11/30/2022 0 Comments Reddit megalinks jay z the black album![]() And now and then, there are glimpses within the music, like a magnificent, purple-suited choir joining Beyoncé to sing “Spirit” a cappella.īut she shares the screen with African and Black American faces: dancers, tribal elders, city hustlers, judges in wigs and robes, hoop-skirted debutantes and their beaus. Other transitions use African traditional music from Smithsonian Folkways recordings, tacitly suggesting the continuity of old and new. Beyoncé also recites Warsan Shire’s poetry to insist on Africa’s ancestral legacies and the glories of Black beauty. There’s still some “Lion King” material in the “Black Is King” visual album to detail some of its messages, along with bits of lectures that equate kingship with responsible manhood. The deluxe version also, mercifully, eliminates the original album’s snippets of “Lion King” dialogue. The deluxe version of “The Lion King: The Gift” only slightly extends the original album its major addition is two versions (one with marching band-style horns) of “Black Parade,” a song that addresses current Black Lives Matter protests and much more. “Black Is King,” Beyoncé’s visual album built on that album’s songs, goes even further. ![]() It presented modern African voices and contemporary African sounds - among the most kinetic productions in pop - not as exotic guests of their American collaborators, but as equals reinforcing each other, an international brotherhood and sisterhood. “The Lion King: The Gift,” Beyoncé’s companion album to the “Lion King” soundtrack, was a grand statement of African-diaspora unity, pride and creative power. They approach another of the film’s strengths: rebuke - of, in its title and closing sequence, the gospel opportunism in Kanye West’s film “Jesus Is King.” “We were beauty before they knew what beauty was” and “your skin is not only dark” are two of the recital’s most exhilarating lines. The interstitial language that Beyoncé recites hails, just as it did in “Lemonade,” in part, from the earthen poetry of Warsan Shire. ![]() “Black Is King” extends more than innovates. “Beyoncé” and “Lemonade” were triple-impact shocks (new music, new images, new ideas). You could sense that those were good afternoons for everybody. There’s a real Baz Luhrmann zaniness working here, from the synchronized, Esther Williams pool party (everybody side-dives in except our star) to the manic instant grins that Beyoncé, the movie’s wee boy-prince and her mother, Tina Knowles-Lawson, flash. (That brown-on-white passage is from “Nile.”) The strongest come during “My Power,” and “Mood 4 Eva.” The latter finds itself on somebody’s estate and features the Knowles-Carters a-floss and a-flex. Tableaux do exist here, minced as they are. ![]()
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