Introducing the New Magic Wand Genius In the realm of magic tricks and illusions, a new and revolutionary tool has emerged that has taken the world by storm. The New Magic Wand Genius is a groundbreaking apparatus that has redefined what is possible in the realm of magic. The main idea behind the New Magic Wand Genius is simple yet brilliant. It is designed to enhance the abilities of magicians and illusionists, allowing them to perform tricks that were once thought to be unimaginable. With its sleek and modern design, the wand is not only a powerful tool but also a visually stunning prop. One of the key features of the New Magic Wand Genius is its ability to create illusions that defy logic and rationality.
New Magic Wand: Tyler The Creator’s Terrifying Picture Of Jealousy and Insecurities
I love art. Every single form of it. Even when I don’t fully understand the nuance and craft of certain disciplines, even as an uncultured spectator, I just love every venue that we have found, as a species, to express the complexities, highs and lows of our human experience.
So when I had to prepare to write my very first entry in this newspaper for the Culture Section, I didn’t know exactly what to write about. There were just so many possibilities, so many albums, movies, shows…
Then it landed on me, if I wrote about anything, it needed to be something I loved , and there’s few things I love more in art than music, and specifically, the song that I’m gonna talk about today, NEW MAGIC WAND.
One of the many features of this song is introducing a cinematographic genre to the music form, and this is the genre of horror.
Horror might be one of the narrative genres with the most potential to tell stories, through monsters, murders and blood, about what it is to be human, ironically enough. And that’s because horror explores vulnerability through our most basic fears of danger and death, and also because it taps into emotions and experiences that we often try to look away from. Jealousy, rage, violence, all parts of the human experience that are cast away in order to present nicer pictures of our reality. In horror, we are allowed to see the unseen, to explore the taboo and to see ourselves as the monsters we can become. NEW MAGIC WAND does a wonderful job at conveying everything I just said, and go maybe a little further.
And so our terrifying trip through Tyler’s terrifying masterpiece of jealousy and vulnerability starts with a couple of words that don’t even come from his mouth:
Sometimes you gotta close a door to open a window.
After this ominous intervention by comedian Jerrod Carmichael, the dense and violent baseline that is the dorsal spine of the song kicks in, along with some effects, screams and later the frantic rhythm that set the tense and violent tone of the song just enough to greet us with the first lines of the dark hymn.
I saw a photo you look joyous
My eyes are green I eat my veggies
I need to get her out the picture
She’s really fucking up my frame
She’s not developed like we are.
Through clever wordplay and metaphor of the picture developing process Tyler conveys the main conflict in the song and the album it takes part in: Tyler is infatuated with someone and pictures a future with them , the frame. But, there’s another person, probably an ex-lover, that threatens the future that Tyler is trying to build, fucking up.
But there’s more to it. On the line my eyes are green I eat my veggies , there’s two references that are also considerably important for the song. The first being Erykah Badu’s 2000s song “Green Eyes”, in which she sings.
My eyes are green
Cause I eat a lot of vegetables
It has nothing to do with your new friend.
This line, in and of itself, at the same time being a reference far back to Shakespeare’s Othello, in which jealousy is depicted by a green-eyed monster.
By using these two clever resources, Tyler conjures the image of him as a green-eyed monster, looking at old pictures of his lover full of jealousy and hatred. This is an early and clear example of the way the song portrays Tyler losing himself in the jealousy and envy he’s feeling towards the person he loves and the person that’s interfering through terrifying sounds and effects and monstrous references.
But there’s something lying on the first verse that’s far more ominous and terrifying than any monster: I need to get her out the picture.
Like magic, like magic, like magic, gone
New magic, new magic, new magic wand
Like magic, like magic, like magic, gone
New magic, new magic, new magic wand
After introducing us to his inner mindset and crisis over the situation, Tyler reminds us of the title of the song now as a mysterious and terrifying notice that he’s going to do something to get this interfering person out the picture, he’s going to make them gone as if it was magic , using his new magic wand .
Throughout the whole song this new magic wand and what Tyler is intending to do with it gets referenced several times, each time becoming more and more intense, and likening the new magic wand with a gun. But at this point in the song, we are left only with this weird sentence that, in the context and atmosphere that the song has built in less than a minute, takes an unnerving tone.
After the second verse mentioning more of the jealous nature of Tyler and his presumed presence on the spectrum (whether the neurotypical or sexual one), we get to what might be the most revealing and vulnerable moment in the song, when Tyler starts saying repeatedly, in a monotone voice:
Please don’t leave me now
Please don’t leave me now (Dying)
Please don’t leave me now
Please don’t leave me now (Dying).
Suddenly, the green-eyed monster of jealousy and envy is humanized by showing the deep rooted insecurities and needs for attention and love that are driving its terrifyingly homicidal impulses.
Tyler desperately asks once again for the person he is in love with to stay with him, to keep him company and choose him over the other impostor. The monotonality he uses to deliver these desperate and vulnerable lines can be read as the monster revealing his most sensible side, but still refusing to show any emotion, to protect his terrifying image, but most of all, to protect himself from the hurtful sensations and desperate situation that lies deep within the monster’s insides.
But we are reminded of the monster’s violent nature soon enough when the refrain (that we heard just seconds ago echoing the song’s title) comes back to join Tyler’s other refrain of wanting and needing the warmth that he’s perceiving being stolen by someone else. While we’re listening about the lonely monster and its new magic wand all at the same time we’re presented with the song’s central idea: an insecure, deeply hurt and needed individual, who desperately wants to hold on to someone who just might not want them back, and their determination to exterminate anything and anyone who he perceives stands in his way .
The rest of the song essentially just builds on top of this idea, with Tyler growing more intense and violent each time, but also more emotional and much more desperate, stating directly how he plans on killing the person that’s driving the person he loves out of his reach, finally exploding in the terrifyingly monotone bridge.
You roll the dice
You hit a seven, sure you right?
You’re not my first who gives a fuck
Evaporates, we celebrate
Now pick a side and if you don’t
(run, run, run, run)
I’ll pick you both
(run, run, run, run)
Murder she wrote.
In this bridge close to the ending of the song, we see the ultimate extreme of Tyler’s insecurities, jealousy, and murderous desire. In the first lines he expresses good luck and how the relationship seemed great at first by using the metaphor of “hitting a seven”, which in games of chance with dice can be the best result; but instantly contraposes it with the cynical and less fortunate reality that happened afterwards. In a desperate attempt to protect himself and his vulnerability he states that this is not his first relationship, and that he doesn’t care. He fantasizes with the person that he’s comparing himself to magically (or violently) evaporating and Tyler and his lover celebrating, only to once again get hit by the reality that his lover can’t decide yet who they want to be with, and how tired Tyler is of it.
Finally, he states that if his significant other can’t make the decision over whether he prefers, he will kill them both, a threat that becomes more terrifying with the voices saying run in the background and the singer stating in the same monotone serious tone that it’s not a joke .
This rambling that seems incoherent and erratic just lets us know how bad the situation has gotten for Tyler and his mental state, and how he is looking for every possible alternative, no matter how extreme, to feel safe again.
The song finishes with an even more erratic, more expressive and violent series of threats and cries for help and love between lines like it has nothin’ to do with that broad, but if it did, guaranteed she’d be gone , and I wanna share last names, I wanna be your number one . Finally ending with the desperate suggestion to his lover to commit a crime together and Tyler finally realizing the terrifying nature of everything he just said with the second to last lines in the song stating I admit you look concerned only to finish this barely 3 minutes magical mystery trip through jealousy, insecurities, need for love and murderous tendencies with the title, NEW MAGIC WAND, said one last time. And with this, Tyler the Creator’s terrifying magnum opus greets us goodbye.
That’s New Magic Wand, a terrifying dark masterpiece that speaks of how deep one can be hurt by insecurities and jealousy in a relationship, and how that hurt can then drive someone into doing horrible things, and… it really doesn’t go much further than that.
I wanted to end this article and essay with something positive. At the end of the day, I like to see the brighter side of things and what can be learnt but, in this song… the bright side is just not there. The song doesn’t ever rise to a healthy place, and the album it belongs to doesn’t either; IGOR is just as dark and desperate, and doesn’t have a single moment of healthy love or growth. Then I realized… maybe that was the point.
Art, whether we like it or not, can’t always be cathartic. Most pieces are, and that’s a good thing. But when it comes to its true essence, art is simply a reflection of the human experience, and as much as we might not like it, the human experience is not always great, and even if there’s growth in the future, there are moments where the only thing we are left with is the pain and the darkness of a situation, and art must exist for those moments too.
IGOR, and NEW MAGIC WAND, exist for those moments.
This is one of my favorite songs, ever. And it’s not only because of its genius wordplay or the complexity of its musical arrangements, not even because it’s such a unique song, but because it helped me get through one of the darkest emotional moments that I’ve ever experienced.
At a certain point in my life, I was in an unhealthy relationship as well, suffering for the unrequited love that I had towards someone who just couldn’t let their past go. I myself was in a desperate and sad fit of jealousy and neediness, and at that moment, what I needed really wasn’t a joyful song about how to get better, but to feel heard, to feel seen, and to know that I wasn’t the only one feeling like that – which is where NEW MAGIC WAND came to my rescue.
I’m way better now: I’ve found romantic and platonic relationships where my affection is corresponded to and even amplified, and I’ve healed and learned to love myself (most importantly, without needing to murder anybody). But the point of growth and happiness that I am in right now would have never been possible if I didn’t have NEW MAGIC WAND to be with me in those dark moments.
So, NEW MAGIC WAND and the album it belongs to doesn’t have a glorious moment of growth and learning, but doesn’t need to either. Even when love and healing are important and crucial parts of our life, so are jealousy and pain – one can never exist without the other. And just like in life, art doesn’t always have to be positive and happy; sometimes, we just need to see ourselves reflected in a green-eyed murderous monster to know that we are not alone, and after that, we can work and grow to not be that monster anymore.
Written by: Eduardo Méndez Alcántar
— Writer Eduardo can be reached at [email protected]
Edited by: Rie Aiyama
— Editor Rie can be reached at [email protected]
Album Reviews
One of the key features of the New Magic Wand Genius is its ability to create illusions that defy logic and rationality. From making objects disappear into thin air to levitating items effortlessly, this wand has the power to astonish and amaze. Its advanced technology and innovative mechanisms make it possible for performers to push the boundaries of what can be achieved in the world of magic.
IGOR , Tyler, the Creator's True Masterpiece, is Essential Listening Page 2
Arguably the first significant turning point in the LP’s narrative is “RUNNING OUT OF TIME.” Tyler, in a pitched-up voice sings “I’ve been running out of spells to make you love me.” This is where the story becomes more solidified with less duality, although it still appears later on, albeit sometimes more subtly. Perhaps the most important part of “RUNNING OUT OF TIME” is the line “Take your mask off/I need her out the picture.” The next song “NEW MAGIC WAND” reveals more details about the narrator’s male lover being distracted by his ex-girlfriend and the conflict caused.
“NEW MAGIC WAND” is by far the most lyrically and instrumentally dense track on IGOR. Comedian Jerrod Carmichael opens it with the phrase “sometimes you gotta close the door to open a window” after which the listener is immediately assaulted by an aggressive bassline and a lo-fi drum machine. Here, the conflict between the narrator and his boyfriend is amplified. “I need to get her out the picture/She’s really fucking up my frame,” Tyler sings, more explicitly confirming that the relationship in the story told on IGOR is facing a crisis. We then find out that the boyfriend is spending almost as much time with his ex-girlfriend as he is with IGOR/Tyler: “This 60-40 isn’t working/I need 100 of your time/You’re mine.” Possibly referring to his bisexuality, Tyler’s pitched-up, distorted voice sings “Now pick a side and if you don’t/I’ll pick you both/It’s not a joke” towards the song’s middle section. I could spend far more time dissecting all of the details in “NEW MAGIC WAND,” but it’s unnecessary. The gist is that it’s a significant turning point in the LP’s narrative, and provides a cinematic level of detail not often found in this musical genre.
As previously mentioned, “NEW MAGIC WAND” also has the album’s strangest lyric: “My eyes are green, I eat my veggies.” To a first-time listener not paying the narrative any attention, it may seem like a cringe-inducing, half-baked line that tried to have meaning but fell flat on its face. However, when you look at it in the context of the rest of the song and album, it makes perfect sense. The beat and vocal delivery on “NEW MAGIC WAND” indicate a high level of stress, and the IGOR character Tyler portrays may not be thinking clearly at that moment. It also could mean that IGOR is scrambling to find reasons to convince his boyfriend to stay, but subtly reveals his personal flaws when he can’t find a better reason than “my eyes are green, I eat my veggies. Either way, it’s a lyric that can seem embarrassing on the surface but has meaning when diving deeper, something that is also present on Kanye’s best albums (“I’m In It” on Yeezus comes to mind in the embarrassing but meaningful sense). This, of course, is no surprise at all considering the many parallels between IGOR and Yeezus, The Life Of Pablo, and parts of Graduation.
Do we need to talk about yet another similarity between Yeezus and IGOR? Of course we do! “A BOY IS A GUN,” arguably the centerpiece of IGOR, samples Ponderosa Twins Plus One’s 1971 single “Bound,” which West sampled on Yeezus’s closer “Bound 2.” In fact, Tyler and Hudson Mohawke produced the unreleased demo “Bound 1,” which Kanye used as the basis for “Bound 2.” Here, Tyler steals back his “Bound” sample and uses it to great effect in a different way than does “Bound 2”. “A BOY IS A GUN” is IGOR reminding himself that fighting to keep himself in this relationship can be dangerous to himself, therefore he is the gun described in the song’s title. “How come you the best to me/I know you the worst for me.” This song also confirms that he is in love with a man: “You’re my favorite garçon/Don’t leave, stay right here/Yeah, I want you right near/You invited me to breakfast, why the fuck your ex here?” So far, the narrative has traveled from holding onto a conflict-filled relationship to acknowledging that it’s unhealthy. Where does it go next?
“PUPPET”, which follows “A BOY IS A GUN”, features Kanye West himself. Tyler/IGOR slowly begins to accept that he’s being controlled by his love for a man who’s not dedicating enough time to him, yet admits to his own vulnerability: “I do not have self control/I am starting to wonder, is this my free will or yours?/I’m your puppet/You control me/I’m your puppet/I don’t know me.” His dream of having this relationship is failing to materialize in real life, yet as he chases it to his detriment, he begins to feel like a puppet being controlled.
Due to the poor recording quality and lack of correct transcriptions (Tyler released the lyrics to the song with the statement “Kanye lyrics cannot be transcribed”), I can’t provide any insight into the meaning of Kanye’s verse on “PUPPET.” I attempted to transcribe the lyrics myself, but only got halfway through the verse. According to Forbes, however, Kanye instructs Tyler/IGOR to “breathe on a song” towards the end of the track, which I interpret as a reference to the sustained “and breathe, and breathe” line on “Blood On The Leaves” from Yeezus. (Again? Yes.) Maybe this was unintentional, but considering how many Yeezus references and parallels there are on IGOR, it’s easy to believe Tyler and Kanye did it on purpose.
“WHAT’S GOOD”, the LP’s second-most distorted and hectic song is a display of ego masking IGOR’s vulnerability. “When you see the brand new Le Fleurs on the floor/If the cop says my name, bitch, I’m IGOR,” Tyler raps, referring to his Golf Le Fleur Converse sneaker collaborations and confirming that the story is told from the perspective of the IGOR character. (For your sanity’s sake, I won't mention the potential “New Slaves” interpolation here.) However, “WHAT’S GOOD” has more references to real-life Tyler than any other songs on the album. “That car crash couldn’t take me/Green-haired angels all around me” shows Tyler talking about his 2018 car crash (no injuries or damages caused to anyone or anything [other than to his own vehicle]) and his soundtrack contributions to Illumination’s The Grinch remake. The song ends with Slowthai whisper-singing “I see the light.” “The light” is about to be seen, indeed.
“GONE, GONE / THANK YOU” shows IGOR coming to terms with the failed relationship and it frees himself from the trap in which he was caught, therefore he’s “seeing the light.” “Whether it’s rain or shine, I know I’m fine for now/My love’s gone,” Tyler sings with high-pitched vocal harmonies, creating the most Pet Sounds-like atmosphere on a record very reminiscent of the Beach Boys’ classic (consider that Pet Sounds is a cutting-edge record telling the story of a relationship beginning and ending, and that IGOR is a similar concept, differently executed). “Maybe it’s just a dream that I can’t seem to wake up from,” he continues. It’s probably the only song on IGOR that distinctly reminds the listener of Flower Boy: first, it’s a two-part song in the vein of “911/Mr. Lonely,” and Tyler’s flow towards the end of the “GONE, GONE” section can be likened to his flow on “Boredom.” Yet, at the end of the day, it really isn’t that similar.
“I just hope to god she got good taste/Can put you on some shit you’ve never seen/Can play a couple songs that you can dance to/I hope you know she can’t compete with me,” IGOR, as he becomes content with the way things ended, tells his now ex-boyfriend. Further, the “THANK YOU” section thanks the man for “the love,” “the time,” and “the joy” before Tyler sings that he’ll “never want to fall in love again.” On “I DON’T LOVE YOU ANYMORE,” he again changes the tone, saying, “you wasted my time and I know that these things are not hard.” On the last leg of the album, the lyrics’ duality makes a strong comeback comparing “GONE, GONE / THANK YOU” with “I DON’T LOVE YOU ANYMORE” as well as with the finale, “ARE WE STILL FRIENDS?”
On “ARE WE STILL FRIENDS?” Tyler/IGOR tries to settle for a simple friendship with his ex-boyfriend after failing with a romantic relationship. Tyler asks “Are we still friends/Can we be friends?” before saying “I’ve got to… know.” However, the way he pauses before, and sustains the deep “know”, could also mean “no.” If you choose to think it’s “know,” it obviously means that IGOR wants an answer from his ex. But if you interpret it as “no,” it means that IGOR has failed at forming with him a simple friendship. I think of it as both, which is another example on IGOR of duality propelling the narrative. Also of interest is the slight growl at the end of the line “I don’t wanna end the season on a bad episode n**** no”, which could be another indicator of a friendship not succeeding. Further, Tyler’s last vocals on the LP are screams over Pharrell singing “we say goodbye.” Ahhhh, the duality of this song is killing me!
As mentioned earlier, I could probably spend 20 more paragraphs dissecting the fine details of the album, but I won’t (if you can't get enough of the narrative dissection, I suggest you read narrative art and Kanye obsessive Chris Lambert’s 4,000-word IGOR dissertation in Forbes). What you really need to know is that Tyler, the Creator’s IGOR is a masterpiece for the ages, made by a genius at the top of his game. Rarely do we hear an artistic work on this high a level, and even rarer do we get to witness it unleashed to the world in real time. This is more than deserving of the 11/10 score for music as it’s endlessly fascinating and even dozens of listens later, continues to reveal new details.
The sound on this album proves that a good recording doesn’t need to replicate the image of musicians playing in a room. Despite the gritty and occasionally distorted production style and mix, IGOR sounds rather excellent, especially for a modern “hip-hop” (if you can even call it that) recording. While I’ve only heard the 44.1kHz/16bit files, the album sounds extremely dynamic, with excellent bass and soundstage depth. On “NEW MAGIC WAND,” every sound is suspended in a three-dimensional space that surrounds the listener. When it gets loud, it gets necessarily so, but the production doesn’t make excessive use of loudness (despite what the dynamic range numbers want to tell you). This is probably one of the few albums that I know of where the harder edge of CD-quality files can be used to its benefit. However, I’m still excited to hear the vinyl when it comes out this summer. I ordered the limited-edition colored vinyl with alternate cover, but hopefully the standard black vinyl variant will be available in stores come late August-early September (both variants have since disappeared from the Golf Wang website). Until then, you can stream it or buy the 44.1/24 files if you wish to pay $18 for them (I didn’t as I’ve already spent lots of money on this album and associated merch). I’ll write an update on the sound when I get my physical LP, but no matter what, IGOR album will continue to be great and maybe, as time goes on, even better!
(Malachi Lui is an AnalogPlanet contributing editor, music lover, record collector, audiophile, avid Kanye fan, and a host of AnalogPlanet Radio. Follow him on Twitter @MalachiLui.)
Monday with a Mad Genius
The #1 bestselling chapter book series of all time celebrates 25 years with new covers and a new, easy-to-use numbering system!
Jack and Annie are on a mission to save Merlin from his sorrows! The brother-and-sister team travel back in the magic tree house to the period known as the Renaissance. This time, Jack and Annie will need more than a research book and a magic wand. They'll need help from one of the greatest minds of all time. What will they learn from Leonardo da Vinci?
Formerly numbered as Magic Tree House #38, the title of this book is now Magic Tree House Merlin Mission #10: Monday with a Mad Genius.
Did you know that there’s a Magic Tree House book for every kid?
Magic Tree House: Adventures with Jack and Annie, perfect for readers who are just beginning chapter books
Merlin Missions: More challenging adventures for the experienced reader
Super Edition: A longer and more dangerous adventure
Fact Trackers: Nonfiction companions to your favorite Magic Tree House adventures
Monday with a Mad Genius
The #1 bestselling chapter book series of all time celebrates 25 years with new covers and a new, easy-to-use numbering system!
Jack and Annie are on a mission to save Merlin from his sorrows! The brother-and-sister team travel back in the magic tree house to the period known as the Renaissance. This time, Jack and Annie will need more than a research book and a magic wand. They'll need help from one of the greatest minds of all time. What will they learn from Leonardo da Vinci?
Formerly numbered as Magic Tree House #38, the title of this book is now Magic Tree House Merlin Mission #10: Monday with a Mad Genius.
Did you know that there’s a Magic Tree House book for every kid?
Magic Tree House: Adventures with Jack and Annie, perfect for readers who are just beginning chapter books
Merlin Missions: More challenging adventures for the experienced reader
Super Edition: A longer and more dangerous adventure
Fact Trackers: Nonfiction companions to your favorite Magic Tree House adventures
Genius Wand
Unique Attribute: +10 Magic PEN
Unique Passive - Magic: Dealing damage to enemy heroes will reduce their Magic Defense by 2~9 for 2s (the Defense reduction scales with level). Stacks up to 3 times.
Moreover, the New Magic Wand Genius is incredibly versatile, offering an array of customization options. Magicians can choose from a variety of settings and effects, allowing them to tailor their performances to suit their unique style and audience. This level of personalization is unprecedented and opens up a world of possibilities for magicians around the globe. What sets the New Magic Wand Genius apart from its predecessors is its user-friendly interface. Gone are the days of complicated and cumbersome tricks that require years of practice to master. With this new wand, even beginners can achieve mind-boggling illusions with ease. Its intuitive controls and pre-programmed sequences make it accessible to magic enthusiasts of all skill levels. In conclusion, the New Magic Wand Genius has revolutionized the world of magic tricks and illusions. With its cutting-edge technology, customizable options, and user-friendly design, it has become an indispensable tool for magicians worldwide. Whether you are a seasoned professional or a beginner, this wand is sure to elevate your performances to new heights and leave audiences spellbound..
Reviews for "The New Magic Wand Genius: Unlocking the Secrets of Magic Mastery"
1. Claire M. - 2 out of 5 stars - I was really excited to listen to "New magic wand genius" based on the hype surrounding it, but I was left disappointed. The song had a repetitive and monotonous beat that quickly became annoying. Additionally, the lyrics were also lacking depth and meaning. Overall, I found it to be a forgettable track that did not live up to the expectations set by other songs from the artist.
2. Jared P. - 1 out of 5 stars - I honestly cannot understand the appeal of "New magic wand genius." The song felt disjointed and chaotic, with no clear direction or purpose. The heavy use of auto-tune in certain parts was distracting and took away from the overall listening experience. I appreciate experimentation in music, but this was just too out there for my taste. I would not recommend it to anyone looking for a coherent and enjoyable song.
3. Jessica R. - 2 out of 5 stars - "New magic wand genius" was a letdown for me. The production quality seemed subpar, and the song lacked a catchy melody or any standout moments. It felt like a collection of random sounds and noises thrown together without much thought. I appreciate unique music, but this just didn't resonate with me. I'm sure it has its niche audience, but I am not a part of it.
4. Ryan T. - 2.5 out of 5 stars - While "New magic wand genius" showcased some interesting production techniques, it ultimately fell short for me. The song lacked a cohesive structure and felt jumbled at times. The repetitive chorus quickly became irritating, and I found myself skipping past it after a while. It's not a terrible track, but it's certainly not one that I would actively seek out or recommend to others.
5. Samantha L. - 2 out of 5 stars - I found "New magic wand genius" to be lacking in originality and creativity. The lyrics were cliche and unoriginal, while the instrumental felt recycled and uninspiring. It's disappointing when an artist doesn't take risks or push boundaries with their music, and this song felt like a missed opportunity. Overall, it left me feeling underwhelmed and unsatisfied.