Why Kanye West’s $120 T-Shirt is… genius?

kanye-apc-white-shirt[1]

The truth is, you aren’t going to buy a t-shirt for $120 if you aren’t rich. No one who isn’t rich could justify that kind of money.  There’s nothing about the t-shirt which projects wealth and no one is going to look at the interior lining, so this is why super-fans cannot buy this shirt and understand its purpose.

The purpose of this shirt is for the person who bought the shirt (and that person alone).  It’s a reminder that when you put on your t-shirt, you know the price.  You know how much money you have that you can afford to drop $120 on a novelty.  This confidence will undoubtedly make the person wearing the t-shirt, wear it better.

Additionally, this solves a problem in personal wealth perception, where items like undershirts and white t-shirts were always going to be the same price; they will always feel cheap.  Now, you can have wealth even when it looks like you don’t; a wealth so powerful that it resonates without any indication of why — you are wealth.

Anyone who simply “wears a white t-shirt” won’t have that empowered personal feeling of wealth.  That’s why you have to buy Kanye’s $120 brand.  It’s just enough that anyone could buy it if they really wanted to, but too much for anyone who isn’t rich to casually buy (like you would a white t-shirt).

Advertisements

Lyrical Analysis: “DLZ” by TV on the Radio

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.

Lyrical Analysis: “Bizness” by Tune-Yards

The lyrics are found here.  Here is the official music video:

“Don’t take my life away / Don’t take my life away”

The manner in which she sings this, rapidly and frantic, suggests that this song may work best if you take the lyrics on a literal level before analyzing interpretatively.  In the main chorus of the song, it sounds as if Garbus is describing a mugging.  From the opening line (“What’s the business?“) asking just what the hell is happening, to the realization that the mugger is moving closer (“From a distance“) finally to the attempt to try to empathize with her perpetrator (“I’m a victim!” / “I’m addicted!“) It all paints a very visual picture.  The intensity of this image obvious increases with every repeated plea (“Don’t take my life away!“).

WhoKill as an album seems to deal with similar subject matter upon the surface, and then on a deeper level one can interpret these things to act as metaphors for more intimate personal issues and insecurities expressed in song.  If you look at the opening verse in this same “Mugger” mindset, you can see how well it fits with just about every line.  The opening, in particular, makes much more sense on a surface level when analyzed from this perspective:

“If I represent the one that did this to you / Then can away the part that represents the thing that scarred you”

It seems to be an extended plea intended to be said to the mugger, only to be mentally pondered.  Muggers obviously don’t personalize or discriminate in terms of the individual; though if they are robbing you chances are you have a look of wealth or content.  She rationalizes, “If you are mugging me because I look like everything you aren’t and desire to be (in terms of wealth), then you need to get over whatever it is that personally traumatized you.”  Such a powerful, opening line.  Obviously, we are starting to see the deeper intentions of the song.

Immediately after this declaration of “Fix yourself before you hurt me”, she declares (“Get up / Stand up / Get on it!“) both the listener and herself to defend against the situation as to change the outcome (“I am no longer who you thought this one would be“).  A victim can be mugged, but a victim in self-defense is not such an easy target.

After this confidence boosting declaration, it’s revealed that she (as a victim) still ends up running into this mugger once more (“We end up around the mountain that I climb to lose you“) and despite how bold she was just moments before, meeting this mugger causes her to enter a state of shock (“Ask me, Tell me / but all my wisdom departed“).  Finally we enter in the main chorus, the confrontation, where all she can ask is “What the hell is going on / How did I get here / Don’t take my life away / I’m just like you!”

This entire time we have seen how simply the song reads in a literal manner, but it’s during the third verse where we start to realize that the song works much more beautifully on a symbolic level.  Regardless, finishing up the mugger theme, the victim in the song tries one final plea.  She states how “I’ll bleed if you ask me”, and we see how the mugger’s response is a simple “No” (“That’s when he said no“) before we enter back into the confrontational chorus once more.  I’d like to point out that the song ends asking the question “What’s the business?” repeatedly, as if Garbus is restating her disbelief of the entire situation.

Obviously, you can replace the whole Mugger / Victim theme with many concepts and interpretations, but what will remain consistent is the general narrative between the two parties.  If you go for the relationship-route, the song becomes a symbolic tale of frustration between two would-be lovers.  I see it as someone meeting someone who has been hurt in a prior relationship, so badly, that they see all of that heartbreak in every new person they meet, including the protagonist of the song.

This is very similar in subject matter to the song “Abducted” by Cults (I analyzed this here), the major difference is that Garbus is attempting a solution to the problem, whereas Cults focused on the sad cyclical nature of the whole thing.  The first verse then declares the protagonist of the song to be their own individual and not connected to any horrific past relationships.  The second verse reveals how the protagonist of the song does NOT enter into the relationship (“The mountain that I climb to lose you“), but ends up meeting this person again in life anyways (“We end up around the mountain“), this time demanding why things can’t work out (“Answer me this!“).  At the same time, there is a realization that no one wants to throw their time away with someone who is just going to hurt them (“Don’t take my life away“), so the protagonist is repeatedly asking in the chorus “What’s the business” — what hurt you before/are you ready for this/I don’t want to be hurt — before finally revealing she does fall in love (“I’m addicted yeah!“).

Writing this, I see a plethora of abstract and less direct ways (ex- an internal dialogue) of looking at this song from several perspectives, but the two general interpretations I’ve provided do indicate that the song is a song about frustration stemming from misunderstanding and miscommunication.  The protagonist attempts to overcome this (in whatever the medium is which the frustration is occurring, depending on personal interpretation), and in the end she finds herself addicted.  The real question, is to what?  To heartbreak?  To falling in love with those who are scarred?  The song’s brilliance lies in how many windows it can be seen through, and I hope my interpretation has provided some insight into whatever your personal interpretation of the song happens to be.