Take the critical and commercial success of everyone from Mitski and her subversively titled Be The Cowboy release to forward-thinking country artists like the aforementioned Musgraves and Morris, whose genre-spanning work has quickly wormed its way to the top of the charts. The result? A wide-spectrum of listeners who have embraced the trend with vigor, not to mention earnest admiration tinged with a hint of self-aware irony.
As for where this embrace of Americana came from though, well, it's kind of always been there. Unsurprisingly, Black artists have long had a prominent hand in furthering Yeehaw as the cultural force it is today, and we'd be remiss to forget the long-standing connection between their contributions and the resurgence of these trends.
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As noted by writer-critic Antwaun Sargent who launched a viral thread on the Black Yeehaw aesthetic , 25 percent of the cowboys working on the Western Frontier in the late s were Black — something that's been whitewashed in the collective American cultural memory thanks to Hollywood and history textbooks.
It had been something had been purposefully erased from African-American culture. Not only that, but as Sargent notes, the ideals the American cowboy represents — freedom, self-presentation, self-fashioning — are also concepts that many Black creatives are responding to. Just think back to icons like Mary J.
And it's an aesthetic statement that's slowly been trickling back into high fashion as of late with Sargent name-checking Black designers like Pyer Moss and Telfar Clemens , who were "really thinking about America and Blackness' relationship to it," as well as artists like Kelela who have brought the bedazzled cowboy hat trend back. And it's an aesthetic legacy that continues into today. Without your personal data, we cannot perform the contract with you.
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