Frequently Wrong Piers Morgan Is Unsurprisingly Wrong About Beyoncé | Gradient

Frequently Wrong Piers Morgan Is Unsurprisingly Wrong About Beyoncé


Piers Morgan is wrong. To those who have followed his bicycle-careening-down-a-busy-freeway of a career, this will come as no surprise. Morgan has been wrong about a great many things. Rarely have someone’s incorrect opinions been so nearly the sum total of their career, but such is Morgan’s sad fate.

What is Piers Morgan wrong about today? Beyoncé. In a rambling essay on The Daily Mail, Morgan waxes about a day he spent with Beyoncé years ago that does sound like a good time — tea and scones in England! But, Morgan believes snacking with Beyoncé made him an expert on being a pop star, being a black pop star and being a black pop star who is a woman. And, Beyoncé? Piers Morgan has had just about enough of you singing about being a black woman.

I have to be honest, I preferred the old Beyoncé. The less inflammatory, agitating one. The one who didn’t use grieving mothers to shift records and further fill her already massively enriched purse. The one who didn’t play the race card so deliberately and to my mind, unnecessarily. The one who wanted to be judged on her stupendous talent not her skin color, and wanted us all to do the same.

Piers Morgan is referring to Lemonade, Beyoncé’s spectacular, vulnerable, empowering, woke AF “visual album” that represents a quantum leap forward for pop music—or, if you ask Morgan, represents Beyoncé wanting to be judged on her skin color.

Notably, Morgan does not go into why he wishes Beyoncé would stop playing “the race card” or what about it makes him “nervous” as his headline implies. He details some of her latest moves (the “Formation” video and its Super Bowl performance; showing the mothers of slain black teenagers Trayvon Martin and Mike Brown in her videos) and then abruptly explains how the Beyoncé he interviewed five years ago was less politically conscious. Not only that, Morgan thought she seemed of the mind that racism was improving in the United States. This was a safer Beyoncé to Piers Morgan — a black person with a view of race that did not make his whiteness squeamish — and Piers Morgan misses this Beyoncé like hell.

The responses to Morgan’s skittery cry for Beyoncé to stop being a black woman have been mostly negative, a fact which Morgan may have expected all along. To most detractors, Morgan just preened his feathers and reminded them that, hello, he actually met Beyonce, so he’s allowed to tell her what she should and shouldn’t do.

Perhaps the only excuse worse than “I have a ‘black friend’ so I can’t be racist” is using ” I once got paid an unseemly amount of money to interview a black person as part of a contractual job I was fired from shortly thereafter so I can’t be racist.”

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Welcome to Episode IV. This week, Dan spends some time with his favorite singer/songwriter, Matthew Perryman Jones. Matthew and Dan talk about panic attacks, growing up in Atlanta, the way music is informed by pain and suffering and the way music gives freedom.

If you have spent any time watching television in the last decade you have most likely heard one of Mattew’s songs on shows like Grey’s Anatomy, Pretty Little Liars, One Tree Hill and many others. His insightful writing and voice have drawn comparisons to Leonard Cohen and Jeff Buckley, and he is on the short list of songwriters who skillfully weave the deeply philosophical and the vivid utterly human without ever losing sight of either.

To get his new album Cold Answer, (which features the three songs from him you heard on this episode), visit

Subscribe on iTunes.

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Subscribe on iTunes and Stitcher.

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