4/22/2024 0 Comments Beyonce jay z music video louvreMusic videos are open forms, and as each analyst charts his or her path through the video, we can get a sense of a personal perspective (and readers can then more carefully track their own trajectories as well). (This might include looking at a dance gesture against a harmonic shift and an edit, and asking how these might relate to one another.) A collective approach is probably the best way to understand a clip and the genre, and also adds some benefits. It’s not only due to, as Ann Kaplan has observed, that music videos straddle a border between advertising and art, but that the analyst must also feel comfortable with addressing the music, the image (including the moving bodies, cinematography and editing), the lyrics, and the relation among them. We can imagine why there’s been such a paucity of music-video scholarship. This colloquy may be the first multi-perspective, in-depth look at a music video. Our argument is threefold: (1) the aesthetics of the APESHIT music video builds on and contributes to the Afrosurrealist artistic tradition, engaging with contemporary Blackness via the strange and absurd (2) the music video itself creates performance art that intervenes in and extends beyond the Louvre and audiovisually re-curates its exhibitions (3) The Carters can be seen as celebrity ‘critical organic catalysts’ whose Afrosurrealist intervention targeted at the colonial legacies of museums activates a critical relationship with these museal spaces traditionally constructed as White spaces. We argue that The Carters embrace the role of the public intellectual-activist - assumed to be within the remit of the Western, White, liberal intellectual for centuries. Against the backdrop of calls for decolonizing archives and public institutions such as the university and the museum, and arguing for the political potential of APESHIT, this article makes a case for the music video as an act of resistance against the enduring ‘coloniality of power' in the European museum and elsewhere in the public sphere. Yes, Beyoncé and JAY-Z actually shut down a massively famous and popular museum on a random day in May in order to film their music video.This article offers a reading of the APESHIT music video by the duo The Carters (Beyoncé and Jay-Z) as an Afrosurrealist intervention in the White space of the Louvre. The song's artists are simply called "The Carters", but what's really notable about the video is that it's set in France's The Louvre. You can check out the "Apesh*t" video on Youtube, where it was uploaded onto Beyoncé's Youtube account on Saturday night. If you want to watch the music video for that song, however, you don't even need to go on TIDAL. So even if you don't have a regular TIDAL subscription, you can listen to Everything is Love for free and enjoy all of its songs - including "Apesh*t". That's not totally bad news, though, as although the streaming service normally costs $9.99/month, right now users can get six months of TIDAL for free. Right now, Everything is Love is currently only available to stream on TIDAL, which is sadly pretty typical for a release by Beyoncé and JAY-Z. Already, people are figuring out how to watch the "Apesh*t" music video in order to fully appreciate the album's, um, interestingly titled second song. If, like many other people, you were totally shocked that Beyoncé and JAY-Z dropped a joint album called Everything is Love on Saturday night, you shouldn't have been - after all, when have the celebrity couple ever done anything as expected? It's completely in character for the superstars to release an album totally out of nowhere, and of course, it's also completely in character for fans to freak out over the release and start obsessing over every song.
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