DanielsonTHAGOAT wrote:Kirbi wrote:You showed me one, and even then it's dubious i.e. he uses slavery as a comparison, but doesn't go to the lengths that West does in stating that it's today's form of slavery. This being the thing that people have a problem with. Basically, you've shown that other people are capable of making points about the exploitation in the industry while being only kind of dodgy, instead of being a total cuntbar. Colour me shocked.
How is it dubious? lol, the annotation I posted for you even links to Kanye's message. Regardless if you agree with it or not, he still approaches and talks about the same content as him.
It's dubious because, as I stated:
Kirbi wrote: he uses slavery as a comparison, but doesn't go to the lengths that West does in stating that it's today's form of slavery.
As in,
it is your use of this song as an example of someone other that West saying that the music industry's exploitation of its artists is today's form of slavery, that I find dubious.
DanielsonTHAGOAT wrote:Basically, this is the point that you have yet to prove. I'm guessing that it's because you can't.
Okay, I'll just link you to all the articles that review the album and like his lyrics.
http://www.adequacy.net/2013/06/kanye-west-yeezus/
Well, this one appears to reference the lyrics specifically in these sections of the review:
(Spoiler-tagged for collapsibility - I've also done this below.)
- "As Kid Cudi sings out, “if you loved me so much then why’d you let me go?” it’s crystal-clear that he’s delivering West’s message about being hurt and never truly understanding one’s intentions.The magic in Yeezus comes from West’s significant ability at being able to tie in poignant feelings with tremendously gifted and soaring melodies and hooks."
- "On “Hold My Liquor” West contradicts his meanings with Justin Vernon’s opening about how he [West] can definitely hold his liquor; but then in the entire, sole, verse of the song West details his drunken escapades and thus, is asking someone to hold his liquor so this monster doesn’t appear again. The album circulates around West’s personal tendencies and paints the picture of an imperfect soul – one that is still very much learning the curve of life and how to overcome all of his issues."
- "West’s swagger is in full effect of course, with the opening line to the album being “Yeezus season approaching.”"
None of these statements make the slightest reference to 'political statements' of any kind, let alone to his comments on 'new slavery'.
DanielsonTHAGOAT wrote:http://prettymuchamazing.com/reviews/kanye-west-yeezus
So, I'm going to focus on the fact that this one actually does make specific reference to his commentary in 'New Slaves', rather than going through all the lyrical references. The review states -
The notable exception of course being “New Slaves,” where West draws a (problematic) line between abhorrent Jim Crow racism and the marketing of luxury goods to young, poor African-Americans. The song lands its true stinging blow, however, when it targets America’s shameful War on Drugs:
Meanwhile the DEA, teamed up with the CCA
They tryn’a lock niggas up, they tryn’a make new slaves
See that’s that privately owned prison, get your piece today
They prolly all in the Hamptons, bragging ’bout what they made
So, while this reviewer broadly appreciates West's lyrics, they also state that the slavery connection is "problematic". I fail to see how this can be interpreted as an endorsement of West's 'new slavery' theory.
As an aside, I noted that this review also calls out one of his tracks in it's juxtaposition of racist lynching against more everyday matters:
At first glance, “Black Skinhead” and “Blood on the Leaves” appear to contain political messages, the former due to its provocative title, the latter for its sampling of Nina Simone’s seminal “Strange Fruit.” Although the first verse of “Black Skinhead” contains the album’s boldest lyric (“They see a black man with a white woman/ At the top floor they gone come to kill King Kong”), ultimately the song becomes another declaration of Kanye West’s overall awesomeness (see “Stronger,” “POWER”). “Blood on the Leaves,” on the other hand, is basically a break-up song, which makes the inclusion of Simone’s tale of lynching perplexing, if not offensive.
This section doesn't at all read as praise for West's handling of the political commentary here.
DanielsonTHAGOAT wrote:http://www.xxlmag.com/rap-music/reviews/2013/06/album-review-kanye-west-yeezus/
This review is akin to the first one, in that it references West's lyrics, but doesn't get into the specific ones we're discussing here. The lyrical references I could find were:
- "Though Yeezus marks a sonic departure from West’s orchestral instrumentation on last year’s G.O.O.D. Music compilation, Cruel Summer, it explores some of the same ideas—excess, social status, inequality—as his collaborative project with Jay-Z, Watch The Throne (2011). Only this time, the themes are discussed with more humility and humor, as Kanye doesn’t feel the need to keep up with Jay’s emotionless grandiosity. Yeezus is home to some of Kanye’s most provocative writing to date, and it sees him perfecting his formula of dissecting power and otherness with a masterpiece mix of awareness, ignorant wit and fuck-off confidence."
- "On the album’s centerpiece, “I Am A God,” Kanye alters his voice to play tongue-in-cheek, as if in on the joke that the same artist who made the God-fearing “Jesus Walks” also made an album called Yeezus. He clarifies the confusion with the line, “I am a God, even though I’m a man of God/My whole life in the hands of God, so y’all better quit playin’ with God.” In a juxtaposition of himself and God, he plays with identity so cleverly that it’s more entertainment than commentary, or commentary masked as entertainment, something Kanye’s always expertly walked the line on. Later in the track, a few beats after yelling, “In a French-ass restaurant; Hurry up with my damn croissants!” Kanye admits, “I just talked to Jesus, he said, ‘What up, Yeezus?’” He’s at his best when he reminds us of how hilarious he can be, even at his “most-high.”"
- "Another standout comes on the Chief Keef-featuring “Hold My Liquor,” an update on West’s slept-on Graduation cut “Drunk And Hot Girls.” On it, Keef shines—his hook is in equal measure heartbreaking, hopeless and empty—and gives Kanye room to pirouette through sirens and filtered drums with snarling, otherworldly couplets. The track’s lyrical highlight comes with the resentful lines: “Then her auntie came over, skinny bitch with no shoulders/Tellin’ you that I’m bogus? Bitch you don’t even know us!/’Baby girl he’s a loner, Baby girl he’s a loner’/Late-night organ donor, after daddy disowned ya.” He maintains a similar tone with “Blood On The Leaves,” an ominous lust memoir that finds Kanye flexing his forgotten rapid-fire rap skills one second and singing an 808s-esque regretful refrain the next."
- "Yeezus‘ quick and hypnotizing pace finally leads to its emotional and musical highlight, the closer “Bound 2.” It’s a twisted, compelling love song that’s reminiscent of some of West’s classic soul-tinged records. On “Bound,” Kanye raps romantically (“Close your eyes and let the word paint a thousand pictures/One good girl is worth a thousand bitches”) and quirkily (“I wanna fuck you hard on the sink, after that give you something to drink/Step back, can’t get spunk on the mink”) about an unnamed love. It’s a perfect sendoff that reminds you of Kanye’s roots while pointing you in the direction of his future."
Even an article this straight-up worshipful doesn't come near actually saying that it agrees with the sentiment that exploitation in the music industry, or in consumer culture, is tantamount to slavery.
DanielsonTHAGOAT wrote:They pretty much are fascinated about the content he raps about and praise him for it.
But they do not agree with him saying that exploitation of artists and of consumers is the same as slavery.
DanielsonTHAGOAT wrote:If Kanye's an asshole for the way he thinks and the message he puts across his music then everyone else in the hip hop community who supports him or echo the same things that he does must all be assholes as well.
Well, yes, I'd certainly think so. But where are they?