How does Pitchfork evaluate his lip syncing performance on SNL? Has the public softened since the days of Milli Vanilli? In 1989 that brand of mediocrity ruined careers. It's still the best $$$ going though and lip-syncing is acceptable, now. We don't care about that, anymore: just don't sound like Milli Vanilli and when you fu#$ up don't run off stage. The biggest problem was that Milli Vanilli sucked whether they were faking it or not, right?
Everyone fakes it, now. The big production effort to distract viewers from noticing that Kanye may lack the confidence or ability to sing his songs in front of a live television audience may even be seen as ballsy or respectable by 2010's standards (or 2008, when he did it the first time). Who knows?
American Idol proved Warhol was right. Famous karaoke singers get big record contracts. So, who gives a fu#$ who lip-syncs?
The real question is: What is the advantage to lip-syncing vs. live performance?
In his defense in 2008 his supporters said that his autotune was out of sync. So, maybe autotune is seen as advantageous vs. live performance. I don't know if the same explanation was provided for his more recent SNL performance or if anyone even cares in 2010.
Have famous karaoke singers made us afraid to sing out of tune? What's next? Autofuck? The "live" performance is like watching Sparkle Motion in Donnie Darko: equal parts of disturbing and lame. Coincidentally, the worst parts of the Runaway video would fit right into Southland Tales.
The opportunities that technology is creating are kind of exciting, though. In the future artists can pre-set their entire performance and watch their holograms own the stage as members of their own audience.
Selita Ebanks is great eye candy in the video. She's no actress but probably the main reason I kept watching. The bird suit get-up (she's Phoenix!), the jerky modern dance stabs and the scenes where she is crawling across the lawn with the bunny and the deer are the kind of half-a$$ed attempts at being artsy that were parodied in Tapeheads ("I'm talking production! I'm talking tits and ass!", "Everybody loves Menudo!") and work well as parody but I think they might be trying to be serious, here. I hope not. Regardless, the video is at least more than just a medium to bring you the music ( I'd much rather watch this than "Thriller", for sure) and even if that was its only job, it's forgivable. West delivers. The scope of the music is ambitious and infectious to say the least and it similarly works great as parody and ear-candy. I can see why people are listening to this over and over.
This is pretty genius stuff but it doesn't come without some fluff. I can live with that but I'm hoping Ebanks can sub for West on any future live performances.
A toast for the douchebags!
this article changed the game 6 years ago.http://www.nytimes.com/2004/10/31/arts/ ... wanted=all
i think i post it here every year.