Best of 2017: Dreams Come True: Janet Jackson Concert At Wells Fargo

Attending a Janet Jackson concert is not just a huge milestone and highlight of 2017, but a dream come to three dimensional reality.

I attended two musical concerts this year-- John Legend and Janet Jackson. I had incredible times at both. Janet, however, was a long old wish fulfilled on a chilly November night just days before flying out to Paris.

I have been a fan of Janet and her musically gifted family since childhood. Yet it was the baby girl of the Jackson's whom I had loved so deeply, affectionately drawn to her strong lyricism, vocal range, dance moves, and iconic music videos.  As Mom would play out "Control" and "Rhythm Nation" cassette tapes over and over, my siblings and I would sing along and dance the way children danced to edgy guitar popping, foot stomping R&B meets rock and roll. It brings apart memories of my uncle, who passed away this November. He always called me, "Janet" and I hadn't corrected him because I had such a strong connection to my favorite musician.

I ate Goldie Falafel as a pre-concert meal, so beyond hyped to see Janet. 

Janet's "Unbreakable" tour started late 2015 to promote her newest album release and spread love to those who had admired her forever. For so many including me, this would be our first time seeing her live and the enthusiasm was wildly contagious. I bought the album, t-shirt, and concert ticket to Wells Fargo in Philly, super thrilled whilst reading excited fans' concert reviews via social media.

Sadly, the tour was postponed. I was refunded, but very heartbroken for a while.

At fifty-one, Janet gave birth to a beautiful baby boy. Then, she announced that the tour was resuming, that it would be renamed "The State of the World."

Originally, I wanted to see her at the Boardwalk in New Jersey, but settled in on Wells Fargo in Philadelphia the sequel.

There's my Golden Ticket! 

Janet getting her fans ready to be blown away as she blew through an impressive discography of "Control," "Rhythm Nation," "janet," "The Velvet Rope," "Design of a Decade," "All For You," "Damita Jo," "Feedback," "Unbreakable," and countless movie soundtrack jams.

It was the most surreal Monday night, sitting in the 100 section, not too far away from the stage, waiting for an iconic queen. Lights went dark. On the screens were the names of victims killed by police, female voice reciting them. Janet came out in a long black duster with black attire underneath and flaming red ponytail, on the prolific beats of "Knowledge," the lyrics flashing the giant projectors. Through my own loud screams, my eyes watered and my chin quivered. I couldn't believe I was present and so was she.
"The Knowledge" turned into "State of the World" which then transitioned into a killer dance workout of "Burn It Up" featuring video cameo of another amazing artist, Missy "Misdemeanor" Elliot. "Nasty" came to play and everyone screamed and hollered, including me. It was such a vital statement considering the current political climate, a boost shot for all women.
Other jams such as "Miss You Much," "Alright," "Control," "What Have You Done For Me Lately," "The Pleasure Principle," "Escapade," "All Nite (Don't Stop)", "Love Will Never Do (Without You), and "Got Til It's Gone" were highlighted. I absolutely loved the choreography on the latter. Ageism is no factor to this incredible talent!  She can still dance as if the 1980's and 1990's never left. Just jaw dropping!
Her background dancers were also top notch, ranging in ages, body shapes, genders, and ethnicities, taking their skills to the floor with Janet looking on with pride and joy.
Songs took on a deeper, autobiographical charge as Janet serenaded her Oscar nominated ballad "Together Again." At the end of this precious melody, she lifted her head and mic to the air, quietly speaking, "until we see each other again, Mike." In "What About," a powerful uptempo with alternative rock edge, her dancers enacted violent domestic abuse situations through improvisational movements as she struggled through singing the cords, even pausing at times to get through raw, poignant lyrics.
"That was me!" She cried out, sobbing and running off the stage.
The entire audience felt her pain, utterly touched by emotional display.

One of several special videos. It starts serene and peaceful until misery manifests in surreal allegory. 

Janet came back, revitalized and fierce, dancing and singing with vigor to the phenomenal "If" and timeless military thumper "Rhythm Nation."
By the encore, a collection of five additional songs like "Black Eagle" (for Michael), "I Get Lonely," and "Well Traveled," the hungry crowd stood giving her thunderous applause and joyous whistles, changing her name, wanting her to return.
It was a great, spectacular concert, one of the best that I have ever been fortunate to see. I will never forget it.

Taji Magazine Vol. 10 Launch Party in Brooklyn

Taji Mag is a magazine dedicated to African culture and fashion.

Last Wednesday evening, I exited off the Brooklyn bound train and headed to Sehiii Gallery for Taji Mag's Volume 10 launch party. I have always wanted to attend one of their functions and being off on Wednesdays made it all the more convenient to finally show support.
In the dimly lit gallery space, smelling of divinely scented candles, a young loc'ed DJ named Cornelio pumped out vibrant music that reverberated off walls and into excited ear drums. Lovely fashionable clothed and hair styled people sat around small round tables chatting with each other. Up front, a quiet girl sat alone drawing with pens and markers in a fat sketchbook. Others grooved to the beats, while seated, their rhythmic bodies begging for more.

Past Taji Mag covers hang on the brick wall, some are featured cover models and others are digital artworks.

Before the features and open mics started, the host had the audience stand in a wide, intimate circle and introduce ourselves to strangers. It was a rather nice way to remove nervous edges, to find a friend among low lights and chill music.

To catch Akinyemi, a main feature, one had to be faster than a cheetah. As he rapped his rhymes over boom boom rustic beats reminiscent of old fashioned hip hop, he moved so swiftly, that my camera only caught flashing essences of his energetic tenacity. He had that afro box hair cut and a rainbow sports jacket, speaking about realness in the mic.

Nosuh Foster's booming, powerful, thought provoking poetry brought the atmosphere to whole new heights. He had a finesse that was charming yet refined and intelligent. Plus when he smiled, showing pearly white teeth, the world looked brand new, promising as he spoke of being happy to be alive, alive past 25.

Rapper in camouflage Lyle Omolayo who spoke about roots roots roots.

Nay Marie is the creator/founder of Taji Mag. She is also a New York based photographer, vegan (yay!), and uniquely stylish.

Future painting inspiration.

The open mic segment started off with this cool rapper.

Caught in mid-spit.

This man crooned old school R&B beautifully. He sang Shai's "If I Ever Love Again." Women hollered like crazy. Yes. That we did. *swoons*

Another cool rapper, celebrating hip hop over slick beats, making the crowd wild.

On the left is the latest model winner for Taji Magazine Volume 11. She is Queen Bosa Bosa on Instagram. Her page is beautiful moments of gorgeous shots and dancing to African beats.

Segments introduced vendors selling their wares including cupcakes. When Lo of Sweets on the Lo gave a rundown of her cupcakes, saving the vegan option for last, it was definitely one of the huge surprises of the evening. Her site has a galore of vegan options including Aphrodisiac (a chocolate cupcake with raspberry buttercream), Hallelujah (a lemon blueberry cupcake with blueberry buttercream), and a drool worthy Taye Diggs Deluxe (chocolate caramel cupcake with caramel buttercream).

I had to try the Go Nanaz! cupcake-- a banana cupcake with cinnamon buttercream. The cake was moist with yummy authentic banana flavor and the sweet, lusciously whipped frosting tasted divine. Overall, quite the scrumptious treat whilst listening to music and poetry.

One of several photographers capturing this marvelous event.

I meet the delightful Awesum and her partner in crime. Their act started off quite humorously. He strums his guitar, reciting a humble soliloquy about poverty and survival. She is in the audience, laughing and smiling over his pain. I see a few confused faces in the audience. For a moment, I too am a little shocked. Suddenly,  still smiling rather infectiously, she begins humming like a vibrant bee finding the sweetest nectar and singing. She gets up out of her seat and saunters over to him, harmonizing. The duet is fresh and funky containing all the classical ingredients of soulful love and affectionate tenderness. After their song, someone had stood and clapped, boasting, "best of the night!"

Miss Blue, a twenty-year-old songstress from New Jersey took the audience away with her rendition of Alicia Keys' "No One."

In the gallery, many items whispered pleasant secrets. These fabrics were especially attention getting-- bantu knot profiled woman whose yellowed face arrests a teal circle repeatedly. The other is black and white with lovers kissing. They're both beautiful depictions. I have rarely seen such images on cloth, having always seen bold, colorful patterns. 

Close ups.

Many connotations came from this Africa continent shaped piece. It has an elegant design yet also a figurative quality. The ebony black against patterned zig zags and squares appears to be a cropped body, a piece of action that might have escaped a Kerry James Marshall work.

Other African continent shaped compositions continue along the wall sharing various stories of romantic love and self love, bold colors and stylized figures gifted gratifying dignity, grace, and beauty.

Giant wooden floor drum and smaller sculptures on white pedestal surrounded by plant life.

I not only have a gorgeous magazine to stare at forever and forever (and with future drawing inspirations along the way), I also won one of the raffles-- a beauty set from The Celestine Collection (Green Tea Body Souffle and body oil). I am super excited to review the products soon.

Inside the magazine are mesmerizing photographs of beautiful brown/ebony models (some discovered on Instagram), romantic advice, vegan recipes, and selected black owned businesses. I was happy to find this ad/article about Fruiggie, an eco friendly arts and crafts company that is fruit, vegetable, and plant based. They sell vegan paint, crayons, play dough, organic aprons, coloring books, and more. 

Tiffany Mack's 9oclockteeparty is a funky take on eyewear, featuring bedazzled sparkles on uniquely designed frames. 

Physical copies of Taji Mag's Volume 10 is $10 and digital print is $3. You can also purchase past issues, coffee/tea mugs, purses/totes, and even a photo session here.

A huge thanks to one of the photographers who caught me in action and shared this on the Taji Mag FB page. Behind me in giant pink Africa earrings with big poufy hair is a sweet woman named Babette-- whom I met and introduced myself to in the circle.

The party was killer fun. I wouldn't mind taking another escape from Philly back up to NYC for more vibing music, poetry, and art. There might be another vegan delight or two to sample.

Revisiting "The Electric Lady's" Powerful Fist Bump

#LoudBlackGirl trended on Twitter the other day-- a vocal message to demand people listen and respect a marginalized group that they want to quiet, shut down even.
I could not resist thinking about "The Electric Lady's" titular track. After all, Janelle Monáe did bellow out, "electric lady's gonna scream out loud!" That we do.
It's hard to believe eclectic alternative R&B gem "The Electric Lady" approaches third birthday come September. Philosophical, knowledge dropping music is as fresh picked as a jazzy ripened green apple on a splendid morning. With the MTV Video Award winning "Q.U.E.E.N." (a sultry satisfying empowerment jingle with amazing Erykah Badu), it still is a surprise that other accolades hadn't stacked high against so charming a venture. For Cindi Mayweather and her fleet of droids deserved more than a gritty slide under the sinkhole. They more than deserved a place at the table. They've earned. And few people have yet realized how importantly feminist this album is.
Beautiful soul stirring ballads like "Can't Live Without Your Love" (my personal favorite), passionate tribute to the late Sally Ride (a thumping melody with chanting rhythm towards end), and the affectionate dance number "Dance Apocalyptic" (a hip shaker attributed to "Michael Jackson's Jheri Curl") keep the avid listener's attention from beginning to end. Despite years passing and others coming and going, "The Electric Lady" still resonates, striking a cord running deep within heart.
I want to hide in provided genuine authenticity, playful spirit, rebellious tenacity, and romantic sentiment forever. Ignore the Michelle Obama copycats, the Leslie Jones riots, senseless murders of black people, and other horrible harms to black women today.
Monáe has all the necessary elements to salve wounds-- at least temporarily.

"Dear reader,

May these songs bring wings to you when you are weak and humility when you are strong. May the evil stumble as it flies through your world."

Like yesterday, I remember her concert held at Philadelphia's The Electric Factory (perfect venue)-- a showstopping, energetic blaze of wonderful live opera octave vocals, jittery slick dance moves, and open mic diarist entries. To be that close to such a figure was to be a part of cemented history, delivered in climatic awe. Not to mention, her amazing associate album producer-- Roman Gianarthur who performer opening act duties.

I dusted off "The Electric Factory" for resurgence, for strength, enjoying Monáe's afrofuturistic paintings (serene meet subdued colors are wildly impressive), and production writings. The production writings are sweet and humorous. I love knowing birth of her influences and reasoning that a great song has been fruited into being. It's honest truth. When it comes to the gritty, manufactured, over-sensualized, cheap, tawdry music business, she is a breath of welcoming, humanizing air-- droids and everything. Intelligence + talent never goes out of style.

"...laser lyrics, lead vocal prophesies..." of "Suite IV Electric Overture"
"...lead howls, background acrobatics, additional bass shotgun blasts of "Given 'Em What They Love" featuring the late great Prince.
"....psychodancing lyrics, freaktastic vocals.." of Q.U.E.E.N.
"....electro lyrics, crackling lead vocals, background vocal shocks..." of "Electric Lady" featuring Solange
"... lyrical gaze, lead vocal brushstrokes, background colors..." of "Look Into My Eyes"
"...cyberlove lyrics, lead vocal kisses, background whispers...." of "Can't Live Without Your Love"
"...hypno lyrics, lead vocal ecstasy, background vocal seduction..." of "Dorothy Dandridge Eyes" featuring Esperanza Spaulding

Highway robbery of nominations and awards don't matter. Not anymore.
Life without these well-produced songs, these powerful songs that satisfy ear aches on the worst of days would have been the most inconceivable loss. One moment can be a chance to explore moonwalk glide whilst washing dishes, another ignites desire to be an encouraging champion to someone unseen during creative session, and the next is valuing truest, most internal, mediated self when feeling low. One cannot ask a musician to grant more feeling than that is gifted.
"The Electric Lady" will, without shadow of doubt, stand the test of time. 

Let us hope that magical, wondrous songwriter/singer/artist/producer Janelle Monáe aka Cindi Mayweather continues to lead like a young Harriet Tubman in a place where some blindly believe that they are not sheep in this ruckus and the woke others just want to wave "freak" flag freely.

Black Girl Magic Lit Up Colored Girl Museum's First Festival

Colored Girl Museum was beyond lit. Beyond fire. Set us all ablaze.

We needed the healing a special Saturday afternoon granted.
Underneath this spiritual umbrella, providing shield from the violence thundercloud of our country, the audience were raptly attentive to the woman gracing the stage.
Radiance shone bright. And yes, my eyes teared up, remembering not just Trayvon Martin, Michael Brown, Alton Sterling, Philando Castile. Aiyana Stanley-Jones, Tanisha Anderson, Mariam Carey, Rekia Boyd and Sandra Bland, and countless other sistas we can never ever forget.
Now the Colored Girls Museum uniquely houses stories, experiences, and objects of the colored girl.

The Colored Girls Museum distinguishes herself by exclusively collecting, preserving, honoring, and decoding artifacts pertaining to the experience and herstory of colored girls. This museum shall serve as a clearinghouse of multidimensional arty-facts, objects and information about Colored Girls: equal parts research facility, exhibition space, gathering place and think tank. This Colored Girls Museum is the first institution of its kind, which considers memoir, in any form, as well as objects of personal and historic significance, as evidence with empirical value.

I have always wanted to visit. The Colored Girls Museum is opened on Sundays only.
And I work every Sunday.
Someday I'll go.
For now, I reminisce on the Colored Girls Festival at Fringe Arts and its magical medicinal properties.

Commendable hostess Ariadne DuBois wearing the Colored Girls Museum t-shirt in between introductions.

I missed Nikki Powerhouse. Her name alone resonates uplifting vibe to dwindled spirit. I wish I had seen her live. I did, however, find this to be wonderful-- The Art of I Am. Still, she's a local actress. Hopefully, a next time will arise.
M'Balia Singley strummed acoustic guitar, serenading with a combination of charming humor and sweet affection.
Jasmine Combs, an eloquent, brave poet threw out frustration with honesty and love in her barbs.
Maritri sang and struck her guitar, her voice like melodic honey dripping sap.
Blakbushe instructed through soulful song and cymbals to challenge patriarchy, to have sound mind, to love ourselves. With a touching tribute to Prince, taking her spin on "The Beautiful Ones," eyes mystified and it remained hard to hide how touched whole experience gave.
Poignant images flashed on the widescreen projection. These were women admired late in life. Eartha Kitt, Ruby Dee, Angela Davis, even a whole Serena Williams tennis match.
We were clapping and shouting bravo to our talented entertainers and women flashing on the screen.
That was all power, all strength.  
After last performance, DJ Ian Friday got the global soul dance party started. Maya Angelou's majestic timbre recited her impressive, always relevant poem "Phenomenal Woman" mixed with Chaka Khan/Whitney Houston's "I'm Every Woman." Perfection. She was alive again. Alive in soul, alive in spirit.
I captured several moments and compiled them together here: Colored Girls Museum Festival.
Please watch and share with others. These ladies will bring fire in your heart and joy in your steps.
I will be eternally thankful to them and the Colored Girls Museum. This was remarkable. And needed.
So very, very needed.

Treasure trove of dangling beads among African sculpture hummed diaspora melodies.

Fancy stylized earrings and vibrant patterned bib necklaces appear to be straight out of a glamorous African Vogue magazine.

Fabulous abstract designed, bold colored prints on tote bag purses.

Most epic way to showcase handcrafted jewelry.

Little girls seeing dolls in their skin tones? Beautiful moment.

"I've got to learn to leave the table when love's no longer being served."- Nina Simone

Co-worker/friend and I exiting the festival, spirits alive and joyous. What a gift!