http://www.rollingstone.com/music/albumreviews/beyonce-20131214
A solid review requires three things: insight, evidence, and context. Rob Sheffield's review of Beyoncé’s self entitled album that was released at the tail end of 2013 is an example of a poorly written review, because it does not meet all of the requirements. Although Sheffield provides context for “Beyoncé”, It lacks insight and a substantial amount of evidence to back up himself up.
While meeting some of the criteria, Sheffield provides a fair amount of context for the album, placing the surprise release among the likes of Kanye West, David Bowie and My Bloody Valentine. Unfortunately, Sheffield neglects a few important facts and ends up belittling these artists along the way.
Sheffield writes “David Bowie, Kanye West and My Bloody Valentine pulled off stealth releases earlier this year. But this is a bigger deal because it's Beyoncé,” . What? Seriously? My Bloody Valentine hasn’t released anything in 20 years, Bowie’s last studio album came out in 2003, and Kanye earned spots on several “Best Album of 2013” lists with “Yeezus”. Sheffield is making a pretty lofty statement here. This is not to say that Beyoncé isn’t talented, but come on. Is there a need to slam these other very talented artists? And “because it’s Beyoncé” is pretty poor evidence to back this comment up. There are seventh graders that can come up with a better argument than that.
Sheffield does mention that Beyoncé’s visual album involves the talents of people like Jonas Åkerlund and Hype Williams, Jay-Z, Chimamanda Ngozi Adichie, her daughter Blue, and Frank Ocean. What Sheffield fails to recognize is that Kanye’s “Yeezus” also involves the the talents of some highly notables. For example, Justin Vernon, Chief Keef, Kid Cudi, Charlie Wilson, and Frank Ocean. With similar talents being shared, Sheffield manages to knock another artist.
Context aside, Sheffield neglects to say why he finds the album enjoyable. Where is his insight? He seems to always be referencing the sex related songs off the album. “‘Blow’, the best track here, a song about oral sex that has an air of melancholy in the chilly neo-disco groove. There's a similar mood in her excellent Drake duet ‘Mine’." Sheffield also mentions that “the highlights are the sex songs. ‘Drunk in Love’ is a superb duet with Jay Z, 10 years after "Crazy in Love." These two still can't keep their fingers off each other.” What about the girl power song “***Flawless” that features the inspiring Chimamanda Ngozi Adichie? or “XO” a youth filled song that makes you feel like you’re in love for the first time? The sex charged songs are just as important, but “Beyoncé” is deeper than that.
http://www.avclub.com/review/beyonces-surprise-album-is-her-most-substantial-an-200652
On the other hand, The A.V. Club’s Evan Rytlewski does a better job reviewing the surprise album. Rytlewski manages to hit all three requirements of writing a good review. In fact, he touches on all three within the first paragraph. Rytlewski refers to the slew of underwraps albums released during 2013, giving context to “Beyoncé”. He then proceeds to provide insight by calling Beyoncé’s self entitled “candid” and “daring”. Topped with a comment like “Beyoncé was able to keep a project of this scale completely under wraps is one of the most impressive tricks of her career”, he backs up his statements.
Throughout Rytlewski’s review of “Beyoncé” continues to bring home all three points. He continues to provide more context for “Beyoncé” without being too summarizing, comparing the album to Justin Timberlake’s “20/20 Experience”. He also gives more insight into what the album’s message is trying to convey, for example touching on writer Chimamanda Ngozi Adichie’s presence on the album and the topic of society’s impossible standard of beauty on the opening track “Pretty Hurts”.
Overall, Evan Rytlewski delves further into the album than Rob Sheffield. Rytlewski lets listeners know that this pop star is singing about some pretty heavy topics like marital strife, miscarriage, and post-partum depression. Whereas all Sheffield only seems to be interested in the steamy, sexually charged numbers. Sheffield almost chastises Beyoncé stating that there are “too many pageant-ready ballads about believing in your dreams and reaching your goals” which is an impersonal statement riding off the experiences that make Beyoncé the woman she is today. Rytlewski efficiently touches on all aspects of the tremendous album and reminds listeners that this is what makes Beyoncé empowering.
A solid review requires three things: insight, evidence, and context. Rob Sheffield's review of Beyoncé’s self entitled album that was released at the tail end of 2013 is an example of a poorly written review, because it does not meet all of the requirements. Although Sheffield provides context for “Beyoncé”, It lacks insight and a substantial amount of evidence to back up himself up.
While meeting some of the criteria, Sheffield provides a fair amount of context for the album, placing the surprise release among the likes of Kanye West, David Bowie and My Bloody Valentine. Unfortunately, Sheffield neglects a few important facts and ends up belittling these artists along the way.
Sheffield writes “David Bowie, Kanye West and My Bloody Valentine pulled off stealth releases earlier this year. But this is a bigger deal because it's Beyoncé,” . What? Seriously? My Bloody Valentine hasn’t released anything in 20 years, Bowie’s last studio album came out in 2003, and Kanye earned spots on several “Best Album of 2013” lists with “Yeezus”. Sheffield is making a pretty lofty statement here. This is not to say that Beyoncé isn’t talented, but come on. Is there a need to slam these other very talented artists? And “because it’s Beyoncé” is pretty poor evidence to back this comment up. There are seventh graders that can come up with a better argument than that.
Sheffield does mention that Beyoncé’s visual album involves the talents of people like Jonas Åkerlund and Hype Williams, Jay-Z, Chimamanda Ngozi Adichie, her daughter Blue, and Frank Ocean. What Sheffield fails to recognize is that Kanye’s “Yeezus” also involves the the talents of some highly notables. For example, Justin Vernon, Chief Keef, Kid Cudi, Charlie Wilson, and Frank Ocean. With similar talents being shared, Sheffield manages to knock another artist.
Context aside, Sheffield neglects to say why he finds the album enjoyable. Where is his insight? He seems to always be referencing the sex related songs off the album. “‘Blow’, the best track here, a song about oral sex that has an air of melancholy in the chilly neo-disco groove. There's a similar mood in her excellent Drake duet ‘Mine’." Sheffield also mentions that “the highlights are the sex songs. ‘Drunk in Love’ is a superb duet with Jay Z, 10 years after "Crazy in Love." These two still can't keep their fingers off each other.” What about the girl power song “***Flawless” that features the inspiring Chimamanda Ngozi Adichie? or “XO” a youth filled song that makes you feel like you’re in love for the first time? The sex charged songs are just as important, but “Beyoncé” is deeper than that.
http://www.avclub.com/review/beyonces-surprise-album-is-her-most-substantial-an-200652
On the other hand, The A.V. Club’s Evan Rytlewski does a better job reviewing the surprise album. Rytlewski manages to hit all three requirements of writing a good review. In fact, he touches on all three within the first paragraph. Rytlewski refers to the slew of underwraps albums released during 2013, giving context to “Beyoncé”. He then proceeds to provide insight by calling Beyoncé’s self entitled “candid” and “daring”. Topped with a comment like “Beyoncé was able to keep a project of this scale completely under wraps is one of the most impressive tricks of her career”, he backs up his statements.
Throughout Rytlewski’s review of “Beyoncé” continues to bring home all three points. He continues to provide more context for “Beyoncé” without being too summarizing, comparing the album to Justin Timberlake’s “20/20 Experience”. He also gives more insight into what the album’s message is trying to convey, for example touching on writer Chimamanda Ngozi Adichie’s presence on the album and the topic of society’s impossible standard of beauty on the opening track “Pretty Hurts”.
Overall, Evan Rytlewski delves further into the album than Rob Sheffield. Rytlewski lets listeners know that this pop star is singing about some pretty heavy topics like marital strife, miscarriage, and post-partum depression. Whereas all Sheffield only seems to be interested in the steamy, sexually charged numbers. Sheffield almost chastises Beyoncé stating that there are “too many pageant-ready ballads about believing in your dreams and reaching your goals” which is an impersonal statement riding off the experiences that make Beyoncé the woman she is today. Rytlewski efficiently touches on all aspects of the tremendous album and reminds listeners that this is what makes Beyoncé empowering.
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