Frankly, I had to turn away from this shit.
When the beat dropped and I realized just how serious it was, I also knew I wasn’t ready.
No, not again, baby. Not this time will you do me like you did with “Single Ladies” when you had me to the point of wondering yet at the same time screaming “HOW IN THE FUCK IS SHE GETTING AWAY WITH THIS???”
Nobody should have the key or rather the insight or maybe it’s the insight to the key to staying so far ahead of the field as Beyonce.
Say what you want about the Beatles – and I love them muhfuccas to death – but innovators though they were, you can hear elements of what they did in other stuff that was happening in their time.
They took pieces and bits and added usually.
When she takes off in a new direction, as she has with this latest detonation, “Formation”, it’s not right or left of north or south. It’s not even up or down.
It’s like this chick stepped into a transporter or some shit. She’s on some Star Trek Enterprise shit. And, unlike historically, where you always felt that her husband may have been her Mr. Scott, you don’t know who the fucc is behind the boards on this one.
As bad as she is, it’s possible to imagine that she just transported herself.
Used ESP or some shit. Telepathy.
Now let me watch this muhfuccin video again so I can get into the symbolism and shit before I forget.
- She starts the whole thing by sitting atop a New Orleans police car that’s mostly submerged due to an apparent flood – shoutout to Katrina victims
- She refers to herself as a “Negro” – shout out to Black People
- She goes on to say how she likes her “Baby-hair and Afros” along with her “Negro nose with Jackson 5 nostrils” – shoutout again to the aforementioned.
- She flashes to a Muslim holding up not only bean pies, but a copy of The Final Call with a picture of Dr. King on the cover next to the cover text “More than a Dreamer” – shoutout to The Nation of Islam and Dr. King.
- She has a young Black boy in a hoodie Milly Rocking in front of a row of policemen – shoutout of Trayvon Martin and Tamir Rice.
- She has a scene where the words “Stop shooting us” are spray painted against a wall – shoutout to #BlackLivesMatter and numbers 2, 3 and 5.
Other than all the subliminals of the video and Negro mentions the song is not overt political.
I mean, it’s not the illicit incitement to riot that Martha & the Vandellas “Dancing in the Street” was.
But sonically: forget it. The shit is fuccin outta here.
And in a time when, let’s be honest, America has more or less forced any Black person with a voice to audibly declare whether their allegiance is more along the lines of Deray or Stacey Dash, boldly claiming “Negro” proves that one ain’t Clueless.
On a side note: the lyrics “When he fucks me good I take his ass to Red Lobster” make me miss my old product placement days a little.
Either that, or I’m lonely.
Or all three.