I'm looking through your own eyes right now, how do you want to be seen? 

I spent a lot of time in my 20s getting past being concerned how anybody sees me. I trust myself. Even if others say, "Why would you do that?" I know what is best for me, and I'm committed to that. I'm not in any way a role model. But hopefully, people find strength and empowerment through the music.

Kiana Ledé Talks Opening Up On 'KIKI,' Lucky Daye Collab & "Urban" Term | Up Close & Personal

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Kiana V

Kiana V

Photo Courtesy of 88rising

 
 
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PARADISE RISING: How 88rising's New Label Is Pushing Filipino Music And Culture To The Forefront

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GRAMMY.com caught up with 88rising founder Sean Miyashiro and Filipino artists Kiana V and Leila Alcasid to talk about how PARADISE RISING is spotlighting the blossoming music scene in the Philippines
Anjana Pawa
GRAMMYs
Aug 30, 2020 - 7:00 am

From the start, 88rising was always a passion project, with founder Sean Miyashiro at the forefront of a dream. In 2015, he started the company, which takes its name from the Chinese symbol for "double luck and fortune," hoping to create a label that could represent and showcase the talent of underground Asian artists. Fast-forward five years later, and 88rising has become a global brand, bridging the gap between Eastern and Western pop culture and representing some of the most fervent Asian acts in the music industry. But was it really "double luck" that propelled them to the top?

Regularly collecting millions of views per video on their YouTube channel, 88rising has launched multiple newcomers into superstardom, in turn creating a space for Asian rappers, singers and artists to thrive in music. The company's roster includes Rich Brian, the Indonesian-Chinese rapper/singer behind the 2016 viral song and video "Dat $tick"; Chinese hip-hop quartet Higher Brothers, who have been revered for bypassing several censorship regulations in their homeland with their lyrics; and Indonesian R&B songbird NIKI, who, at 21, has opened for Taylor Swift, Halsey and other major stars on tour. 

88rising artists have also secured high-profile collaborations with some of the biggest names from the East and West, including Hong Kong-native rapper and K-pop idol Jackson Wang, Korean rock/pop group DAY6 and former EXO member Kris Wu as well as rap giants likes 21 Savage, Playboi Carti and Wu-Tang Clan member Ghostface Killah.

Both the artists and the mass media company itself have grown cult-like followings via their groundbreaking music and the globally inclusive multimedia world they've created, which collectively celebrate Asian and Asian-American culture and identity. 88rising's annual Head In The Clouds Festival, dubbed the "Asian Coachella" by Rolling Stone, emphasizes the importance of representation, one of Miyashiro's main goals behind the label. (Head In The Clouds was due to debut in Jakarta, Indonesia, this past March before it was postponed due to the COVID-19 pandemic. 88rising was scheduled to host its Double Happiness event series at this year's Coachella before the festival was postponed in June.)

"88rising is a culture that people want to get behind," Miyashiro explains to GRAMMY.com via email. "It's the type of movement that makes people wanna get tattoos of the logo on their bodies. That doesn't just happen to any media company or record label. We mean something intangible to people."

Now, the collective is expanding into Southeast Asia with the launch of its new sister label, PARADISE RISING. 

In July 2020, 88rising partnered with Globe Telecom, the Philippines' biggest telecommunications company, to create PARADISE RISING, a label focused on highlighting Filipino artists and culture. The imprint's inaugural mixtape, semilucent, released last month (July 31), spotlights the rising artists putting the island country on the music map, including Jason Dhakal, Leila Alcasid, Massiah, Fern., and Kiana V. Collectively, semilucent embodies the individual artists' Filipino heritage and culture.

GRAMMY.com caught up with 88rising founder Sean Miyashiro and Filipino artists Kiana V and Leila Alcasid to talk about how PARADISE RISING is spotlighting the blossoming music scene in the Philippines, the rising influence of Asian artists in R&B and hip-hop, and the ongoing journey toward "true Asian representation in pop culture."

How did 88rising start?

Sean Miyashiro: 88rising started with a small dream in a parking lot in the Bronx. That's what makes it so crazy. We had no idea what we would become. We're still a small team, and it's always been DIY for us. Being small and scrappy has allowed us holistic creative control of our brand, our vision and our future. We put out things into the world that we believe in. 

You have a very wide array of artists who are given the freedom to express themselves as they see fit. Has this always been your vision with the label?

Miyashiro: We're all family. We provide our artists the space and creative freedom to do what they want. At the end of the day, what we want is the same: to make dope music while trailblazing the way towards a future with true Asian representation in pop culture. 

88rising has collaborated with many artists who are already so successful in the East, including Jackson Wang and Kang Daniel. How do these collaborations come to fruition? Do you think this helps blur the lines that might exist between artists from the West and the East?

Miyashiro: Everything that happens has been serendipitous and natural. We never force anything, but when we see an opportunity, we put our whole hearts behind it. And in the process, if it brings more people together, then we've done our job—and more.

Read: K-Pop Phenom Eric Nam Talks New Mini-Album 'The Other Side' And Life As One Of Korea's Biggest Stars

What prompted the creation of PARADISE RISING? 

Miyashiro: It really just made sense for us. The synergy with Globe was there. With their local expertise paired with 88rising's global infrastructure, PARADISE RISING brings talented emerging Asian artists to the forefront of global youth culture. We're just continuing to do what we do best. 

The label's debut EP, semilucent, highlights the broad diversity of Filipino artists and styles. Is there something about the Philippines, in particular, that led you to explore the artists and music from there? 

Miyashiro: The Philippines has such a vibrant music culture, and there are so many young talented artists who are emerging. We want to amplify this on a global scale. 

What parts of your Filipino culture and heritage do you bring into your music, lyrics and songwriting?

Kiana V: I'd say being a Filipino, we're very passionate people, and you hear that in our music; [whether it's] songs that are lively, our ballads or in our folk music, the vulnerability stands out. That's something I definitely bring into my music. 

Leila Alcasid: I always pay attention to my process; Filipinos always want to give every part of themselves. The way that this translates in music is that we're very vulnerable. If you look at the music that we listen to, it's really all to do with digging deep and having music that relates to the human condition ... I guess I'm trying to be as vulnerable as possible, trying to open myself up. 

Who are your biggest musical influences?

Kiana V: I was always drawn to Solange. When she was able to break away and do her own thing, I followed her immediately. I'm a huge fan of her storytelling and her way of writing. I grew up listening to a lot of Brandy, JoJo and Aaliyah, too. [Laughs.] Oh my God, I'm such a millennial. A lot of R&B and jazz artists. I'd say those are my main musical influences. 

Alcasid: Different aspects of my music are informed by different artists. Norah Jones, a lot of Nelly Furtado, that's an example of who I look to on how to approach my vocals. I'm not a belter, I'm a lot more relaxed when I sing, and I think that was heavily influenced by those artists. From 88rising, I am so inspired by NIKI. I think she is such a talented writer. Her lyrics are so witty, but they're also incredibly poetic; I'm a huge fan. 

Between 2017 to now, which is the bulk of when I started learning how to write songs and figuring out what my sound was, I started listening to a lot of Korean music. There was a point when I was obsessed with BTS, and I feel like my love for BTS was a big part of why I attempted to string a narrative through everything in my first EP. A lot of their work is very narrative-heavy, and I was inspired by that. I wanted to do that for my EP, and it kind of even happened and continued in "Clouds," my song on semilucent.

Read: BTS Talk Inspiration Behind "Dynamite," New Album, Gratitude For ARMY & More

The sounds on semilucent are mainly R&B and hip-hop. Can you speak a bit on the rising influence of Asian artists in this space? 

Kiana V: R&B and hip-hop has been a growing sound in the Asian community. I believe it's always been there. With technology and social media, people have been given a space to grow their own platforms, and these talented artists are finally being able to shine in their own space. As far as evolution is concerned, I think there's just room for so much growth and a burst of more and more artists.

Alcasid: There's such a huge collective of people here [in the Philippines] that focus on those sounds. I wasn't very aware of the hip-hop scene here, but as I've been here longer, I'm noticing that the one thing they're really informed by is politics. I feel like on one end, it can be a bit risky. But on the other, it's a way to express yourself in a way that's very honest and runs historical. 

I learned a lot about how Filipinos are approaching hip-hop through my boyfriend, who's a rapper here. It's been interesting to see what inspires hip-hop and how they're influenced by the West. They're tying in the sounds of the West, but it's still authentically them as possible ... In all different parts of Asia, we're influenced by the West and what's already been done, but you can identify the styles and the way in which they're transformed to become inherently Asian. 

What does the future look like for 88rising and PARADISE RISING? 

Miyashiro: We have a few super-exciting [artist] signings on the way and more mixtape drops incoming. 

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Selena

Fans remember Selena during Hollywood Walk of Fame ceremony in 2017

Photo: TARA ZIEMBA/AFP via Getty Images

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Selena Forever: Remembering The Latin Pop Icon 25 Years Later

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On the 25th anniversary of her passing, the Recording Academy honors Selena via an industry round-table tribute featuring the artists, creatives and journalists she inspired through her art
John Ochoa
GRAMMYs
Mar 31, 2020 - 7:48 pm

Few artists have transcended genres, decades, languages, cultures and borders like Selena. Born Selena Quintanilla in Lake Jackson, Texas, and reared in the state's Corpus Christi area, the iconic singer is one of the most influential and most successful artists in the wider Latin pop canon.

In her early days, she became a pioneer in the then-male-dominated Tejano music scene, a genre she helped mainstream when she won the GRAMMY for Best Mexican-American Album in 1994 for her 1993 live album, Selena Live! It marked her first, and only, career GRAMMY win and the first time a female Tejano artist won the category, earning her the undisputed title of Queen of Tejano music. It was only one of many accolades for the legendary singer. 

Remembering Selena 25 Years Later

In her short-lived solo career—she released five studio albums between 1989 and 1995—Selena would establish an ever-lasting sound that spanned languages and styles and resonated with fans across a spectrum of cultures and ethnicities. Her multiplatinum 1994 album, Amor Prohibido, gave early indications of her cross-cultural crossover appeal. In addition to topping the Top Latin Albums and the Regional Mexican Albums charts, Amor Prohibido became a top 30 hit on the all-genre Billboard 200 chart. It also received a GRAMMY nomination for Best Mexican-American Performance and spawned four chart-topping hits that conquered the Billboard Hot Latin Songs chart: "Amor Prohibido," "Bidi Bidi Bom Bom," "No Me Queda Más" and "Fotos Y Recuerdos," all considered signature Selena classics today. 

She would later go on to fully establish her mainstream crossover appeal with Dreaming Of You, her final album, released posthumously in July 1995, just three months after she was murdered by a former employee. The album would debut at No. 1 on the Billboard 200 chart in the U.S., becoming the first predominately Spanish-language album to accomplish that feat. It would ultimately prove the full potential of just how far the international star was poised to go.

Selena's reach expands far beyond music, too. A multifaceted businesswoman, she owned and operated two boutiques, called Selena Etc., across Texas, with several other locations across Latin America in the works. As a budding fashion designer, she regularly wore her own designs while performing onstage: Her iconic purple jumpsuit she wore at her final concert in 1995 remains an eternal look. In 2016, MAC Cosmetics released a makeup collection inspired by and in honor of Selena. Selling out within a day, the collection is now considered one of the best-selling MAC celeb collaborations of all time. MAC will be releasing a second Selena capsule collection this April.

The story of Selena, forever immortalized in the 1997 biopic starring a then-rookie Jennifer Lopez in the career-making titular role, is one that's continued since her untimely death in 1995. She has since inspired a new generation of artists and fans alike, who carry on her legacy through music, art and fashion, three areas in which she pushed the envelope with her unique style and vision. Much like her music lives on to this day, so too does her never-ending influence. 

On the 25th anniversary of her passing today (March 31), the Recording Academy honors Selena via an industry round-table tribute featuring the artists, creatives and journalists she's inspired throughout the decades through her music and art.

The quotes and comments used in this feature were edited for clarity and brevity.

She Was A Genuine Soul

Kacey Musgraves (GRAMMY-winning artist; in 2019, she covered Selena's "Como La Flor" at the same site of the Tejano legend's final concert in 1995): Selena had an innate talent for taking something classic and traditional and shaping it with her modern voice. I love when someone has the vision to take something that's been done a million times and knows how to freshen it up in a way that speaks to their generation and also older generations. It's a quality that truly brings people of all ages together. 

Selena was an entrepreneur and woman of business, a songwriter, an iconic vocalist, a trendsetter, and her fashion sense was way ahead of its time. But the attribute I admire most about her was her ability to be real—unabashedly genuine across the board. Being in the spotlight, especially from a young age, can bamboozle people into feeling like they have to shift into something different when the cameras are on. Without ever knowing her, I feel like I can say she never did.

Linda Wilvang (Senior Director, Awards and Latin Genre Manager at the Recording Academy): I have always been attracted to artists who push the envelope, artists who are not conventional, and Selena was one of those artists. She elevated Tejano music to a new high. She successfully blended other musical styles with Tejano and made it her own. She proved to me that you can succeed without compromising your core values, without changing who you are. You can work in any industry and still be real.

John Dyer (photographer; in addition to photographing Selena for several magazine covers in the early '90s, he has contributed images to the Selena Forever/Siempre Selena installation on display at McNay Art Museum in San Antonio, Texas): I spent the day before the shoot setting up several backdrops in the studio so I could photograph her in a variety of situations and costumes ... She jumped out of her car with a big smile. A naturally beautiful, young Latina with jet-black hair, flawless skin, and a perfect figure. She opened the hatchback. It was crammed full of her performing costumes, many handmade, all of her own design … 

For the cover [Mas Magazine, 1992], we shot in front of a gray background. Then we moved in front of a red curtain above a black and white checked floor. We ended outside the studio against a white seamless in the warm afternoon light. Selena's quick smile, infectious laugh, and unending energy made her a pleasure to work with …

In early 1995, Texas Monthly called and wanted to do a spread on Selena. By now, she had achieved incredible fame and transcended the boundaries of the Texas music scene. 

We met at the Majestic Theater in San Antonio, a favorite place of mine. She had just finished two exhausting days of shooting TV commercials for a corporate sponsor. She was tired. I had brought a beautiful handmade jacket for her to wear. I posed her in the alcove on the mezzanine of the theater where the light is particularly nice. She was subdued and pensive. A far cry from the ebullient, excited young singer I'd photographed three years earlier. Later I thought her mood might have been an eerie harbinger of what was to come.

Between when I photographed her at the Majestic and the Texas Monthly article coming out, she was killed. The art director, my old friend DJ Stout, used one of the more somber shots I had done for his cover chronicling her death. He sent me a handwritten note not too long after the issue appeared saying the cover with my photograph of Selena was one of the strongest he'd ever done. It's a cover I would rather not have had. 

She Represented A Different Kind Of Beauty

Patty Rodriguez (Senior Producer for On Air With Ryan Seacrest; her Los Angeles-based children's book publisher, Lil' Libros, released a bilingual picture book biography about Selena; in 2015, her online petition helped launch the Selena-inspired MAC Cosmetics makeup line): She was unapologetically Latina. She was so proud of her identity and carried it with her everywhere, and that is what resonated with us. Growing up, we had no one to look up to, so then here comes a woman … with black hair, brown skin, that sounds and looks like us. Her flamboyant onstage costumes were designed and created by her, an example of the Latina make-it-happen-with-the-limited-resources-we-have attitude. Her trademark red lipstick and hoop earrings are what you see in our neighborhoods, and she took that with her to the world stage. 

Latina women purchase beauty products three times more than any other group, and it wasn't until MAC released Selena's collection did we feel seen; it's unbelievable to me that it took this long. But I see why: The men and women who grew up with Selena are now adults. She taught us to be unapologetically Latinx, and we are no longer afraid to ask for what we deserve. Thank you Selena.

Read: Remember When? Selena Wins Big At The 36th GRAMMYs 

Leila Cobo (VP Latin Industry Lead at Billboard): I think Selena's particular brand of beauty was essential to her success. In a world (still) of telegenic, imported Latin pop stars, and a time when the standard for Latin beauty were largely white soap opera actresses, Selena was an anomaly. Selena embraced her body, her hair, her voluptuousness. She was so real. I would say that, for the first time, a new generation of U.S.-born Mexican-Americans and Latinas overall had a star that they could intimately relate to at all levels. She was their peer. She was a role model for an entire generation of Mexican-American girls who didn't have a role model before. This was key. Only Jenni Rivera, many years later, would come close.

Kate Carey (Head of Education at McNay Art Museum in San Antonio, Texas; Exhibition Curator for Selena Forever / Siempre Selena photography installation): In selecting the photographs on view in Selena Forever/Siempre Selena, I had an opportunity to look through many photos from two different shoots with photographer John Dyer. I recognize that he is a gifted photographer, but her beauty and winning personality were revealed on every frame. I can see why brands wanted to align with her image. Yes, she is beautiful, but she also came across as very real—just like me or you. 

Pabllo Vittar (Brazilian activist, artist and drag queen): Selena embraced her beauty the way it was, not trying to follow the "beauty rules." That's important and it resonates till now, as you can see more and more people feeling good with their bodies and how they look. We are all beautiful in our own way and there's nothing that can tell us otherwise. 

Honey Andrews (transgender performer, based in Corpus Christi, Texas, who's worked as a Selena impersonator for nearly 15 years; "Selena was definitely one of my inspirations and idols and someone I definitely look up to when I began my transition," she says): Selena's fashion was definitely ahead of its time, and she was always up to date on the latest trends. She was an amazing fashion designer. Her amazing onstage costumes are very recognizable, and she has definitely impacted today's women in the music industry; till this day, a lot of women credit her for the fashions they wear ontage and even for just a casual day. She definitely impacted me because she taught me that you can be sexy, even if you're not a size zero. You can still be sexy by having curves, and she definitely embraced her own beautiful body and curves.

Girl Ultra (R&B artist from Mexico City): I feel like she embraced her curves and her body shape so much. She was breaking paradigms about the female body and Latina bodies as well. As Latinas, we have big caderas [hips] and juicy thighs, and when it comes to fashion, it's hard to find the right sizes. And by her designing her own outfits and crafting them, she was breaking all this body stereotyping back in the day. 

Javiera Mena (Chilean electropop artist): She transmitted good vibes with her smile, her eyes, her body—we could feel it. We all feel it when we watch her videos, too. It makes you connect, and that's a real beauty. Also, her mouth and lips were very iconic. I understand MAC [Cosmetics] used it for a [beauty] line, with her big and thick lips, something that influenced me and all the people!

Her Fashion Was Ahead Of The Time

Kate Carey (McNay Art Museum): Selena Forever/Siempre Selena was conceived at the McNay Art Museum in tandem with the 1990s-focused exhibition, Fashion Nirvana: Runway To Everyday. Like many of the designers on view in Fashion Nirvana, Selena took fashion risks, embraced body-conscious ensembles and carefully crafted her image. That brand of fearlessness and innovation characterized the 1990s and Selena's fashion sense. The sparkly bustier tops, revealing performance ensembles and cool leather jackets cement her reputation as a style icon, but she presented an authentic and accessible image by wearing jeans, boots and white T-shirts. Personally, I'm a big fan of the accessories: the newsboy hats or big silver belts. She absorbs these elements of menswear and represents them as both tough and feminine. That, to me, is '90s fashion in a nutshell.

Javiera Mena (artist): I love her aesthetic and style. It is a great influence for me. I have been influenced by the high-cut Texan jackets with large shoulder pads and the glitter and reflective accessories. Also, her jeans and thick eyebrows. She was a pioneer. She had an elegance that brightened without limits when she was on stage.

Christian Serratos (actress; she stars as Selena in the forthcoming Netflix series, "Selena: The Series"): It's amazing to see how many artists, of all backgrounds and genders, have been inspired by Selena. It was her fearlessness and creativity that made her an icon. There are few people who have the power to be remembered by a color or a feeling, or who have become synonymous with an accessory like the hoop earring. The last time I saw what Selena did to the red lip was Marylin Monroe, another icon. I see Selena's influence when I walk down the street, and I know I'll continue seeing that influence for many more generations. 

María (Lead singer of Los Angeles-based Spanglish indie rock/indie pop band, The Marías): My first memory of being introduced to Selena was in her biopic film. Thereafter, I listened to her music and watched her music videos nonstop. I remember when I was around 5 or 6, I wanted to wear a bustier just like Selena. I wasn't even old enough to wear a bra! But my mom, being the angel she was, found some tiny training bras at the store and sewed little beads on them for me. This was my earliest memory of being directly influenced by fashion. When I was old enough to really understand, her style represented confidence in your own body. The fact that she could so freely and confidently dance around in a bustier, against her father's wishes, was inspiring. She wasn't doing it for sex appeal, in my opinion. She was doing it because she simply wanted to feel free and in control of her body.

Raquel Berrios (Puerto Rican designer and co-founder/singer of Buscabulla): Her style sense was very balanced and cool. It was sexy without being slutty, feminine but not fragile. She really created a strong yet down-to-Earth example for Latinas. I personally strive to include that balance in the way that I like to style myself and portray myself as a Latina artist. 

She Was A Multifaceted Businesswoman

Christian Serratos (actress): Selena's ability to create new avenues for herself and work hard to achieve them is inspiring and relatable. We all have the ability to design our own paths. Strong women like Selena show us the power of never giving up and handling adversities with grace. 

Jennifer D'Cunha (Global Head of Latin Music at Apple Music): Selena had an entrepreneurial spirit and extended her self-expression beyond music and into fashion, design and film, while staying true to her personal brand and identity. Her confidence, authenticity and distinctive personal style still resonate and inspire fans all over the world. She had the courage to reinvent herself and the work ethic and raw talent to be successful at anything she committed to. Selena ventured into uncharted territory by expanding her realm of influence outside of music, well before celebrity clothing lines were commonplace and brand partnerships were the norm.

Tatiana Hazel (Mexican-American, Los Angeles-based singer-songwriter, musician, producer and fashion designer): Nowadays, several musicians are starting their own makeup lines, fashion brands, etc. But Selena was definitely a pioneer for this kind of business model. She really was capable of anything she set her mind to accomplish, and I believe that is why she was able to break so many barriers through determination. Also, not only was she determined, but also talented at everything that she pursued.

She Was A Voice For Latinx People Around The World …

Adrian Quesada (GRAMMY-winning guitarist/producer and founding member of GRAMMY-nominated duo Black Pumas; he served as the music director for the Selena For Sanctuary tribute concert series in 2018 and 2019): She had a huge impact and influenced many, and still does to this day, because representation is very important for communities and cultures that haven't always had an icon that transcends boundaries to look up to. For people that looked like her, spoke like her, came from places like she did, it let them know that they could do it, too. I feel like her influence continues to grow exponentially, even for generations who weren't alive when she was. She gives hope and inspires because she was bigger than any one genre, culture, region and country, and was a positive role model at that. 

María (artist): When an artist as undeniably talented as Selena comes along, deep down it doesn't matter where she's from. I became a fan of Selena when I was really little, after watching the movie [Selena] with Jennifer Lopez. It didn't matter to me what Latin country she was from. What mattered to me was that she was Latin and that she was accomplishing so many amazing things. Of course, Latin communities take pride in their countries and flags, but what unites us all is that we're Latin, that we have similar values and morals and beliefs. I'm from Puerto Rico and my father is from Spain, but growing up, all of my friends were from different Latin countries: Venezuela, Colombia, Mexico, Brazil, Uruguay, Guatemala and more. We learned from each other's unique cultures, but deep down we were all the same. 

La Doña (Mexican-America multi-instrumentalist, producer and singer-songwriter): I think the reason her music was so successful with such a diversity of Latinos is because Tejano music and all of the music she is founded in are tremendously diasporic cultural practices. That means that when she revolutionized Tejano music and prepared it for the pop platform, she is representing and reiterating ancient practices that are not confined to the region of Texas. Similarly, when she presented her style of techno-cumbia, she was not only appealing to a young brown audience, who was excited by their contemporary synthetic sounds mixed with familiar and familial rhythms, but also representing Afro-Latinx and Afro-indigenous art forms that have informed all of the musica tipica and popular of Latin America. This commitment to tradition and bravery in transporting it into a new arena is definitely one of the reasons that Selena's music spoke to such a diversity of Latinx fans across the world. 

Isabela Raygoza (Latin Music Editor at SoundCloud): Selena's musical moxie embodied the beautiful complexities of biculturalism. With her insatiable mix of electro-cumbia, ranchera and pop-flavored R&B, Selena went on to represent the experiences and lifestyles of her compatriots: Mexicans (native, first-, second-, third-gen), Texas dwellers and beyond. She was born in the U.S. to Mexican-descendent parents, and she didn't speak fluent Spanish, similar to Chicano rock star Ritchie Valens before her and countless others of Latinx immigrant backgrounds. Brown-skinned, family-oriented, and of humble beginnings, Selena, the pop icon, became the voice of the Latinx diaspora. 

Without Selena's formidable contributions to Latin pop, J.Lo or Becky G's musical career might've not been what they are today: two U.S.-born Latinas who, too, grew up speaking predominantly English, who embrace their biculturalism with endearment and pride and who uphold the enduring legacy left behind by the Queen Of Tejano Music.  

Although Selena's tragic death cut her potential short, she nevertheless managed to leave an indelible mark on Latin pop, and she will surely continue to do so for newer pop stars to come.

Raquel Berrios (artist, Buscabulla): Selena was right there doing her Latin thing in the most unique way in a time when we really didn't get to see a lot of Latina role models on mainstream media. She set such a cool example of a super talented, down-to-Earth Latina woman. I loved how she broke language barriers. That was a huge inspiration for me as an artist.

… But She Was A Role Model For All People

Kali Uchis (GRAMMY-nominated artist): Selena will forever be iconic because that's what she was. Her being taken from us is one of the greatest tragedies known to man, but Selena's raw star power, persistence and dedicated fan base are the reason her legacy will be immortal. As a Latin-American woman, she made me proud to be multicultural when at times it never felt I could be American enough or Colombian enough. I've always listed her as one of my greatest inspirations, because she was the first multicultural global sensation on Earth.  

Honey Andrews (performer/Selena impersonator): Selena's music and art influenced me in so many different ways. Her music is timeless. Selena was a piece of art herself. She was very diverse with her wardrobe as well as her music. She means so much to me as a person because she taught me that the impossible is always possible. She was a one-of-a-kind artist and she was such a great cultural figure for the Hispanic and Latino and Mexican-American community.

Marissa Gastelum (Latin Music Artist Relations at Apple Music): Selena is the only Latin artist to have broken cultural barriers the way she has passed the grave. When you have artists like Beyoncé and Kacey Musgraves performing covers of Selena or Drake wearing a shirt with Selena, you know she has transcended culture. Her spirit lives on through her music, and the Selena movie helps new generations get to know her story and connect to her music. Her album Dreaming Of You is a gem, and those songs are timeless. I think these artists connect to Selena because of her music and her sense of style. She was the epitome of cool and an incredible performer. Selena showed that a woman can be strong and graceful and can command a stage and be sexy at the same time.   

iLe (GRAMMY-winning Puerto Rican singer/artist; member of Calle 13): I think that when you start something that's so good there is no reason to stop. Selena was that dreamer that we all are when we were young. Listening to her songs today is revitalizing. She and her music reminds us about the importance of being alive, enjoying every moment and to keep dreaming. 

Suzy Exposito (Latin Music Editor at Rolling Stone; her former punk band, Shady Hawkins, covered Selena's "Como La Flor" in the past): I was always a sucker for a forbidden romance like that of [Selena's hit song] "Amor Prohibido." Inspired by love letters Selena discovered from her grandmother to her grandfather—a young maid who fell in love with the wealthy son of her employers—it's a heartrending tale of two young sweethearts, who against the conventions of society, flout their class disparity with love. Selena told it with such verve and conviction that even as a 5-year-old, it just rocked me to my core. Yet the context changed as I grew older, and I began to understand that the love I so desired would probably look very different from that of my parents or most of my peers. So when I came out as a bisexual woman 10 years ago, I braced myself to go through it alone; but the biggest surprise and reward of coming out was that, in fact, I was far from it! In being more present in New York City's LGBTQ community, whether by attending protests, drag nights and punk shows, I was able to find a beautiful community of Latinx people who grew up just like me: bilingual children of immigrants, whose resilience and great capacity for love transcends all kinds of borders.

Suzy Exposito (center) performs with her band, Shady Hawkins

Suzy Exposito (center) performs with her band, Shady Hawkins

Adrian Quesada (artist/producer): Being from a South Texas border town, cross-cultural and bilingual feels pretty normal and felt so at the time of her music. But I think it gave hope that it could be bigger than that and reach the masses through multiple avenues. They updated the Tejano sound a bit with modern, at the time, R&B influences, which helped it cross over and resonate with people who weren't familiar with regional Tex-Mex music and did so in a way that was seamless and natural. I do believe she was well on her way to even bigger crossover territory, with collaborations with people like David Byrne, and would have continued to push the envelope musically and culturally to this day. She was just beginning to really branch out before her life was tragically taken. 

She Broke Barriers And Opened Doors For Next-Gen Artists

Angie Romero (Senior Editor, U.S. Latin Music Culture and Editorial at Spotify): Back in the day, artists like Selena had to fight hard against systemic barriers, many of which still exist today. But because of artists like Selena, Gloria Estefan and others, the door for the next generation has been cracked open, and it will forever stay open. Young Latinas can dream of doing anything they want to do in the world, and they don't ever have to stay inside a box, either — they can do it all, just like Selena did.

iLe (artist): Society makes us get used to the same things so much that we don't notice what we're seeking until it suddenly appears. We as women have a voice that should be heard and acknowledged. Selena became a female figure that Tejano and Latin pop music needed and I think she succeeded by not being afraid of being herself. 

Selena Wins Best Mexican-American Album

Jennifer D'Cunha (Apple Music): Selena broke barriers for women in Latin music. She created her own lane in the male-dominated Tejano music scene, and successfully took the genre to new heights. Whether it was cumbias, traditional Tejano or pop, she made her unique sound mainstream in Latin music. She thrived not by trying to conform, but by pushing the boundaries, following her intuition and playing by her own rules. Her spirit lives on and continues to inspire.

Pabllo Vittar (artist): For me, she was the first Latin diva going global! She was gorgeous and unique! I was born a year before she passed away, but I remember my mom listening to her music and I could watch her videos some years later. She was an icon that comes to mind when we talk about letting the uniqueness of your culture shine through you, and she was an example of how you can take a specific and regional rhythm and work your way into the industry. 

Jesse Baez (Guatemalan contemporary urban/R&B artist): I think the most important thing people should know is that you can live forever through music. You know, Selena passed away when she was 23, so she was incredibly young, and in spite of that, she's still relevant in 2020, maybe more than before. I think people should know that you can live forever if you do something with passion and enjoy what you do—that's what I would take from her. 

Girl Ultra (artist): She had such a big female strength that still empowers upcoming generations. She embraced her roots and her femininity in ways that Mexican culture was not very used to. She also gave Mexican weddings and parties many anthems.

La Doña (artist): Selena was able to supersede systemic barriers for many different reasons; one of those is her raw talent and passion. It is impossible to ignore the sheer amount of energy she put behind not only every song and every performance, but also all of her other creative ventures. Unfortunately, however, we have seen that that is rarely enough for a young star such as Selena to achieve success in the way that she did. 

I think that a huge contributor to this success was the support and contributions of her family. Though working with one's family is never simple or easy—speaking from the perspective of someone who grew up playing Tejano music in a family band—it is also grounding and supportive in a way that you won't experience from a different type of team. 

The last element of this perfect storm that vaulted Selena into super stardom is that the music industry needed her. The huge Latinx population within the United States needed her; the market existed but it was largely ignored until Selena revealed it, and then there was no going back. She opened a door to a market and created an entire Latinx enclave within the pop industry that would always exist as her legacy.

Her Music Still Strikes A Chord Today

Kate Carey (McNay Art Museum): "Como La Flor" is one of the greatest songs ever, and if I have done anything right as a parent, it is that my kids know this song by heart. 

Kali Uchis (artist): My favorite songs are "No Me Queda Más" and "Como La Flor"—because I like to dance and cry.

Angie Romero (Spotify): It's so hard to choose a favorite! But "Como La Flor" is just a perfect song, with the perfect metaphor, and it was also special to her and the band because it was their breakthrough hit in the U.S. and Mexico, reaching No. 6 on Billboard's Hot Latin Songs chart [in 1992]. When she sings the opening notes of that song, live at the Astrodome, and drags out the word "flooor," then moves her hand beautifully like a flamenco dancer, it gives me chills and makes me teary-eyed every time! I also just love that line about "me marcho hoy, yo se perder" ["I'm leaving today, I know how to lose"]. It's a different take on a broken heart in the sense that you aren't just wallowing in sadness, but you accept it and move on, similarly to other iconic songs that I love that also take the high road, like "I Can't Make You Love Me" by Bonnie Raitt. 

iLe (artist): I have many Selena classics that I love, but I would have to say "Techno Cumbia" [is my favorite] because it reminds me of a little dance that I used to do with my cousin, Beatriz, when we were kids.

Jesse Baez (artist): I feel like "No Me Queda Mas" is the only ballad that I can go back to and not feel weird about liking. It just became a permanent song in connection to my childhood. Even though it's sad, and there are a bunch of other Selena songs that I also love, I like how this song goes against everything else I tend to like, so I will pick that song forever.

Jennifer D'Cunha (Apple Music): Selena's [2003] Live: The Last Concert is one of my favorite concert films of all time. Selena's charisma onstage, her vocals, the energy from her fans and that fierce purple jumpsuit make this one of the most iconic live performances ever.

Leila Cobo (Billboard): "Amor Prohibido" is my favorite Selena song. It's a beautiful story, a timeless song, timeless lyrics. It's a song that will forever be relevant.

A New Generation Of Artists And Fans Continues Her Legacy

Leila Cobo (Billboard): While Selena's music traveled internationally, her real influence lies in her impact within the United States. Because she was a homegrown star, she was widely recognized both by Latin and non-Latin fans. Selena was an anomaly: Bilingual and bicultural, she not only looked like her fans, she was like them. That relatability was transformative for Latin pop culture.

Thanks to Selena, for the first time, perhaps ever, U.S.-born Latinas had a role model they could aspire to be. Two generations later, Selena's impact is tangible. Dozens of prominent figures—from Becky G to Jennifer Lopez to Leslie Grace to Selena Gomez—point to Selena as their direct influence. Selena's legacy has been fundamental in creating a new movement of U.S.-born Latin artists who today, 25 years after her death, are collectively reaping success and still naming her as the precursor of their achievements.

Girl Ultra (artist): I feel like any Latina making music since then is part of her legacy. We're fighting for the same cause: breaking paradigms about how ''Latino music'' should sound or look like and breaking with the objectification and the so-called "fetish" of Latinas all over the world.

Linda Wilvang (the Recording Academy): Selena made Tejano music cool! Moreover, she was able to fiercely and creatively convey her passion for the genre, and this you can attest by watching any of her performances. She truly loved her craft, her fans—she loved life. Selena's legacy has endured to this day and will continue, thanks to her family and fans who lovingly have kept her music and spirit alive for 25 years and beyond. 

Marisol "La Marisoul" Hernandez (Lead vocalist of GRAMMY-winning Los Angeles band La Santa Cecilia): When I first witnessed Selena, I was blown away by her amazing vocal skills. It was so inspiring to see a brown, curvaceous woman be so confident and commanding onstage. I could see myself in her, and that was so empowering! At that time, as a teenager, I, too, had dreams of one day becoming a singer myself. Her beautiful music introduced me to the Tejano music genre, which I began to follow. I admired her presence in a mostly male-dominated music scene and soon became a loyal fan. 

Watching her interpret regional Mexican music in Spanish really moved me to continue my personal journey. When I saw an interview with her and [saw] the way she spoke Spanish with her Mexican-American accent, that's what really got me. She spoke the way I spoke. She was a Mexican-American female musician dominating the Tejano, regional Mexican music scene, and at the same time, you could hear in her voice that American R&B style that I would hear later in the [1995 album], Dreaming Of You. That's what made her so special to me and such an inspiration.

Kate Carey (McNay Art Museum): I love visiting the McNay on weekends when I'm not really working. The first weekend of the Selena Forever/Siempre Selena exhibition at the McNay, my parents were visiting; I wanted to show them what I was working on. We saw visitors throughout the museum wearing Selena fan memorabilia. One older gentleman wore a T-shirt that read, Selena es mi reina [Selena is my queen]. Similarly, a young mother encouraged her daughter to pose like Selena in the photos. I don't know why her music is so timeless, but I know that it is, and it's very obvious to me the reverence Selena fans have for her music and her image. 

The Enduring Beauty Of Selena's Legacy

Photo of artwork for For The Record: Janet Jackson's 'All For You' episode

Janet Jackson

Photo: L. Cohen/WireImage

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For The Record: The Transformational Public Heartache Of Janet Jackson's 'All For You' At 20

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Janet Jackson's GRAMMY-winning seventh album, 'All For You,' released two decades ago this year, was a healing session that solidified her as an unshakeable icon
Bianca Gracie
GRAMMYs
May 2, 2021 - 3:37 pm

After years of turmoil, Janet Jackson entered the Y2K era as a free woman. The artwork of her 2001 album, All For You, says it all: Lounging on a bed, a white blanket covering her nude curves, she flashes her famous, million-watt smile. It's a stark contrast to the cover of her 1997 album, The Velvet Rope, in which her face is lowered and nearly covered by ginger curls.

The introspective The Velvet Rope digs into Jackson's depression caused by an emotional breakdown. Long regarded as her magnum opus, the album embraces the LBGTQ+ community, addresses domestic violence and serves as a raw therapy session where Jackson lets the curtain of the "Strong Black Woman" trope fall.

In her 2017 essay, "The Mule of the World: The Strong Black Woman and the Woes of Being 'Independent,'" Cailyn Petrona Stewartee discusses how Black women have historically been forced to mask their true selves behind armor.

"The Black woman is represented to be either too mad or too strong, her presence is constructed as one that is always hyper-visible leaving no room for acknowledgment of her organic human complexity and nuance," Stewart writes. "And if survival is attained, pieces of the Black woman's sanity and humanity have been lost along the journey."

Of course, Jackson had taken breaks in between albums before. But the four-year-long journey that led to All For You, her seventh album, found her picking up those shattered pieces and relearning herself again. What was behind that beaming smile on the cover? Her glow-up after finalizing her divorce from René Elizondo Jr.

For The Record: Janet Jackson's 'All For You' @ 20

Elizondo Jr. was a backup dancer for Jackson's older sister, LaToya. He later became Janet's creative partner—he directed some of her music videos, including "That's the Way Love Goes" and "Together Again"—and one of the main songwriters on The Velvet Rope.

Theirs was a nine-year secret marriage—Jackson even lied about it during a 1997 "Oprah" interview—that was only revealed following the divorce announcement. Things soon turned messy, as Elizondo Jr., who initiated the breakup in 2000, later sued Jackson for $10 million over property rights.

Once the ink dried on the divorce papers, Jackson lifted her head up high and doubled down on her newfound singledom on All For You.

"I'm no longer married. I hope it doesn't sound bad to say that was the inspiration. But because I'm in a different space, it's like I'm being introduced to a whole new world that I've never experienced before," she explained in an album promo video. "I feel really good, and the album was a lot of fun to make. My life has changed a great deal, and that's why there's a new, freer me."

Compared to Velvet Rope, All For You trades dark vulnerability for a delicate intimacy as she takes back her power as a woman and uses happiness as her revenge. Jackson goes the opposite route of pop's post-Y2K futurism that artists like Britney Spears, *NSYNC, Madonna and Jennifer Lopez were exploring at the time. Instead, she and her longtime producers, Jimmy Jam and Terry Lewis, traveled back to the '70s and '80s to revive funk, disco, dance and rock.

That joyride is near-tangible on All For You's title track, which is pure sunshine captured in a song. Sampling Italian-American ensemble Change's 1980 single, "The Glow of Love," the song's vibrant production and signature Janet winks—"Got a nice package alright/Guess I'm gonna have to ride it tonight"—were a winning combination: Her fifth No. 1 hit, "All For You" won a GRAMMY for Best Dance Recording at the 44th GRAMMY Awards, held in 2002.

Jackson's free spirit continued with "Come On Get Up," an extension of her early-'80s dance-pop eras. Rockwilder, best known for his work with Method Man and Redman in the '90s, co-produced the song, along with four other tracks, marking the first time Jackson sought out new collaborators since 1986's Control. "Someone To Call My Lover," which also received a GRAMMY nomination for Best Female Pop Vocal Performance, and "Doesn't Really Matter" also exude happiness. The former samples America's 1972 song, "Ventura Highway," as Jackson sweetly dreams about her next beau; the latter, a single off the 2000 soundtrack to the Nutty Professor II: The Klumps, in which Jackson also starred, is a sparkling ode to unconditional love.

Read: The Bodyguard Soundtrack: 25 Years After Whitney Houston's Masterpiece

But this wouldn't be a Janet Jackson album without a hefty dose of sex. While "When We Oooo" continues the feminine sensuality from 1993's janet., it's the one-two punch of "Love Scene (Ooh Baby)" and "Would You Mind" that really augments the erotica. "Would You Mind" finds the singer yearning to "Kiss you, suck you, taste you, ride you" as the rain comes down and she literally moans into the listener's ear. (Jackson later reignited the freaky adventure on 2004's Damita Jo via "Warmth" and "Moist," two songs even more explicit than their predecessors, in which Jackson further details the pleasures of giving and receiving oral sex.)

On the flipside of pleasure is pain, and Jackson's $10 million lawsuit is still top of mind. "Trust A Try" finds the singer raging about feeling betrayed atop a headbanging fusion of opera, rap and hard rock. On the Five Stairsteps-interpolating "Truth," she makes note of her sold-out tours and radio hits while feeling a bit bitter: "How much is enough to pay for this mistake?" she sings. She calls on Carly Simon for "Son of a Gun (I Betcha Think This Song Is About You)," which interpolates Simon's 1972 classic, "You're So Vain." Jackson has every right to be angry, and she fearlessly taunts her ex-husband on the refrain: "Thought you'd get the money, too/Greedy motherf*****s try to have their cake and eat it, too."

"There are times when it feels like it just happened yesterday, and there's a bit of a sting. But I have to move on. I have to keep going. I can't let it stress me out, stop me from reaching my goals. I'm just glad that I'm in the state of mind that I'm in," Jackson told VIBE of the divorce in 2001. On the album's closer, "Better Days," she makes it a priority to live for herself without restraints: "Leavin' old s*** behind/And move on with my life/The blindfold's off my eyes/And now all I see for me is better days."

Jackson stuck to that promise to "leavin' old s*** behind" following All For You. The double-platinum album continued her No. 1 hot streak, debuting atop the Billboard 200 in May 2001, and earned a GRAMMY nomination for Best Pop Vocal Album. That same year, at age 35, MTV crowned her their first MTV Icon. The moment broke more ageist stereotypes, as seen with Tina Turner's 1984 Private Dancer comeback in her mid-'40s followed by Beyoncé, who most recently scored the most GRAMMY wins as a female artist at age 39.

Since All For You, Jackson has released four albums, survived a misogynistic Super Bowl catastrophe, became a mom in 2017, scored more acting roles, and received the Billboard Icon Award and the MTV EMA Global Icon Award, both in 2018. The singer could've let the divorce circus derail her, but All For You proved she couldn't be confined by a man nor her music. Along with celebrating the beauty of Black women's multifaceted nature, the album showed they could maneuver through pop and R&B with ease.

It's a feat that has continued with Black millennial artists like Rihanna, whose Rated R and Loud mimics Jackson's Velvet Rope and All For You transition, Ciara, Dawn Richard, Solange, Doja Cat, Tinashe and Kelela. Since All For You, women have shattered genre boundaries, dominated the charts and revealed their most vulnerable selves. We have Janet Jackson to thank for first inviting us into her world.

Janet Jackson's Rhythm Nation 1814: For The Record

Grammys Newsletter

Beyoncé in 'Black Is King'

Beyoncé in Black Is King

 

Photo: Robin Harper

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Inside The Visual World Of Beyoncé And 'Black Is King,' Her "Love Letter" To Black Men

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GRAMMY.com spoke with the directors and producers behind Beyoncé's 2020 GRAMMY-nominated visual album, 'Black Is King,' about how the project came together and Bey's impact as a visual artist
Jewel Wicker
GRAMMYs
Mar 9, 2021 - 9:56 am

For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Beyoncé, who's currently nominated for nine GRAMMYs.

In a 2011 interview, Beyoncé revealed the things she wanted to accomplish before her 40th birthday. "I would love to direct—continue to learn videos and maybe by then [make] a film, a short film," she told Access Online. "[Or film] a documentary, I love documentaries." The singer will turn 40 in September having accomplished that goal.

Since that interview, the global pop star has continued to steadily hone her craft to become one of today's most influential visual storytellers in pop music. She began experimenting with visuals on her 2006 sophomore solo album, B'Day, but it wasn't until years later, when she released her surprise 2013 self-titled record that she delivered a true "visual album" that pushed the envelope—every song had a music video and all visuals were released together without any promotion.

The 2016 critically acclaimed Lemonade added a narrative between each music video—something Beyoncé hadn't done before—to create a cohesive look at Black generational trauma. In 2019, she released the GRAMMY-winning documentary Homecoming, giving fans a behind-the-scenes look at her preparation for her historic Coachella performance in between concert footage.

With the critically-acclaimed visual albums and documentary under her belt, she turned her sights to another visual goal. Last year, Beyoncé released Black Is King, the feature-length film inspired by her work with Disney on the 2019 remake of The Lion King. The nearly 90-minute film that premiered on Disney+ started as a quick test shoot in Beyoncé's backyard in The Hamptons but ultimately took more than a year to make and spanned several countries.

At the 2021 GRAMMY Awards show, Black Is King is nominated for Best Music Film, following Beyoncé's win for Homecoming in the category in 2020. (She's also nominated for Best Music Video for "Brown Skin Girl," a single off the 2019 accompanying soundtrack album, The Lion King: The Gift.)

Ahead of this year's GRAMMY Awards, GRAMMY.com spoke with Black Is King directors Kwasi Fordjour, Emmanuel Adjei and Jenn Nkiru, as well as producers Lauren Baker and Erinn Williams about how the project came together, why they envisioned it as a "love letter" to Black men amid a global pandemic and racial uprising, and Beyoncé's impact as a visual artist.

"Already" Was The First And, Originally, The Only Video Planned For Beyoncé's The Lion King: The Gift Album

Lauren Baker (Parkwood Entertainment producer): The entire idea came from just one music video. We were just going to shoot "Already" and that escalated into a short mini-film. 15 minutes tops. That escalated into the film that you see today.

Kwasi Fordjour (Parkwood Entertainment Associate Creative Director; co-director of Black Is King): She mentioned doing a test shoot [for "Already"] and she's the type of creator where it's just like, let's get the most out of this moment. If it's good, we're going to use it. We were testing the body paint and seeing if the body paint was going to work. We were like, "how can we use her time wisely?" We're at her house in the Hamptons. We noticed a tree. It's an elevated plane. [It] could be anywhere. Let's try this. I had to get in the tree first, that was the deal. I showed her the shot and that's how that happened. We were able to use that shot. That's kind of how we roll.

We started shooting a few videos and we were kind of expecting it [to turn into a larger project] because that's just what she does. She is the queen of visual albums. Once [we knew it'd be a visual album], we just switched gears. We had no time to really think about it or be too nervous. It was like "OK, what directors are we calling?"

Lauren Baker (Parkwood Entertainment producer): [There were] a lot of sleepless nights, a lot of early mornings. A lot of traveling. One minute we're supposed to be in New York for a week and now I'm there for three months. It was just a lot of managing, being sensitive to these creative minds and making sure that their vision is being heard, respected and shown. But, at the same time, being practical.

The Visual Album Was Inspired By The Lion King But Not Restricted By The Movie's Storyline

Lauren Baker (Parkwood Entertainment producer): Lion King obviously was a spark of it, but it kind of elevated once we got into it more. We still use the base storyline but it's a whole different world now.

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director): Coming off the album and trying to approach this in a way that could appeal to adults and also children, [we wanted to] humanize these characters. How can people watching this see themselves?

Emmanuel Adjei (Black Is King director): What was really a gift from heaven is that the world was ready to digest a film like this. It's really a visual masterpiece. I feel like when [there was a] release date, we knew it was definitely going to do something. What we didn't know is that it would resonate with not only Black people but with a lot of people in the world. I guess that's where Disney also comes in. Suddenly, it becomes this modern tale. In that sense, [it] became a manifesto for minorities in general.

Beyoncé Wanted Black Is King To Represent The Global Diaspora

Jenn Nkiru (Black Is King director): Something we were constantly all thinking about is diaspora. The beauty is for people to understand that we are everywhere. We are all unified under a shared experience of Blackness. But culturally, depending on where you're at in the world, it's different. It was such a beautiful honor to be able to see such diversity within our culture. Oftentimes we're regarded as minorities, but I like to regard us as people of a global majority.

Emmanuel Adjei (Black Is King director): [A passion for Ghaniana and Nigerian cinema] is something I was brought up with so naturally that was kind of my reference frame. The thing that really inspired me the most about African cinema was the way they use their narrative strategies. It was, you could say, very non Western, but very Western influenced. It was a mixture of Western sci-fi mixed with African folklore stories and spirituality. That was such a unique library for me to tap into when making my own films. Black Is King is definitely a modern tale where that all collides.

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director):

Beyoncé had very specific things that she wanted to do. Whether [incorporating] West African or South African culture, there were nuances that we liked that we wanted to spotlight. But there were also other things that directors brought to the table. Collectively, we picked and chose what we wanted to use and what was relevant to the different parts of the songs. There were conversations after conversations and text messages after text messages. It was a long process.

The Visual Album Was Completed Amid A Pandemic And Social Unrest

Erinn Williams (Parkwood Entertainment Head of Production): Every project is a little bit different because you have different collaborators and objectives. But I will say this one got to be just about the hardest ever because we had to finish it in a pandemic. We were still doing some small pickup shoots when we went into lockdown. In addition to the pandemic, we had the social [uprising] and the death of George Floyd. It's quite a lot to be creating a film for young men to value themselves at the same time young Black men are being killed by police. It was a very, very difficult thing for the team to process that while working on a film that really speaks to that. We knew that the timing was right, but you're talking about people who are triggered and raw at a time when they're trying to finish this film. It was challenging on many levels, emotionally and physically.

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director): We had already started this idea. We were developing this self-identity piece and this love letter and next thing you know everything started happening. It was like if this is not what we need right now, I don't know what is. It was like this divine intervention. To be working on a piece like this and then going into this culturally and socially, I never really experienced anything like that in my life, as far as the creative process. Being able to do something that was a love letter to fellow women and men, and our culture, in a time when we need a pick-me-up, that is something that I will never forget.

Lauren Baker (Parkwood Entertainment Senior Creative Producer): We're in the process of editing, I'm going to color bays every day, in the middle of VFX. Having to work remotely with multiple post houses was crazy. The Internet's not good so I can't stream correctly. That part technically was tricky.

Dialogue In The Film Came From Behind The Scenes Footage Featuring Men In The Cast

Erinn Williams (Parkwood Entertainment executive producer): On one of our shoots, we were shooting some behind the scenes of some of the men that were in our cast. They had such beautiful statements about how they perceive themselves, how they would like to be seen [and] who they want to be.

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director): We weren't expecting to use it and right before COVID-19, we were planning on doing some reshoots because we felt like there were some missing pieces in the story. After COVID happened, and we weren't able to travel, one of our team members came to us and showed us what she'd been working on. Erin was like "I think we can use these."' We presented the idea to Beyoncé and [she] was like go for it. I worked with [writer and editor] Andrew Morrow to start sculpting the story around these monologues.

The Project Is Also An Ode To Black Women, As Well As Other Women Of Color

Jenn Nkiru (Black Is King director): I had the idea to do a debutante ball [for "Brown Skin Girl"]. I was keen to do that based on it being a rite of passage, and thinking about what kind of what space could we create that allows for us to have an intergenerational conversation where you see women of all ages together celebrating young girls. Alongside our incredible A-list women that we had on screen, there were a lot of women who are community worker [and] activists. It's a spectrum of womanhood, from seeing presentations of Black and brown womanhood that's highly feminine to more masculine of center. I was really proud that we were able to achieve that.

Anywhere you have people of color, there is some form of a caste system or understanding that colorism is at play, you know, and so I really wanted to expand that conversation. We have women in the piece who are of southeast Asian heritage, I have an indigenous Brazilian woman in the piece. We wanted to have as expansive [of a] conversation as possible. That was really critical to me.

Beyoncé in 'Black Is King'

Beyoncé in Black Is King | Photo: Travis Matthews

Beyoncé Empowered Black Is King Collaborators Behind The Scenes

Erinn Williams (Parkwood Entertainment executive producer): She tends to surround her projects with a spectrum of people. With her being the lead director on this, the final creative decisions come from her, but she absolutely encourages collaboration, and bringing together disciplines that may not always function together.

Emmanuel Adjei (Black Is King director): She really made sure that [I] could feel comfortable in my position.

Jenn Nkiru (Black Is King director): What was extremely exciting about this was being able to do it on the scale we did it at. I very much brought myself and that's also to Beyoncé's credit because she instilled so much confidence in me to work the way I typically work within the scale we were working. A lot of the team that I typically work with in the smaller, tiny things I do, I was able to bring to a stage like this. I casted it myself, along with my choreographer. We were able to bring our own styling teams.

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director): She started at 14,15 years old and was sitting at tables at a young age where people would try to say that she didn't deserve [to be there] because she was so young. She brings that over into her leadership style. There's no limit to who and what age you can be to collaborate. If you have a vision and she sees the vision, she will rally. I was the first intern at her office in New York City and I worked my way up from intern to creative assistant, creative coordinator and manager. It was just doing whatever was necessary, taking the projects that weren't the most popular, trying to put your best foot forward in order to define your role and your position within a company. I think that has defined my journey into roles where I was taking the projects that were the most popular.

Beyoncé in 'Black Is King'

Beyoncé in Black Is King | Photo Courtesy of Parkwood Entertainment

Beyoncé's Evolution As A Visual Artist Has Pushed The Industry As A Whole 

Kwasi Fordjour (Parkwood Entertainment creative director; Black Is King director): It's been a very rewarding process to watch and how she's taken a more cinematic perspective to the visual album. When she first did it, talking about B'Day, Beyonce, there were music videos and then it slowly but surely involved into something more holistic, more narrative and more cinematic. I'm anxious to see how she furthers it and where she takes it next.

Erinn Williams (Parkwood Entertainment executive producer): I can go all the way back to the digital album because I [executive produced] on that as well. It was her first fully fleshed out visual album. She saw something that even the people on her team didn't see with that album. What I find remarkable about working with her is how much she elevates everything she touches. She directs the shoots. She directs in the edits. When we got to Black Is King, we imagined something that was going to be a real cultural stamp. It's what she does. She has a magic touch sometimes when it comes to being on the zeitgeist of something that is needed at that moment. She said it best when she said that if Lemonade was about generational curses, Black Is King is about generational wealth. That was behind every decision that she made.

Take A Closer Look At The Best Music Video Nominees | 2021 GRAMMYs

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