We’re all bracing for an onslaught of analyses surrounding Beyoncé’s “Formation” this week. But at…
By Guest Contributor M. Shadee Malaklou, cross- posted from JesusFuckingChristBlog
In her December 13th article for The Raw Story, “A Plea: Remember Beyonce’s Record Is Art, Not A Political Treatise”, freelance journalist Amanda Marcotte — who writes on feminism, national politics, and pop culture — tackles the accusation that Beyoncé’s album is “anti-feminist” (referencing reactions to lyrics like “bow down, bitches”) by reminding us that Beyoncé has produced for us a work of art, not one of politics. …Because if we look closely, her politics are flawed, or so the argument goes. Marcotte faults Beyoncé for “reinforc[ing] the same beauty standards she decries on the records”, but ultimately concludes that Beyoncé is still a feminist because, you know, feminism is messy. Marcotte ends the piece in (what she claims is) a “plea” that not only fails to understand Beyoncé’s feminism, but also functions to silence the Black radical politics of Beyoncé’s work:
I want to remind everyone that music is not a polemical or a campaign pamphlet. Music is art. Art can—should—be messy, contradictory, raw, and emotional. I love that Beyonce openly struggles in her music and in her image between the push-pull of both wanting to embody this kind of feminized perfection and seeing it for the trap that it is. It’s much more honest and human and humane than some kind of bland feminist treatise set to a beat. Beauty is a painful trap to ensnare women, but beauty is also pleasure and it draws you in. Denying these contradictions and presenting ourselves as people who have it all figured out all the time is tempting, but it’s not honest. And it’s certainly not art, which is supposed to reveal, not conceal. Just a small plea from me to remember that we’re talking about an art form, not a political treatise, as we tear into the lyrics, beats, and imagery that Beyoncé just turbo-launched into the public.
In one short paragraph, Marcotte manages to remind us why white feminism fails (still) to address the experiences of Black women as women; and in the same stroke, disaffects us — as a viewing public — from our identification(s) with Beyoncé as a woman of color. As an ideology, (white) feminism demands that women identify (and rally) as women first, and as bodies of color second, or better yet, last. Marcotte forecloses on the overdeterminacy of Blackness in an anti-Black world, and underestimates Beyoncé’s commitment to (what I am going to suggest here is) an insurgent, Black political future.
“If that name is a Miley Cyrus pseudonym I’m going to bed. Dang, it’s getting…
By Arturo R. García
While we were sleeping, Beyoncé was not. Gaga may have Artpop, but B just made an art of the drop.
In case you missed it or just checked your Twitter feed, Beyoncé released an entire album out of the blue (Ivy), though it’s only available on iTunes until Dec. 21.
But the self-titled album was also accompanied by a “visual album” — basically, she went out and shot videos for every track and released snippets of those on YouTube. For my money, “Pretty Hurts” is already the best dramatic trailer we’re not going to see in theaters this Christmas, “Blow” is a spot-on disco homage/future mashup favorite and somebody’s already seizing on “Partition” to write a think-piece about how Miley Cyrus is MOAR FEMINIST than Beyoncé.
We’ll put some more of the video clips up under the cut and invite you to give your thoughts on those or the album as a whole under the cut.
Last week, Jennifer Lopez scandalized Britain with a “raunchy” performance on “Britain’s Got Talent.” Not…