Beyoncé

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Postby hellohello » Sun Nov 19, 2017 2:17 pm

menime123 wrote:Didn’t realise her hair was that long!
Her hair is probably worth more than your bank account. :lol:
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Postby hellohello » Sun Nov 19, 2017 2:22 pm

Hugo wrote:Image

What is gravity?

Hey King!!
All eyez on da KING!!! Always humble and graceful. 8-)
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Postby BlueScorpion » Sun Nov 19, 2017 2:30 pm

She's giving me some Unbreakable teas. 8-)

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Postby hellohello » Sun Nov 19, 2017 2:50 pm

^^Who dat??

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KING giving ZERO F****...
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Postby BlueScorpion » Sun Nov 19, 2017 3:02 pm

^^^Child, pick a wall or go play in traffic. Everybody loves Janet. 8-)
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Postby hellohello » Sun Nov 19, 2017 3:04 pm

BlueScorpion wrote:^^^Child, pick a wall or go play in traffic. Everybody loves Janet. 8-)
That doesn't make any sense but whatever. It's all about the KING.
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Postby BlueScorpion » Sun Nov 19, 2017 3:06 pm

Besides, how come you ask "who dat" and have Janet's name on your signature? Flop stan :lol:
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Postby Virgo » Sun Nov 19, 2017 3:23 pm

Shayonce wrote:it's big dilemma. I feel like most people who go to concert expect hit singles and classics. stans who want album cuts, unpopular tracks are not that much. also those hit singles need to stay original arrangement as much as possible too which I think she said it on some interview back in the day.

I really hated if i were a boy remix on mrs carter show, it kills the original song's essence. I think there's another dilemma.
as her tour got bigger and bigger with more stage productions, bigger venue. she probably felt she need to do bigger song, big arrangement/productions, less acoustic and live band music now.
so not much room for slow songs that don't fit on those big production staditum show..
(me myself and i, running, all night all looked rushed, not fit on theme, most underwhelming section even with her live vocals.)
I wish she rethink her performances/tour, focus on live music/band more, less dances which became too repetitive in a way.
spaced them well, change arrangement more live ish with bands, more organic way.
i think people go to see her concert because she is the ultimate performer. doesn't matter what Beyoncé will sing, whenever she's on stage everyone knows that will be a event. but yes, totally agree with it... she could change a little bit and show again how a versatile performer she is. something like Drowned World Tour, wow thats would be great.
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Postby hellohello » Sun Nov 19, 2017 3:27 pm

BlueScorpion wrote:Besides, how come you ask "who dat" and have Janet's name on your signature? Flop stan :lol:
I guess it's called sarcasm. :lol:
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Postby hellohello » Sun Nov 19, 2017 3:31 pm

Virgo wrote:
Shayonce wrote:it's big dilemma. I feel like most people who go to concert expect hit singles and classics. stans who want album cuts, unpopular tracks are not that much. also those hit singles need to stay original arrangement as much as possible too which I think she said it on some interview back in the day.

I really hated if i were a boy remix on mrs carter show, it kills the original song's essence. I think there's another dilemma.
as her tour got bigger and bigger with more stage productions, bigger venue. she probably felt she need to do bigger song, big arrangement/productions, less acoustic and live band music now.
so not much room for slow songs that don't fit on those big production staditum show..
(me myself and i, running, all night all looked rushed, not fit on theme, most underwhelming section even with her live vocals.)
I wish she rethink her performances/tour, focus on live music/band more, less dances which became too repetitive in a way.
spaced them well, change arrangement more live ish with bands, more organic way.
i think people go to see her concert because she is the ultimate performer. doesn't matter what Beyoncé will sing, whenever she's on stage everyone knows that will be a event. but yes, totally agree with it... she could change a little bit and show again how a versatile performer she is. something like Drowned World Tour, wow thats would be great.
She is THE EVENT. I wish she would perform EOT, Countdown and Deja Vu more often.
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Postby Jesper » Sun Nov 19, 2017 3:49 pm

Hasn't she performed EOT basically on TFWT and both Carter legs? Aswell as the Superbowl? I mean I ADORE the song but I don't think she could play it even more than she already does, in comparison to Deja Vu etc.
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Postby KEY9481 » Sun Nov 19, 2017 3:58 pm

Right? End of Time is a song she has performed non stop since 2011.
5.05.2009 / 6.22.2011 / 4.24.2013 / 4.25.2013 / 3.1.2014 / 9.13.2014 / 7.21.2016
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Postby TIfan » Mon Nov 20, 2017 4:47 am

Congrats to Beyonce for winning Best Female R&B/Soul Artist for a 5th time.
https://www.billboard.com/articles/even ... nners-list
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Postby TheRealest » Mon Nov 20, 2017 5:56 am

She could easily look sooo bomb but she doesn’t most of the time.
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Postby Hugo » Mon Nov 20, 2017 4:40 pm

Becoming Beyoncé On Stage Helped One Trans Woman Come Into Her Own

Image

When your job is to impersonate Beyoncé, you'd better know what you're doing.

Maybe that means you spend 14 years perfecting your act — studying every detail, every mannerism, down to how Bey holds a microphone.

Maybe it requires you to perform 18 numbers every weekend — or to have three packed, color-coded closets in your apartment, only one of which is for everyday clothes.

It might even help that when you're at lunch before an NPR interview, a stranger at P.F. Chang's calls you "Beyoncé" and says she's been to your show.

For Riley Knoxx, the stage name of a full-time Beyoncé impersonator and transgender activist living in Washington, D.C., it's all in a typical week.

She didn't necessarily start as a die-hard fan of Beyoncé. But emulating the pop star has transformed Knoxx's career and personal life — forging her confidence as an artist and as a trans woman.

"As she evolved, I evolved," Knoxx says. "As she grew, I grew."

read more: https://www.npr.org/2017/11/19/56303245 ... to-her-own
"You are Beyoncé!"
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Postby Hugo » Mon Nov 20, 2017 6:23 pm

"You are Beyoncé!"
"Thank You."
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Postby lmcm1990 » Mon Nov 20, 2017 9:48 pm

Work. How many times has she topped that list? :lol:
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Postby BhiveDiva » Mon Nov 20, 2017 11:17 pm

Highest Paid Women in Music

2017 - #1 $105M
2016 - #5 $54M
2015 - #5 $54.5M
2014 - #1 $115M
2013 - #4 $53M
2012 - #6 $40M
2011 - #4 $35M
2010 - #1 $87M
2009 - #3 $87M
2008 - #1 $80M
Michael Jackson
Janet Jackson
Beyoncé
Whitney Houston
Mariah Carey
Bruno Mars

http://www.lastfm.com.br/user/MarlonSerpa
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Postby JSparksFan » Tue Nov 21, 2017 3:59 am

^ Consistent Queen!

"Love yourself so that love will not be a stranger when it comes, and it will come."

Akini's Top 100 Songs of 2017: [65-61]
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Postby TIfan » Tue Nov 21, 2017 4:21 am

BhiveDiva wrote:Highest Paid Women in Music

2017 - #1 $105M
2016 - #5 $54M
2015 - #5 $54.5M
2014 - #1 $115M
2013 - #4 $53M
2012 - #6 $40M
2011 - #4 $35M
2010 - #1 $87M
2009 - #3 $87M
2008 - #1 $80M
The fact that her gross for the past 10 years is $710,500,000 just from Forbes, and she had 10 years prior to 2008 is incredible.
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Postby KEY9481 » Tue Nov 21, 2017 6:49 am

And the fact that Forbes has highly underestimated her earnings.
Billion Queen.
5.05.2009 / 6.22.2011 / 4.24.2013 / 4.25.2013 / 3.1.2014 / 9.13.2014 / 7.21.2016
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Postby Petrie » Tue Nov 21, 2017 6:50 am

I think it's safe to say that "Halo" is now her 3rd signature song after "Crazy In Love" & "Single Ladies". I mean it's receiving almost half a million views a day on YouTube (450k average daily views to be precise), combine that with it's monstrous Spotify streams (350m) and excellent catalog sales it's now very clear "Halo" is a classic. For a song released in 2009 the numbers it's pulling is incredible.

I doubt any song in her discography will ever de-rank CIL if I'm completely honest. The song & video that started it all - one of the most successful solo careers ever. CIL is still so prominent in the pop culture world, it's such an iconic song and video & it doesn't sound dated at all, it still sounds so fresh and current which has helped it's incredibly healthy life span throughout it's 14 years. When people think about Beyoncé, they think about this one.

Single Ladies has it's massively iconic music video and choreography fighting it's corner and tbh it's visuals are to thank for it's tremendous success, without it we all know the song would not be what it is today. Arguably the most iconic female music video off all time, it's almost impossible for the song to ever be forgotten and with visuals like that, it's not hard to know why. The video is what will keep this song living forever.

I think her "big 3" are as followed -

1. Crazy In Love
2. Single Ladies
3. Halo
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Postby Hugo » Tue Nov 21, 2017 2:32 pm

I live for "Listen In The Car", bish closed that laptop with a quickness like "I got it, next". :lol: :lol:



The only carpool karaoke that has ever mattered.
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Postby Hugo » Tue Nov 21, 2017 3:06 pm

"You are Beyoncé!"
"Thank You."
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Postby Hugo » Tue Nov 21, 2017 5:53 pm

Image
Image

58. Beyoncé, "Smash Into You" (I Am... Sasha Fierce, 2008)

On an album as massive as I Am… Sasha Fierce, with planet-sized ballads like “If I Were A Boy” and “Halo” and the internationally hailed bachelorette anthem “Single Ladies (Put A Ring On It)," a handful of tracks were easily overlooked. But the sweeping and symphonic “Smash Into You” is one of Beyoncé’s best -- for a brief moment of near-total abandon, the pop icon shows a vulnerable side of herself, while delivering effortlessly show-stopping and pure vocals. -- L.H.

47. Destiny's Child, "Temptation" (The Writing's on the Wall, 2000)

By 2000, Destiny’s Child proved they could sell high-energy cuts and put any man in his place in a smooth four minutes (“No No No / “Bills Bills Bills” / “Say My Name”), but could they deliver a sensual slow jam? Duh. With “Temptation,” the ladies flip the script and become the teasing adulterers, though -- spoiler alert -- they ultimately remain faithful. And while perhaps Destiny Child’s provocative side was too much a gamble at the time for record executives, “Temptation” is a natural bridge to later DC hits for the grown and sexy, like “Cater 2 U.”-- T.A.

37. Beyoncé, "Blow" (Beyoncé, 2013)

"Pink that's the flavor/ Solve the riddle," Beyoncé challenges at the center of this ode to, um, Skittles. No decoder ring necessary here -- "Partition" is coming in a few tracks' time anyway -- but the important thing is that the track sounds like candy, both of the child-friendly variety and adult-themed version Bey is more preoccupied with. With Pharrell and Timbaland behind the decks -- seemingly in the mist of the same Justified-era disco acid flashback -- and Ms. Carter tickling her upper register to coo "Blow-oh-ohhhh," it's guaranteed to provide a rush of some kind. -- A.U.

20. Beyoncé, "Schoolin' Life" (4 Deluxe Edition, 2011)

It’s remarkable to think how comfortable Beyoncé sounds in new contexts, and 4, her less-than-rapturously received 2011 LP, was full of such first-time ventures. “Schoolin’ Life” came as a bonus on the release, and it showed a self-actualized side of the superstar in full nostalgia mode. The '80s-esque track took a stroll down memory lane, doting on the days where she first noticed boys and got her first pair of heels. It’s humanizing and centering, all while reinforcing why she’s one of the strongest forces in music today. -- S.J.H.

1. Beyoncé, "Freakum Dress" (B'Day, 2006)

"When he acts up, that's when you put it on." If you thought angry Beyonce debuted on Lemonade, let us direct you to 2006 sophomore album B'Day and its standout deep cut "Freakum Dress." Opening with history's sauciest Hamlet reference ("To be or not to be – NOT") and some James Brown-worthy executive orders ("Bring the beat back – stop! I ain't ready yet"), it's a relentlessly funky ode to that one outfit you know will always turn heads… and using it as revenge against an inattentive partner. A blaring New Orleans horn section builds this pissed-off-girls-night-out anthem up to an explosive final verse where Beyonce spits her secular sermon about paying him back by looking your best -- and reminding him it's not hard to find a replacement.

For an album with six singles (if we're talking the deluxe version), it's crazy that "Freakum Dress" wasn't worked to radio. But it's also a reminder of Beyonce's sky-high standards when it comes to making albums -- something that's common knowledge now, but was hardly accepted as canon when the breakout star from Destiny's Child was on just her second album. With a three-minute album track, she introduced a new phrase to our pop culture lexicon, previewed a direction she'd fully explore a decade down the road, and reminded us that when it comes to top-tier talent, knowing the hits is never enough -- you gotta dive into their catalog Scrooge McDuck style to fully reap the bounty of their artistic riches. -- J. Lynch

https://www.billboard.com/articles/colu ... m=referral
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