Cowboy Carter: May the Blackbirds Continue Singing

Beyoncé is making waves once again with the release of her eighth studio album. Cowboy Carter is set to become a bestseller...already approaching a benchmark as Spotify's most streamed album in a single day. This marks the icon's venture into the country music scene. Having come off the success of her previous album Renaissance, the R&B/pop star sets the stage and shows the world that she is capable of not only producing a different style of music...but also bending the genre altogether.

It is a venture that was long needed.

Country music fans certainly have mixed reactions towards Beyoncé's entry. A recent article published in the Washington Post criticized the work as being about "awards shows." It refers to Beyoncé's reaction to being overlooked for several awards as someone being "sour grapes." It also attempts to make a dig, saying that this is something that an artist and performer such as Drake would do.

The article proceeds to describe the album as, "...opting instead for an omni-genre grandeur that still only manages to feel cosmetic at best." The criticism looks at her collaborations with artists such as Dolly Parton, Miley Cyrus, and Post Malone and provides feedback on each of them. Her collaboration with Miley Cyrus is "cute" but the one with Post Malone is "cringe." The article also makes note that some of Beyoncé's songs are actually covers or remakes of classics such as the The Beatles' "Blackbird." The article does honor the fact that Beyoncé casts a spotlight on various unsung artists such as Linda Martell. One of the album's criticisms is: "Instead of getting her ideas to blend on this album, it’s like she’s lining up the ingredients on the countertop and calling it a cake."

The article also asks us to consider...what is Beyoncé trying to accomplish? Does even Beyoncé know what she is trying to do?

A deeper look shows us that yes, the artist does. The evidence is here in these lyrics:

Used to say I spoke too country, then the rejection came

Said I wasn’t country enough.

Said I wouldn’t saddle up, but if that ain’t country, tell me what is?

Stop and take this in for a moment...this is a woman whose family came from Alabama and Louisiana.

She was born in Houston, Texas. Her family's roots are tied to the South and have a history that is more layered than anyone can possibly fathom. Her accent is often associated with a country sound...yet still Beyoncé is not "country" enough. Let's not forget that she herself came from two entrepreneurs, and her father quit his job to support her talent. It was a move that nearly cost the whole family their home and nearly cost her parents' marriage. Beyoncé literally brought it all though and she signed a contract with Sony. Her family reunited when she did.

To say that Beyoncé is on par with other billionaires is a stretch. The backlash against Beyoncé does not just come from a disdain for where she is from but for what she represents. Her work as a R&B artist is a part of this...but it goes much deeper than just a genre of music. When we consider that R&B is typically marketed towards Black Americans...and the legacy of discrimination against Black Americans in the music industry...it is reasonable to surmise that Black entertainers are oftentimes forced into a niche. Black artists such as Frank Ocean and Lil Nas X were marketed as R&B and hip hop artists, but their sounds were unique by all rights. Their music challenged music labels...who have to market talent based on sales parameters. Sza and other artists find their work limited and opportunities overlooked because their artistry cannot be fit into a genre.

While certainly artists can choose to adhere to the status quo and just make music, this would be to the detriment of the world. If art is supposed to expand our horizons...then are we not witnessing the pushback against artistic freedom? When is an artist such as Beyoncé ever allowed to explore other genres? Are we also not doing a disservice to audiences by denying them nuance in creativity and sound?

One irony that doesn't go missing is that the critique of Beyoncé "sour grapes" attitude as the cluelessness of millionaires and billionaires. Are audiences supposed to forget the humble beginnings Beyoncé had? Or that Washington Post-- where this article was published-- belongs to one of the wealthiest men in the world? Are they supposed to look away from the fact that one of the greatest benefactors of this wealth inequality owns one of the most influential newspapers in the world? When Black people become commercially successful...are we supposed to vilify them while White people become rich from the some of the same-- if not less ethical-- means? There is something rather telling when income inequality suddenly takes center-stage whenever a Black artist successfully bring in immense revenue, only for income inequality to be hushed or overlooked when it is somebody else.

Everyone is entitled to an opinion. The author of the above article certainly has a right to his...and in a lot of ways I can see his argument and I can respect it. There is something to be desired from millionaires and billionaires that are overlooking the plights of the masses. There is something to be considered though when income inequality is only seriously addressed whenever Black performers and entrepreneurs are successful.

Could it be that artists-- Black artists especially-- are not supposed to be a part of this elite circle? That this is one of many systemic flaws built into the machine? That this woman-- a Black woman no less-- was not supposed to be in such a category? Yet even with all these barriers stacked against her...her creativity, her resilience, her intelligence, her community, her fanbase, her beauty, her dedication...all of these things pulled her through?

Beyoncé does not need me to defend her. The artist does not even know that I exist. But what I am here to raise awareness about is bigger than billionaires, the Washington Post, the Country Music Awards, and yes...even Beyoncé.

Country music...American country music...has a representation issue that is the result of America's caste system. The media that reports on the genre also has an issue with naming what is happening. Beyoncé is certainly not the first Black American performer in country (or any genre) to be slighted. Unfortunately, while conditions persist, she may not be the last. Systemically, we see that the contributions of Black artists and performers to the genre are being swept away and overlooked. This past year, Luke Combs and Tracy Chapman performed a duet rendition of the infamous Chapman song, "Fast Car." Across media platforms, people feared that Tracy Chapman would be erased as the writer of one of the most iconic folk songs of her generation.

Luke Combs to his credit has done a tremendous job reiterating that he is not the original writer or performer of Chapman's song. This should be a standard though. Credit should always go where it is due and especially to those who originally penned or created something. Black Americans literally built this country by the sweat of their brow and history's scars, past and present. They also set the stage for the commercial success of several musical genres. Country music is one in a long list of them. Who gets credit for labor has always been political. Having your contributions recognized is treated as a privilege...because it is a right denied to so many. It is concerning because country music is...by all rights...the music of the people. Before it became associated with the"good old boys" club...its roots were anchored in Irish, Scottish, and African musical traditions that were brought to the continental United States during the time of settlement. It was also not just men but people from all gender identities who were performing it.

Beyoncé has fame and fortune to rally for her. She also has no shortage of allies. Commercially successful White performers such as Willie Nelson, Dolly Parton, and Miley Cyrus joined her on several Cowboy Carter tracks. The Chicks (then known as the Dixie Chicks) were also featured on Lemonade's "Daddy Lessons." These are all prominent White performers within the country music scene who themselves not only challenged the status quo within the genre, but also stood up to the injustices perpetuated by the mainstream politics outside of the music industry. These are celebrities who have decried gun violence (which disproportionately impacts lower-income communities, communities of colors, and all the intersections) and championed various causes such as peace activism, marijuana law reformation, farmer's rights, women's and gay rights.

The irony of it all too is that these artists-- at various points in their careers-- dabbled with influences outside of country music. Dolly is notorious for bringing in pop influences into her songs. Miley Cyrus brings pop and even elements of hip hop, disco, and R&B into her sound. Willie Nelson was credited as a figure of outlaw country, which evolved as a sub-genre that challenged the conservative politics of the country music scene. The Chicks were known for mixing bluegrass and country together to create their own unique blend. All of these artists were celebrated and praised for their ability to blend multiple different sounds from various genres. Yet Beyoncé is ridiculed and shamed for adding nuance to a genre that arguably can use it?

The legacy of American segregation in the country music genre is still alive and well because the music industry seeks to divide and conquer every day people. It created different genres to market particular tastes...but took it a step further and tried to say that genres should only be limited to specific categories of people. They argue that Country music is only supposed to be for White people. These are same people who say that R&B and Hip Hop should only be enjoyed by Black people. These are the same people who say that Pop music can be enjoyed by most anyone...but you have to look a particular way to perform in it. The industry tried to keep audiences separated by their marketing strategy...and both intentionally and unintentionally created the demographic rifts that we see today. This is not only for profit but to maintain the power and influence of society's favored castes.

Thankfully, music and the enjoyment of it transcends boundaries. One does not need to belong to a particular category to appreciate any type of music. However, one does need to belong to a category when sales are the priority. How else are marketers supposed to understand you, as a consumer? How else are they supposed to understand your tastes and why you gravitate to those sounds? How else are they supposed to keep you coming back to the same frequency...so that they can continue milking your dollar? How are they supposed to collect data off of you without even acknowledging your human worth and dignity? How else are they supposed to keep you trapped in an echo chamber rather than being an informed and engaged consumer? Instead of you being able to enjoy music for what it is-- an artistic expression of the human condition-- you are supposed to fall in line with the program and consume the ideas, norms, sounds, and values that are marketed to you based off of shallow definitions. It's to keep you ensnared in your social conditioning to continue feeding your money into a system that wants to continually perpetrate our oppression.

Race, class, gender, and all the other sociopolitical and economic markers that are used to divide us are all very real constructs, absolutely. Yet what we are witnessing is complex. Racism and caste certainly factors into the narrative...but we also have selective outrage. Why do we get angry at a Black billionaire for perpetrating inequality...but completely overlook who benefits from the majority of income disparities here at home and abroad?

Instead of ordinary people being encouraged to question who...if anyone...should be able to make billions of dollars...we are being pit against one another. As an entire genre of music is being remade before us...we are encouraged to belittle, degrade, and overlook the accomplishments and achievements of Black performers. This is happening to Beyoncé, a commercially successful artist, in broad daylight. Imagine what goes on behind the scenes to Black performers entering country who have the talent but neither the financial clout or influence that Queen B does? This happens not because of lack of ability but because these artists continue to go unrecognized. Not only that, but they are purposefully barred from the same opportunities as White performers.

Beyoncé covers the classic Beatles' "Blackbird"in her new album. This song was the band's acknowledgment that across the pond in the United States...a battle was taking place. The Little Rock Nine were nine Black American schoolchildren who were escorted by the protection of the U.S. Army...to integrate an all-White school district. These children were verbally assaulted and threatened with physical violence. The soldiers sent to perform the task endured violent backlash as well. A quote from "Blackbird" goes:

Blackbird singing in the dead of night

Take these broken wings and learn to fly

All your life

You were only waiting for this moment to arise

Black performers have been a part of the American country scene since its inception. Strides have been made in various areas-- including the music industry-- that have pushed Black performers to commercial success. There is still much that needs to be said about the history of the country music genre. The fact that Black performers are facing heat for making strides in a genre that they helped build should raise the eyebrows of any music listener who appreciates authenticity, creativity, innovation, and nuance.

Disliking Beyoncé's new album doesn't automatically mean you are racist, sexist, etc. Not caring for Beyoncé's work or her as an artist does not equate as these things either. However, we should question unfair criticisms about an artist-- a Black artist and a woman no less-- for performing and creating music in any genre that they so choose. One can have artistic critiques about anyone's work. But let's be thoughtful when reading those criticisms. Let's also stop using class conflict as a means to tear Black performers down a peg. If we are going to do that, then we need to take a closer look at White (and other ways of classifying) performers too.

Beyoncé's entrance into country music has been controversial to say the least. Yet she delivers an album studded with sounds that honors her roots while also complementing the style that she developed as a creator. This artist is being shamed and mocked because of her categories and not for the contributions of her work. Meanwhile, White country stars are allowed to explore the confines of genre and dabble in sounds outside of it to create their own musical expression. This goes back to the fact that country music and the music industry at large is still rooted in a caste system with a legacy of segregation. While Beyoncé has fame, fortune and the allyship of many White country artists...there are many Black performers in the country music scene who are not so lucky. As the country music genre proceeds to change before us we should remain open to possibilities. We as audiences deserve to hear new ideas and perspectives. We also have a right to know about the history that was kept from us. The purity politics of the music industry is an injustice to the artists limited by record labels and to the audiences who are thirsting for nuance.