The Politics of Kanye West Take Home Midterm PDF

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Adam Glotzer 3/25/19 Midterm Exam The Politics of Kanye West I.

What is iconography and how does iconography work within Kanye West’s career?

Throughout the course of this class, the term “iconography” has come to reflect how those in the national spotlight are expected to act. As “icons,” celebrities are expected to talk, act, and even dress in a certain way. More specifically, black iconography has limited the way in which black celebrities have acted throughout history. Black celebrities have repeatedly faced scrutiny for not acting how the public wants them to. As read about in Racquel Gates’ Double Negative: The Black Image and Popular Culture, there is often a negative image placed on black celebrities due to their negative representation in the media. For example, Gates quotes comedian Chris Rock’s HBO comedy special, Kill the Messenger, in an attempt to portray the effect that individual actions of black celebrities has on black celebrities as a whole. In his special, Rock says, “in order for black people to truly reach the Promised Land, Flavor Flav has to be shot. These are important times. We got a black man running for president. We don’t need a n***** running around with a fucking clock around his neck and a Viking hat on his head” (Gates 1). In other words, Rock is saying the actions of rapper Flavor Flav will impact the way the public views presidential candidate Barack Obama. The interesting part about iconography, though, has to do with the public’s perception of Flavor Flav prior to his arrival on reality television. While Flavor Flav was still the “hype man” for the rap group Public Enemy, he was loved and embraced by all audiences. However, by keeping the same personality/representation on national television, Flav was viewed as “a black man acting foolish for the pleasure of white audiences” (Gates 2). As proven by Flav, iconography depends on the situation a celebrity is. In one situation they are loved, in another, they may be deemed foolish. There have been many different Kanye West’s throughout the entirety of his career. Kanye began his career as the “college dropout,” having his first three studio albums all related to the idea of higher education. Going against all the stereotypes of the college dropout, Kanye showed the public that success is possible without the traditional college route. If Kanye was concerned about how the public viewed him as a college dropout, he would not rap about how “they got the dropout keepin’ kids in the school,” as he does on “Champion.” As West has transitioned from this college dropout into what some consider a genius, he has done exactly what he has wanted, despite public reaction. To put it simply, Kanye West is not entirely concerned with iconography. He truly (at least he acts like) does not care about his public image or how the majority of people view him. Throughout his career, he has made ridiculous statements such as “George Bush doesn’t care about black people,” to “when you hear about slavery for 400 years… For 400 years? That sounds like a choice.” If he was really concerned with his public image, he would not make such questionable statements. Despite acting like he is unphased by public pressures, there are parts of Kanye West that do seem to care about how the public views him. For example, in his latest TMZ rant last May, West admits he felt public pressure to act a certain way. This pressure is common among those in the national spotlight; however, West rarely publicly shows this. In his rant, Kanye confesses to taking pills because the public forced him to be scared of himself and his own vision. West states, “we are drugged out, we are following other people’s opinions, we are controlled by the media.” In this rant, Kanye also admits he was addicted to opioids following the liposuction procedure he got, because “I was trying to look good for y’all” (TMZ) Despite portraying himself as a God over his career, this goes to show the impact iconography has on celebrities. While attempting to maintain this God-like reputation, West, like many other celebrities, succumbed to the pressure.

II.

What is a monster aesthetic? Identify two key ways this aesthetic shows up in the work of Kanye West? Explain.

Aesthetics of music relates to the sounds, sights, beauty, philosophy, and feelings that music gives an individual. A “monster aesthetic” is the ability of the artist to take different sounds, ideas, and histories and manipulate them in a way that is unique and has a lasting impact on their audience. For Kanye West, although questionable at times (listen to Lift Yourself), there are many critics and individuals who would label Kanye West as a creative genius. Throughout his career as both a rapper and a producer, West has been able to take the ideas and sounds of other artists and brand them in a Kanye-West-like manner. Now 15+ years into his professional musical career, West has developed his own unique sounds that can be heard in many of his own songs. One example of how this shows up in the work of Kanye West is through his extensive knowledge and use of samples in his music. Another example of this aesthetic is how West practically changed the hip-hop scene by talking about topics that were not popular in the “Bling Era” of the early 2000s. From the very beginning of his career, Kanye West was able to make a name for himself through his originality, in both sounds and ideas. In the early 2000s, the use of scattered drums and electronic instruments made up much of the hip-hop scene. However, in 2001, Jay-Z dropped one of his most influential albums, The Blueprint. On this album, a young producer named Kanye West brought back noises from past music by “sampling” these songs and creating a new sound altogether. West drew inspiration from a variety of genres and artists, including The Jackson 5, R&B group Bobby Blue Bland, and soul artist David Ruffin (Bains, 2017). Following the release of The Blueprint, there was a revival in the use of samples as a basis of production, led by none other than Kanye West. West has made a career out of chopping up old songs, manipulating tempo/rhythm/tone/sound, and creating his own unique sound. Following producing The Blueprint, Kanye has sampled various other artists in his later projects such as Ray Charles on Late Registration, James Brown on Watch the Throne, and Nina Simone on Yeezus. Although other producers have been able to sample music in their own works, no one has the ability to hear and transform music like Kanye West. Like his impact with sampling music, Kanye was able to transform the music industry through the themes and lyrics of his songs. The “Bling Era” of the early 2000s glorified expensive lifestyles and gangster attitudes until Kanye dropped his debut album The College Dropout in 2004. On his freshman album, West raps about issues such as family, religion, obsession with materialism, politics, history, and more. Even the title of the album, The College Dropout, glorifies an idea that most people view as failing. In his debut single “Through the Wire,” West tells the story of how he barely survived a car accident that left him with a mouth wired shut, allowing himself to be vulnerable to the world. “We Don’t Care,” “School Spirit,” and the various skits on the album address the topic of higher education and dropping out to pursue your dreams. On “Never Let Me Down,” West raps about his family’s history of civil rights activism and the presence of racism in modern-day politics. “Jesus Walks” discusses Kanye’s struggle with religion, specifically its relationship with hip-hop. By rapping about all the topics people before him were too scared too, West opened a door to the new age of hip-hop. Today, rappers often discuss their struggles growing up and freely speak about mental illness. Without Kanye, none of this would be possible.

III.

Choose a Kanye West video and discuss at length, how this work is emblematic of what you identify as three major course themes. Thinking about the title of the course, how does your video fit within the larger aims? Using at least 3-5 sources from the course, in addition to the visual text, how might you argue that every “Politics of Kanye West” course should engage with this particular video. What does it offer us? How does it expand the lessons learned in read material, lectures, and other visual material? Take this opportunity to use your video/visual analysts chops, while also demonstrating an attention toward major course ideas/themes. Kanye West is famously known for his atypical representations demonstrated in his art. One

particular piece of work that is extremely representative of who he is as a person and an artist is the music video for his single “POWER,” off of his 2010 album My Beautiful Dark Twisted Fantasy. The symbolism within each different scene of the video is meaningful, as it artistically addresses Kanye’s need to be in charge, while also recognizing his egoistic personality. Following the incident with Taylor Swift at the 2009 Video Music Awards, Kanye’s reputation took a turn for the worst, and because of this, he felt it was necessary to make a comeback and address the events through his music and artistic representations. Since his reputation took a turn for the worse, Kanye used this opportunity to reclaim his spot as one of the biggest pop icons in the world, while at the same time challenging societal structures that West experienced first-hand. The “music video” for “POWER” is not a typical, multi-scene, plot-driven video. Kanye’s work is always far from the ordinary. Instead, the video for this song is one that can be classified as a moving painting, consisting of symbolic details that help represent the message West is trying to relay to the audience. Although the record’s duration is four minutes and fifty-two seconds, the music video only lasts for about a minute and a half. The visual representations of the video convey the idea that Kanye is a god among his peers. My Beautiful Dark Twisted Fantasy, written by Kirk Walker Graves, breaks down each track of the album of the same title, focusing on real messages Kanye was trying to get across. “’POWER’ is a twenty-first-century rendition of ‘Ozymandias’ as told from the king’s point of view, at the summit of his reign” (Graves 68). Kanye’s portrayal of a pharaoh is representative of his view on the world and his thought process - he holds the power over everyone. After researching the meanings behind some of the symbols in the picture, it was clear that each detail had a specific part in telling the story. West includes a woman dressed as a phoenix. In mythology, the phoenix often represents death, transformation, and rebirth; all themes that are relevant in “POWER”. My Beautiful Dark Twisted Fantasy was the beginning of a new musical era for Kanye, as he was making a shift in his sound, style, and message. As the camera pans out to a wider view, there is a sword hanging over West’s head,

similarly to his album artwork for the single. The sword of Damocles is representative of the dangers of holding a large amount of power. West is aware of the potential dangers that come with holding power, yet he has no solution.. On “POWER,” West samples “21st Century Schizoid Man,” written by King Crimson; a song that criticizes those who were in power during the Vietnam War. Through West’s musical talents, he is able to keep a similar theme of the song while creating a unique sound of his own. The song originally is an explanation of the future of society and justice/injustice. Kanye’s use of sampling draws inspiration from various genres ranging from progressive rock to electronica to trip-hop. Kanye’s extensive knowledge of music allows him to connect to different groups of people, ultimately connecting society as a whole. By connecting society, West allows individuals to question the status quo, and think about problems differently. West’s unique abilities allow him to unite different people by taking common themes and translating them into his own music. He expresses his opinions on the dangers of giving too much power to authorities and celebrities, while also claiming he is worthy of the same treatment. The beginning of the song starts out with the lyrics “I’m living in the 21st century, doing something mean to it / Do it better than anybody you ever seen do it.” The power dynamic that West see’s within society is a broken one, and he utilizes his celebrity status to address these issues. “It represented the idea that those in power always labor under the specter of anxiety and death, and that ‘there can be no happiness for one who is under constant apprehensions’” (Andrews, 2016). Although Kanye may be living the “good life”, the sword is representative of the constant pressure that he has to live with while living in the public eye. Despite Kanye going against commonly accepted ideas, he too succumbs to the pressure of being a public figure. Kanye West has struggled with mental health crises for many years and often acts out because of it. In “POWER”, West makes suicidal references about how his death would be a beautiful escape from the power that he both yearns for and despises. Although this may not have a literal meaning behind it, it is still applicable to the idea that Kanye wants to be reborn as someone new. “Now this will be a beautiful death, I’m jumping out the window, I’m letting everything go, I’m letting everything go.” This music video is filled with mythological references while also telling a personal story about his personal struggles. Something that is very important to note is that the video is gone after about a minute and a half. This could have to do with the disingenuous message of fame. “Kanye Omari West: Visions of Modernity,” written by Dawn Boeck, touches upon Kanye’s different artistic periods and the message he

was attempting to convey in each. “The purpose of West’s work in each of his artistic period is to envision a future that is not only aware of but also liberated from the social structures and systems that continue to oppress and subjugate individuals within contemporary society” (Boeck 225). Kanye is able to address the fact that society has its flaws, but he also does not have a solution to it. “The system broken, the school is closed, the prison’s open.” He is well aware of the racism and prejudice that is present in our current day society and is utilizing his platform to give voice to these issues, but also implies that he too, is worthy of the power that he says is detrimental to society. Kanye is notorious for his unique ideas and perceptions of the world, which often consist of going against what is socially acceptable. As West states in an interview with Fader magazine, “society has put up so many boundaries, so many limitations on what’s right and wrong that it’s almost impossible to get a pure thought out… everyone’s born confident, and everything’s taken away from you. […] What I want people to realize at this point is, I don’t give a fuck” (Bradley 105-106). Unfortunately, going against what is socially acceptable leads to individuals being labeled as “mad.” La Marr Jurelle Bruce’s, “’The People Inside My Head, Too’: Madness, Black Womanhood, and the Radical Performance of Lauryn Hill,” tells the story of Lauryn Hill’s short-lived career. “Hill is suffering an existential dispossession before her eyes and ears: losing her audience, losing her mind, and losing her voice. For her part, Hill would likely claim that despite all she is losing, she is gaining liberation: losing the whole world to gain back her soul” (Bruce 381). In the eyes of the public, what is seen as madness, is actually freedom for the individual. Where the public sees Hill’s free thoughts and actions as a road towards losing her audience, Hill sees it as a road towards liberation - specifically from the public spotlight. With Kanye West, he also felt this pressure to escape from national headlines. Following his “breakdown” during his Life of Pablo tour (which was really just his form of free thought), West disappeared from the public in an effort to gather his abnormal thoughts. It wasn’t until early 2018 when Kanye felt comfortable enough to stand behind his free thoughts, truly going against what is commonly accepted by the public. The “POWER” music video is a prime example of how Kanye meticulously utilizes art forms to create his own art, while simultaneously expressing his opinions and constantly pushing boundaries of what is socially acceptable.

IV.

Kanye has said that he seeks to “be free.” Free thinking, free in terms of creativity, and free in the world. Regina Bradley referred to him as “cosmopolitan.” Professors McCune and Walcott discussed him as wild, or engaging in what Bruce might call “madness.” How do you understand his pursuit of freedom as a black celebrity or icon? How might you identify and discuss Kanye’s tactics toward freedom? What is the role of iconography in black celebrity pursuits of freedom? In recent interviews and tweets, Kanye West has repeatedly brought up the idea of free thought.

Kanye has made the claim that no one in this world is truly free, and everyone is a slave to something. Kanye admitted that he, too, struggles with finding freedom in a limiting world. We live in a society that whenever someone goes against what is commonly believed, they are labeled mad, crazy, or even insane. Since Kanye’s reemergence on Twitter in April of 2018, there have been countless Tweets regarding the idea of free thought. As a worldwide icon and black celebrity, West feels pressured by the public to act a certain way. However, by opening his mind to free thought, Kanye is able to reject public opinion and freely speak about how he feels. In an attempt to escape public scrutiny, West uses his music and his reach as a celebrity to make his way towards “freedom.” What Kanye means when he says “free thought” is someone who thinks independently and speaks their mind regardless of what is socially acceptable. Unfortunately, history shows that those who speak freely are labeled “mad” or “crazy.” A good example of this phenomenon is Lauryn Hill, who very publicly transitioned from “genius” to “madness” within just three years of her debut album. On this album, The Miseducation of Lauryn Hill, Hill talks about topics ranging from feminist ethics to black pride, ideas that at the time were not commonly spoken about in public, especially on a hip-hop album. “’The People Inside My Head, Too’: Madness, Black Womanhood, and the Radical Performance of Lauryn Hill,” written by La Marr Jurelle Bruce, outlines the transition from musical genius to a madwoman. Although Hill was labeled crazy by the public, in her eyes, the very same traits that made her ‘crazy’ allowed her to become free from the ‘public illusion.’ At a February 2006 concert in Los Angeles, Hill publicly stated, “[…] I’m not crazy. I’m just a black woman who’s super-smart, who can’t be bought and who can’t be bribed. I’m not a machine. I give my people the truth. Today, if you’re all of those things they think you’re crazy. If that’s the definition of crazy, then I’m crazy” (Bruce 384). Similarly to Kanye West, Hill goes against common beliefs, speaks her mind, and is labeled crazy. Hill’s second album, MTV Unplugged, was recorded in front of a live audience and featured important discussions between songs, touching upon topics such as freedom and craziness. As Hill disclosed during her Unplugged performance, “I had created this public persona, this public illusion, and it held me hostage. I

couldn’t be a real person, because you’re too afraid of what your public will say” (Bruce 385). Hill’s claims during her Unplugged performance truly demonstrate the impact iconography can have on a black celebrity. It is very difficult to be truly free when you are always in the national spotlight. Iconography places pressure on celebrities to act, look, speak, feel, and think a certain way. Iconography limits the actions and beliefs of black celebrities because if they sway from normal opinions, they are labeled mad. When Professor Rinaldo Walcott came to discuss the topic of “madness,” he share...