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We should all be “HUMBLE.” | MA

Kendrick Lamar has done it again. After releasing a song from his still-untitled record, called “The Heart Part 4,” Lamar has given his fans another song to ponder on. This time, the song is called “HUMBLE.” Those of you who have been paying attention probably have seen a backlash on social media accounts such as twitter, targeting specifically at some of the lyrics that Lamar uses in his verses. Kendrick Lamar has always used large amounts of symbolism and metaphorical bliss within his music, usually to tell a story or raise awareness about something in society. So let’s talk about it.

To start off, to really understand this song, I did (and am still doing) a bit of research. There were just too many messages in the video that were not necessarily obvious to all audiences, and so I found my self typing into Google a couple of times. In particular, I found one very detailed quote from AV Club that basically hit the nail on its head. Here they describe “HUMBLE” as

a provocative, visually sumptuous clip, elevating the straight-forward bounce of the beat and Kendrick’s furious lyrical performance to something operatic. It’s not just the audacity of the imagery—commingling Catholicism, vanity, and violence, like an early-’90s Madonna video—but the sheer sumptuous quality of the visuals.

I do not think I could have said that any better. I do not even know if I would have said that at all. I mean, where do I even start with this multi layered audiovisual that Lamar has just dropped on us? Websites such as HighSnobiety consider “HUMBLE” to be a “3 minute Manifesto of [Lamar’s] Majesty.” Some of the imagery to look for in the video are as follows:

One of the most attention-grabbing aspects of the song, from a lyrical stand point, was Lamar’s blatant critique of the culture of Photo Shop. Lamar stated that he was

[…] sick and tired of the Photo Shop

Show me somethin’ natural like Afro on Richard Pryor

Show me somethin’ natural like ____ with some stretch marks.

And regardless of what we use to fill in the blank, I am sure we can all figure out what it is that Kendrick is alluding to. Some of the reactions to this line, however, were not so understanding. Many people saw these lyrics as controversial and sexist, while others thought of these lyrics as an uplifting attempt to celebrate the natural beauty of women. Some may even say that his words were meant to bash the media and advertising for dehumanizing and objectifying our bodies. I personally believe it to be this way, as I think Kendrick was only trying to target the media for perpetuating a certain standard of beauty.

Others, however felt indifferently. People on twitter believed Kendrick’s “intended compliment” to be one that was incredibly backhanded, placing blame on and criticizing the women who actually like the images that are portrayed in the media. (It is understandable, I guess…) An example of this indifference and contempt is down below:

Imagine a young Black woman who struggles with her everyday appearance, due to influences both internal and external, who has found a balance in being able to look corporate enough in her weave, pretty enough in her makeup, and photogenic enough with her Instagram filter, only to be told by her favorite artist lyrically that he would hypothetically reject her due to these aesthetic decisions.

Hmmm, I guess this is something to think about.

Kendrick’s use of symbolism and explicit imagery throughout his video can surely be considered musical activism; however, his lyrics perhaps, were not as progressive enough. Throughout the chorus, Kendrick specifically tells his competition to be humble; let’s see if he is also humble enough to re-consider some of his words.

MORE LIFE, MORE EVERYTHING | GH

Twenty-two songs. Drake has blessed us with 22 more songs to add to our already complicated lives, but, for surely, they all managed to fit in perfectly! I am pretty sure there’s a mood for each and every song that we all will have experienced at least once in our lifetime. So what’s great?

For those of you who may not have already known, on March 18, 2017, Aubrey Drake Graham released his highly (un)anticipated album, or ‘playlist’ more specifically,  entitled “More Life.” The album cover features a picture of his father, Dennis (aka Papa) Graham, which resonates with his fans as an ode to “More Life” and prosperity. Although him and his father may not have had the smoothest relationship while growing up (cheers to growing pains), Drake’s act to more or less dedicate his album to his father is pretty notable.

Moving on, throughout the album, Drake channels lots of Canadian and UK vibes, which I reckon will be an emerging trend that I am absolutely here for. [Sidenote: Anyone who truly knows me, knows that I am obsessed with UK and Canadian vloggers]. For example, Drake is starting to embrace his nationality much more by using common slang terms and even featuring an excerpt from two of Canada’s funniest youtube vloggers, Jermaine and Trey Richards, also known as “4 Yall Entertainment.” Without even mentioning the striking similarities between UK and Canadian slang, I must also acknowledge Drakes’s (and many other artists’) efforts to  incorporate reggae beats into their songs. That being said, most of the similarities between Canadian and UK slang are because the terms originate from Jamaican lingo. Drake also featured a few UK artists such as rappers Giggs and Skepta. I also reckon that more inclusivity amongst international artists will also emerge in the American music industry– and again, I am absolutely here for it.

Just this past week, I had a conversation with a friend and, of course, the most inevitable question came up: “What’s your favorite song on the album?” Well, the answer is, I have absolutely no idea. I must admit I have not listened to the full album enough to be able to memorize the entire tracklist– I mean there are 22 songs and I just frankly don’t have time– but if I had to choose, I’d say my top 5 favorite songs are “Madiba Riddim,” “Passionfruit,” “Jorja Interlude,” “Get it Together,”  “Blem” and “4422” [wait that’s six].  But I do indeed expect that list to change as I warm up to the album a bit more.

For now, let’s talk about “Madiba Riddim”

I love this song, not only for its ability to put you in some type of old school dancehall trance, but for its genuine lyrics. The song highlights Drake’s journey throughout his career, loosely describing the many friendships and “friend-sunks”  that he has encountered over the years. I also love how he tells his fans that God actually has a presence in his life:

Anointed and protected, I was chosen…

God knows I’m trying…

Devil’s working overtime, [but]…

God knows I’m trying.

I mean who else can relate to those lyrics?? I know I certainly can with all the trials and tribulations that life has to offer.

Overall, I think this album is pretty.. well.. great, if you ask me! Let me know what your favorite part was.

 

 

“See on Both Sides like Chanel” | MA

Earlier this month, Frank Ocean  released his first solo track since his last album, entitled “Chanel.” Not only does this song entice listeners just by the awesome vocals that accompany an even more awesome instrumental, but he also gives his readers a different perspective by giving us a bit of insight into his personal life.

One of the biggest lyrical strategies Ocean used throughout the song was classifying the “Chanel Logo” as a symbol of bisexuality.

My guy pretty like a girl
And he got fight stories to tell
I see both sides like Chanel
See on both sides like Chanel

Ocean did  something that most people would call uncommon within the music industry. Expressing homosexuality and/or queerness is something that is not normal for African-American male musicians especially. Because homosexuality is seen as weird, weak, and perhaps even shocking, Black men often refrain from creating any type of conversation regarding the topic, for if they did, then they would most certainly be faced with stigmatization from many people. Despite these stigmas, Frank Ocean unapologetically embraces his sexuality. In addition, he even lashes back at those that may have a problem with his personal choice:

How you looking up to me and talking down?
Can’t you see I am the big man? (Big man)

By saying this, Ocean describes his fans as those who “look up to him.” Furthermore, he says that in order to truly enjoy his music and appreciate him as an artist, his fans must be able to accept all parts of him– including every single intersection that makes him, him. People are so quick to bash homosexuals as if they are “holier than thou.” There’s no point in trying to differentiate between “good” sin and “bad” when they are certainly all the same. You cannot “look down” on someone who “sins” differently than you.

I think this song was released within the most perfect timing. With movies like “Moonlight” recognizing the LGBTQ community and black male masculinity, we begin to see different stories that are represented in the media. As Chimamanda Adichie might say, it is quite “dangerous” when the media only tells a “single story.”

It queries me, honestly, how we can so easily neglect the fact that people have multiple stories to tell, as if we do not, ourselves, also have these multiple stories. There are many more avenues that the media can explore, which could yield to a more credible approach at telling the stories of humanity. I think the media is somewhat responsible for displaying an image of  all people, in a true and authentic manner—even if that manner consists of various intersections. As humans, we yearn to be felt, seen, heard and reached; as creators of the media, we ought to make it happen.

I applaud Frank Ocean for his efforts in creating more of a mainstream dialogue about the experiences of gay African-American men. The sooner they are able to accept themselves, the sooner we will be able to eliminate the prejudice they receive on a daily from society.

Kodak Black’s “Strange Activism” | MA

Exactly one month ago, rapper Kodak Black released a thought-provoking music video to accompany his song “Tunnel Vision.” When I first heard the song, I thought nothing of it– perhaps it was “just another one of those weird “trap” songs that seem to have some type of clout in popular culture today.” I thought that it would be like just like the rest of his songs: a great beat, a great vibe, but still lacking in substance.

Well, although most of the lyrics do suggest just that, I have to say I was completely shocked by Kodak’s efforts to produce such a video that was so heavy in imagery and symbolism. The video for “Tunnel Vision” was Kodak’s method of addressing the lingering impacts of racism in America and, more specifically, the Ku Klux Klan.

So for this blog post, I am going to try something a little new…

Let’s forget about the lyrics for a brief moment.

Within the first five seconds of the video, Kodak shows us two men fighting in a field: one of them black and one of them white. Of course, I had no idea what to expect, I thought nothing of it. Immediately after, however, I realize that the white man who is tumbling around in what could be a wrestling match, to say the least, is wearing a vest that has the Confederate Flag on its rear. Instant Replay.

“Wait, hold on a sec,” I said to myself, “did i click the right video?” A few seconds after checking that the username had a “verified check” next to it and realizing that this was indeed the “right video,” I started it from the beginning again– this time focusing my attention on every detail. I could not believe that within the first ten seconds I could be so intrigued and… well… shocked.

And then BOOM! Again, another shocker: in the next five seconds (after the first beat/instrumental drops) Kodak and his friend (?) are standing in front of two Holy Crosses on fire. “What is going on?!”

As I got further into the video, I found that the fight that occurred in the beginning  was actually an event that happened last. Basically, Kodak was showing the events leading up to this fight. With that being said, viewers learn that the white man involved was not only sporting a Confederate Flag ever so proudly, but he was also wearing a red baseball cap that stated “Make America Hate Again.” Furthermore, before Kodak even starts rapping, viewers can see that the burning crosses he was standing in front of also had Ku Klux Klan members being lynched from them. “Woah.”

At this point, I stopped the video giving myself a bit of time to recoup. After all, I was only about 1 minute in to the 4 minute and 31 second video. I immediately began to replay the lyrics in my head:

Lil Kodak they don’t wanna see you winning,

they wanna see you in the penitentiary.

That was the only verse that I could logically relate to the content of the video as I began to think about mass incarceration and the 13th amendment.

“What did I miss? I thought this was just a regular song?” And after completely watching the full video, I found that it was more than that.

Artists these days are finding more and more ways to communicate with their fans (and their not-so fans.) Although Kodak Black is not someone who I initially would trust to run some type of social justice or reform project, I definitely applaud his efforts in contributing to the conversation– Bravo! 

 

 

Future has left the past with “HNDRXX” | GH

Ok so, last Friday was my first time listening to Future’s new album ‘HNDRXX” and I must say I am astonished. Not only did it put me in the mood for the new Spring season that is taking way too long to come, but it also made me realize that maybe Future is not trash after all. That was a bit harsh, I know– but I am someone who not only appreciates great music but I I also recognize when it is pure rubbish (or complete fluff). With that being said, I want to tell you why HNDRXX is great!

Let’s get started.

To begin, a few of the headlines for reviews of the album are entitled “Future Thrives as a Hitmaker on  ‘HNDRXX’ album” and “Future shows his sensitive side.” I think I agree with these headlines. One of the things that I appreciate the most about this album is that I can actually understand him. Future not only gives his audience anecdotes into his personal life, but we can actually understand him when he enunciates his words. Part of the reason I was never a huge Future fan was because I had a hard time relating to any of his lyrics, partially because I could not understand them. Yes, I can admit he had some great beats and tunes to back him up, which made a tremendous difference, but as far as speaking plain, easy-to-understand english… well, you may know the rest.

Author, Patrick Lyons, for Hot New Hip Hop quotes  “HNDRXX is the product of pain, patience, and meditation, and it could very well be Future’s best album yet.” Again, I completely agree.

The lyrics:

They said I couldn’t reach Mars, so I turned to a star.

This line is from the song “Coming out Strong” featuring The Weekend. Throughout the song, both artists explain how those who doubted them are able to see their success from the front row. They explain that they will (if they have not already) “Come out Strong” as the title suggests. This song represents empowerment; even when those who doubt you try to tear you down, you must thrive through all of the trials and tribulations that you are faced with.

In  “I Thank U,” Future carries on to say this:

I can see it written all over your face
You doubted me from the first day
And it never went away
So I say this…
Girl I thank you, I thank you
I thank you
‘Cause you made me hustle

He continues highlighting all the times that he has been underestimated. Instead of being discouraged and distraught, he proceeded in “hustling” so that one day he never would be in the position to be humiliated by those who did so in the past. Most importantly, he recognizes that the doubt from the people who surrounded him in the past was actually needed. If he had not received so many critiques and negative energy, he would not have had the courage and endurance to go forth and chase his dreams.

This is a reminder to all of us: even when people try to throw dirt on our names, they will only be helping us; for we are seeds and we shall grow.

Til next time.

Adele broke the Grammys… literally! | MA

So the Grammys just passed, and though I did not watch the full award show, I definitely caught snippets of the most iconic moments of the night, as they were floating around on my social media. Word has certainly got out that Adele won the Best Album of the Year and Beyonce did not… And I promise this post will not be about Beyonce (even as much as I’d like for it to be), but in her own acceptance speech, Adele, herself, pointed out that Beyonce indeed should have won. Adele is quoted saying to Beyonce:

…the ‘Lemonade’ album was just so monumental […] and so well-thought-out and so beautiful and soul-bearing and we all got to see another side to you that you don’t always let us see and we appreciate that.

Who else shed a bit of a tear after their hundredth time watching that clip??? Just me? Oh okay.??

But really, this is an example of what I’d like to call musical activism in one of its purest forms. Adele used her platform to allude to and discuss an issue of inequality within the industry. She was also quoted saying “What else […] does [Beyonce] have to do to win?” This quote brings up a very touchy subject that author and scholar Peggy McIntosh refers to as “White Privilege” and the “Invisible Knapsack.”

The “invisible knapsack” is an unearned bag full of privileges, benefits, and other assets given to those of a dominant group (McIntosh refers to this group as white people, though later, Women’s Studies philosophers find that anyone can carry this bag since privilege and oppression happen simultaneously). The bag, or “knapsack” is indeed invisible though, hence why most people find it very difficult to recognize their privilege.

In her essay, “White Privilege and Male Privilege (1988),” McIntosh states that

I was taught to see racism only in individual acts of meanness, not in invisible systems conferring dominance in my group.

The oppression that happens within these institutions can range across all borders. People can be discriminated based on gender, class, and their socioeconomic background; racism is just one type of oppression.

Because people consider ‘Lemonade’ to be such an amazing album, it is quite baffling to know that Beyonce won only two out of her nine nominations, while Adele won five out of five.  Some may argue that these two artists are just completely different both sound- and style- wise.

Beyonce’s sister, Solange Knowles (who also won a grammy) criticized the Grammys in a written tweet after the show:

There have only been two black winners in the last 20 years for the best album of the year.

There have been over 200 black artists who have performed.

Solange certainly gives us something to think about as we continue to analyze the invisible knapsacks that are carried within the music industry.

In no way am I saying that Adele did not deserve her award. Neither am I saying that Beyonce deserved the award because she is Beyonce. What I am highlighting is the fact that Adele recognized that women of color, or people of color in general, are required to work twice as hard to receive the same things that people with privilege have.

Perhaps Adele is suggesting that we “set fire to the” industry that was not built to cater to us and start “turning tables,” creating our own standards and content.

 

 

SZA’s need for “Validation” | MA

When I first heard SZA’s “Drew Barrymore” last month, I did not listen to the lyrics. Though, within the first 15 seconds of the song, I downloaded it to my Apple Music account,  I did not listen to the lyrics. I had no idea what it was about. However, it had such a somber, yet mesmerizing melody to it, that I could feel every word she was saying even though I was not actually listening. I just liked the song. This was just one of those songs that you listened to, even if you had no idea why you were listening to it.

It was not until I actually started to pay attention to what SZA was saying that the song began to have much more meaning. Although it took a couple of days on replay for me to fully catch SZA’s drift, I’d say that the song’s message is cleverly put together and actually very clear. “For those who have ears should listen.”  Throughout the song, SZA both speaks on dealing with insecurities and questions relationships while trying to figure out her self-worth.

I get so lonely, I forget what I’m worth.

For many people, just that single line will have resonated in some form or another. Society perpetuates this rather ridiculous and irrational notion of denying yourself “self-care” just to be in a relationship. This theory has been internalized in us, making us feel as if there is a rush and necessity to be in a relationship, even if we end up settling for less. SZA then goes on to “apologize:”

I’m sorry I’m not more attractive
I’m sorry I’m not more ladylike
I’m sorry I don’t shave my legs at night

By the end of the verse, we realize that this “apology” is actually sarcasm to refute the common ideals that are often associated with being a “good”  female partner. SZA highlights how these things are not at all necessary in a healthy relationship. She warns her audience to pay attention to red flags; if your partner is stipulating that you conform to superficialities, then  he or she is not the one!! You deserve better than that.

Within the chorus, SZA asks a bold question:

“Am I warm enough for you?”

This question describes how relationships can turn into some type of property ownership if we are not exactly careful. Let me explain.  By asking if she’s “warm enough” SZA is alluding to a concept similar to one’s bath water. (Of course, there are other examples and explanations, you just have to listen to the song). In most cases, you get to control the temperature of the water that you want to bathe in. You are allowed to add cold water if it’s too hot. You are allowed to add hot water if it is too cold. You have the pleasure of tailoring the water to your own liking. But the question then becomes: are you allowed to “tailor” your spouse, or significant other into your own imagined mold? Do you have that privilege? Is your spouse like your bath water? That’s what SZA is essentially asking her audience.

It’s funny, a bit foolish even.  We must have that hot shower or bath and we will do anything to get it. We will never settle for a cold bath, because who wants that? We tend to get wrapped up in a world where our own selfish needs are what we must achieve first. However, the world does not work that way– well it does not work properly, at least. Before trying to turn someone else’s temperature up or down, we ought to stand back adjust our own– evaluating ourselves first before anyone else.

‘Tis all.

3 Words: Beyonce is Pregnant! | GH & MA

And not only is she pregnant, but she is pregnant with twins! Yes, you read that right, twins!!! On February 1, 2017, Beyonce announced to her fans (the beyhive) that she was pregnant by releasing one of the photos from her maternity photo shoot on her social media. She gave her fans this message:

We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes

-The Carters

Some people say that Beyonce strategically made this announcement on the first day of Black History Month. Coincidental? Maybe. Strategic? Who knows. All I do know is that I am extremely excited for the new and hereditary Destiny’s Child group that will launch in a few years, just wait on it.

And so, to “celebrate” this pregnancy, I thought, why not go back in time (only about 4 years) to Beyonce’s fifth studio album entitled: BEYONCE.

What made this album great, you may ask? Well, many things! I think this album was one of the albums that really made people realize who Beyonce was. In fact, I think this album made Beyonce realize who she was– as a mother, a singer/songwriter, a businesswoman, a feminist, an entertainer and much more. We know Beyonce wears many hats (and always has) but I think this album marks the moment when Beyonce became the “Beyonce” we know now.

This album was both an audio and visual piece, giving its audience vivid imagery that could totally “snatch your edges” before you even knew edges could be snatched. Beyonce released BEYONCE on December 13, 2013 with no advertisement, previews, (legit) song leaks, or anything. The album featured Drake, her husband Jay Z, her daughter Blue Ivy, Frank Ocean and even Nigerian author Chimamanda Ngozi Adichie in the background  of “Flawless.”

Releasing songs like “Flawless” was one of Beyonce’s ways in showing that she was happy to call herself a feminist, while also embracing her open sexuality and creativity. Throughout the background of the song, snippets of Adichie’s “We Should All be Feminists” TED Talk were featured. Beyonce chose these words at a very pivotal moment in the Third Wave of Feminism; a time where methods of feminist activism were rapidly changing as social media and music also began to change at the same time. In “Flawless,” we hear Adichie say many things:

We teach girls to shrink themselves, to make themselves smaller. We say to girls: “you can have ambition, but not too much. You should aim to be successful, but not too successful, otherwise you will threaten the man. Because I am female, I am expected to aspire to marriage. I am expected to make my life choices always keeping in mind that marriage is the most important. That marriage can be a source of joy and love and mutual support. But why do we teach  girls to aspire to marriage, and we don’t teach boys the same thing?

Throughout the talk, Adichie explains to her audience exactly why all of us should indeed be feminists. She explains that gender only describes how we “should” be, but not necessarily how we are. She goes further to explain that a feminist is a person ( man or woman) who says “yes, there’s a problem with gender and we must fix it.” Adichie’s main approach in this talk was to advocate for equality for the sexes across and within cultures, not to destroy culture as a whole.

Undoubtedly, BEYONCE was a work of art in various forms. That’s what made it great, and that’s why it will always be great. Although people like bell hooks, may critique  Beyonce’s “strange” feminism, I think it’s important to note that there is no right or wrong way to express feminism.

Be Woman. Be Proud.

 

J Cole’s most recent “fire!!” | GH

Last year, I ended this blog off with a notion that J.Cole was dropping his album soon. And indeed, he never fails to disappoint his (true) fans as he certainly gave us some of his deepest lyrics yet. Although he did receive major backlash from those that, I like to call fake fans, Cole remained true to his supporters. The album’s title “4 your Eyez Only” makes a slick reference to the album “All Eyez On Me” by Tupac, who is considered to be one of Cole’s biggest inspirations.

But what makes this album great?

Well, the answer is many things. The stories he tells, the lyrical puns, the soulful rhythms, and much more. Just to give bit of a background, the overarching theme behind the album was to tell the story of Cole’s friend, James Macmillan who was murdered. In each song, Cole shares a different aspect  of James’ life that outlines his experiences from selling drugs in his early life, to falling in love and starting a family. Not only does Cole just tell James’ story, but he also uses his own experiences and lyricism to portray various phases in life that one can encounter. He makes it known that not everyone has happy days, but there are sad days as well.

For example, in the first track “For Whom the Bell Tolls,” Cole starts off by saying

I see the rain pouring down
Before my very eyes
Should come as no surprise

Here, Cole could be alluding to something stated in an earlier song ‘Jermaine’s Interlude,’ where he felt as if his career could possibly come to an end. He explained that he began feeling this way because he felt as if he had given his all in the “rap game.” In just this very  lyric, Cole continuously shows his audience that nothing in his career is necessarily promised, as most people may think. [Other artists may make it seem this way as well]. Despite Cole’s obvious and tremendous success, he still feels the need to show his listeners that not everything is exactly secure.

Next in “Ville Mentality,” which focuses on the many perils associated with his rise to fame, Cole asks in the hook:

How long can I survive with this mentality?
How long can I survive with this mentality?
Things fall down, but don’t stop now
Oh, can’t stop now
Oh, won’t stop now

Cole first coined the phrase “Ville mentality” back in 2013 in an earlier song. The term represents a self-defeating outlook in the face of limited opportunity. Instead of ever chasing their dreams, the victims of this said mentality instead prescribe to the same cycle of violence or self destruction as the previous generation.

Although Cole did not only discuss the “sad times” that we may experience in life, it is what makes the album so relatable. When artists are able to communicate with their fans in a unique way, it shows their dedication and talent. Instead of feeding his audience with what the label thinks will make money, or just pure trash, Cole always makes an effort to be personable with his fans.

So again, what makes this album great? Well, you tell me after you listen to some of the songs. I personally think it is the vulnerability that is portrayed through lyrics of not just Cole, but his late friend James Macmillan too.

 

“Bad and Boujee” | GH

So folks, I have decided to not only continue with my previous topic of Musical Activism, but I have also added a new concept called “Greatest Hits.” In these two broad topics, I will basically be giving my own feedback on the music choices while also highlighting the stories behind it. Within each post I will outline whether or not it is a “MA” or ‘GH” post, or both! To start off and give insight on what what future blog posts will be about, I am going use my first passion post of the semester as an example of what the GH category will consist of.

Let us begin, shall we?

The rap group Migos recently came out with a new hit song called “Bad and Boujee” featuring  rapper Lil Uzi Vert. This song is a rather mesmerizing “trap” anthem, as it is technically not even considered a rap song. Without getting into too much detail about the song lyrics, “Bad and Boujee” basically praises women who have expensive taste, amongst. The song has hit the top of recent musical charts for its vampy beats and hype momentum. What makes this  song “great,” or interesting rather, is the fact that Migos has brought up a subject which has been frowned upon in many Black communities: Being “Boujee.”

Here’s a post that has been circulating ’round the ‘net recently.

Hmmm, quite strange is it not? Black women, specifically, were often ridiculed and bullied for being “bougie/” “boujee” or what some may call classy and elegant while being African-American and female.  As you can see from the different spellings, Migos has kind of added their own rendition to the word. Originally the word “bougie” derives from “Bourgeoisie” which in a Marxist context, was a term that described the capitalist class who owned most of society’s wealth and production. The term also referred to an earlier middles class for their perceived materialistic values.

To put it simply, Bourgeoisie was shortened to “Bourgeois”, then “Bougie”, and now in 2017, “Boujee.”  [ The word “bourgeois” was a term used in the South, often associated with disdain, that targeted an “uppity” group of Black people who thought they may have been better than everyone else and/or may have been pretentious].

So what is Bougie? And why was it frowned upon?

Well, this was a term used on a more broad spectrum, as it wasn’t completely an insult, but it surely was not a compliment. “Bougie” black people were usually those people (alongside of their children) who grew up in more suburban areas, had some level of secondary education, and maybe they even spoke English “properly.”  I can tell from my own experiences that I, just like many other people I know, have been called bougie by my peers and I hated myself for it. This term was used to ostracize people from their own Black roots. It made them feel guilty for wanting better things in life or just for themselves. Being called “bougie” was almost like a reverse respectability politic.

Now, years later, being “Boujee” (intentionally misspelled by Migos) has been popularized, glorifying a concept of “Hood Rich.” The people they glorify are those who maintain a certain level of riches, while also keeping in touch with the “streets.”

As you can see Migos has purposely re-vamped the term changing its meaning and connotation entirely. My question is: is this movement what made the song so great (since it sounds like any other song that has been run through a mumbled trap generator)? Or did Migos’ efforts to change the definition classify as some sort of activism?

 

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