I am not Beyoncé’s audience

Recognizing perspective is central to music criticism

Jamie Halper

“Lemonade,” Beyoncé’s new album, wasn’t written for me. Sure, it speaks of female empowerment, something with which I connect deeply, and of course, the music itself is exceptional, but I am not the audience for whom it is meant.

In the song “Formation,” Beyoncé speaks of her roots and her pride in her black heritage. As a white person, I can appreciate her message, but I don’t get to call it “my jam.” Her words were written for those who share her racial background and experiences that I, with my inherent white privilege, cannot begin to understand.

To call her music “my music” would be to misunderstand the core of her message. The relationship I hold with Beyoncé’s work is limited by my background, and I accept that. I can love or hate the music all I want, but offering criticism of it is, quite frankly, far beyond my qualifications. Only those for whom this music is meant have any right to offer criticisms of it.

Without having experienced what she sings about, I cannot pretend to offer a perspective on if her music accomplishes her goals, or if it provides an accurate artistic representation of the topics she discusses. To claim the right to criticize her music, and specifically this album, would be to take away its value as a declaration of power, independence and self-love for women of color.

I experienced this similarly with Chance the Rapper’s most recent release, “Coloring Book.” After first listening to the album, I failed to connect with the more gospel-minded songs it includes. My first instinct was the criticize the music’s inability to connect with a wide audience because that style isn’t relatable for all. However, I quickly came to the realization that of course I had no connection with that music — it was never meant for me.

I am white and Jewish. To be critical of a song featuring gospel music because it means nothing to me is to assume that the world revolves around fulfilling my interests. To be critical of the expression of pain that I will never know is to assume that as a white woman anything that is not my experience is not valid and legitimate.

This narrow-minded perspective perpetuates the very ideals this music seeks to call out and destroy, and I refuse to subscribe to it any longer. I can love this music and I can hate this music, but to criticize something I cannot understand because it was never made for me is unacceptable, and I aim to never do so again.