More Than A Magazine, A Movement
Ahead of Beyoncé’s release of Cowboy Carter, we spoke to Black women and girls making waves in rodeo.
When Beyoncé announced the ode to her country and Southern roots, it sent some fans and naysayers into a social media frenzy. But for real-life cowgirls and rodeo veterans, it was a time to feel nothing but pride. Their wish for all the Beyoncé uproar? Those folks will finally recognize that Black women and girls reign supreme at the rodeo.
Beyoncé’s much-anticipated country album, Cowboy Carter, drops on Friday, March 29. Beyoncé’s immense success in country music is a clear signal that there is a huge audience for country music around the world, but that audience won’t settle for the music’s often conservative conventions. Black music and musicians are at the heart of country music, and recognition of Black women’s music on this scale is long overdue.
Beyoncé doesn’t need country music. But, if it’s going get the global traction the CMA and other parts of the industry desire, country music needs artists like Beyoncé.
Beyoncé’s depicting herself as a (Black) Lady Liberty is a choice, and a powerful one that seeks to not only rewrite history for racial inclusion but to reclaim our rightful place in the pantheon of American symbols and heroes while also resisting expectations for purity.
The narrator of “Fast Car,” who finally finds the strength at song’s end to tell her no-count trifling lover to “take your fast car and keep on driving,” is an earlier version of Sza’s narrator on the heartbreak and revenge-fantasy songs that comprise her Grammy-nominated album SOS—a worthy project that many had hoped would break the 25-year-drought of a Black woman winning the Album of the Year Grammy, since Lauryn Hill’s The Miseducation of Lauryn Hill.
Still, we have come a long way from passively waiting for someone else’s “fast car” to move us out of poverty—and failing to doing so—while the latest songs imagine us killing our exes or shimmering like diamonds once we move on. We have arrived at that moment in which we are more than eager to celebrate the women who can drive in their own fast cars—accrued debts and generational poverty be damned.
In a year when women seemed to dominate both culturally and economically, it was not hard to find many feminist moments in pop culture that defined 2023.
Here are our top 10 favorites—including Rihanna’s historic Super Bowl performance; breakthroughs for women in TV, film and music; iconic moments in women’s leadership, and more.
Renaissance—Beyoncé Knowles-Carter’s fifth self-directed film—is about how to shine your light, how to give others shine, and how to sit in darkness until the light comes again.
In this season of light, we have a tremendous opportunity to observe a Black woman in her prime at 42 years old making art, working at her craft, raising her children, and surrounded by a strong network.
In Cardi B and Meg Thee Stallion’s “Bongos” and Flyana Boss’ “You Wish,” Black women hip-hop artists create spaces for pleasure, joy and sisterhood. If this is what hip-hop’s feminist future looks like, we’re here for it.
Currently, three women—Barbie, Beyoncé, and Taylor Swift—seem to be running the world, or at least the economy judging by record-shattering tour and box office revenues. But, as in the case of Beyoncé and other female artists of color, this success does not translate to deserved recognition from prestigious institutions.
“The message young women absorb is that unless you are a one-in-a-generation talent like Lauryn Hill or Whitney Houston, female artists of color can kiss goodbye any hope of wide-scale recognition by the Recording Academy.”
Aisha Durham and Regina Bradley are both hip-hop feminist scholars who focus on the South. Both spoke with Ms. contributing editor Janell Hobson to discuss the upcoming 50th anniversary of hip-hop, the origins of Southern hip-hop, how women continue to shape the genre—and, of course, their favorite feminist hip-hop anthems. (This article is part of “Turning 50,” which recognizes the women who shaped hip-hop.)
“Hip-hop started in New York but it didn’t end there,” said Bradley. “You probably wouldn’t have a robust hip-hop scene today without the Southern sound.”
Beyoncé’s Renaissance World Tour has been making waves across Europe for the last month. Many of us were unprepared for the power she would unleash. We had to be in our seats an hour before the show began, and the venue was buzzing in anticipation. When she finally appeared, in a metallic body suit with winged shoulder pads, it quickly became apparent that the vibe of the show was Afrofuturism. Her 2020 visual album Black Is King has already been analyzed through the lens of this cultural movement, and it seems Beyoncé is continuing these futuristic visuals on her world tour.
Afrofuturism is a trending movement in literature, music and the visual arts, seen as a way of understanding the African diaspora, not by looking back, but by looking forward. This gaze towards the future is a hopeful gesture that moves beyond the traumas of the past (and present). Characterized by elements of science-fiction, technology, cosmic exploration and alternate realities, it has been exploding in popular culture.