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What You Missed in the GQ Story + Beyonce Did Not Lip Sync!

When it comes to Beyonce, it’s hard to cover everything, so GQ just posted outtakes from her cover story and some very notable quotes, like her response to the rumors that she did not carry baby Blue Ivy (one I just couldn’t believe).

From the GQ interview: 
“I felt like I kind of had to protect my mother, because when people made up the silliest rumor about me not really being pregnant She was there when I went through all of those things. And my sister.  They were very, very defensive.  It’s not personal to me, and it comes along with the job, but the lack of respect—people  will just go too far sometimes.”

PLUS, the internets are buzzing after an ill-written article was published saying Beyonce, lip-synced the National Anthem during the Inauguration yesterday. Whelp, like many artists, she did use a backing track however in the raw video posted below, you can clearly hear her actual vocals along with the backing, which she matched nearly perfectly.

Watch the video below and see more outtakes…

As a side note, it is common practice to use a backing track or pre-recorded vocals for huge live performances because it’s nearly impossible to hear yourself. Just like Whitney Houston’s most famous performance during the Super Bowl, it was pre-recorded too. However, Beyonce actually sang along with the backing track so it’s not fair to say she lip synced.

From an outtake that didn’t make the GQ story:
Ed Burke, Beyonce’s visual director and the co-director of her new film, knows precisely when his boss first realized she needed to exert more control over her realm. It was in 2005, he says, when MTV shot a bunch of footage of her, but later wouldn’t let her use it. “Back in the day, MTV used to do all the B-roll for making a video,” Burke says. “They did that, and used it for whatever they shot it for.” But he says that when Beyonce asked to use the footage for her own purposes, MTV told her “she had to pay. She goes, ‘But it’s my image.’ That’s where it all started.”

Beyonce hired Burke, a Brit who trained to be a teacher, not a filmmaker, as a full-time videographer. Early on, he wasn’t entirely sure what she wanted him to do. “I will always remember one day, I was sitting in the back of the car, filming, and Bey and Angie, her cousin, were sitting in the front seat, talking about life, and Bey looked round, and goes, ‘Oh, you don’t have to film this.’  And I said, ‘Well, how do I know if it’s going to be good?’  And Angie laughed, and goes, ‘He’s got a point.’ From then on, the access has been incredible, to the point where every facet of her life I’ve shot.”

Here’s the way it works now: If MTV or Access Hollywood or anyone else wants some footage of Beyonce and Beyonce thinks it’s a good idea, Burke shoots it and lets them borrow it. “It’s a win-win,” Burke says. “They get better access—that’s what we tell them—because I’m in the dressing room, where they would never be,” he says. But Beyonce owns the footage. Same with still photos.

From an outtake that didn’t make the GQ story:
Michael Lombardo, HBO’s programming president, says when Beyonce’s agents first pitched him and revealed that she was co-director, “my first response to myself was, ‘Okay, that doesn’t sound like something we normally would do.  It sounds a little bit like it’s probably going to be a fluff piece,'” Lombardo recalls. “We have a long history at HBO in the documentary world and in the music world, and, the notion of any person of note being responsible for the editorial choices in a story about themselves is something I approach with some degree of cynicism.” But after he watched the 90-minute film, he says, “I was entranced. I couldn’t get it out of my head.”

This was confusing, Lombardo admits, because what Beyonce had created was neither a concert film like Lady Gaga’s 2011 ode to her Monster’s Ball tour nor a warts-and-all, hard-hitting documentary. “It’s some of that but not quite any of that,” he says. “You feel the struggle of someone who has been handled for so long searching to find the part of her that she can disclose to the public. That vulnerability of someone searching for the comfort place where they’re willing to be more than the image that has been fed to us—I was incredibly moved by that. Yeah, it’s a brand play, it’s an image play. It might be the most astute sort of self-packaging that we’ve ever seen. But I dare anybody to tune in and turn it off.”



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