It’s an all too familiar movie trope. A bug hidden in a flower jar. A figure in shadows crouched listening at a door. The tape recording that no one knew existed, revealed at the most decisive of moments. Even the abrupt disconnection of a phone call manages to arouse the suspicion that we are never as alone as we may think. And although surveillance derives its meaning the latin “vigilare” (to watch) and French “sur-“ (over), its deep connotations of listening have all but obliterated that distinction.
In the final entry to our series on Sound and Surveillance, sound artist Anne Zeitz dissects the theory behind her installation Retention. What are the sounds of capture, and how do the sounds produced in and around spaces of capture affect our bodies? Listen in to find out. -AT
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This podcast presents Retention, a quadriphonic sound installation made with David Boureau. It considers the sounds of surveillance, detention and migration. Retention concentrates on the “soundscape” of the Mesnil Amelot 2+3 detention center for illegal immigrants situated to the North of Paris just beside the Charles de Gaulle airport. This center constitutes the largest complex for detaining “illegal immigrants” in France, with 240 places for individuals and families. Approximately 350 airplanes pass closely above the center over a 24 hours time span, creating intervals of very high sound levels that regularly drown out all other ambient sounds. Retention uses quadrophonic recording technology to capture and diffuse a live transmission of communication between pilots and the Charles de Gaulle control tower. The work also integrates recordings from inside the center made by communications via mobile phones. In the short intervals of silence (always implying sounds of some sort), the atmosphere seems suspended. This suspension is paradigmatic for the clash between the local and the global, between those who are trapped in a state of detention before being expulsed by the engines moving over their heads and those who circulate freely (nonetheless under surveillance) in our global society. Retention exhibits a changing sonic space in order to consider how “waiting zones” and processes of mobility meet.
Featured Image (c) Anne Zeitz and David Boureau, Retention, 2012.
Anne Zeitz is a researcher and artist working with photography, video, and sound media. Born in Berlin in 1980, she lives and works in Paris. Her research focuses on mechanisms of surveillance and mass media, theories of observation and attention, and practices of counter-observation in contemporary art. Her doctoral thesis (University Paris 8/ Esthétique, Sciences et Technologies des Arts, dissertation defence November 2014) is entitled (Counter-)observations, Relations of Observation and Surveillance in Contemporary Art, Literature and Cinema. Anne Zeitz was responsible for organizing the project Movement-Observation-Control (2007/2008) for the Goethe-Institut Paris and collaborated on the exhibition and conference Armed Response (2008) at the Goethe-Institut Johannesburg. She is a former member of the Observatoire des nouveaux médias (Paris 8/Ensad) and of the research project Média Médiums (Université Paris 8, ENSAPC, EnsadLAB, Archives Nationales, 2013/2014). Her most recent research concentrates on the work of the American artist Max Neuhaus with the publication of De Max-Feed a Radio Net (2014), part of the Média Médiums book series. She is the artist of this year’s Urban Photo Fest and participated at the Urban Encounters / Tate Britain in October 2014.
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SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
This November 1st will mark the 259th anniversary of the Great Lisbon Earthquake on All Saints Day, 1755, which destroyed a quarter of the city and beget consequential tsunamis and fires. “Radio Terramoto” is a soundwalk research and art project designed to bring this seemingly distant devastation into contemporary consciousness. Based on the idea of listening to sound from a past historical event, “Radio Terramoto” is a traveling audience immersive event. It’s inaugural procession, made up of the creators and audience members, followed a path from the Convento do Carmo down to the River Targus in Lisbon, Portugal. It was also performed this summer in the town of Viseu, Portugal, as part of the Invisible Places, Sounding Cities Symposium in July 2014.
“Radio Terramoto” is a radio transmission from All Saints Day, 1755. We are not sure how or why the forty minutes were recorded, but having been discovered aaccidentallyit has proven to be an important record of the experience of the people caught in the earthquake. We follow our mysterious ghost recorder from the Convento, where people were gathered for mass. The first wave hits and the convent crumbles. As people run to the river, we follow their path as the buildings around us burst into flames and collapse. Upon reaching the river in a panic, we are only to be greeted by the water pulling out, revealing flopping fish and shipwrecks, pulling towards the ocean to fuel the giant wave that would finally overcome our poor recorder. From here, the transmission stops. (To read this summary in Portuguese click here).
The project and research for “Radio Terramoto” asks the question, what can listening to the past reveal about the now, both in artistic practice and scientific research? Its site-based (yet mobile) sound design weaves between the present and the past and is based on research on the earthquake, using documents of first hand experiences and the first seismic and “earthquake”-proof architecture that came after what may be the largest earthquake recorded in history.
For the original “Radio Terramoto” soundwalk in Lisbon, first performed November 1, 2013, we walked with the audience bearing a transmitter; the audience carried radios and cell phones tuned into the specific frequency of the transmission. The soundwalk also included hand-held sculptural octahedra created using a geometric framing system designed by Jake Dotson, assembled as a singular form approximating a Pombaline cage, the first modern earthquake resistant architecture. The radio transmitter, and other key electrical devices were suspended in these 1 foot 3 inch octahetra made of brightly colored sticks of wood held together with friction and tension. The large cage broke apart into the individual octahedra to aid in the transportation of equipment and in providing a visual wayfinding aide for the participants.
Like Maile’s “Passageira em Casa,” a traveling intermedia work that explores the concept of “home,” “Radio Terramoto” changes to be site and context specific with each presentation. When we led a performance in Viseu, Portugal, for example, we began at the Sé de Viseu, moved through the old city center, and ended at a small body of water off the Avenida Emídio Navarro.
Planned future performances of “Radio Terramoto” include a version in Los Angeles that will unite the original team in collaboration with Jesse Gilbert. Gilbert created the program SpectralGL, a cell phone app that enables sound to visually affect the landscape from the video camera as the audience member walks. As Los Angeles has its own fraught relationship with earthquakes, we expect this performance to be particularly resonant and thought provoking.
Images courtesy of the artists and Jennifer Stoever (Viseu shots)
Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloud, vimeo, and flickr.
Maile Colbert is a multi-media artist with a concentration on sound and video who relocated from Los Angeles, US to Lisbon, Portugal. She is a regular writer for Sounding Out!
Jeff Cain is an artist, designer, curator and director of the Shed Research Institute a multidisciplinary art, research, curatorial, and design studio in Lincoln Heights, Los Angeles.
This September, Sounding Out! challenged a #flawless group of scholars and critics to give Beyoncé Knowles-Carter a close listen, re-examining the complex relationship between her audio and visuals and amplifying what goes unheard, even as her every move–whether on MTV or in that damn elevator–faces intense scrutiny. Last week, Regina Bradley (writer, scholar, and freelance researcher of African American Life and Culture) introduced us to the sonic ratchetness of Baddie Bey; the week before you heard our Beyoncé roundtable podcast featuring our first two writers, Priscilla Peña Ovalle (English, University of Oregon) and Kevin Allred (Women and Gender Studies, Rutgers)–as well as Courtney Marshall (English, University of New Hampshire) and Liana Silva (Editor, Women in Higher Education, Managing Editor, Sounding Out!), who will close out our series next week. Today, madison moore gives us not only great face but killer hair choreo. Mic drop. Hair flip.–Editor-in-Chief Jennifer Stoever
“Which Beyoncé are you trying to do?,” a sale associate at Beauty Full, the largest beauty supply house in Richmond, Virginia, asked me. It was a good question, because the shop had whole rows of wigs and ponytails that conjured Beyoncé enough for what I needed to do. Choosing just one would be tough.
“This one is very Beyoncé,” he said, pointing to a style reminiscent of the huge, teased out curly Afro Beyoncé worked in the early 2000s. I wasn’t really feeling this particular style but I could tell my sales guy was living it. “It’s not fierce enough!” I told him. “I need something that really moves!” I’d been invited to give an hour-long lecture on Beyoncé at a university, one of my first gigs, and I was out at the last minute shopping for a wig to wear during my talk so that I could give the children a little sip of Beyoncé. That’s when I saw it: a long, black and dark brown two-toned wig with curls for eternity that I knew would look great on stage. Come on, wig!
I wanted to wear a wig “that really moves!” during this talk to demonstrate what I feel is the creative genius of Beyoncé’s performance persona: what I call “hair choreography.” Not unlike dance moves intended for the body, “hair choreography” is a mode of performance that uses hair to add visual drama to the overall texture of sound and it’s the special genius of Beyoncé’s stagecraft. On one occasion some friends and I were drinking wine and downing live Beyoncé videos on YouTube when one of us was like “I am living for her hair choreography!” I’m not sure we invented the concept but the phrase “hair choreography” has certainly stuck with me. Hair choreography is one of the secret weapons of the pop diva, those places in a live performance where she flips and whips her hair in exactly the right point, using “haircrobatics” to punctuate a moment, a feeling, raising the stakes, the sex appeal, and even the energy in the audience.
Hair choreography is exciting because it tells a story, but even more than telling a good story in performance “hair choreography” punctuates everything else happening on stage: the lights, the dance moves, the glitter, the sequins, the music. In this way, “hair choreography” becomes part of the spectacular offering of stage presence; a type of magnetism that, despite everything else happening on stage, draws us into a single performer – the star – whose single energy needs fill up the whole space. “Hair choreography” occurs in those moments of a live performance where the hair is flipped, whipped, dipped, spun and amplified during the most exciting, emotion-filled sounds and dance moves.
Even though many scholars still often approach them as separate practices, sound and motion are so fluidly entangled, as Jennifer Stoever has revealed. In this way, “hair choreography” builds on performance studies scholar Imani Kai Johnson’s call for the “aural-kinesthetic.” The “aural-kinesthetic” is not a method or a theory but simply a way for scholars to think about how music and movement happen at the same time. “Hair choreography” is about the relationship between sound, body and movement, and how each of those comes together to leave a visceral impact on an audience.
One video that shows the importance of hair choreography to Beyoncé’s package is her medley “If I Were A Boy/You Oughta Know,” a mélange of the soft hard rock her own track coupled up with the aggressive rock of Alanis Morissette’s iconic break-up jam of the same title. In the clip, as Beyoncé segues from “If I Were A Boy” into “You Oughta Know” the wind machines appear to blow her hair faster, and with every emotional note or beat she knocks her head to the side with attitude, forcing her straight hair with it. By the time Beyoncé sings “And I’m here, to remind you…,” the most emotional (and recognizable) transition of the song, the hair is already going full blast. Guitars and drums go off while strobe lights engulf the stage in a frenzy of chaos.
At “You, you, you oughta know” she falls to her knees and performs a choreographed head bang while sliding across the floor using only her knees. It’s important to note here that the singing has stopped because this is a moment of “hair choreography,” a transition indicating an impending change in mood.
Everyone loves Beyoncé’s hair. In her will the late comedian Joan Rivers requested “a wind machine so that even in the casket my hair is blowing just like Beyoncé’s.” There are countless YouTube tutorials showing young girls how they too can achieve that Beyoncé look with weaves, wigs and lace fronts. Even the comedian Sommore, who stared in the 2001 film Queens of Comedy , had something to say about Beyoncé’s hair:
Beyoncé is a bad motherfucker. Oh this bitch bad. Let me tell ya’ll how bad this bitch is. I went to see her concert in Atlantic City after she had her baby. I sat in the second row – this bitch was flawless. I mean I’m talking about the bitch was flawless. Only problem I had with Beyoncé…she had on too much hair! This bitch came out she had at least 18 packs of hair on. She came out I thought the bitch was the cowardly lion from The Wiz. I’m sitting there in awe of this bitch neck, I’m like, “This bitch neck is strong as a motherfucker!”
All jokes aside, the mystery of Beyoncé’s hair-–and all of the technologies involved in keeping it moving–is part of the genius of her brand image, particularly because it works to make her ethnically ambiguous.. Having various types of hairstyles allows her creole body to infinitely play with race, and this makes her marketable to nearly everyone. Is she black? Is she Spanish? Is she biracial? Could she be Brazilian or from Latin America? Yes. In this way, her hair choreography not only punctuates her sound, but it shapes the very way it is heard, enabling her to morph into more personalities and fit into more demographics than even Lady Gaga or Madonna. It’s why she’s able to sound sexy or inspirational, “hood” or “classy,” vampy or masculine, vocal or dance-y. Look at a video like “XO,” to me the most mass-marketable song on BEYONCE. First of all she looks fabulous, but I think it’s hard to watch that video and not feel like it’s specifically pitched to 15-year-old white girls in Connecticut. Everything about the video, especially her sweeping hair flourishes, positions Beyoncé as relatable to teenage girls all over the US.
As dance studies scholar Melissa Blanco Borelli sees it the mulatta body engages with a practice she calls “Hip(g)nosis,” or a type of hypnosis enacted by the yellow-bodied performer on fascinated audiences. This type of hypnotics, via the hips, “exposes the male gaze” by thinking through the “pleasure and consumption of the mulatta…” (She Is Cuba, forthcoming, Oxford University Press). Through hip(g)nosis Beyoncé has learned to use her ambiguous skin color and hair optics to her (monetary) advantage as a way to slide in and out of ethnic categories. Indeed, what does the fact that she is the lightest member of Destiny’s Child and also the groups’ most successful member have to do with her celebrity? The irony in all of this race play is that she was recently awarded the Michael Jackson Video Vanguard Award after her jaw-dropping 15-minute performance at the MTV Video Music Awards, and she is one of the few contemporary black pop singers who can play with race in the same way Michael Jackson did.
When I watched her recent MTV VMA performance I screamed a lot during her show, but the one moment I remember specifically, and still keep rewinding back to, happened right at the end of “Mine,” to me the best track on BEYONCE. She vamps “MTV, Welcome to My World,” and quickly spins and flips that hair back around baby, giving face to the camera, making millions of queens all over America scream YAASSS!!! at the top of their lungs. Beyoncé herself nodded back to queer performance and performers during a performance of “XO” this year on February 28th 2014 at the O2 Arena in London, after one overzealous fan threw a wig at Beyoncé as she sauntered off the stage and into the crowd (3:17).
When she turned around to pick the wig up she ad libbed “You got me snatching wigs, snatching wigs” into her microphone, knowing perfectly well that “Beyoncé snatching wigs” is one of the most popular fan-created Internet memes. In black gay male performance culture people often talk about “snatching wigs” or “coming for your wig,” and to this end scholars like E. Patrick Johnson and Marlon Bailey have done important work in theorizing the interplay between black gay colloquialisms and performance. If you’re “snatching wigs” then you’re performing better than everybody else while completely eradicating the competition. You’re seemingly indefatigable. Snatching a wig means a particular performance was highly effective or unique, and a snatched wig implies how an audience might surrender itself to a strong performer, as was the case with the aforementioned wig thrower. Beyoncé definitely understands the power of stage presence; a type of magnetism that, despite everything else happening on stage, draws us into a single performer – the star – whose single energy needs fill up the whole space. Filling up an empty stage with a single body is a lot of space to fill if you think about it. And making an audience focus on you when there are 10,000 other things are happening around you is an even more challenging task.
But “snatching wigs” can also mean you’re revealing someone’s deepest secrets, something you know they’re hiding. What’s underneath a wig but a secret – your real hair texture, a bald spot you don’t want anyone else to know about. A snatched wig can mean a break of the illusion. When I wore that wig during my Beyoncé talk to demonstrate hair choreography everyone knew it was fake – I put it on in front of them – but if the wig came off the illusion would have been broken nonetheless.
Part of Beyoncé’s monumental fame has to do with the fact that while she synchronizes, punctuates, captivates, and performs, she never lets us see underneath her wig. She just lets it whip.
madison moore (Ph.D., American Studies, Yale University, 2012) is a research associate in the Department of English at King’s College London. Trained in performance studies and popular culture, madison is a DJ, writer and pop culture scholar with expertise in nightlife culture, fashion, queer studies, contemporary art and performance, alternative subcultures and urban aesthetics. He is a staff writer at Thought Catalog, Splice Today, and his other writing has appeared in Vice, Interview magazine, Art in America, Dancecult: Journal of Electronic Dance Music Culture, the Journal of Popular Music Studies and Theater magazine. He is the author of the Thought Catalog original e-book How to Be Beyoncé. His first book, The Theory of the Fabulous Class, will be published by Yale University Press.
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– Yvon Bonefant
“New Wave Saved My Life*”-Wanda Alarcon
This September, Sounding Out! challenged a #flawless group of scholars and critics to give Beyoncé Knowles-Carter a close listen, re-examining the complex relationship between her audio and visuals and amplifying what goes unheard, even as her every move–whether on MTV or in that damn elevator–faces intense scrutiny. Last Thursday, you heard our Beyoncé roundtable podcast featuring our first two writers, Priscilla Peña Ovalle (English, University of Oregon) and Kevin Allred (Women and Gender Studies, Rutgers)–as well as Courtney Marshall (English, University of New Hampshire) and Liana Silva (Editor, Women in Higher Education, Managing Editor, Sounding Out!). In the remaining weeks of the series, we will hear from Liana and Madison Moore (Research Associate in the Department of English at King’s College, University of London and author of How to Be Beyoncé). Today, Regina Bradley (writer, scholar, and freelance researcher of African American Life and Culture) introduces us to the sonic ratchetness of Baddie Bey.–Editor-in-Chief Jennifer Stoever
My husband is low key in love with Beyoncé. While he has yet to admit to any type of commitment to Mrs. Knowles-Carter – I’ve interrogated him thoroughly after each “I can appreciate her craft, babe” commentary – he holds her latest album hostage in his car. Beyoncé played in my car only once, but I enjoyed our brief encounter. I listened to the album as a testament of Beyoncé on her grown woman shit: a smorgasbord of vulnerability, independence, and [good] sex. “***Flawless” is my favorite track, a testament to the complexities of performing (black) womanhood in popular spaces.
However, I’m more so interested in the sampled track that didn’t make the final cut, “Bow Down.” “Bow Down/I Been On.,” released in March 2013, shows Beyoncé’s responses to idealistic black womanhood (i.e. quiet lady-hood that is not assertive), deeply rooted in her southern upbringing. The sonic tensions between Beyoncé’s ‘normal’ performance voice and the introduction of performance identities such as BaddieBey point to Beyoncé’s increasing unwillingness to cater to a type of sonic respectability that parallels the conservatism of the black middle class. As I write in a previous essay, BaddieBey is a sonic invocation of ratchetness – a performance of black women’s contemporary (dis)respectability politics – in which Beyoncé distances herself via sound from the established ideas of womanhood that she visually satisfies.
Thus, in “Bow Down/I Been On” Beyoncé builds a layered sonic narrative to destabilize the concrete sexual politics she grapples with in her music. While “***Flawless” shows Beyoncé’s evolution of self-consciousness and ultimately women’s empowerment, in “Bow Down” I hear her conduct the grittier and more controversial work of questioning gender norms in popular culture. “Bow Down/I Been On” presents and blurs useful tensions of gender and consciousness in an ever-present conversation of what and who dictates respectable womanhood in popular culture.
“Bow Down/I Been On” features the production work of hip hop producers Hit Boy and Timbaland. The first half of the track, titled “Bow Down” and produced by Hit Boy, sounds like a bass heavy Nintendo video game. The aggressiveness of the track – hard-hitting snare drums and synthesizers in addition to the video game sonic aesthetic – complements a high-pitched, autotuned voice introducing Beyoncé. Beyoncé introduces BaddieBey as her hip hop masculine bravado persona on the second half of the song “I Been On” produced by Timbaland. (Beyoncé’s “BaddieBey” persona stems from a YouTube video by Atlanta, Georgia Girl group The OMGirlz talking about why Beyoncé is bad.) The second half is a stark departure from the first half: a slower tempo that accompanies a deeper voice. Unlike Sasha Fierce, a visual characterization of the hypersexual and hyperindependent aspect of Beyoncé’s performances, BaddieBey is unequivocally southern, sonic, and ratchet.
The auto tune in the first half distorts immediately recognizable touchstones of Beyoncé’s femininity. The voice’s ambiguity points to Beyoncé’s nickname of “King Bey,” an intentional collapse of gender performance as the foundation of her influence and power as an entertainer. The “Bow Down” announcer doubly signifies the arrival of Beyoncé’s verse on the track and the destabilization of available cues of respectability. It is from this perspective that I ground Beyoncé’s emphatic use of bitch in her demand for those around her to “bow down bitches!” Rather than remaining attached to the definition of bitch as directed at women, Beyoncé uses the sonic tropes at play to decentralize gender norms.
BaddieBey also forces the (mis)understanding of what it means to think about Beyoncé as “sounding like a good girl.” Her vocalization, reminiscent of Houston’s chopped and screwed production style – the extreme slowing down of a track and the resulting slurring and distortion of voice – dismounts Beyoncé from international recognition and makes room to (re)claim space to experiment with the boundaries of her womanhood and its recognizable aspects. The deepness of her voice does not fit within the more recognizable and established feminine context of Beyoncé as an R&B diva. Criticism of the track denounced her use of the word “bitch” and those unfamiliar with chopped and screwed denounced it and in the most extreme comments called it “demonic.” The (hyper)masculinization of Beyoncé’s voice in this track signifies her attempt to situate herself not only in hip hop’s masculine discourse but southern hip hop and its renderings of the south as a similarly masculine space.
BaddieBey gestures towards what I suggest is a type of sonic drag – using sound to bend markers of gender performance in order to blur characteristics of black masculinity and womanhood. The sonic intonations of chopped and screwed give Beyoncé a pass to dabble in ‘ratchet-speak,’ sonically alluding to images of “gold fangs” and “smacking tricks.” In the track she sonically blends hip hop bravado and misogynistic representations of black womanhood, and in that way stretches what is considered respectable. In other words, BaddieBey signifies Beyoncé’s awareness of hip hop as a space of (exaggerated) gender performance.
This awareness is also rooted in a specific place: her hometown of Houston, Texas. As I previously stated, BaddieBey centralizes Houston as a departure point for Beyoncé’s hip hop sensibility and as a space for excavating the complexity of her gendered identity. Conceptualizing place as an element of southern black women’s respectability helps situate it as a cultural aesthetic. In this instance, respectability as a tangible discourse is situated within [southern] hip hop. Beyoncé’s remembrance of Houston’s “cultural essentials” – i.e. Frenchy’s Restaurant, Boudin sausages, dookie braids, and “candy paint” – signify a simultaneous existence with her usual declaration of finer, higher classed possessions like high priced labels, global jet setting, and jewelry.
Beyoncé’s declaration of returning to “H-town” and its cultural “essentials” within a sonic space re-situate her within not only Houston but a larger southern hip hop narrative that overlaps with her higher-classed — and therefore more respectable – celebrity status. Thus, “Bow Down/I Been On” becomes a sonic space that enables the listener to become aware of Beyoncé’s complicated performance narrative in ways simple lyricism does not allow. Building upon Guthrie Ramsey’s observation of music as a working space where the ‘invisible function’ of ethnic performance is panned out, “Bow Down/I Been On” challenges the listener to reconsider how Beyoncé’s (sonic) identity politics and performances intersect with racial performance. Hip hop, especially in its commodified form, speaks best to these tensions between gender performance and lived experience.
In the tension between gender performance and lived experience lies BaddieBey. Her alter ego is a kind of sonic female masculinity. With Kai Azania Small’s “genderqueer” reading of Beyoncé in mind, BaddieBey is a possible extension of Small’s hypothetical question of if Beyoncé had a penis. (Small presented a paper entitled “The Specter of Sasha Fierce and the Scopic: Freighting of Beyoncé’s Trans/Genderqueer Body” at the 2012 Queerness of Hip Hop Conference at Harvard University.) Because sound is capable of working as a gray performative space, Beyoncé ruptures conservative gender roles that are frequently treaded in popular spaces like hip hop by establishing her (dis)respectability.
BaddieBey manifests within the interstitial spaces of sexual performance and gender norms seen in hip hop. She is the sonic manifestation of Beyoncé’s hip hop sensibility that allows her to permeate if not penetrate hip hop as a hypermasculine space. BaddieBey is most demonstrative of Beyoncé’s ability to navigate “Bow Down” as her rendition of a hip hop ‘diss track,’ dismissing her haters and those overly criticizing her position as a pop singer. Beyoncé’s performance of hip hop female masculinity allots her room to present herself not as a braggart but as a dominant force.
In this context then, the use of “bitch” in the chorus and later “trick” is doubly bound by hip hop’s gender specific misogynistic outlook on women of color and the gender-neutral use of bitch as an adjective to describe lack of talent or weakness (i.e. “bitch made”). BaddieBey forcefully treads the line of respectability through those words. For example, she sonically parallels her pimping of “the game” to the pimping of women heard in Texas rap. This occurs in her rendition of lines from Texas rap duo UGK’s track “Something Good.” BaddieBey raps: “Didn’t do your girl but your sister was alright, damn/In ya homeboy’s Caddy last night man, ha ha/Hold up, Texas trill.” The UGK version, much more explicit, is toned down in BaddieBey’s rendition. Still, in quoting UGK BaddieBey establishes herself as an entity separate from Beyoncé and even Sasha Fierce. She is an Othered representation of Beyoncé’s otherwise conservative sexuality. Yet the “tone down” of the lyrics can be read as Beyoncé’s awareness of (hip hop) masculinity as a misogynistic performance of black sexuality. BaddieBey’s laugh at the end of the verse marks the blurring of performance and reality.
“Bow Down/I Been On” provides insight into the clever ways Beyoncé uses instrumentation and sound production to fragment her persona limited by investments in her visual image. It blurs clean-cut negotiations of black women’s identity and respectability as literal discourse by introducing the concept of sound as an agitator of black women’s expression and its analysis. The fluidity of sounding gender makes room to confront the static and heteronormative discourses through which the performances of these aesthetics manifest. Reliance on sonic narratives complements visuality in ways that usefully problematize how we negotiate contemporary race and gender politics in hip hop and ultimately popular culture.
Regina Bradley recently completed her PhD at Florida State University in African American Literature. Her dissertation is titled “Race to Post: White Hegemonic Capitalism and Black Empowerment in 21st Century Black Popular Culture and Literature.” She is a regular writer for Sounding Out!
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– Yvon Bonefant