Nas hate me now firm diss full#

ItвЂ™s been illuminating watching masks come off and hearing what people think these two stories say about the state of hip-hop.

Nas hate me now firm diss full#

ItвЂ™s been a painful handful of days, full of terrible conversations, lies, prejudices, and false equivalences. In the week since Lil Nas X released the provocative, pointedly homoerotic вЂњ Industry BabyвЂќ music video and North Carolina rapper DaBaby regaled a Miami Rolling Loud audience with a vile quip about gay sex and AIDS between songs, conversations about homosexuality and homophobia in hip-hop that have been percolating all year have come to a head. The illusion of respect for our differences erodes. If you show too much queer attraction and self-expression, people get uncomfortable. If you coddle hip-hopвЂ™s cisgendered, heteronormative core, you can cook. Sometimes, we simply fuck off and do for self. ItвЂ™s not always like movies, where an existential threat to humanity forces us to settle our differences and soldier forward together, and some maudlin pop song soundtracks our unified efforts to save the future.

The last four years have shown us that people donвЂ™t always band together when straits get dire. WeвЂ™ve seen young men fight tooth and nail to defend their ability to transgress and offend at will, clinging desperately to the 20th-century social mores that centered their needs and wants. WeвЂ™ve seen antiracism pawned off as вЂњwoke supremacy.вЂќ WeвЂ™ve seen elderly men weaponize political power to legislate how women are allowed to care for and live in their bodies. But as it dawns on some of us that adding more seats to the proverbial table requires sacrificing a bit of your own elbow room, relations have gotten ugly. If we wanted, we could restructure the power dynamics that bind us. What IвЂ™ve seen in the intervening years has made me by turns more hopeful about queer representation in hip-hop and less sure I will live to see a time when the community doesnвЂ™t excuse and ignore hateful, homophobic, transphobic rhetoric. Not everyone handled these developments very well, but it felt like progress was being made, however painstaking and slight, toward greater respect for LGBTQ hip-hop fans and artists. iLoveMakonnen had just come out, and Young M.A was flourishing in New York. I am by turns more hopeful about queer representation in hip-hop and less sure I will live to see a time when the community doesnвЂ™t excuse and ignore hateful, homophobic, transphobic rhetoric.ДЇour and a half years ago, I wrote about homophobia in hip-hop culture.