No, and - at the risk of belaboring the point already made - this idea that more generally pop music is lacking in danceabilty and fun and sex, and Beyonce was needed to remind everybody of the joys of embodiment, seems bizarre. Isn't that what the radioscape is routinely composed of anyway, since forever?
I mean, Doja Cat is doing all that, albeit admittedly not with a recycled Robin S lick
Agree that was definitely the tipping point... I do remember stirrings before that, as early as 2014, students at Barnard were writing hagiographic academic essays about her.I think it was once Lemonade dropped and she repositioned herself as more of a political figure.
Do you remember how she became this sort of figure/critical darling? What made people decide she was worth investing this kind of intellectualizing attention on?
This seems ridiculous at first but I’ve read it four times now and I’m starting to get something from it. Going for a kind of perverted gospel, that’s the tensionhouse as an open-ended, catholic term needs to be reclaimed imo, as an approach to playing records with a specific kind of post-disco slightly industrial groove oscillating between the soulful and the machinic. But that goes against the poptimist consensus.
I’m not a big Beyoncé fan, she’s an awkward performer imo but she can do a sinister and seductive thing very well, an unsettling kind of creepy narcissism. When she tries the upbeat motivational feminist stuff I just don’t buy it but when she goes dark and calculated it works cos that’s who she is
But the narrative that dance music needs changing or revitalization goes back to that pesky, ever-prevailing idea that dance music is not good to begin with. But dance music is as American as rock ’n’ roll, hip-hop, country, or R&B and is just as serious and important a genre.
Let’s discuss the music though rather than other peoples reactions to it
there’s only two great songs on the album, the rest can be discarded, they are ALIEN SUPERSTAR and AMERICA HAS A PROBLEM