![]() Each frame of melanin situated against white space is a gorgeous piece of art unto itself.Įverything Is Love largely doubles down on the status symbols, generational wealth, and sustainability put forth in songs like “Family Feud” and “Legacy” from 4:44. ![]() She raps in double time, crashing the syllables into each other: “Put some respeck on my check/Or pay me in equity/Watch me reverse out of debt ( skrt!).” Jay is an afterthought on the song despite seamlessly integrating Chief Keef’s “Faneto,” The Lion King, and some well-placed Grammys and NFL shade in the span of his verse: “Every night we in the end zone/Tell the NFL we in stadiums too.” And what audacity to film the video for a trap banger in the Louvre-the pinnacle of violent colonial history presented as high art-and to call it “ APESHIT,” and to fill the place with black creators who are rarely revered on the walls. She kicks triplet flows all over Pharrell’s club-ready production, accented by Quavo and Offset ad-libs. And so continues the second life of Beyoncé, your favorite rapper’s favorite rapper. The couple’s happily ever after is a celebration of both resilient black love (to the chagrin of those for whom infidelity is irredeemable) and proud black extravagance (to the chagrin of those who for whom money is not freedom).Īs quickly as the opener’s majestic strings fade out, the thunderous “ APESHIT” rumbles in. This is “ don't think I'm just his little wife” writ large and there is little room for honeyed words Bey is fired up and in rare form. Above a soulful live band, Beyoncé croons sweetly about making love to her husband, but it’s one of the few times she’ll play the part of the mellifluous singer. Opening track “SUMMER” picks up where Lemonade’s “All Night” left off, a slow dance with the warm sensuality of forgiveness. But even now, with drama in the rear view, the return of marital harmony still holds a thrill. It took another two years to confirm the suspicion, and by then, it was near impossible to look away from their turmoil. ![]() ![]() The Carters’ final episode of a presumed trilogy packages truth in a way that makes it more captivating than any lie or tabloid fodder.Įlevator fights, rumors of discord, and marriage counseling swirled around their initial “On the Run” tour in 2014. The quintessential power couple has reemerged to stunt on everyone-haters, mistresses, America itself-while serving up a spectacle of romance and opulence like make-up sex on a bed of money. It’s a testament to how a complicated love survived through self-reflection, compromise, and ruthless honesty. Celebration is therapeutic, too.Their surprise joint release, Everything Is Love, completes the arc. Yes “APESHIT” is a club-ready “banger” on which a wealthy couple celebrates their success and status, but it is also a celebration of enduring love, black love, and black excellence. When Jay chimes in with his homonyms, zoological references, and shots at the Grammys and the NFL, it’s not to steal the show, it’s to set the stage for her to show off her dexterity and hype up his wife. Rapping her verses and singing the chorus and pre-chorus with Quavo ad libbing, Bey’s delivery is flawless: “Poppin’, I’m poppin’/My bitches are poppin’/We go to the dealer and cop it all/Sippin’ my favorite alcohol/Got me so lit I need Tylenol/All of my people I free ’em all.” Whether she’s bragging about buying her man a jet or politely telling their detractors to “get off my dick”-over Pharrell’s high-energy 808 and synth production-she is always confident and authoritative, the one in control. “APESHIT” is credited to the Carters collectively, but it’s really Beyoncé’s song.
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