Category Archives: hip hop

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On Shia LaBeouf And Appropriation: This Is What Happens When Nobody Knows Your Name

By Guest Contributor DJ Kuttin Kandi

Nearly 20 years after the film Nobody Knows My Name by documentarian Rachel Raimist many of us can still relate to the many stories of the wom*n in Hip Hop that were told in the film. We, the Anomolies crew can most definitely relate as we are just a few of the thousands upon thousands of names you never knew existed.

Anomolies originally started off as an “all female Hip Hop” collective back in 1995 with over 26 members. In the last few years, we have evolved to be inclusive to being a gender justice collective. So, we don’t appreciate the assumptions and the misgendering of any of our crew members. We came together to create a safe space for ourselves within Hip Hop so that we can be all that we are and do what we love without having to worry about ridicule, judgement and overall oppression that many of us so often receive within many patriarchal-dominated Hip Hop spaces. Anomolies’ intentional goal was to support one another and to offer our support to many of us within Hip Hop who are so often marginalized and underrepresented. We started Anomolies because we knew that we had to be our own agents of change because if we didn’t, who else would?

The dictionary definition of the name aNoMoLIES is 1. To deviate from the norm. or 2. Something that occurs once in a lifetime. When you break down the name it spells out No Mo Lies (no more lies). Anomolies dispels myths about our identities in Hip Hop culture. We are proud to deviate from the “norm”, we are proud to question and to challenge myths.

Beyond our own Hip Hop crew, so many of us are Anomolies — trying to break gender norms, defying myths and trying to use Hip Hop as a platform to be heard.

So many of us are local to global wom*n-identified, wom*n of color, black and brown bodies, indigenous, queer, trans, two-spirited, gender non-conforming, disabled, adoptees, (im)migrants, non-working to working class Hip Hop artists and communities that you never knew had skills. So many are the voices that many have never heard of because either they are pretending we don’t exist or they are pretending to be us. We’re either the ones many want to “rachelize” or we’re the ones they want to call “old skool” b*tches and not give us our due props. We’re the ones you would never know about until an actor like Shia LaBeouf shows up on video footage somewhere in the woods reciting some of our verses from one of our songs and “fake the funk” like he was actually freestyling.
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Revenge Of The Blerd: The Racialicious Review of Dope

By Arturo R. García

What’s supposed to be a romantic moment in Rick Famuyiwa’s Dope ends up being one of its more problematic: we see the protagonist, Malcolm, tell his love interest Nakia, “Don’t sell yourself short” when she explains that, should she get her GED, she plans to attend a community college before, hopefully, moving on to Cal State Fullerton or a school in that system.

Malcolm’s remark is meant to be encouraging, to spur her on to defying expectations. But there’s also a touch of unwitting condescension, of classism in play in that response. And the vexing thing about Dope is that it’s a coming-of-age tale that won’t let him see that other side even as it insists he’s maturing before our eyes.

SPOILERS under the cut
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The Ghost of Bigger Thomas Surfaces in Kayne West’s Monster [The Throwback]

With Kanye West in seemingly another controversy this week following a mid-concert rant, it’s a good time to revisit Latoya’s look at the furor surrounding his 2011 single, “Monster.”

By Latoya Peterson

Kanye has officially overdosed on artistic symbolism.

After his 35 minute debut of "Runaway" in back in October 2010, it difficult to figure out how Kanye would top a video that incorporated references to modern performance art, ballet, couture, mythology, and Fellini.

And yet, I don't think anyone counted on Kanye deciding to deck the halls with dead white women in "Monster".
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Dropping Anchor: The Racialicious Review of The Fresh off the Boat Pilot

By Guest Contributor Kevin Wong

Hudson Yang (center) and the cast of ABC’s “Fresh Off The Boat.”

The plot for Fresh off the Boat is a classic “fish out of water” scenario. Eddie (Hudson Yang) is a 12-year-old Taiwanese-American, who moves from a diverse, city neighborhood in Washington, D.C. to a mostly white, suburban neighborhood in Orlando, Florida. His family consists of two younger brothers, a grandmother, stressed out mother Jessica (Constance Wu), and flustered father Louis (Randall Park), who wants to open a successful, Western-themed barbecue restaurant. Primarily, everyone’s just trying to fit in.

Jessica, for instance, takes up rollerblading with the neighborhood Stepford wives. This has great comedic potential- how does an Asian American woman clash with the expectations of privileged, suburban society? The Stepfords, to their credit, do not view Jessica as an intruder or an undesirable in their neighborhood – more so, they view her as a curiosity to be poked and prodded. It’s a nod to a more subtle type of racism that exists in the modern world. The term “racist” does not only encompass name calling and hate crimes — it encompasses passive discrimination, positive stereotypes, and microaggressions that, accumulated over time, can be comparably damaging.

The most interesting aspect of Fresh off the Boat is how it deals with Asian American masculinity. Each Asian male character has his own way of exploring it, and they each tend to do so through the lens of another ethnic identity, rather than their own. Louis, pursues the “cowboy” archetype, in an effort to bring more white folks into his restaurant. Eddie co-opts hip hop, black culture — he’s listening to Dre’s beats, quoting Biggie’s rhymes, and repping Nas’ Illmatic on his clothes. It’s illuminating.
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Whiteness, Hip Hop Culture, and Invisible Backpacks

We wanted to save this video for Friday, but in light of Macklemore winning Best Rap Album and then tweeting his apologies to Kendrick Lamar, this video exploring white privilege in the hip hop community is worth a listen. Longtime community member El Guante is joined by The Big Cats, Rapper Hooks, and Chantz Erolin break down why Macklemore’s race isn’t the problem, but how defenses designed to ignore racism continue to harm the community. Lyrics after the jump.

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Beyoncé’s SUPERPOWER as a Love Letter to Black Radical Insurgency

A still from Beyonce’s Superpower video via. Entretenimento

By Guest Contributor M. Shadee Malaklou, cross- posted from JesusFuckingChristBlog

In her December 13th article for The Raw Story, A Plea: Remember Beyonce’s Record Is Art, Not A Political Treatise”, freelance journalist Amanda Marcotte — who writes on feminism, national politics, and pop culture — tackles the accusation that Beyoncé’s album is “anti-feminist” (referencing reactions to lyrics like “bow down, bitches”) by reminding us that Beyoncé has produced for us a work of art, not one of politics. …Because if we look closely, her politics are flawed, or so the argument goes. Marcotte faults Beyoncé for “reinforc[ing] the same beauty standards she decries on the records”, but ultimately concludes that Beyoncé is still a feminist because, you know, feminism is messy. Marcotte ends the piece in (what she claims is) a “plea” that not only fails to understand Beyoncé’s feminism, but also functions to silence the Black radical politics of Beyoncé’s work:

I want to remind everyone that music is not a polemical or a campaign pamphlet. Music is art. Art can—should—be messy, contradictory, raw, and emotional. I love that Beyonce openly struggles in her music and in her image between the push-pull of both wanting to embody this kind of feminized perfection and seeing it for the trap that it is. It’s much more honest and human and humane than some kind of bland feminist treatise set to a beat. Beauty is a painful trap to ensnare women, but beauty is also pleasure and it draws you in. Denying these contradictions and presenting ourselves as people who have it all figured out all the time is tempting, but it’s not honest. And it’s certainly not art, which is supposed to reveal, not conceal. Just a small plea from me to remember that we’re talking about an art form, not a political treatise, as we tear into the lyrics, beats, and imagery that Beyoncé just turbo-launched into the public.

In one short paragraph, Marcotte manages to remind us why white feminism fails (still) to address the experiences of Black women as women; and in the same stroke, disaffects us — as a viewing public — from our identification(s) with Beyoncé as a woman of color. As an ideology, (white) feminism demands that women identify (and rally) as women first, and as bodies of color second, or better yet, last. Marcotte forecloses on the overdeterminacy of Blackness in an anti-Black world, and underestimates Beyoncé’s commitment to (what I am going to suggest here is) an insurgent, Black political future.

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Video: Jay Smooth and W. Kamau Bell discuss homophobia and hip-hop

By Arturo R. García

I thought W. Kamau Bell’s interview with Jay Smooth was worth sharing and getting our readers’ impressions.

After some talk about Kanye West’s run-in with Jimmy Kimmel and the appearance of a White Jesus character at the first show of West’s new tour, the discussion turns toward the LGBT community and hip-hop, and Jay acknowledges the generation gap at work — while acknowledging the presence of LGBT rappers — in commercial circles.

“There’s a sort of old-fogey, anti-gay Tea Party contingent among hip-hoppers my age,” Jay tells Bell. “They see the tide of history turning against them, so they’re becoming this really loud, freaked-out minority who thinks that our culture’s going to lose its moral center if people are openly gay or wear skinny jeans and things like that.”

Jay also name-checks James Baldwin and Bayard Rustin and points out that the modern LGBT rights movement began with a “bar fight” — the seminal encounter at Stonewall.

“There’s nobody more gangster than the LGBT community,” Jay explains “If they knew their history, like, Rick Ross would be pretending to be gay instead of pretending to be a drug lord.”

Racializens, your thoughts on the interview?

Twerkin’ in the USA: On Big Sean and Miley Cyrus

by Guest Contributor Lima Limon of LimaLimonArt

Can’t see the video? Here’s a basic transcript:

I’d like to call this blog “Twerkin’ in the U.S.A.”

Now, lately Miley Cyrus has been putting herself ass first into the hip-hop scene. And you won’t guess where that ass showed up next. Big Sean has this song called “Fire,” and I like this song. You know, he raps about overcoming adversity and manages to avoid saying “ass” 30 times for the chorus. SO the message and the lyrics are nice and the beat is pretty on point to match it.

Then there’s the video, which is basically just Miley Cyrus in different slightly revealing clothes, some fire and an exploding flower. Now the visuals are dope and Miley Cyrus is attractive, but that doesn’t really have much to do with the actual song itself. Oh but luckily he explains via Twitter. He says “Miley is symbolic of strong women overcoming heartbreak.”

Vato, you ain’t fooling nooobody with that shit. Let’s be honest that’s not why you did it. Cause plenty of actresses, models, stars, whathaveyou could’ve easily filled that metaphor. Megan Good, Adriana Lima, and apparently Levy Tran is down to do whatever type of music video gig.

So I will give it to you, those visuals were sick and at the very least you didn’t use an exaggeratedly muscular WWE create-a-wrestler version of yourself for your music video. (see Kanye West’s Blkkk Skkkn Head music video) But let’s be real. Big Sean. Miley. Y’all used each other. Sean, you used Miley Cyrus for the fact that she’s currently a buzz word in pop culture right now. So what did Miley get to use from this? Continue reading