The celebration of the backside of the Black female form — from Saartjie Baartman in 1810 to Fergie in 2010 — is a fascination of cultural values that has been amalgamated in mainstream music for fifty years. In the 1960’s, the celebratory code phrase for the pleasing female “big butt” was “big legged” and I suppose there’s some anatomical sense to be made from that rising frustration: If you have big legs, then your butt has to be even bigger to better negotiate your sense of balance. In the late 1960’s, Blues sensation Albert King immortalized the “Big Legged Woman” in his ovaric song, “Born Under a Bad Sign.”
“The Miracle Worker” is making a revival run on Broadway this Winter and the unfortunate news is that the role of Helen Keller will not be played by a Deaf or Blind actress, but rather by Hearing child actress Abigail Breslin.
I was innocently listening to the radio yesterday when a song popped on the public airwaves called “Don’t Trust Me” by 3oh!3. Here is part of the disgusting lyric set to a bouncy beat and a bubblegum melody:
Don’t trust a hoe
Never trust a hoe
Won’t trust a hoe,
Won’t trust me!
Shut your lips
Do the Helen Keller
and talk with your hips
“Black” is one of those movies you yearn to see again and again and you can never ever quite get the story out of your head. The movie is a love story of self-discovery and education for a Deaf and Blind woman who does not speak. She lives in an internal darkness. She wants a way out into the light of the world. The box for the special edition of the DVD is pocked with Braille dots you can feel with your fingertips, thus creating a temptation, and an expectation for the drama of learning to come: