December 4th, 2008

Kanye West is the self-proclaimed voice of this generation. Assuming this premise, our generation is Auto-Tuned and disheartened. How promising…

808s & Heartbreak: a bold and inquisitive work from the genre-shifting Chicago-getter Kanye West. A work that strays from conventional means in order to experiment with emotions and alternative vibes, which are portrayed through Auto-Tune filtered lyrics and drum patterns constructed using the TR-808. Kanye utilized the TR-808 drum machine in each track on this album for a tribal effect.

As far as singing quality goes, Kanye’s ability to hit a falsetto is not within proximity. However, despite no naturally brilliant singing ability, his heartfelt tonality and soulful delivery constitute for a successful album. Upon first listen, I wondered if a combination of rapping and singing could have harmonized to enhance the album. I later surmised that the “less is more” approach speaks volumes to his rhythmic proportionality.

Also, I realized that there is already a juxtaposition that occupies 808s & Heartbreak: contemporary pop and tribal culture. Kanye is going “Old Skool” in the literal sense in that he resounds the tribal drum, which had large significance in older civilizations, mainly African and Native American. My assumption is that the tribal effect is intended to provide shamanic properties and induce a state of spiritual release, acting as a catalyst to his profound views on love.

The production is the album’s best asset.

They’re a few tracks that jolted my temperament, some of which I enjoyed comprehensively, and others not as much.

“Say You Will” is the first track on the album and echoes retro video game console sound effects. The song revolves around desire, and the inhibiting factor that plays a role in lust and love. The sinews of the melody are warped appropriately, corresponding with the subject matter. Say You Will is one of the stronger tracks on the album, despite three minutes of instrumental. Although the instrumental may have been intentional, the idle beat leaves the listener wanting counterbalance.

“Amazing” features Young Jeezy, whose rap verse distinguishes the song from the rest on the album. Kanye intended this song to inform “haters” that no matter how hard they try to discourage him, he will prevail. He communicates this by recognizing his bestial disposition. Jeezy toots his own horn as well, only his expression is more symptomatic of “traditional rap”. The tribal ambiance is salient in the drum pattern of this song.

“Paranoid” is a bizarre track that sounds like an urbanized rendition of Kraftwerk. The song talks about letting worries subside and focusing on the moment. Although not fulfilling in substance, its catchy chorus and lingering melody fastens the listener.

Although each song has an agreeable sound in 808s & Heartbreak, my favorite tracks are Say You Will, Street Lights, RoboCop, and Paranoid.

The loss of Kanye’s mother, loneliness, and a longing for companionship and a sense of normalcy inspired the conception 808s & Heartbreak. Kanye stated, “This album was therapeutic — it’s lonely at the top.”

Most well known and beloved actors and actresses in Hollywood have worked hard for their A-List status. But what types of mundane, low budget movie dues did these famous faces have to pay in their past?

Tom Cruise – Cruise and Brooke Shields made “Endless Love” in 1981. If the title isn’t corny enough, the reviews will surely keep you away. Variety says, “’Endless Love’ is a manipulative tale of a doomed romance which careens repeatedly between the credible and the ridiculous.” In 1983 Cruise made “Losin’ It” – a teenage rebel film where 4 friends travel to Mexico to party and are joined by a woman seeking a quickie divorce. One review says, “This doesn’t sound like much and it isn’t…” Luckily, “Risky Business” was Cruise’s next movie.

Viggo Mortensen – 1987’s “Salvation!: Have You Said Your Prayers Today?” stars Mortensen as a controlling husband questioning the credibility of his wife’s favorite television evangelist. The tagline is great, “SEX. POWER. MONEY. It’s all in the name of God!” Siskel & Ebert describe it as “boring,” “cliché,” “uninteresting” and state the performances are “wooden.” “Fresh Horses” (1988) is about a college educated engaged man that falls for a country girl who is supposedly 20 year old. Its tagline – “Love doesn’t have to last a lifetime.” And it doesn’t for “Horses” also staring two brat packers and Ben Stiller.

Joe Pesci – “Moonwalker” made in 1988 is a Michael Jackson film. Pesci plays the villain wanting to get kids hooked on drugs. Filled with kids (eek!) and dance sequences, this movie does not add credibility to Pesci’s resume. Another flop is “Betsy’s Wedding” where three very different families are brought together to plan a wedding for Betsy. Roger Ebert says, “…there’s nothing compelling here.”

Kirsten Dunst – Her first credited movie was “The Bonfire of the Vanities” which also starred Tom Hanks, Bruce Willis and Melanie Griffith. Don’t let that fool you, a critic from Variety says, “The Bonfire of the Vanities is a misfire of inanities.” The only nominations it received were Razzies. “Greedy” is another big name film that flopped. A Washington Post reviewer states, “Their best hope is that “Greedy” will vanish quickly from public view.” Fortunately, Dunst’s next film was “Interview with the Vampire.”

Sandra Bullock – 1987’s “Hangmen” is the first movie credit for Bullock. The film’s tagline is terrible – “In this world no one is innocent, and if you want to live, you’ve got to beat the Hangmen.” It’s practically untraceable, which is not a good sign. 1989 brought “Religion, Inc.” about “Seeing God on TV inspires a New York adman to form a new religion based on greed, with a janitor.” One IMDB user states “Perhaps the worst movie ever made. “The Vanishing” (1993) is about a boyfriend’s search for his abducted girlfriend. Grossing a little $14,543,394, a Washington Post critic says the film, “merely leaves us stupefied, gasping for relief.”

Julianne Moore – Her first movie credit is “sLaughterhouse II.” And then “Tales from the Darkside: The Movie” described as “a lame effort.” “The Gun in Betty Lou’s Handbag” is said to be “Death by Mediocrity” by the Washington Post, “Stupid title, stupid movie,” by the Austin Chronicles, receives a 3.6 out of 10 rating on Rotten Tomatoes and only grossed $3,721,911. “Body of Evidence” (1993) receives a half star from the Chicago Sun Times, 1 star from ReelViews, and a 2.3 of 10 rating on Rotten Tomatoes. It gets worse. The tagline is “An act of love, or an act of murder?” This one should just be locked up and forgotten about it seems.