I have never until now, been a fan of Beyonce. And to be completely honest – popular as it is, her music does not appeal to me. My musical tastes run in other directions. However, on the accidental viewing of a recent video of Beyonce’s – I was pleased to discover that this entertainer, hugely popular with so many young women turns out to be an MRA. Not only is she clearly an advocate of men’s rights – she – or her producers – have been reading my articles posted on AVFM.

Who run the world. Girls!

Apparently, Miss Knowles hasn’t been drinking the feminist kool-aid which tells her she’s oppressed, and in fact – is sharply aware of not just her own social and economic power due to the success of her musical career, but of the social power all women hold, based entirely on their sex.

The video opens with a scene shot in a near-future desert landscape – Beyonce riding through the frame on horseback – denoting herself as royalty above the un-mounted dancers and extras in every other scene of the video. The terrain is littered with the debris of an urban distopia – its a mad-max future – and Beyonce’s character reminded me, on first viewing of Tina Turner in “Beyond Thunderdome”.

The depiction is of a distopian future after a societal collapse – Beyonce as Auntie Entity ruling in the warlord model of regional government.

The future distopia imagery escalates with an early shot of several dozen armoured riot police rushing past the camera at about 20 seconds into the video – the shot cuts to Beyonce triumphally raising her arms from atop a burned out car. Clearly, she’s read my piece called “Feminism is a Doctrine of violence” in which I stated:

Most of the violence promoted by, and enacted under the aegis of feminism is done on behalf of women, by proxy, at once or more removed from the instigator of the violence.

Women use the police as muscle to escalate a nonviolent disagreement to a violent altercation.

Beyonce’s imagery also appears to acknowledge my discussion of riot police and feminist enforcers in “Feminism is Merely a Tool”

The video next presents Beyonce flanked by armoured enforcers exiting a 1980’s model mercedes sedan. The intended feel is clearly tinpot-dictator-chic. Once deployed, Beyonce stands surrounded by a coterie of women, clad in matching pseudo-military club-attire. She and her exclusively female crew are extensively jewelled , and even have a lion – demonstrating conspicuous martial power and wealth.

The overstated jewellery sharpy contrasts the collection of men she stands facing.

The male dancers wear only black and gray, and by the facial expressions of the few male dancers shown in brief close up, the viewer is left in no doubt that the male dancers represent men disenfranchised through the use of force. Beyonce’s dance moves are unmistakeably expressive of undiluted power and the expression of will through brute force.

Her female cohort stand while pumping their fists straight up. In fact – while facing the drably attired collection of male dancers – she Beyonce performs a dance that cant be called anything except mocking – but even in a music video – she’s flanked by two male dancers who take positions on each side of her in front. Her disposable male protectors. It’s easy to see that these men are female-approved white knights – because they’re the only men in the video whose costumes include any colour or jewelry.

Who run the world. Girls.

Who run the world. Girls.

Who run the world. Girls.

Who run the world. Girls.

Some of them men think they freak this like we do.

but no they don’t

make your cheque come at they neck

disrespect us no they wont.”

At this point – we see Beyonce’s recognition of men as the producers of wealth and labour.

“Make your cheque come at they neck”. – These lyrics followed quickly by Beyonce shown taking the wallet out of a back-up-dancer’s pocket while he cannot stop her. This is not feminism’s message, it’s the reality MRAs have written of for years.

Beyonce then struts around shoving and physically overpowering several male dancers – while singing the lines:

“Boy I’m just playing

come here baby

hope you still like me

if you hate me.”

On which point the video depicts a riot control water-cannon – reminding the viewer that the female power she’s singing about is totalitarian and built on the use of force. A close up shows Beyonce clad in a metallic garment made from diamond-shaped gold scales – a combination of conspicuous wealth and physical might. The backdrop of burning cars continues to re-enforce a distopian, mad-max world in which women -represented by Beyonce control all remaining power and wealth.

“endless power

our love we can devour”

There is no subtlety in the video.

In the face of triumphal demonstration of absolute social, financial, and violent power, Beyonce reminds us that men, contrary to a sensible response to their own continued marginalization are still following a path of chivalry – male self sacrifice on behalf of women.

“You’ll do anything for me”

It appears that Beyonce grasps and agrees with every major argument made by the majority of MRAs.

The only point of divergence from a MRA position is that in recognition of the social, financial, and enforced totalitarian power of females – with the disenfranchisement and marginalization of men, is that rather then seeing increasing sexual apartheid as a problem, she’s smug.

Setting aside the pretence that Beyonce Knowles is an MRA, or has even heard of the men’s rights movement – this woman is an entertainer – a singer and dancer. She clearly understands the shape of our culture – and by looking at just one video of hers, we can see that what shes saying and what MRAs are saying are almost identical. The difference is that for Beyonce female supremacy and male disenfrachisement is a good thing.

To the feminists arguing the opposite case – can you fucking people finally admit youre not merely wrong…

…you are liars.