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Beyoncé’s seventh solo album, Renaissance, pays tribute to the long history of black dance music, from disco to ballroom house. Acting as both a collage and a history lesson, it also captures the evolution of her songwriting and her personal presentation in a more contemporary direction.
For Beyoncé, 40, it’s a powerful mid-career pivot that claims her singular status in pop music, basically disappearing for a few years, then reappearing on her own terms, and still reaching audiences. can be found.
This week’s popcast delves into Beyoncé’s new album, the push and pull between tradition and futurism, her relationship with the queer music community, and how she reframes our understanding of authorship and ownership.
The guests:
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Joe Coscarelli, pop music reporter for The New York Times
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Wesley Morris, New York Times critic in general
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Jon Pareles, chief pop music critic at The New York Times
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Salamishah Tillet, General Contributing Reviewer for The New York Times
Connect to popcast. Be Part of the Popcast Community: Join the Show facebook group When cacophony channelWe would love to hear from you! Send us your feedback at popcast@nytimes.com. Follow host Jon Caramanica on Twitter. @joncaramanica.
