Beyoncé

At Work, On Screen, and Online

Martin Iddon, Melanie L. Marshall, Martin Iddon, Melanie L. Marshall

• Publisher: Indiana University Press
• Year: 2020
• ISBN:
  9780253052865
• Topic: Médias et arts de la scène
• Subtopic: Musique

A collection of writings examining the multitalented star's significance to music, culture, and society. Who runs the world? The Beyhive knows. From the Destiny's Child 2001 hit single "Survivor"to her 2019 jam "7/11, " Beyoncé Knowles-Carter has confronted dominant issues around the world. Because her image is linked with debates on race, sexuality, and female empowerment, she has become a central figure in pop music and pop culture. Beyoncé At Work, On Screen, and Online explores her work as a singer, activist, and artist by taking a deep dive into her songs, videos, and performances, as well as responses from her fans. Contributors look at Beyoncé's entire body of work to examine her status as a canonical figure in modern music and do not shy away from questioning scandals or weighing her social contributions against the evolution of feminism, critical race theory, authenticity, and more. Full of examples from throughout Beyoncé's career, this volume presents listening as a political undertaking that generates meaning and creates community. Beyoncé contends that because of her willingness to address societal issues within her career, Beyoncé has become an important touchstone for an entire generation?all in a day's work for Queen Bey. "Iddon and Marshall's Beyoncé is poised to expand critical conversations about the biggest and most influential pop star of the 21st century." —Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910

INDEX

Adele, 50

Adichie, Chimamanda Ngozi, 11, 93, 94–95, 101–4, 105–6, 109, 111n35

Agafonoff, Nick, 232

aggressive femme persona, 143–47

“Aggressives, The” (2005), 144

Ahmed, Sara, 6, 7

albums: iconography of, 45; number of songs considered for, 53, 64n44

Alexander, Elizabeth, 35

Alexandra, Rae, 94

“All I Could Do Is Cry” (2008), 122

allographic vs. autographic art, 193

Amanfu, Ruby, 56–57

Amissah, Kojo, 211

“Amor Gitano” (“Gypsy Love”) (Carmen: A Hip Hopera, 2001), 157, 170–71, 172

Anderson, Sam, 234

André, Naomi, 162–64

antipolice sentiments, 5

appropriation, creative, 43–44, 179–80. See also borrowing

Archive Effect, The (Baron), 102

“Are You My Woman (Tell Me So)” (Chi-Lites), 3, 9

artistic theft, 179–80. See also borrowing

artists, core discourses of, 160–61

Arzumanova, Inna, 116

“At Last” (2008), 115, 122, 123–25, 126–28

attention to detail, Beyoncé’s, 23–24

audiovisual performance artist, Beyoncé as, 198, 211, 214

Austerlitz, Saul, 50

“authentically” black music, 47–48

authorship: Beyoncé as coauthor, 59–60, 61; Beyoncé’s process of, 50–60; of choreography, 13, 186–89, 192; collaboration in, 40–41, 54, 57, 61, 72; and copyright, 43, 44–45, 52, 57–59, 60, 61, 64n39; and critical reception of black music, 47–50; and “Don’t Hurt Yourself,” 56–59; and gender differences in critical reception, 43; and “Hold Up,” 42, 52–56; and Led Zeppelin’s “Dazed and Confused,” 45–47; and mixing music in recording studios, 56; problem of, in popular music, 43–45; and royalties for radio play, 64n39; and sampling, 41, 45, 57–59, 107–8; and singer-songwriters, 43, 49–50; and songwriting credits, 51; and “write a word, get a third” practice, 51, 52, 61. See also borrowing; collagist creative practice

Avdeeff, Melissa, 12, 13, 226–50

“Ave Maria” (2008), 79–82, 82, 84, 96

Bach, Johann Sabastian, 60, ...

Table of contents

• Cover
• Title Page
• Copyright
• Contents
• Introduction
• I. Beyoncé at Work, Making Beyoncé
• II. Beyoncé on Screen, Reading Beyoncé
• III. Beyoncé Online, Re-presenting Beyoncé
• Index