“Formation” exemplifies America’s rigid social and political structure by protesting police brutality and social commentary on Hurricane Katrina. The video is captured in New Orleans, a city very rich with Black Culture, and Beyoncé is surrounded by unified black women. Not only does Beyoncé combat misogyny through her outright appearances and lyricism, but she also does so by emerging as a producer and songwriter, occupations that are gendered masculine. Though when “Bills, Bills, Bills” was released she was not yet a producer, but by the time “Formation” was released she was. 

Women in the music industry are constantly trying to defy the gender disparities, but black women are combating both sexism and racism which is underlined in “Where My Girls At?”: Negotiating Black Womanhood in Music Videos” by Rana Emerson who highlights the celebration of hyper-sexuality and exploitation of black women in the industry but the socially acceptable limited emergence of female producers. As a person with two marginalizing intersections- being black and a woman, Beyonce had to combat notorious stereotypes and she did so in her music.