Yo whats good, I am really sorry I have not posted, I've been really busy with school so I no time to post, anyway alot of shit has happen since I last posted, Love Lockdown was realeased, Kanye preform at the VMA's, and Kanye got arested(damn Paparizi). Anyway I am going to start posting again.
Saturday, September 13, 2008
Saturday, August 2, 2008
Bad LR Review
Was searching around the net today and this guy basically gave LR a bad review, I think this one of the worst reviews I have ever read. Anyway this is what the site said.
Let’s everyone take a big step back, inhale deeply and try and make sense of this.
Galvanizing doesn’t begin to describe the musical, pop cultural, sociological, and economic reaction to Kanye West and his vanity-piece turned musical touchstone turned target turned “instant classic” otherwise known as 2004’s The College Dropout. Jay-Z called him the future of rap—not for his voice, but for his middle-class/nouveau riche background. The public told him to shut up when he pouted at award shows like a preppy kid who just got waitlisted at Dartmouth. He kept telling everyone about his genius. And only now are we getting somewhere near the truth: Dropout wasn’t a five star album, but it wasn’t totally an early De La Soul-mimicking piece of hype-trite either.
What remains: a continued dialogue with himself that’s sincere enough to hook the whole world into his psyche. Though he has a lingering obsession with college—the album’s title, the series of skits where Kanye takes aim at the black male experience in higher education—this time around he’s more focused on execution than self-delusion. Impressively enough (and I’m willing to bet that 20 years from now this is seen as Kanye’s true gift), he’s gotten everyone in the English speaking world to wonder if one man’s experiences (albeit an endlessly self-promoting man) are actually gospel. No one has asked if he didn’t have fun in college because he was lonely? Or a prick? He seems to want to talk about race and education: what are his feelings about school vouchers? Affirmative action? Reparations?
West never alienates anyone or takes a bold stand because he won’t give any solid answers (musically that is, after his ridiculous tirade during an appearance in the name of relief for Hurricane Katrina, he seems willing to take any position in public). Late Registration makes a few unremarkable, tired stands: crack was bad, Reagan was evil and white people love hearing about drugs (“Crack Music”). Oh, and our current President might be up to something. Great gumption, but the details are lacking. Musical bombs of protest that actually work, like P.E.’s “911 Is A Joke,” breathe with specific, small incidents that have the “big” topics painted in gracefully. Frustrated as he may be about the general public’s inability to feel his struggle, Kanye really hasn’t stood for anything fresh enough to turn himself into a lightning rod. He’s almost reserved now, more methodical in his song writing and certainly less laughably pompous and ignorant than he was on Dropout.
Uncertainty is a great theme for the record, producer Jon Brion’s gentler take on Kanye’s usually hammering neo-Stax vibe revels in the soft middle ground. “Drive Slow,” the most modest song in concept and one of the most fruitful in execution, is a few Chicago comfortable stories and a mournful lone saxophone. Kanye doesn’t try to out do guests Paul Wall and GLC. Then something magical happens: he manages to take the track on his own merits, no hype needed. He lingers on emotions and images and hangs with oodles of Houston car culture references. Kanye blends in.
Yet shades of the young Mr. West haunt his attempted vocal evolution. As wrenching as the memories behind “Roses” are, he can’t turn his exposed moments into a full-fledged pop song. He raps too loud over the soft, tapping xylophone. He can’t alter his vocals to fit the mood of the piece. To hijack Frost’s famed quote about free verse, Kanye’s music is playing tennis with no net.
Besides the gross, SAE cheap shots on “Gold Digger,” and the tight, mesmerizing bluster of “Diamonds From Sierra Leone,” it’s hard to divvy up a lot of the tracks off Late Registration into a binary system of “works/doesn’t work.” The same emotions that give one song wings cripple another a few tracks later. I still don’t know why, though I know the easy answer is “ambition.” West is “ambitious” enough to lather up a sundry of guests, “ambitious” enough to make two albums with 20 plus tracks, and most importantly he’s “ambitious” enough to never edit himself as an artist, making error after error until he hits some resonating notes. Genius? Or just foolish velocity? I don’t even think Kanye himself can differentiate between his own songs: the “public” songs have so much personal info and the “introspective” cuts have so much to do with the public.
Shamefully, the Kool-Aid has been drunk by most of the critical community (you know who I’m talking about). It’s so vital that we simply don’t put this album away as an “instant classic,” but instead hash it out like any other disc released this year. For an album that’s fixing the “stagnant” hip-hop circuit, as most critics are labeling rap in 2005, it falls prey to the same conventions: too long, too puffy (in skits), too Puffy (in absurd mogul-raps). Late Registration is a decent, decisive step forward in Kanye’s atypical, bourgeoisie ascension into the higher echelons. Not a dud, certainly not a work of cosmic art. It’s meekly above-average, though that might be the sharpest needle of all. C+
Source
Let’s everyone take a big step back, inhale deeply and try and make sense of this.
Galvanizing doesn’t begin to describe the musical, pop cultural, sociological, and economic reaction to Kanye West and his vanity-piece turned musical touchstone turned target turned “instant classic” otherwise known as 2004’s The College Dropout. Jay-Z called him the future of rap—not for his voice, but for his middle-class/nouveau riche background. The public told him to shut up when he pouted at award shows like a preppy kid who just got waitlisted at Dartmouth. He kept telling everyone about his genius. And only now are we getting somewhere near the truth: Dropout wasn’t a five star album, but it wasn’t totally an early De La Soul-mimicking piece of hype-trite either.
What remains: a continued dialogue with himself that’s sincere enough to hook the whole world into his psyche. Though he has a lingering obsession with college—the album’s title, the series of skits where Kanye takes aim at the black male experience in higher education—this time around he’s more focused on execution than self-delusion. Impressively enough (and I’m willing to bet that 20 years from now this is seen as Kanye’s true gift), he’s gotten everyone in the English speaking world to wonder if one man’s experiences (albeit an endlessly self-promoting man) are actually gospel. No one has asked if he didn’t have fun in college because he was lonely? Or a prick? He seems to want to talk about race and education: what are his feelings about school vouchers? Affirmative action? Reparations?
West never alienates anyone or takes a bold stand because he won’t give any solid answers (musically that is, after his ridiculous tirade during an appearance in the name of relief for Hurricane Katrina, he seems willing to take any position in public). Late Registration makes a few unremarkable, tired stands: crack was bad, Reagan was evil and white people love hearing about drugs (“Crack Music”). Oh, and our current President might be up to something. Great gumption, but the details are lacking. Musical bombs of protest that actually work, like P.E.’s “911 Is A Joke,” breathe with specific, small incidents that have the “big” topics painted in gracefully. Frustrated as he may be about the general public’s inability to feel his struggle, Kanye really hasn’t stood for anything fresh enough to turn himself into a lightning rod. He’s almost reserved now, more methodical in his song writing and certainly less laughably pompous and ignorant than he was on Dropout.
Uncertainty is a great theme for the record, producer Jon Brion’s gentler take on Kanye’s usually hammering neo-Stax vibe revels in the soft middle ground. “Drive Slow,” the most modest song in concept and one of the most fruitful in execution, is a few Chicago comfortable stories and a mournful lone saxophone. Kanye doesn’t try to out do guests Paul Wall and GLC. Then something magical happens: he manages to take the track on his own merits, no hype needed. He lingers on emotions and images and hangs with oodles of Houston car culture references. Kanye blends in.
Yet shades of the young Mr. West haunt his attempted vocal evolution. As wrenching as the memories behind “Roses” are, he can’t turn his exposed moments into a full-fledged pop song. He raps too loud over the soft, tapping xylophone. He can’t alter his vocals to fit the mood of the piece. To hijack Frost’s famed quote about free verse, Kanye’s music is playing tennis with no net.
Besides the gross, SAE cheap shots on “Gold Digger,” and the tight, mesmerizing bluster of “Diamonds From Sierra Leone,” it’s hard to divvy up a lot of the tracks off Late Registration into a binary system of “works/doesn’t work.” The same emotions that give one song wings cripple another a few tracks later. I still don’t know why, though I know the easy answer is “ambition.” West is “ambitious” enough to lather up a sundry of guests, “ambitious” enough to make two albums with 20 plus tracks, and most importantly he’s “ambitious” enough to never edit himself as an artist, making error after error until he hits some resonating notes. Genius? Or just foolish velocity? I don’t even think Kanye himself can differentiate between his own songs: the “public” songs have so much personal info and the “introspective” cuts have so much to do with the public.
Shamefully, the Kool-Aid has been drunk by most of the critical community (you know who I’m talking about). It’s so vital that we simply don’t put this album away as an “instant classic,” but instead hash it out like any other disc released this year. For an album that’s fixing the “stagnant” hip-hop circuit, as most critics are labeling rap in 2005, it falls prey to the same conventions: too long, too puffy (in skits), too Puffy (in absurd mogul-raps). Late Registration is a decent, decisive step forward in Kanye’s atypical, bourgeoisie ascension into the higher echelons. Not a dud, certainly not a work of cosmic art. It’s meekly above-average, though that might be the sharpest needle of all. C+
Source
Thursday, July 31, 2008
Live Through This: Kanye West
Man lately Kanye has been doing alot of t.v. specials lately maybe a transition to an actor? Who knows lol, but this what weblogs said on their site.
If you haven't yet seen any of the first three episodes of "Live Through This" on Fuse TV, dude, you're missing out on some good stuff. It fills the void left when VH1 ran out of rock stars who were rich and famous then lost it all to heroin, cocaine or alcohol only to get rich and famous again to document on "Behind the Music." Although this show is slightly different in its approach, if you were hooked on "Behind the Music," you'll get just as hooked with "Live Through This." The first three episodes were on Britney Spears, Amy Winehouse and my personal fave, Nikki Sixx. "Live Through This: Kanye West" premieres Aug. 9 at 11 p.m. of Fuse TV. Definitely check it out, or at least set your DVR now. (Besides, you never know what Kanye West is going to say on camera.)
Any way I can't wait for this
Wednesday, July 30, 2008
Can HBO make him a TV star?
HBO remains hell-bent on finding a way to showcase the talents of Kanye West. Long before the writers’ strike began last November, the network began discussing whether to team the rapper with executive producer Larry Charles (Curb Your Enthusiasm) for a yet-to-be-named, single-camera series that would follow the busy life of the Grammy-winning artist and his relationship with family and friends. One key insider says HBO is now looking for a writer — and some creative inspiration — before moving forward with the project: “We need to figure out how to capture Kanye in the right way.” Anything that allows him to gas on about his many talents should do the trick.
Source
Tuesday, July 29, 2008
Fonzworth Bentley feat kanYe, Andre 3000 & Sa-Ra) - Everybody
Well here is Fonzworth Bentley new song "Everybody" with guest appearances from Andree 3000, Sa Ra, and of course KanYe.
Kanye Gets 2nd Best Verse Ever.
Well Get Your Mind Right is doing a three part series called "The Best Verses Ever". Well Kanye won second with his third verse on "All Falls Down"
Here is the Verse:
"I say fuck the police, that’s how I treat ‘em/ We buy our way out of jail, but we can't buy freedom/ We'll buy a lot of clothes when we don't really need ‘em/ Things we buy to cover up what's inside/ Cause they made us hate ourself and love they wealth/ That's why shorties hollering "where the ballas' at?"/ Drug dealer buy Jordans, crackhead buy crack/ And the white man get paid off of all of that/ But I ain't even gon' act holier than thou/ 'Cause fuck it, I went to Jacob with 25 thou/ Before I had a house and I'd do it again/ 'Cause I wanna be on 106 & Park pushing a Benz/ I wanna act ballerific like it's all terrific/ I got a couple past due bills, I won't get specific/ I got a problem with spending before I get it/ We all self-conscious I'm just the first to admit it."
Monday, July 28, 2008
Choose Or Lose & Kanye West Present: Homecoming
MTV News and Kanye West have teamed up to tell the stories of returning veterans in the powerful documentary “Choose or Lose & Kanye West Present: Homecoming” set to air on Monday, July 28 at 10pm ET/PT. Well if you missed it tonight don't worry here is a link to watch the episode.
Click this link to watch it
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