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. 

 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.

Seriously, this time, it's not a rumor! Beyonce` posted on her Facebook fan-page earlier today: "I am so proud to announce the first original Destiny's Child music in eight years!" One of the biggest-selling girl groups of all time returns with "Love Songs," a collection of previously released romantic tracks with a NEW song, “Nuclear," produced by Pharrell. I AM SO FREAKIN' EXCITED! No, it's not a new full-length album, but after almost 10 years, I'll take anything fresh! I'm so elated to know that the girls got back in the studio together. Anyone who knows me or follows this portion of the site knows that I adore and have great respect Destiny's Child and what they represented. I hope that this is only the beginning of reunion work. Who knows, maybe we'll see Kelly Rowland & Michelle Williams appear on stage with the Queen Bey at the Superbowl! "Love Songs" will be available on January 29th; you can pre-order it now here: http://smarturl.it/dc_lovesongs_amzn

In short, Beyonce’s lyrics are simplistic and arguably immature compared to Carey’s emotive, reflective pieces, clever puns and expansive vocabulary and the fact that Beyonce` primarily targets women seems excluding in comparison to Carey’s wider appeal (the keyword being ‘seems’).

This discussion highlighted what I feel to be an important central issue in Beyonce’s work: her projects aren’t always a testament to her ability and talent. As bees, we’ve paid close attention to every performance and song and are keenly aware of her abilities. We know she can SANG; we know she’s a skilled technician with a wide range. We know she can write great songs; she penned the beautiful and romantic song, “Dangerously in Love” as a teen. We know she’s a great performer; most doubters become believers after seeing a live performance (see “10 Live Signs Beyonce` is Everything” here). We know she’s studied from all the right musical bibles, claiming to be heavily inspired by Michael Jackson, Tina Turner, Prince, Josephine Baker, Broadway musicals & the aforementioned Ms. Carey. The problem is that we know this as BEES and dedicated fans. From the outside looking in, Beyonce` can and has been deemed as just another beautiful, fairly entertaining pop singer with nothing to offer but catchy songs.  By breaking down her discography with constructive criticism, I hope to be able to give insight on why some people aren’t all the way sold on our queen diva.

The Destiny’s Child Era
First, I would like to say that it grinds my gears when people disrespect or disregard the members of Destiny’s Child or this portion of Beyonce’s career. One’s past is just as important as one’s present. To fully understand an artist’s growth, all must be taken into account. The ‘DC’ era was a pivotal time in Beyonce’s career. Part of the reason why her solo debut was so successful was because audiences were already acquainted with her and she, along with her group-mates, had established herself as a positive role model for youth and an advocate for female empowerment. We’re talking about one of the biggest-selling girl groups of ALL TIME here. Vocally, Destiny’s Child’s harmonies were flawlessly gorgeous and shined even more during acapella performances. Considering their age at the time of first album (17), their vocal cohesion was particularly impressive.

Destiny’s Child (the self-titled debut, 1998)
This was a great, classic, 90’s R&B album. By classic, I mean timeless. I can listen to this album now in 2012 and it sounds just as great; not dated. What’s fascinating, hilarious and somewhat uncomfortable is the see-saw between mature and age-appropriate content; for example, the sultry “Second Nature” (which uses an Isley Brothers sample) versus the youthful “No, No, No Pt. 2.” The production sounded a little cheap, by the harmonies were great and the writing was there. Fantastic debut.
Grade: A, Favorites: Second Nature, Bridges, My Time Has Come

The Writing’s on the Wall (1999)
The highest-selling DC album in America, “The Writing’s on the Wall” is clearly everyone’s favorite. With successful hit-singles like “Bills, Bills, Bills” and “Say My Name,” WOTW put DC on the map, but that’s where the issue with the record lies for me. Featuring every hot R&B producer on the block then, it was obvious WOTW was designed for commercial success. There’s nothing wrong with seeking such out, but it’s a problem when that’s the primary goal and artistry is second. The album was so over-produced; beat heavy and noisy with too many effects. Lyrically, the ladies had more creative input, but struggled to keep the balance the first album presented between mature and youthful. It was like they wanted to sound grown up (ex. The scandalous, soap-opera storylines in “Confessions” & “If You Leave”), but just couldn’t help but be 18 (whining about your boyfriend ‘taking too long to call you’ on “Hey Ladies”). With the album centered around “dating commandments,” the quartet quickly got (unfairly) pegged as ‘male-bashers.’ The vocals were still on point; the arrangements were slightly more intricate.
Grade: C+, Favorites: So Good, BugABoo, Where’d  You Go, Sweet 16

Survivor (2001)
Post being burned at the stake for allegedly being misandrous and legal troubles with 2 original members who left the group (Letoya Luckett & Latavia Roberson), DC had their engines revved up. Beyonce` had the opportunity to write and produce on all the tracks. Kelly Rowland and Michelle Williams only had writing credit on one song, which didn’t help diffuse the perception that Beyonce` was a diva favored by her manager/father. “Survivor” added fuel to the group’s commercial fire, being a core-pop crossover album. Again, commercial curiosity kind of killed the cat. The production was still beat-heavy with cartoonish, theatrical effects. The writing was great in that it was full of positive messages about self-esteem, identity, independence, cherishing life and healthy relationships, but the approach to these messages only gave room for young people to identify with them.
Grade: B-, Favorites: Bootylicious, Independent Women I/II, Emotion, Happy Face, Dangerously in Love

Destiny Fulfilled (2004)
You know, it’s quite sad that “Destiny Fulfilled” was Destiny’s Child’s last album, because the group was just starting to get good artistically. With a clear platform (female empowerment), a trademark sound and personal growth (all 3 ladies had done 1 solo project, 2 were in serious relationships at the time), DC delivered their best album yet. A musical illustration of a woman who emerged whole after losing her identity in a crumbling relationship, “Destiny Fulfilled” was an enhanced version of their debut. Smooth vocals and dramatic, sexy production was matched with sophisticated, adult and expressive lyrics. Listening to this record, I really wonder how they would’ve progressed afterward. Sometimes I think they disbanded too early.
Grade: A, Favorites: Free, If, Girl, Gots My Own (Japanese bonus track), Lose My Breath

Emotionally moved and excited to hear about Beyonce's pregnancy (click the photo to read about the official announcement), I wrote this brief letter and I wanted to share it with you all, my fellow happy bees. ;) Below the letter is a HILARIOUS and cute video of bees reacting to Beyonce's baby bump reveal.

To My “Big Sister” Beyonce`:

When Destiny’s Child’s 1st single, “No, No, No” was released, I was 12 years old. Mesmerized, I thought “if that’s what 16 looks like, let me hurry up and get there.” Ever since then, Destiny’s Child was the standard of how I should look and behave within the next four years of my life. Some parents might have been concerned about their child having that type of mentality about public figures, but mine didn’t because I picked up on nothing but positive things-- to carry myself with poise and elegance and know that I am a capable, beautiful, intelligent, resilient and powerful force to be reckoned with and I should never expect less than the best from and for myself. I’ve learned so much from you and the ladies of Destiny’s Child, it’s almost like you all are my “big sisters”; right there leading the way and advising me of what’s ahead. And like a little sister, I squirm when I hear you talk about sex (I still can’t listen to “T-Shirt” from Destiny Fulfilled lol) and feel very protective when I hear about your romantic relationships. 

Beyonce`, as I’ve watched you mature as a person and artist, I’ve matured, and even though I’m an adult, you are STILL my hero. Sometimes it brings tears to my eyes to watch you perform these days; I have such vivid memories of the young lady you were years ago, it’s awe-inspiring to behold your development. The precious 16 year old on a swing in the “No, No, No” video is all grown up. I’m so proud of all that you’ve achieved and I’m happy to hear about your pregnancy. Congratulations. “BeeBee,” as I like to call you, is having a baby :) As you go into this next phase of your life, I hope that you will continue to share your experiences and life lessons with me and all of your other “little sisters.”

Love You Sis, 
Jasmine

Did you hear them singing countdown at the end? "I'm tryna' make us 3, from that 2, he' still the 1." LOL!! Love it!

So I’m pissed. Instead of “Here I Am,” the album should be called “Here’s My Vagina.” I feel that with this album, Kelly Rowland has skanked herself out; over-sexualizing her image and sound to sell records. On the deluxe edition, 5 out of 12 tracks are infused with sexual content. The lyrics aren’t explicit enough for the album to be slapped with a “parental advisory” label, but bold enough to where you can’t play them in front of a 12-year old. The rest of the album is basic R&B/Dance. Like any other K.Row fan, I’m ready for her to have her moment in the sun with platinum records and spectacular tours, but at what expense? I much rather see her never have a hit single again, than for her to rise to stardom with songs like “Motivation” and “Lay it On Me” and compromise her art. I’m debating on purchasing her album. On one hand, I want to contribute to her sales so that she won’t have another low-selling record. On the other hand, I don’t want to communicate to her or her record label that this material is acceptable. What do you guys think? Should I buy the album? To read the more objective, diplomatic review, see http://jsays.weebly.com/2/post/2011/07/kelly-rowland-here-i-am-deluxe.html