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Translation: She upended the year in pop music by releasing a self-titled, “visual” album on i Tunes—with zero forewarning. She’d been on a year-long promotional tear, performing at the Super Bowl, producing an HBO autobiographical documentary, and launching a world tour. There are no tossed-off performance clips or star-free animations. They seemed to have been filmed all over the world. There are SEVENTEEN music videos here, and in terms of production values, they all rank in the top tier of the medium.

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Kornhaber: The first song to really make me say “whoa” was “Mine.” The opening part of the song is a piano-backed confession, with Beyoncé singing that she’s “been having conversations about breakups and separations / I'm not feeling like myself since the baby.” Then the tempo kicks up, and you have Drake doing a repetitive, echoing chorus (it’s consummately Drake—the entire track sounds like something off which isn’t a bad thing)." Do you think there’s a logic to opening the album with that one?Kornhaber: Well when I first listened to the song, it felt like a humblebrag: Oh poor Beyoncé, you’re too beautiful.That’s probably what Beyoncé wanted, but is it a good thing?My sense is that at that pop culture’s so audiovisual these days that it only seems right that someone would eventually present a song set that's a complete audiovisual experience from the start.

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