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A Window Seat to History: Erykah Badu S Dealey Plaza Remix 26 Shelleen Greene McGarry, Kevin. "The New Queen Bee | Meet Nick! Minaj." The New York Times. The New York Times, 4 June 2009. Weh. 16 May 2013. Madonna. "Gimme All Your Luvin." Online Music Video. YouTube. YouTube, 2 Feb. 2012. Web. 1 June 2013. Miller, Monica. Slaves to Fashion: Black Dandyism and the Styling of Black Dia- sporic Identity. Durham: Duke UP, 2009. Print. Monae, Janeiie. "Tightrope." Dir. Wendy Morgan. Online Music Video, n.d. Web. 1 June 2013. A Window Seat to History: Erykah Nelson, Alondra. "Introduction: Future Texts." Social Text 71, 20.2 (Summer 2002): 1-15. Print. Badu s Dealey Plaza Remix Paglia, Camille. "Lady Gaga and the Death of Sex." The Sunday Times Maga• zine. News UK. 12 Sept. 2010. Web. 7 March 2011. Redmond, Shana L. "This Safer Space: Janelle Monae's 'Cold Wat.'" Journal of Vicki Callahan . Popular Music Studies. 23.4 (2011): 393-411. Print. Roberts, Dorothy. Fatal Invention: How Science, Politics, and Big Business Re• ^rom early works such as Andy Warhol's print series Flash: No- create Race in the Twenty-first Century. New York and London: The New I vember 22, 1963 and Jackie, Bruce Conner's short film Report Pre.ss, 2011. Print. (1967), Ant Farm's video/performance Media Burn (1975) to more Springer, Kimberly. "Third Wave Black Feminism?" Signs 27.4 (Summer F 2002): 1059-1082. Print. recent projects like the mainstream films JFK (Stone 1991), Interview —. "Madonna—Finally a Real Feminist." The New York Times. 14 Dec. 1990. with the Assassin (Burger, 2002), Parkland (Landesman, 2013), and the Web. 7 March 2011. videogame JFK Reloaded {video game 2004), the Kennedy assassination has proved to be a recurrent and resilient iconographic site of cultural exchange (Simon; Anderson). As Steve Anderson notes of the diverse explorations of the shooting from mainstream to alternative media and digital contexts, the result has been less one of "closure" and "certainty" as to the events of the killing, but rather of multiple and divergent pos• sibilities for the incident (34-36; 134—135). In many ways, the Kennedy assassination represents the ultimate intersection of the American twin fixations of media spectacle and violence and the numerous disparate representations have served both to critique and to fetishize these quali• ties. In this essay, I explore how the artist Erykah Badu transforms this iconic spectacle into an exemplary womanist performative turn with her controversial music video, "Window Seat" (2010), a work that I argue is consistent with her career's larger aesthetic and social practice. Badu's video is perhaps one of the most unlikely iterations of "Ken• nedy Death Art." At first glance, her video appears to operate as a cry for personal expression against narrow social conventions, which Badu's disrobing and closing commentary against "group think" seem to re• inforce. While this might be one way we should situate and how many have read the video, "Window Seat" is indicative of Badu's larger creative approach, which participates in a far more radical political commentary. 27 28 Vicki Callahan A Window Seat to History 29 Consistent with previous music, fashion, and imagery selected by the and black?" ans.: "Well, you know the colored race is just like a artist, Badu's "Window Seat" engages a strategy of remix, using known flower garden, with every color flower represented" (xi). historical materials to create an alternative African-American womanist Badu's counter vision, as Rana Emerson argues, declares an agency universe. and identity with black experience through a re-imagination of key cul• As Layli Phillips, Kerri Reddick-Morgan, and Dionne Patricia Ste• tural texts seen in her early music video On and On (from Baduizm, phens point out in the essay, "Oppositional Consciousness from an Op• 1997), which remixes Cinderella and The Color Purple and transforms a positional Realm: the Case of Feminism and Womanism in Rap and Cinderella/Gelie figure in the rural south from her farm and housework Hip Hop, 1976—2004," female artists have played a crucial and complex setting to a singer in an evening "juke joint." Tellingly, the transition role in a musical genre and culture that is often stereotypically viewed as from home to club is due to her own creativity and initiative, and not misogynistic and male centered. While Phillips, et al. note the empow• from a Prince Charming (Emerson 125). ering voices across an array of female artists in hip hop, female strength In the instance of "Window Seat," Badu's placement in Dealey Plaza and solidarity is frequently linked at the same time to an understanding and striking shift of gender and racial markers from the original refer• and alliance with black men, whose lives have been shaped by the domi• ent, underscored by her slow motion disrobing, situates the historical nant racialized ideology (272-273). The authors use Badu's early songs trauma as an ongoing memory for all Americans, across class, race and "Other Side of the Game" (1997) and "Danger"(2003) as illustrative of gender boundaries, rather than as a nostalgic look backwards at a rar• this social critique since in both cases the lyrics provide a portrait of a efied and segregated Camelot. In this way, Badu's "Window Seat," along black woman supporting a male partner who is on the wrong side of the with her larger and generally labeled "neo-soul" music/video catalogue, law. In both songs the woman, a young mother (or in "Other Side . ." can be placed within an Afro-futurist context. Here as Alondra Nelson a mother to be), does not judge but rather notes her partner's lack of op• has described, "future texts" are defined not so much by a projection tions (269, 270). This alliance across class, race, sex, and gender expands into a solely original and isolated future, but what Ishmael Reed has the cultural context of Badu (and many other female hip hop artists called a "synchronizing" of past, present, and future (Nelson, 8). Unlike as Phillips et al. detail) from the white privileged perspective of main• many futurist strategies, which strive to banish or leave behind the past stream feminism to the more thoroughgoing and radical womanist y'ltw (Nelson 7), Reed sees history as crucial to a reconfiguration of the pres• as defined by Alice Walker in her book In Search of Our Mothers' Gar• ent and future, a writing process he describes as "necromancy." As Reed dens. Given the discourse that has surrounded Badu's career and her own notes, "Necromancers used to lie in the guts of the dead or in the tombs artistic strategies, it is instructive to review in detail some of Walker's to receive visions of the future. That is the prophecy. The black writer description of what the term designates. Beyond her opening definition lies in the guts of old America, making readings about the future (qtd. of womanist as "black feminist or feminist of color" and "usually refer• in Nelson 7). ring to outrageous, audacious, courageous or willful hchavmr. Wanting to know more and in greater depth than is considered "good" tor one," Badu's musical and visual presence can be read then not as "retro" or Walker notes the terms designates: as the New York Times labeled it, "[an] appealingly eccentric neo-soul sex goddess/funky earth mama/black power revolutionary persona" (Ryzik), 2). Also: A woman who loves other women sexually and/or non- but as a deliberate and focused vision of the artist's stated desire to set out sexually. Appreciates and prefers women's culture, women's alternative models for female and black identity. As Erykah Badu herself , emotional flexibility (values tears as a natural counterbalance noted in a 2001 /er magazine interview: "I want to be a different example of laughter), and women's strength. Sometimes loves individual of what a Black woman is, what a Black person is. 1 wear my headwrap men, sexually and/or nonsexually. Committed to wholeness of because a headwrap is a crown, and 1 am a queen. A headwrap demands entire people male and female. Not a separatist, except periodi• a certain amount of respect—it just does, and 1 am always headwrapped" cally, for health. Traditionally universalist as in: "Mama, why (Waldron 63). Badu explicitly situates her life (e.g., her music and selec• are we brown pink and yellow and our cousins are white, beige. tion of her clothing) as distinctly within Black culture. Her objective 30 Vicki Callahan A Window Seat to History 31 from fashion to art is to be a positive and uplifting force for the com• "underground soul" vocalist and producer whose work is often politi• munity (Waldron, 63). Clarence Waldron notes that even the title of cally pointed, as co-writer and producer on "Out of Mind, Just in Time" her album, Mamas Gun, can be seen as a "weapon of empowerment" (Cowie). "Gone Baby, Don't Be Long" features Flying Lotus (Steven El• but with a positive focus for nurturing, or, here again we might add, as lison) the musician and producer, who works within the genre of experi• a womanist force (64). As Badu states: "My words and my music are my mental electronica music and is connected to a rich musical heritage that weapons of choice. And as you grow you need something to go out there includes John, Alice, and Ravi Coltrane as extended family (Ellison is in the world to protect you. I urge folks to use my music and my words the great nephew to John and Alice Coltrane). as they will, as they should, as they see Pit" (qtd.
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