#the lyrics in the background are from the crows trial

[azmodeusjay]

Not sure how i feel about this

[binwoo-knock-24]

A.C.E Favourite Boys (도깨비) K-pop theory

Album: HZJM: The Butterfly Fantasy

This took really long so please enjoy. I'm attempting to write one for higher because I think there two definitely have a clear link.

Mythological Background

The Korean title for Favourite Boys (I use British English and spell favourite with ou) is Dokkaebi {도깨비}, which roughly translates to Goblin. Korean folklore states that a Dokkaebi is an old spirit that takes form after possessing an inanimate object that has been previously stained with blood. Dokkaebi have always been portrayed as fear-inducing and powerful beings. They are the defenders against evil spirits and are capable of helping but some could also be the cause of the evil.

Symbolism in the concept photos

Junhee and Yuchan are underwater for their unit concept photos. They are connected by a red string of fate so it seems that they are meant to have met or a destined to be together (not in the romantic relationship sense). And that's why they are the only ones underwater and that has a meaning behind it that I will explain later on. The red string doesn't only appear in the concept photos but also the music video and I've also seen something resembling it in some stages. Junhee is wearing a blue hanbok (traditional Korean clothing) and Yuchan is wearing a red one. In the Korean dynasty blue was typically the colour used in maidens clothes and palace vessels. A brides dress and the thread decorations hind during marriages were also red and blue in colour.

Analysis of symbols

This comeback is, as I mentioned, heavily inspired by Korean folklore from the red string to the myth of Habaek and Haemosu (expanded on later). Butterflies (what's the album name again?) Have been used in a.c.es MVs very often and their meaning is leading a long life full of luck. They could be expressing their with to lead such a life or wishing us choices such a life. Each member also has symbolism in this mv.

Kim Byeongkwan

Byeongkwan is seen to be wearing two outfits in the mv. One is white in colour, associated with good mostly, and one in red, associated mostly with evil. Those two colours could be a reference to the duality of the Dokkaebi He is made to seem to have shape-shifting abilities which can be seen from the hair accessory behind his ear making it look like his ear was changing into a wing shape when the scene with his face starting to glow happens.

Lee Donghun

Rivers in folklore are viewed as a border between life and death, reflecting human perceptions of the divide between the human world and the world of the gods. Donghun seems to be sitting and walking around in front of the prop that looks like the flowing river.

He also seems to take on the role of a grim reaper, Jeoseung saja {저승 사자} in Korean. Grim reapers are most often portrayed as a person wearing black clothing and a traditional gat hat. This could also link to the belief about the river. Since grim reapers are known as the ones that takes souls to the afterlife, the Donghun that was sat in front of the river looking prop was a human that was waiting to get a visit from the grim reaper.

Kim Sehyoon

Sehyoon takes on the role of a shaman, which is given away by the prayer beads that he has. Shamans use trance inducing using techniques and an altered state of mind, kind of like hypnosis, to interact with the spirit world. Both of his outfits for his solo shots seem to be modernised versions of traditional shaman clothing. Laid back in a chair and shrouded in smoke, he gives off the impression of being in an altered state of mind. In my opinion, he could be trying to communicate with the now dead Donghun.

Kang Yuchan

I have two theories for Chan and Jin so we will go through them separately. In the music video we see a beautiful picture that depicts the Ilwol Obongdo, which is the traditional symbol of couriers kings. It is made up of the sun, the moon, 5 mountains, pine trees and waterfalls. When the king sat in front of it the positioning of the components showed that he was in the centre of it all. Yuchan wear's something that resembles a gonryongpo which is a Korean kings everyday outfit. Red is a colour that is reserved for the king while his first son, the crown prints, wore blue. Hear Chan depicts a king.

Park Junhee

Junhee and Yuchan have a much more important role in the second theory then being a king (Chan) and the crown prince (Junhee) which I will go through in the minute. Since Junhee is dressed in blue in the underwater concept photos, it makes me think that he is king Yuchans first son, making him the crown prince. Now this was a bit vague because I don't see how it would fit in the music video exactly but it's a theory. Now on to the second more interesting theory.

Habaek and Haemosu

After reading a ton of Korean myths and tales, I came to the conclusion that a large part of the music video is a retelling of the tale of Habaek and Haemosu. Habaek is the Korean river god while Haemosu is the Korean sun god. The tale states that Haemosu fell in love with one of Habaeks daughters and wanted to marry her. In order for Habaek to approve, Haemosu had to go through 3 trials against Habaek himself. The trials included shapeshifting into water common land and air creatures to prove himself worthy of Habaeks daughters hand.

BYEONGKWAN as the air creature

Before I moved to the main two characters, let me go through how the other three members also seem to fit in with the theory. Byeongkwan, I believe, is the embodiment of the air creature trial. When his ear changes shape it seems to resemble something like a wing as I mentioned before.

DONGHUN as the water creature

Because a lot of Donghun scenes are centred around The River, I think that he is the embodiment of the water creature trial.

SEHYOON as the land creature

Because in a few of his soloshot he is surrounded by trees and stuff that resemble land, I believe that he is the embodiment of the land creature trial. Also the general shrouded in mist concept of his solo shots just gives off land vibes.

YUCHAN as Haemosu

Yuchan seems to embody Haemosu, the Korean sun god. Haemosu is usually depicted as wearing a giant head dress made out of crows feathers. According to folktales a giant chrome managed to steal the sun so you had to kill it and bring it back. The whole vibe that Yuchan chosen this music video is very goodly and the red colour could be associated with the son. He has a few solo scenes and which he seems to be showing his skills as he would in the battle. And that could link to the three trials.

JUNHEE as Habaek

It would only make sense for Jun to embody the river god. The colour of his concept photo dressing. The proper behind him on his solo shoots also seems to depict a Riverside. His concert photos are taken under water full stop and in the concept photos it can be seen that Chan is closer to the surface of the water which could mean that he went to ask the river god for his daughter's hand in marriage. In the music video in his solo scenes, Junhee also seems to be showing of his abilities like in the battle which also could link to the three trials.

The last chorus scene

The background of the last chorus dancing shows a thunderstorm going on behind the members. And many old mates from many cultures, thunderstorms are a sign of god's wrath and anger. This could be linked to the battle that the two gods were undergoing. The lyrics of the song as well as multiple choreography movement also portrayed fighting as a theme.

A/N: god this took so long to write up. I had it all in note for on paper and hd to make sense of the notes and all. Also I didn't want to post this before but I believe that the new comeback could be linked to Goblin in the way that because of all the water concept photos and now underwater concepts and the whole siren theme, it could be that they are showing the water trial that Habaek and Haemosu took part in.

[courage-a-word-of-justice]

Deca-Dence 4 | Maou-jou 2 | Fruits Basket 2 24 (49) | Magatsu 1 | IWGP 2 | Koi to Producer 11 - 12 (FINAL) | HypMic 3

Still chugging away at these summer and spring anime...sorry for the delay...(LOL, that rhymed without me meaning to.)

Also, I’ve been on the fence about whether to keep Golden Kamuy, since almost no one I read the reviews of follows it now and it’s a week’s wait (when accounting for my AniList challenge)...so I’m putting it on pause so I don’t have to suffer later.

Deca-Dence 4

“…who possesses the will to fight.”

…Great. Kurenai is absolutely tethered to Kaburagi in a one-sided love. Just when I thought Natsume had an independent role model to look up to.

Maou-jou 2

Oh, this is from Shonen Sunday? Didn’t know that until now.

“Demon Shroud: A demon with 99 clans. A cloth demon that puts on airs that it won’t be used before it’s finished off, due to its wonderful fabric. It is full of beautiful ghostly power, so its skin is smooth. However, the hero (who commonly uses things he finds in his surroundings) caught one, so now the princess has zeroed in on them. The princess doesn’t need the hands or the head of these demons, so it’s a cycle of killing and taking revenge for them. Their fighting style is squeezing the life out of things.”

Apparently, the teddy is acceptable, LOL.

I like how the window stopped displaying text at one point.

I saw someone with a huge plait in the ED. The queen, maybe…?

I noticed the laughs dropped off significantly in comparison to last time, but it’s still good. I can flex my translation skills even if I can’t laugh at one part.

Fruits Basket 2 24 (49)

…jumping to the 2nd-last episode in a season is pretty unprecendented, but I’m going to watch this for the sake of Jon’s Creator Showcase…then again, I need to finish this anime anyway, so it’s just cutting and changing the order for something I already know the outcomes of.

I used to lose myself in movies so much that I would lose all sense of who I was and would have to “regain the bearings of myself”, so to speak. I would have to reconstruct who I was, even though I technically hadn’t “been broken” and I knew once I did that, it felt different. Like I’d travelled through time and past me would never be the same as present me. That’s why I kind of get what Machi means.

Oh, I didn’t listen to this OP much…probably because I’m emphasising bingeing the spring and summer series I left behind and now that I can skip the ads on most of my anime, I’m leaving behind the anime I’ll be slower on.

The manga was written when there weren’t as many cell phones around, much less smartphones.

Rin’s on bad terms with everyone…

…if I remember the year of the dragon correctly, the last one was 2012, then the one before that is 2000…around the turn of the millennium, huh? Froob is showing its age here, albeit unintentionally.

Now that I’m closer to the Musketeers’ age, I can kind of empathise with their scenes a bit more.

“If I always blame someone or something, I’ll never change.” – True. I realised I’ve been a bit too haughty lately (what with the HypMic anime going on and it being the first thing I could research extensively before the anime’s debut, my feelings are of course reaching fever pitch – combine that with continued COVID lockdown and you get me being all defensive of HypMic, for better or for worse) and so I may have acted like a jerk to someone, but since I only know them online and generally when I try to apologise to people online they don’t see the things I apologise for as things in need of apology, I know the fault lies with me to rein myself in. I guess this means changing yourself is the only way to move forward.

I wonder how Hatori did his doctor training while avoiding hugs from girls who aren’t Sohmas…?

Shigure vs. Gentaro (of HypMic, of course)…a writing competition! That would be fun.

…Crow’s note here makes sense (<- this is why I changed the order). Shigure was clearly asking a question there.

Come to think of it, HypMic and Froob have some similar characters. The stoic doctor is Hatori/Jakurai, the energetic smol one is Momiji/Ramuda, the teasing author is Shigure/Gentaro…that could make for some good fanfic material, really.

Magatsu 1

…that title is an absolute killer, man. Anyways, I’m here for the director, who also worked on Hataraku Maou-sama.

Is this a no guns thing, like IWGP is a no drugs thing?

…this OP has lyrics?! I just hear strange squeaky noises, the kind you hear on some autotuned sogs to make them seem more ominous (I can’t remember if there’s a similar sound in G-Anthem of Y City or Yokohama Walker, but one of the MTC songs has similar noises).

I kinda guessed Leo’s package was the one Schaake and her partner were looking for. I was right.

That CGI (on the truck) is…kinda conspicuous.

These backgrounds are gorgeous.

“The definition of in dubio contra reum is "in doubt, against the accused", meaning that, where there is doubt, the accused in a trial is not given the benefit of that doubt; they are assumed guilty.”

I wonder: how many protagonists start out as absolute wimps, unwilling to fight because they either know or don’t know their own power? It’s a pretty standard introduction for things with fights.

This battle track is nice. I listened to some of the Magatsu music under Masaru Yokoyama’s name on Spotify and it’s pretty cool, but since it’s background music, there’s not a lot of demand to listen to it (from me or anyone else, I don’t think).

Why is there only a single shield if they know the enemy has heavy artillery?

…what the heck is a Zeits? Update: You can see a “Zeits” (or however it’s spelt) in the credits list, suggesting Zeits is a character in this.

I knew this was my last premiere and this might have made or broken my entire watching schedule, but this is just a pretty down-to-earth premiere for a fantasy mobile game. While that cliffhanger compelled me to continue, I don’t think it’s good enough to beat its competition in the long run.

IWGP 2

I know I said Magatsu was my last premiere, but just to be sure, I’m watching this one.

This dance scene is beautifully orchestrated. The fact there’s no music means you focus entirely on the motion.

The OP seems to trade more in colour and spectacle than actual “cool factor”.

…wow, $2.90…? That’s some cheap food.

You know I hate 1st person cam with a passion, right? So…uh…

Eyyyyyyyy…this is basically McDonald’s, curry style.

I think I can almost see Ichiro of HypMic in how the G-Boys seem to mostly be reformed delinquents or actual delinquents.

…yeah, but what’s your name, random messenger guy? Update: We find out later his name is Isogai.

“It’s because I suck at working and communicating.” – Yep, that me.

Ikebukuro licence plate. I still have no idea exactly what places get licence plates in Japan.

There are actually 2 characters before “Hospital”, but no one confirms the reading of those characters…which is probably why they’re omitted.

…oh gosh, if this were a BL, Mitsuki and Masaru would be star-crossed lovers…*sigh*

Maybe it’s an unrelated 3rd party??? (In mysteries, you can never dismiss the work of a 3rd party.)

You can tell exactly which group is which based on the colours they wear. Makoto isn’t affiliated with anyone, so he’s wearing black and had yellow earlier.

I think an anime is cowardly – or trying to save budget – if they deliberately choose an angle where they can’t show the moment of impact clearly.

E! News, LOL.

Archangel, huh? So like a 2nd in command?

I think IWGP is moving in the direction of pushing the gangs against each other in the way Makoto describes in ep. 2.

As for what I think of it now, it's decent if you want something down-to-earth, but it seems to be missing some kind of "wow factor". Like it's afraid to commit to deeper characterisation, even though it has Makoto as the ostensible lead/viewpoint character.

Koi to Producer 11

“Cognitive Science Association” - I thought it was the Cognitive Psychology Association…? (Psychology is shinrigaku, science is kagaku.)

My boy (Lucien)…why must you be so evil??? Why do I keep falling for the tall but mysterious doctor??? (<- guilty as charged re: Jakurai)

…that’s some funky seatbelts.

What’s that look in Victor’s eyes…? Fondness, or something more…?

…ah, so there is “Science” in the place’s name. It was just being less loosely translated then.

Oh dang. Stuff escalated really fast, huh?

You actually set this in 2020, huh, staff? What happens ten years from now and people watch it, only to realise 2020 and 2030 aren’t so different? That’s what happened when people had the Y2K bug.

That yellow sign on the side says “exit”. It’s not of any use.

That’s not a recoloured Kiro, is it? It’s not Shaw, either (who I think we saw somewhere in the previous episodes)…so then who is it?

…geesh, they even changed Helios to Ares. I guess it makes sense: Helios is the god of the sun, but Ares is the god of war.

Koi to Producer 12 (FINAL)

I read on the wiki Lucien’s power is copying powers. No wonder I couldn’t get a solid handle on it!

So that Helios wasn’t a mistake in the credits list in the previous episode???

Can we even hear what Helios says when Protag-chan is pulled away? Based on the lack of subs, probably no, but I wanted to ask anyway. (Or maybe he said “Watashi”, since that’s the pronoun Protag-chan goes by?)

…so that really is Kiro, huh?

Military…what? When did Protag-chan’s father have a military squad???

LOL, at the very end you can see Gavin gesturing at Greenie (the pot plant, presumably a succulent). I logged on to the game 7 days straight (they have a Discord channel!) and got a Gavin R card with Greenie on it, which is how I know about it.

Anyways, that was a fun show. Not the best, but still fun.

HypMic 3

*snickers* Just look at my boi! He’s so tall, he has to bend down for kids! (I don’t mean that teasingly, I mean that endearingly, but lately I’ve been no good at expressing myself…Must be the lockdown.)

If TsudaKen was a guest last time, then Degarashi and Irihatoma could be voiced by guest seiyuus too…

What is Jakurai, hmm? (A Transformer, LOL?...I’m kidding, of course.)

All I knew about this episode going in was that it was an MTR episode. Maybe they’ll cover the stalker story from the manga…?

More literally, Hifumi’s sign says “will you monopolise me until morning?”. This reminds me of the MTR truck one of the servers I was in was talking about…it looked like a giant billboard.

“The most notable thing about Doppo is that he has no notable characteristics.”…and yet, he’s still one of the most popular characters of the series.

Suddenly, HypMic becomes a mystery…? I’ll take it!

Yup, “Doppomine” is now confirmed as “Doppo-chin”.

If all the mysteries I’ve consumed say one thing, it’s “never forget there might be someone out there with a grudge against you willing to pin a crime on you”…or alternatively, “never forget there may be an unrelated 3rd party who would be willing to pin a crime on you”.

These guys (Tom etc.) are just food critics, I swear…(LOL)

Oddly enough(?), googling “Shinjuku waffles” reveals there are several waffle places in Shinjuku…you wouldn’t expect so many waffles away from the home of waffles (probably Belgium), but there you go.

All the results on Shinjuku French toast point to this Café Aaliya (give or take an H at the end). Apparently, it’s so popular, people line up for it on weekdays.

Oh, so Tom’s a (street) photographer…what are Iris and Rex then?

The CGI on that car looks really bad, man. It may be dark to disguise it, but it still looks bad.

Jakurai’s dad car strikes again!...Was it white? I don’t remember, but I’m pretty sure it was a lighter colour than this.

I was quite worried about how much swearing they were going to throw in the MTC episode, but then…they kicked it down a week. So…start worrying about next week, folks!

I…thought he would call Jyuto for some reason. (giggles) I’ve never seen Samatoki look so happy in relation to Jakurai, but maybe that’s because he’s just chilling. (Or maybe he was meant to have a neutral but slightly happy face and they messed up the angle. I know I do that sometimes in fanart.)

There’s Jyuto, right on cue…LOL, that kick to the guts was so random it became epic!

Uwabami…what sort of snake is that, again? *checks* Giant snake. That’s no help. (That host could have a guest seiyuu too.)

Ooh, I’m fairly sure that’s an automatic car.

Jakurai went Jitsu wa kyoumi bukai desu ne?. “Fascinating” isn’t a wrong translation, but they did forget “In fact…” or “Really…” from the start and possibly the “?” at the end (depending on interpretation). Update: It might actually be Jitsu ni, but same deal.

They struttin’ down Kabuki-cho all fancy-like…Doppo sure does get a lot of punchlines, though.

This random guy at the club could also have a guest seiyuu…

…what’s with the random Tahoma?

…oh, hey. If Hifumi’s jacket acts as a security blanket of sorts against women and he gave it to Doppo for extra warmth (presumably), then…he’s trying to protect Doppo, even in his own sort of unique way.

Mimimi vs Hifumi? This is gonna get confusing…(hey, did they actually make a flourish noise when Hifumi put on his jacket? Does the distinction need to be that clear…?)

…see, never forget the presence of an unrelated 3rd party.Wait, so we have motive…what’s the relationship of Mimimi and the dude she killed? Who is that dude? Update: We find out later.

Notice Mimimi says “Hifumi-kun” – she’s still on an outside layer compared to Doppo, who just uses Hifumi’s name. Also, I noticed Mimimi called herself Hifumi’s “onna” – “woman” – explicitly, as if she belonged to him. The subs reflect that, but it seems to have less meaning in English because they outright translated it as such.

Well, they got to demonstrate Doppo’s snapping. I’m more than happy with just that. Also, Hifumi calls Doppo with a -kun here.

LOL, this song is gonna be known as “catchy”, ain’t it? Anything with an easy-to-sing-along chorus like “nananana” is. Update: Or maybe not even a chorus, it’s just lyrics.

Hmm…I noticed the “use Mr with me” line isn’t actually reflected in the subs, but the lyrics are so fast, I don’t know how they are reflected.

Did you notice the da in the lyrics in romaji?

…and s*** goes ka-blooey, as you’ve come to expect by now.

Mimimi-kun…?

Oh, so the background from Hypnosis Mics can get caught in photos? I never thought of that.

It’s almost as if they’re nodding at the Doppo fans through the 4th wall regarding his appeal.

It seems they’re not switching out this Buster Bros track, which is…okay, but I was hoping for an MTR ED. (Tofubeats was on this track IIRC and the anime website didn’t list a future ED, so that’s why I’m okay with it.)

…Okay, so Irihatoma is Mutsumi Iwanaka, who’s a rookie in the seiyuu world. *goes to consult Anime News Network*

Oh! Mimimi Hibakari! I get it! (It means “me, me, me all day” when written differently to her name.)

Uwabami was Shugo Nakamura and Degarashi was Mitsuaki Hoshino. I’ve never heard of these guys – except for Nakamura’s role as Teru in Idolm@ster Side M – so it’s interesting they contrasted TsudaKen with them…eh? Heilong? Whossat? (Probably the guy whose…parts…almost got crushed by Jakurai with a billiards cue.) This Hiroya Eto is even more underground than those guys.

A-hah! Today’s new song is “WELCOME U” (that’s how it’s spelt, don’t diss me for it!) by Kohei from SIMONSAYZ.

Update: I thought that kid at the beginning was Yotsutsuji, so it scared me for a second.

[beyonceinadecade-blog]

LEMONADE: 2016-2018

“The most disrespected person in America, is the black woman.”

It should not be shocking that such an affecting statement was spoken by Malcolm X, though one must ask why it isn’t one of his more famous quotes. The excerpt from his speech “Who Taught You to Hate Yourself?” echoed in the background of Beyoncé’s sixth album “LEMONADE” — or rather, the visual portion of it. On April 23rd, 2016, Beyoncé premiered her newest visual album “LEMONADE” for a global audience of HBO subscribers (and those that scrambled to secure a free-trial to the premium television network). Immediately after, the album was released exclusively on Tidal (the streaming service that the singer and husband Jay-Z co-own, along with 15 other artists), and would remain exclusive on the platform until the album’s anniversary three years later in 2019. Limited release did little to sway its popularity, as the album debuted at No. 1 on the Billboard 200 chart, being her sixth consecutive album to do so.

The LEMONADE era technically began prior to Super Bowl 50, when Beyoncé surprise-released the song “FORMATION”, and its accompanying music video, on TIDAL on February 6th, 2016. The song was seen as a protest. It denounced Beyoncé’s trolls and haters bluntly, as well as sampling phrases from black LGBT influencers Big Freedia and the late Messy Mya; “I did not come to play with you hoes… I came to slay, b**ch!” blared proudly throughout an antique-decorated home in Louisiana. Pop culture enthusiasts immediately regarded this moment as Beyoncé embracing her blackness, after years of maintaining a palatable and easily-digestable pop star for the white masses. The video depicted the singer and her back-up dancers dancing along to poignant lyrics such as “I like my baby heir with baby hair and afros/ I like my negro nose with Jackson 5 nostrils”. These lyrics relate to her daughter Blue Ivy (who is pictured smiling proudly) and her husband, who regularly receives attacks on his appearance somewhat due to his African features. Also shown is a black boy standing alone in front of white police officers in riot gear, an ode to the growing “Black Lives Matter” movement and police brutality. The video ends with Beyoncé atop a police car that sinks beneath a large body of water in the middle of the city. This shot is reminiscent of the communities decimated by Hurricane Katrina in Louisiana, particularly the black communities that did not receive aid for months under the Bush presidency.

FORMATION was included as the finale to “LEMONADE”. The album, like its predecessor, was culturally significant, albeit for different reasons. “LEMONADE” told a tale about marital infidelity, along with the stages of grief and healing that come with it, specifically with the way that the identity of a Southern black women afflicts the journey. Songs such as “Pray You Catch Me” and “Sandcastles” saw a vulnerable Beyoncé grapple with having an estranged lover, while songs like “Hold Up” show her bubbling aggression at the onset of his betrayal. She maintains her importance not only in her husband’s life, but in society, with the lines “Just imagine for a moment that you never made a name for yourself/… never had the baddest woman in the game up in your sheets./ Would they be down to ride? No.” In turn, “Don’t Hurt Yourself” shows an angry, no-filter Beyoncé smashing car windows and dancing in front of fire to the lyrics “I am the dragon breathing fire/ Beautiful man, I’m the lion/ Beautiful man, I know you’re lying”. The visual album is very movie-esque; each song is divided by scenes of black women, including Beyoncé herself, both dressed in traditional southern antebellum attire and in the present day. They are displayed as carefree, majestic, stoic and, perhaps most importantly, at the forefront. Accompanying these scenes are lines of poetry, read by the singer, written by Nigerian-born U.K. poet Warsan Shire. Beyoncé takes her eponymous release a step further by delving into the cyclical effects of patriarchy and how it relates to the wife, mother, sister, daughter in black families. In “Daddy Lessons”, Beyoncé recalls her father’s own mistreatment of her mother, and recites a mantra that he embedded in her from a young age: “When trouble comes to town, and men like me come around/ Oh, my daddy said shoot”. The black man’s own suffering is also highlighted later; “Freedom” is replicates the format of a traditional negro spiritual, with Beyoncé crowing to a church organ and exuberant drums. Kendrick Lamar’s rap in the bridge waxes unconventional, narrating a police chase rooted in racial profiling: “Channel 9 news tell me I'm movin' backwards/ Eight blocks left, death is around the corner/ Seven misleadin' statements 'bout my persona”. 

“LEMONADE” ends in reconciliation. The singer narrates a recipe for Lemonade, and ties it in the metaphor for life that the album tackles. A sound bite from Jay-Z’s grandmother at the end sums up the work: “I've had my ups and downs, but I always find the inner strength to pull myself up. I was served lemons, but I made Lemonade.” An album’s worth of cultural and familial evaluation culminates in the song “All Night”, through which Beyoncé sings “With every tear came redemption/ And my torturer became my remedy”. About this message, she explained to VOGUE, “I come from a lineage of broken male-female relationships, abuse of power, and mistrust. Only when I saw that clearly was I able to resolve those conflicts in my own relationship”. “FORMATION” at the end grounds us back into reality, as a celebration of blackness and continuing to flourish in the face of adversity. 

     Earlier, we touched upon how intersectionality in feminism allows us to highlight the oppression of women in other marginalized groups, especially black women. The black female body, general ideas associated with it being large breasts, thick lips, and wide hips (not to mention their bodily movements, from traditional African tribal dances to “twerking”) are all especially sexualized, and have been since European colonization of African tribes hundreds of years ago. The Age of Exploration gave way to European settlers’ judgments on the ways that African women were shaped, how they walked, and their manner of dress. These settlers gave themselves permission to sexually violate African women upon bringing them into slavery, and slaves were often chosen by their “birthing” capabilities. These women became the African American community, and in the South, began their own traditional wear in lavish dresses and headwraps (after the exposure of black natural hair was banned via the Louisiana Tignon Laws of 1786). This fashion is put on full display in LEMONADE. In that way, and in the way in portrays black femininity as a thing of beauty, it reclaims that agency that was so many times robbed of black women. It reclaims the story of the black family, and reshapes how black love can be approached in entertainment. Upon first listen, cheating allegations might swamp this message, but in actuality the message of “LEMONADE” is not simply a story about one man who tortures his lover; it is that of generational suffering, the black family in America, and undoing cycles of pain while appreciating the unintended goodness that can blossom from them.