She crams in all sorts of facial expressions that must be approximating mania and pleasure they’re beacons of hilarity. It might be the strangest four minutes of Beyoncé’s career. Jay-Z!) I have no idea if “Deja Vu” is supposed to be a bit of a joke, or if Beyoncé really wanted to write a song about the titular phenomenon, but either way it enables intriguing discussion about her self-awareness and reconstitution of previous successes.īefore I move on, I want to take a minute to talk about the song’s video, because it’s truly worth a paragraph all its own. At a lyrical level, the proceedings are much crazier too: “Your sexiness is so appealing, I can’t let it go!” (The craziness is ramped up to its maximum level when you remember she’s talking about Jay-Z. However, this time around she rips into her vocal performance, unleashing holy hell in the form of whoops, growls and interstitial vocal runs. On “Crazy in Love”, Beyoncé doesn’t really sound crazy: instead, she embodies the sound of girlish infatuation and enthusiasm. In fact, “Crazier in Love” would’ve been an apt title, because Beyoncé truly comes off like a woman possessed in “Deja Vu”. 2006 and Jay’s cocaine-dealing past.) Honestly, “Deja Vu” could’ve been named “Crazier in Love” and no one would have blinked. At least the reference makes sense: “I used to run base like Juan Pierre” is a nice nod to both Pierre’s acumen for stealing bases c. (Even Jay-Z gets in on the repurposing of “Crazy in Love” by making another reference to a mediocre athlete, Juan Pierre. Travel down the checklist and they’re all there: the ebullient horns, the topic of romantic mania, the perfunctory Jay-Z appearance. ![]() “Deja Vu” immediately becomes funnier and more interesting when you realize that the song is, at its heart, a repackaging of the same components that constitute previous mega-hit “Crazy in Love”. Despite all that, I think “Deja Vu” is one of her most thought-provoking songs.Īny examination of this song starts with its title, which is delivered with a huge wink. ![]() Many casual listeners recognize “Deja Vu” because of its absolutely batty video, in which Beyoncé writhes all over Jay-Z, engages in seizure-spastic dancing, and cavorts with computer-generated sparkles. ![]() It seems ridiculous that such a frivolous song could serve as the basis for such heady discussion. “Deja Vu” could feasibly act as the cornerstone for an analysis of self-referentiality in Beyoncé’s music.
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