Beyoncé’s new adidas x Ivy Park swimwear collection is here – and it’s size inclusive

Beyoncé has launched a new adidas x Ivy Park inclusive swimwear collection.
The size-inclusive garments follow the brand’s foray into snow wear, footwear and athleisure.

Called the Flex Park collection, the tangerine-coloured swimwear range comprises all-in-one swimsuits, bikinis and swimming trunks in sizes XS to 4X (UK size 30).
Beach-ready cover-ups, a men’s matching shirt and short set, sliders, a bucket hat and bag are also available. The release comes after Beyoncé’s first Ivy Park x adidas collection, which dropped in January 2020, was criticised for not being size-inclusive, with the largest size available stopping at XL. The accompanying release states that the new range “emphatically celebrates the empowered spirit of confident self-expression and individuality”, adding that it aims to inspire “anyone and everyone to fearlessly FLEX their best selves”.

A campaign film released to publicise the collection features body-positive influencer Tabria Majors, fashion influencer Kristen Noel Crawley and actor Quincy Brown.
This fourth collection from Beyoncé will be available for purchase on the adidas website from 22 July, with prices starting at £40.

As well as having 100 per cent ownership of the Ivy Park brand, the Black is King singer made history in March when she became the most decorated woman in Grammys history, winning a total of 28 awards.
The “Crazy in Love” singer took home awards for Best Rap Song (for her feature on Megan Thee Stallion’s “Savage” remix), Best R&B Song for “Black Parade”, and Best Music Video for “Brown Skin Girl”, which she shared with her daughter Blue Ivy Carter, who became the second youngest person to ever win a Grammy.
Earlier that month, she also added her voice to the swell of support for Meghan Markle following her explosive interview with Oprah Winfrey.

Review: New doc shows how Beyoncé changed Coachella, forever

Beyoncé is extremely private, and only lets you know what she wants you to know, when she wants you to know it — typically, in a surprise post be it on her website or Instagram.
But throughout the years, she’s slightly cracked open her door to reveal parts of her life and personality — apart from what she gives through strong singing and extraordinary dance moves — to help remind us that though she is epic and flawless, she is still mortal.
“HOMECOMING: A film by Beyoncé,” which premiered Wednesday on Netflix, captures the human side of the superstar singer with behind-the-scenes, intimate moments of a mother, wife and artist tirelessly working on what’s already become one of most iconic musical performances of all-time: Beyoncé’s headlining show at the 2018 Coachella Valley Music and Arts Festival.
The performance marked the first time a black woman headlined the famed festival and made Beyoncé just the third woman to score the gig, behind Bjork and Lady Gaga. Beyoncé took on the role seriously — as she does all live performances — giving the audience a rousing, terrific and new show highlighted by a full marching band, majorette dancers, steppers and more that is the norm at historically black colleges and universities (HBCUs).
The film takes it a step further to showcase what was happening to get to the historic moment: you see a mother bouncing back from giving birth to twins via an emergency C-section; an African American woman embracing her family’s history and paying tribute to black college culture and honoring black art; and the world’s No. 1 pop star defying the odds yet again and pushing herself to new heights, creating an even wider space between herself and whoever is No. 2.
Simply put, Beyoncé changed Coachella — forever — and performing after her is like trying to out-ace Serena Williams or dunk better than Michael Jordan: You won’t win.
Woven into the film are audio soundbites from popular figures to help narrate the story: Nina Simone speaks about blackness, Maya Angelou talks about truth, and Tessa Thompson and Danai Gurira explain the importance of seeing people who look like you on large screens.
Beyoncé speaks, too, saying that she dreamed of attending an HBCU, though she explains: “My college was Destiny’s Child.”
She also says the importance of her Coachella performance was to bring “our culture to Coachella” and highlight “everyone that had never seen themselves represented.”

So many people were represented during those performances last April — her stage was packed with about 200 performers, from dancers to singers to band and orchestra players. Beyoncé kicked of the performance dressed like an African queen, walking up the stage as the jazzy, soulful big band sound of New Orleans is played. After letting her dancers and backing band shine, she emerges again, this time dressed down — like a studious, eager, hopeful college student.
The musical direction and song selection flows effortlessly and was purposely crafted to tell a story: the first song is 2003’s “Crazy In Love,” a massively successful No. 1 hit and her first apart from Destiny’s Child. It also was Beyoncé’s first of many collaborations with Jay-Z. But then comes “Freedom,” representing the Beyoncé of today, unconcerned with having a radio or streaming hit, but more focused on the art, and the message.
And her message was loud and clear on “HOMECOMING”: Her performance is a homage to the culturally rich homecoming events held annually at HBCUs, but also showcases Beyoncé’s own homecoming — her return to her roots, and how she’s found a new voice by reinterpreting her music through the lens of black history.
Young, gifted and black, indeed.

“HOMECOMING: A film by Beyoncé,” a Netflix release, is rated TV-MA. Running time: 137 minutes. Four stars out of four.

A proud moment: Black women command the covers of 2018 September issues

Untitled Beyoncé. Rihanna. Yara Shahidi. Tiffany Haddish. Tracee Ellis Ross. Lupita Nyong’o. Zendaya. Slick Woods. Issa Rae. Aja Naomi King. Laverne Cox. Naomi Campell.

In an unprecedented move, almost all of the cover stars on the coveted September issues of mainstream fashion magazines – including Vogue, Glamour and Elle – are black.

September 2018 is clearly the month of #BlackGirlMagic, with the 12 black women listed above covering the fashion industry’s biggest (both in physical size and importance) issue of the year.

Even InStyle, which featured Jennifer Aniston on its primary cover for the September issue, tried to get in on the tail end of the action by including Dutch Moroccan-Egyptian model Imaan Hammam on one of their subscriber covers.

It’s a powerful statement on beauty, blackness and recognizing cultural tastemakers. Highlighting black women who not only run the gamut in skin tone, hair texture and b Screen Shot 2018-08-11 at 6.19.31 PM uild, but who are also leaders in their industries, is impressive. It’s exciting and brings hope to a year that has felt like a dumpster fire more often than not.

Having Nyong’o, with her darker skin and natural short crop, on the cover of Porter magazine’s “Desire Issue” or putting trans actress and activist Laverne Cox on Variety’s cover would have been unheard of years ago. That’s power.

“Until there is a mosaic of perspectives coming from different ethnicities behind the lens, we will continue to have a narrow approach and view of what the world actually looks like,” Beyoncé said in her Vogue cover story, which was photographed by Tyler Mitchell, the first black photographer to shoot American Vogue’s cover in the publication’s nearly 126-year history.

That narrow approach seems to be changing: The new issue of British Vogue bo Screen Shot 2018-08-11 at 6.19.23 PM asts both the magazine’s first black editor-in-chief, Edward Enniful (who emigrated to London from Ghana), and its first black September cover girl, Rihanna (who was born In Barbados). The Elle Canada issue that Ross covers was produced by the only black editor-in-chief in the Elle network, Vanessa Craft. Under her leadership, six of the last 11 issues have featured women on color on the cover.

But that change, while welcome, has been slow: the crop of September issues comes 53 years after Donyale Luna made history as the first black woman to appear on the front of a magazine with her Harper’s Bazaar c Screen Shot 2018-08-11 at 6.19.15 PM over in 1965. The following year, she became the first black woman to appear on the cover of British Vogue. (American Vogue wouldn’t do it until 1974 with Beverly Johnson.)

Essence magazine hinted at this slow change for their peers when they announced their own September cover, featuring Naomi Campell wearing Dapper Dan for Gucci and interviewed by Andre Leon Talley. “Giving Black women covers since May 1970,” the magazine tweeted.

Beyoncé and Serena are changing the narrative for postpartum women

01-beyonce-vogue-september-cover-2018 (CNN)Beyoncé and Serena Williams have once again proven that they are icons — but this time, it’s not for the reasons you might think. I’m not referring to their legendary professional accomplishments, but rather to their willingness to speak out publicly to counteract the pervasive fat-shaming that surrounds women’s postpartum bodies.

Earlier this week, in a rare and candid as-told-to Vogue feature, Beyoncé spoke about her difficult pregnancy with twins Rumi and Sir, revealing that she weighed 218 pounds the day she gave birth by emergency C-section because she had been suffering from toxemia — more commonly known as pre-eclampsia and whose typical symptoms are high blood pressure and swelling of the limbs — and had been on bed rest for over a month.

She contrasted this birth with that of her daughter Blue, when she felt pressure to lose all the baby weight in three months. This time, she said, “During my recovery, I gave myself self-love and self-care, and I embraced being curvier. I accepted what my body wanted to be. … To this day my arms, shoulders, breasts, and thighs are fuller. I have a little mommy pouch, and I’m in no rush to get rid of it.”

Twitter went particularly crazy over the kicker of this part of the feature: “But right now, my little FUPA and I feel like we are meant to be.” And rightly so: the Queen of popular music and one of the sexiest women in the world has embraced her “Fat Upper Pubic Area” (the “p” sometimes stands for a different word), the fatty pouch that hangs over the genital area that is the bane of many a mother’s existence.

Beyoncé’s public revelation of her weight was a real bombshell, as it represents for many women (myself included) one of the most private details of a woman’s pregnancy. Right after giving birth to my second child a little over six months ago, a nurse asked me what my last recorded weight was and I was ashamed to say it out loud with my husband in the room.

This despite the fact that I have become a rather vocal critic of fat-shaming and am constantly striving to let go of what I now see as the fat phobia that surrounded me during my childhood and adolescence. And yet, I was still embarrassed by that number on the scale because it began with the number “2.” I never imagined Beyoncé’s number did, too.

I felt a similar sense of relief a month ago when, before becoming a finalist at Wimbledon just 10 months after giving birth, Serena Williams revealed that she struggled to lose weight while breastfeeding, despite observing a strict diet and exercise regimen. She said, “You hear when you breastfeed you lose weight and you’re so thin, and it wasn’t happening to me. … For my body, it didn’t work, no matter how much I worked out, no matter how much I did.”

In fact, Serena said she quickly lost 10 pounds once she stopped breastfeeding. This statement exploded the common assumption that breastfeeding and weight loss go hand in hand, and resonated strongly with me and, I’m quite sure, thousands of other mothers for whom breastfeeding did not result in weight loss.

While I would never argue this is a myth, the notion that breastfeeding will automatically lead to weight loss — which is reinforced by virtually all medical professionals, lactation consultants, and parenting websites a woman encounters during and after pregnancy — is a generalization that doesn’t account for the diversity of body types among women. It directly contributes to further unrealistic expectations for women during the postpartum period, namely that women should “bounce back” (return to their pre-pregnancy weight) as quickly as possible.

It’s also not lost on me that Beyoncé and Serena are two black women putting forth a different narrative about the ways women’s bodies change during and after pregnancy. This is particularly significant because black women suffer from disproportionately high maternal mortality rates, partly because they are too often not believed or taken seriously by medical professionals.

According to her interview in Vogue earlier this year, had Serena not advocated for herself and been so familiar with her medical history, her post-birth complications could have been even more serious. It’s possible that Beyoncé’s pregnancy complications were also affected by her race, as black women are 50% more likely than women of other races to have pre-eclampsia or eclampsia (seizures that can develop in women with pre-eclampsia).

Not only do black women have to fight harder to advocate for themselves during and after pregnancy — which sometimes means refusing a doctor’s suggestions — but they also have a long history of challenging mainstream beauty standards that privilege thinness and whiteness. Serena and Beyoncé are the most public examples of the myriad ways black women are modeling self-care and self-love in a society that regularly denigrates them as too loud, too arrogant (see the petty reactions by some white women to Beyoncé’s pregnancy announcement), or too aggressive/”mannish” (see the trolling Serena has received throughout her entire career).

Taken together, these statements by the greatest performer and the greatest female athlete of our time, respectively, are challenges to the toxic body-shaming of women during and after pregnancy that our society urgently needs to hear. Anyone remember Kim Kardashian’s first pregnancy, during which she was compared to a whale?

I am grateful for these public statements by celebrity mothers of color — which also include the blunt and hugely relatable Instagram and Twitter feeds of model Chrissy Teigen — that destigmatize pregnancy-related weight gain and encourage women to accept that their postpartum bodies will never mirror their previous ones, even if they breastfeed their babies.

As women who have not historically seen themselves on the cover of magazines, mothers of color — particularly black women — have a lot to teach us, not because they can save us from ourselves (painting them as saviors only strips their humanity and freedom to mess up like the rest of us, and it’s not their job to carry us on their backs!) but because they have had to advocate for and love themselves against all odds for centuries.

This is the kind of strength and self-acceptance I want my own daughter to see as she grows up.

Beyoncé in Her Own Words: Her Life, Her Body, Her Heritage

Issue, Photographed by Tyler Mitchell

Do you remember a world before Beyoncé? The singer has been in our hearts and headphones for more than 20 years, from teenager to mother of three. The Queen graces Vogue’s September issue this year, sharing the story of her latest pregnancy and delivery, her thoughts on body acceptance and the influence of her ancestry, and the legacy she hopes to leave her children. Beyoncé’s fourth Vogue cover is also historic: It was shot by 23-year-old Tyler Mitchell, a rising young black photographer from Atlanta, hand-selected by the star. In this month’s cover slideshow, the Houston native stuns in Louis Vuitton, Valentino, and Gucci.

Pregnancy & Body Acceptance

After the birth of my first child, I believed in the things society said about how my body should look. I put pressure on myself to lose all the baby weight in three months, and scheduled a small tour to assure I would do it. Looking back, that was crazy. I was still breastfeeding when I performed the Revel shows in Atlantic City in 2012. After the twins, I approached things very differently.

01-beyonce-vogue-september-cover-2018

I was 218 pounds the day I gave birth to Rumi and Sir. I was swollen from toxemia and had been on bed rest for over a month. My health and my babies’ health were in danger, so I had an emergency C-section. We spent many weeks in the NICU. My husband was a soldier and such a strong support system for me. I am proud to have been a witness to his strength and evolution as a man, a best friend, and a father. I was in survival mode and did not grasp it all until months later. Today I have a connection to any parent who has been through such an experience. After the C-section, my core felt different. It had been major surgery. Some of your organs are shifted temporarily, and in rare cases, removed temporarily during delivery. I am not sure everyone understands that. I needed time to heal, to recover. During my recovery, I gave myself self-love and self-care, and I embraced being curvier. I accepted what my body wanted to be. After six months, I started preparing for Coachella. I became vegan temporarily, gave up coffee, alcohol, and all fruit drinks. But I was patient with myself and enjoyed my fuller curves. My kids and husband did, too.

06-beyonce-vogue-september-cover-2018

I think it’s important for women and men to see and appreciate the beauty in their natural bodies. That’s why I stripped away the wigs and hair extensions and used little makeup for this shoot. To this day my arms, shoulders, breasts, and thighs are fuller. I have a little mommy pouch, and I’m in no rush to get rid of it. I think it’s real. Whenever I’m ready to get a six-pack, I will go into beast zone and work my ass off until I have it. But right now, my little FUPA and I feel like we are meant to be.To this day my arms, shoulders, breasts, and thighs are fuller. I have a little mommy pouch, and I’m in no rush to get rid of it. I think it’s real. Whenever I’m ready to get a six-pack, I will go into beast zone and work my ass off until I have it. But right now, my little FUPA and I feel like we are meant to be.

Opening Doors

Until there is a mosaic of perspectives coming from different ethnicities behind the lens, we will continue to have a narrow approach and view of what the world actually looks like. That is why I wanted to work with this brilliant 23-year-old photographer Tyler Mitchell.

When I first started, 21 years ago, I was told that it was hard for me to get onto covers of magazines because black people did not sell. Clearly that has been proven a myth. Not only is an African American on the cover of the most important month for Vogue, this is the first ever Vogue cover shot by an African American photographer.

It’s important to me that I help open doors for younger artists. There are so many cultural and societal barriers to entry that I like to do what I can to level the playing field, to present a different point of view for people who may feel like their voices don’t matter.

Imagine if someone hadn’t given a chance to the brilliant women who came before me: Josephine Baker, Nina Simone, Eartha Kitt, Aretha Franklin, Tina Turner, Diana Ross, Whitney Houston, and the list goes on. They opened the doors for me, and I pray that I’m doing all I can to open doors for the next generation of talents.

If people in powerful positions continue to hire and cast only people who look like them, sound like them, come from the same neighborhoods they grew up in, they will never have a greater understanding of experiences different from their own. They will hire the same models, curate the same art, cast the same actors over and over again, and we will all lose. The beauty of social media is it’s completely democratic. Everyone has a say. Everyone’s voice counts, and everyone has a chance to paint the world from their own perspective.

Beyoncé-Approved Tyler Mitchell Is The First Black Photographer To Shoot A Vogue Cover

Tyler Mitchell, a 23-year-old artist from Atlanta, will be the first black photographer to shoot a cover for Vogue in the magazine’s 126-year history. Beyoncé chose Mitchell to photograph her upcoming September issue cover, Yashar Ali reported for HuffPost on Monday. She obtained full control over the cover from Vogue Editor-in-Chief Anna Wintour, a source told HuffPost. “The reason a 23-year-old black photographer is photographing Beyoncé for the cover of Vogue is because Beyoncé used her power and influence to get him that assignment,” the source said. Mitchell, a New York University graduate, quickly became a recognized name in the art world through his work in Cuba and his featured work on Instagram. His more than 40,000 Instagram followers include celebrities like Rose McGowan and Naomi Campbell.

The New York Times’ “Up Next” series featured Mitchell in December.

“I depict black people and people of color in a really real and pure way,” he told the Times. “There is an honest gaze to my photos.” The 23-year-old first gained attention in 2015 with his self-published book of photos, El Paquete, which focused on Cuban skate culture and architecture. Mitchell captured the book’s 108 photos while in Cuba for six weeks as part of a documentary photography program, according to the Times. Mitchell’s work has appeared in other magazines, such as Teen Vogue’s March for Our Lives feature. He photographed gun reform activist Nza-Ari Khepra with Parkland shooting survivors Emma Gonzalez, Sarah Chadwick and Jaclyn Corin for Teen Vogue’s piece on the #NeverAgain gun control movement.

The 23-year-old has also shot covers for Fader and Office Magazine.

He has also directed film projects for clients such as Marc Jacobs and Ray-Ban. Mitchell told The New York Times in December that he was editing a three-screen film project he shot with a 35-millimeter camera on how race affects adolescents.

The 23-year-old has also shot covers for Fader and Office Magazine.

The New Business of Hip-Hop Beats: How One Company Gets Musicians Paid For Creating Samples

beyonce-jay-z-bb16-topline-opener-2018-billboard-1548

On June 10, manager Mike “Heron” Herard got a mysterious phone call from the Grammy-winning production duo Cool & Dre. Two artists Heron manages, multi-instrumentalist Leon Michels and composer Beat Butcha, had landed placements on a top-secret project that the producers described only as “life-changing.”

They just needed stems of the recordings that Heron had sent them months before, including a four-bar instrumental loop Michels had created in his spare time, and a few tweaks: a new bassline and strings on top.

Days later, Heron got another call: The project was JAY-Z and Beyoncé’s surprise LP as The Carters, Everything Is Love, and the album’s opening track, “Summer,” would feature Michels’ loop. (A bonus track, “Salud!,” featured Butcha’s work.) It was the first time Michels’ music had been sampled since he began working with Heron’s musician management company, BeatHustle, in 2017. Within its first week, “Summer” totaled 9.1 million on-demand streams and 3,000 downloads, according to Nielsen Music, debuting at No. 84 on the Billboard Hot 100.

“It’s Beyoncé and JAY-Z — that’s the top of the mountain,” Michels tells Billboard about the placement, jokingly adding, “It’s all downhill from here, basically.”

The success of Heron’s new music outfit is a window into how the business’ top stars are churning out music faster than ever, increasingly soliciting pieces of ideas from a wide range of creators in order to make as many beats as they can in real time. With that kind of pressure, the old model of producer as crate digger, crafting melodies out of old soul records or on synths or keyboards, is history. The increase in volume has made it more difficult for sampled musicians to claim credit — and payment — for their work, creating an opportunity for businesses like BeatHustle.

“We’re in a climate where people are just trying to get records out really quickly,” says Heron. “I’ve been with guys where they dedicate tons of hours to records just to walk away, and no one credits them. Often there’s nothing malicious in it — it’s just guys trying to hustle.”

In the late 1990s, Heron was part of a community of record-collecting fanatics who would spend hundreds of hours and thousands of dollars digging through record stores for obscure samples, re-recording them onto LPs and selling the breakbeats to producers like No I.D. and Dr. Dre. Diddy, says Heron, would give one of Heron’s record-collecting friends $10,000 to $15,000 just to go shop for records, many of which wound up on Bad Boy albums like The LOX’s Money, Power, Respect.

“I would go get everything, digging hard, and put all the choice cuts on one album and sell them,” says Heron. “I was making a living doing that — must have been 20 volumes, which was 100 percent illegal.” He laughs. “[BeatHustle] is sort of like what I was doing before, but just, like, 100 percent legal.”

Heron began working with Shady Records in 2013, where he remains vp A&R. But he also started managing musicians on the side, beginning with Robert “G Koop” Mandell and AntMan Wonder three years ago, helping them place original music with hip-hop producers. It was then that he realized there was a problem in the production line.

“In 2018, there’s not a whole bunch of young guys that can actually play instruments,” says Heron. “So I found that those that could were sort of getting taken advantage of. And guys were reaching out to me, like, ‘Hey, man, I got a placement with this guy, I didn’t get paid, I didn’t get any publishing, I wasn’t credited.’ ”

An overlooked credit can equate to millions in lost revenue for a musician. G Koop, for example, provided the melodic backbone to Migos’ “Bad and Boujee,” which Metro Boomin flipped into a No. 1 single that has racked up 1.1 billion on-demand streams and 1 million downloads sold, according to Nielsen Music. Heron says that in the past, G Koop might have gotten a few hundred dollars for his contributions, and no publishing credit. But with BeatHustle, working with people like Metro and his manager Rico Brooks — the two of whom he considers to have “led the charge on fair treatment of these musicians” — G Koop is credited as a co-producer. Heron declines to comment on specific songs but says he’s often able to secure 50-50 splits with producers.

Heron now manages a stable of six composers who, collectively, have contributed to records by Rick Ross, Future, DJ Khaled, Rihanna and others. He has his musicians create original beat packs, which he sends to a tight-knit group of producers he knows and trusts; Cool & Dre, Metro and Murda Beatz, the lattermost producing Drake’s recent No. 1 single, “Nice for What,” are among them. For someone like Michels, who has led several funk bands over the years and worked on records by such artists as Sharon Jones and Lee Fields, the process can be much simpler and more collaborative than just getting sampled.

“I’m not making bridges and choruses and verses, it’s usually just a groove,” he says, noting he’s made around 100 tracks that BeatHustle has sent out. “I’ll do them in a night, just get some weed. They’re not that involved.”

But for producers and artists, particularly in a fast-paced world and in the shadow of high-profile copyright lawsuits like that of Marvin Gaye‘s family against Pharrell and Robin Thicke, the value that BeatHustle provides can make a huge difference.

“The musicians and producers, they’re like a community,” says Heron. “That’s what I like to think of BeatHustle as: just music guys.” This article originally appeared in the June 30 issue of Billboard.

Beyoncé x Aaliyah – All In A Million Nights (Mashup)

Looks like Barack Obama and Justin Trudeau isn’t the only hookup making us dream of an alternate reality. This perfect matchmaking exercise comes courtesy of 19-year-old producer Amorphous, who has masterminded a collaboration 20 years in the making: a duet featuring Aaliyah and Beyoncé. “Remixed Beyoncé’s ‘All Night’ with Aaliyah’s ‘One In A Million,'” the Orlando teen tweeted of his decade-spanning mash-up. “Two friends who I really wish had the chance to work together.” Don’t we all.

It’s not impossible that Baby Girl and Queen Bey would have collided on their own accord at some point. On the 15th anniversary of Aaliyah’s tragic death in 2001, Beyoncé posted a throwback tribute to the R&B icon — a video of her pre-Jay self interviewing Aaliyah (and gushing about D’Angelo) at the 2000 MTV Movie Awards. Bey has also thanked Aaliyah for being an early supporter of Destiny’s Child. Amorphous, meanwhile, wasn’t born when “One in a Million” was released in 1996, but that’s just testament to the Missy Elliott and Timberland-assisted slow jam being well ahead of its time. Happy #TBT.

Beyoncé Covers Out’s May Power Issue

On the cover of Out magazine’s annual May Power Issue (on newsstands April 22) is one of the most powerful women in music: Beyoncé Knowles. The singer, who defied traditional marketing tactics late last year when she released her surprise self-titled video album, is the perfect representation of what it means to be powerful. She’s poised, she’s commanding, and she does it all at her own pace. Like any powerful person, there’s an army of supporters who follow. Aaron Hicklin, Out magazine’s editor in chief, got unprecedented access inside Parkwood Entertainment, the camp that makes up “team Beyoncé” in order to learn just how the singer landed the industry’s biggest coup. On Tuesday, April 8, the singer takes over the site with exclusive remixes, never-before-seen photos, and interviews with some of the most powerful people in the industry.

#BeyOut will have fans bowing down to the “XO” singer.