Jimmy: It seems like you’re living a fun life.
Jonah: [PLAY IT @ 3:49]
Jimmy: It seems like you’re living a fun life.
Jonah: [PLAY IT @ 3:49]
“First name: Mister. Last name:_________
This show has become one of those things that comedians want on their resume and aim to acheive. It’s like:
I love this show. I’ll binge this weekend, for sure.
When slow-winding reggae cut “SUMMER” simmers at the top of couple Beyonce and Jay-Z’s Everything is Love with wife cooing of beachside love-making and wanting to “drown in the depths of” her husband’s soul, we already know what type of function they’re inviting us into for the length of the album. The duo’s full-length debut as The Carters has been anticipated for at least a year, because–Duh!–they’re two behemoth acts. But also because many believed this set would serve as the final act of this mostly private pair’s trilogy of albums chronicling the state of their union and its roughest patches.
Beyonce’s 2016 album Lemonade was peppered with songs that teemed with anger and hurt allegedly caused by Jay’s infidelity. For references, look no further than the video for “Hold Up,” where manic frustration and callous indifference fuel Beyonce as she strolls down city blocks slugging car windows with a baseball bat, or “Sorry,” where she tosses whatever dude she’s leaving two middle fingers and struts off with her girlfriends, promising to take their child (at the time, her and Jay-Z only had one) and sends him to go back to his mistress, “Becky with the good hair.”
The presumed cheating was all but confirmed last year when Jay dropped his 4:44 album, an effort highlighted by its apologetic title track. “I don’t deserve you,” he raps there, before acknowledging that he robbed Beyonce of her innocence (“I still mourn its death”), lacks in maturity, and takes responsibly for stressing Beyonce into miscarriages. At one point on “4:44,” Jay thinks of how life would be if they weren’t both suffering through the consequences of his actions. “[We’re] not meant to cry and die alone in these mansions,” he says. “Or sleep with our backs turned/ We’re supposed to vacay ’til our backs burn.”
Leaping back to present day, it’s easy to imagine the pair bronzing under the sun of a Caribbean island together while taking sips of D’USSE cognac between ganja pulls as the steel pans of “SUMMER” clang. After years of chilling revelations that equated to Beyonce giving him the cold shoulder, the heat is on. They seem free and a joyous unit on Everything is Love. It’s a celebration of their renewed vows and strengthened relationship, but also of their accession to pop culture royalty and Forbes list toppers.
EIL bars about being successful business-owners are often followed or prefaced by mentions of their kids or flagrant digs at outsiders. “I be ridin’ around with my seat reclining,” Beyonce rhymes on “Boss.” “Droppin’ my daughter off at school every morning/ We slammin’ car doors/ I be true balling on these bum whores.” Luxury rap, family mentions, and jokes at the expense of the unaccomplished flow from a bottomless goblet here.
When Jay and Beyonce weren’t talking to each other about household dealings on their aforementioned solo albums, they tackled societal issues: keys for Black empowerment, women’s rights, and financial freedom were offered in bunches. On Love, “Black Effect” stands in line with “Formation” or “The Story of O.J.” in its clearcut purpose to uplift the Black community. And in various lines peppered throughout EIL, the Carters scoff at the system and assure listeners that they’ve not only broken their supposed glass ceilings but exist to help African Americans rise above systemic adversity, too.
One of my favorite tracks, though, is “FRIENDS,” an ode to their inner circle of so-close-they-might-as-well-be-blood buddies. Once entering a serious relationship, deading all distractions and people who aren’t genuine in their support is a must. Half-assing hangers-on? Gone. Ambiguously-titled associates gotsta go, too. As someone who spent my twenties in New York City’s entertainment business, shedding the dozens of loosies I’d collected was major as I entered married life. It just makes things easier.
“Tight circle, no squares,” Jay says on “FRIENDS.” “I’m geometrically opposed to you/ Y’all like to try angles.” I’m sure Jay’s had to tighten up his circle a bit over the years to sure up his situation, avoiding those trying to weasel into his affairs. And Beyonce likely has an even greater appreciation for her trusted few because she needed them like never before when her marriage was more nightmarish than dreamy.
When Beyonce yelps, “I can’t believe we made it!” over Pharrell Williams’ lux trap beat for “Apeshit,” I take it two ways: Similar to the tone of her feature on Jay and Kanye West’s “Lift Off” from their 2011 album Watch the Throne, she’s surprised her and Jay have become the global icons they are, able to cop a glorious mansion in Bel Air to raise their three children and to rent out world-renowned Paris museum The Louvre for the video for this album’s first single, showing up the likes of Renaissance artist Leonardo da Vinci’s “Mona Lisa” painting by being unapologetically Black in a space that doesn’t much acknowledge our existence as creatives throughout history.
With that line Beyonce could also be referring to the fact that her and Jay have endured a tumultuous time in their marriage and came out of it thriving. Jay did three interviews following the release of 4:44. Rap Radar, The New York Times, and CNN all got solid sit-downs with him and when they broached to the topic of his once-crumbling union and the hurt he caused, Jay often would mention how easy it would have been for Beyonce to quit and choose divorce.
A lot of couples split when the going gets tough. Facts. Statistics aren’t encouraging when it comes to lasting wedded bliss. Most studies confirm that anywhere from 40-50% of marriages will conclude well before that whole “death do us part” thing comes to pass. Jay admitted that he’s done the work to keep his lady. Therapy, self-evaluation and listening to Beyonce’s pains all attributed to making it to happier days.
“You have to be strong enough to go through that,” he told Van Jones in January. “Because on the other side, it’s beautiful.” Everything is Love is a musical victory lap and parade for them deciding to stick, stay and eventually flourish.
“Love is deeper than your pain,” Beyonce sings on closer “LOVEHAPPY.” For those in need of a definitive statement on their status, the last words uttered as the boom-bap cut’s volume reduces come for the missus: “We came, and we conquered, now we’re happy in love.”
Daniel Caesar seems to be handling pressure well. With success comes expectations. Fans of the smooth singer wonder if he’ll be able to surpass his Freudian album’s gorgeous collection of songs and those in the industry have touted him “Next,” as in the next great R&B singer, the prince that will soon be king. Having so many believe in him is a gift and something to appreciate, sure. But it can also be stifling mentally.
For Flaunt Magazine, Caesar and I spoke recently about what it means to be that guy and how he’s managing the new attention.
“When I’m in my room with my guitar,” he told me, “that’s definitely when I’m in my safest space.” He doesn’t get to spend much time there anymore.
Give it a read. Coincidentally, NPR just dropped Daniel Tiny Desk performance. Songstress H.E.R., who I’m a big fan of, also makes an appearance. Peep that, too.
Can’t really explain why I didn’t post this cover story I did for Flaunt on here months ago. But this is a goodie. The interview happened just before SZA began prepping for her Coachella weekends. I met her on set for the cover shoot and from the start, I knew—at least—that she’d be warm and kind.
Her publicist guided her over to me. “This is Brad,” I heard her tell the singer as they approached. I extended my hand for a shake and for a split second I thought she was going to leave me hanging. SZA looked right past it. We all know that anxious feeling when you think you’re about to be made to look like a fool. It consumed me. Then, boom. She walked right into my chest for a hug. There was an awkward relief. “Oh!” I thought. “This is going be good and different.”
From there, she was pretty open and just the unique blend of quirky and cool that anyone who’s listened to her debut album Ctrl would expect her to be. We talked about insecurities, depression, and fantasies as she munched on her Shake Shack chicken burger.
SZA’s had a roller coaster existence as of late. On the high side, she just dropped her earthy “Garden (Say It Like Dat)” video, where she and Donald Glover get close in the forest. She can also be found making a blink-and-you’ll-miss-it appearance in Childish Gambino’s “This is America” video, shooting a coy look our way before Glover gets loose on a car roof.
On the low end, she has reportedly run her voice ragged. When I saw her in May at the Forum performing during her set at TDE’s Championship Tour, she sounded solid. But her pipes, she said recently on Twitter, are busted. “My voice is permanently injured,” SZA wrote. She can be a bit dramatic at times, I notice. Top Dawg CEO Anthony Tiffith just told fans, “ I will get her with the best doctors and she will be fine.” I believe him.
When SZA and I spoke, she said she’s anxious to get started on her sophomore album. Obviously, it’ll probably be a while before she’s at full strength in the studio. But if you’re looking to learn a bit more about the Jersey hugger, read my cover story here.
Mom put me on to Queen. She spent a good bit of time in London during her formative years in the ’80s. When I was a kid in the ’90s, we’d clean the crib while listening to Queen: Greatest Hits I & II. I can still see her dancing to “Radio Ga Ga” in our Silver Spring Towers apartment’s living room. “Don’t Stop Me Now” and “Bicycle Race” used to be my jams!
Rami Malek’s looking good as Freddie. For a while, I was a bit bummed that Sacha Baron Cohen left this role behind. This trailer’s easing my nerves, though.
Maybe I’ll see it with Mom this fall.