If there were any doubts that Beyoncé is serious about going country, the cover art for her upcoming album “Cowboy Carter” should dispel them.
Side-saddle on a white stallion, American flag in hand, decked out in patriotic Evel Knievel finery: She’s a genuine sweetheart of the rodeo.
It may be cool to be country these days — Post Malone is another artist crossing over — but Texas-born Beyonce has it in her DNA.
If you’ve heard her fantastic “Texas Hold ‘Em” — which recently made Bey the first black woman ever to reach the top of Billboard’s Country chart — you know this.
On every level, this is a victory for American society. For anyone who had been concerned about the nastiness festering through music as part of the culture war, this is a breath of fresh air.
Predictably, the activist media have spazzed, desperate to portray Beyoncé as a helpless victim, bullied by — by who, exactly?
The Washington Post thinks that Beyoncé has unmasked country music’s bias problem. If only those Beltway Bezos buffoons would direct that weird energy towards confronting their own problematic bias.
The Guardian deceptively implied that Beyoncé is in fact “clapping back at country.” But doesn’t…
