#group bombino

[soundgrammar]

Listen/purchase: Tenere by Group Bombino

[supersupersounds]

L'Orchestre National Mauritanien by Ahl Nana

Ahl Nana - L'Orchestre National Mauritanien

Recorded in 1971 then lost for 50 years; now we get to hear the original and first Saharan desert rock band, Ahl Nana. Sublime.

From the liner notes:

Lost recordings that defined the modern sound of the Sahara. This album contains the first recordings of modern music from the Sahara and mark the birth of the genre that is known in the West as ‘Desert Blues’ or ‘Desert Rock’. Ahl Nana changed the folk music of the Sahara to modern, cosmopolitan music by using Western instruments like the electric guitar. They paved the way for artists like Ali Farka Touré, Tinariwen, Mdou Moctar or Bombino. Although the group is still active today, they only recorded 2 LPs and a handful of singles. All these recordings took place in 1971 at the Boussiphone studios in Casablanca. The records were never distributed and therefore remained unknown for almost 50 years, until Radio Martiko discovered a batch of unsold factory stock a few years ago. On this album, you will find a selection of these revolutionary recordings.

[skillstopallmedia]

Electrophonic Chronic review | The Arcs: a big soulful heart

Dan Auerbach, half of The Black Keys, is also the producer of the albums of Lana Del Rey and Bombino or the Gibson Brothers. He works at Nashville Easy Eye Sound, which is both a studio and a record label. Posted at 3:21 p.m. Among his thousand and one projects, there is the group The Arcs, which in 2015 released its first album, Yours, Dreamily. The second was slow to come out. The recording…

[nofatclips]

Tar Hani (My Love) by Bombino

[windmill-ghost]

something i just thought of on a whim, do the monster grumps recognize certain individual bugsnax? like, can snorpy look at a group of baby cakelegs and pick out certain individuals, either visually or based on hivemind mental stuff, or can he not tell them apart? is cromdo able to pick out exactly which of the bombinos keep waking him up with an explosion to the face? do any of them even bother trying to keep track?

When it comes to their own minions-- yes, certainly. They can probably just, intuitively tell them apart and recognize an individual without even needing to actively tap into the hivemind. This probably also goes to the bugsnax in their "territory" that they see regularly. For unfamiliar bugsnax, they might need to tap into the collective memory to know "who" they are, but it's still possible.

However, it might not often be necessary. Individual bodies don’t tend to last very long, and their personalities aren’t influenced by their experiences as much as the ingrained set of behaviors that comes with their “species”-- after all, they share memories and information so they barely even have individual experiences.  

That said, they still totally do develop quirks and personality traits, those traits just bleed out beyond a single body. Like, if you ate Sprout, those traits and experiences would remain in the hive and might even get “recycled” into a new, clever and adventurous strabby, but it would be hard to say whether the new one is or isn’t Sprout. It is... and it isn’t. 

Individuality is a concept that grupuses project onto the bugsnax, which makes these matters confusing and weird... especially for the hybrids who gotta live in the philosophical crossfire. 

[sukipershipper]

idea,,,, legendary snaks are all dating,,,, they all have plenty of hands to hold,,, and since most of them have smaller child varients (i technically count bombino's as baby mothza's ) their kids can own at the my dad can beat up your dad game

YESSSSSS

Legendary Snax Poly group pleassseee

(I need to draw that)

They all love each other and will kill in each other’s names. Also they adopted Liz when she fell in the Aftersnax, sorry I don’t make the rules

[guillemelgat]

This year I decided to make a playlist to keep track of all the songs that I got “obsessed” with – by my definition, anything that I found myself listening to more than once or twice within the span of a week. This was also a very interesting way of keeping track of the languages that I listened to music in, and it was strange seeing the divide between my perception and the reality. While I thought that I listened to much less music in Catalan and much more in Spanish and Basque, Catalan is by far the language of the majority of my music. These are the official numbers:

Catalan (50.2% or 138 songs) - Surprisingly, only 41.3% of this (or 57 songs) was from Valencia, which was much lower than I was expecting. I feel like I listen to much more Valencian music than I do music from Catalonia, but apparently that is not the case.

Spanish (13.8% or 38 songs) - I do actually listen to a fair amount of Spanish music, although this number was lower than I was expecting. Most of it came later in the year – the first song in Spanish showed up 49 songs into the playlist, and there were only about 5 Spanish songs in the first 100. I did listen to a lot of ex-La Raíz groups in the winter/spring though (Ciudad Jara, Nativa, Valira) so that bumped up the numbers.

English (10.5% or 29 songs) - Normally this would surprise me but I listened to so much of The Longest Johns, El Pony Pisador, and the Dreadnoughts that I can see how this number is so high. Also Eurovision because I’m trash but that’s only like 5 songs.

Basque (8.7% or 24 songs) - I was listening to so much good Basque music that I didn’t realize the actual number of songs was so small. Most of this was from around May or in the last couple of weeks, although in November I found several of my favorite Basque songs of the year, namely “Kea” by Zea Mays which is just *heart eyes*.

Arabic (4.7% or 13 songs) - I thought this was only going to be Mashrou’ Leila but turns out I also listened to a couple of songs by Rachid Taha/Khaled/Faudel (1,2,3 Soleils), as well as by A-WA, so the full range of the Arab world is pretty well-represented.

Tamasheq (2.5% or 7 songs) - Most of this was from me consuming full albums of Bombino, Tamikrest, Imarhan, and Mdou Moctar the last few days, but there’s also a couple of Tinariwen classics in there.

Italian (2.2% or 6 songs) - This is entirely Eurovision’s fault, the reason Italian is even on here is because I have to have my fix of Francesco Gabbani and Mahmood.

Romani (1.8% or 5 songs) - This might have been more if there was more Romani music on Spotify, most of it is only on Youtube so I couldn’t add it to the list. Šaban Bajramović gets a shout-out here.

French (1.5% or 4 songs) - Normally I would be insulted that French even made it on here, but it’s Faudel, who doesn’t count; Kendji Girac, who is the only French person I respect; and Stromae, who can stay I guess.

Irish, Welsh, and Tamazight (0.7% or 2 songs each) - Irish was due to Seo Linn, I really Do Not have Welsh music that I like besides 2 songs by Sŵnami and Yws Gwynedd, and the Tamazight was from the song I posted here and one other.

Slovenian, Zulu, Tuvan, and Hungarian (0.4% or 1 song each) - Zulu was from Johnny Clegg, Tuvan was from El Pony Pisador’s version of “Daglarym”, and Hungarian was from “Ha Menni Akarok” which I was only listening to for Parno Graszt’s verses so that technically counts for Romani as well. Don’t ask what Slovenian was from.

Also worth noting that I categorized each language by what the majority of the song was in, so there are several songs which could have fit in multiple categories (mostly a couple more for Basque and Irish).

I’m interested in what languages you guys listen to music, if you want to do something like this please tag me or let me know! And if any of you want to know names of specific artists/songs/albums I’d be glad to pass those on as well.

[profeminist]

“Les Filles de Illighadad are in their dressing room, listening to music on their phones and scrolling through social media apps. Fatou Seidi Ghali, the band’s lead guitarist and singer, leans in to show me a Snapchat she has just received from a friend: in a hilly desert, a white-robed man is riding a horse at full speed. He tries to stand up in the saddle and falls off into a plume of sand. Fatou looks up at me, laughing.

The group are from a small village called Illighadad in the Tuareg region of the Sahara in western Niger. While the region has produced some celebrated guitarists, acts such as Bombino, Mdou Moctar and Tinariwen’s Ibrahim Ag Alhabib, Fatou is the first ever Tuareg woman to play guitar professionally.

She started the band in 2016 with her cousin Alamnou Akrouni, who plays percussion and sings. A third member, Mariama Salah Aswan, recently left to start a family and was replaced by Fatimata Ahmadelher, the Tuareg’s second-ever female guitarist, who also contributes vocals and percussion. They are in their late 20s, they say, although they have no birth certificates. Fatou’s brother, Abdoulaye Madassane, joins them on tour, providing rhythm guitar.

Another brother, Ahmoudou, introduced Fatou to the instrument, albeit inadvertently, when he brought one home from Libya. Fatou, aged about 10, began teaching herself to play in secret, sneaking off to practise every time her brother was out. The sight of a woman holding the guitar was in itself controversial. “My father told me to stop wasting my time,” says Fatou, talking through an interpreter. “I should be busy looking after the cows.” But she persisted, and people began to take notice.”

Read the full piece here

[dreamofawonderfullife]

Brenda Kastner :   She’s the #sweetest, and an amazing public speaker! @tessavirtue17#connsmythedinner #easterseals

 Im basically having dinner with @tessavirtue17...practically. #connsmythedinner #easterseals

Kelly Araujo :  Braids on braids on braids! Perfect for this frozen rain kinda day! 

Lisa Trites-Bombino :  Some familiar faces of some truly amazing ppl in all walks of life. Thrilled to be raising money to send kids to camp. #connsmythedinner #eastersealson 

Greg Thede :  #easterseals #ambassador#connsmythedinner

James Spalding :  Shooting today at the annual @rogers #connsmythedinner & auction for @eastersealson at the @westinharbourcastlein @cityofto. #Sports #celebrities in attendance and incredible signed auction items!

Celeste D'Agostino :  #connsmythedinner - head table guests. What a great group!

jordandrews, stevespyro’s instagram story (February 6th)

[checkoutafrica]

Soweto Gospel Choir Wins Grammy For Best World Music Album

Fresh from joining Beyonce on stage at the Global Citizen Festival in December, it was a night of celebration for The Soweto Gospel Choir as they snagged their third Grammy at last nights 61st Grammy Awards.

Taking home the award for the Best World Music Album for their “Freedom” titled album, the group, which was originally formed to celebrate the unique and inspirational power that is felt throughout African Gospel music beat other African nominees including Nigeria’s Omara “Bombino” Moctar and Malia’s Fatoumata Diawara.

The group also has two other Grammy awards, from 2006 and 2007 where they won in the category for Best Traditional World Music.

A huge congratulations to the Soweto Gospel Group.

  The post Soweto Gospel Choir Wins Grammy For Best World Music Album appeared first on CheckoutAfrica.

from WordPress http://www.checkoutafrica.com/soweto-gospel-choir-wins-grammy-best-world-music-album/

[luuurien]

Etran de L'Aïr - Agadez

(Tishoumaren, Blues Rock, Psychedelic Rock)

The second full-length album for the long-standing Tuareg rock band, Agadez takes Etran de L'Aïr's bright, live-performed Tishoumaren and puts it in the more strictly defined context of an album. What results is some of their most creative work, the band showing restraint that allows the multifaceted nature of their city's music scene to come out in full.

☆☆☆☆

Etran de L'Aïr have been around for more than 20 years, but not until recently have they been found by the rest of the world. A group of brothers and cousins in the sprawling urban city of Agadez, Niger, they've been performing together since they were kids at wedding receptions, gigs they could book, when the band started they used nothing but an acoustic guitar hooked up to a transducer microphone and a drum made from calabash that was sat in a bowl of water. As the Tuareg music scene began to open up to the world, especially with the massive success of other Tishoumaren musicians Mdou Moctar and Agadez's own Bombino, Etran de L'Aïr's music has now recently been hitting the airwaves alongside them, their colorful and communal sound making them a special band not just for the regional scene, but for modern psych and blues rock as a whole. Their second full-length album Agadez, named after the aforementioned town they hail from, once again shows just how exciting a band Etran de L'Aïr is. Already a bit removed from the traditional Tuareg sound by having three guitarists rather than the traditional two, sometimes swapping pentatonic scales for other sorts of progressions, and bits of rhythmic and melodic influence from other African styles found all throughout Agadez's music world, Agadez sounds like not much else to come from the scene in recent years. Their music tends to be a bit more free-flowing, more danceable than the softer blues rock their contemporaries often indulge in, but Agadez also holds back on those elements to make their full force later on more rewarding. Those moments of restraint come through in the dreamy arpeggiated guitars and hearty percussive thump of Tahawerte Ine Idinette, how Imouwizla opens the album up with a brooding vocal lead and chunky drum fills that add some cloudier skies to the summer festival that is Agadez. So when it is finally time for something like the frantic accelerating tempo and vivacious guitar interplay on closer Tarha Warghey Ichile or the 3/4 time signature that adds even more oomph and style to the rhythm of Tchingolene, your body immediately reacts to it as you go from settled down into the slower tricks right into some of the best rock songs this year. But what makes Etran de L'Aïr stand out from their peers is that their music is completely true to the heart of Agadez. While the way someone like Mdou Moctar incorporates the Tuareg music as part of his story of the French colonization of Niger on Afrique Victime is undeniably beautiful and compelling, there's something about the absolute joy and communal feeling of Agadez that mirrors the heart of the album's sound, stitched deeply into the walls of the city that sticks with you. It's no wonder Etran de L'Aïr got their start playing wedding receptions, this music is fun and it is heartwarming: softer ballad type songs like Taahawerte Ine Idinette and Toubouk Ine Chihoussay are more than easy to imagine playing at a celebratory event like those weddings, but it's the speedy hand percussion on Tarha Warghey Ichile or Alhaire's soaring vocal passages that make the power of Tishoumaren crystal clear. Their music isn't powerful because of some deeper message behind it, or because it's revolutionizing a genre; Etran de L'Aïr are a soulful, celebratory band, and Agadez is brilliant in its raw execution of exuberant music. If there's anything I hope Agadez will do, it's that Etran de L'Aïr's more approachable take on the sound helps convince more listeners to explore the rich and profound history of Tuareg and Tishoumaren music. Sure, Etran de L'Aïr might spice it up a bit with their unique structure for a Tuareg band and more approachable, chipper sound, but the roots of the sound are core to everything they do here on Agadez. It's extremely fun music that doesn't let go of where it came from, even as the band reaches for sounds that might be outside that world more than a few times throughout the album. Agadez lets your soul fully connect with Etran de L'Aïr's, each note a message your body receives and responds with by making you fall even deeper in love with their music. While their music might not be as thematically deep as some of the other modern Tishoumaren they can find, that's not what Etran de L'Aïr are looking to do. They want to make welcoming music, cheerful music, infectious music, and with Agadez they prove just how good they are at doing exactly that.

[bandstolookup]

lovage

moonchild trio

moonraker

weird little boy

painkiller

Patton & rahzel

omar lnx

naked city

General Patton vs the X-ecutioners

John zorn

Christian Fennesz and Mike Patton

The Ace Kefford Stand

Bedlam

Blue Murder

Big Bertha

Emerson, Lake & Powell

Forcefield

Peter Green Splinter Group

Casey Jones & His Engineers

Minute by Minute

Phenomena

Cozy Powell's Hammer

Rainbow

Saints and Sinners

The SAS Band

The Sorcerers

bob oxblood

sector 27

Spirit

Strange Brew

yardbirds

moon rat

marshmello

Young Blood

streetwalkers

cozy Powell

ashes divide

the vandals

judson crane

helios

zhao cong

little boots

ólafur arnalds

deru

nathan johnson

jay dee's ma duke collection

wang leehom

robert miller

john lenehan

dexter britain

honeyroot

cliff martinez

beacon trees

taylor lipari-hassett

robert miller

rob simonsen

lykke li

steve gutheinz

brian reitzell

orchard heights

duncan blickenstaff

appalachia castle

freckleland

mark mothersbaugh

bellflower

tycho

driftmob orchestra

peter born and john

hot chip

minus the bear

metronomy

neon indian

cut copy

miami horror

hotel cinema

michael collins

divide by nine

aidan grace

rapture ruckus

stephen christian

twice young

keefus green

alex g

diiv

daniel garrow

nathan wang

eola ferry

michael shapiro

animal island

isaac carpenter

grupo de janeiro

little north fork

zachery david

keith kenniff

zack holt

goldmund

lights & motion

tim halperin

lisle moore

analog heart

moncrief

the 84

sollitude

massara

todd terja

black bug

prins emanuel

aunt mary

wild life

gary lightbody

chic

jakob ogawa

moon mouth

raener

starmy

the elected

johnny thunders

discus

vibras

run with it

grupo fantasma

liam gallagher

james bay

kris platt

rough party

parade of lights

mariah mundi

david buckley

joseph trapenese

team ezy

alvin risk

founder

umo

PYRMDS

cherry glazerr

daniel heath

ELOHIM

raf rundell

the black jackets

root basket

BT

*repeat repeat

max aruj

hunter hunted

assuming we survive

r. lum. r

vindata

dark thoughts

elliot basin

julien rose baker

jesus piece

otto muehl

todd rundgren

foxy shazam

recent rumors

movements

yam haus

cashew chemists

the verve

faunts

half moon run

toro y moi

bappi lahiri

walls

gerd Janson

prins thomas

metronomy

shintaro sakamoto

kamome jido gassyodan

yo yo mama

yosi horikawa

mew

eddie c

kza

teen runnings

connan mockasin

mmt

kide ultimate

bombino

the handsome family

rac

washed out

odesza

sylvan esso

friendly fires

apocalipstic

pompeya

gary's gang

antarctic

penguins & petrels

whale song

humpback whale

cold cold life

ernie jackson

the midnight

currents

the smith street band

meg mac

the jungle giants

methvl ethel

alex the astronaut

g flip

eves karvdas

life fucker

abject pax

fit for a king

like moths to flames

claude oak

chuck berry

jesse malin

glen matlock

craig finn & tad kubler

the hold steady

the mescaleros

joey & jakob armstrong

sebastian mueller

zoe devlin

ranking roger

the beat

chuck prophet

mark stewart

the pop group

jackson couzens

anteros

charlie harper

uk subs

matt grocott

the shrives

matthew thomson

the hands

the amazons

pete wylie

itch

the king blues

ian prowse

pele

[raxndy]

Bombino

“Omara "Bombino" Moctar is a Nigerien Tuareg singer-songwriter and guitarist. His music is sung in Tamasheq and often address geopolitical concerns in Turag. He is also a lead member of Group Bombino.” ”Over the time, Bombino has more than found his groove, perfectly balanced between mastery and ease. Out of a well-documented generation of talented Tuareg rockers, he's emerged as the most virtuosic and melodically innovative, as he's layered his voice over sparkling guitar riffs. He hasn't uprooted himself: He continues to sing in his native Tamashek about Tuareg issues, and in his tunes you can still hear the feedback loop between West African sounds and music of the Americas, from rock, blues and R&B to Caribbean dancehall and reggae.” “There’s no need to add too much to Bombino’s desert blues—his unassuming and astonishing playing speaks volumes on its own. Seeing him live, his left hand is deceptively fast, flicking off the strings and lighting upon extra notes that other players can’t quite hit. Much like fellow Tichumaren players Tinariwen, Bombino’s acumen blends techniques derived from ngoni (a traditional lute), the imzad (a one-stringed bow instrument), and the amplified guitar of Hendrix and Santana.” _________________________________________________________________ https://www.youtube.com/watch?v=IaqScs7vR-4&list=LL&index=48

[prelawland]

The Law Of The Federal Drug & Cosmetics Act

By Amanda Bombino, Rutgers University Class of 2021

January 7, 2021

Modern culture, particularly for females, is heavily influenced by the use of cosmetic products, such as eyeshadows, lipsticks, and mascara. As of 2016, the cosmetics industry amasses and estimated $169 billion in sales per year in the United States. Scholars and activists are divided as to whether the Act should be amended to grant the FDA more oversight on the safety of cosmetic products. Those in favor of stronger regulatory authority over the cosmetics industry in the United States cite the FDA’s alleged low threshold of accountability over the cosmetics industry, as well as research studies that indicate the effects of harmful chemicals that exist in cosmetics and personal care products. In contrast, some medical professionals and scholars argue that additional FDA oversight on the cosmetics industry is misguided and unnecessary. They argue that the FDA’s regulatory authority through the Federal Drug & Cosmetics Act is sufficient, citing the rigorous standards in place to ensure that no toxins exist in product formulations that hit the market. The lobbying battle continues to brew between individuals and groups against more FDA regulations and those in favor of more FDA oversight of cosmetic and personal product safety.

For full article please visit

Should Congress Grant the FDA More Regulatory Authority Over the Cosmetic Industry?

at

New Jersey PreLaw Land

[nofatclips]

Tenesse by Bombino X Radio Nova’s Live plus près de toi

[newjerseyprelawland-blog]

Should Congress Grant the FDA More Regulatory Authority Over the Cosmetic Industry?

By Amanda Bombino, Rutgers University Class of 2021

January 8, 2021

Modern culture, particularly for females, is heavily influenced by the use of cosmetic products, such as eyeshadows, lipsticks, and mascara. As of 2016, the cosmetics industry amasses and estimated $169 billion in sales per year in the United States (Environmental Working Group). This is a dramatic increase since 1938, when cosmetics purchases only reached $1 billion in sales (Environmental Working Group). In that same year, Congress passed the Federal Food, Drug, and Cosmetic Act (FDCA), which gave the Food & Drug Administration the authority to regulate the safety of food, drugs, medical devices, and cosmetics. As we approach the 73rd anniversary of this legislation’s enactment, scholars and activists are divided as to whether the Act should be amended to grant the FDA more oversight on the safety of cosmetic products.

According to the FDCA, cosmetics are defined by their intended use, rather than their actual effects. They are to be “articles intended to be rubbed, poured, sprinkled, or sprayed on, introduced into, or otherwise applied to the human body...for cleansing, beautifying, promoting attractiveness, or altering the appearance" [21 U.S.C. § 201]. The FDA’s authority over cosmetic manufacturing is included in a provision in this Act, whereby the FDA can prohibit “the distribution of cosmetics that are adulterated or misbranded in interstate commerce,” [21 U.S.C. § 321] which is applied to all steps in the cosmetic manufacturing process. As well, the Act allows the FDA to impose penalties against individuals or firms that are not in compliance with FDCA guidelines, and the agency may work with the Department of Justice and US Customs & Border Protection to effectively remove offending products from the market and monitor imports from abroad. The scope of the FDA’s regulatory authority over the cosmetics industry has motivated a group scholars and activists to advocate for stronger FDA regulations on product safety to hold more firms accountable. The state of California has already passed one such bill into law, which emulates similar regulations that the European Union holds for cosmetic product formulations. However, others strongly oppose additional FDA oversight over the cosmetics industry, and instead favor a “self-regulation” of the cosmetics industry.

Those in favor of stronger regulatory authority over the cosmetics industry in the United States cite the FDA’s alleged low threshold of accountability over the cosmetics industry, as well as research studies that indicate the effects of harmful chemicals that exist in cosmetics and personal care products. The FDA has released administrative recommendations for cosmetics companies, which include a voluntary submission of product chemicals and information and product safety testing. These two recommendations are key to this movement’s argument, as there are claims that “without regulations requiring documentation, cosmetics’ safety risks and harms remain largely unknown” (Boyd, Yale Journal of Law & Feminism). Two commonly used chemicals in cosmetics are at the forefront of this scrutiny: parabens and phthalates. Research cited by the Environmental Working Group shows that “parabens and phthalates can disrupt hormones and the reproductive system” (Environmental Working Group). In addition, research also marks parabens and phthalates as “endocrine-disrupting chemicals” that may pose the most harmful risk during prenatal and early postnatal development (Kalicanin & Velimirovic). Exposure to these chemicals has been linked to endocrine diseases, as well as some forms of cancer such as breast cancer. Aside from the FDA only offering recommendations to cosmetic firms concerning product safety, supporters of cosmetic regulations cite public opinion polls showing that most Americans are in favor of cosmetics and personal care product regulations. According to the American Viewpoint & Mellman Group’s 2016 general election survey, approximately 75% of consumers - regardless of age, race, or party affiliation – support stricter oversight of chemicals in cosmetics, and nearly 90% consider these proposed regulations very important.

In contrast, some medical professionals and scholars argue that additional FDA oversight on the cosmetics industry is misguided and unnecessary. They argue that the FDA’s regulatory authority through the Federal Drug & Cosmetics Act is sufficient, citing the rigorous standards in place to ensure that no toxins exist in product formulations that hit the market. In addition, experts claim that self-regulation has been and continues to be important to uphold cosmetic and personal-care product safety. Dr. Ross Gilbert of the American Council on Science and Health argues that the cosmetic industry has “the primary responsibility to ensure that all ingredients, preservatives, and co-formulants used in products are safe for their intended use” (Gilbert). Furthermore, Gilbert argues that studies that produce skepticism over product safety involve animal testing, which does not necessarily indicate how humans would react to chemicals in cosmetics. “Animal and human physiology differ in crucial ways, which dispels the idea that animal-based product studies compare to human health risks,” says Gilbert. Esteemed dermatologist Dr. Janet Prystowsky affirms Gilbert’s stance in an op-ed and argues that cosmetic and personal care products already undergo several rounds of testing, such as patch tests. She also states that there are already professional organizations that focus on product vetting and chemical safety, like the Personal Care Products Council (PCPC), Cosmetic Ingredients Review (CIR), and the Contact Dermatitis Society (CDS). Another argument that Prystowsky makes is that the FDCA prevents cosmetic companies from making treatment claims about product formulations, and that “efficacy standards should be reserved for drugs that make treatment claims, not cosmetics” (Prystowsky).

The debate concerning the FDA’s scope of regulatory authority over the cosmetics industry’s product formulation practice is far from over, as supporters of larger oversight continue to lobby congressional representatives to amend the Federal Drug & Cosmetics Act. As of today, 358 congressional bills related to cosmetic and personal care product safety have been introduced in the 116th Congress alone, with more legislation to amend the FDCA being pushed in past congressional sessions. The lobbying battle continues to brew between cosmetic companies and medical professionals against such regulations and environmental and chemical safety groups that support more FDA oversight.

______________________________________________________________

Amanda Bombino is a fourth-year undergraduate student at Rutgers University-New Brunswick majoring in Political Science and minoring in Public Policy and Sociology. She is currently applying to law schools for next Fall 2021. While unsure of what area of law she’d like to pursue, she is interested in criminal law, administrative law, and intellectual property.

______________________________________________________________

1.      Food & Drug Administration. “FDA Authority Over Cosmetics: How Cosmetics Are Not FDA-Approved, but Are FDA-Regulated.”

2.      Boyd, Marie. “Gender, Race & the Inadequate Regulation of Cosmetics.” Yale Journal of Law & Feminism, Vol. 30, No. 2, 2018.

3.      Kaličanin, B., Velimirović, D. A Study of the Possible Harmful Effects of Cosmetic Beauty Products on Human Health. Biol Trace Elem Res 170, 476–484 (2016). 

4.      Weiss, Charles. “Legal Issues and Challenges in the Cosmetics Industry.” Holland & Knight.

5.      Prystowsky, Janet H. “More FDA regulations of cosmetics will not make them safer.” The Hill.

6.      Ross, Gilbert. “A Perspective on the Safety of Cosmetic Products: A Position Paper of the American Council on Science and Health.” The American Council on Science and Health, Vol. 25, No. 4, 2006.

7.      Faber, Scott. “The Toxic Twelve Chemicals and Contaminants in Cosmetics.” Environmental Working Group.

8.      Library of Congress. Search results for “Cosmetic Safety” bills in the 116th Congress. https://www.congress.gov/search?searchResultViewType=expanded&q=%7B%22congress%22%3A%22all%22%2C%22source%22%3A%22all%22%2C%22search%22%3A%22cosmetic+safety%22%2C%22type%22%3A%22bills%22%7D

Photo Credit: KaurJmeb