Seems to me some obvious hate propaganda methods (even “fighting words“) were being overlooked as they came from an American artist.

I mean there’s art to shock or express distaste, and then there’s… targeted hate as intention.

“Out of political and historical responsibility, I would check whether something in this exhibition violates human rights, whether something offends Jews or other minorities,” [Wolfgang Benz, the former director of the Center for Research on Antisemitism (ZfA) at the Technical University of Berlin] told the Tagespiegel daily newspaper. “Artistic freedom ends,” he added, when an artwork violates those considerations.

Kanye seems more obvious to me, perhaps, than even controversial lines by the provocative Public Enemy song “Welcome to the Terrordome”.

Crucifixion ain’t no fiction
So called chosen frozen

My first exposure to that prose was actually from Pakistani and Egyptian kids in early 1990 gleefully chanting them as they blasted it from cheap boom boxes.

The related news of 1989 was how that music group’s “Professor Griff” (Richard Griffin) also gave newspaper interviews (since Twitter didn’t exist yet) to clarify that he believed Jews “were responsible for the majority of wickedness that goes on across the globe.”

Surely Kanye grew up watching such words come out of fame and fortune, yet somehow he missed the part about a music career ending due to hate speech.

Fast forward to today and all I know is that one of my least read posts ever on disinformation was back in 2006 about his art:

Kanye here tries to flip the story, like he’s making Kristallnacht into a song, to attack Jews for the crimes of these modern-day Nazis. The video goes even further than lyrics, using well-known propaganda imagery tactics to breed racial tension and anti-semitism.

Griff didn’t make it and yet somehow Kanye sailed along making profit from hate for so long.