Tuesday, November 30, 2010

H0 $h1t Found Here...

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Earlier this week, Keri Hilson released the super-charged video to her latest single, “The Way You Love Me”, which spread like wildfire across the internet within minutes of going viral. The sexed up video attracted over 8 million views on the popular website World Star Hip Hop, receiving mixed reaction from fans and critics alike.

I caught up with renowned choreographer and creative director LaurieAnn Gibson yesterday, whose making her directorial debut with the much talked about video. She explained the concept of the new video, how the video collaboration came about as well as her thoughts on black women snatching back their power and sexuality.

Necole Bitchie: Keri Hilson’s new video is going crazy on the internet. Everyone is talking about it. For people who may not have seen the video yet, could you tell us a little bit about the concept of the video?

LaurieAnn: We didn’t expect the dirty version to leak. It is a story about a love affair. Keri is a bounty hunter and the person that she has to bring in is her love, her baby daddy, Columbus Short, who’s an actor who started out as a dancer. So she has like this ultimate decision to make that I feel like a lot of black women are faced with; Is he the right guy? Is he good enough? I love him. Listen, we are up against a lot of odds, we gotta support our black man against those odds. Do I turn him in? Do I honor my love and risk it all? So that’s basically what the concept of the video is. There’s a ‘to be continued’ so it’s going to be interesting. I’m actually going to take you back to the beginning of when they first met so it will make sense when it’s finished.

Necole Bitchie : I can imagine that you were under a lot of pressure especially for this video to be your directorial debut

LaurieAnn: Well the thing is I’ve been choreographing and then creative directing with a lot of Lady Gaga stuff. You know as a choreographer you basically direct movement so you’re in the trenches learning about directing for years. When Keri was like, “Lauri Ann, Polow has this record…I’m not sure about it”. I said “Keri, let me direct a lifestyle video. The thing is, the beat is so driving and it doesn’t have to necessarily be the full part of you. It can be a character or another side. How can we pull a record that Polow loves and not offend your fans?” I suggested we make a mini movie. So that’s how it started out and it was really innocent and because it was my directorial debut I didn’t have a lot of money. The label was looking at me with one eye open. A lot of people don’t understand that Keri’s really capable and really talented and a lot of the other females may not see her as a competitor. But legitimately she has a voice, she has an opinion…she has a passion. So I was like “Keri, if I could let you feel this comfortable you need to fight for your spot, fight for your right to go after what you really want.” So we just started and that’s how the collaborations started.

Necole Bitchie: My first thought when I saw the video was “men are going to love this, women are going to hate on it”. I looked on twitter and the men were going crazy, the women not so much. I have never seen Keri dance that hard though. Do you feel like this video can propel her into “a competing state” and open people’s eyes to “Keri has arrived”?

LaurieAnn: Absolutely Necole because I think the bar and the level is set. You have to risk it all in order to be number one and you know how we feel about Beyonce, she works non-stop. She’s in it giving you options, performing at a level that’s not comfortable. The thing is, Keri can go there, so it’s like she’s making them feel uncomfortable. It’s a risk she had to take. As a black woman it is a little bit uncomfortable but what we are saying is we get to this place sexually where we want to feel like we’re that sexy, we’re that fly and why not? I mean white girls get behind us, I mean I love you Kim Kardashian but enough! Black girls are fly, you know what I’m saying? We’re beat, we’re the reason for the season and we need to embrace it! It’s a little uncomfortable because they kindly, politely put us in our position. Black women stand up and take back what their tying to snatch from us behind closed doors.

Necole Bitchie: You brought up an interesting point because as black women, sometimes we are boxed in when it comes to our sexuality. We get backlash for suggestive photos or showing our bodies in a way that is totally acceptable when women of other races do it. It’s “sexy” when they do it. It’s “raunchy” when we do it. For example, I know it’s someone that you work with a lot too, Lady Gaga has all these amazing pictures that show off her body and it’s looked at as art but if those type of photos were done by an urban artist, they would get backlash.

LaurieAnn: You’re right Necole, your absolutely right. I find an excitement about what I’ve done with Gaga from finding her three and a half years ago without anybody. It’s also bitter sweet because it wasn’t a black girl. I’m not mad, I’m just saying but you’re absolutely right there’s complete facts to that and even with Kim Kardashian, we’re not judging you but had a black woman done a sex tape we would’ve been finished for life.

Necole Bitchie: There wouldn’t be any endorsements…

LaurieAnn: Sell a shoe? Please! Just saying this is reality and instead of beating us down it’s a celebratory thing. It’s a yes Keri, okay we get it, it’s a record that Polow gave you and we had to interpret it. So we did it in the form of film and creativity. But she looks amazing, she’s strong, she chooses her man..it’s to be continued. Give her the time to let it unfold, to embrace this level and see what she comes with before you count her out so quickly.

Necole Bitchie: When you were presenting your ideas to Keri for this video, were there reservations on her end?

LaurieAnn: She did have reservations; it was a mixture of both. She loved the freedom and the protection that I gave her as the director. I was like “you’re screaming to prove you are a competitor in the ring…that Keri can sing, dance and act”. I didn’t make the record. I’m just delivering the record. There’s no way around, “Love me, Love me, it’s the way you love me, thug me.” I didn’t want to make it mine. So creatively I wanted to elevate you and challenge you to really break the front wall. I was like we gotta get Ricky on there, Faith came in, Dawn, Jojo..it was really a loving set and everyone had fun. She was a little bit like “Yikes!” I was like “You have the ability, so you want to be fearless and in your face on this. Promote the idea there should be no judgment and really stand for something or fall for anything.”

Necole Bitchie: Most artists get to a certain point in their career were they have to take risks. Sometimes they have to shut out all of the noise…what critics are going to say and just go for it. That’s when most artists reach their full potential.

LaurieAnn: She listens to the record company, she listens to the kids..she listens and sometimes they let her down. It wasn’t so literally, it was a break out on many levels.

And we’re not saying that this is for her younger fans by no way! Trust me I wish the dirty version didn’t get leaked because for my brand as well it’s a little uncomfortable. But it is based on the dance, it’s no one bumping and grinding, no one slapping her butt, she’s dancing to her full potential. Beyonce does a lot of sexual hip rolls so it’s just unexpected but it’s not without a particular artistic approach. For my young black girls, it is a video, it is a stretch. She is acting…she doesn’t stray from going to school…stay committed…believe in your dreams…trust God..be loyal. These are things that we live by. These are things I live by but there’s the other human side that’s like “We are the baddest bitches in the game.”

Movie Videos & Movie Scenes at MOVIECLIPS.com

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Saturday, November 27, 2010


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Tuesday, November 23, 2010

Monday, November 22, 2010

New Beyoncé Dereon C&A Commercial

AMAs Hit All-Time Ratings Low

Bieber Bust: AMAs Hit All-Time Ratings Low

ABC's telecast of the American Music Awards dropped in the ratings Sunday night as NBC's football coverage surged.

The AMAs drew 11.6 million viewers and a 4.3 preliminary adults 18-49 rating, down 22% from 2009. Moreover, the telecast stands as the lowest-rated AMAs yet.

Teen sensation Justin Bieber swept the awards, taking home four statues including Artist of the Year. He overthrew Eminem, who had garnered the most nominations.

ABC pointed out the show was up 12% in teens and 19% among kids 2-11, if only that was the network's target audience.

Competition was heavy from NBC's Sunday Night Football, which had its fourth strongest game ever, drawing a 15.9 overnight household rating, up 31% from last year's game. For those counting, that marks four NBC games this season ranking among the top five NBC primetime football games ever.

CBS's ratings are approximate due to football overrun: Amazing Race (10.8 million, 3.1), Undercover Boss (12.3 million, 3.1) and CSI: Miami (10.3 million, 2.2).

Fox took some heavy hits, with Simpsons (6.6 million, 2.9) and Cleveland (5 million, 2.4) each down more than 20%, while Family Guy (6.6 million, 3.3) was practically steady and American Dad (4.8 million, 2.3) slipped 8%.

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I'm flabbergasted! Huh?!? Even after that epic 9 minute medley performance from vocal powerhouse Rihaha?Photobucket

American Music Awards 2010: Rihanna, Katy Perry, Santana, Ke$ha and all the performances, graded

American Music Awards 2010: Rihanna, Katy Perry, Santana, Ke$ha and all the performances, graded

I'm too disgusted to go in... fukk everybody

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Sunday, November 21, 2010

Beyonce on The View

Female directors absent on Forbes Hollywood list

LOS ANGELES (Hollywood Reporter) - Forbes' annual Hollywood's 10 Highest-Earning Women list has one thing missing: female directors.

Directors James Cameron, George Lucas and Michael Bay dominated the men's list, making $210 million with "Avatar," $95 with "Star Wars" and $120 Million with "Transformers."

But Kathryn Bigelow, who won the Best Director Oscar this year for "The Hurt Locker," didn't earn enough to crack the list.

Her drama made $16.4 million compared to ex husband Cameron's $2.8 billion with "Avatar."

The only actress on the list is Sandra Bullock, at No. 6, who earned $56 million with her two hits, "The Proposal" and "The Blind Side" (which won her the Best Actress Oscar), and her producing work.

Unsurprisingly, Oprah Winfrey, who launches her OWN network on January 1, topped the list with $315 million. Beyonce, who comes in No. 2, made $87 million, which, as Forbes points out, would have put her No. 9 on the men's list.

The remaining top-earning women wouldn't have placed at all on the men's list.

Collectively, the highest-earning men made $1.2 billion between June 1, 2009 and June 1, 2010, compared to the $835 million the women brought home in the same time period.

(Editing by Zorianna Kit)

the crew in NYC tonight! Can't wait for the info

Saturday, November 20, 2010

Don't Hate On Keri Wilson's Beauty B1tches!

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light comedic banter...

breaking point?
I think you meant BEAKing point.
break out acné?
Not too much on Oxy Padson.
Piza Face... keri snatched a deal with domino's n she's serving mobile display?
Oh, that's what that is? I thought she was paying homage to the moon.

don't hate her cause she's beautiful

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Friday, November 19, 2010

Thursday, November 18, 2010

Wednesday, November 17, 2010

Rihaha LOUD Deluxe

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LOUD Deluxe Edition w/DVD HERE

Monday, November 15, 2010

Beyoncé - I Am... World Tour DVD Preview - Diva (720p HD)

Beyoncé Thanksgiving Night Special on ABC - Commercial

Whew Does Your Hair?

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Open any dictionary and next to the word ‘loud’ you will find several definitions including ‘noisy’, ‘offensive’ and ‘vulgar’. If these are the type of meanings that Rihanna wants her listeners to derive from her new album then she has effectively achieved her goal.

‘Loud’ is the fifth studio album to be released by the Rihanna in as many years and it features the red haired vixen doing what she does best – attaching herself to the latest trends in Pop music. However, despite being bolstered by tight production and catchy melodies, Rihanna’s blatant lack of vocal skill and originality causes the 11-track LP to be far less impressive than those of her peers.

Like most devastating plane crashes, the album starts off on a high point with the expected third single, ‘S&M’. Vivacious and enticing, Rihanna delivers a respectable vocal performance while allowing her sexuality to be fully liberated over a mix of synths, drums and a foot-stomping beat. In fact, this song may be her most honest record to date as she belts “sticks and stones may break my bones but chains and whips excite me”.

The only other shining moments on ‘Loud’ include the vocally impressive ‘Complicated’ and Country/Alternative ‘California King Bed’. In both instances Rihanna actually challenges herself to open her mouth and sing in ways that she rarely ever dares to perform. Indeed, these tracks provide rare moments in her entire career where listeners might wish that the production was toned down to allow her voice to shine through as she belts and scales to new heights.

Now ‘Loud’ Airlines has begun its descent and things start going horribly wrong. In true Rihanna fashion, the rest of the album proves to be a collection of horrendous vocal performances and nonsensical chanting, proving exactly how limited she truly is as a vocalist.

Songs such as the sickeningly nasal ‘Cheers (Drink To That)’ and the painfully boring ‘Fading’ confirm that even the industry’s most clever producers cannot compensate for Rihanna’s limited ability as a singer. She unsuccessfully tries to force her voice to adapt the melody of the records, resulting in more painful than enjoyable results.

Yet, the carnage does not end there. Songs that Rihanna’s West Indian roots should have given her some advantages prove to be too much for her to handle. She awkwardly channels her fellow Caribbean native Tanya Stephens on the song ‘Man Down’ which, strangely enough, has a striking similarity to the Jamaican’s hit ‘It’s A Pity’. Rihanna is even upstaged by Nicki Minaj on ‘Raining Men’ who sounds more comfortable on the track than her Bajan counterpart.

When the smoke clears and the wreckage of this plane crash are revised, the main weakness of ‘Loud’ is that it is not a cohesive body of work. The album is simply a collection of singles from which Rihanna’s label can choose to service to radio. No wonder they have already chosen all of the future releases from this record to follow ‘What’s My Name? (Ft. Drake)’ and the annoyingly ever-present ‘Only Girl (In The World)’.

The fact that people in her camp had the nerve to compare this album to Michael Jackson’s ‘Thriller’ demonstrates that they must think that true music enthusiasts are relics of the past. On the contrary, it does not take a genius to realise that singles artists like Rihanna continue to fail to deliver the ground-breaking material that they promise. Her music might be loud but her blatant lack of artistic ability is even louder.

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Thursday, November 11, 2010

Rihaha “Loud” (review)

Rihanna: Loud

Rihanna is very much a poor man’s Beyoncé. Weaker voice, much less charisma and pretty where Beyoncé is beautiful.

That’s why you end up with an album of songs that don’t quite cut it, often with an OK voice but one that’s been through so many machines it sounds like you’re being sung to by the Sainsbury’s lady who announces “unknown item in bagging area”. Sometimes sounding a bit like Cher’s Believe, so not exactly cutting edge, some of the lyrics such as the “whips and chains excite me” bit of S&M smack of desperation.SG

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The generic beat in “Fading” and slow moving acoustics of “California King Bed” both fail to gain any momentum. “Skin” relies on the vocalist’s ever-present sexual empowerment, “Don’t hold me, you know I like it rough,” but its slow atmospheric sound never finds its rhythm; the track is further bogged down by the late addition of a guitar solo that clashes with the song’s fuzzed out background vocals. “Man Down” floats by with Rihanna channeling her Barbadian blood with an unusual off-beat dub that reflects a deep reggae influence. The track isn’t a bad one, but its placement in the album leaves it sounding unusual and out of place. Much has been made of the album’s final collaboration and closing track, “Love the Way You Lie Part II” which features Eminem alongside the sultry vocalist. Just as with “Man Down” the track isn’t poor by any measure, but as it retains the exact same sound and format as the original, which appeared on Em’s Recovery earlier this year, it begs the question: what is the point? Sure, it offers Rihanna’s “side of the story,” but Eminem’s uninspired verse is bland, and when combined with an unimpressive performance from Rihanna what’s left is an unremarkable shell of the original.

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Tuesday, November 9, 2010

Monday, November 8, 2010

Sunday, November 7, 2010

Friday, November 5, 2010

Fukk You Fridays (Rihaha Loud Flop)


Tuesday, November 2, 2010

Monday, November 1, 2010


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you can NOT

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