Kanye West’s “Heil Hitler” Music Video The Possible Result of Nazi Brainworms
May 14, 2025
This is our new reality: Ye, formerly known as Kanye West, has released a music video for a track titled “Heil Hitler”, marking yet another escalation in his increasingly explicit embrace of antisemitism and fascist imagery. Once one of the most influential cultural figures in American music, Ye has now become a vehicle for extremist rhetoric, openly broadcasting messages that align with white supremacist ideology under the guise of artistic expression.
The video features rows of Black men in animal skins chanting the chorus, “All my n**s Nazis, n*a, heil Hitler,” over a synth-heavy beat. The visual design—a deliberate aesthetic collision of primitivism and fascist symbolism—is engineered to provoke and confuse, a tactic Ye has employed consistently since his public ideological turn in 2022. The track closes with an extended sample from a speech by Adolf Hitler, which Ye also quoted on his X (formerly Twitter) account, reinforcing the song’s thematic alignment with genocidal politics.
In the opening verse, Ye frames his descent into fascist self-identification as the consequence of personal grievances: “These people took my kids from me, then they froze my bank account… So I became a Nazi.” This narrative, positioning white supremacist identification as a form of therapeutic release, reflects a dangerous trend in post-celebrity radicalization, where personal setbacks are rebranded as justification for ideological extremism. Ye is not just normalizing hate speech—he is glamorizing it.
The song will be featured on his forthcoming album titled Cuck, a reference to internet slang associated with humiliation and emasculation, often employed in far-right circles. Other track titles include “Gas Chambers,” “WW3,” and “Hitler Ye and Jesus.” The cover art depicts hooded figures in garb reminiscent of Ku Klux Klan robes, and the “Heil Hitler” single art features a hand-drawn swastika. These aren’t subtle provocations—they are declarations of ideological allegiance.
Prominent civil rights and Jewish organizations have denounced the video as explicit hate speech. Ted Deutch, CEO of the American Jewish Committee, described the release as “blatant antisemitism,” calling on the music industry to take immediate action. While several streaming platforms have reportedly removed the track, the video remains accessible via Ye’s personal X account, amplifying its reach among his remaining loyalists.
What makes this development particularly alarming is Ye’s continued collaboration with Holocaust denier and white supremacist Nick Fuentes. The two appeared together in recent online posts, with Ye wearing a swastika necklace while referring to Fuentes as his “white supremacist homeboy.” The messaging is deliberate, coordinated, and unapologetic. Fuentes, anticipating the release of “Heil Hitler,” posted fantasies of tens of thousands of fans chanting the lyrics in stadiums—a fascist dream staged as a pop spectacle.
Despite his recent overtures toward Jewish livestreamer Adin Ross and public compliments aimed at rapper Drake, Ye’s documented hostility toward Jewish individuals remains unambiguous. In February, during a dispute with Ross, he wrote: “JEWS ARE ARROGANT AND THINK THEY CAN SPEAK TO ANYONE THEY WANT ANY KIND OF WAY THAT’S WHY EVERY JEWISH WIFE IS A BITCH,” punctuating the message with a Holocaust reference: “HOW YALL SAY IT NEVER AGAIN.” These moments are not isolated outbursts—they form a continuous narrative of dehumanization.
Ye’s strategy follows a familiar authoritarian playbook: weaponize celebrity status, provoke outrage to maintain visibility, and cultivate a base by fusing personal grievance with collective scapegoating. His rhetoric is not simply offensive—it is structurally dangerous, reframing fascism as rebellion, and hate as healing. The fact that his work remains accessible, and that collaborators continue to enable him, reflects a systemic failure in the cultural and tech industries to draw ethical lines when profit is at stake.
These are the MAGAts of MAGA.