The lyrics can be found here. You can listen to the song below:
“DLZ” (‘Deals’) by TV on the Radio is a song that deals with “evil” and how it spreads. The first half of the song describes how a loathsome protagonist rises in power; the second focuses on his impact. Right away, the song hits you with a massive scale of sound, a crooning arriving from the highest dimensions of the cosmic sphere – the song is profound long before learning what’s being sung. This elaborates the scale of the protagonist’s misdeeds, as if to suggest this is a dictator, high-end arms dealer or Walter White from Breaking Bad. When the song closes, all that’s left is a quiet chanting: “This is beginning to feel like the dawn of a loser forever”. While every human is mortal, one’s impact lives on longer than their life – good and bad. If we take up “loser” characteristics, they may be passed on, forever.
Indirect metaphor is painted over “DLZ”’s lyrics like a coating. Taken as a whole, however, all these symbols paint but one color – an angry crimson. Furthermore, the paint is being thrown in frustration against the canvas, as if the painter has been remaking the same painting over and over, growing weary in the process. Indeed, the first line of the song, “Congratulations on the mess you made of things,” is sung with condescension and jest, summing up the song’s tone in half a sentence.
“To reconstruct the air” is impossible and the protagonist fails in his attempted reconstruction (making “a mess of things”). Oxidation is a process in which electrons are lost – this may seem out of place until making the connection that the song is describing the loss of the soul in three sentences. For going against what’s natural (“reconstructing the air”), you’ve dug yourself into a hole from which you cannot escape (the “mess you’ve made” / “compromise you owe”) and now you’ve lost your soul (the soul representing the electrons lost in oxidation). Ironically, it’s beginning to feel like the dog (the loathsome protagonist) wants a bone (is starting to feel guilty / wants a break).
If the first verse provided exposition into how the protagonist turns evil, the second describes why he remains evil. He “forces his fire” then “falsifies his deeds” – his malicious wishes are subjected to the world and when it’s time to answer consequence, he covers up ever being involved in the first place. The song implies not only does the protagonist avoid accusation; he becomes rich off of his misdeeds.
Unfortunately, no amount of fortune could ever fill the vacuous void of his soul; regardless, the protagonist still tries to satisfy this emptiness with further wealth and power. This is the beginning of the end, the point of no return – when evil becomes impossible to sustain with a sane mind (“This is beginning to feel like the dog’s lost her lead”). Again, the song is implying the protagonist has found great success, perhaps even admired by many, but has lost the spark (oxidation/soul) which made him admirable in the first place.
It is now when Tunde cries out “This is beginning to feel like the long-winded blues of the never” – this is beginning to feel like there is no going back. There is no hope, escape or plan-B. The protagonist is so consumed by greed that he’s essentially dying (“curling up slowly”) and now looks to bring the rest of the world down with him (“finding a throat to choke”). He descends down this self-made spiral so fast and with such reckless abandon, it could be compared to a train running itself off the tracks (“barely controlled locomotive”).
At this point, the only thing in his future is downfall – with a tunnel-vision, he ignores all outside perspective and hope (“consuming the picture”). Again, the song references the protagonist’s desire (“static explosion”) to pass along his disease to whomsoever gets in his way (“devoted to crushing the broken”) so that they too will suffer in the same hell (“shoving their souls to ghost”).
What’s the result? Eternal admiration; his likeness objectified into stone (“eternalized; objectified”). His “sights” were set powerfully upon the top and the song has revealed the extent of his success. However, this is where he begins to face criticism, as Tunde once again observes, “This is beginning to feel like the bolt’s busted loose from the lever” – he’s gone mad with power. Unhinged, derailed, insane – the public is catching on.
The narrator now enters the song as a second character, the antagonist in this case, and asserts how impossible it would be to ever fall victim to the protagonist’s evil nature (“Never you mind, death professor! / Your structure’s fine; my dust is better!”). This insult about “dust” seems to say “Regardless how massive or complex these structures are (“eternalized; objectified”), there’s more substance to be found in the dust from my footprint, however small it’s impact may be.” Additionally, in the same stanza is a jab toward those who are “weak” enough (“your victims”) to be swayed by the promise of power, to the point where they give everything to reach it (“fly so high”) only to realize that at the lowest pit of hell, there’s nothing to do but drag others down with you (“all to catch a bird’s eye-view of who’s next”).
Swept away in hatred for the protagonist, the narrator continues preaching upon his soapbox. “Love is life! My love is better!” Tunde declares. It’s emancipation from any remaining connection the narrator has to this narrative of evil. He theorizes if more people weren’t “confused with who’s next”, our “eyes could be the diamonds” – our transcendent focus would astound all, the same way a diamond’s shine would catch anyone’s attention.
He elaborates — “Your shocks are fine – my struts are better” – while power’s hypnotism is profound, the ability for the narrator to cast it aside allows him to rant (“strut”) with superior ease. Still, there’s another reference to how many are swayed by twisted promises (“Your fiction flies so high”) and how these people are past the point of self-correction, for they are tumbling down the spiral (“Y’all could use a doctor / who’s sick? / who’s next?”)
Pen-ultimately, the narrator sings how his love is electric, crystalizing into the psyches of everyone whom experiences it. Thus, the impact will last longer than any statue or monument. Promising how “all could be the diamond fused with–” the narrator interrupts himself: “—who’s next?” Does he question who is next to rise, or fall? The song ends soon after.
Though filled with abstract metaphor, the song’s overall tone is quite simple to grasp. From here, you can translate this general narrative into something much more specific. It is easy to fixate on the song’s phonetic title, “Deals”, as if to say this is a song about the power structure in our society and how TV on the Radio have an antidote – musical expression (“electrified – my love is better!”). However, the song is as applicable to trust issues in a relationship as it is to a critique on organized religion. Regardless what you choose to read into and what you choose to exclude, the ending of the song is very much about liberation and the mentality one develops when freed. What you are being liberated from, is up to you as a listener to decide.
The lyrics can be found here. Here is the official music video:
Daniel Dumile channels various traits of his personality into several characters. One character, Viktor Vaughn, embraces a youthful, ambitious side of Dumile. Another, King Geedorah, represents a colossal alien who commentates on humanity from an objective view-point. On 2004’s Madvillainy LP, Dumile teamed with Madlib to create a character known to many as “Madvillain” (also referred to as “The Villain”/”Villain” on the recording), and it is in this character why so many have flocked to Dumile’s provocative flow.
In the opening statement of Madvillainy, “Accordion”, we have a chance to meet Madvillain — or at least, we hear a testament to his greatness. What differentiates Dumile’s braggadocio from his contemporaries is in the nature of said testimony. The opening narration, “Living off borrowed time the clock tick faster” is entirely detached from the rest of the verse. The line vaguely contemplates upon the notion of time before sparking inspiration from an observer of said narration. This is the masked man who tells the tales of the legendary Madvillain — MF DOOM.
Think of MF DOOM, in the context of “Accordion”, as a street poet or preacher upon a soapbox, dazzling the audience with hyperbole-ridden tales of a legend (Madvillain) whom is not even physically present (and indeed, artistically, Dumile literally hides “Madvillain” behind MF DOOM’s mask). The very next line which follows the opening narration is spoken matter-of-factly, responding to the omniscient narration, as if one was reading a newspaper and remarking indifferently: “that’ll be the hour they knock the sick blaster“.
This line, as soon seen, starts a stream-of-consciousness description of Madvillain as a character. The reason why this lyricism inspires such originality and thought within the listener is because Daniel Dumile is not the one boasting about Madvillain (at least, directly). Instead, what Dumile does is create a third-person narrative, using what amounts to a street preacher (MF DOOM) to describe a main character (Madvillain) which personifies certain elements of a real personality (Daniel Dumile).
While “Accordion” is riddled with interpretive poetry, arguably four of the strongest lines are found in the following verse:
Keep your glory gold and glitter
For half, half of his n***** will take him out the picture
The other half is rich and it don’t mean s***-a
Villain a mixture of both with a twist of liquor
In these four lines, Dumile, as MF DOOM, describes Madvillain as someone who is unaffected by promises of monetary gain and illusionary, ‘glittering’ successes. In the second and third lines, we learn of his rationality for this mindset. While these lines strike hard just for the discussed content, the final line pulls together the reason why the audience is so captivated by “Accordion”. “Villain a mixture of both…” is self-loathing and self-inspiring all at once, admitting that Madvillain, as a character (and thus, part of Daniel Dumile), embraces both extremes — “with a twist of liquor”.
While “MF DOOM” is telling of the “Madvillain” character/legend, the fourth line (“Villain a mixture…“) carries the same sort of off-handedness which follows up “Living off borrowed time…” — the opening line of the song. This alludes a light-hearted glimpse into the actual character of “MF DOOM” (the street-corner poet/preacher), indirectly suggesting the characters within the world of “Madvillainy” see themselves as Madvillain. Therefore, they view him in a heroic light, and not with the same villainous bent as most of the populous.
See RapGenius’ entry on “Accordion” for a line-by-line interpretation.
Ask the average twenty-something what ‘modern art’ is and apart from an indifferent shrug, the response heard most often will be along the lines of “Oh, you mean Warhol and the soup cans?”
Warhol’s take on art was considered by many to be “the end of art”. Within the last year I have begun to realize the unintentional meaning this phrase carries in the ’00s. To the average consumer, kid, adult and American, “art” is whatever is on television, our favorite films and the video game of the moment. Traditional art, paintings, sculptures and the idea of a museum has become completely irrelevant apart from those who actively seek it out. Art has faded into the background as a hobby at best and an unnecessary, exclusive, expensive and outdated luxury at worst.
Some might say, “Well, it’s simply been redefined” — this is ignoring the issue. Paintings and the idea of putting art upon a pedestal for viewing has vanished from contemporary society and from the practical consumer’s mindset. Sure, it has been replaced by flashier culture, but it’s only on a metaphorical pedestal, not a literal one, that we view video gaming and television. What does a painting mean now? If the term “modern art” means something that is half a century old (‘soup cans’), it’s clear that the very term is hypocritical.
Personally, art has meant album artwork. This is a medium which many could toss up to containing a cohesive and beautiful statement once every 300 album covers. Regardless, I have thrived off of my last remaining attachment I have to traditional paintings, even though the pedestal said album art is viewed upon is my laptop.
There is a poster on my wall containing the album artwork of Animal Collective’s 2009 album, “Merriweather Post Pavilion”. When moving from college dorm A to college dorm B, I had forgotten to take down my posters. My friend, Ryan, kindly took the posters down and stored them in his car, where they collected dust all summer long. These posters were rolled together in a messy clump, rendering most of them ruined from being stuck together for such a long time. However, there was one interesting effect to the Merriweather Poster. In addition to several white tears, the sunlight had created a fantastic faded blue streak across the bottom of the image. It gave a precise effect that looked as if it could have only been created digitally — or perhaps by leaving a poster exposed to three months of sunlight.
With no real desire to seek out far-less stimulating culture, the place for massive and vibrant paintings, sculptures and installations has been moved to one of two places:
- There are enthusiasts, many of them, who will never say goodbye to the wonder and subtlety that “true” art, found in a museum, provides.
- The second place this art has gone to (and the place which gets far more attention) is upon Flickr accounts, various impersonal Tumblr pages and occasionally upon a Google Image search.
If art was an experience to help transcend the trivialities of daily life, if even for a moment, and said experience no longer takes place outside the stream of our lives — what does that say for art? We no longer have to visit museums to experience a plethora of styles; all we need is StumbleUpon and perhaps a search string. Such ease allows us a whirlwind of culture, but at the same time, it is easy to under-appreciate the magnitude of the culture itself.
Conceptually, the artist is dead, because there are no longer pedestals for each artist to showcase their work upon. All art created gets thrown into the digital void, upon one unified pedestal. This pedestal is shared amongst all artists and with this sharing, artistic individuality has been lost in the digital stream of consciousness. The artist is no longer relevant so much as the audience, i.e., you, as you have the power to skip to the next image or share it on your Facebook wall. This is about as much praise as one can practically expect as an artist on a mass scale, apart from the occasional PR puff piece and blogosphere commentary.
The poster on my wall does not ask for my attention, yet it exists outside the internet, in its own museum (my room) on its own pedestal (the wall). The audience (I and whoever is in the room at the time) is not forced to look upon this poster, but when they do, it captures the overstimulated attention span, if just for a moment. Modern art is individually-oriented and based around personal narratives — one glance upon the poster reminds of a story. It calls attention to something I have no control over (sunlight, the forces of nature, destroying my perfect replica of a favorite album) and in its own subliminal way, reminds of my own impermanence. One may think that this is all a bit hyperbolic, but that’s just it! There is nothing that is going to exist in our lives which will live up to the mythical shadow cast upon by pre-internet society, when it was impossible to fathom the audience even touching the pedestal, let alone controlling what was seen upon it.
This is why I can look to a sun-faded Animal Collective poster as the highest example of contemporary art imaginable. This is why the definition of art in practical, contemporary society is exactly what you as a viewer, view it to be. While artists will continue to make thought-provoking work to be seen in small scales, the masses are still left scratching their head, thinking to 1962’s “Campbell’s Soup Cans” as the only example of modern art — before tuning back into the daily programming. Today, artistic relevance depends completely on what you personally find relevant. Traditional art made by others will always have beauty, but it will never catch the eye as the heirlooms our lifetime will, however insignificant to an outside observer these may be.
The end of art meant the end of established artistic norms, of an invisible world telling you what you could and could not find aesthetically pleasing. It began with Warhol realizing that art could be found anywhere, even in the supermarket. If a supermarket is a pedestal, then it’s obvious that the museum is the human mind and whatever we attach ourselves to can be transformed into a gallery, flimsy posters included.
Final pictures taken this month, December, just before the year’s end.
The marbled monolith represented exactly what it was — a massive slab of obviousness. It was something that could not be ignored if one was consciously present within the room. However, it represented something more. It hypothetically put forward how we evolved from apes to humans, as despite it being so obvious, one does have to be consciously aware to detect a change in one’s environment — to detect a spontaneous black slab that appears out of nowhere. What I think Kubrick may have been illustrating was how we transitioned from a lesser state of awareness and into something more. The apes saw the world from a primal and survival-based intelligence level. Then, one day, they saw something in a way which they could not describe. It captivated them in a manner which superseded all that in the background. The apes had their first intelligently conscious moment. The black slab was so sudden and so out-of-nowhere, that there was no way to not perceive it with intense reactional response, elevating one’s self from a lower conscious level to ultimately realize human potential. The apes realize that one can use objects as weapons and begin to interact with the world in an evolutionary manner. Kubrick was describing the birth of conscious intelligent life.
Just as the apes, the bones-as-a-weapon realization and the rocky, wild and unconquered landscape acted as an allegory for where conscious awareness found itself, the ending “room” is the same. We see a fully civilized, cultured man surrounded by a pleasant bright white light in an ordered and structured room. Whereas before the sun was the only source of light, now the source is fluorescent and man-made. The world in which the apes found themselves was completely out of their control and foreign, whereas the room the ‘futureman’ finds himself within is completely of his (in the species sense) own creation and understanding.
Just as before, this man sees a black slab appear out of nowhere. He chases it around the room and finds himself getting older and older in the very process. As with the apes (‘dawn of man’), the black slab represents something in which to call attention to and inspire evolutionary reaction. However, as a being already evolved, it is perplexing to understand its context in this room. The man is chasing the meaning to his own human life, representing the human species as a whole. His drive and inspiration is personified as a cold, impersonal metallic slab. The futureman is chasing this until he dies, but with every realization, he finds himself ending up at a goal, with no memory of how he got there. His only memory is standing at his previous position, looking out at the end-goal. He then finds himself at the end-goal, only to not have actually ended anything. Ironically, he finds himself once again on the chase, immediately focusing on the end-goal, until his physical body runs out of life — the entire process fueled by the monolith. Yet even on his deathbed, at the very last moment, with his very last ounce of strength, the futureman sees this black slab once more and MUST reach out to it. He is determined despite knowing that there’s no way he can possibly do such a thing, as he is confined to his bed and limited by his old age. However, he must reach the end-goal and is always searching for an answer that simply cannot be reached.
This man represents what we are as a human species at the present moment — 1% away from complete control but somehow we still find ourselves unable to reach this remaining percentage. Kubrick’s only explanation is indirect, as he eventually zooms into the black slab and transitions into space. We live on earth and we look at space, a massive beautiful black slab, and it drives us. Space isn’t the actual root drive of humanity; it just represents something that makes us realize our own subjectivity and scale. It represents something so massive and so incomprehensible — its existence is a symbol for human ambition. Like the black slab, space is unexplainable, yet we must understand and decode its mystery. As illustrated in the final room, though, we see how the pursuit will kill us. It is only in our last moment in which we will ever feel complete, as death is the only end-goal that can be reached with complete satisfaction. Upon death, we go once again back into the chaotic world which we so often, in life, pretended did not exist. We are so afraid of the unknown, that just to live we have to build white rooms of cutting edge architecture to hide us from the scary black space. This space, like the monolith, represents the majority of existence which we do not have wrapped around our finger. We hide from chaos and disorder, but it always exists. Death exists, space exists and everything beyond our perspective exists and it is out of our control. As the apes did in the beginning of the film, we go insane at these realizations — just as the futureman drove himself to death in pursuit of an explanation for what is inherently unexplainable and chaotic. All perceived order is nothing but one flower in a field of trillions of weeds which are slowly creeping in on our shell of artificial order.
An Alternative Interpretation
The final scene could also be viewed as Kubrick’s interpretation of death, post-existence and post-humanity. The starchild symbolizes the final peaceful understanding felt just before passing after a lifetime of seemingly futile pursuit. The last scene shows this starchild looking over the earth and it is here where the individual starchild transitions into a metaphor for the human species. We see the starchild looking over the earth in a contemplative and honorable manner. If you could replace the earth with “a lifetime of personal memories” and the starchild with “someone passing away”, the intention would be exactly the same. Instead, the final scene depicts the personification of the perfect human looking back upon the earth and thinking upon how far man has come. In this state, one can only observe in reserved tranquility rather than act. For a perfect, fully-realized species, this is the ultimate heaven — to look back on the source of our life, the earth, and marvel at how far we have come. In this light, the ending is a love letter for the human species of the future. We see a peaceful, beautiful, golden and intelligent fetus rather than something wrought with flaws. Despite the journey, despite the chaos that once so defined humanity and the desire to understand everything, we float in peace at the finish line with nothing to do but bask in the odyssey of our achievement.