The Definition of A Friend by AnnMargaret
Globally, unknowingly, today it seems that people often do pretend
that changing times have not yet amplified our confusion of the definition of a friend.
Reflecting on its definition time and time again
will help in reassuring that we have true companions in the end.
A friend is like an endless source; an oasis of inspiration
that you can go to quench your thirst and revive your dedication
to the gifts that you've been given, realized through thought and meditation,
and encourages you to be your best, so you can be the next sensation.
A true friend seeks to comfort you and always shows concern,
when fire wants to play with you. They'd hate to see you burn.
They'll never try and stunt your growth, they want to see you learn
and rejoice in any accolades that learning helps you earn.
In times of strife throughout your life, they help you rise above
the adversities and uncertainties because they always show you love.
Every disagreement can be dissolved with a metaphoric hug
because true friends always find a way to sweep the dirt under the rug.
Icons by AnnMargaret
Ballerina
Swirling on her feet;
Illuminated Sequence
for noted, zoned elite.
Barbie
She is so for real.
Plastic lives on Vanity
housed in Sex Appeal.
Astronaut
He's from outer space;
Galaxies span the orbit
of his cornered case.
Cowboy
His jeans are too tight;
Outlawed, the fashion of knight,
with accented light.
Walking Away From Eden by AnnMargaret
When Eve ate the apple, she consumed the knowledge of the land.
She knew the knowledge of a man,
she held the power in her hand.
Safe to say, the woman gained some insight on His plan.
The snake lay content as he wriggled in the sand,
glad that he could introduce the idea of jealousy to man.
Adam learned that Eve was his, and marked her with a wedding band.
And with the "crisp" of the bite, that's how this all began...
Never would an apple ever taste so sweet;
Adam learned to kill so that he and Eve could eat,
and learned to take dominion over everything he sees.
Soon they learned the dangers of consumption of the meat,
and hormonal imbalances pushed a woman to accept a man who cheats.
Hagar contemplated fairness and learned not to take defeat
hence came the concept of acting before you speak.
Forward through the times, came a soldier from the Valley of the Lost.
He preached about forgiveness and we nailed him to a cross.
Who knew that the debt of education would come at such a cost?
Or, better, that receiving such enlightenment would deliver such a loss?
Brilliance bore the light and exposed the darkness of the night;
Analyzing stars bore prophecy out of fright,
and stirred up more confusion when a prediction wasn't right.
The more we get confused, the more we want to fight,
the more we get defensive, the more we act on spite,
the more the racist hates your skin when it deviates from the standard of the white.
The more we get to know, the more we cease to grow.
Knowledge is a hindrance, that's what the research shows.
The abundant vegetation is depleted at the source
to produce the sheets of paper that I use to pass a course
that teaches me to get ahead so I can be a boss,
which scares me 'cause they're cloning me...
when I die the world won't have to feel a loss.
The woman, now, is like a man, earning what he makes,
And don't get me wrong, I really think that's great...
She's working in an apple factory, over run by snakes.
Revelations says that Mother Earth will save woman out of sympathy.
The devil laughs maliciously:
"Too late for such sister solidarity..."
He snickers at our attempts of bonding and comradery.
Perhaps we should have learned to listen;
We know now that the fruit was hard to bare,
that ignorance is bliss; we learned the devil doesn't care.
Walking away from Eden, we left the answers there.
The Times They Are A-Changin' (by Bob Dylan)
Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.
Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.
Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.
Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.
The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.
Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.
Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.
Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.
The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.
Soulmates by AnnMargaret
As if the heavens parted slightly to share the last slice of innocent magnificence, sunlight shone on two children--a boy and a girl--playing in a meadow. Their shrieks of laughter were angelic and echoed in the hills timelessly as they rolled on the grass, enjoying each other’s company. It was an experience that could only fully be enjoyed by hearts still pure— hearts that had not been weighed down by the burden of experience or suffering or the longevity of time.
At the foot of a hill, the two children collapsed into each other as friction brought them to the end of a rolling adventure. Snuggled like a yin-yang in a bed of flowers, together, battling breathlessness from sporadic fits of giggles and aerobic exhaustion; the little boy looked into the beautiful, wide-open eyes of his playmate as she returned the favor to his observantly brilliant brown eyes. The boy laid his hand over where her heart rested in her body and was fascinated that he could feel the beat, like the conductor and composer to the song that made her breathe easy and freely:
“I can feel your heart dance.”
The little girl smiled at him for just a second and then quickly rose for an occasion, challenging him to a tag match, teasing that he could never touch her heart again while knowing, in Time, he very well could. She sprinted off into the expanse of the meadow and he received her challenge with the greatest excitement... knowing, even at an early age, that he would love nothing more than to touch her heart again.
He watched her fade away and he felt the rush to recapture the excitement with every second that passed him [bye], as he braced himself for the sprint of a lifetime.
See,
there,
THAT
was how he knew she was special:
She was the only girl who knew how to play
race,
chase,
and tag
with him--all before recess was marked over by the ringing of the Belle.
The Mass Media Machine: Moving Towards Homo Evolutis
Introduction
As arguably one of the biggest sensations of popular music to date, Beyonce is a juggernaut taking the world and music industry by storm. The performer has transcended racial lines to make universal music that sells out concert tours spanning the globe. In fact, Beyonce is often self-depicted as a robot because of her remarkable speed for producing and performing music. With the entertainment industry and mass media being the most readable indicator of the social temperament, Beyonce is a manifestation of the realization of an American machine. Her music videos, Ego, Single Ladies, and Video Phone illustrate in greater detail her recognition of becoming an entertainment icon and what it means to maintain such a title while simultaneously being the significant other of the hip-hop mogul, Jay-Z. Despite her larger than life stature, Beyonce is only a small facet of a much greater concept: music as an instrument of influence in persuading the masses into accepting a homogeneous future.
She's A Super Freak
In her music video Ego, Beyonce succeeds in getting multiple points across all in the span of three minutes. The video ostensibly discusses her ego and offers an explanation for her new found diva attitude. But reviewed more holistically, her song and video is alluding to her status as the wife of Jay-Z. In a sense, the music video is more about Jay-Z than anything else. In the chapter, "Get Your Freak On," Patricia Collins discusses the concept of a commodified black culture in mass media, explaining that "Because of its authority to shape perceptions of the world, global mass media circulates images of Black femininity and Black masculinity and, in doing so, ideologies of race, gender, sexuality, and class" (Collins 122). With this being the case, the mass appeal of a video where Beyonce deconstructs her body for the appraisal of her husband aids in the "white normality [becoming] constructed on the backs of Black deviance, with an imagined Black hyper-heterosexual deviance at the heart of the enterprise" (Collins 120). For example, in the song Beyonce says:
"Damn I know I'm killing you with them legs/
Better yet them thighs/Matter a fact it's my smile/
or maybe my eyes/ Boy you a site to see/
kind of something like me."
By praising herself and her husband on a purely physical level, she has bounded her limitations of greatness to physicality and performance. She also becomes linked to Jay-Z using her mass appeal as an advertisement for her husband, the owner of her sexuality. The double entendre of the song's chorus, "It's too big, it's too wide/It's too strong, it won't fit/It's too much, it's too tough/ He talk like this 'cause he can back it up" is giving Jay-Z accolades on his physical endowment. The racial message being put forth for both Beyonce and Jay-Z is that Black hyper-sexuality is the most prevalent pinnacle of success for African-Americans; Jay-Z is idolized for marrying one of the most lusted after woman in the world.
It can be argued that figures like Jay-Z reclaim their power by manipulating Western fascination with their blackness while simultaneously mobilizing African-Americans for their own enslavement to their sexual objectification. In a system that strives to keep the white man at the top of the hierarchy, Beyonce helps to perpetuate black deviance in mass media and keeps the average African-American from aspiring to break free of the luxuries of materialism and commodification.
The Birth of the Machine
The universal appeal of Beyonce and other music stars gives way for the mobilization of the Mass Media American machine. In other words, the individuals who control the music industry have the potential to mobilize the masses for working to install an empire built on Western philosophies. The ability of music to mobilize is evidenced in Beyonce's "Single Ladies" video. The superficial premise of the video is to seek sisterly solidarity as an alternative to the unbalanced relationship. However, the lighting in the video used to reflect this message signifies that seeking sisterly solidarity means embracing your dark side. Along side the lighting of the music video, Beyonce's infamous mechanical hand, something she now wears in almost all of her music videos, simulates a human ability to impose a robotic theology. With a robotic base beat and gracious flare for systematic dance moves, the all-white background for the video suggests the illusion that fun can be found in confinement and nothingness. When Beyonce calls for all her single ladies, she's calling for women to come and find condolence in being in a group. Juxtaposed with the mechanical beat, it implies that women should conform and work under the philosophies of the music industry.
Sarah Bardo discusses in her article,“Material Girl: The Effacements of Postmodern Culture," the bridge between popular culture and the transformation of the human body: " In a culture in which organ transplants, life-extension machinery, microsurgery, and artificial organs have entered everyday medicine, we seem on the verge of practical realization of the seventeenth-century imagination of body as machine." Single Ladies premiered Beyonce's robotic hand and her darker hyper-sexual alter ego, "Sasha Fierce." Sasha Fierce is the icon that promotes the fundamental ideals of a culture where women are a complete facet of the government they live in, valueless because they consist of interchangeable parts. In a sense, they are spiritually dead. Mass media, over all, is the largest perpetuator of bringing to life the idea that perfection imagined is something worthy and almost necessary of recognition.Our generation is witnessing the birth of a universal machine.
Robotic-ism and Homo Evolutis
With videos like her recent single, "Video Phone," Beyonce fantasizes the future, becoming an embodiment of the ideal for the future. She channels pop culture icon, Betty Page in the video, predicting the grim realities of the future ideal and, even further the prediction by Chairman and CEO of Biotechonomy, Juan Enriquez, for the next stages of evolution of our species: Homo Evolutis.
"Enriquez says that humanity is on the verge of becoming a new and utterly unique species, which he dubs Homo Evolutis. What makes this species so unique is that it "takes direct and deliberate control over the evolution of the species." Calling it the "ultimate reboot," he points to the conflux of DNA manipulation and therapy, tissue generation, and robotics as making this great leap possible" (Fisher).
Bordo, in her article, takes the machine body argument one step further by explaining what mass media is bridging the masses to, stating "they reproduce on the same conditions that postmodern bodies practice: a construction of life as plastic possibility and weightless choice, undetermined by history, social location, or even individual biography (Bordo 339). Lady Gaga's feature only emphasizes the crossing of racial boundaries, as she is an Italian-American star who has crossed over into many facets of mass media.
It seems that our generation is moving into a progression of altering the physiological composition of our anatomy. The "Video Phone" music video depicts men in business suits with camera lenses for heads being able to see satisfaction in technology both fiscally and sexually. The video also depicts shirt-less black men with sacks over their heads falling slave to the rhythm of the libido. This presents an interesting socio-economic question for the dynamics of the future: Who bears the burdens of a homogenous identity? It can be argued that popular African-American and other minority international icons have already conformed to the superficial standards of Western influence. An ideal that favors Western appeal eliminates attraction to minorities until they become surreal. It seems that Beyonce and other minority icons bare the burden of representing false images of their races and promoting the desire for something fabricated. In this sense, our generation is moving towards a new species both mentally and physically.
Conclusion
To conclude, as an age that heavily relies on mass media and technology for the realization of our environment, it is important to take time consider what the images flashing around us mean. Popular culture is the biggest indicator of what is relevant and every generation has shown this correlation. I am just as guilty as the next person in falling victim to being consumed with mass media. With materialism as rampant as it is, we've reached a point where technology and the homogeneous machine is almost inevitable. This duality of our nature to want to know as much as we can know does not need to be used as the loss of our humanity. Rather, we should seek to find the balance between maintaining what is already perfection and taking time to appreciate the beauty of new perfections in the making.
As arguably one of the biggest sensations of popular music to date, Beyonce is a juggernaut taking the world and music industry by storm. The performer has transcended racial lines to make universal music that sells out concert tours spanning the globe. In fact, Beyonce is often self-depicted as a robot because of her remarkable speed for producing and performing music. With the entertainment industry and mass media being the most readable indicator of the social temperament, Beyonce is a manifestation of the realization of an American machine. Her music videos, Ego, Single Ladies, and Video Phone illustrate in greater detail her recognition of becoming an entertainment icon and what it means to maintain such a title while simultaneously being the significant other of the hip-hop mogul, Jay-Z. Despite her larger than life stature, Beyonce is only a small facet of a much greater concept: music as an instrument of influence in persuading the masses into accepting a homogeneous future.
She's A Super Freak
In her music video Ego, Beyonce succeeds in getting multiple points across all in the span of three minutes. The video ostensibly discusses her ego and offers an explanation for her new found diva attitude. But reviewed more holistically, her song and video is alluding to her status as the wife of Jay-Z. In a sense, the music video is more about Jay-Z than anything else. In the chapter, "Get Your Freak On," Patricia Collins discusses the concept of a commodified black culture in mass media, explaining that "Because of its authority to shape perceptions of the world, global mass media circulates images of Black femininity and Black masculinity and, in doing so, ideologies of race, gender, sexuality, and class" (Collins 122). With this being the case, the mass appeal of a video where Beyonce deconstructs her body for the appraisal of her husband aids in the "white normality [becoming] constructed on the backs of Black deviance, with an imagined Black hyper-heterosexual deviance at the heart of the enterprise" (Collins 120). For example, in the song Beyonce says:
"Damn I know I'm killing you with them legs/
Better yet them thighs/Matter a fact it's my smile/
or maybe my eyes/ Boy you a site to see/
kind of something like me."
By praising herself and her husband on a purely physical level, she has bounded her limitations of greatness to physicality and performance. She also becomes linked to Jay-Z using her mass appeal as an advertisement for her husband, the owner of her sexuality. The double entendre of the song's chorus, "It's too big, it's too wide/It's too strong, it won't fit/It's too much, it's too tough/ He talk like this 'cause he can back it up" is giving Jay-Z accolades on his physical endowment. The racial message being put forth for both Beyonce and Jay-Z is that Black hyper-sexuality is the most prevalent pinnacle of success for African-Americans; Jay-Z is idolized for marrying one of the most lusted after woman in the world.
It can be argued that figures like Jay-Z reclaim their power by manipulating Western fascination with their blackness while simultaneously mobilizing African-Americans for their own enslavement to their sexual objectification. In a system that strives to keep the white man at the top of the hierarchy, Beyonce helps to perpetuate black deviance in mass media and keeps the average African-American from aspiring to break free of the luxuries of materialism and commodification.
The Birth of the Machine
The universal appeal of Beyonce and other music stars gives way for the mobilization of the Mass Media American machine. In other words, the individuals who control the music industry have the potential to mobilize the masses for working to install an empire built on Western philosophies. The ability of music to mobilize is evidenced in Beyonce's "Single Ladies" video. The superficial premise of the video is to seek sisterly solidarity as an alternative to the unbalanced relationship. However, the lighting in the video used to reflect this message signifies that seeking sisterly solidarity means embracing your dark side. Along side the lighting of the music video, Beyonce's infamous mechanical hand, something she now wears in almost all of her music videos, simulates a human ability to impose a robotic theology. With a robotic base beat and gracious flare for systematic dance moves, the all-white background for the video suggests the illusion that fun can be found in confinement and nothingness. When Beyonce calls for all her single ladies, she's calling for women to come and find condolence in being in a group. Juxtaposed with the mechanical beat, it implies that women should conform and work under the philosophies of the music industry.
Sarah Bardo discusses in her article,“Material Girl: The Effacements of Postmodern Culture," the bridge between popular culture and the transformation of the human body: " In a culture in which organ transplants, life-extension machinery, microsurgery, and artificial organs have entered everyday medicine, we seem on the verge of practical realization of the seventeenth-century imagination of body as machine." Single Ladies premiered Beyonce's robotic hand and her darker hyper-sexual alter ego, "Sasha Fierce." Sasha Fierce is the icon that promotes the fundamental ideals of a culture where women are a complete facet of the government they live in, valueless because they consist of interchangeable parts. In a sense, they are spiritually dead. Mass media, over all, is the largest perpetuator of bringing to life the idea that perfection imagined is something worthy and almost necessary of recognition.Our generation is witnessing the birth of a universal machine.
Robotic-ism and Homo Evolutis
With videos like her recent single, "Video Phone," Beyonce fantasizes the future, becoming an embodiment of the ideal for the future. She channels pop culture icon, Betty Page in the video, predicting the grim realities of the future ideal and, even further the prediction by Chairman and CEO of Biotechonomy, Juan Enriquez, for the next stages of evolution of our species: Homo Evolutis.
"Enriquez says that humanity is on the verge of becoming a new and utterly unique species, which he dubs Homo Evolutis. What makes this species so unique is that it "takes direct and deliberate control over the evolution of the species." Calling it the "ultimate reboot," he points to the conflux of DNA manipulation and therapy, tissue generation, and robotics as making this great leap possible" (Fisher).
Bordo, in her article, takes the machine body argument one step further by explaining what mass media is bridging the masses to, stating "they reproduce on the same conditions that postmodern bodies practice: a construction of life as plastic possibility and weightless choice, undetermined by history, social location, or even individual biography (Bordo 339). Lady Gaga's feature only emphasizes the crossing of racial boundaries, as she is an Italian-American star who has crossed over into many facets of mass media.
It seems that our generation is moving into a progression of altering the physiological composition of our anatomy. The "Video Phone" music video depicts men in business suits with camera lenses for heads being able to see satisfaction in technology both fiscally and sexually. The video also depicts shirt-less black men with sacks over their heads falling slave to the rhythm of the libido. This presents an interesting socio-economic question for the dynamics of the future: Who bears the burdens of a homogenous identity? It can be argued that popular African-American and other minority international icons have already conformed to the superficial standards of Western influence. An ideal that favors Western appeal eliminates attraction to minorities until they become surreal. It seems that Beyonce and other minority icons bare the burden of representing false images of their races and promoting the desire for something fabricated. In this sense, our generation is moving towards a new species both mentally and physically.
Conclusion
To conclude, as an age that heavily relies on mass media and technology for the realization of our environment, it is important to take time consider what the images flashing around us mean. Popular culture is the biggest indicator of what is relevant and every generation has shown this correlation. I am just as guilty as the next person in falling victim to being consumed with mass media. With materialism as rampant as it is, we've reached a point where technology and the homogeneous machine is almost inevitable. This duality of our nature to want to know as much as we can know does not need to be used as the loss of our humanity. Rather, we should seek to find the balance between maintaining what is already perfection and taking time to appreciate the beauty of new perfections in the making.
Are You A Light in the Dark? by AnnMargaret
Are you a light in the dark?
I'm not speaking of
colors,
or sequence,
or art.
I speak of the spark,
that sets one apart
and casts forth a glare
to show what thou art.
If the skies were to part,
and reign were to fall,
could I trust in my heart
that, however so small,
you'd heed to the call
to join all that flicker
in the darkest of spots?
Forget 'bout the dirt
and who has and has not,
for a we without all
finds truth
that in large
we, humans, are nothing,
if not all.
We can light up a room
or darken the place,
hence, these are the markers
of our human race.
Try something for me.
No, really, just trust.
Flick on your lighter
or strike up your match
whenever with whoever,
at wherever you're at.
Now cover the flame
with your open free hand;
Feel that warmth and that glow?
Well, it lives within man.
Imagine that feeling?
Crossing the land.
Let's go back to the start...
Are you a light in the dark?
I'm not speaking of
colors,
or sequence,
or art.
I speak of the spark,
that sets one apart
and casts forth a glare
to show what thou art.
If the skies were to part,
and reign were to fall,
could I trust in my heart
that, however so small,
you'd heed to the call
to join all that flicker
in the darkest of spots?
Forget 'bout the dirt
and who has and has not,
for a we without all
finds truth
that in large
we, humans, are nothing,
if not all.
We can light up a room
or darken the place,
hence, these are the markers
of our human race.
Try something for me.
No, really, just trust.
Flick on your lighter
or strike up your match
whenever with whoever,
at wherever you're at.
Now cover the flame
with your open free hand;
Feel that warmth and that glow?
Well, it lives within man.
Imagine that feeling?
Crossing the land.
Let's go back to the start...
Are you a light in the dark?
"Life" by AnnMargaret
In between a conclusion and a beginning, a string of events that brink from a predetermined awakening of consciousness draws a line to separate mere existence from habitual persistence. How soon we realize that there is a global network of billions of lines hugging the globe, all giving off a relatively powerful vibrational frequency due to their indestructible will to persist, is how soon we realize that we are all connected; all of us are necessary elastic bands bound to an unnecessary plastic ball that allows us to bounce from concrete foundations and glass ceilings in a very necessary, incomprehensible, multi-dimensional universe. That energy from our global network is the very essence of God and that's all there ever was and all they'll ever be: A global network of habitually persisting sentient beings working for the greater common good. Prayer, compassion and balance help us to discipline our conscious efforts to consistently work towards a greater environment for us ALL. When you reach your conclusion, you get the peace of knowing the generations to follow will all be nurtured by the balance of the global network.
L I F E is about remembering the reality of your duality. They may have made us plastic but that means we all can bounce!
L I F E is about remembering the reality of your duality. They may have made us plastic but that means we all can bounce!
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