The series of screenshots below is from Rihanna and Eminem music video, “Tragedy”. The images are my shot and cut. I’ve been in fact thinking very seriously of Rihanna’s most recent clip of her SavageX video and photos to report here. The reason for my undo-thoughts on it was that the images may touch the terms and conditions set by Substack if I do not unfold elaborated opinions and views of mine. Especially if I insert those photos in the very beginning of the publication, this one. I would post them therefore toward the end or below the music video “Tragedy” itself. Yet, I may need to ask myself more whether SavageX photos, if reposted on my page, look too much of commercial ad., because it’s the commercial publicity for the SavageX product.
I’ve liked Rihanna for many reasons. One is her avant-garde manner of self-consciousness of her body, thus women’s. From her young women era to awesome exposure of her sexuality to pregnancy to motherhood to advanced stage of her sex (as a woman) in differentiated sexuality as if challenging men’s gaze. I love in fact her unique feminism with zero flavor of academic nor pseudo-intellectual lecture mode.
Besides, she is beautiful. Externally in her professionalism and business sense, internally in her life. The big draw-back for me is that she’s most likely not a fan of Trump. But, so what? I can’t help loving artists, regardless of their political affinities.
The beginning of the music video is marvelous. My cut-choice is not unfortunately the best kind. Nevertheless, you’ll get a sense from it, I hope, if you too like me, are fond of movie stills.
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Okay, there are stories behind or in front of scenes. I wonder. Am I expected to discuss on the controversies on the song? Some may point at the answer as to be affirmative. Others may suggests my responsibility as a publisher. Well, what to do (asking myself)? I’ll disappoint you, oh sorry. I decided not to get into these topics here. Though, just one thing. Rihanna recorded her song, “Love Without Tragedy / Mother Mary” in 2012.
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Below is a clip of Rihanna’s Savage X, issued on January 2025, just days after the Trump inauguration. The format seems to be that of Tik Tok. The clip is short and I chose this one for its seemingly least offensiveness even to those who can’t accept any kind of skin exposures of women to public eyes. I mean the least offensive (in general terms) among her other recent Savage X promotional photos and videos.
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In my humble opinion, Rihanna’s feline or wild sexual challenge with her utterly female body must be praised … well, by whom in particular? Of course by women!
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There is a moment at which one can become a fan of someone, immediately and literally, at that very moment, instantly with no thought or anything, as if hit by the thunder spirit of fan’s loving, hopping eagerness. Such was the case for me on Monday January 20 when watching the inauguration online. Carrie Underwood dealt the situation with no hesitation. Just she sang.
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Later, I did a modest search for her songs. I found my preference is on her live concerts. This song, “Church Bells” in live are available online by its different stage occasions. I picked this one for the relative lowkey setting with warm and enthusiastic audience’s reception. I myself love outdoor concerts in such setting and atmosphere. People’s folky vibes are also wonderful.
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When I saw this Vogue Philippines cover on my X new feed, I was stuck at first, because she is so impressive. Secondly, I was more surprised by knowing her age, 100 years old or older. Then, after this one-two punch as an initial set, I couldn’t believe the design covering her shoulders and arms were tattoos. She, Whang-Od, is the last carrier of the dying cultural heritage as an artist of bodies. The image below is a screenshot I made. The source is Vogue Philippines’ post on X in 2023. Below the image is a short film about her.
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With this artist of their last tattoo culture, let me finish this post of mine in which … well, what I tried? I tried to convey what I found in those three women who say of women, themselves, very differently, by their different arts in their different lives. Yes, they are different, especially Whang-Od in comparaison to Rihanna and Carrie Underwood. They’re nevertheless all women. They’re women speaking of women, themselves, by living in their lives.
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“Women-say” by Juliette Masch (1/25)