TizTiz
ATRL Member
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Is there anything actually pointing to her acknowledging "B Day" or are y'all just talking out the side of y'all necks again? I can't take another month of dragging her for **** she didn't even know she was doing 🤣❗️ She never acknowledges her album anniversaries in any way past an instagram post, and that's only been "Dangerously In Love", 13 years ago, and "BEYONCÉ", in which she through the audio from the video on streaming and label the date for 2013 💀
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The fact Mama was literally lip syncing "Ooh, Yeah, Yeah, Yea" during "PURE/HONEY" on RWT and didn't even bother to hold the mic to hear mouth. . . The trilogy is literally her making the most amazing albums and saying "whatever the **** happens, happens"🤣❗️The clip of her being 'stern' to the PK in the RENI film must've been for CECRED💀
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Damn, y'all are miserable as f—k😩❗️Do y'all actually really care, or just need something to complain about? It's only so many ways to emphasize your dreadful pleas before realizing this **** is boring, tired and obviously no one gives a damn, let alone 2. There are plenty of other active artist that do completely stupid and asinine **** with their careers, take that **** over there, because this woman is going to do whatever she feels. ****, now I'm turning into boot licking Hive 😩❗️
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I really don't think she actually gives a ****, and that's evident from the last two albums in the trilogy. She's not heading into these genres to stay, she's just experimenting (because she's probably bored with R&B/Soul/Pop or the current landscape of music). I highly doubt if she made plans to sing country for a few years, or for good, she'd lead the way with "Texas Hold'em", while "Break My Soul" and "Cuff It" were easier to digest- same will happen with Act III. I've edited this trick, to make it shorter, because I believe everyone here should be able to get the gist without it being spelt out.
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I started to make a post earlier this week about how much of the 70's catalog of The Isley Brothers could heavily influence Act III, especially considering her willingness to collaborate with 'Mr. Biggs', because she doesn't collab with artist, during her eras especially, unless she really has something to say or have musical or emotional ties to the music. However, I didn't think anyone here would've cared to read as many of the fans believe she'd lean more so into Prince because of a Halloween costume. . . even though she also dressed up as Pamela Anderson. After hearing what she did with "Cuff It" and "Bodyguard", I would love for her to go in the direction of "Tell Me When You Need It Again" or "Here We Go Again". Quite frankly, The Isley Brothers have an amazing repertoire that perfectly blended together R&B, funk, pop and especially rock in the seventies and eighties, long before their sound was reshaped into slick, urban R&B. They fit perfectly into what believe the next act should sound like. Another artist who blended R&B and Rock effortlessly is Miguel. I was excited to know she was working with him when "BEYONCÉ" was in development and there were rumors about the album every damn day, but I wasn't much of a fan of "Rocket". I wanted to hear what she and Miguel minds could explore over sounds he'd done for "Kaleidoscope Dreams". I think now would be a perfect time to revisit that sound now that she's so open to experimenting with different sounds and genres. I for one honestly hope she doesn't go the predictable route and focus solely on the sounds of Prince and Tina Turner. At this stage in her career, I feel as though she's already shown what she can do under their inspiration.
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I will NEVER forgive her for not utilizing the real estate of the stage & production and not just sing the damn song and use the led screen panels to display beautiful imagery of scrapped b roll footage of the tour visual component. The choreography is clunky and bizarrely out of place, especially the constant use of hand gestures. The dancers, and especially her with the microphone in one hand, look ridiculous for most of the song. "II HANDS II HEAVEN" doesn't require much, because the vocals of the song are the main attraction, along side the lyrical content. If there was ever a time to literally stand there and look pretty, it was during this moment, while some other songs could've benefited crucially from choreography and dancers. I think over the last two tours, she's tried definitely tried to push her creativity to a new dimension, however, some of the performances have suffered in the process. But she did give us ITG-C-AS, with a decrepit knee cap, so, half in one hand, half in the other 😂❗️
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"Break My Soul" was a natural progression of what and who Beyoncé is. The fact that The Dream stated the song is so personal to her, that she cried during its inception speaks how natural it is just for her! Though ppl aren't streaming the song as much now that we're 4 years removed, but the song is heavily played on radio till this day. I know it gets a lot of hate on here, but it's probably one of the songs that will keep her afloat with the general public for years, like it's been doing. That's more than I can say for "Texas Hold'em", because that song was dead by May. She didn't even try to bring the song to life on tour, she just phoned it in.
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I would love for him to have convinced her to record her own version of "Come Together", but I doubt it. Michael's or Tina's version is the direction I could see her going in, especially with her teasing a Tina caricature in the "COWBOY CARTER" visual, unless she's trying to stick Tina solely to "YA YA". His instrumentation, and the first verse of the song, is the only reason I can stumble through "PROTECTOR". The particular sound settings, the quality and richness of the actual guitar being used. . . as someone with a background in strings and keys, the instrumentation on CC is some of her finest quality! I love when she's able to hear and execute real instruments, which is another reason I know Act III should have a rich live sound.
