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She Murked It: Why Women Come Harder Than Men On Rap Features

Women have proven time and time again that they’re not only built for this hip-hop sh*t, they’ll body those who gave them a chance to show their skills on their own turf.

Trina and Trick Daddy engaged in a heated back-and-forth during the Love & Hip Hop: Miami reunion, which sparked an observation within the industry. In the now-viral clip, the Florida rappers debated which one of them had the stronger, more prolific career and catalogue, which prompted the Diamond Princess to make a personal declaration regarding their professional relationship.

“My verse is harder and that’s why you mad,” she exclaimed of her sharp verse in Trick’s 1998 hit, “Nann N***a.” “I did the record for you and I killed you on the verse… I did your record and I murked you.” After her blistering feature, Trina went on to have a bountiful rap career of her own with LPs such Diamond Princess and Still da Baddest, and she’s inspired rappers in recent years, such as fellow Floridians, City Girls. On tracks like “Look Back At Me” with Killer Mike and “B R Right” by Ludacris, Trina continued to display a mastery of the craft over her male peers.

Suffice it to say, many don’t think that her recent statement is a reach—talent doesn’t discriminate, and many female rappers possess the ability to completely smash their features on popular, male-led tracks. From Philly native Ice Cream Tee spilling that tea on DJ Jazzy Jeff and the Fresh Prince’s 1987 song “Guys Ain’t Nothing But Trouble,” to Cardi B’s sizzling and sexy verse on Pardison Fontaine’s “Backin’ It Up” in 2018, women have proven time and time again that they’re not only built for this hip-hop sh*t, they’ll body those who gave them a chance to show their skills on their own turf.

Women don’t always have the platform to showcase their rap gifts as easily as they could as far as major label signings or promo goes, so why not crush it on a song by someone with the platform? Strong features prove a mastery of a craft that female rappers allegedly aren’t supposed to have. The right verse displays an MC’s style, wordplay, flow and skills with the pen, and since the birth of a now-international genre, ladies have shown they can be all that and a bag of chips.

Attempting to thrive in a male-dominated field poses challenges, including ego-tripping and combatting ghostwriting claims. Despite this, our lyrical virtuosos continue to put in the work to prove their worth on wax. Fire features often result in fruitful careers of their own outside of a male co-sign.

Since the beginning of hip-hop, ladies have been an integral force in helping to cultivate the art form. Zulu Queen Lisa Lee was the first and only female member of Afrika Bambaataa’s Soulsonic Force, who brought a flair all her own during the group’s inception in the ‘80s. Her feminine swag was felt and highly appreciated on a number of Zulu Nation Live tracks. Sharon Green, a.k.a MC Sha Rock, was also the lone female member of the Bronx hip-hop group Funky 4+1, the first rap collective to appear on national television. They were signed to Sugar Hill Records and released the singles “That’s The Joint” and “Rappin & Rocking The House.”

Instead of excluding an entire group of people who were influenced by the then-burgeoning genre, male-heavy groups brought women along for the ride, showcasing that  hip-hop was not only infectious, but inclusive. The women in these groups were treated as equals and were given the space to show their stuff. In retrospect, this could have even been a way that cosigning women in rap began. However, as time passed, the embracive aspect of the genre slowly drifted away as crews died down and an emphasis on solo-success began to take way.

While artists such as Roxane Shante, MC Lyte, Queen Latifah and Salt-N-Pepa showed that multiple women could thrive at once during the ‘80s and ‘90s, it became increasingly difficult in the late-2000s when it came to distinguishing which female rapper could get shine. This later led to the belief that the game only had room for one mainstream femcee at a time. In a 2018 interview, Detroit rapper Dreezy noted the double standard between male and female MCs.

“I always feel like I’m getting compared to other females,” she said. “It’s kind of stupid because they don’t do that to the male counterparts. They all coexist, you feel me?... when it comes to females, it’s like the pit of death, like crabs in a barrel. We gotta fight for the top type of stuff.”

This “fight” for supremacy was evident between Lil Kim and Foxy Brown, who started off cordial, but egos reportedly caused a rift in the MCs’ relationship. If there are fewer female rappers gaining visibility in the mainstream, it may appear that there’s only so much space to provide attention to multiple women in hip-hop. However, this is where co-signing and featuring less-visible femcees is important.

Jane Doe’s explosive, multisyllabic rhyme scheme on Black Star’s “Twice Inna Lifetime” and Jean Grae’s humble-yet-hungry verse on Talib Kweli’s “New York Sh*t” were some of the early-aughts’ standout collabos. Both provided impactful glimpses of the heightened vocabulary, intelligent wordplay and confident sense of self both rappers brought to the industry. While these rappers aren’t necessarily household names to mainstream ears, these and many other popular features by female rappers exhibited their skills and left memorable impressions on hip-hop lovers.

The multiple facets that women possess also allows them to bring verbal fortitude while still keeping a feminine edge. This keeps listeners on their toes and curious as to what sort of vibe they’ll bring to the table if they’re featured on a song. Rapsody appeared on Kendrick Lamar’s 2015 track “Complexion (A Zulu Love),” where she supplied listeners with thought-provoking bars about the effects of colorism. Kash Doll’s sultry verse on Big Sean’s 2017 song “So Good” finds her talking her sh*t about what she can do with her man. Through her memorable lines, she was able to display that she could keep it ‘hood while also bringing the sex appeal necessary for the song.

There’s also the issue of dealing with male egos, which—as evident by the ferocity of their features—female rappers give nary a f**k about. No matter how much the genre has grown, there’s still that internal belief that hip-hop is a man’s game, and anything that may alter that archaic thought process is somehow a threat. While it shouldn’t be surprising that women rap well, it somehow still stuns people that they can spit so severely.

Take Nicki Minaj’s iconic verse on Kanye West’s “Monster.” During her Genius: Lyrical Queen event in August 2018, Minaj said that she wanted to “impress” West with her lyricism, which influenced her animated, character-driven rhymes. She also recalled that Yeezy contacted her and said people are going to think it’s the best verse on the album, and that he was “taking a chance” on her.

According to an interview with Sway Calloway in 2013, West revealed he almost didn’t put her jaw-dropping bars on the song because she blew everyone out of the water. “If I let my ego get the best of me instead of letting that girl get the shot to get that platform to be all she could be, I would take it off or marginalize her, try to stop her from having that shining moment,” he admitted.

Male MCs may have reservations when it comes to ladies doing their thing because it poses the threat of being upstaged. However, seeing them opening up and letting women flourish in the game that they’re just as much a part of allows for the genre’s initial inclusivity to come full-circle. Gender shouldn’t matter, and everyone should have a seat at the table if they deserve it. As women continue to take a stand, show their worth, and inspire the younger set of women rappers, the gatekeepers of the game have taken notice.

The belief that female rappers aren’t taken as seriously as their male counterparts when it comes to their pen game may also create a greater fervor to go hard on a feature. While it’s public knowledge that some hip-hop heavyweights have helped out with writing for female rappers, there are many women who have been open about their struggles with proving their skills.

“You know what's so crazy? N***as [say] Pap is writing for me,” an exasperated Remy Ma said in a 2017 interview regarding claims that her husband Papoose wrote her Internet-breaking Nicki Minaj-diss, “SHEther.” “Now, when n***as get "Shethered," now all of a sudden, he's writing my rhymes?” she continued. “I met Pap after "Lean Back," after "Conceited," after the "Ante Up (Remix)," after all my mixtapes. Who was writing my sh*t then?”

If you ask me, it’s a shame to think that if a female rapper murders a song or a feature, there’s the belief that she had some sort of help to come up with that fire. This isn’t to say that they haven’t had help in the past; Smooth Da Hustler reportedly assisted Foxy Brown with her rhymes on JAY-Z’s “Ain’t No N***a,” and Biggie helped Lil Kim with many of her most memorable verses. With keeping this in mind, if a self-written rhyme is too good, it’s somehow fraudulent. This way of thinking diminishes the power of the female rapper’s voice and pen, yet adversely, it allows them to continue to keep bringing heat to put the naysayers in their place.

Women have to work twice as hard and come three times as hard if they’re trying to make a statement or impact with their words in hip-hop (such is life). If female rappers are able to kill it like we know they can, a great feature has the ability to change their lives and bring more ears to their work.

Through their writing and rapping skills, women are able to provide a different insight into life in the game outside of a typical male perspective, which may also contribute to the fresh feeling listeners get when hearing a female rapper on some of their favorite tracks. The accolades that female rappers have received on these tracks and in their careers are the result of their talents, not from the fact that they could “keep up” with the boys club. While a feature helps with visibility, what keeps them relevant is the magic they make on their own.

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NFL Commissioner Roger Goodell and Jay Z at the Roc Nation and NFL Partnership Announcement at Roc Nation on August 14, 2019 in New York City.
Kevin Mazur

‘Inspire Change?’ NFL's Super Bowl PSAs Only Inspire More Skepticism

It’s been a few months into the NFL’s controversial “Inspire Change” initiative, a promotion by the league to highlight the Player’s Coalition and its work to address social issues. “Inspire Change” officially launched last year, (to “nurture and strengthen community through football and music,” said official statements) with the league’s partnership with Roc Nation expected to guide much of the outreach and voice.

"With its global reach, the National Football League has the platform and opportunity to inspire change across the country," Jay-Z said via press release back in August. "Roc Nation has shown that entertainment and enacting change are not mutually exclusive ideas -- instead, we unify them. This partnership is an opportunity to strengthen the fabric of communities across America."

The first “Inspire Change” ad featured the Botham Jean Foundation, and focused on the Jean family and their reaction to Botham’s 2018 death at the hands of Dallas police officer Amber Guyger. Jean’s murder, in which Guyger shot the 26-year-old as he sat in his apartment after saying she’d believed it was her own, drew international attention. The subsequent trial and conviction of Guyger drew derision and criticism after the former officer was sentenced to ten years (with parole eligibility in five) amidst hugs from the prosecuting judge and official statements from the family that focused on forgiveness.

“He just loved people and he was very particular about the company he kept. So I felt he was not in harm’s way,” his mother, Allison Jean, says during the video.

The NFL debuted the Jean ad online in late January to a mixed reception, and a new ad was shown during Super Bowl LIV. In the new ad, former 49ers wide receiver Anquan Boldin is heard speaking about what happened to his cousin, Corey Jones, on the night of October 18, 2015. That night, Jones was shot and killed in Florida by a plainclothes police officer as Jones was stuck on the side of the road with car trouble.

“I was still playing with the 49ers and my wife walks up after the game and told me that my cousin Corey had been killed. Corey broke down on the side of the road and a plain clothed police officer pulled up. Then this guy starts screaming. All you hear from there is three shots.”

Both ads focus on family and loss: the first clip features footage of Botham Jean’s brother hugging his convicted murderer in court as Jean’s mother and father talk about forgiveness. In the second ad, Jones’ father tearily asks “Why? Why’s my son gone today? Why?” The human toll of these crimes is front-and-center, but as far as the institutions that have created this reality for so many non-white people in America, they’re comparatively peripheral in these clips. The word “police” is never uttered, and while the tagline is “We’re all in this together,” there is nothing on screen to suggest racism is the common enemy. It’s cozy to posit that “we” are the solution, but what’s the point if I don’t have the fortitude to declare that you are the problem?

When Jay-Z’s partnership with the NFL was announced just before the start of the 2018-2019 NFL season, many saw it was a mogul putting business before social justice. After all, the league had kept Colin Kaepernick on the sidelines for three years, and Jay supposedly supported Kaep and his protest—so why get in bed with the league that had effectively blackballed the quarterback? There didn’t seem to be any benefit in Roc Nation partnering with the NFL—outside of the NFL being able to save some face after losing some fans because of the treatment of Kaepernick. Working with a mogul who, in recent years, has become a symbol of Woke™ Celebritydom, could go a long way towards softening the league’s image as one that defers to good ol’ boyism. The most skeptical saw the initiative as a chance for the NFL to score cool points while using Jay-Z’s brand to do it. And with these new ads, those cynics have been proven right.

The hope behind these ads is that they will inspire the more ambivalent or right-leaning members of the NFL’s viewing audience to take up the cause that the league itself effectively punished Colin Kaepernick for protesting. That side of the NFL’s audience has made it clear that it does not commiserate with Kaepernick or his cause, but these ads are supposed to be what sways them. These ads are supposed to start a conversation. Roc Nation also pressed NFL commissioner Roger Goodell to commit $100 million to social justice outreach, and Jay-Z has emphasized that he did not do this deal for anything other than a chance to use the platform to raise awareness on the issues.

It’s a stance that Jay has been voicing since that first announcement in August. “As long as real people are being hurt and marginalized and losing family members, then yes, I can take a couple rounds of negative press,” Jay said this week in an interview with The New York Times. He also said that he feels for what’s happened with Kaepernick (a workout this fall turned into a debacle for all parties involved), but he feels that what Roc Nation is doing is pushing things forward.

“No one is saying he hasn’t been done wrong. He was done wrong. I would understand if it was three months ago. But it was three years ago and someone needs to say, ‘What do we do now — because people are still dying?’

“We didn’t say, ‘Let’s go make some money off the N.F.L.’”

Nonetheless, the NFL’s “Inspire Change” campaign feels more like a big-budget facelift for a league that still struggles with who it is and who it wants to sell itself to; as opposed to a lucrative corporation finding its conscience. In 2016, famed director Spike Lee was hired as a “consultant” for the NYPD when the department wanted to create initiatives to “build trust with minority communities.” Roc Nation’s cosign amidst the “Inspire Change” campaign feels like a similar maneuver from the NFL. These ads stoke emotion without indictment, evoking the murders of Botham Jean and Corey Jones at the hands of police officers, but focusing on sentimentality and not how and where reformation is needed. Jay has become someone who wears his “activist celebrity” tag on his sleeve, but how do moguls truly benefit causes? From his role in Barclays Center and the gentrification that accompanied its opening, to his deal with Barneys--can he truly occupy both worlds? Jay-Z wants Roc Nation's work with the NFL to push people to act, for everyone to see themselves in these victims. But the NFL can’t soft soap this and expect anyone to take any of this seriously. You can’t truly “inspire change” with post-woke pandering—or by helping conglomerates save face.

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Shakira performs onstage during the Pepsi Super Bowl LIV Halftime Show at Hard Rock Stadium on February 02, 2020 in Miami, Florida.
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Shakira's Cultural Homages During The Super Bowl Halftime Show Deserve A Standing Ovation

Now that the glitter and fireworks have settled in Miami after Jennifer Lopez and Shakira's Super Bowl Halftime performances, the ladies are getting their just due props for incorporating Latinx, Arabic, and black/African culture into their sets.

Shakira's homages were the most prominent Sunday (Feb. 2) with many mocking her "tongue-wagging" which was a nod to her Lebanese roots. Known as zaghrouta, the act is one of celebration and joy often done to express gleeful emotions at weddings and graduations. The 43-year-old (Sunday was her birthday) was born and raised in Barranquilla, Colombia, by her Lebanese father and Spanish/Italian mother. The singer, whose name is Arabic for "grateful," has talked about her mixed heritage and how it played a big role in her music and performances (think her iconic Bellydancing or her punk-rock era).

“I am a fusion. That’s my persona. I'm a fusion between black and white, between pop and rock, between cultures — between my Lebanese father and my mother’s Spanish blood, the Colombian folklore and Arab dance I love and American music," she told Faze Magazine in the early aughts. "I was born and raised in Colombia, but I listened to bands like Led Zeppelin, the Cure, the Police, The Beatles, and Nirvana. I was so in love with that rock sound but at the same time because my father is of 100 percent Lebanese descent, I am devoted to Arabic tastes and sounds."

 Zaghrouta was heard loud and clear during her performance of the 1998 classic “Ojos Así," which is also one of the few songs in her catalog to feature Arabic on it. She also tapped Afro-Colombian dancer Liz Dany Campo Diaz to help incorporate champeta into her performance. A dance from her hometown, the moves are traced back to African ancestors. It also has a similar groove to South African pantsula dance routines which some may remember from Beyonce's "Run the World (Girls)" music video.

Btw this dance is called Champeta and it is originated in Shakira’s hometown of Branquilla Colombia! It’s respected for its footwork and it’s an important part of Colombian culture 💃🏼 pic.twitter.com/JtcLsl9sm9

— SHAKIRABOWL2020 (@Exmotions) February 3, 2020

The singer also danced to another Afro-Colombian routine called mapalé, importantly at the start of her performance. The moves (including the beautiful sea of Afro-Latinx dancers) was a sight to see at one of the most-watched shows all over the world.

The initial eyebrow raises of a Colombian pop singer at the Super Bowl Halftime Show made sense but the singer was thoughtful in the songs she picked (her 2008 World Cup hit "Waka Waka" (This Time For Africa)" is a remake of the 1986 song "Zamina Mina" by Cameroonian makossa group Zangaléwa) and even more mindful in her riffs (she repeated with passion the "no fighting" lyric during her performance of "Hips Don't Lie"). In all, Shakira's set will be one hell of a cultural study in years to come.

Jennifer Lopez also made subtle political statements during her performance. Her set was a pleasant blend of her Vegas and "It's My Party" tour sprinkled with some of her newfound pole skills from her performance in Hustlers. Swing Latino, a competitive world-champion salsa group from Colombia returned to the stage with the singer as they previously were special guests during her "Party" tour dates. It took her On The 6 single "Let's Get Loud" to new heights as the group brought together swing dancing, a very Americana dance, and salsa on the stage.

 

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A post shared by SwingLatino | official account (@swinglatino_cali) on Feb 2, 2020 at 7:56pm PST

A treat for pop culture fanatics, J. Lo's five outfits were customed made by Versace which we can give a smirk to. There's also the undeniable presence of Parris Goebel, who choreographed Lopez's entire Super Bowl performance. The two met back in 2012 when Goebel worked on her world tour and the American Idol season 11 finale where Lopez sang her 2012 hit, "Dance Again."

But it was the presence of her daughter Emme Maribel Muñoz singing with her that captured the audience. What many did miss was how the 11-year-old along with other children, appeared in silver cages, pointing towards the immigration and family separation policies the country has enforced at the southern border. "Let's Get Loud" then collided with a cover of "Born In The USA" with Lopez touting a feathered American flag with the Puerto Rican flag on the other side.

 

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Emme Daddy is so proud of you. You are my ❤ and I am forever yours.

A post shared by Marc Anthony (@marcanthony) on Feb 2, 2020 at 6:19pm PST

You can't please everyone, but their performances were one of precision. The two living legends who don't need validation from anyone were in control and commanded the attention of everyone, including those who make it difficult for Latinx families to live their version of the American dream. We like to imagine that the two singers also learned from each other, especially J. Lo since some cultural stances go over her head. "Let’s show the world what two little Latin girls can do," Lopez said on Instagram before their takeover. And that's exactly what they did.

Rewatch their performances below.

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Terry Crews speaks onstage during Steven Tyler's Third Annual GRAMMY Awards Viewing Party to benefit Janie’s Fund presented by Live Nation at Raleigh Studios on January 26, 2020 in Los Angeles, California.
Anna Webber/Getty Images for Janie's Fund

Terry Crews, 'America's Got Talent' And The Conditional Solidarity Of Celebrity

Terry Crews is doing quite a spectacular job of torching any goodwill the public had toward him. The actor moved from tertiary to central figure in the ongoing controversy surrounding NBC’s popular talent show America’s Got Talent and its November firing of former co-host Gabrielle Union.

Union has stated that there was a toxic environment on set, citing the behavior of producer Simon Cowell, and an incident involving a racist joke she says was made by guest host Jay Leno and other instances where she felt AGT and NBC had not addressed racist or sexist behavior and policies on the show.

Terry Crews offered mild support for Union upon her initial firing but has drawn the ire of fans this week after he offered a less empathetic take about the situation during an interview with the Today show.

“First of all, I can’t speak for sexism because I’m not a woman, but I can speak on behalf of any racism comments. That was never my experience on America’s Got Talent,” the AGT host said. “In fact, it was the most diverse place I have ever been in my 20 years of entertainment.”

When asked if he’d spoken to Union, Crews offered, “I have reached out, but I have not heard anything.”

The online reaction was critical, with fans and pundits pointing out that Union had been one of Crews’ most vocal supporters in 2017 when the actor revealed and then testified that he’d been a victim of sexual assault by a Hollywood studio executive. With the flurry of criticism, Crews scoffed at his detractors, tweeting that there’s only one woman in his life who he works to please—his wife.

“There is only one woman on earth I have to please. Her name is Rebecca,” the 52-year-old tweeted. “Not my mother, my sister, my daughters or co-workers. I will let their husbands/ boyfriends/ partners take care of them. Rebecca gives me WINGS.”

Crews’ statements—and his nonsensical Twitter reaction to his critics—were disappointing for anyone who’d hoped Union wouldn’t be left out to dry in her fight against a very powerful corporate entity. When there was an opportunity to support a person who’d been vocal in her support of him, Crews chose to lean on his own experiences in a way that would obviously pave the way for America’s Got Talent to cast hers into dispersion. This entire debacle has been reminiscent of other high-profile instances where Black celebs offered criticism in the wake of solidarity—either focused on the comforts of celebrity or preoccupied with the trajectory of their careers.

Mo’Nique famously engaged in a feud with streaming service Netflix, after she felt the giant lowballed her in regards to a proposed stand-up special. The star had been branded “difficult” for years and she’d felt blackballed by Hollywood notables like Oprah Winfrey and Lee Daniels, whom she worked with in 2009's Precious. It was her performance in that film that landed her an Academy Award for Best Supporting Actress in 2010.

When Mo’Nique appeared on Steve to discuss her proposed boycott of Netflix and the blackballing, her longtime friend Harvey chastised the Oscar-winner. “We’re fighting two wars here,” Harvey said. “There’s two wars, it’s what your issue is and is what the perception of the issue is.”

Mo’Nique’s stance was that she was fighting for equality—for women and for Black comics—in her battle with Netflix. In regards to her stance on Winfrey and Daniels, she was fighting to be paid for extensive travel and promotion. To her, this was a fight for the right to say “no” in Hollywood.

“Now, I said ‘no’ to some very powerful people...the difficulty came in when people that looked like me, like Oprah, Tyler [Perry], Lee Daniels—and I got to put my brother Steve on the list. Y’all knew that I was not wrong. Each one of you said to me, ‘Mo’Nique, you’re not wrong.’ And when I heard you go on the air and say, ‘My sister burned too many bridges, and it’s nothing I can do for her now,’ Steve, do you know how hurt I was?”

“I would have appreciated it, had my brother called me up and said, ‘let’s talk,’” she also said.

But Harvey was adamant that Mo’Nique’s wounds were self-inflicted, dismissing any notion of solidarity for what she was fighting for. Instead, he scolded her.

“This problem that you had at Netflix are rich people problems,” Harvey told her. “Because they’re looking at us saying, ‘you’re talking about millions, well, you got this, so you oughta be cool.'”

“I felt you had done yourself a disservice by the way you chose to go about it. When you tell the truth, you have to deal with the repercussions of the truth. We black out here. We can’t come out here and do it any kind of way we want to.”

“Black people can’t do that” was always poor logic for not standing up for oneself, and Harvey’s take on Mo’Nique may have been more egregiously condescending than Crews and Union but it also reveals how “my career” can trump “you were right” when it’s time to show solidarity. It’s also important to understand that you can’t only see “the problem” via your own “experiences”—what you’ve experienced isn’t the sum total of what goes on. And waiting until the wackness affects you will have you dismissing the oppression of those who may not be in your position.

Five years ago, rapper A$AP Rocky was at the center of a firestorm after he dismissed the idea of rapping about the 2014 killing of 17-year-old Mike Brown in Ferguson, Md., at the hands of police officer Darren Wilson. The incident sparked weeks of unrest, as citizens gathered to protest police violence against Black communities, with artists like J. Cole and Talib Kweli offering support.

“Why would I feel compelled to rap about Ferguson?” Rocky said at the time during an interview with TimeOut New York. “I’m not about to say that I was down there throwing rocks at motherfuckers, getting pepper-sprayed. I’d be lying…I live in fucking Soho and Beverly Hills. I can’t relate.”

When Rocky found himself imprisoned in Sweden in 2019 for assault, the rapper’s old interview came back to haunt him. Many of his peers called for his release and railed against what they felt was a racist overreaction as Rocky faced up to six years in prison for what was essentially a fight. As his supporters pleaded his case, many online called back to Rocky’s dismissiveness when he was asked to offer support for the protests in Ferguson.

In an early January sitdown with Kerwin Frost, Rocky offered an explanation for his words in 2015. “In those old interviews, I used to say ‘I think it’s inappropriate for me to rap about things I didn’t help with… I felt like when it came to Ferguson, J. Cole went down there and he actually was on the news and he helped. I felt like he deserved to rap about it. So when someone [asked] me that in 2015 I’m like: ‘I just feel, personally, if I’m in SoHo or I’m here I can’t even talk on that’… That’s appropriating.

“It’s not sincere. It’s pretentious.”

Black voices can often be scorned when they’re facing off against powerful gatekeepers; that those in positions to amplify those voices can so often decide to take the more “practical” route of undermining or outright dismissing those voices in the most public forums is just evidence of how much the upward mobility of the individual can blind them to the bigger picture. When Rocky had to deal with what it meant to face law enforcement while young and Black, when Terry Crews had to stare down a powerful Hollywood entity who’d wronged him—they fully understood what oppression can feel like. When Steve Harvey finger-wagged Mo’Nique on a high-profile platform, he did so acknowledging the sliding scale that Black people face. Supporting each other when “that’s not my experience” means not undermining the fight against powers-that-be. Because being able to retreat “my experiences” is the greatest privilege. Hopefully, someone will remind Terry Crews.

Editor's Note: Terry Crews has tweeted an apology to Gabrielle Union saying, "I want you to know it was never my intention to invalidate your experience— but that is what I did. I apologize."

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