Who’s making the ‘Lemonade’? On bell hooks’ and Beyoncé’s Feminisms

I wasn’t going to get into the bell hooks versus Beyoncé fray over Lemonade and its myriad implications. I resisted the echo chamber hoping the frenzy would die down sooner rather than later. I told myself that there really was no point of debating the merits of either side since most of the dialogue has been forced into imaginary binaries like “old feminism” versus “new feminism”, intellectual versus artistic expression, academic versus non-academic, and the like. But, after seeing a Feministing article called “A Black Feminist Roundtable on bell hooks, Beyoncé, and “Moving Beyond Pain”,” I think it might be time we start thinking more critically about how we situate both women’s feminisms and who we foreground when critiquing them.

Beyoncé’s ‘Lemonade’ Is Equal Parts #BlackGirlPain and #BlackGirlMagic

“You remind me of my father, a magician. Able to exist in two places at once.”

I was barely three minutes into Lemonade and already craving more. But I could not have possibly imagined the vulnerability that was yet to come throughout the remainder of the HBO premiere of Bey’s visual album. I watched it to the very end, engrossed in both the imagery and the sonic overload of the hour-long exclusive.