Beyoncé Online

beyonceonline.org

Welcome

Welcome to Beyoncé Online - your #1 source for everything Beyoncé Knowles. You'll find here a lot of interesting information, one of the biggest photo galleries with over 100.000 pictures, downloads and more! Be sure to check out the latest news about Mrs. Carter and leave your comments. We hope you'll enjoy your stay and come back soon! Have fun!

Latest news

Gallery Update

October 27, 2018

I uploaded some older photos that were missing from our gallery.

Beyoncé's September Vogue Issue in Her Own Words: Her Life, Her Body, Her Heritage

August 15, 2018

Do you remember a world before Beyoncé? The singer has been in our hearts and headphones for more than 20 years, from teenager to mother of three. The Queen graces Vogue’s September issue this year, sharing the story of her latest pregnancy and delivery, her thoughts on body acceptance and the influence of her ancestry, and the legacy she hopes to leave her children. Beyoncé’s fourth Vogue cover is also historic: It was shot by 23-year-old Tyler Mitchell, a rising young black photographer from Atlanta, hand-selected by the star. In this month’s cover slideshow, the Houston native stuns in Louis Vuitton, Valentino, and Gucci.




Melina Matsoukas on "Formation" & "Lemonade"

February 27, 2017

Melina Matsoukas, a director of music videos and television shows, had just returned home from a trip to Cuba when she got a call from Beyoncé, asking her to direct a video for a song called “Formation.” Matsoukas had directed nine of Beyoncé’s videos, and considered her “family.” But this assignment was unusually demanding. Beyoncé was working on “Lemonade,” a deeply personal “visual album” that touches on betrayals in black marriages—her parents’ and, reportedly, her own. “Formation” would be the first single, and an introduction to Beyoncé’s new aesthetic: both vulnerable and political. She wanted to release the song the day before she performed it at the Super Bowl, which meant that Matsoukas would have to submit a video within a few weeks. “It was the fastest delivery I had ever done in my life,” she told me.

When I visited her loft in Hollywood recently, Matsoukas opened her rose-gold laptop and pulled up the video. The brassy opening beats began as Beyoncé crouched on the roof of a police car, wearing a red-and-white blouse and a matching skirt: evocative of the rural South but made by Gucci. Matsoukas, who is tall and thin, with dark hair and high cheekbones, radiates a disconcerting hyperassurance. (She’s a Buddhist, with a fluctuating practice.) She is, as she says, “very loud and New York,” but her apartment projects an almost hermetic cool: Africanist art, a golden skull on a shelf, a tar-splashed vanity mirror.

After Matsoukas agreed to direct the video, Beyoncé invited her to her house in Los Angeles, and explained the concept behind “Lemonade.” “She wanted to show the historical impact of slavery on black love, and what it has done to the black family,” Matsoukas told me. “And black men and women—how we’re almost socialized not to be together.” This was a fraught subject for Beyoncé. She and her husband, the rapper Jay Z, are among the most famous couples in the world, and they had long been surrounded by rumors that he was unfaithful. Beyoncé considers herself a feminist, but for black women feminism can be a tenuous balancing act—advocating for women’s rights while supporting black men against racism. Black feminists have often been forced to pick between being politically black or politically female. “It’s an unfair struggle that only black women can understand and relate to,” Matsoukas said. With the “Lemonade” album, Beyoncé was publicly calling out the men in her life, an unexpected and, to her fans, thrilling decision.

Beyonce talks to NY Times about her mother

January 21, 2017

For sisters in the public eye, Beyoncé and Solange Knowles have managed to resist the siren call to overshare the minutiae of their personal lives. But there is one topic they are happy to gush about: their mother, Tina Knowles Lawson.

In the January issue of Interview magazine, Solange is interviewed by Beyoncé and waxes lyrical about how their mother “always taught us to be in control of our voice and our bodies and our work.” Last June, when accepting the fashion icon award from the Council of Fashion Designers of America, Beyoncé dedicated it to her “fabulous and beautiful” mother.

And in November, when Solange appeared on “Saturday Night Live,” a backstage video posted on Instagram, showing the singer carried by Mom and Big Sis, caused the internet to let out a collective “aww.”

Ms. Lawson, 63, now finds herself in a newfound role as an artistic bridge between two of 2016’s most critically lauded albums: “Lemonade,” Beyoncé’s fiery visual album that is up for nine nods at the Grammy Awards next month, and “A Seat at the Table,” Solange’s spare and poetic R&B record, which topped Pitchfork’s best-album list last year. In October, her daughters made history when they became the first sisters to reach No. 1 on the Billboard 200 chart in the same year.

Beyoncé Interviews Solange for Interview Magazine

January 10, 2017

It's difficult to keep in mind the effort, the control required to make music that feels as graceful and cool as Solange's A Seat at the Table—especially when it's playing anywhere within earshot. All and everyone it touches just seems to groove in its glow. But does that deceptive ease, that seamlessness, on a jam like "Weary," for example, ring somewhat differently when we know it is a Knowles joint? For so long, and perhaps right up until the release of A Seat last September, and because the media can only think in archetypes or binaries, apparently, Solange was often cast in contrast to her big sister, Beyoncé-Solange as the groovy Dionysian hipster to Bey's Apollonian majesty. And, to be fair, while Beyoncé was making perfectly manicured pop marvels, Solange was more apt to drop a funky progressive EP, as she did with the freaky-good True, from 2012. She was, by definition, making popular music—and was then, as she remains, among the more thoughtful and direct songwriters out there—but she certainly sought out the woollier hinterlands of the genre, working with Grizzly Bear's Chris Taylor, Mark Ronson, and even Andy Samberg's comedy trio the Lonely Island.

There are some great cameos on A Seat, too (Lil Wayne for the win), but it's the restraint that creates drama throughout the record. Excepting the interludes of mini-monologues from Solange's parents and from Master P (!), the tracks on A Seat, each written and co-produced by Solange, are as tight and polished as cue balls. It seems notable that, in a year full of unparalleled turmoil and tragedy, when sexuality, race, gender, and identity politics were the slowly moving, if molten hot, tectonic plates of American culture, the tenor of A Seat at the Table is one of extraordinary, almost chilly poise. There is a severity in Solange's seeming serenity, as she sings on "F.U.B.U.," for instance, about commercial and cultural appropriation of black culture; there is a rigor to her composure. But that anaerobic tension makes for all the more seductive a re-listen and re-listen and re-listen.

Beyoncé Says Adele Is "The Most Humble Human Being"

November 1, 2016

In a new Vanity Fair cover story, Adele opens up about her idols: Beyoncé, Stevie Nicks, and Better Midler. Each of the women also commented for the story, expressing their admiration for the British soul star.

In the piece, Adele mentions that Beyoncé has been a big part of her musical life since the age of 11, when she heard "No, No, No" by Destiny's Child. "She’s my Michael Jackson,” Adele told Vanity Fair. Beyoncé offered her own kind words for Adele: “When Adele sings you can hear that it’s coming from an unfiltered honesty and purity. She creates songs that go deep and expose pain and vulnerability with her soulful voice. She takes you places other artists don’t go to anymore—the way they did in the ‘70s.”

“It is so easy to talk to her and be around her. She’s funny as hell and her comebacks are legendary. The most beautiful thing about Adele is that she has her priorities straight. She is a gracious woman and the most humble human being I’ve ever met.”

Gallery Update

September 12, 2016

I updated the gallery with various photos from appearances, award shows, performances, music videos, photoshoots and more.


Elle Magazine Scans + Full Article

April 5, 2016




January 23 was a normal day for Beyoncé. On the docket:

1. Showcase new athleisure line, Ivy Park

2. Plot launch of new music label

3. Prepare to dominate Super Bowl 50

4. Polish off top secret "Formation" video

5. Gear up for all-stadium world tour

When "Run the world" is your business plan, your day starts early.

Elle: Beyoncé Wants to Change the Conversation

April 4, 2016


These days, the superstar-turned-supermogul is slaying—pop charts, music-industry standards, societal labels, and now, the athleticwear biz—all on her own.

This article originally appears in the May 2016 issue of ELLE, available digitally on April 5, on newsstands in select cities starting April 6, and nationwide on April 19.

In this worldwide ELLE exclusive, Beyoncé gives a rare in-depth interview, in which she speaks candidly about how the first Destiny's Child album helped her discover she had real power, why she approached Topshop to be her 50-50 partner in Ivy Park, the true meaning of feminism, what she wants to accomplish next, her "Formation" message, and much more.

Here, a sneak preview of Beyoncé's conversation with Tamar Gottesman in the issue…

How important was the ethos of the brand—the idea of self-love, of girls and women coming together?

"It's really the essence: to celebrate every woman and the body she's in while always striving to be better. I called it Ivy Park because a park is our commonality. We can all go there; we're all welcomed. It's anywhere we create for ourselves. For me, it's the place that my drive comes from. I think we all have that place we go to when we need to fight through something, set our goals and accomplish them."

Super Bowl 50 - Backstage

February 12, 2016

Beyonce was interviewed and posed for photos backstage at the Super Bowl 50.




Latest photos

08.jpg
hq12.jpg
hq13.jpg
hq11.jpg
hq09.jpg
hq08.jpg
hq10.jpg
hq06.jpg
hq07.jpg
hq03.jpg
hq04.jpg
hq05.jpg
05.jpg
06.jpg
hq01.jpg
hq02.jpg
01.jpeg
02.jpeg
04.jpg
03.jpeg
06.jpg
07.jpg
Do you remember a world before Beyoncé? The singer has been in our hearts and headphones for more than 20 years, from teenager to mother of three. The Queen graces Vogue’s September issue this year, sharing the story of her latest pregnancy and delivery, her thoughts on body acceptance and the influence of her ancestry, and the legacy she hopes to leave her children. Beyoncé’s fourth Vogue cover is also historic: It was shot by 23-year-old Tyler Mitchell, a rising young black photographer from Atlanta, hand-selected by the star. In this month’s cover slideshow, the Houston native stuns in Louis Vuitton, Valentino, and Gucci.




Read more...
Melina Matsoukas, a director of music videos and television shows, had just returned home from a trip to Cuba when she got a call from Beyoncé, asking her to direct a video for a song called “Formation.” Matsoukas had directed nine of Beyoncé’s videos, and considered her “family.” But this assignment was unusually demanding. Beyoncé was working on “Lemonade,” a deeply personal “visual album” that touches on betrayals in black marriages—her parents’ and, reportedly, her own. “Formation” would be the first single, and an introduction to Beyoncé’s new aesthetic: both vulnerable and political. She wanted to release the song the day before she performed it at the Super Bowl, which meant that Matsoukas would have to submit a video within a few weeks. “It was the fastest delivery I had ever done in my life,” she told me.

When I visited her loft in Hollywood recently, Matsoukas opened her rose-gold laptop and pulled up the video. The brassy opening beats began as Beyoncé crouched on the roof of a police car, wearing a red-and-white blouse and a matching skirt: evocative of the rural South but made by Gucci. Matsoukas, who is tall and thin, with dark hair and high cheekbones, radiates a disconcerting hyperassurance. (She’s a Buddhist, with a fluctuating practice.) She is, as she says, “very loud and New York,” but her apartment projects an almost hermetic cool: Africanist art, a golden skull on a shelf, a tar-splashed vanity mirror.

After Matsoukas agreed to direct the video, Beyoncé invited her to her house in Los Angeles, and explained the concept behind “Lemonade.” “She wanted to show the historical impact of slavery on black love, and what it has done to the black family,” Matsoukas told me. “And black men and women—how we’re almost socialized not to be together.” This was a fraught subject for Beyoncé. She and her husband, the rapper Jay Z, are among the most famous couples in the world, and they had long been surrounded by rumors that he was unfaithful. Beyoncé considers herself a feminist, but for black women feminism can be a tenuous balancing act—advocating for women’s rights while supporting black men against racism. Black feminists have often been forced to pick between being politically black or politically female. “It’s an unfair struggle that only black women can understand and relate to,” Matsoukas said. With the “Lemonade” album, Beyoncé was publicly calling out the men in her life, an unexpected and, to her fans, thrilling decision. Read more...
For sisters in the public eye, Beyoncé and Solange Knowles have managed to resist the siren call to overshare the minutiae of their personal lives. But there is one topic they are happy to gush about: their mother, Tina Knowles Lawson.

In the January issue of Interview magazine, Solange is interviewed by Beyoncé and waxes lyrical about how their mother “always taught us to be in control of our voice and our bodies and our work.” Last June, when accepting the fashion icon award from the Council of Fashion Designers of America, Beyoncé dedicated it to her “fabulous and beautiful” mother.

And in November, when Solange appeared on “Saturday Night Live,” a backstage video posted on Instagram, showing the singer carried by Mom and Big Sis, caused the internet to let out a collective “aww.”

Ms. Lawson, 63, now finds herself in a newfound role as an artistic bridge between two of 2016’s most critically lauded albums: “Lemonade,” Beyoncé’s fiery visual album that is up for nine nods at the Grammy Awards next month, and “A Seat at the Table,” Solange’s spare and poetic R&B record, which topped Pitchfork’s best-album list last year. In October, her daughters made history when they became the first sisters to reach No. 1 on the Billboard 200 chart in the same year. Read more...
It's difficult to keep in mind the effort, the control required to make music that feels as graceful and cool as Solange's A Seat at the Table—especially when it's playing anywhere within earshot. All and everyone it touches just seems to groove in its glow. But does that deceptive ease, that seamlessness, on a jam like "Weary," for example, ring somewhat differently when we know it is a Knowles joint? For so long, and perhaps right up until the release of A Seat last September, and because the media can only think in archetypes or binaries, apparently, Solange was often cast in contrast to her big sister, Beyoncé-Solange as the groovy Dionysian hipster to Bey's Apollonian majesty. And, to be fair, while Beyoncé was making perfectly manicured pop marvels, Solange was more apt to drop a funky progressive EP, as she did with the freaky-good True, from 2012. She was, by definition, making popular music—and was then, as she remains, among the more thoughtful and direct songwriters out there—but she certainly sought out the woollier hinterlands of the genre, working with Grizzly Bear's Chris Taylor, Mark Ronson, and even Andy Samberg's comedy trio the Lonely Island.

There are some great cameos on A Seat, too (Lil Wayne for the win), but it's the restraint that creates drama throughout the record. Excepting the interludes of mini-monologues from Solange's parents and from Master P (!), the tracks on A Seat, each written and co-produced by Solange, are as tight and polished as cue balls. It seems notable that, in a year full of unparalleled turmoil and tragedy, when sexuality, race, gender, and identity politics were the slowly moving, if molten hot, tectonic plates of American culture, the tenor of A Seat at the Table is one of extraordinary, almost chilly poise. There is a severity in Solange's seeming serenity, as she sings on "F.U.B.U.," for instance, about commercial and cultural appropriation of black culture; there is a rigor to her composure. But that anaerobic tension makes for all the more seductive a re-listen and re-listen and re-listen. Read more...
In a new Vanity Fair cover story, Adele opens up about her idols: Beyoncé, Stevie Nicks, and Better Midler. Each of the women also commented for the story, expressing their admiration for the British soul star.

In the piece, Adele mentions that Beyoncé has been a big part of her musical life since the age of 11, when she heard "No, No, No" by Destiny's Child. "She’s my Michael Jackson,” Adele told Vanity Fair. Beyoncé offered her own kind words for Adele: “When Adele sings you can hear that it’s coming from an unfiltered honesty and purity. She creates songs that go deep and expose pain and vulnerability with her soulful voice. She takes you places other artists don’t go to anymore—the way they did in the ‘70s.”

“It is so easy to talk to her and be around her. She’s funny as hell and her comebacks are legendary. The most beautiful thing about Adele is that she has her priorities straight. She is a gracious woman and the most humble human being I’ve ever met.”


These days, the superstar-turned-supermogul is slaying—pop charts, music-industry standards, societal labels, and now, the athleticwear biz—all on her own.

This article originally appears in the May 2016 issue of ELLE, available digitally on April 5, on newsstands in select cities starting April 6, and nationwide on April 19.

In this worldwide ELLE exclusive, Beyoncé gives a rare in-depth interview, in which she speaks candidly about how the first Destiny's Child album helped her discover she had real power, why she approached Topshop to be her 50-50 partner in Ivy Park, the true meaning of feminism, what she wants to accomplish next, her "Formation" message, and much more.

Here, a sneak preview of Beyoncé's conversation with Tamar Gottesman in the issue…

How important was the ethos of the brand—the idea of self-love, of girls and women coming together?

"It's really the essence: to celebrate every woman and the body she's in while always striving to be better. I called it Ivy Park because a park is our commonality. We can all go there; we're all welcomed. It's anywhere we create for ourselves. For me, it's the place that my drive comes from. I think we all have that place we go to when we need to fight through something, set our goals and accomplish them." Read more...
Bey-hold, it’s a bright, shiny new year! So to kick it off, let’s take a hearty look at the best thing that happened last year / ever at BEAT. Yes that’s right, we are throwing it all the way back to that time Beyoncé was on the cover of BEAT. I mean, can you even believe that Ryan McGinley shot her for us, wearing a swimming costume with our logo on it and holding a chicken? Cuz I can’t. If you haven’t seen an actual issue yet – they are available here.

So if, like Adele, your “main priority in life” is Beyoncé then here it is, the only interview with Queen B in the last two years!!

Beyoncé sneezed on the BEAT and the BEAT got sicker…

WHERE IS YOUR FAVOURITE HOLIDAY SPOT?
The Maldives, Phuket, Croatia; anywhere I can see the ocean.

WHAT’S YOUR FAVOURITE THING TO DO ON A SUNDAY?
Pray and meditate.
Cuddle in bed with my man and my baby. Eat brunch with my family.
Swim.
Paint and listen to great music. Have a beer.
Nap.
Eat pizza.
Make love.
Sweet dreams… Read more...
BEAT magazine released more photos from the photoshoot for their Winter issue, as well as some tidbits from the interview. Get a copy of the magazine here.


Here she is talking about success and fear:

"What does fear taste like?
Success. I have accomplished nothing without a little taste of fear in my mouth."

Just as importantly, here she is chatting about which Beyoncé era she’d go dressed as for Halloween:

"Destiny’s Child Survivor era with the army fatigues. Or maybe Bootylicious with the gold tooth and pink tips in my hair."

This is what she sings in the shower:

"Holy Ghost by Kim Burrell" Read more...
Just shy of a week, January 25th marked the 15th year release anniversary of D’Angelo’s classic sophomore album, Voodoo. Saint Heron and some of their special artist friends reflect on the album, celebrating one of music’s greatest masterpieces.

BEYONCE
Voodoo is as relevant today as it was when it first came out. D’Angelo’s harmonies, instrumentation and arrangements are iconic and timeless. His song structure of mixing classic R&B with the true roots of gospel jam session still resonates today. It is an album you can listen to from start to finish. This is the DNA of black music; all the love, pain, social statements and rawness punctuated by his effortless vocal progression from his funky low register to his sexy falsetto. My favorite song on the album is “Africa” and “Untitled” definitely inspired my song “Rocket.”


If you pooled the collective memories of the staff at Parkwood, the small, can-do entertainment company that Beyoncé built, you would have enough material for the world’s longest biography. That it would also be a hagiography goes without saying; for those who work closest to her, Beyoncé is, quite literally, flawless. Again and again you will hear that she is the hardest-working person in showbiz, the most demanding of herself, the least complacent. And all of this, you will realize, is most likely true. But in all of the accolades and glowing character references, you will also find little shafts of light that fall on their subject in illuminating and lovely ways.

There is Angie Beyince, vice president of operations, who grew up spending her summers with her cousins, Beyoncé and Solange. “They loved Janet Jackson,” she tells me. “We’d talk all night and watch Showtime at the Apollo and my snake, Fendi, would just be crawling around. He’d sit on our heads while we watched TV.”

There is Ed Burke, visual director, who had never heard of Beyoncé when he met her 10 years ago, responding to a request from a friend to shoot her for a day. He spent the next seven years trailing her around the world with a camera. In Egypt, he and Beyoncé scaled a pyramid together as the rest of their group gave up or fell back. “It smelled like urine because there are no bathrooms up there,” he recalls. “She looked like Mother Teresa, wearing this white dress and a head wrap, and when we got to the top she sang Donny Hathaway’s ‘A Song for You.’ ”

There is Ty Hunter, her stylist, who was working at Bui-Yah-Kah, a boutique in Houston, when he first met Beyoncé’s mother, Miss Tina, on the hunt for outfits for Destiny’s Child. The two clicked. That was in 1998. “Miss Tina reminded me of my mother,” he says. “I call Bey and Solange and all the girls in Destiny’s Child my sisters. The family is just, you know, humble—not what people think it is. The picture is ‘diva, diva, diva,’ but I’ve been here this long because she’s not.” Read more...
On the cover of Out magazine's annual May Power Issue (on newsstands April 22) is one of the most powerful women in music: Beyoncé Knowles.

The singer, who defied traditional marketing tactics late last year when she released her surprise self-titled video album, is the perfect representation of what it means to be powerful. She’s poised, she’s commanding, and she does it all at her own pace.

Like any powerful person, there’s an army of supporters who follow. Aaron Hicklin, Out magazine’s editor in chief, got unprecedented access inside Parkwood Entertainment, the camp that makes up “team Beyoncé” in order to learn just how the singer landed the industry’s biggest coup.

On Tuesday, April 8, the singer takes over the site with exclusive remixes, never-before-seen photos, and interviews with some of the most powerful people in the industry.

#BeyOut will have fans bowing down to the “XO” singer.