What do Sabrina Carpenter, Beyoncé, and Meg Thee Stallion all have in common? Other than being reigning titans of the music industry . . . they have all worked with one woman: Jasmine "JB" Badie.
While the name may not sound familiar, the choreographer's moves likely live rent-free in your head. Sabrina Carpenter's "Espresso"? That's all JB. Beyoncé's iconic 2018 "Homecoming" Coachella performance? Badie played a hand in that, too. And Meg Thee Stallion's viral "Body" video - she worked alongside industry leader JaQuel Knight to make that hit.
But Badie, a native of Atlanta, says she didn't even take dance classes as a kid. Dance didn't run in the family, either. While her parents weren't "nerds," they "love computers down" and were always bringing and building new technology in the house. Fortunately for Badie, they also had good taste in music.
In true ATL fashion, her parents met at the Cascade roller skating rink, home to the city's social scene for music, culture, and style. Growing up, Badie and her sister were introduced to vinyl classics from artists like Michael Jackson and Whitney Houston to Prince and Earth, Wind, and Fire.
"Growing up in the South with that music . . . it feels like the bump and the bounce of everything was always a vibration for me and a focal point for my movement."Outside the home, Badie says she and her friends, including JaQuel Knight and Sean Bankhead, two of the industry's biggest choreographers today, listened to OutKast, Missy Elliott, and Ludacris. "Growing up in the South with that music," Badie tells PS, "it feels like the bump and the bounce of everything was always a vibration for me and a focal point for my movement."
You can see it all throughout Carpenter's "Espresso," a song and dance that scratches your brain in all the right places. The first time Badie heard it in the studio, she "immediately started dancing [for Sabrina]," pausing during our interview to show off some of the now viral dance moves.
Every beat serves as an opportunity in Badie's world - just look at Carpenter's "I'm working late, cause I'm a singer" hip pop or the "that's that me espresso" gesture from down below. Badie refers to it as being "in the pocket," a speciality of hers, that centers the rhythm and musicality of the song, leaning into the lyricism, rather than getting ahead of the beat.
Badie injected key moments like these throughout the Carpenter's "Short n' Sweet" Tour, including the sex positions interlude in "Juno" and the "Bed Chem" outro shared around the world. "With certain artists, you'll get music that you may not connect with, or you may not get that lucky," Badie says. With Carpenter though, she made the pockets so easy to find given her artistic blend of sexy and playful - a style Badie is used to executing.
But before Sabrina, there was Beyoncé. And before "Short n' Sweet," there was Beychella.
After dropping out of college in the early 2000s and ending her year-long marriage, Badie relocated to Los Angeles and moved in with the aforementioned Knight, who happens to be her childhood friend. At the time, he was working on Beyoncé's 2013 Super Bowl halftime show, and before Badie knew it, she was auditioning to be one of the dancers. She was initially told that she hadn't made the cut, but at the last minute, Knight called and told Badie to pack her bags and come to New Orleans.
"It was a whole different environment," Badie says, as she recalls looking around the rehearsal space filled with some of her biggest influences in dance, including Danielle Polanco and Frank Gatson Jr. The moment hadn't felt real until Beyoncé herself called Badie to the front of the group to demonstrate an Atlanta-based dance move called the "onion booty."
Knight was trying to explain the move to the singer when Beyoncé notice Badie doing it on the sidelines and asked her to come forward. Three seconds later, Badie was doing the onion booty to Future's "Gone to the Moon" in front of Beyoncé and nearly 60 other dancers. But to Badie, it felt like she and Knight were just back at the house freestyling.
When the demo was done, Beyoncé looked across the room and said, "Now if we can't do it like this, then we need to change the step, because it can't look no other way." At that point, Badie was on top of the world. "That took me out," she says, calling it her "wow" moment. "I was actually just being myself and we were just doing some shit that we've been doing in Atlanta forever," Badie says, not thinking it could catapult her dance network and career forever.
Fast forward a few years and Badie was back at it again, working Beyoncé's next Super Bowl appearance, notable for its Black Panther-inspired "Formation" number, and then she returned to work on Beychella with lead choreographers Chris Grant and Knight a few years later. The HBCU-themed performance is reportedly the most-watched Coachella concert of all time. But to Badie, it "felt easy" to put on a show that centers the joy, creativity, and beauty of her community. "It felt so good to put Black on in that way," she says.
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From there, the gigs just kept coming, Badie says. Since then, she's worked with Ariana Grande, Tate McRae, and Rihanna, choreographing on stages like the Super Bowl, Grammys, Emmys, and Brit Awards. When asked if she ever experiences imposter syndrome working with big names like these, Badie asks me to clarify. The phrase isn't even in her vocabulary. "I feel like I've gone through so much already to get to these points where fear is just not an option," Badie says, after I elaborate on the term. "I've proven to myself, and God has proven to me, that all things are possible. So I take things as it comes and I don't meet it with any kind of negativity or doubt."
And if the negative self-talk ever does creep in, Badie focuses on validation. "This is on my table. So, I must be able to be able to do this," she reminds herself. In life and in dance, "I'm in the pocket. I'm always in the pocket," Badie says. "I'm gonna find that light - and Imma shine bright."
Related: JoJo's Wellness Routine Keeps Her Grounded on Tour - So I Tried It Alexis Jones (she/her) is the senior health and fitness editor at PS. In her six years of editorial experience, Alexis has developed passions and areas of expertise around mental health, women's health and fitness, racial and ethnic disparities in healthcare, and chronic conditions. Prior to joining PS, she was the senior editor at Health magazine. Her other bylines can be found at Women's Health, Prevention, Marie Claire, and more. Read More Details
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