I remember the first time I listened to Lauryn Hill's 1998 solo debut The Miseducation of Lauryn Hill. It was roughly two weeks after the album's release, and I was spending the weekend with my godparents. After helping my godmother wash dishes, she asked me if I had heard the album. I confessed that I had not, but would eventually get around to it. Surprised by my response, she exclaimed, “What?!? Well, you are going to listen to it right now.” She pulled me into the living room, grabbed the CD from her library, and played it on her stereo system. I was shocked by my godmother's insistence. She wasn't (and still isn't) a fan of rap music, and she generally didn't (and doesn't) care for contemporary American popular music (black or otherwise). Instead, her listening practices were/are more wedded to the 1960s and early 1970s politically inflected...
Review: She Begat This: 20 Years of The Miseducation of Lauryn Hill by Joan Morgan
Elliott H. Powell is assistant professor of American studies at the University of Minnesota. His research sits at the intersections of race, sexuality, and Black popular music. Writings from this research area are published or forthcoming in GLQ: A Journal of Gay and Lesbian Studies, The Black Scholar, Jazz Research Journal, and the Oxford Handbook of Hip Hop Studies.
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Elliott H. Powell; Review: She Begat This: 20 Years of The Miseducation of Lauryn Hill by Joan Morgan. Journal of Popular Music Studies 1 December 2019; 31 (4): 173–176. doi: https://doi.org/10.1525/jpms.2019.31.4.173
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