#beyonce track yonce

[thatshowufeel]

[weelectronicstudentreviewstuff]

Disha Patani looks killer as she dances to Beyonce’s song ‘Yonce.’ Watch video Disha Patani looks killer as she dances to Beyonce's song 'Yonce.' Watch video  Amid the lockdown, Bollywood actress and fitness enthusiast…

[a-quick-brown-foxy]

Thank you, Russian Doll.

Tw: Suicide mention, abuse mention, substance abuse mention

When I was 20 years old I literally tried to drink myself to death. 

I remember hoping the bourbon with the pills I’d taken earlier were enough. I remember pouring my unassuming friend another drink and pretending I was okay (Bre, if you’re reading this, I’m really sorry). That’s it. That’s the extent of what I remember about that night. 

I woke up the next morning in my mother’s bed.She was furious. Everyone was annoyed or pissed at me in one way or another, with reason. I was angry at myself, partially for thinking of doing something so stupid and also partially for failing at it. 

It’s been five years. The person who is responsible for a good portion of the trauma I’ve endured is still around. She never went to prison, never went to court, never once received any of the divine justice she more than definitely deserves. She hasn’t really done anything with her life. I don’t know if she’s inflicted any more trauma on anyone new. She just exists. 

When Alan was disturbed by the fact that his death routine changed on him upon meeting Nadia, I felt it in my core. Russian Doll does a lot of things masterfully but what it does the best is show what life is like when you don’t address your own baggage. 

Alan had his daily affirmations on his phone while he walked through New York City. I had Beyonce’s track “Yonce” on repeat every time I walked into the Hite Art Institute. Alan furiously tapped on his engagement ring in the elevator. I chewed Trident gum until it hurt my jaws. Alan binge eats delivered cake on his couch. I made a sport out of eating as little as possible. 

Routines are traps and safety nets. My routine kept me from ending my life again but it also stopped me from living. I had an actual route to avoid my stalker on campus. I had hours in which I allowed myself in wings of certain buildings. I called my friend again and again when he didn’t answer because my brain was programmed to assume he was dead. Like Alan and Nadia, I found myself in a cycle of getting through each day, maybe even a week, just to crash and burn and start all over again. 

It wasn’t without consequences. I lost my gallbladder at the age of 22 as a result of food restriction and severe anxiety. I didn’t go to many events and missed out on forming some very strong friendships because I was scared they were friends with this abuser. The party that should’ve been my college years, what should’ve been the most stress free part of my life, emptied the fuck out like Nadia’s, nothing left but Maxine twirling in an empty kitchen. 

I am still resentful of what happened to me. I am still resentful of my attacker. I do not forgive her. I don’t believe she deserves forgiveness and she has done nothing to make me thing she has grown as a person in the least. I do not mince words about her and I do not hide about how I feel about her actions to anyone anymore. 

But I’ve also decided to choose life and living. I broke my routines, slowly. I am still breaking my routines. I adjust myself to new things on a daily basis and I am fucking proud of myself for it. Tonight, I opened up to a friend about my trauma and she was there for me. And as we watched this magnificent show, we shared a giant pizza. And I didn’t count the calories or only nibble on once slice. I ate half the fucking pizza. I had a cookie. We let our minds be blown and we let ourselves be moved by the resilience of these characters. 

I am currently not feeling well. I was called pathetic tonight, for not mincing words. There is some validity in the anger but no justification to the insults. Tonight I am breaking my routine, again. I will not blow up this person’s phone. I will not beg for this person’s attention. Instead, I will finish this piece. I will work on a mixtape I’ve been putting off out of exhaustion. I will tell myself that I am beautiful, I am loved and I am worthy of love. I will tell myself I am strong. And then I will go to sleep. And I will live another day. 

[sluttyshakespeare]

Three Great Details About Apeshit By Beyonce & Jay-Z

“I can’t believe we made it,” sings Beyoncé in “Apeshit,” the first single from her surprise joint album with Jay-Z, Everything Is Love. And to prove that she and her husband have made it, in the song’s accompanying video, Beyoncé delivers this line from the Louvre. As the New York Times has pointed out, it is not actually that expensive to shoot a video in the Louvre (about $17,500 for a full day’s shoot). But music videos aren’t about numbers; they’re about how things feel — and there’s no place on earth that feels as lavish, as rich with accumulated cultural power and wealth and colonialism, as the Louvre. If you want to show that you have made it, that you are rich and powerful and one of the greatest artists of your generation, you go to the Louvre. And as an artistic choice, the Louvre is par for Beyoncé’s course. For the past few years, Beyoncé Knowles-Carter has increasingly cribbed from the iconography of classical Western art in her own image-making. Her pregnancy announcement photo shoot and her birth announcement photo shoot both referenced Botticelli’s Venus and the Renaissance trope of the Madonna and child, and her 2017 Grammys performance drew on goddess imagery from multiple artistic traditions. So when Beyoncé shoots at the Louvre — taking on by turns the poses of Venus de Milo and Victory — she’s continuing an artistic project of recontextualizing classical Western art, of making herself the aesthetic object on which so much wealth and cultural capital has been spent. And coming from a black woman, that’s a radical statement. “In a way, Beyoncé is exploiting/marketing her blackness as creativity — as a kind of weapon — within and against the very Eurocentric system of culture and consumption from which she has benefited,” says James Smalls, a professor of art history at the University of Maryland Baltimore County. That’s an especially radical statement to make in the context of the Louvre, where little of the art features people of color in positions of strength and power. “From the Middle Ages up to the 19th century, works of art that showed black people usually represented them as servants or secondary figures,” explains Smalls. “They were not deemed worthy subjects of paintings, sculptures, or other kinds of cultural works.” One of the few exceptions to that trend is Marie Benoist’s “Portrait d’une négresse,” also displayed at the Louvre. “That painting is an anomaly because it presents a black person as the sole aestheticized subject and object of a work of art,” Smalls says. And it’s the painting that appears at the end of the “Apeshit - Beyonce & Jay-Z” video, after shot after shot of portraits of white people.

Benoist painted “Portrait” in 1800, during a brief period in which France had abolished colonial slavery. (In 1794, the French emancipation proclamation liberated the colonies; in 1802, Napoleon reinstated slavery.) In that six-year span, portraits of heroic black people became popular in France, and that created an opportunity for an image of a black woman who is not tending to or subordinate to a white person, who is instead considered worthy of being at the center of her own portrait. As Smalls has pointed out, in its full context, “Portrait” is not a wildly politically subversive image. It’s most likely that the unknown and unnamed subject was a servant with few legal rights who had little choice about how she posed or whether she was okay with her breast being exposed to the world for the next 200 years. Benoist the painter has much more agency here than the black woman at the center of the picture. But in the context of “Apeshit,” with its montages of painting after painting of white faces and white statues, “Portrait” feels both shocking and subversive. It’s a black face in the center of the frame, apparently in control of her domain. And it’s one of the only figures in the Louvre that we don’t see get reinterpreted by either the Carters or their dancers: The only figure in the Louvre that can withstand the unstoppable force that is Beyoncé, that does not need to be remade and reexamined. Part of Beyoncé’s project over the past few years has been to treat art as a form of power: It is a form of focused aesthetic attention, of social capital, and of wealth given solid form. Taking over the Louvre means taking all that power for herself and for the black bodies she brings in with her — except for the “Portrait.” In “Apeshit,” it can stand on its own. What do Beyoncé, The Smurfs 2, and you have in common? All three have the theoretical ability to rent out the Louvre. Though there was widespread awe that the Carters’ video for “Apeshit” took place inside the most famous museum in the world, turns out, it’s actually not all that uncommon. According to the New York Times, about 500 shoots take place at the Louvre each year, which have included films on opposite ends of the “is this a good movie” spectrum, from last year’s Wonder Woman to 2013’s The Smurfs 2, which even the Louvre couldn’t save from its 13 percent Rotten Tomatoes rating. Though the museum only allows photography in the galleries for private use, it makes exceptions for professionals through written authorization. As of 2015, the Louvre’s policy states that to shoot a short film or music video, the cost for both interior and exterior shots would be just €4,500, or about $5,200. It’s possible that if the Carters had a crew of more than 50 people, that number would have been closer to €18,000, but as the Times notes, “there are hotel rooms here that cost more than that.” Hosting private events, however, will cost you a bit more. A tour for under 50 guests will set you back €10,000, while renting out the reception hall beneath I.M. Pei’s pyramid will cost, at the very least, €28,000. Though, to reiterate, that isn’t an amount at which anyone would gasp, “Mon dieu!” Lorde, I have an idea for you about where to film your video for “The Louvre.” Call me! In the video for Beyoncé and Shawn Carter‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists. Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé Knowles-Carter’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer. But the Where’s Waldo? moments highlighting black figures are fleeting – the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and Jay-Z set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work – like “The Oath of the Horatii” and “Madame Récamier” – invokes the Greco-Roman tradition. Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper. Throughout the “Apeshit - The Carters” video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art’s most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, “The Rape of the Sabine Women.” The placement of the hands connects the two frames, but Beyoncé’s is virile, aggressive and in charge, while David’s figure seems merely fearful.

Radical gestures roll in on a mightily slippery sliding scale these days, don’t they? We’re far past any cultural division between high and low or pop and art at this point, and artists on the charts are also sniffing out their next inspiration, album cycle, or comparison to their own personal affairs in the grander schemes of culture and history. You’d be hard pressed to find a more hallowed repository of the West than the Louvre, so of course that’s where Beyoncé and Jay-Z have rolled up to set their new music video for the track “Apeshit” from the fresh album they dropped like an anvil right on top of your weekend. Of course this isn’t the first time they’ve been there, nor the first time some Pop-ish upstarts made a Major Statement at the French museum, but it would seem to be a major escalation in the Carters x Louvre relationship, to say nothing of the pride re: their own marital ties that the album and video are so keen to showcase. When worlds (and genres) collide is still a strong trend across multiple spheres of art and culture—turning meaning and message into something of a competitive game of Russian nesting dolls or an arms race of spectacle-based oneupmanship—but what might we make of this night at the museum if considered in light of the 1960s Marxist avant-garde French Situationist International? Founded in 1957 by Guy “Barrel of Laughs” Debord and Asger “Beware the Palette Knife” Jorn, the Situationists were guys and gals, but mostly guys, who wanted to, as the name would indicate, create some situations and elevate to the level of philosophy the notion of taking a freaking walk outside. But they also had a strategy! And key among their techniques, to which you can probably attribute the rise of “culture jamming” and just whatever Banksy thinks he’s doing, was the détournement. Discussed in chapter 8 of Debord’s 1967 tract The Society of the Spectacle, the technique calls for taking advantage of existing cultural objects or canonized art, rerouting their message, and even advocates for theft: “Plagiarism is necessary. Progress depends on it. It sticks close to an author’s phrasing, exploits his expressions, deletes a false idea, replaces it with the right one.” You would not have wanted this guy for your editor, but if you were looking to smash the state (of meaning), Debord was your man.

So, if “détournement serves as a reminder that theory is nothing in itself, that it can realize itself only through historical action and through the historical correction that is its true allegiance,” then is the spectacle of “Apeshit” a glam, historical correction of the Western assumption that houses of European culture contain the highest achievements of man- and womynkind? Beyoncé and Jay-Z have more clout and pull at this point than a merely rich person or garden-variety aristocrat putzing around the Cotswolds or Monaco, and they built that for themselves. When they pull off a stunt like this, it feels like another chime in the prosperity gospel that Doreen St. Félix examined in the arc of Rihanna’s career, as well as further evidence that the ability to make a compelling spectacle of oneself, to write a personal narrative as large as that of the progress of a civilization, is success. The false idea here is white supremacy, and perhaps the correction then is that European colonialists may not have had the time or the means to make their masterpieces if it weren’t for the economic boon of slavery and historical pillaging of resources from southern and eastern continents for the benefit of countries like France. The Situationists didn’t really like spectacle much (“The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living”) but they recognized that it was inescapable in modern society (“The spectacle is not a collection of images, but a social relation among people, mediated by images”). Given this circumstance, Beyoncé and Jay-Z, god bless them, would appear to be doing their best to create a spectacle that people who look like them can see themselves in too, as opposed to the near uninterrupted stream of black death spectacle the media and world is awash in on a day to day basis. Look forward to hearing this jam blasting out of car speakers this summer—it’ll be a real situation. The surprise release of Beyoncé Knowles-Carter and Jay-Z’s new album, Everything Is Love, (credited as “The Carters” on the album to recognize they’re performing as a united duo, not as individuals) on Saturday, June 16 has left the music world reeling. Already, what fans have been carefully dissecting – and what we’re interested in unpacking, too – is the imagery from the music video for the album’s lead single, “APESHIT”. The six-minute video is likely going to be considered one of the best of 2018, with The Carters and a troupe of dancers taking over the Louvre. In case you couldn’t already tell, the fact that Bey and Jay Z even got unfettered access to the Louvre for their own use is a stunning power move – adding a glorious power to the “APESHIT” lyric “I can’t believe we made it/ This is why we’re thankful”. Let’s start with the primary location in “Apeshit”: the Louvre. Historically, it’s a predominately white space that primarily features white, male-created works of art. It’s a microcosm of history, which itself is mostly white, male, and heterosexual. Tradition and the Louvre go hand-in-hand, too, which means that Beyoncé and Jay-Z’s presence is a total disruption from the beginning. For modern audiences and fans of The Carters, the disruption is surely welcome. Not only can we expect to see (and do see) The Carters standing next to some of the most famous works of art, including the Mona Lisa and Winged Victory of Samothrace, but we see that they are aligning themselves with it right out of the gate. Their presence in a place that preserves what history has deemed the most important artworks, standing next to said art while themselves looking like art and using their body language to engage with this art, already implies they are as worthy of being there as the older work. It’s a middle finger to convention, a dare aimed at squarely at the gatekeepers of history and artistic tradition: You know we deserve to be here. The Carters begin positioning themselves as iconography from the moment we first see them, standing in front of the “Mona Lisa”. Sure, it’s a callback to the first time they took a photo with arguably the most famous painting in history back in 2014, but something is different this time around. Like the “Mona Lisa”, Beyoncé and Jay-Z are dressed simply, but powerfully. Suits for both, in bright colours and styles specific to their tastes and representative of the times they live in; again, just like the “Mona Lisa”. But even more of an echo of the painting is their expressions: a strong stare straight ahead, lips pressed together, shoulders back. They are telegraphing to us that they are as iconic as the “Mona Lisa”, without even saying a word. By donning expressions very much in the same vein as the iconic painting, they’re telling the viewer that they’re basically in the presence of a peer. But even more than that, they’re commenting on the beguiling and enticing space they occupy in our own culture. Much like the “Mona Lisa”, they are telling us that they know we think about them in a way we don’t think about other music artists. They know that we’ll spend hours analysing them and their work, attempting to find meaning in their movements and lyrics, trying to work out the symbols and icons they’ve put forth, and hoping to crack the impenetrable fortress they’ve built around them (from which they only emerge to become vulnerable when they want to). Humans have spent centuries trying to unpack the enigma of the “Mona Lisa” and still continue to do so to this day; do you really think you can figure out The Carters in a day? Another immensely important moment from “APESHIT” comes in the repeated glimpses of Marie-Guillemine Benoist’s “Portrait of a Black Woman (Negress)” from 1800. One of the few works of art painted by a woman in the Louvre, the painting is deeply important both as a feature in the Louvre and its place in art history, because it is the only painting of its time to depict a black woman who is not a slave or similarly subjugated person, but rather simply presented in all her glory.

The painting affirms that black women are worthy of being in artistic spaces, and in enduring imagery. The painting is shown a few times, and it’s the second to last painting we see before the video closes on Bey and Jay turning around to regard the “Mona Lisa” – further confirmation that Benoist’s painting and its subject deserve recognition. It’s also no accident that the “Winged Victory of Samothrace” statue is frequently seen in “APESHIT”. Implying triumph and power, the statue has endured over centuries, and The Carters imply just as much by once again standing in front of it, in perhaps a nod to their own triumph and the power they’ve achieved. According to the Louvre website for the piece, the statue depicts Nike, and was likely created to commemorate a naval victory by the Rhodians (who hail from Rhodes, part of the Dodecanese island group in Greece). The towering relic from the Hellenistic period is, as the Louvre’s description notes, intensely dramatic and glorifies the female body in connection with something traditionally masculine (victory in war). That endowment of power to a female body is then emulated in the female bodies that stand before it in present day, through Beyoncé and her troupe of female dancers. All of these women come together and move as one being, with Beyoncé presiding over them all. She is the modern image of victory over the warfare placed on her body, career, intellect, personal life; having succeeded, she can now dress like “Winged Victory” and, in a sense, pass along her victories to the women who dance on the steps in front of her. Twitter user Queen Curly Fry’s in-depth Twitter thread breaking down the art seen in “Apeshit” is thorough, and her comments on the incorporation of the “Venus de Milo” into the video is so neatly articulated that we couldn’t have said it better if we tried: “Here, Beyoncé once again models herself as a Greek statue, this time the Venus de Milo. However, in this shot she wears a nude bodysuit with wrapped hair, reframing both goddesses of beauty and victory as a black woman. This dismantles white-centric ideals of beauty.” Similarly, Twitter account Tabloid Art History nails why it’s so important and iconic for Beyoncé Knowles-Carter and her dancers to be dancing in front of “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine” by Jacques Louis David from 1804: “What I especially like about this part of the video is that the painting itself depicts a disruption, Napoleon taking the Pope’s role from him and crowning Josephine himself. Beyoncé further disrupts this by taking on Josephine’s role as the one being crowned.” If we consider Napoleon’s role as a major coloniser in the early 19th century, particularly in Northern Africa, then Beyoncé’s placement in the shot is extra symbolic. Beyoncé standing underneath the place where Napoleon is seen crowning his wife in the painting is a symbolic retrieval of stolen power. One of the other paintings we see in “APESHIT” is another Jacques-Louis David painting, “The Intervention of the Sabine Women.” Interestingly, we only see portions of the painting, never the entire artwork. This could be a sly comment on the dissection and appropriation of black bodies by white culture for their own aesthetic uses – or it could just be a deft use of quick cuts for dramatic effect for the video. Or maybe it’s both.   Twitter user Queen Curly Fry notes here that the painting, for the puposes of “APESHIT”, depicts “(white) female fear evoked by (white) male violence is juxtaposed w/ (black) female empowerment (‘get off my dick’).” The painting’s use of white female tears –long criticised as a way for white women to shift any blame they deserve for racist behaviour, or to turn a blind eye to racial injustice – is in direct contrast with Beyoncé and her dancers’ freedom, calm, and enlightenment. In the end, “APESHIT” is a triumph because it is a statement that only The Carters could successfully make. The visual tells the powers that be to fuck off with their tradition, their preciously guarded history that has sought to erase non-white people from the history books, and their preconceived notions about how black bodies can be ornamental. They’ve used art to push back, to demand honour for the work they’ve contributed. “APESHIT” is a force to be reckoned with, and The Carters’ use of art to make a statement is an announcement to the world that they’ve shaped culture as much as anything hanging on a gallery wall.

[princedarien]

Queen Bey sends the Beyhive into total overload with the release of her brand new dance-friendly single Break My Soul, hours before the scheduled release time, ahead of her upcoming album Renaissance Multi-talented, mega Superstar,  Beyoncé Knowles Carter, 40, released "Break My Soul," around 10 p.m. ET on Monday night. The song is the first single from her seventh studio album, titled, Renaissance. The track is a dance anthem, a real club banger that features playful house music beats, and a sample of Robin S' 1993 dance hit, "Show Me, Love." The response from die-hard fans has been overly positive. The new album collection reportedly features multiple genres, including country music. The 28-time Grammy Award winner also included the subtitle "act 1," hinting that Renaissance may be split up into several parts. Renaissance is on track for a July 29th release. #beyonce #beyonc #bey #boss #beyhive #music #queen #act1 #yonce #viral #hiphop #july29th #queenbey #mrscarter #queenb #breakmysoul #beyonceknowles #hiphop #renaissance (at London, United Kingdom) https://www.instagram.com/p/CfEdw1DoGoP/?igshid=NGJjMDIxMWI=

[afrobeatgirl]

BREAKING NEWS

Wow Nigerian Superstar Wizkid is about to break another record. He has been confirmed as a feature on American singer & songwriter, Beyonce’s next EP which is still unnamed. The track featuring Wizzy is ‘’Yonce Riddim’’. Awww We can’t wait for Beyonce to give us that afrobeat hit. Africa to the world. WE LOVE IT, WE LOVE AFRICA.. OOOh as we can see, another surprise on the tracklist is your girl RIHANNA. What a surprise.. Dawn 

[musicdeluxe-blog1]

beyoncé (2013) // beyoncé

top tracks:

pretty hurts

drunk in love

blow

yonce/partition

mine

***flawless

superpower

7/11

honorable mentions:

haunted

jealous

rocket

heaven

flawless remix

ring off

standing on the sun remix

grown woman

rate: “ ⭐⭐⭐⭐ “

spotify link: https://open.spotify.com/album/2UJwKSBUz6rtW4QLK74kQu

apple music: https://itunes.apple.com/us/album/beyonc%C3%A9-deluxe/780519939

[womenofcolor15]

Fans Speculate Beyonce Is Pregnant Again...Here's Why! + Jay-Z Busts His Best Soca Moves On The Dance Floor

The Carters were in NYC living their best lives this weekend and now fans speculate Beyoncé is pregnant again. Find out why, plus see clips of Jay-Z busting his best Soca moves on the dance floor inside...

Turn up weekend!

The Carters jetted to the Big Apple this weekend to attend their niece's Great Gatsby-themed birthday bash. Beyoncé and Jay-Z got all dressed up to join family and friends to celebrate the 21st birthday of their niece, TeAnna "Tee Tee" Carter-Thomas.

        View this post on Instagram

                      A post shared by Jay-Z (@jayz.co) on Jul 27, 2019 at 8:28pm PDT

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                      A post shared by Beyoncé (@beyonce) on Jul 27, 2019 at 11:09pm PDT

  The Lion King starlet wore a custom one-shouldered Walter Collection gown that featured the highest slit ever with a sweetheart neckline. The LEMONADE songstress finished her party look with Jimmy Choo Viola sandals and accessorized with Messika jewelry. Meanwhile, Mr. Carter was dapper as ever in a black and white tux with a white cane.

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                      A post shared by Beyoncé (@beyonce) on Jul 27, 2019 at 11:11pm PDT

  Paparazzi caught shots of Mrs. Carter entering the party and now fans are speculating that's she pregnant with Baby #4!

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                  Queen spotted in NYC #beyonce #beyonceknowles #beyonceknowlescarter #beyhive #baddiebey #allthingsbeyonce #beyoncefashion #otr #otrii #otr2 #beychella #beyoncehomecoming #beyoncecoachella #yonce #yoncelive #yoncedivaknowles #formationworldtour #fwt #mrscartershow#l4like #likeforlikes #gainpost #gaintrick #uglyfollowtrain #doubletap

A post shared by Beyonce Knowles FanPage (@beyoncefanpage2.1) on Jul 27, 2019 at 9:30pm PDT

Hmm...we're not totally convinced based off this picture. What do you all think?

Also, the BeyHive noticed the Grammy Award winner rocked the same emerald bracelet at the party that she wore at the 2011 MTV Video Music Awards. As you know, the "Brown Skin Girl" singer announced she was pregnant with Blue Ivy that night.

Peep a few tweets below: 

  I fucking KNEW Beyonce was pregnant.

— . (@donidarkowitz) July 28, 2019

    I feel like Beyonce is pregnant again. Damn doesn't Jay have stuff to do?!

— Beyoncé's shoulder nudge (@jesusjugs2) July 28, 2019

    Umm Beyoncé is pregnant

— B (@itsbnicole_) July 29, 2019

    beyoncé is pregnant wth a boy because she said she’s raising daughters and “SONS of empires” in mood 4 eva #staywoke pic.twitter.com/ocJb68J3Kj

— Daniel Massoud (@4dpmass) July 29, 2019

    Beyonce might be pregnant again.

— thYrd (@theyyyard) July 29, 2019

    Beyonce is pregnant again. She got that pregnancy glow and that baby weight. I'm calling it. https://t.co/AVqSYNJdA4

— Aaron (@Gymnast_Aaron) July 29, 2019

  Do you think Bey is carrying Baby Carter #4 or is chick just looking extra juicy these days?

Back inside the party...

  Jay Z dancing to soca just made my day!! pic.twitter.com/y3kBtUA5qc

— Miss Lala: (@MISSLALAREPORT) July 28, 2019

  Well here's something we don't seen often. Jay-Z turned up on the dance floor to some Soca music! Get it, Hov! He clearly was enjoying himself, and so was everyone else. Bey even got in on the action as well. Check it:

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                      A post shared by Jay-Z (@jayz.co) on Jul 27, 2019 at 9:30pm PDT

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                  Get it Jeezy (Jay nephew/Colleek son) & B.B TeAnna’s 21st Bday (Jay’s Niece)

A post shared by Jay-Z (@jayz.co) on Jul 27, 2019 at 9:48pm PDT

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                  Ayyyeeee Bey hyping Shaquanna but after that tho! The royal family walk in I live for it!

A post shared by Jay-Z (@jayz.co) on Jul 28, 2019 at 8:49am PDT

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                      A post shared by Jay-Z (@jayz.co) on Jul 28, 2019 at 9:04am PDT

  Fun times.

By the way...

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                  It took me a minute to wrap my head around this milestone. I still remember the day the “advance” for this Destiny’s Child album landed on my desk, twenty years ago, with @mrmathewknowles saying, “This is going to make history.” He was right. Thank you Destiny’s Child for giving me a ticket on this historical journey.

A post shared by Yvette Noel-Schure (@yvettenoelschure) on Jul 27, 2019 at 11:11pm PDT

    It's been 20-years since Destiny's Child blessed us with "The Writings On The Wall" album. Sheesh! We feel old. What was your favorite track off the album?!

    Photos: Beyonce's IG

[Read More ...] source http://theybf.com/2019/07/29/fans-speculate-beyonce-is-pregnant-againheres-why-jay-z-busts-his-best-soca-moves-on-the-

[gothrapxxx]

6 Hip Details About Apeshit By Beyonce & Jay-Z

“I can’t believe we made it,” sings Beyoncé in “APES**T,” the first single from her surprise joint album with Jay-Z, Everything Is Love. And to prove that she and her husband have made it, in the song’s accompanying video, Beyoncé delivers this line from the Louvre. As the New York Times has pointed out, it is not actually that expensive to shoot a video in the Louvre (about $17,500 for a full day’s shoot). But music videos aren’t about numbers; they’re about how things feel — and there’s no place on earth that feels as lavish, as rich with accumulated cultural power and wealth and colonialism, as the Louvre. If you want to show that you have made it, that you are rich and powerful and one of the greatest artists of your generation, you go to the Louvre. And as an artistic choice, the Louvre is par for Beyoncé’s course. For the past few years, Beyoncé has increasingly cribbed from the iconography of classical Western art in her own image-making. Her pregnancy announcement photo shoot and her birth announcement photo shoot both referenced Botticelli’s Venus and the Renaissance trope of the Madonna and child, and her 2017 Grammys performance drew on goddess imagery from multiple artistic traditions. So when Beyoncé shoots at the Louvre — taking on by turns the poses of Venus de Milo and Victory — she’s continuing an artistic project of recontextualizing classical Western art, of making herself the aesthetic object on which so much wealth and cultural capital has been spent. And coming from a black woman, that’s a radical statement. “In a way, Beyoncé is exploiting/marketing her blackness as creativity — as a kind of weapon — within and against the very Eurocentric system of culture and consumption from which she has benefited,” says James Smalls, a professor of art history at the University of Maryland Baltimore County. That’s an especially radical statement to make in the context of the Louvre, where little of the art features people of color in positions of strength and power. “From the Middle Ages up to the 19th century, works of art that showed black people usually represented them as servants or secondary figures,” explains Smalls. “They were not deemed worthy subjects of paintings, sculptures, or other kinds of cultural works.” One of the few exceptions to that trend is Marie Benoist’s “Portrait d’une négresse,” also displayed at the Louvre. “That painting is an anomaly because it presents a black person as the sole aestheticized subject and object of a work of art,” Smalls says. And it’s the painting that appears at the end of the “Apeshit” video, after shot after shot of portraits of white people.

Benoist painted “Portrait” in 1800, during a brief period in which France had abolished colonial slavery. (In 1794, the French emancipation proclamation liberated the colonies; in 1802, Napoleon reinstated slavery.) In that six-year span, portraits of heroic black people became popular in France, and that created an opportunity for an image of a black woman who is not tending to or subordinate to a white person, who is instead considered worthy of being at the center of her own portrait. As Smalls has pointed out, in its full context, “Portrait” is not a wildly politically subversive image. It’s most likely that the unknown and unnamed subject was a servant with few legal rights who had little choice about how she posed or whether she was okay with her breast being exposed to the world for the next 200 years. Benoist the painter has much more agency here than the black woman at the center of the picture. But in the context of “Apeshit,” with its montages of painting after painting of white faces and white statues, “Portrait” feels both shocking and subversive. It’s a black face in the center of the frame, apparently in control of her domain. And it’s one of the only figures in the Louvre that we don’t see get reinterpreted by either the Carters or their dancers: The only figure in the Louvre that can withstand the unstoppable force that is Beyoncé, that does not need to be remade and reexamined. Part of Beyoncé’s project over the past few years has been to treat art as a form of power: It is a form of focused aesthetic attention, of social capital, and of wealth given solid form. Taking over the Louvre means taking all that power for herself and for the black bodies she brings in with her — except for the “Portrait.” In “Apeshit,” it can stand on its own. What do Beyoncé, The Smurfs 2, and you have in common? All three have the theoretical ability to rent out the Louvre. Though there was widespread awe that the Carters’ video for “Apeshit” took place inside the most famous museum in the world, turns out, it’s actually not all that uncommon. According to the New York Times, about 500 shoots take place at the Louvre each year, which have included films on opposite ends of the “is this a good movie” spectrum, from last year’s Wonder Woman to 2013’s The Smurfs 2, which even the Louvre couldn’t save from its 13 percent Rotten Tomatoes rating. Though the museum only allows photography in the galleries for private use, it makes exceptions for professionals through written authorization. As of 2015, the Louvre’s policy states that to shoot a short film or music video, the cost for both interior and exterior shots would be just €4,500, or about $5,200. It’s possible that if the Carters had a crew of more than 50 people, that number would have been closer to €18,000, but as the Times notes, “there are hotel rooms here that cost more than that.” Hosting private events, however, will cost you a bit more. A tour for under 50 guests will set you back €10,000, while renting out the reception hall beneath I.M. Pei’s pyramid will cost, at the very least, €28,000. Though, to reiterate, that isn’t an amount at which anyone would gasp, “Mon dieu!” Lorde, I have an idea for you about where to film your video for “The Louvre.” Call me! In the video for Beyoncé and JayZ‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists. Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé Knowles-Carter’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer. But the Where’s Waldo? moments highlighting black figures are fleeting – the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and JayZ set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work – like “The Oath of the Horatii” and “Madame Récamier” – invokes the Greco-Roman tradition. Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper. Throughout the “APES**T” video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art’s most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, “The Rape of the Sabine Women.” The placement of the hands connects the two frames, but Beyoncé’s is virile, aggressive and in charge, while David’s figure seems merely fearful.

Radical gestures roll in on a mightily slippery sliding scale these days, don’t they? We’re far past any cultural division between high and low or pop and art at this point, and artists on the charts are also sniffing out their next inspiration, album cycle, or comparison to their own personal affairs in the grander schemes of culture and history. You’d be hard pressed to find a more hallowed repository of the West than the Louvre, so of course that’s where Beyoncé and Jay-Z have rolled up to set their new music video for the track “Apeshit” from the fresh album they dropped like an anvil right on top of your weekend. Of course this isn’t the first time they’ve been there, nor the first time some Pop-ish upstarts made a Major Statement at the French museum, but it would seem to be a major escalation in the Carters x Louvre relationship, to say nothing of the pride re: their own marital ties that the album and video are so keen to showcase. When worlds (and genres) collide is still a strong trend across multiple spheres of art and culture—turning meaning and message into something of a competitive game of Russian nesting dolls or an arms race of spectacle-based oneupmanship—but what might we make of this night at the museum if considered in light of the 1960s Marxist avant-garde French Situationist International? Founded in 1957 by Guy “Barrel of Laughs” Debord and Asger “Beware the Palette Knife” Jorn, the Situationists were guys and gals, but mostly guys, who wanted to, as the name would indicate, create some situations and elevate to the level of philosophy the notion of taking a freaking walk outside. But they also had a strategy! And key among their techniques, to which you can probably attribute the rise of “culture jamming” and just whatever Banksy thinks he’s doing, was the détournement. Discussed in chapter 8 of Debord’s 1967 tract The Society of the Spectacle, the technique calls for taking advantage of existing cultural objects or canonized art, rerouting their message, and even advocates for theft: “Plagiarism is necessary. Progress depends on it. It sticks close to an author’s phrasing, exploits his expressions, deletes a false idea, replaces it with the right one.” You would not have wanted this guy for your editor, but if you were looking to smash the state (of meaning), Debord was your man.

So, if “détournement serves as a reminder that theory is nothing in itself, that it can realize itself only through historical action and through the historical correction that is its true allegiance,” then is the spectacle of “Apeshit” a glam, historical correction of the Western assumption that houses of European culture contain the highest achievements of man- and womynkind? Beyoncé and Jay-Z have more clout and pull at this point than a merely rich person or garden-variety aristocrat putzing around the Cotswolds or Monaco, and they built that for themselves. When they pull off a stunt like this, it feels like another chime in the prosperity gospel that Doreen St. Félix examined in the arc of Rihanna’s career, as well as further evidence that the ability to make a compelling spectacle of oneself, to write a personal narrative as large as that of the progress of a civilization, is success. The false idea here is white supremacy, and perhaps the correction then is that European colonialists may not have had the time or the means to make their masterpieces if it weren’t for the economic boon of slavery and historical pillaging of resources from southern and eastern continents for the benefit of countries like France. The Situationists didn’t really like spectacle much (“The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living”) but they recognized that it was inescapable in modern society (“The spectacle is not a collection of images, but a social relation among people, mediated by images”). Given this circumstance, Beyoncé and Jay-Z, god bless them, would appear to be doing their best to create a spectacle that people who look like them can see themselves in too, as opposed to the near uninterrupted stream of black death spectacle the media and world is awash in on a day to day basis. Look forward to hearing this jam blasting out of car speakers this summer—it’ll be a real situation. The surprise release of Beyonce and Jay-Z’s new album, Everything Is Love, (credited as “The Carters” on the album to recognize they’re performing as a united duo, not as individuals) on Saturday, June 16 has left the music world reeling. Already, what fans have been carefully dissecting – and what we’re interested in unpacking, too – is the imagery from the music video for the album’s lead single, “APESHIT”. The six-minute video is likely going to be considered one of the best of 2018, with The Carters and a troupe of dancers taking over the Louvre. In case you couldn’t already tell, the fact that Bey and Jay-Z even got unfettered access to the Louvre for their own use is a stunning power move – adding a glorious power to the “APESHIT” lyric “I can’t believe we made it/ This is why we’re thankful”. Let’s start with the primary location in “Apeshit - Beyonce & Jay-Z”: the Louvre. Historically, it’s a predominately white space that primarily features white, male-created works of art. It’s a microcosm of history, which itself is mostly white, male, and heterosexual. Tradition and the Louvre go hand-in-hand, too, which means that Beyoncé and Jay-Z’s presence is a total disruption from the beginning. For modern audiences and fans of The Carters, the disruption is surely welcome. Not only can we expect to see (and do see) The Carters standing next to some of the most famous works of art, including the Mona Lisa and Winged Victory of Samothrace, but we see that they are aligning themselves with it right out of the gate. Their presence in a place that preserves what history has deemed the most important artworks, standing next to said art while themselves looking like art and using their body language to engage with this art, already implies they are as worthy of being there as the older work. It’s a middle finger to convention, a dare aimed at squarely at the gatekeepers of history and artistic tradition: You know we deserve to be here. The Carters begin positioning themselves as iconography from the moment we first see them, standing in front of the “Mona Lisa”. Sure, it’s a callback to the first time they took a photo with arguably the most famous painting in history back in 2014, but something is different this time around. Like the “Mona Lisa”, Beyoncé and Jay-Z are dressed simply, but powerfully. Suits for both, in bright colours and styles specific to their tastes and representative of the times they live in; again, just like the “Mona Lisa”. But even more of an echo of the painting is their expressions: a strong stare straight ahead, lips pressed together, shoulders back. They are telegraphing to us that they are as iconic as the “Mona Lisa”, without even saying a word. By donning expressions very much in the same vein as the iconic painting, they’re telling the viewer that they’re basically in the presence of a peer. But even more than that, they’re commenting on the beguiling and enticing space they occupy in our own culture. Much like the “Mona Lisa”, they are telling us that they know we think about them in a way we don’t think about other music artists. They know that we’ll spend hours analysing them and their work, attempting to find meaning in their movements and lyrics, trying to work out the symbols and icons they’ve put forth, and hoping to crack the impenetrable fortress they’ve built around them (from which they only emerge to become vulnerable when they want to). Humans have spent centuries trying to unpack the enigma of the “Mona Lisa” and still continue to do so to this day; do you really think you can figure out The Carters in a day? Another immensely important moment from “APESHIT” comes in the repeated glimpses of Marie-Guillemine Benoist’s “Portrait of a Black Woman (Negress)” from 1800. One of the few works of art painted by a woman in the Louvre, the painting is deeply important both as a feature in the Louvre and its place in art history, because it is the only painting of its time to depict a black woman who is not a slave or similarly subjugated person, but rather simply presented in all her glory.

The painting affirms that black women are worthy of being in artistic spaces, and in enduring imagery. The painting is shown a few times, and it’s the second to last painting we see before the video closes on Bey and Jay turning around to regard the “Mona Lisa” – further confirmation that Benoist’s painting and its subject deserve recognition. It’s also no accident that the “Winged Victory of Samothrace” statue is frequently seen in “APESHIT”. Implying triumph and power, the statue has endured over centuries, and The Carters imply just as much by once again standing in front of it, in perhaps a nod to their own triumph and the power they’ve achieved. According to the Louvre website for the piece, the statue depicts Nike, and was likely created to commemorate a naval victory by the Rhodians (who hail from Rhodes, part of the Dodecanese island group in Greece). The towering relic from the Hellenistic period is, as the Louvre’s description notes, intensely dramatic and glorifies the female body in connection with something traditionally masculine (victory in war). That endowment of power to a female body is then emulated in the female bodies that stand before it in present day, through Beyoncé and her troupe of female dancers. All of these women come together and move as one being, with Beyoncé presiding over them all. She is the modern image of victory over the warfare placed on her body, career, intellect, personal life; having succeeded, she can now dress like “Winged Victory” and, in a sense, pass along her victories to the women who dance on the steps in front of her. Twitter user Queen Curly Fry’s in-depth Twitter thread breaking down the art seen in “Apeshit” is thorough, and her comments on the incorporation of the “Venus de Milo” into the video is so neatly articulated that we couldn’t have said it better if we tried: “Here, Beyoncé once again models herself as a Greek statue, this time the Venus de Milo. However, in this shot she wears a nude bodysuit with wrapped hair, reframing both goddesses of beauty and victory as a black woman. This dismantles white-centric ideals of beauty.” Similarly, Twitter account Tabloid Art History nails why it’s so important and iconic for Beyoncé Knowles-Carter and her dancers to be dancing in front of “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine” by Jacques Louis David from 1804: “What I especially like about this part of the video is that the painting itself depicts a disruption, Napoleon taking the Pope’s role from him and crowning Josephine himself. Beyoncé further disrupts this by taking on Josephine’s role as the one being crowned.” If we consider Napoleon’s role as a major coloniser in the early 19th century, particularly in Northern Africa, then Beyoncé’s placement in the shot is extra symbolic. Beyoncé standing underneath the place where Napoleon is seen crowning his wife in the painting is a symbolic retrieval of stolen power. One of the other paintings we see in “APESHIT” is another Jacques-Louis David painting, “The Intervention of the Sabine Women.” Interestingly, we only see portions of the painting, never the entire artwork. This could be a sly comment on the dissection and appropriation of black bodies by white culture for their own aesthetic uses – or it could just be a deft use of quick cuts for dramatic effect for the video. Or maybe it’s both.   Twitter user Queen Curly Fry notes here that the painting, for the puposes of “APESHIT”, depicts “(white) female fear evoked by (white) male violence is juxtaposed w/ (black) female empowerment (‘get off my dick’).” The painting’s use of white female tears –long criticised as a way for white women to shift any blame they deserve for racist behaviour, or to turn a blind eye to racial injustice – is in direct contrast with Beyoncé Knowles-Carter and her dancers’ freedom, calm, and enlightenment. In the end, “APESHIT” is a triumph because it is a statement that only The Carters could successfully make. The visual tells the powers that be to fuck off with their tradition, their preciously guarded history that has sought to erase non-white people from the history books, and their preconceived notions about how black bodies can be ornamental. They’ve used art to push back, to demand honour for the work they’ve contributed. “APESHIT” is a force to be reckoned with, and The Carters’ use of art to make a statement is an announcement to the world that they’ve shaped culture as much as anything hanging on a gallery wall.

[fck-dis-shit-im-out]

Seven Spectacular Details About Apeshit By Beyonce & Jay-Z

“I can’t believe we made it,” sings Beyoncé in “Apeshit - The Carters,” the first single from her surprise joint album with Jay-Z, Everything Is Love. And to prove that she and her husband have made it, in the song’s accompanying video, Beyoncé delivers this line from the Louvre. As the New York Times has pointed out, it is not actually that expensive to shoot a video in the Louvre (about $17,500 for a full day’s shoot). But music videos aren’t about numbers; they’re about how things feel — and there’s no place on earth that feels as lavish, as rich with accumulated cultural power and wealth and colonialism, as the Louvre. If you want to show that you have made it, that you are rich and powerful and one of the greatest artists of your generation, you go to the Louvre. And as an artistic choice, the Louvre is par for Beyoncé’s course. For the past few years, Beyoncé has increasingly cribbed from the iconography of classical Western art in her own image-making. Her pregnancy announcement photo shoot and her birth announcement photo shoot both referenced Botticelli’s Venus and the Renaissance trope of the Madonna and child, and her 2017 Grammys performance drew on goddess imagery from multiple artistic traditions. So when Beyoncé shoots at the Louvre — taking on by turns the poses of Venus de Milo and Victory — she’s continuing an artistic project of recontextualizing classical Western art, of making herself the aesthetic object on which so much wealth and cultural capital has been spent. And coming from a black woman, that’s a radical statement. “In a way, Beyoncé is exploiting/marketing her blackness as creativity — as a kind of weapon — within and against the very Eurocentric system of culture and consumption from which she has benefited,” says James Smalls, a professor of art history at the University of Maryland Baltimore County. That’s an especially radical statement to make in the context of the Louvre, where little of the art features people of color in positions of strength and power. “From the Middle Ages up to the 19th century, works of art that showed black people usually represented them as servants or secondary figures,” explains Smalls. “They were not deemed worthy subjects of paintings, sculptures, or other kinds of cultural works.” One of the few exceptions to that trend is Marie Benoist’s “Portrait d’une négresse,” also displayed at the Louvre. “That painting is an anomaly because it presents a black person as the sole aestheticized subject and object of a work of art,” Smalls says. And it’s the painting that appears at the end of the “Apeshit” video, after shot after shot of portraits of white people.

Benoist painted “Portrait” in 1800, during a brief period in which France had abolished colonial slavery. (In 1794, the French emancipation proclamation liberated the colonies; in 1802, Napoleon reinstated slavery.) In that six-year span, portraits of heroic black people became popular in France, and that created an opportunity for an image of a black woman who is not tending to or subordinate to a white person, who is instead considered worthy of being at the center of her own portrait. As Smalls has pointed out, in its full context, “Portrait” is not a wildly politically subversive image. It’s most likely that the unknown and unnamed subject was a servant with few legal rights who had little choice about how she posed or whether she was okay with her breast being exposed to the world for the next 200 years. Benoist the painter has much more agency here than the black woman at the center of the picture. But in the context of “Apeshit,” with its montages of painting after painting of white faces and white statues, “Portrait” feels both shocking and subversive. It’s a black face in the center of the frame, apparently in control of her domain. And it’s one of the only figures in the Louvre that we don’t see get reinterpreted by either the Carters or their dancers: The only figure in the Louvre that can withstand the unstoppable force that is Beyoncé, that does not need to be remade and reexamined. Part of Beyoncé’s project over the past few years has been to treat art as a form of power: It is a form of focused aesthetic attention, of social capital, and of wealth given solid form. Taking over the Louvre means taking all that power for herself and for the black bodies she brings in with her — except for the “Portrait.” In “Apeshit,” it can stand on its own. What do Beyoncé, The Smurfs 2, and you have in common? All three have the theoretical ability to rent out the Louvre. Though there was widespread awe that the Carters’ video for “Apeshit” took place inside the most famous museum in the world, turns out, it’s actually not all that uncommon. According to the New York Times, about 500 shoots take place at the Louvre each year, which have included films on opposite ends of the “is this a good movie” spectrum, from last year’s Wonder Woman to 2013’s The Smurfs 2, which even the Louvre couldn’t save from its 13 percent Rotten Tomatoes rating. Though the museum only allows photography in the galleries for private use, it makes exceptions for professionals through written authorization. As of 2015, the Louvre’s policy states that to shoot a short film or music video, the cost for both interior and exterior shots would be just €4,500, or about $5,200. It’s possible that if the Carters had a crew of more than 50 people, that number would have been closer to €18,000, but as the Times notes, “there are hotel rooms here that cost more than that.” Hosting private events, however, will cost you a bit more. A tour for under 50 guests will set you back €10,000, while renting out the reception hall beneath I.M. Pei’s pyramid will cost, at the very least, €28,000. Though, to reiterate, that isn’t an amount at which anyone would gasp, “Mon dieu!” Lorde, I have an idea for you about where to film your video for “The Louvre.” Call me! In the video for Beyoncé and JayZ‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists. Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé Knowles-Carter’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer. But the Where’s Waldo? moments highlighting black figures are fleeting – the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and JayZ set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work – like “The Oath of the Horatii” and “Madame Récamier” – invokes the Greco-Roman tradition. Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper. Throughout the “Apeshit - The Carters” video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art’s most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, “The Rape of the Sabine Women.” The placement of the hands connects the two frames, but Beyoncé’s is virile, aggressive and in charge, while David’s figure seems merely fearful.

Radical gestures roll in on a mightily slippery sliding scale these days, don’t they? We’re far past any cultural division between high and low or pop and art at this point, and artists on the charts are also sniffing out their next inspiration, album cycle, or comparison to their own personal affairs in the grander schemes of culture and history. You’d be hard pressed to find a more hallowed repository of the West than the Louvre, so of course that’s where Beyoncé and Jay-Z have rolled up to set their new music video for the track “Apeshit” from the fresh album they dropped like an anvil right on top of your weekend. Of course this isn’t the first time they’ve been there, nor the first time some Pop-ish upstarts made a Major Statement at the French museum, but it would seem to be a major escalation in the Carters x Louvre relationship, to say nothing of the pride re: their own marital ties that the album and video are so keen to showcase. When worlds (and genres) collide is still a strong trend across multiple spheres of art and culture—turning meaning and message into something of a competitive game of Russian nesting dolls or an arms race of spectacle-based oneupmanship—but what might we make of this night at the museum if considered in light of the 1960s Marxist avant-garde French Situationist International? Founded in 1957 by Guy “Barrel of Laughs” Debord and Asger “Beware the Palette Knife” Jorn, the Situationists were guys and gals, but mostly guys, who wanted to, as the name would indicate, create some situations and elevate to the level of philosophy the notion of taking a freaking walk outside. But they also had a strategy! And key among their techniques, to which you can probably attribute the rise of “culture jamming” and just whatever Banksy thinks he’s doing, was the détournement. Discussed in chapter 8 of Debord’s 1967 tract The Society of the Spectacle, the technique calls for taking advantage of existing cultural objects or canonized art, rerouting their message, and even advocates for theft: “Plagiarism is necessary. Progress depends on it. It sticks close to an author’s phrasing, exploits his expressions, deletes a false idea, replaces it with the right one.” You would not have wanted this guy for your editor, but if you were looking to smash the state (of meaning), Debord was your man.

So, if “détournement serves as a reminder that theory is nothing in itself, that it can realize itself only through historical action and through the historical correction that is its true allegiance,” then is the spectacle of “Apeshit” a glam, historical correction of the Western assumption that houses of European culture contain the highest achievements of man- and womynkind? Beyoncé and Jay-Z have more clout and pull at this point than a merely rich person or garden-variety aristocrat putzing around the Cotswolds or Monaco, and they built that for themselves. When they pull off a stunt like this, it feels like another chime in the prosperity gospel that Doreen St. Félix examined in the arc of Rihanna’s career, as well as further evidence that the ability to make a compelling spectacle of oneself, to write a personal narrative as large as that of the progress of a civilization, is success. The false idea here is white supremacy, and perhaps the correction then is that European colonialists may not have had the time or the means to make their masterpieces if it weren’t for the economic boon of slavery and historical pillaging of resources from southern and eastern continents for the benefit of countries like France. The Situationists didn’t really like spectacle much (“The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living”) but they recognized that it was inescapable in modern society (“The spectacle is not a collection of images, but a social relation among people, mediated by images”). Given this circumstance, Beyoncé and Jay-Z, god bless them, would appear to be doing their best to create a spectacle that people who look like them can see themselves in too, as opposed to the near uninterrupted stream of black death spectacle the media and world is awash in on a day to day basis. Look forward to hearing this jam blasting out of car speakers this summer—it’ll be a real situation. The surprise release of Beyoncé Knowles-Carter and Jay-Z’s new album, Everything Is Love, (credited as “The Carters” on the album to recognize they’re performing as a united duo, not as individuals) on Saturday, June 16 has left the music world reeling. Already, what fans have been carefully dissecting – and what we’re interested in unpacking, too – is the imagery from the music video for the album’s lead single, “APESHIT”. The six-minute video is likely going to be considered one of the best of 2018, with The Carters and a troupe of dancers taking over the Louvre. In case you couldn’t already tell, the fact that Bey and Jay Z even got unfettered access to the Louvre for their own use is a stunning power move – adding a glorious power to the “APESHIT” lyric “I can’t believe we made it/ This is why we’re thankful”. Let’s start with the primary location in “Apeshit”: the Louvre. Historically, it’s a predominately white space that primarily features white, male-created works of art. It’s a microcosm of history, which itself is mostly white, male, and heterosexual. Tradition and the Louvre go hand-in-hand, too, which means that Beyoncé and Jay-Z’s presence is a total disruption from the beginning. For modern audiences and fans of The Carters, the disruption is surely welcome. Not only can we expect to see (and do see) The Carters standing next to some of the most famous works of art, including the Mona Lisa and Winged Victory of Samothrace, but we see that they are aligning themselves with it right out of the gate. Their presence in a place that preserves what history has deemed the most important artworks, standing next to said art while themselves looking like art and using their body language to engage with this art, already implies they are as worthy of being there as the older work. It’s a middle finger to convention, a dare aimed at squarely at the gatekeepers of history and artistic tradition: You know we deserve to be here. The Carters begin positioning themselves as iconography from the moment we first see them, standing in front of the “Mona Lisa”. Sure, it’s a callback to the first time they took a photo with arguably the most famous painting in history back in 2014, but something is different this time around. Like the “Mona Lisa”, Beyoncé and Jay-Z are dressed simply, but powerfully. Suits for both, in bright colours and styles specific to their tastes and representative of the times they live in; again, just like the “Mona Lisa”. But even more of an echo of the painting is their expressions: a strong stare straight ahead, lips pressed together, shoulders back. They are telegraphing to us that they are as iconic as the “Mona Lisa”, without even saying a word. By donning expressions very much in the same vein as the iconic painting, they’re telling the viewer that they’re basically in the presence of a peer. But even more than that, they’re commenting on the beguiling and enticing space they occupy in our own culture. Much like the “Mona Lisa”, they are telling us that they know we think about them in a way we don’t think about other music artists. They know that we’ll spend hours analysing them and their work, attempting to find meaning in their movements and lyrics, trying to work out the symbols and icons they’ve put forth, and hoping to crack the impenetrable fortress they’ve built around them (from which they only emerge to become vulnerable when they want to). Humans have spent centuries trying to unpack the enigma of the “Mona Lisa” and still continue to do so to this day; do you really think you can figure out The Carters in a day? Another immensely important moment from “APESHIT” comes in the repeated glimpses of Marie-Guillemine Benoist’s “Portrait of a Black Woman (Negress)” from 1800. One of the few works of art painted by a woman in the Louvre, the painting is deeply important both as a feature in the Louvre and its place in art history, because it is the only painting of its time to depict a black woman who is not a slave or similarly subjugated person, but rather simply presented in all her glory.

The painting affirms that black women are worthy of being in artistic spaces, and in enduring imagery. The painting is shown a few times, and it’s the second to last painting we see before the video closes on Bey and Jay turning around to regard the “Mona Lisa” – further confirmation that Benoist’s painting and its subject deserve recognition. It’s also no accident that the “Winged Victory of Samothrace” statue is frequently seen in “APESHIT”. Implying triumph and power, the statue has endured over centuries, and The Carters imply just as much by once again standing in front of it, in perhaps a nod to their own triumph and the power they’ve achieved. According to the Louvre website for the piece, the statue depicts Nike, and was likely created to commemorate a naval victory by the Rhodians (who hail from Rhodes, part of the Dodecanese island group in Greece). The towering relic from the Hellenistic period is, as the Louvre’s description notes, intensely dramatic and glorifies the female body in connection with something traditionally masculine (victory in war). That endowment of power to a female body is then emulated in the female bodies that stand before it in present day, through Beyoncé and her troupe of female dancers. All of these women come together and move as one being, with Beyoncé presiding over them all. She is the modern image of victory over the warfare placed on her body, career, intellect, personal life; having succeeded, she can now dress like “Winged Victory” and, in a sense, pass along her victories to the women who dance on the steps in front of her. Twitter user Queen Curly Fry’s in-depth Twitter thread breaking down the art seen in “Apeshit” is thorough, and her comments on the incorporation of the “Venus de Milo” into the video is so neatly articulated that we couldn’t have said it better if we tried: “Here, Beyoncé once again models herself as a Greek statue, this time the Venus de Milo. However, in this shot she wears a nude bodysuit with wrapped hair, reframing both goddesses of beauty and victory as a black woman. This dismantles white-centric ideals of beauty.” Similarly, Twitter account Tabloid Art History nails why it’s so important and iconic for Beyoncé and her dancers to be dancing in front of “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine” by Jacques Louis David from 1804: “What I especially like about this part of the video is that the painting itself depicts a disruption, Napoleon taking the Pope’s role from him and crowning Josephine himself. Beyoncé further disrupts this by taking on Josephine’s role as the one being crowned.” If we consider Napoleon’s role as a major coloniser in the early 19th century, particularly in Northern Africa, then Beyoncé’s placement in the shot is extra symbolic. Beyoncé standing underneath the place where Napoleon is seen crowning his wife in the painting is a symbolic retrieval of stolen power. One of the other paintings we see in “APESHIT” is another Jacques-Louis David painting, “The Intervention of the Sabine Women.” Interestingly, we only see portions of the painting, never the entire artwork. This could be a sly comment on the dissection and appropriation of black bodies by white culture for their own aesthetic uses – or it could just be a deft use of quick cuts for dramatic effect for the video. Or maybe it’s both.   Twitter user Queen Curly Fry notes here that the painting, for the puposes of “APESHIT”, depicts “(white) female fear evoked by (white) male violence is juxtaposed w/ (black) female empowerment (‘get off my dick’).” The painting’s use of white female tears –long criticised as a way for white women to shift any blame they deserve for racist behaviour, or to turn a blind eye to racial injustice – is in direct contrast with Beyoncé and her dancers’ freedom, calm, and enlightenment. In the end, “APESHIT” is a triumph because it is a statement that only The Carters could successfully make. The visual tells the powers that be to fuck off with their tradition, their preciously guarded history that has sought to erase non-white people from the history books, and their preconceived notions about how black bodies can be ornamental. They’ve used art to push back, to demand honour for the work they’ve contributed. “APESHIT” is a force to be reckoned with, and The Carters’ use of art to make a statement is an announcement to the world that they’ve shaped culture as much as anything hanging on a gallery wall.

[thenamelessscribe42-blog]

9 Spectacular Details About Apeshit - The Carters

“I can’t believe we made it,” sings Beyoncé in “Apeshit - Beyonce & Jay-Z,” the first single from her surprise joint album with Jay-Z, Everything Is Love. And to prove that she and her husband have made it, in the song’s accompanying video, Beyoncé delivers this line from the Louvre. As the New York Times has pointed out, it is not actually that expensive to shoot a video in the Louvre (about $17,500 for a full day’s shoot). But music videos aren’t about numbers; they’re about how things feel — and there’s no place on earth that feels as lavish, as rich with accumulated cultural power and wealth and colonialism, as the Louvre. If you want to show that you have made it, that you are rich and powerful and one of the greatest artists of your generation, you go to the Louvre. And as an artistic choice, the Louvre is par for Beyoncé’s course. For the past few years, Beyoncé has increasingly cribbed from the iconography of classical Western art in her own image-making. Her pregnancy announcement photo shoot and her birth announcement photo shoot both referenced Botticelli’s Venus and the Renaissance trope of the Madonna and child, and her 2017 Grammys performance drew on goddess imagery from multiple artistic traditions. So when Beyoncé shoots at the Louvre — taking on by turns the poses of Venus de Milo and Victory — she’s continuing an artistic project of recontextualizing classical Western art, of making herself the aesthetic object on which so much wealth and cultural capital has been spent. And coming from a black woman, that’s a radical statement. “In a way, Beyoncé is exploiting/marketing her blackness as creativity — as a kind of weapon — within and against the very Eurocentric system of culture and consumption from which she has benefited,” says James Smalls, a professor of art history at the University of Maryland Baltimore County. That’s an especially radical statement to make in the context of the Louvre, where little of the art features people of color in positions of strength and power. “From the Middle Ages up to the 19th century, works of art that showed black people usually represented them as servants or secondary figures,” explains Smalls. “They were not deemed worthy subjects of paintings, sculptures, or other kinds of cultural works.” One of the few exceptions to that trend is Marie Benoist’s “Portrait d’une négresse,” also displayed at the Louvre. “That painting is an anomaly because it presents a black person as the sole aestheticized subject and object of a work of art,” Smalls says. And it’s the painting that appears at the end of the “Apeshit - The Carters” video, after shot after shot of portraits of white people.

Benoist painted “Portrait” in 1800, during a brief period in which France had abolished colonial slavery. (In 1794, the French emancipation proclamation liberated the colonies; in 1802, Napoleon reinstated slavery.) In that six-year span, portraits of heroic black people became popular in France, and that created an opportunity for an image of a black woman who is not tending to or subordinate to a white person, who is instead considered worthy of being at the center of her own portrait. As Smalls has pointed out, in its full context, “Portrait” is not a wildly politically subversive image. It’s most likely that the unknown and unnamed subject was a servant with few legal rights who had little choice about how she posed or whether she was okay with her breast being exposed to the world for the next 200 years. Benoist the painter has much more agency here than the black woman at the center of the picture. But in the context of “Apeshit,” with its montages of painting after painting of white faces and white statues, “Portrait” feels both shocking and subversive. It’s a black face in the center of the frame, apparently in control of her domain. And it’s one of the only figures in the Louvre that we don’t see get reinterpreted by either the Carters or their dancers: The only figure in the Louvre that can withstand the unstoppable force that is Beyoncé, that does not need to be remade and reexamined. Part of Beyoncé’s project over the past few years has been to treat art as a form of power: It is a form of focused aesthetic attention, of social capital, and of wealth given solid form. Taking over the Louvre means taking all that power for herself and for the black bodies she brings in with her — except for the “Portrait.” In “Apeshit,” it can stand on its own. What do Beyoncé, The Smurfs 2, and you have in common? All three have the theoretical ability to rent out the Louvre. Though there was widespread awe that the Carters’ video for “Apeshit” took place inside the most famous museum in the world, turns out, it’s actually not all that uncommon. According to the New York Times, about 500 shoots take place at the Louvre each year, which have included films on opposite ends of the “is this a good movie” spectrum, from last year’s Wonder Woman to 2013’s The Smurfs 2, which even the Louvre couldn’t save from its 13 percent Rotten Tomatoes rating. Though the museum only allows photography in the galleries for private use, it makes exceptions for professionals through written authorization. As of 2015, the Louvre’s policy states that to shoot a short film or music video, the cost for both interior and exterior shots would be just €4,500, or about $5,200. It’s possible that if the Carters had a crew of more than 50 people, that number would have been closer to €18,000, but as the Times notes, “there are hotel rooms here that cost more than that.” Hosting private events, however, will cost you a bit more. A tour for under 50 guests will set you back €10,000, while renting out the reception hall beneath I.M. Pei’s pyramid will cost, at the very least, €28,000. Though, to reiterate, that isn’t an amount at which anyone would gasp, “Mon dieu!” Lorde, I have an idea for you about where to film your video for “The Louvre.” Call me! In the video for Beyoncé and Shawn Carter‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists. Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer. But the Where’s Waldo? moments highlighting black figures are fleeting – the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and Jay-Z set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work – like “The Oath of the Horatii” and “Madame Récamier” – invokes the Greco-Roman tradition. Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper. Throughout the “Apeshit” video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art’s most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, “The Rape of the Sabine Women.” The placement of the hands connects the two frames, but Beyoncé’s is virile, aggressive and in charge, while David’s figure seems merely fearful.

Radical gestures roll in on a mightily slippery sliding scale these days, don’t they? We’re far past any cultural division between high and low or pop and art at this point, and artists on the charts are also sniffing out their next inspiration, album cycle, or comparison to their own personal affairs in the grander schemes of culture and history. You’d be hard pressed to find a more hallowed repository of the West than the Louvre, so of course that’s where Beyoncé and Jay-Z have rolled up to set their new music video for the track “Apeshit” from the fresh album they dropped like an anvil right on top of your weekend. Of course this isn’t the first time they’ve been there, nor the first time some Pop-ish upstarts made a Major Statement at the French museum, but it would seem to be a major escalation in the Carters x Louvre relationship, to say nothing of the pride re: their own marital ties that the album and video are so keen to showcase. When worlds (and genres) collide is still a strong trend across multiple spheres of art and culture—turning meaning and message into something of a competitive game of Russian nesting dolls or an arms race of spectacle-based oneupmanship—but what might we make of this night at the museum if considered in light of the 1960s Marxist avant-garde French Situationist International? Founded in 1957 by Guy “Barrel of Laughs” Debord and Asger “Beware the Palette Knife” Jorn, the Situationists were guys and gals, but mostly guys, who wanted to, as the name would indicate, create some situations and elevate to the level of philosophy the notion of taking a freaking walk outside. But they also had a strategy! And key among their techniques, to which you can probably attribute the rise of “culture jamming” and just whatever Banksy thinks he’s doing, was the détournement. Discussed in chapter 8 of Debord’s 1967 tract The Society of the Spectacle, the technique calls for taking advantage of existing cultural objects or canonized art, rerouting their message, and even advocates for theft: “Plagiarism is necessary. Progress depends on it. It sticks close to an author’s phrasing, exploits his expressions, deletes a false idea, replaces it with the right one.” You would not have wanted this guy for your editor, but if you were looking to smash the state (of meaning), Debord was your man.

So, if “détournement serves as a reminder that theory is nothing in itself, that it can realize itself only through historical action and through the historical correction that is its true allegiance,” then is the spectacle of “Apeshit” a glam, historical correction of the Western assumption that houses of European culture contain the highest achievements of man- and womynkind? Beyoncé and Jay-Z have more clout and pull at this point than a merely rich person or garden-variety aristocrat putzing around the Cotswolds or Monaco, and they built that for themselves. When they pull off a stunt like this, it feels like another chime in the prosperity gospel that Doreen St. Félix examined in the arc of Rihanna’s career, as well as further evidence that the ability to make a compelling spectacle of oneself, to write a personal narrative as large as that of the progress of a civilization, is success. The false idea here is white supremacy, and perhaps the correction then is that European colonialists may not have had the time or the means to make their masterpieces if it weren’t for the economic boon of slavery and historical pillaging of resources from southern and eastern continents for the benefit of countries like France. The Situationists didn’t really like spectacle much (“The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living”) but they recognized that it was inescapable in modern society (“The spectacle is not a collection of images, but a social relation among people, mediated by images”). Given this circumstance, Beyoncé and Jay-Z, god bless them, would appear to be doing their best to create a spectacle that people who look like them can see themselves in too, as opposed to the near uninterrupted stream of black death spectacle the media and world is awash in on a day to day basis. Look forward to hearing this jam blasting out of car speakers this summer—it’ll be a real situation. The surprise release of Beyoncé and Jay-Z’s new album, Everything Is Love, (credited as “The Carters” on the album to recognize they’re performing as a united duo, not as individuals) on Saturday, June 16 has left the music world reeling. Already, what fans have been carefully dissecting – and what we’re interested in unpacking, too – is the imagery from the music video for the album’s lead single, “APESHIT”. The six-minute video is likely going to be considered one of the best of 2018, with The Carters and a troupe of dancers taking over the Louvre. In case you couldn’t already tell, the fact that Bey and Shawn Carter even got unfettered access to the Louvre for their own use is a stunning power move – adding a glorious power to the “APESHIT” lyric “I can’t believe we made it/ This is why we’re thankful”. Let’s start with the primary location in “APES**T”: the Louvre. Historically, it’s a predominately white space that primarily features white, male-created works of art. It’s a microcosm of history, which itself is mostly white, male, and heterosexual. Tradition and the Louvre go hand-in-hand, too, which means that Beyoncé and Jay-Z’s presence is a total disruption from the beginning. For modern audiences and fans of The Carters, the disruption is surely welcome. Not only can we expect to see (and do see) The Carters standing next to some of the most famous works of art, including the Mona Lisa and Winged Victory of Samothrace, but we see that they are aligning themselves with it right out of the gate. Their presence in a place that preserves what history has deemed the most important artworks, standing next to said art while themselves looking like art and using their body language to engage with this art, already implies they are as worthy of being there as the older work. It’s a middle finger to convention, a dare aimed at squarely at the gatekeepers of history and artistic tradition: You know we deserve to be here. The Carters begin positioning themselves as iconography from the moment we first see them, standing in front of the “Mona Lisa”. Sure, it’s a callback to the first time they took a photo with arguably the most famous painting in history back in 2014, but something is different this time around. Like the “Mona Lisa”, Beyoncé and Jay-Z are dressed simply, but powerfully. Suits for both, in bright colours and styles specific to their tastes and representative of the times they live in; again, just like the “Mona Lisa”. But even more of an echo of the painting is their expressions: a strong stare straight ahead, lips pressed together, shoulders back. They are telegraphing to us that they are as iconic as the “Mona Lisa”, without even saying a word. By donning expressions very much in the same vein as the iconic painting, they’re telling the viewer that they’re basically in the presence of a peer. But even more than that, they’re commenting on the beguiling and enticing space they occupy in our own culture. Much like the ��Mona Lisa”, they are telling us that they know we think about them in a way we don’t think about other music artists. They know that we’ll spend hours analysing them and their work, attempting to find meaning in their movements and lyrics, trying to work out the symbols and icons they’ve put forth, and hoping to crack the impenetrable fortress they’ve built around them (from which they only emerge to become vulnerable when they want to). Humans have spent centuries trying to unpack the enigma of the “Mona Lisa” and still continue to do so to this day; do you really think you can figure out The Carters in a day? Another immensely important moment from “APESHIT” comes in the repeated glimpses of Marie-Guillemine Benoist’s “Portrait of a Black Woman (Negress)” from 1800. One of the few works of art painted by a woman in the Louvre, the painting is deeply important both as a feature in the Louvre and its place in art history, because it is the only painting of its time to depict a black woman who is not a slave or similarly subjugated person, but rather simply presented in all her glory.

The painting affirms that black women are worthy of being in artistic spaces, and in enduring imagery. The painting is shown a few times, and it’s the second to last painting we see before the video closes on Bey and Jay turning around to regard the “Mona Lisa” – further confirmation that Benoist’s painting and its subject deserve recognition. It’s also no accident that the “Winged Victory of Samothrace” statue is frequently seen in “APESHIT”. Implying triumph and power, the statue has endured over centuries, and The Carters imply just as much by once again standing in front of it, in perhaps a nod to their own triumph and the power they’ve achieved. According to the Louvre website for the piece, the statue depicts Nike, and was likely created to commemorate a naval victory by the Rhodians (who hail from Rhodes, part of the Dodecanese island group in Greece). The towering relic from the Hellenistic period is, as the Louvre’s description notes, intensely dramatic and glorifies the female body in connection with something traditionally masculine (victory in war). That endowment of power to a female body is then emulated in the female bodies that stand before it in present day, through Beyoncé and her troupe of female dancers. All of these women come together and move as one being, with Beyoncé presiding over them all. She is the modern image of victory over the warfare placed on her body, career, intellect, personal life; having succeeded, she can now dress like “Winged Victory” and, in a sense, pass along her victories to the women who dance on the steps in front of her. Twitter user Queen Curly Fry’s in-depth Twitter thread breaking down the art seen in “Apeshit” is thorough, and her comments on the incorporation of the “Venus de Milo” into the video is so neatly articulated that we couldn’t have said it better if we tried: “Here, Beyoncé once again models herself as a Greek statue, this time the Venus de Milo. However, in this shot she wears a nude bodysuit with wrapped hair, reframing both goddesses of beauty and victory as a black woman. This dismantles white-centric ideals of beauty.” Similarly, Twitter account Tabloid Art History nails why it’s so important and iconic for Beyonce and her dancers to be dancing in front of “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine” by Jacques Louis David from 1804: “What I especially like about this part of the video is that the painting itself depicts a disruption, Napoleon taking the Pope’s role from him and crowning Josephine himself. Beyoncé further disrupts this by taking on Josephine’s role as the one being crowned.” If we consider Napoleon’s role as a major coloniser in the early 19th century, particularly in Northern Africa, then Beyoncé’s placement in the shot is extra symbolic. Beyoncé standing underneath the place where Napoleon is seen crowning his wife in the painting is a symbolic retrieval of stolen power. One of the other paintings we see in “APESHIT” is another Jacques-Louis David painting, “The Intervention of the Sabine Women.” Interestingly, we only see portions of the painting, never the entire artwork. This could be a sly comment on the dissection and appropriation of black bodies by white culture for their own aesthetic uses – or it could just be a deft use of quick cuts for dramatic effect for the video. Or maybe it’s both.   Twitter user Queen Curly Fry notes here that the painting, for the puposes of “APESHIT”, depicts “(white) female fear evoked by (white) male violence is juxtaposed w/ (black) female empowerment (‘get off my dick’).” The painting’s use of white female tears –long criticised as a way for white women to shift any blame they deserve for racist behaviour, or to turn a blind eye to racial injustice – is in direct contrast with Beyoncé and her dancers’ freedom, calm, and enlightenment. In the end, “APESHIT” is a triumph because it is a statement that only The Carters could successfully make. The visual tells the powers that be to fuck off with their tradition, their preciously guarded history that has sought to erase non-white people from the history books, and their preconceived notions about how black bodies can be ornamental. They’ve used art to push back, to demand honour for the work they’ve contributed. “APESHIT” is a force to be reckoned with, and The Carters’ use of art to make a statement is an announcement to the world that they’ve shaped culture as much as anything hanging on a gallery wall.

[pasteltarrasque]

tagged by @burglethyturts​ to do this forever ago, only now not lazy enough to keep putting it off

Rules: we’re snooping on your playlist!! Set your entire music library to shuffle and then report the first 20 tracks that pop up! Then tag ten additional victims.

Gentle Folk - Hunter Hunted

Lost - Frank Ocean

Batard - Stromae

El Perdon - Nicky Jam

Hollaback Yonce - Gwen Stefani/Beyonce mashup

Through Smoke - NeedToBreathe

Love Lockdown - Pentatonix

I Don’t Care - Fall Out Boy

Tous le Memes - Stromae

You’re No Good - Major Lazer 

Castle - Halsey

Love Like You cover - Video Game Remixes

Standing By - Pentatonix

Don’t I Know Enough - I Am Oak

Somebody Else - the 1975

Reality (Hitimpulse remix) - Lost Frequencies

Smile - Mikkey Ekko

EASE - Troye Sivan

Immortals - Fall Out Boy

White Fences - NeedToBreathe

wow that’s really all over the place. and that’s not even all the songs i listen to now i use youtube more

i tag @ghoststrawberries, @violasmelody, @acewitharrows, @lemongogo, @fiveblackbird, @theseeliecourt, @dejasquietplace, @froginblueboots, @futureseaempress, and anyone else who wants to do it!!

[afroboydyke]

A VOLTRON PENTATONIX AU?? AKA LANCEYONCE AND CREW

Okay so sit the fuck down everyone I’m documenting this annoying ass dream that has been haunting me for the best few months. 

The Basis: So we all know about Pentatonix, right? (If you don’t, it’s an a capella group that remakes the old songs of famous artists to give them a new sound. They also have a few of their own original pieces). So, basically, imagine the Voltron gang doing this, except not a capella. They remake the tracks and beats to near perfection in order to pull this off.

The group consists of Allura, Pidge, Shay, Hunk, Lance, Keith, and Shiro, with Matt and Coran doing background work. 

Now to the Details.

Lance

Lance is in charge of any and all Beyonce-related performances.

The group itself started with him. He performed to her songs with his own original choreography and everything. Sometimes he would collab with Hunk. 

He picks his own songs

He does nothing half-assed in this group. He’s very nitpicky with lighting and stage set up because he needs to achieve that WOW! factor

Sometimes he goes a little overboard and the team needs to reel him in really quick because they can’t light fireworks on stage

He was disappointed but then he realized glitter and confetti cannons were a much better idea

Because all of Yonce’s songs have a certain feel to him, he chooses based on how his life is going

Happy? Fun? Well-off? TIme to whip out his favorites.

Sad? Had an argument? Where’s his sad stuff at.

Somebody died? Feelings of worhlessnesss? There’s a song for that, too. 

All his outifts are chosen by Shay while Allura does his makeup

These three are besties they do all the styling stuff tgether                

Lance either wears practical shoes or heels there is no in between

Performing in heels is a little harder but he manages because he’s just that good

He was excited to perform “6 Inch” because he had the perfect shoes for that

A lot of the songs he sings are romantic-like so he does a partner dance with Keith

One time the two had gotten into a fight, so he performed the most of the Lemonade album and some of the songs from the 4 album

Keith was in tears and ended up dancing with him again

The crowd went fucking nuts

His favorite songs to perform are probably Partition and any other song with sexual lyrics bc he gets too into it sometimes

Keith loves it but at the same time he blushes really hard

It’s funny to watch

Before a concert he discovers that his uncle died and that hit him hard because they were very close

And yet he still performed but with more passion

And he added the song I Was Here because death is such a sudden thing and he could die any second now just like his uncle did

The others actually played the background instruments for him (cello, piano, ect.)

Lance responds to as many fans as he can on his social media

The boy has Tumblr, Instagram, Snapchat, Twitter, and he’s the main one who runs the group’s Youtube channel

Sometimes he holds Q and A’s on Periscope 

During interviews he answers nearly everything meant for him

He also makes up the names of his fans and it changes every time

“Sup Lancers”

“How’s it shaking, my Bluebells?”

“What questions are in store for me today, Voltribe?”

It’s out of control

Whenever Lance isn’t performing he’s on back up vocals/dancing

That’s the rules: If it isn’t your turn, you work your ass off with back up and background dancing

If he’s feeling a bit peppy he’ll also certain Jason Derulo songs

Hunk

Let’s establish one thing: If Lance is Beyonce than Hunk is Nicki Minaj

It started off as a joke at first, but Hunk found it really fit with how he felt

And his flow is DOPE so win-win

He performs literally every song out there by her with no shame because Nicki Minaj has been his Girl for Years and she gives him confidence

His outfits slay all the time. All. The. Time. 

They’re pretty much renditions of Nicki Minaj’s own performance outfits, but designed to make him feel comfortable

Shay helps him tailor all his outfits and even designs them sometimes

He prefers boots and sneakers when performing because heels kill his feet

His favorite song to perform is the Flawless remix with Lance because they kill everyone within a 20 ft radius

The choreography is his favorite as well

He even installs fire things to shoot flames up from the stage

He also has a really nice voice, but he prefers to rap than sing since he’s better with low notes

Sometimes he collabs with Shay, who’s the group’s other prime rapper

They’re fire onstage and off

Hunk loves Feeling Myself a lot because his confidence rises

So many people find it odd that Nicki Minaj is his persona

Hunk is so kind and timid?? He’s very smart and not one who curses unless very angry or upset

But when he’s rapping he gets all flashy and bold and suddenly he’s cursing all the time very clearly

His moms come to every concert, along with the McClain parents because they love supporting their sons together

Hunk’s moms always jokingly scold him about how provocatively he dresses and his potty mouth but they really don’t care

They smother him in kisses and gifts and flowers 

Once, for their anniversary, Hunk asked Lance to perform “Ring Off” for his moms while he put together a video collage in their honor

The song fits their relationship so well

They cried very hard

When the Moana soundtrack was released, he got his own night to perform the whole thing with his family

He loved the event; it was the first time his whole family had done something together in such a long time

Hunk also helps Pidge and Coran with technical stuff likes lights and smoke affects

At interviews he takes shit from nobody and likes to brag about all the times he’s been right

Spoiler Alert: It’s a lot

He also shares embarrassing stories of the team 

A lot of the gossip actually comes from him tbh

“Spoiler alert: there may or may not be a surprise performance some time soon.”

“A little birdie told me that two of our members are getting a little buddy buddy, so look out for updates on that.”

“Oh, y’all are gonna LOVE my outfit for the next tour. It’s gonna be lit.”

The outfit was, in fact, on fire.

Allura

To complete the Power Trio, Allura is Rihanna

Sorry I don’t make the rules

Except I do lmao

This role originally was gonna go to Shay but then Shay realized she loved to rap so Allura hopped on it

Allura loves Rihanna fashion choices 

A lot of her outfits are based off of RiRi actually

Her favorite album has got to be the ANTI album

It’s a masterpiece 

Just so well written

Best songs ever

The fans love when Allura comes on stage because she provokes so much emotion and her voice carries so well

Not to mention her British accent gives a different feel from Rihanna’s Barbadian one

She has a very diverse cast of fans and probably recieves the most fanmail out of everyone

Lance and Hunk are second

Lance is Bitter

Shay’s third

 Keith, Pidge, and Shiro are tied for fourth

All of her songs are choreographed by herself

Her makeup artist is either Lance or Shay

Depends on who wins the coin toss that day

With Shay her eyeliner is swoopy and sharp with rinestones 

With Lance it’s artsy eye makeup and glitter

Allura likes both

All of her outifts are planned from the the top to the socks she wants to wear

Her hair is so long that it makes styling it very easy?? Like she has so many options

If she doesn’t style it herself than either Shiro or Coran does because they always have great ideas

For every performance, Allura opens with a quote related to what songs she plans to perform

Everyone thinks their from philosophers or something but really she’s quoting tumblr posts

She has the same social media as Lance, and they often compete for followers and such

All of her stuff is very pastel space

The pink marks under her eyes are in fact tattoos

She got them along with Coran for her 18th birthday 

They’re her trademark

Nobody knows if her hair is natural or dyed at first

It’s naturally really bright she just added highlights to it

When not performing, Allura is Lance’s number one backup singer

Sometimes Lance will let her perform Beyonce songs

Specifically Who Runs The World (Girls) bc that’s her actual anthem and Lance feels disrespectful 

And Daddy Lessons, which makes her emotional

Both she and Lance sing Pretty Hurts together because it applies to both of them 

Allura and Lance have a contest for who’s the Better ‘Yonce

Lance wins

Lance and Allura are constantly accused of being siblings due to their bond

It’s a running gag in the fandom for quite sometime until Lance breaks the rumors

Some of her songs involve couple dances with Shiro

It’s amazing watching them interact with one another because they’re so gentle with each other and their love is so Real that it almost seems like you’re intruding on a moment

At interviews, Allura is constantly bragging about how strong she is 

“Hunk and I are clearly the strongest ones here. We haven’t determined who holds reigning title, however.”

The two them proceed to arm wrestle.

It’s a tie

Everyone is crying. Everyone.

Sometimes, if she’s feeling it, she’ll do Marina and the Diamonds

Everyone takes a back seat to her then because she absolutely slays

Pidge

Pidge doesn’t normally sing but when she does it’s Hayley Kiyoko

Pidge loves her 

Very much

She probably dresses the most simple out of them all 

Her main style is shorts with stockings or knee socks and a loose fitting top

She let’s her hair grow out to her shoulders

She appreciates both long and short hair, and finds this a happy medium for her

She sports an undercut and the fans go crazy

Everybody finds Pidge adorable and most girls her age want to be her

Glitter! All over her eyes! Brings out the green!

Is either wearing glasses or contacts but mostly contacts

Pidge’s style is definitely K-Pop Idol

She’s a great dancer and does tons of flips 

Everybody loves throwing her in the air

Pidge is in charge of all music and technology and such. Everything must be run by her  

She adds the best effects to performances and is constantly praised

Pidge has social media too but it’s limited to Twitter and Instagram

Her livestreams are by far the fan favorite

It’s full of her pulling pranks and giving sneak peeks into practices and making bets

“Lmao ten bucks Lance is gonna be tripped by Allura”

He is, in fact, tripped by Allura

“You all owe me at our next concert

She films bloopers for the YouTube page

Most of the bloopers are of her and Keith screaming about aliens and Shiro favoriting her

Sometimes it’s Matt being an idiot

One time she temporarily dyes her hair a pastel green color

She loves it

Keith

Like Pidge, Keith doesn’t sing much. He mainly aids in choreographing performances

He’s been perfecting his dancing for years and has the smoothest rhythm 

When he does perform, Keith’s specialty is P!ATD

He’s emo okay

And Brendon Urie is his first celebrity crush so why not pay tribute to him

Keith gets an undercut with Pidge

It’s not his favorite style so when he grows his hair out again he grows it out long

Longer than originally

Keith’s makeup is limited to eyeliner done by Shiro

His outfits have to be the exact ones in all of Brendon’s videos

“You guys don’t understand if I don’t have the top hat and red suit how can I do “I Write Sins Not Tragedies?”

“Keith, you’re going overboard”-Lance

“You have N O ROOOM TO TALK”

When doing interviews, he also has the KPop Idol look

It drives the fans insane

He secretly loves the attention

He probably has the loudest songs out of everyone but he appreciates it

Everybody loves dancing to his choreography

He doesn’t like social media but still has a Tumblr and Instagram

They aren’t for the group though they’re for his conspiracy theories

Pidge Co-runs the tumblr account and has her own cryptid Insta

His live streams consist of the group cryptid hunting together 

If he does post to the group’s YouTube account it’s for cryptids or a sneek peak of some choreography

Sometimes he lets Lance do his makeup and post it on the channel

He loves to choreograph for Lance specifically because it always somehow involves him

Partition is probs his favorite too for obvious reasons

Shay

Shay’s the universal rapper of the group though she mainly does Drake

Shay just seems like a Drake fan so-

Still she does other rappers since she isn’t very picky

Shay’s outfits mirror Drake as well, though adding her little twist and touches to them

Most of the time Lance and Allura help her with clothes

Her makeup always deals with earth tone or stars there is no in between

She lives for glitter and small jewels

And she’s always wearing a necklace and earrings

Shay’s flow is even better than Hunk’s can you believe it

Hunk can

ANYWAY

Shay loves collaborating with others, specifically Hunk and Allura

She’s very loud and boisterous on stage but off stage she’s kind and quiet

Kinda like that friend who’s very meek in public but wild at parties with close friend

Very passionate about her dream

She’s also in charge of keeping everybody on schedule because nobody follows schedules like she does

Sometimes she’ll do small rituals to ensure good luck for performances

They have yet to fail her

At interviews she’s always really peppy and happy to answer questions

One of the fans asked if  she’s dating Hunk

“Oh no, I’m just a rock he admires very much”

The crowd is confused but the group gets it and starts picking fun

Shay bonds with everybody on the team and it’s great 

She and Matt talk about space for long periods of time on end it’s crazy

With Shiro it’s how pretty Allura is and how much he wants to fling himself into the sun

Also about the other team members

Allura literally politics and makeup and 

Lance it’s Spanish dancing and the ocean

Keith it’s Lance and like random shit

“What if Coran was in a gang”-Keith probably

“Dude,,, we have to investigate”-Shay

Hunk it’s lovey couple stuff and rocks and food and really cool movies

Pidge it’s plans for the next concert

Coran it’s schedules and stories

She loves having such a big and supportive family

Shiro

Bruno Mars. That’s it.

Shiro bops to Bruno Mars like it’s his religion 

Wears rolled up sleeves and jeans with sneakers forever 

His eyeliner is sharper than everyone elses and he takes pride

Fans eat him up

They love his “dad-like” personality

Sometimes some of them bring him cookies and such backstage

He takes them because who passes up free food??

Seems like dad, is actually 12 

Seriously, he causes most of the food fights 

And he’s always making bets with Pidge and Matt

But he’s still responsible when needed

He does his own choreography and everything what a man

Once he did a split in the middle of Uptown Funk and everybody lost their shit

Even the group

They just all started laughing while Shiro continues to strut his shit

Shiro’s snapchat is full of videos of him and the team

Half the time he’s screwing around with Matt

Other half he’s posting death jokes

Nobody is phased by this anymore 

They’re so used to it

“I want a light to fall from the cieling, knocking me out instantly”

“Yeah Shiro we get it you wanna die now help me stretch”

He probably has the most questions asked at interviews

Most of them are “Will you be my daddy”

“…I’m everybody’s dad”

“But only Allura’s daddy”- Lance

“Say your goodbyes to Lance because he done fucked up, kids”

His favorite album is probably 24k Magic bc he feels fly as fuck

Imagine him proposing to Allura with “Marry You”

Everybody knows except for Allura and she literally sobs when he gets down on one knee and pulls out a ring

It’s epic

Pidge once suggested putting a confetti canon in his prosthetic

Although he would like to Allura said no so-

He still does it anyway

Matt

Matt’s a fucking Meme

He handles booking places and unwanted press

And he co-owns the YouTube Channel with Lance

The place is meme central nobody can believe it

He also has a snapchat and Twitter

Live streams happen every week

Most of the time he’s just screwing around the tour bus/ hotel rooms it’s hilarious really

He dresses like a tired college student all the time it’s great

He’s friends with everybody

With Shiro he’s literally goofing off half the time

They rival Hunk and Lance for best bros of the year

Half time time his story is filled with ugly pictures of Shiro

With Allura he’s spreading Shiro gossip and doing her hair

Lance + Matt = Hardcore memes and suffering

Pidge it’s the normal sibling stuff

He once picked Pidge up and threw her

“Y E E T”

Hunk it’s techno stuff and like animals

Keith it’s sharing stories about Shiro and how he’s not from this planet

They plan “experiments” to expose him for the alien he is

They fail

With Coran he helps to clean everything because these people are pigs it’s terrible

And when he’s with Shay they’re literally memeing together but on a lower scale

He helps her withh her style and stuff

When Pidge is on stage he’s handling the lights and shit

One time he got stuck in the lights for the whole concert

When asked where he was, he fell straight into Shiro’s arms

Shiro dropped him

Makes the most jokes

Coran

Team Aunt

Takes the group out for victory dinners

Buys sweaters for everyone

Let’s you do whatever you want as long as it’s legal

Because he’s a retired dancer he’ll step in sometimes and lend a hand

Cooks when Hunk doesn;t

And it’s not bad

But Hunk is just better sorry Coran

The group’s body guard

Literally he dropkicked a loser for eyeing Pidge the wrong way

“Coran was that necessary”

“Not but, as Lance would say, it was dope”

Groan

He also handles press coverage and makes sure all venues check out before Matt goes to book them

Lance is his favorite and it’s insane

Lance: “Hey Coran can I have like fifty dollars?” 

“Of course!!

Allura: “Hey Coran can I borrow 20 dollars”

“Sorry I don’t have any money.”

Will treat everyone to a shoppinf spree every once in a while

Loves everybody like they’re his own and assures parents that they are Okay and In Good hands

Also almost blew up the tour bus and ran like three red lights

Extras

Lance, Shay, and Allura went through a KPop phase

BTS, EXO, GOT7, Red Velvet, MAMAMOO, TWICE, BLACKPINK

They freak out all the time and scream

Meanwhile Keith and Shiro are KPop veterans

“Hah, losers.”

One time they all learned the choreography to “Monster” and posted it to the YouTube channel

Matt sat in the background and screamed random things

Slumber parties all night every night

When they tour they literally get one giant hotel room

Couples each get an hour to themselves throughout the day and then they meet at night to sleep

It’s not even sleeping it’s taking ugly pictures and face masks and nightly rituals and love

They wake up: Shiro, Coran, Shay, Allura, Pidge, Keith, Hunk, Lance, Matt

They go to sleep: Coran, Hunk, Matt, Keith, Lance, Shay, Pidge, Allura, Shiro

Every award they win everyone’s family comes together and they have a very large dinner

The group is called Voltron (how original lmao)

Fans are part of the Voltribe 

I’ll add more if I come up with anything else

[baydorz-blog]

Wizkid 'featured' in Beyonce's forthcoming EP

Wizkid ‘featured’ in Beyonce’s forthcoming EP

Wizkid is reportedly featured on Beyonce’s forthcoming EP. It is being reported that  Queen Bey invited the Star Boy to collaborate on her track titled Yonce Riddim.This is according to an alleged leaked list of the EP which also sees features from Rihanna and her husband,Jay Z.Wizkid is undoubtedly the most sought after African artist on the intenational scene now.

[axis24x7]

WATCH | Disha Patani flaunts killer dance moves in viral video

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