Beyoncé Fans Reflect on Election Year Concerns at San Francisco Drag Show
Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart
Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions
Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre
‘We Belong Here’: Miko Marks Talks Black Women, Country Music and Beyoncé
Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come
How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé
How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023
Beyoncé's Renaissance World Tour Is Over. But it’s Coming to Movie Theaters Soon
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s \u003cem>Cowboy Carter\u003c/em> galloped into the national psyche in all of its flag-waving, countrified glory.\u003c/p>\n\u003cp>Considering Beyoncé’s status as an artist \u003ca href=\"https://www.kqed.org/pop/20366/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now\">unafraid to invoke political imagery in both her music and her visuals\u003c/a> — not to mention the way this album has turned into a battleground over who “\u003ca href=\"https://www.kqed.org/forum/2010101905263/from-beyonce-to-lil-hardin-my-black-country-celebrates-the-undersung-black-history-and-future-of-country-music\">owns country\u003c/a>”— it’s unsurprising that many of her fans consider themselves politically conscious, too.\u003c/p>\n\u003cp>We at KQED set out to ask Beyoncé fans at San Francisco’s Oasis nightclub, directly before a Beyoncé-themed drag show, about the state of America and the issues with which they’re most concerned in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13955649\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-014-KQED.jpg\" alt=\"A trio of tattooed and flamboyant people, including two in cowboy hats, smile and line up before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Lance Derick, Joshua Carrasco and James Aceves. Carrasco, who is a pediatric resident at UCSF, says access to healthcare and health insurance is a huge factor in his voting decisions. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Carrasco came to the Beyoncé party with two friends, having arrived in San Francisco from Texas almost a year ago. As a pediatric resident at UCSF, Carrasco says he’s concerned about the links between poor health, underfunded education and a lack of affordable housing.\u003c/p>\n\u003cp>“When it comes to queer communities, housing is such an important social determinate of health that I think is undervalued within the San Francisco area,” Carrasco said. “A lot of the Props that were voted on [in the last election] went in a direction that I was not anticipating. I think San Francisco flaunts itself as progressive, but I think in action, it’s less progressive than I had anticipated.”\u003c/p>\n\u003cfigure id=\"attachment_13955643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-001-KQED.jpg\" alt=\"A smiling woman wearing a wide brimmed black hat and leather jacket stands with a shorter woman wearing her hair in braids and a short skirt. They are standing before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annika Gabriel (L) and Gabby Huckabee (R). Both expressed concern about the age of the presidential candidates, as well as concern for their friends of color. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked how she’s feeling about the 2024 election, Annika Gabriel said simply: “I’m real worried about my trans friends.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Gabriel’s side was Gabby Huckabee, who said she is “upset for my Muslim friends [and] for my friends of color.”\u003c/p>\n\u003cp>[aside postID='arts_13955021']Huckabee continued, “It’s very upsetting to me that out of everyone they could have possibly chosen for both parties, [Biden and Trump] are the two they still have come up with. I’m not optimistic for the future. I’m still going to vote for Joe Biden. Because I’m very clearly opposed to \u003ca href=\"https://www.nytimes.com/2016/10/08/us/donald-trump-tape-transcript.html\">Donald Trump grabbing people by the pussy\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13955645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-003-KQED-e1712693509298.jpg\" alt=\"A Black man smiles broadly in front of a neon-lit O sign at night.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Aaron McCall has the environment at the forefront of his mind during this election year. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite not feeling enthusiastic about either presidential candidate, Aaron McCall was another attendee determined to make a difference in whichever way he can.\u003c/p>\n\u003cp>“When we are choosing people to vote for, it is not a moral statement and it’s not a statement of who we like,” the climate charity worker emphasized. “It is a statement of who we’re going to work with and who’s going to work with us.”\u003c/p>\n\u003cp>“Republicans have actively said they are going to target and attack queer [folks] and people of color,” McCall continued, “and they’re going to destroy the environment in the process.”\u003c/p>\n\u003cfigure id=\"attachment_13955647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-008-KQED-e1712695709640.jpg\" alt=\"A slender white man in a Beyonce t-shirt, an Arabic man wearing a blue shirt and an Asian woman in a black leather jacket stand with arms around each other outside a nightclub.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sean Dante Remigio, Mahmoud Dabbah and Mara Lee. Dabbah isn’t happy with President Biden’s support of Israel and feels there isn’t much difference between Biden and Trump. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahmoud Dabbah, a Palestinian who has lived in America for three years, believes Biden’s ability to get reelected will be greatly impacted by the president’s support of \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Israel’s military actions in Gaza.\u003c/a>\u003c/p>\n\u003cp>“You can see that clearly. I think the whole world is pissed off,” Dabbah said. “This war is horrible and the U.S. is a big part of it. I hope it stops soon.”\u003c/p>\n\u003cp>[aside postID='arts_13940030']Asked if he worries about the consequences of another Trump presidency, Dabbah stated: “After what I saw from Biden, I don’t care anymore. It’s all the same for me as an immigrant.”\u003c/p>\n\u003cp>Dabbah’s friend Sean Dante Remigio agreed. “It feels very much a losing game either way,” he said. “I mean, it’s not even choosing between a lesser of two evils. There is no choice. That is the conflict.”\u003c/p>\n\u003cfigure id=\"attachment_13955702\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png\" alt=\"Two young people of color stand side by side inside a nightclub with thoughtful expressions on their faces.\" width=\"1402\" height=\"936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-768x513.png 768w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">(L) Rogue and (R) Stephane are both concerned about houselessness and access to healthcare in San Francisco. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remigio’s thoughts were echoed by Rogue and Stephane. (Both declined to give last names.) Though the friends remain concerned with housing and healthcare in San Francisco, they don’t see an upcoming face-off between Trump and Biden offering real solutions to the nation’s problems.\u003c/p>\n\u003cp>“I feel like the options are not great,” Stephane, an international student, said. “Even if I was allowed to vote, I would need better options. I don’t really care about either of the candidates.”\u003c/p>\n\u003cp>“Yeah,” Rogue laughed, “it’s like: Poo-Poo or Pee-Pee!”\u003c/p>\n\u003cfigure id=\"attachment_13955648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-009-KQED.jpg\" alt=\"Two white women, one with a ponytail, one with cropped purple hair, stand close together, smiling warmly at each other. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Sunny and Reece Johnson are politically disillusioned — one more so than the other. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also disillusioned with the election are Sunny and Reece Johnson, who’ve been happily married for 11 years.\u003c/p>\n\u003cp>“I will tell you that I have stopped thinking about [the election] because it’s distressing,” Reece said. “I do feel very unmotivated to vote, because I’m so burned out on the drama.”\u003c/p>\n\u003cp>“I would never \u003cem>not\u003c/em> vote, though,” Sunny interjected. “Never.”\u003c/p>\n\u003cp>Reece shrugged. “I would like to say that I would never not vote, but I’m so disenchanted.”\u003c/p>\n\u003cfigure id=\"attachment_13955651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-024-KQED-e1712707940654.jpg\" alt=\"A drag queen strikes a pose in black lingerie and red dressing gown, next to a wooden fence decorated with lights.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Xochitl the Queen poses on the roof deck of Oasis shortly before performing on April 5, 2024. Xochitl works in deportation defense at USF Law and uses her drag to make political statements. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One fan who wishes she could vote is drag queen Xochitl. Shortly before her performance as auburn-haired temptress Jolene, Xochitl said she is “low-key scared” about the upcoming election.\u003c/p>\n\u003cp>“My future as a performer, as an artist, as an immigrant and as a member of this society is at risk, depending on who wins,” she said. “They say we have a choice, but it’s an illusion of a choice.”\u003c/p>\n\u003cp>As a DACA recipient, Xochitl is not eligible to vote, but strives to make a difference through her job at USF Law. She also utilizes performance to express herself politically.\u003c/p>\n\u003cp>“I make my voice heard by doing art, doing drag,” Xochitl explained. “My drag is inherently political. I’ve done numbers on stage where I burn the American flag as protest, as part of my work in deportation defense. I express my fear about drag bans through my art.”\u003c/p>\n\u003cfigure id=\"attachment_13955646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-006-KQED-e1712693763217.jpg\" alt=\"A person with glasses and short dark haircut, stands hands in pockets in front of a pink and red mural. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Dani Arevalos says their biggest concern as a member of the LGBTQ+ community is being respected and acknowledged as a person. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many people we spoke with at Oasis, LGBTQ issues are front and center for Dani Arevalos, who feels dehumanized by recent attacks on gender nonconforming people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Looking to the future, my biggest concern is being respected as a human being,” Arevalos said. “I come from the Latin community, and also being LGBTQ … Honestly two very different communities [with] the same issue of being oppressed. I think going forward, being respected and being acknowledged [will help us] to move forward as a nation together.”\u003c/p>\n\n","blocks":[],"excerpt":"At Oasis nightclub, fans expressed concerns about housing, climate change, Gaza, LGBTQ rights and more.","status":"publish","parent":0,"modified":1712945992,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1376},"headData":{"title":"Beyoncé Fans Reflect on Election Year Concerns at San Francisco Drag Show | KQED","description":"At Oasis nightclub, fans expressed concerns about housing, climate change, Gaza, LGBTQ rights and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955679/beyonce-election-year-politics-drag-oasis-nightclub-san-francisco-cowboy-carter","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"A woman in a white sequined dress and cowboy hat kneels on one leg on a catwalk, surrounded by the audience and lit in red\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s \u003cem>Cowboy Carter\u003c/em> galloped into the national psyche in all of its flag-waving, countrified glory.\u003c/p>\n\u003cp>Considering Beyoncé’s status as an artist \u003ca href=\"https://www.kqed.org/pop/20366/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now\">unafraid to invoke political imagery in both her music and her visuals\u003c/a> — not to mention the way this album has turned into a battleground over who “\u003ca href=\"https://www.kqed.org/forum/2010101905263/from-beyonce-to-lil-hardin-my-black-country-celebrates-the-undersung-black-history-and-future-of-country-music\">owns country\u003c/a>”— it’s unsurprising that many of her fans consider themselves politically conscious, too.\u003c/p>\n\u003cp>We at KQED set out to ask Beyoncé fans at San Francisco’s Oasis nightclub, directly before a Beyoncé-themed drag show, about the state of America and the issues with which they’re most concerned in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13955649\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-014-KQED.jpg\" alt=\"A trio of tattooed and flamboyant people, including two in cowboy hats, smile and line up before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Lance Derick, Joshua Carrasco and James Aceves. Carrasco, who is a pediatric resident at UCSF, says access to healthcare and health insurance is a huge factor in his voting decisions. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Carrasco came to the Beyoncé party with two friends, having arrived in San Francisco from Texas almost a year ago. As a pediatric resident at UCSF, Carrasco says he’s concerned about the links between poor health, underfunded education and a lack of affordable housing.\u003c/p>\n\u003cp>“When it comes to queer communities, housing is such an important social determinate of health that I think is undervalued within the San Francisco area,” Carrasco said. “A lot of the Props that were voted on [in the last election] went in a direction that I was not anticipating. I think San Francisco flaunts itself as progressive, but I think in action, it’s less progressive than I had anticipated.”\u003c/p>\n\u003cfigure id=\"attachment_13955643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-001-KQED.jpg\" alt=\"A smiling woman wearing a wide brimmed black hat and leather jacket stands with a shorter woman wearing her hair in braids and a short skirt. They are standing before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annika Gabriel (L) and Gabby Huckabee (R). Both expressed concern about the age of the presidential candidates, as well as concern for their friends of color. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked how she’s feeling about the 2024 election, Annika Gabriel said simply: “I’m real worried about my trans friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Gabriel’s side was Gabby Huckabee, who said she is “upset for my Muslim friends [and] for my friends of color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955021","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Huckabee continued, “It’s very upsetting to me that out of everyone they could have possibly chosen for both parties, [Biden and Trump] are the two they still have come up with. I’m not optimistic for the future. I’m still going to vote for Joe Biden. Because I’m very clearly opposed to \u003ca href=\"https://www.nytimes.com/2016/10/08/us/donald-trump-tape-transcript.html\">Donald Trump grabbing people by the pussy\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13955645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-003-KQED-e1712693509298.jpg\" alt=\"A Black man smiles broadly in front of a neon-lit O sign at night.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Aaron McCall has the environment at the forefront of his mind during this election year. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite not feeling enthusiastic about either presidential candidate, Aaron McCall was another attendee determined to make a difference in whichever way he can.\u003c/p>\n\u003cp>“When we are choosing people to vote for, it is not a moral statement and it’s not a statement of who we like,” the climate charity worker emphasized. “It is a statement of who we’re going to work with and who’s going to work with us.”\u003c/p>\n\u003cp>“Republicans have actively said they are going to target and attack queer [folks] and people of color,” McCall continued, “and they’re going to destroy the environment in the process.”\u003c/p>\n\u003cfigure id=\"attachment_13955647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-008-KQED-e1712695709640.jpg\" alt=\"A slender white man in a Beyonce t-shirt, an Arabic man wearing a blue shirt and an Asian woman in a black leather jacket stand with arms around each other outside a nightclub.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sean Dante Remigio, Mahmoud Dabbah and Mara Lee. Dabbah isn’t happy with President Biden’s support of Israel and feels there isn’t much difference between Biden and Trump. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahmoud Dabbah, a Palestinian who has lived in America for three years, believes Biden’s ability to get reelected will be greatly impacted by the president’s support of \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Israel’s military actions in Gaza.\u003c/a>\u003c/p>\n\u003cp>“You can see that clearly. I think the whole world is pissed off,” Dabbah said. “This war is horrible and the U.S. is a big part of it. I hope it stops soon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Asked if he worries about the consequences of another Trump presidency, Dabbah stated: “After what I saw from Biden, I don’t care anymore. It’s all the same for me as an immigrant.”\u003c/p>\n\u003cp>Dabbah’s friend Sean Dante Remigio agreed. “It feels very much a losing game either way,” he said. “I mean, it’s not even choosing between a lesser of two evils. There is no choice. That is the conflict.”\u003c/p>\n\u003cfigure id=\"attachment_13955702\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png\" alt=\"Two young people of color stand side by side inside a nightclub with thoughtful expressions on their faces.\" width=\"1402\" height=\"936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-768x513.png 768w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">(L) Rogue and (R) Stephane are both concerned about houselessness and access to healthcare in San Francisco. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remigio’s thoughts were echoed by Rogue and Stephane. (Both declined to give last names.) Though the friends remain concerned with housing and healthcare in San Francisco, they don’t see an upcoming face-off between Trump and Biden offering real solutions to the nation’s problems.\u003c/p>\n\u003cp>“I feel like the options are not great,” Stephane, an international student, said. “Even if I was allowed to vote, I would need better options. I don’t really care about either of the candidates.”\u003c/p>\n\u003cp>“Yeah,” Rogue laughed, “it’s like: Poo-Poo or Pee-Pee!”\u003c/p>\n\u003cfigure id=\"attachment_13955648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-009-KQED.jpg\" alt=\"Two white women, one with a ponytail, one with cropped purple hair, stand close together, smiling warmly at each other. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Sunny and Reece Johnson are politically disillusioned — one more so than the other. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also disillusioned with the election are Sunny and Reece Johnson, who’ve been happily married for 11 years.\u003c/p>\n\u003cp>“I will tell you that I have stopped thinking about [the election] because it’s distressing,” Reece said. “I do feel very unmotivated to vote, because I’m so burned out on the drama.”\u003c/p>\n\u003cp>“I would never \u003cem>not\u003c/em> vote, though,” Sunny interjected. “Never.”\u003c/p>\n\u003cp>Reece shrugged. “I would like to say that I would never not vote, but I’m so disenchanted.”\u003c/p>\n\u003cfigure id=\"attachment_13955651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-024-KQED-e1712707940654.jpg\" alt=\"A drag queen strikes a pose in black lingerie and red dressing gown, next to a wooden fence decorated with lights.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Xochitl the Queen poses on the roof deck of Oasis shortly before performing on April 5, 2024. Xochitl works in deportation defense at USF Law and uses her drag to make political statements. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One fan who wishes she could vote is drag queen Xochitl. Shortly before her performance as auburn-haired temptress Jolene, Xochitl said she is “low-key scared” about the upcoming election.\u003c/p>\n\u003cp>“My future as a performer, as an artist, as an immigrant and as a member of this society is at risk, depending on who wins,” she said. “They say we have a choice, but it’s an illusion of a choice.”\u003c/p>\n\u003cp>As a DACA recipient, Xochitl is not eligible to vote, but strives to make a difference through her job at USF Law. She also utilizes performance to express herself politically.\u003c/p>\n\u003cp>“I make my voice heard by doing art, doing drag,” Xochitl explained. “My drag is inherently political. I’ve done numbers on stage where I burn the American flag as protest, as part of my work in deportation defense. I express my fear about drag bans through my art.”\u003c/p>\n\u003cfigure id=\"attachment_13955646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-006-KQED-e1712693763217.jpg\" alt=\"A person with glasses and short dark haircut, stands hands in pockets in front of a pink and red mural. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Dani Arevalos says their biggest concern as a member of the LGBTQ+ community is being respected and acknowledged as a person. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many people we spoke with at Oasis, LGBTQ issues are front and center for Dani Arevalos, who feels dehumanized by recent attacks on gender nonconforming people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Looking to the future, my biggest concern is being respected as a human being,” Arevalos said. “I come from the Latin community, and also being LGBTQ … Honestly two very different communities [with] the same issue of being oppressed. I think going forward, being respected and being acknowledged [will help us] to move forward as a nation together.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955679/beyonce-election-year-politics-drag-oasis-nightclub-san-francisco-cowboy-carter","authors":["11242"],"categories":["arts_1","arts_11615"],"tags":["arts_1686","arts_1556","arts_10342","arts_10278","arts_3226","arts_10555","arts_5826"],"featImg":"arts_13955736","label":"arts"},"arts_13955633":{"type":"posts","id":"arts_13955633","meta":{"index":"posts_1591205157","site":"arts","id":"13955633","score":null,"sort":[1712682684000]},"guestAuthors":[],"slug":"beyonce-first-black-woman-to-top-billboard-country-albums-chart","title":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","publishDate":1712682684,"format":"standard","headTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>[aside postid='arts_13955021']The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Since its 1964 inception, a Black woman has never topped the Billboard country albums chart before.","status":"publish","parent":0,"modified":1712682684,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":205},"headData":{"title":"Beyoncé First Black Woman to Top Country Albums Chart | KQED","description":"Since its 1964 inception, a Black woman has never topped the Billboard country albums chart before.","ogTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","ogDescription":"","ogImgId":"","twTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","twDescription":"","twImgId":"","socialTitle":"Beyoncé First Black Woman to Top Country Albums Chart%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955633/beyonce-first-black-woman-to-top-billboard-country-albums-chart","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955021","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955633/beyonce-first-black-woman-to-top-billboard-country-albums-chart","authors":["byline_arts_13955633"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1686","arts_7534"],"featImg":"arts_13955025","label":"arts"},"arts_13955021":{"type":"posts","id":"arts_13955021","meta":{"index":"posts_1591205157","site":"arts","id":"13955021","score":null,"sort":[1711735614000]},"guestAuthors":[],"slug":"beyonces-cowboy-carter-first-impressions","title":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions","publishDate":1711735614,"format":"aside","headTitle":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycwtqqhV6UE\u003c/p>\n\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxNMvZ5BhSU\u003c/p>\n\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GVDWWi3i-E\u003c/p>\n\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\n\u003cp>https://twitter.com/sweatpantspapi/status/1773577746020495687\u003c/p>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f4xrblI8Tvw\u003c/p>\n\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9qjKyMk9iI\u003c/p>\n\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A roundtable about the only album anyone's talking about this week.","status":"publish","parent":0,"modified":1711747000,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1223},"headData":{"title":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions | KQED","description":"A roundtable about the only album anyone's talking about this week.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955021/beyonces-cowboy-carter-first-impressions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ycwtqqhV6UE'\n title='//www.youtube.com/embed/ycwtqqhV6UE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MxNMvZ5BhSU'\n title='//www.youtube.com/embed/MxNMvZ5BhSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7GVDWWi3i-E'\n title='//www.youtube.com/embed/7GVDWWi3i-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1773577746020495687"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f4xrblI8Tvw'\n title='//www.youtube.com/embed/f4xrblI8Tvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E9qjKyMk9iI'\n title='//www.youtube.com/embed/E9qjKyMk9iI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955021/beyonces-cowboy-carter-first-impressions","authors":["185","11883","11867","11387","11746"],"categories":["arts_1","arts_69"],"tags":["arts_1686","arts_7534","arts_10278"],"featImg":"arts_13955025","label":"arts"},"arts_13954502":{"type":"posts","id":"arts_13954502","meta":{"index":"posts_1591205157","site":"arts","id":"13954502","score":null,"sort":[1711055118000]},"guestAuthors":[],"slug":"beyonces-new-album-is-inspired-by-backlash-to-her-entering-the-country-music-genre","title":"Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre","publishDate":1711055118,"format":"standard","headTitle":"Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Beyoncé’s new album ‘Cowboy Carter’ is released on March 29, 2024.","status":"publish","parent":0,"modified":1711055118,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":553},"headData":{"title":"Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre | KQED","description":"Beyoncé’s new album ‘Cowboy Carter’ is released on March 29, 2024.","ogTitle":"Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre","ogDescription":"","ogImgId":"","twTitle":"Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Andrew Harnik","nprByline":"Jonathan Franklin","nprImageAgency":"AP","nprStoryId":"1239543914","nprApiLink":"http://api.npr.org/query?id=1239543914&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/19/1239543914/beyonce-cowboy-carter-album-inspiration-country-music?ft=nprml&f=1239543914","nprRetrievedStory":"1","nprPubDate":"Wed, 20 Mar 2024 12:38:00 -0400","nprStoryDate":"Tue, 19 Mar 2024 20:34:34 -0400","nprLastModifiedDate":"Wed, 20 Mar 2024 12:38:03 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954502/beyonces-new-album-is-inspired-by-backlash-to-her-entering-the-country-music-genre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953532","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954502/beyonces-new-album-is-inspired-by-backlash-to-her-entering-the-country-music-genre","authors":["byline_arts_13954502"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1686","arts_7534"],"affiliates":["arts_137"],"featImg":"arts_13954503","label":"arts_137"},"arts_13953532":{"type":"posts","id":"arts_13953532","meta":{"index":"posts_1591205157","site":"arts","id":"13953532","score":null,"sort":[1709772419000]},"guestAuthors":[],"slug":"miko-marks-black-women-country-music-beyonce","title":"‘We Belong Here’: Miko Marks Talks Black Women, Country Music and Beyoncé","publishDate":1709772419,"format":"standard","headTitle":"‘We Belong Here’: Miko Marks Talks Black Women, Country Music and Beyoncé | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A new national tour paying homage to \u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">“Trailblazing Women of Country”\u003c/a> comes to Northern California this weekend featuring a familiar Bay Area voice: country singer \u003ca href=\"https://www.mikomarks.com/\">Miko Marks\u003c/a>.\u003c/p>\n\u003cp>Marks, based out of Oakland, will hit the stage alongside Nashville-based singer Kristina Train and an all-female band to cover music from the beloved songbooks of Patsy Cline, Loretta Lynn and Dolly Parton. The tour stops at Rohnert Park’s \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center on March 9\u003c/a> and Livermore’s \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center on March 15\u003c/a>.\u003c/p>\n\u003cp>I spoke with Miko Marks via Zoom about the tour, and what these legendary artists mean to her. Of course, we also talked about Black country music artists getting a spotlight following the buzz around Beyoncé’s \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-hot-100-number-one-second-week-1235621285/\">chart-topping new country music\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Interview has been edited and condensed for clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl: I saw a quote where you say this tour feels like your childhood reimagined. Tell me more about that – what memories does it conjure for you?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Miko Marks: \u003c/b>I grew up with my grandmother who migrated from Mississippi to Flint, Michigan. She brought the music and the culture from Mississippi. I would come over to her house after school, try to watch cartoons and she’d be like, “Baby, turn that off. Let’s put this music on. I want you to hear this.” And she just fed me — Dolly, Loretta, Patsy. Kenny Rogers, Johnny Paycheck, Waylon Jennings. She had such a plethora of music in her wheelhouse. There was R&B, there was jazz, but there was mostly country and gospel.\u003c/p>\n\u003cp>The [country] songs really stuck out to me, because they told stories that I could relate to. Like Loretta talked about being a \u003ca href=\"https://www.youtube.com/watch?v=uEeR576KyjU\">coal miner’s daughter\u003c/a> – how they didn’t have much, but her dad made sure they had enough, and that they had love. I feel like that’s where I came from. We didn’t have much, but my mom was out there working second and third shifts, and my grandmother was there to love on me and gave me my first listens to country music. I’m really grateful for that, because it put me on the path that I’m on, which I really love.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VWZ-319bOS0\u003c/p>\n\u003cp>\u003cb>Is there a particular song you’re excited to cover for the tour? \u003c/b>\u003c/p>\n\u003cp>I love performing “Coal Miner’s Daughter,” and I love performing “\u003ca href=\"https://www.youtube.com/watch?v=6EbJeJYZ7LU\">Coat of Many Colors\u003c/a>” by Dolly Parton. [Dolly] actually said that’s her most favorite song that she wrote. She’s like, “My coat is beautiful.” It was just sewn together with rags that people sent her mom, but she couldn’t wait to wear that coat. That pureness and innocence is really precious to me, because I felt that same way. I would go to school, kids would laugh at my clothes and make fun of me. But I felt like, “My mama got this for me. My granny gave me this.” I had some pride around that. So those two songs are really, really special. Sometimes I well up in tears because it takes me back to my upbringing.\u003c/p>\n\u003cp>[aside postID='arts_13859970']\u003cb>Tell me about being backed by an all-female band for this tour! How does that feel? \u003c/b>\u003c/p>\n\u003cp>It’s so exciting. It’s unlike anything I’ve ever done. This is a Nashville-based women’s band. We all met each other and had the material on our own, and when we put it together, it was like magic. I can tell that this is not the end for us. Like once this tour’s over, we’re going to continue to do things. I can just feel that.\u003c/p>\n\u003cp>\u003cb>So let’s talk Beyoncé, who recently made history by being the \u003ca href=\"https://www.vulture.com/article/beyonce-texas-hold-em-no-1-country-chart.html\">first Black woman to get a No. 1 song on the country music charts\u003c/a>. She’s sparked all sorts of thinkpieces around Black people and country music. As someone who’s a Black woman in this industry, what’s your take on all the conversation she’s stirred up? \u003c/b>\u003c/p>\n\u003cp>First of all, I’m very happy for the recognition it’s bringing to artists who have been in the game for a long time. They’re being seen now. And she brought that to this level, to where people are actually going down the rabbit hole of music made by Black country artists or Black artists in Americana. That’s the glass half full on it.\u003c/p>\n\u003cp>But it does sadden me to a degree that it took Beyoncé to come and shine this light. Nevertheless, I’m so grateful for the light. There have been so many artists that have been in this genre for so long working diligently, making really good music and now that’s being seen. So I’m thinking it’s a positive, because it is really opening up the gates for the masses to see that we are here, and we belong here, and we helped create this genre.\u003c/p>\n\u003cp>[aside postID='news_11934967']\u003cb>Right, and folk/Americana musician \u003c/b>\u003ca href=\"https://rhiannongiddens.com/\">\u003cb>Rhiannon Giddens\u003c/b>\u003c/a> (\u003cb>who plays banjo and viola on Beyonc\u003c/b>\u003cb>é\u003c/b>\u003cb>’s \u003c/b>\u003ca href=\"https://www.youtube.com/watch?v=238Z4YaAr1g\">\u003cb>“Texas Hold ‘Em”\u003c/b>\u003c/a>\u003cb> track ) wrote \u003c/b>\u003ca href=\"https://www.theguardian.com/music/2024/feb/27/black-artistry-is-woven-into-the-fabric-of-country-music-it-belongs-to-everyone-beyonce-texas-hold-em-rhiannon-giddens\">\u003cb>a piece for the Guardian\u003c/b>\u003c/a>\u003cb> to really underline, ‘Hey, we co-created this. This is not just Black people taking something and putting our spin on it. We’ve been here since the origin of it.’\u003c/b>\u003c/p>\n\u003cp>I love how Rhiannon is going back [through history] and showing that. There’s so much to pull from historically that has been pushed under the rug. So it’s nice to see everything rise to the top. She and \u003ca href=\"https://rissipalmermusic.com/\">Rissi Palmer\u003c/a> – they’re our champion spokeswomen. I’m honored having them as champions, and being one myself. It’s nice that people are getting educated on the true history of country music. It’s 2024, but no time like the present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y2BZJTQFuZQ\u003c/p>\n\u003cp>\u003cb>With all that being said, does it feel meaningful that you, a Black woman, are one of the two vocalists performing on this tour – which is likely to have a more white demographic in the audience?\u003c/b>\u003c/p>\n\u003cp>Absolutely. Our first song that we do together is [Loretta Lynn’s] “\u003ca href=\"https://www.youtube.com/watch?v=hTEA9ffM8DA\">You’re Looking at Country\u003c/a>.” And the first night we did that, I was like, here’s a Black woman and a white woman standing here saying, “You’re looking at country.” And this is true – we are representations of what our country, fortunately, looks like.\u003c/p>\n\u003cp>As I sing that song, I’m thinking about what the audience might be thinking. But I know what they’re thinking at the end of the show, because they greet me with love, kindness, purchasing of my merchandise and just being really connected. So I’m pretty excited about the whole visual and the whole presentation of Kristina Train and me. \u003ca href=\"https://www.instagram.com/reel/C35B6grgQac/?utm_source=ig_embed&utm_campaign=loading\">Our voices blend so well together\u003c/a>, and it’s just good to have all women [on stage], and be a reflection of what country music really looks like.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Trailblazing Women of Country Tour plays the \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center in Rohnert Park on March 9\u003c/a> and the \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center in Livermore on March 15\u003c/a>. \u003c/i>\u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">\u003ci>Ticket info here.\u003c/i>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"As Beyoncé tops the country charts, the Oakland singer sets out on a tour honoring the genre's women.","status":"publish","parent":0,"modified":1710454274,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1285},"headData":{"title":"‘We Belong Here’: Miko Marks Talks Black Women, Country Music and Beyoncé | KQED","description":"As Beyoncé tops the country charts, the Oakland singer sets out on a tour honoring the genre's women.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/6358cd82-944d-4927-9d99-b133016072a9/audio.mp3","sticky":false,"WpOldSlug":"we-belong-here-miko-marks-talks-black-women-country-music-and-beyonce","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953532/miko-marks-black-women-country-music-beyonce","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new national tour paying homage to \u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">“Trailblazing Women of Country”\u003c/a> comes to Northern California this weekend featuring a familiar Bay Area voice: country singer \u003ca href=\"https://www.mikomarks.com/\">Miko Marks\u003c/a>.\u003c/p>\n\u003cp>Marks, based out of Oakland, will hit the stage alongside Nashville-based singer Kristina Train and an all-female band to cover music from the beloved songbooks of Patsy Cline, Loretta Lynn and Dolly Parton. The tour stops at Rohnert Park’s \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center on March 9\u003c/a> and Livermore’s \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center on March 15\u003c/a>.\u003c/p>\n\u003cp>I spoke with Miko Marks via Zoom about the tour, and what these legendary artists mean to her. Of course, we also talked about Black country music artists getting a spotlight following the buzz around Beyoncé’s \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-hot-100-number-one-second-week-1235621285/\">chart-topping new country music\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Interview has been edited and condensed for clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl: I saw a quote where you say this tour feels like your childhood reimagined. Tell me more about that – what memories does it conjure for you?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Miko Marks: \u003c/b>I grew up with my grandmother who migrated from Mississippi to Flint, Michigan. She brought the music and the culture from Mississippi. I would come over to her house after school, try to watch cartoons and she’d be like, “Baby, turn that off. Let’s put this music on. I want you to hear this.” And she just fed me — Dolly, Loretta, Patsy. Kenny Rogers, Johnny Paycheck, Waylon Jennings. She had such a plethora of music in her wheelhouse. There was R&B, there was jazz, but there was mostly country and gospel.\u003c/p>\n\u003cp>The [country] songs really stuck out to me, because they told stories that I could relate to. Like Loretta talked about being a \u003ca href=\"https://www.youtube.com/watch?v=uEeR576KyjU\">coal miner’s daughter\u003c/a> – how they didn’t have much, but her dad made sure they had enough, and that they had love. I feel like that’s where I came from. We didn’t have much, but my mom was out there working second and third shifts, and my grandmother was there to love on me and gave me my first listens to country music. I’m really grateful for that, because it put me on the path that I’m on, which I really love.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VWZ-319bOS0'\n title='//www.youtube.com/embed/VWZ-319bOS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Is there a particular song you’re excited to cover for the tour? \u003c/b>\u003c/p>\n\u003cp>I love performing “Coal Miner’s Daughter,” and I love performing “\u003ca href=\"https://www.youtube.com/watch?v=6EbJeJYZ7LU\">Coat of Many Colors\u003c/a>” by Dolly Parton. [Dolly] actually said that’s her most favorite song that she wrote. She’s like, “My coat is beautiful.” It was just sewn together with rags that people sent her mom, but she couldn’t wait to wear that coat. That pureness and innocence is really precious to me, because I felt that same way. I would go to school, kids would laugh at my clothes and make fun of me. But I felt like, “My mama got this for me. My granny gave me this.” I had some pride around that. So those two songs are really, really special. Sometimes I well up in tears because it takes me back to my upbringing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13859970","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cb>Tell me about being backed by an all-female band for this tour! How does that feel? \u003c/b>\u003c/p>\n\u003cp>It’s so exciting. It’s unlike anything I’ve ever done. This is a Nashville-based women’s band. We all met each other and had the material on our own, and when we put it together, it was like magic. I can tell that this is not the end for us. Like once this tour’s over, we’re going to continue to do things. I can just feel that.\u003c/p>\n\u003cp>\u003cb>So let’s talk Beyoncé, who recently made history by being the \u003ca href=\"https://www.vulture.com/article/beyonce-texas-hold-em-no-1-country-chart.html\">first Black woman to get a No. 1 song on the country music charts\u003c/a>. She’s sparked all sorts of thinkpieces around Black people and country music. As someone who’s a Black woman in this industry, what’s your take on all the conversation she’s stirred up? \u003c/b>\u003c/p>\n\u003cp>First of all, I’m very happy for the recognition it’s bringing to artists who have been in the game for a long time. They’re being seen now. And she brought that to this level, to where people are actually going down the rabbit hole of music made by Black country artists or Black artists in Americana. That’s the glass half full on it.\u003c/p>\n\u003cp>But it does sadden me to a degree that it took Beyoncé to come and shine this light. Nevertheless, I’m so grateful for the light. There have been so many artists that have been in this genre for so long working diligently, making really good music and now that’s being seen. So I’m thinking it’s a positive, because it is really opening up the gates for the masses to see that we are here, and we belong here, and we helped create this genre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11934967","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cb>Right, and folk/Americana musician \u003c/b>\u003ca href=\"https://rhiannongiddens.com/\">\u003cb>Rhiannon Giddens\u003c/b>\u003c/a> (\u003cb>who plays banjo and viola on Beyonc\u003c/b>\u003cb>é\u003c/b>\u003cb>’s \u003c/b>\u003ca href=\"https://www.youtube.com/watch?v=238Z4YaAr1g\">\u003cb>“Texas Hold ‘Em”\u003c/b>\u003c/a>\u003cb> track ) wrote \u003c/b>\u003ca href=\"https://www.theguardian.com/music/2024/feb/27/black-artistry-is-woven-into-the-fabric-of-country-music-it-belongs-to-everyone-beyonce-texas-hold-em-rhiannon-giddens\">\u003cb>a piece for the Guardian\u003c/b>\u003c/a>\u003cb> to really underline, ‘Hey, we co-created this. This is not just Black people taking something and putting our spin on it. We’ve been here since the origin of it.’\u003c/b>\u003c/p>\n\u003cp>I love how Rhiannon is going back [through history] and showing that. There’s so much to pull from historically that has been pushed under the rug. So it’s nice to see everything rise to the top. She and \u003ca href=\"https://rissipalmermusic.com/\">Rissi Palmer\u003c/a> – they’re our champion spokeswomen. I’m honored having them as champions, and being one myself. It’s nice that people are getting educated on the true history of country music. It’s 2024, but no time like the present.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y2BZJTQFuZQ'\n title='//www.youtube.com/embed/Y2BZJTQFuZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>With all that being said, does it feel meaningful that you, a Black woman, are one of the two vocalists performing on this tour – which is likely to have a more white demographic in the audience?\u003c/b>\u003c/p>\n\u003cp>Absolutely. Our first song that we do together is [Loretta Lynn’s] “\u003ca href=\"https://www.youtube.com/watch?v=hTEA9ffM8DA\">You’re Looking at Country\u003c/a>.” And the first night we did that, I was like, here’s a Black woman and a white woman standing here saying, “You’re looking at country.” And this is true – we are representations of what our country, fortunately, looks like.\u003c/p>\n\u003cp>As I sing that song, I’m thinking about what the audience might be thinking. But I know what they’re thinking at the end of the show, because they greet me with love, kindness, purchasing of my merchandise and just being really connected. So I’m pretty excited about the whole visual and the whole presentation of Kristina Train and me. \u003ca href=\"https://www.instagram.com/reel/C35B6grgQac/?utm_source=ig_embed&utm_campaign=loading\">Our voices blend so well together\u003c/a>, and it’s just good to have all women [on stage], and be a reflection of what country music really looks like.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Trailblazing Women of Country Tour plays the \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center in Rohnert Park on March 9\u003c/a> and the \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center in Livermore on March 15\u003c/a>. \u003c/i>\u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">\u003ci>Ticket info here.\u003c/i>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953532/miko-marks-black-women-country-music-beyonce","authors":["11296"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_888","arts_1686","arts_7534","arts_4088","arts_10278","arts_21995"],"featImg":"arts_13953538","label":"arts"},"arts_13952067":{"type":"posts","id":"arts_13952067","meta":{"index":"posts_1591205157","site":"arts","id":"13952067","score":null,"sort":[1707713684000]},"guestAuthors":[],"slug":"beyonce-new-songs-super-bowl-16-carriages-texas-hold-em","title":"Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come","publishDate":1707713684,"format":"standard","headTitle":"Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>[aside postid='arts_13873945']Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-fV37wdHG8U\u003c/p>\n\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g92AYBlNOi0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Beyoncé teased, confirmed and dropped new music in the span of less than an hour during Sunday's Super Bowl.","status":"publish","parent":0,"modified":1707714120,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":292},"headData":{"title":"Beyoncé Won the Super Bowl, Dropping Two New Songs | KQED","description":"Beyoncé teased, confirmed and dropped new music in the span of less than an hour during Sunday's Super Bowl.","ogTitle":"Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come","ogDescription":"","ogImgId":"","twTitle":"Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come","twDescription":"","twImgId":"","socialTitle":"Beyoncé Won the Super Bowl, Dropping Two New Songs %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Frazer Harrison","nprByline":"Rachel Treisman","nprImageAgency":"Getty Images","nprStoryId":"1230788187","nprApiLink":"http://api.npr.org/query?id=1230788187&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/11/1230788187/beyonce-new-music-texas-hold-em?ft=nprml&f=1230788187","nprRetrievedStory":"1","nprPubDate":"Sun, 11 Feb 2024 21:58:00 -0500","nprStoryDate":"Sun, 11 Feb 2024 21:58:46 -0500","nprLastModifiedDate":"Sun, 11 Feb 2024 21:58:46 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13873945","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-fV37wdHG8U'\n title='//www.youtube.com/embed/-fV37wdHG8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g92AYBlNOi0'\n title='//www.youtube.com/embed/g92AYBlNOi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em","authors":["byline_arts_13952067"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1686","arts_7534","arts_10278","arts_2624","arts_3842"],"affiliates":["arts_137"],"featImg":"arts_13952068","label":"arts_137"},"arts_13940030":{"type":"posts","id":"arts_13940030","meta":{"index":"posts_1591205157","site":"arts","id":"13940030","score":null,"sort":[1704398263000]},"guestAuthors":[],"slug":"konkrete-dancer-krumper-beyonce-renaissance-tour-film","title":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé","publishDate":1704398263,"format":"aside","headTitle":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/C0UIzqEAo1I/\u003c/p>\n\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. [aside postid='arts_13932887']\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. [aside postid='arts_13939484']\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The krumper makes an appearance on the big screen in the superstar’s ‘Renaissance’ film.","status":"publish","parent":0,"modified":1705002927,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1490},"headData":{"title":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé | KQED","description":"The krumper makes an appearance on the big screen in the superstar’s ‘Renaissance’ film.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940030/konkrete-dancer-krumper-beyonce-renaissance-tour-film","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"C0UIzqEAo1I"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939484","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940030/konkrete-dancer-krumper-beyonce-renaissance-tour-film","authors":["11883"],"categories":["arts_1","arts_835","arts_966"],"tags":["arts_1686","arts_879","arts_10342","arts_10278","arts_18214"],"featImg":"arts_13940047","label":"arts"},"arts_13939314":{"type":"posts","id":"arts_13939314","meta":{"index":"posts_1591205157","site":"arts","id":"13939314","score":null,"sort":[1702494859000]},"guestAuthors":[],"slug":"cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","title":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023","publishDate":1702494859,"format":"standard","headTitle":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>[aside postid='arts_13935703']There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>[aside postid='arts_13939278']By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"2023 represented a reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype.","status":"publish","parent":0,"modified":1705002985,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1344},"headData":{"title":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED","description":"2023 represented a reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Brittany Luse","nprImageAgency":"Warner Bros.","nprStoryId":"1218803510","nprApiLink":"http://api.npr.org/query?id=1218803510&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/13/1218803510/cowboy-beyonce-barbie-bass-reeves?ft=nprml&f=1218803510","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Dec 2023 05:01:00 -0500","nprStoryDate":"Wed, 13 Dec 2023 05:01:27 -0500","nprLastModifiedDate":"Wed, 13 Dec 2023 05:01:27 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939314/cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935703","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936628","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939314/cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","authors":["byline_arts_13939314"],"categories":["arts_1","arts_2303","arts_835","arts_75"],"tags":["arts_19375","arts_1686"],"affiliates":["arts_137"],"featImg":"arts_13939324","label":"arts_137"},"arts_13935703":{"type":"posts","id":"arts_13935703","meta":{"index":"posts_1591205157","site":"arts","id":"13935703","score":null,"sort":[1696269162000]},"guestAuthors":[],"slug":"beyonce-renaissance-world-tour-movie-amc-documentary-december-1","title":"Beyoncé's Renaissance World Tour Is Over. But it’s Coming to Movie Theaters Soon","publishDate":1696269162,"format":"standard","headTitle":"Beyoncé’s Renaissance World Tour Is Over. But it’s Coming to Movie Theaters Soon | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n","blocks":[],"excerpt":"‘Renaissance: A Film By Beyoncé’ is being released by AMC on Dec. 1.","status":"publish","parent":0,"modified":1705003295,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":293},"headData":{"title":"Beyoncé's Renaissance World Tour Is Over. But it’s Coming to Movie Theaters Soon | KQED","description":"‘Renaissance: A Film By Beyoncé’ is being released by AMC on Dec. 1.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934081","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934154","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1","authors":["byline_arts_13935703"],"categories":["arts_1","arts_74","arts_69","arts_75"],"tags":["arts_1686","arts_13672"],"featImg":"arts_13935704","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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