Beyoncé's Split Personalities

A "robohand" is a hard act to follow, especially when attached to everyone's favorite cyborg, ahem, songbird, Beyoncé Knowles. But even more, it's certainly a difficult act to live up to. With last week's debut of her third-solo album, I Am...Sasha Fierce, Beyoncé attempts just that with what many would consider a far removal from her usual repertoire. Having already introduced two singles, inspired a barrage of pop cultural references, and revealed her larger-than-life dual personalities, Beyoncé is preparing the world for a return of bionic proportions. Of course, this time much more is at stake as she tackles the hefty task of identity (and wardrobe) reclamation. Like a caped crusader, Bey straddles the life of a pop-friendly songstress by day and a badass diva by night. She at once mourns the unraveling of a relationship, while breaking out in choreographed song and dance over her newfound freedom from a lover's constraints. It's all very "Sybil," yet Beyoncé's alter-egos don't seem necessarily at odds with one another. There is no Battle Royale occurring on this album, no weave pulling in the least. Sasha Fierce, Bey's stage persona manifested on vinyl, is much more of a protective agent than anything.

Once evoked, Ms. Fierce subsumes an awesome role: as the sexual, confident and brazen side of Beyoncé that belies the singer's almost bashful public persona. Sasha stomps, booty shakes, and growls about on stage, panting and staring you squarely in the eye with a look that dare's you to cross her. Ms. Fierce prefers the darker side of things, making her right at home in the Lee Bowery-inspired designs of Gareth Pugh or the avant-garde offerings by Alexander McQueen. She's "up in the club, acting up" until the wee hours of the night, and hardly dodging the glare of the spotlight. Sasha's weaves are bigger and her ego even larger. She does, admits, and wears the things Beyoncé could never get away with. Yes, Sasha Fierce is the greatest of costume changes: she writes away the overtly uncharacteristic behavior of Beyoncé and maintain's the singer's virtue. She is made culpable for all things that transpired whence Fierce's evocation -- things that normally female entertainers, especially those that are Black, are chastised and repudiated for.

It's a brilliant strategy considering most of us are in need of a doppelganger to hold accountable for a myriad of party fouls or fashion faux pas, but considering Black women have almost always existed within some dismembered, disjointed state, Sasha Fierce is ultimately a disappointment. Historically, Black women have worked within a dichotomous matrix, where we are at once hyper sexual and asexual; hyper visible and invisible, but fundamentally never female. We've been written outside the monolithic canon of beauty and rarely see our image reflected in a corrective or nuanced representation. So it's very discouraging to see one of the most highly visible, if not placated Black female public figures falling subject to this inherited legacy. Beyoncé, in all her mainstream appeal, is seemingly still dogged with the same worrisome task of claiming a counter-hegemonic Black female sexual identity for herself.

Upon listening to the album, this idea is only further crystallized and one comes to realize that Sasha Fierce is simply not developed. Sure, an asymmetrical leotard will help flesh out the wardrobe of an alter ego, but it does not a record make. Fierce's songs are underdeveloped, trite, and surprisingly forced. Overwrought with finger-snapping and large pronouncements of her number-one stature, Fierce appears much more as an artifice than an organic offspring. The "Bey"-side is where the artist shines and has produced some of her greatest work. It's robust, assured, replete with direction, and clearly where Beyoncé feels most confident. In this, Sasha Fierce seems to be more of a disparate response to the wants of her fans and the ever-evolving music scene -- an evolution that has a lot to do with a single hair cut.

No one can deny the impact that "Lil' Miss. Sunshine," Rihanna Ventry, has had on pop culture in the last two years, making her mark off the insanely infectious riff "ella-ella-eh." With her iconic Aeon Flux-inspired look, which is at once edgy and adorable, she has been transformed into some kind of monster...but in a really, really good way. By re-releasing her album Good Girl Gone Bad (and making it stretch), snagging Cover Girl and Gucci ad deals, guest starring on several Top 10 hits, and procuring a look that is heavily replicated, Rihanna has gotten the hang of this svengali routine. But what is even more recognizable about RiRi's rise is the image she projects: she's essentially everything Beyoncé is not. Donning vinyl and leather, Rihanna shorn her lacefront and offered an alternative representation of Black female beauty. Is it some radical project? I would never kid myself, as Rihanna still works within the confines of the music industry and is much more of a product as her star rises. But she is refreshing and has certainly made Beyoncé work much harder on this latest album to be original and inventive. I mean, even after Bey performed with the robohand recently, Rihanna showed up in a bedazzled eye patch: talk about a face off. As Kanye West put it, "Rihanna is the best thing that ever happened to Beyoncé."

Gotta' love Yeezy for the sound bytes, but he does make an excellent point. Rihanna's overt dalliances with her dark side ("Disturbia," anyone?) forced Beyoncé to do the same, even if to mixed results (refer to Beyoncé's patent leather spiked toe ballet shoes... the verdict is still out on that one). What I am still ultimately confused about is why Beyoncé's two identities cannot coexist within one single Black female form? I'm sure the singer wasn't thinking as deeply about this matter as I am when she conjured up this otherwise marketing strategy, but I am perturbed as to why Bey can't simply be? Why is she still not afforded a sexual agency that would allow her a multiplicity that isn't explained with some guise? I write this after just viewing pics of Beyoncé on set for her new Sasha Fierce video, wearing dominatrix booties (cute, though) and silver wraparound sunglasses laced with fringe. It's all smoke and mirrors with this one, when essentially all Beyoncé is looking for is a little subjectivity.

Comments

[alady]

This is not about about black woman bashing. Beyonce has lost many fans because she is not growing musically. Have you honestly listened to her tracks? Read the reviews? Everybody can't be "hating" on Beyonce. It's honest, constructive criticism. What has Beyonce really achieved besides flooding the airwaves with atrocious ear bursting yelling and shouting? How many times do we have to watch her perform that foolish song and prance around in leotards? She is lagging her true and only peer in the industry Alicia Keys. Alicia is bigger than Beyonce, and much more humble with her blessings. Perhaps Beyonce needs to stop competing with numbers and start producing quality, appreciated music.

Beyonce's image is her entire career. Gradually she is becoming just another artist. And as for her desire to be an Icon, that is something earned, not bought and paid for.

[nubianlegalmind]

Interesting article, but so typical. It always amazes me that when a black woman in the industry is doing well, there always has to be a comparison to either bring her down or raise her up. What is also interesting is that it seems to always be Beyonce. Funny how you don't see that with Amy Winehouse, Britney, Christina, etc. When B'Day was released it was Beyonce v. Jennifer Hudson. Everyone from Cali to NY dogged her, claiming that she would become a sidenote next to Jennifer's rise. Yet, after the Oscars had passed, Bee went on to have one of the most successful tours of the year. Now, it is Beyonce v. Rihanna. Rihanna gets points for originality, but that's about where it ends. For all of the media's bruh-ha-ha of her, she can't sing, perform or entertain. Musically, she is all over the place. She has to change hairstyles, hair color and styles to remain relavent. Yes, you're right. She IS what Beyonce is NOT. But that is a good thing on Beyonce's part, because whatever you may think about Beyonce/Sasha, when either one hits the stage, the girls are separated from the WOMAN. She has the colossal IT! She just does. What will be interesting to see is Rihanna in about five years, that is if she is still around and relevant.

[bokiluis]

Disc One, the Beyonce persona, satisfies much quicker though I am sure given time I will appreciate Disc 2 better.

It is hard to tell which of these new female artists have the potential to hit the holy grail of the rock and roll era diva: Diana Ross, Barbara Striesand, Tina Turner, Aretha Franklin. She has already expressed her admiration for the first 3 and has taken key lessons from observing them.

Though Rhianna seems a bit intriguing. She never pulls me in. And that is the product of the video age female artists. Rhianna falls into the same category in my opinion as Britney Spears, physically striking with minimal talents beyond their drive and ambition. I could be wrong. I am certain I am right about miss spears because time has proven that out. She is without talent and basically sells an empty sex experience for men and distorted, poor images for women. Beyonce goes far beyond these two. it is possible that her parents guidance is the key to her understanding what it takes to be "legendary", to have that diva presence! Beyonce continues to work towards that status while being mindful of contemporary competition/fluff from the likes of Rihanna.

I believe that Beyonce will get there eventhough this project borders on shizophrenia in the end.

[peachesmahoney]

I don't think it's the two personalities that are Beyonce's problem. I think it's an utter lack of personality that is her problem. I chuckle at the cyborg comment as my friend always calls her "the robot". You can survive for quite a few years in pop music without a creative vision and unique point of view but to make an impact, you have to change and reinvent yourself. Clearly, Christina Augilera listened to her "Madonna 101" lessons as she emerges on the scene different every time.

[ccmd]

rihanna to beyonce equals a laughable comparison.


now beyonce to alicia keys is a debate im ready to have.

[suuzie]

Beyonce is evolving into a multi-talented star, something Rihanna will never be and one day she will be greater than Ella Fitzgerald and the like. She has a very strong voice and can fill the shoes of a Ella Fitzgeral, Tina Tuner or Diana Ross and do it better. I am so proud of her and where she has taken her career and evidently the public feels the same because she pulled in 82 million this year.

Keep doing your thing Beyonce because Rihanna can't hold a candle to you.

[Nommo]

Are you serious? Ella Fitzgerald? Geez, let her last half as long as Ms. Fitzgerald, and the like you suggest would be who: say Sarah Vaughn, Dinah Washington, Carmen McCrae to mention a few? How about she tackles a song with chord changes and let us see how she can "sing".

[avenue]

Bottom line: Beyonce can sing. Strip all of the image, money, etc. away, and you have an immensely talented person. This is why award show after show, she's called upon to perform: consistency.

I think Rihanna's cute, but what is she gonna do in a year's time when the next 'it' girl comes around? If that performance last night was any indication of her plan, she'll need a bailout of her own soon.

[devadasi]

Beyonce is one big bore. Yes, she's beautiful from head to toe, but then what? When I heard her say that her goal in life was to be an icon....I thought, 'ugh'! Give me Ella Fitzgerald, Dinah Washinton and Billie Holiday over the dumb dumbs like Beyonce any day. These ladies had real soul and that's what''s missing with Beyonce.

[lippy33]

First off, Beyonce has talked about her alter-ego, Sasha, since she came out with "Dangerously In Love." Secondly, Rihanna's performance last night was horrible and widely panned. The girl has no charisma and the vocal range of a frog. She's just an awful performer and could never, ever fulfill Beyonce's slot as she could not do what Beyonce does. Beyonce, however, could do Rihanna in her sleep.

I do agree that this set of music would have been more interesting if she blended the sounds or fleshed out what Sasha really represents to her a little better. Because her heart is more with the Beyonce side of the disc.......yet, look what single took off: "Single Ladies". The public wants one Beyonce, while she may want to go deeper. When she combines the genres, lyrics and concepts together, she'll really take her career and image to another level.

So, while I agree with this review in that intergration is needed, I do not agree that Rihanna or anything else brought on Sasha. Sasha is something that came about because Beyonce has always been shy, but even as a kid she would come alive on stage. Sasha may seem silly, but what would you rather her call this thing, a "ham"? "I Am.....A Ham!"