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• #JENNIFER LOPEZ U TURN BUTT MOVIE#

Before danseur Arthur Mitchell proved otherwise with his acclaimed troupe, the Dance Theatre of Harlem, African-American flanks were dubbed too extravagant for classical ballet. Big butts were deemed, well, too black, decried as a freak of nature. And so, in the past, Rubens notwithstanding, Western culture looked askance at a capacious derriere.

They laugh because, generally, the Caucasian rump is a more anemic affair, often concave and celebrated when it is at its most contained.

#JENNIFER LOPEZ U TURN BUTT MOVIE#

Generous glutes were mocked in the movie Spinal Tap, where the celluloid rockers squealed: But not so long ago, outside certain ethnic groups, it wasn't so fashionable to have such luscious hindquarters. It is a DNA heavily influenced by Mother Africa that dictates the posteriors of black folks across the diaspora, as well as Caribbean cousins from Jamaica to Haiti, Cuba to Puerto Rico.Įthnic entertainers from James Brown to Sir Mixalot to the Cuban-born Los Van Van worshipped at the altar of las nalgas. While a second helping of rice and beans can greatly aid in growing great glutes, without the right DNA, that butt will just spread sideways instead of up and out. It is a butt that occasionally crops up on white folks, but more often than not is found on brown and black folks. It is a butt engineered solely by genetics. That was their butt, their mother's butt, their aunt's and sister's, represented up there on the silver screen. And women, checking her out in U-Turn and Money Train, cackled in recognition, "Jennifer Lopez's got back." Men of color watching the Oscars a couple of years ago whistled in appreciation at the sight of Lopez clad in a form-fitting designer frock. After all, Latino and African-American brothers and sisters checked out that posterior a long time ago. Still, the mainstream media is a little behind the times. The first to get a thumbs-up from Elle, that purveyor of fashionably diminutive derrieres, which declares in its November issue: "Eat something. The first to be publicly ogled by Mark Wahlberg at the MTV Music Awards. It is the first butt to earn a shout-out on the new Hollywood Squares. What can she do? It is what it is.īut - no pun intended - it is a big deal. The poor woman can't sit down for an interview without someone commenting on the size of her gluteus maximus. Entertainment Weekly, which featured her last week on its cover, hair flying, famed backside aimed at the camera, gushes that her tush is "an erotic totem up there with Uma Thurman's lips and Pamela Anderson Lee's bust." Playboy praises her "rear view." It's become something of a national obsession, this gazing at Jennifer Lopez's big, bodacious boo-tay. A heinie that gets to cavort with the likes of Wesley Snipes, Woody Harrelson, Jack Nicholson and George Clooney. A distinctly ethnic fanny that is celebrated and glorified, while flaunting its Puerto Rican roots. And I like it like that.Īnd why not? To paraphrase Da Butt, a hit song of 1988, Jennifer Lopez has got a big ole crossover butt. Really, what can she say? Except that, hey, it's round. Time: Yeah, what's the big deal with your booty? But when Time magazine sits down for a Q&A with Jennifer Lopez and asks her about the ponderousness of her posterior, you've got to know that a great, seismic shift has occurred in the cultural landscape: