*content warning, use of n-word
Normani, Willow and Lizzo finally dropped their long-awaited singles this summer and I want to talk about it. I’ll barely review the work; I’m more interested in a sociological analysis of their presence in pop culture, especially as symbols of rebellion. Yes, even as pop artists.

Normani

Song: Wild Side ft. Cardi B

Release date: July 22, 2021

Genre: R&B

Last solo single: Motivation (2019)

What makes her return highly anticipated: Normani went fairly ‘silent’ after the release of Motivation, only making appearances in Birds of Prey soundtrack Diamonds (2020) – a collaboration with Megan Thee Stallion – as well as a cameo in the oh-so-infamous WAP music video. Since leaving Fifth Harmony, fans have been betting on Normani as the group's ‘dark horse.’

Normani. I love Normani. She first caught my attention, probably sometime in 2015 at peak success of Fifth Harmony’s single Worth It. I remember watching her dance on stage during one of their performances and just being captivated by her moves. She had it. 

I’ve championed Normani since she began pursuing her solo career. And like many others, I champion Normani because she is the unambiguous Black pop star representation we never had growing up. And, I think this is where a challenge presents itself when it comes to being objective, especially when you relate to an artist's plight; I want her to win so bad. She’s a phenomenal dancer, and her visuals are always A1, whether you’re talking about the video, or herself.

Wild Side’s impact on me was the same as many of her previous singles. Visuals amazing, but the song was just okay. Normani hasn’t put out anything that has topped Love Lies (2018), as far as a song with replay value goes, in my opinion. I would say Motivation is a close second, it’s a bit sweet (and I love sweet), but it’s infectious. 

The biggest criticisms I want to address with Normani are her lack of individuality, her voice or lack thereof, and being accused of using sympathy to progress in her career.

Now that we’ve had the chance to see Wild Side’s impact, many are wondering if Normani has the ‘it’ factor, not one that makes you a great dancer or performer even, but one that has the whole package. 

About her voice – not always, but I think a lot of times, that critique is colorist. It gives me very much – back in the day when that person in your predominantly white/non-Black friend group had every reason not to like you and you could just tell they were racist. But they were too much of a pathetic coward to just admit that they don’t like Black people. And no I’m not delusional, Normani is no Jennifer Hudson, but I’m not going to bother bringing up all the artists that are less talented than her that get a pass in pop, rap and even R&B. 

Now onto valid criticisms. Talking points that concern Normani not having (smash) hits? Fine, I concede. Normani not having a strong public persona? Sure, I guess? Identity? I mean, her identity is sex (appeal), but whose isn’t?

Normani dealt with some foul shit in Fifth Harmony. And the worst part is that the more she speaks up about her experiences, the more she’s accused of using sympathy to advance her career. Which makes me wonder: at what point do you stop talking about the things that have impacted you and just soldier on? Not that you can ever win. Being marginalized is a part of your story and part of the reason why people invest their energy into building you up, but it’s the very thing that puts a target on your back, and in some fucked up way, that’s exactly what makes you noteworthy.

So out of this list, I think Normani probably had the highest anticipated ‘comeback’ and unfortunately, as far as pop(ular) standards go, I don’t think it was the cultural shift she was hoping it would be. I’m having a hard time writing about her because I want to be fair and honest, but I also want to breathe hope and positivity into this situation. So my biggest question: is her lack of success because the general public just isn’t choosing her? I mean, you can be an industry plant all you want (not that she is), but if the people don’t want you, they just don’t want you. 

Or are the obstacles set by the industry just too great for her to overcome? What are the right ingredients for a dark-skinned superstar who can compete with heavyweights of the late 90’s and early 00’s including Britney Spears and Christina Aguilera – even considering that the industry has changed?

I stole the following advice from Empressive – in light of finding out Normani hasn’t been invited to the 2021 VMAs (at least not yet) – and she’s right, other artists like Chloe Bailey and Doja Cat have used their online platforms to put on their own performances, giving them what Normani has lacked in her career: consistency. Innovation comes out of struggle, screw the VMAs put yourself on.

Willow 

Song: t r a n s p a r e n t s o u l ft. Travis Barker

Release date April 27, 2021 

Genre: pop-punk

Last solo single: Romance (2017)

What makes her return highly anticipated: I wouldn’t consider Willow Smith’s return highly anticipated, at least considering her profile among these three artists. But the thing getting the people talking is her genre choice – especially with the backing of pop-punk veterans Travis Barker and Avril Lavigne. And, I’m sure she’s dying for a moment to, once and for all, eclipse her biggest hit Whip My Hair – which she hates.

Willow is credited, by some, for being a part of the pop-punk revival, and transparentsoul is Willow’s first major release in a while. In my mind, this single and subsequently released album Lately I Feel Everything was meant to stamp her as a pop-punk artist. But I actually didn’t realize Willow was on this pop-punk track, until I dug through her discography. 

I watched her Genius video for the song, so I know she’s connected to it. But transparentsoul is run-of-the-mill compared to previous releases and other songs off of Lately I feel Everything (which is a great album, by the way). This particular song just isn’t doing anything worthy of being called groundbreaking. And I guess the theme of this piece is: is being of a marginalized identity in a predominantly white genre enough to call yourself groundbreaking?

I said Lately I feel Everything was meant to stamp Willow as a pop-punk artist because, well, she literally received the ultimate stamp of approval from pop-punk god(esses) Avril Lavigne and Travis Barker.

One critique I want to address comes from Jon at Beyond ARTV who questioned Willow’s authenticity (among other artists “riding out” the pop-punk revival wave). He doesn’t want to discount Willow’s feelings, you know, as a human being. But to him, “[the music] just doesn’t feel like it necessarily has a soul.” 

Well, for one, her own mother was lead singer of nu-metal band Wicked Wisdom, so the idea of Willow being interested in any kind of rock isn’t far-fetched. Also, by that logic, does it mean that once an artist finally gets it out the mud, they should leave the genre because their lives no longer revolve around the struggle? What about intersectionality? While Willow Smith is rich, I know she’s been called all kinds of n*ggers in her life. Well, I’m speculating. But, she did witness the vitriol her mother endured on tour. Is that not a valid source of angst to pull from? Is being on the shit end of the class struggle the only thing that validates you as a rock star? How about so-called punks who call themselves fighting against the system, but are whole oppressors/white supremacists themselves? 

To be clear, I am absolutely not implying that Jon’s criticisms are racist. These are genuine questions from a non-authority with an admittedly timid commitment to the genre. But, in my opinion, having your humanity challenged is a rite of passage for entry into any historically rebellious genre.

So after being away for a while and making her presence known as part of this pop-punk revival, what impact does Willow really have as a Black girl in rock? Well, so far, there’s no evidence that one drop shatters the dam. Fefe Dobson, didn’t really usher in a wave of Black/biracial pop-rock stars, not in the way that Nicki Minaj ushered in all her sons. I believe that in spaces where you were never really wanted in the first place, they’ll let in the exceptional (ex: Diamond Rowe of Tetrarch, the first African American woman to grace the cover of mainstream guitar magazines), but you’ll have to be exceptional, and maybe that includes a little class privilege. 

I’m dying to know this (as in literally email me and tell me your thoughts if you have the answer): is the lack of representation of Black girls in rock the reflection of a lack of interest in the genre? Are we interested and shut out? Or do we anticipate being shut out, so we’re just not interested?

Lizzo

Song: Rumors ft. Cardi B

Release date: August 13, 2021

Genre: Pop

Last solo single: Cuz I love you (2019)

What makes her return highly anticipated: Lizzo is a symbol of body positivity in an arena where the (white) slim body reigns as the standard of beauty. After receiving backlash for announcing her cleanse in 2020 (which she sarcastically acknowledges in Rumors), the intrigue with Lizzo (other than her ability to produce bangers) is whether she is stuck in the ‘fat girl’ lane. In other words, is the sustainability of her career contingent on her size, and therefore being that symbol of body positivity?

Out of these three artists, I have to say Lizzo wears her identity on her sleeve the most. Rumors. Well, at this point, you know you’re gonna get body positivity on a Lizzo track. And funny enough, although I do feel like it's a bit of a random nod – she references Godmother of Rock ‘n Roll, Sister Rosetta Tharpe in the video, singing the line “Black people made rock ‘n roll.”

After the release of Rumors, Lizzo was accused of being “a mammy for the white gaze.” Lizzo has been around for a while, but apparently her career didn’t take off until she started dressing ‘provocatively.’ I’m pretty sure I heard this take during an Armon Wiggins call-in show, but it’s been too long ago for me to even attempt to look for the particular show in order to reference it here. 

Whether you believe Lizzo is selling her marginalization or not, the desire to interrogate how much of Lizzo’s success is fueled by her talent versus her identity isn’t completely invalid. After being away for a while, the controversy she’s currently in the midst of shows that even if you’ve decided to wear your identity on your sleeve, after years of rejection, with the intent of empowerment, the general public will still project their shame onto you. Lizzo dispelled the mammy accusation by pointing out that the mammy was stripped of her sexuality, while Lizzo freely expresses hers. And if Lizzo is truly being herself, that is, simply existing in a fat body, it’s truly a shame that she can’t just be.

The Main Takeaway:

So the common thread here lies in the question: is being of a marginalized identity in a predominantly white (or light skinned, or racially ambiguous) genre enough to call yourself groundbreaking? 

It takes a certain grit and courage to knowingly place your unwanted body in the line of fire. That being said, when artists are labeled groundbreaking because of their identity, they not only become bound to said identity, but they also receive intensified backlash because of that identity 1. from members of their community, or even others, who want them to be the perfect representation and 2. from those outside their community, and even within, who stay mad that said artist has the audacity to assert themselves and take space in a world that was never meant for them. 

Sources:

Willow

https://en.wikipedia.org/wiki/Transparent_Soul

https://en.wikipedia.org/wiki/Willow_Smith_discography 

Normani

https://en.wikipedia.org/wiki/Normani_discography 

Lizzo

https://en.wikipedia.org/wiki/Lizzo_discography 

https://en.wikipedia.org/wiki/Cuz_I_Love_You 

https://genius.com/23733330