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Good article Beyoncé has been listed as one of the Music good articles under the good article criteria. If you can improve it further, please do so. If it no longer meets these criteria, you can reassess it.

Semi-protected edit request on 9 February 2015[edit]

Can't play any instruments and needs 4 writers to help her write one song. Unlike Beck, who writes all of his songs and can play 14 instruments. Keithk79 (talk) 23:26, 9 February 2015 (UTC)

Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format. —Nizolan (talk) 00:15, 10 February 2015 (UTC)

Semi-protected edit request on 13 February 2015[edit]

Beyonce is overrated so does not deserve to be called a legend on her wiki page

Rihannarobynfenty98 (talk) 14:01, 13 February 2015 (UTC)rihannarobynfenty98

X mark.svg Not done Please supply exact wording of what you wish to see changed. --Ebyabe talk - State of the Union ‖ 17:46, 13 February 2015 (UTC)

Semi-protected edit request on 2 March 2015[edit]

On a episode of Saturday Night Live they performed a sketch depicting Beyonce, Jay Z and Solange Knowles talking about an incident that happened on Monday May 5th. The three were seen in a security video where Solange Knowles became upset and attacked Jay Z. Maya Rudolph, Jay Pharoah, and, Sasheer Zamata were all part of the parody. Saturday Night Live takes their own spin on the incident and acts out the three celebrities apologies about the incident in a comedic manner.

[1] </ref>Maya Rudolph Returns to Saturday Night Live to Play Beyonce in Jay Z, Solange Knowles Elevator Sketch (2014, May 18). Retrieved March 2, 2015.</ref>


  1. ^ Beyonce Addresses Elevator Fight in Flawless Remix. (2014, August 3). Retrieved March 2, 2015.

Rachelhayward (talk) 06:20, 2 March 2015 (UTC)

Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format. — {{U|Technical 13}} (etc) 15:46, 2 March 2015 (UTC)

Semi-protected edit request on 17 April 2015[edit]

In the Politics section of Personal Life, I would like to append or merge the following:

Beyoncé’s recent claim of the feminist title has sparked range of discussions in academia and media about the adoption of feminism by celebrities and if Beyoncé specifically is a ‘true’ feminist. The main point of contention regarding whether or not scholars and other renowned feminists accept Beyoncé as a feminist is her often sexualized image which conforms to hegemonic ideals of beauty. Some believe that she cannot be a true feminist because her performances portray the current patriarchal ideal of beauty to young women which continues to oppress them. Alternatively, many believe that she has been doing feminist work for the majority of her music career and the merit of her contributions should not be based on how she chooses to express her sexuality. Before digging in to each of these arguments it is necessary to understand feminism in the context of current celebrity culture which has sparked unprecedented feminist discourse about what it means to be a feminist as a celebrity (Hamad & Taylor 124).

Recently, many well-known actresses and music artists have begun to take on or reject the title of feminist. This is mainly because there is dispute about what it actually means to be a feminist. Most agree that it is that feminism is the belief that women should have equal social, political, and economic rights as men, but not all agree what that should look like in practice. On this subject Hamad and Taylor commented that, “Intersections of feminism and contemporary celebrity culture are therefore myriad, complicated and contradictory. (125)” It is important to keep this fact in mind so as not to expect the same style of feminist work from scholars and music celebrities like Beyoncé.

Beyoncé’s feminist work is unique and powerful. If it wasn’t clear in her previous work, Beyoncé declared to the world that she was a feminist during the 2014 MTV Music Video Awards by appearing on stage as a silhouette with the word ‘FEMINIST’ in the background. Beyoncé has also used her music to spread the message of what feminism actually means by placing an excerpt of novelist Chimamanda Ngozi Adichie’s speech ‘We Should All Be Feminists’ in her song ***Flawless. She has also contributed to a number of campaigns that seek to educate and empower women leaders (Hamad & Taylor 125). Beyoncé even created an all-female band, The Sugar Mamas, so that more young women would be able to have role model musicians to look up to. In her prominent position as an artist Beyoncé has also been able to use her music videos as an elaboration of the feminist messages presented in her songs which have impacted millions.

The music videos for ***Flawless (2014) and Check On It (2005) represent two very different periods in Beyoncé’s career and both have very clear messages about feminism and how she feels as an artist. The music video for the song Check On It was shot as an advertisement for the Pink Panther movie released in 2006. The entire video was shot with walls of billowing pink satin with each of Beyoncé’s many outfits being pink as well. The outfits are widely separated by style and hue which include pastel ball gowns to a miniskirt and a crop top. With these many different roles Beyoncé is trying to convey different messages through each. One of the more “classy” looks she seems to more personally identify with while others comment on the how younger women are hypersexualized juxtaposed with the fact that the lyrics talk about receiving gratification from being desired (Durham 43). The ***Flawless music video is much more geared to making a clear statement for feminism. It presents Beyoncé as herself instead of playing a role and dancing amongst a crowd of people that don’t represent the ideals of beauty or fashion. There are several times throughout the video where Beyoncé dances provocatively, but not on or for anyone -- just for herself. Since Beyoncé upholds patriarchal ideals of beauty while trying to convey her message of feminism, a duality of ideals is created by her music videos. One where she is powerful and in control and the other where she is an object of desire by her viewers. In order to deal with this unique duality in Beyoncé’s work, Durham suggests that, “It may be necessary to disrupt discourses of class, dislodge femininity from compulsive heterosexuality, and disconnect Black female visibility from male erotic pleasure. (45) ” While it may be necessary to do this to correctly interpret Beyoncé’s music videos, the duality that exists currently is still what prevents some from seeing Beyoncé as a true feminist.

The reason Bell Hooks and others criticize Beyoncé for this duality is because it can be seen as a form of oppression which feminism is strongly against. In a discussion with other feminist scholars regarding Beyoncé’s TIME Magazine Cover, Bell Hooks calls Beyoncé a terrorist in terms of the impact that she has on young girls (Coker 1). Hooks based this argument on the grounds that Beyoncé did not have control over the final published image as it was a not a good representation of a woman as powerful, talented, and wealthy as Beyoncé. Hooks believes that Beyoncé should publicize her image in a counter-hegemonic fashion in addition to her current one so that her image is more visibly feminist. Foucault, Femininity, and the Modernization of Patriarchal Power by Sara Bartky outlines how Foucault’s models of societal conditioning can be applied to things like ideal patriarchal beauty. Bartky argues that over time women have become trained to want to achieve the ideal beauty of a society and are shamed in some fashion if they are not able to achieve that. Since Beyoncé has become a household name with an iconic body, her continued hegemonic image makes it very difficult, especially for feminist scholars, to decipher objectively whether or not Beyoncé maintains her current image due to societal conditioning (Bartky 65). Bartky concisely explains that, “Feminine movement, gesture, and posture must exhibit not only constriction, but grace and a certain eroticism restrained by modesty: all three.(67)” That’s a paradigm that Beyoncé’s performances still fit continue to model in certain instances, but that doesn’t necessarily make it a bad model to follow. Bell Hooks does not deny the work that Beyoncé has done for feminism, but recognizes that her body image has a very powerful effect on young minds.

There are also many that share the belief of scholar, Nathalie Weidhase in fact that the impact of Beyoncé’s feminist works should not criticized based on how she chooses to sexualize her body. Artist Annie Lennox’s reaction to Beyoncé’s MTV Music Video Awards performance was that it wasn’t truly feminist because she expressed her sexuality in her performance. This kind of critique becomes particularly problematic when one considers the historical (and ongoing) victimization and dehumanization of black women on the grounds of their perceived hypersexuality (Weidhase 128). Beyoncé dancing in a sexually suggestive manner to juxtapose Adichie’s speech in the background saying how girls are taught they cannot be sexual beings serves as a reclaiming of the black female body (Weidhase 129). The reason that older feminists are having trouble identifying with and accepting Beyoncé’s style of feminism is because it is uncharted territory.

Unlike most of celebrity feminism, the intersections between feminism and hip-hop are still largely debated since there seems to be a fair amount of contradictions between them. The most apparent of contradictions seems to be how ones sexuality is displayed as desired while not being oppressive. Bell Hooks made a very valid point about how young girls will continue to look to Beyoncé’s established image of hegemonic beauty for guidance. While this may be detrimental, it would also be detrimental to silence her sexuality for people who feel liberated by Beyoncé’s ability to be comfortable with her sexuality. One woman cannot be the face of feminism, but Beyoncé has done a great job at opening the gate.

The goal of this addition would be to present Beyoncé's brand of feminism and how it has forced scholars to consider what it means to be a feminist more critically. I am open to any suggested changes to increase cohesion within the article as a whole.

[1] [2] [3] [4] [5]

Tlilly3 (talk) 20:21, 17 April 2015 (UTC)

Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format. — {{U|Technical 13}} (etc) 02:08, 18 April 2015 (UTC)
@Tlilly3: You have a lot of great information and research here! Once you are autoconfirmed you can edit the page and add this information yourself. However, make sure you trim it significantly and only add what is the most notable in relation to her feminism in this section, as the text above is far too long to focus on just one sub-section. If it isn't already, you would also need to make sure it is in your own words and not copied from the sources, so as not to violate any copyright restrictions. ThirdWard (talk) 21:18, 22 April 2015 (UTC)
    • ^ Hamad, Hannah; Taylor, Anthea (12 February 2015). "Introduction: feminism and contemporary celebrity culture". Celebrity Studies 6 (1): 124–127. doi:10.1080/19392397.2015.1005382. 
    • ^ Weidhase, Nathalie (28 January 2015). "‘Beyoncé feminism’ and the contestation of the black feminist body". Celebrity Studies 6 (1): 128–131. doi:10.1080/19392397.2015.1005389. 
    • ^ Diamond, edited by Irene; Quinby, Lee (1988). Feminism & Foucault : reflections on resistance (1st ed. 1988, 4th repr. ed.). Boston: Northeastern University Press. ISBN 1555530338. 
    • ^ Coker, Hillary. "What Bell Hooks Really Means When She Calls Beyoncé a 'Terrorist'". Jezebel. Retrieved 04/17/2015.  Check date values in: |accessdate= (help)
    • ^ Durham, Aisha. "Check On It". Feminist Media Studies 12 (1).