What was a simple interview at a local radio station for Robert Glasper, has made headlines on publications all over the world because of Lauryn Hill’s response. But rightfully so, these are two black giants of modern music.
But Hill’s response to Glasper does little to address longstanding perceptions about her.
Ever since 1998 when New Ark, the group of musicians who helped Lauryn Hill put together Miseducation, sued her for not properly crediting them for the work they did on the classic album, there’s been a cloud of suspicion hanging over Hill and that album.
“The Miseducation was the first time I worked with musicians outside of the Fugees who’s report and working relationship was clear. In an effort to create the same level of comfort, I may not have established the necessary boundaries and may have been more inviting than I should have been. In hindsight, I would have handled it differently for the removal of any confusion. And I have handled it differently since, I’m clear and I make clear before someone walks in the door what I am and am not looking for. I may have been inclusive, but these are my songs,” Hill writes in her letter.
The lawsuit was settled out of court in February 2001, for a reported $5 million
Hill’s weakness in punctuality and prima donna antics are well reported. In 2012, when she was in the country for the Cape Town International Jazz Festival, she disappointed with her performance, not because she’s wack a performer but it was down to her insistence on wanting to change how the sound was set-up by the organisers who know the venue very well and are experienced at catering for each artist on the line-up. Before her performance on the Kippies stage, Hugh Masekela had killed it in his tribute to Miriam Makeba which featured Thandiswa Mazwai, Vusi Mahlasela and Freshly Ground frontwoman Zolani Mahola. Hill was not audible enough and resigned to walking off stage. While just last month in Toronto, while in Canada for the 20 year anniversary of Miseducation tour, she arrived an hour late for her performance.
Hence I was baffled when she made an excuse for her late coming in the letter. “Me being late to shows isn’t because I don’t respect my fans or their time, but the contrary, It can be argued that I care too much, and insist on things being right. I like to switch my show up regularly, change arrangements, add new songs, etc. This often leads to long sound checks, which leads to doors opening late, which leads to the show getting a late start. This element of perfectionism is about wanting the audience to experience the very best and most authentic musical experience they can from what I do.”
It’s one thing to be a perfectionist and it’s just plain ill-mannered not to honour ardent fans and disrespect qualified sound technicians.
If anything, this comes-off as being unprepared. I mean people buy tickets, using their hard-earned cash to see you at a specific time-by virtue of being on the line-up for that particular performance, means an artist agrees with all the prerequisites.
I don’t remember anyone questioning her undeniable talent and palpable influence she’s had in the industry. Ever. So she’s very much correct to say “I was also a member of the Fugees, another ground-breaking, multi-platinum selling group, who bridged social and cultural gaps, and were ambassadors of hip-hop all around this planet. We laid important groundwork upon which an entire generation of artists and musicians still stand. We broke through conventions and challenged limited world views every time we played.”
To add to that, she was an integral part of the Fugees, I personally think the fellas would’ve been another bar-spitting average clique, had she not been part of the group. She’s an impeccable emcee with beautiful vocals. The original rap singer. But it’s her attitude that’s always been questioned- even by former group members, Pras and Wyclef Jean.
What I found particularly interesting in the letter, was not really her responding to Glasper’s statement, but addressing a bigger issue: misogyny and patriarchy in the industry when she said “And yes, Ms. Hill was absolutely a requirement. I was young, Black and female. Not everyone can work for and give the appropriate respect to a person in that package and in charge. It was important, especially then, for that to be revealed early. I adore Stevie, and honor [sic] Herbie and Quincy, who are our forebears, but they’re not women. Men often can say ‘I want it done like this’ and not be challenged. The same rules don’t always apply for women who may be met with resistance. When this happens you replace that player with someone who respects you and the office you hold.”
If we wake up tomorrow and someone like Priddy Ugly says, he wants be called King Priddy from now on, reluctant as society might be at first, they’ll eventually heed that call. And it would totally be a different story if a Gigi Lamayne, associated herself with royalty. Her artistry would be questioned.
It was like reading useless Facebook posts about people who brag about being older, to those born in the new millennium, when Hill wrote “Most people are probably just hearing your name for the first time because you dropped MINE in an interview, controversially. Taking nothing away from your talent, but this is a fact.”
A cheap shot, really. Glasper is a multi-award winning genius artist that has paid his dues, she knows very well that he’s a pianist that only came to the fore in the popular music scene just over a decade ago.
But fortunately there was no malicious speech between the two artists, it was honest criticism and a simple difference in opinion, which both creatives respected.Or so it seems.