I am the greatest: a reflection on Muhammad Ali and Kanye West
By: Martin Rugema
Tags: 2013, Kanye West, Jimmy Kimmel, Muhammad Ali, Hip Hop

Randy Holmes | Credit: ABC

Article originally published on baltimetry.tumblr.com in 2013.

Watching Kanye West’s appearance on Jimmy Kimmel’s Late Night, there are many parallels to be drawn to a certain world renowned icon and revolutionary-boxer. For the purpose of context, West’s mother, Donda West, notably married a black civil rights creative in Ray West, a Black Panther-cum-art photographer. The background of Black Revolutionism instilled into West’s upbringing is reflected in his choice of seemingly illicit behaviour when it comes to his public image and perceptual choices, in terms of aesthetic expression and musical style, as illustrated by his recent tour.

His latest album ‘Yeezus’ — a polarising powerhouse of some 10 genre-meshing recordings, known to have been completed in under 8 months — was introduced to the world using ‘guerrilla’ promotion, depicting West’s shimmering face on monuments, streets and buildings around the world, utilising projections.

Images of advertisements from the 1950s were flashed at a speed which could be interpreted as almost subliminally influential, ironically a widely accepted multi-capitalist advertisement technique. The anti-capitalist, anti-institutional, anti-racist ideologies of Huey P. Newton were now illuminating through in West’s raw and boldly delivered words: “They tryna lock n-ggas up / They tryna make new slaves.” A reference to privately-owned prisons and the age of consumerism that has entrapped the youth’s focus and attention, a relevant issue for today.

At one point in the Kimmel interview, West referenced the opposing positions of his grandparents in relation to their opinions of Muhammad Ali. He mentioned how his grandmother “hated Muhammad Ali,” whilst his grandfather was an avid advocate for Ali’s cause, especially that of civil rights in the wider Black community.

Almost 30 years ago, a young Muhammad Ali in his prime, was interviewed by popular British broadcaster Michael Parkinson. At the wayward halfway point, Parkinson produced a book with supposed evidence that Ali was a hypocrite, making friends with Caucasians whilst being an advocate for the Nation of Islam, known to preach anti-American ideologies. Ali was visibly stirred by this, pointing to the associate title rather then friendship; he cited business workings of groups such as the Mao Communist Movement and the Republicans led by Reagan, as an example for agreeable communication between seemingly antagonistic entities.

Parkinson rebuked his claims, professing that he did not dislike Black people; similarly Kimmel weaved in-and-out of compliments-cum-psychoanalyses of West. The undermining sleight-of-hand by Parkinson is reflected in the sketch that Kimmel had aired weeks prior to their televised rendezvous. West went to Twitter to profess his dissatisfaction and frustration of Kimmel’s skit. The ferociously uninhibited series of tweets was elaborated on in the interview by West. He would mention he felt compressed by the culture bred by media in terms of close surveillance, eventually this resulted in a substantial public outburst.

Parkinson would mention the film industry to Ali, alluding to Sidney Poitier among the prominent African-American actuers of the time.

Ali had this to say on the topic of films: “The wise man who is making them knows what he’s talking about. He’s lulling black slaves to sleep.” Ali was adamant on staying out of the movie industry, mainly due to the conventionalised roles he was proposed to perform, such as that of a dopey, unintelligent brute. “I don’t make movies because they use black people to put black people down. They won’t put me in no movies… If I make a movie, I’ll have to be Moses in the Ten Commandments.” To provide a parallel, Kimmel would mention West as a rapper of a certain stature — swiftly corrected; West preferring the term ‘messenger’.

Amongst the critics, some could say Ali’s biblical references were outwardly blasphemous; similar comments have surrounded Kanye’s proclamation that he is a ‘God,’ a point reiterated in his widely known interview with BBC’s Zane Lowe.

Comparisons can be drawn from the muses of Ali and West in these interviews. West went on to say how when “you’re a celebrity; you can’t help in this box, you can’t help in [that] box.” He feels helpless expressing his ideas to non-receptive figures in the creative elite. West and Ali both proclaim themselves to be beyond their immediate walks of life. As a self-professed “creative genius,” the link to Muhammad Ali is clearer than ever. Ali enraged and lionlike: “I’m not just a boxer, I’m taught by Elijah Muhammad, I’m educated.” The dismissive laughs could be heard in the studios of London and Los Angeles alike. People would not take their thoughts and ideas seriously.

From West, there is this notion that the transformation of the urban landscape has contorted the idea of a ‘black slave’ from one who is repressed socially and economically, to one who is bound to consumerism and ‘hip-hop’ culture, which is what West has been touching on since the days of ‘The College Dropout’. West, like Ali, is vainly grasping onto pin-riddled hardy fibres of education, recognition, expression and globalism, trying to tie them together for the world to connect more coherently.

Despite opposition throughout the ages, Ali has prevailed as a man seldom withholding his stark opinions and observations. He has been challenged, absurdly and grandiosely. The plight he experienced is what West faces now and has been facing for some time. The opportunities being ripped from his fingertips, evolving into creative anger, expressive frustration and artistic hardship. He fights a different fight, remaining tactful and poignant, albeit a little less focused than Ali clearly was.

West summarises his raw and pursuant personality with a comparison to Ali himself: “You’re gonna love me or you’re gonna to hate me, but I’m going to be me.”