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Martin Luther King uttered the words:

“We will be able to hew out of the mountain of despair a stone of hope…”

Since slavery and shackles, African-Americans have fought their suppression as socially a stigmatized group under the stronghold of white supremacy, and the Civil Rights Movement became the basis for Black socio-political discourse that impacted generations of minorities with a unifying desirability to achieve civil justice. Empowered by their endeavors for equality, African-Americans became the defendants for minority justice and the Civil Rights Movement: the cornerstone.

The society that Martin Luther King envisioned was begot through the many sacrifices made to break down barriers that led generations of minorities to set cultural and historical precedence unrealized in the 1960’s. We want to believe in the false notion that we live in a racially inclusive and integrationist society where racial practices are basically colorless. In today’s society it’s harder to indentify social ills connected to racism, especially when most citizens won’t even acknowledge its existence.

But, the bigotry reflected in inequality that groped this democratic nation for centuries was challenged four years ago when Barack Obama ran for Presidency. With this transformation, something that was solely seen as the white man’s burden finally became every man’s burden. Obama epitomized the struggles minorities historically faced through the glass ceiling effect. Obama became an exception rather than rule in a society that is promoted as color blind, yet marginalizes certain citizens regarding education, occupation, and representation through socio-cultural stratification.

Obama became a brand of hope, demonstrated through the overwhelming obstacles that lingered from the inescapable impact of the Jim Crow Era. Obama strove to overcome the constant burden carried by communities of color post-Civil Rights. From our first to forty-second president, the folkways of the old have remained considerably intact, but with our forty-thrid president we set our sights on new forms of being hopeful, realizing that we “will be able to join hands and sing in the words of the old Negro Spiritual, Thank God Almighty, we are free at last.”

When liberty is extended to all then democracy becomes a political dream realized.

On November 4, 2008, citizens elected their first minority President of the United States. On November 6, 2012, let’s hope citizens continue to move forward with Obama’s change.

 An anthropoid that is an applied learner, not an accumulated one. ✿」


❀ Mayan Butterfly (Hu Nab Ku)

 The above symbol is synonymously referred to as the galactic butterfly because it is said to be located at the center of our galaxy. It is a part of Mayan symbolism and is a representation of all the consciousness that ever existed in our galaxy. The butterfly symbolizes the unity that connects people despite distance, events, or time. This Mayan symbol represents a fertile womb that gave birth to the inanimate and animate things that comprise our galaxy, which are referred to as ancestors. Mayans perceive butterflies as ancestors returning for a visit to physicality. The Mayans have an assortment of interesting totems and emblems that symbolize many interesting and intriguing things.

 An anthropoid that is an applied learner, not an accumulated one.  


✿ Haters & Hate: Queen B

Memo to Beyoncé haters and hate:

Songwriting: I need everyone to take two minutes and google the definition of a songwriter. Beyoncé is the definition of one. Beyoncé is credited as a producer on the song/single If I Were A Boy, not a writer. Producer credit versus writer credit is two different things. Nevertheless, it would not be considered stealing either way. Any contribution she has on a song and its conceptual process constitutes songwriting, thus she is entitled to a songwriting credit. Songwriting is literally its definition: song writing. A song is not solely composed of lyrics. A song is comprised of many other things such as beats and instrumentation, melodies and harmonies, syncopation and rhythm, and production (vocal and sonic), among other things.

Run the World (Girls): Beyoncé collaborated with Major L and the Dream thus she is not controlled by them since she is paying them to help her create music. The concepts are hers and she “co” on anything that has her name attached to it.  Run the World is not an exception to the rule. Run the World has a sampled beat but the song is co-written and co-produced among Beyoncé, Dream, and Major. Reiterated, Beyoncé redefines co-llaborations with men. So when men come to work for her she cannot be the one being controlled.

Copying: Nothing is truly original. Something becomes original or innovative due to the conceptual process of the person interpreting the idea. The idea and interpretation of said concept becomes visionary depending on the person executing it. To claim Beyoncé is unoriginal is baseless when she is known as a cultural and musical trendsetter. Her biggest contribution being her talent – her ability to sing soulfully in staccato style syncopation (something she is singularly known for creating) whilst sustaining the vocal and technical skills that are critical to a singer. No one mastered this before Beyoncé. Not only does she sing live with such technical superiority, she does THIS simultaneously while dancing to complicated choreography in stilettos (the entertainer aspect).

Retrospect: Plenty of singers have rap-sung and plenty have sung with soul, but no singer that came before Beyoncé mastered all of the aforementioned elements to the technical and musical level of being able to utilize them simultaneously and exceptionally. Beyoncé is on an exceptional level as a singer and entertainer. Normally, singers have minimal entertaining skills and performers have minimal singing skills. Singing is THE factor that distinguishes a performer from an entertainer, in my opinion. Tina Turner, Michael Jackson, Price, Usher, and Beyoncé are examples of exceptional entertainers.

Beyoncé is not a mediocre singer, dancer, or entertainer. Therefore, Beyoncé took existing technical and musical concepts and evolved them based on her visions and abilities. This constitutes a creative innovation and attests to her genius artistically, vocally, and musically. She went outside of the vocal and musical limitations that past and present artists had and has broken musical, vocal, and critical barriers in the process.

Beyoncé has an undeniable maturity each era, but understanding her maturation requires one to be familiar with her catalogue in its entirety. Her arrangements alone show hints of musical and vocal brilliance. She has experimented musically with innumerable genres and has evolved vocally and continues to push vocal boundaries by using her voice as an instrument. None of her albums sound the same, songs never sound similar, and she sets the bar musically and artistically each era. She does not regurgitate, but maturates and it is so refreshing to hear her music because it stands out.

Only unmusical people tend to see Beyoncé as unoriginal and untalented. Beyoncé has never been a boxed artist and her unpredictability scares a lot of people because she pushes ahead regardless if her singles flop or succeed. Beyoncé is not the top artist in the world without reason. She is on top because her greatness is unmatched. She is highly respect by her musical peers and predecessors in a multitude of musical genres because of what she offers talent-wise.  

So please stop spewing nonsense about Beyoncé when none of her contemporary peers do half of what she does. She is versatile and virtuosos so that is why she is always in demand to perform. That is why she can perform at the Oscars, Rock-Indie Musical Festivals, the Presidential Inauguration, etc, and can perform for the Royal Family, Nelson Mandela, the Obamas, etc. Her fanbase is as diverse as she is.

Haters continually hate and try to discredit Beyoncé but she is solidified. Having haters only makes her greater. I stan for and support talent.

Remember haters, birds of the same feather flop together.

An anthropoid that is an applied learner, not an accumulated one. ✿」


❀ Feminism: Beyoncé

 Disclaimer: I'm a Queen big Beyoncé fan, thus I will occasionally dedicate a few entries to her. I am always open to constructive criticism and critique on any issues of interest I write about because I like to open a platform for discussion or debate.

Below is my perspective on Beyoncé's Run the World (Girls) video and feminism. The debate was sparked by a Youtuber named NineteenPercent’s response to Beyoncé's Run the World (Girls) video: www.youtube.com/watch

Beyoncé never claimed to be feminist. Musically, her most feminist undertones are expressed in the female empowerments messages emoted through her music. There is nothing wrong with her musical intentions. Beyoncé makes me feel empowered because she leads by example. Visuals and lyrical content aside, Beyoncé is the epitome of a woman. Besides her talent and diligence, she has succeeded in her fields and has broken many cultural and stereotypical barriers in many others.

Moreover, she redefines the bar as an entertainer and as a woman (femininity and feminism). She exudes sexuality, but always within tasteful bounds. Despite her sexiness, she is considered a contemporary icon and role model for women worldwide.

Classiness is goes beyond the bounds of fashion because it is a lifestyle. Whether Beyoncé is offstage or onstage, she carries herself as a woman. Beyoncé introduces us to the many facets of a woman – entrepreneur, philanthropist, entertainer, wife, mother, daughter, aunty, sister, friend, and mostly importantly, human Beyoncé.

In these instances Beyoncé is not as unrealistic or untrue as she is deemed. People tend to have selective amnesia and choose what is to be ascertained from her because like any woman, she is full of complexity.  Truthfully, a lot of women are afraid of her and afraid of what she represents – refinement to the confinement women still tends to place themselves in.  She can be as easily sexy entertainment-wise as she can be subdued, but that’s beside the point when women should admire Beyoncé for what she offers in the aforementioned avenues. And, women know this depending on whose opinion we are consulting about Beyoncé.

Women tend to consult convenience arguments based on pseudo-knowledge about the truth of women (femininity) and womanhood (feminism).  But, what is really true in hindsight of the complexity of the woman and our struggles on a multi-cultural scale. Let us think outside of Nineteen’s personal ethnocentrism for a moment. Does she actually speak to the plight of the woman or to the plight of a certain culture of women historically? The answer is apparent.

The only absolute truth is that we are all woman and that is our common affinity. Therefore, we should bond based upon that, not degrade each other because femininity and feminist expression will differ. No woman exercises an inferior or superior way of the socio-culturally constructed notion that is femininity which defines women and one of its by-products: feminism.

Biologically, we all have vaginas so we are all women and socio-culturally we are gendered to be feminine, so there is not one way to partake in womanhood. Beyoncé is not any less feminist than any other woman for that reason.

Beyoncé’s female demographic is diversified, hence a range of songs to make her multi-relational to many cultures of woman worldwide. Nineteen's critique of Beyoncé for her video Run The World (Girls) is reminiscent of the way a man would typically objectify a woman, in my opinion.

Is it so unfathomable that a woman could actually run the world someday? Has the mentality of women been that enslaved? It seems that it is not the message of Run the World (Girls), but a deeper issue Nineteen had with Beyoncé. It seems to be an inability to see outside of her feminist pompousness and embrace the feminist expression of an accomplished African-American entertainer, because Beyoncé does not fit into the stereotypical molds that define a majority of women of color in the entertainment industry and popular culture.

Whether Nineteen agrees, Beyoncé offers an alternative expression and dimension to feminism, especially for woman of color with influence and presence worldwide. Males and females can relate to Beyoncé because she is not too emasculating for males and she is empowering for females. For an entertainer who is overly criticized at times, Beyoncé offers more of a balance than she is given credit for and has succeeded expectations placed on her tenfold because she runs her brand.

She is partnered with her label, misinformation aside, but she is not Nineteen’s forte of feminism because Nineteen’s feminism is extremely status quo. Nineteen feels women should not be sexual since we are hyper-sexualized, but women will be sexualized whether we leash or unleash our sexuality. It is not a Beyoncé thing; it is a socio-culturally constructed thing which goes beyond Beyoncé.

Sexuality is embedded because we, as woman, are socialized and enculturated into it. Nineteen is not even escaping it or above it because it is at a deeper level. She is perhaps more conscious of it, though. But, Nineteen needs to understand that women, womanhood, and feminism will never be static. We live in an evolutionary culture and society. Feminist principles have to evolve with the changing times and changing statuses of women. We achieved a lot with older feminist principle but we can advance further with newer ones.

How do women expect any man to consider our cause when we constantly limit and confine our own femininity and feminism in a box?

 An anthropoid that is an applied learner, not an accumulated one. ❀