I would encourage everyone to think of the delayed visuals more like a film adaptation of a trilogy of popular novels than a traditional visual album* experience.

 

Perhaps this contextualizes what they could do for the albums themselves, bringing renewed interest, new fans, and re-circulating the content in culture, and how fans and GP alike might be interested to finally see the visual depiction of something they've loved and devoted a lot of time to that has only previously existed in their minds.

 

 

*traditional visual album experience being something that basically Beyoncé alone has defined...we really stan an all-time great.

 

 

Edited April 11, 20242 yr by swissman

38 minutes ago, ShouldersSideways said:

Has anyone noticed on Spaghetti - which comes right after she kills the Jolene figure in Daughter -  these lyrics close out the song

what are you insinuating ? 

3 hours ago, swissman said:

I do think complaining about a situation where we ultimately got extra songs is finding a complaint. I'm not saying all people who complain about the physicals are making their feelings up, but that a lot of people (Beyoncé fans and haters) are just grabbing onto any perceived flaw (and this admittedly is one) to validate their "Parkwood is a mess" stance they seem to cling to at every turn.

 

It's interesting you think I work for Parkwood because of what you've quoted, meanwhile you've cropped out the part of my comment where I was critical of the physicals going to stores after being labelled a "webstore exclusive".

Every complaint about her scamming fans is valid. You think we complain just for the sake of complaining, but I feel like you defend just for the sake of defending. 
We flocked to her website to buy her merch that most of us don't even need or won't use because we trust her blindly and now she had broken that. Will it affect her? No. Will it stop us from doing the same thing again next era? No.
They could've been honest or at least share some of these information (per example just the number of tracks, not the actual track listing) so it wouldn't bite them back. All those excessive shipping fees for something that is sitting on a shelf at the Target that's 5min from my house is pissing me off.

 

And Parkwood is a mess. We don't need to grasp at straws to prove that. Beyoncé is still successful because of her name, not because of Parkwood. Indie acts with less resources have better album rollouts than Bey. And let's not even get started on CxH 

Beyonce was thinking WAY too far ahead by naming her DISNEY CHANNEL original Black Is King, like let us be ******* serious. 

 

I am black and it took me off guard because it is quite bold and honestly divisive sitting on the FRONT PAGE OF DISNEY+  

 

I let the same movie play and my friends loved it without realizing what is actually was, the title alone turned people off.

 

Not to mention she did NOT go to the Disney promo slots EVERYONE else showed up too.

 

I have a sneaking feeling that that era was supposed to mix with her original 2019/2020 era in some way. Too many coincidences. 

the "novel adapted as a movie" angle would actually be really smart and work well for us fans and as a narrative for the gp

her own lord of the rings trilogy 

 

she'd kinda have to release the film in 3 parts (or at least 2) tho imo. otherwise it'll be a little overkill and too much to take in for most people 

9 hours ago, CallumDavies said:

Even more so than Renaissance, the songs on CC really need to be listened in the context of the album. There is something so powerful about it as a body of work, it's really hard to describe. 

It's not hard to explain, this is the first album since Lemonade that tells a complete story. That is not generally her thing or her aim, but this time it was and it's incredible!

 

I do respect and LOVE the brashness of Bday and Self-Titled, but CC for me, like Lemonade, rolls out like an essay and at the end I feel like I've learned and completed a story cycle. 

7 hours ago, CécredSpaces said:

and the GP still knows every video despite them being released on YouTube a year later.

Lol, we had them on the CD release.... didnt need them on Youtube at the time. 

23 minutes ago, Blue Rose said:

Every complaint about her scamming fans is valid. You think we complain just for the sake of complaining, but I feel like you defend just for the sake of defending. 
We flocked to her website to buy her merch that most of us don't even need or won't use because we trust her blindly and now she had broken that. Will it affect her? No. Will it stop us from doing the same thing again next era? No.
They could've been honest or at least share some of these information (per example just the number of tracks, not the actual track listing) so it wouldn't bite them back. All those excessive shipping fees for something that is sitting on a shelf at the Target that's 5min from my house is pissing me off.

 

And Parkwood is a mess. We don't need to grasp at straws to prove that. Beyoncé is still successful because of her name, not because of Parkwood. Indie acts with less resources have better album rollouts than Bey. And let's not even get started on CxH 

I didn't say everyone complains for the sake of it, I said I thought half of those complaining were doing so. Whatever half you think you belong to, that's where you belong. I'm not telling anyone individually that they don't feel a certain way, but I may say that I think feeling that way is silly.

 

The only aspects of this that are "scamming" is saying there's a bonus track when there really isn't, and claiming something as a web exclusive that is then sold in stores. Personally, neither matter to me because I'd have bought the physicals had no bonus track been advertised and had it said "this will be sold in stores too". Am I defending for the sake of defending? Sure, because everyone here seems to be in complain mode. But I'm not defending it while secretly upset at her for it.

 

The part about omitting songs that are not promised is NOT scamming though.

 

 

 

 

And actually, let's get started on CXH. Their rollout, video budget, performance budget, and the access they had with their last album represents one of the best full-package eras of the last 5 years. All that despite never having charted on the Hot 100 before, and their lead single peaking at #63, their only (group) charting hit to date. I'd actually say their rollout far exceeded their stature, or any return of investment they gave to Parkwood. On any other label they'd be dropped or their promotional budget would have been cut after two flop singles. Let's not act like Parkwood has not given them far more than anyone else would including budget, promotional slots, and creative freedom.

 

 

Edited April 11, 20242 yr by swissman

I've been playing both albums back to back on a long playlist. 

 

The seamless transition between both are impeccable!  

18 minutes ago, satellites.™ said:

It's not hard to explain, this is the first album since Lemonade that tells a complete story. That is not generally her thing or her aim, but this time it was and it's incredible!

 

I do respect and LOVE the brashness of Bday and Self-Titled, but CC for me, like Lemonade, rolls out like an essay and at the end I feel like I've learned and completed a story cycle. 

imo RENAISSANCE tells a story too...though it's less narrative and more situational.

 

I've always understood it to be like a first-person internal narrative on a night out clubbing. It starts at home, getting ready feeling yourself, then you arrive at the club and get hyped up, dance, party, let loose, and then you meeting someone you like, start to "fall in love"... MOVE especially is an interesting narrative to me because it paints a picture of the classic drunk clubbing situation: you're all hyped up inside, trying to get close to the DJ booth with your friends, but when you go outside you kind of unravel and get messy,..anyway and then the story continues with going back in and continuing the party and ultimately taking your lover home at the end of the night.

 

 

Edited April 11, 20242 yr by swissman

42 minutes ago, satellites.™ said:

Beyonce was thinking WAY too far ahead by naming her DISNEY CHANNEL original Black Is King, like let us be ******* serious. 

 

I am black and it took me off guard because it is quite bold and honestly divisive sitting on the FRONT PAGE OF DISNEY+  

 

I let the same movie play and my friends loved it without realizing what is actually was, the title alone turned people off.

 

Not to mention she did NOT go to the Disney promo slots EVERYONE else showed up too.

 

I have a sneaking feeling that that era was supposed to mix with her original 2019/2020 era in some way. Too many coincidences. 

This was so wild because it was black people attacking her for this title

26 minutes ago, swissman said:

The part about omitting songs that are not promised is NOT scamming though.

 

When you preorder an album, you expect to get all the songs. That wasn't explicitly promised but it's part of the understanding. So yeah it's a scam. All of this could've been avoided had they revealed some of the information because they knew.

1 minute ago, Blue Rose said:

When you preorder an album, you expect to get all the songs. That wasn't explicitly promised but it's part of the understanding. So yeah it's a scam. All of this could've been avoided had they revealed some of the information because they knew.

Yeah, to make the album a limited edition, when it's really the only edition is something, and to claim a bonus track to encourage sales when it doesn't exist is crazy.  We now know that the bonus track Target is claiming is also probably Flamenco.

 

 

4 minutes ago, Lose My Breath said:

Yeah, to make the album a limited edition, when it's really the only edition is something, and to claim a bonus track to encourage sales when it doesn't exist is crazy.  We now know that the bonus track Target is claiming is also probably Flamenco.

 

 

a half of a track to boot!  

HELLLLLLOOOO which one of yall is this? It's giving @Devin

 

3 hours ago, swissman said:

If the Put It In A Love Song music video dropped tomorrow

Sat right on Orpah's couch, showed a PREVIEW to the viewers lol.

 

I know it was Bey and not Alicia who stopped it.

7 minutes ago, Blue Rose said:

HELLLLLLOOOO which one of yall is this? It's giving @Devin

 

this is singlehandedly worse than any of y'all's rankings combined 

Coincidentally, Disney JUST posted about BIK. As in a few minutes ago.

 

Possibly nothing, possibly them just getting in on the heat around Bey's name at the moment, but I legit don't recall them pushing BIK much beyond its initial launch. Something that has always perplexed me given that its ever-green content (thanks to the Lion King tie-in).

 

From Black History Month to Women's History Month to any and every moment Beyonce's name is hot in the mainstream press, I would "expect" a fresh push. Especially given the much larger audience Disney+ has compared to when BIK debuted. 

 

Possibly delulu, but wondering aloud if Disney could be in the mix for the CC visuals?

 

It would be interesting becaus maybe conjecture, but I've always felt there was a lil sourness on both ends following BIK. Mama Tina's post about them "not promoting" BIK a year or so after was telling about the internal sentiment on Bey's end and Disney seemingly doing nothing with it post-release spoke volumes to me. 

 

Again, total conjecture, but I guess maybe Bey was promised heaven and earth in terms of push and didn't get it. While Disney may have expected more traction on the basis of Beyonce'name.

 

I settle somewhere in the middle. 

 

On the one hand, Disney are DISNEY. So, they have the corporate muscle to have made BIK a thing-thing. New platform (at the time) or not. Plus, as mentioned above, there have been bountiful opportunities to re-heat it and get more eyeballs on it (thus making it "worth" whatever they spent on it.

 

At the same time, Bey's no-promo thing was always going to bite her in the behind at some point and dare I say humble her. 

 

Creating a visual masterpiece and letting it "do it's thing" was never going to be the tea. She had a very reclined approach to promo for The Lion King too (probably because she had a whole album and visual in motion), but still her hands-off approach is just not beneficial all the time. 

 

If I were Disney, I would have MANDATED a certain amount of promo if buying into whatever film she was making. From a proper BTS doc to a live concert that would have followed the movie to a fixed number of high-profile appearances. 

 

I get the vibe BOTH sides were too laxed and came out feeling a way. 

10 minutes ago, Blue Rose said:

a half of a track to boot!  

Right

 

Not to mention, they've had plenty of time to FIX this, and discuss it, and they still haven't, so imagine all of those upset people when they receive their preordered Target albums with Flamenco as their bonus track.

 

 

1 hour ago, ScorpiosGroove said:

i mean… the faster the album/songs drop and people forget about the album the faster she'll be forced to do something so i see that as a win for us 

You dont have to wait long.

 

Pos	P+	Artist	Points	Apple M	Spotify	iTunes	YouTube	Shazam	Deezer	Top Country	#
1	=	Taylor Swift	5309	3098	1839	233	64	19	57	Australia	124
2	=	Beyoncé	4264	2205	926	650	235	85	163	Netherlands	151
3	=	Ariana Grande	3431	1840	1153	80	162	85	112	Indonesia	144
4	=	Future	2814	2028	511	33	141	78	23	United States	152
5	=	Metro Boomin	2722	2160	454	28	0	77	3	United States	153

not sony germany putting more effort into this than parkwood (and bey )

 

 

54 minutes ago, swissman said:

imo RENAISSANCE tells a story too...though it's less narrative and more situational.

 

I've always understood it to be like a first-person internal narrative on a night out clubbing. It starts at home, getting ready feeling yourself, then you arrive at the club and get hyped up, dance, party, let loose, and then you meeting someone you like, start to "fall in love"... MOVE especially is an interesting narrative to me because it paints a picture of the classic drunk clubbing situation: you're all hyped up inside, trying to get close to the DJ booth with your friends, but when you go outside you kind of unravel and get messy,..anyway and then the story continues with going back in and continuing the party and ultimately taking your lover home at the end of the night.

 

 

Agreed, I do like RENAISSANCE a lot, it feels like an iconic era to me that generations of people will wish they experienced live. The songs themselves don't feel like stories I should say, with Lemonade and CC, the songs (majority) themselves are stories imo.

My daily reminder that Parkwood is the pits. 

It looks like 77-78M may be her peak. It's going to slow down without any additional push/promo.

5 minutes ago, sillycilla said:

My daily reminder that Parkwood is the pits. 

Parkwood's boss*
 

If the boss is stubborn, they can't do anything.