![]() We are, therefore, at something of an impasse when it comes to approaching his band’s music through the prism of his private life, since any attempt to form a conception of Swans’ 14th album in terms of his concrete existence is confounded by the uncertainty and equivocation surrounding the moral worth of this existence. This isn’t simply because, unlike Beyoncé, Gira hasn’t made a career on the back of an image that would be bluntly contradicted by his alleged evil, but because this evil is indeed still alleged. That said, when it comes to Michael Gira and the accusation he faced in February of raping fellow musician Larkin Grimm, the case isn’t so clear-cut. In Beyoncé’s case, this isn’t perhaps a difficult question to answer, if only because Bey had already brought politics and ethics into her work by using a narrative of (female/black) manumission to brand and sell it. Given that we’d joined the rest of the Free World in praising her latest album to the hilt, this news caused something of a stir in our “office,” re-confronting us with the age-old question of whether we can or should divorce ourselves from the political and ethical ramifications of an artist’s life when appreciating their art. ![]() Tiny Mix Tapes was thrown into something of a behind-the-scenes tizzy last month when it emerged that Beyoncé, that unimpeachable icon of feminine empowerment and liberation, was reportedly making more than a few bucks out of female sweatshop labor in Sri Lanka.
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