I will love the darkness; it shows me the stars.

Why is it that Kris and even artists like Yixing get boggled wish accusations of using bots and purchasing fake numbers when they literally promote to the US audience and sell their albums through American companies, as well as having charted multiple times on charts like Billboard who are accounted for by reputable data companies such as Nielsen? It’s simple racism. Fans of kpop can’t say that they want representation and lift their favs up for “paving the way for asian talent” if all they do is rip down artists who “compete” with their favs for being the wrong type of asian. Miss me with that shit. It’s the same type of racism their own favs received for being Korean when they first gained traction with Billboard, yet they don’t seem to care. Furthermore, music fans can’t claim to want diversity in the industry if they find it unacceptable for non-American people to get on the charts.

Earlier today, Kris Wu posted the photo teaser for his upcoming release. Admin 2 of this blog, in a moment of Krispiration, went off a bit on twitter about it. Her comments read as follows:

In this image, modern dadaist artist Kris Wu lampoons the popular posturing trend of including what are considered “cool” cars by presenting one which nature has overcome, representing the age-old conflict of man versus nature using strong symbols of each side of the conflict.

Further, the contrast of the white car against the dark night implies a fighting spirit of man, whose headlights cut through enclosing failure. His act of languidly leaning against the object of man places him within the scene as a passive yet arguably accepting figure.

Like Whitman, he leans and loafes at his ease observing a spear of summer grass. By pulling a non-contemporary reference into the piece as such, the conflict is placed in yet another moment in time (“Song of Myself” being published in one way in 1892).

We now as viewers have been instantly placed within the ancient (man versus nature as the root conflict), the more recent past (the late 19th century), and modernity (shiny new car). By presenting the timeless context, we are also disoriented: where are we? What are we doing?

It is here that Kris Wu’s most masterful stroke is strokèd: disorientation is what could be argued to be his trademark quality. With this removal of a tangible place—also emphasized by lack of geographical context—we are transported to HIS world, confused, lost, possibly afraid.

But children, fear not: your journey has just begun. Art has brought you here; art has brought you to us. Join us. Join Kris. We know not where we be, but be we happy yet. Let us wait. The 18th cometh. We will then be wrapped in His long, long, very long arms. And be we safe?

Yes; yes, children, safe we be. Through this analysis, we have been saved. Thank you, Kris Wu. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you

Rihanna Lady Gaga Kanye West Taylor Swift Mariah Carey Lil Wayne Jay-Z Adele Coldplay Prince (there are some kpop acts signed as well, such as SHINEe) He has also signed with Island Records, a company that people such as Justin Bieber, Demi Lovato and Katy Perry have also signed with, as well as Interscope Records which features Kendrick Lamar, Selena Gomez, Snoop Dogg and many more.