This at least tries to put the hyperbole In context
Disco and house music are as American as hip-hop and rock ’n’ roll. But Americans have never fully embraced that idea.
www.vox.com
But even so i think web journalism cant resist hivemind hyperbole, esp not when it concerns Beyonce
that's a reasonable summary of the context. I've made the same exact points about disco, house, etc to people here (the U.S. I mean, not dissensus) a million times, especially being from and living in Chicago. and I'm sure for the target audience - Vox readers who know very little about dance music but are sympathetic to championing unfairly ignored
but Beyonce as the instrument to redress that ignorance is ridiculous. I'm pretty certain she'd say so herself.
it's an awful lot closer to Madonna's (complicated) relationship with house - and before that, post-disco NY - and the vogue/ballroom scene
less exploitative, but the same aging pop superstar makes dance music influenced dance-mom record to stay relevant vibe
which isn't the worst thing. I mean idk what I've heard is pretty mediocre but it's not like morally bad.
but people all over pop music have been introducing dance music elements - including classic house, garage, and even ardkore-type rave music (the softer, more post-Italo house end like the Rachel Wallace releases on Subbase, but still) - into American top 40 for idk 5 or 10 years at least. I don't pay close attention to pop but even just from what I hear at the gym and otherwise diegetically I could tell you that.
and that's not even counting hyperpop etc, which has been existing and innovating in an extremely queer space at the exact intersection of dance and pop for again, like a decade. I see someone mentioned Charli XCX above, but I'm also about hyperpop qua hyperpop i.e. Ayesha Erotica.
not that I'm expecting idk whatever music journalism is these days to do anything besides try to generate clicks out of Beyonce content, what else can they do really