Ever wonder what really went down when our founder, Beyonce decided to do the BIG chop? Our Vice Chairwoman Tina Knowles and Lead Global Stylist Neal Farinah got the tea! And trust, the stories only get better. Want more tea times?

Go behind the scenes of Beyoncé's GQ magazine cover shoot for the October 2024 issue.

Beyonce took to her website to pay tribute to the late Frankie Beverly, Michaela Mabinty DePrince and Tito Jackson.

Raphael Saadiq discusses his work on Beyoncé‘s Renaissance and Cowboy Carter in the new episode of the Rolling Stone Music Now podcast:

The Cowboy Carter single “Texas Hold ‘Em” actually dates back to the Renaissance sessions.
“When any artist is working on a record,” says Saadiq, “you’d have an idea about what you want to work on, but sometimes you don’t know what sort of album you’re going to go with.”

Another Cowboy Carter standout, “Bodyguard,” started as a potential Saadiq solo track.
“That little bass line, it feels like Fleetwood Mac,” says Saadiq. “Because I love those eras of music.” Beyoncé first heard the track when Saadiq was playing her some songs from his Dropbox. “‘Bodyguard’ came up for a second — like the intro — and I went to the next one, and she was like ‘Go back, go back!’ And then what she added vocally was bars up from what I did. She sounded like Reba McEntire, felt like Aretha. She took what I did and completed it.”

Tina Knowles, the mother of global superstar Beyoncé, recently shared a touching memory on Instagram that offers a rare glimpse into the singer's early life and the values instilled in her from a young age. In her post, Knowles recounted an event from when Beyoncé was just seven years old, preparing for a local performance of John Lennon's iconic song "Imagine."

The memory centers around the "Sammy Awards," a Houston talent competition where Beyoncé was set to perform. Her father, Mathew Knowles, wanted her to understand the profound meaning behind "Imagine," a song that dreams of a world united by peace and humanity. He believed that for Beyoncé to truly embody the spirit of the song, she needed to experience firsthand the challenges faced by those less fortunate.

"This brings up very funny memory back to me. Saw it on ig today. Beyonce is seven she's preparing for the Sammy awards. She is going to sing John Lennon "Imagine" her dad wants her to understand the things that are going on in the world and he wants to create behind the scenes images," Tina wrote.

Last week Beyonce attended Gloria Carter's 75th birthday party in Brooklyn.

Over the past 30+ years Pharrell Williams has written and produced hits for everyone from *NSYNC (and solo smashes for Justin Timberlake) to Usher, Britney Spears, Busta Rhymes, No Doubt, Clipse, Jay-Z, Snoop Dogg, Robin Thicke and many more.

But in an interview with The Hollywood Reporter, the 51-year-old singer/rapper/producer and fashion designer who is the subject of the upcoming genre-busting LEGO biopic Piece By Piece opened up about some of the mega collaborations that got away, as well as one that he suggested he might be revisiting soon.

When Pharrell, who has worked on a number of albums and singles with Beyoncé over the past two decades — including producing her 2002 debut solo single, “Work It Out” — was asked what it’s been like to see the singer evolve from her Destiny’s Child days to now, the response likely made the Beyhive sit up and take notice.

“So happy for her. And I’m so grateful to be a part of her story and her journey and her trajectory,” said Pharrell of the singer who broke out in yet another direction earlier this year with her chart-topping , country-leaning Cowboy Carter album, on which he co-wrote and co-produced the song “Sweet Honey Buckiin'” featuring Shaboozey. “We’ve had a lot of fun. Get ready, though. Just get ready.”

When asked what we should prepare for, Williams was coy but adamant, reiterating, twice, “Just get ready.”

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In GQ’s October cover story, the artist talks business, legacy, art, and family: “It’s not about being perfect. It’s about being revolutionary.”

Beyoncé is breaking out.

Midway through Cowboy Carter, her eighth and most recent studio album, released this past spring, a voice makes the project’s mission statement plain over blaring alarms and a thunderous beat—declaring the concept of genre to be a sense of confinement for those artists whose creativity is too wide-ranging to fit in a neat box. All before Beyoncé herself saunters in comparing herself to Thanos, the Marvel villain known for seeking precious stones of mystical power to claim as his own and assemble into one unified superpower.

There may not be an accompanying music video, but the lyrics conjure a potent visual: Beyoncé, armed with a bedazzled gauntlet, breaking down every stultifying wall, label, or box the industry ever tried to put her in across her 30-year career.

It’s a theme that applies to much of what Beyoncé has been up to for the past decade or so, especially in the last couple of years: a mission of reclamation, recentering Blackness in spaces where our influence has since been de-emphasized, whether in rodeo, on the great American plains, or on sweaty ballroom dance floors.

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