Now that the Summer inspiration series is over with, why not start another brief one?
A friend of mine who works at a movie theatre texted me a few days ago that Kanye West had just walked in to see Bridesmaids. It wasn't the first time the super-star had graced the theatre. Last time, according to my friend, he came in with gorgeous models/strippers attached to his right and left arm. Flashing his diamond teeth, Yeezy and his female companions enjoyed the latest Toy Story installment.
These texts sparked the "love him vs. hate him" argument about Kanye that's been circling since the Taylor Swift incident...or maybe since 808's and Heartbreaks. Actually, ever since he became a pompous and unapologetic sensation the debate has been incessant, picking up momentum in the past six years of Kanye outbursts, whether they be political, musical, or controversial.
Here at Profound Co., many of us have a soft spot for the tunes and fashion sense of Mr. West. As a media studies scholar, I enjoy examining the meaning Kanye makes through his words and actions that are consumed and interpreted thousands of times over across the world. Musically, I consider him a modern-day genius. As a producer and artistic director, his vision is on point. He can create a beautiful track. The G.O.O.D. Friday singles that led up to the release of My Beautiful Dark Twisted Fantasy, truly a project of collaborations, prove that West has a deep understanding of music, particularly pop music, and knows how to blend the right artists, samples, and beats to create a real piece of art. Unfortunately, I also realize that Ye' has become the fame monster so present on the album. Despite his genius, his arrogant personality and materialistic values spill into his music and persona more than what's considered likeable for a celebrity. It's distracting and annoying. To me, Kanye is like Jay-Z: say what you want about him now, but you can't deny what he was.
As mentioned earlier, Kanye rose to prominence due to his talent of making meaning. His songs weren't always about Prada and models, and neither was he. After a horrible fall from grace that was the VMA incident which followed the tragic death of his mother (and some murmur a bad breakup), I would argue that Kanye has realized this. For the most part, the narrator of MBDTF comes off as a shamed participator who is consciously aware of the maniacal world he willingly participates in. In honor of this consciousness and the career of a brilliant artists that is far from over but has become harder to love, this series is dedicated to the all-time best Kanye tracks. The songs that no matter what becomes of him you can look back and be proud of bobbing your head to. The songs of the man before he became tainted by the power. For what it's worth, Kanye has never lost his ability to actually say something, and if you listen close enough you'll still hear it on MBDTF and probably the upcoming album with Jay-Z. But in case you're new to this idea, this weekly series will ideally train your ears to hear it. Let's get started with week 1.
Title: All Falls Down
Album: The College Dropout(2004)
Produced by: Kanye West
An allusion to Lauryn Hill's "Mystery of Iniquity" this 2004 track is one of the first songs the world heard from Kanye. The second single off of his first studio album, this, "Jesus Walks", and "Through the Wire" were breaths of fresh air in the days of "Yeah", "Dip it Low", "Tipsy", and "Lean Back". In retrospect, if you listen to this song close enough you can understand how the then nerdy and not hyper-masculine Chi-town rapper and producer turned into the ugly 21st century schizoid monster of "Hell of a Life", "Appalled" "Monster" and "Power".
"man i promise, i'm so self conscious..."
"All Falls Down" describes the historical disease of Black self-hatred that manifests into outrageous spending and a gnawing self-consciousness. If left untreated (and completely fed by more fame and money) it will certainly turn the sufferer into a monster. But pre-transformation, the video, staring the beautiful Stacey Dash, humanizes those suffering seemingly wealthy unfortunates we love to hate and the "single black females addicted to retail" who are their arm candy. As Syleena Johnson croons over the acoustic Wyclef-like guitar, we understand the desperation in "trying to buy back our 40 acres" and recognize the self-conscious monsters inside ourselves. Surprisingly, 'Ye poetically describes centuries of social-reproductive navigation within structural forces of racist oppression.
Favorite Line: O
ther than the entire second and third verse: "Cus they made us hate ourselves and love they wealth/that's why shorties holler where the ballers at/Drug dealers buy Jordans/ Crack heads buy Crack/ and the White Man gets paid off of all of that".
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