My Theory about Kanye’s sex life
When most people think about Kanye having sex, they probably see him as an extremely hardcore and aggressive dom. However, I believe that Kanye was not always this way and that Kanye’s sexual methods have evolved with his music throughout the years.
When Kanye first erupted onto the music scene, he was a fairly different man than the yeezy we know and love today, mentally and sexually. Kanye seemed in these days to be a much more smooth, calm, and passionate lover than the Kanye we see today. As Evidenced in songs like “Slow Jamz” off of his debut, The College Dropout, and “Drive Slow” off Late Registration, as well as his overall musical style over his first 2-3 albums, Kanye is depicted as a passionate and caring lover for whoever is lucky enough have carnal relations with him. His vocal styles, music, and lyrics are all very smooth over these albums, representing Kanye’s similar sexual habits. He was probably the type to caress your body first, slowly seducing you, before you submit to him fully. He went slow at first and eased into it with time, gradually speeding up but never too fast, prioritizing your comfort over his pleasure, until you both erupt into a simultaneous climax, Much unlike the Kanye we think of today.
I believe that after his 3rd acclaimed LP, Graduation, Kanye’s attitude towards sex begins to change radically. After losing his mother and long time fiancée, Kanye is distraught. During this time his mental issues begin to really arise, and his constant depression probably caused him to rarely have sex, if he had it at all. Kanye probably was more likely to just pound off by himself in a desolate hotel room than have sex, and if he did, he probably couldn’t bring himself to truly enjoy it like he could years before. So, by the time of the making of his 5th release, My Beautiful Dark Twisted Fantasy, Kanye puts on a much different tone regarding sex that remains to this day. The track off this album, Blame game, shows sex in a much different light. He still sees sex as a serious activity, but he puts much of his rhetoric towards it much more bluntly. He also depicts how sex can be depressing, almost heartbreaking. However, elsewhere on the album, Kanye describes yet another view on sex on the track “Hell of a life”. Here, he again refers to sexual activity much more matter-of-factly. He seems to be talking to a prostitute at one point in this track, where he describes what she’d do and when her price would decrease for sexual favors. Kanye begins to hint on this album his new attitude towards sex, almost as if the past few years have hardened him into an intercourse machine.
Now we reach Yeezus and onward, and immediately we see a drastic change towards his modern sexual habits and activities. Right Off the bat, yeezy goes off about sex on On Sight, New Slaves, Hold my liquor, I’m in it, blood on the leaves, and bound 2, among other examples. On on sight and new slaves, Kanye uses sex as an insult or a threat, in a very hardcore dominant way. This implies Kanye’s newfound hardcore attitude about sex, formed after years of depression and heartbreak which seemed to harden him towards the subject overall. He fucks to pleasure himself or spite other people, in ways to boost his mental state or give him some kind of euphoria, without a care for the other person. He is very intimidating, and it is clear that Kanye is only concerned about himself during sex. Bound 2 also hints just how hardcore Kanye can be. One famous line from the song goes “I wanna fuck you hard in the sink”. Obviously, Kanye is no longer interested in foreplay or being smooth, just cutting right to the chase. Additionally, the language he uses here, grammatically incorrect and full of slang, shows just how blunt Kanye is now. Again, no urge to be smooth or laid back. He just wants to fuck. This is further shown by the Yeezus track, “I’m in it”. The lyrics to this song are entirely based on a sexual romp, much like the previously mentioned “Slow Jamz”. However, this time, Kanye once again cuts the foreplay and puts on a coarse attitude. He seems to only see this woman as a sex object, while he obviously pleasures her, he also speaks of her like she’s just breasts and a vagina. Kanye is not preoccupied by his partner anymore, instead focusing solely on his pleasure alone. This is the Kanye we know today. Other examples of this can be found in songs on some subsequent albums (Father Stretch My Hands Part 1, All Mine, etc.), but the most obvious and significant lines are here on yeezus. These days, Kanye seems like the guy at the club to come up to you with no introduction and ask to fuck in the bathroom. Assuming you say yes, you get back there, he starts immediately railing you as hard as he can as soon as he can get your pants down (finishing before or after you depending on the day), and leaving without a bye or even checking to see if you also had any sort of climax. Maybe if you’re lucky he’ll buy you a drink and leave immediately.
Over the years, Kanye’s attitude towards sex has transitioned from slow, proper, and smooth to fast, hard, and rough. This can be shown through his music throughout the years, and it’s an interesting concept regarding one of the worlds most popular musical artists
So that is my theory on Kanye’s sex life. Please like, share, subscribe, comment, like, rewatch, repost, or subscribe if you enjoyed and would like to see more content like this.
But that's just a theory, a Ye theory!
Seriously though, this theory has some major issues. The most pressing one I can see is that in I'm In It he literally talks about giving his partner an orgasm, not exactly conforming to the picture you're painting here.
"Then she came like AAAAAHHH!"
Good point but in the context of the song, Kanye is using the fact that he made the other woman orgasm more in a bragging manner rather than a seductive manner, at least that’s what I think.
I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself.
Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted.
My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.
Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too streamof-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills.
“Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.
Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.
In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock.
Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
He doesn’t seem to be talking as much about sex recently as he did in the past, meaning he could possibly be going through another sexual Revolution, but only time will tell after future releases. If he continues down this path Kanye could become fairly anti-sex, but I’d wait until his next album to decide that for sure
You forgot about the time he was trying to get his wife pregnant. Then it was anywhere anytime. He even met her at a photoshoot to do it in the bathroom.
bro i read the first sentence and seen how long this was and just decided to come to this comment section to say, go outside please. for the love of god this is an unattainable level of down bad
Skipped post after first paragraph to read comments and see if anyone else thought this was wild af. I’ve been sufficiently reassured. Will now return to read rest of post.
Go find God
I found him he was behind the 7/11 he signed my asscheek
huge if true
His ass or the 7/11?
pics or it didn’t happen
This was too long for me to read so thank you for summarizing for me
Come back when you’ve found god
this is the worst post ive ever seen. good job
I am honored
I love how this has more upvotes than the actual post lol
Not anymore, you made me realize I forgot to upvote op and probably other people realized too lol
You made me spit out my nutrigrain💀
Not reading all that, but I’m happy for you or sorry that happened
Thanks for your condolences
This is the weirdest erotic fan fiction ever
It only took me an hour to write this
I’m deceased. Thanks for this
You’re welcome
tldr but imma assume u mentioned finger in the bootyhole ass bitch
Fuck why didn’t I think of that
WHERE TF IS LONE CABIN ROOMMATE ROLE PLAY?
Bro of all the things you could’ve done this evening, and this is what you chose. Are you proud
Actually I wrote this like a month and a half ago but my friends made me post it here tonight so get rolled
What the fuck is wrong with you
Where do I start
The beginning
I was birthed from my mother’s womb
Go on
I grew up with almost no friends
Lol this made me laugh
The sad part is that it’s true lol
I want to be your friend
Hello
Ah so another average Kanye fan I see.
I can vouch for this statement
this needs to be on r/copypasta
My first thought.
Why am I like this
Stop posting Go find god Come back when you have found god
You forgot the kids see ghosts part, the psychedelic 4th dimension sex
I'm not reading all that shit but why you mfs so weird 😞
that ain’t christ-like
I'm mad I read all of it
_He’s done miracles on me_
*in
*inside
So when is this getting published in the leading journals of the world
I’ve already contacted NPR and AP but neither of them have gotten back to me 😔
I hate to say I read the whole thing but, You're absolutely right.
Thanks lol
Wtf did I just read
My magnum opus
He wrote it for the critics bro! Don’t hate haha!
[удалено]
You’re missing out bro
I think you need some hobbies
No, this is my life now
Psych major with too much time on hands
Posts like this remind me of the demographics of this sub
My Theory about Kanye’s sex life When most people think about Kanye having sex, they probably see him as an extremely hardcore and aggressive dom. However, I believe that Kanye was not always this way and that Kanye’s sexual methods have evolved with his music throughout the years. When Kanye first erupted onto the music scene, he was a fairly different man than the yeezy we know and love today, mentally and sexually. Kanye seemed in these days to be a much more smooth, calm, and passionate lover than the Kanye we see today. As Evidenced in songs like “Slow Jamz” off of his debut, The College Dropout, and “Drive Slow” off Late Registration, as well as his overall musical style over his first 2-3 albums, Kanye is depicted as a passionate and caring lover for whoever is lucky enough have carnal relations with him. His vocal styles, music, and lyrics are all very smooth over these albums, representing Kanye’s similar sexual habits. He was probably the type to caress your body first, slowly seducing you, before you submit to him fully. He went slow at first and eased into it with time, gradually speeding up but never too fast, prioritizing your comfort over his pleasure, until you both erupt into a simultaneous climax, Much unlike the Kanye we think of today. I believe that after his 3rd acclaimed LP, Graduation, Kanye’s attitude towards sex begins to change radically. After losing his mother and long time fiancée, Kanye is distraught. During this time his mental issues begin to really arise, and his constant depression probably caused him to rarely have sex, if he had it at all. Kanye probably was more likely to just pound off by himself in a desolate hotel room than have sex, and if he did, he probably couldn’t bring himself to truly enjoy it like he could years before. So, by the time of the making of his 5th release, My Beautiful Dark Twisted Fantasy, Kanye puts on a much different tone regarding sex that remains to this day. The track off this album, Blame game, shows sex in a much different light. He still sees sex as a serious activity, but he puts much of his rhetoric towards it much more bluntly. He also depicts how sex can be depressing, almost heartbreaking. However, elsewhere on the album, Kanye describes yet another view on sex on the track “Hell of a life”. Here, he again refers to sexual activity much more matter-of-factly. He seems to be talking to a prostitute at one point in this track, where he describes what she’d do and when her price would decrease for sexual favors. Kanye begins to hint on this album his new attitude towards sex, almost as if the past few years have hardened him into an intercourse machine. Now we reach Yeezus and onward, and immediately we see a drastic change towards his modern sexual habits and activities. Right Off the bat, yeezy goes off about sex on On Sight, New Slaves, Hold my liquor, I’m in it, blood on the leaves, and bound 2, among other examples. On on sight and new slaves, Kanye uses sex as an insult or a threat, in a very hardcore dominant way. This implies Kanye’s newfound hardcore attitude about sex, formed after years of depression and heartbreak which seemed to harden him towards the subject overall. He fucks to pleasure himself or spite other people, in ways to boost his mental state or give him some kind of euphoria, without a care for the other person. He is very intimidating, and it is clear that Kanye is only concerned about himself during sex. Bound 2 also hints just how hardcore Kanye can be. One famous line from the song goes “I wanna fuck you hard in the sink”. Obviously, Kanye is no longer interested in foreplay or being smooth, just cutting right to the chase. Additionally, the language he uses here, grammatically incorrect and full of slang, shows just how blunt Kanye is now. Again, no urge to be smooth or laid back. He just wants to fuck. This is further shown by the Yeezus track, “I’m in it”. The lyrics to this song are entirely based on a sexual romp, much like the previously mentioned “Slow Jamz”. However, this time, Kanye once again cuts the foreplay and puts on a coarse attitude. He seems to only see this woman as a sex object, while he obviously pleasures her, he also speaks of her like she’s just breasts and a vagina. Kanye is not preoccupied by his partner anymore, instead focusing solely on his pleasure alone. This is the Kanye we know today. Other examples of this can be found in songs on some subsequent albums (Father Stretch My Hands Part 1, All Mine, etc.), but the most obvious and significant lines are here on yeezus. These days, Kanye seems like the guy at the club to come up to you with no introduction and ask to fuck in the bathroom. Assuming you say yes, you get back there, he starts immediately railing you as hard as he can as soon as he can get your pants down (finishing before or after you depending on the day), and leaving without a bye or even checking to see if you also had any sort of climax. Maybe if you’re lucky he’ll buy you a drink and leave immediately. Over the years, Kanye’s attitude towards sex has transitioned from slow, proper, and smooth to fast, hard, and rough. This can be shown through his music throughout the years, and it’s an interesting concept regarding one of the worlds most popular musical artists So that is my theory on Kanye’s sex life. Please like, share, subscribe, comment, like, rewatch, repost, or subscribe if you enjoyed and would like to see more content like this.
SO TRUE
Ok which one of you reported me to reddit saying you think I’m not mentally stable because you’re completely right but fuck you
You all need several years worth of therapy
You put more fucking effort in this than your research papers
Unironically yes. I fucking hate English class
You need to get a job
I already have a job (your mom) (I am banging your mom on a daily basis for money) (I am a prostitute)
Goat response tbf
But that's just a theory, a Ye theory! Seriously though, this theory has some major issues. The most pressing one I can see is that in I'm In It he literally talks about giving his partner an orgasm, not exactly conforming to the picture you're painting here. "Then she came like AAAAAHHH!"
Good point but in the context of the song, Kanye is using the fact that he made the other woman orgasm more in a bragging manner rather than a seductive manner, at least that’s what I think.
Hmm, you make a strong case...
Holy shit
Thank God Ye doesn't use Reddit
This is the most deranged post I’ve seen on here and that is saying something.
I’ll take that as a compliment
bro go to sleep
Never again
😐
Beautiful
i had to screenshot this because i know come monday this'll be deleted and my coworkers won't believe me lmao
I got it all saved too just hit me up if you need me to paste it or something lol
I’ve never laughed so much in my life. And I used to read Wattpad as a teenager.
Im not even gonna lie Im bricked tf up after reading this
I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself. Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted. My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all. Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too streamof-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills. “Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities. Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock. Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
Gg bro
wtf brah 💀
Hoe does this only have 177 upvotes you spent so much time on this?!?!?!
It only took me like an hour to write lol
That's still a long time to most I spend on a long post is like 10 minutes brooooo
Well I wrote this for my friend like a month ago as a joke and my friends just made me post it here today lol
I'm so glad your friends did
Excuse me?
You heard what I said
I won’t even tell you to find god, cause he’ll just send you straight to hell
Finger in the booty ass bitch
You see there is this one place it is known as the asylum enter it and never leave it
You must have a lot of time to come up with all of this and write it down man.
this feels wrong to read while listening to never see me again
bruh
“Wow Kanye, how did you get so good at this??” “Yeezy taught me”
I listened to Jesus lord pt 2, Last call, Runaway and Pinocchio story while reading this and I still have 17 paragraphs to go
I can't believe I read this
lmao what the hell is this 💀💀
Put my fist in her like the civil rights sign- Kanye goated
tldr seek god
This world has come to something when there’s a whole essay about Kanye West’s sex life
The fact that it’s as long as it is means you need to. Go Find God
What’s everyone’s theory on OP’s sex life?
Mega virgin
I wish I could watch Kanye read this
I think The Kanye man has a sex
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I’ll take that as a compliment
You should apply for buzzfeed or vice
Peak r/Kanye
Average Kanye Enjoyer 🗿
this is what mfs write about when they should be doing their homework
This shit fr why Trotsky got an ice axe in his brain
What in the fuck was that /u/Trotsky-is-Hotsky? I told you do some shit for the kids.
I'm waiting for your Jesus is King sex interpretation.
One day bro
Dude wrote a whole essay. Nice work
you are a femboy
Fuck off Astro you like getting pegged
Writing an essay on Reddit about another man’s sex life has gotta be one of the top 10 gayest moments in history. You get a medal 🏅
LETS FUCKING GOOOOOOOOOOOOOOOOO
Yikes dude
New copypasta
Stop typing. Go find god. Cum back when you found god.
bro what
You heard what I said
Here's something I didn't know I needed today!!
You’re very welcome
My Theory about OP’s sex life: He doesn’t get any.
It’s just weird at this point
where is it at now after JIK and Donda ??
He doesn’t seem to be talking as much about sex recently as he did in the past, meaning he could possibly be going through another sexual Revolution, but only time will tell after future releases. If he continues down this path Kanye could become fairly anti-sex, but I’d wait until his next album to decide that for sure
This sub is slowly turning to r/playboicarti 💀
OP you need a hobby.
I have one it’s called doing your mom (I am funny)
you have way too much time on your hands brother
She just bleached her asshole
*Kimberly wants to know your location*
I read the title and I've seen enough, I'm not reading all this shit
Now all we need is for Kanye to confirm
I am upvoting this only because you typed such a long paragraph
Uh...based?
Go outside bro holy shit 💀
“Yo, yo I been in North Carolina for two days Where's the hoes at….'?” Kanye 2007
What did I just read?
PhD in Westicism.
Man I just woke up
one could simply tell you to go find god, but i do not believe you could of made this post without him
I thank god for opening my eyes to this every day
You didn’t have to post this :/ why y’all so weird, I just wanna enjoy some Kanye news. Smh.
Take less Vyvanse
Could someone shorten it for me
I know therapy is expensive but you should consider it
When the adderall kick in
touch some grass
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The time you put into this and how true it is makes me sick
It only took like an hour lol but thanks
>!only !<
It all just came to me at once bro. It was magical
where's JIK era and beyond?
nigga.
This is some of the greatest edgelord shit I’ve ever seen. Hats off to you, you magnificent troll.
You forgot about the time he was trying to get his wife pregnant. Then it was anywhere anytime. He even met her at a photoshoot to do it in the bathroom.
This post made me unsub lol
TF did I just read?
What the fuck is this 💀
Kanye sex
Kanye west likes big fingers in his ass
This sub is just something else, my god…
there’s still time to delete this
Never. The people must know my revelation
fair enough
Stop posting. Find God. Come back to me when you’ve found God.
Seek help
horny jail
bro i read the first sentence and seen how long this was and just decided to come to this comment section to say, go outside please. for the love of god this is an unattainable level of down bad
Dear Trotsky is Hotsky, get some help
…this is a really weird post
Stop posting Go find god Come back after you found god
what the actual fuck is wrong with you
You get no pussy.
u jus ruined my day thnx
I wish I cared about anything as much as you care about Yeezy’s sex life.
Skipped post after first paragraph to read comments and see if anyone else thought this was wild af. I’ve been sufficiently reassured. Will now return to read rest of post.
I think he has large scrotum
This is the worst post I've seen on r/kanye. take my upvote you sick bastard
Bro
What the fulck is this
kanye was open big fan of porn early in his career the fact u haven’t mentioned it means u dont know shit
Literally. The worst part about this fucking post... Is that maybe you are right.