beyonce and jay z the carters album download Beyonce and jay z the carters album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66a9d554d9b4f156 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Beyoncé And Jay-Z Present A Unified Front On 'Everything Is Love' The Carters, who married in 2008, celebrate their union with a heavily autobiographical new album. Critic Ken Tucker is impressed by the record's easy shifts between hip-hop and R&B. TERRY GROSS, HOST: This is FRESH AIR. The new album "Everything Is Love" is credited to The Carters - Shawn Carter and Beyonce Knowles Carter, better known as Jay-Z and Beyonce. The married couple has released a new album that's heavily autobiographical and blends hip-hop and R&B in a way that our rock critic Ken Tucker finds very intriguing. (SOUNDBITE OF SONG, "APE [EXPLETIVE]") THE CARTERS: (Singing) Yeah, yeah, yeah, yeah. Stack my money fast and go fast, fast. Fast like a Lambo. Scoot, scoot, scoot. Jumping off the stage. Crowd better savor. I can't believe we made it. This is what we made, made. This is what we're thankful. This is what we made. I can't believe we made it. This a different thing. Have you ever seen a crowd going ape [expletive]? Give me my chain. KEN TUCKER, BYLINE: You can listen to "Everything Is Love" as the completion of a trilogy. In 2016, Beyonce released her album, "Lemonade," which, among many other things, discussed an extramarital affair committed by a husband commonly thought to be her own. Then in 2017, Jay-Z released his album, "4:44," in which, among many other things, he agonized and apologized for being unfaithful. Now we get an album from The Carters, Jay-Z and Beyonce presenting themselves as a united front. Husband and wife, committed partners and musicians. (SOUNDBITE OF SONG, "SUMMER") THE CARTERS: (Singing) Let's make love in the summertime. Yeah. On the sands, beach sands, make plans to be in each other's arms. Let it breathe. Let it breathe. I want to drown in the depth of you, yeah, when the water's so blue, so blue. I need to take my time, oh, yeah, show you something real, so real, so real, so real. Let it breathe. So real. I want to you come inside right now so you know just how I feel, how I feel. TUCKER: There are sultry grooves all over this album like that one, a song called "SUMMER." There's another alluring rhythm in "BOSS," a song dominated by Beyonce singing about being successful and in charge. She's the boss of the song title. As a soul music horn section toots affirmatively, she rattles off a verse about how the success and wealth she has is important to her not least for what she can leave behind for future generations of African-American children. (SOUNDBITE OF SONG, "BOSS") BEYONCE: (Rapping) Ain't nothing to it - real one. Ain't nothing to it - boss. Ain't nothing to it - real one. Ain't nothing to it - boss. I pay the cost. Who's gonna take it off? I record then I ball. I've ignored a lot of calls. Click, click. You ain't talking about nothing. I ain't got no time. Got that dinero on my mind. Oh, I got real problems just like you. Tell that trick I don't like you. TUCKER: It's very impressive the way the music here shifts easily between hip-hop rapping and R&B vocalizing, between Beyonce's deep-voice croon and Jay-Z's high-pitched exclamations. On "LOVEHAPPY," the duo swaps lines back and forth, the lyrics playfully pointed. The first words of the song are happily in love, and they seem to have reached a point in their relationship where they can joke - very ruefully - about Jay-Z's infidelity. (SOUNDBITE OF SONG, "LOVEHAPPY") BEYONCE: (Rapping) Happily in love. JAY-Z: (Rapping) Haters, please forgive me. I let my wife write the will. I pray my children outlive me. BEYONCE: (Rapping) I give my daughter my custom dresses, she gonna be litty (ph). Vintage pieces by the time she hits the city, yeah. JAY-Z: (Rapping) Vintage frames, I see nobody [expletive] with him. BEYONCE: (Rapping) Pretty thug out the third ward, hit me. JAY-Z: (Rapping) Sir acid, like his dad's, [expletive] is trippy. BEYONCE: (Rapping) Twinning - Blue and Rumi, me and Solo, how fitting. JAY-Z: (Rapping) Sitting - dock of the bay with a big yacht. BEYONCE: (Rapping) Sipping Yamazaki on the rocks. JAY-Z: (Rapping) He went to Jared, I went to JAR out in Paris. BEYONCE: (Rapping) Yeah, you [expletive] up the first stone, we had to get remarried. JAY-Z: (Rapping) Yo, chill, man. BEYONCE: (Rapping) We keeping it real with these people, right? Lucky I ain't kill you when I met that. JAY-Z: (Rapping) Y'all know how I met her. We broke up and got back together. To get her back, I had to sweat her. Y'all could make up with a bag, I had to change the weather. Move the whole family West, but it's whatever. BEYONCE: (Rapping) In a glass house still throwing stones. JAY-Z: (Rapping) Hova. BEYONCE: (Rapping) Beysus. Watch the thrones. (Singing) Happy in love. You did some things to me. Oh, you do some things to me. TUCKER: There's been a lot of pop music made about marriage. I'm thinking about Richard and Linda Thompson's corrosive breakup album "Shoot Out The Lights," Marvin Gaye's alimony concept album "Here, My Dear," and the ups and downs charted in the many songs written separately by split spouses Loudon Wainwright and Kate McGarrigle. This Carters album is very much in that tradition with a significant difference - the classics I just listed were about marriages that fail. This one is about a marriage that prevails years on. (SOUNDBITE OF SONG, "HEARD ABOUT US") BEYONCE: (Singing) No need to ask, you heard about us. No need to ask, you heard about us. Already know you know about us. No need to ask, you heard about us. No need to ask, you heard about us. Watch your mouth when you're around us. (Rapping) Pull up, hop out, wreck. Got no time, but we got Pateks. I come around stepping around on necks. My chica got nicas (ph) upset. Why? Oh, why these - so mad for? They don't want Yonce on their door, Louis slugger to your 4-door. Careful, you get what you asked for. We go to Cuba, then Aruba. TUCKER: The music on "Everything Is Love" relies on a constant contrast between instrumental lushness and verbal starkness. This is mass- market hip-hop designed to reach the widest possible audience. And I mean that as a compliment. It's a big, complex goal, one that very few music stars even try to attempt anymore. GROSS: Ken Tucker is critic at large for Yahoo TV. If you'd like to catch up on FRESH AIR interviews you missed, like this week's interview with comic W. Kamau Bell, check out our podcast. You'll find lots of interviews to choose from. (SOUNDBITE OF HAROLD LOPEZ-NUSSA'S "HIALEAH") GROSS: Fresh AIR's executive producer is Danny Miller. Our interviews and reviews are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Heidi Saman, Therese Madden, Mooj Zadie, Thea Chaloner and Seth Kelley. I'm Terry Gross. Copyright © 2018 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record. How To Download JAY-Z & Beyonce's 'Everything Is Love' & IMMEDIATELY Add It To Your Summer Mix. EARLIER: The Carters have pulled yet another power move. On Saturday, June 16, Beyoncé and JAY-Z shocked fans with the surprise release of Everything Is Love , a brand new nine-track album. The world, predictably, went "apesh*t." Fortunately, downloading JAY-Z and Beyoncé's Everything Is Love is much easier than predicting when the innovative couple is going to drop another industry-shaking release. But right now, there's only one source for your Carter family needs. As of right now, the new album is available to stream and download exclusively on TIDAL, which is owned, in part, by JAY-Z. Fans can purchase a membership starting at $9.99 a month for the standard service, with discounts for student, military, and family plans. There are also "HiFi" premium memberships available for all of those categories; the starting rate for that without discount is $19.99, and it includes "High Fidelity sound quality," according to the service. Not sure about committing just yet? TIDAL offers free trials of both the standard and HiFi memberships. They last for 30 days, and of course include the couple's most recent individual events, Lemonade and 4:44. TIDAL doesn't work quite like iTunes; it's more similar to Spotify when it comes to downloading tracks for listening to when you're offline. So it can be a little confusing to figure out exactly how to ensure that you have access to Everything Is Love even when you're outside of good WiFi range. Well, the site WhatHiFi.com explains how to make your TIDAL library available offline. Here's how to get your Carters on the go: Using the mobile app, go to the Everything Is Love album. Tap the dots next to each track, one by one, and select "Add To Playlist." Once you're done adding every song, head over to the My Music section of the app, and you should see all the tracks there. Then toggle the slider to download to your offline queue. Now, when you open up your Offline Content section, you should see the entire record. Now those tracks are available on your device all the time, even when the flight attendants ask you to switch on airplane mode. There is a chance that Everything Is Love may become available on iTunes at a later date, as Bey's Lemonade eventually did. But there's no information out about that as of yet, and Apple did not respond to Bustle's request for comment. Anyone can visit TIDAL's website to hear 30 second excerpts of every song on Everything Is Love : "Summer," "Apesh*t," "Boss," "Nice," "713," "Friends," "Heard About Us," "Black Effect," and "LoveHappy." And along with the album drop, the pair also dropped a surprise music video for "Apesh*t," which is fortunately (and benevolently, on the king and queen's part) available to watch on YouTube. And no, that doesn't just look like the Louvre, the legendary art museum located in Paris. It is the Louvre. They let you film in the Louvre if you're JAY-Z and Beyoncé, which is one of the most significant revelations that this album has brought about. Of course, it took no time for Everything Is Love to blow up the internet, with fans taking to Twitter to post their snap reviews and to marvel at being caught off guard yet again. In Beyoncé and Jay-Z's 'Apeshit' Video, Blackness Is an Art Form. It's the Carters themselves who command attention. They're the ones who are invaluable. Where were you when The Carters' Everything Is Love dropped? I was taking a nap. I can't explain why I woke up other than to say I was compelled; perhaps I felt the tectonic shift of Beyoncé doing a thing. Regardless, the stunning album cover was the first visual I saw. It's an image of a Black woman (Jasmine Harper) picking out the tightly coiled 'fro of a tatted up Black man (Nicholas $lick Stewart) with the Mona Lisa far enough in the background to be blurred, though recognizable. I immediately connected that imagery to photographer Deana Lawson's work. In April, artist and curator Tara Fay Coleman had her hair braided within Lawson's exhibition at the Carnegie Museum of Art. I was on hand to shoot photos of the performance art piece, which Coleman described as "a reference to Deana's statement about claiming spaces. We will make the gallery our own, and tell a story about black womanhood, and an experience that is important to our culture." Aptly, hip-hop and trap music filled the halls of CMOA during the entirety of Coleman's performance. Coleman made the Forum Gallery our home that night, our comfort paramount to any ogling spectators. Black artists claiming space with visual art that centers Black people, both within institutions we've historically been omitted from as creators and within the spaces we carve out for ourselves, is a practice I call "Blackness as art." That kind of disruption is not a concept the Knowles-Carter empire or their collaborator Pharrell, who produced "Apeshit," are new to exploring. Jay-Z implored, "Put some colored girls in the MoMA" in 2001’s "That's My Bitch" (the track also includes a reference to the Mona Lisa—more on that in a bit). Two years later the Marina Abramović-inspired video for "Picasso Baby" (which also references the Mona Lisa—hold tight) saw Jay present hip- hop and himself as fine art for six sustained hours at the Pace Gallery. The performance art film features Abramović, and Black artists Mickalene Thomas, Kehinde Wiley, Rashid Johnson, Ouattara Watts, Lorna Simpson, Wangechi Mutu, and Fred Wilson, amongst others. In May of last year, Solange performed An Ode To at the Guggenheim Museum, a ceremonial tribute to Black womanhood soundtracked by her album A Seat at the Table . Pharrell has had a relationship with the art world for years, most notably his collaborations with Takashi Murakami, FriendsWithYou, and even his 24-hour-long “Happy” video—a performance art piece in every sense of the term. The newest addition to this conversation, then, is the second visual I saw from The Carters on Saturday: the "Apeshit" video, the source of the album's cover photo. Shot both in and outside of The Louvre Museum in Paris, "Apeshit" is art nerd eye candy, optically exquisite, and metaphor-heavy. Even taking into consideration The Louvre's boasts of 500 on-site shoots a year, it's arresting to witness Beyoncé and Jay use this storied institution as a backdrop for a braggadocious, expletive-filled, goes-hard-in-the-whip trap song. There are numerous extreme close-ups of priceless paintings it’s usually difficult to get even within fifty feet of in person. They’re interspersed with images of a spectrum of brown skin, at times mimicking poses in the works, but mainly dancing, swaying, and caught in moments of intimacy, abandon, and defiance. There's an almost-disregard for the art, or a bored, perfunctory acknowledgment of it at best, in favor of these audacious and unrelenting displays of Black love and brilliance. There's an almost-disregard for the art, or a bored, perfunctory acknowledgment of it at best, in favor of these audacious and unrelenting displays of Black love and brilliance. It's Bey, Jay, and their gorgeous cast that command attention and get affectionately treated as the invaluable art within a building that houses the largest collection of art in the world, but not nearly enough by Black artists. "Apeshit" opens with the camera panning over a shirtless, dreadlocked Black man in sneakers and ripped jeans, white angel wings draped across his back. Cut to the immaculate ceiling of the Galerie d'Apollon, depicting Apollo's battle with Python: a contemporary Black angel to mirror the angelic figures framing the battle, and potentially to juxtapose the "he was no angel" rhetoric used to dehumanize Mike Brown and deny Black boys’ and girls’ innocence. It’s a nod to the ongoing battle we’ve been waging for our humanity. This opening figure partners with Beyoncé as a visual foil to Winged Victory of Samothrace , the headless, pale marble goddess that serves as a centerpiece of the Denon wing on any other day, but is treated as a mere accessory here. Bey is spitting bars in about twelve layers of fabric, which billow around at her command; it’s not necessary to pay attention to anything else, because she’s the goddess in the room. There's a lot more symbolism to unpack. A Black couple cradle, kiss, and comfort each other on a bed. A quick cut to the lovers Francesca and Paolo, from Dante’s Inferno , supplies the reference point, but it’s more a Deana Lawson moment than an Ary Scheffer one. Bey and Jay gaze at each other and hold hands—at one point Jay even kisses his wife’s hand before rapping along to her lyrics. “Apeshit” doesn’t lack moments of Black love. But the couple mimicking Francesca and Paolo feel different; their moment of intimacy feels defiant amongst increasing chaos, like a survival technique. The Carters stay in conversation with the art around them and the contemporary context. A group of Black men kneel as Jay-Z admonishes the NFL—undoubtedly in support of Colin Kaepernick and in opposition to the NFL's newest national anthem policy. He seems to pay momentary respect to Le Radeau de la Méduse , in which there’s a brown-skinned man waving to the horizon for help, a survivor. Beyoncé rolls her hips in formation with a chorus of synchronized Black women of all hues of brown in front of The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine . Yes, that Napoleon, the pillager, who, for years during his reign as emperor named the museum after himself and filled it with artifacts he seized in war. Bey positions herself directly under the crown meant for Joséphine. Two Black women sit before David's Madame Récamier , linked by a long, white head wrap, or durag, depending on your levels (Solange's impact). The still, coolly lit, and armless Venus de Milo precedes Stewart, the man on the album cover, who in contrast is contorting his long, fluid arms above his head, a dance style he calls bone breaking. Bey, too, winds her waist in front of Venus, ignores it, upstages it. Beyoncé, a Black woman, is the standard of beauty here. Most striking, however, is the usage of the Great Sphinx of Tanis , the Mona Lisa, and the Portrait d'une femme noire (Portrait of a Negress). The Sphinx, famously missing its Jackson 5 nostrils, gets a noticeably different treatment to the other statues. The only African artwork in the entire video, the Sphinx appears in communion with the dancers instead of fading into the background. In one shot, Bey and Jay flank the imposing figure as if they're its guardians, the spotlight reserved for the Sphinx itself. Reverence, paid. The Mona Lisa is, as aforementioned, relegated to the background of the scene that became the Everything Is Love album cover: a Black woman uses an afro pick to ready a Black man's fluffed-out mane for parting and braiding. This tender act, an extremely familiar one to almost any Black person with hair and a mama or auntie, is the main focus and the main statement. The painting wasn’t chosen on a whim. Besides Bey and Jay famously snapping a selfie in 2014 with the Mona Lisa, and the couple of times Jay has referenced it directly (“sleeping every night next to Mona Lisa / The modern day version with better features” in “Picasso Baby,” “If Picasso was alive he woulda made her / That’s right, n---a, Mona Lisa can’t fade her,” in “That’s My Bitch”), it is one of the most valuable, and certainly the most famous pieces of art in the world. Highly esteemed, ostentatiously protected (in the Louvre, it sits behind bulletproof glass), it brings to mind a snippet of Malcolm X's speech at the funeral of Ronald Stokes, which Beyoncé included in Lemonade ’s visual album: “The most disrespected woman in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.” It made me wish Bey and Jay had kept their backs turned to her, instead of facing her at the end of the video. I’d have preferred her uncentered, in the background: a rejection of status on those particular terms, in conjunction with a song that says fuck the NFL, fuck the Grammys, and fuck the fame. I’d have preferred [the Mona Lisa] uncentered, in the background: a rejection of status on those particular terms, in conjunction with a song that says fuck the NFL, fuck the Grammys, and fuck the fame. The penultimate work shown is Portrait of a Negress , the only featured artwork that depicts a Black woman. The lens focuses on her face and expression, but excludes her exposed breast: an offering of protection and esteem, perhaps, to a woman who was almost certainly a slave before Marie-Guilhelmine Benoist painted her and then again when colonial slavery was reinstated after Napoleon’s rule, two years after the painting was completed in 1800. I wanted a longer moment of gravity with this work amongst the song’s frequent boasts of “Can’t believe we made it.” Because I don’t actually think The Carters are implying that being rich and famous enough to claim The Louvre as their own is “what [they’re] thankful for.” I don’t want that to be the implication. Many people don’t consider museums to be “for them”—the level of opulence and privilege isn’t relatable. This is frequently compounded for people from the African diaspora, who have to contend with the fact that many European and North American museums display art that was directly plundered from African countries or purchased from collectors who obtained it illegally, or continually hire white curators to handle such collections. In March, France's president Emmanuel Macron met with President Patrice Talon of Benin to discuss the repatriation of art to African nations. Macron has been quoted as saying “African heritage can’t just be in European private collections and museums,” a stance that directly opposes that of the French Ministry of Culture. The current director of the Louvre, Jean-Luc Martinez, has yet to comment publicly. Although there is no white gaze in “Apeshit”—not even the white figures in the art have prominence over the unapologetic Blackness—it feels better to watch it hoping The Carters are attempting to make a statement on these ongoing spoils of colonialism. I also wonder what a video treatment like this one would’ve looked like in The Studio Museum in Harlem, the Zeitz Museum of Contemporary Art Africa in Cape Town, or the Smithsonian’s National Museum of African American History and Culture. Or amongst work by contemporary Black artists like Kerry James Marshall, Mickalene Thomas, Zanele Muholi, and Vanessa German—work curated by Black curators, who are woefully underrepresented. Or Kehinde Wiley, who frequently places his Black subjects—dressed in everyday clothes like basketball shorts, hoodies, and Timberland boots—in settings previously reserved for white aristocrats and monarchs. There are museums, galleries, performance venues, and more that I frequent in my own city that open their doors to and prioritize the work of Black artists every day. We don’t need to be accepted into any hallowed halls of privilege to continue being brilliant, even if we’re simply doing so to disrupt. Is that placing too many expectations on Bey, Jay, and Ricky Saiz, the video's director? That's possible—but that's the sport in dissecting visuals so ripe with metaphoric, luscious imagery, which Beyoncé has delivered in multitudes since the genius of Lemonade . But our art forms don’t need to be invited into spaces that kept us out for decades or even centuries to be legitimized. Black art doesn’t need “approval” by the mainstream art world. Blackness is an art form. That’s what I call makin’ it. Another One: Jay-Z And Beyoncé Just Did Everyone A Huge Favor With 'The Carters' Album. TIDAL subscriber envy is a real thing, and the feeling is all too familiar for Beyoncé and Jay-Z’s Apple Music and Spotify-using Beyhive members and Hov stans. Fortunately for them, the feeling didn’t have to last too long after the Carter family power pair granted their joint album, The Carters , to both of TIDAL’s major competing music-streaming services three days after its release. The nine-track compilation hit fans by surprise, starting with a clip from the “APESHIT” single’s video that popped up on Bey’s Instagram. Shortly after, the couple announced the album’s arrival not only via social media and the official TIDAL social media accounts, but while onstage for their On The Run 2 tour, a new twist to their fixation for surprise releases. Now, Beyhivers and Hov fans from all over the music-streaming world can celebrate the dangerously-anticipated project that they’ve been begging for from the Carters for years. They’ve hit a few bumps on the search for official The Carters album, however, but thanks to the internet’s trusted Twitterverse, we think they’ve figured it out by now. See their hilarious reactions to the album’s Spotify and Apple Music surprise landing below. Everything is Love is now on Spotify, Apple Music and iTunes. The summer takeover starts now pic.twitter.com/XYTRzw0CA0 — EVERYTHING IS LOVE OUT NOW (@beyceipts) June 18, 2018. Me searching Spotify attempting to find ‘Everything is Love’ only to realize it’s the playlist with no picture, no name, and under the artist name ‘The Carters’ pic.twitter.com/zxF4treX6F — 〽EGN (@megandrefko) June 18, 2018. Spotify and Apple Music trending because The Carters decided to put their album on there. The power that that has. pic.twitter.com/Ld6KxEPKll — V Del Rossi (@V_DEL_ROSSI) June 18, 2018. Sorry but they put the album on Spotify and Apple Music under the name ‘the carters’ so when people search for Bey or Jay, it won’t come up pic.twitter.com/TLkAOGkyvW — Fatty (@BADDlE_BEY) June 18, 2018. Breaking News: Stream the Carters’ debut on Spotify and Apple Music People who bought Tidal to listen the Everything is love album pic.twitter.com/0Xm5q8obFA — Tami ThatCrazy Chic (@Cuban_Bajan) June 18, 2018. The Carters dropped Everything Is Love on Spotify and Apple Music. The Carters have dropped Everything Is Love on Spotify and Apple Music. Beyoncé played us all once again, and I’m okay with that; I respect that. pic.twitter.com/FzaCyHzfCw — Natayio (@natayio) June 18, 2018. BEYONCÉ REALLY DRAGGED SPOTIFY THEN HER AND JAY PUT THE JOINT ALBUM ON THERE NOW SHE’S ABOUT TO DESTROY THE CHARTS FORREAL OMGG GOODNIGHT — the hood oracle (@madblackthot) June 18, 2018.