[’Crazy’ Chart] BTS “Spring Day”, Chart All Kill + Digital Rankings.. Crazy Power
BTS has achieved an all-kill on the music charts with “Spring Day”. Also succeeding in landing consecutive rankings on the digital charts, they have confirmed their potential.
On February 13th at 6am, “Spring Day” climbed to 1st place on all 8 digital music sites: Melon, Mnet, Bugs, Olleh Music, Soribada, Genie, Naver Music, and Monkey3.
We also watched the included tracks “Not Today”, “Lost”, and “2! 3!” climb up the charts as well. Especially on Melon, “Blood Sweat & Tears” caught people’s attention as a part of the 10 tracks listed on the digital rankings.
Released at midnight, the title track for “WINGS Supplementary Story: You Never Walk Alone” named “Spring Day” trended worldwide after its release to show yet another side of BTS, implementing elements of British Rock and electronic sound to create this alternative hip hop song. The leader, Rap Monster, composed the main melody himself.
Kris Wu: More young people wanting to get into the hip-hop scene is a good thing
On 2 May, the opening press conference of Chinese Hip-Hop talent show <The Rap of China> was held in Beijing. Three groups of celebrity producers, Kris Wu, Chang Chen-yue & MC HotDog, and Wilber Pan were in attendance.After the press conference, producer Kris Wu accepted the interview by iFeng’s reporter.
During the interview, Kris Wu expressed his unique views and understanding towards hip-hop music. Kris Wu expressed that although he is the most junior amongst the three groups of producers, his good understanding of trap music is his outstanding point.
How would you define hip-hop? Firstly, this spectrum is a little broad, kinda huge, because hip-hop isn’t just music, it’s a culture, like sports. It consists of many different forms, I guess it depends on each individual’s understanding. I feel that one major point that hip-hop wants to express is a certain attitude. Next is the method of expression, many people express themselves through rapping, but there are actually many other methods, like example other musical sub-genres, which are also included in hip hop. For example right now, what is currently in trend is EDM-based hip-hop, and right now there are more people who like trap hip-hop. These are all very different genres of music, so it’s a little hard to define hip-hop.
As you’ve just mentioned, these days more and more people are listening to trap music, and there are much fewer people who listen to 90s and old school music. What do you think of this? I feel that this is inevitable, but what I’d like to say is, the [trend of] trap will pass too. This is something that I would really like to tell the contestants, because I believe that based on my personal experience, and including the current hip-hop scene in China, there are actually many contestants, perhaps 70%, 80% who have a better understanding of trap music, and who prefer trap music as well, which of course is inevitable because this is the current hottest trend. However there is a problem too, it’s that when you do something that is currently in trend, when this trend dies down, the same would happen to you too. So you would still have to know where your roots are. I’m not saying that you have to like old school music, but you have to have a listen. Like I’ve just mentioned, in the 1990s boombap music was extremely popular, so you have to understand the musical style of the golden era of hip-hop as well. And then not only that but also many different types of genres, like understanding jazz hip-hop too. It would be very beneficial to your development. So these are some of my views.
Right now there is an emergence of many Asian rappers like [Rich] Chigga on an international scale. Do you have any expectations towards the development of Asian hip-hop? I feel that this is a good thing, for everyone to start liking hip-hop and think that it’s cool. There are many young people who want to enter this industry, although it has a small audience, because at times there would not be many opportunities available, for example these kind of programs did not exist in China before. It’s the first time that there’s such a program, and this is why I feel that this program is meaningful. I hoped that I would be able to participate because I feel that it is a very good platform to reach even more people who love music. However, this culture has a small audience, and in China there are definitely much, much more people who listen to ballads than hip-hop music, so in order to make hip-hop music more mainstream, we would need even more people.
So what are the kind of contestants that you wish to see the most on <The Rap of China>? I hope to see contestants that are more all-rounded, because like I’ve just mentioned, there are many people who feel that hip-hop is just merely rapping, but this is actually not the case, as there are many forms of expression. Even now there are many more melody-based tunes, melodic rap, songs which sound like singing but are actually a sub-genre of hip-hop. More and more [of such songs are produced], for example a key representation of the genre is Drake, many would wonder if he is a singer or a rapper. So when I select contestants, I hope to see that they have the basic foundation of right pitch and other elements, and are able to carry a tune, sing the chorus and rap as well. These are the type of contestants which I hope to see, who have more varied abilities.
Right now Kendrick Lamer is very popular, and the MV for his new song <Be Humble> isn’t something that other musicians have tried before. What do you think of this? I feel that he is incredibly talented. His ways have always been at the top of trends. I feel that those who like hip-hop can listen to his music more, because it would be really helpful.
Generally, rappers who like hip-hop music will freestyle or battle, so do you usually freestyle with friends in your personal time? At times I would, it depends, if I have an opponent we would have a go.
We can see from Weibo that you really love playing basketball. What position do you usually play? In the past I played the position of point guard, right now I play the position of center forward more often.
At the NBA Celebrity Game you mentioned that you love Kobe Bryant, right now it’s the first anniversary of his retirement, so how do you feel about it? After his retirement, I kept up with NBA news less often.
Are you a loyal fan of his? Yes, I feel that I’m missing something worth watching, so right now I don’t really watch finals, and I’m still a little sad.
With fans still recovering from “Part One”, Chase Atlantic fueled their ongoing fire with the release of “Part Two”, the second EP of what I’m assuming to be their take on anelectrifying musical saga.
The EP was released on March 31st, 2017, and I was very eager to hear it. Although I myself am a relatively new fan of Chase Atlantic’s music, “Part One” completely blew me out of the water: compared to their older stuff, it was a major step forward in terms of their lyrics, musical production, and style. My only hope for “Part Two” was that it would be similar to its counterpart, if not better.
After finally sitting down and listening to the new EP, I had some mixed feelings about it. Although I was pleased regardless, because I like this band a lot, I’m not quite certain whether this one shook me as hard as “Part One” did.
My very first impression of this song was a quick snort through the nose. Not going to lie, the title made me chuckle. I wasn’t sure if the band was genuinely pissed off about something, or they were just making fun of Twitter users’ lingo. Either way, I was interested to see where this opening track would lead to.
Personally, I’m a sucker for dramatic album introductions. And this song had just the right amount of mystery, lust, and grunge to immediately draw me in.
The song started out with a relatively chill introduction, but the first 10 seconds definitely built up. It was quiet at first, but as soon as I heard the car revving its engine in the background, I knew I was in for a bumpy ride.
Immediately after the car sounds, I was hit with lead singer Mitchel Cave’sdistinctive voice and a brand new beat.
If I was to describe this song in one word, I would use the term badass (or is that two words?). There was something about the heavy bass, deep rhythm, and the slickness in Cave’s voice that immediately painted a dauntless picture in my mind. I imagined myself thrown into the middle of a high-speed police chase after my hot boyfriend and I just robbed a convenience store. He would be driving a black SUV with tinted windows, I would be perched up in the passenger seat, and Triggered would be our get away song.
Although the chorus could’ve been fuller in my opinion, the verses and the bridge of this song were what really brought it to life for me. Lyrics like “driving ‘till we killing love” and the repetitive use of the phrase “won’t slow down” strengthened my inner feelings of love and rebellion as I bopped my head to this song’s steady beat.
The lyrics and overall theme of the song helped me realize that perhaps the meaning of “triggered” was not a reference to overused internet slang, but maybe it was referring to the shotgun my hot boyfriend was firing as we swerved on the 405, desperately trying to get away from the cops. Once again, the visuals that this song brought to life were killer (haha - see what I did there?).
In conclusion, the more I’ve listened to this song, the more I’ve come to really like it. From the lyrics, to the melodies, and to the delinquent realm it creates, Triggered is definitely my favorite tune on this EP.
This song, unfortunately, did not woo me as much as its preceding track.
First off, what I appreciated about the song was how unique it was. In my opinion, this song was the complete opposite of Triggered, and very different from what I’ve been associating with Chase Atlantic’s more recent music. Coming right out of the sinister world of Triggered, Cassie was like a breath of fresh air and a field of blooming sunflowers right in front of me.
The general vibe of this song was very easy to pick up on within the first lines of the first verse. The light and airy beat that continued throughout the entire song reminded me of a symphony imitating the gentle ticks of a clocktower. It made my heart, still calming down from Triggered, feel all warm and fuzzy again.
Another thing I appreciated about this song was how the lyrics and the music contradicted one another. A bubbly melody is a rarity among Chase Atlantic’s newer releases, but somehow they managed to pair the uplifting beat with lyrics about drugged up veins and an impatient girl named Cassie in a way that actually worked quite well.
However, the unique airiness of this song just didn’t seem to completely win me over, though I did appreciate it. The main reason why this song did not particularly knock my socks off is because throughout the whole first listen, I kept feeling as if something was missing. Especially in the chorus, I felt like there could’ve been something else - a tempo change, another instrumental element, faster lyrics - to make it more exciting. Although the song was cute and a little brighter than the other two tracks, it was kind of forgettable.
This track has become known to me as the cool-down song, because I found it to be very chill and relaxed, but nonetheless a very interesting listen.
The introduction features a few intriguing elements that quickly brought me to the edge of my seat: more undistinguishable sound effects (were they popping pills?), the lazy strum of an electric guitar, and Cave’s muffled voice singing a few catchy lines, as if he was teasing me of what’s to come later on in this song.
The introduction slowly built up, but then quickly flushed me into the first verse. The band was back at it again with the alternative hip-hop beats, this time singing (rapping?) about self-hatred and a desperate search for Mitchel’s cell phone.
The transition into the chorus was rather quick, but nonetheless it still worked pretty well. By now I was able to conclude that this song would be slower than the other two, but I wasn’t complaining about it.
The lyrics of this song once again displayed a level of contradiction to the other elements of the tune. Lines like “Life in the fast lane. You live then you die, babe … so why stop now?” were somewhat depressing lyrics, yes, but the way Cave’s gentle and soothing tone of voice meshed together with them was quite menacing, sending shivers up my spine. If I’m thinking out loud here, he has a very sexy singing voice. Don’t @ me.
In some ways this song almost felt half-assed, but thats what I kind of like about it. Although it is slower than the other 2 tracks, Why Stop Now has this kind of vibe to it that fuels my inner desires to just “not care”, which I assume is a common mood fellow Chase Atlantic fans feel while listening to their music. And that’s not a bad thing. Being a moody 18-year-old whose just trying to figure her shit out, I need music like this to listen to from time to time. Sometimes we all just need to “not care” and chill TF out.
The reason why I still wasn’t completely blown away by this song either was the same reason as Cassie. I felt like there was something missing from this track as well, though I still can’t put my finger on it. Either way, it’s still a good jam, and I can see this one becoming a lot of fans’ favorite.
Overall rating: 7/10
Overall, the “Part Two” EP did not meet the high expectations “Part One” set for me, but that is quite all right. Triggered is a major gem of a song and I’m still going to be blasting this EP in my car for the next few weeks. Perhaps there will be a “Part Three” and maybe even a “Part Four” to help us further envision where Chase Atlantic are headed next. These EPs are obviously just a mere taste of what they’ve got in store; I feel a debut album coming soon, and I cannot wait to devour it.
AN: This is the first music review I’ve literally ever done, so please go easy on me! Hopefully you enjoyed it - I tried to keep it as honest as possible, so I apologize if any of my opinions offend/upset you, but they are just my opinions. If you liked this, let me know! I’d love to do more reviews in the future.
Others may still be stuck with the idea of Hip Hop being just good music. This may work if you are a Rap fan. But if you consider yourself to be a true Hiphoppa and you seek lasting success living Hip Hop and performing its elements professionally, you are going to have to approach Hip Hop with more wisdom, organization and skill than all the employees, C.E.O’S, ministers, professors and artists of the entire entertainment, academic, religious, fashion and media industries. Otherwise, you will be eaten alive by these industries and professionals. Be clear with this. For these reasons the Temple of Hip Hop starts the training of its members with comprehension of Hiphop as a collective consciousness; a unique urban attitude, an empowering identity, an international culture, a life-improvement strategy, a creative self-evident awareness, an international cultural movement—not just music or even entertainment!
The Gospel of Hip Hop, First Instrument by KRS-ONE
I almost feel like clipping. speaks for itself. Their entire discography is great, but this is the first track I heard from them and it really spoke to my experimental sound design sensibilities. The use of odd sampling, noise, distortion, glitchy percussion (which creates a cool stereo profile), and “obnoxiously” high pitched synths that define the group’s unique sound are represented here. The kick is super impactful and intense, especially when combined with the bass and noise/distortion. The attention to detail on the drums make the otherwise simple beat pattern feel odd and interesting. In addition, the lyrical performance and meaning cannot be overlooked here. Daveed Diggs has a killer delivery of the rapping on this track, the way he enunciates and characterizes his voice is always awesome, the last bar of the chorus in particular always gets me. This group’s music always has a deep conceptual meaning, and this song is no exception. The lyrics satirize gang/street violence (which is kind of a theme for the album as a whole) in an almost absurdly lighthearted manner. The goofy sounding melody and bassline complement this thematically. The elements of the track sum up together to tell a uniquely crafted story.
BTS: A Hip-Hop/Musical Analysis and General Musical Critique on the Korean Pop Music Scene
I’m a on-air radio personality on a radio station in California, and I felt that this is something I wanted to say and write about.
I think BTS is a totally different entity from some of the music that mainstream Korea is putting out and this is my analysis on the topic. I have been thinking about this for a while and I really wanted to get my opinion out there. If you’re interested in a long read on the analysis of Western music’s influence on Eastern pop, then please enjoy my opinionated piece.
At the age of 10, West moved with his mother to Nanjing, China, where she was teaching at Nanjing University as part of an exchange program. According to his mother, West was the only foreigner in his class, but settled in well and quickly picked up the language, although he has since forgotten most of it. When asked about his grades in high school, West replied, “I got A’s and B’s. And I’m not even frontin’.”
West demonstrated an affinity for the arts at an early age; he began writing poetry when he was five years old. His mother recalled that she first took notice of West’s passion for drawing and music when he was in the third grade. Growing up in Chicago, West became deeply involved in its hip hop scene. He started rapping in the third grade and began making musical compositions in the seventh grade, eventually selling them to other artists. At age thirteen, West wrote a rap song called “Green Eggs and Ham” and began to persuade his mother to pay $25 an hour for time in a recording studio. It was a small, crude basement studio where a microphone hung from the ceiling by a wire clothes hanger. Although this wasn’t what West’s mother wanted, she nonetheless supported him. West crossed paths with producer/DJ No I.D., with whom he quickly formed a close friendship. No I.D. soon became West’s mentor, and it was from him that West learned how to sample and program beats after he received his first sampler at age 15.”
After graduating from high school, West received a scholarship to attend Chicago’s American Academy of Art in 1997 and began taking painting classes, but shortly after transferred to Chicago State University to study English. He soon realized that his busy class schedule was detrimental to his musical work, and at 20 he dropped out of college to pursue his musical dreams. This action greatly displeased his mother, who was also a professor at the university. She later commented, “It was drummed into my head that college is the ticket to a good life… but some career goals don’t require college. For Kanye to make an album called College Dropout it was more about having the guts to embrace who you are, rather than following the path society has carved out for you.”
West’s musical career has been defined by frequent stylistic shifts and different musical approaches. Asked about his early musical inspirations, he named artists such as A Tribe Called Quest, Stevie Wonder, Michael Jackson, George Michael, LL Cool J, Phil Collins and Madonna.Other music figures West has invoked as inspirations include Puff Daddy, David Bowie,Miles Davis and Gil-Scott Heron.West was formatively mentored by Chicago producer No I.D., who introduced him to hip hop production in the early 1990s, allowing a teenage West to sit in on recording sessions.Early in his career, West pioneered a style of production dubbed “chipmunk soul” which utilized pitched-up vocal samples, usually from soul and R&B songs, along with his own drums and instrumentation.His first major release featuring his trademark soulful vocal sampling style was “This Can’t Be Life”, a track from Jay-Z’s The Dynasty: Roc La Familia. West has noted Wu-Tang Clan producer RZA as an influence on his style.
West further developed his style on his 2004 debut album, The College Dropout. After a rough version was leaked, West meticulously refined the production, adding string arrangements, gospel choirs, and improved drum programming. The album saw West diverge from the then-dominant gangster persona in hip hop in favor of more diverse, topical lyrical subjectsincluding higher education, materialism, self-consciousness, minimum-wage labor, institutional prejudice, family, sexuality, and his personal struggles in the music industry.For his second album, Late Registration (2005), he collaborated with film score composer Jon Brion and drew influence from non-rap influences such as English trip hop group Portishead. Blending West’s primary soulful hip hop production with Brion’s elaborate chamber pop orchestration, the album experimentally incorporated a wide array of different genres and prominent orchestral elements, including string arrangements, piano chords, brass flecks, and horn riffs,amid a myriad of foreign and vintage instrumentsCritic Robert Christgau wrote that “there’s never been hip-hop so complex and subtle musically.” With his third album, Graduation (2007), West moved away from the soulful sound of his previous releases and towards a more atmospheric, rock-tinged, electronic-influenced style,drawing on European Britpop and Euro-disco, American alternative and indie-rock, and his native Chicago house.West retracted much of the live instrumentation that characterized his previous album and replaced it with distorted, gothic synthesizers, rave stabs, house beats, electro-disco rhythms, and a wide array of modulated electronic noises and digital audio-effects. In addition, West drew musical inspiration from arena rock bands such as The Rolling Stones, U2, and Led Zeppelin. In comparison to previous albums, Graduation is more introspective, exploring West’s own fame and personal issues.”
Why I hate the term ‘AAVE’ (as a black person) and why you can’t appropriate it.
For those of you who don’t know, AAVE stands for African American Vernacular English. This is the ‘proper’ term for words that were “invented” by African Americans. These are slang terms like bae and shit.
The reason I hate the term is because the name basically says this is black people language. when it isn’t. It is a subculture’s slang. Fam and dumb___ are hip hop’s version of dude and gnarly. They are words that are popular in that subculture.
To say that hip hop slang is essentially black people words, that’s hella racist. Black people are not monolith; we don;t all participate in the same subcultures and hip hop is not inherently black. This is such a regressive term, basically saying it’s okay to call rap and stuff “black people music” and the slang words from it “black people language”.
One can’t appropriate something that isn’t a part of an actual ethnicity’s culture. Saying you can’t appropriate AAVE is just as bad as saying that you have to be a “real goth” to shop at Hot Topic (some craziness I’ve actually seen with my own two human eyes). These are words that belong to a music based subculture that is mainstream right now. These words are in no way sacred to black people, and I worry about you if you do hold them that close. If and likely when hip hop/rap/trap music goes out of style, this won’t even BE an argument.
Appropriation is the action of taking something for one’s own use. Cultural Appropriation is adopting elements of one culture into a different culture. Unless you are somehow twisting the original meaning, you aren’t appropriating. And this only counts if it’s actually part of a culture. If you wear a war bonnet as a fashion statement you are appropriating because that has actual cultural meaning that you are taking away from. If you were to take a traditional tea ceremony from Japan and made it into some drinking game with your friends you are appropriating because this has actual cultural meaning. If you call your friend or significant other bae or say you are going to turn up, you are not appropriating anything. Not only do these terms not belong to any actual culture, but you are using them correctly! Drop all the hollas you want, white fam. It’s not a problem in the least.
I’ve made some recent adjustments to the Beat Warrior poster illustration. Most of the adjustments have to do with lighting and cleaning up lines. I also changed up the logo as well because I felt it was due for a revamp. I feel the new logo is more simple and legible than the previous one, which will do the story wonders in the long run.
is a comic I’m developing that features a superhero team of Hip-Hop heads called the Beat Crew, who have access to the Power of Rhythm, mighty attributes that can be activated through the elements of Hip-Hop
Breaking, Graffiti Writing, Rapping, and DJing. A brief rundown of the characters from top-left, clockwise, to center:
Blueskies is a b-boy from Houston, Texas. His Rhythm boosts his acrobatic abilities, stamina, speed, strength, senses, and reflexes. While his goofy and comic personality leads opponents to underestimate him, his Rhythm is deceptively formidable. Blueskies has proven to be too fast and slick for many a foe.
Sixstep is a graffiti artist from Detroit, Michigan. His Rhythm allows him to summon familiars through his art, whether it’s on the walls or in his black book. His stoic personality hides a life of hardship, and he’s distant to the rest of his crew. With his home-made Graffiti Grips, he can slide in the air by shooting aerosol works from his hands!
Cypher-Z is a cyborg DJ based in New York City. His electric jams amplify, alter, and augment the powers of those around him. Being a top-of-the-line android, Cypher-Z is boisterous and his confidence is unwavering. His ego is backed by his encyclopedic knowledge and large stature. In fights, his entire body turns into a sound system, which combined with his Rhythm gives him the juice he needs to fire powerful bursts of energy. His hands can also turn into record needles, allowing him to play vinyl disks as if they were musical instruments.
KAIJU is an emcee from Compton, California. With her sick rhymes she spits supernaturally hot fire! Her Rhythm also allows her to take on fire based transformations. Being an award-winning and financially successful musical artist she is full of herself, and with her powers few are willing to challenge her. With her wealth, KAIJU funds many of the adventures by the Beat Crew.
Beat Warrior is the Master of Rhyme and Rhythm, tasked to preserve the flow of the universe against the forces of entropy. Her title is passed on from generation to generation, sometimes passed from teacher to student, other times taken through battle. Her knowledge and powers be used for good or evil, and the Beat Warrior protects her title with absolute discipline. She formed the Beat Crew to find a worthy successor.
More details about the comic will be released as it is further developed. I plan on publishing the first chapter in August!
The Get Down needs your help. It needs stronger viewing numbers. And you can help! (If you want to. Which, um, you should, it’s a really good show and very much worth checking out.)
For the Hamilton fandom, this should be a very, very, VERY easy migration. Both The Get Down and Hamilton share common story elements, themes, and core values. Both The Get Down and Hamilton are the stories of a young man orphaned in traumatic circumstances who is struggling to make a name for himself based on his skills as a wordsmith during a tumultuous and violent time in American history, told via rap and hip hop music. The fandoms even share a common actor: Daveed Diggs.
“Some time before Christmas 1987, a record appeared on Warner Bros.’ release schedule called “Something” by “Somebody,” This “Somebody” was Prince and the album was to be slipped into the shops with no artist details or promotion, it’s mission to flood the dance floors with the most relentlessly funky dance music Prince had ever recorded. the album had no title to speak of, but with a plain black sleeve and only the catalog number in peach on the spine, it became known as The Black Album.
The Black Album was motivated by a strong need to prove that Prince was still daring and at the forefront of pop music. Despite the fact that Sign O’ The Times contained some of Prince’s “blackest” music in years, accusations that he was turning his back on his black roots and losing his funk abilities had struck a nerve in him. “So the Black Album was put together to show people, “Yeah, I can do that kind of music if I want to,” said Levi Seacer Jr. “It wasn’t something he believed in because it was too easy.” observed Cat. “Prince doesn’t like simplicity. People say, “How come he doesn’t do that kind of music? It’s because it’s too simple. He did it because a lot of people said he was losing it.”
With the emergence of hip hop and rap as a new strong force in black music, Prince was for the first time in his career seen as somewhat old-fashioned and conservative, losing much of his street-level credibility in the process. This offended him even more than being accused of selling out the black elements of his music, so he set out to assemble a cutting edge dance record, with little or no concern for mainstream appeal.
In his liner notes for the Lovesexy tour programme, Prince explained the genesis of the album and why he pulled it by adopting the alter ego of Camille. He implies that Camille conceived of the album as a spiteful rejoinder to critics who claimed he had lost his funky edge: “Camille set out to silence his critics, ‘No longer daring - his enemies laughed.’ ‘No longer glam, his funk is half assed… one leg is shorter than the other one is weak. his strokes are tepid, his colors are meek.”‘ Prince realized that the Black Album was a work of hate and he felt he was wrong in recording it. He believed that “Spooky Electric” convinced him to create this thing of “evil.”“ Uptown Magazine, Issue. 17
So effie, what are hoping for in the next comeback? What would you like to see? I of course just want the boys to do whatever they want, but if I had to pick I wish they would go back to hip hop a little bit (more rap lines on songs) but instead of doing the style of hip hop they debuted with that they would kinda if infuse it their more "artsy" side, experiment with it a bit. I feel like bangtan still has so many interesting pieces that haven't fully come together. What about you?
actually I think you took the words out of my mouth !! that’s rly all I want.. a lil more of that hip hop element that they had before
@alycha@postmarxistwitch I hope you don’t mind if I add a few points to the discussion. Culturally speaking there are several elements Turks and other “foreign” people in Germany did borrow from Black-American culture (e.g. rap music as a political/social commentary) but I think it would be wrong to label it as cultural appropriation or antiblackness bc the context in which Turks use these forms of self expression is significantly different from the way White people try to engage in Black-American culture. German hip hop by Turks (esp if it’s Kanak Sprak) was a form of resistance and not an attempt by privileged folks to use culture as a fashionable item. Doesn’t mean Turks can’t be antiblack tho but like you can’t compare all of that to the stuff White folks do.