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The Recap: Only One Black Man Survives ABC's 'The Bachelorette' Two-Night Special

Someone you wouldn't expect and no one was rooting for.

Week five of the thirteenth season of ABC's The Bachelorette presented viewers with a pair of 2-hour episodes, which saw the elimination of six men and the conclusion of the ongoing friction between Kenny and Lee.

After four hours spent navigating the peaks and valleys of Bachelor Nation this week, here's a recount of five moments that still have us talking:

Willfull-Lee Ignorant

As Lee misguidedly attempted to vent to Will about his frustrations with Kenny, Will took it upon himself (as people of color are too often burdened to do) to educate Lee about why adjectives such as “aggressive” and “violent” strike a nerve with Kenny. “When you call him aggressive, there is a longstanding history in this country of regarding black men in America as aggressive to justify a lot of other things.” Unfortunately (and expectedly), this is beyond the so-called country singer’s realm of comprehension and his mind lands on a problematic conclusion. “So he’s the guy that gets mad and plays the race card and tries to get away with everything he does.” Considering that Kenny has never verbally insinuated that Lee is racist (even though he’d be correct) or even denied that he yelled at Lee, this accusation holds no merit and only serves to further reveal the Nashville native’s clouded, xenophobic point of view.

Bamboozled By A Reality TV Cliché

The two-on-one date between Kenny, Lee and Rachel received so much hype and fanfare that I feel bad for being surprised by how substantially it under-delivered. Nothing occurred on the Norwegian hillside that was more dramatic than what we’ve already seen. Lee lied to Rachel about Kenny, Lee lied to Kenny about lying to Rachel, Rachel sent Lee home, Kenny and Lee exchanged harsh words. That’s it. That’s all. The two foes never physically fought. The clip of Kenny with a bloody eyebrow is cut from a Viking match during a group date, which occurs later on.

The story line of the Kenny/Lee rivalry was predictable and lazy to begin with (large, “scary” black man and racist white man butt heads. Very original. Never been done before), but the fact that the climax of their interaction was misleadingly portrayed to viewers by producers makes the whole ordeal feel like a waste of airtime.

Josiah's Ego Takes A Hit

During a rose ceremony, Josiah’s arrogance hit an all-time high. “If she doesn’t give me a rose, there is something wrong with her brain,” he says during an aside interview. The 28-year-old also raved about how amazing he is and how he can’t wait for Rachel to "experience every layer" of him. Rachel, who had previously expressed suspicions of Josiah’s disingenuous nature, was obviously unimpressed with the layers she had experienced. He was left without a rose, which he attributed to the bachelorette’s “poor judgment.”

Why Sis, Why?!

After an adorable one-on-one date and hardly any screen-time to follow, Rachel forced viewers to break-up with Anthony when she neglected to give him a rose during the traditional ceremony. I felt personally victimized by this elimination. Rachel prefaced the ceremony by saying that she can’t see the men she’ll be sending home as a future husband, but I'm 100 percent sure that if she was to look up the word husband in a dictionary, Anthony would be perched on the page with a wink and a smile. I will carry this devastation in my heart for many episodes to come. R.I.C (Rest In Chicago), Anthony. I'll meet you there.

And Then, There Was One

Despite surviving two-on-one torture with Lee, Kenny and Rachel mutually agree that there is too much uncertainty in their relationship to warrant keeping him away from his 10-year-old daughter any longer. The two part ways in the most amicable goodbye I've ever seen on the show, but Kenny's departure left me to face a devastating truth: Eric is the last black man left among Rachel's suitors. This has forced me to accept that black love will not reign this season because there is no way Rachel is going to agree to an engagement with Eric after she realizes how immature and insecure he is.

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Love To See It: DaniLeigh Choreographed DaBaby's Extraordinary "BOP" Video

Nearly reaching 10 million views in a matter of days, DaBaby's "BOP" music video teaser has A-1 editing, hilarious characters (recorder guy) and perfect choreography. As it turns out, we have DaniLeigh to thank for the rapper's smooth dance moves.

The singer-songwriter teamed up with choreographer Coach Cherry to share her eclectic dance style with the buzzing rapper. "BOP" dropped Friday (Nov. 15) as "BOP on Broadway" with a bevy of dancers taking part in the one-shot style video. Directed by Reel Goats, the teaser feels like the full music video for the single thanks to the three different dance flows including a surprising set by the iconic Jabbawockeez.

DaniLeigh's influence can be felt throughout the video thanks to her signature moves. With her own video reaching 100 million views on YouTube, the singer continued her winning streak with the remix for "Easy" featuring Chris Brown.

The video earned her a Soul Train Music Award nomination for "Best Dance Video" and inspiration for lovers of dance challenges. The Dominican-American might look familiar to many thanks to her contribution to the infamous #InMyFeelings challenge where she managed to hop and bop out of moving car. Ironically, the "Lil Bebe" singer started her career as a backup dancer for the likes of Nelly Furtado and Pharrell. She also choreographed and wrote the treatment for Prince's visuals for "Breakfast Can Wait."

"He wanted it really big in the dance industry so from there, I held auditions and did this video on my own," an 18-year-old Dani told VIBE in 2013. "It's crazy and hard to believe but it was great."

Dani recently released "Cravin" featuring G-Eazy and dropped her debut project The Plan late last year.

Check out the visuals to "BOP" below.

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Solange Uses Her Divine Spirit To Calm The Mind And Body For "Bridge-s" Performance Piece

There's a serene feeling over the bodies standing in the iconic architecture at the Getty Center Museum. Jazzy horns, peaceful keys, and crisp guitar riffs gently interrupt the soothing silence as dancers dripped in marigold threads swayed to "Counting," a composition created by Solange. A series of odd numbers like "5", "7" and "9" are recited on a loop by half of her dancers while the others chant "6", "4" and "2." It's just a preview of her latest creation Bridge-s but felt like a dynamic meditation.

Bridge-s brings yet another magnetic piece into her series of interdisciplinary works that spawned after the release of her magnum opus, A Seat At The Table. The world was introduced to Solange's artistic side thanks to performance art pieces at the Guggenheim in New York and the Hammer Museum in Los Angeles.

Composed by Solange and choreographed by Gerard & Kelly, Bridge-s was created with the pillars, beams, and columns around the museum in mind. Dancers and the orchestra used the space to their advantage, with tuba players catching the peripheral of attendees from afar.

Four rollouts will take place November 16-17, curated with a selection of films that include Black to Techno by Jenn Nkiru, AFRONAUTS and Boneshaker by Nuotama Bodomo, The State of Things by singer-songwriter Kish Robinson (Kilo Kish) and more. In its entirety, Bridge-s was designed to explore "transitions through time."

This was felt throughout the performance piece as dancers move with the intent of love, internal struggle, and unity. In a stunning zine designed by Sablā Stays, Gerard & Kelly shared the emphasis behind their modernist and inclusive approach.

"Our work, like hers, is part of an interdisciplinary effort throughout the arts and humanities to redefine modernism by critically engaging its prevailing narratives. By accounting for differences of gender, sexuality, and race. By focusing on intimate and collective histories. By centering our work around the body, dance and movement," they said.

Solange also opened up about the importance the museum and the Elbphilharmonie Hamburg played in the performance piece. "Both Elbphilharmonie Hamburg and the Getty Museum have sure strong distinctive voices spatially, and so the intention is that all of the work, the movement, the language, the songs all align with those principles," she said. "Working with Gerard and Kelly, who share many of the same philosophies on their approach to interpreting time and space through performance has really built the foundation [for] the spirit of this collaboration."

Like the rest of us, the artist watched closely the dancers glide across the floor, while bandmembers release enchanting sonnets with vocalists dropping a few high notes in between. Guests like Thundercat (and his Pikachu backpack), Kilo Kish, Dev Hynes of Blood Orange and Tyler, The Creator were also left speechless after the performance.

“I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said to the crowd after the assembly provided endless cheers.

Learn more about Bridge-s and get free tickets here.

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Nic Harcourt hands Quincy Jones the AKG Lifetime Achievement Award.
Courtesy of AKG

A Night Of Timeless Moments: AKG Honors Quincy Jones At 'History of Making History' Event

Quincy Jones can hang.

As AKG Audio's special event honoring the legendary composer in Hollywood came to an end just before midnight on Tuesday (Nov. 12), the 86-year-old was in the third hour of meeting guests. Sitting on a piano bench with a wide smile, Jones showed genuine love, laughs and hugs with every fan who had their own special story of how his work changed their lives.

Jones and innovative sound leaders AKG Audio have a lot in common. For the last seven decades, both have commanded the world to open their ears to new styles of technology, music, and production. It's a bond that brought the two to the Capitol Records Tower for "A History of Making History: Celebrating 70 Years of AKG," an event honoring the massive brand while tipping its hat off to one of the most important music composers of all time.

Jones accepted the Lifetime Achievement Award in front of an intimate crowd that included guests like singer-songwriter Daley, Maejor, Bobby Brackins, Jones' protege Jacob Collier, longtime friend and host Nic Harcourt, and many more captivated by the musician.

 

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Quincy Jones, the legendary composer, producer and founder of @VIBEMagazine, was honored last night in Hollywood by @akgaudio with a Lifetime Achievement Award for his contribution to music for over the last 7 decades. Check out our stories for more with Mr. Jones and AKG’s legendary role in the history of headphones! #AKGX70

A post shared by VibeMagazine (@vibemagazine) on Nov 13, 2019 at 8:51am PST

"Thank you from the bottom of my soul," Jones said. "This is as good as it gets for an 86-year-old bald-headed beep bopper (Laughs). Seven kids, eight grandkids; life is great. I hope you all experience a long, long life filled with love to share, health to spare, and most importantly, friends who care."

“Throughout his legendary career, Quincy Jones has created some of the most iconic records in the history of the recording industry and we are honored to present him with a Lifetime Achievement Award,” Erik Tarkiainen, Vice President of Global Marketing, HARMAN Professional Solutions tells VIBE. “For 70 years, AKG has been creating headphones and microphones that empower the spirit of creativity and innovation, and no one embodies that spirit more than Quincy.”

Some of AKG's classic mics were on display like the model Beyonce used for the album 4 and another used by both the late 2Pac and Luther Vandross. Jones even shared how he's used their products over the years.

"For almost seven decades in this business as a musician, composer, arranger, conductor and producer, I have always gone for the music that gives me goosebumps. And whether it was Lionel Hampton, Dizzy Gillespie, Frank Sinatra and the Count Basie Orchestra, the Brothers Johnson, Michael Jackson, the artists who contributed to the recordings of "We Are The World", right up until today, without fail that music was delivered through AKG audio products,” Jones said. “As you celebrate your 70th anniversary, I have no doubt in my mind that AKG will continue to be an essential part of the music recording and listening experience for many, many more decades to come."

Collier's covers revealed just how sharp Jones' ears remain over the years. Collier's jazz-tinged covers of Jones' compositions like "Human Nature" (Michael Jackson), "Fly Me To The Moon" (Frank Sinatra) and "Give Me The Night" (George Benson) included jazz and R&B blends with the multi-instrumentalist using his voice as the most powerful card in the deck. The Grammy-winning artist's performance was a gift to the audience and to Jones, as he sat front and center enjoying an icicle and while tapping his shoe to the new-wave rhythms.

Just before Collier united the room, several studios at Capitol Records acted as classrooms. One studio featured a conversation between Harcourt and acoustics expert Dr. Sean Olive where they touched on the history of AKG's role in the headphone industry, dating back to 1949's AKG DYN Series. Another room included the stems of Quincy's most iconic production—Michael Jackson's "Thriller"—available on laptops for guests to mix while AKG's latest releases like the AKG K361 and K371 were on display. In the Crow's Nest studio rested with elation is Ramzoid, who offered his own remix to Jones' music.

One of the main studios featured a DJ set by Austin Millz, one of the creatives behind D’USSE Palooza and admirer of Jones. "It was an honor to play for the Quincy Jones/AKG event," he tells VIBE. "Quincy is one of my biggest influences in music. His path, journey and all his contributions in music is countless and is a great example of setting the tone for what is an extraordinary career. His accolades and what he stands for is exemplary. Last night was a night that I will never forget."

The bubble with Jones and AKG was a music lover's paradise. As the legendary composer continues to receive his flowers, new and old friends are learning more about him each and every day. "It's the left brain and science," he said of the intersection between God-given instrumental talent and technology. "You have to master the rules before you can break them, so you better know what you're doing."

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