“Call Girls: Lady Gaga and Beyoncé's “Telephone” Video Turns 10 - NewNowNext” plus 3 more |
- Call Girls: Lady Gaga and Beyoncé's “Telephone” Video Turns 10 - NewNowNext
- Music of Beyoncé inspires worship service that empowers conversation about black women - National Catholic Reporter
- Tickets went quickly for Beyoncé Mass - Atlanta Journal Constitution
- Beyonces famous songs from her days with Destinys Child, check out the list - Republic World - Republic World
| Call Girls: Lady Gaga and Beyoncé's “Telephone” Video Turns 10 - NewNowNext Posted: 13 Mar 2020 11:08 AM PDT Can We Talk About…? is a weekly series that can't stop touching its gay face. I know you're probably jowls-deep in coronavirus coverage, so allow me to discuss something of arguably greater social and political import: a classic bop. On the Ides of March, 2010, Stefani Joanne Angelina Germanotta dropped one of her most ambitious videos to date, a collaboration with the reigning queen of pop and life itself, Beyoncé Giselle Knowles Carter. Gaga originally wrote "Telephone"—the second single off her 2009 EP, The Fame Monster—for Circus-era Britney Spears, which explains a lot. The "eh-eh-eh-eh-eh-eh-eh-eh-eh-eh-eh! Stop telephoning may-ay-ay-ay-ay-ay-ay-ay-ay-ay-ay!" does seem tailor-made for Brit. That girl never did like a hard E.  On the strength of a collaboration between two of music's biggest names, "Telephone" charted in December 2009 before being officially released on January 26, 2010. Two days later, Gaga and Bey filmed the video, directed by the great Jonas Åkerlund. Clocking in at just under 10 minutes, with references to Russ Meyer, John Waters, and Quentin Tarantino, "Telephone" was a sequel to Gaga's 2009 video "Paparazzi," also directed by Åkerlund. After she kills her boyfriend, portrayed by Alexander Skarsgård, we find the Lady serving time and lewks in a women's correctional facility.  Within the first few minutes, we're treated to some of the Haus of Gaga's most inspired fashions, including the smoking cigarette glasses:  The Diet Coke can hair rollers:  And the caution tape… whatever this is:  There's also some jarringly blatant product placement for Virgin Mobile and the dating site Plenty of Fish, which lends a knowing cheapness to the video that kinda works in its favor. Anygay, we're halfway through before Beyoncé shows up in a bold black lip as Gaga's accomplice—and, dare I say, lover—Honey Bee.  Bey is serving you full-on soft-butch-dyke realness, and to this day, save perhaps her brilliant and underappreciated clip for "Why Don't You Love Me?," Queen Bey has never been this campy, this fun, and this irreverent.  Lest we forget, just two years later she would drop her self-titled fifth studio album on an unsuspecting world, beginning her evolution into a "serious" artist and an avatar for blackness, womanhood, and bad bitchery around the world. This was the last gasp of Beyoncé as pop star before she ascended to something greater. Perhaps channeling her B.B. Homemaker persona from "Why Don't You Love Me?," Bey again dons a Betty Paige wig for "Telephone," but this time around she's not weeping into her camisole about being forsaken. No, this was a Beyoncé we had never seen before. A gleefully foul-mouthed, man-killing Beyoncé.  This was years before Lemonade had her dropping F-bombs and leaving Jay-Z's career for dead. This was back when Beyoncé was still doing interviews, and moreover, still doing duets. Can you imagine Bey hopping on a track with Gaga now? I know you can because I do, too. It's all I think about. They are so good together. Gaga brings out a less-guarded, more lighthearted Bey, and Bey elevates Gaga's game by her mere presence. By the time they've successfully poisoned Tyrese—and a number of presumably innocent people—it's time for the big dance number! Because we can't have two pop divas in one video without some tight choreo.  "Telephone" ends in one of my truly favorite music video moments of the past 10 years—insofar as music videos have become less of an event and less relevant to my life. Gaga and Bey run off looking like the Gabor sisters escaping Grey Gardens: two merry murderesses in matching matronly gowns with extravagant hats and accompanying veils, stopping to pose and vogue on the side of the road as the sound of cop sirens blare in the background.  We just don't have this much fun in music videos anymore. Or in music in general. Ten years later, "Telephone" is still a pure joy to watch, especially considering how far both women have come since then. Back in 2010, Gaga was still a pop phenom on the rise, while Beyoncé was a pop superstar reevaluating her place in the zeitgeist and her value as an artist. Here, they joined forces at two wildly different points in their careers to have a blast, give the gays everything we wanted, and show the world that two divas can indeed get along and create magic. Shortly after the video's release, however, Lady Gaga, distanced herself from it. "I hate it so much," Gaga said in 2011. "Beyoncé and I are great together. But there are so many fucking ideas in that video. All I see in that video is my brain throbbing with ideas—and I wish I had edited myself a little bit more." But that's actually why it's such a great video, and why we initially fell in love with Lady Gaga. Like "Bad Romance," "Telephone" is ambitious, bombastic, and off-kilter. All those ideas definitely result in overkill, but it's also a lot more impressive than not reaching far enough. |
| Posted: 13 Mar 2020 01:03 AM PDT  Vocalists performing at the Beyoncé Mass March 8 at the Kennedy Center in Washington, D.C. (Kennedy Center/Scott Suchman) Washington — I've never been to a Beyoncé concert before, but I assume there's always a line at the entrance. Probably a long one, like this one, that extended out the door of the Kennedy Center and along the front of the building. Of course, "Queen Bey" was not actually slated to perform this Sunday evening, March 8. Nobody was. Those in line were not going to a performance at all. They were going to a worship service – the "Beyoncé Mass." I briefly waited in line with Jazmin Pruitt, a 20-something recent graduate of Georgetown University. She said that when she told her friends she was attending the event, they asked her, "You're going to worship Beyoncé?" The question is funny, though not entirely ridiculous. Beyoncé's fans are among the most loyal in the history of pop. Her worldwide adoration is rivaled only by that of the most iconic pop figures of the past — Michael Jackson, Prince, Madonna. Pruitt herself proudly told me she is a member of the "Bey Hive" and, like Beyoncé, a Houston native. But worshipping Beyoncé? "That's not what this is about," she said. What the Beyoncé Mass is about, according to the event's program, is fostering "an empowering conversation about Black women — their lives, their bodies, and their voices." Beyoncé's music is purely a tool for accomplishing that. As I took my seat inside the theater and scanned the audience around me, it was clear that although this conversation is about black women, it is not one limited to being only for black women. People of all races, genders and ages came together to celebrate. A man seated behind me said he saw the event advertised on social media and decided to come alone.  The Beyoncé Mass held March 8 at the Kennedy Center in Washington, D.C. (Kennedy Center/Scott Suchman) Mass began at 6 p.m. with a recording of Beyoncé singing the hymn "Lift Every Voice." As the song played, the choir took its place and the Rev. Yolanda Norton walked to the front of the stage. Norton, a minister Christian Church (Disciples of Christ) and the event's organizer, is confident and charismatic. "Clap, dance, sing, shout," she told the packed theater, inviting everyone to stand. "This is how we worship God." Suddenly, the all-male band started playing, the all-female choir started singing and the audience did exactly as Norton instructed.
With the crowd energized, Norton then issued her official welcome. "This is womanist worship," she said. "If you've never felt seen before, know that we see you. … You are exactly what God had in mind when she made you." The term "womanism" is often attributed to the novelist Alice Walker, best known for writing The Color Purple. In her 1983 collection of essays, In Search of Our Mothers' Gardens: Womanist Prose, Walker defined a womanist as "a black feminist or feminist of color… A woman who loves other women, sexually and/or nonsexually… Womanist is to feminist as purple is to lavender." Perhaps as an homage to Walker, perhaps because it's Lent, or perhaps due to both reasons, the Beyoncé Mass stage was adorned completely in (the color) purple, including the vocalists in their matching purple T-shirts.  The Rev. Yolanda Norton at the Beyoncé Mass March 8 at the Kennedy Center in Washington, D.C. (Kennedy Center/Scott Suchman) Although womanism was originally a response to white feminism, it has had a rich impact on theology over the decades as well, according to Catholic womanist scholar Diana Hayes of Georgetown. "It was because the black woman was absent from both feminist theology and black theology that some black women began to say we have our own story to tell," Hayes told U.S. Catholic in a 1997 interview. Norton is now building on that legacy, artfully using the lyrics of Beyoncé to help tell current stories of black women in America, stories which includes tremendous pain and loss. During a rendition of the song "Heaven," a screen in the back of the stage showed a series of images of women's faces. "TeeTee Dangerfield. Sandra Bland. Atatiana Jefferson," the names of black women killed in recent years were read aloud. Heaven couldn't wait for you. "Y'all, I'm tired," Norton said when it came time to deliver her sermon. "I'm tired of talking about love in the face of people who are filled with hate. I'm tired of turning on the television and seeing the blood of black bodies running in the street. I'm tired of brown people being turned away at borders that welcome white folks. I'm tired of being ignored, tired of people trying to appropriate my identity. I'm tired of people calling me an angry black woman as if I don't have a right to be angry. … "And yet, despite all the ways that we might get tired in this life, God is calling us to be agents of peace and justice and deliverance in this world," she said. "The best prayer that we have as God's people is with our feet," Norton implored the audience, pushing everyone to move out of their comfort zones and take action that shows that "God is a God who lives all over the world." Advertisement Advertisement After a couple more songs, a womanist version of the Lord's prayer and a knuckle-touch heavy sign of peace, the ceremony wrapped with a cover of Beyoncé's "Start Over." Let's start over Walking out of the theater, I saw a group of friends, all elderly black women, greeting each other with hugs and quoting the lyrics, "Let's give love another life." It was then that I realized that, although we just spent an hour listening to her music, I couldn't remember having heard Beyoncé's name being mentioned even once during the service. Like Jazmin Pruitt told me on my way in — Beyoncé the pop star, in fact, was not at all what the Beyoncé Mass was about. The mass was a living example of Norton's sermon message: taking action to show God's presence in all things, including beloved pop music. As Norton put it in her sermon, "Just because God is not mentioned does not mean that God is not present." [Jesse Remedios is an NCR staff writer. His email address is jremedios@ncronline.org. Follow him on Twitter at @JCRemedios.] |
| Tickets went quickly for Beyoncé Mass - Atlanta Journal Constitution Posted: 01 Mar 2020 12:00 AM PST  If you wanted to attend the Beyoncé Mass at Spelman College on Monday, you may need more than a prayer. Demand for the service was so high, that tickets were reserved quickly, according to a Spelman College spokeswoman. There are plenty of people, though, who still hope they can get inside Sisters Chapel on the HBCU's campus. And perhaps they can. An email to ticketholders were recently sent through Eventbrite asking them to release their tickets if they cannot attend the service, which will be held at 7 p.m. Monday at Sisters Chapel. Related: Beyonce Mass coming to Spelman College "There is a substantial waitlist, and we would like to accommodate as many people as possible," the message read. It asks that mass goers arrive by 6:55 p.m. or else they may not be guaranteed a seat. The liturgy of Beyoncé Mass includes music from the artist's vast discography, readings from womanist scholars and prominent black female leaders, and a sermon from the Rev. Yolanda M. Norton, the H. Eugene Farlough Chair of Black Church Studies and assistant professor of Hebrew Bible at San Francisco Theological Seminary. More: Beyoncé drops surprise "Homecoming" live album Norton curated and created the service. In California, Norton taught a class, "Beyoncé and the Hebrew Bible," which focused on how black women encountered Scripture and how they see themselves in sacred texts. Support real journalism. Support local journalism. Subscribe to The Atlanta Journal-Constitution today. See offers. Your subscription to the Atlanta Journal-Constitution funds in-depth reporting and investigations that keep you informed. Thank you for supporting real journalism. |
| Posted: 13 Mar 2020 06:50 AM PDT Destiny's Child was an American girl group whose final and best-known line-up comprised of Beyoncé Knowles, Kelly Rowland, and Michelle Williams. Destiny's Child has sold more than 60 million records worldwide and is one of the greatest trios of all time. They were nominated for 14 Grammy Awards and won two. With hit songs like Say My Name, Survivor, Bootylicious, and Independent Women, Destiny's Child cemented their place in girl group history. Take a look at some of the best songs of Beyonce from Destiny's Child. Read Also: Justin Bieber Sparks Rumours Of Another Documentary After 'Seasons'; Read Beyonce's best songs from Destiny's ChildSurvivorSurvivor is an American song by the group Destiny's Child. The song was written and composed by Beyonce, Anthony Dent, and Mathew Knowles and went on to win the best R & B Performance by A Duo Or Group With Vocals at the 2002 Grammy Awards. Check out the song here below. Read Also: Taylor Swift's Best Rehearsal Pictures From The Reputation Tour With Shawn Mendes & Others Jumpin JumpinJumpin Jumpin is a song by American group Destiny's Child from their album The Writing's on the Wall. The song was co-written and co-produced by group member Beyonce and Chad Elliot. It went on to become a very popular song of Beyonce's career. Check out the song here. Read Also: Destiny's Child's Beyonce, Kelly Rowland, And Michelle Williams; What Are They Doing Now? Independent WomenIndependent Women was a song by American group Destiny's Child. The song was written and produced by Poke & Tone, Cory Rooney, and Beyonce. It was first featured in the 2000 film Charlie's Angels. Listen to the full track below. Say My NameSay My Name was a song by American group Destiny's Child from the album The Writing's on the Wall. It was composed by the joint efforts of the band members and went on to garner a huge fan following. Check out the full song here below. Bills Bills BillsBills Bills Bills was a song by American group Destiny's Child from the album The Writing's on the Wall. The song was written by all the members of the group and was received very well by the audiences. Catch the full song here below. Read Also: Niall Horan Reveals The Motivation Behind His Latest Album 'Heartbreak Weather' Get the latest entertainment news from India & around the world. Now follow your favourite television celebs and telly updates. Republic World is your one-stop destination for trending Bollywood news. Tune in today to stay updated with all the latest news and headlines from the world of entertainment. |
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