This album is dedicated to all the teachers that told me I’d never amount to nothin’, to all the people that lived above the buildings that I was hustlin’ in front of that called the police on me when I was just tryin’ to make some money to feed my daughters, and all the ni—rs in the struggle, you know what I’m sayin’?

—Notorious B.I.G., “Juicy”

I just threw away a lifetime of guilt-free sex and floor seats for every sporting event in Madison Square Garden. So please, a little respect. For I am Costanza, Lord of the Idiots.

—Jason Alexander, Seinfeld

Every culture recognizes the hustler.

Greek mythology devotes as much praise to Odysseus – builder of the Trojan Horse; blinder of Polyphemus; the man who outwitted Circe and Proteus – as it does to the legendary warrior Achilles. The Native Americans of the Midwest venerated the mythical Coyote, trickster extraordinaire, while the Norse had Loki, who could even change his gender. You can find more classical fables, from Aesop to Jean de la Fontaine, that honor the cunning prey overcoming the mighty predator than vice versa. From the Monkey King of the Ming Dynasty to Anansi, spider-god of the Ashanti, every human society reveres cleverness and wit.

These mythological gods and heroes play a variety of roles. Anansi was a storyteller; Coyote, the creator of man and the Earth; Loki, a thorn in the side of Asgard. But they all share the similar Jungian archetype of the hustler: the underdog surviving on his wit.

Smooth operator.

Lee: Hey Sheely, let’s Overthink Miley Cyrus’s hit single, “Party in the USA.”

First question: is this song even worth Overthinking?

10. Brush your Shoulders Off (Jay Z) — Time passes, seasons change, the Electric Slide gives way to the Cha Cha Slide at weddings, but one thing remains: DJs and emcees always want you to do something. While some music may ask more of us than dance music does, no other sort has the gall to up and demand it in the lyrics.

At least Jay Z here had the courtesy to demand something simple and easy to do that doesn’t require you to move your feet or get your heart rate up above 60 beats per minute or so. You can even do it while you’re holding your drink! Now I understand why the man is so successful — he doesn’t waste energy. (And because Universal has embedding on lockdown, here’s the DJ Danger Mouse remix. It’s probably for the best)

There’s also the sense that Jay Z wants you to do it for your own good, which is a mixed blessing. On one hand, it’s courteous and encouraging. On the other, “Who do you think you are telling me what to do, Jay Z! Geez!”

But as a performer and lyricist he (Kanye West)’s got nothing. The celebrity thing is annoying, but it’s his music that brings out the ass-suckery.

He has, in my opinion, no flow as a rapper and no skill as a writer. Nothing really important to say. No clever word play (which is arguably one of the foundations of rap). Nothing.

-sarielthrawn, April 17, 2009

Are we even surprised that he (Kanye) may have never seen any ‘Robocop’ movies? He probally [sic] thinks anything by Tyler Perry is genius!

-CyanideSmoker, April 17, 2009

After my last article for this site, in which I discussed the disjuncture between the Robocop films and the Kanye West song of the same name, a few of our readers left the comments that you see above, calling into question the very premise that Mr. West is worth Overthinking. Chief among the complaints were that Kanye’s skills as a rapper are sub-par and that his lyrics are as vacuous as the most banal of his peers. I had been planning on jumping in on the discussion, but by the time I had gathered my thoughts (and refreshed my memory of several of Kanye’s songs), several days had passed (which amounts to years in internet time), so I just let it drop.

Then, last week, the internets were abuzz with the leak of the new Clipse single, “Kinda like a Big Deal,” which features a guest verse by Kanye. Hearing him rap (rather than autocroon) made me think again about the debate about Yeezy’s merits as a lyricist and rapper. In particular, my attention was captured by this quatrain near the beginning of his verse:

Spittin fire on the PJ in my PJ’s
Fire Marshall said I took it to the Max like TJ
Yeah people I said Marshalls, replay
I guess I’m like the Black Marshall meets Jay

At first glance, it would seem that the haters are right—this guy isn’t saying anything! After all, ‘Ye uses the word “marshall” three times in four lines and apparently just keeps saying the letter “J” over and over to make his lyrics rhyme. However, as Fenzel’s discussion of Dragonball has recently shown, repetition can be a powerful device for creating meaning within works of art. After the jump, I’ll parse the layers of meaning in these lyrics and will show how viewing this brief quote in the context of Kanye’s total output as a rapper challenges the notion that he has “nothing really important to say.”

Comparing Lil Wayne to Jay-Z has become the favorite sport of music writers covering Wayne’s new album, Tha Carter III, starting with its leak on May 31 and continuing through the album’s release earlier this week. Some of these comparisons are overwhelmingly positive, anointing Weezy as Hova’s presumptive successor at the top of the rap game. Others, notably hip-hop bloggers, have lead the backlash against the New Orleans rapper, arguing that the Carter III, along with the rest of Wayne’s output, falls short of even some of Jay-Z’s middling efforts, and can’t come close to touching Jay’s best albums such as Reasonable Doubt, the Blueprint, and The Black Album.

These comparisons are far from spontaneous or accidental. As far back as 2004’s Tha Carter, Wayne started making it quite clear that he considers himself to be the “Greatest Rapper Alive”, sometimes implicitly inviting the comparison to Jay, and more recently asserting his apparent superiority by dissing Jay-Z in interviews and redoing several of Jay-Z’s songs on his own mixtapes. Moreover, the two have collaborated twice in the past year, with Wayne featured on “Hello Brooklyn” from Jay-Z’s American Gangster album and Jay dropping a verse on CIII’s second track, appropriately titled “Mr. Carter” (if you don’t understand why, go ahead and click on the first two links above, and come back for the analysis after the jump).