Theft or inspiration: the epic surf film that Beyoncé ripped off for Lemonade
- Text by Gabriela Helfet
- Photography by View From A Blue Moon // Laurene Boglio
If Beyoncé Knowles is Planet Earth’s reigning Queen of Soundwaves, John John Florence is the Prince of Tides.
Last year, Florence and Director Blake Vincent Kueny released an epic, grandiose as fuck, surf flick. Some of the world marvelled at its majesty. This is the July 2015 teaser for View From A Blue Moon:
In 2016, Beyoncé released an epic, grandiose as fuck, audio visual opus. Most of the world marvelled at its majesty. This is the April 2016 teaser for Lemonade.
Now, here they are combined into one. This is JohnceKnowles.
Yeah the shots are different, but the pacing, the way the music is synced with the shots, hell the entire editing sequence really, is pretty much exactly the same.
Beyoncé has already been accused of “borrowing” other artists’ ideas for Lemonade’s first music video: Formation.
But here’s the rub. Where her audio is concerned, Knowles is, seemingly, straight diligent. On Don’t Hurt Yourself she’s gone so far as to credit Robert Plant, presumably because she sampled a teensy snippet of a Led Zeppelin track.
So what’s the deal? Are the films Bey ‘samples from’ somehow less deserving of a nod than the music? Is this just a case of innocent inspiration, that the Internet is kicking up unnecessary fuss about? After all, according to Picasso, “Good artists copy, great artists steal.”
Or maybe, just maybe (!!!) the real message behind Lemonade is that Beyoncé is a secret surfer girl ready to shoot the curl at Mavericks… Sure hope it’s that last one. (Surfbort).
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like
The utopic vision of Black liberation in ’60s & ’70s jazz
Freedom, Rhythm & Sound — As Pan-African optimism spread across the world in the postcolonial era, Black-led record labels gave artists space to express themselves away from the mainstream. A new book collates 500 groundbreaking albums and their covers.
Written by: Miss Rosen
Analogue Appreciation: Wesley Joseph
Forever Ends Someday — In an ever more digital, online world, we ask our favourite artists about their most cherished pieces of physical culture. Today, visual and sonic shapeshifter Wesley Joseph.
Written by: Wesley Joseph
The Strokes condemn US imperialism in Coachella set
Oblivius — The band finished their performance at the festival’s second weekend with a montage of bombings in Gaza and Iran, along with images of world leaders that the CIA has been accused of overthrowing over the past century.
Written by: Noah Petersons
The heady bliss of Glastonbury Festival after the music
Not Done Yet — While the weekend’s headliners and stacked line-ups usually draws the majority of the attention, much of its magic occurs after the music stops. Mischa Haller’s new photobook captures the euphoria and endless possibilities of Glasto’s “in between” moments.
Written by: Isaac Muk
The cathartic roar of Vietnam’s hardcore punk scene
Going hardcore in Saigon — In a country that has gradually opened up in recent decades, a burgeoning youth movement is creating an outlet for youth frustration and anxiety. Frank L’Opez reports from the country’s biggest city’s underground.
Written by: Frank L’Opez
The rise of anywhere and everywhere radio
Cooking up broadcasts — From a London rickshaw to a shipping container in Ukraine, independent stations are redefining what a studio looks and feels like. Bella Koopman speaks to DIY station founders to find out more.
Written by: Bella Koopman