Ready for a new decade: Beyonce poses for Harper's Bazaar UK magazine as she prepares to turn 30 next month
With just a month before her big 3-0, Beyonce has been reflecting on an amazing decade.
And as she poses in a stunning new photoshoot for Harper's Bazaar UK magazine, she admits performing in Egypt just two months before the country's uprising started was a memorable experience.
The pop star admitted she found it incredibly moving to see Egyptian women wearing burkas singing along to her female empowerment song Irreplaceable - while many of their male partners standing nearby were obviously unamused.
Red alert: Beyonce talks of her admiration for famous friend Gwyneth Paltrow in the interview
The full interview is in the September issue of Harper's Bazaar UK, which goes on sale Saturday, August 6
Despite protests from ultra-conservative Islamic groups ahead of the gig who did not approve of her risqué outfits and booty-shaking dance moves, the American singer's concert at Port Ghalib on the Red Sea was a roaring success.
She tells the September issue of the magazine: 'There were a lot of women in the audience in burkas. They were singing along to Irreplaceable – it was amazing!
Candid camera: Beyonce turns the camera on herself as she poses in a stunning period bedroom in a little black dress
Now looking forward to her 30s, Beyonce said: 'This is such a pivotal moment in my life! I’m transitioning as a woman, and I’m finally able to express myself as I am.'
The full interview is in the September issue of Harper’s Bazaar UK, which goes on sale Saturday, 6th August.
I've always had a connection. Most of my audience is actually women and my gay fans, and I've seen a lot of the younger boys kind of grow up to my music. It's great when I'm able to do the meet and greets, because I'm able to really connect and have conversations. People look at some of the artists that I admire - like Diana Ross and Cher - and they identity that glamour with Sasha Fierce, and I've been really inspired by the language. I have my (gay) stylists and my makeup artist, and all of their stories and the slang words I always put it in my music. We inspire each other. Like I said, we're one.
High end: The photoshoot was more like the kind you might expect to find in a fashion magazine
She's a global pin up with a legion of fans, both female and male.
So Beyoncé will make a lot of people very happy with these stunning new shots, taken to promote her new album, 4.
The singer, 30, who created an alter-ego named Sasha Fierce for her last album, oozes sex appeal in the new photos - shot by Parisian photographer Greg Gex in the French capital.
And Sasha Fierce appears to be back and in full effect for the slick set of new shots.
In each of the photos, which are more akin to a high-end editorial shoot than the kind you might expect for an album promo, Beyoncé pulls a seductive pose.
In one shot she reclines on a bed wearing a ruffled yellow top, bright blue strappy heels and very little else it seems.
Seeming to channel her alter-ego she stares into the camera seductively while holding the receiver of a retro telephone to her ear.
In another the singer, who is married to rap mogul Jay-Z, wears a strange pair of towering Lady Gaga-esque shoes, with odd-shaped heels in the middle of the sole, while posing on the roof of her hotel Le Meurice.
Bootylicious: The singer gives a sneak peek at her infamous rear in another of the raunchy shots
With her back to the camera and wearing a short, slashed dress one of her most famous assets, the Bootylicious singer's rear, is accentuated to devastating effect.
In another shot, also taken on the hotel roof, Beyoncé faces the camera - again pulling a fierce pose as her alter-ego is unleashed yet again.
This time around she wears a puffed up wrap around her shoulders and a feathered corset with a patterned leotard and strapped up knee-high boots.
Don't hang up: Beyoncé reclines on a bed staring in the camera seductiively as she poses with a retro telephone
In a fourth shot she run her hands through her hair wearing a halterneck blue dress with intricate detailing around the neck and chest area.
The sultry set of shots was taken for her forthcoming album 4, which is her first long player release since I Am... Sasha Fierce in 2008.
Earlier this month Beyoncé performed as the headline act at the Glastonbury festival, which she followed with a more intimate album showcase at London's Shepherd's Bush Empire the next day.
Fierce: Beyoncé poses for one of a series of stunning photos taken by Parisian photographer Greg Gex to promote her new album 4
The show was attended by the cream of British talent including Adele, Jessie J and Tinie Tempah.
As well as her successful music career, Beyoncé has also carved out a flourishing career in acting.
Her latest role is lead star in Clint Eastwood's remake of A Star Is Born.
Speaking about landing the role, Beyoncé couldn't hide her excitement and joy at following in the footsteps of Barbra Streisand and Judy Garland.
She told Reuters: 'It's when I became a fan of Barbra Streisand's. And I then saw Judy Garland's version of A Star Is Born, and I realized every 20 to 30 years, a new star is born and a new talent represents that generation and era — so I didn't think that I would ever get the opportunity to be the star.'
It has yet to be confirmed who will play opposite the singer, but it has been rumored that Leonardo DiCaprio may snag the role for the Warner Bros. film. Shooting is set to begin at the end of the year.
Arresting sight: Beyonce checks out high heels as she shops in Selfridges' shoe department in London's Oxford Street
A-list superstars are known to demand a store is shut off from the public so they can shop in private.
But millionaire singer Beyonce showed how down-to-earth she is as she popped into London's iconic department store Selfridges for a quick browse this afternoon.
Accompanied by her mother Tina Knowles and an entourage of minders, the 29-year-old headed straight for her favourite department - ladies' shoes.
Fellow shoppers were left gawking at the singer, who made an arresting appearance in a bright orange dress.
Beyonce and Tina checked out several pairs of leather, studded high heels during their 30-minute shopping session, but left without buying anything.
Although she was surrounded by heavy security, the singer did make a few fans' day by saying hello to them.
During her visits to London over the years, Beyonce regularly visits Selfridges for both shopping and promoting sessions.
What do you think? Beyonce and her mother Tina Knowles eye up a pair of strappy bondage heels in the shoe department
I love my heels: Beyonce ignored the Haviana flip-flops behind her and focused on the six-inch heels
The star and her mother are preparing to launch their clothing line House Of Dereon in Selfridges this September.
The former Destiny's Child star returned to London today following her performance at the T In The Park festival in Kinross, Scotland, over the weekend.
Beyonce wowed the thousands of revellers with an energetic set, featuring her hit songs Single Ladies (Put A Ring On It) and Crazy In Love.
Instead of joining her contemporaries in the artist village, Beyonce stayed in a separate cordoned off area, which included several portable cabins and a marquee.
Just a normal shopper: Beyonce mingled with fellow shoppers - but with her bodyguard keeping close watch
Shoes, glorious shoes: Beyonce eyes up a pair of red suede pumps
The marquee included expensive flowers and sofas and 'crisp and clean' white towels, the Daily Record reported.
T In The Park organiser Geoff Ellis told the Record: 'She has a lot of people on the road.
'It is a big production like she had at Glastonbury. That means she needs a lot of space.
'She had Portakabins and a tent with flowers and nice furnishings to make it homely. They were from a proper florist and a nice arrangement.'
Getting an opinion: Beyonce and her mother looked in their element amongst the high heels
Dreamgirls and Cold Mountain have a somewhat similar history. Both were fêted as shoo-ins for Oscar Picture glory when they were in post-production, both of them racked up a slew of nominations (7 for Minghella’s piece, 8 for Condon’s) without managing to attain that elusive best picture nod. More importantly, they both won that Supporting Actress statue – performances which have gone on to be reviled in many circles. I happen to be more than a moderate fan of Cold Mountain (which I’ve reviewed before) but I’m often indecisive about where my feelings on Dreamgirls lie.* I gave it a somewhat knee-jerk B+/A- when I was doing my 2006 in review post over a year ago. I do like Dreamgirls for all its issues – of which there are many. Watching it recently, a number of things that struck me about all the times I’d seen it before resurfaced, but some even more interesting things came to mind.
I still think of Dreamgirls in context of its supporting actress, although it’s not Jennifer Hudson I turn to but Anika Noni Rose. Perspective is such a great thing, and taking Noni’s recently strong work in For Colored Girls I put even more credence in her work as Lorrell Robinson. It’s more than her age defying ability to encapsulate the youth of Lorrell (who’s half her age) – character consistency is a beautiful thing, especially in a musical like Dreamgirls which, unlike something like Moulin Rouge, takes great pains to be a slice-of-life. When Noni Rose plays opposite Murphy on that tour bus (“You’re so crazy, Jimmy”) or breaks down, almost facetiously, in a dressing room (“Nobody’s breaking me and Jimmy up”) she manages to retain that strident character consistency that’s so necessary in the drama, and that seems more than occasionally lacking in her costars.
Still, I find that this time around I have a little more commendation for the cast itself. Although I am no champion of Hudson’s performance I find it easier to praise her collective delivery – even I applaud her enthusiasm more than her execution. No amount of jaunty editing could conceal her terrible dancing, which is no judgment on her acting ability but suggests an insufficiency in the casting area. It makes Effie’s resultant firing logical, because truthfully she is something of lead-weight if she’s not in the lead-spot, musically. She gets highest praises for “And I Am Telling You” which is odd, since her passion on “I Am Changing” is so much more piercing. There are, too, rare moments where her sincerity is palpable out-of-song. An ineffectual moment like removing an ingratiating M.C’s hand from Deena’s derriere is so well played which only underscores her promise – which has yet to be realised.
On that note of unrealised promise, I turn to Beyoncé who so easily emerges as the performer most likely to be condemned. Depending on my mood I’d say Beyoncé is either just as competent in her role as Hudson, or at times even better. Watching it recently, I feel more inclined to the latter. That glassy-eyed vacant stare which marks Knowles Deena works not only in accordance with her range, but takes on greater meaning when taking the narrative into perspective. It’s that sort of vague suggestion of being vacuous that makes her Deena such a good performer – as Curtis says, she’s nothing but what he puts into her. It works better in the film’s first half, and where Knowles triumphs decisively is in her performances. It’s a surprising thing, but she manages to eschew her natural stage charisma to retain those same characteristics of her characters which makes a number like the eponymous one work because you actually believe you are watching Deena Jones – even if her spoken lines all too often retain a clunky delivery.
It’s that sort of juxtaposition of the good and the bad which marks Dreamgirls. Condon is so adamant in trying to avoid the book-numbers of the musicals, he’s so determined to ensure that the musical numbers occur in a realistic format, the times when he decides to retain pieces like “Family” or “It’s All Over” become problematic. “Family” is especially awkward because it is a number so rich with an almost cringe-worthy amount of sentimentalism. Its placement immediately before the Dreamettes debut (that is not the least bit familial) is subverted by Condon’s occasional tunnel-vision. Which makes me consider Marshall and Nine. Despite the tongue-lashing it received, Nine consistency in its musical numbers makes it a more laudable piece – cinematically, especially.
Then, of course, there’s the male ensemble. Keith Robinson C.C seems less superfluous now, if only because he’s working doubly hard to ensure that the character’s blandness don’t show much. I’m neither fond of nor hateful towards Murphy’s Jimmy. It endures as a fine comedic turn from him, no worse than the few good comedic performances he’s delivered in pieces like Coming to America or Trading Places. It’s Jamie Foxx’s exasperating Curtis Jackson who’s the film’s true albatross. He’s consistently awkward in the role contributing an unremitting impediment to any organic establishment of plot-points.
It’s a bit unfortunate, but a succinct criticism of Dreamgirls could be made from just watching the first fifteen minutes. Condon infuses the narrative with an almost – almost– nauseating amount of colour pyrotechnics culminating in production design that’s strangely officious, even for a musical. What makes it officious is that, there are some moments where Condon’s visual additions add nothing to the story. “One Night Only” ends up coming off for good and for bad, since even when you get the point of the recreation of a real music video being done Condon gets these delusions of grandeur where it’s just a bit too much.
Today, I’d probably give Dreamgirls a solid B because it does remain as a generally enjoyable experience – and its editing is especially good, taking into account its story issues; issues which are part of the actual Broadway production as much as its cinematic counterpart. Krieger’s score never emerges as iconic as it’s endured in some circles (although the new song additions are well infused with the old ones). Dreamgirls might not be one for the ages, but I suppose it is good enough at the end of the day.
*I’m not certain why, but I feel a need to beg pardon for this lengthy discourse. This was meant to be a short look back at the film; it turned into an overly lengthy dissertation. Umm, apologies?
Now that almost half a decade has passed, where do your thoughts rest on Dreamgirls?
When you star in a glitzy musical with a stunted character and no musical number of your own is there any way for you to thrive? The natural answer is no, you end up being forgotten. But sometimes, a paradox occurs, and both happen. There are some performances that are excellent, but due to whatever mitigating factors they end up becoming forgotten - unfortunately so. That is what happened to this excellence performance:
Anika Noni Rose in Dreamgirls
as Lorrell
When Dreamgirls came out in 2006 it took the world by storm, sort of, and it seemed everyone was enamoured with the newly discovered Jennifer Hudson. As a book musical, Dreamgirls exists primarily as a showcase for the actor playing Effie White and Hudson's Effie, though often uninspired, was competent. However, it was the nuanced performance of Noni Rose that impressed me the most. At 34 Rose was tasked with playing the naive Lorrell Robinson from a teenager unto adulthood. It was a conceit, but one that has worked time and time again. Noni Rose does have a youthful look to her, but it was more than aesthetic that solidified her performance. A professional theatre actress herself, Rose was able to do something that her fellow Dreamettes could not do. Hudson's issue was that she acts only when the camera focuses on her only, she fails to provide a realistic Effie when she was not the forefront on the scene, Knowles Deena is a realistic entity in her song and in dancing, but in her spoken lines there is a nervousness that is only too palpable. However, with Anika, the immaturity and simplicity of her character is understood. From her early scene as she laments over the state of their wigs, a simple line reading like "Deena, it's so...different" suggests eons more than the line would normally allow her to do. The camera may be focusing on Effie White in "Move" but notice the wan smile of Lorrell. She's so oblivious to everything, she's just along for the ride and it's that very characterisation that defines her role. She's not unaware of the tensions in the group as they perform the number "Heavy", she simply chooses to ignore them going to her own "happy place". This is what makes her passionate plea I'm as much a part of this group as everybody else so poignant in "It's All Over".
It's actually a running theme of a woman being pushed the brink, in Act One eventually she reaches her peak with Effie and Act Two turns to her torrid affair with Jimmy. She really isn't given much, so she must act her way through the bland moments. Like Jimmy's decision to light up at the Christmas part, she manages to portray so much with just an aversion of her eyes. If only she was given the chance to perform Lorrell's number from the stage "Ain't No Party". The truncated "Lorrell Loves Jimmy" as she leaves him is too short to present all the loveliness of her voice we've waited for, and "Patience" doesn't allow us to get inside her character. That makes her performance all the more worthy, like her frenzied run through the hall after hearing of Jimmy's death or her looks of sadness as they sing "Hard to Say Goodbye". Whenever I hear the word Dreamgirls I remember my favourite (incidental) line-reading as she turns to the exaggerated Eddie Murphy and says the sagest lines of the film. "Oh Mr Earlie, you so crazy." It's a brilliant turn from a forgotten woman, but she easily makes my top 5 Supporting Women for 2006. Did Anika impress you with her shrewd acting choices in Dreamgirls? Or was she rightly shafted from any love?
Somewhere along the line I fizzled out on this series, but it's April and as I said I'm doing the exorcism...so here goes. I like music, actually I used to be obsessed with it (more than books and film, gasp). Not so much anymore, though. I'm probably one of the few who love the music categories at the Oscars though. I've taken a look back over the decade of the pieces of film music that really moved me this past decade.
THE SCORES -I linked to youtube clips of each piece, and embedded my three favourites The Lord of the Rings: The Fellowship of the Rings [Shore] It's as epic as it needs to be and always so moving, especially the bits in the Shire. listen
The Hours [Glass] His use of the wood instruments is startlingly good, the music is just as important as the editing in the joining the lvies of our three women. listen
Cold Mountain [Yared] From the opening note he gets me hooked. Not as lovely as his work on The English Patient, but still excellent. listen
The Lord of the Rings: The Return of the King [Shore] I find it even better than the first two, it's not as made up of refrains as The Two Towers and it's darker than the first. listen
Finding Neverland [Kaczmareck]It's a shame has hasn't done anything notable since. listen
Pride & Prejudice [Marianelli] I always assumed that actual classical music was being played. The pieces at the ball are particularly jaunty and fun. listen
Atonement [Marianelli]
As soon as that typewriter started clicking I knew I was on to something especial...and I was.
The Curious Case of Benjamin Button [Desplat]
This particular entry "Mr Gateau" is my favourite portion of the score, but it's all excellent. What a snub that was.
Bright Star [Bradshaw]
What an excellent debut for a newcomer. It's not abundant, but it's excellent.
The snub heard around the world...this was due to the always weird rules of the Oscar's music branch. Moulin Rouge!'s love duet is so lovely and it's so nice hearing Ewan McGregor and Nicole Kidman harmonise. Isn't it? "May It Be" from The Lord of the Rings: The Fellowship of the Rings listen
Enya is a talented singer, and her vocalising is major part of why this track is always so haunting. It sets the perfect tone for the trilogy.
"I Move On" from Chicago
I liked this song fine when I heard it play over the credits with Roxie and Velma hoping to "move on", but it was when a pregnant Catherine Zeta Jones and Queen Latifah performed it at the Oscars that I realised the beauty of this number. Ebb and Kander know a thing or two about excellence, and this song is just that. "Scarlet Tide" from Cold Mountain
Alison Krauss is a talented singer and her ballads for Cold Mountain are lovely. This song easily stands out as my favourite film number of the decade. It's eerie how much the words have to do with the plot for the film...just lovely.
"Into the West" from The Lord of the Rings: The Return of the King listen
Annie Lennox's number for the trilogy features as a good companion piece for "May It Be". I won't lie, I shed a tear as the credits starting rolling at the cinema and this tune started playing. For shame.
"Learn to Be Lonely" from The Phantom of the Opera
Even though I actively loathe Andrew Lloyd Webber, hearing Beyonce sing this at the Oscars (remember tha year?) made me realise that the man has his moments. The ballad is simple, but in no way pedestrian and it fits so perfectly with the life of The Phantom. It's not my favourite of the ten, but it really is an excellent performance from Ms. Knowles.
"Falling Slowly" from Once listen Who doesn't at least like this? Just beautiful.
This stood out as my favourite of the enchanted numbers. It doesn't really do that much in context of the film, but it's a good song nonetheless. "Once In A Lifetime" from Cadillac Records listen
2008 was a travesty in terms of the song category, they snubbed Springsteen and they snubbed this good piece from Cadillac Records, an underappreciated film. I'm still not sure how it ties to the film's plot (which is probably why it was not nominated), but it really is something special - says me. "Smoke Without A Fire" from An Education
It's so clear that the film was written with Jenny Mellor in mind when you listen to the lyrics, and Duffy's unique voice makes it all the more moving with no schmaltz.
Well, you know my taste in films...but what are your thoughts on my musical tastes? Which score remain in your memories from this past decade, which songs can't you stop humming?
I'm not always one to go into random celebration over blog related happenings. I'm not deluded enough to think that I've made that unmalleable mark on the world with this blog [as yet :)], but on Friday it would have been one year since I've been blogging here, and it makes me somewhat giddy. Sure, my early posts were not very good, but my first post was title Favourite TV Moments of 2008, so I'm going to to take a look at my favourite moments of 2009 in this post. Obviously. Hence, the name. I should warn you, this is mine and only my list. So it'll be strange.
#10: Parks & Recreation
Weird? I am a fan of Amy Poehler, she's arguably the most talented member that SNL had in the last few years and she's incredibly adept at acting. Last Spring when Parks & Recreation made it's debut it was something a clunker. The series was not gelling immediately, but when Season Two premiered in the Fall it was definitely heading places and it's turned into one of the best things on NBC sometimes even surpassing giants 30 Rock and The Office on occasion. Hopefully the writers keep up the good work and keep giving Amy something to do. And hopefully Emmy rewards her with a nod. But that probably won't happen. We'll see.
#9: The Tony Awards & Marcia Gay Harden
I didn't watch the Tony's, but hearing that Ms. Harden had her Tony meaning that the Emmy is the only thing keeping her from being a triple crowner made me oddly happy. And the fact that Geoffrey Rush was also headed that way only increased the glee. Sure, it may not have been such a pivotal moment. But I never promised you logic in the list. Did I?
#8: Adam Lambert and American Idol
Come on. How could he not make the list? I've tuned out of Idol [hopefully forever] but Lambert was a crap-load of fun last season. It's undeniable that he is particularly talented with one of the best voices this show has scene. But what makes him list-worthy is that he was so damned fun to watch. And that duet with Alison Iraheta [who was another noteworthy person, that season] was off the chain.
#7: Kristin Chenoweth & The Cast of Glee
I'm glad that Lea Michele has grown vocally since Spring Awakening, it's nice seeing Lynch and Morisson doing good work...but the highlight of Glee was Chenoweth's guest appearance. She sang Carrie Underwood, she sang Liza Minellia and she sang Heart. Talk about variety. And she nailed it, of course. It's nice seeing the love for Glee, but it's even better seeing love for lovely Ms. Chenoweth.
Yes, Kristin makes another appearance, but it was such a deserved Emmy and with the cancelling of Pushing Daisies it was a giant f*** you to ABC. And then with the wins of Jessica Lange and Glenn Close it only made me happier.
The Office had some of its best moments in this one hour episode as we finally saw that guy and that girl get married. An episode of pure fun and funny. What more do I need?
#4: Michael Jackson's Memorial Service
The television sure was wrought with MJ news and the culmination was this service with all those performances. Fitting for the death of a king and all.
#3: Grey's Anatomy Season Finale
Univarnhates this show. So do many. I love it. I told you, there'd be truth...but no logic. The cliff-hanger of sorts at the end of Season 5 was something, but the entire episode was so controlled and soooooooooo riveting and their best finale since Season 2. It was awesome. Really. It was.
#2: Kanye/Taylor/Beyonce
It's not that I really liked the whole hoopla and West's ridiculous. If this had been done to someone else it would have been funny. You know if this happened to say, Amy Winehouse she would destroy him: and then it would be funny. It was only sad, because Taylor Swift is a child and Kanye West is inane. And power to Beyonce for her graceful turn and letting Taylor have her moment. Of course now, the world cannot escape her. Blame Kanye West.
#1: The Academy Awards: Espcially Hugh Jackman
I can't say I loved the Oscars - Slumdog Millionaire eviscerated any chance of that. But Kate Winslet and Penelope Cruz had some nice speeches. And that entire Best Actress presentation with the five winners vs the five nominees was sweet. But Hugh stole the show. The opening number and that tribute to the musicals was tremendously entertaining, in a somewhat spotty show he was the highlight.
So how crazy am I? What's missing? PS. I'm seeing The Lovely Bones and Up In the Air tonight.
Ready for a new decade: Beyonce poses for Harper's Bazaar UK magazine as she prepares to turn 30 next month 
Red alert: Beyonce talks of her admiration for famous friend Gwyneth Paltrow in the interview
The full interview is in the September issue of Harper's Bazaar UK, which goes on sale Saturday, August 6
Candid camera: Beyonce turns the camera on herself as she poses in a stunning period bedroom in a little black dress
