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巴勃羅的一生

Ultralight?Beam音頻：00:0005:20

Famous

Pablo Picasso and Kanye West share many qualities—impatience with formal schooling, insatiable and complicated?sexual appetites, a vampiric fascination with beautiful?women as muses—but Pablo Picasso was?never called an asshole. Kanye, specifically,?toasted them.?The Life of Pablo's namesake is a provocation, a mystery, a sly acknowledgement of multitudes: Drug lord Pablo Escobar is a permanent fixture of rap culture, but the mystery of "which one?" set Twitter theorists down fascinating rabbit holes, drawing up convincing stand-ins for Kanye's Blue Period (808s & Heartbreak), his Rose Period (My Beautiful Dark Twisted Fantasy), and his Crystal Period (Yeezus). If Kanye is comparable to Picasso,?The Life of Pablo?is the moment, after a turbulent life leaving many artistic revolutions and mistreated women in his wake, that the artist finally settles down. In this formulation, Kim Kardashian is Jacqueline Roque, Picasso's final muse and the woman to whom he remained faithful (she even kinda?looks like a Kardashian), and the record is the sound of a celebrated megalomaniac settling for his place in history.

巴勃羅·畢加索和坎耶·韋斯特有著許多相同的特質(zhì)——厭學，無上限又復雜的性欲，對美麗女性比如女神繆斯吸血鬼般的癡迷——但是畢加索可從來沒有被人叫做混蛋 。而坎耶反而還給跟他一樣的混蛋們敬酒。專輯名《The Life Of Pablo》的含義是一種挑釁，一個謎團，一個面對大眾的狡猾承認：毒梟巴勃羅·埃斯科巴是嘻哈文化中一個永恒象征，但關(guān)于封面上“WHICH ONE”的謎團讓很多推特上的理論家們都沉溺于疑問與思考，他們勾畫了坎耶憂郁時期專輯《808s & Heartbreak》，全盛時期專輯《My Beautiful Dark Twisted Fantasy》及零碎時期的專輯《Yeezus》的許多令人信服的替代品。但若真要將坎耶與畢加索相提并論，專輯《The Life Of Pablo》就是坎耶在經(jīng)歷動蕩一生，給音樂藝術(shù)界帶來眾多革新，枕邊女人換了又換后終于安定下來的那一關(guān)鍵時刻。在這樣的劇本下，金·卡戴珊對坎耶的意義就像是杰奎琳·羅克對畢加索的意義一樣。杰奎琳是畢加索最后一位仰慕及忠誠于的女人（她甚至于金·卡戴珊還有一些神似）。這張專輯可以說是一個惡名昭彰的狂妄癥患者宣告他的偉大歷史地位的一次嘗試。

I'ma let you finish

Famous音頻：00:0003:14

“

The Life of Pablo?is, accordingly, the first Kanye West album that's just an album: No major statements, no reinventions, no zeitgeist wheelie-popping. It's probably his first full-length that won't activate a new sleeper cell of 17-year-old would-be rappers and artists. He's changed the genre's DNA with every album, to the point where each has inspired a generation of direct offspring, and now everywhere he looks, he sees mirrors. "See, I invented Kanye, it wasn't any Kanyes, and now I look and look around and there's so many Kanyes," he raps wryly on "I Love Kanye." The message seems clear: He's through creating new Kanyes, at least for now. He's content to just stand among them, both those of his own creation and?their?various?devotees.

Kanye's second child Saint was born in early December, and there's something distinctly preoccupied about this whole project—it feels wry, hurried, mostly good-natured, and somewhat sloppy. Like a lot of new parents, Kanye feels laser-focused on big stuff—love, serenity, forgiveness, karma—and a little frazzled on the details. "Ultralight Beam" opens with the sound of a?4-year-old preaching gospel, some organ, and a church choir: "This is a God dream," goes the refrain. But everything about the album's presentation—the churning tracklist, the broken promises to premiere it here or there, the scribbled guest list—feels like Kanye ran across town to deliver a half-wrapped gift to a group birthday party to which he was 10 minutes late.

《巴勃羅的一生》，相對地，是坎耶音樂生涯第一張純粹的專輯：沒有任何聲明，沒有再創(chuàng)造，沒有時代精神號召。這或許還是他的第一張不會啟發(fā)新一代的年輕說唱歌手和藝術(shù)家的錄音室專輯。眾所周知，坎耶的每一張專輯都改變了說唱這個流派的基因，都直接啟發(fā)一代又一代的藝人，以至于他俯瞰整個音樂產(chǎn)業(yè)，都能看到自己的影子?！翱次覄?chuàng)造了坎耶，他是獨一無二的，而我現(xiàn)在眺望四周我都能看到無數(shù)的坎耶模仿者”，坎耶在歌曲《I Love Kanye》上幽默地唱道。他要表達的意思一目了然：他已經(jīng)給這個世界帶來了無數(shù)坎耶，至少現(xiàn)在，他可以滿足地坐在由他塑造的坎耶和他的忠誠信徒構(gòu)成的王座上。

坎耶的第二個孩子Saint在臨近12月的時候出生了，專輯的制作過程可能直接受到影響，因此聽起來令人感覺有點倉促，整體質(zhì)量高但感覺略微有些潦草。就像大多新手父母們一樣，坎耶專注于更大的格局——愛，寧靜，寬恕，回報，而選擇了忽略疲憊地糾結(jié)音樂細節(jié)。歌曲《Ultralight Beam》以一個四歲小孩的福音式誦唱開篇，伴隨著其他伴奏和一段重復的教堂樂團和聲：“這是神之夢”。但是一切關(guān)于專輯的展示——零亂的歌曲曲目，坎耶的失信與專輯的多次延期，潦草地助陣歌手名單——專輯給人第一感覺像是坎耶跨城去參加一個組合的生日派對所帶上的一個不那么上心的禮物，而且，他還遲到了10分鐘。

I met Kanye West I'm never going to fail

Wolves音頻：00:0003:58

Thankfully, he's bringing a Kanye album, and Kanye albums make pretty goddamn good gifts. His devotion to the craft of album-making remains his greatest talent. Albums are his legacy, what he knows, deep down, will endure after the circus of attention he maintains around him subsides. His ability to package hundreds of stray threads into a whole that feels not just thrilling, but *inevitable—*at this, he is better than everyone, and he throws all of his best tricks into?The Life of Pablo?to remind us. He picks the right guests and gives them idealized settings, making people you don't care about sound fantastic and people you?do?care about sound immortal. Chance the Rapper, a spiritual heir to backpack-and-a-Benz Kanye if there ever was one, is given the spotlight on the opener "Ultralight Beam," and uses his dazed, happy verse to quote both "Otis" and the bonus track to?Late Registration. His joy is palpable, and it's clear he has waited his entire adult life to be featured on a Kanye album. On the other hand, "Fade" pits Future knockoff Post Malone, of all people, against a sample of Chicago house legend Larry Heard's "Mystery of Love" and a flip of Motown blues rock band Rare Earth's "I Know I'm Losing You" and rigs the mix so that Malone, somehow, sounds more important than both of them.

謝天謝地，坎耶帶來了一張純正的坎耶專輯，純正的坎耶專輯是充滿著那么多的驚喜?？惨@張專輯仍然保持著高制作水平，他自內(nèi)心深處就知道，專輯就是他的遺產(chǎn)，在他周遭發(fā)生的爭議平息后會永遠被傳頌的藝術(shù)品?？惨哪欠N能將數(shù)百種相對獨立的音樂元素融合進同一首歌中的能力是不僅是令人震驚的，但這就是他與生俱來的。在這種天賦和能力上，他比任何人都要強，而他在專輯中那極佳的創(chuàng)作選擇也證明了這一點?？惨暨x了合適的助陣歌手并根據(jù)他們的風格為其創(chuàng)造了發(fā)揮空間，讓那些無名小卒也能一展身手，讓那些產(chǎn)業(yè)大咖也能獻上最佳表現(xiàn)。

Chance the Rapper，一個被稱作是背包派和奢華派坎耶的精神繼承人（如果有的話）。他被給予了開篇曲目《Ultralight Beam》中相對多的部分并用他那慵懶，輕快的腔調(diào)提及了《Otis》和坎耶的專輯《Late Registration》中的加曲。他的愉悅掩蓋不住，大家都知道，他為了和坎耶合作這一刻已經(jīng)等了快五六年了。另外，與說唱歌手Future的復制品波茲·馬龍合作的歌曲《Fade》采樣了人盡皆知的芝加哥浩室音樂傳奇拉里·赫德的《Mystery Of Love》和底特律藍調(diào)搖滾樂隊Rare Earth的《I Know I’m Losing You》的片段并融合于一起，正因如此，馬龍的部分才能比這采樣還要耀眼。

FML音頻：00:0003:56

This moment is also a reminder of Kanye's audacious touch with huge, immediately recognizable pieces of musical history—his best work as a producer has always drawn from iconic songs so venerated most sane people wouldn't dare touch them, from "Gold Digger" to "Blood on the Leaves" and beyond. He doesn't just?sample?these songs, he climbs in and joyrides them like the Maybach in the "Otis" video. On "Famous," he does it twice, first by matching up Nina Simone's "Do What You Gotta Do" with Rihanna, who sings the song's hook before Nina does, and then with Sister Nancy's "Bam Bam," which gets flipped so it sits atop a chorale-like chord progression. It sounds like a dancehall remix of Pachelbel's Canon, and it's the most joyful two minutes of music on the album.

"Waves," a song that made the tracklist at the last second at Chance the Rapper's?insistence, has a similar energy. You can hear why Chance, specifically, might've wanted it back: It is a throwback to the?Rainbow Road?maximalism of "We Major," and it is so warmly redemptive it even makes Chris Brown, who sings the hook, sound momentarily benevolent. "Waves" is hardly the only last-second change made: The Kendrick Lamar collaboration "No More Parties In L.A." is back on here, as is an inexplicable minute-long voicemail from imprisoned rapper Max B, granting Kanye permission to use his popular slang term "wavy." Such last-second fidgets seem to say something about?The Life of Pablo?itself. After years of agonizing over how to follow up the conceptually triumphant?808s & Heartbreak,?My Beautiful Dark Twisted Fantasy, and?Yeezus, he seems to have settled upon eternal flux as a resting place, and the album plays like Kanye might still be remixing it furiously in your headphones while you listen.

這一刻也讓我們回想起坎耶在音樂歷史上對那些偉大的，有辨識度的音樂作品的大膽嘗試——說起坎耶作為制作人的所制作的最佳作品，人們肯定會想到那些普通人根本制作不出的現(xiàn)象級歌曲，從《Gold Digger》到《Blood on the Leaves》，數(shù)不勝數(shù)。侃耶不僅僅是采樣了音樂，更像是開著邁巴赫在這些采樣上自由馳騁，就像他在歌曲《Otis》的Music Video中一樣。在歌曲《Famous》中，他兩度完美呈現(xiàn)了他那超凡的采樣藝術(shù)，第一次是他為這Nina Simone的歌曲《Do What You Gotta Do》采樣找到了絕佳的人選，蕾哈娜，并讓其隨著Nina的唱腔完成了這首歌的副歌部分。第二次是侃耶采樣了Sister Nancy的歌曲《Bam Bam》，并完全換了一個調(diào)，讓其聽起來像是一組贊美詩般的和弦。最終呈現(xiàn)出來的效果就像是一首舞曲混音版的卡農(nóng)，這真是這張專輯里最令人愉悅的兩分鐘。

最終，在Chance the Rapper的堅決要求下，歌曲《Waves》被添加進了這張專輯中，而這些歌也像《Famous》那樣有著愉悅的聽感。在你聆聽過后，你會明白為什么Chance為什么特別想拿回這首歌：歌曲給人一種類似于極繁主義制作的代表《We Major》（收錄于專輯《Late Registration》中）的復古聽感，那種暖心的救贖感甚至都能讓唱副歌Chris Brown聽起來有那么片刻的仁慈?！禬aves》并非是專輯唯一一首最后才添加進來的歌曲，和Kendrick Lamar合作的《No More Parties In L.A.》同樣也是：正在獄中的說唱歌手Max B給侃耶發(fā)了一封費解的語音郵件，表示他允許侃耶使用他的專屬俚語：wavy，隨后歌曲才得以發(fā)布。專輯這匆匆忙忙的加曲似乎也說明了《The Life Of Pablo》本身的含義。繼神?！?08s & Heartbreak》,《My Beautiful Dark Twisted Fantasy》和《Yeezus》后，侃耶一直掙扎著如何做出像上面這樣專輯概念和歌曲本身同樣卓越的作品，而他似乎已是將涌流不息的長河中作為自己的棲息地。專輯給你的第一聽感就是侃耶一邊給你聽歌，一邊還在你的耳機里給歌曲混音。

Pt.?2音頻：00:0002:09

"Father Stretch My Hands" tosses a sample from Southside Chicago icon, activist, and one-time fraud convict Pastor T.L. Barrett into a gurgling trash compactor?alongside some pigeon-cooed backing vocals and an entire undigested verse from another Future knockoff, Brooklyn upstart Desiigner. It's the least-finished-sounding piece of music to ever feature on a Kanye album. This is the logical endpoint to the sort of obsessive perfectionism that led West to make 75 near-identical mix downs of ?"Stronger," and in the song's lyrics, Kanye admits that the same workaholism that made his father a distant figure in his childhood now keeps him from his family. On "FML," he name-checks the antidepressant Lexapro on record for the?second?time in a year, and alludes to something that sounds an awful lot like a manic episode.?The life of a creative visionary has dark undercurrents ("name me one genius who ain't crazy," Kanye demands on "Feedback") and it's possible that?The Life of Pablo?title serves as much private warning as boastful declaration.

The album's most humane moments come when he reaches for his family: "I just want to wake up with you in my eyes," he pleads at the end of "Father Stretch My Hands." On "FML," a bleak song about resisting sexual temptation, he sings to Kim, "They don't want to see me love you." "Real Friends" reprises his "Welcome to Heartbreak" role as the unhappy outsider at his own family events, squirming through reunions and posing for pictures "before it's back to business"; it's maybe the saddest he's ever sounded on record.

歌曲《Father Stretch My Hands》采樣了南芝加哥著名藝術(shù)家，曾經(jīng)的詐騙犯Pastor T.L. Barrett的話語，混音成了好像被咯吱響的垃圾壓縮機壓過的鴿子叫聲，回蕩在耳畔。在歌曲的pt.2版本中，侃耶令人費解地將Desiigner，這來自布魯克林的Future復刻人的熱單《Panda》混音進來，這和專輯中其他助陣歌手的部分一比，簡直是格格不入且粗制濫造。正是這種癲狂完美主義的邏輯點，使得侃耶在發(fā)行歌曲《Stronger》之前，將其重復混音了75次，而在歌曲的歌詞中侃耶提到，正是這種對工作的癡迷和醉心讓他和他的父親關(guān)系越來越疏遠，而現(xiàn)在同樣的情況也發(fā)生在他和他的家人身上。在歌曲《FML》中，侃耶提到了抗抑郁藥物依地普侖，這已經(jīng)是他今年第二次提及抗抑郁劑了，而這也暗示著一些關(guān)于狂躁癥發(fā)作的事宜。一個有創(chuàng)意的夢想家的生活也會充滿著未知的暗流（“說出一個不癲狂的天才的名字我聽聽”，侃耶在歌曲《Feedback》中要求道。）所以《The Life Of Pablo》這一專輯名既是一個自我警醒，又算是一個自吹自擂。

專輯中最暖心的時刻毋庸置疑是侃耶談及他的家庭狀況的時候：“我只想一覺醒來看見你依偎在我身旁”，他在《Father Stretch My Hands》的結(jié)尾處說道。在《FML》這陰暗的關(guān)于抵制性誘惑的歌曲中，侃耶對他的妻子金·卡戴珊唱道：“人們都對我于你之愛嫉妒不已”。而當侃耶陷入與家人愈發(fā)疏遠，只能在工作前匆匆忙忙地與家人拍上那么一張集體照的境況時，歌曲《Real Friends》也重現(xiàn)了他那“歡迎來到心碎之地”的身份。這可能是這張專輯中最悲傷的一部分了。

Real?Friends音頻：00:0004:11

Tuning into the humanity in Kanye's music amid bursts of boorish static can be difficult, and the most prominent example of assholery on?Pablo?comes from the instantly infamous jab "I feel like me and Taylor might still have sex," which feels like a piece of bathroom graffiti made to purposefully reignite the most racially-charged rivalry in 21st-century pop. But there's lots more where that came from, sneaking in behind the headline: "If I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I'mma feel like an asshole" is maybe the most unforgivably stupid thing Kanye West has ever rapped. And on the bonus track "30 Hours," he takes a moment to sneer, "My ex said she gave me the best years of her life/ I saw a recent picture of her, I guess she was right."

At moments like this, you sense the airlessness of super-celebrity closing in around him. Even when he was being loathsome, Kanye's behavior always felt rooted in something messy and relatable. During the wild scrum of?The Life of Pablo's press cycle—when he tweeted "I own your child!!" at Wiz Khalifa in response to a minor misunderstanding, or his "BILL COSBY INNOCENT !!!!!!!!!!" tweet,?for instance—there was a prevailing sense that Kanye had entered such a consequence-free zone that we can never truly relate to him anymore. Once upon a time, he was The Asshole Incarnate, the self-described "douchebag" that we couldn't look away from. But there are moments here where he just sounds like another asshole.

但如果你想在重重粗俗話語干擾下細細聆聽侃耶歌曲的暖心人性，那著實是有點難，而專輯中那最惡名昭彰的一句歌詞就是歌曲《Famous》中的“I feel like me and Taylor might still have sex”,就像是在臥室墻上寫下的一派胡言，仿佛是要重燃21世紀流行樂壇最具種族色彩的戰(zhàn)火。但此外，還有更多跟這一樣惡劣的歌詞：“If I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I'mma feel like an asshole（如果我和這模特上了床，而她也剛剛給自己的后庭消了毒，那我給我的t恤消消毒，我也感覺我自己變成了個混蛋了）”。這可能是侃耶有史以來說過的最不可原諒的蠢話了。而在加曲《30 Hours》中，他嘲笑道：“我的前任說她和我在一起的年月是她一生中最棒的日子/我看了看她最近的照片，她說的確實是對的?！?/p>

在這樣的時刻中，你可以感覺到侃耶那超級巨星身份周圍包裹的那窒息感。即使是侃耶做出一些令人作嘔的行為的時候，他的舉動也是植根在一些混亂又相關(guān)的東西中。貫穿《The Life Of Pablo》這放蕩不羈的壓迫循環(huán)中，侃耶在推特回應了與Wiz Khalifa的一個小誤會：你的孩子是我的；也發(fā)過推說比爾·科斯比是無辜的，更例如，有這么一種普遍的說法是侃耶已經(jīng)踏入了一個不顧后果之境地，我們再也無法理解他的一舉一動了。曾幾何時，侃耶就是混蛋的化身，他自稱自己是一位萬眾矚目的人渣。但在這張專輯里，侃耶聽起來像是另外一個混蛋。

Low?Lights音頻：00:0002:11

And yet, as it always does in Kanye's essentially crowd-pleasing, deeply Christian music, the light wins out over the darkness. A madcap sense of humor animates all his best work, and?The Life of Pablo?has a freewheeling energy that is infectious and unique to his discography. Somehow, it comes off as both his most labored-over and unfinished album, full of asterisks and corrections and?footnotes. "It was my idea to have an open relationship, now a nigga mad," he jokes on "30 Hours," sending up his own masculine fragility. "I need every bad bitch up in Equinox/ I need to know right now if you a freak or not," he jokes on "Highlights."

And with?The Life of Pablo, this humor isn't just in the verses, it's in the rollout, too. Somewhere between the record's several title changes, it started to feel like Kanye had decided to turn his troubled-blockbuster-syndrome into performance art. "We still don't have a title," Kim Kardashian tweeted, days before the announced rollout. The day after he rented out Madison Square Garden so he could plug in his laptop, it was suddenly unclear, again, if the album was coming out at all;?the mess was so profound that a?tweet?noting "Young Thug claimed on Periscope it was coming out on SNL tomorrow" suddenly seemed like solid intel. Chaos reigned, and as the twists and turns mounted, it was hard to keep from laughing helplessly.

然而，這樣的情況經(jīng)常發(fā)生在侃耶迎合大眾的舉動中：深刻的基督教音樂，光明終將戰(zhàn)勝黑暗的主題。偏執(zhí)狂的幽默感是推動侃耶制作出優(yōu)秀作品的動力，而那種隨心所欲的能量讓《The Life Of Pablo》成為侃耶作品中最具感染力、最獨特的一張專輯。也不知怎么的，專輯釋出后也成為了他最用力過猛和完成度最低的專輯，作品中充滿著各種星號，各種修改的痕跡和腳注?！皳碛幸欢伍_放的關(guān)系是我最初的想法，現(xiàn)在我卻對此感到懊惱”，他在《30 Hours》中開玩笑道，傳遞著他那關(guān)于男人的脆弱?！拔乙跁円蛊椒謺r召集所有的壞女人，我現(xiàn)在就想知道你是不是一個怪人”，他在《Highlights》里唱道。

關(guān)于《The Life Of Pablo》，笑話不僅僅是在歌曲里，更是在專輯的推廣中。在侃耶多次更改專輯標題的舉動中，這開始讓人感覺侃耶決定是要讓他那“麻煩制造者綜合癥”轉(zhuǎn)變成一種行為藝術(shù)?！拔覀冞€是沒有決定好專輯的標題”，在專輯宣傳發(fā)布的幾天后，侃耶的妻子在推特上說道。在他為了以便于給筆記本充電，把麥迪遜廣場花園租出去的第二天，專輯的釋出時間再度成了一個謎。大眾輿論一片混亂，而此時一條關(guān)于“Young Thug在Periscope平臺上表示侃耶的專輯會在明天的周六夜現(xiàn)場節(jié)目發(fā)布”的推特又讓人不得不相信。人們議論紛紛，對專輯的期待感被吊著跌宕起伏，真的蚌埠住了。

I?Love?Kanye音頻：00:0000:44

Around this point, the joke became clear: This whole thing—album cycles, first-week sales, release dates, the album-as-statement, the album itself—is?ridiculous. The only other recent marquee star to allow something this messy to bear their name was Rihanna, whose?ANTI?was released into the world last month in a similarly slipshod manner. Both stars are jewels in the late-period Roc-A-Fella dynasty, their careers forged in the dying embers of the old-school music industry where promotional campaigns were telegraphed months in advance, where singles and video rollouts were executed with airstrike precision, where release dates loomed like skyscrapers. In the ensuing industry freefall, Kanye and Rihanna have weathered every absurdity imaginable—platinum plaques handed out by Samsung,?biometric suitcases carrying leakproof records, artist-owned streaming services that put up their records for a few minutes by accident. Watching the sea of confusion and despair on news feeds and timelines, you can almost hear them chuckling:?None of this matters, because none of it is real.

If there was a larger message behind all this impulsive last-second lurching and heaving, that was it. "We on an ultralight beam/ This is a God dream" reads like an affirmation that we live in a world touched by divinity—but it could also mean the universe is a trick of the light, and we're nothing but a figment in a higher being's imagination. Nothing is as it seems, nothing is safe from revision, and nothing lasts: In one last rug pull, Kanye claimed that the "Pablo" of the title was neither Escobar nor Picasso, but St. Paul of Tarsus ("Pablo" in Spanish). The claim slots neatly with his assertion that?The Life of Pablo?is a "gospel album," and on "Wolves," ?he offers a resonant, lonely image: Kim and Kanye as Mary and Joseph, alone in the manger and surrounded by the void. ?"Cover Nori in lamb's wool/ We surrounded by/ The fuckin wolves," he raps. If Pablo is indeed St. Paul, Kanye might have a passage on his mind from Corinthians, Chapter 13 verse 2: "If I have a faith that can move mountains, but do not have love, I am nothing."

在這個點上，笑話就很明顯了。這一系列的事情——專輯周期，首周銷量，發(fā)布日期，專輯聲明以及專輯本身——都是荒謬至極的。另一位這樣溜粉的明星還得是山東天后蕾哈娜，她的專輯《ANTI》在上個月也是以同樣潦草的方式發(fā)布的。這兩位明星都是Roc-A-Fella 唱片公司王朝后期的兩顆明珠，他們的音樂生涯都是在老派音樂產(chǎn)業(yè)的余燼下鑄就的；專輯的宣發(fā)都是經(jīng)過提前幾個月的鋪墊進行的，空降單曲和音樂MV作為宣傳是家常便飯，專輯發(fā)布日期就像云層中的摩天大樓一樣不可窺視。在隨后的行業(yè)衰落與改革中，侃耶和蕾哈娜都經(jīng)受住了各種可以想象的荒謬事件——由三星公司分發(fā)的音樂白金認證，裝著防泄露唱片的生物識別行李箱，歌手專屬的流媒體服務賬號，有時他們還會不小心上傳了他們的作品?？粗侣勍扑秃蜁r間軸上那令人疑惑又絕望的一系列事件，你似乎都能聽到那被傳播著的消息的嬉笑聲：“我們都是無關(guān)緊要的，因為我們啊，全都是fake news?！?/p>

如果說在這最后一秒的沖動顛簸和起伏背后有什么更重要的信息的話，那就是它。“我們在上帝的圣光之下/這是神之夢”，這讀起來像是一種肯定，我們生活在一個與神密切相連的世界——但它也可能意味著宇宙的概念是光的一個小把戲，而我們只是一個更高等的存在所塑造的虛構(gòu)人物。沒有什么事物是表面看起來的那樣，沒有什么是不可以被篡改的，也沒有什么是永恒的:坎耶最后一次聲稱，專輯名中的“巴勃羅”既不是Escobar也不是畢加索，而是Tarsus的圣保羅(西班牙語中的“巴勃羅”)。侃耶說《The Life Of Pablo》是一張“福音專輯”。在歌曲《Wolves》中，他呈現(xiàn)了一幅引人共鳴的、孤獨的畫面:金·卡戴珊和坎耶扮演瑪麗和約瑟夫，獨自在馬槽里勞作，被空虛寂寞包圍著?！敖o諾瑞披上羊皮/我們被/該死的狼包圍，”他說道道。如果Pablo真的是圣保羅，坎耶可能會想起哥林多前書第13章第2節(jié)的一段話:“即便我能有移山的信念，但如果沒有愛，我什么都不是。”