[Awọn Nubian]

Afrobeats have come a long way!

 

A genre with deep historical roots, and complexity, emerged in the 1960s and 70s, spearheaded by the legendary Fela Kuti, often hailed as the father of ‘Afrobeat’.

 

‘Afrobeats’, in its own right, is a vibrant and culturally significant musical movement, deserving of recognition for its dynamic energy and the immense talent that fuels it.

 

Fun fact: It is important not to confuse Afrobeat — spelled without an “s”— with Afrobeats, a distinct genre.  

 

 

[Awọn Nubian]

Ọrọ ti o gbooro ti isunmọ aṣa dipo riri nigbagbogbo da lori idi, oye, ati ọwọ ti MO le ṣafikun. Imọriri tootọ yoo kan riri awọn ipilẹṣẹ ti AAVE ati iwulo aṣa rẹ, dipo ṣiṣe itọju rẹ bi aṣa.

 

In contrast, appropriation happens when these terms are used for social capital without acknowledging or respecting the communities from which they originated.

 

Ultimately, it’s crucial for non-Black individuals who use AAVE to be mindful of the historical and cultural weight behind the language and to avoid contributing to the erasure or trivialization of Black culture.

[Awọn Nubian]

Akoko yii kii ṣe nkankan kukuru ti arosọ ninu itan-akọọlẹ hip hop. Kendrick Lamar channeling Pac ati awọn ẹsẹ Snoop pẹlu Dre jẹ ju gbohungbohun ti o ga julọ. Gbẹhin agbara play!

[Awọn Nubian]

@Charlotte Idanimọ aṣa Drake tun jẹ koko-ọrọ si ayewo!

 

Lakoko ti ipilẹṣẹ ẹlẹyamẹya rẹ le jẹ koko-ọrọ, awọn ẹsun tẹsiwaju pe o gba awọn eroja aṣa dudu bi ẹṣọ kan, ti a sọ pe o yẹ awọn aṣa ati awọn ohun lati ọdọ awọn oṣere rap miiran ati awọn akọrin. 

 

This ongoing narrative posits Drake as a transient figure within the rap community, accused of exploiting relationships with other artists to mimic their creative output for his own commercial gain. Notable voices within the industry, such as Earl Sweatshirt, Rick Ross, and Pusha T, have articulated these concerns, branding Drake as a “culture vulture” over an extended period. 

 

This characterization depicts Drake’s engagement with hip-hop as akin to “cultural tourism,” wherein he selectively appropriates and imitates cultural styles without genuine immersion or understanding.

 

Kendrick Lamar’s lyrical critique in “Not Like Us” further underscores these themes. Lamar implicates Drake in instances where he allegedly leverages collaborations with artists like Future, Lil Baby, and 21 Savage to bolster his artistic credibility. 

 

Lamar’s portrayal suggests a transactional relationship with the rap community, wherein Drake opportunistically seeks validation and financial gain without demonstrating a sincere commitment to the cultural roots from which he draws inspiration. 

 

Lamar’s narrative draws a crucial distinction between authentic collaboration and exploitative appropriation, foregrounding the importance of genuine engagement and respect within the culture. Thus, the discourse surrounding Drake’s cultural identity extends beyond his biracial heritage to encompass broader questions of authenticity and ethical artistic practice within the hip-hop sphere.

[Awọn Nubian]

Awọn #bratsummer trend is definitely shaping Kamala Harris’ campaign online presence. Reflecting what her mum would use to say, ‘I don’t know what’s wrong with you young people. You think you just fell out of a coconut tree?’ Gen-Z’s are now posting memes of coconut trees. Splendid!!!

 

[Awọn Nubian]

These perceptions may stem from fundamental differences in values and work practices between generations. While there are undeniable challenges, there are also significant opportunities for innovation, inclusivity, and growth. By embracing these differences and adapting managerial strategies, employers can leverage Gen Z’s strengths to create more dynamic and forward-thinking work environments.

[Onkọwe]

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