Over the weekend, The Blaze contributor Matt Walsh; wrote a new article on pop singer Beyoncé’ released of a new album called “Lemonade” (because if life gives you lemons). For a piece of work hailed as “groundbreaking” and “brilliant,” it’s strange that the title is one of the most overused cliches in the history of cliches.
This is an interesting article, Matt shared his views on Beyoncé’s new album and the brand Beyoncé itself. Is she really empowering our daughters as claimed or destroying them… You can make up your mind after reading the full story.
This is the advantage of being a feminist sex icon in modern America. Everything you do and say will become the greatest thing anyone has ever done or said, that is until the next thing you do or say. Beyonce does not occupy this category alone, but due to her race and her dancing ability, she stands at the pinnacle of it.
Never mind that “Beyonce” is more a brand than a person. The lady herself is a person, but what’s presented to the world is a carefully constructed and marketed product. It’s a narrative, a story, a walking and talking fantasy novel for girls. I don’t know how much of the final manuscript is Beyonce’s brainchild and how much comes from the team of people around her, but rest assured that everything we see is manufactured. This, after all, is a woman who hired a “visual director” to follow her around and document and stylize her every move.
None of this is unique to her, of course. What I’m articulating is a familiar lament about all pop music today. It’s not art, it’s advertising. Like superhero films are designed just to hock action figures and sell tickets to the next superhero film, Beyonce’s albums are designed to hock her fashion line and sell downloads of her next album. Everything in pop culture is a franchise now, including pop singers. It’s all made for the purpose of perpetuating itself, like a virus. It certainly is not interested in expressing anything true or beautiful or good or difficult or joyous or painful. As the new iPhone is just the old iPhone with different commercials, so the new Beyonce song is just the old Beyonce song with an arguably different computer-generated beat.
But, as I said, I could lob that criticism at most of what we consume in this culture. So much of it is bland, superficial, repetitious, existing for its own sake. Devoured quickly, with little intellectual effort, leaving you still hungry and slightly nauseated. I find it therefore annoying and confusing when people speak of Beyonce’s alleged genius, but the unwarranted intellectualization of vapid, empty nonsense is not the most troubling aspect of all of the Beyonce adulation in this culture. The most troubling aspect is that her music is called ”empowering.”
I only found out about the album because social media was overrun on Saturday night with women declaring how “empowered” they feel by Beyonce’s latest offering. The media has crowned it the most empowering anthem to womanhood ever produced. The Daily Beast took it a step further, announcing that the “breathtaking” work of art calls us to “introspection, to speculation, and, most fiercely, to action.”
The album has been extolled as a “beautiful,” “stunning,” “powerful,” and “epic” masterpiece. The Pieta is a lump of Play-Doh in comparison. Beethoven’s 5th is mere flatulence when stacked against this album. Even God’s most awe-inspiring artistic achievements – Mount Everest, Victoria Falls, the universe itself – all melt away in the blinding light of ”Lemonade.” That’s the gist of the critical response.
One feminist website went so far as to chronicle 45 lyrics that, they promise, “you won’t be able to stop thinking about.”
Here are a few of the “unforgettable” lines they highlighted: