Tag Archives: jay-z

Open Thread: Beyocalypsé Now

By Arturo R. García

While we were sleeping, Beyoncé was not. Gaga may have Artpop, but B just made an art of the drop.

In case you missed it or just checked your Twitter feed, Beyoncé released an entire album out of the blue (Ivy), though it’s only available on iTunes until Dec. 21.

But the self-titled album was also accompanied by a “visual album” — basically, she went out and shot videos for every track and released snippets of those on YouTube. For my money, “Pretty Hurts” is already the best dramatic trailer we’re not going to see in theaters this Christmas, “Blow” is a spot-on disco homage/future mashup favorite and somebody’s already seizing on “Partition” to write a think-piece about how Miley Cyrus is MOAR FEMINIST than Beyoncé.

We’ll put some more of the video clips up under the cut and invite you to give your thoughts on those or the album as a whole under the cut.

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Open Thread: The Great Gatsby

By Latoya Peterson

Gasby Movie Poster

Gasby Movie Poster

So I haven’t done a movie review for this site in forever, and I probably will never again.  That’s because before I started this gig, I watched movies like this:

 

Because Michael Jackson picked good movies.

Because Michael Jackson picked good movies.

And now I watch movies like this:

 

No one is impressed with this film. McKayla and Barack agree.

No one is impressed with this film. McKayla and Barack agree.

But the other Knights wanted to go, it looked pretty, Hova did the soundtrack, and I was hoping it would be as much fun as Sofia Coppola’s Marie Antoinette. (Huh? Plot? We ain’t got time for alla that. That’s what the book is for.)

So, Gatsby was fun–as one of my friends noted, it’s “Art Deco Porn.”  But of course, there’s also race things.  Some quick observations after the jump. *SPOILERS TOO!*

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Monday Video Roundup

By Arturo R. García

In lieu of a regular roundup, something a little different, with all sorts of video goodies.

Rise of The “Harlem Shake”: First off, compare this:

To this:

The one up top, as The Root pointed out last week, is the actual Harlem Shake.
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Racialicious Crush Of The Week: Beyoncé (With Shout-Outs To Tina Turner)

By Andrea Plaid

Beyonce Knowles-Carter. Via wallpapersbest.net

Beyonce Knowles-Carter. Via wallpapersbest.net

I find myself increasingly defending someone whom I otherwise wouldn’t look around at or wouldn’t listen to: Beyoncé.

I haven’t converted to listening to her discography: To me, she sounds like every other Black female soloist in a Black church choir, so her voice–her timbre and melisma–isn’t unicorn-unique to my ears. In fact, I find it gratingly common because I heard so many women with her voice every Sunday from the age of five to my late twenties; Beyoncé just has a better production team.

And, as I’ve said on the R, her female-empowerment messages aren’t my feminism:

[S]ome of folks who see Bey as “girl power” may have never heard of Valenti or may even want to be bothered with her writings or what they perceive to be “white feminism” that she embodies. Bey is their feminist text and their idea–and ideal. And whatnot…On the real though, Bey is not my sort of feminism–and that’s not blasphemous to say. Then again, neither were the Spice Girls…or the Riot Grrls, for that matter. And I remember folks tripped on each of those pop-cultural “generations” of feminist representations, too, trying to figure out their effects on younger people.

Feminism is rather malleable as each generation figures out what it means to them, even when we’re fighting the same old battles.  Or because of them.

And let’s not forget Beyoncé now-notorious photo layout in French Vogue, which she said was an homage to “African queens in the past” and “African rituals”:

Beyonce Blackface 5

And I was quite happy to leave Beyoncé to her ideas about race pride and “girl power” with a genuinely heartfelt “bless her heart”…until Harry Belafonte came along.

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Inauguration Fashion: Highlights

by Fashion and Entertainment Editor Joseph Lamour

From E! Online.

Just a quick note (“quick” is a bold faced lie and I know it) to show you that we Racialicious denizens leave the roost sometimes and branch out!

Yesterday, we celebrated the swearing in of our first African American president, for the second time (woo!) We also celebrated the confirmation of four more years of Michelle Obama looking ferosh all the time in the public eye, so I was asked to participate in a Huffington Post Live hangout where a few people would talk about the highlights of the inauguration ceremony from various angles. The guests were:

  • Reverend Deborah L. Johnson, Founder of Inner Light Ministries, Santa Cruz, CA
  • Molly Darden, Managing Editor of Azizah Magazine, Atlanta, GA
  • Dr. Christopher House, Dir., African American Worship Service at Cornell University, Ithaca, NY
  • Tim Byrnes, Professor of Political Science at Colgate University, Hamilton, NY
  • J.J. Colagrande, Professor at Miami-Dade Wolfson and HuffPost Blogger, Miami, FL
  • Joseph Lamour, Fashion & Entertainment Editor at Racialicious.com, Washington, DC
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C’est moi! The drawing behind me is by yours truly as well. Cross promotion!

Let me just tell you: I did not expect to be seated amongst tenured professors and ministers. I was taken aback (and feel honored to be even thought of for the same discussion as the above people). I was so taken aback that I forgot my opening line! I had dubbed yesterday African American Awesomeness Day, and it really was. I promise I’m not talking about myself, either. I’m being humble (for once). To have Martin Luther King’s birthday fall on the same day as the re-inauguration of an African American President with his African American First Lady at his side was truly, truly, awesome.
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Excerpt: The Guardian On Hackney Weekend And Hip-Hop’s Social Costs

Nicki Minaj at Hackney Weekend. Courtesy: The Sun (U.K.)

The Hackney Weekend’s lineup proved that hip-hop artists have little difficulty finding their mainstream flow. On Saturday night, Nicki Minaj spat her brand of hip-hop pop before Jay-Z took to the stage, while on Sunday Britain’s Plan B –back in the arms of his first love, hip-hop, having left the crooning and smart suits of his Strickland Banks era behind him–Professor Green and Tinie Tempah will warm the stage by the Olympic Park for headliner Rihanna. “This is hip-hop’s moment,” said 1Xtra DJ and hip-hop artist Charlie Sloth. “For the BBC to acknowledge that hip-hip is the dominant force in modern culture is huge.”This weekLast week, Ben Cooper, head of Radio 1, said of the Hackney Weekend: “We’re going into an area that I don’t think any commercial operator would have gone into after the unrest of last year. That is the job of the BBC.”

Sloth added that local boys Labrinth–born and raised with nine siblings in Hackney–and Tottenham rapper Wretch 32 playing alongside stars like Jay-Z would send a positive message to the crowd, many of them residents of one of London’s poorest boroughs, who were given priority in the ballot for free tickets. “Seeing these artists up there, coming from the same place as they come from–it gives them hope, it shows what they can achieve.”

But for youth worker turned government youth adviser Shaun Bailey, the gangster lifestyle vaunted by some rappers creates a lack of respect for the black community. “You’ve got a few people who do live a fug-life, a gangster life, and everybody else with their faces pressed up against the glass. They get to see it all, they get to hear it all but they don’t have to suffer any of the consequences, any of the danger,” he said, in a video trailing the debate. “It says to our young people, someone messes with you–blow their head off, literally. And you need to ask yourself: are we building massive hip-hop revenues on the backs of our young dead people?”

- From “Jay-Z at Hackney Weekend: but does hip-hop degrade or enhance?” by Alexandra Topping

Our Heroes Are Only Human: Manny Pacquiao And Gay Marriage

By Guest Contributor Theresa Celebran Jones, cross-posted from Hyphen Magazine

A few weeks ago, a scandal erupted on the web thanks to an unfortunate misquote regarding Manny Pacquiao’s stance on gay marriage, made in response to President Obama’s public extension of support for it. Essentially, Manny Pacquiao tells a reporter, “God’s words first.” The reporter then quotes Leviticus 20:13; an L.A. Weekly blog post quotes that piece and uses the headline “Manny Pacquiao Says Gay Men Should Be Put To Death”; and the misquoted story goes viral. About a day later, the whole thing had been researched and debunked. As it turns out, although Pacquiao’s still against gay marriage, he said nothing about wanting gay people dead–but the damage was done. His image was already tarnished, my conservative family members were already blabbering on about the biased liberal media, and Floyd Mayweather Jr. had already jumped on the opportunity to support gay marriage publicly.

It’s hard to keep track of the layers of f*ckery in this story. There are so many questions we could (and should) ask: Would this issue have gone viral and would Pacquiao have been misquoted in the first place if he were white and American instead of brown and foreign? Could our leap to conclusions have hurt the gay community in the eyes of people who don’t yet consider themselves allies? Did nobody realize that Floyd Mayweather, Jr.’s coming out in support of gay marriage because it was a more popular political move was actually a pretty big deal–given his history of homophobic rants–even though it was clearly opportunistic on his part?

But then, I’m hung up on my experience as a Filipino American growing up around some gay Filipino American folks, and that’s where the story hits me.

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Rant-ish? On Kanye’s ‘Monster’

TRIGGER WARNING: Video NSFW, includes imagery of violence toward women

By Guest Contributor Naima Ramos-Chapman, cross-posted from PostBourgie

Decided to throw this up here before the label undoubtedly takes it down: Kanye West’s leaked video “Monster.”

Soon there will be a host of blogs that pick a part every scene to explain what Kanye is trying to tell us, but here is the short version: there are a lot of dead, eroticized women- dead model-esque women hanging from the ceiling like chandeliers, dead women lying in bed made to pose in “sexy” positions, dead women body parts lying around a mansion…there just seems to be dead women everywhere.

But to be fair, there were also women who are seemingly alive and kicking, depicted as man-eating zombies, screaming banshees and werewolves.

The dichotimization of women as it pertains to race;  in the video, white women are predominantly locked into roles of subordination to the point of gruesome lifelessness while black women are cast as aggressive, angry  and threatening sexual beasts.

Nicki Minaj’s scenes are mild compared to rest because  A) they have no corpses of any kind and B) the self-interrogation part can be seen as “edgy” and “different.” But, that would be too kind. What sort of internal conflict can be that deep if the two versions of yourself that are having issues with one another — dominatrix Nicki versus barbie Nickie —  are also ones that readily appeal to male-fantasies?

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