Awesome / Janelle MonŠe

  • Her highly impressive and relevant rap verse at the end of Q.U.E.E.N. The charisma and power that emanates from her is downright breathtaking.
    "I asked a question like this: Are we a lost generation of our people? Add us to equations but they'll never make us equal. She who writes the movie owns the script and the sequel. So why ain't the stealing of my rights made illegal? They keep us underground working hard for the greedy, but when it's time to pay they turn around and call us needy. My crown too heavy like the Queen Nefertiti, gimme back my pyramid, I'm trying to free Kansas City. Mixing masterminds like your name Bernie Grundman, well I'm gonna keep leading like a young Harriet Tubman. You can take my wings but I'm still goin' fly, and even when you edit me the booty don't lie. Yeah, keep singing and I'mma keep writing songs, I'm tired of Marvin asking me, 'What's Going On?' March to the streets 'cause I'm willing and I'm able, categorize me, I defy every label! And while you're selling dope, we're gonna keep selling hope. We rising up now, you gotta deal, you gotta cope. Will you be electric sheep? Electric ladies, will you sleep? Or will you preach?"
  • The sublime cover art for Electric Lady, by the very talented Sam Spratt.
  • The Electric Lady in general is an epic of RnB, showing all the aspects and pushing the boundaries of the genre, while promoting great messages of peace, social change, and empowerment for women.
  • Her cover of Goldfinger.
  • The Cybernetic Chantdown from "Many Moons": "Civil rights, civil war. Hood rat, crack whore. Carefree, nightclub. Closet drunk, bathtub. Outcast, weirdo. Stepchild, freak show. Black girl, bad hair. Broad nose, cold stare. Tap shoes, Broadway. Tuxedo, holiday. Creative black, love song, stupid words, erased song. Gun shots, orange house. Dead man walking with a dirty mouth. Spoiled milk, stale bread. Welfare, bubonic plague. Record deal, light bulb. Keep back kid not corporate thug. Breast cancer, common cold. HIV, lost hope. Overweight, self esteem. Misfit, broken dream. Fish tank, small bowl. Closed mind, dark hold. Cybergirl, droid control. Get away now they trying to steal your soul. Microphone, one stage. Tomboy, outrage. Street fight, bloody war, instigators, third floor. Promiscuous child, broken dream STD, quarantine. Heroin user, coke head, final chapter, death bed. Plastic sweat, metal skin, metallic tears, mannequin. Carefree, night club. Closet drunk, bathtub. White House, Jim Crow. Dirty lies, my regards!"
  • Her Take That! to men who choose to be thugs and gangsters in "Sincerely, Jane": "Left the city, my momma she said don't come back home. These kids round' here killin' each other, they lost they minds, they gone. They quittin' school, making babies and can barely read. Some gone off to their fall, lord have mercy on them! One, two, three, four, your cousins is round' here sellin' dope, while they're daddies, your uncle is walking round' strung out. [...] I've seen them shootin' up funerals in they Sunday clothes, spending money on spinners but won't pay college loans. And all you gangers and bangers rollin' dice and taking lives, in a smokey dark - Lord have mercy on you!" She also mentions them in "Q.U.E.E.N" with the line "While you're selling dope, we're gonna keep selling hope."
  • Following on the heels of her newfound mainstream success in 2016 with Moonlight and Hidden Figures, anticipation for her next musical release was at an all-time high. Aside from a feature on Grimes' Art Angels, however, 2017 was mostly a quiet year for her. Then the trailer for Dirty Computer dropped in February 2018, and a week of hype ensued before the double release of music videos for "Make Me Feel" and "Django Jane". The former in particular starred Tessa Thompson and was immediately hailed as an iconic bisexual anthem which effectively confirmed years of speculation about Monáe's sexuality in just about the most stylish way possible.
  • In fact, Dirty Computer as a whole is one of this. Monáe has gone on record saying that the Cindi alter-ego was a way to hide behind a sanitized, idealistic "android" persona, but now she's no longer afraid to show Janelle herself. The result is a party album straddling several genres and touching on themes of sex, resistance, feminism and black and queer pride.