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Main article: Grammys

Beyoncé Gives Birth To Destiny's Children






Beyhive, meet your two newest members. 


Beyoncé and husband Jay Z have welcomed twins in Los Angeles, according to multiple outlets. The sex of the twins is currently unknown, as well as exactly when the singer gave birth. The couple are, of course, already parents to Blue Ivy, 5, who, if you haven’t heard, is about the most adorable girl on planet earth.


Beyoncé’s father, Mathew Knowles, posted a celebratory message on his Twitter account on Sunday confirming that the twins are indeed here.  The proud grandfather posted a picture of balloons that read “Happy birthday to the twins, love grandad.” 






The “Formation” singer announced she was pregnant with twins in February with an instantly iconic photo shoot that essentially broke the internet. Her announcement photo became the most-liked Instagram post ever. Remember? The floral moment with some green mesh and major Virgin Mary vibes? 


“We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes,” the announcement read, signed by “The Carters.”






The typically reclusive star has been out and about since then. She stopped by the Grammys about a week after the announcement only to lose every major award to Adele. Bey did walk away with the satisfaction that she delivered the night’s most flawless performance, featuring a medley of songs from her nominated album, “Lemonade” about what it means to be a mother and a daughter. 







Weeks before giving birth, Beyoncé celebrated her baby shower with family and friends. Dubbed the “Carter Push Party,” the gathering made the internet sigh with collective envy as the guests included mom Tina Knowles and pals Kelly Rowland, Serena Williams and La La Anthony.


Of course, there was also an accompanying photo shoot, showing a very pregnant Bey with a henna-tattooed belly. She also shared photos of herself and Jay Z looking very much in love. 












Throughout her pregnancy, the singer has been blessing us mere mortals with regular Instagram content, showing off her maternity looks, flipbook style.


Blue Ivy has even made a couple of cameos, most recently sporting matching dresses with mom at the Museum of Ice Cream in Los Angeles for a Mother’s Day outing. Snapchat filters and fun were had by all. 












The birth of the twins comes a couple of months after Beyoncé and Jay Z’s ninth wedding anniversary, on April 4which the singer commemorated with a heartfelt video tribute to her husband, featuring the newly available song “Die With You.” 






We’re grateful that Bey is happy and healthy and that the possibility of a new generation of Destiny’s Child is closer than ever before.


This story has been updated to include a statement from Mathew Knowles.

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jun 18, 06:00
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After 15 Whitewashed Years, ABC Casts A Black 'Bachelorette'


America officially has its first black “Bachelorette,” and damn is she awesome. On Monday it was announced that current “The Bachelor” contestant Rachel Lindsay, a 31-year-old attorney from Dallas, will be the next lead of “The Bachelorette.” (So... guess it’s safe to say she doesn’t “win” Nick Viall’s heart?)


This is the first time a woman of color has been cast as the lead of the show, and “The Bachelor’s” only attempt to cast more diversely in its leads resulted in a fairly disastrous season starring the (very light-skinned) American-born Venezuelan Juan Pablo Galavis. Tonight’s announcement is especially notable given that the franchise has a long and rocky history when it comes to racial diversity ― a racial discrimination suit was filed in 2012 and later dismissed ― and that ABC’s Entertainment President Channing Dungey indicated in August that she “would very much like to see some changes” when it came to the show’s lily-white casting.


“The Bachelor” creator Mike Fleiss ― who for years defended the show’s whiteness ― had been teasing the big announcement for nearly a week, billing it as “historic.” On Feb. 10, journalist

 that she had gotten information that made her “100% certain” that Rachel would be the next Bachelorette. And on Sunday night, Fleiss acknowledged that the official reveal would take place on Jimmy Kimmel’s fellow ABC show the next night.














Lindsay appeared on “Jimmy Kimmel Live” along with Chris Harrison to introduce herself. “I’m ready to find a husband,” she told Kimmel. In the process, she spoiled the outcome of her own budding love story with Nick ― something the franchise has never before done with “The Bachelor” or “The Bachelorette.”


The response to the announcement was largely positive ― after all, Rachel is cool as hell.






















People also expressed some understandable exasperation that the franchise had waited 33 seasons of “The Bachelor”/”The Bachelorette” to cast a black lead.














Of course, this is no revolutionary victory in the fight against institutionalized racism. After all, ABC could have easily cast many more non-white Bachelors and Bachelorettes since the show premiered in 2002. But given that millions of people ― both on the coasts and in the middle of the nation ― tune in each week to watch the show, it’s important not to write off the impact even the most basic representation can have.


“The Bachelor” and “The Bachelorette” are shows that are fundamentally based in retro ideas about love and sexuality. The leads of each show are held up as relatable romantic ideals. The Bachelor and Bachelorette are meant to be normal, yet unusually attractive, people who can’t find love but truly deserve it ― because they are wiling to “open up,” “be vulnerable” and “go on a journey” which presumably ends with engagement.


That romantic lead role, a fantasy which draws in millions of viewers who simultaneously pick apart and buy into the lead’s love story, has simply never been made available to people of color. During most seasons of “The Bachelor” and “The Bachelorette,” contestants of color have felt more like footnotes to the storyline rather than central characters, with few even making it past week 5, which is usually the point at which the audience starts to develop an attachment to the individual contestants. 





With Rachel at the center of the franchise, viewers across the country will be buying into her frothy love story. She will be living out the “fairytale journey,” complete with handsome suitors, absurdly constructed fantasy dates, demurely coded sex scenes and Neil Lane diamond rings. A black woman’s love story will be the thing that attempts to “fill a hollowness carved by the ways in which our own romantic lives fall ever so short of the beautiful lies,” as writer Roxane Gay once wrote about “The Bachelor.”


Besides, Rachel isn’t a great contender for “Bachelorette” because she’s black. She’s great because she’s smart, stunning, fun to watch on TV, old enough to know what she wants from a partner and seems to really have her life together. She also happens to be a woman of color. 


In the next few weeks, we’ll see exactly how and when Rachel makes her sure-to-be-graceful exit. We don’t know how her arc on Nick’s season will wrap up, but we can be sure she’ll be ready to open up her heart to new love next month, just in time for filming. 


For more on “The Bachelor,” check out HuffPost’s Here To Make Friends podcast:





Do people love “The Bachelor,” “The Bachelorette” and “Bachelor in Paradise,” or do they love to hate these shows? It’s unclear. But here at “Here to Make Friends,” we both love and love to hate them — and we love to snarkily dissect each episode in vivid detail. Podcast edited by Nick Offenberg.


Want more “Bachelor” stories in your life? Sign up for HuffPost’s Entertainment email for extra hot goss about The Bachelor, his 30 bachelorettes, and the most dramatic rose ceremonies ever. The newsletter will also serve you up some juicy celeb news, hilarious late-night bits, awards coverage and more. Sign up for the newsletter here.


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feb 14, 08:02
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Adele Explains Why She Restarted Her George Michael Grammys Tribute






Adele was determined to make her tribute to George Michael perfect. 


On Sunday night, the singer asked the band to restart her live Grammys rendition of Michael’s 1996 ode to casual gay sex, “Fastlove,” after a rocky start. 


“I can’t do it again like last year. I’m sorry for swearing and I’m sorry for starting again,” she said, referencing her botched 2016 Grammys performance when the microphones fell onto the piano strings that left her crying all the next dayCan we please start it again? I’m sorry, I can’t mess this up for him. I’m sorry. I can’t. I’m sorry for swearing. I’m really sorry.”


She refused to deliver a less-than-stellar tribute to Michael. 







After the performance, Adele explained to reporters backstage what went wrong, according to E! News. 


“I was devastated by that, and my rehearsal — I did have a shaky rehearsal today,” the Brit, who called Michael “one of the truest icons,” said. “But I have been working very hard on this tribute for him, every day.”


A production source told People magazine that Adele was “super nervous going into [Sunday’s Grammys]. She cleared out the stadium for her rehearsal but it went really well.” 


Of course, her full performance went spectacularly, and celebs in the audience applauded Adele’s do-over for its authenticity. 

















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feb 13, 21:58
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Trans Teen Gavin Grimm Responds To Laverne Cox Shout Out At The Grammys






A transgender teen whose fight for civil rights is headed to the Supreme Court in March received the shock of a lifetime when Laverne Cox used her stage time at the Grammys on Sunday to draw visibility to his case.


Gavin Grimm is a 17-year-old transgender boy who fought against the Gloucester County School Board in Virginia for rights to use the public school bathroom that corresponds with his gender identity. With his upcoming March 28 SCOTUS case having major, historic implications for the trans community, Cox dedicated her intro to Lady Gaga and Metallica’s performance to tell viewers, “Please Google Gavin Grimm. He’s going to the Supreme Court in March. #StandWithGavin.” 






According to The Washington Post, Grimm had no idea Cox planned to make the high-visibility statement at The Grammys ― that is until he heard his mother “shrieking” from the next room while watching the awards show.


“I was just so thrilled because I love her. She’s just a beautiful person inside and out,” Grimm said. “I was really touched and thrilled and honored that that was the first thing out of her mouth... at this point, that’s the role I occupy and I want to make sure I’m using that platform for positive,” Grimm said. “I definitely didn’t set out at the beginning wanting to or expecting to shouted on the Grammys.”





Grimm’s mother previously spoke out in a video for the ACLU about how her son has become a lighting rod for the mainstream transgender rights debate ― a fight that she says is about equality for everyone.


“A win would be awesome, but it’s come down to way more than bathrooms now,” she says in the above video. “It’s about treating everybody with dignity and respect ― and it’s about equality. And it’s about it in a way that I never understood and that I think people need to understand. We all bleed the same kind of blood. We’re all equal, everybody is equal and now more than ever everybody needs to be recognized as equal.”

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feb 13, 19:58
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Remember The Woman Who Inspired The #UNameItChallenge? The Grammys Didn't.


Gospel singer Shirley Caesar gave life to our social media feeds in November by inspiring the viral #UNameItChallenge. But her significance seems to have been lost on whoever created one of the video montages for this year’s Grammys. 


In the video dedicated to the Grammys’ Lifetime Achievement Award winners, of which Caesar was this year’s recipient, viewers saw footage of fellow gospel singer Cece Winans where Caesar should have appeared.






Not only did the video’s creators seem misinformed as to what the singer looked like, they also misspelled her last name.


*Sighs.*






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feb 13, 19:16
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Cee Lo Green's Grammys Outfit Got Meme'd Faster Than You Can Say Bey—


So, Cee Lo Green showed up to the Grammys on Sunday looking like this:



Here’s a slow-motion video so you can really take this in: 






Say what you will, but it’s certainly a look. The all-gold everything styling is part of Green’s new persona: Gnarly Davidson. But unfortunately for Cee Lo Green, you’re not here to learn more about his new persona, are you? You’re here for the memes. And memes there were. Shall we commence?


























































Man, even Drake got in on it. 






Until the next meme. 

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feb 13, 18:51
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What White Women Can Learn From Adele's Grammys Speech






During Sunday night’s 59th Grammy Awards, Adele’s “25” was named Album of the Year. Many people ― really, anyone who has watched and listened to the revelatory, ground-breaking, stunning, visual album “Lemonade” ― felt that Beyoncé had been robbed of the honor. Turns out, Adele herself was one of those people.


The 28-year-old singer used her Grammy speech, as well as her time with the press backstage, to say that despite being honored and humbled, the award should have been given to “the artist of [her] life,” Beyoncé. 


“I can’t possibly accept this award, and I’m very humbled and I’m very grateful and gracious, but my artist of my life is Beyoncé and this album, to me, the ‘Lemonade’ album, was so monumental, Beyoncé,” Adele said, later addressing Bey directly and acknowledging that “Lemonade” was created first and foremost for black women: “You are our light. And the way that you make me and my friends feel, the way you make my black friends feel, is empowering. You make them stand up for themselves and I love you. I always have and I always will.”






Backstage, Adele was a bit more explicit in her critique of a voting body that could not bring itself to honor even the most above-and-beyond exceptional work of a black woman. (The last black female artist to win Album Of The Year was Lauryn Hill, in 1999. And Beyoncé, the most nominated female artist of all time, has now lost out on Album of the Year on three separate occasions, to three white artists.) 


My Album of the Year is ‘Lemonade,’” Adele reportedly told press backstage. “For her to make such relevant music for that long of a period, I felt the need…it was her time to win. What the fuck does she have to do to win Album of the Year? It was another side of her. Obviously, the visual is very new and the Grammys are very traditional, but this year I thought would be the year they go with the tide. Of course, I’m very grateful to have won it, but I love her. I felt she was more than worthy, and that’s pretty much it.”


The implied answer to Adele’s rhetorical question is simple: Be white, and make music that is both commercially successful and does not force the listener to question white supremacy.






This is not to say that Adele and “25” don’t deserve high praise. Adele has the voice of an angel, and the whole album is filled with beautiful songs that make you want to bawl your eyes out ― in an affirming, cathartic way. But “Lemonade” is something else. It’s special. It’s transcendent. It’s burning hot fire made into art. And it speaks directly about and to black women in a way the vast majority of lauded, mainstream pieces of pop culture do not. 


As Rolling Stone’s Zandria F. Robinson wrote last April when “Lemonade” was first released:



Black women’s expression of emotion can be discursively and physically dangerous for us, and sometimes telling our truth leads to violence or death. But on screen and in our minds, “Lemonade” provides a risk-free emotional space that sonically and visually highlights what we all miss when we dismiss and neglect black women’s emotional lives.



It is not Adele’s fault that she won the Grammys she won. But as white women, we can learn from her instinct to use a public moment that was, perhaps wrongly, afforded to her to honor the work of a woman who truly deserved that moment herself. Adele showed us one small way to practice sisterhood rather than exclusionary White Feminism.


White women must use their privilege to actively step back and elevate women of color. It is not enough to recognize that white supremacy generally exists. It is far more impactful to call out specific injustices ― especially when they work to benefit you directly. 


As Americans, we all consume and enjoy the cultural experiences, pains and talents of women of color, specifically black women, but rarely are those women given their due by gatekeeper institutions. What Adele did is by no means revolutionary, but at the very least it kept the focus of the night on Beyoncé’s work, and took the first step toward calling out the bias of the Recording Artists Academy.


I’ll be listening to “Lemonade” on repeat today, because as the album itself acknowledges, “women like her cannot be contained.” Fellow white women: let’s do our best to avoid ever “containing” our sisters of color.



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feb 13, 18:45
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Blue Ivy Is 'Carpool Karaoke's' Biggest (And Cutest) Fan

Who knew Blue Ivy was such a “Carpool Karaoke” fan?  


The adorable 5-year-old was seated in the front row with her dad for Sunday night’s Grammy Awards when James Corden came over to say hello. Blue decided to let him know that she enjoys his car-ride singalong show. 






Is there any better approval? 




The littlest Carter got a chance to be part of a live “Carpool Karaoke” at the award show when Corden decided to have stars join him for an impromptu performance of “Sweet Caroline.” 






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feb 13, 18:30
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We've Got A Right To Be Mad About Beyoncé Losing 'Album Of The Year'


No. Those who expressed their disappointment in Beyoncé losing the Album of the Year Award at Sunday Night’s Grammy Awards were not overreacting.


Yes, there are ostensibly “more important” things going on in the world than a multi-millionaire superstar losing one award on a night where she won two others, but it’s possible ― and even necessary ― to care about more than one thing at a time. 


And this is worth talking about. 


On a night that opened with a very political message from Jennifer Lopez who quoted Toni Morrison and said that “at this particular point in history, our voices are needed more than ever,” Beyoncé losing Album of the Year, the most important award of the night, felt like a much bigger loss than the usual award show snub. 














Adele’s “25” is a good album. It was an immensely successful album. After five years outside of the limelight, Adele came back with a highly anticipated record that sold over 8 million copies in the United States alone in 2016. “Lemonade” sold only 1.5 million.


If the criteria for Grammy wins was based solely on records sold, then maybe Adele’s win for Album of the Year would make more sense, maybe it would be easier to accept. But even Adele herself said on stage that she couldn’t “possibly accept this award,”(though she did) and that “The ‘Lemonade’ album is just so monumental.” 


She’s right. Again, “25” was a good album! But “Lemonade,” whether you enjoyed it or not, was a cultural event, a moment in which Beyoncé put all her personal, spiritual, and artistic cards on the table. It was a cohesive body of work that, as Beyoncé described it in her only acceptance speech of the night (for Contemporary Album) gave “voice to the pain,” and strength, of black women.


“Lemonade” said something and meant something to so many people, especially young women of color who saw themselves reflected in the stories and tableaux crafted by Beyoncé and her team (both in video and in song). Arguably the most popular black singer in the world had not only churned out a stellar piece of work, she’s also chosen for that work to be black as hellspecifically black, unavoidably black. 










Because of “Lemonade,” phrases like “Becky with the good hair” and “Jackson Five nostrils” and “hot sauce in my bag” entered the mainstream lexicon. While others tried to claim them, dismantle them, and rework them for their own use, they still remained to intrinsically ours, so intrinsically black. That was huge. That was a moment


Lauryn Hill was the last black woman to win Album of the Year at the Grammys. That was in 1999. Since then, Beyoncé has become the most-nominated woman ever at the show, with a whopping 62 nominations. Of the three times she’s been nominated for Album of The Year, she’s lost out to Taylor Swift, Beck, and now Adele. As Adele said to the press Sunday night, “What the fuck does [Beyoncé] have to do to win Album of the Year?”


The disappointment and even the outrage flooding Twitter and Facebook in the aftermath of Bey’s snub should really come as no surprise. The Grammys have a long legacy of using important and popular black artists like Beyoncé, Rihanna and Kendrick Lamar to boost ratings while failing to give them the big noms and awards of the night. But, damn.


If even Beyoncé can’t get the top award of the night for a record like Lemonade,” after turning in an incredible performance (while pregnant with twins, no less), what exactly does that say about the black experience in America? Seriously? Yes, Beyoncé is the winner of many awards. She’s rich and successful and has definitely benefited in the past from her light skin and bleached locks. It’s interesting how, now that she’s incorporated her blackness and her politics more explicitly in her music, no longer here to just grind and sing catchy love songs to the masses, the systemic realities of being a proudly black woman in a white-dominated industry have come to light. 


What’s important to remember is that Beyoncé is an artist. And that’s what’s so frustrating about America’s love of black culture. So often, black entertainment is sought after and greedily consumed, but it’s delegitimized as art because of its inherent blackness. Look at the histories of black musical art forms like jazz and hip-hop, cultural phenomenons that were looked on as nothing but fads until they were validated by white audiences and artists who consumed and regurgitated them for the mainstream. 


That’s why “Lemonade” has meant so much to so many black people who needed (and continue to need) an album like this to exist. It’s nice that Adele said something in that moment up on stage. Though some chafed at her mention of what “Lemonade” meant not only to her but to her “black friends,” the album’s significance as a specifically powerful black cultural moment should have been acknowledged, and celebrated. It’s sad that it wasn’t the Recording Artists Academy that thought that was worth celebrating.  

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feb 13, 18:14
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Chance The Rapper Took Us To Church Last Night. Here's Why That Matters.






Chance the Rapper thanked God like a trillion times in his acceptance speech for Best New Artist at Sunday night’s Grammys. Then he took the Grammys to church with a passionate, gospel-filled performance that featured a poppin’ choir, Kirk Franklin, and Tamela Mann. It was a rousing, meaningful on-stage moment for the 23-year-old Chicago rapper, who won his first three Grammy awards that evening with no record sales. 


Performing a medley of “How Great,” “All We Got” and “No Problem” from his groundbreaking album “Coloring Book,” Chance was playing no games. The show was slowly creeping into its third hour, but the rapper was was not only brimming with energy, he was demanding it of the audience, too. 






“Hey y’all better stand up right now, stop playing,” he bellowed halfway through the performance. “I’m talking about God!”


The story of black people and God, or at least the Christian God, is obviously fraught. It was the Bible and Christianity that were ostensibly used to as tools towards the enslavement and colonization of Africans. But it was the same Bible, the same God, that stood at the center of so many spiritual and political movements that helped black people become free. It’s complicated.


What’s not complicated, though, is the intrinsic connection between the black Church and black music. So many black musical greats, from Stevie Wonder to Whitney Houston, found their voice and honed their talent singing gospel music on Sundays. Those threads have have often found their way into secular music, both subtly and blatantly. Chance’s Sunday night performance was a powerful reminder and homage to the role that gospel has always played in the black music that shapes popular culture. 


Bringing the likes of Kirk Franklin and the legendary Tamela Mann onstage with him on what was likely the biggest night of his career thus far sent a huge message. It was a tipping of the hat, a moment of celebration and recognition of a part of black culture that rarely gets its props in the mainstream. 

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feb 13, 18:03
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