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DESSY DI-LAURO
“I’m a lot more playful on stage, and it’s more of an acting thing that I do. It’s not really like theatre, but I’m very animated…”
Published
4 years agoon
By
Contributor
When you can’t slot an artist into a single, specific genre, you know that you’re dealing with a unique and creative musician. In harmonizing the sharp beats of 1920s jazz and retro with a thumping R&B groove, Dessy Di Lauro and her partner Ric’key Pageot fit the bill! The duo created a fresh, unique sound that’s rich with history and culture, dubbing it as “Feathered Frohawk Futuristic Art Deco-Centric Harlem Renaissance Hep Music.” With Dessy’s electric voice and Ric’key’s sharp production skills, the groove factor of Dessy’s latest album, This Is Neo-Ragtime, is set to full-blast and never drops for a second, giving rise to a delightfully infectious album that is sure to get you tapping and swaying along to the blare of trumpets, the stride of a piano and Dessy scatting. Dessy moved to the U.S.A. from her hometown Montreal, Canada to perform on two spectacles with the prestigious Cirque du Soleil, in-between which she released her first solo EP, A Study of a Woman’s Soul. Dessy’s single Why U Raggin, which appears on the This Is Neo-Ragtime album, won the Hollywood Music in Media Award for Best R&B/Soul Song in 2010. She currently lives in Los Angeles with Ric’key, where she regularly performs with her Neo-Ragtime Jamboree at Harvelle’s Nightclub. Her shows are eclectic productions that beam the audience to a sort of parallel universe complete with headpieces, garters, a taste of steampunk fashion and a fresh take on a remarkable period of music.
TVM: Is being a musician something you always wanted to do?
Dessy Di-Lauro: Pretty much. I would say that when I was about five years old, it’s something that you instinctively know! My mom heard me sing and put me in a choir not too long after. I got my start very early at that age. I was totally emerged in music. All I wanted to do is sing all the time and perform. I guess it showed because my mom put me in a choir not too long after that.
TVM: I read that your parents were into a lot of old school music. What kind of genres were you exposed to during your childhood?
DDL: I was exposed to so many different genres. My background is Cuban/Italian/Brazilian, and I was born in Montreal. It was a mix of all those cultures that influenced me. I listened to a lot of Bossa Nova, Salsa, and Afro-Cuban but primarily, my main influence was Gospel. I grew up in a Pentecostal home and also being in a choir, I listened to a lot of Gospel music. My mom’s favourite stuff was soul music, R&B, Gospel, and jazz so those were the main musical influences in my house. [My family] also listened to very old stuff from the 20s and 30s. Vinyl records got passed down through generations in my family. We had this incredible collection of vinyls that were from the 1920s and 1930s, like Cab Calloway, Duke Ellington, Fats Waller all this kind of old stuff also influenced me, stuff that I am now recreating and making my own through my music. I am so blessed to have had this incredible spectrum of music in my house.
TVM: So you were born in Montreal, but you went to the States to perform with the Cirque du Soleil.
DDL: Yes! I left to work with Cirque du Soleil’s La Nouba in Florida. That was my time to branch out. Being from Montreal I was supposed to know what Cirque du Soleil is because everybody else does [laughs]. I didn’t know what Cirque du Soleil was at all. I had no idea what this company did. I just thought it was some typical circus kind of thing. So when they called me and said that there was music, I [realized that I] knew some of the musicians that were in the band because they were from Montreal and I had worked with them before. [Cirque du Soleil] was looking for a hip hop singer. I was not really a hip hop singer! I sang choruses for hip hop groups, [for example] I had written music for Dubmatique and I sang on their project, but when I think of hip hop, I think of rap and it’s not my thing. So I went into the head office for Cirque du Soleil and I had a brief audition. They loved what I did and hired me. It was a pretty amazing experience with Cirque du Soleil. I’ve never worked with acrobats and I’ve never been in that kind of context, so it brought a theatrical aspect to what I do know that I integrate in my own shows. It was very good for me, it was very nurturing and I got a lot of theatrical experience out of it.
TVM: You started out with La Nouba and you later worked on Delirium with them. Performing and singing on the Cirque du Soleil stage is a very different experience than that of a singer/songwriter, and you mentioned that you did learn some things from those shows. What did you learn specifically and what are you applying to your shows right now?
DDL: I would have to say the biggest thing is playfulness and theatricals. My show is a very specific style of music, and it’s my own sound. My husband Ric’key Pageot and I, we created this sound which is a mix of 1930s Harlem Renaissance music mixed with today’s contemporary R&B, and a little bit of hip hop. We all dress up and the show, it’s an entire experience. With the Cirque, I played five different characters on Delirium. I had to change personalities for each [character]. So with all of that, it got me really comfortable to come out of myself and push myself more. I’m now taking dance lessons because there was a dance influence as well. I’m a lot more playful on stage, and it’s more of an acting thing that I do. It’s not really like theatre, but I’m very animated, so that’s what [being a part of Cirque du Soleil] brought.
TVM: Very cool! As for the sound that you created, you describe it as “Feathered Frohawk Futuristic Art Deco Centric Harlem Renaissance Hep Music”. It’s a mouthful! Can you give some insight into what sounds and elements make up your music and what makes this sound you?
DDL: My partner and I tried to figure out how to take an old sound and make it new. The ragtime influence and the 1930s influence is a lot of stride piano; it’s a certain style of piano playing. So we took that element and flipped it with heavy hip hop beats. For example, we do Cab Calloway’s “Minnie the Moocher”. We took that and threw in a really heavy hip hop beat, added a soulful voice and mixed it with a scat, which is an element that is almost inexistent nowadays. It’s done in a modern way that is true to me. I don’t copy anybody or emulate anybody. It’s truly a combination of these elements; “neo” meaning “new”, but “old” is also one of the elements. Another element is branding. It’s really important for me. My style of dress and what you see image-wise is that same combination [as my music]; it’s futuristic, but it also has all these elements of 30s. Everything is a mix of neo-ragtime, stride piano, hip hop, the heavy beats… It’s a little more on the electric side than what it used to be back then. This is a perfect mesh of the old and the new.
“…it’s always hard being the first coming up with something new. You need to feed it to people constantly and once they hear it and grab onto that, then they’ll latch on.”
TVM: So you pull from old and new, and so many different genres. Who are some of your top musical inspirations?
DDL: Cab Calloway, Duke Ellington, Luther Vandross, Whitney Houston, Sarah Vaughan, Lauryn Hill, Donnie Hathaway… Outkast and A Tribe Called Quest are my hip hop influences. That is my sound; it really is a combination of all those people in one.
TVM: How did you first start on the music path in Montreal? Did you start playing gigs and gain momentum from there?
DDL: Yes! In school, I started hooking up with friends and we started writing and playing around. I had this really natural knack of writing songs, melodies and lyrics. I kept doing that and eventually, I did a year of fashion design at LaSalle College, but I was already branching out, checking out the scene and listening to different singers. At that time, I was totally emerged in Coco Thompson. She is one of my favourite singers in Montreal. She is one of my biggest influences and she’s like a sister to me; she’s my best friend. I was so enamoured with her voice that I’d go see her every weekend. Eventually, she would start bringing me up on stage. That was how I got my beginnings. After that, it was Alan Prater, where I joined their group with Coco and started singing with CoSoul. I was aggressively pursuing it. I wanted to soak up as much as I could in the Montreal scene. There is so much talent in Montreal and I wanted it all. I needed to be a part of it. That’s how I got my start.
TVM: Fast forward to 2013, you released your second album This Is Neo-Ragtime.
DDL: Yes! The first one was Study of a Woman’s Soul which was an EP, but this one is the first sophomore full length album
TVM: It’s a production that you worked on fully by yourself with your husband Ric’key Pageot. What were some of the challenges you encountered in its coming to life?
DDL: I wouldn’t say it was a challenge because it kind of happened naturally. He’s influenced by the 30s and I’m influenced by the 30s, so we knew we had to make it fresh and new and give it a new sound. It came naturally. Neo Ragtime is our love, our passion. That’s all I want to live and breathe every day. I love performing and I love writing songs because it just comes naturally to us both. I’d say the one big challenge is after we recorded the album. [We thought], “How are we going to sell this sound? It has never been done before.” People are used to hearing what they are used to, and it’s always hard being the first coming up with something new. You need to feed it to people constantly and once they hear it and grab onto that, then they’ll latch on. So my catchphrase, “Feathered Frohawk Futuristic Art Deco Centric Harlem Renaissance Hep Music”, when people hear it, they are so intrigued that they will listen to the music, so that catchphrase was really important when sending [the album] out to different companies and different promotional websites. The 20s is a style of music that has disappeared in history. The one thing people know about the 20s is the Great Gatsby; musically, they have no clue. So we realized that we have to have a historical background whenever we introduce our music to people. We need to describe and let people know where it comes from, where the passion comes from and who the people doing it back then were. Cab Calloway was the original MC as far as I’m concerned. He was the original scatter; he was the original band leader with a whole lot of swag doing it on a whole other level. It was a musical freedom and expression that was all new back then, but has lost itself right now. People bring back 50s music, they bring back 60s music, they bring back disco music, they bring back funk, but it never goes as far back as the 20s. As far as the album, the music, and creativity that’s the fun and easy part. It’s the stuff that comes after it’s done that’s the hard part.
TVM: The first part comes naturally.
DDL: Yes! The creative part always comes naturally. Nowadays, you have to do everything as an artist, not only create. You have to have your business, marketing and social media caps on. You have to wear your branding cap. It’s not just about opening my mouth and singing and writing music; it’s so much more.
TVM: What do you enjoy writing about?
DDL: I always write personal stories or stories surrounding my friends, family or acquaintances. What I write about is always near and dear to me, and there is always a message of love. The general consensus of the album that everybody comes to me with is that it’s very empowering for women; it’s about strength, power, relationships, love, disillusionment in love… So it touches many different topics. I would say the most common thread throughout is very powerful. It’s also about my struggles as an independent artist, like [the song] “Lost in the Jungle” is about that. “Popularity contest” is [also] about that. The music industry has changed so much that talent doesn’t stand on its own anymore. You can have 2 million hits on YouTube regardless if the product is good or bad. So I talk about all that [in my songs]. I keep it personal to bring people into my world and share my experiences.
TVM: You’ve had the opportunity to work with a lot of great bands and great producers. What is your most memorable experience or performance?
DDL: Wow! That’s a great question! I may have three [amazing performances] because that’s a really hard one. I’d say one of them was in 2004. We did a Jazz Fest in Montreal that was one of my highlights.
The second one was at the Blue Note Jazz Festival in New York City. Blue Note is world-renowned; so many great legends have performed there on that stage, so it was really humbling and an honour that they would ask me to perform. The third one would be starting a residency here in L.A. It’s a full-on show we started in January 2014 and it’s been really good.
TVM: The audience must feel like they are taken back in time.
DDL: They are, but they’re also not. I tell people that it’s not a novelty thing where you feel like you’re being transported to the 20s. It really has this fresh take on it. We have a lot of people [from the audience] dance at our shows. At first, it takes them a minute to switch and say, “Okay! We can get down to this.” Visually when you see it, you get that aspect [of being taken back in time], but when the music starts, it switches.
TVM: Your performances are so high energy, how do you keep it up throughout the show?
DDL: I’ve just gotten used to the pace. Thank God I work out (laughs). Eating right, exercising, and dance rehearsals help. After the first initial shows went by, then it’s like riding a bike – it just kicks in. Some nights, I perform two sets of an hour and fifteen minutes. We’ve also already done two and a half hours straight. It’s intensive, but once you’ve done it a few times, you say, “Oh, it’s easy breezy!” I’m conditioned for it now but the day after, I’m exhausted (laughs).
TVM: Being so exhausted after a show, what do you do to stay healthy and keep your voice healthy?
DDL: I make sure that when I’m on the show, my sound is impeccable because usually, what will do me in is my high-energy band. I have a 3-piece horn section, so I need to be heard above that, and it can get pretty loud sometimes. The energy goes up and that’s a great thing, but I have to make sure that I can hear myself. The important thing, especially for up and coming artist, is don’t ever wreck your voice during a performance because that can be detrimental to your vocals for the future. A lot of singers wreck their voice during performances, and then they get nodules and they can’t sing, or have to get operated. It can ruin your career. I really make it a point to take a little more time to make sure that I can hear myself breathe on the mic so that I know that I’m not pushing to the point where I wreck my voice. Singing has to be like talking. If I’m having a conversation, it’s easy; I’m not forcing, and that’s how singing has to be.
TVM: Do you work with a vocal coach?
DDL: I don’t! I never have. My vocal training came from listening to a lot of music and emulating horns. I would copy what the horns were doing and I would copy what a vocalist was doing. I’d try to change my tone. So I never had any kind of vocal training; [I had] street training, that’s what I call it.
TVM: Do you have any kind of warm-ups or practices that you do?
DDL: For my vocal warm ups, I sing along to specific stuff, like Mariah Carey, Whitney Houston…I do some opera stuff, like Ave Maria; that’s great for technique and stretching the vocal chords out. Then, I put on a jazz song and scat to it. I do about one hour of warm ups before a show and that usually opens me up.
TVM: What do you eat before a performance or what do you avoid eating before a performance?
DDL: (laughs) I’m not one of those singers. I eat everything! I eat peas, chocolate bars… Yeah! Once my voice is conditioned, food does not affect it. What I don’t do is drink. I don’t drink until the show is over, then I will have my cognac. Anytime I drink, it dries out my throat. Drinking really affects me. [Before a show], I need to have a stick of gum and water, and I’m good to go. I can have cheese before I go on. They say that dairy products are not good, but I am not one to follow those rules. It doesn’t affect me.
TVM: I read that you used to be shy but from watching your performances, I don’t get that sense at all. How did you overcome that?
DDL: L.A. (laughs). Moving to L.A. is when I overcame my shyness because if I wanted to stand out, I needed to bring it. When I came to L.A, there was nothing but amazing talent here. The level is high, so I had to figure out fast how I was going to match that and go beyond. I had to come out of my shell fast; no thinking about it, just doing it. L.A. really changed me as a performer.
TVM: You mentioned the residency you started in January. In addition to that, what are you working on right now? What can we expect to see in the near future?
DDL: Well right now, we are working on a single. We do a cover of “Crazy” by Gnarls Barkley, but we do it Neo Ragtime. It has gotten such great reactions at our shows. After seeing the reaction and people asking for it, we decided that we were going to record it. We’re almost done the single, so be on the lookout for that probably in the fall. I will also probably be doing a crowd fundraising for an album and video release because we are totally independent. We finance ourselves and it comes to a point where it gets a little difficult to do that, so we are going to need the help. An album is in the works, probably for February 2015. There’s a lot of stuff doubling up right now, so the next six months to a year is a really exciting time. We’re looking forward to putting out a follow-up album.
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From “Killing Me Softly” to a Federal Sentence: The Pras Michel Saga and the Peril at the Intersection of Music and Politic.
This is more than just the fall of a celebrity;
Published
3 months agoon
November 26, 2025By
Contributor
The story of Pras Michel is a modern American epic, a dizzying arc that travels from the pinnacle of 1990s cultural influence to a federal courtroom and a 14-year prison sentence. It’s a tale that encompasses the birth of a legendary hip-hop group, global stardom, a foray into political kingmaking, and a stark warning about the dangers that await artists who venture into the shadowy world of high-stakes politics.
This is more than just the fall of a celebrity; it’s a case study in how fame, money, and political access can create a perfect storm, leaving a artist vulnerable to manipulation and, ultimately, destruction.
Part 1: The Formation and Ascent of the Fugees
In the early 1990s, in the suburbs of New Jersey, a unique musical force was taking shape. Prakazrel “Pras” Michel, a Haitian-American, teamed up with his cousin Wyclef Jean and a phenomenally talented vocalist named Lauryn Hill. They called themselves the Fugees, a truncated version of “refugees,” a nod to their diverse, immigrant-rooted backgrounds.
Their 1996 sophomore album, “The Score,” became a cultural earthquake. It was a masterpiece of fusion—blending hip-hop, soul, and reggae with socially conscious lyrics and impeccable artistry. With timeless hits like “Killing Me Softly,” “Ready or Not,” and “Fu-Gee-La,” the album sold over 17 million copies worldwide, making the Fugees one of the best-selling hip-hop groups of all time. They weren’t just musicians; they were global icons, celebrated for their intelligence, their message, and their sound.
Part 2: The Solo Path and the Lure of Politics
After the group’s acrimonious split and the members’ pursuit of solo careers, Pras’s path diverged. While he had a solo hit with “Ghetto Supastar (That Is What You Are),” his focus began to shift from the recording studio to the corridors of power.
Pras leveraged his celebrity and wealth to become a player in Washington D.C.’s political scene. He became a regular at fundraisers and galas, cultivating relationships with powerful figures. This was the era of “celebrity politics,” where a star’s endorsement could bring glamour, youth appeal, and significant fundraising clout to a campaign.
His most notable foray was his fervent support for a young, charismatic senator from Illinois: Barack Obama.
Part 3: The Crime: A Web of Illegal Donations and Foreign Influence
This is where the story turns from one of ambition to one of alleged crime. In April 2023, a federal jury convicted Pras Michel on 10 felony counts, including:
- Conspiracy
- Acting as an unregistered agent of a foreign government (China)
- Witness tampering
- Funneling illegal foreign contributions into the 2012 Obama re-election campaign.
The prosecution laid out a complex narrative. They alleged that Pras, seeking influence and financial gain, became a conduit for the Malaysian financier Jho Low, the alleged mastermind behind the massive 1MDB scandal that siphoned billions from a Malaysian state fund.
The scheme was intricate. According to the Justice Department, Low transferred millions of dollars to Pras. Michel then used that money to orchestrate a “straw donor” scheme, bundling illegal foreign contributions into Obama’s 2012 campaign. The goal? To buy access and influence for Low, who sought the administration’s help in quash a Justice Department investigation into his activities and to have a Chinese dissident forcibly returned to China.
Pras was accused of being a “foreign agent,” using his American celebrity as a smokescreen to advance the interests of a fugitive financier and the Chinese government.
Part 4: The Danger: When Artists Are Manipulated by Politicians
The Pras Michel case is a cautionary tale about the vulnerability of artists in the political arena.
- The Currency of Access: For a politician, a celebrity like Pras was a valuable asset. He could open doors, attract media, and, most importantly, raise money. The system incentivizes this relationship, but it provides few guardrails to protect the artist from its pitfalls.
- The Asymmetry of Power: An artist, no matter how famous, is often a novice in the ruthless, byzantine world of geopolitics and campaign finance law. Politicians and their operatives are experts in this field; celebrities are not. This creates a power imbalance where the artist can easily become a pawn, used for their brand and bank account without fully understanding the legal and ethical minefields they are crossing.
- The Allure of “Being in the Room”: For some artists, the thrill of moving from backstage to the Situation Room is intoxicating. This desire for real-world power and relevance can cloud judgment, making them susceptible to the flattery of powerful figures like Jho Low, who offered a taste of that world in exchange for services rendered.
While Pras maintained his innocence, claiming he was being scapegoated, the jury found that he had crossed a line from being a political supporter to an illegal operative.
Part 5: The Take for the Future
The sentencing of Pras Michel to 14 years in prison sends a powerful message. So, what are the takeaways for the future of music, politics, and their dangerous intersection?
- For Artists: Fame is not a shield. The laws governing political donations and foreign lobbying are strict and carry severe consequences. The desire for political influence must be tempered with rigorous legal counsel and a deep understanding of the boundaries. Authentic activism is one thing; becoming a paid conduit for foreign interests is another.
- For the Political System: The case highlights the perpetual vulnerability of the campaign finance system to illicit foreign money. The use of straw donors and shell companies remains a critical weakness in American democracy, allowing foreign actors to potentially influence policy through proxies.
- For the Public: It forces us to look more critically at the relationship between celebrity and politics. A famous endorsement should not be taken at face value; it’s essential to ask what motivations and funding might lie behind it.
The legacy of the Fugees is now permanently shadowed by this scandal. Where once their music spoke of unity and social justice, one of its creators has been convicted of conspiring against those very principles for money and access. The saga of Pras Michel is a tragic reminder that the transition from cultural icon to political player is a perilous one, fraught with legal traps and moral compromises that can ultimately silence the artist for good.
Business
My Hair Is Killing Me: Examining the Health Impact of Synthetic Braiding Hair on Black Women
Black women report symptoms that go far beyond mild irritation.
Published
4 months agoon
October 31, 2025By
Contributor
For generations, braided hairstyles have been a cornerstone of Black culture, symbolizing everything from social status and kinship to personal expression and resilience. The use of synthetic braiding hair has made these protective styles more accessible and affordable than ever. However, in recent years, a growing number of women have reported concerning reactions to the hair, leading to urgent questions about its safety.
This article delves into the potential health impacts of synthetic braiding hair, examining the ingredients, the reported issues, and the crucial recommendations for making safer choices.
The Problem: More Than Just Itchy Scalp
While a little itching when first installing braids is common, many Black women report symptoms that go far beyond mild irritation. These can include:
- Severe Scalp Dermatitis: Intense itching, redness, swelling, and flaking.
- Bumps and Blisters: Painful, pus-filled bumps (folliculitis) along the hairline and parts.
- Hair Loss: Traction alopecia from the style’s tightness, compounded by inflammation that can weaken hair follicles.
- Scalp Burns and Sores: A sensation of the scalp “burning” or “crawling,” sometimes leading to open sores.
- Allergic Reactions: Swelling of the face, eyelids, and ears.
These reactions are not just anecdotal. A 2022 study published in the Journal of the American Academy of Dermatology identified a specific pattern of allergic contact dermatitis directly linked to synthetic braids, dubbing it the “Kanekalon phenomenon,” after a popular brand of braiding hair.
The Culprits: What’s in the Hair?
Synthetic braiding hair is typically made from modacrylic, a polymer derived from acrylonitrile and vinyl chloride. The hair itself is not the only concern; the chemical coatings and dyes used to give it a more natural look and feel are often the primary triggers.
The main suspects causing adverse reactions are:
- Formaldehyde: Perhaps the most alarming ingredient. Formaldehyde or formaldehyde-releasing preservatives are sometimes used in the coating of synthetic hair to prevent mildew during shipping and storage. Formaldehyde is a known sensitizer and a Group 1 carcinogen, meaning it is proven to cause cancer in humans. Direct, prolonged scalp contact can cause severe allergic reactions and skin irritation.
- Acrylates: These plastics are used to seal the ends of the hair when you dip them in hot water. They are also common allergens and can cause significant contact dermatitis.
- Dyes and Colorants: The vibrant colors of synthetic hair come from dyes that can contain heavy metals or other chemicals that some individuals are sensitive to.
- Plasticizers: Chemicals added to make the plastic fibers more flexible can also leach out and irritate the skin.
The Cancer Question: Are Synthetic Braids Carcinogenic?
This is the most serious concern. The direct answer is: There is no conclusive scientific evidence that wearing synthetic braids causes cancer.

However, the concern is not unfounded and stems from the ingredients:
- Vinyl Chloride, a component of modacrylic fiber, is a known human carcinogen.
- Formaldehyde, sometimes found as a contaminant, is a known human carcinogen.
The critical distinction is between ingestion/inhalation and skin contact. The cancer risks for these chemicals are primarily associated with long-term, high-level inhalation (as seen in factory workers) or ingestion. The risk from dermal (skin) absorption through the scalp is considered significantly lower and not well-studied.
While the risk of developing cancer from occasional braid wear is likely very low, the potential presence of known carcinogens in a product worn on the head for weeks at a time is a valid cause for caution and demands greater transparency and regulation.
Recommendations for Safer Styling
You don’t have to give up braids entirely. Informed choices and proper practices can dramatically reduce the risk of a reaction.
1. Pre-Installation: The “Prep & Test” Ritual
- WASH THE HAIR: This is the single most important step. Before installation, soak the synthetic hair in a mixture of apple cider vinegar and water for 15-30 minutes, then rinse thoroughly. Follow this by washing the hair with a clarifying shampoo to remove surface chemicals, dyes, and residues. Let it air dry completely.
- CONDUCT A PATCH TEST: Tape a small strand of the washed and dried synthetic hair to the skin behind your ear or on your inner arm. Leave it for 24-48 hours. If you see any redness, itching, or swelling, do not use that hair.
2. Smart Shopping: Choosing Better Hair
- Look for “Hypoallergenic” Brands: Some brands now specifically market themselves as free of formaldehyde and other common irritants. They may be more expensive, but your health is worth the investment.
- Opt for Sealed Packages: Hair sold in sealed packaging is less likely to be contaminated with dust, mold, or other environmental irritants compared to bulk, open-hair.
- Consider Human Hair or Heat-Friendly Synthetics: While more costly, human hair braids eliminate the risk of synthetic chemical reactions. “Heat-friendly” synthetic hair often has a different coating that may be less irritating, though it should still be washed.
3. During and After Installation
- Communicate with Your Stylist: Advocate for yourself. Ensure your stylist does not braid too tightly, as this can cause traction alopecia and force the hair fibers deeper into irritated follicles.
- Moisturize Wisely: Use a light, water-based moisturizer on your scalp and natural hair. Avoid heavy oils and butters that can trap bacteria and residue against the scalp.
- Don’t Wear Styles Too Long: 6-8 weeks is the general maximum. Wearing braids for longer increases the risk of buildup, matting, and prolonged exposure to any remaining irritants.
- Listen to Your Body: If your scalp is burning, intensely itchy, or developing painful sores, do not “tough it out.” Take the braids out immediately and consult a dermatologist.
Conclusion
Synthetic braiding hair is a cultural and practical staple, but its potential health impacts cannot be ignored. While not definitively cancer-causing, the presence of harsh chemicals and known allergens poses a real risk for severe skin reactions.
The power lies in informed consumerism. By demanding cleaner products from manufacturers, washing hair before use, and listening to our bodies, Black women can continue to celebrate the beauty and convenience of braided styles without compromising their health. The choice to wear braids should be one of empowerment, not one that leads to pain and distress.
Business
The Harajuku Barbie Dynasty: The Eternal Reign of Queen Nicki
Nicki Minaj’s Unrivaled Reign and the Anticipation for ‘Pink Friday 2’
Published
5 months agoon
October 15, 2025By
Contributor
In the ever-shifting landscape of hip-hop and pop, where careers can be as fleeting as a viral trend, Nicki Minaj has not only secured her throne but has built an entire empire around it. For over a decade, she has been a dominant, disruptive, and undeniable force, reshaping the sound, style, and business of female rap. As the world awaits her next chapter with the upcoming “Pink Friday 2” in 2026, it’s the perfect moment to reflect on the legacy of the artist who taught a generation to go hard.
The Architect of a New Era
Before Nicki Minaj, the idea of a female rapper consistently topping the Billboard charts, breaking streaming records, and commanding global pop culture seemed like a distant dream for many. She didn’t just break through the glass ceiling; she shattered it with a pink sledgehammer. Her impact is multifaceted:
- Commercial Viability: Nicki proved that a female rapper could be the central star, not just a featured guest. Her early mixtapes created an insatiable buzz, leading to a record deal that positioned her as a flagship artist. She paved the way for the commercial success of the diverse wave of female MCs who followed, demonstrating that there was a massive, hungry audience for their artistry.
- Artistic Persona and Camp: Drawing inspiration from icons like Lil’ Kim, Nicki took the concept of alter-egos to a new level. From the soft-spoken Roman Zolanski to the barbie-doll Harajuku Barbie, she created a universe that was as theatrical as it was musical. This blurred the lines between rapper and performance artist, encouraging authenticity and eccentricity in a genre that often prized conformity.
- The Blueprint for Business: Beyond music, Nicki became a master brand architect. From lucrative endorsements to her own perfume lines and a successful stint on American Idol, she showed that an artist’s influence could—and should—extend far beyond the recording studio.
A Chameleon on the Mic: Vocal Abilities
To reduce Nicki Minaj’s talent to simply “rapping” is to overlook her vast technical skill set. Her vocal abilities are a key instrument in her arsenal.
- The Versatile Flow: Nicki is a master of rhythm and cadence. She can switch from a rapid-fire, machine-gun flow on tracks like “Monster” to a smooth, melodic sing-song delivery on hits like “Super Bass” or “Truffle Butter.” This versatility allows her to dominate hardcore hip-hop tracks and seamlessly cross over into pop and dancehall, making her one of the most adaptable features in the game.
- Character and Voice: Her background in theater is evident. She uses distinct character voices, accents, and inflections to bring her lyrics to life. The aggressive, gritty tone of Roman contrasts sharply with the high-pitched, bubbly persona she often employs, adding a layer of theatricality and humor that is uniquely her own.
- Melodic Sense: While not a powerhouse vocalist in the traditional sense, Nicki possesses a keen melodic intuition. Her ability to craft infectious pop hooks, often by blending singing with rhythmic talking, has been central to her chart success. She understands pop structure as well as any hitmaker, using her voice as a versatile tool to create memorable moments.
The Test of Time: Unmatched Longevity
In an industry known for its fickleness, Nicki Minaj’s longevity is her most powerful argument for greatness. Her career is a story of consistent relevance.
- Decade-Dominating Hits: From her explosive debut with “Massive Attack” and “Your Love” to era-defining smashes like “Super Bass,” “Starships,” “Anaconda,” and “Super Freaky Girl,” she has scored hits across three different decades. She has maintained a presence on the charts through multiple musical shifts, from the bloghouse era to the rise of streaming and TikTok.
- The Barbz Dynasty: She cultivated one of the most dedicated and powerful fan bases in the world—the Barbz. This digital army ensures her influence remains potent, breaking records with every release and defending her legacy with fervent loyalty. This direct artist-fan connection has been a cornerstone of her enduring career.
- Evolution, Not Reinvention: While she has adapted to the times, she has never abandoned her core identity. She can deliver a pop-rap anthem, a hardcore verse for the purists, and a vulnerable, introspective track on the same album, proving her depth and satisfying her diverse audience.
A Crown Adorned with Jewels: Monumental Achievements
The numbers and accolades speak for themselves:
- The best-selling female rapper of all time.
- The first female artist to have 100 entries on the Billboard Hot 100.
- The first solo female rapper to have a song debut at #1 on the Hot 100 (“Super Freaky Girl”).
- Multiple Grammy Award nominations, MTV Video Music Awards, and BET Awards.
- Guinness World Records for the most tracks by a female artist on the US singles chart.
- Over 100 million records sold worldwide, solidifying her as a global phenomenon.
The Great Awakening: Anticipating ‘Pink Friday 2’ in 2026
The announcement of “Pink Friday 2,” a sequel to her genre-defining 2010 debut, sent shockwaves through the music world. Slated for a 2026 release, the anticipation is not just for new music, but for a full-circle moment.
This album is poised to be a victory lap and a nostalgic homecoming. By titling it “Pink Friday 2,” Nicki is tapping into the core of her origin story, promising a return to the sound and spirit that made her a star. After a period of focused family life, her return feels like a re-coronation. Fans and critics alike are eager to see how the seasoned veteran, now a wife and mother, will reflect on her journey. Will it be a reinvention or a refinement of the classic Pink Friday sound? How will her evolved perspective influence her lyrics?
One thing is certain: “Pink Friday 2” is more than an album; it’s an event. It’s the next chapter in the story of a woman who defied every odd, changed the game, and continues to write her own rules. The Pinkprint is not complete, and in 2026, the Queen is ready to stamp it once again.
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