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.

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. 

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 sk3tchboii09@gmail.com. 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. 

This morning, Beyoncè officially got her Pepsi ball (the star has a new million-dollar sponsorship and endorsement deal with the soda giant) rolling with an official 1-minute "Live For Now" commercial that debuts her reported 1st single from her forthcoming album. The ad wasn't of Michael Jackson epic proportions, but anyone who has followed the Queen Bey's career will find sheer delight in it as she quite literally 'reflects' on her past and faces off with former versions of herself, concluding with "Embrace your past, but live for now." What you hear of her new track is a bouncy, urban beat with international influence that might remind you of 2011's "Run the World," but it's much more catchy and attractive. A full version of the song is rumored to be released on Monday. Watch and love the commercial below.

By Eddie J., contributing writer
When you’re at the top of your game with few blemishes or scandals, people start to wait for you to slip up. It’s clear that’s the case with Beyonce`, considering the ridiculous frenzy her singing on top of a track at President Obama’s 2nd inauguration caused. Despite that so-called “blunder,” Beyonce` is about to begin a sold-out tour without a new album out. Here are 5 things Beyonce` would have to do if she really wanted to flush her career down her gold and marble toilet. This list started out as satirical, but when you think it about it, it could really apply.

#5 Release an Album of "Bow Down"-esque Music
In light of the new sampler, hype has surrounded the "King B's" name as promo for her upcoming album continues. Although some of the Bees are living, I honestly don't think any fan of hers could endure an entire album or concert of Rihanna-styled club anthems. We know she's gonna have ballads and blah blah blah, but if every other track consisted of something as ratchet as the teaser, people would live for a week, only to live in the glory days of "4" the following week later. But this would only be the beginning of the end. After she releases an album of crappy hood anthems, Beyonce` would have to...

#4 Start Having "Accidental" Body Exposure
Nipple slips on Good Morning America, naked pictures or videos of her and Jay-Z conceiving their next child Red Oak, hell, even Instagram bathroom pictures of her mooning the world would start to build icing on the cake, cake, cake, cake. The snowball would only get bigger, not because we view her as an innocent virgin who gave immaculate birth to Blue Ivy in a lowly Texas manger, but because legends who didn't become such by being trashy don't usually mix well with audiences when their trashiness ensues. Sure, Madonna can flash audiences while on stage, but that's because she's been doing that since she started. Beyonce` couldn't afford to cross over into the depths of "MediaTakeOut chic" as a mother and icon in the making at age 31. Especially since she's now managing herself; without a Mathew Knowles (AKA "Knowl-ivia Pope") figure in her corner, it would probably be impossible for her to turn that into a PR positive. I mean think about it, if someone like Celine Dion accidentally exposed themselves in pictures or onstage, do you think all would be forgiven? Case in point, Janet Jackson. Looking at her album sales after her Superbowl “Nipplegate” in 2004, it appears the answer is no. So now that the queen has lost her “good” image appeal, the next thing to do is...

Well, the BeyHive (Beyonce’s fanbase) has been aching for ANY sign of new material and it isn’t clear if Beyonce’s upcoming album is finished or if there are plans for a single release in the near future, so it seems the Queen Bey decided to try to pacify her eager fans with a short audio teaser. Recently posted to her Tumblr, “Bow Down/I Been On” has one sung verse and one verse in Houston “chopped/screwed” style. The chopped/screwed part is mostly thanks and random ramblings, while Beyonce` boasts about being top-notch and reminds everyone that taking an extended break (the singer took hiatuses right before her 2011“4” album and around her pregnancy) does not mean she’s “fallen off” and she isn’t solely defined by her marital status. While I liked the sentiments behind the reminders, I didn’t care for the bragging tone of the song, the expletives or the musical production; it gave me post-traumatic stress flashbacks of the inartistic, basic and unsophisticated “Sasha Fierce” portion of “I AM…Sasha Fierce” (ex. “Video Phone” & “Diva”). “Bow” gave me elements of what I don’t like about some of Rihanna’s music and if you follow my site, you know that’s never a good thing. I hope that this isn’t indicative of what her new album will sound like. Listen to the track here.

Some fans were concerned that Beyonce's upcoming HBO documentary "Life is But a Dream" would be a flat regurgitation of previous behind-the-scenes short films by the star, but the new trailer released today by Yahoo! News is very promising as Beyonce` discusses the artistic traps of being a commercial artist and concealing a pregnancy while promoting her 2011 album, "4." Her comments about her struggle to sustain artistry while having big sales confirm my long-held theories and thoughts about the design of her discography (See "The Discography Analyzed"). In short, her two middle albums ("B'Day" & "I Am...Sasha Fierce") served to expand her audience and make her an ever-marketable figure, but it has subsequently bit her in her fantastic butt, as those albums generated a fan-base that will expect her to continue to make the same type of music. Back on the subject of the documentary, this trailer makes me even more eager for the premiere on February 16th :) You can check out the trailer below.