Beyoncé Knowles has been a popular music artist for as long as some young people can remember, and she has been a positive role model throughout her career. She started her climb to international fame in the early 1990′s. She teamed up with a group of pop-R&B artists to form Destiny’s child. At Destiny’s Child’s peak the group had released a number of number-one hits. Since the group broke up, she has made a prominent name for herself, and is now a household name in American culture. This award season, like many, the pop diva is up for a plethora of awards; including the billboard music awards, and Ellen DeGeneres’ “Webby” award.
Beyoncé is very intriguing as an individual because of her control over her career. The dubbed “Queen Bee” has worked hard to create a personal persona that would last in the constantly shifting market of mass media. Beyoncé is a smart entertainer because of her experience working within the various mediums of entertainment media. She has performed amazingly as a singer, dancer, and actress. This makes any performer a triple-threat; someone who is well versed in every aspect of performing arts.
The way that Knowles dips into many types of projects allows her persona to take on more qualities to be discussed by the public. Music reviewers applaud her way to release album after album, while still giving listeners a new perspective of her persona that was constructed for her fans.
Beyoncé Knowles is said to be a positive beacon for feminism, and role-model for America’s children. She creates her music to be popular, though often includes details that are not always addressed in pop music today. The pop singer believes that women should own their sexuality, though not in a way in which they are not causing others to constantly objectify them. This is interesting because Knowles’ entire career rests on the expectation that people will buy her as a product.
The implications of objectification are complicated, and have far-reaching implications. A fact about the production of Knowles’ “feminist manifesto,” titled 4, reveals that she employed only six women out of the forty-five people who were credited to have worked on the album. This is a high number of males collaborating on a project that was meant to revolutionize female-pop-music. In fact, not a single woman was on her writing team for the songs on the album that addressed her sexual energy.
With this information, the album seems less about being a strong woman, and standing up for equality as a feminist, and takes on more themes of self-acceptance, and owning one’s own personality traits. Many feminist writers are putting down her attempt at labeling her work feminist, and abhor the media that constantly refers to her glorified status as a self-proclaimed feminist. They argue that she constructs a feminist front. She places herself on a stage in front of an entirely female ensemble and belts about how women run the world, when so many men have influence on her empire. Whether or not Beyoncé Knowles is a feminist, or a positive role model for young women is hard to say; in the very least, her albums have facilitated a discussion between academics and the common folk alike.
Opinion by Joshua Shane