Calling Erykah Badu’s Baduizm a better blueprint than it is an album isn’t meant to diminish its impact.
Writer-director Steven Caple Jr.’s social-realist tendencies run up against some unconvincing genre elements.
If it’s all not quite enough to declare a new golden age, it’s certainly cause to be eager for what lies ahead.
“Take a Walk” exists in that rare category of catchy, danceable music.
If “All the Rowboats” isn’t the first song to anthropomorphize the contents of a museum, then it’s at least one of the best.
Here, only Angela Davis, the most academic of the talking heads (in an ironic twist) can match William Kunstler’s unapologetically heartfelt fire.
Universal still hasn’t gotten with the times, hence this barn-burner of a video having been pulled from YouTube.
Erykah Badu’s psychological rebound so far outpaces the litany of social ills she explored last time around that it’s frankly off-putting.
Due to semi-popular demand, we’ve decided to post #101—250 of both our Best of the Aughts: Albums and Best of the Aughts: Singles lists.
Pointing out that her sister is one of her backup dancers, Badu was often prone to sitting back—legs crossed, head bopping—and allowing others to hog her spotlight.
Erkyah Badu’s New AmErykah: Part One is some cracked, urgent, just plain weird boho avant shit.
Michel Gondry’s film is a casual mix of live hip-hop and man-on-the-street stand-up.
It’s awkward and atrocious in equal measure, though still possessing a somewhat admirable earnestness and sincerity.
Erykah Badu’s Worldwide Underground is less daring than it is just plain indulgent.
To Badu, music equals inspiration.