Beyonce and Lady Gaga 'Video Phone' team-up: a spectacle to behold

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What happens when two of the most ambitious stars in pop music collaborate? Director Hype Williams shoots a video in his trademark electrifying color schemes and high-shine lighting, resulting in a fantastical pop mirage between Lady Gaga and Beyoncé. Like meteor showers and the latest Sarah Palin career move, the auspicious pairing of an art-house dance diva and the reigning princess of shimmering R&B shall not go undocumented.

The sleek Beyoncé track “Video Phone,” from her alter-ego exercise “I Am … Sasha Fierce,” doesn’t feature Lady Gaga on record, but after crossing paths several times (including at the 2009 VMA Awards, where each scored nine nods apiece), the two decided to work together on the hush-hush video shot last month in the hipster enclave of Greenpoint, Brooklyn. After stirring up Web gossips for weeks, the video debuted Monday night on MTV and VH-1.

So what’s this alliance between two conquerors like? Well, it’s a kinetic spectacle to behold, with enough guns to make Ted Nugent weep with jealousy and some hot Bettie Page bangs on Beyoncé that should prompt plenty of single ladies to run to the hairdresser. It all kicks off with an unexpected nod to Quentin Tarantino’s “Reservoir Dogs” -- several men in suits walk slow-motion in a nondescript alley behind a strutting Beyoncé wearing a Zorro mask. In fact, the whole video has a distinct and not unpleasant ‘90s throwback vibe. After all, that was Williams’ heyday, when he shot videos in his trademark fish-eye lens for such luminaries as Missy Elliott, Nas and the Notorious B.I.G.

Perhaps what’s most notable about “Video Phone” isn’t the formidable tricks on screen -- which are plentiful, including frenetically flickering images of much hair-tossing and hip-popping -- it’s that Lady Gaga sublimates her “Alice in Wonderland”-meets-Grace Jones shtick to blend seamlessly into Beyoncé’s world. Make no mistake -- this is Beyoncé’s show. She gets the outlandish costumes, from sexy military spy to vixen-cupid, while Gaga appears in a white leotard, enthusiastic but fully behaved. The two proceed to execute some wicked moves on two dinette chairs, DayGlo weaponry in tow.

So, what might happen if Beyoncé frolicks in Lady Gaga’s terrain? It’ll be a noteworthy test for Ms. B, whose glittering front-and-center pop persona is just as well versed in spectacle as Gaga’s, but not as conceptually rich. Will she be able to get truly freaky, without seeming like she’s doing it for more credit-enhancing approval? As far as Gaga goes, our MOCA-loving temptress could stand to learn something from Beyoncé -- maybe her ability to deliver earnest, genuine entertainment, the kind that comes from a certain warm look in the eye, that megawatt smile, not a stampede of sometimes-alienating stage stunts.

Either way, this can only foretell good things for both. One element is certain: Beyoncé and Lady Gaga are too ambitious to let any creative difference stand in the way of pop music domination, times two.

-- Margaret Wappler

Turkey with Beyonce: R&B star scores Thanksgiving special

 

The holiday season is upon us, and the music industry is bringing out its big guns -- even if they don't have a new studio album to promote. Beyoncé will be the beneficiary of her first-ever Thanksgiving special, set to air Nov. 26 on ABC at 9 p.m.

Thanksgiving concert specials are a network tradition of sorts. Artists such as Madonna, Justin Timberlake and Harry Connick Jr. have had specials on or around Thanksgiving in the past. ABC is definitely getting into the musical spirit this holiday season. It was earlier reported that R&B star Jennifer Hudson will have a December special, "Jennifer Hudson: I'll Be Home for Christmas," on the network. Also in December, Fox will air "Carrie Underwood: An All-Star Holiday Special."

Beyoncé's ABC program will be the centerpiece of a campaign around the release of a deluxe edition of last year's "I Am ... Sasha Fierce" and a live CD/DVD "I Am ... Yours: An Intimate Performance at Wynn Las Vegas." 

A teaser for the concert special is available online. The special promises plenty of "intimate" and behind-the-scenes footage of the star, and, according to the commercial, includes the requisite longing look out a hotel window. However, you and your relatives probably shouldn't expect a post-Thanksgiving dinner step-by-step how-to of the "Singles Ladies" dance. 

The flurry of Beyoncé activity could have Grammy implications. 

LOLcats Now Haz Music Reviews, Part 2: Beyonce, Jay-Z and Black Eyed Peas

The LOLcats have some pretty polarized views on pop music, as you can see by the LOLcat music reviews we posted Wednesday.

The cats are back today, once again pairing some cute pictures and choice words for three of the biggest acts in hip-hop and R&B.

Kristyn Pomranz and Katherine Steinberg, who penned "I Can Has Cheezburger: The MusicLOL!," an off-Broadway production based on the popular blog about silly kitties with misspelled captions, constructed these pictures as a Pop & Hiss exclusive.

This time, we get to learn what your pets think of Beyoncé, hubby Jay-Z and R&B-dance-sensation Black Eyed Peas.

We can has musik revyooz.

Beyoncé

She's a chart-topper, spotlight-owner and Hamburger Helper maker. Her third studio album, "I Am... Sasha Fierce," spurred a number of massive hits, including "Single Ladies" and "If I Were a Boy." Of the album's concept, Ann Powers wrote, "Beyoncé meant to represent herself as a split personality, tender and open on the one hand, indomitable and rather scary on the other."

Here's what we said about her summer performance at the Honda Center: "There’s no incongruity in a superstar – even one who preaches sisterhood – commanding center stage. And in Beyoncé’s form of womanism, everyone is advanced when one woman hits her personal best."

The cats like her too.

Click "continue reading" for more cat pictures.

Beyonce and Taylor Swift: Sisterhood is powerful, especially when male-directed

Plenty of men know what it's like to cross a line and discover that nothing -- not flowers, not tears, not emotional blog posts -- can eradicate the skunk-like scent of jerkiness once it's sprayed. Kanye West can't seem to apologize enough for bursting in on Taylor Swift during her acceptance speech for Best Female Video at last night's MTV Video Music Awards, even though a replay of the moment reveals that West's imposition started with the words, "I'm sorry, Taylor." Whatever motivated West's words, his aggressiveness read as impossibly rude, not in small part because he is a 32-year-old man and the target of his scorn was a young woman of 19.

From one vantage point, it was a case of chivalry gone horribly wrong. West meant to stand up for Beyonce Knowles, whose "Single Ladies" video is in fact much more memorable than the one for Swift's "You Belong With Me," which took the prize in question. Knowles herself made it fairly clear that she doesn't require the blustering gallantry of West or any other guy when, upon winning Video of the Year for "Single Ladies," she ceded her own acceptance speech slot to Swift. The two women staged a quick sisterly embrace, adding another layer of meaning to an already complicated moment. Now this controversy was about women sticking up for each other, too.

If, as some bloggers are suggesting, West's intervention was staged, there had to be a reason Knowles and Swift agreed to participate. And even if his tirade was spontaneous, that climactic hug between Queen B and Princess Taylor had clearly been arranged (if only within the previous hour) and benefited both parties.

Grammys 2010: An early look at album of the year (Part 2)

GRAMMY AWARDS 2010

 

For the first time, the Grammy eligibility year has been moved up from the end of September to the final day of August. In making the change, the eligibility period for the 2010 Grammy Awards was shortened to 11 months (the Grammy year will be back to a 12-month cycle, with the new qualifying dates, for the 2011 awards). 

Ultimately, this means that heavy hitters such as Mariah Carey and Jay-Z will now have to wait until 2011 to see their albums get Grammy recognition. An album now must be released no later than Aug. 31 to be in the Grammy running.

That means it's time to look at the albums most likely to be lauded by Recording Academy voters in the album of the year field, Grammys' biggest prize. Note, however, what follows is not a reflection of the year's best albums. No discussion of that sort could happen without mention of Metric's "Fantasies," Lily Allen's "It's Not Me, It's You" and on and on and on. 

For now, however, get your pencils and scorecards ready. Here's an early look at some of the works most likely to receive album of the year attention when Grammy nominations are unveiled at the end of the year.

This is Part 2 of the installment. Click here for Part 1 to see what you missed. Pop & Hiss will be back to see how wrong we all were in December.

Live review: Ann Powers on Beyoncé*

Two news items chased Beyoncé into the Honda Center in Anaheim on Saturday, when she finally brought her latest world tour to the Southland after four months on the road. One had the singer earning the top spot on Forbes magazine’s “young rich list,” as the highest-earning celebrity under age 30. The other, more gossipy, story involved a rumor that she has banned photographers from shooting her from certain angles during her show, because she sweats too much.

Those tidbits – one about Beyoncé’s unique glamor and the other about a common, earthy foible – better summed up the inner divide she’s been exploring in her work than did the frenzied pizzaz of the concert itself.

That’s not to fault the production: It’s fairly astounding, as both showbiz and an athletic event. For more than two hours, Beyoncé led her large dance troupe and all-female big band (a concept to which she’s remained loyal for two tours now) through many compulsory arena pop routines and several she herself has invented.

She somersaulted while suspended in a harness. Thrilling! She sang Happy Birthday to a 2-year-old. Adorable! She let the crowd take over while singing “Irreplaceable.” Fun! She got on her knees and mourned Michael Jackson. Poignant! She hit most of her notes too, though sometimes slipping badly in her lower register. And she danced like only Beyoncé can dance, with a combination of power, grace and smarts that fully unites Broadway choreography with urban street innovations.

The only thing not fully realized was the show’s overarching theme. As in the album this tour supports, “I Am … Sasha Fierce,” Beyoncé meant to represent herself as a split personality, tender and open on the one hand, indomitable and rather scary on the other.

But she has chosen the wrong dichotomy to represent herself. Since she’s such a superb competitor, she might have done better with the one that preoccupies gymnasts: the difference between technical and creative genius, between nailing every element of your craft and turning that craft into an art. Or, to connect it to those news flashes previously mentioned and place it in the theatrical realm, the need to deliver both a great physical performance and one that moves the audience emotionally.

Bono, Springsteen and Beyonce to appear in inauguration special

Show Tracker brings us the following item:

A slew of A-list talent has signed on to kick off next week’s presidential inauguration festivities. The official organizing committee announced today that “We Are One: The Obama Inaugural Celebration at the Lincoln Memorial,” which will air Sunday on HBO, will feature performances from the likes of Beyonce, Mary J. Blige, Bono, Garth Brooks, Sheryl Crow, Josh Groban, Bruce Springsteen, James Taylor, will.i.am and Stevie Wonder.

Jamie Foxx, Martin Luther King III, Queen Latifah and Denzel Washington will read historical passages at the two-hour free event. HBO will televise the celebration at 7 p.m. on an open signal, so it will be accessible to anyone with cable or satellite television.

"This is a great opportunity to capture an historic event in a very meaningful setting," said producer and director Don Mischer, whose past credits include the Olympic ceremonies and Super Bowl halftime shows. "We will have the statue of Abraham Lincoln looking down on our stage and a crowd of hundreds of thousands of people lining the mall -- a tableau any director would relish."

-- Matea Gold

(Photo courtesy AP)

Beyonce at No. 1 with 'Sasha Fierce'

Beyonce is fierce indeed, topping the national sales chart this week with her new two-CD set "I Am ... Sasha Fierce," which sold 482,000 copies during its first week in stores. It's one of several new releases breaking into the top 10 as the final weeks leading up to Christmas heat up the action from some of pop music’s heaviest hitters.

Behind Beyonce at No. 2 is Canadian rock group Nickelback, whose new “Dark Horse” started out with sales of 326,000 copies. Coming in at No. 3 is “American Idol” champ David Cook, logging a first-week figure of 280,000 for the album bearing his name.

Taylor Swift’s “Fearless,” last week’s No. 1 album, dropped to No. 4 on second-week sales of 217,000 copies. The multinational vocal group Il Divo landed behind Swift at No. 5 with sales of 162,000 copies of its new one, “The Promise,” according to Billboard.

--Randy Lewis

Photo credit: Associated Press

Beyonce likes to make ... Hamburger Helper?

The first time I met Beyoncé Giselle Knowles (she hadn’t quite reached one-name stature yet) was back in 2000 in Houston. Her father and manager, Mathew Knowles, a former salesman, picked me up at the airport and drove me to the family home. The city was a soggy mess — the sewers were overflowing after a nasty storm — but the Knowles' house was immaculate and warm. Beyoncé  was at the house with the other members of Destiny’s Child, the pop group that took career notes from the Supremes, En Vogue and TLC before selling 18 million albums in the United States and many times that abroad.

What I remember most about that visit: After a photo shoot, Beyoncé  was wearing denim shorts and a gray sweatshirt and sitting on a kitchen counter top, tugging at her hair like a little girl, while, over her shoulder, her mom was stirring gumbo. I reminded Beyoncé  of that moment when I met her in New York last week to interview for a Sunday Calendar cover story running this weekend. (We'll add the link to that story on this post on Friday.) She smiled and winced like someone thumbing through an old high school yearbook. “Well I can tell you this: I need some of that gumbo right now. I haven’t had one of my mom’s meals in a long time. She’s the best with that gumbo.”

Snap Judgment: Beyonce's 'I Am ... Sasha Fierce'

In the news release for her new, ambitious, somewhat befuddling double album -- the deluxe edition, with extra tracks, is currently streaming on her MySpace page -- Beyonce Knowles discusses her newly revealed alter ego, Sasha Fierce. "She's the party girl, she's Bootylicious," says the singer-songwriter-movie star-mogulista. "She is but I'm not. She's my alter ego. I'm finally revealing who I am."

The contradiction built into that brief comment says much about Beyonce's artistic predicament. A child talent-show winner molded into a pop star by her notoriously driven father, she is a creature of the stage, like Britney and Christina, the pop stars with whom she might have continued to be lumped if her father-figure husband -- and, more important, her own "rapperly" vocal gifts -- hadn't helped her secure a spot in hip-hop's firmament. Yet because the world of hip-hop soul expects its divas to be "real," she's often criticized for seeming distant within her own performances and refusing to expose herself.

For Beyonce, to say that an identity she is not can also "reveal ... who I am" is not a contradiction. As an artist, she is a role-player first -- a brainy, often showy interpreter instead of a gut singer on ballads, and a brilliantly varied rhythmic innovator on her club hits. "I Am ... Sasha Fierce" shows her further refining both of those tendencies, and it's full of interesting choices. But her misplaced worries about authenticity cause Beyonce to make some unfortunate missteps (mostly into the puddle of excess) that often afflict artists in mid-career.