A couple of weeks ago, TNF had the great pleasure of attending the Blaze N’ Glory festival which took place June 4th @ The San Manuel Amphitheater in San Bernardino, California. The festival consisted of a day full of Hip Hop, Reggae, carnival rides, tons of different clothing/lifestyle vendors & a huge variety of food/beer to taste! It was one of those events that has a little bit of something for everyone. This rings true by the widely diverse crowd that attended the festival.
(TW: Sexual Assault, Rape)
By now, everyone’s heard about the release of Kanye West’s most recent output, The Life of Pablo, and while many are divided on the quality of its musical content, there are also plenty of people who are, in a world that is increasingly aware, pointing out some of the blatant sexism that is, and has been, evident in Kanye West’s lyrical work.
In itself, this is not an issue. It says a lot that more and more people are getting fed up with the way women are portrayed and defamed in these songs. It’s a good thing. However, the issue arises when people continue to criticize black artists, mostly in Hip-Hop, about the sexism in their lyrics, while failing to criticize or even acknowledge the even more rampant and dangerous misogyny in other genres which, as a matter of fact, are primarily white. I’m referring, in particular, to varieties of Death Metal music, namely Grindcore and Brutal Death Metal, as well as related genres.
Despite what the older generation may say, millennials in the United States have it rough: high inflation with stagnant wages, few worthwhile employment opportunities, constant obstacles discouraging higher education, and a largely out-of-touch government which does little to properly address their needs.
When one also takes the disproportionate violence against and incarceration of racial minorities into consideration, it would seem that American society, for young people and people of color, is less than ideal, and, as odd as it may be, is perfectly encapsulated by the grim and grimy Trap and Hip-Hop music by producer and sometimes rapper Muny P.
For many citizens of the United States, the idea of a “post-racial” America, one in which the horrifying transgressions of the past have been learned from and left behind, is a rather comforting one. To think that the nation has progressed so far – to a point where race no longer matters, to a place where racial minorities are no longer discriminated against systematically or institutionally – is more than a little uplifting. It is an idea that absolves white Americans of their history of oppression, for, in a post-racial America, none of that matters, right? None of that matters when the society and the majority no longer oppresses minority groups on a large, cultural scale.