Beyonce Song Quotes

Get used to being spoiled. Not too much longer now. You know how much I love you because I’m handing over my balls momentarily to type the next song title, but fuck if it’s not true –Halo, Beyonce. Whew. Balls back in place now. And hey, there’s a lot of dressed up women down here, how will I know which one is you?

You know what? I'll Beyonce him. Not as powerful as a nineties R&B breakup song, but stronger than a Taylor Swift.

But at times words can be a dangerous addition to music — they can pin it down. Words imply that the music is about what the words say, literally, and nothing more. If done poorly, they can destroy the pleasant ambiguity that constitutes much of the reason we love music. That ambiguity allows listeners to psychologically tailor a song to suit their needs, sensibilities, and situations, but words can limit that, too. There are plenty of beautiful tracks that I can’t listen to because they’ve been “ruined” by bad words — my own and others. In Beyonce's song "Irreplaceable," she rhymes "minute" with "minute," and I cringe every time I hear it (partly because by that point I'm singing along). On my own song "Astronaut," I wrap up with the line "feel like I'm an astronaut," which seems like the dumbest metaphor for alienation ever. Ugh.

There is a new song on Top 40 radio right now that's so good I want to kill myself. I'm not sure why exceptionally good hip-hop singles make me want to commit suicide, but they often do. I don't know what the title of the song is, but it's that religious woman with the perfect stomach from Destiny's Child and Jay-Z doing a duet featuring a horn riff from the '70s that I've never heard before (but that sounds completely familiar), and the chorus is something along the lines of, "Your love is driving me crazy right now/ I'm kind of hoping you'll page me right now." It's also possible that Jay-Z compares himself to Golden State Warriors guard Nick Van Exel during the last verse, but I can't be positive. ANYWAY, by the time you read this sentence, the song I am referring to will be ten thousand years old. You will have heard it approximately 15,000 times, and you might hate it, and I might hate it, too. But right now -- today -- I am living for this song. As far as I'm concerned, there is nothing that matters as much as hearing it on the radio; I am interested in nothing beyond Beyonce Knowles's voice. All I do is scan the FM dial for hours at a time, trying to find it.

I want them to them to think I am a Beyonce song COME TO LIFE!

Some random Beyonce song from the early 2000s plays on low in here, and I’d like to know when the music I grew up on suddenly became convenience store music.

Beyoncé spins her own bittersweet narratives into art. “I’ma rain, I’ma rain on this bitter love/Tell the sweet I’m new,” she sings on “Freedom.” As bell hooks writes of Beyoncé’s Lemonade in her essay “Moving Beyond Pain,” to be truly free, we must choose beyond simply surviving adversity, we must dare to create lives of sustained optimal well-being and joy. In that world, the making and drinking of lemonade will be a fresh and zestful delight, a real life mixture of the bitter and the sweet, and not a measure of our capacity to endure pain, but rather a celebration of our moving beyond pain.” If Will Cotton’s paintings—- resplendent with pure, idealized fantasy—- are the sweetness we lazily dream of, Walker’s A Subtlety is the sweetness we actually live: rearing up through centuries of hurt and exploitation, planting its feet in the good and the bad, the pleasure and the pain. It crystallizes across the surfaces of our imperfect lives, and makes us shine.