Latest news with #DixieChicks
The Herald Scotland
22-05-2025
- Entertainment
- The Herald Scotland
Surely King Creosote is allowed to have his own opinions?
Anderson sang the praises of several right-leaning showbiz controversialists such as Mel Gibson and Eric Clapton – and TV presenter Neil Oliver - prompting critics to ask two central questions; whatever happened to the days when pop stars led the protest vote on behalf of the ordinary person? And in these days of cancel culture, is it clever to voice a political opinion that even Donald Trump supporters would stay clear of? A generation or two ago, we delighted in hearing John Lennon sing Give Peace A Chance, because we all knew the Vietnam War was rancid. And who didn't support Jane Fonda when 'Hanoi Jane' was vilified by American Republicans. Over the years we've heard the liberal protest voice amplified by the likes of Dylan and Springsteen, the Dixie Chicks and Taylor Swift. Read more on King Creosote Those on the right have long wailed into the microphone too. James Cagney was a friend of Ronald Reagan who saw hippies as 'functionless creatures". Charlton Heston and John Wayne were also Good Old Boys who believed guns to be a force for good. And in more recent years the voice of conservatism has been carried loud and clear by Pink Floyd's Roger Waters, Tony Hadley, Lulu and Geri Halliwell. Yet, in these days of polarised opinions and social media pile-ons, is it wise to be too vocal? Sir Elton John, in cautious voice, admits he's left leaning. 'If I was to say what I am, I'd be a Labour man. And in America I'd definitely be a Democrat; I'd never be a Republican. But I just want people to vote for things that are just, things that are important to people; the right to choose, the right to be who you are, and not let anybody else tell you who to be.' PR guru Mark Borkowski supports the argument for artists putting their own message out there – if the cause is right. 'Once upon a time music was synonymous with political dissent. I knew of Peter Paul and Mary primarily through Ed 'Stewpot' Stewart and Puff the Magic Dragon: but for an entire coffee house generation these guys owed their cred as much to their political attitudes and moral and ethical outlook as to their music.' He adds; 'Maybe the rock icons of this age are toothless tigers, a bunch of easy-living no-goods whose rage is all front, a force for nothing bar their own inflated incomes and egos. In which case, forget it, dismiss the Dylans, Seegers, Geldofs, Bonos and other humanitarian rock crusaders as unfortunate blips in musical history, and let's get on with selling the T-shirts.' King Creosote referred to Neil Oliver as 'one of the best guys' (Image: free) Billy Bragg or Paul Weller will sing out their lefty stance from the rooftops. As will Alice Cooper on the right. However, while Bruce Springsteen may be America's blue-collar representative on stage, the Boss suggests caution when it comes to proselytizing. 'The more you do it, your two cents becomes one cent and then no cents whatsoever,' he maintains. 'So, I think your credibility and your impact lessens the more you do it. That's why I've been hesitant to overplay my hand in that area, and I generally come to service when I feel it's kind of necessary and it might help a little bit." Is that what it's about? Measuring mood - and yet still being true to your convictions? Lulu didn't seem to measure the mood in Scotland when the former tenement baby revealed herself a Thatcherite. However, the singer from Dennistoun's record sales didn't nosedive as a result. And actor Vince Vaughn's career didn't suffer a nosebleed, in spite of becoming a Trumpeteer in recent years. Yet, supporting a mainstream political party is one thing, but when you align yourself with extreme thought – a clear example being Mel Gibson's apology for anti-Semitic ranting during his arrest for drink-driving – or tie into conspiracy theories - then your career could be headed for the toilet. PR professional James Nickerson argues that if artists feel strongly about being political, they need to be aware of the potential fallout. 'Artists really have to be sure enough in their belief that if they lose some of their fan base, they will be okay with that.' That doesn't seem to be the case with The Smiths former frontman Morrissey, who once wore a For Britain badge, (a right-wing political party Nigel Farage believed to be made up of 'Nazis and racists'), declared reggae to be 'the most racist music in the world' and defended Harvey Weinstein. The singer later admitted to fans in the US; "As you know, nobody will release my music anymore.' John Wayne was a well-known right-winger (Image: free) So, it's fine to air views, if it's to demand civil rights, or demand the end to wars or battle the gun lobby. But when you cross the line, as actor Laurence Fox seems to have done when making statements such as 'The wokeists are fundamentally a racist bunch' then there's a real chance you can find yourself looking for a new line of work. Yet, we don't want our artists' mouths to be taped up. I once interviewed the icon that is Smokey Robinson and Smokey didn't want to talk about early Motown days or offer thoughts on romancing Diana Ross. All he wanted to talk about for two long hours was Jesus and how God found him. And it was apparent that God hadn't given Robinson the gift of self-awareness. But at least the interview ended with an understanding of the man. And doesn't that signal that even if we don't agree with the voices of the likes of King Creosote it's better to know what a performer actually thinks? What we've also got to consider is that most people who complain about an artist's expression of their views are just upset because they don't agree with their own. So, let's hear the voices from the ends of the spectrum.
The Herald Scotland
19-05-2025
- Entertainment
- The Herald Scotland
Surely King Creosote is allowed to have his own opinion?
Anderson sang the praises of several right-leaning showbiz controversialists such as Mel Gibson and Eric Clapton – and TV presenter Neil Oliver - prompting critics to ask two central questions; whatever happened to the days when pop stars led the protest vote on behalf of the ordinary person? And in these days of cancel culture, is it clever to voice a political opinion that even Donald Trump supporters would stay clear of? A generation or two ago, we delighted in hearing John Lennon sing Give Peace A Chance, because we all knew the Vietnam War was rancid. And who didn't support Jane Fonda when 'Hanoi Jane' was vilified by American Republicans. Over the years we've heard the liberal protest voice amplified by the likes of Dylan and Springsteen, the Dixie Chicks and Taylor Swift. Read more on King Creosote Those on the right have long wailed into the microphone too. James Cagney was a friend of Ronald Reagan who saw hippies as 'functionless creatures". Charlton Heston and John Wayne were also Good Old Boys who believed guns to be a force for good. And in more recent years the voice of conservatism has been carried loud and clear by Pink Floyd's Roger Waters, Tony Hadley, Lulu and Geri Halliwell. Yet, in these days of polarised opinions and social media pile-ons, is it wise to be too vocal? Sir Elton John, in cautious voice, admits he's left leaning. 'If I was to say what I am, I'd be a Labour man. And in America I'd definitely be a Democrat; I'd never be a Republican. But I just want people to vote for things that are just, things that are important to people; the right to choose, the right to be who you are, and not let anybody else tell you who to be.' PR guru Mark Borkowski supports the argument for artists putting their own message out there – if the cause is right. 'Once upon a time music was synonymous with political dissent. I knew of Peter Paul and Mary primarily through Ed 'Stewpot' Stewart and Puff the Magic Dragon: but for an entire coffee house generation these guys owed their cred as much to their political attitudes and moral and ethical outlook as to their music.' He adds; 'Maybe the rock icons of this age are toothless tigers, a bunch of easy-living no-goods whose rage is all front, a force for nothing bar their own inflated incomes and egos. In which case, forget it, dismiss the Dylans, Seegers, Geldofs, Bonos and other humanitarian rock crusaders as unfortunate blips in musical history, and let's get on with selling the T-shirts.' King Creosote referred to Neil Oliver as 'one of the best guys' (Image: free) Billy Bragg or Paul Weller will sing out their lefty stance from the rooftops. As will Alice Cooper on the right. However, while Bruce Springsteen may be America's blue-collar representative on stage, the Boss suggests caution when it comes to proselytizing. 'The more you do it, your two cents becomes one cent and then no cents whatsoever,' he maintains. 'So, I think your credibility and your impact lessens the more you do it. That's why I've been hesitant to overplay my hand in that area, and I generally come to service when I feel it's kind of necessary and it might help a little bit." Is that what it's about? Measuring mood - and yet still being true to your convictions? Lulu didn't seem to measure the mood in Scotland when the former tenement baby revealed herself a Thatcherite. However, the singer from Dennistoun's record sales didn't nosedive as a result. And actor Vince Vaughn's career didn't suffer a nosebleed, in spite of becoming a Trumpeteer in recent years. Yet, supporting a mainstream political party is one thing, but when you align yourself with extreme thought – a clear example being Mel Gibson's apology for anti-Semitic ranting during his arrest for drink-driving – or tie into conspiracy theories - then your career could be headed for the toilet. PR professional James Nickerson argues that if artists feel strongly about being political, they need to be aware of the potential fallout. 'Artists really have to be sure enough in their belief that if they lose some of their fan base, they will be okay with that.' That doesn't seem to be the case with The Smiths former frontman Morrissey, who once wore a For Britain badge, (a right-wing political party Nigel Farage believed to be made up of 'Nazis and racists'), declared reggae to be 'the most racist music in the world' and defended Harvey Weinstein. The singer later admitted to fans in the US; "As you know, nobody will release my music anymore.' John Wayne was a well-known right-winger (Image: free) So, it's fine to air views, if it's to demand civil rights, or demand the end to wars or battle the gun lobby. But when you cross the line, as actor Laurence Fox seems to have done when making statements such as 'The wokeists are fundamentally a racist bunch' then there's a real chance you can find yourself looking for a new line of work. Yet, we don't want our artists' mouths to be taped up. I once interviewed the icon that is Smokey Robinson and Smokey didn't want to talk about early Motown days or offer thoughts on romancing Diana Ross. All he wanted to talk about for two long hours was Jesus and how God found him. And it was apparent that God hadn't given Robinson the gift of self-awareness. But at least the interview ended with an understanding of the man. And doesn't that signal that even if we don't agree with the voices of the likes of King Creosote it's better to know what a performer actually thinks? What we've also got to consider is that most people who complain about an artist's expression of their views are just upset because they don't agree with their own. So, let's hear the voices from the ends of the spectrum.
New York Times
29-04-2025
- Entertainment
- New York Times
Beyoncé's Cowboy Carter Tour Remixes American History, and Her Own
The last time Beyoncé performed 'Daddy Lessons,' the stomping, biting number from her 2016 album, 'Lemonade,' was at that year's C.M.A. Awards, in a blistering rendition alongside the Dixie Chicks (now the Chicks). Not everyone in country music embraced Beyoncé's experimentation. 'I did not feel welcomed,' she wrote in album notes leading up to the release last year of 'Cowboy Carter,' her eighth solo album, an exploration of the many tendrils of American roots music and their connections to Black music of all stripes and generations. So it was meaningful, and pointed, that at the opening night of the Cowboy Carter Tour at SoFi Stadium in Inglewood, Calif., on Monday, Beyoncé played 'Daddy Lessons' for the first time since that rejection. It came right after she sang her renovated version of Dolly Parton's 'Jolene' — approved by the country royal herself — while soaring over the rapturous crowd in a flying horseshoe. Full-circle moments don't just happen — they are the products of intention and diligence and allergy to loose threads. Throughout this roisterous and clever show, there were suggestions that loop-closing has been very much on Beyoncé's mind, along with culmination. 'Cowboy Carter' is proof of that writ large: It is album as historical remedy. And it was in part inspired by her chilly Nashville reception — if you can't join them, beat them. And beat them she did, all the way up through earning album of the year at the Grammys in February, ending a controversial career-long drought in the awards' top category (even though she is the most decorated Grammy winner of all time). That said, calling this the Cowboy Carter Tour was a mild headfake — even though Beyoncé performed most of the album's songs, it was as a purposeful reframing of this latest album as a kind of DNA-level source material that has been lurking beneath her music all along. At almost three hours long, her seventh solo headlining concert tour was a characteristic Beyoncé epic. It came alive during the second act, beginning with the sparkly 'Renaissance' flirtation 'America Has a Problem,' which she delivered from behind a Lucite lectern, followed by 'Spaghettii,' one of the most ferocious and fun songs on 'Cowboy Carter.' That led to 'Formation,' by now a crucial entry in her canon, and before long, 'Diva,' which made clear the connections between her politics and her physicality: Freedom reigns in both. By the time Beyoncé arrived at the fifth section, which began with 'Jolene' and 'Daddy Lessons,' she appeared to be, improbably, gaining strength. On 'Bodyguard,' her voice was ostentatious. Her ease of motion on 'Tyrant' and 'Thique' was luminous. She was well past the two-hour mark when she landed on the slick 'Texas Hold 'Em,' by far the most successful single on 'Cowboy Carter.' (Though that album had a gangbusters release week, it did not spawn many broad-impact singles, certainly not by comparison to earlier Beyoncé albums. ) This was the platonic ideal of a Beyoncé country song that might have feasibly been embraced by the country mainstream, but Beyoncé — performing from the hood of a semi truck — upended it here, blending it into the rollicking 'Crazy in Love.' That was one of several new-old partnerships in her set: 'II Most Wanted' and 'Blow'; 'Thique' and 'Bills, Bills, Bills'; 'Spaghettii' and 'Flawless.' The music on 'Cowboy Carter' she was underscoring wasn't just American roots music, but also Beyoncé roots music, dating all the way back to Destiny's Child. There were visual and sonic echoes of earlier tours and live shows, too: a red lip couch previously used on The Beyoncé Experience; her version of 'Before I Let Go,' the Maze featuring Frankie Beverly classic she revisited on 'Homecoming'; and wholesale set pieces from the Renaissance World Tour, down to the stars of vogueing working the stage. (Kudos especially to Honey Balenciaga.) She'd sprinkle in bits of hip-hop songs — David Banner's 'Like a Pimp,' Goodie Mob's 'Cell Therapy,' BigXthaPlug's 'The Largest' — making even more plain the threads she's stitching between genres and generations. Even though the musicology lessons dominated her performance, Beyoncé's true subject was the mutability of American iconography, and how to put it to work in her favor. That began with wardrobe — she played various stripes of cowgirl throughout the night, from regal to down-home. The crowd dressed for the occasion, of course: fringed leather chaps, silver cowboy boots, denim dusters, neckerchiefs, sashes that read 'Cowboy Carter' or, in some cases, ones that replaced Beyoncé's surname with the wearer's. Outside the stadium, vendors were selling cowboy hats and folding fans: 'Got that good snap,' one promised, spreading it out to read 'Bey-Haw.' At the merchandise stands, you could buy, for $75, a T-shirt depicting Beyoncé sitting side saddle and pointing a shotgun, next to the phrase 'Never ask permission for something that already belongs to you.' That phrase flashed onstage when she was singing 'The Star-Spangled Banner' early in the night. She wore an American flag dress for the night's finale, 'Amen,' and just before that, she was hoisted around the stadium in a red car, with a flag at her side. Reverence was just one of her postures, but not one she wore for long. At the end of the show, a huge bust of the Statue of Liberty appeared onstage with a bandanna covering its mouth, as if protecting itself. One video sketch found a giant Beyoncé stomping past the White House — wonder who's hanging out in there? — then drawing a wink from the Lincoln Memorial. Beyoncé has long been friskier than she gets credit for, but now, she appears looser than ever: At various points in the interstitial videos, she was smoking a cigarette, a cigar, a joint. She played along with the memes and mash-ups that trickle up to her from the Beyoncé-stan internet. Like she was on her Renaissance World Tour — a stadium show she mounted just two years ago — she was joined onstage for several songs by her daughter Blue Ivy, who serves as a backup dancer for her mother as well as a narrative foil and fan magnet. (Rumi, Beyoncé's other daughter, appeared onstage during 'Protector.' Her mother, Tina, was in the audience as well.) That was part of a family through line during this show that extended in both directions, past and future. Toward the end of the night, the huge screens onstage filled with childhood photos, old rehearsal videos, the clip where Beyoncé revealed her baby bump on MTV, singing at Barack Obama's inauguration, and so on. This, too, felt like the closing of a loop. A valedictory address. For more than two decades, Beyoncé has worked to redefine the boundaries of what a pop star can achieve, and how. She set bars, then leaped over them. But what do you when you run out of goals, win all the accolades, become one of one? Accept that your future may well be a remix of your past — and that's a whole new gift.
Yahoo
04-04-2025
- Entertainment
- Yahoo
Black people should not be a footnote in the country music history narrative
It was the evening of Nov. 6, 2016, and award-winning artist Beyoncé Knowles-Carter hit the stage with the Dixie Chicks to perform at the Country Music Awards. For her contribution, she received criticism from the country community, and some country music fans wondered why she was even there. In 2024, Beyoncé released a country album, 'Cowboy Carter,' which went to No. 1, selling 407,000 units in the first week. Despite the popularity of the album, it received no CMA nominations. One may wonder why an acclaimed artist cannot break into the country world, but the answer is clear. She can have all the credentials in the world, and the music can be widely popular, but the color of her skin will always be a problem for some fans. Though her situation isn't unique, many African American artists have tried to break through in the country industry but have not reached the same heights as their white counterparts. Failure to attain equal status isn't an uncommon experience for African Americans, but it is especially rich given the origins of country music. It started with Black people. Over time, it has been whitewashed into what people view it as today, a rural white country sound. When looking into the history of country music and what it is today, one must go back to its origins. Country music started in the 1920s with its birth in Bristol, Tennessee. The genre was called hillbilly music. The first family of country music was, ironically, the Carters who were from Virginia. The Carter scratch became the signature guitar sound of classic country music. What many people don't know, though, is the Carter scratch was created by a Black man named, Lesley Riddle, who worked closely with the Carter family in helping them create many of their songs. Today, country music is a genre that is popular worldwide. Although the genre itself in its current form isn't reflective of its history. Since the beginning, the genre has been predominantly white people playing to a white audience, and this still rings true today, because if one looks at the current country artists and awards, there is only one race represented. I know this to be a fact since I grew up listening to country music through my Ghanaian father. He learned about the genre through his brothers who served in the Gold Coast Regiment, now called the Ghana Armed Forces, alongside British soldiers. An unusual connection, I'm aware, but it speaks to the borderless appeal of country music. One would think I learned country music from my southern roots on my mother's side, but it came from Africa. Opinion: Luke Combs' 'Fast Car' cover can mean more to country music than just a hit single Yet, Beyoncé's album has allowed people who look like her such as me to be able to express their love for country music more openly to a certain extent, whereas before this was not the case. Beyoncé embraced the history of country, incorporating artists like Linda Martell while making space for the next generation in a way the genre often doesn't. One thing Beyoncé did do with her 'Cowboy Carter' album is allow people who are Black to openly show and express that they listen to or were raised on country music. I hope one day Black people will be able to freely express their love for country music and be welcomed into the country community not just as a gimmick but as an actual part of the genre. Black people should be able to create country music without receiving backlash from the fans and critics. It's the least they could do, given Black folks started the genre. Juwairiyah Sa-eed Abubakar is a journalist at Marquette University in Milwaukee, Wisconsin. Her grandfather's roots come from Tennessee. This article originally appeared on Nashville Tennessean: Country music is steeped in Black culture and heritage | Opinion
The Independent
07-03-2025
- Entertainment
- The Independent
Pop trio Remember Monday to represent the UK at Eurovision 2025
The UK's Eurovision entry for the 2025 competition has been unveiled as pop trio Remember Monday, who will perform their original song 'What the Hell Just Happened?'. Originally called Houston, Remember Monday formed while members Holly-Anne Hull, Lauren Byrne and Charlotte Steele were at sixth-form college in Farnham, Surrey, where they would perform cover songs. Specialising in three-part harmonies, they first set out as a country-pop group, citing influences including the Dixie Chicks, Taylor Swift, Dolly Parton, Linda Rondstadt and Alison Krauss. However, 'What the Hell Just Happened?', which chronicles the aftermath of a messy night out, leans more into the pop sphere, with Eighties pop and rock influences and bombastic production redolent of 2024's breakout star Chappell Roan. It was written by the group with songwriting duo Billen Ted (Tom Hollings and Sam Brennan), Thomas Stengaard and Julie 'Kill J' Aagaard. Billen Ted have previously worked with acts including Little Mix, Anne Marie and MNEK, while Stengaard is known for writing Denmark's 2023 Eurovision winner 'Only Teardrops'. The group said: ''What The Hell Just Happened' is exactly how we're feeling right now! It's all very surreal; our friendship goes so far back, and we definitely never imagined that we'd be doing anything like this. 'When you're a kid and people ask you what you want to be when you grow up, an absolute classic is 'I wanna be a pop star', so the fact that we're getting the chance to live that dream as three best friends is just wild. We're going to be the first girlband to represent the UK since 1999, which feels like such a crazy honour. 'We're going to bring loads of fun, energy and hopefully do something that you won't have seen before on the Eurovision stage….We honestly can't wait to experience this with all of the other incredible artists from around the world, and hopefully make everyone back at home feel proud! This is really the music World Cup and we'll do our best to bring it home!' Remember Monday rose to public attention in 2019, when they competed on The Voice UK, performing Seal's 'Kiss From a Rose' in the blind auditions, prompting all four judges – Jennifer Hudson, Tom Jones, and Olly Murs to turn their chairs. They were ultimately voted off the show after the quarter-finals. That same year, they won Best Group at the British Country Music Awards and saw their debut single, 'Drive', hit No 1 on the iTunes Country Chart. Since then, they have toured regularly around the UK and built a large fanbase on social media, including on TikTok, where they have over half a million followers. In 2023, they chose to quit their jobs in order to focus on the band full-time, marking the moment one year later with a statement to their fans. 'It's officially been a whole year since we all quit our jobs to do the band full-time,' they said. 'We can't thank you all enough for supporting us on the crazy journey we've been on so far! We've always said we would give ourselves a year and see how it goes.' They continued: 'We made a bucket list that we wanted to complete by today and we thought we'd share with you where we're at with it! (We have since added some crazy stuff for 2025). 'It's safe to say we are literally having the best time of our lives and can't imagine doing anything other than the band!' Last year, they shared a cover of themselves singing Eurovision 2023 runner-up Sam Ryder 's entry 'Space Man', tagging him with the caption: 'Hey get us on Eurovision!' They also impressed Brian May with their cover of Queen's hit song, 'Fat Bottomed Girls', with the legendary guitarist sharing it with his Instagram followers. Ahead of Eurovision, the BBC appears to have been laying the groundwork as Scott Mills, who recently took over the Radio 2 Breakfast Show, played their song 'Famous' in November. The presenter said he 'really liked' the band, comparing their harmonising to Nineties duo Wilson Phillips. The band will be hoping to impress at the Eurovision final, for which the UK automatically qualifies as one of the 'Big Five' countries – alongside France, Germany, Italy and Spain – in Basel, Switzerland on Saturday 17 May. Last year saw a disappointing result for singer Olly Alexander and his song, 'Dizzy', which landed in the UK in 18th place out of 25 countries, receiving the dreaded nul points in the public vote and just 46 points from the jury. Alexander had been hoping to replicate the success of Ryder, who became a huge favourite at the 2022 contest with his original song 'Space Man', finishing in second place – the country's best result since 1998 – after Ukraine champions Kalush Orchestra and their song 'Stefania'. However, it was only a marginal improvement on the UK's 2023 result, which saw singer Mae Muller crash out in second-to-last place with just 24 points. Fans are already expressing their excitement about Remember Monday's prospects, after the news that they were representing the UK appeared to leak earlier this week. The grand final of the Eurovision Song Contest 2025 takes place in Basel, Switzerland, on Saturday 17 May. The semi-finals take place on 13 and 15 May.
