Page 203 . Volume 14, Issue 2 November 2017 ‘She made angry Black woman something that people would want to be’: Lemonade and Black women as audiences and subjects Ashton Toone, Amanda Nell Edgar & Kelly Ford, University of Memphis, USA. Abstract: Based on interviews with 35 audience members, this essay argues that audiences used BeLJoŶĐés houƌ-long visual album, Lemonade, as a Two-Way Mirror to understand racial and gendered identities through the lenses of social movements, identity politics, and relationality. Our findings support Sandvoss (2005) and other audience scholars in that the BlaĐk ǁoŵeŶ ǁe iŶteƌǀieǁed used the alďuŵs eŵphasis oŶ BlaĐk feŵiŶiŶitLJ as a ŵiƌƌoƌ that uplifted their own racial and gendered identities. White and male audiences, on the other hand, used the album less for fashioning their own sense of self, instead using Lemonade as a lens to gaze into a realm of Black femininity as presented by Beyoncé, a Black woman herself. While in some cases, this perspective drove White and male paƌtiĐipaŶts eŵpathLJ aŶd suppoƌt of the BlaĐk ǁoŵeŶs edžpeƌieŶĐes ƌepƌeseŶted iŶ the album, their understandings also risked one-dimensionality. Keywords: Audience Studies; Beyoncé; Black Identity; Intersectionality; Popular Music I am invisible, understand, simply because people refuse to see me. (Ralph Ellison, Invisible Man) The most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman. (Malcolm X, Los Angeles, May 1962) For the last few years, Beyoncé has sparked conversation both in the media and in scholarly liteƌatuƌe foƌ heƌ ƌeĐeŶt siŶgles like FoƌŵatioŶ, heƌ ϮϬϭϲ Supeƌ Boǁl peƌfoƌŵaŶĐe that