After literally changing everything last Friday and dooming all future Fridays to appear slightly less bright with their eternal comparison to the Friday, BeyDay, Beyoncé’s self-titled record has naturally rocketed to the high heavens, securing an unprecedented level of success for the artiste and setting up 2014 to be her most lucrative year. Who run the world? Bey.
With a marketing strategy that ingeniously started and ended with, “I’m Beyoncé,”, the visual album sold, according to TIME, over 430,000 copies on iTunes in just over a day – following its Friday release. Elegantly shimmying to the left of the usual social media marketing and upcoming-record bastardisation that artists tend to latch onto by way of course nowadays, Beyoncé generated genuine, fresh and ecstatic hype.
I left the internet for about three minutes on Friday to forlornly gaze at an empty fridge; upon my return, Beyoncé had dropped an entire fucking album. Whatever forgettable day that was happening was instantly cured, flipped in reverse and crowned the opposite. And in the hours that followed, the internet flooded with IDGAF gifs like this. I literally die.
Considering the Visual Album’s success in the past few days (80,000 copies reportedly sold in the first hour, fans weeping, etc), Billboard considers Beyoncés place at #1 will be a shoe in; TIME estimates that Beyoncé will hold the title of the biggest debuting female artist. This is all without even considering the physical copy release of ‘BEYONCE’, or the release of individual songs on iTunes – rather than the entire album – on December 20. Congratulations, Beyoncé, on keeping 14 songs and 17 videos a secret from the whole world, destroying the music industry, pulling off neon and remaining effortlessly flawless. You actually did it.
