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@timothyanne
by Casey Haughin, ’19 *Minor spoiler: opening sequence plot details discussed in article* The seminal film Black Panther has become an international sensation in the week following its releas…
"The museum is presented as an illegal mechanism of colonialism, and along with that, a space which does not even welcome those whose culture it displays. And is there anything incorrect about that?"
If I’ve done one thing right with this job... . “J Dilla changed my life” is a statement that rings true for so many people, for a variety of reasons. From my humble perspective, this acquisition changed everything. To include a contemporary, relatively “underground” figure (and you can define that term however, considering the complexities it carries) via two objects that also represent advances of technology and music in a collection that would change *everything* about museums and historical narratives was nothing shy of extraordinary. The journey was transformative, both professionally and personally. Seemingly overnight, a new community of people started paying attention to the museum and to the work I was doing. Meanwhile my personal life was in shambles, and in order to survive I poured my entire existence into my work. Thus, J Dilla truly changed my life. And for that I am forever grateful. . In honor of James Dewitt Yancey, b. 02.07.1974 Love you, MaDukes ♥️
In Appreciation: Janet Jackson’s “Control"
02.04.1986
Janet Jackson released Control, her third studio album.
Control was the first collaboration between Jackson and legendary musicians/producers/songwriters Jimmy Jam and Terry Lewis. The duo insisted that all recording and production was done at their studio in Minneapolis, MN.
"We required that they put her in our hands. We had to do it on our turf, with no bodyguards, no star trips and none of Joe Jackson's people hanging around making suggestions." -Jimmy Jam, 1987
Before any work began the three spent a week getting to know each other, while Jackson adjusted to life in Minneapolis.
"I told them my whole story, what I wanted to do. I told them about things that happened in my life and what I really wanted this album to be about. I said, 'I need you guys to help me express how I feel, to help me put my feelings out.'" -Janet Jackson, 1990
"We got into her head. We saw what she was capable of, what she wanted to say, where she wanted to be, what she wanted to be. We put together some songs to fit her as we saw her, as she revealed herself to us." -Terry Lewis, 1987
Despite her early hesitation, Jackson embraced the new environment and relationships, and discovered a creative path that would develop into a brand new blueprint for her career.
"I knew I wanted control – I still believe in creative control – but I soon saw that I'd have to give in order to get: give myself over to a creative environment that was different and even a little dangerous from anything I'd ever known." -Janet Jackson, 1993
One incident in particular forced Jackson to discover her own strength, and inspired some of the most personal, defiant songs on Control.
"The danger hit home when a couple of guys started stalking me on the street. Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense. Control meant not only taking care of myself but living in a much less protected world. And doing that meant growing a tough skin. Getting attitude." -Janet Jackson, 1993
Jimmy and Terry shared very little with anyone during the six weeks they spent in the studio with Jackson. They encouraged her to contribute to the album as much as she wanted (playing keyboards, etc.), and gave her space to learn along the way.
"Throughout the album her confidence grew and grew. She realized that she was the only one holding back her potential." -Jimmy Jam, 1990
From that confidence came an album that completely changed the musical landscape. Control presented Jackson as proudly standing on a platform built by many women before her, commanding attention and respect.
The sonic identity of Control so carefully crafted by Jimmy Jam and Terry Lewis created a new path for The Minneapolis Sound they had been so instrumental in developing. But Control was also a learning experience for the duo, and some things happened by accident.
"We recorded Control ourselves because we had an engineer who walked out on us. So a lot of things were recorded too loud and were sort of distorted. But it made for an interesting sound, because some of the things [were] fixed and some [were] left distorted. -Jimmy Jam, 2005
Not only did Jackson discover her own voice in terms of the messages she wanted to convey in her songs, but the combination of Jimmy and Terry's production with her developing vocal style became a signature element to Control's unique sonic identity.
"We had all these funky, hard-hitting tracks, and that was kind of our frame of mind, but then we'd give them to her, and she could pull them off because of her attitude and the way she sang, very forcefully, even with a soft voice. She had a great sense of rhythm. [Her voice] almost became part of the instruments. Part of the funkiness of the song was the way she would breathe, and the way she would attack certain words. All of those factors kind of went into making it work." -Terry Lewis, 2013
The visual identity of Control was lead by the cover and promo art by fashion photographer and illustrator Tony Viramontes (1956–1988).
Control also solidified Jackson as a music video star. The visions she had for her songs were brought to life via visual storytelling and intricate dance productions, thanks to innovative choreography by Paula Abdul.
"I'm very grateful, because this was really the big start to my career. You don't hear 'Nasty' and go, 'Oh, this is a dance jam.' This could define an artist completely, and I wanted to create something that would be signature moves but also define her as being in charge. This video was nerve-wracking for her, because she had never danced with just all guys. But I picked the best in the business, and everything came into place perfectly. I choreographed 'Nasty' in a half hour. And everything worked out." -Paula Abdul, 2014
"There was only one edit in [When I Think Of You]. Otherwise, it was all one take. I worked with Julian Temple, and we brought in Michael Kidd. It was an honor to be able to work with someone who was around during the MGM classics, who understood what we were trying to do. There were so many moving parts... It was insane! But it was so rewarding, and every member of that video — from production to every single extra to every dancer — felt like something huge was accomplished. It was big." -Paula Abdul, 2014
The lasting legacy of Control rests heavily on the combination of the album's sonic and visual statements. But Control is evergreen because of Jackson's messages, and the authenticity that is so present in the identity she embodies.
Janet Jackson's work post-Control seems fueled by a fearless creativity that was sparked the moment she arrived in Minneapolis. Through her bold artistic expression her voice was, and continues to be heard. Control is clever, confident, and empowering - just like Ms. Jackson.
So thank you, Janet Jackson. For everything.
So grateful for you, @rapsody! Today and every day. You are a wonderful, bright light in the world. Keep shining, love ✨♥️
What’s the saying about old habits.... . #thingstododuringtheshutdown #allcomingbacktomenow #musicnerdforlife
#grateful 🙌🏼💜 ・ #Repost @llcoolj ・・・ Shout out to @timothyanne for taking us on the best museum tour we’ve ever had!!! If you haven’t been to the @nmaahc you MUST visit!!! It is absolutely amazing!!!! 👑T3 #apeoplesjourney
#abouttoday / #tbt 11.30.17 / 08.25.16 . #nosleeptillnmaahc just because
#latergram When your friend perfectly captures a moment and you realize that she is even more dope than you already knew. 📸 @rapsody . . . #noiglonniebunch
In the Crosshairs: Chuck D’s Logo for Public Enemy
Did you know that Chuck D, the frontman of iconic rap group Public Enemy, trained as a graphic designer? Also known as Carlton Ridenhour (b. 1960), Chuck D graduated in 1984 with a Bachelor of Fine Arts degree from Adelphi University in New York.
What is now Public Enemy’s instantly recognizable logo was designed by hand by Chuck D in 1986, the year the group was founded. He notes that at the time, there were “no computer[s] or Photoshop” to build designs – only the essentials, like magic markers, white-out, and Exacto knives.
Sketch of the Public Enemy logo, Chuck D (American, b. 1960), October 3, 2015, ink on paper. Collection of the Smithsonian National Museum of African American History & Culture, Gift of Chuck D of Public Enemy.
The ink on paper drawing in our collection reflects the sketch-like quality that Chuck D’s early mock-up of the Public Enemy logo must have had. The emcee specifically created this drawing for display in our Musical Crossroads exhibition. While completing the sketch, he explained to Museum Specialist Timothy Anne Burnside that the central figure’s silhouette was sourced from a picture of E Love next to LL Cool J and the text was first laid out using a stencil.
While people sometimes interpret the figure as a state trooper because of his hat, he is actually a representation of an African American B-Boy. His hat references one worn by hip-hop group Run-D.M.C.
The target through which we view the figure is identifiable as the crosshairs of a gun sight. “The crosshairs logo symbolized the black man in America,” explains Chuck D. As the graphic emblem of the politically engaged Public Enemy, the logo blatantly portrays the violence suffered by African Americans at the hands of the police and the state – in the eighties and still today. It also calls attention to Public Enemy’s role as, in Chuck D’s words, the “black CNN,” addressing issues of racial inequality that were otherwise overlooked by mainstream media.
To reflect Public Enemy’s political bent in the group’s overall look, Chuck D drew inspiration from bands like the Rolling Stones and Led Zeppelin, whose identities encompassed more than just their sound – but also their “sight” and “story.” From their logo to their album covers and uniforms, Public Enemy’s identifiable branding stems from Chuck D’s thoughtful initial design.
“When it came to be around that potential time of making logos, I wanted to make something that understood what a logo could do, you know? Look at the Rolling Stones. The tongue and the lips say it all without you looking at the font. I wanted to be able to make something that detaches. I don’t think there’s too many logos out there that don’t deal with a font, that you can detach and know what it is. Wu-Tang is still the W, but that kinda comes close. But Public Enemy… no font whatsoever. Circle with a man, you know what it is.” -Chuck D
We don’t often stop to consider the impact of design elements like logos on our daily lives. These graphics shape our perceptions and understanding of the world around us. For entities like Public Enemy, who take on a radical position, visual choices become tied to activist engagement.
If you were to design a logo for a band today, how would it reflect our current political reality?
Check out more Public Enemy objects in the collection here.
Written by Maeve Coudrelle, Ph.D. student in Art History at Temple University and Summer 2017 Smithsonian Latino Museum Studies Program Fellow.
#latergram When @a3cfestival provided a space for us to talk about the ever-present activism in @outkast’s body of work. Thank you @redclayscholar and @thedrjoyce for a super fun and insightful conversation, and @djjaycee313 for coming through with the sonic illustration ;) #A3C17 #ActionSummit #36HoursinATL . 📸 of me and Dr. Bradley being serious scholars by @rufusscott (at Auburn Avenue Research Library on African American Culture and History)
Collecting Hip-Hop History
How can history museums include stories about hip-hop? Should they? What does it mean for hip-hop to be at the Smithsonian? Hip-hop is featured in multiple exhibitions in the NMAAHC, and this October, we aim to illuminate a few of those stories. Join Museum Specialist Timothy Anne Burnside on a Hip-Hop tour of the Museum on October 17th, 2017 from 9 am - 11 am. You’ll visit our “Beyond 1968,” “More Than A Picture,” “The Power of Place,” “Cultural Expressions,” and “Musical Crossroads” exhibitions. Timothy will showcase select objects related to hip-hop, share stories about how and why these objects came to the museum, and illustrate their significance within historical and contemporary narratives about African American music and culture. #HipHopHistory To engage audiences beyond the walls of the museum, we are hosting a tweetup! A group of social media users and history fans will be selected to attend the event as they share their experiences online for our digital audiences. Register your interest in attending the social by Monday, October 9, 2017. Even if you are not selected for this social, you can follow online and participate in the online discussion it generates.
Apply today! s.si.edu/2fJHzht
Join me for a #hiphophistory tour!
#latergram #48HoursinWI Quick trip home for two talks at Northland College. I miss winters on the lake. #anotherdayanotheralmostallblackdress
08.11.1973 (at 1520 Sedgwick Avenue)
- Michael Brown Jr. 5.20.1996 - 08.09.2014 . Banner carried to protest the killing of Michael Brown in Ferguson MO, 2014. Collection of the @NMAAHC, Gift of Bryan Walsh and Emily Bland. #APeoplesJourney (at Smithsonian National Museum of African American History and Culture)
#AAAM2017 I'll be participating in a panel discussion about presenting power & possibility via museum work Wednesday at 8am. Come say hello. Maybe bring coffee. (at Capital Hilton)
👩🏻🏫📚 #Repost @amypoehlersmartgirls ・・・ "#AWrinkleInTime is this beautiful example of creating this other world, but it's a world that is completely relatable." -@TimothyAnne, Curatorial Museum Specialist at @NMAAHC ✨#FridayReads (Thank you @directher!)
