Is Beyoncé channeling "For What It's Worth" in "American Requiem"?

Though I've been aware of Beyoncé since Destiny's Child, I don't follow her music, or much current music for that matter. But I've been hearing at least one tune (“Texas Hold ’Em”) from he new album Cowboy Carter, on YouTube shorts and, for some reason, the first paragraph of the New York Times review piqued my curiosity:

The first song on “Cowboy Carter,” Beyoncé’s not-exactly-country album, makes a pre-emptive strike. “It’s a lot of talking going on while I sing my song,” she observes in “Ameriican Requiem” over guitar strums and electric sitar, adding, “It’s a lot of chatter in here.”

So I followed the link and started listening:

It took awhile before I heard the guitar strums and the sitar (roughly 0:48) and her opening lines – "It's a lot of talking going on/ While I sing my song" – reminded me of a 1960s anthem by Buffalo Springfield – "There's something's happening here/ What it is ain't exactly clear" – "For What It's Worth." Is the resemblance intentional? I don't know. The sonic textures of two songs are quite different in various respects, and Beyoncé’s is a bit slower, but there's a deliberateness, a martial quality, an overall vibe, that resembles the older song. There's a back-up vocal on "For What It's Worth" that kicks in about half way through, no words, just syllables, that resonates with some of the (more elaborate) background work on “Ameriican Requiem.”

Beyond this I note a few things:

• Buffalo Springfield pioneered the genre of country-rock and Beyoncé's Cowboy Carter is billed as a country album.
  
• Cowboy Carter contains a Beatles song, Blackbird, from roughly the same era, 1968.
  
• Willie Nelson and Dolly Parton show up on the album; both of them are older than dirt.

The albums range of reference and resonance is nothing if not wide. So why not "For What It's Worth"?

"For What It's Worth" came out in 1966, well before Beyoncé was born (1981). And while the song sticks around on YouTube and, I assume, other streaming sources, it's not at all prominent. But she's in the music business and, while I know almost nothing about her, I do know the serious musicians tend to have catholic listening habits. It's not a matter of deliberately setting how to channel and transmust the older song – though, who knows, it could be, but that's not a requirement. It's a matter of inhabiting the same vibe and using it for contemporary purposes.