​Beyoncé's ACT II: Cowboy Carter has consumed my head space lately. It's one-year anniversary recently passed on March 29th, and I'm gearing up for the fast-approaching tour. Is she going to drop a dress code or what? My barrage of thoughts have ranged from "I don't think certain songs mean what most folks think they do" to "She almost missed Best Country Album; where was she?" I jotted down everything that ran across my brain and tried to condense them for this article. It still has some miles. For your convenience, here are the sections, and you can pick your poison (shout-out to those who caught that Beyoncé pun):
 
-The Cowboy Carter Character Seeks Vicarious Revenge by Whoring
-Beyoncé Feels Conflicted
-The Replay Value Isn’t That High
-Why the Album of the Year (AOTY) Grammy Win Means So Much
-Randomry (If Beyoncé Can Make Up Words Like “Bootylicious” So Can I)
 
The Cowboy Carter Character Seeks Vicarious Revenge by Whoring
 
By now, most people probably know that Cowboy Carter was born out of the negative, racially charged experience Beyoncé had at the 2016 Country Music Association awards (CMAs) performing with The Chicks. She was subsequently moved to do a project paying homage to her southern roots and the black originators of country, and to challenge ideals about Americana and who should be in what genre. Of course these topics were at the forefront of album discussion, leaving others behind. Many may not realize that Cowboy Carter isn’t just an on-brand moniker; she’s a character with her own [scandalous] storyline across eight songs. Hear me out: I believe Ms. C.C. is a woman who’s been betrayed one too many times by her cheating mate. It’s not enough to retaliate against him with infidelity and violence. She wants to get inside the minds of mistresses and cause others to ache like she does. Transforming herself into a vixen, she’s a poster child for “Hurt people, hurt people.”
 
It starts with “Bodyguard,” where there’s hints of jealousy and relationship discontent (ex. “You make me cry, you make me happy…I don't like the way she's lookin' at you”). When the infamous seductress “Jolene” shows up, it seems Ms. C.C. and her man will put up a united front. The teamwork is a figment of her imagination though. The male vocals echo and sound distant, as if they’re part of a dream. If he actually promised to “stand by her,” he broke that vow. Why else would she resort to beating Jolene bloody and contemplate murdering him on “Daughter?:” “How long can he hold his breath before his death?” The Italian lyrics of “Caro Mio Ben (My Dear Beloved)” in the bridge contain pleas for a “cruel” lover to stop their mistreatment. Beyoncé and Ms. C.C. interestingly intersect at “Jolene” and “Daughter.” The former’s interlude has Dolly Parton referring to 'Becky,' the foil of Beyoncé’s vulnerable adultery album Lemonade (2016). The latter has a quip about Bey using her notoriety to gain access to ‘Jolene.’
 
Despite the events, Ms. C.C.’s beau doesn’t change his ways. On “Alligator Tears,” she ribs herself for remaining excessively and unhealthily dedicated, and expresses frustration that her faithfulness goes unreciprocated. The tone of “Think about leaving? Hell no! Squeeze every ounce of love from my body, yeahhhh” is wonderfully sardonic. This is where she steps further to the bad side (Yes, that was a DreamGirls reference). “Riiverdance” finds Ms. C.C. conceding to the idea that her relationship is one of eternal hardship and mutual destruction. You can’t realistically run through a river. Trying to do so will be laborious…and futile. Yet, she can’t bring herself to ever let go of the guy. So, she decides to *Texas Hold ‘Em voice* stick around and try to comfort herself by dishing out what she’s taken. “Lies are hidden in her kisses.”
 
Ms. C.C. wrestles with her conscience throughout “II Hands to Heaven,” uttering prayers and chugging [Sir Davis] whiskey to cope. She views herself as someone who was once pure (ex. “Lost virgin”), but darkened in spirit after receiving “toxic roses” and being “chased by wolves and carnivores.” Yeah, that includes you, Jolene. This is reiterated with chorus parallels of horses and coyotes running wild; one is a threat to the other. She hopes to eventually “re-grow” her “broken wings,” but for now, she’ll offer fleeting, but exhilarating moments to those who can intrigue her (ex. Verse two). For a night, or maybe a few, she’ll see “your goals, your glow, your inner being.” The second half of “Hands” is widely interpreted as an uber romantic celebration of commitment, but I think it’s Ms. C.C. beguiling her latest paramour. Earlier in the song, there’s a mention of a summer fling who could play “the good guy,” and they’ll see “the best” in each other. Not only do her targets get a temporary utopia and perfect lover, she does too.
 
“Tyrant” lays it all out plainly in summation as the last cut in Ms. C.C.’s tale. We hear Dolly once more, calling the character by name and appropriately circling us back to “Jolene.” Ms. C.C. interviews her former nemesis about “how not cry” while enticing attached men. She needn’t ask about bedroom techniques, as she evidently excels there. She even has a signature—the cowgirl position (how fitting), which was centered in “Riiverdance” (i.e. “Bounce on that shit, no hands”). Nowhere near re-growing her wings, it appears she’s added being a fugitive to her repertoire. Shooting up bars, lying to law enforcement, and trying to get away are among her current activities. It’s safe to assume she isn’t with her main guy anymore. “I don’t want him back, but I can’t let go,” could just mean she still has the previous situation on her mind. Ms. C.C. leaves us haunted by a past that’s dictating her present, and we don’t know if she’ll be healed and redeemed in the future. It’s quite sad.

February 17th marked the 20th anniversary of Destiny's Child's self-titled debut record. The date was definitely on my mental calendar because 'D.C.' was/is my heart, but I didn't really expect it to be on anyone else's radar. I was pleasantly surprised when I saw there was enough online conversation that the occasion was a "Twitter moment", and several commemorative articles were in circulation. Once I started combing through the fanfare, however, I felt a little dejected. Many of the tweets were from people who said they were infants or toddlers when the album came out. Thus, their 'reflections' were in hindsight or second-hand. So-called 'tribute' pieces barely discussed the actual project itself, focusing instead on the best-selling group's overall impact, or on Beyoncé as its cynosure. *Rolls eyes* Additionally, the editorials were written in this unaccustomed, passive tone that gave the authors away as D.C./Beyoncé novices. Some of the better (and more relevant) posts read like present-day reviews. Multiple mentioned they could understand why the LP performed only moderately well and received a mixed response from critics. They agreed with the consensus in 1998 that it was antiquated, a bit dull, inappropriate for a teenage act, and did nothing to separate the then quartet from other groups. I thought "I'm going to weigh in eventually. The crowds still have this album all wrong; it's so misunderstood and underrated."  The evaluations even got to Beyoncé herself, who said in 2006, "The first record was successful, but not hugely...It was a neo-soul record and we were 15-years-old [during recording]. It was way too mature for us."
 
From my perspective, the things that supposedly make the debut a misstep are what render it a golden, indispensable part of D.C.'s discography. One of the reasons the Jackson 5's "Who's Lovin' You" is so remarkable is that Michael Jackson was able to convey the anguish of a broken, grown man at age 11. The "too mature" material and "antiquated" musical production of Destiny's Child allowed the foursome to give a similarly impressive first testament to their ability. It commences with what I've jokingly described as 'the gates of Rock N' Roll heaven opening up' on "Second Nature." A declarative bluesy guitar riffs, before celestial harmonies enter over the rolls of a harp (or a piano, haha). Pointed plucks and percussion accentuate the sample of The Isley Brothers' "Make Me Say it Again" (1975), as Beyoncé questions, "Why does love always seem so very hard?" On top of this classic groove, she convincingly sings about serial relationship stumbles, instinctual devotion and giving all of herself, as if she knew something about any of it. The track is hypnotic and succulent until the very last drop. Like a chocolate with secret filling, the remaining 30 seconds unexpectedly wanders away from the main layout. Twinkling cymbals and piano take precedence over the guitar, then it beautifully fades to black. It's easily my favorite; it hits the spot.
 
Save for the 'designed for radio' singles "No, No, No Part 2" and "With Me Part 1," "Second Nature" sets the tone for the rest of the album. It's buttery musical and vocal arrangements (ex. "No, No, No Part 1"), vintage inspirations (ex. "Birthday"), and believable sung performance are heard throughout. D.C.'s execution of The Commodores' "Sail On" (1979) is nothing short of extraordinary. Their mellifluous and tender delivery expresses the romantic disillusionment of the verses, while their detectable confidence portrays the resilient attitude of the chorus. They sway between the two postures with consummate fluidity; there's isn't anything 'freshman' about it. Absolutely heart-tugging, their  R&B-converting cover did more to capture the song's premise than the unaffected, country-farcing original ever did.
 
On the immersing "Killing Time," the youngster's ghostly and pained voicing helps sell the adult despondency that comes when a troubled loved one pushes you away. Like "Second Nature," a solo soulful guitar is the initiator. A whispering flute follows, leading to D.C. and a taunting 'tick' that persists to the end. Tranquil, yet ornate strings further dramatize the air. Usually, emotive peaks are placed at the bridge, and room is left for a cool down. Beyoncé pushes the benchmark well past that, with cogent and heady work that keeps the track touchy through the close (she does the same on the stirring "My Time Has Come"). She eventually gives a defeated sigh, as the 'clock' ticks on and the strings quiet. I get completely lost in it; it's so gorgeous. The tune is technically D.C.'s first single, appearing on the July 1997 Men in Black soundtrack.
 
D.C. didn't abundantly sing in such a careful, impassioned manner again until 2004's Destiny Fulfilled. Beyoncé in particular altered or ceased to do a number of things stylistically. Part of what makes her a joy to take in are the varying shades of her voice. I'm in love with her warmer and lower tones, of which there's a higher concentration on Destiny's Child. There's also this deliberate enunciation and phrasing she uses that emphasizes feeling or adds character to wording. The tactic remained a signature of hers, but it's commonly applied in all its glory on stage. My favorite example is the playful and cutesy way she says "Sugah, sugah"  at the end of "Bridges'" first verse (another go-to cut for me). Going forward, some would say her standard delivery was excessively premeditated and technical, and subsequently missing emotion.

​For a die-hard fan of Beyoncé (also known as a BeyHive member), attending her concerts is communion. It's a rare instance that comes once about every 3 years where we can sit in an arena full of people just like us; gone are the judgments, criticisms, questions and antagonisms of those who think we're strange or idiotic for our fandom. Finally, we're around others who can air-drum and sing-along with us through Bey's ad-libs and quirky vocal/verbal twitches because they too have seen a million recorded performances and have memorized the live versions (if I got a dollar every time I said "Whoadie" while listening to "Countdown" and those around me were confused, I'd be rich). There's a collective gasping and freaking out when unofficial or rarely done songs come up, and inside jokes are understood. Our applause at the end of a dance break or musician's solo is genuine because we know the crew. If Beyoncé does a tribute or a mash-up with another artist's track, we know the reasoning behind it. When she goes into a sermon, tells a story or plays a personal video clip, we know the context and can connect with her. Especially for long-time attendees (I've been lucky enough to see every tour since "Ladies First" in 2004--except "On the Run;" I have my reasons for not going), seeing Bey is like reuniting with an old friend. You are hers, and she is yours. The fellowship is part of what makes the live experience the climatic thing that it is, and why some go to multiple dates on the same tour. So, imagine how downhearted I must have felt walking away from the "Formation World Tour" thinking those days were over.
 
As I worked my way through the bustling crowd at Nashville's Nissan Stadium to get to my seat, I already began to detect a difference. Demographic groups I'd previously seen in smaller portions were substantially larger, necking up with Bey's primary audience of black women in their 20 and 30's. The most notable additions were children (which is interesting because Beyoncé's music hasn't been kid-friendly since 2013), older black women and white men. I thought "Humm...this is interesting," and quickly got back to focusing on locating my section. Once there, I began chatting up the woman next to me. Usually when I do this, it results in a fun stan-session and they're my BFF for the next few hours. This time, I was dealing with someone who described themselves as "a big fan," but only had the Lemonade album, and on stream at that (which is not ownership). Sigh. When Chime for Change ads and music videos for Montina Cooper, Sophie Beem and sister-duo Chloe & Halle started to play, I heard people ask "What's Chime for Change? Who are these singers?" I had to explain that Beyoncé was a co-founder of a fund-raising organization for women, Cooper was one of her background singers, and that the other artists were those she's signed to her record label. "Beyoncé has her own label?," inquires a woman wearing a shirt that reads "'Cause I Slay," a lyric from the single "Formation." Double sigh.
 
A couple of numbers in, the opening chords of "Me, Myself & I" (my favorite ever) slowly ring out. I identify it instantly and jump down the stairway. I couldn't contain myself. It was last on the set-list in 2007 for "The Beyoncé Experience;" hands were up and amen's were shouted like it was a church service then. At this venue though, I apparently was the only one prepared for the deliverance. No one in my area seemed to recognize the song (I was pretty darn close on the side too). Bey talked about how it came from her first solo album and thanked everyone for riding with her since Destiny's Child arrived 20 years ago. I grumbled under my breath, "Too bad most of the people over here don't know anything about that." Later, footage of her talking to a camera at age 16 comes across the screen. I smile warmly. It came with DC's debut, back when there were CD-ROM bonus features. I reminisced about how impressed I was with Bey's focus and spirituality. I related to her perspective and found her adorably endearing. When material like this is pulled out of the vault for the stage, it's precious. A flood of memories rush over; you recall your life at the time, the significance of that piece and where your favorite artist (who's likely reflecting back with you) was in their career. It creates a nostalgic nirvana that's overcoming, particularly when it's happening at mass. Watching that tape threw me into thinking about how I have practically grown up with this woman (we're close in age) and the mark that she's made on me. Additionally, as a music nerd, it's such an honor to have bared witness to an artist's development from the early stages and be able to testify to it. You get to carve "I was here" in the door. However, as with "Me, Myself & I," my near-nirvana was abruptly interrupted when someone said, "Whoa, where'd that come from?" 

I remember when I received notice that Destiny’s Child was releasing Destiny Fulfilled. I was in the library staring at the computer in complete shock and overwhelmed with excitement. “It’s actually happening,” I kept repeating to myself. After 2001’s Survivor, Beyonce`, Kelly Rowland and Michelle Williams announced they would temporarily separate to do solo projects. Pop history had many (including me) taking their vow to regroup lightly, but they were following through. I almost caused my roommate to have a car accident when I suddenly shrieked and turned the radio way up to hear the launch of 1st single, “Lose My Breath.” Back then, it wasn’t easily accessible mass knowledge when something going to radio. I made a schedule of their upcoming television appearances and taped them all. Yes, taped. On VHS. I feel old. Anyway, it had only been 3 years since their last LP, but it felt like a lifetime. Media and retail went a flutter with anticipation. Press, promotional photos and the now marked album cover with a seemingly nude and makeup-less DC were everywhere. Walmart had banners every so many feet in stores and filmed a holiday commercial with the ladies and their respective family members. The pictorials signified what we would hear on the record. Many were high glamour with a touch of classic Hollywood, sophisticatedly sexy and elegant with a sleek sense of power. Gone were the girlish, teeny bopper nuances; destiny’s children had become women. Fulfilled hit the United States market on November 16, 2004.

The tremendous amount of maturity and artistic growth displayed (especially over a 3 year period) was staggering. Knocking down the proverbial “fourth wall,” they wrote their most guttural and connected album yet, telling a progressing story of the deterioration and reconstruction of a woman’s spirit while loving another person more than herself. It was therapy on wax, as most of the songs described the psychology of a woman whose acquisition of love is unhealthy. It boldly confronted the backwards practice of using the heart, mind and body as a bargaining chip; offering it all instantly in a hopeful exchange for affection, instead of a gift given after it is earned. The various layers of this are explored—1) rejection and competition, 2) bitterness, 3) susceptibility to emotional manipulations, 4) forfeiting trueness to and development of the self to become someone else’s ideal, 5) rationalizing mistreatment and abuse and 6) forcing yourself to accept things you honestly dislike to get whatever attachment you can from a potential mate. A few of the tracks tackle multiple layers; “Through with Love” nearly took on the whole enchilada: “I gave up my friends…threw out my dreams if you said you didn't approve…compromised my life just to see I'd find you were trying hold me back, slowly throwing me off my track…there you go comparing me to every little model on the TV screen…my esteem has gone down…you make me feel dumb and alone…paralyzed my growth for you, I gave you control, felt so helpless without you…I have given so much in the past for a love I never had…through with love, I'm finally giving it up.”

“Is She the Reason” bluntly hits layer 6 on the nail while addressing the epidemic of ‘giving the milk for free:’ “…remember we were different…I was cool with no commitment, let me take that back, it was you, so I was with it.” “Reason,” along with the Japanese bonus track “Why You Actin’,” tells what usually happens after the milk’s been taken. With no titles, you’re not entitled. The person has the freedom to leave, so they do and you’re left feeling inadequate, foolish and emotionally bankrupt after a bad investment into someone with no credit.

Concession is discussed even to the point of spiritual confliction and revelation. Rumored eliminated song “Have Your Way” was likely on the chopping block for its melodic dryness, but its saddening tale was a familiar one and a powerful statement: “I changed my life for you and all that you could do is betray me…Lord I'm trying to do what pleasing in your sight, but I'm in love; right now I'm caught up. Instead of leaving, I know you’ll be right by my side and you'll make a way… I've spent too much time playing wife...O Lord forgive me, I thought by now we'd be married… you've shown no commitment to me… I cannot blame you for using me if I continue to let this be, ‘cause shacking with a man just ain't me.” Faith-based values are rarely approached in secular music; it shows how much DC looked within to make this album (the members have a religious background). Lines in “Bad Habit” and “Through” compensate in “Way’s” absence. In fact, “Through’s” conclusion is finding resolve in spiritual love. It completes Fulfilled’s closing “reconstruction” trifecta that includes my favorites, “If” and the inner peace anthem “Free.” I love “If” partly for the same reason I love Beyoncé’s “Irreplaceable:” they musically seem sweet and gentle, but have a feisty message. 

 After helping a potential bee binge on Beyonce` videos, I decided make a list of my top 20 favorites. Despite releasing anthologies for 2 of her solo albums (“B’Day” &“BEYONCE`”), King B isn’t known for pop-culture crazing videos outside of “Single Ladies” and I think I know why. A good number of her videos are “pretty posey,” where all you get are shots and close-ups of Beyonce` posing pretty in various costumes, with no theme or storyline (videos are one area where her contemporary, Britney Spears, has her beat). This is particularly annoying when the song gives all the plot needed and it’s not utilized; case in point, the most disappointing “Best Thing I Never Had,” where she spent majority of the video singing into a flower decked in lingerie and running around a grassy knoll in an (epic) wedding dress. There’s nothing wrong with an occasional premise-less video, some are on this list, but the emphasis needs to be on “occasional.” That acknowledged, it wasn’t too hard to pick just 20 videos, but I did have a few outliers that I hated excluding, so those honorable mentions are under the list at the bottom. The omission most likely to shock is “Crazy in Love.” Yes, I love the song, it was her debut, the Versace was amazing, it had the “uh-oh” dance  and it’s hard to beat her strutting in those red heels and perfect, curve hugging jean shorts and white tank, but…it’s not my favorite video to watch beyond the opening and closing moments. I’m sorry. If it made the list, it’s because I thought it was creative, just plain love it, it was a great memory for me, or a combination. The ranking was based on what I’d likely watch 1st. Enjoy and let me know if you agree.

20. Haunted (from “BEYONCE`,” directed by Jonas Akerlund)
This clip is very different from anything else in Beyoncé’s videography. It was dark. It was creepy. It was fantastic! Most pop videos with strange or abstract visuals have such without much context or theme consistency, causing them to come off like they were “trying too hard” to be unique or profound. “Haunted’s” interpretation is open, but it’s still simple and (mostly) sensible. The song is called “Haunted” and mentions ghosts, so we’re going to give you Beyonce` walking through a vintage hotel seeing freakshow and eerie figures that may not actually be there. It was like a music video for “American Horror Story.” Wait! There’s more! We’re going to be really relevant to the song and add images that have to do with sexuality. Wow! Figurative and concrete representations! My other favorite thing about Haunted: Bey’s classic Hollywood fashions and sultry makeup-it was dusky-emo done right. I’m obsessed with it. Oh, and I was happy to see that B’Day-era logo on her luggage. Get “Haunted” here.

19. Run the World (Girls) (from “4,” directed by Francis Lawrence)
The song was kind of hard to melodically catch onto, but the video was much easier to chew on. For those who love the version of Beyonce` that’s militant and fierce, “Run the World” is where it’s at: she’s riding horses (in an awesome outfit), blowing stuff up and marching, with her face painted on the walls and iconic, eye-catching insignia-anyone know where I can get one of those red “B” flags? I still want one. I loved the choreography, I loved the clothes (the Givenchy dress was to die for), it was a Beyonce` revolution and I was joining with a hair toss and shoulder bounce.

BeyHive, I know you have beef with feminist groups because Beyonce` seems to always be under a harsh, critical microscope in their lab, but I’m here to tell you (and Beyonce`) that for every self-proclaimed feminist that rejects her, there’s one that supports her. As both a bee and feminist, I’ve come across a lot of commentary & literature analyzing Bey’s place in the world of female empowerment. Being that negativity often supersedes positivity, we overwhelmingly only hear of the intense condemnations and/or persistent accusations that Beyonce` is not only a contradictory non-feminist, but an enforcer of gender oppression & female objectification. The latest claim is that her tour costumes facilitate sex-trafficking.

Beyonce` became the focus of feminist debate and discussion with several “girl-power” anthems that resulted in being labeled “a male-basher” by men and plenty of her own interview comments regarding inspiring women (comments that have gotten only more political and forthright with time). Much of media quickly pegged her the new face of feminism in music and a great example to women and girls. Meanwhile, this was/is challenged by some feminists primarily because of her sex appeal, lyrical content and most recently, her marriage. In my 2011 article, “Beyonce Isn’t a Feminist?” I explained why I believe the arguments that she isn’t a feminist because “she’s too sexy” and “sings about love too often” are bogus and reinforce stereotypes about the movement. Despite being one of the few current pop acts to be so vocal about gender, Beyonce’s efforts are habitually snubbed and ridiculed. Beyonce` raised money & headlined a concert for the women’s organization Chime for Change, but it was said performing in a “sexy leotard” was countering. Even though she was clearly encouraging women to not let men take advantage of their emotional love and loyalty by being casual in relationships and not committing with 2008’s “Put a Ring on It,” the song was described as limiting female value to marriage. Although “Run the World (Girls)” had lyrics that addressed economic disparity, encouraged men to respect our strengths, boasted education and how we successfully handle motherhood & business, its music video was slammed because, again, the costumes were “too sexy” and the part in which the women-warriors dance in front of stunned male guards symbolized sexual subjection, not the confrontation Beyonce` intended it to be.

On the other side of the feminist community, agitation boils amongst those who welcome Beyonce’s presence and find all the inspection to be judgmental, nit-picky and even racially biased. A few blog articles (including “Okay, Lay Off Beyonce` Already” by Feministe) have gone so far as to imply some of the criticisms are ironically anti-feminist themselves and do the very thing they charge Beyonce` with: shaming women and supporting the views of a male dominated society. Some black feminist writers contend that Beyonce` is just another woman of color whose feminism is unfairly scrutinized and measured, while other white, more controversial figures in the discussion go without evaluation. Writer Lauren Rankin (who is Caucasian) highlighted that Lena Dunham’s, the star of the TV series “Girls,” status as a feminist is never questioned, in spite of her character being far more sexualized than Beyonce’s real-life image. The “is she or is she not” dialogue surrounding Beyonce` is so thick, Rutgers University designed a women’s and gender studies course based on it, entitled “Politicizing Beyonce`.” The definitive sign that “stuff got real” was when “Ms.” magazine, the first major feminist publication started by key leader Gloria Steinem, put the King B on the cover with the headline “Beyonce’s Fierce Feminism (the piece reportedly reviewed both sides of the debate),” receiving major backlash. 

It was 10 years ago when all of the sudden, a quiet spring day was fiercely interrupted. Loud, triumphant and bombastic horns- the kind typically used to announce royalty- sounded, and when we looked to see where the raucous came from, we saw this. Beyonce`, the one name phenomenon, had arrived. The moment was so epic, we don’t care that Beyonce` still uses “Crazy in Love” as a concert opener all these years later; no other song is worthy of announcing her arrival and presence. With the quite literally scorching video of “Crazy in Love,” Beyonce` was letting us know that she was about to make that 2003 summer even hotter. Her solo debut album, “Dangerously in Love” (the title track an alternate version of a song featured on Destiny’s Child’s “Survivor”), hit U.S. stores on June 24th, 2003.

Having saved up my teenage coins as a grocery store clerk (I was later fired from that job), “Dangerously” was the first record I ever purchased with my own money (as I mentioned in “Birth of a Music Nerd”). I begged my mom to take me to the department store and I think she was happy to oblige me, since she didn’t have to spend her ends. Once I popped it in, she surprisingly was enjoying it and had no objections (she was the type of parent that actually cared what I listened to) until erotic songs like “Speechless” cut on: “J, this song is about sex. This is the same girl from Destiny’s Child? I wonder how her mother feels about her singing songs like this.” My parents approved of my love of Destiny’s Child; they felt they were good role models. Apparently, “Speechless” wasn’t bad enough on its own; she didn’t confiscate my CD, luckily. An advocate for chastity, I immediately loved “Yes” and even though “Me, Myself & I” was a breakup song, I took the chorus to heart as I was learning how to take the reins in my life. This may sound strange, but considering the amount of love songs on “Dangerously,” I was worried that Beyonce` had too quickly fallen in love with Jay-Z and would lose sight of herself (the later content of “Destiny Fulfilled” & “B’Day” would ease my concern). I remember not approving of her relationship with Jay-Z in the beginning. I thought “The guy that sings ‘Big Pimpin’ is dating my Bey??” That memory is so funny to me now.

Cutting edge, passionate and unexpected for Beyonce`, “Dangerously” was critically acclaimed and set the standard for her future records (a standard that, in my opinion, wasn’t revisited until “4”; see “Bey’s Wax: The Discography Analyzed”). This was unanticipated result to record label executives; Beyonce` claims label heads gave her a hard time with the content because they didn’t think it was commercial enough: “They told me I didn’t have 1 hit on my album. I guess they were kind of right; I had 5.” Those suits grossly underestimated “Dangerously’s” potential; it was only just the beginning. Since that album, there was a reunion with Destiny’s Child, 3 solo discs, 5 films, 15 Grammy Awards, 3 Golden Globe nominations, millions of albums sold worldwide, big-selling tours, 2 inaugurations (for the 1st African-American U.S. president no less), a Superbowl, a HBO documentary, a wedding (to Jay-Z) and a baby (daughter Blue Ivy), just name a few highlights. As a bee, it’s been a privilege to watch Beyonce` develop as an artist and individual. After such an amazing 10 years, I wouldn’t be mad if Beyonce` named her forthcoming album “King Bey.”

South Carolina fine artist Lance “Sketchboii” Rhodes is celebrating Beyonce’s evolution with this creation entitled “True Fierce.” Rhodes says of the piece, “I wanted to highlight a true essence of what it means to be fierce…so many people will not give her [Beyonce`] credit for being a true artist with the ability to show her true colors through it. It doesn't matter that she can't outdo herself, as they say. What matters is that she hones her craft and it will always change shape. It simply conveys a message that a true artist earns their respect even when society thinks otherwise.” Through a portfolio that meets the abstract with the literal, Rhodes says “My artistic inspiration comes from divinity, freedom and expression. My goal is to bring to life the ignored conscience of my generation.” You can see more of Rhodes’ work, which includes many other celebrity pieces, on his Facebook fanpage here. Serious inquires can be sent via email at [email protected]. His Twitter & Instagram handle is @oogeesketchboii.

HAPPY ANNIVERSARY “DANGEROUSLY IN LOVE!!!!!”
Beyonce`, the BeyHive is soooo proud of you & all that you've done! Here's to another great or even better decade.