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Beyoncé to Attend 2019 'The Lion King'-Themed Wearable Art Gala

May 25, 2019

WACO Theater will host the Third Annual Wearable Art Gala on Saturday, June 1, 2019. Co-Artistic Directors Tina Knowles Lawson and Richard Lawson founded the event, which is presented by SheaMoisture, to celebrate art and raise funds for the non-profit gallery and performance complex WACO Theater Center.

The theme for the 2019 Gala is A Journey to the Pride Lands, based on the upcoming Walt Disney feature, THE LION KING, opening nationwide July 19th. Gala guests are encouraged to create their own wearable art attire inspired by the ideals of African tradition that are at the heart of the upcoming film which stars Donald Glover as Simba, Beyoncé Knowles-Carter as Nala, James Earl Jones as Mufasa, Alfre Woodard as Sarabi, and Chiwetel Ejiofor as Scar. The film is directed by Jon Favreau and utilizes pioneering filmmaking techniques to bring the treasured characters to life in a whole new way.

WACO Theater center proudly welcomes back beauty and personal care brand SheaMoisture as the Presenting Sponsor for the 2019 Wearable Art Gala. The brand has been a consistent supporter of WACO programs since 2016, working closely with the Center to passionately foster art and education initiatives for underserved youth.

Beyoncé nominated at the 2019 BET Awards

May 21, 2019

Nominations for the 2019 BET Awards were announced last week. Beyonce is nominated in four categories! The show, which is in its 19th year, airs live from downtown Los Angeles’ Microsoft Theater on Sunday, June 23.

Best Female R&B/Pop Artist
Beyoncé
Ella Mai
H.E.R.
Solange
Sza
Teyana Taylor

Best Group
Chloe X Halle
City Girls
Lil Baby & Gunna
Migos
The Carters

'Homecoming' Reached 1.1M US Viewers in Its First Day

May 15, 2019

Netflix’s critically-acclaimed concert special Homecoming: A Film By Beyoncé reached 1.1 million U.S. viewers on its April 17 premiere date, according to data newly provided by Nielsen via its SVOD Content Ratings system.

Introduced in October 2017, SVOD Content Ratings measures the viewership of subscription video on demand (SVOD) services via audio recognition software installed in 44,000 U.S. homes that contain Nielsen's TV set meters. While the highly-secretive Netflix has stated in the past that Nielsen's ratings are “not even close” to being accurate, it is the most reliable measure yet of SVOD viewership data.

According to the numbers compiled by Nielsen, the audience for Homecoming was 63% African American on the day of its premiere and 55% over its first seven days, more than any other Netflix original film or series analyzed to date (the closest was Bird Box with 24%). Hispanics, meanwhile, made up 15% of viewers, while Asians comprised 5%.

Beyonce.com: Houston Rockets

May 13, 2019

Beyonce shared personal photos from the Golden State Warriors vs. Houston Rockets game.




Golden State Warriors vs. Houston Rockets Game (May 10)

May 11, 2019

Beyonce and Jay-Z attended a game between the Golden State Warriors and the Houston Rockets during Game Six of the Western Conference Semifinals of the 2019 NBA Playoffs on May 10, 2019 at the Toyota Center in Houston, Texas.




Beyoncé Penned Ode to Michelle Obama for Time 100 Profile

May 6, 2019

Beyoncé recently penned a note in honor of former first lady Michelle Obama as one of TIME’s most influential people.

"Loving Michelle Obama wasn’t much of a choice. It was something that came naturally, because of how she carried herself. Because she resembled us and was moving in spaces where, as black Americans, we weren’t exactly meant to be, she seemed so powerful.

When I first met her, I was embraced by a warm, regal, confident woman who possessed a reassuring calm, on the eve of President Obama’s historic first Inauguration.

The way she looked, walked and spoke, in that warm but authoritative tone, we saw our mothers and sisters. She was strong and ambitious and spoke her mind without sacrificing honesty or empathy. That takes a lot of courage and discipline.

First Beyoncé & Adidas products to be released by the end of the year

May 5, 2019

Reaching more female customers has been a top priority for Adidas since 2015, when it announced the company strategy that’s still guiding it today. Then, as now, sales to women were a disproportionately small slice of the total business—as they generally are at big sneaker brands, which historically haven’t designed for or marketed to women anywhere near as much as they have men. For brands that can win them over, women represent a lot of potential dollars.

That’s essentially why Adidas has teamed up with singer and global superstar Beyoncé, CEO Kasper Rorsted acknowledged on a company earnings call today. While the company’s women’s business has been growing strongly, it remains a “particularly strong opportunity for us because it is an underrepresented part of our business… we’re still by no means where we need to be,” he said. “There’s no doubt that Beyonce will help us in this area.” The first limited products from that collaboration will release toward the end of this year, he added.

The singer has a reach few in the world can match. On Instagram alone she has 127 million followers; just for the sake of comparison, mega-star Rihanna has about 70 million. After she and Adidas first announced their partnership, the shots she posted on the social network collectively drew tens of millions of likes and hundreds of thousands of comments. At a moment when pop stars seem to be more effective at selling sneakers than pro athletes, Beyoncé could have a noticeable effect on the company’s sales to women, especially since Adidas has found in the past that people such as influencers are a more effective way to reach women than athletes anyway.

'Before I Let Go' Becomes Beyonce's 60th Hit on Billboard Hot 100

May 5, 2019

Beyoncé makes her 60th appearance on the Billboard Hot 100 chart as "Before I Let Go (Homecoming Live)" debuts at No. 75 (on the list dated May 4). The single, released April 17 as a bonus track on her Homecoming: The Live Album, bows after its first full week of tracking.

The cover of the 1981 hit by Maze featuring Frankie Beverly, which reached No. 13 on the Hot Soul Singles chart (now Hot R&B/Hip-Hop Songs) enters with 6.9 million U.S. streams in the week ending April 25, according to Nielsen Music. It also starts at No. 28 on Digital Song Sales with 6,000 downloads purchased in the same window.

Though "Go" doesn't yet make the all-genre Radio Songs chart, the single has claimed a fast start at R&B/hip-hop radio, bursting 45-27 on R&B/Hip-Hop Airplay with 7.2 million in audience in the week ending April 28.

In addition to its Hot 100 start, "Go" also opens at No. 45 on Hot R&B/Hip-Hop Songs (which, like the Hot 100, blends streaming, sales and airplay data). Homecoming, meanwhile, ascends 7-4 on the all-genre Billboard 200 and 4-2 on the Top R&B/Hip-Hop Albums charts following its first full tracking week.

The Carters Win 2 Billboard Music Awards

May 2, 2019

The 2019 Billboard Music Awards were held last night at the MGM Grand Garden Arena in Las Vegas. Beyonce and Jay-Z were nominated in three categories, out of which they won two awards:

Top R&B Tour
Beyoncé & JAY-Z (Winner)
Childish Gambino
Bruno Mars

Top Rap Tour
Beyoncé & JAY-Z (Winner)
Drake
Travis Scott

Beyoncé Rehearses For Homecoming

April 30, 2019

Beyoncé and her team rehearsed for 8 months to bring her Coachella show to life. Watch it all come together in Homecoming: A film by Beyoncé, only on Netflix.

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June 19, 2018

Producers Cool & Dre on What It's Like to Make a Beyonce and Jay-Z Album

When Beyoncé and Jay-Z's album Everything Is Love appeared suddenly on Tidal on Saturday night, a surprising name stood out on the credits list: veteran duo Cool & Dre co-produced three of the nine songs on the album, along with a bonus track. Cool & Dre were ubiquitous on much of the radio in the mid-2000s – see Ja Rule's "New York" and the Game's "Hate It or Love It," for starters – and enjoyed a recent renaissance as the team behind Fat Joe's "All the Way Up." The pair had never worked on a Jay-Z or Beyoncé album before, though. On Everything Is Love, they're responsible for "Summer," the album's soul-sampling opener; the radio-ready, Dr. Dre-interpolating "713"; and a pair of triumphant cuts that appear near the end of the LP, "Black Effect" and "Salud!" Cool & Dre co-produced more tracks than anyone on the album other than Beyoncé and Jay-Z themselves.

"We always joke with Jay: Working with them two is like working with the Golden State Warriors," Dre says. "We can just dribble the ball up the floor and look like geniuses." Rolling Stone spoke with the duo – Dre is by far the chattier of the two – about how they ended up on Everything Is Love, the recording sessions in Paris and Cardiff, and how Jay-Z and Beyoncé's talents pushed them to new creative heights.

How did you get involved in the album?
Dre: We've had a relationship with Jay-Z shit, for 15 years. OG Juan introduced me to Jay shortly after "Hate It or Love It" was ringing off. He told me back in the day: "'Hate It or Love It,' I get it, I gotta let that go. But 'New York,' you were supposed to hand deliver that to me. You gotta find a way to get to me." We've always had a cordial relationship with him. We never had the opportunity to get on one of his albums. You have to be right beside him. Jay has a thing, he'll text or email: "Stay close." That's advice you have to take literally. He'll record in two weeks and the album is done.

So probably eight, nine weeks ago, Cool and I started sending him ideas. We emailed it to him, and I reminded him about that time he told me, "Yo, before we send this to anyone else, I'm gonna take your advice and hand deliver it to you first." He emailed right back after he heard it, "This shit's crazy. Keep feeding me." After a couple records, we gave him one song that he loved so much he was like, "You in L.A.? Come over." We're in Miami right now, but we're gonna be in LA immediately; I'm booking flights. He invites us over, and in a 10 or 11 hour span, we cut around five or six records. Towards the end, he started playing me records that him and Beyoncé cut. There was one record that Cool kept saying, "Yo, Dre, don't leave there without playing him 'Salud!'" So after he played a couple Beyoncé duet records, I was like, "Yo, can I play you one more?" It was just the beat, but he was like, "What the fuck? You wait until the end of the night to play this shit? You crazy?" I was like, "I got a hook idea." He's like, "Lay that shit."

As I was laying it, Beyoncé walks into the studio. When it was done, she played it three or four times, and she's like, I love this, this is great. From that night, Jay kept saying, "Stay close." Young Guru , God bless the man, one of the realest guys ever, made sure he kept me and Cool in the loop. These people are busy as hell, so he would always let us know what's going on. He's like, "Yo, we're going to Paris, if you guys want to come out, you should come out." We stayed there with B and Jay for two and a half or three weeks in Paris.

When you initially sent him those beats, did you know he was working on this album?
Dre: Not at all. Back when we did "All the Way Up" and he got on the remix, he reached out and was just showing love. I made it a point to stay in touch. He said, "Stay in touch, don't be afraid to hit me. If you do something that's crazy, don't be afraid to send it to me."

What was the atmosphere like in Paris?
Dre: They were rehearsing for the tour at this stadium, and they bought out the owner's suites upstairs and set up studios upstairs. While we were working out, we would look out the window and watch Jay and B prepare for the tour, rehearsing, all the lights. Once he let us know his focus, we started working on that too. "Salud!," the bonus cut, was the first record Beyoncé cut. She cut that before we went to Paris. That's when we knew we were in the right place. To have a relationship with Hov don't mean shit with Beyoncé.

Cool: We were in a special zone. When you look to the side and you see the stage and you see magic being put together, it was straight inspiration. That's when "713" and "Summer" were birthed. We were getting out as much creative heat as we can.

Dre: It was important for us to physically be there. A record like "Summer," when Cool played the music, I started coming up with melody ideas, words and hooks. When we played it for them, I think they didn't know we could bring that to the table. They knew they could get some hard-ass beats from Cool & Dre. But they didn't know they were gonna hear a record they could connect so close with. This is Beyoncé and Jay-Z, arguably the best in both categories. We went into the studio every day with the sole focus of, let's try to blow these people away.

You made "Summer" from a Leon Michels sample?
Dre: He had that one section that spoke to us immediately. Big up Leon. He's an unbelievable musician. Me and Cool are sample guys. That's what we do. It's so great now in 2018 to work with guys who can create original music and we can sample them.

Why did you want to end that song with those strings?
Dre: Shout to my man Maserati . There's a reason Beyoncé and Jay-Z are credited as producers – they produce. They heard it and were like, "This sounds great, but let's add some live strings."

And this whole album was made after that session in Paris?
Dre: Yep. The reason we say they're like the Warriors is they shoot from full court, and it goes in every time. People were still recording parts an hour and a half before the last show in London, three hours before the album was released. They were still putting last second touches on. This shit is not a game. They don't have rules. The album got turned in three hours before it got let go.

The last couple days was no sleep, in the studio non-stop. The record gets sent off to mastering, then they hear, and want to change this, this, and this. You master the record, they ask for changes. Everything was crunch time. They're doing this as they rehearse for this humongous tour.

How did "713" come together?
Dre: Big-up our young producer 808-Ray that Cool discovered on SoundCloud a few years ago. He's a phenomenal programmer. The "713" record, he was like, "Let's try to make it a little more West Coast, like Dr. Dre was on it, that era." Then I was like, "What if we come with the 'I'm representin' for the hustlers all across the world?'" You know Jay-Z wrote that shit for Dr. Dre? Let's pitch the idea to him and see if Beyoncé will do it for 713 . Hov loved it.

When were in Paris, me and Cool were being very deliberate. We would watch as Jay and Bey finished the rehearsal and were walking away from the stage. Our room upstairs was directly over the tunnel they had to walk under. I would look, Jay and B would be walking towards the tunnel and I'd say, "Yo, Cool, play that!" He would play the beat, and I would open up the door to hear what he was doing. Before you know it, they pop in our room.

"713" was one of those nights when they were up in our room upstairs. They loved the hook, they loved the beat. Beyoncé had told Jay, "Yo, we need to do a hardcore love song, like back in the day, when Method Man and Mary J. had that hard record together. Jay was like, "I know exactly what beat to do this to," and pulled this one out the stash.

I remember the night he pulled us into his studio and played it for us, he was like, "No one knows the story of how we met. This was the first time I'm ever telling this story." Boom, he plays it for us. After we listened to the first verse and the hook and the beat played a couple times, he looks at us and he goes, "I never knew a love-ove-ove like this – oh shit, I gotta cut this!"

Cool: Just seeing how that came together, we literally were in the room when he started that second verse. The "net work" line ["Queen, I ain't mean no disrespect/But the way I net work, it's hard for me to connect"] he came up with while he was in on the mic. He had his eyes closed and it just came to him. You know it came to him right away.

When did you guys move from Paris to Cardiff?
Dre: We were in Paris for a couple weeks. Jay told us to stay close; we're gonna stay close. Beyoncé's team were like, "things are going good, we'd like for you guys to continue working. Can you come out to Cardiff?" I gotta salute my brother Cool, in this game you gotta make sacrifices. Cool missed his daughter's graduation from eighth grade. That's my goddaughter, too.

Cool: We did Cardiff for a week. That was a crucial week, when the album was really fine-tuned and finished.

And how did "Black Effect" come together?
Dre: We did the beat in Miami. Jay mentioned he wanted a sample feel with a vocal singing through it. We reached our guy Smitty, he's great at finding samples. He digs all day. I was like, "yo, you got anything in your stash with someone singing some pain shit?" He pulled that one up and we cooked that up. When we sent it to him, he was like, "This is fucking crazy." The original beat we put on was more hip-hop; he was like, "This shit needs some bounce." So we switched it up and gave it more of a trap feel. 808-Ray came in on hard on that. Jay-Z took it to another place. Beyoncé came and added those crazy "higher" vocals.

That sample is pretty esoteric.
Dre: Right now as we speak, this guy is on YouTube searching up old shit. He loves to dig.
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