While the Bronx-born singer - who’s partnering with Gold Bold’s #ChampionYourSkin campaign, which celebrates and uplifts Black stuntwomen in the entertainment industry - now has her hair care routine down pat, figuring out her beauty game has been more of a journey. “, you can’t have perm and color at the same time,” she warns. And avoid overloading it with too many treatments at once. Her tip: Keep your edges moisturized using natural oils ( castor oil is great for maintaining healthy edges) if you have textured and/or chemically treated hair. These days, Blige takes a much gentler approach to her natural strands.
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“ went through a lot, but I had fun with it, too.”
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“For a long time, I had to keep my hair braided underneath weaves so that it could grow back and become full again,” she says. “Before you know it, it went to red and pink.” By the time she got into the music industry at 19-years-old, Blige admits her hair “was a mess” after all the color treatments. “My hair was sandy brown when I was younger, but I didn't like it - so I started dyeing my hair blonde and platinum in seventh or eighth grade,” she tells me over Zoom. As it turns out, Blige’s affinity for experimenting with different hairdos started long before becoming the queen of hip-hop soul.
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But the singer-songwriter is also renowned for rocking multiple trendsetting hairstyles since the ‘90s: the style chameleon has worn everything from sleek blonde lengths to fiery red pixie cuts. Blige regularly topped the music charts thanks to a casual nine Grammy Award-winning albums. Blige chats about dyeing her own hair, taking risks, and the unexpected style of bangs she now appreciates. My Life, nevertheless, emanates from some deep, dark place where both sadness and happiness cohabitate and turn into one single, beautiful sorrow.In Hair Chronicles, celebrities tell us about their most memorable hairstyles throughout the years, from the ones they’d wear again to those they completely regret. Blige's strain is sleekly modern and urban, and the grit in it comes from being streetwise and thoroughly realistic about the travails of life. Blige took a huge leap in artistry by penning almost everything herself (the major exception being Norman Whitfield's "I'm Going Down") in collaboration with co-producers Combs and multi-instrumentalist Chucky Thompson, and everything seems to leap directly from her gut. My Life is, from beginning to end, a brilliant, wistful individual plea of desire. The hip-hop part of the combination takes a few steps into the background, allowing Blige's tortured soul to carry the album completely, and it does so with heartwrenching authority. But it is some of the finest modern soul of the '90s, backing away to a certain extent from the hip-hop/soul consolidation that Blige introduced on her debut album. This certainly isn't your parents' (or grandparents') soul. The melodic sources this time around, though, are so expertly incorporated into the music that they never seem to be intrusions, instead playing like inspired dialogues with soulsters from the past, connecting past legacies with a new one. The production is not exactly original, and there is evidence here of him borrowing wholesale from other songs. Perhaps the single finest moment in Sean "Puffy" Combs' musical career has been the production on this, Mary J.