Damn, My homie Kanye is tripolar.


Throughout all great works of literature and art, the divine creator is portrayed by the holy three. Catholics call it in the trinity, comics call it the rule, and photographers call it the law. And when we examine Kanye West through this lens, we begin to understand his varied and unique discography being the result of three separate, changing personas.

Am I suggesting Kanye is someone who houses multiple personalities, and is therefore crazy? If I were commenting on social media I would have to do so to fit in. Fuck you, name one genius that ain’t crazy.

The Three Kanye’s are merely facets of his personality, each shining and speaking through his art. Each of his albums have tracks that show off all the aspects of his character, but looking at his discography as a whole shows clear patterns of change in his life and music, as various personas have stepped into the spotlight to perform.

As we analyze his albums, we’re slowly introduced to each character. First up:


The prevailing, family man. The one that broke his jaw in a car accident and succeeded. The protagonist.

College Dropout / Late Registration : We begin with the persona we’re most familiar with, Kanye. Here we’re introduced to him and witness his rise to fame. Starting from humble roots, Kanye bears his confidence to the world to prove he has what it takes to shine. Songs like Through the Wire, Hey Mama, and Last Call all show off Kanye’s essence.

Graduation : This is Kanye truly basking in the stadium spotlights, and they sure are flashing. We begin to see aspects of Yeezus beginning to become more common. He’s much more braggadocios and proud, and clearly the attention is going to his head. There’s nothing the haters can say to him that will take him down.

808s & Heartbreak : This is Kanye’s final battle – he’s tried everything he can as a person, he’s kept his head up, and this is his farewell. He has endured too much emotional pain and needs a rest. The (bonus version) closer of this LP, contains Kanye’s final words before saying goodbye.

Following this release, his public behavior becomes erratic, even for Kanye. Cue the infamous VMA incident.


The egotistical, superstar Kanye. He goes on manic rants and snaps at the paparazzi. The bad mood, always rude Kanye. The antagonist.

“Imma let you finish, but…”

My Beautiful Dark Twisted Fantasy : A glimpse inside Kanye’s head as Yeezus steps into the ego role. The end of this LP’s first act Power ends with Kanye committing suicide. Act Two opens with an interlude – a slow haunting piece playing at Kanye’s funereal, while the next track All of the Lights introduces us to Yeezus rapping over explosive drums. Many of the remaining tracks feature him prominently, notably Monster, Hell of a Life, and Devil in a New Dress. It’s as though Kanye has runaway.

Yeezus : The sonic qualities of this album are a complete depature from his previous work, and match the energy of his ego. Abrasive, abusive, and unapologetic. He’s embracing his superstar persona and giving the public what they want. This album features Yeezus at his most profane and proud.

The Life of Pablo : The pivotal moment of his career, this album is battle between Ye and Yeezus, with Kanye in the middle — like the devil and angel on his shoulders. The album opens with Ultralight Beam, a song showcasing Ye’s spiritual and religious grandiosity; but then on the next track, Father Stretch my Hands, PT1 you’ve got lines about bleaching women’s assholes. Quite interesting that this songs title is reused in a new context on Jesus is King. Seems like Jesus really did do the laundry. I love Kanye is the turning point of the album, when real personal change occurs. Simply reading the lyrics through the lens of our characterization of Kanye reveals just how accurate it is. He is too polarized and a synthesis of Kanye (thesis) and Yeezus (antithesis) is needed. The “new Kanye” (Yeezus) is hated by the fans, always in a bad mood, and far too rude. The climax of the track is Kanye realizing he still loves himself despite his flaws. The musical feel and sonic qualities of the album immediately shift following this track as Ye ascends. The album ends with Saint Pablo, and it becomes clear that Ye has persevered.


This is the religious, faithful Kanye that is backed by a church choir. He preaches truth.

His name is found on most pages of the bible.

YE : Although this project is arguably his least flashy and ambitiious, it still retains an intimate, personal feel. It’s clear Yeezus has been defeated, and now Ye is stepping up, ready to preach and find his faith. On Ghost Town Pt 1, Ye declares himself free from the vices he previously fed into. I Thought about Killing You deals with Kanye viewing Yeezus as the shadow self, admiting his deepdest secrets and trying to bring his persona from duality to unity.

Jesus is King : Ye is embracing his purpose and role, speaking about his faith and backed by a gospel choir. The album seems to be a direct response to Yeezus. Both artworks are similar in design — Yeezus embodies the slick, digital aesthetic while Jesus is King is a classic, soulful vinyl. The album ends with Ye proclaiming the mantra “Jesus is Lord”. Kanye’s soul has been redeemed and saved.

If you declare with your mouth, “Jesus is Lord,” and believe in your heart that God raised him from the dead, you will be saved.

Romans 10:9


For those familiar with Kanye West’s personal life, it will be obvious that Kanye’s character arc has undergone drastic shifts when facing adversity and trauma. Kanye has attributed the car crash that wired his jaw shut for 6 weeks as to why he made The College Dropout. His mother’s death correlates with the Kanye character dying, and a more aggressive version of himself stepping into place. Ye steps into the spotlight after his suspicious hospitalization at Ronald Reagan UCLA for being too tired. I’ll be writing about this strange incident soon.

Credit to aidanbh14 for the original article idea.

DEATH GRIPS : Numerology, the Occult, and the Steroids Conspiracy

Mr. Grips and the boys.


Death Grips is an experimental hip hop trio from Sacramento, California. The group formed in 2010 and has released 7 full length projects, quickly amassing a cult following on the internet. Their music is abrasive and aggressive, drawing influence from many genres including punk, electronic, noise and industrial. Each of their projects has its own distinct style and sound. I recommend their 2011 debut 2011 LP The Money Store if you aren’t familiar with their music.

Besides the names of the members, not much is known about their personal lives, especially that of frontman MC Ride. They have only done a small handful of interviews, and haven’t given an interview in at least 7 years.

Their lyrics are often brazenly violent, esoteric, paranoia inducing, and filled with occult imagery and references. Check out this promotional video for their 2019 LP Year of the Snitch and tell me they’re not into weird shit.

22 is going to be a recurring theme today, folks.

Death Grips has also a history of incorporating popular occult practices into their music, most especially numerology. Their 3rd album Government Plates was released for free on their website exactly 13 months, 13 days, and 13 hours after the previous album. The band also revealed the release date for Bottomless Pit by encoding the date into the back cover of the album.

On the back cover tracklist, tracks “5” and “6” are listed as “05” and “06”. Bottomless Pit was indeed released on May 6th, as detail oriented fans accurately predicted.


Numerology is the study of the occult meaning of numbers, and their mystical relationship to coinciding events. Most consider numerology strictly belonging to pseudo science or merely paranormal superstition, as our own psychology is prone to finding patterns in nature. Numerology is a very broad topic that I won’t be trying to convince you of in this article – but I highly recommend studying it and deciding for yourself what to believe.

I believe math and numbers to be the language of the universe. Look no further than the Fibonacci sequence, the golden ratio in nature, and gematria to get deeper into numerology.

Today we are going to be delving into the master number 22. In numerology, every number is significant and carries various meanings, but there are three so called “Master Numbers” that carry profound and powerful meanings. They are 11, 22, and 33. The Master number 22 holds more power than any other number, nicknamed the master builder.


Quite the title. Let’s just call it “Steroids.”

Steroids was released without prior announcement via the group’s FaceBook page on 5/22/17, at approximately 22:09 BST. The track is exactly 22 minutes, 31 seconds in length. Steroids features chaotic electronic production that sounds like it came from the year 2033. I think it’s their best project, so do yourself a favor and give it a listen while you read this.

Taken from The Manchester Bombing wikipedia page.

22 minutes after this song came out, one of the deadliest terrorist attacks in the UK took place at the Manchester Arena, located in Manchester, England. Immediately after an Ariana Grande concert a suicide bomber detonated his improvised explosive device in the foyer, which claimed the lives of 22 concert-goers and parents waiting at the entrance to pick up their children from the show.

The suicide bomber was Salman Ramadan Abedia, a 22 year old of Libyan ancestry.

If you’re not convinced of the strange occurrences of the number 22 with this event, fear not! Snopes is to the rescue, claiming this as mostly false.



Here’s where things get weird. There are two direct and explicit references to the Manchester Arena Bombing contained within the lyrics to Steroids. I’m not sure this one needs much explaining. All news articles written about The Manchester Arena bombing specifically mention Salman’s use of “improvised explosives.”

Arianna Grande was on her 2017 “Dangerous Woman Tour” following the release of her Dangerous Woman album. As you can see, both the album cover and promotional material feature Ariana adorned in rabbit ears. Not only that, she performed live with the rabbit ears on for the duration of the show.

Have a listen to the lyrics yourself.

Exit wounds from the 22 victims of the improvised explosives that Ride admires. And of course, the rabbit ears of Arianna Grande. But we’re not quite at the end of this rabbit hole…


In 2014, Death Grips created a Twitter account under the moniker “bbpoltergiest”. Initially Death Grips did not publically endorse the account as their own, but it has since been confirmed. This Twitter account famously only followed one person for several years. Any guesses as to who they followed?

They no longer follow any accounts.

In simple gematria, (A=1, B=2, etc) bb would be 22. Their handle can be read as “22 poltergeist”, which is rather odd.


Following Steroids, the group’s next full length project was Year of the Snitch released on 6-22-18, exactly 13 months after Steroids. There were 13 full moons during this time period. Death Grips has often used lunar events to time the release of their music, and astrotheology is common motif throughout their work.

Perhaps this new project is simply a taunting to others of their own occult powers. It has been a year since they performed this occult ritual, and the band is the snitch, as they left clues in the lyrics.

One of the members of group, Andy Morin, has owned a site called a2b2 since 2010. Currently, the site is in “Phase 1” and is an image board with commenting features similar to 4chan.

We live in a world of coincidences and high strangeness. Does life imitate art or is the other way around? I find exploring connections more interesting than drawing conclusions.

Here’s a YouTube video of this article: