# data[].attributes.body
'Waiting for B' Documentary

# data[].attributes.body
Video footage showing Beyonce's fan interaction, indicating the greater access she allows them to have of her

# data[].attributes.attachment_link.title
Beyonce Amazed By Singing Fan's Voice during a performance of 'Halo'

# data[].attributes.body
This video footage of Beyonce singing at National University Hospital in Singapore and interacting with her fans, shows a movement from her on stage alter ego and presents the image of her as more relatable to every day people.

# data[].attributes.body
Destiny's Child's single 'Survivor' as an empowering anthem for women.

# data[].attributes.attachment_link.title
Destiny's Child - Survivor (Official Video)

# data[].attributes.body
This source explores the ways in which stars identities and personas are constructed or have been constructed for them and the complex relationship between the public persona and private person.

# data[].attributes.body
Beyonce's notably minimal use of twitter,  suggests the attempt in maintaining the star's image online. The tweets are focused on brand related content as opposed to personal opinion or details about Beyonce's private life. In this sense, there's a distance maintained between the star's personal life and star image.

# data[].attributes.body
The development of Beyonce's star image can be seen through her growth from the all female girl group she started in Destiny' Child, into the global star she is now considered to be

# data[].attributes.attachment_link.title
Beyoncé's star formation: from Destiny's Child to Queen Bey

# data[].attributes.attachment_link.description
Beyoncé's new tour finds her at the height of her artistic powers. What makes her sound, her dance moves, her image and her feminism so distinctive?

# data[].attributes.body
Pepsi advert includes Beyonce's own music, showcasing the impact of her stardom as marketable to brands and franchises. The different personas of Beyonce are depicted through the advert, which indicate the vastness of her star image and the varied aspects of her which contribute to forming it.

# data[].attributes.attachment_link.title
Beyonce Pepsi Commercial - Grown Woman (2013)

# data[].attributes.body
Beyonce sells out her 'IVY PARK' business venture she had with Sir Phillip Green after sexual harassment allegations. This reinforces the feminist image of Beyonce and concern for  social and political events.

# data[].attributes.attachment_link.readable_text
Beyoncé has ended a business venture with Topshop boss Sir Philip Green by buying him out of Ivy Park, the gymwear label they founded together.

The pair launched Ivy Park two years ago, playing on the personal brand of the US singer and outspoken feminist.

The buyout comes weeks after Sir Philip was named as having taken legal action to prevent publication of allegations of sexual harassment of staff.

Sir Philip says he "categorically and wholly" denies the allegations.

However, Beyoncé had faced pressure from campaigners to cut ties.

In a statement on Thursday, Ivy Park said: "After discussions of almost a year, Parkwood has acquired 100% of the Ivy Park brand. Topshop - Arcadia will fulfil the existing orders."

Ivy Park sells items such as hoodies and leggings, part of a trend towards so called athleisure.

Beyoncé and Sir Philip had both owned 50% stakes in the label, which is named after the singer's daughter with rapper Jay Z, Blue Ivy.

Sir Philip, one of Britain's best known businessmen, was named in parliament last month by Lord Hain as the man behind a court injunction preventing the publication of allegations of sexual harassment and racial abuse of staff.

In a statement last month, he denied having broken the law and said his businesses fully investigated employee grievances.

However, campaign Equality Now had called for Beyoncé to end her relationship with the tycoon, arguing it was at odds with her stated principles.

Yasmeen Hassan, from the campaign group, said in October: "Beyoncé has put herself forward as a women's rights activist. She and her team need to look closely at these allegations."

Another activist, Nimco Ali, said: "Beyoncé should say 'I don't want to work with Philip Green'."

A representative of Sir Philip would not comment further on the Ivy Park deal, while Beyoncé could not be reached for additional comment.

# data[].attributes.attachment_link.description
Beyoncé has ended a business venture with Topshop boss Sir Philip Green by buying him out of Ivy Park, the gymwear label they founded together. The pair launched Ivy Park two years ago, playing on the personal brand of the US singer and outspoken feminist.

# data[].attributes.body
The film 'Obsessed' by which greatly differs to 'DreamGirls' in that Beyonce doesn't have a singer or performance role within the film. This shows variations in her star image, as her ability to act is recognised aside from her as a singer which is what is commonly associated with her star image.

# data[].attributes.attachment_link.title
Watch the trailer for OBSESSED - In Theaters 4/24/09

# data[].attributes.body
Explores the impact of motherhood shown through Sarah Jessica Parker's star story. The impact of motherhood shows to be applicable to Beyonce as she her political awareness and feminist views are reinforced after once experiencing it.

# data[].attributes.attachment_link.readable_text
This essay examines media coverage of the rise of Sarah Jessica Parker, from jobbing movie actress to A-list television superstar and fashion icon, following her starring role as sex-columnist fashionista Carrie Bradshaw in Sex and the City (HBO, 1998-2004). Significantly, during this same period Parker also became a mother, giving birth to her son by actor Matthew Broderick in 2002. If motherhood in the twentieth century at least has conventionally been constructed as at odds with glamour, style and trend-setting, Parker's fortunes indicate a changing cultural landscape. Celebration of the "celebrity mom", twinned with the emergence of the aspirational "yummy-mummy", have become highly visible preoccupations widely evident across contemporary representations of motherhood, the ramifications of which are explored here. Examining interviews conducted with the star in women's magazines drawn largely from the United Kingdom and United States through 2002-2006, the essay explores Parker's role as a "celebrity mom" and how this coverage of her consistently adopts a confessional mode and intimate address in order to dispel any apparent conflict wrought to her prior celebrity by her new maternal status.

# data[].attributes.attachment_link.title
Still something else besides a mother? Negotiating celebrity motherhood in Sarah Jessica Parker's star story

# data[].attributes.attachment_link.description
This essay examines media coverage of the rise of Sarah Jessica Parker, from jobbing movie actress to A-list television superstar and fashion icon, following her starring role as sex-columnist fashionista Carrie Bradshaw in Sex and the City (HBO, 1998-2004). Significantly, during this same period Parker also became a mother, giving birth to her son by actor Matthew Broderick in 2002.

# data[].attributes.body
Beyonce's single 'Flawless' with her self titled album includes dialogue taken from the Ted Talk delivered by 'Chimamanda Ngozi Adichie' on what it means to be a feminist. Indicates further the development of her feminist ideals which are contributing to her star image.

# data[].attributes.attachment_link.title
Beyoncé - ***Flawless ft. Chimamanda Ngozi Adichie

# data[].attributes.body
Beyonce in 'DreamGirls', shows an extensions of her performance skills, a large contribution to her star image as a performer, as she acts in a role that showcases this.

# data[].attributes.attachment_link.description
Release Date: December 15, 2006 (NY, LA; wider release: December 25; wider release: January 19, 2007) Twenty-five years after first bringing Broadway audiences to their feet, the Tony Award-winning musical sensation "Dreamgirls" comes to the big screen starring Academy Award® winner Jamie Foxx ("Ray"), Beyoncι Knowles ("Austin Powers in Goldmember"), Danny Glover (the "Lethal Weapon" franchise), newcomer Jennifer Hudson, Tony Award winner Anika Noni Rose (Broadway's "Caroline or Change") and Eddie Murphy ("The Nutty Professor," "Dr. Dolittle").

# data[].attributes.body
This source reinforces the idea of Beyonce's stardom that globally has an impact on a diverse group of people. It is through Beyonce's music and star persona that a marginalised group in Brazil can feel connected to her through.

# data[].attributes.attachment_link.readable_text
They weren't the only ones though. Soon, they were joined by a whole crew of overeager fans desperate to be as close as possible to the majesty of Beyonce on stage and ready to wait it out on the cold, hard pavement.

'What other country camps to see Beyonce?' one of them asks at the start of the insightful documentary Waiting For B.

Around the world, she's known as Queen Bey but in Brazil, she has been elevated to the status of a deity by hardcore members of her Beyhive, many of which - as the film shows - are working class, LGBT and non-white.

When co-directors Paulo Cesar Toledo and Abigail Spindel set out to make a film about Beyonce superfans, they didn't realise they would be giving a voice to such a marginalised section of Brazilian society.

Paulo says: 'That was one of the most interesting discoveries for us. Because we were initially attracted to this camp because of fandom. We had no idea we were going to find such a specific group of the Brazilian youth.'

In Brazil being gay, out and proud can cost you your life.

Between 2012 and 2016, nearly 1,600 people have died in homophobic attacks in the country, according to Grupo Gay da Bahia.

Beyonce strikes a chord with these young men and women.

Outside the stadium, in this little community, they have freedom to be who they are, be accepted unconditionally and revel in their queerness.

'We are aware of how brave it is to be yourself here because Brazil has the highest LGBT hate crimes in the world,' Paulo explains. 'The highest rate of transphobic murders in the planet, so when you imagine these kids walking around in drag - this is very small for the audience but very big from the Brazilian perspective.'

The kids are shown whiling away the days practising her dance moves, twerking, passive-aggressively keeping hold of their space - and of course obsessively analysing every single detail about their idol.

Beyonce and everything she stands for takes them away from the humdrum routine of their daily lives.

Abigail says: 'It's a type of empowerment that doesn't necessarily ring true for every woman who's out to prove women and men are equal, but for people who are ensconced in a macho society like Brazil she represents the polar opposite of the macho man.

'She's a different expectation of women than the macho society here dictates which is that women should be docile.

'For gay men, they like to see that form of female empowerment, celebration of femininity, as an objective for how they choose to present themselves.'

Waiting For B, which is screening this weekend at BFI Flare: London LGBT Film Festival, is a sweet and uplifting film. It features a host of colourful characters as well as offering a look into the power of celebrity culture in Brazil.

As the fans bicker and joke around, the only time they're in any way critical of Bey is when they lambast her for trying to make herself look more white.

Half of Brazil's population is non-white but you wouldn't know that from watching TV there - everyone is white and blonde.

Beyonce shows her fans that it is possible to be black and empowered.

No wonder she's looked up to as a goddess.

Abigail says: 'It's a Catholic culture so it's already in everyone's DNA to to put yourself in a position of humility and worship a greater thing. In this case, it's Beyonce.'

But even if they have elevated her to this lofty position, she always remains an approachable presence. To them anyway.

As Paulo explains: 'She's their invisible friend because they love her music and she's always there with them when they need her. We have a character in our movie, who says way before my family knew that I was gay, Beyonce knew.

'When they left the house, they closed the windows and doors and danced to her music. So she is their partner in this really difficult period in their lives.'
'Waiting For B' is screening Friday, March 17 at 20.50 and Saturday, March 18 at 15:40 at the BFI Flare festival on London's South Bank.

# data[].attributes.attachment_link.title
How Beyonce Has Become a Powerful Symbol of Hope for LGBT Fans in Brazil

# data[].attributes.attachment_link.description
They weren't the only ones though. Soon, they were joined by a whole crew of overeager fans desperate to be as close as possible to the majesty of Beyonce on stage and ready to wait it out on the cold, hard pavement. 'What other country camps to see Beyonce?'

# data[].attributes.body
This critical reading brings into question Beyonce's star image as she is conveyed to be 'individualistic' as opposed to a figure who cares for wider social and political views.

# data[].attributes.attachment_link.readable_text
The image of old racial order has been vitiated by the rise of a new variety of African American celebrities: acquisitive, ambitious, flamboyantly successful and individualistic; the kind of people who are interested in channelling their energies into their own careers, rather into indeterminate causes such as racism. In Beyoncé, the United States - and perhaps the world - has a symbol of glamour and unrestrained consumption that offers, if not a solution, then an apparent salve to the enduring effects of racism. The argument advanced here is that Beyoncé, singer, actor, entrepreneur, serial endorser and all-purpose celebrity, has risen in a post-9/11 era when race and racism were unwanted shibboleths and a new racial order was in construction. Early symbols of the new order were Bill Cosby and Oprah Winfrey. Beyoncé, like Tiger Woods, Halle Berry and other African American A-list members, are its current representatives. Beyoncé embodies a narrative, a living description of a culture in which race is a remnant of history and limitless consumer choice has become a substitute for equality. The analysis moves to an examination of how Beyoncé emerged and developed into a recognisable brand, her principal marketing alter ego being 'Sasha Fierce'. The multiple products bearing her imprimatur and the revenue they generate suggest comparisons with a medium-size industry. Yet the most valuable product Beyoncé sells is a particular conception of America - as a nation where history has been, if not banished, rendered insignificant. Her ability to do so is predicated on her ethnic ambiguity: she claims to be 'universal', yet slides comfortably into a familiar discourse of exoticism essayed by earlier black female performers. A refusal to conform to existing categories combined with an insistence on the primacy of the market makes Beyoncé an exquisite commodity in a celebrity-fixated consumer culture although an unreliable indicator of black America. The evidence contrasts the image portrayed by Beyoncé with that of other black Americans and concludes with the proposition that the 'dream' she purveys has a potent didactic message.

# data[].attributes.attachment_link.description
The image of old racial order has been vitiated by the rise of a new variety of African American celebrities: acquisitive, ambitious, flamboyantly successful and individualistic; the kind of people who are interested in channelling their energies into their own careers, rather into indeterminate causes such as racism.

# data[].attributes.body
This source directly challenges the attack made on Beyonce's authenticity by Piers Morgan. Jameila mentions that Beyonce becoming a mother 'of a black child changes things'. In doing so, Jameila suggests this development in motherhood to have impacted Beyonce's views which has contributed to her political activism. this source indicates Beyonce's political activism as a genuine reaction to societal events as opposed to an inauthentic means to promote one's album as Piers Morgans suggests.

# data[].attributes.attachment_link.readable_text
Dear Piers,

I absolutely understand why you didn't get the Beyoncé album - *newsflash honey* - it wasn't made for you - and I'm going to need you to be cool with that.

Now, I found quite a few of the comments in your piece for the Daily Mail this week to be highly "inflammatory and agitating". As a black woman, I am deeply offended by your lack of due care when writing this article, but I would like to take this opportunity to help you out, and assist you in making the whole "Lemonade thing" a little less bitter for you.

You are a middle aged, British white man. You have no idea, I repeat: NO IDEA what it is like to be a black woman, and furthermore the sacrificial, struggle-filled, tongue-biting, mask-wearing fight it is to become a successful one.

Let me break this down for you: Beyoncé's album is not an attack on anyone; it is a celebration of the strength, endurance and potential within black womanhood. The fact that you are mad/uncomfortable/agitated about it is evidence enough of how blind you are to the realities of being one.

Beyoncé isn't the only one being unapologetically loud and proud of her blackness. There are many of us (go and type #BlackGirlMagic into Instagram/Twitter/Google), but you didn't see us or notice the wave. That is why Beyoncé had to do this.

On social media, we are celebrating ourselves, in all our glorious forms. We are sporting our - what did you call it? - "Panther-style afros" (babe, we've had these afros growing out of our heads since the beginning of time) not as political statements, but as celebratory beacons for ourselves and forthcoming generations.

Beyoncé is a mother now; she wasn't one when you had your little tea party five years ago. Becoming a mother of a black child changes things. You can be privileged, but along with your own, you begin to become concerned for all the other little black children too. You start to think, 'I don't like what I have had to go through, and I don't want my child to face the struggles I have. I want to change things'.

Seldom are black women in a position to make statements that reverberate around the world and penetrate the peripheral vision of your Piers Morgans. Beyoncé did that. You wrote about it. Now you're trending, and celebrating that fact - LOL.

Whether or not you feel the involvement of the grieving mothers to be in poor taste is irrelevant. The brutality and racism being faced by black people daily is what IS relevant - and Beyoncé has you talking about it. I'd say it's a job well done.

Maybe it's because I'm a black woman. A black woman who cried tears when I read about Trayvon Martin or upon seeing those awful videos of Eric Garner and Sandra Bland, and then again each time murderers got away without so much as a slap on the wrist. I get how a privileged middle aged white man from Surrey doesn't feel that pain, but when I saw Trayvon Martin's picture I saw my nephew. When I saw Eric Garner, I saw my uncle. When I saw Sandra Bland, I saw my auntie. I get why you don't get it.

"The New Beyoncé wants to be seen as a black woman": this line made me laugh out loud! Beyoncé has always been black, she just did what millions of black people feel the need to do to gain success: she made her black palatable to you, which is why you're such a big fan! Same thing Oprah did, and the Obamas. This is what black people do. Along with working twice as hard to get half as much, we dilute ourselves and our culture so you accept us. I guess some of us have had enough.

Being black is not an affliction. No race should be seen as such. Celebrating our heritage should not be seen as a threat. We just want what you have, fairness and equal potential, and if you don't give it to us, we'll fight to get it for our children.

Oh, and on the subject of "The Race Card", there would be no possibility of it being played if we didn't have it in our hand.

I don't blame you Piers, not at all. I'm sure it's lovely being you.

But the lemons we have been handed are those of the black female and, while refusing to see them as lesser, we will use them to make the most wonderful Lemonade.
We'll tell you what's true. You can form your own view.
At The Independent, no one tells us what to write. That's why, in an era of political lies and Brexit bias, more readers are turning to an independent source. Subscribe from just 15p a day for extra exclusives, events and ebooks - all with no ads.
Subscribe now

# data[].attributes.attachment_link.title
An open letter to Piers Morgan about Beyonce's Lemonade by Jamelia

# data[].attributes.attachment_link.description
You are a middle aged, British white man. You have no idea, I repeat: NO IDEA what it is like to be a black woman, and furthermore the sacrificial, struggle-filled, tongue-biting, mask-wearing fight it is to become a successful one

# data[].attributes.body
Beyonce's music video 'Formation' includes political sentiments that brings an awareness to the racial injustices experienced in America, which indicates the development of Beyonce's image as political activist.

# data[].attributes.body
Piers Morgan challenges the authenticity of Beyonce's political activism she conveys through her album 'Lemonade'. Piers Morgan critiques Beyonce's decision to include victims of police brutality in her music videos states that it 'shameless exploitation' in order to generate more income. After referring to a previous CNN interview he had with Beyonce, Morgan acknowledges a change in Beyonce's music and claims that he misses what he calls the 'old Beyonce' who appeared more authentic.

# data[].attributes.attachment_link.readable_text
The cynic in me believes it's rarely done for genuine reasons but for strictly commercial ones.

Whether it's Oscar-winners preaching from the Academy Awards pulpit or Madonna seizing the best-looking babies from African orphanages, it always looks and sounds like they're using a 'good cause' as a fashion accessory.

Which brings me to Beyoncé and her new 'visual-album', Lemonade.

Now, I bow to no man nor woman when it comes to my admiration for this lady.

I once spent a delightful day with her in London for CNN and she was bright, warm, funny, sharp and incredibly impressive.

We chatted, had tea and scones, and finally went to the famous department store Harrods to buy a copy of her new album.

There, word quickly spread and several thousand people raced down to to form a frenzied throng desperate to get close to their idol.

Things grew steadily more intense, physical and scary until eventually I witnessed her chief bodyguard - a giant of a man - actually punch a paparazzi straight on the head, knocking him to the floor.

That was real superstar fame, on a scale few well-known people will ever experience.

Beyoncé's over-excited audience that day pretty much typified what I suspect her normal audience looks like: black, white, asian, hispanic, young, old, male, female, Jewish, Muslim, Christian.

In other words, a multi-cultural, age, gender and religion irrelevant demographic.

She's a global brand, one of the best in the business, and has generally steered studiously clear of saying or doing anything too contentious which might polarise that audience - preferring to entertain for the sake of entertaining.

But just lately, Beyonce's been adding a far more serious, deeply political and race-fuelled tone to her work.

In February of this year, she dropped the song "Formation" which contained references to the activist movement Black Lives Matter.

A video accompanying it included Beyoncé strewn across a sinking police car in a withering throwback to police mistreatment of the black community in New Orleans after Hurricane Katrina.

Other scenes showed a wall bearing the graffiti "Stop Shooting Us" and a young black boy dancing in a hoodie in front of a line of policemen.

It was seen, understandably, as an attack on U.S. police.

The next day, Beyoncé sang Formation during the half-time Superbowl show and stepped up the police-hating theme with a tribute to the militant activist group, Black Panthers.

Her back-up dancers had Panthers-style afro hairstyles and black berets, formed an X on the pitch and punched the air in the style of the famous black power salute.

Beyoncé herself wore black leather and a bandolier of bullets.

To say this was a provocative statement is putting it mildly.

The Black Panthers, set up as a group who would protect black Americans from police brutality, became infamous for their own brutality, especially against police, and widespread criminal and murderous membership within their ranks.

Beyonce's tribute to them was branded 'disgraceful and outrageous' by former New York Mayor Rudy Giuliani, incensed that she had 'used the platform of the Superbowl to attack the police.'

Now, just two months later, she has released her full album Lemonade.

Many of the instant headlines attached to it focus on her apparent calling out of husband Jay-Z as a love cheat.

But I was far more drawn to the politically-charged content in much of the rest of it.

There's a clip of Malcolm X, the radical and controversial black separatist who opposed Dr Martin Luther King's creed of non-violence, saying: 'The most disrespected person in America is the black woman.'

Another shows two grieving mothers appearing on camera.

The first is Lesley McSpadden, filmed crying as she holds a photo of her late son Mike Brown who was shot dead by a police officer in Ferguson, Missouri in 2014 - an incident which sparked huge protests.

The second is Sybrina Fulton, whose 17-year-old son Trayvon Martin was killed in Florida by a local vigilante George Zimmerman in a case that sparked national outrage in 2012.

I have huge personal sympathy for both women and there is no doubt that African-Americans have been treated appallingly by certain rogue elements within the country's police forces.

But I felt very uneasy watching these women being used in this way to sell an album. It smacks of shameless exploitation.

My mind went back to my CNN interview with Beyoncé and the moment when we discussed her live performance at President Barack Obama's first inauguration ball in 2008.

'Did you experience racism as you grew up?' I asked.

'A bit, but I feel like with my career I've now broken barriers. I don't think people think about my race. I think they look at me as an entertainer and a musician and I'm very happy about that because that's how I look at people. It's not about color and race, and I'm happy that's changing.'

'At the time of the inauguration,' I said, 'the most powerful man in the world was African-American, Oprah was the biggest TV star, you were the biggest singing star and Tiger Woods was No1 golfer. That would have been unthinkable 30 years ago.'

'Exactly,' she replied.

'The sea change came through personal achievement as much as anything else.'

'Absolutely. I'm proud of that and I'm just praying that we continue to grow and people continue to see the right things in people.'

That interview took place five years ago.

Beyoncé then was unrecognisable from the militant activist we see now. Then, she was at pains to be seen as an entertainer and musician and not as a black woman who sings.

Now, it seems to be the complete opposite.

The new Beyoncé wants to be seen as a black woman political activist first and foremost, entertainer and musician second.

I still think she's a wonderful singer and performer, and some of the music on Lemonade is fantastic.

But I have to be honest, I preferred the old Beyoncé.

The less inflammatory, agitating one.

The one who didn't use grieving mothers to shift records and further fill her already massively enriched purse.

The one who didn't play the race card so deliberately and to my mind, unnecessarily.

The one who wanted to be judged on her stupendous talent not her skin color, and wanted us all to do the same.

# data[].attributes.attachment_link.title
Jay-Z's not the only one who needs to be nervous about Beyonce

# data[].attributes.attachment_link.description
The cynic in me believes it's rarely done for genuine reasons but for strictly commercial ones. Whether it's Oscar-winners preaching from the Academy Awards pulpit or Madonna seizing the best-looking babies from African orphanages, it always looks and sounds like they're using a 'good cause' as a fashion accessory.

# data[].attributes.body
In this interview Beyonce reveals the importance in her 'mystique' as she recognises a lot of what she has shared about herself has been through her music. This suggests an intentional effort to maintain privacy about her life and who she is.

# data[].attributes.attachment_link.title
Beyoncé on Finding Balance Between Her Public and Personal Lives | Oprah’s Next Chapter | OWN

# data[].attributes.body
Beyonce's live performance at the 2011 Billboard Music Awards showcases her ability to successfully deliver a live performance which contributes to Beyonce as a performer. Additionally, the performance of her single 'Run the World (Girls)' where she incorporates a complete team of female backing dancers indicates her pursuit of female empowerment through her music and performances which also contributes to her image of a black feminist.

# data[].attributes.attachment_link.title
Beyoncé performs 'Run the World (Girls)'  at the 2011 Billboard Music Awards

# data[].attributes.attachment_link.description
Beyoncé lights up the stage with an unforgettable performance of "Run the World (Girls)" at the 2011 Billboard Music Awards.

# data[].attributes.body
Destiny's Child's 'Independent Women' is an example of the groups promoting and encouraging of female empowerment through music. This shows early traces of of feminist ideals which eventually contributes to Beyonce's star image as a black feminist. The song features into soundtrack of film

# data[].attributes.attachment_link.title
Destiny's Child - Independent Women, Pt. 1 (Official HD Video)

# data[].attributes.body
Beyonce's Super Bowl (2013) performance, presents Beyonce as an internationally recognised entertainer which contributes to her star image as a performer, who not only sings, but also dances, incorporates lighting and technology to produce a well rounded performance to entertain the audience. As such, performance and live entertainment becomes an essential part in cultivating the star image of Beyonce.

# data[].attributes.attachment_link.description
Performance histórica da cantora no intervalo do Super Bowl 2013 com legendas em Português. Set list: Run the World (Girls) (Intro)/Love on Top/Crazy In Love/End of Time/Baby Boy/Bootylicious (Destiny's Child)/Independent Women Part I (Destiny's Child)/Single Ladies (Put a Ring on It) (com Kelly Rowland e Michelle Williams)/Halo

# data[].attributes.headline
BEYONCE'S AUTHENTICITY - BEHIND THE MUSIC

# data[].attributes.subject
BEYONCE'S AUTHENTICITY - BEHIND THE MUSIC

# data[].attributes.body
Through Beyonce's documentary 'Year of 4', there is a focus applied on the star off stage and off camera, which provides glimpses into her life before stepping on the stage. The use of interviews and camera footage allow for viewer to gain a sense of Beyonce's work ethic that drives the different aspects of her stardom.

# data[].attributes.body
Beyonce's visual and cultural album entitled 'Lemonade' exposes the outing of her husband's affair and depicts the sadness and betrayal women feel in response to cheating. The release of the album identified Beyonce as a Black Feminist (if she wasn't already regarded as one) as she conveys strong political messages of feminism being about the freedom for women to make their own choices and decisions. This contributes to Beyonce's star image as a black feminist who uses her artistry and performances to promote ideas about feminism

# data[].attributes.headline
'SASHA FIERCE' AS BEYONCE'S ON STAGE PERSONA 

# data[].attributes.subject
'SASHA FIERCE' AS BEYONCE'S ON STAGE PERSONA 

# data[].attributes.body
In this interview, Beyonce's on stage Aalter ego of 'Sasha Fierce' is explored as she promotes her double-sided album which reflects the different aspects of her star persona. Beyonce acknowledges her faster and more upbeat songs on the album, point towards 'Sasha Fierce' whilst her musical ballads on the album suggest a closeness to the more authentic side of Beyonce that isn't always presented in live performances or on stage.

# data[].attributes.attachment_link.title
Beyonce I Am... Sasha Fierce - Part 2 in 1080p HD