BeyoncÃÆ'  © is the fifth solo album in repute by American recording artist Beyoncà ©  ©, released on December 13, 2013 by Parkwood Entertainment and Columbia Records. Developed as a "visual album", the songs were accompanied by a short non-linear film that depicted the concept of music conceived during production. His dark and intimate subjects include the theme of sex feminism, monogamous love, and relationship problems, inspired by BeyoncÃÆ' © 's desire to affirm his full creative freedom.
The album's initial recording begins in New York City, where BeyoncÃÆ' Â © invites producers and songwriters to stay with her for a month. During his extensive tour the following year, the album changed as he conceived creating a visual companion for his songs and continued recording sessions with producer electronics and rock musicians Boots. Their collaboration leads to more sonic experimental material, which incorporates R & amp; B with contemporary electronic and soul music. Throughout this period, the album's songs and videos were arranged in strict secrecy because BeyoncÃÆ' Â © planned an unexpected release.
Beyoncà ©  © was digitally released on iTunes Store without prior announcement or promotion, and debuted at number one in the US Billboard 200, resulting in BeyoncÃÆ'  © the fifth consecutive number one album. in Chart. The album sold over 617,000 copies in the United States and 828,773 copies worldwide in its first three days of sales, becoming the best-selling album in iTunes Store history up to that time. It received universal recognition from critics, who praised the production, exploration of sexuality, and vocal performance. The album was re-published in November 2014 as part of a platinum edition, along with screenings of new songs, and has sold over 15 million copies worldwide.
Video Beyoncé (album)
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After the release of her fourth studio album 4 (2011), BeyoncÃÆ' Â © gave birth to her first child, Blue Ivy on January 7, 2012. Just four months after her birth, she went on a three-night residency at Revel Atlantic Ovation Hall, Revel Presents: BeyoncÃÆ' Â © Live. The option to hold the concert so quickly is the goal; BeyoncÃÆ'Â © is meant to show the mother that they need not stop their careers despite having children. Most of the summer after the residency was spent at The Hamptons, New York, where she took time out from the public to spend time with her daughter and start a session for her next album. He returned to work in early 2013, performing "The Star-Spangled Banner" at the second inauguration of President Barack Obama and the headlining of the Super Bowl XLVII part-time show, where there is hope he will debut new music, even though this rumor never materialized. He also released a self-directed autobiographical documentary in February, titled "Life Is But a Dream".
In March 2013, a two-part hip hop song titled "Bow Down/I Been On" was released to BeyoncÃÆ'Â © 's SoundCloud account. "Bow Down", produced by Hit-Boy, was written after BeyoncÃÆ'Â © woke up one morning with a song stuck in his head, feeling angry and defensive. This was interspersed with a second half produced by Timbaland "I Been On" which makes the prominent use of the pitch-distorted vocals as a tribute to the Houston hip hop scene. Michael Cragg of The Guardian described the song as "very strange", praising the hard, rough production, while Pitchfork ' s Lindsay Zoladz noted the firmness songs and believe it serves as an introduction of what is to come. "Bow Down/I Been On" is considered a significant departure from the existing BeyoncÃÆ'Â © s catalog, mainly due to its aggressive nature. The song's atmosphere and the controversial "Bow down, bitches" refrain from attracting mixed reactions from those who question whether the lyrics were intended for women or just a moment of braggadocio. BeyoncÃÆ' Â © clarified after the release of the album, in which elements of "Bow Down" appeared in the song "Flawless", that the song and the refrain was meant as a statement of women's empowerment.
Beyoncà ©  © or his representative commented on the release of "Bow Down/I Been On", and many journalists questioned the nature of his release in the context of his upcoming album release. Further confusion was created when parts of other songs "Grown Woman" and "Standing on the Sun" were used for television advertising campaigns, with a lack of explanation similar to their purpose. Throughout 2013, the media occasionally reported that the album was postponed or deleted, with one story accusing BeyoncÃÆ'  © has canceled fifty songs to start again. In July 2013, a BeyoncÃÆ' © spokesman denied speculation that his album had been delayed, stating there was no official release date to start and that when the date was set, it would be announced through an official press release. There is a lot of confusion among journalists and music fans because BeyoncÃÆ'  © is involved in extensive tours, while not discussing albums or releases.
Maps Beyoncé (album)
Recording and production
Recording sessions begin in the summer of 2012 at The Hamptons, New York, where Beyoncà © © and her husband Jay-Z live. He invites producers and songwriters to accompany them, including Sia, Timbaland, Justin Timberlake, and The-Dream. BeyoncÃÆ'  © describes the atmosphere as unconventional, saying, "We have dinner with the producers every day, like family... it's like a camp.Experends you can go and jump in the pool and ride bikes... oceans and grass and sunshine... it's really a safe place. "She will spend most of her time with her newborn daughter, taking a few hours to record music. The opening song of the album "Pretty Hurts", co-written by Sia, was completed during this session. The project was discontinued until 2013 and transferred to Jungle City and Oven Studios in New York City, where most of the albums were recorded. In an interview for Vogue in January 2013, Jason Gay described BeyoncÃÆ' © à © attention to detail as "obsessive" while observing his studio, noting the vision board he created for inspiration, containing potential song titles , old album covers and show photos.
In mid-2013, a relatively unknown artist Boots, signed a publishing agreement with Jay-Z's Roc Nation. In an interview for Pitchfork after the album's release, Boots was embarrassed when answering questions about how Beyoncà ©  © found the demo or his work before the project, just confirmed his signing. In June 2013, they met first for the first time and Boots featured Beyoncà ©  © with material that he felt would resonate with him. However, BeyoncÃÆ' © is more interested in his experimental material, and he reluctantly plays his song "Haunted" on his cell phone. He refused to ignore his potential. At the next meeting, he played a stream of rap consciousness called "Ghosts", which he wrote after an annoying encounter with a potential record label. Boots began by composing melodies that reminded him of the state of hypnosis, then coat the guitar arpeggio to resemble the work of the British electronics musician Aphex Twin. Furthermore, "Ghost" became the first half of "Haunted"; he later described Beyonce as "the only visionary in the room" because of his ability to find potential in the remnants of the song. After this session, Boots will continue to work on eighty percent of the BeyoncÃÆ' © .
While recording in New York City, the previously released "Bow Down" was incorporated into the song that became "Flawless". During his composition, Beyoncà © Ã… © chose to interpolate a portion of the TUG talk Chimamanda Ngozi Adichie "We All Should Be Feminists" into it as he identifies with his interpretation of feminism. An organic approach is taken when writing and recording "Drunk in Love" and "Partition". While working with Detail and Timbaland with the beats that became "Drunk in Love", he was inspired by what he described as pure enjoyment, as he and Jay-Z freely styled their verse for the studio song. Similarly, the bassline "Partition", which Beyoncà ©  © found reminiscent of hip hop music during the initial romance with Jay-Z, influenced him to accompany the song with sexual lyrics. She takes to the microphone without pen and paper and taps the first verse, finding herself initially embarrassed by the explicitness of the lyrics. When writing "Partition", a rap known as "YoncÃÆ'  ©" was used as the opening of the track, a tap built by Justin Timberlake pounding a bucket in the studio.
Only four songs were not recorded entirely in New York studios: "Superpower" and "Heaven", partly recorded in California, as well as "No Angel" compiled in London and "XO" in Berlin and Sydney. Although the "XO" demo was recorded when BeyoncÃÆ' © had contracted a sinus infection, the vowel was never re-recorded when he felt their imperfections were more precise. In October, the album began to take shape and "Standing on the Sun" and "Grown Woman" was removed - a song previewed in 2013 in television ads - from Beyoncà ©  © to fit the minimalist approach. During Thanksgiving week, the vocals on the album were edited and the producers were told to submit their final cuts. BeyoncÃÆ'Â| spent less time on vocal production than he did with previous projects, instead focused on perfecting album music. BeyoncÃÆ'  © is controlled at Sterling Sound in New York City. In total, eighty songs were recorded for the album.
Visual
BeyoncÃÆ'Â © first considered the idea of ​​creating a "visual album" in June 2013, when only three or four songs have been completed. Explaining his motivation, he says he often connects pictures, childhood memories, emotions and fantasies to the songs he is writing, and that he "wants people to hear songs with stories that are in my head like that is what makes them mines ". He highlights the immersive experience of Michael Jackson's Thriller (1982) as a major influence for creating a body of work that "people will hear different things and [...] can actually see the entire vision of the album".
The videos were filmed between June and November 2013 in various countries when the singer toured the world. Todd Tourso, who directed the videos for "Jealous" and "Heaven", served as creative director for the entire project. Most of the role is related to the relationship between Beyoncà ©  ©, which for most of the video already has a concept, and each director also has a proposition. Since most of the videos were taken outside the US, the crew surrounding the video were small, composed only of Tourso, director of photography and producer, and Beyoncà © © and his hairdresser, makeup artist and security. When filming in public, BeyoncÃÆ' © will wear in-ear headphones instead of playing music aloud, to keep project secrecy and prevent leaked songs. At the time of postproduction, the songwriting process begins to blend with visual content and Beyonce will watch unedited footage to match their music. "Flawless", "Rocket" and "Mine" were recorded as altered by their visual counterparts, Tourso commented that "he will rewrite a few lines, or he will add a certain audio, or he will add a bridge" and believe that " it will complete the image where audio is needed to go ".
Some videos are meant to show the central theme of the album "finding beauty in imperfection". While working on "Flawless," Beyoncà © © was reminded of her loss in the Star Search television competition as a child, whom she saw as the decisive moment of her career, and believed that the competition had taught her how to embrace imperfections in the future front. This theme is represented in the video by the repeated use of trophies, which by the singer is seen as a reference "of all the sacrifices I made as a child, all the time I lost". It was also brought to how the visuals were made, with videos for "Drunk in Love", "YoncÃÆ' ©", "No Angels", "XO" and "Blue" were shot without preparation before, as the singer found pleasure in the spontaneity of the making site film and in resisting the urge to perfect it. Paying attention to some of his explicit visual content and body exposure, BeyoncÃÆ' © says he found their shoots liberating and declared his intention to show sexuality as a force a woman should have, and not lose after becoming a mother. He went on to say, "I know finding my sensuality, returning to my body, being proud to grow, it's important to me that I state that... I know that there are so many women who feel the same way."
Music and lyrics
BeyoncÃÆ' Â © is a collection of fourteen songs with seventeen short films: a video for each audio track, two extra videos to accompany the two part songs "Haunted" and "Partition", as well as a bonus video for "Grown Woman ", which does not have an equivalent audio counterpart. Departing from trend R & amp; B's traditional predecessor, 4 (2011), BeyoncÃÆ' Â © ' are songs that are mostly alternative R & amp; B. Therefore, music, this album may be in post-dubstep era, incorporating electronic music with R & amp; B and soul. The album is dark, moody production is more textured than previous releases and the songs are characterized by heavy bass and hi-hat hats, as well as leading synthesizers. The feature quality holds among most of the songs "with a fine pulse, ambient effects and pulsating threads that sneak up on you, threatening to explode but only occasionally change".
The album adopted an unconventional song structure and as Evan Rytlewski from The A.V. Club notes, many songs "[emphasize] moody, shift knocks and excessive vibration sessions" and are left slowly unfurled. It stands out in "Haunted" and "Partition" which serves as a two part suite. Countries like dreams created in "Haunted" are delivered with a stream of rap awareness entitled "Ghost" that transitions from "smoky ethereality to off-kilter club beat", amidst bassline and ghost keyboard that shifts. "Partition" begins with "YoncÃÆ'Â ©", a slick rap over a simple Middle Eastern rhythm. The song is divided by a brief interlude of camera clicks and car window grunts, before being launched into the second half of melds pulse synthesizer with finger snaps to create the South hip hop bassline. More than this, the song follows an honest narrative that portrays the sex behind a limousine while traveling to a nightclub.
Some critics have noted extensive exploration of the album's sexuality. After becoming a singer since the age of nine, BeyoncÃÆ' © feels "held back" by his perception is a role model for young people, and is now entering his thirties, believing he has "earned the right to [...] express anything and every side [herself ". Overcome the sexual content of the album in particular, BeyoncÃÆ' © said: "I have absolutely no shame about being sexual and I am not shy about it and I do not feel it should protect my side of it." Some critics describe Beyoncà ©  ' s sex songs as a celebration of monogamous love. "Drunk in Love" is a duet with her husband Jay-Z, and features lyrics that are loaded with double entenders that explore lust in their sexual relationships. It combines intermittent beat traps with heavy bass, synthesizer and drum soaring, and Arabic vocal arpeggios. BeyoncÃÆ'® vocals are diverse, including a melodramatic choir sung in his upper register and a second half-song poem. The "blow" turns from a thumping jazz thump made with little piano and guitar chords to a "swinging electro-funk" groove with neo-disco elements. The erotic and words-filled lyrics include a cunnilingus metaphor running from "Licking Skittles" in the choir. The slow-hour "Rocket" is a tribute to D'Angelo's soul infusion "Untitled (How Does It Feel)" (2000). Described by Nick Catucci's "Holiday Weekly " as "a slick, six-and-a-half minute funk ride", BeyoncÃÆ'  © adopted a slow and harmonious vocal as he instructed his love interest for watch it striptease.
Just like previous albums, the recording was feminist, exploring broader gender issues combined with an "unshakable view of black female sexual agents." Soraya McDonald's The Washington Post sees Beyoncà ©  © as important for black feminism as it celebrates black female sexuality in mainstream music and in the context of hip hop, where it is usually only shown through perspective man. The most explicit comment from this album about gender is the three parts "Flawless". It opened with a previously released "Bow Down", before it was alluded to in a speech quote by Chimamanda Ngozi Adichie on the socialization of girls. The last part uses a staccato, a trap beats when Beyonce reflects on her own feminist attitude, encourages self-acceptance among women and criticizes misogynistic sentiments.
Other songs allude to the theme of darker fear and personal insecurity. BeyoncÃÆ' Â © noted that the album featured "sides [that only some people have seen", adding that "we all want happiness... sometimes you have to take insecurity to get to a safe place. -that I feel happy to express it ". Caitlin White of The 405 believes the songs as "holding on to the most important issues in a woman's life by exploring the singer's personal experience with them". "Jealous" addresses loyalty and lyrical features in which the protagonist experiences "promise, suspicion and potential revenge". It contains "an amazing mixture of tones and styles," the most prominent being the bleak bassline filled with electronic yelps. "Mine", an R & amp; B futuristic with jazz elements, is self-reflective, with lyrics that refer to marital disputes and difficulties with postpartum depression. The neo soul song "Pretty Hurts" is a self-help song that curbs the society's obsession with dangerous and unattainable beauty standards. The song uses audio footage of a beauty contest that Beyonce offers to frame the song in the context of his childhood.
BeyoncÃÆ' Â © ' s diverse vocal production; some half-tapped and half-sung songs with special use of falsetto and head sound. Neil McCormick notes that while the singer uses his broad vocal range, unlike his previous release, he is holding off from belting and running vocals to increase the tension in music. "No Angel", a chillwave song with minimal hip hop music influences, is famous for the use of falsetto vocal registers, with "threatening" shipping. Duet doo wop-inspired with Frank Ocean "Superpower" sung in a lower list of both singers, while hiring a group of harmony girls similar to BeyoncÃÆ''s work in Child's Destiny. Love song "XO" uses several vocal techniques to evoke celebrations of love and life, including echoes and some hooks. Its ascend the chorus line using the call and response, as well as backing vocals from the singing crowd along, as BeyoncÃÆ'Â © sings about how her "dark night" is enlightened by the face of her lover. The album cover track is a midtempo ballad "Heaven" and "Blue". "Heaven" is an emotive, piano hymn led by gospel elements, while "Blue" is built on a piano melody where BeyoncÃÆ' © sings love for his daughter, using her complete vocal range.
Artwork
Tourso was given the task of designing the album cover of Beyoncà ©  ', which he found difficult considering it was a visual album and thus "flooded with imagery". Over three months he considered over a hundred options, just to continue with his first idea. He was inspired by the cover of the fifth studio album epic Metallica (1991) to make a bold statement, especially to deviate from the "beauty of the shot" of the Beyoncà ©  © he thought would be expected. He uses a font similar to a plaque used in a boxing match to represent abrasive masculinity, which is contrasted with a grayish gray font which he describes as "feminist subversion".
Release and promotion
Throughout 2013, BeyoncÃÆ' Â © worked on projects in strict confidentiality, sharing album details with small circles of people and continuing to shift the deadline, which was just completed a week before its release. He then explains that his intention is to return the idea of ​​the album release as a significant, engaging event that has lost meaning in the face of the sensations made around the singles.
In early December 2013, Beyoncà © à © and its management company Parkwood Entertainment held a meeting on his release with executives from Columbia Records and the iTunes Store, codenamed "Lily" for the album. Meetings are also held with Facebook executives associated with ads that generate album benefits from the "Auto Play" feature for videos on social networks. On December 9, 2013, Rob Stringer, Chairman of Columbia Records, consciously told the media that the album would be released at a point in 2014 and it would be "monumental". On December 13, 2013, the album was released in the early hours of the morning with no prior announcements or promotions exclusively on the iTunes Store. The singer commented that he was "bored" with his marketed music as he had done before, and wanted his release to be a different experience for his fans. This album is available exclusively on the iTunes Store until December 20, 2013, when physical copies are distributed to other resellers. Parkwood Entertainment has a seventy-two hour change from the time the album is released online to prepare for its physical release.
As soon as the album is exclusively available for the iTunes Store, Sony Music issued a decree banning retailers to place albums for pre-order, to further protect exclusivity with the iTunes Store. It was later reported that American retailers Target and Amazon Music refused to sell physical copies of the album. According to a spokesman for Target, the store was only interested in retail albums released digitally and physically simultaneously. On December 21, 2013, all videos from the album are screened at the SVA Theater in New York City.
After the release of the album, BeyoncÃÆ'Â © did "XO" for the rest of the stop of the North American leg The Mrs Carter Show World Tour in December 2013. In early 2014, he performed "Drunk in Love" for the first time on the 56th Annual Grammy Awards on January 26th. "XO" first show on television was at the BRIT Awards 2014 on February 19, marking her first appearance at the ceremony since being held in 2004. Later that month, the songs from the album were added to the second set of European legs The Mrs Carter Show World Tour. All the music videos from the album were screened at the Los Angeles 2014 Film Festival on June 13 along with comments from three video directors attending the ceremony. To further promote the album, BeyoncÃÆ'Â © started his first co-headlining stadium tour with Jay-Z. The On The Run Tour begins in Miami on 25 June 2014 and ends in Paris on September 13, 2014. The pre-recording performance of "Partitions" of the tour is broadcast at the BET Awards 2014 on 29 June. BeyoncÃÆ'Â © did a sixteen-minute medley of album songs at the MTV Video Music Awards 2014 on August 24th.
Singles
Two lead singles were released from BeyoncÃÆ'Â © . "XO" influenced contemporary hit radio in Italy and hot adult contemporary radio in the United States on December 16, 2013. The next day, it impacted contemporary contemporary, contemporary rhythmic and contemporary radio stations in the United States. "XO" peaked at number forty-five on the US Billboard Hot 100 and reached the top twenty on the charts around the world.
Accompanying the release of "XO", the other main single "Drunk in Love" was serviced to a contemporary urban radio station in the United States on December 17, 2013. It peaked at number two on the US Billboard Hot 100 and number one in the US Hot R & amp; B/Hip-Hop Songs and rhythmic graphics. "Drunk in Love" also peaked at number seven in New Zealand and number nine in France and England. The track is certified platinum by the Recording Industry Association of America (RIAA), which shows sales of one million digital copies.
"Partition" impacted contemporary urban radio in the United States on February 25, 2014 as the album's third single. It peaked at number twenty-three on the US Billboard Hot 100 and number one on US Dance Club Songs.
On April 24, 2014, the music video for the fourth single "Pretty Hurts" is available for streaming through the official website Time to accompany BeyoncÃÆ'Â © Â © © 's feature as one of the most influential people in the world. The song impacts contemporary hits and rhythmic radio in the United States on June 10, 2014 and contemporary hit radio in the UK on June 23, 2014.
"Flawless" was released as the fifth and final single from the album. The remix, featuring Nicki Minaj, was released on August 12, 2014.
Critical reception
BeyoncÃÆ' Â © received wide recognition from music critics. At Metacritic, which gives a weighted average rating of 100 reviews from mainstream publications, the album received an average score of 85, based on 34 reviews. Critics generally praise this album thematically and musically, as well as emphasize the visual aspect and surprise release; many say it's magnum opus .
The album's sexuality exploration is very well received by reviewers. New York Times head critic Jon Pareles describes the song as "steamy and slender, full of erotic exploits and amusement vocals" noting that "so often, for variety, they become vulnerable, welas asih or pro-feminist ". Caitlin White, writing for The 405, is characterized as Beyoncà ©  © as a feminist text. He notes that traces indicate the desire of BeyoncÃÆ' © to maintain a complete sexual aggression, while also eliminating pop song expectations by putting the pleasures of women on the front lines without asking. Robert Christgau admired the song's "sex sequence" album, where for "more than seven well-differentiated songs", Beyoncà © à © "made unlikely achievements to convey varied open eroticism because [he] knew erotism, because each of us in our individual response as well as for him ". PopMatters' David Amidon both praised the honest nature of the album, was very sexual, observing it was "his first attempt at bridging the audience, making music that made men want to hear what he said and women feel like they can tell it to men too ".
Other reviews recognize that this album avoids R & amp; B contemporary that supports more experimental composition. Pitchfork author Carrie Battan writes that BeyoncÃÆ'Â © is "exploring sounds and ideas on the outskirts of popular music gritiers" and rejects the "traditional pop structure that supports the atmosphere". Spin ' Anistry Mistry finds it "more textured than its predecessor in sound and content", and praises the singer's transition to adult sounds "big pop, multi-directional, mood -shifting suites and a very resonating R & amp; B ballad ". Noting the absence of a "hits warranty", NME believes that "humble, gloomy production highlights the spotlight on words and pictures brought to play" and describes it as his most experimental work to date. Rob Iffield's pop rock critic Rolling Stone has found BeyoncÃÆ'Â © ' courage among his best attributes, believing the album is on "the strongest when he went for an electro soul that grew full of artsy boho edges". Mikael Wood of Los Angeles Times highlights the desire to push creative boundaries between songs and admire "how the same music blends intimately and extravagantly", while the author of Entertainment Weekly Nick Catucci concluded that the album was marked with "impulse clash - between strength and escape, megapop and fresh sound, big messages and resonant lyrics".
Praise is also provided for Beyonce's vocal performance. Neil McCormick states Beyoncà ©  © as "one of the most gifted vocalists in pop music" in favor of him "the power of the gospel, the flow of hip-hop and [big] reach ". He greatly complements the vocal restraints displayed across tracks that are absent from previous releases. The Kitty Empire of The Observer recorded his vocal diversity in up-tempo album songs and found singers ranging between "squeaky-up falsettos, rap rap rap, ecstasy without words and unsuccessful swoops". Clash considers his most effective voice on a ballad album, where they comment on how his vocal distinctions convey feelings of love and describe his "power and control [as] dazzling."
Accolades
Though released in December when several publications have completed their year-end list, BeyoncÃÆ'Â © was ranked the best album of the year by Billboard , Houston Chronicle i> and Los Angeles Times , while Spin rated it as R & amp; B's this year. In January 2015, Billboard was also named BeyoncÃÆ'Â © as the second best album of 2010 so far. The album tops the top ten list by Associated Press, HitFix, MTV News, Club Fonograma and Digital Spy. BeyoncÃÆ'Â © is ranked 11th among Metacritic's best-reviewed albums in 2013. In Pazz and Jop's annual mass poll of the best music of the year, the album is ranked fourth. Robert Christgau, the poll creator, placed him in the eighteenth place on his own year-end list. Some publications include BeyoncÃÆ'Â © in their 2014 list, and it is considered the best album of the year by Vibe , Pretty Much Amazing and Nate Chinen from The New York Times . Consequence of Sound lists this effort as the eighteenth best of 2014 and Tiny Mix Tapes , the 45th. Pitchfork named "BeyoncÃÆ' Â ©" the 14th best album of the decade (2010-2014) so ​​far, FACT listed the album as the ninth best of the same period. Spin considers this album to be the best of the thirty-eight of the last thirty years (1985-2014) and Q named it one of the greatest albums in the last thirty years. BeyoncÃÆ' Â © is also included in update 2016 of 1001 Albums You Must Hear Before You Die .
The album was nominated for five Grammy Awards at the 57th Annual Grammy Awards (2015), including Album of the Year, Best Urban Contemporary Album, Best Surround Sound Album and Best R & amp; B Song and Best R & amp; B Performance for "Drunk in Love", winning the last three. In the famous incident recreation at the 2009 MTV Video Music Awards, Kanye West briefly appeared on stage during the Album of the Year award presentation for Beck ' Morning Phase (2014) in protest BeyoncÃÆ'  © did not win. Although initially seemed a joke when West returned to his seat, he said in comments after the ceremony that Beck "needs to respect the arts and he should reward the Beyoncà © Ã… ©". He later apologized for his comments.
At the 2014 MTV Video Music Awards, BeyoncÃÆ' © presented with Vanguard Award of Michael Jackson Video for his work on a visual album, performing a sixteen-minute medley of his songs. Van Tofler, president and CEO of Viacom, noted that their choice for the Vanguard Award was influenced by this project, saying, "when he pulled out a recording and the way he did it in a visual way, he was the most obvious choice." She won three more awards, Best Collaboration for "Drunk in Love", and Best Cinematography and Best Videos with Social Messages for "Pretty Hurts". The album was nominated for World Best Album at the World Music Awards 2014 and Album of the Year at the 2014 MTV Japan Video Music Awards. It also received two nominations at the Billboard Music Awards 2014 for Top Billboard 200 Albums and Top R & amp; B, while "Drunk in Love" was nominated for Top R & amp; B Song. In the 2014 mtvU Woodie Awards, Beyoncà ©  © won in the Doing It My Way Woodie category, awarded for album release strategy. It won the category for Album of the Year in 2014 Soul Train Music Awards and Favorite Soul/R & amp; B Album at the American Music Awards 2014.
Commercial performance
During the first day of its release in the United States, Beyoncà ©  © sold 80,000 units in three hours and a total of 430,000 digital copies in 24 hours. On the second day, the album sold 120,000 units, bringing the total two-day sales to 550,000. Billboard foresees to sell about 600,000 digital copies at the end of the tracking week on December 15, 2013. BeyoncÃÆ' © debuted at number one on Billboard 200, with a three-day sale of 617,213 digital copies. It gave BeyoncÃÆ'  © the fifth consecutive number one album, making her the first female artist to have her first five studio albums debut on the charts. It also became the biggest debut sales week for female artists in 2013, and the week's highest debut sales of his solo career. The album also gave her three weeks of biggest sales by women and she became the only woman who sold 300,000 copies in a week in 2013 and became the first person of the decade to print 300,000 copies in the first 3 weeks. BeyoncÃÆ' © marks the fourth largest sales week of an album during 2013, behind Justin Timberlake The 20/20 Experience , Eminem's The Marshall Mathers LP 2 > and Drake's Nothing Was the Same .
In the second week, the album remained at number one, selling an additional 374,000 copies. Ten days after its release, Beyoncà ©  © has sold 991,000 copies in the US, making it the best-selling album by female artistes in 2013. The third week at number one with 310,000 copies sold brought US album sales to 1.3 million after 17 days of release, positioned it as the eighth best-selling album of the year, and the first entered the top 10 years based on just three weeks of sales availability in Nielsen SoundScan era. In the fourth week, sales totaled 1.43 million, surpassing the total sales of BeyoncÃÆ' ©, 4 previous albums, released in 2011 and have sold 1.39 million in total in the two years since disposal. After BeyoncÃÆ'  © appeared at the MTV Video Music Awards 2014, album sales in the US increased by 181%. The record sold 878,000 copies in the US in 2014 alone, becoming the sixth best-selling album of the year. In November 2016, Beyoncà ©  © has sold 2.4 million copies in the US and has been certified double platinum by the Recording Industry Association of America (RIAA).
On December 16, Apple Inc. announced that Beyoncà ©  © is the best-selling album in the history of the iTunes Store, both in the United States and around the world. It sold 828,773 digital copies worldwide in the first three days, and topped the iTunes Store charts in a hundred-and-four countries. Six days after its release, BeyoncÃÆ' © has sold a million digital copies in the iTunes Store worldwide. BeyoncÃÆ' © debuted at number five on the UK Albums Chart on December 15, with a two-day sale of 67,858 digital copies. Official Company Chief Executive Martin Talbot notes that "some (if any) albums have sold as many digital copies in a short period of time." In the fifth week, the album rises to a new top two. It was certified platinum by the British Phonographic Industry (BPI) on February 7, 2014 which showed the delivery of 300,000 copies. In April 2016, BeyoncÃÆ' © has sold 505,000 copies in the UK.
The album entered the Canadian Album Charts at number one, with 35,000 digital copies sold. It debuted at number twenty-four on the French Albums Chart with two days of sales of 12,100 digital copies, and peaked at number thirteen in the fifth week. The album debuted on top of the Dutch Album Charts, giving BeyoncÃÆ' © the first number one album in the Netherlands. In Australia, BeyoncÃÆ'  © entered the ARIA Album Chart at number two, with first week sales of 31,102 digital copies. The album topped the charts in its third week, becoming BeyoncÃÆ'Â's first album in Australia. It spent three consecutive weeks at number one and was certified platinum by the Australian Recording Industry Association (ARIA) for the delivery of 70,000 copies. In New Zealand, Beyoncà ©  © debuted at number two and was certified gold by NZ Music Record (RMNZ) for the sale of 7,500 copies; it was then certified platinum. According to the International Federation of Phonographic Industries (IFPI), in the last nineteen days of 2013, the album sold 2.3 million units worldwide, becoming the tenth best-selling album of 2013. The album also became the twentieth best. -selling album 2014. In November 2016, BeyoncÃÆ' © has sold over five million copies worldwide and has generated over one billion streams by March 2015.
Impact
The shocking release of Beyoncà © à © caused a "funny, honest and hysterical" reaction among BeyoncÃÆ' © fans, and "surprises" among other musicians. According to data provided by Twitter, the release generated over 1.2 million tweets in twelve hours. Rob Sheffield writes: "BeyoncÃÆ' © has sent countless surprises in 15 years over the music world, but he has never dropped a bomb like this.. The whole project is a celebration of the Beyoncà © à © ©, which essentially boils down to the fact that BeyoncÃÆ' © can do whatever he wants. "Peter Robinson of The Guardian praised the surprise release as" BeyoncÃÆ' © geddon ", describes it as a "great victory [...] masterclass both in exerting and releasing control." Zack O'Malley Greenburg includes Beyoncà ©  © in the "Music Industry Winners 2013" list, noting that the singer "does not use any of the features of [being signed with a label big recording] - the "engine" we deliver is indispensable No radio promotions, none, no press is more advanced than any kind. " The marketing strategy of releasing an album with little or no notice is the subject of a case study at Harvard University School of Business.
After the International Federation of Phonographic Industries (IFPI) announced Friday as the day of global record release, Andrew Flanagan thought the release of the album was one of the influencing points in the decision, writing: " After seven months of semi-public commute, a conversation that was partly due to the Aussie hijacking and Beyonce's surprise launch in December 2013 has resulted in the global recording industry receiving Friday as the release date for the new album. " Time is named BeyoncÃÆ' Â © as one of the most influential people of 2014 due to the release of the album, writes: "BeyoncÃÆ' Â © not just sitting at the table.He built a better one Today he sat at the head of the boardroom table at Parkwood Entertainment.In December, shocking the world when he released a new album, complete with video, and announced it on Facebook and Instagram. BeyoncÃÆ'Â © music crushed- industry rules - and notes sales ".
Australian company Elenberg Fraser won planning approval for a two-hundred-and-twenty-six-meter skyscraper in Melbourne that will feature a plump form taken from a music video for "Ghost".
Track list
Credits are adapted from liner notes from BeyoncÃÆ'Â © .
Note
- ^ [a] tagged the co-producer
- ^ [b] indicates additional manufacturers
- All vocal tracks are produced by BeyoncÃÆ' © Knowles
- "Haunted" contains two parts - "Ghost" and "Haunted". Although presented as a single song in the audio, it is split into two separate videos.
- "No Angels" is styled as "
Angel" behind the CD edition. - "Partition" contains two parts - "YoncÃÆ'Â ©" and "Partition". Although presented as a single song in the audio, it is split into two separate videos.
- "Flawless" is styled as "*** Flawless"
- "Flawless" contains two parts - "Bow Down" and "Flawless", which are presented as one song, and one video. "Bow Down" was originally part of a previously recorded song titled "Bow Down/I Been On".
- "Grown Woman" is presented after credit on DVD when presented before credit in digital format.
- "Grown Woman" was written by Mosley, Kelly Sheehan, Knowles, Nash, Chris Godbey, Harmon, Darryl Pearson, and Garland Mosley. It is produced by Timbaland, with joint production by Harmon.
Sample credit
- "Partition" contains an interpolation from the 1998 German film version dubbed The Big Lebowski , conducted by Hajiba Fahmy.
- "Flawless" contains sections from the speech "We all must be feminists", written and delivered by Chimamanda Ngozi Adichie.
- "Heaven" contains the "Our Lord's Prayer" section in Spanish, made by Melissa Vargas.
- "Flawless (Remix)" contains an example of "SpottieOttieDopalicious" made by Outkast.
Personnel
Credits are adapted from the official Beyoncà © site.
Performers and musicians
Technical
Diagram
Certification
Releasing history
See also
- BeyoncÃÆ' Â ©: Platinum Edition
- List of Billboard 200 albums number one in 2013
- List Billboard 200 albums one year 2014
- Billboard Billboard number one R & amp; B in 2013
- List of Billboard R & amp albums B number one year 2014
- Album list number 2013 (Canada)
- Album list 2014 (Canada)
- Album list 2014 (Australia)
- List of UK R & amp; B Album number one from 2013
- List of UK R & amp; B Album number-one album 2014
Note
References
External links
- BeyoncÃÆ' Â © on Discogs (release list)
- Official website
Source of the article : Wikipedia
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