Women have always been a presence in male-founded hip-hop groups, or as female solo artists have been closely affiliated with a network of male musicians. There have been respectable showings in spite of those parameters: Ms. Rare, however, have been the mixed-gender groups where men and women contribute equally to the artistic output. Even rarer have been songs from those groups that feature a woman as the sole performer.
According to industry lore, it was the last song produced for the album, a late addition to balance the otherwise rap-heavy lineup. Even Roberta Flack loves it. Those are iconic accomplishments for any artist wanting to be recognized and appreciated for his or her work. Hill showed young black women that there was room to be vulnerable and assertive, classic and contemporary, hip-hop and soulful, and she demonstrated that to us in a song many of us now play for our daughters. For a generation of black women, that record dominated life, spoke to our souls, and stays in regular rotation as its own year anniversary creeps up on the calendar.
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It was a time when hip-hop was the vanguard of versatility, and artists—not just rappers, but artists—prided themselves on creating music that made them distinct, which in turn let them reach distinct audiences. Hill chose to speak to us, we on the black girl spectrum from browned butter to burnished mahogany with our thick hair and thick lips and thick bodies. At the time, no middle or high-school talent show was safe from at least one performed rendition of the song. Only the most skilled of singers could get close to making the matrix of notes at the bridge sound as crisp and effortless as Hill could.
What the song did, besides entertain us, was give black girls a voice in spaces where, at least most of the time, we had to leverage, strategize, and straight up fight for power. For Hill, that space was a male-dominated genre in a male-dominated music industry. For us, it was our classrooms, our homes, our streets, our own cultural community.
Women have always been a presence in male-founded hip-hop groups, or as female solo artists have been closely affiliated with a network of male musicians. There have been respectable showings in spite of those parameters: Ms.
Retrieved June 29, Archived from the original on May 10, GfK Entertainment. Retrieved August 7, Recorded Music NZ. Retrieved December 3, Archived from the original on September 27, Retrieved July 2, Music Week. January 18, IFPI Austria. Enter Fugees in the field Interpret. Enter Killing Me Softly in the field Titel. Select single in the field Format. Click Suchen. Hung Medien.
Retrieved 8 January Bundesverband Musikindustrie. Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Retrieved December 15, Enter Killing Me Softly in the "Artiest of titel" box. Retrieved December 17, IFPI Norway. Retrieved 15 December IFPI Sweden. IFPI Switzerland.
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British Phonographic Industry. Select singles in the Format field.
Select Platinum in the Certification field. Don McLean. Solo Dominion Starry, Starry Night. Roberta Flack. Bustin' Loose Discography Donny Hathaway. Lauryn Hill Wyclef Jean Pras. Blunted on Reality The Score Bootleg Versions Greatest Hits Grammy Award for Record of the Year. Grammy Award for Song of the Year.taylor.evolt.org/suho-valle-de.php
Killing Me Softly
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Netherlands Dutch Top 40 . Norway VG-lista . Switzerland Schweizer Hitparade . US Billboard Hot . US Easy Listening . West Germany Official German Charts . Belgium Ultratop 50 Flanders . Belgium Ultratop 50 Wallonia . Denmark IFPI [ citation needed ]. Europe Eurochart Hot [ citation needed ].
Roberta Flack - Killing Me Softly | Releases | Discogs
Finland Suomen virallinen lista . France SNEP . Germany Official German Charts . Hungary Mahasz . Ireland IRMA . Italy Hit Parade Italia . Netherlands Dutch Top 40 .