Beyonce is having a bad week. She recently appeared on television and her “baby bump” appears to be just as fake as Sarah Palin’s before her. I guess Beyonce wanted to pretend she is as pregnant with her own child as is her surrogate in her stead?
Another real, bitter, scandal encapsulating Beyonce today is yet another accusation that she is stealing choreography from other performers. In my article — Beyonce Grave Robs Bob Fosse, published on March 9, 2009 — I laid out the plain and clear evidence that Beyonce outright stole Fosse’s choreography without attribution and only confessed her thievery on a television show after the fact when she was publicly entrapped by the visual recording of the dance she stole and repackaged as her “inspiration.”
Beyonce seemed to know she went too far directly lifting dance steps, camera movement, energy, invention, heart, mind, soul and spirit from “Mexican Breakfast” as she confesses in this interview. It’s especially damming she mentions YouTube because it was YouTube that caught her dancing on Bob Fosse’s grave.
Today, Beyonce has, once again, been accused of exactly the same thing: Stealing other people’s work and passing it off as her own invention:
Beyoncé is being accused by a Belgian choreographer of stealing dance moves and visual concepts for the music video for her new single, “Countdown.” “I’m not mad, but this is plagiarism,” Anne Teresa De Keersmaeker told Studio Brussel in an interview. “What’s rude about it is that they don’t even bother about hiding it.”
According to De Keersmaeker, Beyoncé and director Adria Petty lifted moves, costumes and staging from her 1983 piece “Rosas danst Rosas,” as well as elements from 1990’s “Achterland.” Beyoncé and Petty have not denied that De Keersmaeker’s work was an influence on the video, with Petty admitting in an interview with MTV that she brought the singer a number of modern dance videos while brainstorming ideas.
This certainly condemns and confirms Beyonce’s habit of action as one of an intentional thievery and not one of unfettered, but misunderstood, original creation — and the notion of faking her baby bump adds even more to the curious cruelty of the facts of her dis-embedded morality.
Beyonce does not deserve our adoration or courtesy — and we should vote with our wallets and our feet against her — leaving her in the dust behind us where she can drift away like ash in the wind to land in the depths of the past to soon be forgotten as the pale imitation that she is and always has been.