Browsing Tag


23 posts

‘First Asian Woman in Hip-Hop’ Who Managed Wu-Tang Clan Members to Release Memoir

Sophia Chang

Korean-Canadian talent manager, Sophia Chang, has announced the release of her audiobook memoir titled “The Baddest Bitch in the Room.”

The audiobook memoir, which is being narrated by Chang herself, will give details to her rise as “the first Asian woman in hip-hop” and pay homage to the people she had the privilege to work with over the years, according to HypeBeast.

China’s Heartthrobs Get Their Ears Pixelated on TV Because of ‘Earring Ban’

Some Chinese male stars on local television programs ended up getting their ears pixelated after government censors enforced a ban on “men wearing earrings on TV.”

The “earring ban” imposed on China’s male heartthrobs are said to be part of a prohibition on melodic hip hop, tattoos, dyed hair and acting in a “sissy” way on TV by the government to keep “alternative cultures” from gaining influence in the country.

Dear Asians: Leave the N-Word Alone

Certain things shouldn’t have to be explained. When our friends ask us to respect their boundaries, to avoid doing things that play with scars they’ve built over time, we tend to oblige them. But despite members of the Black community in America constantly expressing discomfort and disdain for non-Black people using the controversial word, non-Black people still seem to insist.

Maybe it’s because there are also members of the Black community who seem to take no issue with it. Maybe it’s because these non-Black people don’t seem to know any members of the Black community. Or maybe it’s because people haven’t read works like this Twitter thread:

Meet Flowsik, The Korean American Rapper From Queens Who Adopted Hip Hop Culture to Survive


There’s a popular clip on YouTube from Korea’s rap reality show, “Show Me The Money”, showcasing the Team Battle Mission segment in which contestants duke it out in a scripted rap battle on stage. The two contestants are Donutman, a more-or-less obscure Korean rapper who has received some controversy for his pro-marijuana stances, and a rapper named Flowsik from Queens, New York.

Flowsik sets the battle off by spitting rapid flows over the instrumental to Desiigner’s “Panda,” one of the year’s top tracks. He’s composed and malevolent; he throws Korean won on the stage and sizes up Donutman’s team members, telling him he’ll “chop him up like Lee Yeon-bok” in his signature gruff, husky vocal tone. Donutman fails to impress with a shorter, messier team-oriented rap over The Throne’s “Otis,” in which he takes shots at Flowsik’s age. At the end of the video, contestants and judges agree that “Flowsik did better.” Their assessment was rather measured.

Korea’s Keith Ape Keeps Making Bangers, But Can He Finally Crossover in America?

Keith Ape

Keith Ape wears his American influences about as boldly as any Asian artist; born Dongheon Lee, he lifted the name “Keith” from legendary graphic designer Keith Haring.

The 24-year old has spent some years in Los Angeles after the success of his 2015 single, “It G Ma,” a viral trap hit which drew many comparisons– some unappreciative— to OG Maco’s “U Guessed It.” “Back then, I was personally just not ready,” Keith told Vogue for a September piece. “I think to blow up so suddenly, I wasn’t prepared for all the attention.”

9 Epic Tracks to Get You Into Nujabes, The Legendary Japanese DJ for Those Chill-Hop Vibes

There’s no specific reason to celebrate Nujabes today — no anniversaries or commemorative dates — but that won’t stop us from doing it anyway.

The Japanese producer, whose style delved into hip hop, jazz, and breakbeat, among other genres, created music that was unprecedented in its beautifully nostalgic sound. Upon his death at the age of 36 in 2010, caused by a traffic collision, he had become one of Japan’s most influential in the genre. Nujabes had created the soundtrack for critically-acclaimed anime Samurai Champloo, among other notable accomplishments.

Kris Wu is Legit, But This Ariana Grande ‘Drama’ Never Was

Certain stories write themselves too easily. When Kris Wu took up six of the top seven spots on iTunes’ U.S. charts after releasing his debut solo studio album, leaving Ariana Grande’s viral single “Thank U, Next” at fourth, accusations of foul play ran amok on Twitter. Wu quickly dropped from iTunes rankings afterwards. Grande herself ended up liking a tweet which insinuated Wu’s U.S. chart success was the result of bots.

What if I told you the Chinese-American War began not from Trump-fueled trade disputes or the governance of Taiwan, but rather from Kris Wu’s “Antares” album? In a period of high blood pressure and immense, often understandable sensitivity, the mere appearance of a beef, a semblance of disrespect towards one of China’s biggest stars from one of America’s biggest stars, was enough to conjure tweets like these: