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Beyoncé’s Album of the Year Win Shows We Won’t Be Erased

BBG News

At the 67th Grammy Awards, Beyoncé was honored with the Album of the Year (AOTY) award for her album “Cowboy Carter.” She is now the first Black woman of this century to achieve this recognition in the AOTY category. Previously, only four other Black women have won this award – Natalie Cole, Whitney Houston, and Lauryn Hill being among them, contributing to a significant legacy.

All I can say is: Finally. And what a win it was.

Winning the night’s most illustrious award is one thing, but winning for “Cowboy Carter” – an album that intertwines the singer’s tale of growing up as a Black girl in Texas with the rich legacy of Black country music – is something entirely different. This album acknowledges Linda Martell, country music’s first successful Black woman, and showcases contemporary Black country artists like Tanner Adell, Reyna Roberts, Brittney Spencer, and Shaboozy. Moreover, it aids in the rise of their careers and pays tribute to the Black entertainers who performed on the Chitlin Circuit, contributing significantly to the world of entertainment.

This success tastes sweeter because it feels familiar, a place that recognizes your past and future without needing forgiveness for either. It’s uncompromisingly Black Americana, inspiring us to embrace our identities with pride, regardless of external opinions or judgments.

It’s clear that Beyoncé’s victory during Black History Month, particularly on its second day, brings relief to many African Americans who are grappling with the political situation that includes repeated attempts to erase our history and rollbacks in diversity, equity, and inclusion (DEI) within the federal government and corporate America. The fact that a small-town girl from Houston was able to win the Recording Academy’s most prestigious award signifies breaking barriers, as it allows us to be acknowledged and appreciated, despite racial, gender, class, and geographical limitations—both in the past and present.

To many people, Beyoncé and Cowboy Carter are seen more as continuators of the significant contributions made by numerous Black artists who have preceded them in country music. This observation is particularly relevant to country music, which has often served as a platform for harmful anti-Black and misogynistic views to thrive and grow. For instance, Confederate flags are frequently displayed at country music events alongside music performances. Sadly, Black country musicians such as Miko Marks, The Pointer Sisters, and Rissi Palmer have encountered racial slurs during concerts or been told by record executives that they wouldn’t be commercially successful due to their race.

The racially-motivated mistreatment Beyoncé experienced at the 2016 CMA Awards is a common hardship faced by Black country musicians, and it was also experienced by Cowboy Carter during its initial release. When the first two singles of the album (“Texas Hold ‘Em” and “16 Carriages”) were initially released, country music radio stations and programmers refused to play them, claiming that Beyoncé isn’t truly country but instead is merely expanding her influence, using her social class to discredit her claims to country music. This dismissal, however, is never applied to white musicians in the genre.

But, Beyoncé is not your average white man or woman in country music. She is better. 

It’s not realistic to expect a single album to reverse centuries-old racial division in the U.S. music scene. While country radio stations claim they are prepared for a breakout Black female artist, such stars are rare. Change happens gradually, even when it makes a significant mark on music history for black women. The journey towards inclusivity is slow: Harvey Mason Jr., CEO of The Recording Academy, discussed recent initiatives and changes in the Academy’s membership, addressing criticism from artists like The Weeknd who called for a boycott of The Grammys. It’s also risky for any person of color, particularly Black women, to look for validation from institutions that have had a questionable past with Black music.

Despite Cowboy Carter not eliminating the danger faced by Black women in America, it underscores the fact that we cannot be ignored or eliminated. Even if we are disregarded during our lifetime, future generations will continue to honor and elevate us. We’ll keep echoing the names of those lost to history, and our presence will endure. And with this, there is always hope.

In our toughest moments, hope serves as our strongest weapon and beacon; it is from dreams that many transformative movements are born. For young women like Beyoncé who grew up watching their idols on TV, traveling the country for performances as teenagers, dreams might seem more like a distant glimmer than something attainable. Yet, what America needs most right now is to empower young Black girls and women to dream – to envision a better future not only for themselves, but also for those who came before them. For Linda. For Tanner. For Reyna. For Brittney. For all of us.

In accepting the AOTY award, Beyoncé remarked, “This has taken quite some time.” It was as if she allowed a brief sigh of relief, acknowledging that this special moment had been a long time coming.

Furthermore, let me add this thought: Dreams can’t be numerically evaluated, nor can hope be quantified or controlled by external observers. What truly counts is keeping our dreams alive, and having the resilience not just to endure, but to flourish.

After Linda Martell faced a ban from the country music industry, she resorted to various jobs to provide for her children. She worked as an education assistant. She was also a bus driver. Whatever tasks she had to take up, she did, ensuring her children and grandchildren prospered. Now, at 83 years old, she is finally getting the recognition she deserves. It’s our responsibility to keep the door open for the next Black woman making her way into the industry.

Because if not us, then who?

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2025-02-04 00:06

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