But while the deep dives and brief GIFs may leave you with a Mona Lisa smile, there’s something to be said for just letting the totality of “Apeshit” overtake you like you’re standing at the entrance of the Galerie d’Apollon. There are levels upon levels to Beyoncé doing the Migos flow about financial equity in front of the Winged Victory of Samothrace sculpture while wearing Stephane Rolland and Alexis Mabille coutre. In fact, in the days after its release, multiple art historians tried to unpack the significance behind the specific pieces that were highlighted in the video in which the pair take over the Louvre and fill the monument to white European art with black music, black movement and black voices. For the couple’s collaborative album, Everything is Love, they only released a single video, but “Apeshit” on its own is packed with enough meaning for an entire art history dissertation about representation. In 2017, Jay-Z put out a video for nearly every song from 4:44. In 2016, Beyoncé released an entire visual album for Lemonade. Obviously we’re dealing with very provocative images, so it’s a total tightrope walk.” C.W. There’s ‘Looney Tunes’ logic in there somewhere. “Even the violence, though it’s harrowing, there’s a part of it that also feels cartoony. “Yeah, that video is a really crazy confluence of tone changes – that’s the premise of the whole video and the song, in a way,” Murai told The New York Times. People have interpreted Glover’s dancing among the chaos as a statement on everything from gun violence to police brutality to capitalism’s relationship with Black America. “America” visualized the America that Grandmaster Melle Mel, Ice Cube, Chuck D and Kendrick Lamar rapped about, using imagery the way rappers use wordplay - as one example, note someone riding a pale horse in the background, possibly a reference to the Milton William Cooper book embraced in rap circles. Rapper/actor/auteur/firebrand Donald Glover and Atlanta director Hiro Murai used their formidable skills to concoct a bloody protest piece that captivated the world. “Pa’Lante” emerges as an beautiful piece about neglect, resilience and the heartbreak we should all be carrying with us about what happened and is still happening. What he saw and created amidst it can be emotionally overwhelming, far more affecting than a litany of statistics. Figueroa was raised in Puerto Rico off and on for 10 years and when he returned to the island to shoot the video, it was the first time he’d been back since Maria. The two were put in touch with each other and they came up with the concept for “Pa’Lante.” The video follows an estranged couple played by Mela Murder and Kareem Savinon, separated by over 1,600 miles and suffering a wound that remains unhealed, even once that distance is closed. Hurray for the Riff Raff’s Alynda Segarra and director Kristian Mercado Figueroa were both looking for a way to express their emotions about it. “It’s scary, it feels good, it doesn’t.” D.F.Īfter Hurricane Maria hit Puerto Rico in September of 2017, there was destruction and an ensuing humanitarian crisis, claiming the lives of an estimated 2,975 people (a Harvard study put the figure closer to 5,000). “It’s crazy, it’s calm,” she told the New York Times when they asked about the place she calls Whack World. Director Thibault Duverneix keep upping the going-going-Gondry pace, though the best bombshell juxtaposition is the first one, when the artist drops her Cubist-face hoodie to reveal someone who looks a victim of domestic abuse. Scenes switch as quickly as Whack’s flows one second she’s balancing red carpet glitz with melancholy blue moods, the next she’s popping red balloons while declaring “I hope your ass/Breaks out in a rash” in a thick hillbilly accent. An ever-morphing accompaniment to Tierra Whack’s mini-album, this surreal, R&B-on-‘shrooms epic - sprinting through 15 songs in as many minutes - drops the 22-year-old Philly rapper into a variety of scenarios: a graveyard of crooning muppets, a candy-colored nail salon, a living room, a death-shrouded funeral, a diner straight out of a Wong Kar-wai movie.
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