Given the task definition and input, reply with output. In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.

Upgrade to the latest Flash Player for improved playback performance. Upgrade now or more info ||||| The sister of Messy Mya — a well-known New Orleans bounce rapper who was fatally shot in 2010 — is suing superstar Beyoncé, who included a Messy Mya cameo on her Grammy-nominated single "Formation" last year. 
  
 In a federal lawsuit filed Monday, Angel Barre alleges that Beyoncé used her brother's distinctive "voice, performance and words from his copyrighted works to create the tone, mood, setting and location of the New Orleans-themed 'Formation' video and audio recordings" without obtaining permission or acknowledging Messy Mya's contribution. 
  
 Barre asserts, among other things, that Beyoncé's "Lemonade" video album as well as "Formation" committed copyright infringement on "important and recognizable" portions of the Messy Mya songs "Booking the Hoes of New Wildings" and "A 27 Piece Huh." 
  
 Live performances related to Beyoncé's "Formation" tour also committed copyright infringement, the lawsuit alleges. 
  
 Barre wants more than $20 million in damages as well as royalties, and she also seeks credit to her brother "as a writer, composer, producer and performer," among other things. 
  
 Other listed defendants include Sony Music and a company through which Beyoncé and Jay-Z, her rapper husband, own a home in New Orleans. The defendants could not immediately be reached for comment. 
  
 Born Anthony Barre, Messy Mya was shot dead on Nov. 14, 2010, in the 7th Ward as he left a baby shower with his pregnant girlfriend. He was 22. 
  
 News of the killing went viral on Twitter and YouTube after a photo of Barre's corpse lying face-down in a pool of blood appeared. 
  
 A man named Jason Hamilton spent nearly three years in jail on accusations that he gunned Barre down. But a second-degree murder case against Hamilton, who at the time of his arrest was being treated for bipolar disorder, was dismissed in 2013 after exculpatory evidence surfaced. 
  
 So far, no one aside from Hamilton has been charged with killing Messy Mya, who was the grandson of once-imprisoned businessman and New Orleans political power broker Stan "Pampy" Barre. 
  
 A quick-witted street comic and "dis" artist, Messy Mya used social media to promote himself, posting popular videos on YouTube that showed him rapping, roasting friends and making fun of strangers at the mall. 
  
 Many viewed Beyoncé's mention of Messy Mya in "Formation" as an homage. 
  
 The video for "Formation" shows a New Orleans police car sunk in flood waters. It also features a cameo by the local bounce rap star Big Freedia. 
  
 Angel Barre is the sole heir of Messy Mya's estate, the lawsuit says. 
  
 Her lawsuit alleges that leaving Beyoncé's use of her brother's work unchallenged would create the impression that Messy Mya's estate consented to "defendants' use of his voice, which has impaired Mr. Barre's reputation and credibility as an independent artist who worked alone and did not endorse popular singers." 
  
 Court records say Angel Barre is being represented by attorney Roy Rodney Jr., who was Stan Barre's former business partner. 
  
 Angel Barre filed her lawsuit exactly one year after the release of "Formation." The statute of limitations for most civil claims in the federal court system is one year. 
  
 Lawsuits over work that was allegedly borrowed without giving proper compensation or credit aren't uncommon in the music industry. 
  
 Such cases have received much public attention, especially following a successful lawsuit against artists Robin Thicke and Pharrell Williams, who were accused of ripping off the Marvin Gaye hit "Got to Give It Up" when they co-wrote their 2013 chart topper "Blurred Lines." ||||| Beyoncé/YouTube 
  
 Since the day I first stepped foot on the campus of Howard University in 1996, I’ve repped the city from whence I came. I do so even more now, because I would hate for anyone to ever forget what happened during that hellish August morning in 2005 when Hurricane Katrina made landfall and a system collapsed. I’m periodically shrouded in a sense of sudden grief because I shall never forget. 
  
 Last Saturday, I watched Beyoncé’s “Formation” along with everybody else. That night, I shared on Facebook Dr. Zandria F. Robinson’s eloquent piece “We Slay, Part I,” which places the Queen of Slay within an oppositional narrative of Southern blackness. In the moment, I thought that Robinson’s essay was helping me make sense of something that felt awful, problematic, foul. I was caught up in a national moment of seemingly audacious black pride. 
  
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 In “Formation,” which invokes both Katrina and the Black Lives Matter movement, Beyoncé attempts to politicize black tragedy and black death by using them as props for popular consumption. That isn’t advocacy. While some people are gagging at the idea of Beyoncé atop a New Orleans Police Department squad car or sitting in a 19th-century living room in plaçage attire, I’m reliving trauma. I’m thinking about how the system failed us. I’m thinking about how the central government and the head of state left us to die. I could speak about the incompetence of some local leaders, the breakdown in communication of authorities, the lawlessness of police officers and troops. I could speak about the vicious racist vigilantes who hunted evacuees down like dogs for trying to secure safe ground for themselves and their families. But I don’t. 
  
 While some are made giddy by the metaphor of Beyoncé’s body being subsumed by the water, I am remembering images of bloated bodies of grandmothers and grandfathers, cousins, uncles, great aunts, and nieces that drifted through the floodwaters like discarded pieces of scrap wood. These were all images that ran across my television screen on repeat in the weeks and months after the levees broke. These were the horrifying tales relayed to me by survivors of the storm. 
  
 I am also reminded of my grandmother, Gladys Calvin, Ibaye, and her sarcasm, Sunday morning phone calls, and the pancakes that I miss so much. She was one of the tens of thousands whose lives were sacrificed indirectly as a result of medical complications, suicide, heartbreak, post-traumatic stress disorder, or murder that took place in the months and years following the storm. She was a dialysis patient who wasn’t able to receive treatment for weeks, denied by hospital after hospital. The post-Katrina effect did rapidly deteriorate her body, which necessitated the amputation of both of her legs, and in the end took her away from us before we were ready to say goodbye. 
  
 For an artist to become political, must she perform against a backdrop of black tragedy? 
  
 “What happened at the New Wildins? ... Bitch I’m back, by popular demand.” The words of the late bounce rapper and comedian Messy Mya braggadociously introduce Beyoncé’s anthem. A marginalized queer black man, Messy Mya in all of his wildest imagination, ribbing, and capping would not have believed that the world’s biggest pop star would use his voice in a video—without, however, acknowledging his humanity in life and in death. Messy Mya, a household NOLA name, was shot and killed at age 22. The city has had the highest or one of the highest murder rates in the country since I was a child. In focusing on black New Orleanian lives, it would have been easy for Beyoncé to dedicate “Formation” to Messy Mya and other victims of gun violence. She provided no context for his life or death. Those not in the know could mistake his sassiness with that of the Queen of Bounce, Big Freedia, whose voice is heard a little later in the song. This is not gumbo. These are black lives. 
  
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 What does it mean to speak for a marginalized community who has not asked for your pronouncements? From an outsider’s perspective, it would seem as if Beyoncé, by returning to the devastation of Katrina, is centering New Orleans, but she is not. She’s rather exacerbating a trauma. 
  
 And Beyoncé has been co-opting New Orleans culture for years. Instead of inviting one of the original Kings of Bounce, DJ Jubilee, to perform the dances that he choreographed and created for “Get Me Bodied”—whose syncopated beat and lyrical formations were taken directly from his 1993 local New Orleans classic “Do the Jubilee All”—she presented this genre of music and dance as if it had been created in her own studio or Houston backyard. 
  
 But all great artists imitate others. In some spaces, that’s called plagiarism. In others, appropriation. Can black people appropriate one another? I’ve never thought I’d come to this conclusion, but yes, we can—especially when you’re one of the most influential and powerful black women in the world. Especially when you take the cultural productions of a marginalized community and present them as your own. Especially when you capitalize off of their deaths. This is not giving people voice. It is stealing. 
  
 I’m not saying that no one can read “Formation” as a black girl Southern anthem. Blackness is not monolithic, and neither is U.S. black American Southernness. But for an artist to become relevant and political, must she perform against a backdrop of black tragedy? 
  
 Anyone who has spent significant amounts of time in the Crescent City and other areas of the Global Black South knows that New Orleans is a global city by heritage, history, and might; art historian Robert Farris Thompson has oftentimes referred to it as the uppermost region of the Caribbean. So New Orleans indeed has more in common with Santiago de Cuba, Curaçao, and Port-au-Prince than any other American city save for Charleston, South Carolina. No single artist can assume the uncontested right to speak on New Orleans’ behalf. If all that protest songs and videos require these days is a little twerking, faux-Voodoo images, and nappy hair, this new revolutionary moment that we’ve found ourselves is in bad shape. I don’t have high expectations for a pop superstar, but I do have some for many of the brilliant black activists and scholars who have exalted and defended her in this moment. I’m not so sure that Beyoncé is here for natural-hair women, Black Lives Matter, or New Orleans. However, I’m superclear that she’s here for herself. Her family. Her money. Her power. 
  
 Those beautiful nappy-haired Afros worn by the Black Panther–esque backup dancers are props just like the floodwaters, the submerged New Orleanian backdrop, and the police car that keeps Beyoncé afloat throughout most of the video. Those darker-complexioned little girls who stand beside Beyoncé’s child, the voice of a queer and deceased black man, and a Katrina survivor were all vehicles to use for selling out her next world tour. |||||

Beyonce sampled New Orleans bounce rapper Messy Mya in her wildly popular "Formation," and now, a year after the song was released, Mya's sister is suing, TMZ reports. Angel Barre says that Beyonce did not get permission to use the "voice, performance, and words" of her brother, who was born Anthony Barre. He was shot and killed on Nov. 14, 2010, in New Orleans at age 22, and the Advocate reports that many saw Beyonce's inclusion of him in her song and its NOLA-centered music video as an homage. Mya was a street comic known for YouTube videos in which he rapped and roasted people. Beyonce used two of his lines from one of his videos to open "Formation," and also sampled a line from another video in which he talks to a woman on the street about her hair, telling her, "I like that." Angel Barre says in her federal copyright infringement lawsuit that Beyonce used her brother's line "to create the tone, mood, setting and location of the New Orleans-themed 'Formation,'" and that not only did she fail to get permission, she also did not acknowledge Mya's contribution. She wants more than $20 million in damages, plus royalties and credits for her brother. Shortly after the "Formation" video came out last year, Shantrelle Lewis took issue with the entire video in Slate. Of Beyonce's use of Mya in the song, she wrote, "The city has had the highest or one of the highest murder rates in the country since I was a child. In focusing on black New Orleanian lives, it would have been easy for Beyoncé to dedicate 'Formation' to Messy Mya and other victims of gun violence. She provided no context for his life or death."