Branding Black: A Cultural Divide

Black people live by the curriculum of Lauryn Hill’s Miseducation, and pursue love as it relates to a Maxwell record. They tolerate Tyler Perry, but know that they can do better. They do not watch BET, and are sure to complain about VH-1’s Hip-Hop Honors. Aaron McGruder is their scholar of satire, and The Boondocks is a black pop-culture prerequisite.

If you’re black, educated and worthy of a platform these are the rules that you follow. Otherwise, join the rest of the coons at KFC –and don’t forget to leave your copy of The Coldest Winter Ever as you exit the elite.

Wait, what?

Janelle Monae, I Don't Understand You

I like metaphor, imagery and well-sustained conceit -so I read books.

Janelle Monae makes me feel lazy because I don't want to take the time to decipher the message behind her Android suites. Perhaps all it takes to enter her "Cybertronic Purgatory" is a bit of time researching her intent. Maybe reading a few interviews, or doing some Googling. It could even be in the liner notes. The thing is, I'm on the treadmill with 3 miles still to go, and you're asking me to identify the "Wolfmasters" and join them on their melodic "March."

Well Rihanna tells me exactly what a Rude Boy is, and why she wants one -so I think I'll switch to that playlist.

Drake Does Gay Better Than Gaga

Remember when it was 2008 and Lady Gaga was bisexual?

If you don’t, it’s okay because it hasn’t been particularly important to the trajectory of her career. Save a few same-sex references in songs like “Alejandro” and “Poker Face,” the fluidity of Gaga’s sexuality has hardly influenced the charm of her material. But would she be as commercially notable today if she hadn’t used her sexuality to spark interest back then?

How Tacky of Me

To disappear for months (the first half of 2010 to be exact), then return w/ such a self-involved post. Below I've provided links to some of the more standout (as determined by: me) material from this blog's archives. Not necessarily because I like to look at myself, but because I like for other people to look at me.

Actually, this post functions more as a reference point. It's been more than a half-year since I committed any time to this blog, so I think a refresher course is due.

So whether you're new to my blog (keep coming!), or making a return (thanks!), these posts should sum up my blogging intentions fairly well:

First, I like Janet Jackson. A lot. But not enough to ignore her occasional shortcomings. But enough to insert a random picture of her to your right.

In my mind, Britney Spears is a study in commodification. I mean, a whole thesis statement. Abstract ready.

I'm fairly socially conscious. Actually, quite. But this isn't CNN. (Hey TJ!)

Tyler Perry does nothing for me.

Mariah Carey amuses me.

And nobody read this, so I'm trying to make it happen again. So fetch.

Ultimately, I'm back to blogging. And I apologize to my niche of readers that I left hanging. With no real excuse, I'll just say that life after college is a bitch. Don't graduate.

Expect regular posts from here until eternity. And don't forget -writers need validation. So comment!

Britney's Boring "3"some

I love this video for no reason at all. It's repetitive and boring, and Brit's hardly moving at all, much less dancing. In fact, the clip is basically a collection of glamor shots in motion, which continues Britney's Circus-era trend of looking fabulous, but functioning minimally. Trust me, I made it to one of the shows on her hugely successful Circus tour, and she's just as disengaged in person as she is on film. There's no spark left in Britney, but she's a business MAN, thus the train must keep moving.

All that being said, she's looking amazing in this clip. I bet if they would've slipped her a couple shots of tequila beforehand she would've worked that pole like she had kids to feed (wait...). Remember the Gimmie More video?

Ryan Leslie's Stagnant "Transition"

Why is Ryan Leslie releasing another album so soon? His self-titled debut dropped in February of this year. Transition, his sophomore effort, will hit stores during the first week of November.

Generally speaking, Transition isn't a bad album; it's just that his debut was so good. Not good in the sense that Leslie is a particularly dynamic producer or singer, but good because he managed to handle the album's material so well in spite of all of that. What Leslie lacks in vocal ability and musical diversity he makes up for in sentiment. Ryan Leslie didn't always sound good, but it always felt good.

In that sense, Transition is more of the same. In fact, it's basically the same album. Entirely written, produced and composed by Leslie (Dream complex much?), there's nothing remotely original here. If Transition were his debut I probably wouldn't be as disappointed in Leslie, but as it stands, there's really no reason to hail this offering.

Janet Jackson's "Make Me" & Mariah's "Memoirs"

Janet Jackson Prepares Greatest Hits

Just in time for the Holidays (is it even realistic to assume that people still receive cds as gifts?) Janet's returning with a new label, new single, and new(ish) project. Number Ones will pull together more than 30 of Janet's chart-topping hits, along with one new offering; the Darkchild produced "Make Me."

Janet can't do too much wrong in my eyes, and I'm excited to see her working on anything at all; still I can't help but think that Number Ones is a questionable effort at best. First, the last quarter of Janet's career hasn't been as lustrous as the first few, and this compilation makes that painfully obvious. I suppose a number one dance single is still a number one, but really, comparing the success (?) of "All Nite (Don't Stop)" (which I love) to "That's The Way Love Goes" is a stretch. More than that, "Make Me" sucks. It's the only new song on the album, and while it captures the throwback Janet vibe that fans have been looking for, it's too repetitive and predictable. If Janet couldn't catch a hit with "Feedback," I think "Make Me" is an obvious bomb. Lastly, the album art is recycled from her 2001 tourbook. Really Janet? When you're 43 looking 25, you photograph it while it lasts.

In any case, I've already pre-ordered an album full of songs I listen to everyday anyway. Again, Janet does no wrong.

Keep reading for a few words on Mariah

Don't Call It A Comeback

In essence, pop music never left. In principle, it's been on a 10-year vacation.

At this year's American Music Awards Rihanna was introduced as the artist with the most number one singles of the decade. While several of her chart-topping hits have certainly been R&B and hip-hop influenced, songs like "S.O.S," "Please Don't Stop The Music" and "Disturbia" have taken her career to new heights with their dance floor ready production, and disposable lyrics. In short,Rihanna's success is a testament to the resurrection of traditional pop music.

No, traditional pop isn't a Britney Spears song with a Neptunes beat, or an *Nsync single featuring Nelly. It's not even Janet Jackson auto-tuning her way through "Feedback," or Madonna trading verses with Justin Timberlake during "4 Minutes." Somewhere around the turn of the century pop artists gave up on pop music, and opted for beat heavy club productions in place of playful bells and whistles. In response, album linear notes have replaced names like Jimmy Jam and Terry Lewis with Timbaland and T-Pain, Max Martin with Danja, or Diane Warren with Ne-Yo. That's not to say that producers such as Timbaland haven't been successful for years, or that Jimmy & Terry haven't been successful since, but one would be careless in not having noticed the blurred lines between pop music and urban genres that have developed over the past decade.

But in 2009, pop music has experienced a return to form.

Lady Gaga shamelessly embraces dance floor disco in the pop hits that have catapulted her to stardom."Just Dance" is more Madonna than Madonna has been in years, while the production of "Poker Face" shimmers with the glossy thump of a Cyndi Lauper affair. Both singles have been huge hits in the U.S. in both pop and urban markets. Outside of her Akon owned label, there's nothing R&B about Lady Gaga, even as her singles are sampled in hip-hop remixes.

This year's "Womanizer" is the first number one single Britney Spears has had since 1998's "Baby One More Time." Comeback hype aside, "Womanizer's" appeal rests in the 1, 2 step of its clunky production, and lyrics that are so throw-away they're instantly worth remembering: "I got your crazy." The song is such a guilty pleasure it nearly rots the teeth, not like the Gothic sexiness of "Slave 4 U," or even the acid-washed "Gimmie More," both of which relied on a hip-hop sensibility to boosts Spears' club credibility. More than a decade after her introduction to the industry, Britney's return to relevancy coincides with a return to the Euro-pop sound that made her a star in the first place.

The ladies aren't the only ones going pop for pay. Ne-Yo's 2008 hit Closer was as Donna Summer as any male artist could (or should) get, with the pulsing echo of its intro, paired with the hushed verses and rushed chorus. Elsewhere, Kid Cudi's "Day 'n Nite" is as trippy as Janet's "Rock Wit U," while Chris Brown's chart-topping "Forever" just begs for a strobe light.

Even conventional R&B artists are finding more success in the pop lane. Ciara's Fantasy Ride suffered through three failed singles before the decidedly lighter and more commercial "Love, Sex and Magic" took flight. Likewise, Robin Thicke's similarly titled "Magic" blended his usual adult-contemporary sound with horn bursts and vibrant strings to create a sound as whimsical as the title suggests.

More recent is Beyonce's "Halo," and Jordin Sparks' stunningly desilent "Battlefied," both produced by One Republic's Ryan Tedder.

It's hard to pinpoint exactly what is responsible for the resurgance of American pop music, other than the notion that it simply grew tired of its Europeon vacation. Acts like Craig David and Sugababes have been making waves in Europe for years, with only the occasional crossover success. And while the Spice Girls were huge in the 90's, not so much in the 00's. Still, the same sound that made the ladies huge in the States continutes to thrive in their native land. And, as popular radio grows increasingly predictable and lackluster in America, acts like Lady Gaga have managed to legatimize synthenszied dance music for a whole new audience thirsty for something different but familiar at the same time.

Today pop music is once again sustaining on it's own. Even as artists release simltanoues singles to cater to specfic markets, dance pop has been an undenibale force on Top 40 radio. Not Pop music produced by a hip-hop producer, and featuring a rapper, but shamelessly indulgent, synth-heavy, disco-tinged pop.

Like flared jeans, slim-fit tees or Whitney Houston, pop music is back. But how long will it last?

As always, drop-off a comment and let me know what you think.

Love Is A Battlefield

Jordin Sparks' post-Idol career hasn't been as bright as Kelly's or Carrie's, nor as fledgling as Fantasia's, mostly because the season six winner's self-titled debut was saved by the success of second single "No Air." It's fitting then that Sparks' follow-up, Battlefield, would go light on the R&B in favor of airy pop ballads, and light-rock uptempos, making it a traditional pop album at a time when pop music is anything but.

The album's title track is everything it needs to be. Taunting as it opens, ("Don't need to explain yourself, I know what's happened here"), pleading near the middle, ("If we can't surrender then we're both gonna lose what we have"), and aggressive toward the end ("Guess you better go and get your Armour"); all of which is delivered over a slick drum beat that turns the Ryan Tedder produced song into a pop-rock declaration. It sets the tone for an album that doesn't follow suit.

Where the title track is confident and engaging, the majority of Battlefield is naive and pleading. Second single, "S.O.S. (Let the Music Play)" begs you to dance, as Sparks mimicks Rihanna's pop disco swagger to less effect. Play it safe ballads "Let it Rain" and "Was I the Only One?" beg for clarity, while the cliched "Faith" asks you to feel inspired by its melodramatic writing set against an acoustic backdrop: "Cause when the sky is darkest you can see the stars." Throughout each song Sparks sounds capable, but restrained. She's an R&B singer trying to fit her husky vocals into a pop canon. They fit, but just barely.

It's when Sparks' voice is allowed room to breathe that Battlefield takes flight. The album's sole R&B affair "Don't Let it Go to Your Head," along with "It Takes More" have the relaxed urgency of Sparks' "Tattoo," with far more confidence. Piano driven ballad "No Parade," soars with remorse, in both lyrics and delivery. "Just another day like any other, nothing in the sky said run for cover...never thought it would end this way," she laments with all the sincerity lacking in the album's other ballads. Jordin does dance a bit better with the guitar strum of "Walking on Snow." Think Janet's "Someone to Call My Lover, " where pop flirts with country and a bit of disco then heads to the dance floor.

While Sparks never recreates the charm of the album's title track, Battlefield still manages to eclipse her debut in quality, and certainly suggests that she has a ton of potential for growth and longevity. Battlefield is a bit of a risk for Sparks, and that's at least refreshing if not always rewarding.

Listen to No Parade below, and drop-off a comment.

Two Songs I'm Loving, One More I'm Not

The Good:

Bad Habits
Maxwell

The thing is, Maxwell is brilliant and "Bad Habits" is everything it needs to be. The perfect follow up to "Pretty Wings," the song opens with Maxwell's signature falsetto pouring over a mellow intro before it builds toward a horn driven ode to infatuation. As always the lyrics are inspired, and Maxwell's vocals throughout are flawless. Really, Maxwell gets better with time, and BLACKSummer'sNight is arguably his strongest collection of songs to date. Or maybe everything else in music sucks right now, and I'm just THIRSTY for some quality.

Banging On The Walls
Cassie

I fully realize that juxtaposing Cassie so close to Maxwell may bring my credibility into question, but I'm fine with that. One song doesn't reflect the other, and that's fine. I'm a fan of any artist that recognizes their lane, and stays there. Cassie can't sing, and "Banging On The Walls" acknowledges that. Autotune is this girl's friend, and it works really well on this song. "Walls" is easily a suitable dance song, and almost dips into exceptional at the 2:55 mark, which introduces a synth-heavy bridge that compliments the song's overall production perfectly. If "Banging On The Walls" were recorded by Britney, folks would be ON it. Alas, Cassie is a joke and unfortunately "Walls" will suffer in response.

The Bad:

Obsessed
Mariah Carey

I'm not late with this, I was just REALLY wanting this song to grow on me. It hasn't. Mariah Carey is a study in regression. If 2004's "Shake It Off" was urban Mariah at her reformed best, 2007's "Migrate" along with the rest of the tragic E=MC2 went beyond urban to hoodrat, and that's not cool. With "Obsessed," Mariah becomes too comfortable in that lane. This is a Keri Hilson song. No, this is post-"After the Storm" Monica. This is bad.

Too gimmicky: "I'm the press conference, you a conversation." Too 20-something: "I'm in the A. You so so lame, and nobody here even mentions your name." Too out of touch: "You on your job, you hatin hard."

When Mariah Carey is too smart for this, I can't help but to think that she's insulting me with this song. The woman who wrote "Always Be My Baby," and "Breakdown" now expects me to ghostride the whip to circa-2002 lyrical laziness? She's not dumb, so she must think I am.

The best part of this song: "And I was like, why are you so obsessed with me?" And THAT was lifted from Mean Girls.

Checkout all three songs below, and tell me what you guys think:

Dear Mary J. Blige: You're Too Grown For This

It's not that I don't like to hear Mary J. Blige do uptempos, because I do. "Just Fine" still makes my treadmill mix, and "Enough Cryin'" was my favorite Breakthrough track for a bit. But this "Nothin on Me (The One)" is trying way too hard.

Mary has managed to transition from 20-something to near 40 in the music industry with ease. In fact, her fanbase has argubably grown over the past decade, as her last two albums have been among the most successful in her career. That's not easy, ask Janet and Mariah. So why is she backtracking with "The One?"

The Breakthrough and Growing Pains have been Mary's most realized records to date. While 411 and My Life were instant classics, Mary's never sounded as confident or capable as she has since 2006's Breakthrough. But "The One" wreaks of desperation. It has Love & Life written all over it, and y'all should remember how well that went.

"Them other girls you done been with, they ain't got nothing on me....Way I walk, way I talk. My swagger."

No, you're 36. Your "swagger" should speak for itself. And it does. Mary's easily one of the classiest chicks in the game. Save these lyrics for Keri Hilson.

And the Drake feature. I just don't get it. There's no reason for him to be on this track, other than his current commercial appeal. See: wreaks of desperation.

But everyone else seems to love it, so check it out for yourself. Leave a comment, let me know if I'm just misguided on this one.



Oh, but when Mary is still a movement by herself...it's fine.

"Why R U" Sleeping on Amerie?

Cute headline, right?

I'm convinced that Amerie's "Why R U?" will be the most slept on single of the summer. Already I've heard more negative reviews than good surrounding the singer's first Def Jam single, and those opinions are perhaps as misguided as Amerie's decision to sign with Def Jam in the first place (If your name isn't Rihanna or Mariah, you aren't getting anywhere with Def Jam).

Amerie's voice isn't the strongest, but she'll sing any song like it hurts not to. Because of that effort her "Why R U?" delivery caters toward the track's relaxed 90's production perfectly. Think, Mary J. Blige crooning over "Reminisce" or SWV's slick approach to "I'm So Into You." Not that Amerie is as engaging as Mary, or matches SWV's new jack swagg, but she's singing "Why R U?." Not hiding behind production tricks or vocal gimmicks. Not T-Pain'ing her way toward a hit.

The track's oldschool production is contemporary enough to work as well today as it would have in '92, and that my friend is what we call a timeless record. That's right, I said it.

Don't think that "Why R U?" is groundbreaking, or particulary originial. In fact, it's quite comfortable. But a good song is a good song, and "Why R U?" works well in that capacity.

Checkout the stale ass video.

Amerie - Why R U (Official Video) HQ
Uploaded by wonderful-life1989. - See the latest featured music videos.

Oh, but nobody matches her fly.

To Twitter or Tweet

I don't follow a lot of celebrities on Twitter, because for the most part they only use it to satisfy their own egos. You know, saying a lot but replying to nothing. Self-promotion is respectable, but ignoring folks on a SOCIAL networking site doesn't make a whole lot of sense.

That being said, a few celebs have caught my attention (Trey Songz, Jordin Sparks, Tristan Wilds), but Mariah Carey is by far the FUNNIEST.

Mimi usually makes me want to vomit, but I won't front...chick is hella self-aware, so that I get the feeling I'm laughing with her.

Here are just a few of her gems:

• "someone complained about the bad grammar in my messages. For the record, it's a tweet dear, not a thesis."


• "Nick is too cute when he's sleep! I wish he didn't have to work tomorrow so he could help me sleep all day and I could sing all nite!"


• "Just finished working out. Whooo! Quite naturally" its 5am and I still can't sleep"(sung like "crybaby" from "Rainbow"99)lol Who's up?"


• "I'm pretty sure my spell check is broken cos I know I MUSTVE spelled Chihuwawa wrong. No, I cannot spell..its almost as bad as I am at math!"


• "When I was 4, Iwent on an Easter egg hunt and I actually stumbled upon "THE BONUS EGG" aka I WON!!! But...Then... This 12yr old girl stole the BONUS EGG right out of my hand and ran around saying.."I got the BONUS EGG!!!".... (Easter saga cont.) Anyway, she won a HUGE Easter basket w/stuffed animals and candy and she didn't even find the frikin egg!!!

If you're on Twitter, follow her. If you're not, sign-up for twitter, and follow her.

Oh, and if your @'s are a bit sparse, here's a list of some of my favorite Twitter-ers:

@Pinkissopretty5

@KevinRScott

@Ellington51

@ChrisJervis

@MsMirandaMarie

@Amanda_Allison

Trust me, funny, consistently entertaining folks. (No shade to the others I'm following, ya'll know I only hang w/ the best.)

Oh, and follow ME: @Bfloyd86

Chrisette Michele's Career Should Benefit from Her "Epiphany"

To say that Chrisette Michele's debut was disappointing would be unfair. Her first single "If I Have My Way" was lovely, but just too adult-contemporary for her intended audience. But anyone who has heard the title track from Michele's Epiphany can tell you that the singer has developed a sound more suitable for her youth. Epiphany is fresh in every sense of the word, from production to delivery, and shows that Michele is ready to become an R&B star in her own right.

While "Epiphany" is easily the best track on the 12 song album, Michele remains satisfying throughout. The self-sacrificial "Blame it On Me" is as well-written as it is performed. Lyrics like "Sometimes it hurts to know the loving you had is slowly fading away" fall just short of melo-drama, so that listeners can find them relatable without feeling embarrased. More importantly, Michele's voice is flawless throughout the song. She has a range that sounds as elegant in its lower registers as it does in higher octaves, and delivers tons of emotion behind each note.

Check "Porcelain Doll" for a down-to-earth delivery, with plenty of attitude: "I'm a full-grown woman, I am not your porcelain doll." "Notebook" comes with every bit of the personal confession implied by the title, while "Our Song" is an airy, country inspired mid-tempo that could serve as the perfect summer break-up lament.

There's not a bad track on Epiphany, and even the Ne-Yo feature on "What You Do" doesn't sacrifice the album's sincerity.

After Epiphany, Chrisette Michele deserves a spot among R&B's hottest up-and-coming artists, right next to Jazmine Sullivan and Jennifer Hudson (who, incidently, weren't able to deliver albums nearly as satisfying). I haven't heard a better album in 2009.

Check out "Blame it On Me" and "Porcelain Doll."

Ciara's Finally Debuts Her "Fantasy Ride"

Ciara hasn't had the easiest run preceding the release of her third studio album, Fantasy Ride. But after a succession of under-performing singles, her duet with Justin Timberlake, "Love, Sex & Magic" has managed to build a bit of anticipation for the album's May 5th release, and the final product proves that Fantasy Ride was worth the wait.

Back in 2004, when Ciara was trendy instead of trendsetting, it was difficult to decipher the artist behind the radio-ready wrapping. In 2006, she took a bit of a risk with "Promise," the slowed down lead single from her second album Evolution. Still, despite the album's title, Evolution offered very little progression from her debut. Three years later, Ciara finally delivers an album worthy of her potential.

At its best, Fantasy Ride sees Ciara seamlessly merging the hip-hop appeal that has kept her a club staple for years, with the R&B swagger that finally gives her crediability beyond the dancefloor. Songs like the Dream produced "Like a Surgeon" translate just as well from the club to the bedroom, all the while demonstrating that Ciara has perfected a sustainable brand of sexiness that eluded her earlier efforts. "Ciara to the Stage" serves as further testament to the singer's newfound sexual agency, while "Echo" picks up the pace without sacrificing the maturity. Still, Ciara is familiar with her audience, and album standout "G is For Girl" caters to the urban fanbase that made her a star.

However, the album isn't without its setbacks. While Ciara has made serious vocal strides since her debut, a number of Fantasy Ride's tracks still suffer from her occasionally strained vocals. In fact, songs like "High Price" and "Lover's Thing" only fail as a result of Ciara's delivery. "Lover's Thing" in particular would be a solid ballad if not for her near-embarrassing pitch. On the otherhand, "I Don't Remember" suffers not because of Ciara, but due to Ne-Yo's uninspired production. The song hardly fits the rest of the album's pacing, and thankfully serves as the last track - that way you can stop at the infinitely more satisfying "Tell Me What Your Name Is," and pretend that "I Don't Remember" never happened.

With Fantasy Ride Ciara demonstrates that her five-year career is a work of progression instead of predictability, and that should be enough to keep listeners interested for at least five more.

Check out "Like a Surgeon" and "G is For Girl"...on another blog, cause I'm tired of having my posts taken down.

The Best Of...

I realize that it's a little early for my blog to be releasing its Greatest Hits, but between completing my last quarter of school and looking for a professional gig, I've fallen a bit behind on the posts. Still, I have a few more readers now than I did when I first began, so I thought I'd offer a little retrospective.

We'll call it a game of catch-up.

• Don't call it a comeback, she's still crazy. Check out Britney Spear's return to semi-coherency.

• Still don't believe Britney's back? Here's the proof.

• Oh yeah, Brandy's back too. That didn't go quite as well.

• Whitney runs from The Hills

• MTV goes gay for pay

• Janet Jackson loses Control

• Kelly Clarkson makes amends

• Tyler Perry makes me vomit
  

No worries, I'll be back in full force in just a bit. Until then...

Beyonce on Racism, in Vogue

"My father had to fight those battles {for me}. I didn’t. And now I’m large enough—I’m universal—that no one’s paying attention to what race I am. I’ve kind of proven myself. I’m past that."

Something about, "I'm large enough...I'm past that" isn't sitting right with me...but ya'll know I don't like her ass, so maybe I'm just reaching too far. What do you think?

What The Hell Happend to Lindsay Lohan's Career?

Damn, even a straight-to-dvd Mean Girls 2 would be a better look than this.

Ciara's Love, Sex & Magic Video in Full

Last weekend I posted a preview clip of Ciara's "Love, Sex & Magic" with Justin Timberlake that I found around the net. Here's the video in its entirety, and I'm having a love/hate relationship with it.

Love Sex Magic
Uploaded by BlakMusicFirst

On one hand, Ciara is fly and the visuals are stunning. On the other, I'm just not comfortable with her scenes with Justin. Something about the way he's sitting back relaxed, while she's wrapping her legs around his neck,and so forth, just gives the sense that she's playing video hoe in her own clip. Maybe it would have been more appropriate for them to have a little more interaction, instead of taking the extended lap dance angle?

I really like the song though.

I'll stand by my previous argument that Ciara is trying too hard. Four singles and three videos before your album even drops just wreaks of desperation. She needs to stop holding out for a hit, and just be confident enough in her material to take a risk. Then, "Love, Sex & Magic" could have been the perfect rebound single if her first round on the charts didn't go as expected.

A Little Weekend TLC

I promise that most of you won't even realize that these two songs were EVER even recorded by TLC, much less released as singles.

The first, "Dear Lie" is from 1999's Fanmail, and the second "Damaged" is taken from their 2002 effort 3D (SO slept on).

I love me some TLC. I don't think there's been a better girl-group since.





Oh, and Dear Arista, NO ONE is checking for TLC anymore, so disabling their videos on YouTube is a waste of time. Ya'll should be wanting this shit go as viral as possible.