Billboard magazine reports the 8th most popular song this week is from the 19-year-old Florida rapper calling himself Kodak Black. It's called "Tunnel Vision." The video includes the rapper standing in front of burning crosses and a scene of a Trump supporter wearing a Confederate-flag vest and a red hat that reads "MAKE AMERICA HATE AGAIN." He aims to shoot an unarmed black man (for sport?), but the gun jams. Subtlety is not a virtue to this "artist."
Further ramping up his open opposition to President Trump's immigration law enforcement policies, Univision anchor Jorge Ramos has let loose with an outrageous tirade that could best be described as equal parts nationalistic identity politics, racially-driven demagoguery, and yet another instance of the irresponsible conflation of legal and illegal immigration.
Having handed over its already pretentious arts pages wholly to ethnic and gender-based virtue signaling, the New York Times certainly wasn’t going to let the racially charged Grammys pass without commentary. Jon Caramanica celebrated an onstage rappers' revolt while slamming Adele for beating Beyonce for album of the year, in “Dealing With #GrammysSoWhite," and Joe Coscarelli fanned the Grammy flames on the same page with a conspiracy theory, “Was Beyonce Robbed of Best Album?”
The 59th Annual Grammy Awards was hosted live by James Corden at the Staples Center in Los Angeles Sunday night on CBS. A Tribe called Quest led the predictable, tiresome left-wing takes, while singer Joy Villa went the surprising route at the Staples Center in Los Angeles Sunday night on CBS.
There’s cross-ideological agreement that Tom Morello (currently of Prophets of Rage, formerly of Rage Against the Machine and Audioslave) is a superb guitarist. It’s a different story when it comes to his political acumen, which some would say is about as impressive as the singing talent of Florence Foster Jenkins. Morello, a staunch leftist who’s given to comments such as “words like ‘socialism’ and ‘Marxism’ have been so demonized that it's difficult to have intelligent discussion about what they mean,” was at it again in a Saturday Instagram post concerning the death of Fidel Castro, writing that “by defying Yankee imperialism for 50 years, instituting the best healthcare, child immunization and literacy systems in the Western Hemisphere (surpassing the US and Canada), exporting doctors to countries in need all over the globe…and being an unrepentant advocate of the poor and exploited it is no surprise that millions will mourn [Castro's] passing.”
The leftward lunge of the New York Times arts pages as the election looms continues apace. In Sunday’s Arts & Leisure, Brett Anderson hailed the new aggressively “progressive” strain in Southern rock while dismissing conservative bands and listeners in “Southern Bands, Progressive and Proud": "Citing as an example the Dixie Chicks’ 2003 criticism of President George W. Bush, and the CD-burning and widespread radio bans that followed, Mr. Gaillard said it still takes 'a certain amount of bravery' for Southern musicians to speak their liberal minds. Mainstream country’s conservative fans can still operate like unofficial censors."
DJ Khaled hosted the BET Hip Hop Awards, which were recorded September 17, 2016, and aired on that network Tuesday night. He remarked the show would be about “real lyricists, talking about real issues.” As you might guess, the real issues were all about the election and Black Lives Matter narrative.
Think old media are biased? New media is vying to be worse. Spotify, the streaming music service with 100 million active users, is rolling out an election issues video series targeting millennials through a partnership with Mic. And from the start it is leaning left. The Clarify video series will address a number of subjects like student debt, gun control, the economy and civil rights, according to Billboard.com.
President Obama, demi-god of cool. The New York Times Gardiner Harris hailed Obama’s musical taste in his Monday “White House Letter,” “The President’s Revealing Disclosure, in Rhythm and Prose.” Yep, it’s more of that tough Times coverage of the president, as Harris got way too excited over the president's “Musical taste that includes surf rock, soul and the blues.” But when it came to documenting Obama’s cultural signifiers that appeal to the liberal elite, Harris was only following in the fawning footsteps of his colleagues.
The Hillary Clinton propaganda machine has been hard at work leading up to her presumptive presidential nomination. Entertainment media have been littered with a multitude of TV shows, movies, children’s books, and even songs inspired by the Democratic candidate.
Did you realize Elton John’s “Tiny Dancer” could be “weaponized” to instigate violence and that Billy Joel’s “Uptown Girl” was “authoritarian hold music” similar to Adolf Hitler? If not, then you just aren’t listening, man. Washington Post music critic Chris Richards made the front page of the Style section with “And the Bland Played On.” The original online headline to the post was kookier: “Authoritarian hold music: How Donald Trump’s banal playlist cultivates danger at his rallies.” The essay reads more like an obscure blog post gone awry than somethhing worth of prominent play in a national newspaper:
Washington City Paper reports with cheerleading that the pop-punk band PWR BTTM (don’t google power bottom) is using its “unmistakable charisma and candor” (captured in part by NPR promotion) to impose on concert venues a “gender-neutral” restroom policy.
Last month, the ABC/Univision-owned website Fusion celebrated the emphasis on "trans-friendly" bathrooms.