beigeloaf-blog

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Album Review: CTRL

SZA’s CTRL isn’t just a debut album, it’s the climax of an essential chapter in her journey towards self-realization in love, self-worth, and purpose. With tracks penned for Rihanna and Beyoncé, we knew SZA had the writing chops and with CTRL there is no doubt that she is a force to be reckoned with. 14-tracks deep, this project is rich with potent lyricism, multilayered production, and pushes a powerful theme that creates a space for open exploration in defining our womanhood through concepts of control.

CTRL opens with “Supermodel.” Driven by a poignant guitar riff, this song is an open letter depicting revenge, insecurities, and a deep thirst for the thing that both destroys and completes her being. Pharrell tops off the track with rhythmic whispers and the seemingly hollow production lays an open foundation for the intricate and varied aural skeleton that frames this album’s soundscape.

Next is, “Love Galore.” Assisted by Travis Scott, this track offers listeners a little bounce. The visual, directed by Nabildo, supports the story of regrets in love. “Should’ve never let you hit it / I split it with you / I regret it / You gots a fetish / You gots a problem / Now It’s a problem.” In the end, SZA gets the laugh and finds a way to put self first, fully escaping her lovers control over her self-worth. The video ends with Travis Scott, love interest, savagely murdered.lovers control over her self-worth. The video ends with Travis Scott, love interest, savagely murdered.Nabildo, supports the story of regrets in love. “Should’ve never let you hit it / I split it with you / I regret it / You gots a fetish / You gots a problem / Now It’s a problem.” In the end, SZA gets the laugh and finds a way to put self first, fully escaping her lovers control over her self-worth. The video ends with Travis Scott, love interest, savagely murdered.

With a guest appearance from fellow TDE-mate Kendrick Lamar, “Doves In The Wind” is a tale of pussy power. Kendrick snaps on his verse delivering each line with his signature texture of pocketed rhythm and melody, “Niggas’ll lose they mind for it / Wine for it, dine for it (pussy) / Spend time for it, see no colored line for it (pussy).” Followed by lead single “Drew Berrymore” and “Prom,” “Doves In The Wind” is a brief reprieve from finding answers by grappling with control in the sense of what a man does to women and rather articulates the blinding power a woman can have over men.

The sixth track, “The Weekend,” is definitely a stand out. But more importantly, it’s a side chick anthem… After listening to the song I felt the strong desire to join in on the fun and shout from the depths of my soul, “These niggas for everybody!” SZA doesn’t deliver a modest or defeated explanation for side chick-ism. She re-appropriates the concept, empowering women to not get caught up in the mess of a man, but to simply get what we each need and keep it pushing. The hook reads, “My man is my man is your man / Heard that’s her man too / Tuesday and Wednesday, Thursday and Friday / I just keep him satisfied through the weekend / You’re like 9 to 5, I’m the weekend / Make him lose his mind every weekend.”

During an appearance on the Breakfast Club SZA explained the next track “Go Gina,” as being somewhat in the vein of character Gina from the classic 90s series Martin. “Gina was always like the semi-corporate, kind of stuck up, but also really beautiful and had a sense of humor, but she looked like if she lived like Pam she might have more fun.” SZA caps everything off with the idea of just living your life and not being afraid to be crazy.

Soothingly bright, “Garden (Say It Like Dat)” departs a bit from the more vibey tone of the project, but stays on the mark with the overall theme, showcasing a desire to be wanted and reassured by a lover. This track delivers the line that just might get the most Insta-caption/Twitter play, “Lie to me and say my booty getting’ bigger even if it ain’t.”

“Broken Clocks,“ released on June 2nd is a vibe for sure. If I had to pick a song that showcases the muscle of SZA’s vocals and syncopation, this would be the one. The next track “Anything,” backed by a fluttering, technology-esque beat, reminiscent of the album cover, also highlights her ability to create a trance with her raspy, yet buttery, vocals and her rhythmic flows.

If James Fauntleroy is on an album, you know it’s good. He pops up on the album’s interlude, “Wavy.” SZA mentioned on Twitter that a full version of the track exists, thus prompting us all to desperately salivate until it’s dropped. Tracks “Normal Girl” and “Pretty Little Birds,” the latter featuring another TDE artist Isaiah Rashad, prepare us for the final song of CTRL… “20 Something.” This track seamlessly puts a face to the angst that is so central to the experience of living, growing, and finding yourself as a 20-something year old. “How could it be? / 20 something, all alone still / Not a thing in my name / Ain’t got nothin’, runnin’ from love / Only know fear / That’s me, Ms. 20 Something.” I’ve been extra thirsty for this song since hearing a preview at the beginning of the short behind the scenes/documentary piece, “SZA — Where Have You Been: Road to CTRL,” released back in February. It’s the perfect conclusion to CTRL and offers a point of relief for young 20-somethings wondering if we’re in this alone.

Prior to the CTRL rollout, it wasn’t clear where SZA was going to take her career. After tweeting “I Quit,” and tagging Punch, The president of her label/management company, TDE, fans speculated that she was having issues with the TDE team. She recently mentioned during an interview, with Nessa of Hot 97, that the tweet was more about quitting music all together, but triggered by a conversation with Punch. “I am very dramatic, and I’m like easily angered and I was having an exorbitantly bad day, completely unconnected to music, on some family shit. And then I got into an argument about some music with Punch and it just took me over the edge. And I was like wow this is a hobby I don’t want to continue anymore.”

Thankfully, after four years of hoping and waiting, CTRL is out and this project is crucial for, not just urban music culture, but music culture as a whole. It’s one of those projects that are hard to box in with the, sometimes limiting, label of a genre and it’s one that could become a definitive marker or soundtrack for an entire generation. As her official debut album, CTRL, hits hard and solidifies the foundation for SZA’s freshman chapter in music, setting her up to become one of the greats.

Composer Credits - 

1. Supermodel - Tyran Donaldson / Terrence Henderson / Greg Landfair, Jr. / Solana Rowe / Pharrell Williams

2. Love Galore (Feat. Travis Scott) - Cody Fayne / Terrence Henderson / Carter Lang / Solana Rowe / Jacques Webster

3. Doves In The Wind (Feat. Kendrick Lamar) -  Kendrick Duckworth / Solana Rowe / Trevor Smith / Cam O'Bi 

4. Drew Barrymore - Tyran Donaldson / Terrence Henderson / Carter Lang / Solana Rowe / Macie Stewart

5. Prom - Tyran Donaldson / Carter Lang / Solana Rowe

6. The Weekend - Cody Fayne / Timothy Mosley / Solana Rowe / Justin Timberlake

7. Go Gina - Tyran Donaldson / Adam Feeney / Carter Lang / Solana Rowe

8. Garden (Say It Like Dat) - Craig Balmoris / Solana Rowe / Daniel Tannenbaum

9. Broken Clocks - Cody Fayne / Adam Feeney / Thomas Paxton-Beesley / Solana Rowe / Angela Simmons

10. Anything - Pete Bellotte / Tyran Donaldson / Carter Lang / Giorgio Moroder / Solana Rowe

11. Wavy (Interlude) [Feat. James Fauntleroy] - James Fauntleroy / Cody Fayne / Lukasz Plas / Solana Rowe

12. Normal Girl - Tyran Donaldson / Terrence Henderson / Carter Lang / Solana Rowe

13. Pretty Little Birds (Feat. Isaiah Rashad) - Tyran Donaldson / Carter Lang / Josef Leimberg / Isaiah McClain / Solana Rowe

14. 20 Something - Tyran Donaldson / Carter Lang / Solana Rowe

[beigeloaf-blog]

Album Review: CTRL.

SZA’s CTRL isn’t just a debut album, it’s the climax of an essential chapter in her journey towards self-realization in love, self-worth, and purpose. With tracks penned for Rihanna and Beyoncé, we knew SZA had the writing chops and with CTRL there is no doubt that she is a force to be reckoned with. 14-tracks deep, this project is rich with potent lyricism, multilayered production, and pushes a powerful theme that creates a space for open exploration in defining our womanhood through concepts of control.

CTRL opens with “Supermodel.” Driven by a poignant guitar riff, this song is an open letter depicting revenge, insecurities, and a deep thirst for the thing that both destroys and completes her being. Pharrell tops off the track with rhythmic whispers and the seemingly hollow production lays an open foundation for the intricate and varied aural skeleton that frames this album’s soundscape.

Next is, “Love Galore.” Assisted by Travis Scott, this track offers listeners a little bounce. The visual, directed by Nabildo, supports the story of regrets in love. “Should’ve never let you hit it / I split it with you / I regret it / You gots a fetish / You gots a problem / Now It’s a problem.” In the end, SZA gets the laugh and finds a way to put self first, fully escaping her lovers control over her self-worth. The video ends with Travis Scott, love interest, savagely murdered.

With a guest appearance from fellow TDE-mate Kendrick Lamar, “Doves In The Wind” is a tale of pussy power. Kendrick snaps on his verse delivering each line with his signature texture of pocketed rhythm and melody, “Niggas’ll lose they mind for it / Wine for it, dine for it (pussy) / Spend time for it, see no colored line for it (pussy).” Followed by lead single “Drew Berrymore” and “Prom,” “Doves In The Wind” is a brief reprieve from finding answers by grappling with control in the sense of what a man does to women and rather articulates the blinding power a woman can have over men.

The sixth track, “The Weekend,” is definitely a stand out. But more importantly, it’s a side chick anthem… After listening to the song I felt the strong desire to join in on the fun and shout from the depths of my soul, “These niggas for everybody!” SZA doesn’t deliver a modest or defeated explanation for side chick-ism. She re-appropriates the concept, empowering women to not get caught up in the mess of a man, but to simply get what we each need and keep it pushing. The hook reads, “My man is my man is your man / Heard that’s her man too / Tuesday and Wednesday, Thursday and Friday / I just keep him satisfied through the weekend / You’re like 9 to 5, I’m the weekend / Make him lose his mind every weekend.”

During an appearance on the Breakfast Club SZA explained the next track “Go Gina,” as being somewhat in the vein of character Gina from the classic 90s series Martin. “Gina was always like the semi-corporate, kind of stuck up, but also really beautiful and had a sense of humor, but she looked like if she lived like Pam she might have more fun.” SZA caps everything off with the idea of just living your life and not being afraid to be crazy.

Soothingly bright, “Garden (Say It Like Dat)” departs a bit from the more vibey tone of the project, but stays on the mark with the overall theme, showcasing a desire to be wanted and reassured by a lover. This track delivers the line that just might get the most Insta-caption/Twitter play, “Lie to me and say my booty getting’ bigger even if it ain’t.”

“Broken Clocks,“ released on June 2nd is a vibe for sure. If I had to pick a song that showcases the muscle of SZA’s vocals and syncopation, this would be the one. The next track “Anything,” backed by a fluttering, technology-esque beat, reminiscent of the album cover, also highlights her ability to create a trance with her raspy, yet buttery, vocals and her rhythmic flows.

If James Fauntleroy is on an album, you know it’s good. He pops up on the album’s interlude, “Wavy.” SZA mentioned on Twitter that a full version of the track exists, thus prompting us all to desperately salivate until it’s dropped. Tracks “Normal Girl” and “Pretty Little Birds,” the latter featuring another TDE artist Isaiah Rashad, prepare us for the final song of CTRL… “20 Something.” This track seamlessly puts a face to the angst that is so central to the experience of living, growing, and finding yourself as a 20-something year old. “How could it be? / 20 something, all alone still / Not a thing in my name / Ain’t got nothin’, runnin’ from love / Only know fear / That’s me, Ms. 20 Something.” I’ve been extra thirsty for this song since hearing a preview at the beginning of the short behind the scenes/documentary piece, “SZA — Where Have You Been: Road to CTRL,” released back in February. It’s the perfect conclusion to CTRL and offers a point of relief for young 20-somethings wondering if we’re in this alone.

Prior to the CTRL rollout, it wasn’t clear where SZA was going to take her career. After tweeting “I Quit,” and tagging Punch, The president of her label/management company, TDE, fans speculated that she was having issues with the TDE team. She recently mentioned during an interview, with Nessa of Hot 97, that the tweet was more about quitting music all together, but triggered by a conversation with Punch. “I am very dramatic, and I’m like easily angered and I was having an exorbitantly bad day, completely unconnected to music, on some family shit. And then I got into an argument about some music with Punch and it just took me over the edge. And I was like wow this is a hobby I don’t want to continue anymore.”

Thankfully, after four years of hoping and waiting, CTRL is out and this project is crucial for, not just urban music culture, but music culture as a whole. It’s one of those projects that are hard to box in with the, sometimes limiting, label of a genre and it’s one that could become a definitive marker or soundtrack for an entire generation. As her official debut album, CTRL, hits hard and solidifies the foundation for SZA’s freshman chapter in music, setting her up to become one of the greats.

[beigeloaf-blog]

Multi Dream Theory - Episode 2

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Bieber Couldn’t Care Less... And I Love It. 

Justin Bieber is on this mesmerizing wave of seemingly sub-standard visual upkeep and I’m obsessed.

Think about the typical triggers that mark our culture’s pop stars- flawless skin, cars unattainable to the average mortal, and Versace Versace. Back in February, Headlines rang out that Bieber wore Old Navy to an Oscar after party, claiming the star had “officially given up.” In May, when Justin performed on stage at the DY Patil Stadium for his first concert in India, he wore basketball shorts, a far cry from the costumes he flaunted for his Believe tour. His Instagram feed if filled with close-up selfies showcasing his less than perfect complexion. Needless to say... Biebs don’t care.

Bieber definitely isn’t the first to master the art of unkemptness.  The 80s was filled with rock bands that were recognized for their dusty appearances, as much as their music. But there’s something magical about the grunge look of Slash or Bon Jovi. It didn’t look easy. it was like a rich unkemptness. Kind of like Yeezy Season 2. I’m also aware that a lot of Bieber’s pieces are worth more than my savings account- a pair of Fear of God’s “Heavy Terry Everyday Sweatpant[s]” run $795.00... before tax.

There’s also the argument that this is just another Bieber antic with a slight twist. I can see why people would find it arrogant that the pop star would grace the stage with Basketball shorts and a boring hair cut, but the titillating appeal of Bieber’s latest look is founded on principals of transformation.

Justin started out as the sweet-faced Canadian boy, who wore a purple zip-up hoodie, and loved pulling pranks on his team. Several million dollars later, he was recognized as one of the biggest brats of pop culture. We all remember that time he peed in a mop bucket, while cursing Bill Clinton. Then there was the infamous arrest and smiling mug shot. Today, Bieber seems to have opted for a more humble approach to life, surrounding himself with pastors and investing more in his inner-being than Hollywood appearance.

The flashy facade of Hollywood is a bit played out. At this point, we all should know and understand it’s not always what it seems. Why invest so much effort in the smoke and mirrors of it all? Bieber couldn’t care less... and I love it.

Check out David Guetta’s latest Sing “2U” featuring Justin Bieber.

[beigeloaf-blog]

Bieber Couldn’t Care Less... And I Love It.

Justin Bieber is on this mesmerizing wave of seemingly sub-standard visual upkeep and I’m obsessed. 

Think about the typical triggers that mark our culture’s pop stars- flawless skin, cars unattainable to the average mortal, and Versace Versace. Back in February, Headlines rang out that Bieber wore Old Navy to an Oscar after party, claiming the star had “officially given up.” In May, when Justin performed on stage at the DY Patil Stadium for his first concert in India, he wore basketball shorts, a far cry from the costumes he flaunted for his Believe tour. His Instagram feed if filled with close-up selfies showcasing his less than perfect complexion. Needless to say... Biebs don’t care. 

Bieber definitely isn’t the first to master the art of unkemptness.  The 80s was filled with rock bands that were recognized for their dusty appearances, as much as their music. But there’s something magical about the grunge look of Slash or Bon Jovi. It didn’t look easy. it was like a rich unkemptness. Kind of like Yeezy Season 2. I’m also aware that a lot of Bieber’s pieces are worth more than my savings account- a pair of Fear of God’s “Heavy Terry Everyday Sweatpant[s]” run $795.00... before tax. 

There’s also the argument that this is just another Bieber antic with a slight twist. I can see why people would find it arrogant that the pop star would grace the stage with Basketball shorts and a boring hair cut, but the titillating appeal of Bieber’s latest look is founded on principals of transformation. 

Justin started out as the sweet-faced Canadian boy, who wore a purple zip-up hoodie, and loved pulling pranks on his team. Several million dollars later, he was recognized as one of the biggest brats of pop culture. We all remember that time he peed in a mop bucket, while cursing Bill Clinton. Then there was the infamous arrest and smiling mug shot. Today, Bieber seems to have opted for a more humble approach to life, surrounding himself with pastors and investing more in his inner-being than Hollywood appearance. 

The flashy facade of Hollywood is a bit played out. At this point, we all should know and understand it’s not always what it seems. Why invest so much effort in the smoke and mirrors of it all? Bieber couldn’t care less... and I love it. 

Check out David Guetta’s latest Sing “2U” featuring Justin Bieber. 

[beigeloaf-blog]

[beigeloaf-blog]

The Case of Kaepernick: Politics x Blackness x American Sports.

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[beigeloaf-blog]

Yachty & The New-New School: Sound vs. Brand.

With the release of Lil Yachty's, Teenage Emotions, there's sure to be an influx of praise and criticism picking apart the quality of the self-proclaimed "King of Teens" debut album. Released via the Quality Control imprint under Capitol Records, Teenage Emotions would traditionally serve as the elite mumbler's major tone-setter, helping audiences gauge his longevity and better understand the through-line of his brand. But in today's music climate things work a little different.

The concept of firsts has alway been important, whether it's love at first sight, the first cut being the deepest, or first impressions being lasting impressions, our culture is full of sayings and cliches that emphasize the power of the first. 

In today's culture, there's a constant thirst for firsts or fresh content. People always desire what's new and when they get it almost instantly jump to the next. 

[beigeloaf-blog]

#NoJulz & The Mass Silencing of Black Women in America. 

Black Twitter erupted this past Friday when headlines rang out that Snapchat personality YesJulz was dropped from two Toronto events for her use of the N-Word in a Twitter post. After being dragged to pieces by Black Twitter, the socialite proceeded to communicate to fans how “sorry” she was by posting a series of fake-tear filled snapchats that seemed more like “shit I’m losing money” than sincere.

What was more interesting (though not surprising) than the YesJulz of it all was the clear divide between Black women and men on the issue. While many Black men expressed their disgust with YesJulz, others quickly jumped to her defense and this did not go unnoticed. “Look At Me!” rapper Xxxtenacion defended Julz tweeting, “when she said “niggas” she meant males, all ya’ll stupid as fuck and need to take the hate somewhere else, tired of seeing sensitive shit.” Julz went on to attend the “Rolling Loud” hip-hop festival, didn’t hesitate to let us know how wrong we were for the hate, and later emphasized all the Black (male) love she received.

So back to the sunken place us Black women go, right?

This wasn’t YesJulz’s first run in with the Black women of Twitter. In 2016 she came under fire for an old tweet stating, “Black girls don’t like me cuz black men do!” The “issue” of some Black men’s preference for white women is as old as it is polarizing. And it often focuses on the Becky of it all, rather than prompting discussions about Black women and esteem… Black women and femininity… Black women and self-worth. Black women’s issue with YesJulz is not an issue of hate and jealousy, but rather an issue of, 1. Who gets to control the dialogue, 2. Respect and 3. Authenticity.

I have a problem with what girls like Julz, Miley Cyrus, and Kylie Jenner can sometimes represent, because while they so easily “turn from good girl to ghetto,” (quote from Kylie Jenner) and back again, they reinforce stereotypes, create false masks out of our realities and fail to offer our culture anything in return — or even acknowledge that it was our culture to begin with. And this is the danger of cultural appropriation- It keeps those on the bottom at the bottom with false labels, stereotypes and whatever else the “mainstream” wants us to have, while stripping us of our culture and turning it into a fad to be casually consumed. And then when we choose to speak up and acknowledge this damaging cycle they blame us…

But this is nothing new… It seems to pretty regularly work like this. When a Black woman speaks a little truth and people can’t figure out a way to participate without feeling guilty or less important, they get mad and try to discredit what was said. Even when you’re Beyoncé. - Beyoncé drops the iconic line “He better call Becky with the good hair… Enter YesJulz: “So… am I allowed to wear this shirt at the festival tomorrow or nah.”

Anyway… In an article titled, “5 Reasons I No Longer Date Black Women” Donovan Sharpe explains how his personal “development” made Black women “practically invisible to [him].” French Montana received backlash after derogatorily responding to a Twitter user who jokingly questioned his relevancy. Iyanla Vanzant and OWN dedicated three entire episode’s of Fix My Life to Black men explaining why they no longer date Black women (*rolls eyes*). At the root of these instances of Black men denigrating Black women are ideas of us being shallow, simple minded and promiscuous. And while I most definitely do not need (or want for that matter) to be desired by any of these “men,” It is hurtful to think that they would advance this type of problematic rhetoric.

It troubles me that definitions that often surround my Black Womanhood are largely decided by Black men and white women who find strength and security in silencing my truth and then repurposing that same truth for their personal benefit. And it’s even more troubling that when we try to reclaim what was ours or stand up for ourselves they tell us we don’t really matter.

So #NoJulz, we aren’t hating on you. We don’t want to be you. And we don’t care how you feel… YOU don’t really matter here. It’s time for Black women to be able to not only feel but express how we feel, without our truth being miss-categorized as hate and jealousy. It’s time for our voices to be heard, without cries of “the angry and/or sensitive Black woman trying to bring brothas down.” I’m sick of witnessing some Black men and white women attempt to silence our voices while replacing our truth(s) with lies that keep them comfortable and secure. I no longer care to cater to anyone’s insecurities and also don’t find my strength in acknowledging the things that you are lacking.

I am not invisible and my purpose isn’t defined through you.

So Black women… Let’s continue to speak our truth regardless of how people who don’t understand our experience try to spin it. Because the elephant in the room is… niggas lie a lot.

[beigeloaf-blog]

#NoJulz & The Mass Silencing Of Black Women in America.

Black Twitter erupted this past Friday when headlines rang out that Snapchat personality YesJulz was dropped from two Toronto events for her use of the N-Word in a Twitter post.

After being dragged to pieces by Black Twitter, the socialite proceeded to communicate to fans how “sorry” she was by posting a series of fake-tear filled snapchats that seemed more like “shit I’m losing money” than sincere.

What was more interesting (though not surprising) than the YesJulz of it all was the clear divide between Black women and men on the issue. While many Black men expressed their disgust with YesJulz, others quickly jumped to her defense and this did not go unnoticed.

“Look At Me!” rapper Xxxtenacion defended Julz tweeting, “when she said “niggas” she meant males, all ya’ll stupid as fuck and need to take the hate somewhere else, tired of seeing sensitive shit.” Julz went on to attend the “Rolling Loud” hip-hop festival, didn’t hesitate to let us know how wrong we were for the hate, and later emphasized all the Black (male) love she received.

So back to the sunken place us Black women go, right?

This wasn’t YesJulz’s first run in with the Black women of Twitter. In 2016 she came under fire for an old tweet stating, “Black girls don’t like me cuz black men do!”

The “issue” of some Black men’s preference for white women is as old as it is polarizing. And it often focuses on the Becky of it all, rather than prompting discussions about Black women and esteem… Black women and femininity… Black women and self-worth. Black women’s issue with YesJulz is not an issue of hate and jealousy, but rather an issue of, 1. Who gets to control the dialogue, 2. Respect and 3. Authenticity.

I have a problem with what girls like Julz, Miley Cyrus, and Kylie Jenner represent, because while they so easily “turn from good girl to ghetto,” and back again, they reinforce stereotypes, create false masks out of our realities and fail to offer our culture anything in return — or even acknowledge that it was our culture to begin with.

And this is the danger of cultural appropriation. It keeps those on the bottom at the bottom with false labels, stereotypes and whatever else the “mainstream” wants us to have, while stripping us of our culture and turning it into a fad to be casually consumed. And then when we choose to speak up and acknowledge this damaging cycle they blame us…

But this is nothing new… It seems to pretty regularly work like this. When a Black woman speaks a little truth and people can’t figure out a way to participate without feeling guilty or less important, they get mad and try to discredit what was said. Even when you’re Beyoncé. - Beyoncé drops the iconic line “He better call Becky with the good hair... Enter YesJulz: “So… am I allowed to wear this shirt at the festival tomorrow or nah.”

Anyway… In an article titled, “5 Reasons I No Longer Date Black Women” Donovan Sharpe explains how his personal “development” made Black women “practically invisible to [him].” French Montana received backlash after derogatorily responding to a Twitter user who jokingly questioned his relevancy.

Iyanla Vanzant and OWN dedicated three entire episode’s of Fix My Life to Black men explaining why they no longer date Black women (*rolls eyes*). At the root of these instances of Black men denigrating Black women are ideas of us being shallow, simple minded and promiscuous. And while I most definitely do not need (or want for that matter) to be desired by any of these “men,” It is hurtful to think that they would advance this type of problematic rhetoric.

It troubles me that definitions that often surround my Black Womanhood are largely decided by Black men and white women who find strength and security in silencing my truth and then repurposing that same truth for their personal benefit. And it’s even more troubling that when we try to reclaim what was ours or stand up for ourselves they tell us we don’t really matter.

So #NoJulz, we aren’t hating on you. We don’t want to be you. And we don’t care how you feel… YOU don’t really matter here.

It’s time for Black women to be able to not only feel but express how we feel, without our truth being miss-categorized as hate and jealousy. It’s time for our voices to be heard, without cries of “the angry and/or sensitive Black woman trying to bring brothas down.” I’m sick of witnessing some Black men and white women attempt to silence our voices while replacing our truth(s) with lies that keep them comfortable and secure. I no longer care to cater to anyone’s insecurities and also don’t find my strength in acknowledging the things that you are lacking.

I am not invisible and my purpose isn’t defined through you.

So Black women… Let’s continue to speak our truth regardless of how people who don’t understand our experience try to spin it. Because the elephant in the room is… niggas lie a lot.

[beigeloaf-blog]

[beigeloaf-blog]

HALLE BERRY-DANIEL CRAIG STARRING IN THE LA RIOTS FILM, “KINGS.”

[beigeloaf-blog]

The Case of Kanye: Music x Race x Power.

After releasing “Life of Pablo” using a brilliant strategy- the ever-evolving album- the self-proclaimed genius set out on one of the most innovative and memorable arena tours of this decade—The Saint Pablo Tour.  West was raking in millions of dollars from tour merchandise alone and keeping the Internet talking with his bizarre mid-concert rants.  Then things went way left west.  On November 19th, after performing less than 4 songs, Ye went on a 15-minute rant, bashing the likes of radio and Beyoncé, while subtly praising Donald Trump.  He then ran off stage, canceling the rest of the concert.  A few days later, it was reported that West was taken to UCLA Medical Center for exhaustion, and soon after, his camp announced the cancellation of the Saint Pablo Tour.  There was a lot of speculation surrounding the issues that led to Kanye’s “melt-down.”  Many suggested that this episode was a clear indication of mental illness, possibly rooting from emotional trauma and the spotlight.  Others wrote the incident off as nothing more than a Kardashian-esque publicity stunt, used to mask more pressing issues, i.e.,the all mighty dollar.  Regardless, it happened.  And it left an opportunity for Ye to re-emerge and say something that everyone would hear.  A couple weeks later, West made one of his first post-meltdown appearances at Trump Tower… with blonde hair.  *We ain’t got the answers Sway*

Kanye has always been a captivating figure in pop culture, evoking strong emotions about everything from music to fashion to politics.  He seems to strategically ride the fence between mad genius and just plain reckless and blurs the lines in every way possible.  I like all of this and there is no denying that West is a diamond of popular culture, but I am beyond confused about the way he seems to be positioning himself politically. 

Kanye sits at an interesting place in American culture. He is massively influential to popular culture.  But he still, nonetheless, is a black male, who is a product of Hip-Hop and much less powerful than a Donald Trump, who is a white male, with a lot of whole lotta old money.  While Kanye is at the top of the ranks when it comes to Pop and Youth culture, which shouldn’t be overlooked, he still has to fight to break out of the constraints placed on him by the hierarchies of race and cultural politics.  In his head, he looks at Trump and sees a powerful man, who is a controversial straight shooter, much like himself.  He sees a political outsider being shunned by OG politicians, then finding a way to rise to the very top of a structure he was told he couldn’t even enter.  But Kanye is failing to see through Trump’s masks of victimization and forgetting that Trump is exactly the thing he should be fighting against.  Just like “George Bush doesn’t care about black people,” Trump doesn’t either, Ye. Just like Mark Zuckerberg won’t invest 1 billion dollars in your ideas, Trump won’t either, Ye.  And just like radio is benefiting from using old models, Trump is too, Ye.  *cough* *cough* White Supremacy / Prejudice / Misogyny.

During his last Sant Pablo Tour performance, Kanye stated, “…sometimes, we be playing the politics too much and forget who we are just to win. Fuck winning.” He went on to explain why Beyonce and Jay-Z’s industry politicking has him feeling some type of way stating, “I was hurt.  Feelings matter, bro. The way motherfuckers put money up so high, popularity, radio spins. Feelings matter, bro.  Feelings matter, bro.”  So Kanye, as the originator of the feels, hear us when we say, we care about what you represent for the culture… about our culture. Don’t get lost in the sauce of power trips and personal agendas and lose sight of who you are and what you represent for the black and brown youth, for all the misfits and outcasts who feel like they can’t get out their dreams because of the Trumps of the world.

[beigeloaf-blog]

The Case of Kanye: Music x Race x Power.

After releasing “Life of Pablo” using a brilliant strategy- the ever-evolving album- the self-proclaimed genius set out on one of the most innovative and memorable arena tours of this decade—The Saint Pablo Tour.  West was raking in millions of dollars from tour merchandise alone and keeping the Internet talking with his bizarre mid-concert rants.  Then things went way left west.  On November 19th, after performing less than 4 songs, Ye went on a 15-minute rant, bashing the likes of radio and Beyoncé, while subtly praising Donald Trump.  He then ran off stage, canceling the rest of the concert.  A few days later, it was reported that West was taken to UCLA Medical Center for exhaustion, and soon after, his camp announced the cancellation of the Saint Pablo Tour.  There was a lot of speculation surrounding the issues that led to Kanye’s “melt-down.”  Many suggested that this episode was a clear indication of mental illness, possibly rooting from emotional trauma and the spotlight.  Others wrote the incident off as nothing more than a Kardashian-esque publicity stunt, used to mask more pressing issues, i.e.,the all mighty dollar.  Regardless, it happened.  And it left an opportunity for Ye to re-emerge and say something that everyone would hear.  A couple weeks later, West made one of his first post-meltdown appearances at Trump Tower… with blonde hair.  *We ain’t got the answers Sway*

Kanye has always been a captivating figure in pop culture, evoking strong emotions about everything from music to fashion to politics.  He seems to strategically ride the fence between mad genius and just plain reckless and blurs the lines in every way possible.  I like all of this and there is no denying that West is a diamond of popular culture, but I am beyond confused about the way he seems to be positioning himself politically. 

Kanye sits at an interesting place in American culture. He is massively influential to popular culture.  But he still, nonetheless, is a black male, who is a product of Hip-Hop and much less powerful than a Donald Trump, who is a white male, with a lot of whole lotta old money.  While Kanye is at the top of the ranks when it comes to Pop and Youth culture, which shouldn’t be overlooked, he still has to fight to break out of the constraints placed on him by the hierarchies of race and cultural politics.  In his head, he looks at Trump and sees a powerful man, who is a controversial straight shooter, much like himself.  He sees a political outsider being shunned by OG politicians, then finding a way to rise to the very top of a structure he was told he couldn’t even enter.  But Kanye is failing to see through Trump’s masks of victimization and forgetting that Trump is exactly the thing he should be fighting against.  Just like “George Bush doesn’t care about black people,” Trump doesn’t either, Ye. Just like Mark Zuckerberg won’t invest 1 billion dollars in your ideas, Trump won’t either, Ye.  And just like radio is benefiting from using old models, Trump is too, Ye.  *cough* *cough* White Supremacy / Prejudice / Misogyny.

During his last Sant Pablo Tour performance, Kanye stated, “…sometimes, we be playing the politics too much and forget who we are just to win. Fuck winning.” He went on to explain why Beyonce and Jay-Z’s industry politicking has him feeling some type of way stating, “I was hurt.  Feelings matter, bro. The way motherfuckers put money up so high, popularity, radio spins. Feelings matter, bro.  Feelings matter, bro.”  So Kanye, as the originator of the feels, hear us when we say, we care about what you represent for the culture… about our culture. Don’t get lost in the sauce of power trips and personal agendas and lose sight of who you are and what you represent for the black and brown youth, for all the misfits and outcasts who feel like they can’t get out their dreams because of the Trumps of the world.

[beigeloaf-blog]