On May 17, 66 cities across the world were transformed into momentary pulpits for one of hip hop’s most polarizing preachers. Orwellian-style projections of Kayne West’s face menaced down into the major metropolises of the world and as his lips pursed he spit out his newest single from his sixth studio album, unsurprisingly titled Yeezus.
The single is called “New Slaves,” and it finds Kanye once again drastically shifting the substance of his brazen gospel. In it he immediately delves into previously explored themes of persisting racism in America, but his tone is much darker and subdued. He laments “that rich n**** racism, that’s that ‘come here buy some more, what you want, a Bentley? Fur coat? A diamond chain?” Further on he spouts his trademark braggadocio, which basically boils down to variations of “you can’t f*** with Ye!”
Until this point, there is nothing bad about this song. The production is almost apocalyptic but the beat is virtually non-existent as the song is only rhythmically anchored by West’s snarling flow. However, one lyric in particular takes me out of the moment and shatters his anti-materialist mask.
West growls “f*** you and your corporation, y’all n**** can’t control me!” Wait — so Yeezus, Ye, Yeezy, etc. now despises corporate influence? The man who once referred to himself as the “Louis Vuitton Don” is lamenting the impact of branding on our lives?
His lyrics are not necessarily unoriginal or trite, West makes plenty of valid points in his rapid-fire ramble, but hypocrisy drips over his intent. In 2011’s Watch the Throne, West’s collaborative album with Jay-Z, he seems to suggest just the opposite sentiment with numerous lines which glorify the same Dionysian excesses that “New Slaves” vehemently condemns.
Among bragging about the typical indulgences of celebrities, Watch the Throne finds West even explicitly boasting about objects which he denounces in the first seconds of “New Slaves.” On track “Illest Motherf***r Alive,” West spits a line about having his “fur on like Jerome.”
On the Saturday following his unveil of “New Slaves,” West performed the song on Saturday Night Live’s season finale. His demeanor matched that of his projection, unflinching and enraged. His ferocious performance was juxtaposed with a background slideshow of common supermarket tags such as “not for sale”, “half price”, and “new taste!”
In contrast, on Watch the Throne Kanye opened his first verse from track “That’s My B*tch” with a line proclaiming “I paid for them titties, get your own.”
No one but West himself could adequately explain this discrepancy. Perhaps he is latching onto the anti-capitalist vibe of America’s youth in order to stay relevant. Maybe he really has abandoned his excessive lifestyle in favor of a simplistic one. I find the answer irrelevant.
Is hypocrisy new to artists? Of course not. Thematic flip-flopping is hardly a new phenomenon and serves as a tool to rejuvenate music artists.
However, as Yeezus is sure to top charts and act as a springboard for discourse among music critics and even the most casual listeners, it is important to have the past fresh in mind.
For those who are firmly on board the Yeezus hype train and those considering joining the ranks of its unyielding fandom, I offer a warning from Kurt Vonnegut, “We are what we pretend to be, so we must be careful about what we pretend to be.”
West should be careful about which mask he decides to put on, because it may be mistaken for his face.
