- Kevin Allred is a white man writing about Black feminism, which is necessarily primarily about the experience of Black women. In his preface, he acknowledges his positionality and lays out a methodology: he will only cite Black women. How do you feel about the approach he takes writing about this subject from his place of privilege?
- Allred refers to a Saturday Night Live skit, “The Day Beyoncé Turned Black,” to note that prior to her Super Bowl halftime performance, many of Beyoncé’s white fans imagined her as “not holding any progressive politics that would seek freedom for Black people in America” (72). Do you think it’s possible to listen to Beyoncé’s music without consideration of Black womanhood and culture in America? Is Beyoncé’s music always political?
- Halberstam states on p 111 (print edition) "And for some of us, fairy tales do come true." - Were Beyonce and Jay Z set up to be a fairytale based on your viewing of LEMONADE? Now that you have finished Halberstam's book, what connections can you make between LEMONADE and his work? Do you think films such as Lemonade promote Halberstam's idea of "the end of marriage?" Explain your position using elements of Halberstam and Lemonade.
- Much of Allred’s analysis pertains to the visual aspects of Beyoncé’s art, from the “Déjà Vu” music video to Lemonade. What image or scene from Lemonade stands out to you the most? What about it seems important to you?
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