Jay Z Legacy Mp3 Series Of Touristy

Already, overheated readings of the Apeshit video have attempted to glom onto one of two opposing ideologies: either Beyonc and Jay-Z are priests of capitalism who appreciate art only to the extent that it reflects their wealth, or they are radicals who have smuggled blackness into a space where it has traditionally been overlooked or exploited.

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Beyonc and Jay-Zs engagement with the Louvres European canon shouldnt be flattened into a shorthand for transgression.

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In 2014, Beyonc, Jay-Z, and their first daughter, Blue Ivy, went to the Louvre.

It was a private tour, conducted on a Tuesday, the day the museum is closed to the public.

Jay Z Legacy Mp3 Series Of Touristy

Louvre Us Alone TMZs headline read.) The couple, both art lovers, documented the visit with a series of touristy selfiesre-creating the poses of the Hellenic statues around themand sweet, staged candids, one of which showed the two swinging their daughter at the base of the Daru staircase, which leads to the Winged Victory of Samothrace.

The most widely shared photograph showed Jay-Z and Beyonc flanking the Mona Lisa, approximating her elusive expression.

It was a playful dispatch from a marriage; were it not for the lack of crowds, the Carters might have seemed like any other giddy American family.

They arent. The music video for Apeshit, a song from Everything Is Love, their new joint album, finds Jay-Z and Beyonc back in the Louvre, but much has changed since their visit in 2014.

The album, which the couple surprise-released on Saturday, during their On the Run II Tour, completes a meditative trilogy about infidelity and forgiveness.

The previous two installments, Beyoncs Lemonade and Jay-Zs 4:44, were labors of gut-wrenching introspection, chronicling the crisis in the couples marriage after Jay-Zs admissions of cheating.

Everything Is Love, by contrast, is slick and effervescent, triumphant, a return to the outlaw motif that the couple embraced years before.

The storm has been weathered, Beyonc and Jay-Z want us to know, and it has made their unit stronger.

To celebrate, and to make ostentatiously official their consolidation of power, theyve returned to the Louvre, not as tourists but as bosses.

Directed by Ricky Saiz, it opens with the image of a black man, in fashionably torn jeans and worn sneakers, with giant white wings attached to his back.

He crouches outside the museum, like an artwork that has been brought to life and set loose.

He rubs his hands, bells gong, and then a wide shot captures the celestial activity on the ceilings of the Galerie dApollon, filtered through a multi-colored glow of music-video light.

Wearing complementary suitsBeyoncs pink, Jays seafoam greenthey are flanking the Mona Lisa once again.

In the past, the Carters have been accused of being art fetishists.

On Drunk in Love, Jay-Z raps that their foreplay ruined one of his Warhols; Beyonc shot the music video for 711 on an iPhone in the Tribeca apartment that they once owned, where works by Richard Prince and David Hammons were unceremoniously on view.

Apeshit is a gospel of acquisition, recalling in spirit the luxury-brand name-checking of the couples duet Upgrade U, from 2006.

But the video is a display of something that cant be so easily quantified: influence.

Beyonc and Jay-Z seem to suggest that their own footprint will be as indelible as that of the entire canon of Western art.

My great-great-grandchildren already rich Thats a lot of brown on your Forbes list, Beyonc raps, haughtily.) Saiz often captures the couple standing or sitting still, holding court with the same air of permanence as the art-historical treasures around them.

In one exception, Beyonc and her dancers, with a synchronicity that immediately recalls the choreography of Formation, body-roll in front of The Coronation of Napoleon.

A crew of black women gyrating in front of a massive colonial scene is the sort of heavy-handed image that the Internet salivates over.