Introduction: APES**T

Abstract

Research Article| December 04 2018 Introduction: APES**T Carol Vernallis Carol Vernallis Stanford University; e-mail: cvernall@stanford.edu Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2018) 30 (4): 11–70. https://doi.org/10.1525/jpms.2018.300403 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Carol Vernallis; Introduction: APES**T. Journal of Popular Music Studies 4 December 2018; 30 (4): 11–70. doi: https://doi.org/10.1525/jpms.2018.300403 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of Popular Music Studies Search We’re excited to publish our analyses of “APES**T” (16 June 2018), a music video featuring Beyoncé, Jay-Z, Da Vinci’s Mona Lisa, and dancers in the Louvre.1 For us this video’s issues are timely. Thank you to the JPMS editors, especially Robin James, for so swiftly bringing our work to press. Beyoncé is part of our cultural imagery, partly thanks to her music videos. Music video remains undertheorized even though some clips reach a kind of mathematical-sublime hit count: Luis Fonsi’s “Despacito” ft. Daddy Yankee, for example, has 5.5 billion views. Music videos on YouTube are how young people most commonly consume popular music.2... © 2018 by the International Association for the Study of Popular Music, U.S. Branch (IASPM-US). All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, www.ucpress.edu/journals.php?p=reprints.2018 You do not currently have access to this content.

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