Also, I thought it was common knowledge that Faux didn't listen to rap until later in life? That could explain his lack
of enthusiasm for 3 Feet High... I'm not sure if it would've impacted me as much had I heard it after some of the albums that followed it.
I have no idea what you're talking about, although I guess it wouldn't be a party without one of your passive-aggressive personal attacks.
Ha ha! Are you being serious? Holmes, that wasn't even a subtle dis much less a personal attack! I remember you saying that you were never a backpacker/Hip Hop head back in the day. I'm pretty sure you said this after I or somebody else made a statement about people who hate what they used to be/used to be into. I vaguely remember dudes teasing you about being into indie rock or grunge or something like that, but I think that part was a joke. Admittedly, I do have a bad memory so I could be wrong about certain parts of all that.
Geez Louise.
I just realized that I'm the dude that remembers random sh*t from here that no one else remembers, yet I don't remember the things that everybody else does. Weird.
To add on to my earlier poast--I think the "Yeezy Taught Mes" are essential to the song. They're delivered with a bizarre robotic affect like an abuse victim. I find that dialog to be really awkward and uncomfortable to listen to. The fact that there is only a minimal effort to sync them up with Chris Rock's monologue in order to suggest interaction works perfectly. The album is, in part supposed to be a journey into Kanye's admittedly dark and twisted subconsciousness. The exchange reads to me like half-formed and fairly disturbing thoughts.
I have to, ahem, RESPECTFULLY disagree. (Yeesh.) I don't think they're essential 'cause we ALL know Chris Rock's referring to Kanye. I just think it's Kanye's ego talking again. I could be wrong, but I don't think all that "subconscious/half-formed/psyche" stuff came into all this.
I think all this because I KNOW dudes (AND women) who not only think and talk like this about their conquests, but sincerely believe it AND are even right about it some of the times.
Also, I thought it was common knowledge that Faux didn't listen to rap until later in life? That could explain his lack
of enthusiasm for 3 Feet High... I'm not sure if it would've impacted me as much had I heard it after some of the albums that followed it.
I have no idea what you're talking about, although I guess it wouldn't be a party without one of your passive-aggressive personal attacks.
Ha ha! Are you being serious? Holmes, that wasn't even a subtle dis much less a personal attack! I remember you saying that you were never a backpacker/Hip Hop head back in the day. I'm pretty sure you said this after I or somebody else made a statement about people who hate what they used to be/used to be into. I vaguely remember dudes teasing you about being into indie rock or grunge or something like that, but I think that part was a joke. Admittedly, I do have a bad memory so I could be wrong about certain parts of all that.
Geez Louise.
There is a long-running joke between me and bambouche about gothdom (and the dark heart that beats within me) but I don't really know where the rest of that stuff comes from.
To add on to my earlier poast--I think the "Yeezy Taught Mes" are essential to the song. They're delivered with a bizarre robotic affect like an abuse victim. I find that dialog to be really awkward and uncomfortable to listen to. The fact that there is only a minimal effort to sync them up with Chris Rock's monologue in order to suggest interaction works perfectly. The album is, in part supposed to be a journey into Kanye's admittedly dark and twisted subconsciousness. The exchange reads to me like half-formed and fairly disturbing thoughts.
I have to, ahem, RESPECTFULLY disagree. (Yeesh.) I don't think they're essential 'cause we ALL know Chris Rock's referring to Kanye. I just think it's Kanye's ego talking again. I could be wrong, but I don't think all that "subconscious/half-formed/psyche" stuff came into all this.
I think all this because I KNOW dudes (AND women) who not only think and talk like this about their conquests, but sincerely believe it AND are even right about it some of the times.
Their function is not to identify Kanye. I think they add a layer of interest to what would otherwise be a pretty boring Chris Rock routine. They also--for the reasons I listed above--suggest the possibility of violence.
Also, I thought it was common knowledge that Faux didn't listen to rap until later in life? That could explain his lack
of enthusiasm for 3 Feet High... I'm not sure if it would've impacted me as much had I heard it after some of the albums that followed it.
I have no idea what you're talking about, although I guess it wouldn't be a party without one of your passive-aggressive personal attacks.
Ha ha! Are you being serious? Holmes, that wasn't even a subtle dis much less a personal attack! I remember you saying that you were never a backpacker/Hip Hop head back in the day. I'm pretty sure you said this after I or somebody else made a statement about people who hate what they used to be/used to be into. I vaguely remember dudes teasing you about being into indie rock or grunge or something like that, but I think that part was a joke. Admittedly, I do have a bad memory so I could be wrong about certain parts of all that.
Geez Louise.
There is a long-running joke between me and bambouche about gothdom (and the dark heart that beats within me) but I don't really know where the rest of that stuff comes from.
That's probably it, 'cause I always figured that Bam was REALLY into that stuff and, based off those comments, you too.
Nicky's verse is mind-blowing. I count no less than 6 voice/style changes. Count me as a fan and member of Team Barbie.
Okem said:
Pull up in the monster
Automobile gangster
With a bad b-tch that came from Sri Lanka
Yeah I???m in that Tonka, colour of Willy Wonka
You could be the King but watch the Queen conquer
Ok first things first I???ll eat your brains
Then I???mma start rocking gold teeth and fangs
Casue that???s what a muthaf-cking monster do
Hairdresser from milan, thats what monster do
Monster Giuseppe heel that???s the monster shoe
Young money is the roster and the monster crew
And I???m all up all up all up in the bank with the funny face
And if I???m fake I aint notice cause my money aint
So let me get this straight wait I???m the rookie
But my features and my shows ten times your pay
50k for a verse no album out!
Yeah my money???s so tall that my barbie???s gotta climb it
Hotter than a middle eastern climate
Find it 20 mataran dutty whine it
While it, nicki on a pit while I sign it
How these n-ggas so one-track minded
But really really I don???t give a F-U-C-K
Forget barbie f-ck nicki she???s fake
She???s on a diet but my pockets eating cheese cake
And I???ll say boy the Chucky is Child???s play
Just killed another career it???s a mild day
Besides ???Ye they can???t stand besides me
I think me, you and (?) menage friday
Pink wig thick ass give em whip lash
I think big get cash make em blink fast
Now look at what you just saw I think this is what you live for
Aaahhhh, I???m a muthaf-cking monster!
To add on to my earlier poast--I think the "Yeezy Taught Mes" are essential to the song. They're delivered with a bizarre robotic affect like an abuse victim. I find that dialog to be really awkward and uncomfortable to listen to. The fact that there is only a minimal effort to sync them up with Chris Rock's monologue in order to suggest interaction works perfectly. The album is, in part supposed to be a journey into Kanye's admittedly dark and twisted subconsciousness. The exchange reads to me like half-formed and fairly disturbing thoughts.
Or, there is only a minimal effort to sync them up thats that. Could go either way.
Sometimes a room with walls painted blue is just a room painted blue and not the inside of a giant fantastic magical blueberry.
Although mindgardens tend to be fertile this time of year.
People also see the promo video as some high art statement. I saw Kanye's half assed attempt at acting and a played out girl/fallen angel/bird metaphor suitable for freshman Creative Writing workshops at the local neighborhood acredited institute.
I listened to the album yet again today and i have to resign myself to the fact that i may be the only person in the world who hears the extended light electric guitar with a wee bit of fuzz distortion under EVERY FUCKING SONG. Again, I believe i have kept my criticism purely mechanical here. If you guys like the songs than thats really fucking great. I'm happy you all are happy, though in the minds own words, he could care less.
I hear the same thing, Thes - it's part of my main minor complaint about the record. And it doesn't have to be that way. At the same time, I think if you're riffing off synth patches you're definitely missing the forest for the trees.
Sometimes an 808 is just a patch on Planet Phat, not a reupholstered 1980 Roland. I'm not really one to award points for method (likewise, for Kanye's budgetary boasts).
As far as the "Yeezy taught me"... yes! It is about his ego! The whole record is! How did that conclusion take long to arrive at?
The very first line on the record is "I fantasized about this back in Chicago/Mercy mercy me, that merci-alago [sic]..." The whole record is him sitting on top of the world, doing whatever he wants ("gosh, it's cool now!"), spazzing, chasing ghosts, putting his nuts on the foreheads of unsuspecting models, fighting himself, being paranoid. And then there's nothing left. To me it's at turns a profoundly depressing record. Very lonely.
I'm not suggesting that everyone love the notes and words. That's up to taste. But I'm just a little shocked at dudes that don't "get" it.
As far as the "Nation Of Millions" comparison - and I know what Cosmo meant by that but because it's such a sacred cow, dudes are not reading the context and going for the literal - it holds weight only as an alternative "milestone record" in rap. Perhaps there's a better comparison. But in 2010 where the "Rap Album" basically does not matter at all, My Dark Twisted Veiny Fantasy is that times ten, and he is going to sell a boatload. It's certainly a milestone.
For real though, I've been playing "Nation Of Millions" since I was 13. Life goes on. Nobody is ever going to make a rap record like that ever again, nor should they. Kanye is overtly politi-racial at several points on this record, but I suspect that's not the problem here. For those that need all socio-political theory all the time, there's always Immortal Technique. He's gained some new fans in high places recently. Perhaps there is hope that we can still Rooftop Like We're Bringing '88 Back. Or else we can continue on with the private satisfaction that We Were There.
But perhaps we'd be better to face facts. In 2010 people are not really hungry for the over the top socio-political theory. Kids - black and brown, many of them - elected Obama, yet the choices are ever more stark, the opportunities as skewed on the bottom as ever, but the top even more limitless, as MBDTF suggests. The NOI model is irrelevant, when you have black kids skating and white folks jogging on the same block as Mosque No. 7. As irrelevant as chaining multiple SP-1200s together to create a Wall Of Samples. Not a kid in the world trying to make a rap record is tripping off getting rare records or gear.
And the beautiful (dark, twisted) thing about that is we have those records. They got made, and they sold a lot of copies. Want to be angry about something? How about the fact that the licensing issues prevent most of them from remaining in print. That's tragic.
To me it's at turns a profoundly depressing record. Very lonely.
Didn't really want to cheapen the post by editing it down or riding on the coat tails of JP's far more coherently worded thoughts but this is the key point as far as my feelings go. To me personally, the power of the record comes as much from the quiet, isolated, moments as its intense everything at the fan stuff. There are moments throughout where you get the feeling that all the celebs, models, weed carriers, whoevers have wandered home after the party and its just West sitting by himself, extremely lonely without all the surrounding artificial fun and noise. This record really isn't a celebratory slap on the back at all.
The whole record is him sitting on top of the world, doing whatever he wants ("gosh, it's cool now!"), spazzing, chasing ghosts, putting his nuts on the foreheads of unsuspecting models, fighting himself, being paranoid. And then there's nothing left. To me it's at turns a profoundly depressing record. Very lonely.
I'm not suggesting that everyone love the notes and words. That's up to taste. But I'm just a little shocked at dudes that don't "get" it.
.
This is exactly why Kanye is so unbearable. He talks and raps about himself, and in 2010 there are very few people who can relate to his socio-economic position in life. He might as well rap about living on Mars. When he says something political (George Bush doesn't care about Black people), it's said in ignorance and without any support. Even after having years to think about what he said, he still has nothing to add and basically apologized to GWB.
This period of time is going to have far more significance in the history books than the Public Enemy days. Meanwhile, there is nothing 2010 about Kanye's lyrics, other than the state of Kanye in 2010. It may be lonely at the top, but who gives a f*ck. He's a parody.
There's a small number of songs I would have rather heard swapped out between the GF tunes and the actual album - is anyone really going to defend "Blame Game" for example?
'blame game' is far and away the best thing on this record, possibly of kanye's career. if you don't hear that, then you don't get kanye, and have no business having theoretical or historical discussions about this record. sorry.
as someone who is paid to be insightful about music, it's shocking to me just how perversely insensitive you are to it, almost without fail.
There's a small number of songs I would have rather heard swapped out between the GF tunes and the actual album - is anyone really going to defend "Blame Game" for example?
'blame game' is far and away the best thing on this record, possibly of kanye's career. if you don't hear that, then you don't get kanye, and have no business having theoretical or historical discussions about this record. sorry.
as someone who is paid to be insightful about music, it's shocking to me just how perversely insensitive you are to it, almost without fail.
The whole record is him sitting on top of the world, doing whatever he wants ("gosh, it's cool now!"), spazzing, chasing ghosts, putting his nuts on the foreheads of unsuspecting models, fighting himself, being paranoid. And then there's nothing left. To me it's at turns a profoundly depressing record. Very lonely.
I'm not suggesting that everyone love the notes and words. That's up to taste. But I'm just a little shocked at dudes that don't "get" it.
.
This is exactly why Kanye is so unbearable. He talks and raps about himself, and in 2010 there are very few people who can relate to his socio-economic position in life. He might as well rap about living on Mars. When he says something political (George Bush doesn't care about Black people), it's said in ignorance and without any support. Even after having years to think about what he said, he still has nothing to add and basically apologized to GWB.
This period of time is going to have far more significance in the history books than the Public Enemy days. Meanwhile, there is nothing 2010 about Kanye's lyrics, other than the state of Kanye in 2010. It may be lonely at the top, but who gives a f*ck. He's a parody.
Are you really complaining about rappers rapping about themselves? Really?
The whole record is him sitting on top of the world, doing whatever he wants ("gosh, it's cool now!"), spazzing, chasing ghosts, putting his nuts on the foreheads of unsuspecting models, fighting himself, being paranoid. And then there's nothing left. To me it's at turns a profoundly depressing record. Very lonely.
I'm not suggesting that everyone love the notes and words. That's up to taste. But I'm just a little shocked at dudes that don't "get" it.
.
This is exactly why Kanye is so unbearable. He talks and raps about himself, and in 2010 there are very few people who can relate to his socio-economic position in life. He might as well rap about living on Mars. When he says something political (George Bush doesn't care about Black people), it's said in ignorance and without any support. Even after having years to think about what he said, he still has nothing to add and basically apologized to GWB.
This period of time is going to have far more significance in the history books than the Public Enemy days. Meanwhile, there is nothing 2010 about Kanye's lyrics, other than the state of Kanye in 2010. It may be lonely at the top, but who gives a f*ck. He's a parody.
Are you really complaining about rappers rapping about themselves? Really?
Maybe I'm in over my head since I'm far from an educated rap fan, but it's just surprising to see people arguing about who "gets" Kanye. Is he that deep? He seems to define himself every time he opens his mouth.
To add on to my earlier poast--I think the "Yeezy Taught Mes" are essential to the song. They're delivered with a bizarre robotic affect like an abuse victim. I find that dialog to be really awkward and uncomfortable to listen to. The fact that there is only a minimal effort to sync them up with Chris Rock's monologue in order to suggest interaction works perfectly. The album is, in part supposed to be a journey into Kanye's admittedly dark and twisted subconsciousness. The exchange reads to me like half-formed and fairly disturbing thoughts.
Or, there is only a minimal effort to sync them up thats that. Could go either way.
Sometimes a room with walls painted blue is just a room painted blue and not the inside of a giant fantastic magical blueberry.
Doesn't really matter how it was done ultimately, although the fact that there is such a pronounced disconnect between the two voices points to it being deliberate. What matters is the ultimate effect produced; I don't much care if it was an accident.
As far as the "Nation Of Millions" comparison - and I know what Cosmo meant by that but because it's such a sacred cow, dudes are not reading the context and going for the literal - it holds weight only as an alternative "milestone record" in rap. Perhaps there's a better comparison. But in 2010 where the "Rap Album" basically does not matter at all, My Dark Twisted Veiny Fantasy is that times ten, and he is going to sell a boatload. It's certainly a milestone.
See - the only reason why I get the sense that it's a milestone is because people keep insisting it is. But isn't a milestone something that's best appreciated with the benefit of a teensy-weensy bit of hindsight?
And as far as milestones go, I don't see how this new album could possibly have an impact comparable to what "Nations" did/meant in 1988. Least of all because, as you point out, "rap albums basically don't matter at all" in 2010. James already said the rest of this better than I can. It's just a poor analogy; no offense to Cos.
Quincy Jones won't be sending Kanye West a Christmas card. One of the hottest producers of the 20th century has spoken out against the hottest producer of, er, late 2010, dismissing West as "just a rapper". "We come from two different sides of the planet," Jones said. "There's no comparison."
Jones has arranged, written for and produced artists including Frank Sinatra, Ray Charles, Donna Summer and Sarah Vaughan. He has won 27 Grammy awards. Oh yes, and he produced a little album called Thriller. As for Kanye West? His Beautiful Dark Twisted Fantasy is the highest-rated album of the year so far. But when Us magazine mentioned to Jones that people were comparing him to West, the 77-year-old launched into a furious rant.
"How, man?" he said. "No way. Did [Kanye] write for a symphony orchestra? Does he write for a jazz orchestra? Come on, man ... I'm not putting him down or making a judgment or anything, but we come from two different sides of the planet. I spent 28 years learning my first skill. I don't rap. It's not the same thing. A producer has to have some sort of skills that enable him to be a producer. It's a whole different mindset. No comparison. None."
West is no arranger but Jones's criticism does seems a little naive. Kanye has always been a producer first and a rapper second ??? the sounds he created on Jesus Walks, Gold Digger and Jay-Z's Takeover are some of the best beats of the decade. He has also produced tracks for Ludacris, a rapper Jones described as one of his "favourites".
But Jones is the first to admit he doesn't "think about [Kanye] much". Instead he has been reflecting on the legacy of Michael Jackson, with whom he worked several times. It's "sad", Jones said, that the Jackson estate has decided to release the singer's unfinished material. "It's all to make money," he complained. "[Michael] wouldn't have wanted it to come out this way ... It should have all stayed in the vault." Look on the bright side, Quincy: at least Kanye West didn't do a remix.
Quincy Jones won't be sending Kanye West a Christmas card. One of the hottest producers of the 20th century has spoken out against the hottest producer of, er, late 2010, dismissing West as "just a rapper". "We come from two different sides of the planet," Jones said. "There's no comparison."
No disrespect to Quincy but given that THIS is what he's putting out into the world right now, I think he may want to pick his fights more carefully:
Comments
I just realized that I'm the dude that remembers random sh*t from here that no one else remembers, yet I don't remember the things that everybody else does. Weird.
I have to, ahem, RESPECTFULLY disagree. (Yeesh.) I don't think they're essential 'cause we ALL know Chris Rock's referring to Kanye. I just think it's Kanye's ego talking again. I could be wrong, but I don't think all that "subconscious/half-formed/psyche" stuff came into all this.
I think all this because I KNOW dudes (AND women) who not only think and talk like this about their conquests, but sincerely believe it AND are even right about it some of the times.
There is a long-running joke between me and bambouche about gothdom (and the dark heart that beats within me) but I don't really know where the rest of that stuff comes from.
Their function is not to identify Kanye. I think they add a layer of interest to what would otherwise be a pretty boring Chris Rock routine. They also--for the reasons I listed above--suggest the possibility of violence.
That's probably it, 'cause I always figured that Bam was REALLY into that stuff and, based off those comments, you too.
I miss Bam and his Kurious* ways.
*Another 'Strut joke only I remember.
round here they still played the instros without lyrics on the radio, like BET, except for college night radio.
Or, there is only a minimal effort to sync them up thats that. Could go either way.
Sometimes a room with walls painted blue is just a room painted blue and not the inside of a giant fantastic magical blueberry.
Although mindgardens tend to be fertile this time of year.
People also see the promo video as some high art statement. I saw Kanye's half assed attempt at acting and a played out girl/fallen angel/bird metaphor suitable for freshman Creative Writing workshops at the local neighborhood acredited institute.
I listened to the album yet again today and i have to resign myself to the fact that i may be the only person in the world who hears the extended light electric guitar with a wee bit of fuzz distortion under EVERY FUCKING SONG. Again, I believe i have kept my criticism purely mechanical here. If you guys like the songs than thats really fucking great. I'm happy you all are happy, though in the minds own words, he could care less.
:balla:
Oh man.....This is hilarious!!
Sometimes an 808 is just a patch on Planet Phat, not a reupholstered 1980 Roland. I'm not really one to award points for method (likewise, for Kanye's budgetary boasts).
As far as the "Yeezy taught me"... yes! It is about his ego! The whole record is! How did that conclusion take long to arrive at?
The very first line on the record is "I fantasized about this back in Chicago/Mercy mercy me, that merci-alago [sic]..." The whole record is him sitting on top of the world, doing whatever he wants ("gosh, it's cool now!"), spazzing, chasing ghosts, putting his nuts on the foreheads of unsuspecting models, fighting himself, being paranoid. And then there's nothing left. To me it's at turns a profoundly depressing record. Very lonely.
I'm not suggesting that everyone love the notes and words. That's up to taste. But I'm just a little shocked at dudes that don't "get" it.
As far as the "Nation Of Millions" comparison - and I know what Cosmo meant by that but because it's such a sacred cow, dudes are not reading the context and going for the literal - it holds weight only as an alternative "milestone record" in rap. Perhaps there's a better comparison. But in 2010 where the "Rap Album" basically does not matter at all, My Dark Twisted Veiny Fantasy is that times ten, and he is going to sell a boatload. It's certainly a milestone.
For real though, I've been playing "Nation Of Millions" since I was 13. Life goes on. Nobody is ever going to make a rap record like that ever again, nor should they. Kanye is overtly politi-racial at several points on this record, but I suspect that's not the problem here. For those that need all socio-political theory all the time, there's always Immortal Technique. He's gained some new fans in high places recently. Perhaps there is hope that we can still Rooftop Like We're Bringing '88 Back. Or else we can continue on with the private satisfaction that We Were There.
But perhaps we'd be better to face facts. In 2010 people are not really hungry for the over the top socio-political theory. Kids - black and brown, many of them - elected Obama, yet the choices are ever more stark, the opportunities as skewed on the bottom as ever, but the top even more limitless, as MBDTF suggests. The NOI model is irrelevant, when you have black kids skating and white folks jogging on the same block as Mosque No. 7. As irrelevant as chaining multiple SP-1200s together to create a Wall Of Samples. Not a kid in the world trying to make a rap record is tripping off getting rare records or gear.
And the beautiful (dark, twisted) thing about that is we have those records. They got made, and they sold a lot of copies. Want to be angry about something? How about the fact that the licensing issues prevent most of them from remaining in print. That's tragic.
Didn't really want to cheapen the post by editing it down or riding on the coat tails of JP's far more coherently worded thoughts but this is the key point as far as my feelings go. To me personally, the power of the record comes as much from the quiet, isolated, moments as its intense everything at the fan stuff. There are moments throughout where you get the feeling that all the celebs, models, weed carriers, whoevers have wandered home after the party and its just West sitting by himself, extremely lonely without all the surrounding artificial fun and noise. This record really isn't a celebratory slap on the back at all.
(EDIT: As mentioned on the very first page by Junior!) I'd rather listen to a musical genius than Kanye West.
Oh man, I was definitely a little drunk when I pressed "submit" on that one.
Exactly. I don't think it's deeper than that, I just don't like it.
This is exactly why Kanye is so unbearable. He talks and raps about himself, and in 2010 there are very few people who can relate to his socio-economic position in life. He might as well rap about living on Mars. When he says something political (George Bush doesn't care about Black people), it's said in ignorance and without any support. Even after having years to think about what he said, he still has nothing to add and basically apologized to GWB.
This period of time is going to have far more significance in the history books than the Public Enemy days. Meanwhile, there is nothing 2010 about Kanye's lyrics, other than the state of Kanye in 2010. It may be lonely at the top, but who gives a f*ck. He's a parody.
'blame game' is far and away the best thing on this record, possibly of kanye's career. if you don't hear that, then you don't get kanye, and have no business having theoretical or historical discussions about this record. sorry.
as someone who is paid to be insightful about music, it's shocking to me just how perversely insensitive you are to it, almost without fail.
Yawn.
Are you really complaining about rappers rapping about themselves? Really?
Maybe I'm in over my head since I'm far from an educated rap fan, but it's just surprising to see people arguing about who "gets" Kanye. Is he that deep? He seems to define himself every time he opens his mouth.
exactly. the end result of pretty much your entire contribution to this discussion, and to life.
Doesn't really matter how it was done ultimately, although the fact that there is such a pronounced disconnect between the two voices points to it being deliberate. What matters is the ultimate effect produced; I don't much care if it was an accident.
You're clearly just grasping, dude.
"Too much faint guitar buzz!"
See - the only reason why I get the sense that it's a milestone is because people keep insisting it is. But isn't a milestone something that's best appreciated with the benefit of a teensy-weensy bit of hindsight?
And as far as milestones go, I don't see how this new album could possibly have an impact comparable to what "Nations" did/meant in 1988. Least of all because, as you point out, "rap albums basically don't matter at all" in 2010. James already said the rest of this better than I can. It's just a poor analogy; no offense to Cos.
Ok. Thanks for sharing.
Please stay gone.
Thank you.
No disrespect to Quincy but given that THIS is what he's putting out into the world right now, I think he may want to pick his fights more carefully:
and just for the SS Catnip Crowd: