15 hours ago, Redporus said:

What if I said these 5 songs belong in the 10 BEST songs in her entire discography:

VIRGOS GROOVE

AMERICAN REQUIEM

DEJA VU

CRAZY IN LOVE

ME MYSELF AND I ***NEWEST ENTRY

Let's discuss the newest entry.

No 'dance for you', terrible list

virgo's groove isn't even the best song on renaissance, AHAP holds that title and quite frankly it isn't even close (probably why AHAP made it onto the CCT setlist and virgo's groove will never be performed again)

Ok this might be a dumb theory but hear me out...

I saw a tiktok the other day reminding us of a feature of these trilogy albums.

act i: RENAISSANCE was themed as a DJ set, a club night, with tracks that melted into eachother like a night on the dancefloor. The album sought to bring us out of lockdown and back into the clubs. It didn't just reclaim the genre, it reclaimed the space.

act ii: COWBOY CARTER was themed as a Radio show, with hosts like Nelson, Parton and Martell taking us through it together and regular transmission glitches dotted throughout the tracklist. It didn't just reclaim Country/Americana, it reclaimed country radio. KNTRY Radio Texas was the thesis as much as the genre, defying the racism and ostracisation that standard country radio has built itself on.

act iii: [TBA], if it is to be Rock n Roll, would logically seek to theme itself on a different space. Logically, this would be live performance. If that theory is correct, act iii could well model itself on a live album, complete with completely live instrumentation, 'live-ish' vocals, and occasional asides to the listener as if we were her live audience.

The tiktok then went on to posit that the record might be recorded literally as a live album, in a stadium with fans signing an NDA. Obviously this would never happen, but here are some reasons I think it might be true that act iii is themed as a live show;

Evidence 1: YA YA

We know YA YA was a last minute addition to the COWBOY CARTER tracklist, because it didn't even appear on the physical albums which were shipped out on the day of launch. Speculation at the time proposed that YA YA may have been a cut from the Act III sessions, which Beyonce felt fitted more naturally within the Act II project due to its blending of Americana, Country, Rock and Rockabilly genres.

If this is true, then it adds way more credence to the theory that Act III is styled after a live show; it opens with Beyonce welcoming a live audience to the Cowboy Carter Rodeo Circuit and is sonically styled as a live music set. It would thus fit perfectly in with the rest of it's 'live' Act III tracklist.

We have all complained that the one flaw of YA YA is its ending, which sees it devolve awkwardly into a Minion cover of Oh Louisiana. It obviously feels like a rushed way to blend the song into the tracklist. But if YA YA was designed originally to blend into a tracklist which was entirely themed after a live set, it would make a lot more sense.

So these two theories sort of boost eachother's legitimacy -> YA YA was an Act III cut, meaning Act III will posit itself as a 'live show'

Evidence 2: Evolution and HOMECOMING

Beyonce is an artist who has self-professed her desire to continue surpassing herself and perfecting her craft. We also know that until HOMECOMING the critical establishment often commented on their desire to see her capture her live performance style on record. Common discussion would see critics discuss her vocal growls, ad libs and bravado that made her live shows so spectacular. The same critics would bemoan that charm's absence on records like I Am...

I would say that Beyonce's first attempt to capture her 'live experience' on record (beyond standard live recordings of concerts) came with BLACK PARADE, which saw her unite with Derek Dixie (HOMECOMING's music director) to transplant the live percussion and live horns of her coachella set into a studio recording. She has since gone on to perfect this approach - YA YA being a prime example.

Considering she has this skill, and considering it makes her stand out so spectacularly against her industry peers, I wouldnt be surprised that she'd want to capitalise off of it and bring it to the fore of one of her main studio projects.

Evidence 3: The Absence of Triiilogy Live Projects

This is the final piece of evidence. We have moaned endlessly about the lack of a live album to accompany the Renaissance tour film. It's the first time we haven't had one released in conjunction with a tour film, and it's arguably unusual behaviour from Beyonce to deny us of that. Likewise, her removal of the Cowboy Carter BeyonceBowl performance from any platforms feels weird and peculiar. Of course, these choices do strive to benefit ticket sales for the giant back to back stadium tours that are accompanying this trilogy. I agree it sucks, but increasing those cravings will help boost the Act III tour sales going forward.

Even so, I wonder if we aren't getting a Renaissance live album for other reasons. Maybe it's because it would theoretically cannibalise Act III. I mean, if we have a live album variant of Renaissance, what else makes Act III stand out in the trilogy?

Keen to hear everyone's thoughts...

1 hour ago, alien superstore said:

Ok this might be a dumb theory but hear me out...

I saw a tiktok the other day reminding us of a feature of these trilogy albums.

act i: RENAISSANCE was themed as a DJ set, a club night, with tracks that melted into eachother like a night on the dancefloor. The album sought to bring us out of lockdown and back into the clubs. It didn't just reclaim the genre, it reclaimed the space.

act ii: COWBOY CARTER was themed as a Radio show, with hosts like Nelson, Parton and Martell taking us through it together and regular transmission glitches dotted throughout the tracklist. It didn't just reclaim Country/Americana, it reclaimed country radio. KNTRY Radio Texas was the thesis as much as the genre, defying the racism and ostracisation that standard country radio has built itself on.

act iii: [TBA], if it is to be Rock n Roll, would logically seek to theme itself on a different space. Logically, this would be live performance. If that theory is correct, act iii could well model itself on a live album, complete with completely live instrumentation, 'live-ish' vocals, and occasional asides to the listener as if we were her live audience.

The tiktok then went on to posit that the record might be recorded literally as a live album, in a stadium with fans signing an NDA. Obviously this would never happen, but here are some reasons I think it might be true that act iii is themed as a live show;

Evidence 1: YA YA

We know YA YA was a last minute addition to the COWBOY CARTER tracklist, because it didn't even appear on the physical albums which were shipped out on the day of launch. Speculation at the time proposed that YA YA may have been a cut from the Act III sessions, which Beyonce felt fitted more naturally within the Act II project due to its blending of Americana, Country, Rock and Rockabilly genres.

If this is true, then it adds way more credence to the theory that Act III is styled after a live show; it opens with Beyonce welcoming a live audience to the Cowboy Carter Rodeo Circuit and is sonically styled as a live music set. It would thus fit perfectly in with the rest of it's 'live' Act III tracklist.

We have all complained that the one flaw of YA YA is its ending, which sees it devolve awkwardly into a Minion cover of Oh Louisiana. It obviously feels like a rushed way to blend the song into the tracklist. But if YA YA was designed originally to blend into a tracklist which was entirely themed after a live set, it would make a lot more sense.

So these two theories sort of boost eachother's legitimacy -> YA YA was an Act III cut, meaning Act III will posit itself as a 'live show'

Evidence 2: Evolution and HOMECOMING

Beyonce is an artist who has self-professed her desire to continue surpassing herself and perfecting her craft. We also know that until HOMECOMING the critical establishment often commented on their desire to see her capture her live performance style on record. Common discussion would see critics discuss her vocal growls, ad libs and bravado that made her live shows so spectacular. The same critics would bemoan that charm's absence on records like I Am...

I would say that Beyonce's first attempt to capture her 'live experience' on record (beyond standard live recordings of concerts) came with BLACK PARADE, which saw her unite with Derek Dixie (HOMECOMING's music director) to transplant the live percussion and live horns of her coachella set into a studio recording. She has since gone on to perfect this approach - YA YA being a prime example.

Considering she has this skill, and considering it makes her stand out so spectacularly against her industry peers, I wouldnt be surprised that she'd want to capitalise off of it and bring it to the fore of one of her main studio projects.

Evidence 3: The Absence of Triiilogy Live Projects

This is the final piece of evidence. We have moaned endlessly about the lack of a live album to accompany the Renaissance tour film. It's the first time we haven't had one released in conjunction with a tour film, and it's arguably unusual behaviour from Beyonce to deny us of that. Likewise, her removal of the Cowboy Carter BeyonceBowl performance from any platforms feels weird and peculiar. Of course, these choices do strive to benefit ticket sales for the giant back to back stadium tours that are accompanying this trilogy. I agree it sucks, but increasing those cravings will help boost the Act III tour sales going forward.

Even so, I wonder if we aren't getting a Renaissance live album for other reasons. Maybe it's because it would theoretically cannibalise Act III. I mean, if we have a live album variant of Renaissance, what else makes Act III stand out in the trilogy?

Keen to hear everyone's thoughts...

How was work today?

4 hours ago, Redporus said:

What if I said these 6 songs belong in the 10 BEST songs in her entire discography:

VIRGOS GROOVE

AMERICAN REQUIEM

DEJA VU

CRAZY IN LOVE

ME MYSELF AND I

SWEET DREAMS ***Newest Entry

Thoughts on the new entry?

you lost me with Sweet Dreams, an overrated bop

Dance For You deserved, Formation deserved, I'll even take Single Ladies over Sweet Dreams.

Bey's career if she made more basic songs like Sweet Dreams instead of experimenting with interesting sounds:

Bey, the perfectionistic Virgo she is, would never allow a live setting being an official studio album, especially with her history of major leaks.

3 hours ago, dnboy1 said:

When she herself creates the most terrible one

3E⚡️ONCÉ

2 hours ago, alien superstore said:

Ok this might be a dumb theory but hear me out...

I saw a tiktok the other day reminding us of a feature of these trilogy albums.

act i: RENAISSANCE was themed as a DJ set, a club night, with tracks that melted into eachother like a night on the dancefloor. The album sought to bring us out of lockdown and back into the clubs. It didn't just reclaim the genre, it reclaimed the space.

act ii: COWBOY CARTER was themed as a Radio show, with hosts like Nelson, Parton and Martell taking us through it together and regular transmission glitches dotted throughout the tracklist. It didn't just reclaim Country/Americana, it reclaimed country radio. KNTRY Radio Texas was the thesis as much as the genre, defying the racism and ostracisation that standard country radio has built itself on.

act iii: [TBA], if it is to be Rock n Roll, would logically seek to theme itself on a different space. Logically, this would be live performance. If that theory is correct, act iii could well model itself on a live album, complete with completely live instrumentation, 'live-ish' vocals, and occasional asides to the listener as if we were her live audience.

The tiktok then went on to posit that the record might be recorded literally as a live album, in a stadium with fans signing an NDA. Obviously this would never happen, but here are some reasons I think it might be true that act iii is themed as a live show;

Evidence 1: YA YA

We know YA YA was a last minute addition to the COWBOY CARTER tracklist, because it didn't even appear on the physical albums which were shipped out on the day of launch. Speculation at the time proposed that YA YA may have been a cut from the Act III sessions, which Beyonce felt fitted more naturally within the Act II project due to its blending of Americana, Country, Rock and Rockabilly genres.

If this is true, then it adds way more credence to the theory that Act III is styled after a live show; it opens with Beyonce welcoming a live audience to the Cowboy Carter Rodeo Circuit and is sonically styled as a live music set. It would thus fit perfectly in with the rest of it's 'live' Act III tracklist.

We have all complained that the one flaw of YA YA is its ending, which sees it devolve awkwardly into a Minion cover of Oh Louisiana. It obviously feels like a rushed way to blend the song into the tracklist. But if YA YA was designed originally to blend into a tracklist which was entirely themed after a live set, it would make a lot more sense.

So these two theories sort of boost eachother's legitimacy -> YA YA was an Act III cut, meaning Act III will posit itself as a 'live show'

Evidence 2: Evolution and HOMECOMING

Beyonce is an artist who has self-professed her desire to continue surpassing herself and perfecting her craft. We also know that until HOMECOMING the critical establishment often commented on their desire to see her capture her live performance style on record. Common discussion would see critics discuss her vocal growls, ad libs and bravado that made her live shows so spectacular. The same critics would bemoan that charm's absence on records like I Am...

I would say that Beyonce's first attempt to capture her 'live experience' on record (beyond standard live recordings of concerts) came with BLACK PARADE, which saw her unite with Derek Dixie (HOMECOMING's music director) to transplant the live percussion and live horns of her coachella set into a studio recording. She has since gone on to perfect this approach - YA YA being a prime example.

Considering she has this skill, and considering it makes her stand out so spectacularly against her industry peers, I wouldnt be surprised that she'd want to capitalise off of it and bring it to the fore of one of her main studio projects.

Evidence 3: The Absence of Triiilogy Live Projects

This is the final piece of evidence. We have moaned endlessly about the lack of a live album to accompany the Renaissance tour film. It's the first time we haven't had one released in conjunction with a tour film, and it's arguably unusual behaviour from Beyonce to deny us of that. Likewise, her removal of the Cowboy Carter BeyonceBowl performance from any platforms feels weird and peculiar. Of course, these choices do strive to benefit ticket sales for the giant back to back stadium tours that are accompanying this trilogy. I agree it sucks, but increasing those cravings will help boost the Act III tour sales going forward.

Even so, I wonder if we aren't getting a Renaissance live album for other reasons. Maybe it's because it would theoretically cannibalise Act III. I mean, if we have a live album variant of Renaissance, what else makes Act III stand out in the trilogy?

Keen to hear everyone's thoughts...

I like this idea alot !! Also i tried to "clock" the YAYA / A.R the other day but it was ignored...if im not mistaken AR was recorded later shortly before Album release....and the YaYa aspect you already stated .

All this talk of best songs yet Drunk in Love, Partition, and Blow aren't being mentioned

59 minutes ago, kimberly said:

you lost me with Sweet Dreams, an overrated bop

Dance For You deserved, Formation deserved, I'll even take Single Ladies over Sweet Dreams.

Bey's career if she made more basic songs like Sweet Dreams instead of experimenting with interesting sounds:

I knew Sweet Dreams would have ruffled some feathers.

Let me defend my case a little bit, SD is an infectious, catchy and basically the pinnacle of a true POP BOP, both in studio and on stage.

Also, it has a very unique soundscape what you talking about? The beat is insane and also very different, I don't think many would be able to pull it off. Plus the live versions of this song are amazing!!!

What if I said these 7 songs belong in the 10 BEST songs in her entire discography:

VIRGOS GROOVE

AMERICAN REQUIEM

DEJA VU

CRAZY IN LOVE

ME MYSELF AND I

SWEET DREAMS

DANGEROUSLY IN LOVE***NEWEST ENTRY

Let's discuss the newest entry.

Qué tú quiere ma'? que te pegue contra la pared

Que te toque, te roce, te ponga en la pose

Te voy a perrear como te gusta, mujer

11 minutes ago, Redporus said:

What if I said these 7 songs belong in the 10 BEST songs in her entire discography:

VIRGOS GROOVE

AMERICAN REQUIEM

DEJA VU

CRAZY IN LOVE

ME MYSELF AND I

SWEET DREAMS

DANGEROUSLY IN LOVE***NEWEST ENTRY

Let's discuss the newest entry.

this list gets more embarrassing the longer you leave out Dance For You

3 minutes ago, QueenB said:

this list gets more embarrassing the longer you leave out Dance For You

What if I told you there is another song from 4 waiting to be added?

1 hour ago, Anvarie said:

All this talk of best songs yet Drunk in Love, Partition, and Blow aren't being mentioned

Looooooo now why would anyone put Drunk in Love in a list of her 10 BEST songs ever?

Drunk in Love is easily top 10 and the best on selftitled

1 hour ago, nooniebao said:

and apparently his manager or something reposted it

could there be any truth to the World Cup collab rumors?

44 minutes ago, Redporus said:

Looooooo now why would anyone put Drunk in Love in a list of her 10 BEST songs ever?

Because it's a perfect song, including the official studio release, remix, and live renditions

Edited March 13Mar 13 by Anvarie

How do we feel about Law styling her for the Met?

Just now, dnboy1 said:

How do we feel about Law styling her for the Met?

as long as it's not Ty… or Tina

10 minutes ago, dnboy1 said:

How do we feel about Law styling her for the Met?

would rather have marni back

Let me piss some of you off.

1. Lemonade

2.) BEYONCE

3.) Renaissance

double post!

Edited March 13Mar 13 by yonsé

2 minutes ago, Chris said:

Let me piss some of you off.

1. Lemonade

2.) BEYONCE

3.) Renaissance

switch ST and Ren and it's correct

and nothing for Jailbird Carter

4.) Cowboy Carter