Yesterday, it was discovered that Kim Kardashian and Kanye West have named their child North. That’s right. North West. And maybe it’s because they actually decided to name their child a stupid pun a precocious seventh grader might come up with when pressed to come up with a name for a baby with the surname “West,” or maybe it’s because Kimye didn’t go with the infinitely better Easton as they’d hinted at earlier in Kim’s pregnancy, but that’s it. I give up. There have been many things leading up to this moment, but this is the absolute final straw.
I am so fucking done caring about Kanye West.
After reading all the shit that’s flying around Yeezus right now, a record that’s as close to an embodiment of the Shakespeare quote, “a tale told by an idiot, full of sound and fury, signifying nothing,” as I’ve ever heard, the thought popped into my head: why? Why do we care about Kanye West? Yes, he’s a celebrity, a monstrous cultural figure that’s totally unavoidable. To ignore him is to bury one’s head in the sand, to pretend to live in a world that isn’t real, to choose to be culturally out of touch, yadda yadda. But does that really mean we have to shit ourselves pondering the politics of Kanye West? He certainly wants us to, which is why Yeezus is purposefully drenched in all that EQ-busting, industrial abrasiveness, and we’re taking the bait like donkeys with carrots strapped to our heads. It’s as though everyone everywhere has gotten swept up in the platitude that Kanye West is just so unquestionably important (I’ve even read “nexus of the zeitgeist” and doesn’t that just make you want to barf) that they’ve taken to talking about Yeezus like it’s a vital cultural artifact just because it’s angry and peppered with some racial signifiers and sounds shitty.
So let’s establish why we care about Kanye West in the first place. First and foremost, obviously, is his music. Without that, there’s none of the bullshit that really makes up the mythos of Kanye West. And without doubt, the music has generally been good: hip, forward thinking, oftentimes compelling and all of it sounds fantastic in a car. The second, more prevalent reason we care about Kanye West to the extent that we do is that he comes off like an idiot savant who says and does outrageous things that, at their best, have a ring of truth to them that most of a white-bread celebrity populace is too chickenshit to admit. “George Bush doesn’t care about black people,” “Beyoncé had the best video of all time,” all of his greatest/worst PR moments became cultural memes because they were right, while at the same time came from a funny man who people didn’t have to take seriously because the guy thinks he’s Jesus and just named his kid North (Fucking) West. He’s nearly as impossible to love sincerely as he is to ignore, which make him a perfect media star. He’s repulsive, yet we’re compelled; he’s a moron, but is closer to the truth than arguably anyone else with his level of fame, all with a musical catalog that White America can bump comfortably while keeping the guy at a safe, ironic distance. It’s all contradictions baby; we love to hate.
It’s only fitting, then, that Yeezus is simultaneously terrible and totally Kanye. What we apparently love about Kanye West—his bombastic personality, his forward-thinking music, his ego, his stupidity, his political earnestness and naivety—is all blasted on it with a burning rage. A Kanye West album where the brilliant musical mind and the massive ego work in tandem to go hard sounds awesome, in theory, but, as becomes quickly apparent, Yeezus doesn’t present like most Kanye West albums where the contradictions work towards creating a beautiful mess (see: My Beautiful Dark Twisted Fantasy with its nearly-cartoonish grandiosity and tendency towards the self-effacing). It actually sounds terrible. The burning rage is expressed mostly in the clipping frequency of the beats, a trend which more often tends to be obnoxious rather than arrestingly bizarre.
But what of it? Perhaps this is in service of a larger point, training our ear for a newer, rawer Kanye? Well, sort of: the Kanye West of Yeezus spits with an intensity that certainly suggests he’s out to make an explicit statement. There are nods towards blackness scattered throughout the album, track titles like “Black Skinhead,” “New Slaves,” “Blood on the Leaves” (“I Am A God” unfortunately having nothing to do with Five Percent Black-American Islam; Kanye’s just saying that), but except for “Black Skinhead” and “New Slaves,” the album’s racial politics are nearly all subtextual; Kanye actually says little about race explicitly, and when he appears to, it’s weirdly appropriated. Much has been made about the use of Martin Luther King’s “Free at Last” quote in regards to Kim’s boobies, and the sample of Nina Simone’s striking song about lynching, “Strange Fruit,” at least raises interesting questions about how racial history can be used in a postmodern context and who can use it. Other than that, the sample itself blends into the background of a molly-popping breakup banger and you can make of that what you will. Mostly, Yeezus is par-for-the-course Kanye, his ego endearingly silly (“hurry up with my damn croissants!”), clever one-liners occasionally peppered in, some racially insensitive come-ons that are already getting brushed over by everyone, and some overblown pathos that wouldn’t sound out of place on 808s and Heartbreaks; in other words, Yeezus is nothing new or particularly interesting despite all the dressings of being capital-I important (a phrase Tiny Mix Tapes used that I’ll revisit later).
Yeezus is sonically and politically entirely about contradictions, which is what’s sparked the intense critical debate surrounding it, but also what makes it aggravatingly empty. Its refusal to comment upon its contradictions, whether that’s intentional or, more likely, Kanye not having a definitive grasp of what he’s really going for, makes it needlessly maddening, an album’s worth of “no one knows what it means, but it’s provocative.” Song breaks apropos of nothing pop up and go by, baiting our ears for a statement that never comes. Guest spots sound weirdly inorganic, particularly Great-White-Bro Justin Vernon’s, whose lush voice clashes so harshly with the record’s aggressively “anti” ethos that it comes off as an obvious shoehorn rather than a meaningful juxtaposition of beauty and ugliness. This is the central problem of Yeezus: it’s trickery and bombast without a payoff, “challenging” music whose rewards are entirely predicated on the indulgence the listener is willing to afford Kanye West instead of being embedded in the music itself.
And lordy lord, has he been indulged. Because he has to be, whether or not he deserves it. Here are two quotes from an exhaustive Tiny Mix Tapes piece on Yeezus by Alex Griffin:
“West is not a savior, a spokesperson, or an activist. This album is about and for one person only, yet being indifferent to Kanye is like not voting.”
“What (Kanye) gives us are questions. He’s been ahead of the game since he stepped foot in it, and this is going to be capital-i Important for the next six months at least, so listening to Yeezus is basically like Pascal’s wager: whether he’s right or wrong, incredible or tasteless, it’s a safer bet to pay attention to him. But that’s still a matter of faith.”
For me, this sums up Yeezus: it’s important because it’s Kanye West, which is like saying it’s important just because it is. Not because it demands it, or because it’s necessarily good, but because it’s interesting, which is a way more loaded adjective than “good.” And it has no pretense towards being good. Yeezus sounds as if Kanye dropped any notion of being an entertainer and full-on indulged himself, which isn’t necessarily a bad thing, but through this self-indulgence he comes up with a series of nothings masquerading as somethings. There’s an argument that Kanye makes his personal universal, but this doesn’t apply to Yeezus. This album is Kanye West for Kanye West, the man standing at a microphone with all eyes on him, spouting whatever comes to his head. And like we’ve been trained to do the past ten years, we flock to it ready to find the brilliance in his bravado that reveals something about us, a truth that’s ahead of the curve. But this time, it’s not there; there are only the questions and talking points, blustering, raging rhetoric with nothing underneath it, none of the zeitgeist-nabbing je ne sais quoi that keeps us waiting on baited breath for the words of the prophet Yeezus. So I’m throwing my hands up and saying No, Kanye West. I don’t have to care about you because this time, you have not earned it.
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Also, think you left a word out of this quote: "But does that really mean we have to shit ourselves pondering the politics Kanye West?"
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and as much as i quite like yeezus, i'm glad someone else has finally pointed out how shitty it sounds, the clipping is horrific for much of the album
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Nice read, enjoyed seeing someone not give the album/creator high marks.
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like u have no idea.
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B|
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im just here to support my strong sister electic sixer free at last from the tyranny of kanye west and the overbearing influence the rapper has had on his LIFE and the lives of others #blessed #america
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THE PEOPLE HAVE TO KNOW
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"na this is just so silly and overdramatic but i think that's how we're supposed to write about music."
yup
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maybe people are overthinking yeezus though like
it's just 30 mins of tasty jams with a bit of garbage thrown in
why do people even consider/care about cultural impact etc while listening to an album?
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I mean I don't like letting public perception sway my opinion, but it's interesting to see what cultural commentary there is going on/what the public reaction is.
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not that I've anything to complain about. sure, kanye's shit goes on every like 5 commercials in the U.S., but that's pretty much the scope of my exposure to his 'importance'. what's nice for me is that a lot of my classmates also dig his music, and it's rather rare for us to share artists that we both like/enjoy so his presence has never bothered me.
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I do have to wonder if 'Yeezus' will make people re-think their opinion of its predecessor - one way or another.
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and i know buzzfeed is usually terrible but this well-written i promizz
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I am so fucking done caring about Kanye West. "
This is fucking pointless
06.22.13
I mean dislike it but ABHORRENT is a lil much no?
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at least they cared enough to put it in the recycling bin ^_^
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CDs are e-waste though you have to take them to certain recycling centers in most cities.
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Aids likes this
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go go go
06.23.13
this album is almost a satire of his ego, and seems rather self aware (that screaming break down in i am a god sums up the meaning of that song for me) whereas MBDTF was just all over the top and you could tell kanye thought he was making something super artsy with it, which takes away from the actual 'honest art'.
i loved his first 3 albums, thought 808's was the most intriguing thing a hip hop artist has done (for better or worse) and think yeezus is a perfect combination of his prior works
i also care 0% about kanye's personal life and wasn't even aware he had a baby
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hardly! id even say the opposite but at the very least we're all yelling at each other and aint that just the beauty of human existence
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kinda
it'd be boring without it
Like without Robertsona existing I'd probs feel 5% less superior cause he's so silly
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you're wrong there.
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john hanson - winning
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the haters are definitely more vocal, you just spend too much time talking to lewis and conrad and not enough time interacting with your real life friends, 90% of whom probably think it's utter shit. Maybe our social circles are different in that respect but, yeah, most of the people I hang out with think it's such a piece of shit. I have two friends who like it.
06.24.13
i like kanye and this album but this is certainly well-written at least
06.25.13
my irl friends are all sort of into it but cant decide why they dont love it AND THATS WHERE I COME IN
06.25.13
don't turn into Hanson
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oh and i really dgaf about that little spat you with you and lara. she misinterpreted your tone or w/e and overreacted
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I would be both Feanor and Fingolfin
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I think I read too deep into your comment
and thought you were more clever than you are #lewisreviews
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no youre right im brilliant wow i surprise even myself
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