Granderson: The damning praise of 'crossover' appeal for Black performers (via latimesopinion)
Before we forget the original, though, let’s be clear that in 1976, Billboard had already named Diana Ross the female entertainer of the century. She became the Kareem Abdul-Jabbar of music, too often overlooked whenever people debate the “greatest of all time.”AdvertisementJanet Jackson’s popularity is noteworthy for crossing racial lines, which highlights the fact that Madonna’s success did not.
in which he called out the network for its lack of music videos featuring Black artists. The interviewer, Mark Goodman, was so comfortable defending the racist practice that he offered this gem: “We have to try and do what we think not only New York and Los Angeles will appreciate but also Poughkeepsie or … some town in the Midwest that would be scared to death by Prince, which we’re playing, or a string of other Black faces.
In 1984, Rodgers brought in his R&B band Chic to record “Like a Virgin,” and Madonna became a superstar. Perhaps even the queen of pop. Fueled by R&B.Her 1990 hit “Justify My Love” epitomized this dynamic. “Justify” relies on a beat from a Public Enemy song — which is sampled from a James Brown song. Over that, Madonna does spoken word like a character from “Love Jones.” Despite its obvious R&B foundation, the song never cracked the R&B Top 40, even as it hit No.
Jackson racked up 10 Hot 100 No. 1 songs, while hitting the top of the R&B list 16 times. Sometimes a song was No. 1 on both charts at the same time.
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