![]() ![]() Sure, a handful of credible left-leaning critics rightly accused a rarely subtle artist of playing it safe, while others cringed at her repetition of well-intentioned but offensive lyrics that refer to Asian people as “Orient” and Latina heritage as “Chola descent,” in a rather inelegant rhyme. ![]() Beyoncé didn’t even have to speak to set off a Fox News temper tantrum at last year’s Super Bowl Halftime Show she only had to perform a song that praised her “Negro nose,” flanked by a crew of black, female dancers in Black Panther-style berets. These days, it’s grown difficult to say much of anything (or say nothing, in Taylor Swift’s case) in the public sphere without pissing off either the right or the left. Many of 2016’s best (and best-selling) albums explicitly celebrated identities that diverge from the straight, white, Christian, male minority to which our new president’s so-called populism appeals. But American pop culture has, in the past several years, become more politicized than it had been since the civil rights and anti-war struggles of the 1960s. One of pop music’s greatest powers is its ability to unite broad swathes of a public that can’t agree on much of anything-usually under the umbrella of vague, universal emotions like love, ecstasy, and melancholy. ![]() This content can also be viewed on the site it originates from.
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