I’m Janelle Monáe, and I AMA Dirty Computer. - HipHop | HipHop Channel

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I’m Janelle Monáe, and I AMA Dirty Computer. - HipHop

I’m Janelle Monáe, and I AMA Dirty Computer. - HipHop

I’m Janelle Monáe, and I AMA Dirty Computer.

Posted: 02 May 2018 11:33 AM PDT

I'm here and ready to talk about Dirty Computer. My emotion picture is out now.

*EMOTION PICTURE (definition): a narrative film and accompanying musical album

Dirty Computer Tour Starts June 2018. Get your tickets now http://jmonae.com

Proof: https://i.redd.it/5u8wc5s4phv01.jpg

Edit: guys since I'm on Reddit regularly and have been for almost 7 years (cakeday Saturday) I know this will take some time to respond to all of these questions. Pls be patient with me 💗😊

Edit: 4:22. I'm stepping into an interview for 30 min. brb. Upvote the best questions pls.

Edit: I'm back

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Kanye talking to the Paparazzi today.

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A look back at Kanye c. 2005 through the lens of student reviews of his 14 November, 2005 concert

Posted: 02 May 2018 04:02 AM PDT

Kanye's antics have been really getting to me recently. I admittedly stopped loving Kanye so much as a person after MBDTW, but people always talked about him like he was socially conscious and had some larger picture. I wanted to go back and show why people were so willing to give him that benefit of the doubt.

It's interesting to see these reviews and look at things in a new light. The first review goes to great lengths to stress that Kanye appeals to white people because he manages to come off as nonthreatening and can be related to more as a result of his middle-class upbringing. Though, what I personally believe made people appreciate him so much was how fearlessly he confronted social stratification regardless of that upbringing.

Ideas rapped in song: Hip-hop icon West brings intelligence, fun to UIC concert

It was a telling sign that when Kanye West used a bed as a prop during his concert Monday at the UIC Pavilion, it wasn't to simulate a close encounter with a scantily clad dancer or a provocatively dressed fan.

Rap and R&B smoothies have been known to titillate their audiences with risque play-acting in their concerts, but as with much of his career so far, West is more interested in busting hip-hop cliches than exploiting them.

So West woke up in his bed alone, and then groggily faced another day working at a retail store in the songs "Drive Slow" and "Spaceship." Later, he was kneeling next to the bed praying for his ailing grandmother in "Roses."

These were images to which just about anyone in West's middle-class audience could relate. The 28-year-old rapper in the preppy clothes paced the stage in a gangsta-free zone, where guns, gang signs and oversize displays of bling were passe. Instead, he offered lyrical, sometimes comical slices from a life growing up on the South Side, working dead-end jobs in shopping malls while trying to establish himself as a hip-hop producer. His unthreatening image has made him one of the few rap acts to appeal to a wide audience outside hip-hop's core. Three Grammys, two multimillion-selling albums and one Time magazine cover story hailing him as "the smartest man in pop music" have helped make him a major star, albeit an outspoken one. In recent weeks, he's criticized President Bush on New Orleans hurricane relief, and campaigned for greater tolerance of gays in hip-hop. He may be mainstream, but he's not milquetoast.

On stage, West floated Godzilla-size pop hooks built on crowd-pleasing pop references: An opening burst of the theme from "The Jeffersons;" a Ray Charles vocal for "Gold Digger;" a nod to Shirley Bassey and the James Bond movie soundtracks in "Diamonds from Sierra Leone." The ear candy may have been strictly middle of the road, but it provided an entree to more complex ideas. Beneath the exultant chorus of "Jesus Walks," a lapsed Christian wrestles with his faith. Tucked inside the anthemic hook of "Diamonds," the rapper questions the human toll exacted in African mines to satisfy his jewel craving. And the bedside sentiments of "Roses" also served as a critique of a health-care system that neglects the poor.

Sonically, this was a hip-hop tour that distanced itself from the sturdy two-turntables-and-a-microphone aesthetic with a seven-member string section, as well as a keyboardist, a percussionist, two back-up singers and a deejay.

The band was arrayed in four transparent cubes, which doubled as video screens, an avant-garde presentation worthy of David Bowie. The visuals--a blend of dramatic blood-run lighting, vivid black-and-white images, religious iconography and even excerpts from negative reviews--were as disturbing as they were alluring. They enhanced the harsh beats of "Crack Music" and the dissonant outro of "Gone."

On several levels, West's concert was unlike any hip-hop tour ever staged. It moved from peak to peak fueled by the expert integration of music, message and visuals, while dispensing with right side-left side, wave-your-hands-in-the-air cliches. For years West has been primarily known as a producer, but he prowled the lip of the stage in his sports coats and slacks like a seasoned showman.

Oddly, the only break in the action came when West invited his old South Side mentor and role model, Common, to join him for a mid-concert mini-set. Though the shaven-headed guest was at his fiery best on "Testify" and "The Light," the added star power killed some of the momentum West had already built. The curtain closed on the band, the lights went up, and the effect was more like a commercial interruption than a seamless extension of West's vision. This was a show conceived like a multi-act play, and hip-hop's most ambitious entertainer needed no help in bringing it down the home stretch.

 

Kanye West: Chicago's Star-Rapper at UIC

On the night of Monday, November 14,Kanye West returned to his hometown of Chicago,gracing the UIC Pavilion with his lyrical beats.Recent American Idol winner Fantasia performed the opening act, setting the scene with a gospel James Brown-like presentation. Tension and anxiety built as fans eagerly waited during the intermission for the hottest hip-hop artist of the moment. Finally, thirty minutes later, Kanye himself appeared on stage dressed in a pink suit and sporting white-rimmed shades, indefinitely boasting a splash of ice around his neck. Amongthe guest appearances was the smooth R&B artist Common who performed his hit "I Used to Love Her.

"The "Touch the Sky" tour featured a dynamic show featuring a native-Chicago DJ and a strings quartet playing from behind a sheer curtain, a concept unique to conventional hip hop shows and an aspect West has harped on as being the first to introduce it into hip hop. The simple stage props included a microphone with two backup singers, one of whom was Kanye's cousin, and a bench which served as both a foot stool and a seat for the rapper during his acts. The utilitarian approach taken during the show allowed the true feelings of the songs to shine through.

Another refreshing feature of the show wasWest's blunt lyrics which discuss issues that many artists in the genre don't care to touch upon, such as the unnecessary need for material acquisition. The crowd was energetic and enthusiastic as they sang along to most of the radio hits, in addition to some die-hard fans who knew every song by heart. The show was inspiring and raw, and I left the show still humming and singing to Common and Kanye's hit"Go." Overall, my review of the concert would haveto award Kanye with a big two thumbs up.

One thing I'd like to add to somewhat contextualize what I spoke about earlier: why people gave him the benefit of the doubt, is an excerpt from an interview with Zane Lowe back in 2013.

"My father was a Black Panther, my father was a photo journalist. We had a dark room in our house. Seven years ago, he lived in a homeless shelter, not because he was homeless, because he wanted to help the ex-drug addicts, he wanted to get that close. He started a foundation called Good Water and moved to the Dominican Republic, to help with the prostitution, to help with the extortion. He stays in the DR right now. My mom was the first black female chair of the English Department. There is no awards show, there is no amount of Billboards, there is nothing that can define me or make me pass what my parents made me. And that's exactly who I am."

This is why I'm so upset about everything Kanye is doing. He knows better. I found these reviews by searching for articles that included the words, "Crack Music" from when Late Registration dropped to the end of the year.

The first half of the first stanza from Crack Music shows Kanye knows, or at least, knew his history.

How we stop the Black Panthers?

Ronald Reagan cooked up an answer

You hear that? What Gil Scott was hearin'

When our heroes or heroines got hooked on heroin

Crack raised the murder rate in D.C. and Maryland

We invested in that, it's like we got Merrill lynched

And we been hangin' from the same tree ever since

Kanye claiming slavery was a choice cannnot possibly be reconciled with what he has obviously shown to be aware of, other than willful ignorance or delusion. His embracement of Trump and claiming he hasn't paid attention to politics is bullshit. He inspired people by being politically outspoken. He knows who the Republican party actually is.

The Kanye of today is the antithesis of what Kanye once was. We just have to accept it's essentially two different Kanyes and not judge him based on his past. We know he either rejects it or forgot it. So I'll just see this Kanye as another anti-intellectual alt-right mouthpiece with bombastic divisive rhetoric. If we get that Kanye back one day, so be it, but until then, I'm not going to try and reconcile him with his past. Sorry, Mr. West is gone.

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