XXXII | Feb. 27, 2025
Celebrating Black Voices in Leadership
Photoshoot Gallery & Interview on pg. 6-7
sentinel of black and marginalized voices at N.C. State since 1992.
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Letter from The Editor
Take a picture because a camera cannot deceive you like your eyes can. The photographer traded a camera for a pen.
I hope you’re clocked in and locked in... midterm season may be upon us and Black History Month may be coming to a close, but we’re still celebrating! That’s what The Nubian Message is here for– no matter the season.
This issue, we celebrate Black leadership with a gallery and article of some of NC State’s faculty members. Love music as much as I do? We have hip-hop and country features and an opinion piece on Kendrick Lamar’s Super Bowl Halftime Show. Wondering what’s up with Poe Hall? So has Student Senate and writer Ross Emelle. Have a strong opinion on DEI? So does correspondent Nevaeh Sturdivant.
And if you’re visually inclined, we have some lovely artwork, and all our photos have been taken by our own photogs!
See you on the other side of my viewfinder.
Photo Editor, Kaela Belingon
Leadership
Editor-in-Chief
Alianna Kendall-Brooks nubian-editor@ncsu.edu
Managing Editor Isaac Davis nubian-managingeditor@ncsu.edu
Photo Editor Kaela Belingon
Multimedia Editor Abby Harris
Social Media Manager
Senait Richmond
Layout Designers
Lauryn Henderson
Olivia Henson
Kristopher Porter
Copy Editors
Rebecca Hernández
Shaere Delgiudice
Jerry Nava
Will LaMarche
Staff Writers
Ross Emelle
Emma Hamrick
Emilia Rivadeneira
Melanie Sierra
Adriana Hernández
Nevah Sturdivant
cover photography BY Nevaeh sturdivant/Visual Correspondent
Honoring legacies Gallery By Olivia Henson and kristopher porter/Layout Designers
Gallery Photography By jett buchanan, Nevaeh sturdivant and caleb williams/Visual Correspondents
Student senate unanimously passes Resolution addressing Campus PCBS
On Feb. 5, the NC State Student Senate unanimously passed a resolution regarding the University’s response to finding environmental contaminants in Poe Hall. The resolution, entitled Resolution R94, requests additional PCB testing, more transparency and free PCB screenings for those who may have been affected.
Student Senate Pro Tempore Taquan Dewberry, a second-year studying computer science and philosophy, and a sponsor of the bill said, “Essentially, this is supporting other students and campus as a whole, and trying to make sure that we live and learn in a healthy and safe environment. I don't know many people that are opposed to that, but I'm looking forward to hearing discussion on it tonight.”
PCBs, or polychlorinated biphenyls, are environmental contaminants dangerous to humans. According to the Environmental Protection Agnecy (EPA) the chemicals have been shown to cause cancer, reduced conception rates and other adverse effects on health.
In November of 2023 NC State closed Poe Hall, which hosted the College of Education and the Psychology department, on Nov. 17, 2023, due to dangerously high levels of PCBs. Currently, the University doesn’t expect to reopen the hall in the 2024-2025 school year and has not yet released a timeline for doing so.
Resolution 94 calls on NC State to perform extensive routine inspections, give those affected free serum PCB tests and make a plan for safe disposal of PCBs during the Poe Hall renovation as well as communicate with student leaders with updates.
The Student Senate meeting began with student comments, all of which revolved around R94. Ava Dandurand, a fourthyear student studying natural resources and member of the Campus Community Alliance for Environmental Justice was the first speaker.
“NC State has known about the presence of hazardous levels of PCBs in Poe Hall since 2018, but did not shut down the building until November 2023. That is five years of the administration knowing about toxic cancer causing chemicals and making the decision to not inform the community,” Dandurand said.
Eric Martineau, a fourth-year studying
biology and environmental science, also spoke during the comment period. “I'm not angry at NC State. I'm not angry at Randy Woodson. I am heartbroken. I'm heartbroken about my school. I'm heartbroken by the administration, and I'm scared. I'm terrified. I do not want to get sick. This is not the future I want for myself,” he said.
Kendall Godwin, a first-year PhD student studying microbiology who spoke during the comment period, told The Nubian Message he came to help raise awareness for the issue. “The recurring issue of PCBs on campus is something that, honestly, everybody should be concerned about. So I come here basically before the student body, as a concerned citizen and a concerned member of the NC State community,” he said.
The bill didn’t have any opposition during the pro-con debate. Student Senator Stephanie Zalocan supported the bill, saying, “NC State is not just faculty and students, it's so many people, and this affects literally everyone. And each incoming class keeps getting bigger and bigger, so it's only going to keep affecting
more and more people.”
Frankie Frink, a third-year PhD student studying philosophy, also supported the bill during the pro-con debate, speaking on how Poe Hall directly affected she. “I was diagnosed with lupus, and it is one of the things that I expressed to the University after this was announced, but I've never heard back from them,” Frink said.
Frink also explained, “Additionally, when I was working on my Masters, I would take my young son with me periodically, and he has, three years ago, been diagnosed with a very rare disease. He cannot have children,” she said. “I was six months pregnant when I graduated with my masters, and my son that I was pregnant with also has brain tumors, kidney tumors and seizures. Is there causation? I don't know, but I would like to be tested, and I would like my filter to be tested.”
All 49 senators voted to pass the resolution.
Dandurand said they were happy with the result. “I have like, a moment of, like, full body chills, like, truly, I mean, it's, it sounds kind of silly, but it because it's just, like a student thing, but to see that that
many people you know supported it, it's just so like, it just makes me so happy, and me having to know that student body is actually concerned and actually does want our best interest, because sometimes it feels like the University doesn't,” Dandurand said.
Martineau was also happy the bill was accepted, but said it was not the end. “This is exactly what we were hoping for. It's a first step. To be honest, it's not super binding. It's really just a recommendation legislation. We are asking NC State to do something. But we have that, that inquiry, we have that demand in writing, it's formal, it represents the students,” he said.
Martineau also asked for further work from NC State to address the issue, “And so I would want to make sure that I the NC State takes this as a lesson and works to become as not just transparent, but also proactive about it, because PCBs are just one part of the issue here on campus.”
Martineau also said new buildings on campus should be Leadership in Energy and Environmental Design (LEED) certified. LEED’s developer, the U.S. Green Building Council, says the certification is “a framework for healthy, highly efficient, and cost-saving green buildings, which offer environmental, social and governance benefits.”
“I would ask that those buildings being built are LEED certified, making sure that all buildings all are sustainable, all building materials are sustainable so this should not be a problem that NC State ever has to face again,” Martineau said.
When asked about her ultimate hope for the issue of PCBs on campus, Dandurand said, “I hope NC State addresses all buildings, tests every single building on this campus built before 1990. I hope that they actually talk to the victims of Poe Hall and try to resolve the actual issues. Because I've heard from multiple people, and I actually heard in that room that the University has not contacted them back.”
The resolution must be signed by Student Body President Allison Markert before it officially passes. If passed, the Student Government will officially recommend that the University follow the resolution's suggestions.
Official updates regarding Poe Hall can be found on NC State’s Poe Hall updates page. Frequently asked questions, their current progress and support are available.
Ross Emelle Staff Writer
Oscar codes-bodien/Staff Photographer
Taquan Dewberry, a second-year studying computer science and philosophy, moderates discussion during the student senate meeting at Talley Student Union on Wednesday, Feb. 5th, 2025.
Country Music Has Always Been Black
Kristopher Porter Layout Designer
When you think about country music, what comes to mind? I’m pretty sure the impact of black culture doesn’t come to mind - but it most definitely should.
Many probably think of white guys strumming their guitars singing about heartbreak, love and toughness. Or, they think of people wearing cowboy boots and hats while drinking beer. Maybe they think of singing with some twang in their voice?
Country stars that often come to mind are legends like Dolly Parton, Willie Nelson and Shania Twain, as well as the new generation of country stars, such as Morgan Wallen and Teddy Swims.
However, despite its image, country music has a deep, rich history in the Black American community. There were a number of talented Black artists who made the genre what it is today who were (and still are) overshadowed by their white counterparts. Whether people want to believe it or not, country music always has been, and still is Black culture.
The Origins of Country Music
The origins of country music lie in its most important instrument, the banjo. It originated in Western Africa in the 17th century under a different name the Akonting. They were made of gourds, bamboo, wood and leather, and had three strings. When enslavement began, the instruments also came along. This instrument was used to create all kinds of music — hymns, spirituals and field songs. The banjo became associated with enslaved people, and the white man wouldn’t dare touch something like that.
In addition, the violin, also known as the fiddle, was adopted by enslaved people in the 1690s when white masters made the enslaved learn and play the violin for entertainment. But over time, they would create new patterns and sounds with the violin, particularly in the 18th and 19th centuries.
Using the traditional American music they learned—along with African patterns and with the help of the banjo—the music eventually turned into the creation of folk and bluegrass. This music style was very prominent in the South, especially in New Orleans. Unfortunately, the style also leads to the creation of minstrel shows.
Appropriation
Popular in the 1850s, minstrel shows were racial and satirical performances that mocked Black people and their culture through music and dance. The banjo was one of the show’s primary instruments. Minstrel shows introduced banjos to a white audience in a “palatable” way. White artists quickly adopted the banjo, laying the foundation for hillbilly music, referred to today as country music.
Hillbilly music got its name as it was made in the South and marketed towards rural white Southerners. It was influenced by folk, bluegrass and fiddle music, and became synonymous with white American culture despite Black artists being the inspiration.
The genre originally took off in the early 20th century. White artists like Jimmie Rodgers, The Carter Family, and Roy Acuff were very popular during this time. Whether it was the banjo, field songs, or even hymns, Black influences were embedded into country music. In the 1920s and 1930s, there were almost 50 collaborations between Black and white country artists, with some Black artists not even receiving credit for their work.
Country music's landscape grew after World War I due to big record labels wanting to sell country music. The divide between Black and white artists and audiences grew exponentially as a result.
Record companies made “Race records” to market to Black people, assuming that people bought and listened to music based on race while hiding the fact that recording sessions were integrated. They were made to separate Black and white artists. There was an emphasis on associating genres like jazz and the blues with Black people while making country palatable to white audiences.
“There was an emphasis on associating genres like jazz and the blues with Black people while making country palatable to white audiences.”
This change effectively erased Black people from country music's landscape, branding the country genre as white music. White country artists would continue their
dominance over the genre, spawning hit after hit while ignoring the Black artists— who made the genre—credits and influence. Black people have earned a spotlight so here is a highlight of several foundational Black country stars that you should know.
Lesley Riddle
Lesley Riddle was a Black guitarist who influenced country music stars the Carter family, who are known as “The first family of country music.” He was also a folklorist, a blues and gospel artist. He had an accident that injured two fingers and developed a revolutionary new guitar-picking style that changed country music.
DeFord Bailey
Deford Bailey was the first Black artist to play at the Grand Ole Opry, the biggest country stage in the United States, on June 19, 1926. He was a Black harmonica player and decendent to enslaved grandparents. Starting in 1927, He was frequently on Nashville radio station WSM’s Barn Dance and performed renditions of “The Fox Chase” and “Pan American Blues.”
His race was kept from his radio audience, and when he went on tour to the Opry, he had to stay in separate lodging due to Jim Crow laws. He was then fired in 1941 with the Opry’s founder saying of him, “Like some members of his race and other races, DeFord was lazy.”
Charley Pride
Charley Pride is often referred to as the first Black mainstream country artist. He was the first Black person inducted into the Country Hall of Fame. He has had various hits, broke through racial barriers, and became the second Black artist to perform at the Grand Ole Opry in 1993.
He serves as an inspiration and guide for Black country artists to this day.
Gus Cannon
Gus Cannon popularized the jug bands in the 1920s, which were an integral part of early country music. The term came from building a band around jug players using homemade instruments from everyday objects like earthware and glass. The bands usually consisted of guitars, banjos, and percussion and were a mixture of blues,
ragtime and jazz.
At the age of 12, he taught himself the banjo using a banjo he made with raccoon skin and a frying pan while learning from guitarist Alec Lee. He formed his jug band in Memphis, Tennessee, and from there, they toured the country. Johnny Cash, who was influenced by Cannon's playstyle, would go on to be considered one of the best country artists ever.
Ray Charles
Ray Charles created a revolutionary blend of R&B, pop and country music — ushering in a new sound and a new era for the country genre while aiding in the integration of the genre and gaining ownership of his music. In the 1960s, he started to focus on making music for the Civil Rights movement. His album “Modern Sounds of Country and Western Music” was released in the summer of 1962.
Linda Martell
Linda Martell was the first commercially successful Black woman in the country world. She was also the first solo black female country star to perform at the Grand Ole Opry in 1969. Her first album, “Color Me Country,” was released in 1970. While it was successful, she faced misogynoir that led to her being effectively blacklisted from the genre. Her career got a second life when she was featured on “Cowboy Carter” by Beyoncé. Linda is the blueprint for many Black women in country music, despite the genre continuing to exclude their excellence and dedication.
To this day, country music has tons of Black contributions and influences, yet many white people believe Black people have never made country music. This still happens today with Shaboozey and Beyoncé.
White people did not create country music, but have essentially claimed it as their music despite Black people essentially creating the genre. Since then, there’s been barely any mention of Black influence or impact of the genre.
Black people created country music; it's time for people to put away their prejudice and embrace its true history.
The Yellow brick road to fame
Melanie sierra Correspondent
Grammy, Tony and Emmy Award winner Cynthia Erivo is taking the world by storm with her most recent successes in the film industry. From her Broadway debut in “The Color Purple” to her lead role in “Wicked,” Erivo continues to shatter barriers with her powerful vocals and performances.
In 2015, Erivo got her breakout role, starring in the Broadway musical “The Color Purple” as the protagonist, Celie. “The Color Purple” is a musical adaptation of the novel by Alice Walker following a young Black girl facing hardships of domestic and sexual violence.
Erivo mentioned how she wanted her performance to be seen not with pity, but rather what empowered her ability to conquer hardship brings. She wanted the audience to see more than just a victim. As she dove into themes of resilienc, she reimagined the role showing that their stories deserve to be shared.
Specifically, Erivo’s rendition of the ballad “I’m Here” made the scene come alive in the revival of the Broadway show. The musical is what led her to win some
of the most valuable awards in the industry. Erivo won a Tony for Best Leading Actress in a Musical in 2016. Later the next year, Erivo was awarded a Grammy for Best Musical Theater Album for the musical's revival. Erivo’s performance resonated deeply within the Black community, as she highlighted the importance of the representation of Black women’s stories on stage.
On the Today Show, the cast of “The Color Purple” performed the musical’s main title on May 3, 2016. The performance won the Daytime Emmy Award for outstanding musical performance in a Daytime program.
Her performance as Celie paved the way for her transition from stage to screen, often challenging, especially for women of color. But now she is an Academy Award away from an EGOT (Emmy, Grammy, Oscar, Tony).
Her transition to film began with the release of “Harriet” in 2019. Erivo played Harriet Tubman, the abolitionist and racial justice leader.
Although Erivo had no prior film experience — something producer Debra
Martin Chase said made her a risky pick — Chase knew that Erivo was who she wanted to star as their Harriet since she was in awe by her live performances.
The decision to cast Erivo, even with her lack of film experience, has shown how important trust in talent and power, especially with film protagonists.
The role helped shape Erivo’s view on activism and advocating for the rights of Black women. Erivo hopes her role inspires other young lack women who may feel as though their efforts are unseen.
Like Tubman, Erivo wanted to show that though Black women face challenges, they all deserve to be seen and heard.
“But Harriet was small, like me, and was able to do so much…I want young women to feel like they, too, have earned a place in this world,” Erivo said.
Historically, Black women have had to constantly prove how deserving they are to break into Hollywood due to systemic racism. Still, Erivo broke through those barriers, showing determination.
Along with playing the lead role, Erivo wrote and performed the soundtrack’s lead single, “Stand Up,” played during the end
credits. This song got her nominated for the Oscar for Best Original Song in 2020.
In 2021, she joined the cast of “Wicked,” playing the lead role, Elphaba, alongside Ariana Grande as Glinda. As only the second Black woman to play Elphaba, Erivo wanted to show “everyone who feels different” just how impactful and necessary this representation is.
After a successful release, “Wicked” was nominated for 10 Academy Awards. Erivo was nominated — and is holding space for — the Oscar for Best Actress in a Leading Role.
With the first act of the film, “Wicked” and the upcoming release of act two, “Wicked: For Good,” Erivo has continued to break barriers in the entertainment industry.
Her rise to fame further proves that Black actresses can achieve success in the entertainment industry with each new role.
If Erivo wins an Oscar, she will be the youngest person to achieve an EGOT. With her prior successes, Erivo has proved her strength and left the industry in awe.
Everything you love about NC State — like your favorite programs, campus spaces and wellness resources — is made possible thanks to our donors. On Day of Giving, your passion inspires them to fuel our Wolfpack’s future.
It’s easy to make a difference for programs you love:
• Compete in social media challenges using #GivingPack and share your NC State story.
• Take part in activities at student events happening across campus to win swag.
• Participate in the student referral link challenge to win swag and bonus funds for the programs that matter to you.
• Check out what your college is doing on Day of Giving and get involved with your friends.
Learn more at dayofgiving.ncsu.edu/info/students.
Honoring Legacies
Dr. DeLeon Gray
Associate Professor College of Education
Iyare Oronsaye
Assistant Professor Media, Arts, Design and Technology
Dr. Haddy Nije
Associate Teaching Professor International Studies
dr. angela gay-audre
Director of African American Cultural Center
Honoring Legacies
In celebration of Black History Month, The Nubian Message spoke with three faculty members about being black leaders at NC State.
AIYANNA MOORE
Correspondent
Ernest Hendley is the Director of Student Success in NC State’s College of Humanities and Social Sciences.
Originally from Midwest City, OK, Hendley relocated to NC to continue working in higher education. His role includes helping students to succeed and helping them overcome challenges.
Hendley acknowledges his own challenges in the field as “Creating a sense of belonging for students, adapting to new technological changes, adapting to policy changes, etc.” He names his “adaptability to change” as the quality that helps him overcome challenges.
“We have a chance to do something great with all of these things changing, whether it be AI or different policy changes or things going on locally, etc. And we can really make some good headway and push our institution forward, and our students are a big part of that, and I’m just trying to help them be a part of the conversation.”
Dr. Ariel Seay-Howard
Dr. Ariel Seay-Howard is an assistant professor in NC State’s Department of Communications.
Hendley says, “For me, personally, Black History Month represents everything that the people before me have done and the sacrifices they’ve made so that I could be here. My father is from Chattanooga, TN, and at one point in his life, he went to segregated schools, and at one point in his life, he went to integrated schools.”
Historic Black leaders and events continue to be inspiring for Hendley. He says, “It gives me the energy to continue the good works and know that I can do my part.”
Hendley’s advice to Black students pursuing higher education is that “The confidence that you displayed to present the work to get into the institution is the confidence that you have to continue to display when taking on academic endeavors and other professional endeavors on campus.”
He adds, “You shouldn’t feel a sense of angst if you’re the only Black person in a space because you were accepted by the institution, you were accepted by your college, your major, etc. And that means you’re worthy of being in those spaces...”
Dr. Seay-Howard is from Detroit, MI, and came to NC State through her research on the history and remembrance of racial violence through films, museums and plantations.
Dr. Seay-Howard’s racial identity not only drives her passion for research and teaching, but also directly influences her students.
“I think that’s huge for my students because, for a lot of my students, they haven’t ever had an African American teacher, especially an African American woman, as a professor before. So I think that it brings a different perspective…”
When asked about a Black historical figure who inspires her, she cited Ida B. Wells and her “Lynch Law in All Its Phases” speech as the inspiration for her work today.
“She really works hard to pass anti-lynching legislations as well, and seeing someone during that time, a Black woman, fighting and using her voice like that during a time where she could have easily been killed is just so powerful and so inspiring to me.”
Dr. Seay-Howard sees Black History Month as an opportunity to restore the truth of Black history and how we tell it.
“It shows that since we have to have Black History Month, that we’ve been excluded from the overall narrative and the overall history that’s being told in K-12 schooling and just in general in our society. So having it is powerful, it is community building, it is just a form of celebration and it’s a form of Black joy.”
Dr. Seay-Howard wants Black students to know that “You belong here, and the system has not been set up for us to be able to succeed, but once you find your community and you find the resources to help you succeed, then you will go as far as you want to go.”
She also shares how the research field has helped her, “I didn’t know that research was something that could help me travel the world. It could fund my passions, and it would amplify me, and it would give me a platform to be able to tell these important stories that I tell.”
Dr. Jameco McKenzie
Dr. Jameco McKenzie works as NC State’s Director of Multicultural Student Affairs (MSA).
As the director of MSA, Dr. McKenzie works to support different groups of students and assist with their success.
Dr. McKenzie comes from Nassau, Bahamas, and says that his identity influences his perspective, which helps him in his role as director. “It allows me to think about not only my Black male identity, but also my Caribbean identity, and layering all of that together has really helped me understand other people who have different identities…”
Sir Lynden Oscar Pindling, the first prime minister of the Bahamas, is a leader in Black history who inspires him.
“Being able to, even when people are saying ‘you probably shouldn’t do this’ or ‘you’re not prepared,’ being able to persist through that is something that I find inspiring about him.” For Dr. McKenzie, Black History Month signifies “a time of remembrance, a time of joy, a time to be able to connect with our identities and also share that with other people on campus.” He continues, “It’s a time to be happy and to think about all the good things that it is to be Black and to be expansive.”
Dr. McKenzie shares how he sees his work contributing to Black history, saying, “I am able to help and empower students, Black students, students from all different identities to really understand themselves, learn about others, and think about themselves beyond the classroom…” He continues to encourage students to discover themselves as they are now and who they hope to be in the future.
When asked what advice he would give Black students navigating higher education, Dr. McKenzie emphasizes the importance of individuality and using this time to write your own story.
“College and higher education is not an A through Z experience. Everyone’s journey is different. Everyone’s journey is their own.” He adds, “Study abroad, join clubs, be a part of organizations, be a student leader, and also do nothing if that was what you want to do too. Don’t feel like you have to be productive to be important.”
Ernest Hendley
Susan HArrington Junior Philosophy
"I painted it for my grandma’s birthday. I wanted to depict the serene beauty of black women with the stigma we have."
The Modern Day Hip-Hop Scene
After discussing the history of southern hip-hop in our last issue, The Nubian Message is continuing the conversation by taking a look into the current scene of the genre, as well as highlighting artists and styles that were missed altogether. As the genre has continued to evolve over the decades I would like to make the argument that there is a space for all forms of hip-hop that have taken root.
What better way to seed a new perspective than by talking with other people who feel strongly about the subject?
To gain a better understanding of modern-day hip-hop, The Nubian Message met with the Black Artist Coalition’s President and Social Media Manager, second-year Henoc Beni Dossou, studying Computer Science and third-year Jymon James Ross studying Computer Science. As creatives themselves, their connection to hip-hop can be explored in their personal lives as well as in the music they make. Here are some of the highlights from the conversation.
The Nubian Message: In your creative process, where do you draw inspiration?
Jymon James Ross: Okay, so I get a lot of inspiration from the things that I start listening to once I developed my own taste—you know? Listening to stuff like Pi’erre Bourne and stuff that leads down that route with, like, the whole underground rap scene. People like Maajins, Che and Osamason. A lot of that type of production I take inspiration from, and I try to replicate. Especially, you know, with the stuff I'm making now.
Henoc Beni Dossou: For me, southern rap was just pretty much a soundtrack to my life. I was really similar to Jymon starting out. [I listened to] whatever was on the radio and then [the] rise of SoundCloud came up. You know, people like XXXtentacion, Lil Uzi, Carti—those people, how they make their music. They rarely write. Maybe X, he wrote, but [they] really created this era of young people just punching in to making the most creative, fresh style. Going through some crazy stuff and just trying to wrap it together and
make an incredible product. These people, they're, like, our age. They grew up listening to like, you know, Carti, Chief Keef, and they play video games, they watch shows that we watch, and then they find a way to incorporate that. And, like, did their own music. And when I make music, that’s what I’m also thinking of too.
TNM: Who is an artist that currently stands out to you?
JJR: [untiljapan is] one of my favorite artists right now. He uses a lot of samples, which is kind of coming back. I feel like there was a period in time where the genre shifted away from using samples [and] instead made their own original sounds. And people like him, and then, this dude named Not Ambitious. They just keep, like, a lot, dude, yeah, just spamming [samples.]
TNM: What is your opinion on modern day subgenres? Which genres stand out to you?
HBD: When it comes to subgenres like names, it's just, they just sound mad cringe. Not cringe because the names, just cringe because, you know, like the music that we listen to now, it's hard to categorize it because they’re always doing something different.
TNM: What are your thoughts on the relationship between rap community members?
HBD: These artists are coming up, like, they’re our age, they obviously listen to people like Ken Carson, Carti but like, they'll never say, 'Yo, he influenced me.'
JJR: In general, if you ask somebody, and they're not trying to sound like a super fan or whatever, they'll probably say Young Thug.
Closing Thoughts
Throughout the conversation with Dossou and Ross, there was always an underlying sense of connection to the music they spoke about. Whether through the beats or lyrics, hip-hop continues to thrive through those who push the genre’s limits.
This newfound innovation alongside the rise of social media has shattered previous barriers of entry for artists. The age of SoundCloud Rappers throughout the 2010s saw an appreciation for experimental and raw production that is now extending into a new age of artists, from Che and Osamason to Maajin.
The SoundCloud movement began in the 2010s as a rebellion against the music industry and old school hip-hop. This style is characterized by boomin 808s and catchy-phrasing. It resonates heavily with younger audiences while also ruffling the feathers of older generations.
While tackling vulnerable topics in their music came naturally, Ross and Dossou also highlight the hyper-independence often associated with the genre. As artists gained traction, many became less willing to credit their sound to others, particularly their contemporaries.
One subgenres that emerged from the movement is punk rap, a darker, harsher and punk-influenced form of rap. Oftentimes the subject matter of the music is emotional and can vary from discussing mental health and violence to the struggles of drug addiction. Southern Florida artists such as XXXtentacion, Lil Pump, Smokepurrpp and Ski Mask the Slump God were pioneers of this specific movement. Florida is also home to the Swamp Princess herself, Doechii. The Best Rap Album of the Year Grammy winner began her rise to stardom on TikTok after going viral following the release of her 2020 single “Yucky Blucky Fruitcake.”
Since then, Doechii has breathed new life into hip-hop with intricate raps accompanied by soulful instrumentals advocating for self-love and mental health. Aside from her music, Doechii is also an extremely talented performer. Overall, Doechii’s candid storytelling ability is an inspiration that opens the door for more women of color, particularly Black women, to pursue success in creative spaces.
Rap and hip-hop continues to expand in unprecedented ways. Rappers like Doechii and Kendrick Lamar are receiving their due accolades and taking pop culture’s center stage. All the while, underground artists continue to push the boundaries of what can be considered hip-hop through the incorporation of punk and rebellious themes.
History seems to repeat itself as artists redefine hip-hop to reflect themselves authentically from generation to generation. The emergence of subgenres to encapsulate those artists is a testament to the versatility of hip-hop itself and MUST be celebrated. For more information on the Black Artist Coalition, follow their instagram account @blackartistcoalition and check out Jymon’s music on soundcloud under the username ShowMe.
Kaela Belingon/Photo Editor Swae Lee, one-half of Rae Sremmurd, performs on the second day of Dreamville Fest in Dorothea Dix Park on Sunday, April 7, 2024.
adriana HernÁndez Staff Writer
Kendrick Televised The Revolution
lee Staff Writer
On a surface level, Kendrick Lamar's Halftime show was mid at best. It wasn’t as flashy as previous halftime shows; the whole thing was too slow and it was too Black. It was-to the masses-just mid, but what if I told you that was all on purpose?
On a deeper level, Lamar’s halftime show was one of the boldest and most recent examples of protest from a major artist in a long time on one of the greatest stages of all: the Super Bowl.
Lamar became the first non-classical or jazz musician to win a Pulitzer Prize for Music in 2018. He is often considered alongside artists like Drake, J. Cole and Kanye as one of the best rappers of the 2010s.
Speaking of Drake, Lamar has recently gained popularity amongst not only rap fans but also the general public due to his beef with the fellow rapper. Throughout this feud, the two have traded many diss tracks back and forth, the most popular being Lamar’s “Not Like Us.”
This beef is important because of its relevance to the show and what the feud was fundamentally about. Many people were excited to see what would be said at the halftime show because of the elevated spotlight the conflict generated. The beef, in many ways, was deeper than just rap. The feud was more about the principles of protest vs passiveness in music in general.
The show began with Samuel L. Jackson introducing himself as Uncle Sam. Jackson has always been known to speak out against injustice since the Civil Rights Movement in the 1960’s. Anyone could have been chosen for the role but choosing someone like Jackson enhanced the theme of unapologetic Blackness.
Samuel L. Jackson reprised one of his most popular roles in “Django Unchained,” where he plays Stephen, an “Uncle Tom” type character. The Uncle Sam portrayal paints Jackson as an “Uncle Tom” rather than an older White man as he is usually portrayed. Jackson’s portrayal as Uncle Sam drew attention to some of America’s historically oppressive politics and attitudes in front of the president, as Trump made history as the first sitting U.S. president to attend the Super Bowl.
After Jackson’s introduction, Lamar began
the show saying, “The revolution is about to be televised tonight; y’all picked the right time but the wrong guy.” He makes it clear that he is not the passive performer that Uncle Sam would prefer.
Lamar has always been an artist who embraces controversy, highlighting the hypocrisy of the American dream. He lets everyone watching, from the president to the average citizen sitting at home, know that his performance was not meant to
“He lets everyone watching... know that his performance was meant to agitate, not to entertain”
agitate, not to entertain.
I enjoyed the track selection, although I thought Lamar should’ve chosen some lesser-known (and, in my opinion, better) songs like “Sing About Me, I'm Dying of Thirst,” “PRIDE.,” or even “Prayer.”
I heard differing opinions on how people felt about the show. Some said that they didn’t know enough of the songs and that the lyrics were hard to follow. Others said that the show was too minimal and not as flashy as they were used to for the Super Bowl. Some flat out said that it was “too Black” and that they felt it wasn’t for them.
The performance was nowhere near a bad performance, but it was a classic Kendrick Lamar performance, not the Super Bowl performance people are used to.
A lot of the issues lie with Lamar’s performance style. Lamar often takes a director-like role when it comes to shows, letting choreography, elaborate symbology and intricate visuals take the attention. When people are used to performers like Michael Jackson, Rihanna and Usher who dance, have light shows, explosions and all the things you would typically expect from a pop star, it makes sense that Lamar’s performance doesn’t necessarily sit well with everyone.
Another disconnect is the lyrical content. Being a lyrical rapper from Compton, Lamar’s content almost always gets explicit, might not be as easy to sing to and often requires you to think critically.
Even though I thought the performance was spectacular, many thought the performance was “just ok.” In a way, that was kind of the point. The performance
wasn’t for those who would turn the radio off when his lyrics made them uncomfortable or those who don’t want to acknowledge the evils of America.
Moving on to a deeper breakdown of the show’s meaning, it provides a masterpiece on protest performance.
I saw this as a direct form of protest toward the U.S. government and the president himself. Lamar has often been critical of presidents, such as Ronald Reagan in his song “Ronald Reagan Era (His Evils)” for his racist policies and disenfranchisement of Black Americans.
Lamar’s characterization of Uncle Sam indirectly protests this. Jackson proceeds to say “This is the great American game” calling attention to the game-like nature of politics. Adding to the theme of the game, when looking at the stage that Lamar performs in from above, it resembles the buttons of a Playstation controller.
After performing “squabble up”
Uncle Sam calls Kendrick “too loud, too reckless and too ghetto!” He questions if Lamar knows how to play the game.
After this, Lamar performs “DNA,” parts of “Euphoria,” an a cappella version of “Man at the Garden” and “Humble.” The songs chosen during this period are very intentional as they have a more intense, demanding energy.
These songs also appeal to a younger audience as young people are the ones who will have to address these issues in the future. These songs are almost like a call to action to his young, frustrated audience ready to protest.
During the a cappella performance, a dancer on top of the streetlamp resembled the hanged man tarot card. This card can be interpreted in multiple ways, but one of its meanings is sacrifice. It could also be taken to represent the violent history of Jim Crow in the South and the practice of lynching.
Uncle Sam then deducts a life, saying, “I see you brought your homeboys with you, the old culture cheat code.” I interpret this to mean that Lamar has always inspired people through shared culture, which was made even clearer by his beef with Drake. Lamar’s background dancers also wear red, white and blue tracksuits. These dancers later make up a split American flag, showing the division in our country. The dance crew was composed of all Black dancers boldly showcasing their Blackness by wearing grills, durags and hoodies. The imagery of an all-Black dance crew coming
together to form the U.S. flag symbolizes how America was built on the genocide of Native communities and the backs of enslaved Black people.
Lamar’s performance also draws a parallel to how Black culture is diminished. From Black hairstyles to Black music, Black culture is often seen as somehow lesser. This can be seen further in politics regarding diversity, equity and inclusion, often saying that Black people are “diversity hires,” and “less skilled” and are accused of using the “race card.” Uncle Sam says that Lamar’s use of culture is cheating and deducts another life for this.
Lamar then performs “Luther” and “All the Stars” with SZA. With these songs being calmer, Uncle Sam says, “That’s what America wants,” and warns Lamar not to mess it up.
This goes back to the beef with Drake, part of which was about the difference between inspiring and pacifying music. Lamar felt that Drake was essentially an Uncle Tom, making music to pacify his people, saying in “Not Like Us” “No, you not a colleague, you a f-----' colonizer.” Drake is popular for his pop songs and widespread fame but rarely dives below the surface into uncomfortable topics. This statement from Uncle Sam mirrors that sentiment of wanting people pacified, not protesting.
Lamar directly protests Uncle Sam’s statement by performing “Not Like Us.” Following this, Lamar ends his performance with “tv off,” shutting down all of the lights and signifying the end of the game.
Later on, a man who was holding up Sudanese and Palestinian flags was arrested, though this was not televised.
On surface level, Lamar’s halftime performance will go down as mid to the masses. The show was a protest piece not meant for everyone, especially those “not like us.” The performance was meant to be seen and understood by those willing to notice all the uncomfortable elements and direct challenges that were shown through symbology. It was unapologetically Black and directly called out the ugly, racist and contradicting nature of the America we live in.
The music may be controversial, but in the current climate we face, the protest speaks louder than words.
jonathan
DEI is the NEw N*****
The United States has transformed Diversity, Equity and Inclusion (DEI) into the new N-word. Those three letters have been made into a racist dog whistle used to justify discrimination against Black people under the guise of merit and fairness.
Donald Trump's rhetoric surrounding the legislative rollback of DEI was never about fairness, but about maintaining white male control in education, workplaces and the government. Trump’s use of the word DEI has become a coded way to discriminate against women, Black people and disabled people.
DEI has undergone a lengthy transformation since its conception during the Civil Rights Movement. John F. Kennedy introduced the term “affirmative action” in his 1961 Executive Order 10925, requiring government agencies to ensure hiring and treating individuals fairly, regardless of their race, creed, color or national origin.
Over time, this evolved into what we now refer to as DEI; policies focusing on a wide range of underrepresented and marginalized peoples. DEI serves as a means to level the playing field for these groups.
The backlash against these initiatives is not new; it stems from a long history of rejecting progressive policies. Racially coded language is deeply rooted in the Civil Rights era and continues to seep into the 21st century.
Richard Nixon, the 37th president of the United States, employed political strategies that skewed the course of Civil Rights. During his presidency, Nixon became known for his “Southern Strategy," in which he intentionally appealed to white voters by aligning with racist sentiments without overtly opposing Civil Rights through coded racism.
These “issues” are callbacks to specific ways Nixon opposed Civil Rights under the nose of marginalized groups. Nixon pushed for “law and order,” and while this may seem to be about lowering crime rates, this phrase symbolized the opposition to the Civil Rights protest and the suppression of Black communities.
Along with this, Nixon’s “states’ rights”
advocacy was just thinly veiled opposition to federal Civil Rights laws. By pushing for this, he appealed to white voters who resisted desegregation.
Lee Atwater, advisor for former presidents George H.W. Bush and Ronald Reagan, once said of the southern strategy’s evolution, “From a direct appeal to racism to one that is ‘much more abstract’ and uses issues like states’ rights, busing and later taxes and cutting social services to communicate the same message: ‘Blacks get hurt worse than whites.’”
Donald Trump parallels much of the Nixon administration's racially coded rhetoric and policies to transform DEI into a new racial dog whistle.
Trump has continuously suggested that DEI causes incompetence and ignores “merit-based hiring,” which echoes Nixon’s views on affirmative action. Executive Order 11478 stated, “It has long been the policy of the United States Government to provide equal opportunity in Federal employment on the basis of merit and fitness and without discrimination because of race, color, religion, sex, or national origin.”
This executive order was later amended by Executive Order 13672 to include sexual
orientation and gender identity. Although the executive order aligned with Trump’s views on merit-based hiring he still revoked it, along with other DEI executive orders.
Trump's view that DEI lowers competence and standards has led him to use it as a scapegoat for economic, social and institutional failures. During his White House briefing, he blamed the Boeing plane crash on DEI hiring. When asked why he thought that he said, “Because I have common sense, OK? And unfortunately, a lot of people don’t. We want brilliant people doing this.” However, according to Boeing’s 2024 report their team is still mostly white males.
Linking DEI to this tragedy perpetuates the idea that Black professionals and other marginalized groups are underqualified for their jobs.
Trump even blamed DEI for the California wildfires. Trump's right-hand man, Elon Musk, took to X, formerly known as Twitter, to say, “DEI means people DIE,” in regards to Kristin Crowley, the chief of the LA Fire Department, being an out lesbian woman.
DEI has become is a political rallying cry, claiming that white citizens are victims of DEI. This rhetoric is part of a pattern in
American history where efforts to create racial equality are twisted into attacks on white people. In a book titled, “White Rage,” author Carol Anderson says that, “every time African Americans have made advances towards full participation in our democracy, white reaction has fueled a deliberate, relentless rollback of their gains.” Victimizing white citizens ignores the systemic barriers Black people face. It does all that while weaponizing the idea of the Black community's advancement by evoking fear from the white community that the societal structure that favored them would flip.
Besides, Trump’s meritocracy advocacy is misplaced. The fight for a “meritocracy” is consistently applied selectively. Merit is important when hiring individuals covered by DEI; however, legacy, loyalty and wealth seem to go unquestioned.
This is evident in Trump’s hiring practices. Trump hired his family with little consideration for their work experience. For instance, Trump appointed his sonin-law, Jared Kushner, as a senior advisor despite his minimal experience in the field. Trump meticulously selected individuals for cabinet positions based on loyalty rather than experience. The Trump administration implemented detailed “loyalty tests,” rejecting applicants who did not align with his views. For example, Pete Hegseth, known for his support of Trump, was nominated as Secretary of Defense despite his limited defense policy experience. Clearly–the rollback of DEI is not about maintaining meritocracy if these are Trump’s hiring methods. Rather, it’s about allowing organizations to return to traditional hiring structures that favored white males. These DEI rollbacks claim to eliminate racial preferences, but the Trump administration has seemingly forgotten that there is already a racial preference, and there has always been a racial preference. If Trump cared about fairness and merit, legacy admissions would be removed and systemic hiring practices would be addressed. However, the opposite is happening. The removal of DEI is done to assert the dominance of white males in education, government and business. So, the next time you hear Trump say DEI this and DEI that, what he meant to say is n---- this and n---- that.
Nevaeh sturdivant/Staff Writer
Black male voice supressed by white hand.
Nevaeh sturdivant Staff Writer
