Kanye certainly has a penchant for unfortunate imagery (what with his constant twitter barrages and endless self-publicity, I think I can safely say the world is on a first-name basis with Mr. West).
And I love him for it.
It takes a true Byronic Hero to name an album “My Beautiful Dark, Twisted Fantasy,” direct its first video, Run Away, singing “Let’s have a toast for the douche-bags! Let’s have a toast for the assholes!” and fill it to the brim with the kind of revealing, reflective and ridiculous imagery that plays Pavlov’s bell to thousands of drooling pop culture critics and arm-chair Freudians.
What’s that, Kanye? You want to fuck a bird? You’d like to keep a woman as a pet? You enjoy long walks in woods and learned helplessness? You ultimately acknowledge that your manic, self-centered, border-line-delusional behavior drives love away while simultaneously blaming your lover for not wanting to exist solely for singing out melodies of praise from your ego’s gilded bird cage?
Oh Kanye, you card. You are the height of too-muchery.
So imagine my delight and discomfort in learning that the best traditional rap track off of his new album had a brand new video. And imagine my wincing squeal win, having pressed play, the very first image I receive is women in high-heels hanging from the ceiling.
Merry Christmas, bored feminist bloggers, from Kanye West- sorry the gift came late.
Before we even begin this difficult discussion/dissection, I will allow that this video is the artistic vision of multiple sources. Moreover, I will admit that I am not of the school of thought that finds that every line, word, character and image speaks to a deeper truth about the artist his or herself. Myself a writer, I would hate to think that the behavior of my characters became a reflection of my inner demons and unspoken hatreds to critical readers.
That said, come on. Kanye BEGS for this kind of attention. A man with diamond studs surgically inserted into his teeth has a lot to say even when he’s saying nothing.
The key to watching a video like this is to watch it with the song off. Without the distraction of the lyrics or melody, you have the image in its purest form- and it’s a doosey.
The women we have here are highly sexualized. Ugly faces abound but, even when a woman in a wolf-monster or zombie, she’s still showing an awesome rack. Dead models lounge on couches, posed with the suggestion of necro-lesbianism (Rule 34); the aforementioned hanging women are all model-sized, leggy, high-heeled and in lingerie. This heady mix of violence and sex is juxtaposed with the glamour of the male rappers: Rick Ross, doning a Hefner robe and smoking a cigar; Jay Z in his trade-mark glasses, suited-up and swaggering; Kanye himself, open-shirted while the flesh-starved hands of (I presume) zombie fans claw his clothes off…. The men, the height of power. The women, more than submissive- corpses. Dolls to be played with, as Kanye shows in one scene.
An eagle-eyed observer would note that there are scenes with live women in this video. Saving Nicki Minaj’s self-flagellating sado-masochism (oh I went there), we begin with a pale male model-type bringing dragged, shirtless, across a floor- to be impaled by the living woman, with a heel.
The high-heel has a special place in the fetishistic circles. It is both an artifact of female sexuality and female submission. It is dominant while binding, something meant to pleasingly shape the female calve and add a few inches height even as it painfully cramps toes and alters one’s gait. In the modern world, only the corset can match it for schizoid sexuality.
So, on the one hand, there is a woman who is alive and killing, just as the men are presumed to be. The sexual power is in her hand (er, shoe). On the other hand, the murder is done with a phallic fetish object that seems to be aimed at the victim’s heart. Choose your own symbolic interpretation of that one, folks. And my (admittedly limited) experience with the sort of men who go to professional Dominatrix’s is that, even in submission they are a demanding lot. In the end, the woman is still very much an object.
Which brings us to my favorite verse, Nicki Minaj: the only female with a legitimately powerful (though, again, highly sexualized) role and who is she dominating? Another women. Not just another women, infact: she dominates herself.
Minaj is a bit of a mystery, in the hip hop world. A mix-tape diva, she was known for taking on multiple personalities on her verses and having a style that moved more towards diary than braggadocio. Many fans were disappointed by her debut album, Pink Friday, for being more mainstream than expected- the diary had given away to a younger, more energetic Lil Kim.
One could almost see this scene, made for a song that dropped before her album did, in those heady days when Minaj was the one to have guesting crazy verses on your rap albums, as an acknowledgement of her lessened personal presence in the making of Pink Friday. Here she beats the other side of her multiple personality, self-hurt in video-form, beating herself over selling out. This, on Monster, is the beast we expected and did not find much of on Pink Friday. Don’t worry, fans, she hates herself for it too.
Or I’m bullshitting. Either way, a woman on woman lap-dance is pretty hot. Perhaps Minaj could have been suited-up, ala Jay Z, interrogating a shirtless male model in a gimp mask? It’s another artistic choice but, ultimately, more teasing lesbianism- the most frequent and juvenile of male sexual fantasies- wins the day.
So, what are we left with? Women as objects, fetishized heart-breakers, wonderful background furniture or lesbian fantasy. Typical frightened teenage boy stuff.
Ouch.
It’s kind of hard to make a case for Yeezy on this one.
Erasing media portrayals of women and sexualized violence has long been the strongest column of the last feminist crusade. It’s hard to argue against domestic abuse, rising sexual assault rates and the blasé hilarity that is Snooki getting punched out in a bar.
When the criticism comes (and it will, oh lord it will), the question is how will Kanye respond? He can be wonderfully tongue-in-cheek (though one never really knows if it’s self-aware, self-delusion or self-loathing). A man who names his album My Beautiful Dark Twisted Fantasy using cover-art of what looks like an African caricature drinking a beer while fucking a white harpy has to have a few aces up his sleeve. Perhaps this plays into his hand, as a pop culture creator and critic?
Perhaps the only woman who can truly understand Kanye West… is Lady GaGa (The Fame Monster and the Monster? Imagine the gossip columns!).
I’ll just wait for the fire-works here with my bag of pop-corn.
Here's the video:
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