I've recently been listening to a lot of Big Boy interviews. For those of you who don't know, Big Boy is arguably the most iconic LA-based radio host and currently resides at Real 92.3, an iHeart affiliate dedicated to Hip-Hop and R&B. My personal favorite radio figure, Big Boy brings the best out of his guests in a light-hearted and always comedic manner. Still, there are points in each interview where he is able to tease out life lessons from artists who have experienced it all.

Recently, especially among the more high-profile artists such as Ice Cube and Dr. Dre, a trend has emerged that I found particularly intriguing. Since Big Boy has been in the game for as long as many of these artists, he often reflects on the early days, before the sold-out stadiums and major festival appearances. One observation that he makes and that artists always agree with is the changing demographic of their live audience. While N.W.A. once drove small crowds wild at Skateland, they just recently performed at Coachella in front of an audience that potentially reached over a hundred thousand people.

During their respective Big Boy interviews, Dre and Cube both noted how incredibly white the crowd was. Especially in comparison to a skating rink in Compton, Coachella, where ticket prices exceed 300 dollars, can a culture shock to many popular artists. Differences in culture and race have the potential to create a disconnect from performer and audience. One of the most unfortunate examples of this growing phenomenon was Outkast's Coachella performance in 2014. Selling 25 million records over their twenty year run, Outkast is a familiar name to all. However, it was clear that the crowd in attendance were casual fans of the group, and didn't actually appreciate the genius of their music. Unable to recite the hooks to all but "Hey Ya'" and "Ms. Jackson", many blogs were quick to place the blame on Andre and Big Boi. While there were awkward instances where Andre asked for the monitors to be turned up and if the crowd was still alive, it was generated by the crowd's inability to vibe with the music. Granted Nas had a better-received set that same year, the Outkast performance set a precedent for the clashing worlds of hip-hop's staying power in popular music and the rise of excessively expensive festivals that cater to majority white festival-goers.

Because my birthday typically coincides with HARD Summer, I was in attendance last year. Much cheaper than Coachella but still topping 150 dollars, the audience was a bit more diverse. This year, I was unable to attend as I had celebratory activities with the family, however, I was able to catch a view live streams. One moment in particular that stood out to me was during Marshmello's set. While mixing, he began to play Kendrick Lamar's M.A.A.D. City. Without hesitation, the crowd thunderously screamed, "Man down, where you from, N****?" I was appalled. Over and over the crowd repeated the term as it is found in the song. Not only that, but the song is largely Kendrick's reflection on his upbringing marred by gang violence, death, poverty, and turf wars. Statistically, I can guarantee that a majority white audience would have little exposure to the life of inner-city Los Angeles and the struggle it entails. Still, the oblivious audience would chant the name of Pirus and Crips as if they were rival football teams. You don't die over your allegiance to the Cowboys or the Patriots. The appropriation of the predominantly POC struggle of inner city violence for white profit is an abhorrent trend brought to life by the oversaturation of the festival circuit.

But Elijah, I don't utter offensive slang during DJ sets, I only listen to trap music! Okay, well aside from being basic as hell, that is still problematic. The appropriation here is all in the name. So what is trap music? To the mainstream population, trap music is a genre of electronic music reliant upon earth-shattering 808 bass and skull-piercing leads. It is a high-intensity style that has captured the adoration of many millennials. However, contrary to popular belief, trap music as we now know it simply didn't rise from the ashes of dubstep. In fact, to true hip-hop fans, contemporary trap music is a mockery of a transformative genre of rap pioneered in the 90's by DJ Screw. As the war raged on between West and East Coast hip-hop, the South began to develop their own unique sound using the Roland TR-808. This is where the 808 bass comes from. Paired with tinny snares and rolling hi-hats, trap music was born and made famous by artists such as T.I., Three 6 Mafia, Gucci Mane, and Waka Flocka. The name is derived from where you play trap music: downtempo and relying on BPMs around 70, the genre was intended for play while kicking it at "trap houses" aka houses where drugs were made, bought, and sold. Basically, trap music is centered on Southern rappers exposure to drug and gang culture. Aside from the 808s, the lyrics of a track define it as trap. References to codeine, lean, trap houses and glocks are common. contemporary trap has simply eliminated the struggle of impoverished black communities in the South in order to please white audiences. Now, "trap" artists are predominantly white males. NGHTMRE, RL Grime, Baauer, and many others have made this genre their claim to fame. But before the oblivious white kid, there was Lex Luger. The producer who pushed trap music to the forefront of hip-hop, Lex has a discography that includes artists such as Kanye West, Rick Ross, and Jay-Z. Coming onto the scene as the producer for Wocka, Lex introduced the titans of hip-hop to the South's undeniable style.

And to the smart asses who will argue that they prefer house music, that style was also founded by inner city blacks in Chicago.

Still a fan of dubstep? Simply aggressive reggae matched with the introduction of synthesizers such as Massive.

Anyway you look at it, the genres of music that are most popular at festivals like Coachella, HARD and Insomniac Events are gross appropriations of genres of music which POC, blacks in particular, used as an outlet to document their struggles, social commentaries, and life in general. Instead of performing at Skateland for the community that helped skyrocket them to fame, N.W.A. performed at Coachella for an audience who can't truly relate to their music. And that is no indictment of the group. Festival stops provide guaranteed money, unlike clubs and smaller venues who dole out percentages. This is their profession, and they are certainly entitled to their maximum profit. Plus, many artists give back to their communities in other ways through charities and campaigns.

Now, the point of this article isn't to say white audiences shouldn't enjoy electronic music or hip-hop, but rather to be more mindful while doing so. It is mainly a criticism of festivals that essentially deny many people of color admission to see artists of color perform. The festival circuit is, as is the majority of America, segregated by the quality of the product.