I grew up in Houston, Texas and visiting Prairie View. We rehearsed at TSU for many years in Third Ward and I always dreamed of going to an HBCU. My college was Destiny’s Child. My college was traveling around the world and life was my teacher. I wanted a black orchestra, I wanted the steppers, I needed the vocalists. I wanted different characters, I didn’t want us all doing the same thing. The amount of swag is just limitless, like the things that these young people can do with their bodies and the music they can play and the drumrolls, and the haircuts and the bodies. It’s just not right, it’s just so much damn swag.HOMECOMING (2019): A FILM BY BEYONCÉ
Check this out! After Beyoncé performs, after she done the dance, Coachella gotta rename Coachella to Beychella. New name alert!HOMECOMING (2019): A FILM BY BEYONCÉ
TIME MAGAZINE HAS NAMED BEYONCÉ AS ONE OF THE 100 MOST INFLUENTIAL WOMEN OF THE PAST CENTURY
“When Beyoncé Knowles-Carter debuted as a member of Destiny’s Child in the ‘90s, no one could foresee that she would one day be the self-proclaimed “King Bey,” as big as Michael Jackson, Janet Jackson, or Prince. By the time she released her first solo album in 2003, her star power was clear, but in the music industry, shooting stars often fizzle. Beyoncé treated each album like an opportunity to build. Her work ethic is rivaled only by her supreme ability to keep us out of her business. When she dropped her eponymous fifth album near midnight in December 2013, with no indication that was coming, her legend status was clear. Beyoncé was a visual album with sick beats and her signature girl-power anthems. But with “Flawless,” she went a step further, sampling a Chimamanda Ngozi Adichie speech and explicitly claiming feminism for herself. Could a pop star really be down with smashing the patriarchy? Her performance in front of the word FEMINIST at the 2014 MTV Music Awards was a helluva way to punctuate a point.
“A few years later, her explosive “Formation” let us know she was back, pro-black, and unapologetic. The Lemonade album’s overtures to Black Lives Matter insisted that she may be pop, but she also is political. It was a hat tip to her haters and a nod to her serious critics. She’s a woman of few words, but she’s listening. It’s this call-and-response between Beyoncé, the Bey-hivers and the Bey-haters that makes her a singular performer. Haters may hate, but she just gets better.”
and keep your money, i got my own. keep a bigger smile on my face being alone. bad motherfucker, god complex. motivate your ass, call me Malcolm x