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Lesotho MC Meloh Calls Out The Treatment Of Female Rappers In 'Soul Riddim'

Lesotho-based rapper Meloh stands up against the commercialization of hip-hop and its treatment of female rappers in "Soul Riddim."

Lesotho rapper Meloh comes through with her latest music video for "Soul Riddim," a song that calls out the commercialization of hip-hop and its treatment of female rappers. The clip sees Meloh, fellow Lesotho MC Gen AP and their stylish crew going in over a ragga-tinged beat as they spit their bars from tractors, barber shops and corner stores.


"'Soul Riddim' is an anthem for the Africans looking to make a stand against the much publicized and doctoral social outlook of urban lifestyle," Meloh explains. "We stand against the commercialized view of fashion, music and lifestyle, we are trying to start a revolution of individualistic Africans who fuse modern/urban lifestyle as the youth with an African twist, to merely say we are Africans doing exactly what the famous hip-hop musicians do BUT we do it fusing our background as Basotho living in a global village."

"It's a track for the struggling Basotho/African artists who have to deal with breaking free from the norms of societies based on certain rules and the oppression of the media pictorial style of depicting 'coolness.' My verses are deeply rooted in the observation of Female emcees — who are known for 'sexiness' and no talent. I as an individual talk about being an emcee all round, my struggle to break free from being seen as a weaker sex, and my image being the only thing I can rely on."

Watch the Hlompho Letsielo-directed music video for "Soul Riddim," Meloh's first single on her label RaggaVybz Music, below.

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Photo by Meztli Yoalli Rodríguez

Dying Lagoons Reveal Mexico’s Environmental Racism

In the heart of a traditionally Black and Indigenous use area in Southwest Mexico, decades of environmental destruction now threatens the existence of these communities.

On an early morning in September 2017, in a little fishing village in the Pacific coast of Oaxaca, called Zapotalito, thousands of dead fish floated on the surface of the Chacahua-Pastoría lagoons. A 7.1-magnitude earthquake, which rattled Mexico City on September 19, was felt as far down as Zapotalito, and the very next morning, its Black, Indigenous and poor Mestizo residents, who depend on the area's handful of lagoons for food and commerce, woke up to an awful smell and that terrible scene of floating fish.

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