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Royce Da 5’9″ Explains To Nick Cannon Why “Talking White” Is His Pet Peeve

Detroit emcee Royce Da 5’9″ caught up with Nick Cannon for the media mogul’s Cannon’s Class online series, and during the discussion, Royce shared something that irks him. The rapper spoke about some people’s need to “talk White,” or change their speech in certain environments in order to “impress someone else.” Royce believes that he should be accepted in all rooms no matter how he delivers his message and “talking White” doesn’t make any one person more intelligent than another.

Royce Da 5'9", Nick Cannon, Talking White, Code Switching
Jamie McCarthy / Staff / Getty Images

“One of my pet peeves is talking White. I just attribute that to like, us not knowing [who we are],” said Royce. “We gotta have an identity and it can’t be ignorance.” Cannon chimed in, “You know, you hear the argument, ‘What is talking White. Do you mean being intelligent?'” Royce shot that down. “No, it’s not speaking intelligent because you can speak intelligent and not be talking White.”

Both men suggested that the person is “putting on a facade to impress someone else.” Royce added, “A lot of times it’s not to impress. It’s to fit in [or] send a signal that says I’m willing to be complicit, subservient, and inferior to your inferiority complex. You have to be comfortable with me being myself. If I can be my best version of self in a room with important White people and we can get along and we can have love for each other and we can accept one another, I should be able to do that same thing in a room with you. I’m a multilayered individual but I don’t want to break myself up into different people to do this balancing act in life.”

Check out Royce Da 5’9″ chopping it up with Nick Cannon below.

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Artist Spotlight

Seun Kuti & Egypt 80 makes a stand for afrobeat against corruption on latest release Na Dem feat. Tom Morello.

Seun Kuti & Egypt 80

Seun Kuti & Egypt 80 deliver a powerful afrobeat statement with “Na Dem,” Featuring Tom Morello and produced by Femi Koleoso. The track has been a fan favourite even before its official release, and comes with the unmistakable spirit of protest, truth-telling, and social accountability that have long characterized Afrobeat’s most impactful moments.

The song’s heart is a direct challenge to corruption and the abuse of power. Instead of singling out one profession or institution for its critique, “Na Dem” identifies a larger culture of dishonesty, targeting bad lawyers, bad doctors, bad politicians, and anyone who would sell their integrity for personal gain. The message is sharp and uncompromising and delivered with the urgency that has become a hallmark of Seun Kuti’s artistry.

The inclusion of Tom Morello adds another level of intensity to the record. His presence adds to the song’s rebellious energy, creating a powerful intersection between the rhythmic activism of Afrobeat and the confrontational edge of rock. The result of the collaboration is a track that is both timeless and of the moment.

The song’s dedication to principle is what rings true. The moral center of the record is Seun’s statement that he would never prostitute his conscience for money. It turns “Na Dem” from a critique into a declaration of personal values, responsibility, and resistance.

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Deaf Radio returning to a place that feels familiar but has changed on “No Place Like Home”

Deaf Radio

Deaf Radio offers a deeply affecting experience with “No Place Like Home,” a haunting meditation on grief, memory, and the enduring connection between family and place. Rather than a story of loss, the song invites listeners into the emotional experience of returning to a place that feels familiar but has changed.

It’s an open letter to the people, the moments that used to make home. It captures the unsettling experience of walking into a house where everything is still there, the clothes, the scents, the light streaming through the windows, but the person who gave those details meaning is gone. There is only a lingering ache that fills every room.

It’s a complex emotional journey that runs just under eight minutes in “No Place Like Home.” Its structure does not allow for repetition, each section uncovering another layer of feeling. The song begins with a hushed looping arpeggio and the striking line “your tough mother’s love”, immediately setting a deeply personal tone. From there, it spills out into spare, humane verses before exploding into ninety seconds of crushing guitars and feedback that feel like grief breaking through emotional constraint.

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