beyonce age |
- From Beyoncé to the big screen: the whirlwind rise of Melina Matsoukas | 1843 - The Economist 1843
- Beyonce’s Sister, Koi Knowles, Spotted With Stunning New Look In Photos — Matthew KnowlesR... - Celebrity Insider
- Beyoncé’s ‘Homecoming’ performance has been immortalised in wax – and it’s not terrible - NME Live
- Taylor Swift Wins Some Support in Feud With Old Label, and Lots of Silence - The New York Times
- Beyonce finally gets a good wax figure as Homecoming performance is immortalised - Metro.co.uk
| From Beyoncé to the big screen: the whirlwind rise of Melina Matsoukas | 1843 - The Economist 1843 Posted: 15 Nov 2019 08:41 AM PST From the outside, Matsoukas's rise to success seems almost frictionless. She got an agent as soon as she finished her postgraduate studies. Her first proper music video was for "Money Maker", a bombastic strip-club anthem by rapper Ludacris and R&B singer Pharrell Williams in 2006, which topped every chart. She felt in over her head. She was so nervous that her initial moodboard resembled something out of "A Beautiful Mind". "It was a mess," she says. But the resulting video brought her to the attention of Jay-Z. When he met Matsoukas at a party in 2006, he turned to Beyoncé and declared, "She's the next one." Matsoukas responded to Beyoncé by saying, "I'm coming for you!" She laughs at her younger self's boldness. "I know, I'm corny." A month later Beyoncé came for her. The fourth, fifth, sixth and seventh music videos Matsoukas ever made were for one of the biggest stars on the planet. Small wonder, then, that Whitney Houston, Solange, Lady Gaga, Katy Perry and J.Lo all came for her too. The work was dynamic, beautiful and fun. And she had a knack for making her subjects feel at ease: in 2007, she somehow convinced Snoop Dogg to dance in an unbuttoned shirt in "Sensual Seduction". Though she was in high demand, Matsoukas began to chafe at the medium's limitations. She wanted her work to be part of the central conversations about American life, to help people see the world differently. Yet too often she found herself called upon to deliver flash and swagger. "Music videos as a medium were really looked down upon and it was hard to get an opportunity," she said. Eventually her opportunity came: Issa Rae asked her to sign on as executive producer and director of her television series "Insecure". Rae was a little concerned that Matsoukas's style might be too glamorous for the more mundane settings of her show, but Matsoukas took as much care to depict the substance of twenty-something black life as she had with Beyoncé's glamour and confidence. She tooled around LA with Rae, seeing her hangouts, exploring the atmosphere of different neighbourhoods. She ultimately created a setting for the show that struck a balance between cosmopolitan aspirations and mundane realities. We all wanted to move in. Her next proposition was different again. Lena Waithe, now an Emmy award-winning screenwriter and actress, approached Matsoukas to direct an episode in the second series of "Master of None", a comedy-drama which already had a loyal following. Matsoukas was reluctant: episodic directors are given little creative freedom and she is a self-professed control freak. But the script of "Thanksgiving", which drew on Waithe's own experience, offered the chance to portray a story previously untold in TV drama: the coming out of a black lesbian. The episode won an Emmy and cemented the creative relationship between Waithe and Matsoukas. "There was immense trust. She really gave me that story and let me take it where I wanted to," she says. When Waithe wrote the screenplay of "Queen & Slim" she took it to Matsoukas. The pair went backwards and forwards over ten drafts. Finally Matsoukas felt like she could paint her own picture of black life in America. "I feel like this film is the first time where it's all on me, all of my influences, all of my life is in that frame, in those frames, in that film. One of my good friends saw it and she said…'It's so you'." The world in which "Queen & Slim" begins is brutal and ugly. Slim is played by Daniel Kaluuya, an Academy Award nominee for "Get Out". Jodie Turner Smith, a newcomer, plays Queen. As the film opens, the two are enduring a not-terrible, not-scorching Tinder date at a diner in Cleveland, Ohio. Since the pair are dark-skinned people in America, they can't even get through their awkward first date without systemic racism intervening. Catastrophe occurs when Slim accidentally fires a gun and kills a police officer. When Matsoukas was scouting for locations, she drove through the neighbourhood in Cleveland where Tamir Rice, a 12-year-old black boy, was shot by a policeman in 2014. She found herself in the middle of a police operation. At least six black people were pulled over by the police. When she saw one of them getting out of a white Honda Accord, she thought "That's Slim! That's him right there." (In the film Slim drives a white Honda Accord.)  The couple in the film flee on a road trip that Matsoukas refers to as a "reverse slave-escape narrative". In the early 19th century, the Underground Railroad ferried fugitive slaves from southern states to the free states in the north. Queen and Slim travel in the opposite direction: to New Orleans and then on towards Cuba. Early viewers likened the film to "Bonnie and Clyde", a comparison that Matsoukas resists: "I feel like we can't just ever be ourselves. We always have to be compared to some white archetype…It's not about criminals." "Queen & Slim" is far more varied than that. There are elements of magical realism and ragged news footage of protests that recall Black Lives Matter rallies. The road trip traverses so many landscapes – the frozen and the warm, inner city and bayou – that the film's subject becomes America itself. Across it all is written the experience of black Americans. This is a world in which the personal is constantly trying and failing to escape the political; where, as both Matsoukas and Waithe put it, "two black people [are] trying to love while the world is burning down around them." The film itself reconciles this tension. Matsoukas sees "Queen & Slim" as fundamentally a "love story", albeit one that is set "against the backdrop of a really racist system and institution". The very existence of such a story, she says, serves "to honour all the people who lost their lives to police brutality and who aren't here". Matsoukas trains her camera on scenes from black history that have long been overlooked: a juke joint where Queen and Slim dance the night away draws inspiration from a project by Birney Imes, a photographer who captured underground dance clubs across the South in the 1980s. In another moment of stolen freedom and joy, Matsoukas puts Kaluuya atop a white horse in tribute to her maternal grandfather, Carlos, an Afro-Cuban preacher and musician who rode in rodeos in Harlem and the Bronx. Again the political reference is oblique, invoking the "Yeehaw Agenda", a recent attempt to recover the contribution of African-Americans to the story of the West.  Matsoukas lingers on moments of great intimacy. She shot home interiors in the style of Deana Lawson, an artist who makes even the most threadbare possessions seem luxurious. She lights black skin so that it glows, a trick she learned from Barry Jenkins, who directed "Moonlight" in 2016: "Nobody knew how to shoot black people before Barry Jenkins," she says. She is particularly attentive to hair: Queen's braids being taken out as she tries to disguise herself; a close-up of gelled baby hairs; Slim having his locks lopped off. The risk of such an approach is that it can verge on pastiche, making black culture twee in the same way that Wes Anderson did for hipsters. Occasionally these moments tend towards the clichéd: Slim's haircut could have been taken from the cover of Beyoncé's and Jay-Z's latest album. But cumulatively they accord dignity and respect to the particulars of the black American experience. Over the past five years Hollywood has begun to invest seriously in black film-makers for the first time since the 1990s: Waithe, Jenkins and Ryan Coogler, who directed "Black Panther", a ground-breaking black superhero film in 2018, have all found critical and commercial success. Matsoukas sees her fellow black creatives as a mutually supportive community. The practical implications of this become clear to me when we go for lunch at her regular spot, a soul-food joint called My Two Cents. Matsoukas found it through Instagram and, on her first visit, ended up staying for 11 hours. Now she cooks weekly with Alisa Reynolds, the chef-proprietor ("It's annoying that she's both so talented as a film-maker and such a good cook," says Reynolds). But Matsoukas is more than just a friend with a shared interest. She's helping Reynolds develop a tv show about comfort food around the world. "People need a black chef like her to have a cooking show, don't you think?" In the lead-up to the "Queen & Slim" premiere in November, Matsoukas and her team carefully chose locations in which to preview it: they showed it in the Fort Greene neighbourhood of Brooklyn, whose community of African-American creatives was celebrated in 1986 in Spike Lee's first feature, "She's Gotta Have It". Then they went to Howard University, a historically black college, during homecoming week. She wanted the film to feel "for us, by us". The LA screening took place at the Underground Museum. Matsoukas was toasted by her good friend, Solange, who welled up as she asked the crowd to support the film. Afterwards Matsoukas posed for photo after photo.  At that screening I realised that the moments of recognition by African-Americans of their own experiences – when Queen goes hard at Slim as a form of flirting or Slim crosses himself before eating – are themselves a form of solidarity. Even the bleak finale (it's not a spoiler to say this doesn't end well for the protagonists) can, in some lights, be seen as optimistic. "I'm not saying only black people get it, but, like, you understand who didn't get it," says Matsoukas. But she wants, and needs, the film's message to resonate with a wider audience. "I hope that it humanises us," she says. "I hope that they are able to relate to…what it feels like, even just a little bit, to be a black person living in America today. It's really infuriating that we have to live that way, constantly in fear, constantly on the run, constantly searching for our freedoms. I want to give them understanding of why we laugh at times, why we cry at times, why we dance, and hopefully they'll show their love and appreciation for black culture, while allowing us to own it." We'll soon find out whether she has been successful. "All of my decisions really come from authenticity, creating a narrative that feels true to the black experience," she says. "And if I base my choices in authenticity, I cannot go wrong." She pauses, thinks, waits for confirmation, maybe reassurance. "Right?" she asks me.• "Queen & Slim" is released in Britain in January  |
| Posted: 15 Nov 2019 02:51 AM PST It looks like Beyonce's little sister, Koi Knowles, has taken a thing or two from her sibling, as she knows how to carry herself better than the average girl her age. Just recently, fans of the daughter of Matthew Knowles and Taqoya Branscomb were treated to a new headshot showing off her amazing new looks, and she has made it clear that she is not going to hold back on that front at all. And while some were worried that 9-year-old Koi was pushing too far for someone her age, that definitely does not seem to be a concern for her right now. She appears to handle fame quite well. Many of Beyonce's and Solange's fans have rushed to Instagram to praise Koi for her looks, and the young girl has been quite good at maintaining contact with her followers. Some have criticized the fact that she is on social media at such a young age, but she certainly seems to know what she is doing on that front better than the majority of people around that age. Fans say hopefully she will continue in the same style because she has made it pretty clear so far that she has got what it takes to stun people and make a good impression. And Beyonce herself has not spoken about Koi. There was initially some speculation that Beyonce might not be too fond of looking after the young girl due to the way she was born in the first place, but her fans make it clear it is not her job to acknowledge the child. Matthew Knowles is the one responsible for his daughter. One fan said this in the comment section: "Whether she looks like them or not; at the end, she's a Lil superstars sister. The child is very innocent.. The mom and dad are the ones that brought her into this world. She didn't ask. So stop saying negative things about this Lil angel from God. She's meant to be in this world if she was not. She wouldn't exist.." This person wrote a sweet note: "Keep shooting for the stars You belong there!!👏👑❤️ You are a beautiful and talented girl!!!! It's truly sad seeing a lot of these comments on a .. wait for it……. 9-Year-olds post whom you aren't even related too or birthed. What is wrong with you people?? Any way Koi, you continue to shine.🌟" Another backer claimed Koi looks like Bey: "You're so pretty! You look a lot like beyoncé, but you have your own beautiful features like nobody else. 😍♥️" A fan, who disagreed, shared: "She does not look like Beyonce; she look like her dad and mother, why people are trying to compare them; they just have the same daddy; that's it." Advertisement Koi seems in her own lane. Post Views: 3,265  
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| Beyoncé’s ‘Homecoming’ performance has been immortalised in wax – and it’s not terrible - NME Live Posted: 15 Nov 2019 04:52 AM PST  The Big Read – Poppy: Human After AllNoel Fielding is writing a new Netflix series about a magical record playerBeyoncé's 'Homecoming' performance has been immortalised in wax – and it's not terribleTom Hanks almost landed a role as the male nanny in 'Friends' |
| Taylor Swift Wins Some Support in Feud With Old Label, and Lots of Silence - The New York Times Posted: 15 Nov 2019 06:58 PM PST  (Reuters) - Taylor Swift and her former record label traded barbed accusations on Friday about her rights to perform her old songs, winning support from singers like Selena Gomez and Sara Bareilles but silence from many of the big hitters in the music business. Swift, 29, one of the best-selling names in pop music, said on social media that her performance as "artist of the decade" at the American Music Awards in Los Angeles on Nov. 24 was "a question mark" because her old record label had refused permission for her to sing a medley of her old hits on the show. Big Machine Label Group, the Nashville, Tennessee-based company that owns the master recordings of Swift's back catalog, hit back on Friday, saying the singer was giving out "false information" and that the label has no right to limit her live performances. Under her contract, Swift is not permitted to re-record material from her period with Big Machine until November 2020 Singer-songwriter Bareilles tweeted that the move by Big Machine was "an outrageous abuse of power and completely unforgivable" while Gomez, a close friend of Swift, said in a social media post that she was "sick and extremely angry." Camila Cabello, Halsey and Tinashe also expressed support for Swift on Twitter but many other female stars, including Katy Perry, Adele, Lady Gaga, Rihanna, Cardi B and Beyonce, were silent on Friday. Swift signed with Big Machine at age 15, recording some of her biggest hits including "Shake it Off," and "You Belong With Me," but left last November for Universal Music Group, a unit of French conglomerate Vivendi. Swift has taken her disputes with Big Machine public before. In June, she tweeted that she was "sad and grossed out" by the purchase of the independent label by Scooter Braun, who manages Justin Bieber and Ariana Grande. She also accused Braun of bullying her in the past. In this week's posts she accused Big Machine executives of exercising "tyrannical control" over her music, and said they also had denied permission for her old songs to be included in an upcoming Netflix documentary in the works. Big Machine claimed in a statement that Swift owed them "millions of dollars and multiple assets." That claim was denied by Swift's publicist, Tree Paine, who said in a statement that Big Machine owed Swift $7.9 million in unpaid royalties. "Right now, my performance at the AMA's, the Netflix documentary and any other recorded events I am planning to play until November of 2020 are a question mark," Swift wrote. "The message being sent to me is very clear," she added. "Basically be a good little girl and shut up. Or you'll be punished." (Reporting by Rich McKay and Lisa Richwine; Writing by Jill Serjeant and Clarence Fernandez; Editing by Frank McGurty, Jonathan Oatis and Tom Brown)  |
| Beyonce finally gets a good wax figure as Homecoming performance is immortalised - Metro.co.uk Posted: 15 Nov 2019 01:07 AM PST  Beyonce's Homecoming performance is being immortalised in wax work form and we're relieved to report it actually looks good. Over the years, the Single Ladies singer has been the subject of some rather, erm, questionable wax works at various museums across the world, leaving fans to joke that the makers have clearly never actually seen Beyonce before. To be fair, it is hard to recreate perfection… But Queen Bey is finally being given the treatment she deserves at Madame Tussauds Las Vegas, as more than 500 hours have been put into bringing her iconic Beychella outfit to life. In pictures seen by E! News, the singer is seen wearing the memorable pink varsity hoodie, ripped denim shorts and, of course, those holographic fringed boots. With her hair in a high ponytail and a serious 'don't mess with me' look in her eye, we think they've pretty much nailed Beyonce's likeness.   Now, who's coming with us to pose with the queen in Vegas? Advertisement Advertisement Homecoming, which was released on Netflix earlier this year, documented Beyonce's critically lauded performance at Coachella 2018 after cancelling in 2017 due to her pregnancy with twins Rumi and Sir Carter. The first African-American woman to headline the festival, Bey went all out with her performance, paying homage to black feminism while featuring a marching band, hundreds of dancers and performances from sister Solange and her Destiny's Child bandmates.
In November, Londoners were elated to hear that The Lion King star was returning to the UK, as reports emerged that the pop princess had put out a casting call for the new video for Brown Skin Girl. With filming rumoured to be taking place in council estates across the city, Beyonce's casting team put a call out for London based 'black and brown people of different cultures, nationalities, ethnicities, genders and ages' to appear in the video. A source said: 'Beyonce wanted this video to truly represent the essence of the song. 'She may refer to Naomi Campbell and Lupita Nyong'o in the track, but she was keen to have normal people step forward and tell their stories.' Now that's what we like to hear. Got a showbiz story?If you've got a story, video or pictures get in touch with the Metro.co.uk Entertainment team by emailing us celebtips@metro.co.uk, calling 020 3615 2145 or by visiting our Submit Stuff page - we'd love to hear from you. MORE: Tristan Thompson 'isn't giving up' on getting Khloe Kardashian back after Jordyn Woods drama MORE: Halsey, Gigi Hadid and Lily Allen slam Scooter Braun after shocking Taylor Swift statement Advertisement Advertisement
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