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Before Billie Eilish performed the Beatles' "Yesterday," during the Academy Awards "In Memoriam" segment last month, she walked the red carpet in a look that's become something of a signature for her: custom oversized Chanel tracksuit, a chunky, gold cuban link chain, long black acrylics. --- The internet has provided, for white youth who've spent a large part of their adolescence on it, a front seat to the creation and distribution of Black cultural products — Black music, slang and dances. But as those cultural products move across the internet, they get farther and farther away from their original context and meaning and often become collapsed under the simplistic label of "youth culture." This isn't as democratizing as it seems. Apps like TikTok and its spiritual predecessor Vine not only encourage the performance of Black culture by non-Black teens, but incentivize it with real money to be made. It used to just be financially viable for pop stars to perform Blackness. Now, it presents an opportunity to non-Black teens everywhere.

As we enter a new decade, the ways in which we define electronic music styles are rapidly changing. Chal Ravens explores the etymological evolution of “UK club music” and speaks to some of its key players: about how regional roots are growing into digital ecosystems, and powering new conversations about globalisation in club culture. --- It’s more about the mood, ultimately: vibrant, kinetic, unpredictable. In fact, club is probably best understood as a style of DJing rather than production, a sound invented in real time. The element of surprise is highly valued, along with quirky edits, bizarre blends, and a fearless approach to clashing musical keys. You might hear a spinback or three. It’s music to stay on top of rather than music to get lost in. […] Why aren’t these UK club DJs appearing on European festival lineups? “If I knew I’d be playing more festivals,” says Finn, who wonders if there’s a basic mismatch in attitudes and expectations. “There’s not much room for humour in dance music. It all feels like it has to be quite serious,” he says. […] In the process of absorbing and reframing various black genres, the term “club” obscures the roots of its own diversity. That shouldn’t write off its utility as a catch-all term; how else might we capture the contemporary intermingling of dozens of related global scenes? But intersecting factors of race and class are always at work in the creation and adoption of new styles. […] There’s an absurd feedback loop at play in which promoters excuse pedestrian bookings by citing commercial imperatives, which does audiences a disservice by suggesting that they’re too bigoted or unimaginative to branch out from house and techno. But insofar as club music is thriving in small clubs and basement parties in the UK, the next challenge will be to establish the current generation as an internationally recognised creative powerhouse.

DeForrest Brown, Jr. went to the Dweller Festival and asked the question, can one celebrate Black underground artists and audiences in a gentrified genre? --- And it must be clearly understood: dance music, in all of its various forms, was born in Blackness, patterning itself after the communities, spaces and shared skills that were built in hopes of finding a specific kind of respite, and an alternate future. Techno in particular has been a music riddled with misconceptions and distorted histories, whose global popularity has unfortunately scrubbed away its origins in Black American culture. Fundamentally, techno is a rhythm and soul-based music developed in 1980s Detroit, using Motown studio production techniques, jazz and funk. Though largely adjacent to house music, techno is distinctly from Detroit, whereas house was rooted in Chicago; and both share their technologically progressive, DJ-based DNA with hip-hop, forming the holy trinity of Black dance-floor Utopias of the late 20th century.

A roundup of an heroes who all took the red pill and helped the fire rise for top keks by protecting free speech from SJWs.

this isnt just about Kimmel and Kanye it's about who gets to be a creative genius in America and who we'd rather see as a clown

I believe the company has good intentions, and is run by people who do not want to be racist or to create racist contributions to culture. Nevertheless, the company made a cultural contribution that was predicated on racist ideas. It's particularly egregious to trade in racist ideas when it's not for artistic purpose or to comment on society, but to sell a product. Therefore, the most helpful thing I can do is to help them fix the broken process within their company that produced this unfortunate result.

Last night, the Berkeley-bred, Internet-beloved rapper Lil B gave a sold-out lecture at NYU’s Kimmel Center for the Performing Arts. It’s possible that this was a beautiful, inspiring event, at which people rallied joyously around a quirky young entertainer’s timely message of empathy and kindness. It’s also totally possible that the whole thing was an epic tragedy, in which a young man’s urgent plea for basic human dignity was repeatedly laughed at by stoned college kids who preferred to shout catchphrases at him while finding his existence hilarious. I think it mostly depended on where you sat, and who was sitting near you.

Kenan Malik writes that the attempt to preserve "cultural identity and authenticity" is largely an inauthentic act, one steeped in relativism and traditionalism, and more concerned with how individuals "should" act than how they actually do. Thanks to @kemp for the link.