“Beyoncé Shares Video to Show What the Personalities of Her Twins, Rumi and Sir, Are Really Like - Showbiz Cheat Sheet” plus 2 more |
- Beyoncé Shares Video to Show What the Personalities of Her Twins, Rumi and Sir, Are Really Like - Showbiz Cheat Sheet
- 14 Things Beyonce And Jay Z's Employees Have Said About Working For Them - TheThings
- It’s Caroline Polacheck’s Dream World; We Just Live in It - HarpersBAZAAR.com
| Posted: 26 Mar 2020 02:24 PM PDT Beyoncé's twins are already superstars in the making. Thanks to Beyoncé's yearly recap, fans have their first glimpse into the personality of Rumi and Sir. (And they're totally adorable.) Here's what fans learned about Beyoncé and Jay-Z's children, Blue Ivy, Rumi, and Sir Carter. Beyoncé and Jay-Z fans first met Sir and Rumi Carter in 2017This duo is more than just international superstars and entrepreneurs. Beyoncé and Jay-Z are the parents of three children. During 2017, the couple announced the birth of their twins, Sir and Rumi, with an Instagram post. Later, Beyoncé described her experience as a mother. "It's important to me that they [my daughters] see themselves as CEOs, as bosses, and that they know they can write the script for their own lives—that they can speak their minds and they have no ceiling," Beyoncé said, according to Elle Magazine. "I hope to teach my son not to fall victim to what the internet says he should be or how he should love," she continued. "I want to create better representations for him so he is allowed to reach his full potential as a man, and to teach him that the real magic he possesses in the world is the power to affirm his own existence." Beyoncé shared video clips from Rumi and Sir's 2nd Birthday partyIn true Beyoncé fashion, The Lion King voice actress posted a few of her favorite moments from 2019 to ring in the new year and the new decade. Included in those pictures and videos was a sneak peek into the birthday party of the twins, Rumi and Sir Carter. This was a very brief look at Beyoncé's party. Still, viewers could see these twins dressed in their birthday best, already walking across a patch of grass. There was also a colorful cake, giant letters spelling out "two," and a video of Sir with his hand shielding his face. The yearly "Beycap" also featured clips of Beyoncé's oldest daughter, Blue Ivy Carter.  Rumi and Sir Carter have not yet made a public appearanceIt's rare for Beyoncé to post pictures (or videos) of the twins. They've also never made their public debut, unlike their older sibling, Beyoncé and Jay-Z's daughter, Blue Ivy Carter. Most recently, Blue Ivy hung out at a Lakers game with her father. There, she asked Lebron James if she could have an autographed basketball, still a little shy when approaching the athlete. In the past, she's gone to award shows, the Super Bowl, and her parents' concerts on the On The Run II Tour. Blue Ivy also posed alongside her mother and Megan Thee Stallion at a New Year's Eve party, some fans noticing how similar she looked to Beyoncé. Beyoncé even featured Blue Ivy in songs like "Brown Skin Girl," "Boss," and "Blue." For her joint album with Jay-Z, The Carters, Blue Ivy gave a shoutout to her younger siblings, closing out the song with, "shoutout to Rumi and Sir, love Blue." Music by Beyoncé, including The Lion King: The Gift, is available on Apple Music, Tidal, Spotify, and most major streaming platforms. |
| 14 Things Beyonce And Jay Z's Employees Have Said About Working For Them - TheThings Posted: 28 Mar 2020 11:46 AM PDT With a combined net worth of well over one billion dollars, music moguls and business owners Beyoncé and Jay Z are arguably the most famous and wealthiest celebrity couple in the world. The pair tied the knot in 2008. Jay Z, whose current net worth is double that of his wife, has had an impressive climb to the billion-dollar mark. The Brooklyn native was once a drug dealer but the moment he started making money from his music, he made smart moves to build his own companies rather than endorse other people's products. He invested in Rocawear, Roc Nation, Uber, Armand de Brignac Champagne, D'Usse, and Tidal. His shares in the companies, music earnings, and properties currently put Jay Z in the billionaire's club. Beyoncé, on the other hand, grew up in Houston. She has amassed her $500 million fortune mostly from her music. With such wealth, the Carters have a handful of employees working for them that range from executives, assistants, dancers to chefs, nannies, and cleaners. Here is what some of them have revealed about their bosses. advertising 14 Beyoncé And Jay Z Take Their Ventures Seriously Beyoncé and Jay Z both take their ventures very seriously. Jay Z always goes over his music and memorizes it before he goes to the studio to record it. Beyoncé also has to go through every single detail of a record before she steps into a booth. They are both their own biggest critics. 13 Employees Are Expected To Be Professional Beyoncé and Jay Z are hardworking people and they expect the same from their employees and associates. The pair has cut off close friends and family that do not fit into their hard-working lifestyle. They will therefore not hesitate to cut off lazy employees or people who complain about their jobs. advertising 12 The Couple Pays Their Employees Well B and J are very generous when it comes to rewarding their staff for their hard work. They do a good job of spreading some of the millions that they make. The pair pays their twins' nannies $100,000 each per year. They also have many other employees, which makes their payroll expense a hefty one. 11 They Also Give Them Bonuses Like many other employers, Jay and Bey also award their employees end of year bonuses. Other than their music, the duo also makes a ton of money from other ventures, which include clothing lines and stakes in various companies. They once coughed up $6.4 million to pay bonuses to their staff. advertising 10 Beyoncé And Jay Z Have Strict Rules Beyoncé has a handbook for her employees to guide them on what exactly she expects from them. Many sources also explain that each employee must read the handbook and sign a contract. Blue Ivy, for example, has her own handbook; The Daily Program Of Blue Ivy As Per Mrs. Carter.
9 Employees Are Expected To Be Discreet The Carters are among the most secretive couples in Hollywood and this is thanks to their discreet staffs who know better than to divulge what is happening in the couple's lives behind closed doors. Beyoncé's staff kept her pregnancies secret until the singer was ready to divulge the news herself. advertising 8 The Power Couple Value Their Time And Money Bey and Jay understand all too well the meaning of the phrase 'time is money'. They both do not expect their employees or other people they work with to show up late for work, meetings or jam sessions. Jay Z once fined Rita Ora for arriving 10 minutes late at the studio. 7 The Pair Likes Being In Control As much as the Carters have several employees working at their hand and foot, both Beyoncé and Jay Z maintain overall control of what goes on in their lives. Beyoncé, for instance, will still write her music and change dance choreographies to fit her taste. Jay Z handles all his business deals in person.
advertising 6 Their Kids Are Their World B and J have three beautiful children. Their first-born daughter, Blue Ivy, is eight years old. Their other two children are two-year-old twin boys Rumi and Sir Carter. The music moguls adore their kids, Beyoncé rarely left her twins and when she had to step out, she would quickly finish what she was doing to return to her babies. 5 The Couple Expects Excellent Care For Their Children Jay Z and Beyoncé also have a team of nannies that take care of their children. Unlike most other kids out there, each twin has three nannies. Since the twins have different schedules, they each have their own set of nannies. Blue Ivy currently has two nannies and three bodyguards who accompany her to school. advertising 4 Beyoncé And Jay Z Are Both Perfectionists Beyoncé and Jay Z are perfectionists. They both burn the midnight oil at the studios perfecting their lyrics and choreographies until they are certain that what they have planned to release is their best work. This does not apply to them alone; they follow up on their staff to make sure that they do things the right way.
3 The Couple Likes To Keep A Close-Knit Of People Around Them Young Guru has worked for Jay Z for a long time. Jay Z has entrusted him with the task of safeguarding his music. Beyoncé on the other hand also has several dancers whom she has retained over the years that keep her moves secret until the day they perform them on stage. It seems that the couple is loyal to staff who are loyal to them. advertising 2 They Do Not Always Reveal What They Are Up To Other than keeping Beyoncé's pregnancies secret, employees who work for the Carters should also keep the couple's projects a secret. Sometimes the couple keeps their employees in the dark to minimize the chances of any of them leaking the plans out to the public. Very few people knew about Beyoncé's album Lemonade until she released it. 1 Beyoncé And Jay Z Are A Great Duo Most people who have worked under or with either or both Jay Z and Beyoncé have nothing but admiration for them. One can tell that most of Carter's employees are in awe of the power couple; they admire their brilliance, which has made it hard for them not to succeed in their endeavors. Sources: thetalko.com, babygaga.com, ibtimes.com, dailymail.co.uk
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| It’s Caroline Polacheck’s Dream World; We Just Live in It - HarpersBAZAAR.com Posted: 27 Mar 2020 03:01 PM PDT When Caroline Polachek assures that it's "not an artist's job to be a fantasy," it's hard to believe her. The 34-year-old singer-songwriter, producer-director is basically a musical unicorn: she's an aesthetically-minded former art student with a filmmaker's attention to detail and craft, and a pop star's likability. That's evident in her latest project Pang, an ethereal soundscape of grown-up pop filled with synth-ridden beats, mythological motifs, and operatically-trained vocals. And at her sold-out homecoming show at Brooklyn earlier this year, she delivered an in-person dream world complete with a smoke machine, green lasers, choreography, and medieval-like, Broadway-level set design inspired in part by a surrealist 1998 Versace ad campaign. Yet, she insists she's human. The self-described "fucking control freak" says she's trying to combine "quote-unquote reality" with her imagination. "I think about the idea of bridging as a way to let myself off the hook. Because I'm a total perfectionist," she tells BAZAAR.com. "And I always forget to think about, 'Oh right, I then have to be a body in it.' I have to be this fleshy imperfect thing that has to exist in it." The fleshy human part starts to poke through as she breaks from her incredibly rehearsed but un-sterile choreography to gush her thanks to her New York crowd: "I have so many friends here. And my family is here. It really feels so good to be here." Upon a closer listen of Pang, the former frontwoman of Brooklyn indie-pop trio Chairlift is again clearly tapping into tension and bridging gaps. There's the colloquial "Caroline Shut Up" in the midst of winding guitar-heavy instrumentals and a firm foot in adolescent mischief via lyrics like "show me the banana," juxtaposed with painfully relatable musings on loneliness and long-distance love on sugary-sweet pop beats. After owning the underground scene for nearly ten years, Chairlift broke up in 2017, and Polachek joined British experimental pop label PC Music. Since then, she has fully embraced the label's signature twisted and playful take on the genre. "They've completely changed the way I approach making music and visuals," she says. Even Polachek's wardrobe is a perfected blend, mixing comfortable leather, affordable designer, modern pieces, and vintage items. She wears a "uniform" of discontinued men's white oxfords from Old Navy, a soft leather sleeveless top, a pair of vintage black plastic pants, black Marc Fisher mules, maroon socks from Tokyo, and a Justine Clenquet necklace for some "added je ne sais quoi." Caroline spoke to BAZAAR.com about combining her vast array of influences, writing "No Angel" for Beyoncé's 2013 self-titled album, and what it means to be a pop star in 2020. In the early 2000s, Caroline was still pursuing degrees in biology and classical voice."I thought I wanted to go to school for either biology or classical voice and I could not decide which one, so I went to the University of Colorado, the only school in America that has great bio and opera departments. And as soon as I got there I realized I didn't want to study either, and I wanted to study art, but the art department was terrible. I got straight As for two years, 4.2 GPA, and started from scratch at NYU. "Chairlift started when I was at University of Colorado. Chairlift came with me when I went to New York. When I got accepted to art school, Aaron [Pfenning, Polachek's Chairlift bandmate] dropped out of school and came with me."  She's working with the same operatic voice coach she had when she was 14 years old."When I was in high school, I was obsessed with singing. I was in seven music groups at one point, and I was also auditioning for these state choirs. And these auditions, totally counter-intuitively, weren't choral-style singing, they were opera. It made no sense, but you'd still have to prepare these arias, so I found a recommendation for a voice teacher who could help me. And I worked with this amazing woman named Pamela Kuhn, who had a much more radical approach than any of the choir teachers I had worked with up until that point. "Fast forward 12 years, Chairlift is in the process of making our final record Moth, and there are these songs that are really pushing me and my high register like 'Ch-Ching,' where I'm belting and that's not what my voice is built for. So, I realize while I'm in the studio that if I take these songs on tour, I'm risking permanently damaging my voice. "I'm like, 'I still have my voice teacher's number on my phone from when I was 14, let's see if she still has my number.' I called her up and I've been working with her again ever since. She's become a personal mentor, kind of a godmother figure for me." After stripping her previous acts and stage names—Chairlift, Ramona Lisa, and CEP—Pang is more "her" than anything else Polachek has ever made."I think it's a fusion of a lot of different things that I'm interested in, and have always been interested in, but have kind of compartmentalized in the past. I think with Chairlift there was always this soulfulness and playfulness, especially in the sonics, but with RamonaLisa, I really got to flex more on my formalist, romantic side. And with CEP, I just got to be a complete synth-nerd and create a framework for that kind of exploration of sonics. Now, I'm doing all those things in the same ball pit." Greyhounds are significant visual symbol for Pang."I feel like greyhounds are really these poetic creatures. First of all, they're the most ancient species of dog ever recorded historically. They're talked about in Greek mythology. They're these extremely innocent and wide-eyed creatures that are bred to run. And I think there's something beautiful to me about them being born and not being aware of their own power—that it's something that's coaxed out of them or forced out of them. I think sometimes I feel that way too, as if life is demanding more speed of me than I feel capable of, and then I realize that I was born to do this." Despite the undisputed ageism in the industry, Caroline feels she's being treated better now than ever before, likely due to a newfound confidence and an ever-growing resume."It is hard to know if the way I'm being treated differently now has something to do with the amount of work that's behind me. Because I actually feel like I'm being treated better now than I ever have. "But also I'm so much more confident. I know I'm not the only one who feels this way, but looking back on my 20s I'm like, 'God what if I had trusted myself more and had said no to more stuff and had the confidence I do now?' But that's the thing, there's only one way to get it: It's by learning that you can say yes and you can say no." Fashion and music helped build her identity."What you put on during the day has so much to do with emotional survival—like how you can keep yourself spiritually intact and go about your day and create an identity for yourself. I feel like music does that for people as well, like 'Who am I in the world? What are my values? What's my thing? What's my scene? Who are my people?' "Both fashion and music, especially as a teenager, helped give me so much meaning in life, and sense of identity, and what kind of adult I want to turn into, and what I cared about in the world. I think things like fine art and cinema maybe don't have as much to do with that, but are operating on potentially more important levels. It's about creating identities." Her current dream collaboration is with Post "Posty" Malone."I want to do a song with Post Malone. I love Posty so much. I just wanna do a duet, like a full crusty acoustic duet. Just distorted and … well, you know." She feels in-touch with pop music's trailblazers … but not the Top 40."I feel very disconnected from Top 40 pop, but I feel extremely connected to the people who are influencing what it will be in the next five years. I think those are people like A. G. Cook, JPEGMAFIA, Tyler the Creator, Charli XCX, and 100 Gecs." She originally wrote "No Angel" years before working with Beyoncé."I had met Beyoncé a handful of times before that via Solange. Beyoncé was very secretive throughout the process of making that record, which she is now kind of famously known for. "She had filled the Jungle City studio compound [in Manhattan] with different writers and producers, and set up a New York-based writing camp of people. It was like a hive; every single studio was filled with someone who was writing. "There was a purple satin-lined crib in the reception area for Blue Ivy, and Beyoncé would pull up at like 3 a.m. and work until like 7 a.m., and then leave. So no one ever saw her there. She would come in and cut vocals to whatever was her favorite thing going on, but only when no one was there. "But ironically, 'No Angel' was not written in that camp. 'No Angel' was written two years prior on my laptop in a hotel room in London at 5 a.m. I was just learning how to use [the production software] Ableton Live, and that song was just kind of an experiment that flowed out of me really fast. "When the opportunity came up to write for Beyoncé, I was like, 'Well that song is so sexy. It's gotta go in the pile.' So I rewrote the verse lyrics and sent it to her. It had this minute-and-a-half-long instrumental in the middle of it, and I was like 'I'm sure they're gonna cut that out, and replace it with something else. There's no way she's gonna let a minute and a half long instrumental fly.' They kept it. "I mean, Beyoncé is a genius writer and producer for this reason. She's so good at seeing connections. She took this rap that James Fauntleroy wrote for another song, and put it right in the middle of the song. And then reprised the verse from earlier in the song, and then brought the chorus earlier. She reshaped all of these pieces from other places to keep this instrumental intact. And used that production exactly as I gave it. She didn't remove anything." Beyoncé took Caroline's notes on how to perform the song, despite a firm "no notes" rule."Boots [Beyoncé's go-to producer] was kind of a fairy godmother in this situation. He was a real champion for this song. He was like, 'This is fire. This has to make the album.' "They asked me to come in and quote-unquote approve it, as if anyone had not approved a song with Beyonce's vocal on it. But I came into the studio to approve it. I was like, 'I can't believe this is happening.' Also, there's no guarantee they're actually gonna use it. I figured they were just covering their bases on the legal paperwork side. "So they brought me in, and I listened to it. It was just me and her A&R. She wasn't even there. And I said, 'Guys this sounds amazing, but I have one note.' And she was like, 'Oh well Beyoncé doesn't take notes.' And I was like, 'Oh, well obviously not, but in case she's interested in this …' "The way the song is structured you're supposed to come in up the octave, and it begins shockingly high. First chorus, it drops down the octave, which is not what you expect. Verse two, you stay down; chorus two, you shoot back up the octave, which means you never hear either verse or either chorus the same way twice. We're jumping, and the jumping is unexpected, it's dynamic, and it's hot. "She had done the whole thing up because her voice sounds so good up there. I was like, 'Believe me, it's gonna be a goosebump moment if she does the octave jump.' And they were like, 'Well, we'll pass that on, but she doesn't take notes.' And I was like, 'Okay. You have my blessing.' "I was sure they weren't even gonna use the song. And then a couple months later, a friend texted me and was like 'It's out.' And I was like 'What's out?' And they were like, 'Your song is Track 4.' "She did the octave jump. It was incredible, and she sounds fucking amazing on it." Fast forward to today, Polachek has new music in the works."I'm working on something else—a continuation of now, a development of it." Stream Pang below. This interview has been edited and condensed for clarity. |
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