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Ye’s White Lives

Kanye West's latest alt-right stunt — dressing his models during a 2022 Paris Fashion Week show for his YZY brand in "White Lives Matter" T-shirts, including Lauryn Hill and Rohan Marley's daughter Selah Marley — drew self-righteous condemnation from the fashion world and beyond. There were the usual calls to "divest" from West, or rather, to stop supporting his work. The problem is that West's true audience consist of would-be creatives — a multi-racial following that, yes, includes Black people — who see him as a troubled genius and willingly minimize his misogyny and increasingly hard-right politics. His most recent album, the aborted Donda 2, featured Alicia Keys, Jack Harlow, Future, and many others. Will the cream of mainstream rap and R&B stop working with him after this? On social media, Jaden Smith patted himself on the back for walking out of the YZY show after seeing the "White Lives Matter" shirts. Left unspoken is why he was there in the first place.

Kanye West’s latest alt-right stunt — dressing his models during a 2022 Paris Fashion Week show for his YZY brand in “White Lives Matter” T-shirts, including Lauryn Hill and Rohan Marley’s daughter Selah Marley — drew self-righteous condemnation from the fashion world and beyond. There were the usual calls to “divest” from West, or rather, to stop supporting his work. The problem is that West’s true audience consist of would-be creatives — a multi-racial following that, yes, includes Black people — who see him as a troubled genius and willingly minimize his misogyny and increasingly hard-right politics. His most recent album, the aborted Donda 2, featured Alicia Keys, Jack Harlow, Future, and many others. Will the cream of mainstream rap and R&B stop working with him after this? On social media, Jaden Smith patted himself on the back for walking out of the YZY show after seeing the “White Lives Matter” shirts. Left unspoken is why he was there in the first place.

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BLU Magazine

Freedom Archives, an online database focused on progressive and radical historical movements, has documentation on BLU magazine, which was published between 1998 and 2001. While most press at the time limited their coverage of politically minded rap to dead prez and Black Star, the New York magazine threaded between overlapping scenes like spoken word and Afro-Cuban sounds, featured interviews with activists like Geronimo Ji Jaga Pratt and Yuri Kochiyama, and dedicated issues to the Puerto Rico independence movement and women’s right. Each issue includes a CD from major names like Tony Touch as well as lesser-known acts like Rico Pabon. All together, BLU’s 14 issues depict a complex hip-hop movement that’s often omitted from histories of the period.

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When Tame One passed away on November 5, obituaries summarily focused on his reputation as a graffiti writer, his longtime participation in 90s duo the Artifacts, his subsequent wanderings in New York’s rap underground and participation in collectives like the Weathermen. Then there’s “Haagen-Dazs,” a track he and Artifacts partner El Da Sensei recorded with Dutch production team The Boulevard Connection for the latter’s highly-regarded Fondle ‘Em 12-inch EP. With its dusty piano loop and sharp turntable cuts by DJ Kaos, the 1998 song captures the essence of an era. El’s “fact not fiction” diction serves as a setup for Tame One’s unconventional flow. “I’m too bugged out to thug out,” he begins, stop-starting between boasts, homage to cannabis, and “talking to God, I feel odd.” True, Tame One was an unusually rare bird.

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