Beyoncé Online

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Welcome to Beyoncé Online - your #1 source for everything Beyoncé Knowles. You'll find here a lot of interesting information, one of the biggest photo galleries with over 100.000 pictures, downloads and more! Be sure to check out the latest news about Mrs. Carter and leave your comments. We hope you'll enjoy your stay and come back soon! Have fun!

Latest news

Ivy Park AW18 Collection Available Now

August 15, 2018

The Ivy Park Autumn/Winter 2018 collection has arrived! Shop now.

On the Run II Tour in East Rutherford (August 2)

August 15, 2018

Beyonce and Jay-Z performed during the On the Run II Tour at the MetLife Stadium in East Rutherford, NJ on August 2. After the show, Beyonce wrote on Facebook: "First night in NYC was epic! Round 2 tonight. You ready?"






Vacation

August 4, 2018

Hi guys! I'm leaving today for almost two weeks and won't be able to update the website. Every missing update will be added once I'm back. See you soon!

The Carters Nominated at the 2018 iHeartRadio Much Music Video Awards

August 2, 2018

Nominations for the 2018 iHeartRadio Much Music Video Awards were announced on Wednesday morning and The Carters are nominated in three categories! You can vote for Fan Fave Video here.

Best Hip-Hop Artist or Group
The Carters
Drake
Post Malone
Cardi B
Kendrick Lamar
Childish Gambino

Best Director
Jay Martin (Shawn Mendes – "In My Blood")
Karena Evans (Drake – "God's Plan")
Karena Evans (Drake – "Nice for What")
Hiro Murai (Childish Gambino – "This Is America")
Arturo Perez Jr. (Justin Timberlake – "Say Something")
Didier Charette (The Carters – "APESHIT")

On the Run II Tour in Philadelphia (July 30)

July 31, 2018

Last night Beyonce and Jay-Z performed during the On the Run II Tour at the Lincoln Financial Field stadium in Philadelphia, PA. The couple performed "Black Effect"!






On The Run II Tour European Leg Grosses $87.6M

July 31, 2018

With the combined star power of Beyoncé and Jay-Z, it comes as no surprise that the first leg of the couple’s “OTR II Tour” was a wild success. Pollstar’s Boxoffice has received reports for the entire 18-night European excursion – and every single show sold out.

Presented by Live Nation Global Touring in association with Beyoncé’s Parkwood Entertainment and Jay-Z’s Roc Nation, the stadium outing kicked off June 6 at Principality Stadium in Cardiff, Wales. That gig sold 39,731 tickets and grossed nearly $4.2 million (£3.1 million).

The European run racked up a total of 871,012 tickets sold and grossed more than $87.6 million. The average show sold 58,067 tickets and grossed more than $5.8 million, with tickets ranging in price from as low as €10 ($11.69) in Rome and Milan, Italy, to as high as €175 ($204.44) in Barcelona. The average ticket price was $100.57, which would seem a bargain to catch two of the biggest artists around.

The biggest stop of the European leg was the two-night stand at London Stadium, which sold a total of 126,443 tickets and grossed nearly $11.2 million. The London show also happened to be the location for the couple announcing the surprise release of their collaborative Everything Is Love album. The other cities that were treated to two nights of The Carters were Paris and Amsterdam.

Beyoncé Given Unprecedented Control Over Vogue's September Cover

July 31, 2018

Vogue editor-in-chief Anna Wintour gave Beyoncé unprecedented control over the cover of the upcoming September issue, sources say, and the music icon hired the first black photographer to shoot a cover in the publication’s 126-year history.

The publication is contractually obligated to give Beyoncé full control over the cover, the photos of her inside the magazine and the captions, which she has written herself and are in long-form, according to two sources who are familiar with the agreement between Vogue and Beyoncé but aren’t authorized to speak to the press.

Wintour has always exerted complete control over the fashion bible, including selecting the outfits worn by cover models. Cover subjects are usually given little to no say in their photos and are sent the cover in the week ahead of publication, a source familiar with the editorial process at the publication told HuffPost.

Beyoncé chose Tyler Mitchell, 23, to be her photographer.

“I depict black people and people of color in a really real and pure way,” Mitchell, who has already made a splash by shooting campaigns for Marc Jacobs and Givenchy, told The New York Times in December. “There is an honest gaze to my photos.”

On the Run II Tour in Washington, D.C. (July 28)

July 29, 2018

Last night Beyonce and Jay-Z performed for the second time at the FedExField stadium in Washington, D.C. The singer wrote: "DC, it's a wrap! We're off to Philly."






Beyonce's Director, Choreographers & More Talk 'Single Ladies'

July 29, 2018

This week, Billboard is celebrating the music video with a week's worth of content that looks at the past, present and future of the video, at a time when it seems to be as relevant as ever. Here, we flashback ten years for an extended look at how arguably the most legendary video from the 21st century's greatest music video star came together, and why its legacy endures a decade later.

On the St. Louis stop of the 2016 Formation World Tour, Beyoncé and her dancers -- including her dance captain, Ashley Everett -- were just about to wave their hands through the final bars of “Single Ladies (Put A Ring On It)” when the pop star paused. The buoyant bass continued to blast as she vamped, coyly pacing the stage before she turned on her heel and signaled for a gentleman in a white jacket to join her. John Silver, Everett’s boyfriend, trotted into the spotlight and took the floor, where he presented his dumbstruck love with an engagement ring -- one that got an all-too-appropriate cameo during a sequence as familiar to the crowd as the “Single Ladies” chorus itself. If you like it, then you shoulda put a ring on it: he did, so he did, and Everett flicked her wrist and flashed her newly-minted diamond in the routine she helped create.

That such a life-changing moment went down in the middle of a “Single Ladies” performance is perfect, as the song has proven to be a monumentally transformative force in the lives of Beyoncé and those of her closest collaborators. Everett was at Beyoncé’s side when she filmed the music video for “Single Ladies” and in the three months leading up to the shoot, when they and choreographers Frank Gatson Jr. and JaQuel Knight worked tirelessly to hone every kick, waist-wind, and lift that would go on to define one of the most iconic dances in pop music history.

On the Run II Tour in Washington, D.C. (July 27)

July 28, 2018

Beyonce and Jay-Z performed yesterday during the On the Run II Tour at the FedExField stadium in Washington, D.C. The singer wrote on Facebook: "DC, night one was amazing! Who's coming to the second show?"






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May 3, 2018

Beyoncé's Choreographers Talk Coachella

Since November, Chris Grant and JaQuel Knight have been up to their elbows in marching bands, musicians and dancers — dozens of men and women from an array of traditions.

Beyoncé may have been front and center at her spectacular Coachella performances last month. But two of her secret weapons were Mr. Grant and Mr. Knight, the show’s main choreographers.

From the start Beyoncé was clear about what she wanted. “She said, ‘Let’s do a homecoming,’” Mr. Knight said. “Boom. A nice, clear concept that we were all able to snap into and execute.”

In the nearly two-hour performance, references to homecoming at historically black colleges and universities (H.B.C.U.s) — complete with a marching band and a glittering majorette solo — lived alongside dance styles ranging from flexing, a form born on the streets of Brooklyn, to stepping, a percussive form popular in fraternities and sororities.

Beginning in December, Mr. Grant and Mr. Knight worked with Beyoncé’s music team and started their preliminary dance preparations. By January, they started skeleton-crew rehearsals. “We worked with 12 dancers for a month just to start to further develop the ideas that we laid down in December,” Mr. Knight said. “We started to build choreography.”

Gradually, they added more dancers and used them to create the precision movements for the musicians. “When we got to the band we simplified it even more,” Mr. Grant said. “Some of them had their own natural feeling, which we loved.”

But their favorite part of the experience, they said, was working with Beyoncé, who thrives on collaboration. They’ve worked with her for 10 years. (Among other credits, Mr. Knight is known for the “Single Ladies” video; Mr. Grant, Mr. Knight and Dana Foglia for “Formation.”) “She’s all about hearing us out,” Mr. Grant said, “because you may have a perspective on something that can be really cool. No matter who it comes from, if it’s magical, if it’s hot,” she’s interested.

In a telephone interview this week, Mr. Knight, 28, and Mr. Grant, 29, discussed their latest theatrical adventure and their devotion to Beyoncé. As Mr. Grant said: “I feel like I’m living in a generation where she is the new Michael.”

These are edited excerpts from our conversation.

Did Beyoncé talk about the show’s choices in terms of its politics?

JaQUEL KNIGHT We don’t really consider it political. For us, it’s embracing who we are. The show was very black, for a lack of a better word, from all aspects, and we wanted to show love through who we are. This is where we come from and this is how we love and this is how we jam and this is our world. I think the whole H.B.C.U.s and the homecoming experience is a very specific experience. If you’ve never been to a homecoming game, you don’t know.

She wanted to introduce that to the world?

KNIGHT Yeah. That’s something that hasn’t been done before on the stage like this and it feels good. Beyoncé’s all about how can we do things differently, but keep the musicianship and the showmanship and the precision of it all — it just made sense. She’s been adding horns to her songs for the past couple of years and boom: Let’s get a whole band. So much of what we’ve been doing made sense in this world — even with the things we were doing with “Formation.”

What kind of movement looks good on Beyoncé? What is natural?

CHRIS GRANT She’s really good with her neck. She can really hit and snap at certain moments, but also be cool and chill.

KNIGHT She can do anything. She’s weird. I’ve seen times where she imitates people. When you put somebody magical in the room she will make them do it 10 times, 20 times. She’s pulling and learning from you and toward the end it’s like, “Wow — you are really studying me and you are really getting it.”

One thing about Beyoncé is she pays attention to detail. That’s what I learned from her. You’ve really got to pay attention and then on top of that, add your own sauce.

What kind of stamina does she need to get through a show like this? Do you work with her on cross-training?

KNIGHT She has a trainer and she also comes in and does a full dance warm-up and stretch with us. She just had twins, so we spent a lot of time strengthening her and getting her back into it. Your body goes into shock if you’re not prepared to do a show of this caliber.

Is there a signature style for the female backup dancers?

KNIGHT We have created a language with the choreography that has a street vibe and a great line as well. So the body always looks good. And then it’s a level of personality on top and feeling — things you really can’t teach. It’s a combination of technique, street and personality. And magic.

How did you put together the marching band for the show?

KNIGHT We flew quite a few people in from Atlanta, because it was pretty difficult to cast in L.A. for the specific swag and funk and charisma that we were looking for. We worked with Don Roberts, who was the consultant on “Drumline.” We basically created our own professional level marching band.

How did you focus your time with a show this huge?

KNIGHT No one does one job. There’s no “you’re the music guy, you’re the choreographer, you’re this, you’re that.” It’s creative. allows us all to be open: What are your thoughts on this? Chris is the guy from choreography who also splits his time making sure the music is correct. He’s even built in his own tracks and presents ideas to Beyoncé. She’s all about whatever’s hot is hot.

Does Beyoncé like the rehearsal process?

KNIGHT Beyoncé’s going to rehearse every day. We have rehearsal every day — forever — until the show: “Do it again, do it again. O.K., one more time. O.K., I’m gonna go, maybe y’all can do it once more and send me the tape.” She just wants the show to be tight.

GRANT Everything we do, everything is choreographed — it’s not just movement. It’s never going to be perfect, and that’s the whole point of rehearsing to the last minute. Everything is choreographed to a T.

Do you wish it were looser?

GRANT We’re so crazy like her that we’re just kind of used to it. Anything can happen, but when you’re so well rehearsed you’re also prepared. You can just can hop off and hop right back in like nothing. And to me she’s the queen of it.

Did you get to rehearse in the desert at all?

KNIGHT We had one day in the desert.

GRANT One day.

KNIGHT At Coachella, when it gets windy, you can’t rehearse. It was super windy the day of our rehearsal. They had to bring the lights and the speakers down. They shut us down. So that was our one day spent in the desert: We ran it once in the hot sun with no lights. This goes back to what Chris was saying — we have to be prepared.

Why did you want to incorporate so many kinds of movement?

KNIGHT It keeps everything interesting and it doesn’t allow your power to become stale. The audience can stay on its toes. We like to have technical moments — we have a duet with Jasmine Harper and King Havoc, where they combined their worlds. She comes from a beautiful ballet background and he comes from a beautiful street background. Use the flexers here. Come out and boom — let’s combine a bit of our African training here.

I think for Beyoncé, adding as many different elements of dance as we can is cool. As a pop entertainer, people see her as being one dimensional: coming out, shaking her butt and going to the next song. So we really tried to steer away from that.

Do you think that she knew how historic this show would be?

KNIGHT I don’t think any of us were expecting it to be this big of a thing. It’s still blowing my mind. We even had a quick conversation with Bey as we were rehearsing for Week Two. She was like: “Wow. People really loved the show, huh?”

GRANT She was saying, “I guess we did our job.”
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