1 hour ago, Shelter said:

Was it really thread worthy

yes we must expose the truth about nadia lee cohen before someone else hires her

57 minutes ago, yonsé said:

the big screens were on at my RWT shows in LA. i truly think its a decision made in the moment.

Interesting

1 hour ago, 7672 said:

Interesting

yeah heres a shot of what it looked like (seems like it was only on for the side-view seats)

either jay is announcing an album immintently or someone else from roc nation/parkwood is

it's from the same guy that's been teasing but i don't buy/think that it's bey anymore.

5 hours ago, Joaco95 said:

oh lol yes it is edited on all the promo pics, weird

See!! I knew I wasn't crazy. I figured they did some shots without it but this def confirms they edited it out of most photos.

Where did Khalil Joseph express annoyance about other directors being brought in? Mulitple directors were used for Black is King and Kwasi Fordjour has a mild reception when speaking about BIK so I wonder if it's the same situation.

30 minutes ago, Iyanla, Fix Me said:

Where did Khalil Joseph express annoyance about other directors being brought in? Mulitple directors were used for Black is King and Kwasi Fordjour has a mild reception when speaking about BIK so I wonder if it's the same situation.

in this article:

https://www.theguardian.com/artanddesign/2017/oct/19/how-lemonade-director-kahlil-joseph-restored-faith-in-the-music-video

When he was contacted by Beyoncé, for example, he wasn't really interested. "It wasn't until she really came at me and said: 'I wanna collaborate with you, versus you work for me,' then I was, like, let's talk." At the time, Beyoncé's 2016 concept album Lemonade was still in the works, but she believed it was going to be "more profound" than some of her other work. Joseph agreed to collaborate on what became the 60-minute, 11-chapter film that accompanied the album. "The whole thing was my idea," he says. "I helped her think through how to present it as a visual project and the people to cast, such as Trayvon Martin's mom and Serena Williams." But ask him what he thinks of the result and he is indifferent: "I don't even know what she ended up doing. By the time it came out, I was working on something else," he shrugs.

and this new yorker article is confirmation he was the intital sole director:

https://www.newyorker.com/magazine/2017/11/06/the-black-excellence-of-kahlil-joseph

Joseph's version of "Lemonade" addresses grief and sisterhood. There are no big production numbers, no violence against the male oppressor. In the version that Knowles eventually released, Jonas Åkerlund directed the video for the song "Hold Up." In it, we see the artist in a full-length gown, with big hair and heels, smashing car windows. In Joseph's version, Beyoncé crouches in a ruined fort, bent low by sadness. More images follow: women of color gather in a kitchen. They are preparing a feast. They cut vegetables and bake bread, then set a long banquet table on a lawn. You can hear natural sounds—crickets, wind—as the women take their seats in extravagant finery. The feast is both metaphorical and real: they are feasting on life—and on the lives of their colored sisters. There is something spooky, seductive, and profound about Joseph's footage of Knowles; he seems to have burrowed into her soul, into the soul of the sadness that she and he were feeling at the time. It is a collaboration based on the aesthetic truths of blackness and of mourning: Who are we if we lose the people we have loved, and who have loved us?

After Knowles saw Joseph's cut of "Lemonade," she chose to go in another direction, and to involve additional directors in the project. She kept some of Joseph's work, but layered it with her pop take on life, a cleaner narrative line, and a dose of revenge. One can see Knowles's problem: she isn't in every frame of Joseph's film, and, like most stars, she wants to be seen, if only to know that she counts. Instead, Joseph filmed her emotion, the loss of love, what life takes away, and what it leaves us with—the heartbreak, the shimmer and the gloom, the haunting.

Although Knowles has allowed Joseph's version of "Lemonade" to be shown in museums, she hasn't approved his screening it in other contexts.

Edited July 1Jul 1 by yonsé

15 minutes ago, yonsé said:

in this article:

https://www.theguardian.com/artanddesign/2017/oct/19/how-lemonade-director-kahlil-joseph-restored-faith-in-the-music-video

and this new yorker article is confirmation he was the intital sole director:

https://www.newyorker.com/magazine/2017/11/06/the-black-excellence-of-kahlil-joseph

mmmm so there has been screening of his cut, why hasnt any info about has leaked then?

17 minutes ago, Joaco95 said:

mmmm so there has been screening of his cut, why hasnt any info about has leaked then?

People who go to museums aren't usually the type to rat out random details in a stan-ly fashion on Twitter. Lol they probably didn't even know that director's cut is drastically different from the finished product.

Edited July 1Jul 1 by Carbohydrates

17 minutes ago, Joaco95 said:

mmmm so there has been screening of his cut, why hasnt any info about has leaked then?

only in museum settings. I believe it has only screened like once or twice ever. There was supposed to be one in Australia last month but it was mysteriously canceled after gaining traction from fans online.

We do have information about it; it's basically all the stuff from New Orleans/on the plantation that is somber and low key. The structure with the stages of grief and the Warsan Shire poems is part of Khalil's original vision. So Pray You Catch Me, Don't Hurt Yourself, Sorry, Daddy Lessons, Love Drought, Freedom, Forward, and All Night's visuals.

Additional directors did the visuals for Hold Up (Jonas Akerlund), 6 Inch (Dikayl Rimmasch), Sandcastles (Mark Romanek), and Formation (Melina Matsoukas)

Edited July 1Jul 1 by yonsé

3 minutes ago, yonsé said:

only in museum settings. I believe it has only screened like once or twice ever.

We do have information about it; it's basically all the stuff from New Orleans/on the plantation that is somber and low key. The structure with the stages of grief and the Warsan Shire poems is part of Khalil's original vision. So Pray You Catch Me, Don't Hurt Yourself, Sorry, Daddy Lessons, Love Drought, Freedom, Forward, and All Night's visuals.

Additional directors did the visuals for Hold Up (Jonas Akerlund), 6 Inch (Dikayl Rimmasch), Sandcastles (Mark Romanek), and Formation (Melina Matsoukas)

I read somewhere she added her own footage for sorry

4 hours ago, QueenB said:

yes we must expose the truth about nadia lee cohen before someone else hires her

And you exposed beyonce to get dragged. Incredible stuff

6 minutes ago, Kingdom said:

And you exposed beyonce to get dragged. Incredible stuff

get a grip and a job application (as you like to say) if that's what you're worried about. the worst said was what, "we are never getting visuals"? business as usual then. The drags were reserved for nadia as they should be

Good lord you are miserable 24/7, do us a favor and rank her albums for us or post your favorite music video or something. I genuinely would rather see a new post from fleahive asking which award shows you think beyoncé farted at than to see your broken profile picture being a wet blanket as per always

Problem solved.

Posted for Basé mood cleanse

Edited July 1Jul 1 by QueenB

Just revisited Renaissance, her BEST album, and bopped to Thique

6 hours ago, yonsé said:

only in museum settings. I believe it has only screened like once or twice ever. There was supposed to be one in Australia last month but it was mysteriously canceled after gaining traction from fans online.

We do have information about it; it's basically all the stuff from New Orleans/on the plantation that is somber and low key. The structure with the stages of grief and the Warsan Shire poems is part of Khalil's original vision. So Pray You Catch Me, Don't Hurt Yourself, Sorry, Daddy Lessons, Love Drought, Freedom, Forward, and All Night's visuals.

Additional directors did the visuals for Hold Up (Jonas Akerlund), 6 Inch (Dikayl Rimmasch), Sandcastles (Mark Romanek), and Formation (Melina Matsoukas)

Interesting.

So he directed the most introspective part of the film... yeah, those were the highlights of the project imo. I wonder if the original footage may leak one day.

11 hours ago, yonsé said:

only in museum settings. I believe it has only screened like once or twice ever. There was supposed to be one in Australia last month but it was mysteriously canceled after gaining traction from fans online.

We do have information about it; it's basically all the stuff from New Orleans/on the plantation that is somber and low key. The structure with the stages of grief and the Warsan Shire poems is part of Khalil's original vision. So Pray You Catch Me, Don't Hurt Yourself, Sorry, Daddy Lessons, Love Drought, Freedom, Forward, and All Night's visuals.

Additional directors did the visuals for Hold Up (Jonas Akerlund), 6 Inch (Dikayl Rimmasch), Sandcastles (Mark Romanek), and Formation (Melina Matsoukas)

I wonder what the visuals for the other songs would've looked like since the final videos are so different from the other visuals. Like it'd be interesting to see a more somber take on Hold Up. I see how 6 inch is different but the others visually fit within the world of the film. Formation is technically not in the film and a standalone video. I could see Sandcastles being tweaked to clearly indicate that her and Jay Z were still together and moving forward.

Maybe we'll see a grainy image of her at Taylor's wedding this weekend.

Followed by a Deja Vu performance for his show next weekend.

12 hours ago, yonsé said:

in this article:

https://www.theguardian.com/artanddesign/2017/oct/19/how-lemonade-director-kahlil-joseph-restored-faith-in-the-music-video

and this new yorker article is confirmation he was the intital sole director:

https://www.newyorker.com/magazine/2017/11/06/the-black-excellence-of-kahlil-joseph

These people always feel entitled to completely control work. She should've told him that she's changing direction, but besides that, I'm glad she's blocking his ass from airing that artsy-fartsy, boring ass film.

21 hours ago, LibraSnake01 said:

I wish she never put out that I'm That Girl teaser

I'm a Nadia defender but I'd like to publicly say that I didn't really like the I'm That Girl teaser very much

It was so small-scale, and I understand the caged-at-home bent they were going for circa. pandemic season but it just doesn't really feel inspiring for a song so bold and futuristic.

Nadia's ITG video feels like the original Bigger video - a bit blegh on arrival, hopefully later replaced by something more sweeping down the line

49 minutes ago, alien superstore said:

I'm a Nadia defender but I'd like to publicly say that I didn't really like the I'm That Girl teaser very much

It was so small-scale, and I understand the caged-at-home bent they were going for circa. pandemic season but it just doesn't really feel inspiring for a song so bold and futuristic.

Nadia's ITG video feels like the original Bigger video - a bit blegh on arrival, hopefully later replaced by something more sweeping down the line

I know what you mean. I always liked to think that it was more of teaser than a trailer per se? So I imagine what was released was intentionally shown to not give away too much to the themes and plots etc. Similar to Lemonade's teaser. However, she inadvertently still gave us too much cause I'm sure the initial plan was to have the visuals out before the RWT.

1 hour ago, alien superstore said:

I'm a Nadia defender but I'd like to publicly say that I didn't really like the I'm That Girl teaser very much

It was so small-scale, and I understand the caged-at-home bent they were going for circa. pandemic season but it just doesn't really feel inspiring for a song so bold and futuristic.

Nadia's ITG video feels like the original Bigger video - a bit blegh on arrival, hopefully later replaced by something more sweeping down the line

I'm still a little nervous that the visuals were conceptualized around being trapped at home. People do not want to revisit that time now -- most shows, movies, and music generally ignore that it ever happened for a reason.

the fact that the ******* teaser is almost 4 years old and we still havent seen ****

2 hours ago, dnboy1 said:

Maybe we'll see a grainy image of her at Taylor's wedding this weekend.

Followed by a Deja Vu performance for his show next weekend.

mo thanks i'd rather continue getting nothing

2 hours ago, ShouldersSideways said:

I'm still a little nervous that the visuals were conceptualized around being trapped at home. People do not want to revisit that time now -- most shows, movies, and music generally ignore that it ever happened for a reason.

I'm sure that's one of the main reasons the visuals are still put ad acta. The timely matter fit at the time and for Renaissance, but for that act only. To visualize an interconnected trilogy, all with different „genres" and backgrounds over the course of half a decade is one hell of a task, now with the socio-political factors we faced the last 6+ years added to this it's no wonder they seem lost from the outside.