In reply to RICHANDBLACK11.

“ BEYONCE is cliche of everything that has ever been disingenuous about the music business. A soulless Barbie Doll, with plastic doll parts, who was plucked off the streets of no where and put on–simply because the outfit was her size. In other words: commerce…created and puppet mastered by money grubbing music executives as a tool to co-opt what is currently popular for fast cash, and pandered to the dingiest of music listeners who are not discerning enough to care.

You have to give the label, the management, the A&R people, the songwriters, the producers, the directors and the thousand other magicians involved their credit for being savvy enough to outfit this garden-variety debutante with material and promotion to keep her afloat…but let’s be real, there is nothing ‘special’ or ‘unique’ about BEYONCE, herself. She has little talent, no personality or strong image, nor does she command the stage. Anyone could have been cast in the role BEYONCE plays; she just lucked out. For all intents and purposes, BEYONCE is akin to a can of Hormel Chili; basically a canned product with a label (and a ‘sell by’ date) on it.

The bottom line is that BEYONCE was not built to last and is very “replaceable.” This is why she does not take breaks, and repetitiously puts out a generic by-the-numbers pop album every year. Being that she has little ‘star power,’ in order to sustain her momentum she has to continually strike while the iron is hot, while employing a multitude of petty ‘stunts’ to get attention (tacky wigs, brothel attire, referencing her tumultuous relationship Chris Brown years later.) The moment she sits down to catch her breath, ten more record label assembled chippies will be thrown into the ring and the last two standing will be the next “BEYONCE .”

In 2013, no more do we need windup doll acts like BEYONCE getting on camera and posing like an androidian cast-off from America’s Next Top Model, while vapidly bleating over an empty dance track, hanging around longer than the fifteen minutes that is typically allotted for manufactured pop stars such as her. It’s just getting sad now, and the quality is dipping. Gone are the pseudo-interesting songs like “Umbrella,” now she is peddling random, monotonous dead air like “We Found Love.” The girl has run her course; at this point she is on autopilot and is fast becoming the equivalent of a skipping record.”