Bring it on if you think you hang. And if not then let me do my thing: I deserve complexity.


                                                                        Photo Courtesy of Art created by Shoshanna Weinberger and T’Air Carroll.

Eight days ago, I came across a picture of an African woman. A mother, a daughter, a sister, an aunt; and possibly a wife—she was in pain. She was covered in batik. Her veins were no longer dormant; they were alive, distinct and attempting to cut through her face. Spit had taken residence in the corner of her mouth. She was crying so hard, the hurt was so genuine, so consecutive that no tears could come.

On January 30, 2016, Boko Haram attacked and killed some 86 people in Dalori, a Nigerian village. And my heart tightened. I screamed expletives after expletive. I thought to myself, when will it be safe for us to stop crying? When would peace be revolutionary? I wanted to console this woman, but what does that sort of comfort even look or feel like?

We are to believe that as early as April of 2014, government officials on the state and local level knowingly poisoned Flint residents. Mario Woods was shot and killed on December 2, 2015, by more than 15 rounds by five officers of the law. February 5th was Trayvon Martin’s birthday. February 7th was Sandra Bland’s birthday. She would have been 29 years old. He would have been 21. There are tragedies that are nameless and unpublicized that are plaguing black communities throughout the diaspora.

On Saturday, February 6, 2016, Beyoncé dropped a video for her first new song since 2014. She was set to co-star with Coldplay and Bruno Mars for the Super Bowl 2016 this past Sunday. I sat in my sister’s living room, after having an unproductive day (not of my doing) and clicked play. And in seconds, in seconds; I was revived. I hadn’t even taken a sip of my South African, red wine. For clarity, not like oil rubbed on foreheads or even submersion under water. My confidence was renewed instantly. I don’t want you to think religion; I want you to feel spirit.

Like in 1991, when Whitney Houston sang “A Song for You” for the returning troops from Desert Storm. At one point she leans back while sitting in the chair and hits this note that I swear God is tap dancing up my back. Beyoncé told the world that black women are magical, that blackness cannot be contained.

Apparently, Beyoncé does not deserve complexity. And I took offense because if she can’t neither can I. As a community, a litmus test has been created to prove if you’re conscious enough to wax poetic about our collective pain. Men are to be however they want and “intelligent,” it seems. And women are to be silent, fully clothed, fist raised and ready. Any divergence from these boxes and guidelines you are unsuitable to express or create for blackness.

The video is hawt. The images are piercing. The fashion is there. The cameos are there. The message is there. The historical references are there. You mad because you didn’t think to create a black power trap song geared to push black women toward their greater potentials, even if in small steps. A seed was planted; all it takes is a mustard seed. Why not call Beyoncé prophetic? Can’t I quote Toni Morrison, twerk in 5-inch heels and take shots of top shelf liquor with no chaser and love my people? Can’t I wear blonde weave, subscribe to Vogue, light incense as I listen to Project Pat while writing an inspirational speech for black girls at Timbuktu Academy and have tattoos of Africa and Adinkra symbols on my buttocks with Fanon, Diop, Welsing and hooks residing on my bookshelves? Can’t I knuck if I’m buck, drink Cabernet Sauvignon, donate to families in need and be ready to protest on anybody’s Michigan Avenue, with fire engine red locks? No!!?!

Tupac Amaru Shakur has been on both sides of the law, throughout his celebrity. Some of 2pac’s lyrics are misogynistic; however, he still found the fortitude to pen “Brenda’s got a Baby” and “Dear Mama.” Shakur often spoke of the greatness of African people. His opinion was never in question; his behavior never negated his philosophy or love for his people. Folk is waiting on the third day right now, for his resurrection; some don’t even believe that he is dead. King’s adultery still allowed him to have a dream and be a supreme leader for both our human and civil rights. James Brown domestic violence, tax evasion, alcoholism can’t nick the legend that he is or those he inspired. Brown made it hipper to be black, at a time when blackness was synonymous with expiration dates. There’s these invisible rose colored glass when it comes to consciousness and masculinity.

Otis Redding wrote “Respect,” for Aretha Franklin. Franklin can play the piano. Aretha is the queen. Smokey Robinson wrote for The Supremes, The Temptations, Marvin Gaye, The Jackson 5 and himself. Are these artists still legendary? I thought so. “Remember the Time” was co-written by Teddy Riley, Michael Jackson and Bernard Belle. Stevie Wonder also wrote for Michael Jackson, a number of times. Michael is the kang. Jackson was a lot more vocal about the mistreatment of Black people than most know. Many believed that his physical appearance was a testament of self-hatred except he had discoid lupus, vitiligo, and contempt for his father. Michael Jackson was proud of his heritage. Do you remember a time when ancient Egyptians were not white?

The idea that an artist is superficial if they have managed to have profitable careers is ludicrous. From “Urban Hang Suite” to “BLACKSummer’s Night,” musically Maxwell has evolved; for that change to occur one must grow and experience new and different things as a person. Editorially, let me just say after child birth your world view changes, fear becomes a lie, everything that you are or are not is magnified and your new mission becomes to become who you are meant to be the best way you know how and see fit.

Everyone wants to reminisce about the good old days when music was “authentic”—a time when everybody wore afros. We can’t speak of that golden era without being honest about the sexism and the fact that our organizations were able to be infiltrated; which led to many of our leaders being assassinated. Everybody smells like roses is what the debates and think pieces tell me. To be black is to be good and respectable. The symbolism of the visuals in the video and the countrified lyrics was an honest celebration of what it is like to be a black woman, generally speaking of course and without definition of course. It’s okay for black women to embrace our sexuality, to pronounce our beauty; hence, the white negligee B was rockin’. The visuals were supreme blackness for me. A carnival of the vastness that is to be black, to be a woman—she gets to speak on it because she is those things. The hair styles, the confrontation against police brutality and enslavement, outdated standards, gender roles, the pain, the survival and the “fed-upness.” We’re so conditioned to having to provide evidence of our humanity, that naturally, we doubt each other.

You don’t have to like Beyoncé as an artist. You don’t have to buy concert tickets or albums. You don’t even have to agree with her business acumen. But you can’t deny her agency to express herself and her own means to define womanhood, blackness, music or to confront social constructs and the mistreatment of people. Beyoncé donated over $250,000 to help to create a fund for the victims of Hurricane Katrina back in 2004. Her personal image is all about the empowerment of women. It might not be Mahalia Jackson regalia but it is most definitely a little Chaka Khan, Tina Turner, Diana Ross and Donna Summer.

We’ve bought into the exclusionary practices of that when one of us speak or does something; it speaks and represents all black people, too. The beauty of blackness is that it is everything. The alfa na omega baby! The spectrum is so omnipotent that to define it, is to disgrace it.

Beyoncé is not a child. I do not expect her music or the images she portrays to raise my daughter. What I will do is have real conversations with my daughter about sexuality, language, objectivity, her thoughts and we’ll design what being a black woman is together until it is her time to define it for herself. She knows that she is beautiful, smart, and strong; and that she’s of African descent and proud of that. She is one-year-old. I’m currently defining blackness for myself. I have the respect for my people to disagree with them without degrading them.

The Super Bowl performance was the trinity of divine femininity. A homage to the Black Panthers, Michael Jackson and Malcolm X, was history in the now. For the record, I applaud Beyoncé for having Blue Ivy in the video. It would be a disservice to hide who she is from her daughter. It is a disservice to hide your femininity from your daughters.

But clearly, only shake ya ass. Might start a revolution. There’s power in our hips.               I’m blackalicious and loving it.                                                                                                     I have danced to mourn the deaths from the attack on the Dalori village.                     You should too, gone head twerk a little.


Photo Courtesy Beyoncé Tumblr

holy grail. she.



Photo Courtesy of C&A

Who better to invoke when discussing the ills and glitz of celebrity than Kurt Cobain. “And we all just/Entertainers/And we’re stupid/And contagious.”  “Smell like Teen Spirit” is the opening track to Nirvana’s Nevermind.  Thus, rightfully so, it assist in opening the curtains to MCHG.  Holy Grail is not as “guttural, nonsensical or slurred” but it’s melodic and has a sort of drawl to it—as if a spell it being cast.

Fans are fickle, the industry lushes after anything with dollars attached to it but if you present yourself as altruistic as possible your “cup will runneth over (Psalms 23:5).”

Jay-Z starts off with telling us what Blue told him to remind us about, then he jumps into the d’evils of fame.  He discusses how heavy hitters amassed millions in one night but how when “the money blows/all pigeons take flight/f the fame, keep cheating on me.”  We all know to well the crevices of crotches, lines in the bathrooms, domestic violence, violence, despair, insecurities and suicidal thoughts of our favorite and most hated celebrities alike because of the extravagant compensation of gossip and photos obtained by intrusive, proficient folks with cameras.  When your craziest desires are excruciatingly accessible, priorities can easily be misplaced and boundaries may become nonexistent.

But you can’t “throw the baby out with the bath water,” quite analogous to the cover of Nevermind. Next, he frankly states “you got the shit that —-die for, dry yours.”  This is Jay telling himself to quit crying (IRIS).  With having a wife and now a child, Jay-Z has new pressures.  Yes, Beyoncé has her own prominence to boast about, but there are these things.  These things called pride, breadwinning and “vanilla wafers in a villa.” If you take away the family life, pressure, fakes and peeping Toms (the icing and cherries), Jay-Z has few reasons not to rap.  As an artist, Jay-Z has not experienced too many instances of retrogression.  Why not keep coming back for more?

It could be argued that the ruthless, competitive nature of the rap game is what keeps him alive, figuratively speaking.   The technique and stamina required to be a lyrical giant requires consistent “exercise.”  I’m not suggesting that he should rap until he’s 100 years old but he did say “longevity until I’m 70.” And ladies and gentleman, words are nothing if not affirmations.

The actual meaning of “Teen Spirit,” is lost in translation, literally, deep in the sea of questions due to its “incomprehensibility.”  I always gathered that Cobain wailed about how the irony and clashes of revolution oftentimes drives you to embrace its perplexity, thus relishing in the invincibility (teen spirit) that comes along with that acceptance.  Jay-Z was once an impoverished boy who graduated to street mathematics and science who studied the dictionary, which paved the way for numerous other business ventures which now includes being a sports agent for the NBA and MLB.  How’s that for breaking glass ceilings and kicking in the door.

“Why [couldn’t] you just enjoy it?” Rest peacefully, KC.



Magna Carta Holy Grail (MCHG) sounds like freedom.

I’ve been wrecking my brain for the appropriate word to describe this musical masterpiece.  In the way that a devoted Jay-Z fan, long before critics had to eat their words and call “Reasonable Doubt” a classic, can.  The album is weightless and more succinct than “American Gangster.”  It’s chiism in verse.

I’m the girl that spent her last $15 dollars in credit to cop the “Black Album.” Smart? Maybe not, but it was worth it.  I preorder Jay-Z albums and often have more than one copy of the same album.  MCHG is the holy grail of making it out the hood but on a sicka note securing legacy.  When I say legacy, I am not referring to rather or not Jay is the G.O.A.T.—because I already know the answer to that but the point at which the sky is now your foundation not ground.

There is no titillation here.  Honestly, I’ve been waiting for this album for six years.  The boy who grew up on the mean streets of Brooklyn, specifically the Marcy Projects is happy.  “Happiness for a gangsta ain’t no love in these streets/Conspiracy theorists screaming/Illuminati/They can’t believe this much skills in the human body.”  I truly wish not to speculate that the birth of Blue Ivy was the prelude to a more immaculate Hov, from cautionary tales to pursuits of happiness to always sportin’ a smile type of peace.

And it dropped on Independence Day.

After I heard, “Open Letter,” my brain froze, the cursor would not move.  I had to reboot.   I had no idea that an album was in the near future or even a thought for him. Hell, he was still riding the celebratory wave of “Watch the Throne.”  It’s revolutionary, but not just black fist in the air.  Every compilation is like a prayer and in between release dates Jay-Z puts in the work to guarantee the fruition of his aspirations (action).

“Own boss, own your masters, slaves…”

These are my initial thoughts.

Let the dissection begin.

To be continued.

Shining Bright.


Photo Courtesy of Golden Globes 2009, GettyImages, Instagram (baddiebey), H&M, Dazed, HBO, Vibe Vixen, Sandra Rose, JustJared,, Popsugar

With all the proof we have that perfection does not exist, time and time again we create pedestals of aptness knowing such can not be achieved.  I am rendered speechless at the level of shock most endure when flaws are made apparent or rather the nonchalance one has toward living freely, null of judgment or inhibitions.  These pedestals are mostly molded for the people who we live vicariously through yet we stick our noses up at them when it is realized that they bleed red also.

I have become intrigued by the onslaught of criticism that Beyoncé Knowles-Carter receives.  Is it just envy? Or does she appear to be perfect, thus many hate her for it?

I must add that I can not particularly call myself a fan, but I am aware of her supreme talent, diligence and ambition.  I began to listen more closely to her music upon her 2004 Grammy performance of “Dangerously in Love.”  To be honest, her more mature and solo material struck my interest.  Her presence can not be denied.

On April 22, 2013, Rakhi Kumar wrote a letter to First Lady Michelle Obama to inform her that Beyoncé is not a role model.  The first sentence was “I’m addressing this to you because I admire you.” I can’t help but to sense a condescending tone.  It conveys that because of her admiration for the First Lady it gives her the right to dictate and presumably correct her parenting decisions for her daughters.  Michelle Obama deemed Beyoncé a role model.  The author refers to the misogynistic nature of the music industry and the revealing embroidered nipple outfit that Beyoncé wore to kick off her Mrs. Carter Show World Tour.  The problem with this argument is that it often clashes with how any woman chooses to define her femininity.

I love the title of Beyoncé’s tour; she’s parading her marriage around the world, like a never-ending honeymoon.  The promotional art, commercials and marketing is also something that I believe is clever.  If your understanding of royalty and/or the crown is that it is something reserved for only those of powdery hue, then I completely understand your disdain and declarations of whitewashing.  However, no alterations can remove the “oil wells pumping in [B’s] living room.”  The images conjure Queen Elizabeth; “the virgin queen.” Beyoncé story is quite parallel to Queen Elizabeth considering they are two women in history who accomplished unprecedented goals in both of their worlds respectively.

In my eyes, Beyoncé became legendary when she started performing and touring with an all female band.  I have this high respect for female bands and Rock-N-Rollers.  This solidified her as a contender without competition.  Such as a statement alone is inspiring and affirming that women are forces to be reckoned with.

I am also a black love, black is beautiful connoisseur.  Any and everything the factually promotes either of these mantras, I support strongly.  Furthermore, upon watching her documentary, “Life is But a Dream,” I understood that she too was a woman, just like me.  Of course, we do not share the familiarities of wealth and fame but emotionally and spiritually we are all interconnected through our shared experiences.  Although it may seem silly and trivial, the scene that resonated most with me is when Solange, Beyoncé and Kelly were singing The Cardigans “Lovefool.” My sisters and I, there are three of us, would swoon this hit record to the top of our lungs, randomly throughout our childhood.

Particularly, America encourages individualism, thus it simultaneously fuels envy; mostly due to the dynamic of the pursuit of happiness, who can be the better American?  This country’s ideology of all men are created equal in many facets is a façade.  Thus, our hearts have habits to condemn, crucify and contemn while secretly desiring the prestige and freedom in question. Society has a random, spin the bottle target ready morality when it comes to discerning piety, decadence and indecorousness.  America has a culture of bringing people up only to break them down.

Our true age of enlightenment will be the moment we become completely adept to love others for who they are, not for who we want them to be (our differences)—and to accept the complexity of this concept by simply being.

A Wonderful World.


The executive producers of “The Great Gatsby,” Jay-Z and Baz Luhrmann were charged with recreating the momentous era of the Jazz Age for the score.  I can hear the snickering and lip smacking in the background at the idea of a rapper creating a score for a flick with so many obviously white characters.  I commend Luhrmann for acknowledging that jazz is a musical genre with origins in the African American community.

It took roughly 80 years before Jazz or blues were considered American music, other than just jungle music.  From the hard streets of New Orleans, an art form was birthed.  On September 23, 1987, introduced by the honorable John Conyers, Jr. a house resolution was passed by the 100th Congress of the United States of America.  The resolution “proclaimed that jazz “is a unifying force, bridging cultural, religious, ethnic and age difference in our diverse society.”  Interesting, right?  Right!

“100$ Bill” by Jay-Z sets the stage.  Yes, we know he’s pushing 50—nonetheless his eloquence perdures.  You start seeing green, purple and gold: envy, hope and wealth.  Mr. Carter’s braggadocio embodies the sumptuousness of the Jazz Age; he utters the women, the lack of morality as well as the obscure upward mobility.

It was ingenious of Jay and Baz to meticulously have contemporary classics that have already graciously captured the spirit of jazz to be covered by other talented artist.  Andre 3000 and Beyoncé’s duet of Amy Winehouse’s “Back to Black” immediately transports you front row at the juke joint.  “Crazy in Love” is already a brickhouse record; Emeli Sandé coupled with The Bryan Ferry Orchestra gives the song certain versatility that easily makes it a signature tune, sort of like “R.E.S.P.E.C.T.”  If you are to infuse Jazz and Hip Hop and make the correlation that these musical genres are twisted sisters; of course, Q the Abstract makes the cut.  Lana Del Rey hypnotizes you with her boisterous pipes on “Young and Beautiful,” which suits her and her forte for bad boys and their short attention spans.  Sia (“Kill and Run”) and Florence’s voices are like the ocean.  Their unique, hold no bars range allows them to depict blue emotions and love succinctly.  “Over the Love” has blasted from my speakers ad infinitum consecutively since the very moment the credits ran down the screen.  AIN’T no party like a party!  Other notables are Jack White, Gotye, Coco O. of Quadron, The xx, Nero and Fergie.

Unfortunately for the naysayers, the execution is immaculate.

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