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Hebron High School News Online

The Hawk Eye

Hebron High School News Online

The Hawk Eye

Sports Scores
A table is set up with trophies for the participants for the tournament at last year’s event on May 31, 2023.  (Photo provided by HBBC)
Band to hold golf tournament May 31
Mie Bakuya, Reporter • May 25, 2024

The band program will hold its eighth annual golf tournament on May 31 at Indian Creek Golf Course with a shotgun start at 8:30 a.m. The event...

(Left to right) DFW residents Ana Szabo, Lacey Gee, Amy Nichols and Nick Adams pose for a photo at their event “Swifties in the Park” at Grandscape in The Colony on April 27. At the event, they held competitions ,such as spelling bees and “finish the lyric” for the attendees, in which winners were given vinyls and a goodie bag from the Swiftie Market. (Photo provided by @the13podcast on Instagram)
Lucky Number 13
Saahir Mawani, Design Editor • May 24, 2024

On Dec. 13, 1989, global phenomenon Taylor Swift was bornin the town of Reading, PA. Only two years later, in 1992, the KiddKradick morning show...

Senior Jimmy Sanchez and junior Grant Koch perform a scene during a dress rehearsal of “The Diviners” on April 18. This was the only show strictly performed by theater’s Silver Company this year.
For the applause
Krista Fleming, Managing Editor • May 23, 2024

The stage is dark.  Junior Grant Koch is in the same spot he has been in for what feels like a thousand times, surrounded by cast members...


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Print Edition

“COWBOY CARTER:” a Beyoncé album, not a country album

Photo provided by Parkwood Entertainment
Before “COWBOY CARTER,” I had been a casual listener of Beyoncé. I knew her most popular hits and had only listened to one of two singles from her current album: “TEXAS HOLD ‘EM.” With little knowledge of her discography, I had no idea what I was getting into when I first clicked play on this album, and it turns out: I loved it.

As I pulled into my garage, the clock struck 11:00 p.m., meaning Beyoncé’s second act of “RENAISSANCE,” “COWBOY CARTER,” was officially out. As I walked up the stairs to my room, doubts flooded my head. I was not a devoted member of the BeyHive, nor was I an avid country music listener. I kept asking myself whether or not I would enjoy this album, and it turns out: I loved it.

Before this album, I had been a casual listener of Beyoncé. I knew her classic hits such as “Crazy in Love” and “Single Ladies,” but I had barely been exposed to some of “RENAISSANCE,” and I had only listened to one of two singles from her current album: “TEXAS HOLD ‘EM.” With little knowledge of her discography, I had no idea what I was getting into when I first clicked play.

The album opens with “AMERIICAN REQUIEM,” a statement on the racism Beyoncé has faced in both the country music community and America as a country. From this track to the first interlude, “SMOKE HOUR ★ WILLIE NELSON,” Beyoncé follows a consistent trend: smooth vocals layered over each other and a subtle, folky guitar. Though the opening track was amazing, I was angry I had not listened to “16 CARRIAGES” in the almost two months it had already been out.

Following the first interlude, “TEXAS HOLD ‘EM” introduces us to a different niche in the country genre, incorporating strong percussive elements and a twangy banjo, as opposed to the melodic nature of the album’s first section. This song also features a voice note from country music icon Dolly Parton prior to Beyoncé’s cover of Parton’s 1973 track “Jolene.” The voice note is an introduction to the cover, with Parton saying she once felt what Beyonce is feeling now.

The cover and “DAUGHTER” are prime examples of the more complex vocals used in this album, highlighting specifically the operatic vocals in the latter song. This section ends with “SMOKE HOUR II,” causing the album to shift yet again.

The stand-out of the penultimate chapter of the album was the collaborations. Out of four songs, three of them are collaborations, featuring Willie Jones, Miley Cyrus and Post Malone. With the first two songs being slower “JUST FOR FUN” and “II MOST WANTED,” the song with Post Malone, “LEVII’S JEANS,” was a standout. The short, muffled guitar is a refreshing change to the long, drawn-out sound of many of the other songs.

Coming after its introduction by Linda Martell in “THE LINDA MARTELL SHOW,” “YA YA” is exactly what I would expect from a modern country song, with the cadence similar of “Tightrope” by icon Janelle Monae, leading me to believe both of these songs would sound amazing in a mashup. Another highlight of the end of the album is “TYRANT” featuring an existing collaborator on the album: Dolly Parton.

What begins as a classic, clapping country suddenly shifts to a trap beat via a violin, coupled with an electronic beat. I was disappointed, as Parton was listed as a performer on this track, and she was only featured in the intro. However, all woes were wiped away as I heard the closing notes of “AMEN” — a reprise of “AMERIICAN REQUIEM” that allowed the journey of the cowboy to come to an end.

“COWBOY CARTER” is an amazing follow-up to the juggernaut that was “RENAISSANCE.” This album has led me to rethink my dismissal of country music as a genre, inspired by Beyoncé’s references to classics like “JOLENE” and her innovation in the genre like “SWEET ★ HONEY ★ BUCKIIN.”

I think it is safe to say I have welcomed both “COWBOY CARTER” Act II, and Beyoncé’s music into my playlist.

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About the Contributor
Saahir Mawani
Saahir Mawani, Design Editor
Junior Saahir Mawani is the design editor and this is his second year on staff. In his free time, he loves editing YouTube videos, reading and watching the “Eras Tour” TikToks.

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