TNW 2025 Recap: An Honest Critique of “The Culture”

As with anything, depending on who you ask, the sentiments for 2025 vary. For some, this was an epic year; for others, a year of valuable lessons, filled with highs and lows; and some say it was not good at all. I, for one, started the year off with toxic family quarrels stripping me of my moment to grieve the passing of my dear aunt and godmother, which ultimately resulted in me making a much needed decision and I could not be happier. In fact, I am sorta upset that it took me so long to reach this cessation. Nonetheless, I feel so unburdened with the dysfunction that is not mine to bear. I have also come to the conclusion that I have overcommitted in some aspects of my production to this platform. As a full-time employee and student, with all my other commitments, I can produce two articles a month for the time being. One Music and Movies on Mondays and one West Coast Wednesday. The drops will be random, depending on my schedule and what unfolds in music and entertainment. I understand my inconsistencies make me seem like I am bullshitting, and I'm letting time pass. I can assure you it is not impostor syndrome, laziness, or flat-out time wasting. I really am a busy lady, currently working towards a short-term goal. This is temporarily affecting my online engagement and my desire to grow the platform, but I tell myself it will pass in due time. I am aware of my inadequacies and my potential.

Now, to the good stuff. Beginning with the exploitation of Black women, particularly Black American women, in Black music and entertainment has reached a new low this year. Witnessing big names in the industry sell out the culture using the flava and likeness of Black women here in America through the use of AI is not only disrespectful but disloyal to the art and culture. It seems being a sellout has become profitable, trendy, and cool, and those with significant influence give little to no pushback. Why are Black women always utilized as the culprits by men and "gatekeepers"? What makes you think that creating an AI artist that is visually another race but embodies the mannerisms and aesthetic of a Black woman is okay? Hmmph... I believe I know why, because for so long Black male artists and producers have been cosigning non-black women in Black women spaces in music and entertainment and getting away with it. It figures that the next step would be an AI version.

Leading to my next point, I'll be honest, when it came to the Kendrick and Drake beef. Kendrick is my preferred artist, but I listened to Drake too. Take Care is one of Drake’s best albums, TO ME. My primary issue was that he had so much smoke for women, and I never heard or saw the same energy for men, and I don't like shit like that. So, aside from my West Coast allegiance, I think he deserved the energy he got, man to man! But all the other points made, I call bullshit, because for all the reasons they hate Drake, they'll co-sign a non-Black female version in Black women's spaces in music and entertainment and enbolden them to say things like they are a runaway slave master, nigga, and all kinds of racist, clorist, misogynoir epithets. In reality, frauds, fakes, cosplayers, and AI are deemed acceptable for Black women but not Black men. Therefore, tell the gatekeepers, I have snatched the key. We are not allowing others to dictate what is okay for Black women's spaces, all while the parameters are strict asf on the male side. That is not coming in 2026 and beyond.

Let 2025 be the last year people get away with believing it's okay to disrespect Black women publicly. We are not verbal and comical punching bags and are no longer tolerating it. I don't care that you were two when you made those colorist and misogynoir tweets, or that it was just how it was back then. Black women show too much love to everyone to get some of the things said and done in return. Keep your low racial self-esteem and Black woman hate to yourself, and I suggest you find a professional to assist with that. Shout out to the women and platforms that have been punching back. Not to get all woo woo, but it is disheartening to see so much vitriol for the mothers of civilization, literally. That's on Lucy, Betsey, Anarcha, and Ms. Henrietta Lacks. This isn't an ethnocentric rant; these are scientific facts. You don't have to love us, prefer us, or like us, but you will NOT disrespect us.

Lastly, many are whining that Rap/hip-hop is dead, all because the bar has been raised and the veil has been lifted, exposing those who cannot rap, write, or rhyme—highlighting those who were only in it for capital gain, not for the steadfast love of the art form. Truth is, a lot of y'all don't belong, your music sucks, and your disrespect for Black American culture and music is no longer allowed. This goes for music artists, media platforms, industry execs, producers, etc. We need to clean house and return underground to vet properly. You know, speakeasy style, when there was a special knock and a peephole to ensure who was coming through the door. Too many passes have been given, and not enough talent has been rendered. This has been killing off the genre, and the solutions mentioned are a possible way to save what quality remains. Black American culture in general has become too accessible to everyone, and this impacts the preservation. My reasoning for pivoting TNW in this direction was motivated by the false claims of who invented hip hop, and I saw the genre being snatched as they did, country, rock, jazz, and the sad part with hip-hop, some of y'all are practically handing it to them. DO Better! Everybody ain't invited, everyone can't come, and everything ain't for sale. Exclusivity is not divisive; it's necessary to preserve cultural traditions and command respect for our contributions to art and entertainment.

Wishing you all a peaceful, prosperous, and abundant 2026!!! Critiques with Love from TNW.