Dangelo how does it feel video

For admiring viewers, it flips the gaze that is typically set upon female bodies, and is a celebration of sexuality, controlled by the artist at its center. It was those who opposed it that pulled the focus from the artistry of the music and video in favor of conversation on respectability.

Overall, it is a poignant example of objectification and the pressures that musicians face from the media, and from themselves, as a result. Playlist: Back-to-School in October 29, admin 0.

Always have. I like to do it. Then came the video, which premiered on BET in December But what they're really getting is the spirit. There's definitely a sexual side to what I'm trying to express. But I don't want the exterior to overshadow the music that's coming out of me. Intensely attached fans are par for the course for any celebrity, regardless of gender; since Elvis and the Beatles, pop music has drawn in young women whose fandom is usually accurately or not attributed to affection.

It is exceedingly unusual to have an artist of his talent and charisma choose to present himself specifically to grown women -- not teenage girls, or families, or couples. For commercially-minded female artists on-screen seduction is something of a baseline requirement, no matter the intended audience. Or expected to be that. We do all this preparation to give a balanced show, and he goes out and gets treated like women get treated every day -- like a piece of meat.

But there was always a question: would he perform his most famous song? Playing like that required some of the more classically trained musicians in the group to make adjustments. Questlove, in particular, had to change the way he approached his drumming. His band, the Roots, was an anomaly at the time: a hip-hop group comprising live musicians. Dilla had no use for it; he chopped samples and programmed drums with a priority on feel over machine-like accuracy and left the blemishes in when they sounded right.

On Voodoo , he broached more spiritual, deeper concerns. Produced by DJ Premier, the song is unlike any other on Voodoo —its backdrop was a hard hip-hop beat, composed of a chopped Teddy Pendergrass bass line and pounding drums. Primo had originally offered the beat to Canibus, but the lyrically gifted MC turned it down in favor of something softer. Yeah, I want this! I want this! Despite its appearance in the Nas and DMX movie Belly , the song made little commercial impact, failing to crack the Billboard Hot And while sampling had been a part of hip-hop since its inception, Bad Boy employed the practice liberally.

Much of what they produced fit under the neo-soul umbrella, a label that not all of the artists agreed with but signaled that the music they were creating was on a different wavelength than what listeners had become accustomed to.

And despite the sweat on his abdomen, the rumors of him getting a little, um, assistance on the set were completely untrue, he said at the time. It was a total departure for the singer, a once-chubby introvert who grew up in the church, and he was more than a little reluctant to do it. But eventually, there he stood, in the center of the frame, donning nothing but a small, gold crucifix.

Who are you? Can you come to my house today? Voodoo arrived a few weeks later, selling , copies out the gate, topping the album charts, and receiving effusive praise.