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   Art Talk With Swizz Beatz and Alicia Keys
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                     <p style="margin:0;margin-bottom:16px">
                      “There’s no one better,” Alicia Keys said to me as I marveled at Swizz Beatz demolishing a San Diego club with a nearly hour-and-a-half set in the wee hours of the night. There are great hype men, and then there is Swizz Beatz, who for the last 25 years has operated on a higher plane of vibe-setting. When Swizz tells you to turn up, it’s almost as if the decibels are laced with a specific, infectious code that ratchets your energy skyward no matter how late it is (in this case, 2 AM) and renders any record undeniable. That night, in the basement of the Lafayette Hotel, I watched him make overplayed songs like “N-ggas in Paris” go off as if they just dropped, while bringing his patented manic “Showtime!” energy to the least-assuming songs one could imagine, such as “Smells Like Teen Spirit” and “Jessie’s Girl.”
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      It felt thrilling to watch Swizz in his element in this after-party setting after watching him move through a world he’s not as closely associated with, but is slowly becoming just as dominant in. Earlier that day I sat with Alicia and Swizz at San Diego’s Museum of Contemporary Art, the current home of their traveling exhibition “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys.” The show, which was first unveiled at the Brooklyn Museum in 2024 and has been on the move since, boasts works by everyone from
                      <a style="text-decoration: underline; color: #000000;">
                       Gordon Parks
                      </a>
                      to
                      <a style="text-decoration: underline; color: #000000;">
                       Jean-Michel Basquiat
                      </a>
                      to
                      <a style="text-decoration: underline; color: #000000;">
                       Malick Sidibé
                      </a>
                      , but each new location brings a new infusion. One of SD’s most eye-catching additions was a stunning, vibrant multimedia installation from Mickalene Thomas; this was Swizz and Alicia’s first time seeing it assembled in the space, and they rushed to FaceTime Thomas to show it off.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      For the Dean family, art collecting is a genuine passion, not an investment portfolio or a way to gain access to high society. Alicia gushed about Swizz’s passion and taste and the ways it’s impacted her throughout their 15 year-marriage. Few art curators can hold court in a gallery by day, then don shades and go bar-for-bar on Jadakiss, a hilariously winking mini-set of Alicia’s hits, and Rick Springfield hours later.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      As famous friends like Kelly Rowland and her husband took a private stroll through the exhibit before an opening event later that evening and Swizz and Keys’ sons Egypt and Genesis milled about, we sat in front of Thomas’ installation, and Alicia stressed the importance of an emotional connection as their method to collecting above all other pretensions. Her point was underlined when Genesis, 11, popped in during our chat and remarked that one of the faces in Thomas’ piece “looked like Nana.”
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      “See what I’m saying?” Alicia beamed.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        GQ:
                       </em>
                       I'm looking around at how much art is actually in here. If this gallery collection wasn't going on, where would you keep it? This doesn't all fit inside
                       <a style="text-decoration: underline; color: #000000;">
                        the Iron Man house
                       </a>
                       , does it?
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      Too many windows.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Alicia Keys
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      Some of these works actually came from the walls in our house. But oftentimes it's in storage. And although you know that it's there...
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       You're not enjoying it.
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      We're working on something. Trust me.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       I'll circle back on that then. So this collection is called Giants. But to contrast that, how does one start small? How did you build up to all this?
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      Man, being a lover of art came from growing up in the South Bronx, seeing graffiti… but it all started from just being curious. I was successful very young, 17, producing my first records with Ruff Ryders and
                      <a style="text-decoration: underline; color: #000000;">
                       DMX
                      </a>
                      . Then I got my place, and I didn't want posters on the wall. So I started going to the art galleries, David Rogath’s galleries and seeing the
                      <a style="text-decoration: underline; color: #000000;">
                       Warhols
                      </a>
                      and Basquiats and Keith Harings, and didn't understand why they were so expensive.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Ernie Barnes was a mentor,
                      <a style="text-decoration: underline; color: #000000;">
                       Peter Max
                      </a>
                      was a mentor. So many greats.
                      <a style="text-decoration: underline; color: #000000;">
                       Fab Five Freddy
                      </a>
                      as well. But it all started from where we come from. That was the smaller pitch at the time that turned into what you're sitting in now, is all from us being curious of our surroundings. My grandfather was a photographer. [Going from] seeing him in the darkroom and developing those photos, to us having the biggest Gordon Parks collection in private hands is just a super blessing.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Alicia Keys
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      When you talk about how you start small… there is a relationship that comes with the experience that you're getting here. I think that's the reason why you can feel something when you walk in this room. Everyone's gone to a museum before. School made you go. But when you walk in these walls, you
                      <em>
                       feel
                      </em>
                      something. And the reason I think you feel something, is because there's a relationship with every artist. And that's something that Swizz is really, really good at, and he's made me good at it as well.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Oh, he put you on?
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Alicia Keys
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      <em>
                       Absolutely.
                      </em>
                      No question about it. The care that goes into getting to know a person is, I think, a part of one of the small steps that become big. And if you're able to invest in a person—not financially, but with time and with care, with attention and with encouragement and with saying, "I love what you do, and can I learn more about how you do it?" And beginning a relationship with artists that are at different times in their life, it's a beautiful thing.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      I want to get back to actually answering your question, because it's important what you said… How do you begin small? A lot of people think art is just for wealthy people.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       A throughline of this whole collection is centering Black artists and you guys being Black collectors, right? When you're breaking into this world, did you feel some kind of pushback at all? These are spaces that we're not always welcomed in, was that something you had to overcome or navigate?
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      Of course, man. This is America.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       You go to a gallery and they're like,
                      </strong>
                      <strong>
                       <em>
                        What's the “Money, Cash, Hoes” guy doing here
                       </em>
                      </strong>
                      <strong>
                       ?
                      </strong>
                      <strong>
                       <em>
                        Swizz Beatz
                       </em>
                      </strong>
                      <strong>
                       :
                      </strong>
                      At least 75% of this show, we had to fight for. A lot of the artists who are our friends fought for us to have these masterpieces and it's a blessing. But at the end of the day, we're not using that as an excuse. How can we fix what we don't like or what doesn't feel comfortable? How can we change that landscape? And that's through the work, not through complaining, like, "Oh, they're not doing this..." Let's stop giving
                      <em>
                       they
                      </em>
                      so much power on things that we need to do for ourselves. Why are we depending on
                      <em>
                       they
                      </em>
                      ? Who
                      <em>
                       are
                      </em>
                      they? We know who
                      <em>
                       we
                      </em>
                      are. You understand?
                     </p>
                     <p style="margin:0">
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                       <em>
                        <u>
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                          Click here to read the full Q&amp;A.
                         </strong>
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                     <p style="margin:0;margin-bottom:15px">
                      <strong>
                       Between the Taps
                      </strong>
                     </p>
                     <p style="margin:0">
                      (
                      <em>
                       A weekly roundup of everything else I consumed since the last Tap In)
                      </em>
                     </p>
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                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Dancing Mad Comedy Night at Jellyman
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      If “walking up the street from the most notable Knicks bar in LA to a secret standup show underneath Donald Glover’s boba tea shop” sounds like the most Silverlake shit ever, well… when in Rome. After watching Jalen Brunson and the gang put Philly down 2-0, we popped into Jellyman, where apparently Donald’s been corralling some of the city’s best and brightest for a few hours of comedy once a month. The scene had a very cool speakeasy vibe, completely sans pretension and pomp, the comics were perfectly varied in style and tone (with comedian Jordan Rock MC’ing) and Donald hopped on the mic for a loose finale that had him sourcing joke material from the crowd. He hit everything from hantavirus to the Meg-Klay cheating scandal, before ending on a story about having to go full PTA (as in Parent Teacher Association, not Paul Thomas) after a proliferation of white kids saying “nigga” in the school that his kids attend. It’s a cool community that Donald’s fostering that I’m eager to attend more of—but really, that all-too brief set just left me thinking “We need this guy back outside properly.” I’m just saying,
                      <em>
                       I’d
                      </em>
                      watch a sitcom about a famous, prickly Black father raising his young sons in a neighborhood like Ojai Valley.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Jerrod Carmichael at the Belasco
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Amidst the let out following Dancing Mad, someone said they were headed to check out a Jerrod show not far from us downtown—this being Netflix Is a Joke week in LA, which is basically comedy Coachella. A big week for the Yondr pouch, as it were. So me and my boy said
                      <em>
                       Fuck it
                      </em>
                      , because why wouldn’t you pull up on a Jerrod Carmichael set last minute if you were free to, and did just that. It’s been really interesting to watch Carmichael process his sexual identity and subsequent new relationship in real time through his art; I understand how this process may have been too much for some people at its most evocative points (likely, his HBO reality show) but starting with the standup special that followed—which he unpacked
                      <a style="text-decoration: underline; color: #000000;">
                       as a guest of this very column last year
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                      —and continuing in his recent sets, it’s settled into a really great, distinct brand of relationship humor that I think anyone who got turned off post-reality show would really enjoy. And for those of us who stayed down, it’s just exciting to see one of entertainment’s sharpest minds continue to refine and get in his bag. Jerrod used the setup of attending a funeral for someone in his boyfriend’s family to unpack the nuances and insecurities of interracial dating, and brought it home with a great OJ Simpson joke. I can’t wait to see what he does next.
                     </p>
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                        The Fabulous Baker Boys
                       </em>
                      </strong>
                      <strong>
                       , Unwrapping the Reel
                      </strong>
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                      I finally corrected a longstanding movie blindspot at a screening I co-hosted with some pals where pretty much the entire room, myself included, had never actually seen this Michelle Pfeiffer-Bridges Brothers classic. This is Michelle at the height of her powers, and the comedy and romance had a distinct sort of late-80s/early 90s texture that feels all but lost to the dusty shelves of an abandoned Blockbuster now. But the real star is cinematographer and frequent Scorsese collaborator Michael Ballhaus; the whole point of the movie is watching innately talented people wrestle with living decidedly unglamorous lives, but in Ballhaus’ and (first-time!) director Steve Kloves’ hands, it certainly feels epic. Longing looks exchanged between wisps of smoke in back alleys, a stunning 360 shot of Michelle absolutely demolishing a lounge of onlookers watching her sing and writhe on Jeff Bridges’ piano, an overhead sweep of the crowd that descends perfectly onto Michelle between the two brothers tapping away at the keys on stage… if their lives didn’t suck, it’s the kind of movie you’d want to live in.
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