Posts Tagged ‘Kanye West’

Jesus of Cool: We Wuz Robbed! Great #2 Hits of the ’00s

My apologies to anyone who’s been waiting with bated breath for me to wrap up this series – is there any such person out there? I left off in early August, with my review of songs that failed to wriggle their way past Mariah Carey and/or Boyz II Men to reach the top of Billboard’s Hot 100 during the ’90s. Since then I’ve faced the same trepidation I had last year while surveying the Worst Number One Songs of the ’00s – namely, the fact that I feel less than eminently qualified to pass judgment on the Auto-Tune Era. Finally, though, as Woody Harrelson puts it so eloquently in Zombieland, I decided it was time to “nut up or shut up,” so here we are.

Fortunately, I’ve got the artist kicking off our countdown to push me forward, and remind me why I took up this six-part (so far) endeavor in the first place. As always, I’ll conclude with a list of some other #2s from the decade.

11. “Work It,” Missy “Misdemeanor” Elliott. I don’t particularly care for this track, but there are a couple reasons why it’s a perfect launching pad for this column. For one, it represents a key step in the evolution of hip-hop toward raunchy themes and racy lyrics. Because Missy was as nasty as the boyz of her era, she absolved the trend of any misogynist stigma, and it was a quick step from “Work It” to the strip-club hip-hop soul that’s become so prevalent lately. Not that there’s anything wrong with that, necessarily … though when even Jordin Sparks is singing about “the club,” maybe the moment is over, huh? Anyway, the other key accomplishment of “Work It” was its 10-week stay at #2 — tied with Foreigner’s “Waiting for a Girl Like You” (which we celebrated here) for the longest runner-up run in chart history. And here’s where we’ve gotta give Missy her props, because she’s got the stones to admit that only reaching #2 with her biggest hit kinda sucked. “I just wanted to die those ten weeks,” she said of being blocked by Eminem’s smash “Lose Yourself” through the winter of ’03. “I mean, it wasn’t cool.” (more…)

Dw. Dunphy On… “You Lie!”: The Backstory

The outburst heard ’round the nation, at least until Kanye West co-opted the mike: South Carolina Representative Joe Wilson’s interjection during President Obama’s health care pitch to Congress. A million would-be pundits and chat show hosts have ruminated on it, the masses have reviled him as well as lauded him, backing their positions up with donations to electoral funds, and even former President Jimmy Carter has weighed in. Carter’s belief that “You lie!” was racially motivated seems genuine but, at the same time, heavily influenced by Maureen Dowd’s column on the subject, titled “Boy Oh Boy.”

I’m split down the middle on the racism of the comment. Standing alone, it bears zero indication of racial prejudice. It can be interpreted in a thousand ways, and has, but itself is not inflammatory. It’s all in how the listener interprets it that gives it the bulk of the controversy, and so there’s no way of crying racism beyond a shadow of doubt. As two words stitched together, intention is loaded with nothing but doubt. At the same time, though, the fact that the very white Congressman Wilson felt he could just blurt this out while the very black President was giving a speech, a disrespect he might not have shown were it a good-ol’-boy fellow in Obama’s stead, is one that would cause people to see prejudice.

I could go on for several more paragraphs about how George W. Bush was soundly boo’ed at the last few congressional speeches he made, but then I would have to weigh the emotional impact of the sound ‘boo’ versus implying the President is a liar. For some, they’re equally insulting; for others, the two hardly compare. I speculate that your take on it will depend on what side of the aisle you choose to sit on (and perhaps your willingness to reach across said aisle would play into the equation as well.) (more…)

Sugar Water: Off the Record, I’m a Liar

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When things are said off the record in the world of politics, they should stay off the record. Unless I need something to write about, of course.

Last week I brought you an exclusive report on the scripted outbursts Rep. Joe Wilson almost said in place of “You lie!” when responding to President Obama’s position on illegal immigrants receiving universal health care. I obtained the list of outbursts from a congressional aide named Mark Cloth, who asked not to be identified, but I’m not a real journalist with “ethics” or “common decency” — either slip me a Benjamin or suffer the consequences.

I went ahead and used Cloth’s name, but it turns out he was using an alias inspired by Deep Throat, from All the President’s Men. He duped me, but I’m not mad. The way I see it, we both got what we wanted, and neither of us had to look at the other one naked.

On Monday the president was about to be interviewed by John Harwood when the CNBC reporter casually asked him what he thought of Kanye West’s outburst at the MTV Video Music Awards on Sunday night, comparing the hip-hop artist to Wilson. West had interrupted Best Female Video winner Taylor Swift’s acceptance speech by grabbing the microphone from her and complaining that Beyoncé deserved the award instead. Obama’s opinion was “He’s a jackass,” which got some laughs from people in the room, but the president quickly tried to make sure his off-the-cuff comment would stay off the record.

Yeah, right. The tape was already rolling, and Terry Moran, co-anchor of ABC’s Nightline, apparently overheard the pre-interview conversation, because he soon jumped on his Twitter account and wrote, “Pres. Obama just called Kanye West a ‘jackass’ for his outburst at VMAs when Taylor Swift won. Now THAT’S presidential.” And that’s unprofessional, Moron — unless you somehow got a Benjamin out of it, that is. (I wonder if he had to look at Vice President Biden naked.)

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CD Review: Kid Cudi, “Man on the Moon: The End of Day”

61MK69GHfCL._SCLZZZZZZZ_[1]This probably isn’t the best week for a Kanye West protege to drop his debut full-length album, but don’t feel too badly for Kid Cudi — with a couple of hit singles (the ubiquitous “Day ‘N’ Nite” and brilliantly crude “Make Her Say”) and one of the most heavily buzzed-about releases of the fourth quarter, he didn’t need to worry about any controversies dogging his label chief. In order to turn Man on the Moon: The End of Day into a platinum seller, all he had to do was turn in a halfway decent record.

Which is exactly what he’s done.

Cudi’s downcast confessional bent has prompted some to peg his music as “emo rap,” which isn’t far from the mark, I guess — although you won’t hear any Chris Carrabba-style screaming in Man on the Moon. Instead, you’ll get a whole lot of analog (or at least analog-sounding) synths and primitive drum programs, along with lyrics about loneliness and frustration. It’s basically a slightly more sonically expansive cousin to West’s 808s and Heartbreak, only Cudi doesn’t have to rely on Auto-Tune shenanigans to get his point across. On the other hand, given how often he uses monotonous melodies, and double-tracks his vocals on top of them, you may actually pine for a little Auto-Tune, which is Man’s biggest problem — it takes some really nifty, attentive production and wastes it on songs that, by and large, didn’t deserve the effort. (more…)

TV Review: “Glee”

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So this is it, huh? This is what you guys were freaking out about all summer? I admit, I haven’t seen the supposedly wonderful pilot, and picking up a series at its second episode probably isn’t the best idea, but…still, I have to say, I don’t really understand all the fuss about Glee.

A Fox summer sensation, Glee follows the occasionally musical adventures at William McKinley High School in Lima, Ohio, centering on the school’s glee club (hence, duh, the title). Led by the school’s Spanish teacher, Will Schuester (Matthew Morrison), the club combats all the usual stuff — indifferent school administrators, hostile popular kids, et cetera — while singing and dancing their way through covers of songs like “Can’t Fight This Feeling” and “Gold Digger.” As you might imagine, given the title of the series, there’s an awful lot of perky, quirky humor on display here — but there’s also a strong underlying note of melancholy; not only are the kids in the glee club as dumped on as you might expect (in the first five minutes, club star Rachel [played by Lea Michele] stands up to a cheerleader and gets a pair of blue Slurpees to the face for her comeuppance), but the adults in their lives are also utterly unfulfilled. (more…)

Mix Six: “Graduation Day”

LISTEN TO THE FULL MIX HERE

This is the time of the year when graduates go through the ritual where they transition from one stage of life to another. It’s certainly an emotional time for all involved, and it does mark endings and beginnings. I don’t know about you, but when I graduated from high school, it was really strange to think that I was finished; that I wasn’t coming back in the fall. But I got over it, and quickly moved on. When I finished college, I was just excited to finally complete a degree that took far-too-long to get. I was ready to start my “adult life” and enter the world of careers, maybe marriage, kids, mortgages, and all that grown-up stuff. But what did I do? Um, I dove right back into school after a year of working at some crappy jobs. Ah, I guess I wasn’t quite ready to leave the womb. But enough about me. Here’s to you! The class of 2008. Go forth and kick some ass.


“I’m Coming Out,”
Diana Ross

It seems this song has become a huge graduation song among “the kids.” I’m surprised it’s survived this long, but I suppose it’s a classic — even if it’s a classic performed by a really, really, really, really, bad person. (more…)

Hey, You Kids Get Out of My Yard!: Holdin’ Out for a Hero

When I was a kid, my heroes were, at the very least, deserving of adoration. The Beatles, Rolling Stones, Cheap Trick, Dan Pastorini (the one non-musician of the bunch) — the one thing they had in common was that they were immensely talented at what they did. Some would say that they were among the very best, and thus, they seemed bigger than life to me and the millions who adored them. I was inspired by them and what I perceived to be their dedication to the craft. I also admired their shrewd understanding that a fair bit of marketing went a long way, too.

Of course, the music world is not just full of legendary artists such as those named above. For as long as there have been artistes, there have been those whose marketing overshadowed their artistic endeavors. I’m thinking along the lines of C.W. McCall, Taco, and — oh, what the heck — Sigue Sigue Sputnik.

Such one-hit wonders would invariably come out of nowhere, dominate the airwaves for every last second of their fifteen minutes of fame and then, thankfully, disappear into pop oblivion. The respectable artists who were temporarily swept aside to make way for this brief dalliance with the latest “here today, gone tomorrow” pop confection would then return to their rightful place on radio playlists and the ship would right itself.

I mean, acts like Tiffany, Sly Fox, After the Fire, and others had their success, but it was always understood that they’d go away. That’s what one- or two-hit wonders did. It was understood.

But then something weird happened.

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