Earffirmative Action

THERE ARE white people in my iPod, a tragically underrepresented minority. I make a sincere effort to support them, because I recognize that they have contributions to make. Cosettina loves to default to GENRES>>R&B/SOUL, which measures like 16 hours. (Cosettina is my iPod. Obv.)

White people doing black music* only semi-count for earffirmative actions. I did get Eminem's last album, concluding a long journey from outright loathing to tepid acceptance to tornado-volcano embrace. My first erstwhile hint of respect for him came when he likened himself to Elvis: To do black music so selfishly/And use it to get myself wealthy. I thought that showed self-knowledge. Recovery is his bar mitzvah album for real though. He is finally making use of those purported eighty pound balls to handle icky matter like love and personal growth. (Also, Em: I was wondering how your day went. xoxo)

*Don't ask me to define such terms. Just like do me this one favor and suppose you know what I mean.

Amy, for her part, has said she never listens to white music, a statement I find unaccountably, characteristically awesome. Looking forward to spending an evening as you soon, babygirl.


I USED TO listen to rap in the closet. Nowadays that's where I listen to rock. Well, not precisely the closet, but just outside it, lazy-splayed across the bed. For such occasions I don my glasses and wifebeaters and wide-stripe thigh socks, in a weak attempt to be as culturally as I am biologically white.

I favor rock bands with definite article-preceded names; there is swagger in such unironic certainty. Not that I select to like them on this basis. Just, having perceived the liking pattern, I thought I'd make up a whizbang rationale for it. And I gravitate toward white music that is soulful,* a quality inevitably, controversially (see Mercedes v. Quinn, S1 Ep XXI) associated with blackness.

*In the best footnote of all time, Zadie Smith wonders, "Is there anything less soulful than attempting to define soulfulness?"

This is what soulful means. (It's Dan!)

UNEQUIVOCALLY QUALIFYING as soulful is everyone's favorite White, my first husband Jack. Dan Auerbach is even soulfuller, and he could be Jewish, in which case we could maybe have a huppah, something bossy Jack was not into. Though I do miss Jack's angry sexuality, like on "Instinct Blues." They can both say "uh" as well as Biggie--the only thing that truly matters.

It's funny how when Jack says, Shake your hips like battleships I'm still tempted to say, "How fast?" We're not even together anymore! I had the same problem when I was with Game. He'd be like, Bounce like you got hydraulics in ya g-string and I'd be like, "How high?" Dan says that's wrong, and he's probably right. Dan also says I'm the only one, whereas I'm pretty sure Game was simulfucking Kim K while we were together. (I'll share a man with you anytime, bitch. High-five booty clap.)


And this, naturally.

Anyway. Much white music does sound soulless to me. Or at least undersouled. Soul suck may result from aloof withholding, grating cleverness, or ironic remove. To my ears, white music has a greater tendency to sound like it's trying hard to be cool; art should strive to be good, coolness being a possible byproduct only.

You could say there are values besides soulfulness in music, and you *might* have a point. Even my iPod admits as much. Fairly or not, Cosettina grants wide berth to rappers and R&B cheesemongers, calling their vulgarity real-keeping and their tackiness fun. No white person could say, We don't even clap the same when we livin that champagne life/Sexier than a regular clap. And yet I totally tolerate, even enjoy, Ne-Yo saying so. Because the beat is right and one could be tipsy on the dance floor and really feel, for one transcendent moment, to be living The Champagne Life.

Cosettina is way more judgmental about pop rock. Much of the white music on the radio seems to fail by overwrought, false sincerity. By attempting to be deep whilst lacking actual depth. Every note from the voice of that Hayley Williams chick is a small act of senseless violence to my tender ears. (You know: airplanes...night sky...shooting stars...)

Perhaps the moral here, if I got to generally set morals, would be: If you can't be for-reals awesome, just be trashy awesome. Call it the Pitbull Principle of Know Thyself. (Speakinawhich, did you hear "Hey Baby (Drop It to the Floor)"? Shit's bangin!)

What I like about the aforementioned soulful whites is their wide-eyed artistic devotion, and the full-heartedness of the music they make. They have found their own roads to soulfulness, not copping anybody else's style. Amy and Em make black music their own, and do so in a way I respect. But Jack and Dan make white music soulful, and that may be the greater feat.

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Melanie The Incorrigible

MEET MY LATEST BESTIE, Melanie Fiona. She’s Guyanese-Canadian, because in the Obama era hybrid vigor is the new black.

Melanie says everyone recognizes the beat from her first single, “Give It To Me Right,” but can't place it, so I’m proud to proclaim that I called the sample—“Time Of The Season”!—right away.

“Give It To Me Right” could be mistaken for a standard radio skank track, and while I think it’s more than that, I also bear no grudge against skank tracks. “Ill Na Na” is way more *empowering* than any India.Arie kandy korn. Or try Cassie’s “Me & U,” which pulls off the ultimate coup of being slutty yet sweet. The trick is maintaining your charm and your halo; Kelis taught me that, and she only charged 99 cents.

I would say “GITMR” manages the same tightrope act, but Andrea Martin, who wrote the song for Mel, declares that it's not about sex. Yeah no of course not. It’s just about like wanting people to keep it real and stuff. (Don’t tell the guys, but such eyelash-batting innocence is part of the trick.)

This introduction may paint Melanie as a sexpot temptress, but that’s just her radio persona. The slightest scratch at the album’s surface reveals the hopeless romantic underneath. “You Stop My Heart” is pure malt shop swoon. It pairs well with my running favorite “Johnny,” a song that is girl groupy (= Cleb catnip) and makes heartbreak sound somehow fun.


SOUL SINGERS are practically the only ones who believe in love these days. We are meant to worship at the altar of the sensible, antiseptic Relationship; that full-cardio arduous, hideous, glorious thing called love is too sloppy and impractical for any adequately-analyzed modern citizen. We speak ruefully of 'partners,' of 'making it work,' and are so wise to the perils of infatuation as to damn near eschew its joys. As diligently as we lecture about the grinding labor a Relationship requires, the A-student could come to view cohabitational partnership as one more over-achiever's trophy, and love as mere irresponsible folly.

It can be jarring, then, to hear naive Melanie singing, I'll walk these streets all night until I bring my baby home. You can just picture her enlightened friends raising one eyebrow, like, Giiirlheainworthit. Because today’s faux-strong woman doesn’t deign lower herself to “Ain’t Misbehavin’” on the happy hand, nor “Black Coffee” on the sad. And then we have the audacity to whine from our impenetrable towers about where have all the Lloyd Doblers gone.

We are comfortable instead in the To the left to the left/Everything you own in a box to the left mold, in which despair curdles straight to vengeful stiletto anger—a move we presumably cribbed from old-fashioned faux-strong men, and the insipid Sex and the City. (And who but ventriloquist dummy Beyonce would sing a song called “Irreplaceable” that means “Replaceable.” Still, I do enjoy singing it with my garden class girls. It’s pretty cute when fifth-graders say, Baby you dropped them keys/Hurry up before your taxi leaves.)

Melanie is also under the woeful misapprehension that hotness and tender-heartedness need not be mutually exclusive. Sorry, Mel: if you're hot you must be an evil temptress. It’s just that simple.


EVEN WHEN THE impression is flawless, it’s boring to replicate the old. Sharon Jones may be good, but she just makes me think, Hey, I could be listening to Mary Wells right now. Melanie--like Amy, like Leela--knows how to engage the authenticity of the classic but make it new. Hence the album's title, The Bridge.

“Johnny” mixes scratching with an American Bandstand sound, and she's dialing on her cellphone begging Johnny to bring her back her heart. (Wow, how contemporary and high-tech!*) “Cry Baby” samples the Vandellas' “Jimmy Mack,” which makes me very happy. It also uses cool distorted vocals and so sounds rather like that old-timey Fergie song "Clumsy," but with the merciful excision of Fergie. And just to flaunt her hybrid vigor, Melanie throws in some reggaeish tracks, and breaks out her Debbie Harry swagger for "Bang Bang."

*That was my inner critic teasing me.

OF COURSE, poetic injustice, “Single Ladies” bested Melanie’s “It Kills Me” for Best Female R&B Vocal Performance at the Grammys. What kills me is that the former, despite its goddamn stupid lyrics, actually is the better song, although Melanie is by far the superior artist. (Or even merely deserves the word.) Factory-farmed crap is sometimes tasty, I suppose.

“It Kills Me” is now making the radio rounds, and while she delivers the song with heart, I think Melanie's nature is more joyful than mournful. For a badboy lament, I’d sooner recommend Keyshia’s classic “I Should’ve Cheated.” And when you really need dark depths, put Amy on. Melanie is more suited to making the best of things.


Beware the evil temptress.


Cute real Melanie. Equally a threat.

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Keyshia vs. Goapele: A Hens' Debate

IT IS A TRUTH universally acknowledged that hens love their soul music. And Bay hens take special pride in their rich Bay soul legacy. Visit any local coop at the right time of day and you might hear a flock cackling as they re-enact the backstage opener skit off Funky Divas. (Note to self: future flock members to be named Dawn, Maxine, Terry, Cindy.)

Nothing soothes nervous pullets on their first night out in the coop quite like Bay soul lullabies. There may be peeping without ceasing, but with those first softly-sung strains of "I used to think that I wasn't fine enough" or "As summer was ending, you were walking in" all will be well.


FOR WEEKS NOW Ximena has been losing neck feathers. And I scoured my poultry library for answers, to no avail. Then it hit me. Betsy's been plucking her. They are fighting again about who is queen of Bay soul.

In Betsy's corner, we find Keyshia Cole. Betsy says Keyshia may not have a lot of fancy lyrics or expensive beats, but she's hella fine, and girl knows how to sang. Pure Oakland-grown ghetto fab flavor. Which describes Betsy as well; you don't know the meaning of funky chicken until you hear her belt out "Love." Granted: no one belts it out like Keyshia. Bets and I watched this incredible interview Keyshia did with Sway for an MTV special on Oakland, and they were out in her old neighborhood in like the 60s or 70s in East Oakland and she hit the chorus right there on the street.


IT SHOULD surprise no one that Ximena is all about Goapele. They both have that odd beauty, and foreign pedigrees. One Araucana, one Israeli-South African. But both came up Oaklandish.





Of course Ximena in her Goapele sophistication finds "First Love" played out. Her top jams are "Closer," "Love Me Right" and "Crushed Out." She loves the intelligent sensitivity and tender voice that are Goapele's signatures, but clucks disdainfully about the poor production value on both her old albums. We haven't dug into the new album yet, but aren't crazy about the first single; only Michelle Bachmann should be Auto-Tuned.

When I saw Goapele live a couple months back, she announced she'd do one song that wasn't her own--and broke out "Maps" by the Yeah Yeah Yeahs. I sang along and sounded terrible and tingled to my toes. I rushed home to tell Ximena, and she laid a fucking egg right there on the roost we were both so excited. (Chickens never get to go to shows.) Now I just need to hear Aretha do "Heavy Cross" and I'll be straight. Rock & soul => emergent property.

I also once saw Goapele strolling at the Grand Lake Farmer's Market, because it is so goddamn great. (Sorry, Temescallions.)


FORTUNATELY, I HAVE an odd-numbered flock, so it was on Marianne to break the tie. She's at the bottom of the pecking order (read: was gonna get her ass beat either way). Ever the squawking contrarian, she says, no, actually the reigning soul queen doesn't come from the Bay at all. (This ruffles some feathers.) She contends the throne-holder is an LA chick, one whose version of "Don't Speak" Gwen should be embarrassed to know is out there. The other two hens are stumped, but I smile, because I know she means Leela James:

Sip me up like lemonade
From a mason jar
Make it good like [some chicken]*
Fried in a pan of lard
I'm gettin spoiled like old beans
And I can't lose my head
Cause when you're not around
I'm crumblin like cornbread

*This part is mumbled.


And once you hear Leela slay "A Change Is Gonna Come," you'll surely agree.

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I Am Photosynthetic

I shrink and languish when the days are short. Unfurl before the sun's rays like a large-leafed plant extra open on a hot day. I thrive in the desert. When I lived under dim Northeastern light I was miserable. I figured it out: I'm photosynthetic.

Think about it. You might be too.

I totally fall for the notion of a healthy tan. I don't want to be a leathery old broad, but I find it hard to fear the *sun's damaging rays* of the Coppertone propaganda. Maybe the stereotypes linking darker skin to the possession of more soul predate James Brown. Maybe the soul is photosynthetic.

Good then that the longest days are here and I'm set for a beach week some four hundred miles closer to the equator. Photovoltaic cells ready. Chik-chik-chik-aaah.

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