Beyoncé’s visual album, Lemonade, was released on 23 April, 2016 and while on the surface the music focuses on her marital issues with Jay-Z it has come to have a deeper meaning and contribution to the healing of Black soul wounds. One of the main messages of Lemonade is that there is not just one stereotypical version of family but rather many different forms that do not follow a stereotypical image. Lemonade portrays the betrayal of a Black woman by her spouse and by the society around her. It is this same black women that rises up and declares “enough is enough”. This is not necessarily directed at her spouse, but rather it is doing away with society's perceptions of Black beauty, identity, and, most importantly, is a means of spreading …show more content…
that she has once portrayed. Up until this point she has been notorious for being a private person and someone who closely regulates the images that are released to the public. It is in this moment that she is wearing a black hoodie with the hood over her head. The significance of this moment is not in the fact that she is undone but rather her close resemblance to Trayvon Martin. Martin was the Florida teen that was shot in cold blood by George Zimmerman, who was later acquitted of any wrongdoing. In wearing this black hoodie it is as if Beyoncé is saying, much like Barack Obama’s sentiments, “it could have been me”, “it could have been my child”. This black hoodie has come to represent all the negative stereotypies of young Black teenagers being nothing more than “thugs”. This first close up is what is attempting to destroy this perception and is attempting to set the tone for her whole …show more content…
Take for example the image of Beyoncé at the beginning of “Hold Up” in which Beyoncé is exiting a building surrounded by water. Once she exits the building she is dressed in a bright yellow dress wearing gold jewelry. The significance of this portrayal is the resemblance she has to the Yoruba deity Oshun who is the Orisha of womanhood and healing. Oshun is as one of the most oppressed and abused Orishas within the Yoruba religion similar to the way that Black women have come to be one of the most oppressed and criticized individuals. At times, when seeking justice from those that have caused her pain, she is very unpredictable in her emotions and actions. This is similar to the way in which Beyoncé spends most of this portion of the visual album smashing and destroying cars while laughing and smiling at the same time. The water that surrounds Beyoncé is also significant for the fact that Oshun is the creator of all fresh waters. Oshun is the orisha described as a healer and has come to represent change and prosperity. It is for this reason that the depiction of Oshun in this visual album is no coincidence because everything that this deity represents is the message that Lemonade is meant to represent. This leads into a discussion of the album’s inclusion of the sacred art of the Ori which is the Yoruba body art using in “Sorry”.
... song entitled “Formation”. The filming took place in Los Angeles, but features references to Hurricane Katrina, with Beyoncé on top of a police car in a flooded street and later cuts to a man holding a newspaper with Martin Luther King Jr.’s face on it with the title “The Truth”. Later a young hooded boy dances in front of a line of police officers with their hands up before the video cuts to a graffitied wall with the words “stop shooting us “ tagged on it, at the end of the video the police car sunk with her on top. Not only did this song, bring awareness to the 10th anniversary of hurricane Katrina it also brought awareness to police brutality, racism, and the “black lives matter movement”. I stand with Lil Wayne, Beyoncé, the people of New Orleans and the countless others who are pushing for a change in the way minorities and the lower class citizen are treated.
On the night of December 13, 2013 Beyoncé, released her fifth self-titled album on ITunes. The album caught many people by surprise because Beyoncé did not set a date for the album, nor did she use any promotion; she did release a video on her Instagram asking her followers if they “were ready”. The buzz spread through social media like a wild fire. With no promotion or no warning, Beyoncé album took the world by storm and made it for her audience and critics to take in the album and it contents. Many people loved the album for not only its catchy songs, but also the growth and “looser” conservative Beyoncé. On the other hand many people did not feel that her album was growth, but a way to catch up to the overly sexual generation. Beyoncé has always been aware of her sexual side, pop side, and feminist side; this has been documented through her four previous albums. Yet, a lot of people have questioned if Beyoncé a feminist because of the content of her newest album. In order to answer that a person must ask him or her self; what is a feminist, why some people believe she is feminist, why others do not believe she feminist, and whether or not Beyoncé think she is a feminist.
RaStereotyping is a way of thinking about groups of people. It ignores the differences of the group, while emphasizing its similarity. One belief, that is a stereotype, is that red-haired people are hot tempered. Another belief is that Scottish people are stingy. Such thinking ignores many even-tempered redheads and generous Scottish people. Stereotyping emphasizes many differences between groups while ignoring their similarities to other people. It ignores that many blond and brown-haired people also lose their tempers. Stereotyping overlooks the fact that many American, Brazilians and French people are stingy.
Cox’s work is exactly the type of discussion that is needed to move the discourse on black women’s bodies from being regarded as part of a stereotype to being regarded as individuals with beautiful differences. This is not a ‘re-mirroring’ of the ‘un-mirrored,’ but rather a creation of a new image, void of previous misconceptions but filled with individuality. The stereotypes concerning black women’s bodies needs to be abolished, not reinvented like Hobson suggests in “Venus in the Dark: Blackness and Beauty in Popular Culture.”
"29 n The Color Purple: Black Women as Cultural Readers." Cultural theory and popular culture: A reader (1997): 310.
On Being Young-A Woman-and Colored an essay by Marita Bonner addresses what it means to be black women in a world of white privilege. Bonner reflects about a time when she was younger, how simple her life was, but as she grows older she is forced to work hard to live a life better than those around her. Ultimately, she is a woman living with the roles that women of all colors have been constrained to. Critics, within the last 20 years, believe that Marita Bonners’ essay primarily focuses on the double consciousness ; while others believe that she is focusing on gender , class , “economic hardships, and discrimination” . I argue that Bonner is writing her essay about the historical context of oppression forcing women into intersectional oppression by explaining the naturality of racial discrimination between black and white, how time and money equate to the American Dream, and lastly how gender discrimination silences women, specifically black women.
Taylor Swift’s Shake it off video contains elements of cultural appropriation that exhibit stereotypical tropes which have been used to define African American women and, in particular, their sexuality for years. The video perpetuates the negative stereotypes that have placed Black women on the opposite side of respect for centuries. The video involves White women twerking in a way that conforms to the male gaze, for profitable success. Twerking involves thrusting hip movements, low squatting stance, and shaking of the derriere. White women are able to perform the twerk without being socialized as hyper-sexual, whereas Black women are. Hence, the different conceptions of White and Black womanhood. The inability for Black women to escape their skin color is the one of the many reasons they are ridiculed. Their skin color assigned them to the category that defines them as unholy, dirty, and promiscuous White women have the ability to hide behind their skin color, which classifies them as pure, and innocent in society eyes. The cultural appropriation of twerking is an exercise of White women’s privilege. Black women are judged harshly for
Circumstances; they rule our lives. One has if not no control, then VERY little control, over their actions when they are placed in harsh circumstances. It is very difficult to break through your surroundings, to beat everyone around you.
As it opens with imagery reminiscent of the aftermath of Hurricane Katrina in New Orleans, an event that devastated the black communities in the areas affected. The delayed assistance in New Orleans by the U.S. government stirred some controversy that led many to question how much America really cares about its black communities. Nonetheless, Beyoncé’s video is full of imagery that is associated with black culture, including historical references to black communities in the south. But what is really important about “Formation” are the lyrics. With lyrics like “My daddy Alabama, Momma Louisiana, You mix that negro with that Creole make a Texas Bama” and “I like my baby hair with baby hair and afros, I like my negro nose with Jackson Five nostrils,” Beyoncé is undoubtedly declaring her pride for her blackness as well as defending her child Blue Ivy who has always been scrutinized for the way her hair looked. Thus, this song is obviously geared toward the Black community which is obvious due to the lyrics and the imagery in the music video. To put it plainly, this song is a proclamation of Black pride and shouldn’t be thought of in any other way. However, after performing it at the Super Bowl people of other ethnicities became aware of the song and became offended by her performance as well as the lyrics. Controversy arose as people pointed out her backup dancers were dressed similarly to the Black Panther
In his essay, “On Being Black and Middle Class” (1988), writer and middle-class black American, Shelby Steele adopts a concerned tone in order to argue that because of the social conflicts that arise pertaining to black heritage and middle class wealth, individuals that fit under both of these statuses are ostracized. Steele proposes that the solution to this ostracization is for people to individualize themselves, and to ‘“move beyond the victim-focused black identity” (611). Steele supports his assertion by using evidence from his own life and incorporating social patterns to his text. To reach his intended audience of middle-class, black people, Steele’s utilizes casual yet, imperative diction.
Without details, the words on a page would just simply be words, instead of gateways to a different time or place. Details help promote these obstacles, but the use of tone helps pull in personal feelings to the text, further helping develop the point of view. Point of view is developed through the story through descriptive details and tone, giving the reader insight to the lives of each author and personal experiences they work through and overcome. Issa Rae’s “The Struggle” fully emplefies the theme of misplaced expectations placed on African Americans, but includes a far more contemporary analysis than Staples. Rae grapples as a young African-American woman that also struggles to prove her “blackness” and herself to society’s standards, “I feel obligated to write about race...I slip in and out of my black consciousness...sometimes I’m so deep in my anger….I can’t see anything outside of my lens of race” (Rae, 174). The delicate balance between conformity and non-conformity in society is a battle fought daily, yet Rae maintains an upbeat, empowering solution, to find the strength to accept yourself before looking for society’s approval and to be happy in your own skin. With a conversational, authoritative, humorous, confident and self-deprecating tone, Rae explains “For the majority of my life, I cared too much about my blackness was perceived, but now?... I couldn’t care less. Call it maturation or denial or self-hatred- I give no f%^&s.” (Rae 176), and taking the point of view that you need to stand up to racism, and be who you want to be not who others want you to be by accepting yourself for who you are. Rae discusses strength and empowerment in her point of view so the tone is centered around that. Her details all contribute to the perspectives as well as describing specific examples of racism she has encountered and how she has learned from those
In our society of today, there are many images that are portrayed through media and through personal experience that speak to the issues of black motherhood, marriage and the black family. Wherever one turns, there is the image of the black woman in the projects and very rarely the image of successful black women. Even when these positive images are portrayed, it is almost in a manner that speaks to the supposed inferiority of black women. Women, black women in particular, are placed into a society that marginalizes and controls many of the aspects of a black woman’s life. As a result, many black women do not see a source of opportunity, a way to escape the drudgery of their everyday existence. For example, if we were to ask black mother’s if they would change their situation if it became possible for them to do so, many would change, but others would say that it is not possible; This answer would be the result of living in a society that has conditioned black women to accept their lots in lives instead of fighting against the system of white and male dominated supremacy. In Ann Petry’s The Street, we are given a view of a black mother who is struggling to escape what the street symbolizes. In the end though, she becomes captive to the very thing she wishes to escape. Petry presents black motherhood, marriage and the black family as things that are marginalized according to the society in which they take place.
Elsa Barkley Brown focuses on the intersectionality of being a black woman in America, in “What Has Happened Here?”. Black women experience different forms of oppression simultaneously. Indeed, racism, sexism, classism, as well as heterosexism, intertwine and form layers of oppression.
For example, the essay discusses the problem of there not being enough eligible Black men attending college (Henry, West, & Jackson 245). The definition of eligible could be interpreted as attending college and on a path to some sort of success. Because there is a shortage of eligible young men “Black females believe that they must succumb to the whims and pleasures of men in order to find a mate” because this is the image being shown to them when young ladies in hip hop videos do seductive things in order to gain the attention of the a male (Henry, West, & Jackson 245). One of the most terrible effects is that the music destroys black women 's self perception making it hard for young Black women to “ exhibit personal pride” (Henry, West, & Jackson 245).
In 2013, the self-titled visual album BEYONCÉ sold almost eight hundred thirty thousand digitally in the first three days, while her sixth number one and second visual album, Lemonade, only sold four hundred ninety thousand digitally in the first week. Although Beyoncé’s second visual album wasn’t numerically successful, both show a vulnerable, an artistic, and a controversial side of Beyoncé. Both albums have surprising visuals and stunning lyrical content with either an obvious meaning or a meaning we have yet to figure out, such as the famous line, “You better call Becky with the good hair.” (Beyoncé, “Sorry”). BEYONCÉ and Lemonade show that Beyoncé tries to better herself as an artist and make herself more vulnerable.