Ke$ha is a surprisingly existential creation. Whether or not Kesha writes her own music is irrelevant to this point, as her persona embraces and puts forth the existential ideas of identity crisis and a battle with nihilism. I will be taking a look at this through her song "We R Who We R".
Lyrics will be italicized.
Hot and dangerous If you're one of us, then roll with us Cause we make the hipsters fall in love And we've got hot-pants on and up
The song's first four lines take us right into the idea of absurdism. Kesha uses individual identifiers such as "hot" "dangerous" and things that make "hipsters fall in love" (hipsters enjoy the unique). Yet she calls on a group of people to be these things (using the first person plural), implying that all of these unique identifiers are actually very common. The situation is at the height of absurdity, which underlines the meaninglessness of her existence.
And yes of course because we running this town just like a club And no, you don't wanna mess with us Got Jesus on my necklace
Because of this meaninglessness Kesha actually becomes dangerous, forsaking traditional moral frameworks. She threatens violence, anarchy, and godlessness in the next four lines. Kesha has confronted the absurd and decided that no morals apply to her. She is free to do as she pleases, which means she will enforce debauchery (clubs being a place to engage in drinking and promiscuity) as it is the only way to avoid thinking seriously about her absurdist position.
I've got that glitter on my eyes Stockings ripped all up the side Looking sick and sexyfied So let's go-o-o (Let's go!)
Pictured: Kesha is nauseous from the absurdity of existence.
At first glance this line, accompanied with the image of her in the music video, should make one think of a person hiding. The glitter, the ripped stockings, and the imageries of the eyes, those should be aspects of a distorted persona, one hidden under false images. But the third line instead makes us think that this is in fact a physical representation of her dread. "sick and sexyfied" describes her emotional response to the absurd; it makes her nauseous but also attracted to it. Instead of hiding behind a fake persona, she embraces this sick feeling and plunges headlong into the darkness.
[Chorus] Tonight we're going har har-har ha-ha-hard Just like the world is our our-our our-our-ours We're tearin' it apart part-part pa-pa-part You know we're superstars, we are who we are!
Having embraced this state of morallessness, Kesha has no qualms about taking it to its logical conclusion ("going hard"). She is the only one that can define herself ("superstar"), and thus the only one that can make life or death decisions about the nature of her existence ("the world"). Note that she both owns "the world" and wants to destroy it. This idea by itself isn't particularly unique, but what makes it interesting with Kesha is that she desires that others share this view. This would seem to run against her purpose as having other "superstars" would naturally compete with her. But Kesha's existential way does not begrudge other ways of life. She may fight against those ways as evidenced a little further down and in other songs, but Kesha enjoys competition. The fight for survival becomes another way to fight off nihilism. "We R Who We R" says Kesha, both as encouragement and as threat.
We're dancing like we're dum dum-dum dum-dum-dumb Our bodies go num num-num num-num-numb We'll be forever youn youn-youn youn-youn-young You know we're superstars, we are who we are!
Dancing has two interpretations in the second part of the chorus. It is either a mindless act meant to stave off the nihilism ("dumb" and "numb" contributing to this thoughtlessness), or an example of the nihilism itself - an act of struggle against the oppressiveness of nothingness. This here is Kesha calling upon Camus's "The Myth of Sisyphus", and taking that role upon herself. Dancing is her act, equivalent to pushing that rock up the hill. Being "young" is not a call to youth, but to the energy to maintain the struggle. As Sisyphus is dead, age does apply to him and his fight with the rock, and Kesha wishes the same for her struggle. "We R Who We R" becomes self-affirming here, as a credo to keep up her spirits against nothingness.
DJ turn it up It's about damn time to live it up I'm so sick of being so serious It's making my brain delirious!
Pictured: Kesha delirious, conversing with God.
This is the first point in this song where the DJ is brought in, but from perusing Kesha's work there is a clear draw between God and the DJ. Kesha didn't come into her absurdist and nihilistic position from a pure state, but by acknowledging the absence of God in her universe. Here she is calling on the DJ for help ("turn it up") in her struggle against meaninglessness. She wants to create her own moral system and live life with purpose. The next two lines are a callback to Sartre, as Kesha feels sick with the freedom of her choice weighing upon her and is unsure if she has what it takes to maintain that freedom. She is trying to describe her lack of morality and her inability to choose existentialism (yet).
I'm just talkin' the truth I'm telling you 'bout the shit we do We're sellin' our clothes, sleepin' in cars Dressin' it down, hittin' on dudes (HARD!)
Here Kesha acknowledges that these may not be easy things to hear or to confrot. "Truth" is lucidity, which Kesha obviously values otherwise she wouldn't be writing an entire album around the concept. "The shit we do" then becomes the "dancing", or the struggle with nihilism and her flirtations with morallessness. Kesha describes these acts in the next two lines, and interestingly ends with an emphasis "hard!". Here Kesha begins to flirt a little more strongly with existentialism as she chooses her actions not only willingly, but with the full weight of their importance in mind. Doing things half-heartedly would not be bearing the responsibility of freedom upon herself.
I've got that glitter on my eyes Stockings ripped all up the side Looking sick and sexyfied So let's go-o-o (Let's go!)
[Chorus] Tonight we're going har har-har ha-ha-hard Just like the world is our our-our our-our-ours We're tearin' it apart part-part pa-pa-part You know we're superstars, we are who we are! We're dancing like we're dum dum-dum dum-dum-dumb Our bodies go num num-num num-num-numb We'll be forever youn youn-youn youn-youn-young You know we're superstars, we are who we are!
The chorus and the bridge here are a repeat of the previous one. Repetition is a common theme in existential works, often taking new meaning upon further repetition. The first repetition is usually one of stress though, so the difference will be seen in the last chorus.
DJ turn it up (up up up up up up) DJ turn it up (up up up up up up) DJ turn it up (up up up up up up) DJ turn it up (up up up up up up uuuup)
Pictured: Kesha unable to deal with the absurdity of life.
This is an odd point in the song when Kesha's voice gets morphed first lower, then higher to the point it is near impossible to understand. It is also directly after this point that Kesha throws herself off of a building in her music video. Clearly this is Kesha dealing with the inevitability of nihilism. Her failed attempts to get favor from the DJ (God) result in the universe mocking her by twisting her words. She decides that she cannot live in this absurdist world and takes a plunge into nothingness. Right before she dies (or perhaps she even dies) hands of those mindless young hold her up and break her fall. She re-embraces existentialism as a way to fight off her nihilistic tendencies.
[Chorus] Tonight we're going har har-har ha-ha-hard Just like the world is our our-our our-our-ours We're tearin' it apart part-part pa-pa-part You know we're superstars, we are who we are! We're dancing like we're dum dum-dum dum-dum-dumb Our bodies go num num-num num-num-numb We'll be forever youn youn-youn youn-youn-young You know we're superstars, we are who we are!
At first glance, this choral repetition does not seem to suggest a change in Kesha, but, as with the pre-choral calling upon God, to see Kesha's transformation we must again look at the music video accompanying the song. The visuals here illustrate the change that may be absent in the lyrics. Right after the falling and pseudo-death sequence, there are two immediate things apparent, and one slightly more subtle. The two obvious things are the lack of product placement and Kesha just seeming happier. She has a smile on the entire time, and unlike the rest of the video there is a clear lack of consumerism/outside forces involved. The more subtle thing to be noticed is the white light that accompanied her fall that is sometimes in the shape of an eye.
Pictured: Kesha embracing existentialism; also orgasming.
So what do these things mean? Well it is evidence for Kesha's embrace of existentialism. Kesha's actions may not be different, nor are her words really. What is different is the meaning, or mental purpose, behind those words and actions (this recalls Nietzsche's discussion of giving to the poor between a master and a slave). Kesha may still seem to act within morallessness and with a Sisyphean struggle. But in fact her Sisyphean struggle has become a moral one as she embraced existentialism (denoted by the white light encompassing her post-fall). This is clear from the lack of a pre-chorus describing her sickness, and with her more upbeat attitude. She no longer needs to dread nihilism, as she embraces the subjective nature of reality in the statement "We R Who We R".
I know you said it is irrelevant but the fact that people are doing everything for her "eg: writing her songs, directing the music video, doing her makeup" I think none of what you mentioned is actually influenced by her. As for existentialism, i think i kind of agree but it doesn't matter to me unless the artist is the one influencing it.
On July 21 2011 07:20 Kickboxer wrote: You'd make an excellent art critic.
I agree. Go to some museum with a pencil and a pad of paper + clipboard, and write criticisms about every piece you can. Make copies, and mail the copies in to the museum/gallery.
There is no way that this is a serious analysis. I think the only thing more absurd then this song is the analysis.
Its some bullshit jive anthem meant to be played in a club, not interpreted with intention is seeing into her philosophical beliefs. Where does she specifically forsake Christ? By mentioning his name in a song followed by sinful insinuation? If that's the case I think everyone is guilty.
I'm not quite sure if you are familiar with the word Nihilism, but it means lacking objective meaning. No where in this song does it suggest that.
Unless, you're just repeating Nietzsche. Making a hasty generalization that all of the modern western society is nihilistic. But if that was the case then it would be redundant asserting Kesha as existentially nihilistic?
And when you talk about a weird point where Keshas voice is morphed and by this she is conveying something. No. She isn't a producer. She didn't dictate that.
You're trying to interpret nothing is the problem.
On July 21 2011 07:36 Christmastaflex wrote: There is no way that this is a serious analysis. I think the only thing more absurd then this song is the analysis.
Its some bullshit jive anthem meant to be played in a club, not interpreted with intention is seeing into her philosophical beliefs. Where does she specifically forsake Christ? By mentioning his name in a song followed by sinful insinuation? If that's the case I think everyone is guilty.
I'm not quite sure if you are familiar with the word Nihilism, but it means lacking objective meaning. No where in this song does it suggest that.
Unless, you're just repeating Nietzsche. Making a hasty generalization that all of the modern western society is nihilistic. But if that was the case then it would be redundant asserting Kesha as existentially nihilistic?
And when you talk about a weird point where Keshas voice is morphed and by this she is conveying something. No. She isn't a producer. She didn't dictate that.
You're trying to interpret nothing is the problem.
Yeah I also hope this isn't serious.
If you wrote that much about a shit song about nothing, then I wonder what you would do with a decent one lol. You could break 500 pages.
On July 21 2011 07:36 Christmastaflex wrote: There is no way that this is a serious analysis. I think the only thing more absurd then this song is the analysis.
Its some bullshit jive anthem meant to be played in a club, not interpreted with intention is seeing into her philosophical beliefs. Where does she specifically forsake Christ? By mentioning his name in a song followed by sinful insinuation? If that's the case I think everyone is guilty.
I'm not quite sure if you are familiar with the word Nihilism, but it means lacking objective meaning. No where in this song does it suggest that.
Unless, you're just repeating Nietzsche. Making a hasty generalization that all of the modern western society is nihilistic. But if that was the case then it would be redundant asserting Kesha as existentially nihilistic?
And when you talk about a weird point where Keshas voice is morphed and by this she is conveying something. No. She isn't a producer. She didn't dictate that.
You're trying to interpret nothing is the problem.
Yeah I also hope this isn't serious.
If you wrote that much about a shit song about nothing, then I wonder what you would do with a decent one lol. You could break 500 pages.
If you were paying attention I was commenting on the analysis. However you suggesting what I wrote about a "shit song about nothing" as a lot, then what would you consider the amount the OP wrote about this song? AN EXTREMELY A LOT A LOT A LOT More than what I had written?
Anyone considering 200 words "that much" provokes me to question what grade you dropped out in.
And Christmastaflex, pretty sure Darclite was talking to the OP in his second sentence. But it was hilarious watching you get mad that your beloved nihilism was associated with Ke$ha in any way, even though it was an obvious joke.
On July 21 2011 07:59 Turbovolver wrote: Hahaha, great post.
And Christmastaflex, pretty sure Darclite was talking to the OP in his second sentence. But it was hilarious watching you get mad that your beloved nihilism was associated with Ke$ha in any way, even though it was an obvious joke.
On July 21 2011 07:36 Christmastaflex wrote: There is no way that this is a serious analysis. I think the only thing more absurd then this song is the analysis.
Its some bullshit jive anthem meant to be played in a club, not interpreted with intention is seeing into her philosophical beliefs. Where does she specifically forsake Christ? By mentioning his name in a song followed by sinful insinuation? If that's the case I think everyone is guilty.
I'm not quite sure if you are familiar with the word Nihilism, but it means lacking objective meaning. No where in this song does it suggest that.
Unless, you're just repeating Nietzsche. Making a hasty generalization that all of the modern western society is nihilistic. But if that was the case then it would be redundant asserting Kesha as existentially nihilistic?
And when you talk about a weird point where Keshas voice is morphed and by this she is conveying something. No. She isn't a producer. She didn't dictate that.
You're trying to interpret nothing is the problem.
You are right that nihilism isn't directly addressed in the song, but it seems your criticism stems from a lack of familiarity with existentialism and absurdism. Atheistic existentialism essentially grapples with the idea of what to do without a God. When Nietzsche wrote his famous line "God is dead", he wasn't saying that we are all atheists now and religion is meaningless, he was trying to attack the notion that his contemporaries had about morality. His contemporaries were sticking to traditional moral frameworks, but without the moral backing that comes from a figure such as a God. Morality cannot exist in a vacuum was essentially what Nietzsche argued. The existential struggle is then how to escape from nihilism, as Nietzsche saw nihilism as either a bad or at least not productive place to end up in.
Following from this, another response to nihilism is absurdism, which essentially argues that the inherent human condition prevents even the consistent creation of personal meaning. This usually involves the inability to communicate, as seen in most absurdist plays ("Waiting for Godot", "Rosencratz and Guildenstern"). To be in a state of absurdism is often a more despairing situation than the often life affirming existentialism, but to embrace existentialism is also often difficult as one has to create value for themselves with a total freedom that can be crippling. This can be seen from many experiments that posit that the more choices a person has, the less likely they are to choose (http://theamericanscene.com/2010/04/28/the-non-paradox-of-choice). Absurdism gives you the option of not choosing, but it leads you nowhere, while existentialism asks you to choose, but gives you infinite choice.
Here is also a handy table if the differences are confusing: (http://theamericanscene.com/2010/04/28/the-non-paradox-of-choice)
What Kesha describes in this song is her confrontation with the absurd. I am not saying that Kesha is as eloquent as Camus or Sartre, but that she is following in their tradition. Yes, she may have had a producer warp her voice in that sequence with the DJ, but that only underlines her physical inability to portray her frustrations in communicating with God, or the power behind morality.
I don't understand why people are so quick to dismiss such a cerebral figure just because they find the music style to be grating and unlikeable. I think we can learn a lot from Kesha. She is at least trying to tackle these issues, even though she has not been gifted with the most inspiring vocabulary. Shouldn't we celebrate the youth attempting to tackle deep and personal questions?
On July 21 2011 07:59 Turbovolver wrote: Hahaha, great post.
And Christmastaflex, pretty sure Darclite was talking to the OP in his second sentence. But it was hilarious watching you get mad that your beloved nihilism was associated with Ke$ha in any way, even though it was an obvious joke.
Beloved Nihilism? You are the epitome of ironic.
Just letting you know, you seem a bit grouchy today, as all your posts are pretty hostile towards people.
As for your diatribe against the OP...all I can say is that a sense of humor helps in getting the total picture of that post.
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