It was a baby came first situation for the superstar couple as they later officially wed in October 2016. She and Iman welcomed their daughter right before the Christmas holiday on December 16, 2015. John Grip: Alex Harrell Grip: Jimmy Blair PRODUCTION DESIGN: Hannah Meachin Set Decorator: Kayla Jordan Builder : Taylor Wynn Builder : Bronson Castro Builder: Jay Malone Art assist: Akeria Lumsden GLAM BY MAKE UP: HAIR: PA NATION Jonathan Jackson Porscha Shaw Justin Wyatt Patrick Smith EDITED BY KEY EDITOR: Chris VFX: Eric Deren POST PRODUCTION SUPERVISOR: BTS: post shared by Jimmy Neutch- Shumpert on at 9:05am PDTįans lit up her comments section on Twitter and Facebook with nothing but love for Teyana and their growing family. OFFICIAL VIDEO OUT NOWWWW! Link in bio!!! 🖤🖤🖤🖤🖤 S/O to da dream team!!! DIR: Teyana Taylor DP: Rafael Gutierrez EP: The Aunties Inc PRODUCER: Princess Mbanuzue STORY PRODUCER: Courtney Gilbert AD: Adrian Stewart Crane Op: Jonathan Williams Crane Assistant: Michael Noir 1st AC: Neil Dearman 2nd AC: Bruna Valor GAFFER: Sean Cokes KEY GRIP: Daniel St. They’re not wrong.My new video WAKE UP LOVEEEEEEE ft.

Cardi B, Quavo, Offset, model Winnie Harlow and others celebrated a woman who has paid plenty of dues and is ready to claim her turn in the spotlight. A recent listening party in Los Angeles brought out plenty of celebrities (and, despite the ongoing pandemic, little social distancing). One gets the sense that her music is just part of a total multimedia package, and it’s her choreography where she truly excels. She hasn’t quite absorbed her influences into a vocal presence all her own. Teyana Taylor is a good singer, capable of shifting between a soft lilt on “Lowkey” and a strident punch on “We Got Love.” But she tends to sound like others, particularly Brandy. Mainstream R&B is hardly dead – new albums from Kiada Ledé, dvsn and Kehlani this year prove that – but it still seems stuck in a holding pattern, waiting to assert its creative power with the forcefulness of earlier, more celebrated generations. But it falters near the middle with trapsoul fodder like “Wrong Bitch” and “69.” “Killa” is an Afrobeats cut with Davido that doesn’t quite take off she comes much harder with a ragamuffin flow on “Bad.” Like so many current R&B artists, her frequent allusions to ‘90s golden age acts like Total (“How You Want It?”), Blaque (“Boomin”) and Lauryn Hill (“Ever Ever”) is both wonderfully sincere homage and troublingly derivative. There are a few tracks that also serve as benedictions from elders, like Erykah Badu dispensing wisdom on “Lowkey,” Missy Elliott playing hype woman on “Boomin,” and Lauryn Hill dropping an elastic verse on “We Got Love.”Īt certain moments, it sounds as if there’s a better, more dynamic Album waiting to blossom.

“1800-ONE-NIGHT” translates her physicality as a dancer into an intensely sexual musical moment. “Lowkey” has a nice slow jam/babymaker vibe, and the aforementioned “Morning” track finds her trading raunchy lines alongside Kehlani with barely suppressed glee.

The track sets the album’s themes of personal growth, marital bliss (and occasional discord) as well as erotic fantasies. It opens with an “Intro” that plays back a recording of her giving birth to her baby daughter as husband Iman Shumpert anxiously calls an operator for assistance. With 23 songs and an hour-plus running time, The Album soars and sags. But while The Album is billed as Teyana’s long-awaited breakout moment it doesn’t have the same artistic impact as her visual work, or even the tightly constructed gem that was K.T.S.E. The looks she adopted in artwork for The Album’s teaser singles – rocking an asymmetrical flat-top like Grace Jones for “We Got Love,” posing with her hair in long twists for “Wake Up Love” – promised as much. It seemed to auger more collisions on pop’s cutting edge. It ended with “WTP,” a throbbing tribute to pussy power that matched her salaciousness with rapper Mykki Blanco’s rants. worked creatively was because of its tight eight-song focus and consistent old-soul sound. ( Keep the Same Energy ) was much better, but its momentum was botched by G.O.O.D. Music led to VII, an uneven debut which featured plenty of star power but no hits. An early deal with Pharrell’s Star Trek imprint led to the forgettable 2008 single “Google Me” before faltering. But as a musician, Teyana’s path has been less assured.

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