Super Bowl Sunday Queen Bey struck again, snatching all our edges and keeping us in the same chokehold we’ve been in for the past couple of decades. After her Verizon commercial, where she alluded to her power to break the internet, Beyoncé essentially broke the internet with her announcement that Renaissance Act II would be released on March 29, 2024 (aptly titled COWBOY CARTER, we'd later learn) The final drop in this marketing masterpiece was the release of two new singles, “16 CARRIAGES” and “TEXAS HOLD ‘EM,” which have both soared to number one and two in the iTunes country music category.
However, despite the pure excitement by the BeyHive to follow Beyoncé wherever she leads them, there has already been pushback in the country music arena to deny the Queen access. Oklahoma station KYKC 100.1 FM denied a listener's request to hear Beyoncé’s new songs on its station because “We do not play Beyoncé' [sic] as we are a country music station," it responded via email.
This isn’t the first time Beyoncé has been dismissed in the genre. In 2016, when she released "Daddy’s Lessons" on Lemonade, she not only was met with backlash from country music fans but was also denied by the Recording Academy’s Country Committee after she submitted the record for a Grammy. In a March 19 update posted to Instagram, she alluded to that time as being the catalyst for her next body of work, saying she "did not feel welcomed" in that space, and that the forthcoming COWBOY CARTER was born from her experience of being excluded.
Beyoncé wrote, "This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history."
Beyoncé (2nd R) performs onstage with Emily Robison, Natalie Maines, and Martie Maguire of Dixie Chicks at the 50th annual CMA Awards in 2016.
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She continued, "The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work."
We saw a similar response to Lil Nas X’s "Old Town Road" in 2019 when the original single was removed from the Billboard Country charts because it didn’t “embrace enough elements of today’s country music.” Lil Nas X went on to win a Grammy with Billy Ray Cyrus for the song’s music video but was only accepted into the category after Cyrus joined for the remix.
Though the origins of the country music genre are an extension of Black culture and African ancestry, Black artists have been essentially erased from the genre's existence. Examples of this are the modern-day banjo – featured in many country songs – which is a descendant of the West African instrument, the Akonting. As with most things in American history, once white audiences were introduced to the banjo in a more “acceptable” manner through racist minstrel shows of the 1850s-1870s, it was quickly appropriated.
This unintentionally led to the creation of the 1920s Hillbilly music, which at the time was mainly popular in the South and later evolved into the country genre we know today. Hillbilly music drew its inspiration from slave spirituals, field songs, hymns, and the blues, which all originated within the Black community, and up until the end of World War I when major record labels rebranded it as country, the genre was successfully integrated.
In fact, in Patrick Huber’s 2013 essay, "Black Hillbillies: African American Musicians On Old-Time Records, 1924–1932," he details the vast diversity in the genre. In the time period chronicled, approximately 50 Black artists were featured on commercialized records within Hillbilly music. Huber’s essay was part of a larger work edited by Diane Pecknold, "Hidden in the Mix: The African American Presence in Country Music," which focused on the large contributions Black musicians had to the industry.
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Despite the huge success Hillbilly music had, record labels couldn’t fully capitalize on it while remaining diverse because of segregation throughout America. In order to market the music and artists to “mainstream” America, music executives not only segregated the genre but promoted it as “white music” and as white southerners migrated throughout the country, they took with them the ideology that country music was solely theirs. This eventually led to the erasure of Black artists and their contributions to their artistry and history.
These artists include DeFord Bailey, who was the first Black musician to play the Grand Ole Opry, and Charley Pride, the first Black person to be inducted into the Country Music Hall of Fame. Many of us know musical legend Ray Charles for his contribution to soul music, but it isn’t common knowledge that his ability to blend country, R&B, and pop music greatly influences country music to this day. Additionally, Gus Cannon made jug bands (an ancestor to country music) popular in the 1920s and taught Johnny Cash, who is a country music icon.
As we make efforts to honor and acknowledge the Black musicians who helped mold country music into what it is today, we must also acknowledge how the intersectionality of Black womanhood has practically left this demographic out of the country music fabric completely.
As Black women face both racism and sexism (a.k.a. misogynoir), their denial of entry has been easier to maintain in this genre. Linda Martell, the first Black female solo artist to play the Grand Ole Opry, released her debut album, Color Me Country, in 1970. Though still considered a pioneer to many, her career was short, and she faced relentless discrimination and violence within the industry that eventually led her to leave country music altogether. The documentary, Bad Case of The Country Blues: The Linda Martell Story, chronicles her experiences from 1969-1975.
Though there are many up-and-coming Black country music artists, Beyoncé's entrance into this arena creates a clear and imminent threat to the genre’s marketing strategy that it is “white music.” She might be one of the most unapologetically Black artist of our times, penning lyrics such as, “I like my baby hair with baby hair and afros” and “I like my negro nose with Jackson 5 nostrils.”
Argue with me if you like, but for the past decade, Beyoncé has been uplifting and celebrating Black culture and history.
She has made it clear that she has no desire to assimilate herself or her music into mainstream white culture. She is proud of who she is and where she comes from, which is why her making a country music album is a natural progression. Beyoncé's roots are in Texas, she often talks about her love for her state and her upbringing, and just as we heard in Act I of Renaissancewith the inspirations pulled from Chicago house, funk, soul, gospel, and New Orleans Bounce music; we will be serenaded by another layer of her upbringing and soul in Act II.
Beyoncé’s Renaissance is her unabashed way of not only using her stardom to prove that Black people are not a monolith but also paying homage to the Black artists who paved the way for her but are seemingly erased from history.
She highlights the multifaceted nature of Black culture and ignites conversations that force the full history of these genres to be represented and told. As a Black woman who grew up in Alabama and isn’t ashamed to share her love for country music, I was thrilled to hear "Daddy Lessons" in 2016 and I can’t wait for COWBOY CARTERto come out on March 29.
Whether you’re a member of the BeyHive or not, I hope you can see how Beyoncé’s musical evolution is allowing space for Black people, and moreover, Black women, to exist in whatever space they choose to pursue without feeling the need to diminish, readjust, or mold themselves into what someone else says you should be.
Through her art, she is creating a space for us all to live and exist in our fullness, or in short to live in true liberation.
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This article has been updated.
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A Goddard College graduate, who earned an MFA from Pratt Institute and was awarded an honorary doctorate from Marymount Manhattan College, Mahogany offers unapologetic realness with a side of grace and empowerment. "I started touring locally. I started creating chat books so that those poems will go in the hands of the people who were sitting in the rooms," she shared.
"And then I started facilitating poetry workshops, so I used my chat books as curriculum. And that, in turn, allowed me to further invest in my art and show the community and people who were hiring me that it wasn't just a one-off, that it's not just, you know, a fly by night—that I am invested in this art as much as I am invested in your community, in your children's learning, in our growth."
Mahogany has a special way of moving audiences, and her superpower sparks shifts in perspective, post-performance introspection, and strengthening of community bonds, especially among Black women. (One can undeniably recognize her gift for arousal of the spirit and mind merely from her listening to her insights from the other side of a Google Hangout call. I can only imagine the soul-stirring, top-tier sensory encounter when watching her perform in person.)
In this chat with xoNecole, Mahogany reflects on sustaining a creative career, the aftermath of writing a banned book, and using poetry for both healing, community-building, and activism.
Anthony Artis
xoNecole: What are three key things that have laid the foundation for a sustainable creative career for you?
Mahogany L Browne: What has helped me is that I'm willing to go in being an expert at knowing poetry and knowing the way in which art can change the landscape of our lives, not just as a poet, but also as a poetry facilitator. How you move through classes, those things are mastered, right? So when I go into another space that's maybe tech-heavy, I don't mind learning and being, you know, a student of the wonder of how we can make this magic, work together.
Two, you’ve got to know how to pivot. Sometimes we say, ‘Alright, this is what my life is going to be. I'm going to be a New York Times best-selling author. I'm going to, you know, have an album that's Grammy-nominated. And then, say you get dropped from your record label. That doesn't mean you can't make an album anymore. You can also still create an album that can be submitted to the Grammys. So, what does a pivot look like as an artist who doesn't have an institution behind them? Pivot being a student of the wonder.
Relationships also really help. How do I serve the community? And in turn, that tells me how the community can show up. For me, I have long-standing ties with a community that will outlast my one life. So, what does it mean to create space where these relationships can develop, can be nurtured, can be rooted, can be cultivated? Creating space—it happens through relationships.
xoN: With today’s economic challenges, what does your current creative process look like, and what are you working on?
MB: I’m always thinking five years ahead. I just reviewed the pages for two children’s books and recently released a YA novel. I’m drafting an adult fiction manuscript now.
Anything I create is founded with the root of poetry, but it can exist in captions. It can exist in commercials. It can exist as a musical. So that's where I’m at now.
xoN: You started performing "Black Girl Magic" in 2013, had an acclaimed performance of it via PBS and the work went on to viral success shortly after. Talk more about the inspiration. And what do you think about the continued relevance more than a decade later?
MB: I wrote it as a rally cry for the mothers who had been keeping themselves truly in harm's way by, you know, being a part of the community right after the death of their child or their loved one. They are usually mothers of victims of police brutality—and just seeing how they showed up in these community spaces, they are devout to the cause but obviously still grieving.
"I wanted this poem to be just a space of reclamation, of joy and of you, of your light, of your shine, of your brilliance, in any which way in which you fashion. Every room you enter is the room you deserve to be in. What does it mean to have a poem like that that exists?"
And the first time I did the poem, the Weeping that occurred, right? It was like this blood-letting of sorts. The next time I performed it, I'm moved to tears because I'm seeing how it's affecting other women who have just been waiting to hear, ‘You belong. You deserve. You are good. We see you. Thank you, despite everything that they said to make you regret being born in this beautiful brown, dark-skinned, light-skinned, but Black body.’
Black women are the backbone—period. Point blank. And so, that that poem became a necessity, not just to the fortitude of Black women in the community, but like you know, in service of healing the Black women.
xoN: One of your books was banned at a school in Boston, and it was later reinstated due to parental and activist support. What was that experience like?
MB: Well, I think it happened because they were racist. That's it. Point blank. The reversal of it was empowering, right? I realized, oh, I thought we just had to sit here and be on a banned book list. But no, parents are actually the leaders of this charge.
So to see that, the parents said, ‘Nah, we're not gonna let you take this book out of my baby’s school just because it's a Black kid on the front saying, ‘Woke’ and they're talking about being a global citizen. They're talking about accountability. They're talking about accessibility. They're talking about allyship, and you don't want them to have compassion or empathy or have even an understanding, right? So no, we rebuke that, and we want this book here anyway.’ To see that happen in that way. I was, like, reaffirmed. Absolutely.
xoN: You recently organized the Black Girl Magic Ball at the Lincoln Center in New York. Honorees included author and entrepreneur Rachel Cargle and National Black Theater CEO Sade Lythcott. What impact did it have and what expanded legacy do you hope to leave with your creative works?
MB: I was really interested in not celebrating just the book, but celebrating the community that made the book possible. And so I gave out five awards to women doing that thing, like, what does it mean to be a Black girl in this world?
I just thought it was gonna be an amazing time. Everybody's gonna dress up—we're gonna celebrate each other. And boom, I then realized that it responded to like a gaping hole. There was a missing thing for Black girls of all walks of life, all ages, right?
"It's very intergenerational. That was intentional to come together and celebrate just being us."
You have all these instances where just being you is either the butt of a joke or it's diminished and not worthy of a specific title in these larger institutions. So what does it mean to just to be loved up on and celebrated?
It felt like a self-care project at first. You know, for the first couple of years, folks were coming and they were getting that sisterhood. They were getting that tribe work that they were missing in their everyday lives.
I love the Black Girl Magic Ball because we got us. If I go out with a bang, they'll remember that Mahogany worked her a** off to make sure all the Black girls everywhere knew that she was the light. We are the blueprint.
For more information on Mahogany L. Browne, her work, and her future projects, visit her website or follow her on IG @mobrowne.
Featured image by Anthony Artis
Anyway, all of the talk about vampires — you know, due to the film — did cause me to wonder something that might seem rather random, yet that’s oftentimes how my mind works: Do vampires give each other hickeys? As I Googled for an answer, besides a book that has a title close to that name, I did notice an ABC feature from when the vampire Twilight film series was all the rage several years back. It was inquiring if teens were suddenly biting each other (back then) because of the movie(s).
The sexologist who was interviewed came to the conclusion that since biting is “an extension of the hickey” and hickeys are (typically) considered to be passionate, that’s why teens were interested in doing it. As far as what vampires do with each other? I couldn’t find a definitive answer.
I dunno. With hickeys also being called “love bites” and “suck marks” and with folks oftentimes describing vampire-themed movies as sexy, I would think that they could. Either way, what we know for sure is that those of us in the real world do it — and so, in honor/acknowledgement of that, I figured that now would be a perfect time to share some facts about hickeys. Ready?
1. Humans Are Copying Animals When They Give Hickeys
Aight, so what exactly is the origin story of hickeys? It would seem that it came from the literature of authors who wrote about what animals like lions and wolves do whenever they are showing affection towards one another. Apparently, humans saw this and eventually began to follow suit.
Hey, that doesn’t sound so crazy to me, considering doggy style continues to be a fan favorite among our species, and…have you ever seen two cats have sex before? I have, more than once, and the male cat is typically biting on the female one, in her neck region, during the act. So, when I really stop to think about all of this, it definitely tracks.
2. Hickeys Are Oftentimes a Low-Key Power Play
Ah, perfect. If you click here, you will actually see a picture of two cats having sex, and — like I just said, the male cat is biting the female cat. One reason why is because male cat penises have barbs on them which can make the entry or exit of intercourse literally painful for the female. And so, the male cat holds her in place by biting her, so that she doesn’t run away. And yes, along these same lines, some believe that hickeys can serve as their own power dynamic shift, even among humans — especially based on where a person decides to put one. I guess it would be like “peeing on your territory” in a way — hmph, which is something else that animals tend to do.
anon GIF - Find & Share on GIPHYGiphy3. Hickeys Are Nothing More than a Bruise
Okay, so what actually causes a hickey to happen? Well, when someone sucks and gently bites on your skin, it can break some of the surface blood vessels that are underneath your skin to break. When that happens, it results in a bruise. If someone does this to you for about a half a minute, you should notice a hickey emerge in a matter of minutes and, depending on how “good” of a job they did, a hickey can stick around for as much as a couple of weeks.
4. “Temperature Play” Speeds Up the Healing Process of Hickeys
Again, depending on how “good” of a job someone did at giving you a hickey, it could last between two days and two weeks. If you want yours to fade faster, because, again, hickeys are a bruise, it’s a good idea to bring some temperature play into action. What I mean by that is, start off by putting an ice pack on your hickey for up to 10 minutes, twice a day, for the first two days.
Then, after 48 hours, apply a warm compress for 10 minutes a few times a day. You might also want to apply a bit of peppermint oil to your hickey and gently massage that area as well; that will help to bring more blood flow to the spot, so that your skin can heal faster.
5. If You Take Blood Thinners, Hickeys Will Last Longer
If you’re someone who takes blood thinners, that will keep hickeys aren’t for a longer period of time. That’s because blood thinners are specifically designed to slow down the blood clotting process that’s in your body. So, if you’re big on hickeys and you even take aspirin on a fairly regular basis, you’re gonna have to accept that the “hickey healing hacks” may not actually work for you (at least not as quickly or effectively).
6. Certain “Natural Things” Can Make Them Last Longer Too
Speaking of blood thinners, even if you aren’t on any meds, did you know that certain foods provide blood-thinning effects as well? Some of those include ginger, garlic, aloe, turmeric, and cayenne pepper, and even supplements including vitamin E and melatonin. Just something to keep in mind. (By the way, vitamin C and the bromelain in pineapples can help to heal hickeys as far as supplements and foods go).
7. No, Hickeys Will Not Give You Cancer
It actually wasn’t until I was doing research for this article that I even heard the myth that hickeys can give you cancer. What in the world? Yeah, if you heard that somewhere before, pay that tale no mind, because science absolutely says otherwise. For the most part, hickeys are relatively harmless.
8. They Can Give You an Infection, Though
And why did I just say, “for the most part”? Yeah, you caught that, huh? Well, there is an extreme instance where a woman had a stroke due to a hickey because it happened on top of a major artery — that’s hella rare, though. What is more common is oral herpes transmitted through hickeys.
Not to mention the fact that a hickey is usually a bruise more than a wound; however, if your skin does end up being broken or you’re giving a hickey and blood is somehow transmitted…well, I’m sure you could see how this could be potentially problematic. Bottom line, get — and stay getting — tested. Just to be on the safe side. Hickeys or not.
9. A Dream About Getting a Hickey Is Actually a Warning
Remember how I said earlier that sometimes the person who is giving the hickey is doing so as an act of power? Well, along those same lines, if you happen to dream that someone is giving you a love bite, keep in mind that it probably isn’t about anything sexual; usually, it means that you are either in a toxic or stressful situation and you’re trying to figure out if you should approach it with logic or emotion. The more you know.
10. Sometimes Pain Creates Pleasure
Someone who enjoys being tortured or humiliated during sex, they fall into a category that is known as sexual masochism — and no, that is not what I am referring to here. What I am speaking about is the fact that, because pain and pleasure sensations are housed in the same part of the brain, when mild pain is felt, that could be why it arouses you — and that could be why you may enjoy receiving hickeys (I mean, if you actually do). They both have been proven to create a dopamine and opioid surge, which can intensify your sexual responses and reactions.
____
Hickeys do tend to create a very polarizing response: folks either adore them or loathe them. Either way, now you know what they’re all about, so if you’re on the “A” team, share it with those who are also in your club.
It could make them appreciate hickeys — love bites, suck marks — that much more, chile.
Dig in. #wink
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