Semiosis of Beyonce Knowles Carter

Beyoncé Knowles is recognized for her beauty, iconic music; powerful display of feminism, marriage to famous a performer/entrepreneur in addition to several influential partnerships. Beyoncé is an influence to many folks from all across of the world. From every age bracket she is a symbol of power moreover the semiotics behind her brand are constantly deconstructed by the mass media.

Semiotics as defined in this paper can be represented by many diverse shapes, sizes, forms, and imagery. In pop-culture, these symbols are demonstrated to consumers through a wide-variety of communication which include visual, audio, as well as through text. The semiosis between the symbols in itself is what the adorning individual’s (i.e. consumers, fans etc.) hypersensationilze attracting attention to Beyoncé herself. Mrs. Carter (her married name) has taken the feminine characteristics of a wife; a mother, as well as a daughter aligned these symbols with independence, girl-power, as well as defied gender roles.

In a significant release of her song titled 7/11 following a tasteful yet liberating introduction to her album Mrs. Carter. Beyoncé identifies herself as a professional unlike any other in the industry with no release date, press, and media attention for an upcoming album Mrs. Carter was released simultaneously via social media outlets. This gained momentous attention within hours transcending her to music history. “Signs are organized into languages and it is the existence of common languages which enable us to translate our thoughts (concepts) into words, sounds or images, and then to use these, operating as a language, to express meanings and communicate thoughts to other people (Hall, pg. 18)”.

In a linguistic approach to Beyonce’s music video rendition of her song titled 7/11 the perception of the auditory impression can be derived from the entirety of the Mrs. Carter album. Saussure stated that the object of a study cannot be at the first to the view point in other words there are hidden messages behind the symbolism. The linguistic phenomena can be always found in different aspects in which are dependent on one another. The Mrs. Carter album is in my view a reference to her husband music mogul JayZ with numerous indications varying from lyrics, a lucrative tour together, music-videos featuring one another-a representation, the concept of them.

“Visual signs and images, even when they bear a close resemblance to the things to which they refer, are still signs: they carry meaning and thus have to be interpreted (Hall, pg. 19)”. The relationship these individuals have is no secret yet they bear an obvious conceptual relationship many admire.

“Drunk in Love” suggestion to the song 7/11 i.e. the lyrics

“No complaints from my body, so fluorescent under these lights/Boy, I’m drinking/Park it in my lot 7-11/I’m rubbing/If you scared, call that reverend.” We all speak, read and write the same English language yet the conceptual map of these words, combination of letters that Beyoncé Knowles Carter represents through a linguistic system of codes sets up the correlation between our conceptual system and the fixed code.

7/11 Music Video:

Beyoncé is dressed in animal print booty-shorts and a long-sleeve blue sweater with capitalized letters KALE across her chest. Her hair is in its natural state flowing free with little to less make-up on. As though she has just awoken in her hotel room standing outside on the balcony with what almost seems to appear to be a personal/home video. Examining this video for the first time I nod my head thinking this is a funny story only to continue to watch in anticipation. This appears to be a silly home video of some short as Beyoncé begins singing the lyrics to 7/11:

Bottom of Form

[Pre-Hook]
Shoulders sideways, smack it, smack it in the air
Legs movin’ side to side, smack it in the air
Legs movin’ side to side, smack you in the air
Shoulders sideways, smack it, smack it in the air
Smack it, smack it in the air
Legs movin’ side to side, smack it, smack it in the air
Smack it, smack it in the air

What seems to be a young lady enjoying herself on a hazy day the Beyoncé we as a culture have grown to love begins to emerge with hand gestures, swaying motions, the film alters scenes to a personal bathroom. Beyoncé is sat facing a chair wearing all white in a disorganized bathroom clinching her buttock muscles. This is considered the act of twerking she begins to twirl her leg, raise her hands up in a synchronic pattern in a distinction of parole, the act of speech i.e. referencing to her voluptuous worldly goods in an underlying language of symbols.

[Hook]
Wave your hands side to side, put it in the air
Wave your hands side to side, put it in the air
Clap, clap, clap like you don’t care
Smack that, clap, clap, clap, like you don’t care
(I know you care)

[Verse 1]
Clap, clap, clap, clap, clap it
Foot up, my foot up
Hold up now my foot up
I’m spinnin’ my foot up
Foot up yeah my foot up
I’m spinnin’ my foot up
Put my foot down yeah my hands up
My hands up, my hands up
(Flexin’)
Flexin’ while my hands up
My hands up, my hands up
I stand up with my hands up
Then I put up, my hands up
I put up, my hands up
I put up, my hands up
Then I’m spinnin’ all my hands up
(Spinnin’)
Spinnin’ while my hands up
(Spinnin’)
Spinnin’ while my hands up
(Spinnin’)
Spinnin’ while my hands up
Then I’m tippin’ all my hands up
Spinnin’, I’m spinnin’, I’m spinnin’ while my hands up
I’m Spinnin’, I’m spinnin’, I’m spinnin’ while my hands up
(Drank)

The clip alters from the terrace, bathroom, to the bedroom as more young women appear. Saussure insisted on the methodical nature of language; “Language is a structure, a functioning whole in which the different parts are determined by one another” (Course in General Linguistics p. 9). To individuals whom the linguistic study of this visal-interperetation may not be recognize this terminology the sound-image and mental representations manifests itself into their cognitive representation of the act of twerking in connection with Beyoncé 7/11 music video.

In the case of this qualitative study my interest in the study of this influential music-video begins to deepen with the study. I notice that by understanding the origins of the semiotics in the linguistic science of Mrs. Carters jargon I begin to gesture as she does, sway my hips enjoying her influence on myself. Theoretically, this begins to feel as a naturally expressive representation of feminism.

Beyoncé is joined by a group of young women dressed similarly in a choreographed dance in the hallway, balcony, and bathroom. The ladies are adorned in male underwear wearing little clothing with minimal makeup. Furthermore, they are twerking with one-another in the bathroom as Beyoncé continues to sing the following verse.

[Bridge]
Hold that cup like alcohol, oh let go like alcohol
Hold that cup like alcohol
Don’t you drop that alcohol
never drop that alcohol, never drop that alcohol
I know you thinkin’ about alcohol
I know I’m thinkin’ bout that alcohol

[Verse 2]
Man this here like rollin’ dice, man this here like rollin’ dice
Seven eleven, seven eleven, seven twice, man seven twice
Man it feel like rollin’ dice, man this feel like rollin’ dice
Man it feel like rollin’ dice
Seven twice, seven twice
Girl I’m tryna kick it with ya
Girl I’m tryna kick it with ya
Man I’m tryna kick it with ya
My feet up, I kick it with ya
Man I swear I kick it with ya
Girl I wanna kick it with ya
Man I know I kick it with ya
Yeah I spin around and I kick it with ya

The difference between language and noise is that noise does not communicate anything whereas language communicates meaning (Mangion, pg. 17). Beyoncé did not set out to change verbal communication nevertheless her slang-culture of rap, music-lingo has a fundamental contribution to semiotics. Meaning is constructed by the system of representation, it is constructed and fixed by a code, which sets up the correlation between our conceptual system and our language system in such a way that, every time (Hall, pg. 21) we think of Beyonce’s 7/11 music video the code tells us that in our culture that is, in our conceptual and language codes – these symbols are represented by this individuals innovative psychological communication.

[Outro]
Wave ya hands side to side
Wave ya hands side to side
Wave ya hands, to side, to side
Wave ya hands side to side
Ooh wee be-be freaky deaky
Think me see she pink bikini
Rock that groovy dye dashiki
Nefertiti, edges kinky
Sweatin’ out my blow out
Sweatin’ out my press
This trick about to go off
Mad cause I’m so fresh
Fresher than you
I’m fresher than you
Fresher than you, oh

As I continue to study this music-video the young women all have a red cup (which tells me this must be alcohol). I decide to pour myself a glass of wine since it only seems fair that I too would like to join in on this excitement. By invoking these simultaneous linguistic imprints my psyche this song begins to have a pleasant influence on me personally. There is a fixed social, cultural understanding that enables her music to be expressed universally. The emotion I personally began to accept from listening to these lyrics, in relation to the performance act of twerking begins to empower my ego. This may be a large number of explanations which include the powerful image of this beautiful woman. Having to identify with her did not seem so bad given that for a mere moment in time I felt reasonably symbolic as her captivating character.

In the last line of the video as Beyoncé is in a Zen like pose referencing Nefertiti this line Beyoncé articulates the following “this trick about to go off, mad cause I’m so fresh, fresher than you I’m fresher than you, fresher than you, oh”. In rap vernacular Beyoncé signifies that she is the unsurpassed entertainer as well as there is no one like her in a satirically selection of words.

Works Cited

Laclau, E., & Bevers, R. (1997). New reflections on the revolution of our time, p. 70-71; Why does difference matter, p. 234-238; Dominant ideology, hegemony and cultural negotiation, p.347-348. London: Sage, in association with The Open University.

(n.d.). Retrieved from http://genius.com/Beyonce-7-11-lyrics

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s