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No introduction was provided. You can reply to this email and we will forward your suggestion to the appropriate person. If you want, please also include a link to the blog post you would like us to write. @a@ https://www.youtube.com/watch?v=QNrXsD4MLyk" target="_blank">http://www1.nycwalkingmap. org/blog/2006/05/tour-of-new-york-dakota_1.html" target="_blank">http://www1.nycwalkingmap.org/blog/2006/05/tour-of-new-york-dakota_1.html "From Indie Subculture to Mainstream Stardom: The Rise of Kanye West (1999–2008)" by Tim Finney (Editor)'s essay "The Long Road to Instrumental Sincerity" is published in the June issue of the online magazine BACKPACKER Magazine. Finney suggests that West's exposure to Modest Mouse's "The Moon and Antarctica" (2000) and The Flaming Lips' "Yoshimi Battles the Pink Robots Part 1" (2002) helped refine his style. Finney points out that "Yoshimi/Robots" laid the groundwork for West's use of instrumental backing tracks in his work: "The decision by Kanye West to begin making interesting music with no vocals was not a frivolous one. It was made in part because he had fallen in love with this album—with its stark, abrasive instrumentation and strange, almost otherworldly sound. There is a long tradition of experimental music, exemplified by the Velvet Underground and Brian Eno, of creating something compelling and strange by stripping away familiar layers and revealing the artifice of popular music, but mainstream pop had never attempted anything like this; pop albums had tended to be collections of singles more or less equally weighted with hits and fillers. Yoshimi/Robots did not follow this pattern; it was more like a novel than an album—or maybe like an opera, since it didn't tell a story so much as evoke one, its overtones resonating over time. West's big question that day at the studio was whether to go with an instrumental album. He had considered this possibility before, but the music coming out of his speakers that day made it all seem possible, urgent even. "When I heard 'Yoshimi,' I was like, 'Man, I have to do an instrumental album,'" he explains." Finney continues by citing "Late Registration" track "Drive Slow": "The song opens with a robotic voice—whirrs and beeps overlaid with equally robot-like vocals—which turns out to be a sample of singer Esthero singing one word: "drive. cfa1e77820
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