Make me wanna holler: Meshell Ndegeocello, Black queer aesthetics, and feminist critiques

This article examines the music and performance of Meshell Ndegeocello, arguing that they are part of a cross-Atlantic conversation that pushes the boundaries of Black feminist thought on masculinity and desire. From the time of her debut album in 1993, Ndegeocello has resisted categorization both in her public personae and in her music. Ndegeocello's refusal to be restricted in her stage performance and in her musical expression has created a rich text through which to read Black female masculinity. Her work has been particularly productive in rethinking (Black) feminist couplings of patriarchy with male anatomy. Ndegeocello's music challenges any one representation of female masculinity, mixing critiques of masculine privilege and violence with celebrations of pleasure and pansexual desire.