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billionairebabes · 4 years

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Trophy Wife Aesthetics for Black Women

“Hi! What do you think are the non-negotiables of being a trophy wife? Aesthetically. For black women. I think white women have a different level up journey.”

I was asked this question in a chat but I wrote so much information that I figured I should share my response with you all as well. I’ll try to make this as concise as possible.

I’ll start by saying that aesthetically, Black women have to be more than cute. White women are considered beautiful just for being white, we don’t get that privilege, you know? However, being beautiful isn’t the end all be all. There are plenty of black trophy wives that aren’t naturally “beautiful” but they present well. Presentation is everything kind of like food. It may taste great but you may not even want to touch it if it’s presented poorly.

Here are my personal non-negotiables:

1. Keep your hair done. This doesn’t mean keep your hair in a weave or wig 24/7. You can be natural too. One of the more affluent men I dated actually preferred my natural hair over wigs. But make sure it’s well taken care of, always. Deep condition, moisturize, detangle etc. Use clips in if you need the extra volume. If you’re going to do weaves and wigs, make sure your closure is “undetectable”. Keep flyaways in order with an oil or mousse. Carry a brush and comb with everywhere to touch up every now and then but not in front of him if possible.

2. Your skin has to be pretty taken care of as well. If you’re his wife, you’re going to be waking up to him every morning. I don’t believe in waking up earlier than my man to put on light makeup and stuff. Men aren’t even worth that lol. But DO try to achieve great skin so that you still are pretty when you wake up. Doesn’t have to be perfect. Many people don’t have perfect skin. But make sure you’re washing, toning, moisturizing blah blah. I’m starting to follow the 10-step Korean skincare routine. It’s on my blog If you guys want to check it out. I’ve been investing a significant amount of time in learning what acids do what and how they can address my specific concerns. Good skin overall just makes you look wealthier too. So on “no-makeup” days, you can just do eyebrows, and lipgloss and mascara if you don’t have lash extensions and still look put together. Affluent men tend to enjoy outdoor activities, there will be times when you don’t wanna be in a full face but you can if you want to. The same goes for skin on the rest of your body as well. I shower about two times a day so I moisturize my body two times a day. To moisturize I use a mixture of oils, shea butter and regular lotion. I moisturize my hands every time I wash them too. Once or twice a week, I do a full-body exfoliation. I have a dry brush that I use and occasionally, I opt for a scrub instead.

3. Take care of your teeth - Straight white teeth against melanated skin is >>>>. Plus it makes you look prettier, more put together, and of course, wealthier. Straightening teeth is expensive but a worthy investment. If you can’t straighten now, just whiten and take good care of your teeth in the meanwhile. Brush twice daily, floss daily, and whiten throughout the week.

4. Keep your nails done. Can’t be too long or else we’re considered “ghetto” I usually go about medium length but a lot of blogs will suggest short. My man loved my medium length nails lol. I usually go for softer colors like baby pink, sometimes white. If I’m not able to go to the salon, I clean and file my nails down to an even length and paint them with a clear polish. It’s hard to make a mess of clear polish and my nails still look nice and shiny. I pop collagen pills to improve their strength because I naturally have weaker nails that break pretty easily.

5. Wardrobe. Try to build a timeless wardrobe with a lot of basics you can build on and mix and match. For example, blazers are a staple for me. I wear them with jeans but I can mix them with trousers too. Then I have hella basic bodysuits I can wear with either combo. An easy trick for me is to buy a ton of neutrals. I’m not a big color person so it’s easy for me to shop this way. However, do not let my preferences deter you. Black women own color, if this is your style, go for it full throttle but be tasteful. I usually go more colorful on vacations. There are tons of articles out there on how to build a good wardrobe though.

6. Stay in shape - I won’t say there’s a specific body type you need to have but take care of your body. I’m still working on working out consistently but because of skinny privilege I’ve been able to lack in that department and still be perceived as “fit”. Currently, I try to do flexibility stretching and exercise on Monday, Wednesday & Fridays. Stretch on weekends. If you get cosmetic surgery like a BBL, breast job etc. make sure it’s fitting for your frame.

7. Lastly, this doesn’t apply to aesthetics but I feel as though black women have to DO SOMETHING to be snatched up as trophy wives. We don’t get pulled into that position just for being pretty as often as white woman do. For example, Alexis O. Of Reddit wifed Serena Williams who is the best tennis player in the world. Not some random girl he thought was cute. Prince Harry wifed Megan Markle who was not only a successful actress but also had an outstanding educational background to match. Janet Jackson married billionaire businessman, Wissam Al Mana. Now of course, many of us aren’t that successful yet but hopefully you get the point. Men in positions of higher status want to know that you can fit into his lifestyle and don’t have beans for brains. Having something going for yourself also gives him something to invest in. Men like to feel needed or helpful but not used.

Additionally, owning a business or working in corporate greater increases your chances of mingling with men in positions to make you a trophy wife. There’s a reason why college sugar babies are so successful but for women past that stage, have a career, have a small business. Do SOMETHING. It also creates a safety net for you as well. Men can be unpredictable and can do horrible things. I read an article once about a man who hid his entire fortune in offshore shell companies when him and his wife were divorcing so that she wouldn’t be able to get anything. It took her lawyer literal years to untangle that web of shell accounts he spun. Running your own business or even having a solid set of skills saves you in the event of the worst of the worst. Your life shouldn’t crumble to pieces if this man decides to divorce you. Same goes for even being the spoiled girlfriend of a wealthy man. Having a wealthy boyfriend or husband is one thing, knowing how to use him as a resource is another. Girls who truly win at this game walk away from these relationships with more than a few handbags and a baby.

Good Luck Ladies! 🥂

#black spoiled girlfriend #Black trophy wife #hypergamy #aesthetics #wardrobe #shopping #BB Original

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atrocitycl · 7 years

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TWICE - “Only You” Review

(Audio—unofficial upload)

TWICE – Only You

Reviewed on May 17, 2017

For this review, while we will always look at both the strengths and weaknesses involved, I find that a more productive discussion will come from heavily focusing on why the song is, indeed from my argument, good. In particular, I wish to tune into certain strategies employed; specifically, we will discuss the role of the instrumental’s heavier bass, the diversity of the vocals and how said vocals are accommodated for the ladies’ vocal abilities, and how the song itself is structured and controls its flow for certain effects.

Personal Message: First of all, I do wish to make this explicit: I will not be reviewing “Signal,” TWICE’s actual comeback song. Now, should readers or TWICE fans be incredibly curious, I am open to reviewing it only if a request is sent. That said, to share my thoughts on “Signal,” it sadly is a disappointing song akin to—harshly stated—the rest of TWICE’s title songs excluding “Knock Knock.” “Knock Knock” is still one of my favorite songs in general, and even in a more critical lens, I argue “Knock Knock” (as I did in my review of it) is incredibly well composed especially for how the song adopts a very “stereotypical” pop style. But regarding the original topic, indeed I find “Like Ooh-Ahh,” “Cheer Up,” and even “TT” to all be weaker songs in general. In fact, I have already reviewed all of them minus “Cheer Up,” and thus if readers are curious on my take, I suggest readers reading the respective reviews. Unfortunately, while “Knock Knock”—again, in my argument—broke the chain of weaker songs, “Signal” is a return back into said weaker songs. JYP’s composition of the song is, with all due respect, highly questionable. Even more critically and to perhaps overstep my boundaries, I will even go as far as to say JYP’s composition skills in general has tended to be weaker. I personally have yet to find a song composed by JYP that has stunned me, and I am afraid “Signal” might be one of his weakest works as of yet. (Again, this is not to say JYP is necessarily a bad composer; he definitely is very knowledgeable and experienced, and quite obviously, is far superior to I in this field. Thus, I hope readers interpret my words as a form of a critical, bold critique rather than insults.)

On topic for this review, I admit I am doing acts that are quite peculiar: for one, I am reviewing a song despite not letting at least three days pass in order to remove instances of extreme bias taking place; secondly, I am reviewing a side-track—a song that is a part of the album but is not the main title. Humorously, though, I argue “Only You” should be the title track; if this was TWICE’s comeback for the upcoming summer, this would have potentially shocked many people in terms of music quality. (To clarify, “Signal” is “marketing” well; their comeback, despite me rendering it as a very poor song, is surprisingly holding number one on music charts and is garnering many sales. The issues, though, are that other music reviewers have rated it poorly and that many listeners find it a weaker song—this being indicated by an absurdly high dislike ratio on the music video.) The ladies, after all, are oftentimes critiqued for poorer vocal execution and even having overly generic pop songs. In fact, to some extent, even I also agree with these criticisms. That said, “Only You” is—once again, in my argument—the best song TWICE has ever released both in terms of composition but also vocal execution. It truly is an amazing song that showcases TWICE’s vocal skills at their peak, and the composition is one that drastically deviates away from the more generic pop style that group has claimed as their signature sound and style.

Finally, before getting right into the review, I will leave a disclaimer. If readers have noticed from the blog’s side information, “Only You” is currently my favorite song of all-time. Without getting into the critical aspect yet, I will share that “Only You” matches my music preferences perfectly: it follows an upbeat pacing all while remaining “linear” akin to ballads; the vocals consist of both simple yet complex lines and have both rapping and singing; the instrumental focuses on a heavier bass line; and so on. The point being, even without focusing on the actual composition at hand, I admit I very much biasedly enjoy this song as its sounds and flow are what I prefer in songs and I do hope readers realize I could easily be biased within this review—more so as I am not waiting for the excitement to die down via waiting at least three days before reviewing. However, of course, with now feeling relatively confident in analyzing songs in a critical manner—or more realistically speaking, me being a foolish and arrogant boy—I believe that I can review the song without entirely projecting my biases. Regarding the composers of this song, while I seldom do explicitly give credit, I wish to do so here: David Anthony Eames, Debbie—Jane Blackwell, and 72 are the composers of “Only You.” These are the men and women who authored this very song. Their work has brought what I argue is TWICE’s best song of all-time.

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Song Score: 7/10 (7.00/10 raw score) - “Above average”

- Vocals: 7/10

- Sections: 7/10 (7.13/10 raw score)

Introduction, Verse, Pre-Chorus, Chorus, Post-Chorus, Rap, Pre-Chorus, Chorus, Post-Chorus, Rap, Bridge (Chorus), Chorus, Conclusion (Post-Chorus)

1. Introduction: 7/10

2. Verse: 7/10

3. Pre-Chorus: 8/10

4. Chorus: 7/10

5. Post-Chorus: 7/10

6. Rap: 7/10

7. Bridge (Chorus): 7/10

8. Conclusion (Post-Chorus): 7/10

- Instrumental: 7/10

- Lyrics: 7/10

Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you

It's weird, I didn't imagine it at first Just like a sugar rush You slowly approached me and knocked on the doors of my tired heart Is that when it started? I thought you were a good friend Before I knew it, I kept thinking of you My cheeks get red and I only smile The love's already begun

You're sweet you're just like chocolate candy I can't hide anymore, I want to show you how big my heart has grown Let's go

Always stay with me, don't leave me boy Now I know with my heart I've got only you Look into my eyes, boy, it's full of hearts No matter what anyone says I've got only, only you

Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you

I've got O-N-L-Y you Don't ask why Real love has no reasons Call me "jelly" Call me every day Our secret code fluttering love mode Baby, baby, tell me, what do you think? Why is it so complicated, you want me too You pretend you don't but I can tell, I can tell that's right Now come here, kiss me, butterfly

Ooh I tremble when we brush a little Ooh When we touch a little my heart goes Kung*, kung, kung, it's for sure L-O-V-E Let's go

Always stay with me, don't leave me boy Now I know with my heart I've got only you Look into my eyes, boy, it's full of hearts No matter what anyone says I've got only, only you

Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you

Okay, let's go Don't make me wait any longer, I've only got one answer (Only you, always you) Ticklish first love makes me feel like I'm gonna fly (Only you, always you) Hold my hand tightly, never ever let go (Only you, always you) You and me against the world, I'm not afraid (Only you, always you)

Always stay with me, don't leave me boy Now I know with my heart I've got only you Look into my eyes, boy, it's full of hearts No matter what anyone says I've got only, only you

Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you Only, o-o-only, only you Only, o-o-only, only you Only, o-o-only, only you Only you

*Akin to how this same word was used in TWICE's "Knock Knock," "kung" is the Korean linguistic representation of a "bam"-like noise. English equivalents in this case would be, for examples, "pit-pat" or that one's heart goes "thump thump."

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Analysis: Now that all of the analytical work is actually done, I confess: I am surprised the song in whole rates only at a seven. Not that that rating is bad at all; indeed, if anything, getting an “above average” rating nowadays is almost a feat when considering how I am now incredibly critical of pop songs. That said, I personally anticipated “Only You” scoring an eight. Critically, of course, this song does not come close to making it that far though this is not to discredit how dazzling of a song it still is.

Onto the review, as there are too many aspects to this song to discuss and in fact, many of which we will not even have time for in this review (as, again, I am focusing on being concise for reviews rather than sharing an entire dissection of a song as I used to in the past), we will stick to what I established earlier in the review. Already, one key element to “Only You” is its instrumental and more specifically, how it cleverly and effectively manipulates its heavier bass line. For example, with the bass line serving as the distinctive foundation and even sound to the instrumental, it allows the song to easily make core transitions. Let us take a look at the rap sections as these provide an excellent background to why the instrumental’s heavier bass is vital. With the rapping, they notably are somewhat odd sections in terms of not just the initial transition, but also how the instrumental during these moments entirely deviate from what has already been established. After all, the first rap in particular seems to adopt a deeper and more distorted instrumental than the rest of the song—of which features a lighter instrumental sound. While listeners might view this as a possible point of critique, tying back to my argument however, and we will actually find that how the composers manipulate the heavier bass allows this moment to be saved. The first rap’s bass line—despite its deeper sound and distortion—is still recognizable as being the same bass line that is already at play throughout the song. Thus, this bass line serves as reference point: it is the same bass line that listeners can easily seek out, but merely changed in its sound. And especially if we scope out further, we realize this bass transformation parallels the song in its entirety as the first rap section is still following the same flow, though with a changed sound. In other words, this example is merely one that showcases how the instrumental—particularly the reliance on a heavier bass line—is used by the composers in a structural sense of keeping the song organized. Of course, though, sonic benefits exist as well such as how the instrumental covers the lower range of sounds especially as TWICE’s vocals focus more towards the higher end barring perhaps the pre-choruses. We will not dive in much further details here, however.

Regarding the next focus, the vocals and the diversity within this field are rather impressive. On a simplistic level, there is praise for how “Only You” is able to incorporate both rapping and singing, but more importantly, that within these very branches that there are still variances within. For example, the first rapping focused more on power and flow while the second rapping focuses on building up the song. Similarly, the singing ranged from stronger vocal beltings such as at the choruses to smooth, slower and rhythmic singing such as at the verses and pre-choruses. Overall, then, especially as vocal variety tends to be a key appeal in pop songs, we can already understand why “Only You” sounds great vocally as it covers a wonderful range of styles that will very likely hold listeners’ attentions.

All that said, this is the minimal aspect that I wish for us to home in on. What I find more relevant for discussion is when we actually analyze the vocals in the context of TWICE’s vocal roles and abilities. Particularly, I find that “Only You” truly accommodates TWICE’s vocal strength and weaknesses in perhaps the most effective way I have heard as of yet. First, though, we have to understand what I connote when I say “vocal roles.” As some readers are aware of, groups tend to be split with “main vocal,” “lead vocal,” and “sub vocal.” The former, in short, are members who can handle more complex and difficult singer while the latter are members who tend to be weaker singers. The middle role is, quite literally, the actual middle ground between the mentioned two. While I do not wish to necessarily begin a debate regarding which member in TWICE has which roles (these are “official” but I personally have my own mental list as I find this to be far more accurate than what official websites claim), I do wish to focus on how in “Only You,” the sub vocalists are finally singing in an appropriate context.

I think it first makes more sense to discuss the opposite, however: discussing examples of when the sub vocalists did not get to sing in their right contexts. “Cheer Up” is one example in that Sana’s “shy shy shy” line, while it is now a pop cultural phenomenon, is a very weak musical line that does not showcase her vocal skills at all. Another example is how in “TT,” both Momo’s and Sana’s pairing at the pre-choruses are also a moment of weaker vocals. What is troubling—and to get to my main point—is that the sub vocalists in many past songs have been delegated to lines that are not musically-orientated at all per se. Finally, though, in “Only You,” the sub vocalists have lines that are much more intensive and complex in comparison to their other songs but most importantly, “Only You” ‘s lines that involve the sub vocalists actually involve them singing as harsh as that may sound. And indeed, they definitely can sing and the sub vocalists of TWICE delivered many impressive, fluid and lower-pitched lines for “Only You” and that deserves credit as their parts are as vital as, for example, Nayeon’s and Jihyo’s lines at the choruses (and equally Jeongyeong’s beltings throughout the song). In summary, “Only You” showcases not just vocal variety, but it also showcases excellent vocal execution in the first place and that is highly emphasized due—especially when contrasting prior songs—to how the sub vocalists finally have musically-based lines rather than being restricted to catchy, filler lines as they historically have been.

Lastly, for the last point I will discuss, the song itself was brilliantly structured. Specifically for what I wish to discuss, the composers’ ideas on how to control the song’s flow are very impressive. Although I do wish to discuss each and every section, realistically it would be best to discuss merely one: the pre-choruses. I will even go to the extremes of claiming that the pre-choruses in “Only You” are the best ones I have ever heard in any pop song. In terms of what actually occurs during these parts, nothing mind-blowing happens at all despite how much praise I am giving. Summarizing the pre-choruses, they follow this overall strategy: The pre-chorus in this song, first of all, is the moment when the vocals and instrumental begin to mix together—as indicated by the slower pacing and how the vocals are now lower-pitched to suit with the bass line and that the rhythm becomes a prominent feature. Structurally, though, the pre-chorus relaxes the song via slowing down and, once again, switching focus to the beats and rhythm that soon begin to accelerate and climax in the form of the choruses. Again, nothing is unique at all for the pre-choruses, and yet I am very surprised. What I actually find delightful is how the pre-choruses utilize two different types of build up: the pre-choruses both relax the song, but equally within the same space and time, the sections soon build up the song back into a heightened state in a very natural, seamless manner due to how the aural component meshed both vocals and instrumental. Typically only one type is used. Using “TT” once again as an example, in that song we find that the pre-choruses focus on hyping up the song—but, quite clearly, the pre-choruses in that song do not do both. Another example in mind is the recent review of VARSITY’s “U R My Only One.” In that song, the pre-choruses “downgrade” as its form of building up the song, and though it admittedly does heighten the song back akin to “Only You,” it does so in a very rigid, explicit manner while “Only You” is able to do this without even attracting attention to this very strategy.

And, while I seldom critique lyrics as of the late—perhaps, in once again a harsh manner, due to the fact that many lyrics of recently reviewed songs are all average—“Only You” has solid lyrics. The fact that the verse and raps are not repeats and that even the pre-choruses use different details rather than typically just recycling the same section helps bring the lyrics up in rating. Furthermore, though the following does not account at all for the score as it is the variety of details I care for, I hope readers also enjoyed the song’s lyrics in a romantic sense. The plot is quite endearing and sweet and in the overarching view of “Only You,” the lyrics holding up well serves as the final, pretty wrapping to the song.

Praises aside, however, I still find it crucial that we discuss the faults of the song. The main fault I have is how the last rap and final portion of the song begin to create a tedious sound. With the last rap, we find it alternating between rapping and chanting, and though this makes sense on a structural level, chanting in songs are always at risk due to how they can easily create a mundane sound if not balanced appropriately with some other factor. Now, the composers did attempt that very act of balancing via using the chorus as the bridge—thus, it counters the chanting’s stale phrases through a very delicate, tuneful section. However, the somewhat comical aspect is that this solution now creates another problem: that a follow-up chorus—the regular one—is used to get the song moving again. The issue here, of course, is that given the nature of the choruses in that they are lengthier and rely on a linear flow, having two back-to-back choruses becomes overly dragging of the song. While ultimately these faults are not significant in the main view of the song, it still is noteworthy as “Only You” starts off impressive but begins to languish as the song runs. It is always desirable for songs to get better the further it gets, such after all is the iconic structure of ballads, and thus the fact that “Only You” does the opposite can definitely be concerning.

All in all, “Only You” is an amazing song. It personally is my favorite song of all-time, and I expect it will stay that way for many months if not even at least a year. Additionally, regardless of what my favorites are, I personally argue it is TWICE’s best song. Should fans ever desire to mute the mouths of those who are critiquing the group’s music without being critical (emphasis: without being critical; it is fine to critique TWICE’s music as I do because I am being critical and respectful), the song should be self-explanatory and can easily be used to defend the ladies. What upsets me the most is how this song is not the title and comeback track; it possesses a “summer sound” that would fit the upcoming months, and with its style of infusing ballad-like elements while containing the usual pop sound of TWICE, it truly astounds me that “Signal” was chosen over this song. (But given that “Signal” is composed and produced by JYP, their CEO, it perhaps makes sense on why that song is privileged as the title song.)

As for final remarks, TWICE is a group that does have music potential. Understandably, TWICE has been historically a weaker group musically speaking as, I argue, all of their title tracks are poor excluding “Knock Knock.” But, especially with extreme hate spewed at the ladies on a personal level, I wish to remind readers—whether fans or non-fans of TWICE—that criticism can only be kept in an art-based context. In other words, their dances, music videos, and songs can be and should be critiqued. What is not ethical is when listeners decide to attack the ladies personally (especially as some might feel that, understandably, it is “unfair” that TWICE is quite popular despite being relatively musically weak). Never should the ladies themselves be attacked unless if that genuinely is a case, though the likelihood is already near impossible. (For example, if Jihyo is found to be an abusive leader and constantly physically beats the members, then of course she can be personally critiqued. But of course, this is a silly fake example and Jihyo would never do such, but the point is that TWICE can only be critiqued musically and not personally as, from my understanding, they truly are upright women who attempt to always do as much good for the world as they can.)

Overall, while I personally will forever remain critical of all of their title tracks barring “Knock Knock,” TWICE is a group I would consider myself a fan of. They do have a lot of music potential—this we hear in “1 to 10” or in “Only You” for examples—and I hope we will hear more of a musical TWICE and less of a “generic pop group” TWICE. It is a tough situation, however, as sheer popularity appeal via catchy songs is what made TWICE get this far (and, pessimistically said, music quality in the pop scene does not get as much respect as it should be as fans care more about the aesthetic pleasures instead—which, again, is understandable). But indeed, I remain optimistic that TWICE will head towards a more musical-orientated side soon. And I remain optimistic and mostly delusional that Jihyo will one day get down on one knee and propose to me. This, though, is probably irrelevant to the review.

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Horrible jokes aside, thank you for reading this review whether in full or short. I appreciate it and hope, most importantly, that it sparks some deeper thinking about music or K-Pop for readers. That is why I write reviews; I do not write for the popularity and attention (after all, writing music reviews is a horrible way to get attention), but that I hope I can begin discussions and actively engage readers to being more critical to K-Pop.

For the next review, I have received an indirect request: IU’s “Palette.” I claim it is an indirect request as a dear friend is the one who personally asked me. Thus, in some ways, it still is a request even if not sent in officially via the blog. Nonetheless, that will be the next song we focus on. Afterwards, I have mixes of Critical Discussion posts and artists that have yet to be reviewed at all (though IU is interesting an artist I have yet to review) that we will cover. Until then, “[a]lways stay with me, don't leave me boy/girl”—because, quite obviously, I am a rather clingy boy. Jokes aside, look forward to IU’s “Palette.”

#TWICE #Only You #Tzuyu #Sana #Nayeon #Jihyo #Momo #Mina #Jeongyeon #Dahyun #Chaeyoung #KPop Reviews #Korean Pop Reviews #Song Reviews #Music Reviews #Audio #Comeback #JYP Entertainment #Signal Mini-Album

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