Say what you will about the man's behavior and public persona, but never question Kanye West's musical genius. He is an innovator - someone who refuses to be confined by expectations, whether it be in music or in life. Need proof? Look no further than his current "Yeezus" tour, which I was lucky enough to attend on Nov. 17 at Boston's TD Garden. Equal parts hip-hop concert and rock opera, the show was a raw, visceral experience.
'Ye opens with "On Sight," the first song on his July release "Yeezus," and ends with "Bound 2," its last. What occurs in between is a two and a half hour onslaught of hit songs, arranged into something of a plot arc. The display of dramatized thematic descriptions -"Fighting," "Rising," "Falling," "Searching" and "Finding" - organized the show into something of a journey. Gospel choir interludes, a barrage of biblical imagery and even the appearance of a Christ figure gave the show a sense of reincarnation. Indeed, throughout the night, 'Ye contextualized his career and cultural significance within the lines of his Christian beliefs, portraying himself as a cultural savior.
The moment 'Ye emerged on stage - head enshrouded, among spotlights and a group of white-clad dancers - it became quite clear what was in store for the rest of the evening: a religiously-driven poignant display, posing questions of success, race and society. Kanye quickly launched into rhymes over the screeching beat of "On Sight" and then followed up with "New Slaves." Watching thousands of people - many white - singing along to lyrics such as, "They wasn't satisfied unless I picked the cotton myself," was a surreal experience. Kanye is effectively bringing these racially charged lyrics into the mainstream - and, more importantly, into white America's mainstream.
What is Kanye trying to achieve with these provocative statements? Is he simply asserting his cultural influence by demonstrating that he can popularize even the most controversial of music? Perhaps he is intent on challenging racial norms by desensitizing racial issues. Or maybe, to go a step further, he is holding up a mirror, forcing us to ask ourselves why we are okay with singing adamantly along to "New Slaves."
This racial overtone is present throughout the "Yeezus" album and tour: The Confederate flag peppers the tour merchandise, and "Blood on the Leaves" samples the Nina Simone version of "Strange Fruit" (1965). Even the newly released "Bound 2" music video pushes the issue. From the haunting lynching imagery of the "Strange Fruit" sample, to the degraded white American tropes featured in the "Bound 2" video, Kanye is challenging the way race is viewed in American society. By sending "New Slaves" and "Blood on Leaves" into the mainstream, 'Ye is using his pop culture presence to create a social reaction to the persistent issue of race relations.
In the "Bound 2" video, he essentially reduces stereotypical American tropes - the open road, motorcycles and even his tie-dye shirt - into corny visuals. He replaces the standard white "lone ranger" male with a "Black Skinhead." Here, he opts to transfer racial standards onto himself in a cultural coup d'etat. By realigning the traditional perception of these issues, he is weakening the stigma of race - even if no one realizes it. As he states in "I'm In It," he is trying to "pop a wheelie on a zeitgeist."
I can't be sure what Kanye's true intentions are or where he is headed, but I am certain of one thing: He is doing important things in music, and when all is said and done, his impact may well define a genre and a generation. His creative prowess is transcending music as he attempts to shift an entire culture - and its attitude towards race and religion - in his direction.
Ryan Buell is a sophomore who has not yet declared a major. He can be reached at Ryan.Buell@tufts.edu.
