That’d be an easier argument to make if it weren’t for a song like I’m In It, though, which is basically a four-minute celebration of how great he f–ks people who have no Hampton affiliation, and works in such frat-tastic lines as “Eatin’ Asian pussy, all I need was sweet and sour sauce,” to say nothing of reappropriating civil rights symbols for sexual acts. This pops up even in New Slaves, when he dismisses a certain class of rich Americans with the lines “F–k you and your Hampton house / I’ll f–k your Hampton spouse / Came on her Hampton blouse / And in her Hampton mouth.” Maybe we could pretzel that around the white panic normally associated with young Black men and their sexual prowess, call it Kanye living up to how he’s viewed and puncturing upper class sensibility with his dick. Too often, it leaves his flame-throwing sounding less like social awareness - or, god forbid, empathy - and more like highly personal slights that happen to run parallel with bigger issues. This is maybe Kanye’s most frustrating tic, his wild inconsistency when it comes to what he’s actually saying. If Kanye learned to infuse his message with a beat you can bob to, though, he’s missed another key lesson from that name-checked trio: namely, that the message is intrinsic to the music, not just something you can port into a song when you like. This advertisement has not loaded yet, but your article continues below.
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