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. 

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. 

On June 2nd, NBC (U.S.) aired a concert arranged by Chime for Change, an organization that generates support for causes that help disadvantaged women around the world & seeks to combat gender injustice. Beyonce` was not only the concert headliner, but is now involved with the group (NBC only aired a few songs from her 50 minute set; you can view it in full here). By joining Beyonce’s “Chime Team,” you can learn more about specific causes close to her heart and offer a donation. Just $5 or $10 can go a long way. Bees, if we can spend hundreds on concert tickets, we can spend a few dollars to help women in need. Beyonce’s dedication to women’s rights and female empowerment is one of the many reasons she’s my favorite artist. It’s good to see her be more vocal with her charitable activities, as it brings attention to important issues. In the past, Beyonce` has supported anti-sex-trafficking foundations and started a trade education center for formerly incarcerated women. Did you know that? If you follow the link and Beyonce’s projects are fully funded, please make a contribution to Chime for Change. 
#BeyActive #BeyAware #BeyLifeChanging 

BeyHive, we all get a little riled up when people suggest that Beyonce` isn’t a “real” artist or that there isn’t much of a difference between her and your average pop-tart. We only know better because we watch everything she does and listen to every bit of music. Despite how unfair or upsetting other’s criticisms are, we can’t blame them sometimes as they’re on the outside-looking-in and can only go off of what they see or hear. Beyonce` dons the February cover of GQ wearing a bikini piece and a tiny shirt with the bottom of her breasts peeking out. This is the type of cover that other female artists usually do, not Beyonce`. When I make the argument that Beyonce` isn’t as risqué or suggestive as some other artists, I mention that I’ve never seen even a sliver of Beyonce’s private parts; can’t use that as a talking point now. Bey has done a lot to differentiate herself musically, personally and with her image. She is often applauded for her regality and considered a healthy role model for women. A cover like this gives the impression to the unknowing that’s she just another scantily-clad singer whose career is dependent or based on sex appeal. I’m not saying it’s all over now because of this one magazine cover; I’m saying this cover is counteractive to a more positive perception. Not to mention, it gives more fuel to those who argue Bey’s status as a symbol of female empowerment and claim she objectifies herself. Do you think the cover is too sexy or revealing?

Today is definitely a “Seriously, Beyonce`, WTH?!” moment. MTV reports that Beyonce` confirmed to E! News on October 9th that she will NOT be filming the 3rd remake of the classic film “A Star is Born” with director/actor Clint Eastwood due to scheduling conflicts saying, "I was looking forward to the production of 'A Star Is Born' and the opportunity to work with Clint Eastwood. For months we tried to coordinate our schedules to bring this remake to life but it was just not possible. Hopefully in the future we will get a chance to work together." Now, most of the BeyHive (the pop culture name for Beyonce’s fanbase) is unbothered by the news, but I AM. I’m beyond pissed. I don’t know what Beyonce` has her calendar full with, but she needs to make filming this movie a priority. She needs to make it happen. Dropping out this project IS A HUGE MISTAKE.

Starring in this film is a monumental opportunity that could further solidify Beyonce’s staying-power and garner the respect from the film industry she desires. Not only was she a 1st choice hand-pick for Eastwood, a celebrated, Academy Award-winning actor and director, but she would be walking in the footsteps of legendary predecessors Judy Garland (1954 remake) and Barbara Streisand, who starred in the 1976 reincarnation with Kris Kristofferson. Smell the epic, yet? Add a potential Oscar nomination (assuming Beyonce` gets her acting game up; she’s said in previous interviews that she’s hungry for a nod) and the pivotal impact of the songstress being a woman of color in this role and it seems that much more ridiculous that the project would be bypassed. Perhaps Beyonce` needed the producers or film studio to wait longer than they were willing; they already made concessions during her pregnancy in 2011. No matter what the case, I don’t feel like she fought hard enough to stay involved. I could be wrong, but I just feel like scheduling could’ve been worked out. What is she thinking?

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

I’ve found that anyone who’s skeptical about Beyonce` as an artist often becomes a believer after seeing a performance. She has many fantastic live appearances, but here are 10 that I find to be representative of her vocal ability, versatility and talent.

Halo- 2008 or 2009.
Beyonce` live and unplugged. Excellent showcase of her raw vocals.

The Beautiful Ones/Sex on Fire-Glastonbury 2011
Her powerful and emotive rendition of a Prince classic and a Kings of Leon hit is a great testament to Beyonce’s versatility genre-wise. It stirs me every time. I go to another place when I hear this.

Star Spangled Banner-2004 Superbowl
This performance is great, not because it’s the coveted Superbowl national anthem spot, but because she didn’t ruin it by over-singing as anticipated. I thought Bey was going to do a lot of vocal acrobatics because she has a tendency for it and every Superbowl singer does so in an attempt to match the greatness of Whitney Houston’s appearance, but Bey was smart enough to realize the best way to remotely reach Whitney was to scale back and keep it classy. All bias aside, Bey’s interpretation of the U.S. national anthem was the closest to Whitney’s since. This moment was especially memorable for fans as Bey won her first round of multiple Grammys that same month.

Why Don’t You Love Me?-Glastonbury 2011
“Why Don’t You Love Me?” is one of Beyonce’s most underrated songs. The harmonies are terrific on the studio version, and the lyrics are great and relatable to many. In her 1st performance of this song, Bey is soulful, vivacious and takes us to church. I love the unfiltered energy and love the band even more. Her all-female band shows out.

Love On Top-MTV Video Music Awards 2011
This performance got a lot of attention because she revealed her baby bump for the 1st time publicly, but the bump wasn’t the only star in this show. Her vocals are INSANE here. Towards the end of the song, the chorus is repeated with quick, modulating key changes, which is very difficult to sing as the notes are high and maintaining breath and correct pitch is tasking. With not as much as a neck vein showing, Bey effortlessly delivers.

Here is a tribute video I made in commemoration of Beyonce's 30th birthday and to congratulate her on her pregnancy. I hope all of you bees enjoy it. Click the photo below the video to sign Beyonce's baby book that will be sent to the House of Dereon`. :) Here's the direct video link just in case there's an error: http://youtu.be/xMtxjQ72H_0

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!