Beyoncé’s Ode to Black Joy: Merging Past and Future in 'Renaissance'

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Beyoncé’s Ode to Black Joy: Merging Past and Future in 'Renaissance'
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Black women—across genders, sexualities and communities—have always been the blueprint, and Beyoncé’s Renaissance proves that. From JProfessor:

Bey’s high vocals and soprano runs invoke not just Donna Summer but also the high falsetto of Prince, another muse who effortlessly channeled sex-infused vocals throughout his music. “Alien Superstar” and “Pure/Honey” especially echo the sounds of Prince and Vanity 6’s “,” while integrating the ego-boosting, braggadocio elements of hip-hop and Black queer ballroom cultures.

Traversing these spaces is the time-bending politics of what constitutes the “future.” Interestingly, both Donna Summer and Prince projected into the “future”—Donna Summer’s “” prophetically invoked the techno sound of the ’90s, while Prince proclaimed in 1982 that we should all “party like it’s 1999” when the world would come to an end.

These tracks from the 1970s and ’80s projected a cultural reset that the ’90s represented at the time, so it makes sense that Bey would reach back into the past that is now the 1990s for us to rearticulate a different cultural reset.

And there is so much joy on this album. As many have already noted, the transitions between each track demonstrate how Bey meticulously crafted the sound project: from the tempo buildup of the intro, “I’m that Girl,” to the seamless bass line weaving together the different club bangers that follow: “Cozy,” “Alien Superstar,” “Cuff It,” “Energy” and “Break My Soul.” The tracks bleed into each other, the way a DJ keeps the party bumping from one song to the next.

We get a tempo and melodic change in “Church Girl” with the interjection of the Clark Sisters’ sped-up sample “Center of Thy Will.” This lyrical and tempo change also slyly reminds us of those earlier albums when, as

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