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Beyoncé closed out her New York shows in style with a bold fashion tribute to Jay-Z

Beyoncé closed out her New York shows in style with a bold fashion tribute to Jay-Z

USA Today4 days ago

Beyoncé closed out her New York shows in style with a bold fashion tribute to Jay-Z
Beyoncé Knowles-Carter ended her first U.S. stint with a bang in the New York area, serving fresh looks and paying homage to her husband, Jay-Z.
The Grammy-winning singer hit the stage for her fifth show at MetLife Stadium in East Rutherford, New Jersey, on May 29. The concert marked Beyoncé's final performance in the New York area — East Rutherford, New Jersey — on her Cowboy Carter and Rodeo Chitlin' Circuit Tour. She first kicked off her New York area run on May 22.
During the show, Beyoncé rocked several new, show-stopping looks, making a fashion statement throughout the evening.
One of her notable new looks appeared during her "Alligator Tears" performance. Beyoncé entered the stage in a black cowboy hat, a black furry coat, and black buckled pants paired with a corset.
Many fans instantly took note of the ensemble with one saying, " Oh, this new look is the best yet on the entire tour. Once again, I'm gagged."
Another head-turner came later in the show, when Beyoncé donned an "NY" cowboy hat, sparkly chaps, a fringed varsity jacket, and a T-shirt featuring a throwback photo of her husband, hip-hop mogul Jay-Z, who was born in Brooklyn. The outfit made for a special moment when Beyoncé included a snippet of his 2008 hit "I'm a Hustler" in her set.
Beyoncé's tour has been a huge showcase of fashion and creativity, while also putting a spotlight on the Black-owned brand Telfar. Each night, Beyoncé continues to blend high fashion and cowboy couture, keeping fans on the edge of their seats as they anticipate a new look. There's been many looks incorporating Western-glam: sparkly chaps, cowboy hats, boots and piles of fringe. And her New York closer was no different.
As fans know, Beyoncé first released the 27-track project in March 2024. It has since made history and broken multiple records. As Beyoncé's first country album, she deliberately featured country legends and emerging Black country artists alike. She became the first Black woman to win best country album at the 2025 Grammys and also took home album of the year.
Of course, Beyoncé first debuted her "Cowboy Carter" tour at SoFi Stadium in Los Angeles on April 28 with 39 songs on the set list. The concerts have been revolutionary shows filled with family, fashion, different music genres, and most notably country music and cultural commentary.
The nine-city tour will span the U.S. and Europe with the grand finale taking place in Las Vegas on July 26.
Her next stop will be in London at Tottenham Hotspur Stadium on June 5, 7, 10, 12, 14 and 16.
Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.

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Civil rights leader Talbert Swan II claims racist threats from musician
Civil rights leader Talbert Swan II claims racist threats from musician

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Civil rights leader Talbert Swan II claims racist threats from musician

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And there's no easy answer there. I think we kept trying to lean more towards the realism of it, the pain and effort these dancers go through, but also lean away from the reality that when you go behind the scenes at the Lincoln Center, it's nothing but cinder block corridors and fluorescent tubes. It's very brutalist in a way, but that's not the reality we wanted to embrace. Paris was a lot easier. Paris is just gorgeous everywhere you go, inside and outside. I think our basic thing that evolved was that Paris has this kind of naturally, old world reality to it. So New York has got to be perceived as modernist visually, just to have a contrast. You know what city you're in just by the shapes and the forms and the colors that you get in both cities. Paris is inherently warm. It's all sandstone and golds and painted things. So I wanted to play New York the opposite, which is sort of blues and greens. So it became more of an old world, new world look. There's a modern art feeling to New York, in terms of the shapes and the walls and the furniture, more pop art in a way. And Paris has got that patina of paintings of 18th, 19th century paintings. Amy and Dan, I love how you always manage to set up a new challenge for David and the crew. Was there a moment like that this season? Sherman-Palladino: I've been bugging David and Jim McConkey, our Steadicam whiz. I keep saying, 'Where's my dance cam?' When I did the telephone operator thing in Maisel [with the switchboard scene], they invented this thing that I call the McConkey wonder stick. It's like a tube and there was duct tape and they hung a camera, and they MacGyvered this thing that was so great. And they kept perfecting it. I kept saying, I want something that allows me the max amount of dance flexibility, so where's my dance cam? They're still working on it, but they did come up with a version of the wonder stick, when we did the one-shot in the pilot of the girl doing her fouettes and I wanted to start with her feet and I wanted to go up and I wanted to go over her and I wanted to come around to the back and end behind her. And there was some duct tape involved in that. Mullen: The problem is, to really fly something around, it has to be a smaller, lighter camera. Lately, some shows have been doing stuff with these smaller, pro-sumer kind of cameras, like Adolescence, like we used for the traffic jam sequence in Maisel. They stripped down their wonder stick into a Sony camera with a lighter boom pole. The trouble is we do a lot of visual effects work to our stuff in post, and that camera is fine if there's going to be zero visual effects done to the shot. But if we have to do extra work, our visual effects supervisor doesn't want us to use the cheaper, smaller, lighter cameras. We have to use our regular, heavier Alexa camera. That's been our one limitation is dealing with just mass and weight. Amy's always pushing what I call basic Newton physics. Anything that weighs a certain amount, it's hard to move and it's hard to stop because of inertia. And you always run into that with anything of any weight at all. We had that problem with the underwater ballet sequence in Maisel in Miami because we were trying to fly a camera underwater and then fly up over the water, look down on the pool and come back down on the other side of the pool. We discovered that you balance this 50-foot technocrane for the weight of the camera, except the moment the camera hits water, it stops being heavy, it becomes buoyant. So they couldn't balance the crane for both underwater and above the water. Essentially once it hit the water, two grips had to take a piece of pipe and shove it underwater and then hold it down like a drowning victim and then would let go and it would pop out of the water again and fly up in the air. We were just fighting basic Newtonian mechanics there. Palladino: On our first date, all she did was complain about Newtonian physics. Sherman-Palladino: I did. It's been bugging me for years. Mullen: Yeah, we've got to appeal the second law of thermodynamics. Watch our other recent Dream Team stories featuring Amy Sherman-Palladino and Daniel Palladino, plus the two creators with star Luke Kirby. This article and video are presented by Prime Video. Best of GoldDerby Jacob Elordi reveals personal reason for joining 'The Narrow Road to the Deep North': 'It was something important to me' Kristen Anderson-Lopez and Robert Lopez on how the 'Agatha All Along' cast 'became a coven' when recording 'The Ballad of the Witches' Road' Jason Schwartzman on the breakneck 'Mountainhead' production: 'I've never done anything like it in my life' Click here to read the full article.

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