Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”

Abstract

Ye’s song “Through the Wire” exists in two versions. The first was recorded in late 2002 after a near-fatal car crash and features Ye rapping through a jaw wired shut as he recovered from reconstructive surgery. After he healed, a second version was recorded in 2003 and released as the lead single from his debut album. Although Ye raps unimpeded in this later version, it was still marketed as the authentic product of physical disablement. This study explores Ye’s performance of disability across these two versions of “Through the Wire,” focusing on his engagement with a phenomenon known as the masquerade. Adapted from queer and feminist studies to a disability context by Tobin Siebers, the masquerade encompasses a set of strategies for the public negotiation of disabled identities. Two prominent approaches involve 1) exaggerating a disability through a performative act of disclosure, and 2) disguising one disability behind another. I argue that Ye engages in both strategies throughout “Through the Wire,” and that attending to their roles in the song greatly nuances the straightforward narrative of overcoming that he otherwise projects.

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