, she talks about producing this sterilized version of herself at a young age: “I was the most careful, professional teenager and I grew up fast. I wanted to break all of the stereotypes of the Black superstar, whether falling victim to drugs or alcohol or the absurd misconception that Black women were angry.” It’s likely that a young Beyoncé saw what happened to her forebears when they operated outside of the strict boundaries of what Black women superstars could be.
Beyoncé heavily explores subgenres of dance music and its roots across the album’s 16 tracks. “Alien Superstar,” the Right Said Fred-sampling track backed by monstrous, techno synths that sound like you’re entering an intergalactic atmosphere, is an ode to ballroom culture. Beyoncé alternates between first and second person to empower listeners with the same confidence in themselves as she does for herself .
Beyoncé’s dazzling vocal performance reaches a peak on “Virgo’s Groove.” Throughout the six-minute ethereal funk jam, her voice floats so perfectly as if she’s actually skating on the dance floor. Her effortless ability to rise to crescendo anchors the track. The Syd-produced “Plastic Off the Sofa” is a sultry disco-funk number that ends with piercing ad libs, showcasing the depths of Beyoncé’s masterful vocal range.The least interesting moment of the album arrives at “Cuff It.
against its popularity in 1979. Though disco didn’t see the same commercial success again, it never died. It just re-emerged in underground ballroom scenes and as house music. Herein lies the beauty of. The album celebrates and preserves the forgotten history and contributions of the salient voices that have been reserved to the background. On, they’re the main characters. They are the moment.
Source: Entertainment Trends (entertainmenttrends.net)