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Advertisement - Continue Reading Below. Cut to black, then to a shot facing upwards, shot filled with tree branches covered in a whitish, bunched up cloth material. Camera moves forward. Cut to shot of at least twelve black middle-aged women in a pavilion-type wooden structure, all dressed in elaborate white gowns. At least four are sitting with their legs hanging over the side on the floor of the pavilion, and at least eight are standing. Camera pans behind women, who are perfectly still.
She holds onto the railing of a wooden fence-like structure with her left hand. Cut to shot of woman dressed in white, about ten feet away, rocking in rocking chair.
In the foreground, the leaves of a plant block the face of the woman in the rocking chair. Cut to shot under the table, with backside of woman sitting at wooden porch steps in view, picking at something. Title is displayed over a zoom in on her chest area, the golden zipper on her black jacket being undone by her left hand. Unzipping the jacket reveals a nude-colored dress. Close up shots of her calm face come, then, and one of her sleeping on the floor emerges. Air bubbles come freely out of her mouth.
Back to shot of body floating upwards towards light source above. Air bubbles float into her nose instead of out of it. Shot of her body floating upwards, eyes covered by bubbles, mouth slightly open, body language open and vulnerable. Her head pivots, mouth closing. More violent successions of shots, body warping quickly. The bubbles start moving into her nose instead of out of it. Light source shines directly on her face. Her face penetrates the curtain of bubbles as the shot progresses forward.
Cars line the street on either side. A monster truck enters left and begins crushing the line of cars on the far side of the street. Cut to left-panning shot of a suburban neighborhood. Title sits over four men in a marching band full regalia, performing in a parade. Cut to the women, marching along in equally flashy getup. They perform different gymnastic moves as they proceed.
Cut to a group of women in dresses with too-long sleeves standing together in a parking lot. They are writhing in unison. Water droplets fall from the ceiling, but the footage is reversed to make it appear they are falling upward.
All three of us, immortalized. You and your perfect girl. Cut back to a closeup of the women. With their hands above their heads, they all bend backwards in unison. Cut to a flickering lightbulb. What I know is no one I know has it. She is dressed in fur and her hair is in cornrows. Cut to a Black woman sitting at a drum set. She is looking backwards over her shoulder at the camera. Everyone else can. Drummer girl is pictured to the left of the frame, sitting at her drum set.
She is motionless. The lights flicker on and off. Title sits over a closeup of the inside of a subway car. Lights are reflecting off of its surface. Cut to an assembly of feet lining the seats of the subway car. Cut to reveal the feet belong to a group of Black women, their faces painted in different white designs. They are swaying left to right in unison, and then begin to perform a choreographed dance. Here lies the mother of my children both living and dead.
Rest in peace, my true love, who I took for granted, most bomb pussy, who because of me, sleep evaded. Her shroud is loneliness. Cut to an upward view of trees in the sunlight, then to the front of a manor surrounded by gardens. A group of five Black women are walking naked through the field.
The camera follows them from behind, moving through the grass. Title sits in front of a streetlight viewed from below. Zoom on the streetlight until the light consumed the entire frame.
Cut to a forward panning shot of a wet concrete floor doused in orange light. Return to the upward panning shot on concrete. Wrap your legs around me and pull me in, pull me in, pull me in. She is wearing an ornate gold head adornment consisting of chains and spikes, and a patterned gold collar.
Cut to black, then to a narrow hallway veiled in red light. There is a square of white light at the far end. Slow zoom towards the white square. Dear moon, we blame you for floods…for the flush of blood…for men who are also wolves. We blame you for the night, for the dark, for the ghosts. After the first few bars of the song, the music stops. Cut to a room lit with the same red light as the hallway.
Red lights flash across her face. Slow zoom out to reveal she is standing in front of a burning building with four other women. They stand motionless in the smoke. Cut to a bayou, and then to a bedroom in a manor on the bayou. Title sits over a downward view from the balcony of the manor.
You desperately want to look like her. Cut to two girls sitting on a bed, talking. One has her back turned and the other is facing the camera. Cut to closeup of a young girl, pictured left. Cut to a room in the manor. On the left is a small table with a flower pot and a sculpture of a face atop it. In the middle is a chair. On the right is an empty crib. Cut to an blurred extreme closeup of a young girl. Another young girl sits behind her, facing sideways. The blur effect shifts so the girl in the foreground is clear and the girl in the background is blurry.
Cut to an elderly woman, sitting in a chair. She is staring at the camera. Cut to an extreme closeup of a car window from the inside. Condensation has collected on the exterior. Following Lyric's death, Beyonce shared an emotional video montage on her website in celebration of the girl's life.
In the tribute, which features photos and videos of a smiling and dancing Lyric, Beyonce is heard singing a special medley of her hit songs "Brown Skin Girl," "Halo" and "Love on Top.
Toward the end of "Love on Top," Bey changes the lyric "baby" to "Lyric" in remembrance of her late fan. In September, Lyric received a beautiful bouquet of white flowers from the year-old mother of three after posting an adorable throwback video of herself singing the star's hit "Love on Top. We love you so much and she hopes to one day meet you. Search term. Billboard Pro Subscribe Sign In.
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