Maybe it’s because Kenan Thompson caused quite a stir when he claimed there was an inadequate pool of black female comedians from which to cast talent. Or, maybe Lorne Michaels genuinely has been looking for a woman to fit the bill since Maya Rudolph’s 2007 departure from the Saturday Night Live
Also, let me just say that Beyonce did what I’m sure M.I.A. might’ve wanted to do, politically.
This new Beyoncé album is a high point in a really important year for black artistry. BEYONCÉ follows Solange’s album-essay that attempted to reclaim R&B for African-Americans, Janelle Monae’s afrofuturist hit, the entirety of Pharell’s prolific existence, and (I begrudgingly include) Kanye West’s attempt at becoming a deity. Her album is an exemplar of a moment when black creators are pushing their music forward through a variety of avenues, picking up where Frank Ocean and Kendrick Lamar left off last year.
All of this music does important political work, and BEYONCÉ is no exception. Beyonce pairs incredible business savvy with personal narratives about sexuality and romance. And what she sings about is incredibly explicit, as well as arguably daring in a very tame musical environment. “Roar” could’ve been a Disney soundtrack single; Lady Gaga’s discussion of sex was tepid at best; and Lorde’s commercially survived due, in part, to the lacklustre achievements of the former two artists. Beyonce, in essence, went nuclear. The album’s content is audacious. But, in that audaciousness, we find a shrewdness; her explicit content maturely shocks, and in the right way. In true Beyonce fashion, the content is part of the marketing. She’s selling a product that goes further than any major pop work of the year. Rarely before has explicit content been manipulated in this way.
Jody Rosen. Clocked, read, buried.
Grindin’ up in that clu—
That song doesn’t necessarily have a banging hook or immediate catchiness. But it still slays. It’s an old school groove with modern-day perspectives. It’s power, sex, comedy, and maturity. She sounds so confident, unstoppable.
The power of Beyoncé.
(It was also partially Beyoncé’s fault, but let’s not discuss that.)
I’m really pleased about this album, its music, its politics, its aesthetics, its marketing, its complexity.
"Blow" annihilates "Body Party"
I feel bad for Ciara because this is just too good
It’s untouchable omg
halloween-in-january a réagi à votre billet “I love how Beyonce just played this. Think about the strategy, too:…”
Ha Erich! “This is the equivalent of Beyonce snatching someone’s wig. Except this time it’s less mean but equally violent.”
Hahaha it’s just such an accurate image
“Urban Renewal" Carolyn Murphy by Cass Bird for Vogue Korea November 2012