You live on a ranch in Colorado. What do you love about country life?
I’m an independent woman, always ready for an emergency: clothes, keys, boots by the door, and a 20inch chain saw, oiled and ready to go. I saw a tree fallen over the only access road around. All these truckers were standing around, then I get out and I see their faces. “Uh-oooh — here comes Foxy Brown with her chain saw!” I pick up my dates at Home Depot and Lowe’s. I can name 10 tractor companies. I can drive a forklift. I ain’t no fool.
What was it like to be a pioneer for Black women in Hollywood?
I did nudity in Coffy and Foxy Brown to help create the audience. I wanted everyone to get used to seeing women of color, women in power, with martial arts and guns. I call it the “Brown Nipple Revolution.” We weren’t the epitome of sexual attraction for the male audience, in movies, magazines, anything. I said, “How come we don’t see women of color in Hollywood and see them beautifully, like Fellini and Bertolucci see women?” We were told our brown nipples weren’t attractive. I was trying to break that line of what was acceptable in society.
Diese Geschichte stammt aus der February 2023-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der February 2023-Ausgabe von RollingStone India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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