Beyonce does things because she wants to not because she has to. Beyonce will always choose her career first over a Man lmao. I think we assumed the plan was in May when it never was lmao. I don't think she pushed back because of him.

Its so funny hearing how much praise B'Day gets nowadays, because when the album first came out, the base was not feeling it as much. Thats what created the BeyHive. We were fight for our mf lives, defending mother.

Have y'all thought on the possibility that act 3 won't be rock rooted at all (as she previously planned)?

I'd love a soul/blues fused with Jazz type of album as an alternative.

13 minutes ago, nick_rod said:

Have y'all thought on the possibility that act 3 won't be rock rooted at all (as she previously planned)?

I'd love a soul/blues fused with Jazz type of album as an alternative.

No mam. After CC, we need HIGH energy again.

She probably will dabble with soul/Blues on the Rock Album. Act 3 is For sure Rock though

Some of you always go to damn far. Calling jay a criminal because he is fighting against maga republicans coming for him and his Family. And his WIFE is standing and supporting her family.

Has anyone actually thought about that or are your gay fantasies of her in a black wig rocking on stage more important?

4 hours ago, futuresuperstar2023 said:

Beyonce does things because she wants to not because she has to. Beyonce will always choose her career first over a Man lmao. I think we assumed the plan was in May when it never was lmao. I don't think she pushed back because of him.

Nah. Beyoncé will choose her family first over anything else.

1 hour ago, Kingdom said:

Some of you always go to damn far. Calling jay a criminal because he is fighting against maga republicans coming for him and his Family. And his WIFE is standing and supporting her family.

Has anyone actually thought about that or are your gay fantasies of her in a black wig rocking on stage more important?

Get 'em Kingdom!

2 hours ago, Kingdom said:

Some of you always go to damn far. Calling jay a criminal because he is fighting against maga republicans coming for him and his Family. And his WIFE is standing and supporting her family.

Has anyone actually thought about that or are your gay fantasies of her in a black wig rocking on stage more important?

girl shut up

Edited June 7Jun 7 by Allopatry

3 hours ago, Kingdom said:

Some of you always go to damn far. Calling jay a criminal because he is fighting against maga republicans coming for him and his Family. And his WIFE is standing and supporting her family.

Has anyone actually thought about that or are your gay fantasies of her in a black wig rocking on stage more important?

If Jay Z was a model or actor they wouldn't be saying this ****. The criminal **** is aimed at him because he is a rapper.

Does delulu hive agree that Beyonce normalized leotards on stage for female singers? Yes, it was done before her, but it didn't become the STANDARD until she started wearing it full time. There's no reason girls like T*ylor should be wearing something like that but they do because Beyonce made it look good. Without Beyonce they'd still be wearing jeans on stage. Yweeeeeeuck!

Single Ladies revolutionized stage costumes for women including Beyonce herself

We should at least be excited for a darK album for winter atp. Yall hyped up a summer album way too much. Think better, think harder.

one day closer to the album drop

10 hours ago, Allopatry said:

girl shut up

You felt hit

Get healed ***

1 hour ago, Kingdom said:

You felt hit

Get healed ***

there's nothing that you can say that would hit me, but if i were you, i would take your own advice.

Edited June 7Jun 7 by Allopatry

If we do get the visuals at the end of the year, do you guys think she would put out ACT III as an unofficial "soundtrack" accompanying it?

While I think it's dumb, I am genuinely starting to believe it's solely PR purposes why she is pushing back the eras.

Specifically allowing Jay-Z to regenerate some positive buzz in the media since they have been dog piling him nonstop for the past 3 years.

It's annoying but from a personal level she is basically showing him respect as her husband as she knows from a business level she will definitely eclipse him in the media if she decides to start a new era right now.

12 minutes ago, Redporus said:

While I think it's dumb, I am genuinely starting to believe it's solely PR purposes why she is pushing back the eras.

Specifically allowing Jay-Z to regenerate some positive buzz in the media since they have been dog piling him nonstop for the past 3 years.

It's annoying but from a personal level she is basically showing him respect as her husband as she knows from a business level she will definitely eclipse him in the media if she decides to start a new era right now.

Shes such a saint

16 minutes ago, Redporus said:

While I think it's dumb, I am genuinely starting to believe it's solely PR purposes why she is pushing back the eras.

Specifically allowing Jay-Z to regenerate some positive buzz in the media since they have been dog piling him nonstop for the past 3 years.

It's annoying but from a personal level she is basically showing him respect as her husband as she knows from a business level she will definitely eclipse him in the media if she decides to start a new era right now.

thank u CéRED for this insight

21 hours ago, LegaMyth said:

Its so funny hearing how much praise B'Day gets nowadays, because when the album first came out, the base was not feeling it as much. Thats what created the BeyHive. We were fight for our mf lives, defending mother.

You're actually right and it's such a nuanced take that a lot of the newer Hive will never truly understand, having not lived it in realtime (no shade at all, btw).

Make no mistake, I've been Hive since the start of DC (with increasing vigor as each era played out).

But I remember initially finding it hard to take in the B'Day era. Initially lol. The reasons included:

• DIL era was so huge and so specific sonically and aesthetically that some of the switch-up wasn't easiest to adapt to. For example, so much of the debut solo era was about big female dancer numbers (ala CIL, Naughty Girl), so her launching Deja Vu dancer-free at BET had me ignorantly disappointed, with it taking me years to appreciate the ferocity of what she did without the need for dancers.
  
  I also remember feeling a way about the direction she took with Deja Vu video. Again, it had little in the way of the conventional dance formations that she spent the entire debut era getting us used to. Instead, more vibes and freestyled movement. I definitely remember not being alone in being kinda WTF about this, with there being calls/petitions for her to drop a different video. There was also an air of the overall release trying to replicate the magic of CIL, but kind of paling in comparison. In fairness and full transparency, even now, I think some of the critique had merit. But the song is actually one of my favorite Bey releases to date.
  

• The scramble was tangible. Rushing out (the arguably jarring-sounding) Ring The Alarm after Deja Vu's so-so performance and then Irreplaceable after RTA fared even worse kinda placed this cloud of uncertainty above the era. A very tangible feeling of: is this about to be a sophomore slump? Which shouldn't, in theory, affect perception of music, but as we see over and over in stan-land, it is sadly...a thing.
  
  Even with Irreplaceable blowing, I remember feeling conflicted, because while I was happy she was slaying finally, it was such an on-the-nose "Ne-Yo single of the time" that it felt kinda faceless. Given how obsessed I was with the debut era, I felt she was a bit above a song like that and, as still happens now, it is so irksome when it's the meh-est song on a project or from your fave artist is the one that performs best.
  

• Thematically, it was kinda thin. It honestly does not matter at all in hindsight now, but coming up at a time when "serious" artists (as Bey was positioning herself right from debut era) adopted the "deep", "worked on this project for years" approach, songs like Suga Mama and Kitty Kat came across kinda hollow. Add to that her whole "I made this in two weeks" spiel (which, in places, the album sounded/felt like lol). Then the forced attempt at tying it all to Dreamgirls ("B'Day is what I wanted Deena to say to Curtis"), which was/still is the reach of life lol.
  
  It all just felt, in a way, less organically exciting (initially) than the storm that was the debut and felt more like the corporate cogs were turning (by force) to legitimize her by any means necessary. And it worked. I guess a lot of the above simply serves to highlight that it wasn't without its bumps along the way.

Above all (long story short lmao)...

I think, divorced from a lot of the context above, the album stands tall because it's solid af as is. Stripping away all the broader context, commercial expectation, recency bias (for era 1) at the time, B' Day is a great, iconic even, jukebox album that captures Bey (in certain regards) at somewhat of her peak (...somewhat). For example, I will maintain that the companion tour, The Beyonce Experience, is her best live outing if we're basing it purely on hunger and being the genesis of her rep as the greatest living performer (for fellow MJ fans, effectively what the Bad Tour was to everything elevated that came after it).

I also think the album being anchored in a lot of live instrumentation/band vibes (which is timeless in and of itself) has aged it very well.

In a way, despite Bey's heartiest, consistent, and successful efforts to become a "serious" artist (from whom each new release has this deliberately deep, meaningful, culture-shifting impetus), B'Day succeeds in diluting the necessity of that agenda in that it proves she can be equally as potent playing the "jukebox of bops" game that made the likes of Rihanna such a thing.

At the same time, I like that it's nestled early in her career and she has made a concerted effort to ensure each project (post IASF lol) has heart and intention. Equally, though, having been so successful with that approach, I would not mind a somewhat mindless (just having fun) album again for B10. She's definitely earned the right to.

Edited June 7Jun 7 by Cbreezy

Does anyone know the young white nerdy male YouTuber that creates hour long videos discussing Beyoncés vocals? I can't remember his username.

25 minutes ago, Fleahive said:

Does anyone know the young white nerdy male YouTuber that creates hour long videos discussing Beyoncés vocals? I can't remember his username.

lesage singing?

16 minutes ago, Calypso said:

lesage singing?

You're the goat of this base. Thank you!!!!!!

1 hour ago, Cbreezy said:

You're actually right and it's such a nuanced take that a lot of the newer Hive will never truly understand, having not lived it in realtime (no shade at all, btw).

Make no mistake, I've been Hive since the start of DC (with increasing vigor as each era played out).

But I remember initially finding it hard to take in the B'Day era. Initially lol. The reasons included:

• DIL era was so huge and so specific sonically and aesthetically that some of the switch-up wasn't easiest to adapt to. For example, so much of the debut solo era was about big female dancer numbers (ala CIL, Naughty Girl), so her launching Deja Vu dancer-free at BET had me ignorantly disappointed, with it taking me years to appreciate the ferocity of what she did without the need for dancers.
  
  I also remember feeling a way about the direction she took with Deja Vu video. Again, it had little in the way of the conventional dance formations that she spent the entire debut era getting us used to. Instead, more vibes and freestyled movement. I definitely remember not being alone in being kinda WTF about this, with there being calls/petitions for her to drop a different video. There was also an air of the overall release trying to replicate the magic of DIL, but kind of paling in comparison. In fairness and full transparency, even now, I think some of the critique had merit. But the song is actually one of my favorite Bey releases to date.
  

• The scramble was tangible. Rushing out (the arguably jarring-sounding) Ring The Alarm after Deja Vu's so-so performance and then Irreplaceable after RTA fared even worse kinda placed this cloud of uncertainty above the era. A very tangible feeling of: is this about to be a sophomore slump? Which shouldn't, in theory, affect perception of music, but as we see over and over in stan-land, it is sadly...a thing.
  
  Even with Irreplaceable blowing, I remember feeling conflicted, because while I was happy she was slaying finally, it was such an on-the-nose "Ne-Yo single of the time" that it felt kinda faceless. Given how obsessed I was with the debut era, I felt she was a bit above a song like that and, as still happens now, it is so irksome when it's the meh-est song on a project or from your fave artist is the one that performs best.
  

• Thematically, it was kinda thin. It honestly does not matter at all in hindsight now, but coming up at a time when "serious" artists (as Bey was positioning herself right from debut era) adopted the "deep", "worked on this project for years" approach, songs like Suga Mama and Kitty Kat came across kinda hollow. Add to that her whole "I made this in two weeks" spiel (which, in places, the album sounded/felt like lol). Then the forced attempt at tying it all to Dreamgirls ("B'Day is what I wanted Deena to say to Curtis"), which was/still is the reach of life lol.
  
  It all just felt, in a way, less organically exciting (initially) than the storm that was the debut and felt more like the corporate cogs were turning (by force) to legitimize her by any means necessary. And it worked. I guess a lot of the above simply serves to highlight that it wasn't without its bumps along the way.

Above all (long story short lmao)...

I think, divorced from a lot of the context above, the album stands tall because it's solid af as is. Stripping away all the broader context, commercial expectation, recency bias (for era 1) at the time, B' Day is a great, iconic even, jukebox album that captures Bey (in certain regards) at somewhat of her peak (...somewhat). For example, I will maintain that the companion tour, The Beyonce Experience, is her best live outing if we're basing it purely on hunger and being the genesis of her rep as the greatest living performer (for fellow MJ fans, effectively what the Bad Tour was to everything elevated that came after it).

I also think the album being anchored in a lot of live instrumentation/band vibes (which is timeless in and of itself) has aged it very well.

In a way, despite Bey's heartiest, consistent, and successful efforts to become a "serious" artist (from whom each new release has this deliberately deep, meaningful, culture-shifting impetus), B'Day succeeds in diluting the necessity of that agenda in that it proves she can be equally as potent playing the "jukebox of bops" game that made the likes of Rihanna such a thing.

At the same time, I like that it's nestled early in her career and she has made a concerted effort to ensure each project (post IASF lol) has heart and intention. Equally, though, having been so successful with that approach, I would not mind a somewhat mindless (just having fun) album again for B10. She's definitely earned the right to.

There is no way you and @swissman arent professional writers. The way how this was masterfully written wheeeew.