On this day in 2016, an industry-shaking visual album was released: Beyoncщ’s LEMONADE. The album was delivered via a 65-minute-long film that found the album’s 12 songs woven together by striking visuals and poetic, spoken-word musings.

Indeed, there is a lot to be said about Beyoncщ’s LEMONADE. Below, I’ve put together a list of my favorite spoken word lines alongside selected lyrics from the accompanying song, for each of the album’s twelve “chapters.” Each of these 12 selections showcase the importance of thematic message on Beyoncщ’s LEMONADE. Essentially, the album’s story arc is summarized in these 12 paired quotes.

1. Poignantly acknowledging the curse that plagues herself and other Black women, Intuition finds Beyoncщ exploring her instinct that her state of conflict feels all too familiar.

“You remind me of my father, a magician/ Able to exist in two places at once.”
“You can taste the dishonesty/ It’s all over your breath as you pass it off so cavalier.”
— “Pray You Catch Me”

2. In Denial, Beyoncщ struggles to accept the reality of being cheated when she feels like she’s given him her all.

“I bathed in bleach and plugged my menses with pages of the Holy Book/ But, still inside me coiled deep was the need to know… are you cheating on me?”
“How did it come down to this? Scrolling through your call list/ I don’t wanna lose my pride, but I’mma fuck me up a bitch.”
— “Hold Up”

3. Anger consumes Queen B, and she lashes out in a fit of rage and braggadocio.

“I think of lovers as trees/ Growing to and from one another/ Searching for the same light/ Why can’t you see me?/ Everyone else can.”
“Who the fuck do you think I is?/ You ain’t married to no average bitch, boy.”
— “Don’t Hurt Yourself”

4. In response to her antagonist’s own seeming lack of Apathy, Beyoncщ responds with a similarly unapologetically sorry-not-sorry rampage.

“Rest in peace, my true love, who I took for granted/ Most bomb pussy, who because of me, sleep evaded.”
“He always got them fucking excuses/ I pray to the Lord you reveal what his truth is.”
— “Sorry”

5. Consumed with the Emptiness that often follows a break-up, she entertains the notions of meaningless connections while donning 6 inch heels.

“Grief, sedated by orgasm/ Orgasm, heightened by grief.”
“Six inch heels, she walked in the club like nobody’s business/ Goddamn, she murdered everybody and I was her witness.”
— “6 Inch”

6. Reflecting on the cause for his infidelity, Beyoncщ assigns Accountability to the effects of patriarchy, a.k.a. daddy issues – a common behavior for women, but also for men she feels.

“Do his eyes close like doors?/ Are you a slave to the back of his head?/ Am I talking about your husband, or your father?”
“My daddy warned me about men like you/ He said, ‘Baby girl, he’s playing you, he’s playing you’.”
— “Daddy Lessons”

7. After rationalizing the circumstances, she makes the first steps toward Reformation amidst a love drought:

“Why are you afraid of love? You think it’s not possible for someone like you.”
“Ten times out of nine, I know youСre lying/ But nine times out of ten, I know you’re trying/ So I’m trying to be fair/ And you’re trying to be there and to care.”
— “Love Drought”

8. Next, comes Forgiveness, after deciding not to allow the curse to consume her any longer. Beyoncщ forgives him, but not before reminding him that he broke their promise. Luckily for him, she’ll break her own promise of leaving.

“Do you remember being born?/ Are you thankful for the hips that cracked, the deep velvet of your mother/ …and her mother/ …and her mother?/ There is a curse that will be broken.”
“And your heart is broken ’cause I walked away/ Show me your scars and I won’t walk away/ And I know I promised that I couldn’t stay, baby/ Every promise don’t work out that way.”
–“Sandcastles”

9. Following forgiveness, they must move forward, allowing the Resurrection of love in the face of all of the pain.

“So how are we supposed to lead our children to the future? What do we do? How do we lead them? Love.”
“Forward, best foot first just in case… It’s time to listen, it’s time to fight.”
— “Forward”

10. Despite life’s challenges, one must not lose Hope on the journey to freedom, because hope can sometimes be all we have to pass onto the next generation; or it can be turned into action.

“The nail technician pushes my cuticles back……turns my hand over, stretches the skin on my palm and says: ‘I see your daughters, and their daughters.'”
“I break chains all by myself/ Won’t let my freedom rot in hell”.
— “Freedom”

11. Redemption is the last step in the healing process, and here Beyoncщ embraces it with a jug of lemonade and an all-night romance.

“Grandmother, the alchemist/ You spun gold out of this hard life/ Conjured beauty from the things left behind/ Found healing where it did not live/ Discovered the antidote, in your own kitchen/ Broke the curse with your own two hands/ You passed these instructions down to your daughter/ Who then passed it down to her daughter.”
“With every tear came redemption/ And my torturer became my remedy.”
— “All Night”

12. Finally, Beyoncщ calls for her black women to unify, to get in Formation, in order to battle the many obstacles that come along with being a black woman.

“Okay, ladies, now let’s get in formation/ You know you that bitch when you cause all this conversation/ Always stay gracious, best revenge is your paper.”
— “Formation”

LISTEN TO Beyoncщ’s LEMONADE:

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So, back in April, two days after Lemonade dropped, I wrote a tweet comparing the iconic sixth albums of Mariah, Janet and Beyoncé — Butterfly, The Velvet Rope, and Lemonade. Since then, the comparisons and likeness between those three albums both thematically and within my own life have been running through my mind. One result of that is the brainchild that I happily present to you today, which of course could not have come to fruition without the help of rising indie singer-songwriter, AlanMichael.

Not long after I sent that tweet, Alan and I had a chat about producing a mash-up that combined a song from each of those albums into one, original cover containing elements of each of the three different songs. After deliberating which songs would work best together, we finally settled on Beyoncé’s “Pray You Catch Me” — but you’ll have to listen to the cover to hear the Mariah and Janet choices. Our original plan was to find a singer to sing it… and some weeks (err– two months) went by before anything happened. Last week, Alan surprised me with a demo of the mash-up. He perfected it over the course of the week and finally we are ready to share it with you all:

“Pray You Catch Me (The 1997 Mix)”

I hope that AlanMichael’s cover makes you want to hear more from him, because he is a great artist with an immense amount of talent. He recently released an awesome EP, Honeymoon Motel, via soundcloud – and if you liked his mash-up, you should definitely check out. So that you can learn more about AlanMichael, his EP, and the creative process that went into both that and his cover, I interviewed him for y’all!

Vincent: So for our readers who’ve only listened to our mash-up, describe yourself and your sound in one sentence. Go!

AlanMichael: I can do you one better and use one word: ambitious.

True, indeed, after taking on the challenge I gave you… but more on that later. First – Your EP. Naturally, it’s short, but still manages to have a pretty tight, closely-knit concept. Is that something that is important for you as an artist, to create conceptual works?

Yes and no. I’ve always been a fan of concept albums, so I wanted to try my hand at it. Overall, though, it all just depends on what I’m inspired by at the time or how I’m feeling with the music that I may be recording at the time. The concept for Honeymoon Motel actually happened subconsciously. It wasn’t until after I wrote and recorded each song that I realized it was a bit conceptual. The first song I recorded for the EP was “Paradise”, which was completely freestyled. This actually isn’t my first concept project though. Earlier this year, I gave away a little mini mixtape I originally made for my girlfriend called A.M. Mixtape, which told the story of the very beginning of our relationship. Honeymoon Motel, is kind of the next phase of that. Its the “Honeymoon” phase I guess.

It’s clear that a number of different sounds and inspirations went into the creation of your EP musically – can you tell us about what those were? Was it a conscious effort or something organic?

Each song, except for “Midnight” was produced by a guy named Matt ‘Nastyjazz” Mathie. I was on soundcloud and came across his music and he had the instrumentals up. I sent him a message asking him if I could use them and he was cool with it. He was very pleased and surprised by how it turned out.

Lyrically, there is a lot of storytelling going on here, and it seems like it all comes from a personal place. Is that important to you, to tell personal stories in your music?

YES! I absolutely love storytelling within songs. With this EP, each song is definitely from a very personal place. I usually tend to write songs with double meaning, so you’re getting a story, but if you listen closely there’s something much deeper in there. For instance, “RM. 15” on the surface, sounds like the song is about having wild sex in a hotel room, when its really about the beauty of getting to know and exploring someone mentally; listening to their deepest thoughts and wanting to know their secrets and dreams.

Do you have a favorite song on the EP?

Lyrically, I would have to say that my favorite is “Morning Sex & Macarons”. I love that song for various reasons. It’s not your typical format for a song. Its an intro, one long verse, and then the hook. Its one of theist songs I’ve written so far.

The French, or American (coconut) kind? We must know…

The French kind.

Good answer! Another obvious talking point from your EP (for us) — the “Midnight” interlude is actually a cover of Janet’s “That’s the Way Love Goes”? Why did you choose that song for the interlude, and why title it “Midnight”? Was it a nod to Janet’s “Morning” interlude that precedes the song on her janet. album?

I knew you would pick up on that! Absolutely! Anyone that knows me, knows that I am one of the biggest Janet Jackson fans ever. Her janet. album was a big influence on this EP. I almost went with “Go Deep” from her Velvet Rope album, but something just felt right about “That’s The Way Love Goes”. The janet. album is such a sexy record, and it just fit. I tweeted it to Jimmy Jam and he favorited it nearly causing me to pass out. I hope he liked what heard. Just the thought of Janet hearing it makes me nervous.

I’m sure she’ll love it. So, ultimately, what do you hope the takeaway will be from your EP, for listeners? Is it a preview of what’s next? What is next for you?

I just want people to enjoy it honestly. It’s just a little something for the summer time. I’m actually planning on doing a few shows. I can’t wait to perform these songs! I’ve been in rehearsals with my band and its sounding so damn good. The EP live is gonna be a completely different vibe. It will still have the same elements and feel, but amplified. I’m also working on new music. I don’t like to stick with one sound so it will be different from Honeymoon Motel. More uptempo. We’re gonna dance with the new stuff.

Can you tell us more about the new sound? Any collaborators in mind?

I have one collaboration in the works but I can’t say who just yet. I’m playing around with different sounds but it’s gonna feel good I can tell you that.

I can’t wait! So, when I approached you with the idea of this mash-up and once we settled upon which songs would be used in it, how did you go about melding these three songs together? What was the hardest part? What was the easiest part?

I wanted to keep the instrumentation simple and not to over powering so I could focus more so on the melody. I really wanted to have a good base for it, so I figured I would use “Pray You Catch Me” as the foundation. The way it goes into the second verse fit so effortlessly with Janet’s “I Get Lonely”. It took me a minute to figure out how to fit Mariah’s “Breakdown” in there, but once I did, it worked.

What would you say to any member of the Beyhive, Lambily or JanFam that listens to your mash-up? How would you persuade them to listen to your music and hopefully become a fan of yours?

All three of those groups don’t play when it comes to their faves. At all. I just want them to enjoy the mash-up for what it is. A lot of people like to pick apart things instead of enjoying music for what it is. So yeah, enjoy it and if you like what you hear, then please feel free to listen to Honeymoon Motel! You won’t be disappointed.

Finally — and, I’ll leave this entirely up to you and not feed you anything to jog your memory — but when you think of 1997 in music, what songs, albums, or artists come to mind as being the most essential?

I was 7 in 1997. To me, that was just it for music. I remember still playing TLC’s CrazySexyCool album… a group of girls performed Destiny’s Child’s “No, No, No” at the talent show during summer camp and that’s when I became a fan. My mom would blast Brandy every morning with the sunroof down on her red Nissan. I would instantly dance to Michael Jackson. I was introduced to Missy, Aaliyah, Timbaland, and the Bad Boy family. I got in trouble for playing a Lil’ Kim song. It was also right on the cusp of the big pop outbreak with Britney, NSYNC, Backstreet Boys….so it was cool to see all of the unfold and really set the mold for most artists today.

It was definitely a great time for music indeed. Thanks, Alan, for the awesome mash-up! We hope our readers take a listen to your EP and whatever else is to come! Head over to ItsAlanMichael.com for more information, and follow him on Twitter.

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1. Her intro is AMAZING.

The word lit is probably one of the most overused words 2016, and probably the best word to use for the concert’s introduction. After sitting through Rae Sremmurd’s opening performance, being beaten around by a severe thunderstorm at Solider Field, and waiting for what seemed like an eternity for the Queen to address her subjects, the lights went low, Big Freedia’s voice roared through the stadium, instructing Bey to “give these hoes exactly what they came to see”. Bey stepped out on the stage, acknowledged the in-climate weather, thanked us for sticking with her, and then tore through the show’s opening like her life depended on it. That intro alone is worth standing in the rain for.

2. Them outfits though.

In the past, Bey has gained quite the reputation for her fashion choices, specifically, the leotards which have become a staple during her live performances. While her choice in wardrobing has sometimes garnered criticism, Bey’s costuming for this tour was done by an array of high end designers, including Balmain, Gucci, Roberto Cavalli, and more. From her opening outfit, topped off with an oversized hat, to the cape she wore during “Don’t Hurt Yourself”, each outfit not only took on life of its own, but was tailored to accentuate Beyoncé’s signature curves, while simultaneously giving her the room needed to work the stage with her endless choreography.

3. Flashing Lights.

This tour’s stage production is INSANE. Being someone who likes more intimate stage venues, I was throughly impressed with how the stage design allowed for an amazing experience for everyone present. The staging, which included a large box that splits apart into two, a long runway where a good amount of the dancing took place, and a pool that replaced the front of the stage towards the end of the show, were just a few aspects of the glamour.  The pool in particular was an almost religious experience on its own, especially when Beyoncé and her dancers waded in the water during “Freedom”. When the concert wasn’t being displayed on screen, the imagery displayed varied from clips from the Lemonade film, to images of Bey with a grill in her mouth (I liveeeee), clips of fan reactions to Lemonade, (please see Evelyn from the Internets’ video if you haven’t), and a few cameos of my niece  Blue Ivy.

4. Her setlist is impeccable. 

5. “Love God Herself.”

Any Beyoncé fan knows that she is a vehement feminist. As early as her Destiny’s Child days, Beyoncé has always let it be known that she is the H.B.I.C., and will be respected as such. Nothing demonstrates this more than her performance of her 2003 hit, “Me, Myself, & I”, Bey reminds the audience that while the love that comes from a relationship with another person is important, the most important relationship one can have is with themselves. Bey’s constant admiration of the women in the audience throughout the show left me feeling extremely empowered, and wishing she was my bestie. Another important fact to mention, is that everyone that graced that stage, her backup dancers and her backing band the Sugar Mamas alike, were all women, including a killer solo by her guitarist. In an industry dominated by men, it was a wonderful sight to see an all female band rearrange Beyoncé’s classic hits into contemporary reworks.

6. Cocoa Goddess.

 7. She is incredibly humble.

“My message though sometimes ratchet, is always about love.” – Beyoncé

The post The 7 Wonders of Beyoncé’s Formation World Tour appeared first on THE 97.

Jordan:

“This album was made for me…” – That was my initial thought after listening to Beyoncé’s sixth album, LEMONADE. Very few albums of present have the ability to really resonate with me on a personal level. I find that most of today’s music is centered on superficiality, and tend, as a result, to be taken at face value. However, with LEMONADE, Beyoncé visually and musically takes her audience on a journey through the various stages of love; through heartbreak, rage, introspection, and eventually, forgiveness. I don’t want to go any further without stating that I don’t believe that the album is solely about her long-rumored marital strife with Jay-Z. To surmise that this is a long shadefest detailing his transgressions is, in my opinion, a very shallow evaluation. This album and the accompanying film go much deeper, and are much bigger than that.

LEMONADE was made for women. Especially Black women and our issues with the men we want so desperately hard to love us in the same ways we love them. How sometimes, in an effort to fill the voids left from (in this case) our fathers, translates to how we navigate our own relationships. It’s about the generational cycles of destruction that we continue to create in these relationships; the constant forgiving and forgetting, and enduring and sacrificing, that we put ourselves through, all to make love last. Equally as important, is the fact that this album paints a portrait of Bey at her most vulnerable, and most relatable. It solidifies the notion that she is only human, and is not immune to life’s trials and tribulations. My only wish was that the speaking parts present in the film were left as interludes on the album, as they painfully and beautifully bring the whole opus together, with many memorable lines such as “Her heaven would be a love without betrayal…” Ultimately, LEMONADE is a battle cry for recognizing one’s self worth. The whole project is a hearty helping of Black female exclusivity, unification and beauty, while simultaneously being the proverbial diary of a mad Black woman. LEMONADE reminded me why I along with many many other women should be proud to be part of the club, but to also keep in mind that I am mad too.

Vincent:

I have been a Beyoncé fan, no – “stan,” for a long ass time, since 1999 – before she and Destiny’s Child truly blew up. Through the years, I have watched this beautiful, strong, multitalented woman blossom into the force that she is today. Undeniably, Beyoncé is the most consummate entertainer that the music industry knows today. With LEMONADE, that has been confirmed beyond the shadow of a doubt. Before, even after the monstrous artistic statement that was BEYONCÉ, her first visual album, there was something missing: true vulnerability and introspectiveness. In the past, Beyoncé had given us glimpses into the most personal aspects of her life, but she always kept that guard up. Self-titled hinted and alluded to personal subject matters and, if you read between the lines enough, it’s there – but LEMONADE is on a whole other level. LEMONADE is what I have been waiting for from Beyoncé – an album where she truly, unabashedly and unforgivingly lets her guard down and allows her art and her life to become one in the same. Had Beyoncé recorded sad, angry, vulnerable, heartbroken, and enamored songs before? Of course. However, they were all still general enough, shrouded in secrecy enough, to feel disconnected; like their purpose was first entertainment.

LEMONADE‘s primary focus is for you to feel her emotions like never before. She takes us through every bitter, sweet, and bittersweet moment of the lemons that life handed her. I never felt so close to her. I couldn’t believe she was sharing all of these feelings and truths with us. This is BEYONCÉ; the woman who wouldn’t even ACKNOWLEDGE the fact that she was dating and then married to Jay-Z was now telling us about this?! But why? Because it is a struggle that, unfortunately, anyone who’s ever loved a man has more than likely experienced. It’s palatable; it’s relatable; it’s real. This is Beyoncé at her realest, for her benefit, our benefit, and for the collective benefit of women and especially Black women. Not only does this film celebrate her strength, but it celebrates the strength of women, of Black women. The images included in the film, such as those of the mothers of Black victims of police brutality, are not random; they serve this purpose. Even Serena Williams twerking at her side in “SORRY” is not random; it is present for the same reason. LEMONADE is very much in your face, but its depth lies in its subtleties. This is no small, shallow, manufactured, store-bought glass of lemonade; no – this is a big, giant, deep well of real emotions for you to sip on endlessly, this is a Southern Black woman’s recipe for the world’s finest vat of LEMONADE.

Andrew:

I love what’s happening here. B put together a roller coaster ride of a concept album, that tells a story which so many people can relate to. It’s a great allusion to consider this album the lemonade she made out of the lemons of being cheated on, because this is some good shit. Her musically adventurous side is a big bonus, from the aggressive-rock “Don’t Hurt Yourself” assisted by Jack White and the country (!!!) storyteller “Daddy Lessons”. Then there’s the appropriately-placed, show-stealing Kendrick Lamar verse over a stellar Just Blaze production, “Freedom” and the gut-wrenching, tear-filled vocals on “Sandcastles”. The latter projects the emotional vocals I’ve always looked for in Beyonce and have barely heard until now. Visually the album is stunning, and even more, it features so many beautiful Black women, simply being beautiful. Now, when’s the physical version dropping B?

Mario:

Beyoncé is really exploring a lot of genres on LEMONADE, the vocals are powerful without being overbearing. She’s actually very subtle in a lot of songs, but she’s using her emotional connection to the lyrics to get the point across instead of belting out. I love “Daddy Lessons” and how it mixes the Jazz and Country elements. Other standouts are “Freedom” (the chorus is just perfect) and “All Night,” so far. “6 INCH” will definitely murder at Urban/Rhythmic radio if released; it’s a bop for the club, similar to “Yoncé.” I feel like this album is closer to B’Day in terms of production approach; it’s very raw, instead of being polished. I can see a song like “Don’t Hurt Yourself” coming together as a jam session with the ideas flowing to her as she sang and brainstormed. The vocals, the collaborations, the production – are all impeccable. LEMONADE is insane and I’m in awe. Beyoncé did it again.

Grade:

95/97

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