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Creator Of Beyoncé Church Service Delivers New Take On The Old Testament

Spreading the gospel in today's world comes with a creative gamble. There are those who still take to streets with hugs and messages from the Bible and there are others who have found ways to include today's biggest artists into scripture. Insert Beyoncé Mass, a church service mixed with inspirational songs from the Grammy-winning singer.

The alternative service was created in 2018 by Rev. Yolanda Norton, who taught the class "Beyoncé and The Hebrew Bible" at San Fransico Theology Seminary. In an effort to teach students about black women and their relationship to the gospel, Bey's use of spiritual and religious imagery in her work came to mind. "We're talking about respectability politics, the commodification of the body, sexuality, motherhood and relationships because these are all very real to black women," she tells VIBE about the womanist worship service. "We build from that to talk about how all of these issues show up in the Bible."

The class found its way to the church pews in 2018 with much fanfare. With scripture from the Old Testament, Rev. Norton and her team strategically weaved through Beyoncé's vast discography to curate a service with some of the singer's most moving records.

The first service at San Francisco's Grace Cathedral brought out over 500 people, a huge difference from the normal 50 attendees. While some saw the mass as a "spiritually awakening experience," critics questioned the presence of secular music in the church. There's also the immediate likeness to Kanye West's Sunday Service where the artist blends his discography with gospel hymns. But Rev. Norton says the two have nothing in common.

"I've been in ministry for 12 years," she says. "I've been ordained for six years and I'm a trained theologian. I have a decade's worth of education in the field. I lead with theology and the mission of Christ. Again, it's a very different thing. He's a performer—I'm not. That doesn't work for what I'm doing. What I can do is attempt to construct a meaningful conversation about God and Christianity."

Rev. Norton's Beyoncé Mass will take place this evening in Brooklyn's First Presbyterian Church at 7 p.m. ET and again on Thursday (Oct. 24) at Harlem's St. James Presbyterian Church at 7 p.m. ET.

Check out our chat with Rev. Norton where she breaks down the future of Beyoncé Mass and more.

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How did Beyoncé Mass come about and how does it connect to your class "Beyoncé and the Hebrew Bible?"

Rev. Yolanda Norton: First, I'm a Hebrew Bible scholar who teaches what popular vernacular call The Old Testament. I'm finishing up my Ph.D. at Vanderbilt, my doctoral studies focused on the Hebrew Bible but I also have a secondary resource interest in ethics and homiletics which is the study of preaching.

My work is interdisciplinary and I'm always seeking how African-American women encounter the Bible, Christianity and how the intersection of patriarchy and racism has influenced the development of Christian faith. So thinking about that work, I developed this class called "Beyonce and the Hebrew Bible."

It uses womanist theories to highlight the realities of black women. It's a term that pulls inspiration from Alice Walker's In Search of Our Mother's Gardens and with that, I used womanist theological theory to frame for my students the issues black women face and how we encounter the Bible. In particular, I used that theory to inform conversations about the music and persona of Beyoncé so that we can talk about the issues black women face. We're talking about respectability politics, the commodification of the body, sexuality, motherhood and relationships because all these things are very real to black women. Then we build from that to talk about how all of these issues show up in the Bible.

Beyoncé Mass came about because one of my students [Sam Lundquist] was interning at a church in San Francisco and asked us to lead service in their midweek capital, which is their prime gauge/alternative worship service. We agreed to do it and I went away to a wedding. When I came back, Beyoncé Mass Service had gone viral. Since then, we've taken the small team to Portugal, Southern California and now here we are in New York.

How was the service in Portugal? 

It was amazing. I really didn't know what was going to happen in Portugal more than any other place. I thought, "I don't know if this translates right." I know there are intersections between the kind of problems we face in the United States but I don't know how close that is.

We were supposed to do it at one church but once it hit the media, they got a lot of pushback and they pulled out. We found a Catholic church and so repurposed it for the mass. We didn't know who was going to show up until that night because the church only held about 350 people. Let's just say we broke some fire codes both nights.

We had people sitting on the side of the pews and on the floor. So it has been quite amazing to think about the impact of the mass and the populations of people who are who were able to reach.

How do you feel about the criticism you've received about Beyoncé Mass?

You know, people are entitled to think what they want to think. I'm not worshipping Beyoncé and I'm not encouraging anyone to worship her. I'm very clear that this is a Christian worship service and we're just using the music to tell a story about black women and to provide an alternative vision of who and what the church can be and we know that can be intimidating to people.

I know that message doesn't resonate for everyone but for as long as there is a population of people who find affirmation and healing and flow in this work, then I'm just going to keep doing it and I can't be concerned about what people who have this kind of blanket critique. I have a community of scholarly women and black female friends that give me solid feedback along the way. I do my best to live in community with that feedback and that critique, but for people who have decided to dismiss it? I can't give you that energy.

How do you handle the comparisons to Kanye West's Sunday services and given stan culture among the Beyhive, do you worry that people will misinterpret the message behind the service?

We've seen increasing comparisons between the Beyoncé Mass and Kanye's Sunday service. I've never been to one, but my very basic answer is that I've been in ministry for 12 years. I've been ordained for six years and I'm a trained theologian. I have a decade's worth of education in the field. I lead with theology and the mission of Christ.

Again, it's a very different thing. He's a performer—I'm not. That doesn't work for what I'm doing. What I can do is attempt to construct a meaningful conversation about God and Christianity.

When it comes to the Beyhive, I get it. I'm beyond a fan, but my focus is on the mission of Jesus Christ. I know there are people who come to the mass who aren't devout Christians at all. They're atheists, agnostics, people who have been hurt by the church, and it reminds me of an opinion piece that was written by a gay man who felt emotionally abused by the church and decided to abandon it. He attended our San Francisco service and realized there's a difference between who God is and what the church does.

 

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one of the only things that can get me to attend mass: YONCÉ.

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So I think there are a lot of people who come to the mass for various reasons. The best that I can do is to create a meaningful worship center that hopefully provides some healing and centers people on what I think is God's mission in the world.

When you think about the mission of Beyoncé Mass, black women immediately come to mind. Will the New York services share lessons about black women in the Bible? 

The Hebrew Bible scholar in me has to say, we have to be attentive to the fact that race was not operative in the biblical world, right? So these distinctions of black and white are not there in the Bible. What is there for me as a Bible scholar is that there are communities that were being formed and there are some people who are celebrated and belong in the text and there are some people who don't. So it's not about talking about black women in the Bible, but it is about how black women can find themselves in the Bible.

It's a thin distinction but a very real distinction. I'm clear that in the reception history of the Hebrew Bible, black women, in particular, have been excluded. So my work is to retrieve a voice for black women. It's just a matter of doing that in the ways that I feel is the most faithful to the scholarship and my discipline.

Where do you see Beyoncé Mass heading?

My goal is, you know, trying to pinpoint a set of cities to do the math in. While doing that I want to increase our outreach capacity. When we can find inclusive, affirming states and worship for all of God's people, we can go out into the world and do the work of justice. I want it to develop this network.

We found the right church in Harlem. Their minister Rev. Derrick McQueen is an out gay male and has a Ph.D. in ethics. We're also working with Brooklyn's First Presberyian Baptist Church that's ministered by a black woman. These are spaces where people see them for who they are and love them because that's the mission that God has given us.

What are four songs from Beyoncé's discography that speak to the messages in the service? 

The song we always use is "Flaws and All." It's so raw and honest. [The lyrics say,] "I'm a train wreck in the morning, I'm a b***h in the afternoon." I'm all of those things and you can turn that into a conversation with God. We aren't perfect and we have a bunch of flaws, but God loves us. We may never understand the mystery of why God loves us beyond our imperfections but God does.

Another one would be "Formation." It's a sense of working together as one. We have to work together to be "in formation" and while she's doing that, she's talking about her love, not for her own self but other black bodies [Jackson 5 nostrils lyric].

There's also "Halo" and of course, "Love on Top."

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Justin Newhouse

Filmmaker Coffey's 'About The People' Depicts Honest Conversation On Being Black In America

About The People, a short film created by New York City-based filmmaker Coffey is an ode to the power honest conversations about social justice, equity and race have within black and brown communities. The movie hosts a group of black men that hold court at a conference table to discuss how they can improve society for their kinfolk.

Their discourse concerns the social-economic inequalities that often grips black men at the hands of police brutality and lack of opportunity. In the end, a young black woman joins the conversation as well. Each character is named after their respective accomplishments in life.

There’s The Militant (Coffey), The Athlete (Akintola Jiboyewa), The Professor (Nashawn Kearse), The College Boy (Diggy Simmons), The Celebrity (Sterling Brim), The Executive, (Tyler Lepsey), The Preacher (Dorian Missick), The Author (Hisham Tawfiq), The Senator (Michael Kenneth Williams) and The Janitor (Ebony Obsidian).

Throughout the story, The Militant challenges The Preacher on his religious beliefs and optimistic viewpoint in believing that, through a higher power, all things are possible. Coffey, who grew up in a religious home in a small town in South Carolina, says his character’s defying ways were intentional. Through The Militant’s anger, he was able to release his own rage.

“As the co-writer, I could have been any one of those characters but I chose The Militant because I knew he was the one that was shaking up that room,” Coffey explains over the phone. “When you get that many brains in one room there’s absolutely no way everyone is going to say, ‘Okay everything is going to be joyful and we’re on the same page,’ it never happens that way.”

“There’s always a throw off in that room and it had to be The Militant, who ruffled some feathers,” he continues. “So, because I was pissed off in real life, I choose that character.”

About The People is inspired by a conversation Coffey had with his eldest son on police brutality. After not giving his son a curfew during the summer, he questioned why he would come home while the sun was still out. His son replied, “Me and my boys are making sure we get home before dark so we won’t get killed by the cops.”

That same fear plagues millions of black and brown men in America, where your skin color determines how much your life is worth. It’s a harsh reality, but it’s something Coffey didn’t want to shy away from. His first encounter with police brutality was watching the news of the L.A. riots after Rodney King was beaten by the LAPD in 1991. At the time, the world was a simpler place; social media didn’t exist, the Internet was in gestation and ubiquitous movements like Black Lives Matter hadn’t made CNN headlines yet. However, injustice was something that inevitably would enter Coffey’s life. It became clearer when he became a father in New York City.

“At that time I didn’t have kids,” he recalls when the L.A. riots were happening. “But the moment I did birth a child, which was here in New York that’s when it became like, ‘Okay my color is a problem because I’m a person of color, it’s already one strike against me which is crazy, but it’s reality.'”

In addition to discussing the conundrums that accompany being a black man in America and attempting to arrive at a consensus on how they can all make this situation better, there’s also a bigger topic at hand which deals with the inclusion of black women in this conversation. Near the film's end, The Janitor, a young black woman with an afro overhears their conversation. She’s intrigued by their discourse and takes it upon herself to jump in—unexpectedly, but with urgency.

Though she is met with opposition from some people in the group, they quickly realize she has the answers they’ve been looking for. She’s the missing piece to the puzzle they’ve been trying to complete. Historically, black women have played a major role in activism and have held the weight of the plight that swallows black men into a system that wasn’t made to protect them. But somehow don’t always get the credit they deserve.

Gillian B. White of The Atlantic breaks down this dichotomy in a 2016 article, titled Why Black Women Matter. “The necessity of black female activism, to me, is one of the most complex and important parts of this conversation,” White notes. “Black women haven’t been the backbone of agitation just because they wanted to be, but because oftentimes, they are the only ones who are able to.”

“Black men are America’s favorite victims. The country’s racial brutality and bias all too often truncate the lives of black men—either through death or incarceration,” she continues. “Even before the modern versions of mass incarceration, the war on drugs, and recent police violence, black men had targets on their backs. From lynchings to indentured servitude in coal mines during Jim Crow, the country’s legacy of taking black men’s lives and liberty has left black women to bear the burden of caring for families and advocating for justice for their fathers, husbands, sons, and brothers whose voices are often silenced.”

The Janitor was created in honor of Coffey’s grandmother and Angela Davis. Reminiscent of his childhood he decided to put the character in the end since his grandmother always had the last word. “The structure of the film is personal to me,” he explains. “My grandfather would have his friends over and they would drink and watch sports, and if there were problems it would be him and friends that would talk about these problems. But when my grandmother would find out they didn’t have the answer to these issues, she would provide the solution.”

In About The People Coffey creates an honest dialogue about what it means to be black in America and feel constantly oppressed by authority figures that are the direct product of white supremacy. The admission is universal considering how much of this world has been colonized by greedy European settlers, but its message is deeper than that. Money is another toxic element in the lethal poison where oppression and inequality are formed. Yet he made this film as a catalyst of hope—not to go against the powers that be.

“The honest to God truth is this isn’t written to go against any white people at all,” he says. “This is written for people of color, my kids and everybody else’s kids to try to follow these guidelines so it will be a better world for them.”

Special thanks to director Sterling Milan, Sincere Giles and Samuel K. Rhind.

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Peter Rosenberg And Cipha Sounds Talk Juan EP's Return And All Things Jay-Z

Hip-hop podcasts are everywhere. Yes, everyone wants to be heard, but not everyone who wants to be heard is focused on moving the culture forward. Enter hip-hop nerds, Peter Rosenberg and Cipha Sounds. After a year hiatus, the duo is returning to these podcast streets with the Juan EP, where they bring their valid expertise on all things hip-hop.

Cipha and Rosenberg joined forces with Mass Appeal and Endeavor Audio to deliver comprehensive conversations about the culture, some of our favorite moments in hip-hop, favorite albums, best rhymes, among other things. During the podcast's first season, the DJs touch on who is arguably the greatest MC of all time, Jay-Z.

"I wanted to make sure we always kept the conversation about Hov’s rhymes," Cipha Sounds tells us in our phone conversation. "Don’t forget about how nice he is on that mic."

Drawing help from some of Shawn Carter's closest friends, Cipha and Rosenberg dig into Jay-Z's career to discuss his best collaborations, beefs and pinpoint moments of Hov's greatness. VIBE caught up with the fellas and chatted about the Juan EP, Jay-Z and much more.

VIBE: First, this has been bothering me for years. Who is Juan Epstein? Rosenberg: Juan Epstein came from the fact that Cipha and I got paired together. He's Puerto Rican and I’m Jewish. Juan Epstein was a Puerto Rican/Jewish character on the show, Welcome Back, Cotter. I never watched the show, I think Cipha may have been the one to tell me about the name. That was perfect.

The podcast has been on hiatus for a while now. How was the process of bringing the podcast back? Rosenberg: We’ve been wanting to bring it back for a minute. We’ve been looking for the right opportunities and the right partners. And we thought Mass Appeal was a really good home. And when the opportunity came up, it just seemed like a really good fit. We’re trying to do something right for hip-hop, and curated well, and do right by the culture. When Mass Appeal came up with an option it seemed like a perfect fit. It was a great excuse and forced us the get organized and bring it back.

Cipha Sounds: The reason I love this podcast is because it really is two hip-hop fans who were lucky enough to get paid from hip-hop, and we get to talk to some great people from the hip-hop community about hip-hop. There aren't any outsiders speaking about our culture. And we learn new things that we never knew before.

With you guys coming from radio, do you prefer podcasts over radio programming? Rosenberg: It’s a different thing. [Podcasting], it’s more in line with what I’m really passionate about. And it’s really fun. It’s two different versions of a similar thing. They’re both broadcasting, but this gets to be about hip-hop, and not the bullsh*t side, the gossip. This really is about the music.

Cipher: I don’t consider one over the other. I definitely like having long conversations with hip-hop artists.

Season One of the Juan EP is about Jay-Z. Why him? Cipha: Everybody always has all these conversations about the top five [MCs] and who’s the G.O.A.T. I wanted the same street corner, lunchroom conversation with some actual research, and facts from people who were there. People who handle the question with some real information. And also, it is fun to get people’s opinions on it. Of all the sh*t that Jay-Z does that influences the culture, whether it be becoming the first billionaire or marrying Beyoncé, I wanted to make sure we always kept the conversation about Hov’s rhymes. Don’t forget about how nice he is on that mic. Since we're talking Jay-Z, there was a time, well, at least in my hometown of Mississippi, where people were aggravated with Hov for frequently using B.I.G's rhymes.  Cipha: Let me answer this one. Let me tell you and all of your friends in the barbershop in Mississippi, every time Jay says a B.I.G. line, Biggie's kids eat. The reason he does it is because it pays for Biggie’s family to live the way that they should’ve lived if Biggie was still alive, so he pays for school, and homes all off of saying a line.

Wow. I didn't know that. Rosenberg: Yes, anytime Jay-Z samples a B.I.G. line, thanks to B.I.G.'s publishing, his family eats.

What are some of your favorite episodes so far? Cipha: My favorite is the Clark [DJ Clark Kent] episode. I loved how he broke down the details of how Jay-Z and Biggie met. For me, that’s something I’ve always wanted to know and I’d be like, "How will I ever, ever know that?" There’s no way. Like, I don’t know where it was. I don’t know who was in the room and basically to find out not only was Clark Kent in the room but basically orchestrated it.

At times, Jay-Z takes a lot of heat. For instance, this NFL partnership business. Some people have even said he's partly responsible for the gentrification happening in the Fort Greene section of Brooklyn. Rosenberg: We talked a lot about Jay-Z's ventures and how he’s taken flack for some things. And Jay-Z the businessman is a different thing than Jay-Z the artist. We go into a lot of detail about the business and how he’s viewed, And we defiantly get into the question, on the episode, actually next week [on the Nov. 19th episode titled, "I'm A Business Man"].

Here's some fun Jay-Z stuff. To me, the best intro song in the history of hip-hop is Jay's "The Dynasty Intro." Let's debate this. I'm ready.  Rosenberg: I agree that it’s up there. I probably haven’t done the extensive research like you have. But The Dynasty is definitely one of my favorite Jay-Z albums, which is funny because first, it wasn’t a Jay-Z album, then it was a Jay-Z album. So I wonder did he have that intro on there already when it was just a Roc-A-Fella album or did he add it once it became a Jay-Z album? Who would I even ask?

VIBE: Guru.

Rosenberg: Was he around then?

VIBE: Bean’s first album came out before The Dynasty album...

Rosenberg: And Guru did Bean's album...

Cipha: Yes, but even if he wasn’t around... this guy is so strategic. I know that the Pharrell [Williams] record made him make it a Jay Z-album instead of a Roc [A-Fella] album, but that intro, it’s not long and the beat is not complicated. It's a simple hip-hop beat. Damn, we now have to do an episode about this.

Rosenberg: And that's what this show is about. For people who are interested in stuff like that. And this is the perfect time to dig into the podcast because all of the episodes are available. You don't have to wait for the next episode.

Hip-hop fans can tune into every episode of Juan EP below or on Stitcher, and Endeavor Audio.

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Sean Zanni

Swizz Beatz On Art Endeavors, 'Godfather of Harlem,' Son Painting His Nails

Swizz Beatz has already established himself a rap legend, with 20-plus years of production credits with hip-hop and R&B greats. But now, the passionate collector and curator is making just as much of a name for himself in the art world. He and his wife Alicia Keys have founded The Dean Collection, which loans pieces to museums and galleries around the world while advocating to get creators paid and introducing art to new audiences. Those endeavors continued this week, as their entity partnered with the Marriott Bonvoy and American Express for the platform, "Women In Art."

At an intimate dinner in New York City, the organizations honored Joeonna Bellorado-Samuels, director of the renowned Jack Shainman Gallery in New York City. Bellorado-Samuels worked with two artists, February James and LaKela Brown, who created two pieces that will be on display at the Dream Party event during Art Basel in Miami, Fla. Similar to his work in music, Swizz is always pulling the strings, both publicly and behind the scenes, to present valuable artists at their best.

But don't let his art endeavors make you think he's not still active in music. His 2018 album Poison was one of the year's best with collaborations with the likes of Nas, Lil Wayne, and Young Thug. This year, he's dropped weekly heat for the soundtrack of Godfather of Harlem, a new show on Epix starring Forest Whitaker as 1960s crime boss Bumpy Johnson. The songs have featured Rick Ross, DMX, A$AP Ferg, Dave East, Jidenna, Pusha T, and many more – and Swizz is overseeing them all as the executive music producer. VIBE spoke to Swizz about honoring women in art, creating a soundtrack without having finished the show, and his response to online controversy surrounding his son.

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VIBE: So what’s the occasion for tonight?

Swizz Beatz: Tonight is the announcement of the continuation of my partnership with Marriott Bonvoy and American Express with the Dean Collection. Tonight, we’re celebrating an amazing female force behind the creatives in the art world, her name is Joeonna Bellorado-Samuels. Then we have two accompanying artists that we’re celebrating that we added to the celebration, one’s name is February and the other’s name is LeKela. It’s an honor to celebrate these amazing women in art and have great partners like American Express, Marriott Bonvoy, and push the conversation forward.

The partnership first started with an interest in the Dean Collection and all the different things we’ve been doing around the world with the arts and giving back. American Express and Marriott Bonvoy felt it was a perfect opportunity to fuse the two together and make the message louder. Very organic.

Tonight, the event is honoring Joeonna Bellorado-Samuels. What made her the right choice for this?

She works with Jack Shainman, which is a very popular gallery.  Seventy percent of my collection in the past five years has been through that gallery, and she’s the person that’s behind the scenes dealing with the artists, all the phone calls and all the emails, but then also always showing up to everybody else’s events. So I thought, why don’t we celebrate the person who always celebrates? Just thought it was a great way to spotlight, give her an award, let her smell her flowers, let her know that she’s appreciated for all the work she’s done to give everybody else life in the art world.

We’re having a party called the Dream Party at the W South Beach, where the pajamas designed by February James and LaKela Brown will be premiered.

Are women recognized as they should be in the art world, or is this against the grain in that respect?

Man, there’s so much work still to be done. I think women in the art world make up three percent of the sales, so it’s our job to increase that number by any means necessary. It starts with things like what we’re doing now. Putting the spotlight and having a male, and also my wife, who’s a part of the Dean Collection, saying “let’s do something where women can feel special as well and boost the awareness so we can try to even out the numbers a little bit," just like everything else in the world.

 

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🖤🤓 I am super thankful to have been recognized for my work in the Art community by @AmericanExpress, @MarriottBonvoy, @TheDeanCollection, and my dear friend @TheRealSwizzz as part of their platform to support “Women in Art”. This recognition means the world to me and I am excited to continue being an advocate in the art community in order to help spotlight other women creatives like the insanely talented @LakelaBrown and @FebruaryJames. I’ll be unveiling more soon at Miami Art Week with #mbonvoyamex #AmexAmbassador #ad (but I mean it)

A post shared by JØɆØ₦₦₳ bellorado-samuels (@joeonna) on Nov 15, 2019 at 3:01pm PST

You also have a talk coming up at Art Basel with Kehinde Wiley. How did that come together?

Kehinde Wiley started an honors residency called Black Rock in Senegal. We went there for the opening to support him. This talk is raising money for Black Rock. Kehinde was the first artist to officially participate in No Commissions as an established artist, even when everybody was scared to do it. Just the fact that it was going towards Kehinde, I had to support him. He’s a real brother.

A few minutes ago, I said that I’m not in the art world, and you said that I can be. For someone who’s not a collector yet and who doesn’t have the means that you have, how would you suggest they get involved?

There’s a lot of information online, there’s a lot of gallery shows. And there’s art available for people of all levels financially. That’s one of the stigmas, that art is only for rich people. That’s not the case. Art is available for whoever wants it, it’s just the scale that you want to play on at that time. Get your entry point, and it goes up from the entry point. Just like No Commissions, you can get an amazing print from an amazing artist like Swoon. That money goes toward Heliotrope, which is a foundation of helping people, for $30. There’s no excuses. But in the near future, I have my technology coming out called Smart Collection, which is going to give people an entry point on how to really get it cracking.

You ever think back to when you first started collecting and think “man, I’m at the point where I’m getting artists paid, I’m speaking to one of the greatest artists in the world at Art Basel.” How often do you think about how far you’ve come in that respect?

I reflect on where I’m at now, but I still know that I’m only just beginning. There’s still a lot of work to be done. I’m happy that I was a part of bringing African American collecting--whatever we helped do, we’re forever thankful. But it’s about all forms of art. And all colors, by the way. Art has many colors, but I see none of them. I feel like a dope creative is a dope creative. We invested heavy into African American art because we weren’t owning enough of our own culture. We have artists from all around the world in our collection. So it’s pretty balanced out. It’s been fun collecting living artists and having a relationship with them and being able to do things like we’re doing here tonight with our partners at American Express.

You’ve done a great job with the Godfather in Harlem soundtrack songs every week. How have you been putting that together?

It’s been fun. I’ve turned every night in the studio into an event, and it allowed me to step out of the box. Every week you hear a different sonic, and it sounds like it’s for the show, but the show is based all the way back then but it feels now. I just got in my zone. I’m happy with where the show is going, it’s breaking records. I’m happy to be the executive music producer.

Are you watching each episode and breaking down plots for the artists to create songs to?

I’m just playing clips, and I’m letting them write to those clips. That’s why the songs feel like they were meant for the show. No particular order. I didn’t watch the whole series yet, I watch every Sunday as a fan. I didn’t want to ruin it for myself.

In recent weeks, your wife Alicia Keys posted about your son wanting to paint his nails but being afraid of being teased in school. How is he holding up, and how do you and Alicia foster a household that can embrace creativity and feminine energy?

We let our kids have their freedom. That incident she was talking about was a one-time incident. That wasn’t something he asks to do every day. He’s four years old. He’s in the nail shop with his mom, and he’s like, “That looks cool.” That’s art to him. Us as men, now, we all put our mother’s shoes on when we were younger. We were exploring. Name one person who didn’t put their mother’s shoes on growing up. We don’t cut off the exploration and give a four-year-old a label. My son is harder than most guys I know; he’s a real serious kid, to be honest. If you look at his Instagram, he’s one of my more serious kids. But he’s also open to express how he wants to express. Although as a father I’m going to teach him things to know to protect himself, I’m also going to let him explore himself. I am who I am because I was able to explore. We just live in a world sometimes where people want to put a label on something, but you can’t put a label on a four-year-old. My wife had a great message. It probably was misinterpreted, but she meant what she said, and I stand behind what she said. I don’t have any labels on my kids.

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