In political science and popular discourse, the horseshoe theory asserts that the extreme left and the extreme right, rather than being at opposite and opposing ends of a linear political continuum, closely resemble each other, analogous to the way that the opposite ends of a horseshoe are close together.
The horseshoe theory of woke-ism has resulted in Kendrick Lamar’s exploitative, disingenuous and dangerous song “Auntie Diaries”.
As it relates to the culture war and the hot-button, rampant transphobia therein - Lamar has put together quite the audition-tape for The Joe Rogan Experience or Ben Shapiro’s Daily Wire with “Auntie Diaries” - the most lukewarm attempt at virtue signaling seen in hip-hop since Macklemore’s “White Privilege II''. Given the platform and influence we’ve collectively burdened Lamar with, this isn’t just cringe so much as it is palpably dangerous. Mr. Morale And The Big Steppers was released at a time when violence against LGBTQ+ peoples (and more specifically the trans community) is reaching new heights courtesy of transphobic rhetoric from media and politicians on either end of the political spectrum. Convenient that Complex can overlook such a song on the album they’ve heralded as THE best album of 2022.
Neoliberals love Lamar. So much so that they’re able to write-off and altogether ignore “Auntie Diaries”. The phrase “mental gymnastics” is often tossed-about in cultural criticism, but let’s call a horse-a-horse and the die-hard Lamar fans apologists. Albeit one-man’s assumption, the reason Lamar must’ve felt obligated to broach such a subject with remarkable un-earnest is because he is the sole hip-hop act with a Pulitzer in literature under his belt. In other words, get it while the getting is good - not capitalizing on such a social issue was never an option.
Speaking of what’s under belts, Lamar is uncomfortable around trans people and dedicated a confusingly meandering, nearly five-minute song to it. What might’ve seemed like a good idea to Lamar on paper actually comes across as a tirade against cancel culture and shifting-norms of hate-speech, wherein the chorus Lamar is repeatedly dead-naming his cousin; “Demetrius is Mary-Ann now”.
If we’re to ignore the undeniable transphobia of “Auntie Diaries,” surely the homophobia raised a few eyebrows and made LGBTQ+ fans feel unsafe:
“Faggot, faggot, faggot,” we can say it together
But only if you let a white girl say, 'Ni**a'"
Very prophetic stuff.