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Drunk in Love feels symbolic of a distinct loosening up of Beyoncé’s expertly choreographed image. A song about the messy cocktail of alcohol and sex, its lyrics are filled with gleeful double entendres – “park it in my lot”, “ride it on my surfboard” – while its music is equal parts woozy and euphoric. As acoustic-guitar-driven, powerfully sung mainstream R&B power ballads go, If I Were a Boy is an impressively original example of type.
The fantasy of power that Hooks claims Beyoncé has also extends to her violence. The car smashing and window breaking Beyoncé does is also fantasy, a release of the anger welling up inside her mind. Her actions in the film itself are symbolic of the pain and healing through adultery, which Hooks ignores. The beauty of art is that it never amounts to just the summation of the products used in its creation.
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Run the World is essentially Major Lazer’s Pon De Floor with her vocal added, but she – to use The X Factor cliche – makes it her own, turning it from minimal dancefloor banger to fierce rallying cry. “You ain’t never seen a fire like the one imma cause,” warns Ring the Alarm’s protagonist to her cheating partner. The bursts of distortion on her vocals, and the potent backing of aggressive beats, morse code-like electronics and wailing sirens amplifies the impression her ex is going to rue the day he crossed her. The negative image of Crazy in Love, Me, Myself and I moves seamlessly from heartbroken to screw you – “come pick up your clothes” – to sing-it-with-me-girls empowerment over a super-cool G-funk-ish beat. And the vocal is spectacular – check out the improvisation panning between left and right speakers at 3min 36sec.
Father John Misty also said Beyoncé contacted him after she heard his song through Emile Haynie. She gave him the simple demo track and he ended up writing first verse and refrain. "Hold Up" is written in the key of C major in common time with a tempo of 84 beats per minute.
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For those who haven't been on the Internet in the past 48 hours, we're going to break it down for you. On Saturday night, Queen Bey dropped a visual album on HBO, which consisted of an hour of new videos and music, surrounding topics like infidelity -- and more specifically, her husband Jay Z's infidelity -- racial tension and politics. Besides the powerful lyrics and emotional rawness in the new album, there are also some pretty spectacular fashion moments -- specifically, the marigold Roberto Cavalli ruffled gown Bey wears as she smashes car windows and fire hydrants in "Hold Up." In the end, I see Beyoncé offering a revised model of rage that can be generative, and also inclusive and justice seeking, one that parallels the Black feminist view of “mothering.” Can we hold the lessons of daddys without being bound by them?
Her path ended in reunion, but many other women choose to leave—and either decision is ok. The album wasn’t to make the statement that if Beyoncé could leave her man than so could we, rather, it was a public moment of personal healing, and we can’t judge her for sharing these experiences with us. Watching or listening to Beyoncé's new album Lemonade this weekend, we're not exactly sure what you were doing. Prove to your coworkers you’ve got some coordination with this blazer or sheath dress below. Okay so you want to slay everyday, but you can’t rock a maxi dress everyday. Here are some casual tops that go great with any casual bottoms you have.
"Hold Up" was highly acclaimed by critics, who complimented Beyoncé's vocal performance as well as the lyrics and production. A demo of "Hold Up" – a simple track containing just a chorus – was first written and recorded by Diplo and Koenig in 2014. Koenig, the frontman of the indie rock band Vampire Weekend, was interested in Diplo's take on the opening of "Can't Get Used to Losing You" by Andy Williams and wrote a hook around it. The lyrics include an interpolation of the chorus of "Maps" by Yeah Yeah Yeahs that Koenig had tweeted three years prior.
I have gained strength by recent formulations of the revolutionary power of mothering ourselves. In her anthology Revolutionary Mothering, Alexis Pauline Gumbs is inspired by the Black feminist mothers before her, like Audre Lorde and June Jordan and Toni Cade Bambara, writer-activists whose vision extends beyond blood bonds, even beyond their deaths. These authors teach us that to mother is to bring care regardless of blood, reaching always outward, loving always with an eye to new possibilities—the transformation of our own hearts and of the world. I’d like to suggest that as we watch Beyoncé move first within her father’s framework of justice as retribution to something outside of that frame, beyond those past entanglements, justice is transformed. The visual imagery of “Daddy Lessons” inLemonadepresents its own angle on the outlaw, archetypal but with a different framework shaped by Black experiences of freedom, as well as gendered violence and experiences of surveillance.
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“Hold Up” is overflowing with artistic symbolism that Hooks ignores. Beyoncé’s dress isn’t figure flattering to cater to the male gaze—its direct homage to Yoruba Goddess Oshun. Her “golden garb” offsets the dull, blue-grey city streets, announcing that a man’s betrayal doesn’t dull her shine, doesn’t make her any less of the goddess she channels for empowerment. Check our collection of the best sexy evening dresses, and formal dresses inspired by Beyonce in 2020 and 2021 for your next event, including Beyonce white dress in 2019 NAACP Awards, Beyonce gold dress in Grammy, and Beyonce black dress in Oscar.
