Mella — New Rising Star Out of Camden Takes Over King’s Cross with “Timeline”


Camden rapper Mella delivers a powerful debut with her new single and music video “Timeline,” marking her arrival as one of North West London’s most exciting emerging artists.

North West London rapper Mella is quickly establishing herself as one of Camden’s most exciting new voices in the UK hip-hop and London rap scene. With the release of her debut single and music video “Timeline,” the rising artist delivers a powerful introduction — equal parts statement, reflection, and forward motion.

Step into Mella’s world and you’ll find raw storytelling layered with fluid switches in flow, language, and mood. She raps. She sings. She glides between energies with ease. “Timeline” lays out her journey so far while signalling the direction she’s carving for herself — fearless, self-defined, and impossible to box in.

From Camden Roots to a Wider Vision

“GO RUN THIS UP!!! TIMELINE OUT NOW!!!” — Mella

Hailing from Camden with Angolan roots, Mella represents a new generation of London artists who embrace hybridity as strength. Her sound feels lived-in yet fresh — grounded in real experience while reaching confidently toward what’s next. Rather than chasing trends, she lets honesty and presence lead, allowing her versatility to unfold naturally.

A London Dawn Captured on Film

The official “Timeline” music video, out now via Black Diamond Music Group, was shot across Camden and King’s Cross on a cold winter morning in January. Filmed at dawn, the visuals capture London in its quiet, unfiltered state — gritty streets, muted tones, and early-morning stillness framing Mella’s focused presence.

Blending classic hip-hop aesthetics with a modern cinematic edge, the video mirrors the track’s emotional arc. It’s intimate without being insular, expansive without losing its street-level grounding — a visual reflection of Mella’s mindset, discipline, and intent. Perfect match for the almost UK underground sound. This track has a perfect blend between Jazz and UK Drill ingrained into the riddim, this hybirdity is naturally complemented and reflected in the classic visuals. Reminiscent of videos such as Nas “The World is Yours”, and A Tribe Called Quest “Electric Relaxation” music videos, while still utilising modern cinematography techniques and standards to produce a completely unique music video.

🎬 Watch the official music video (Frontline Media):
https://www.youtube.com/watch?v=CiK1BdF62MQ

King’s Cross: A Moment That Cut Through

Momentum around “Timeline” accelerated when Mella pulled up to DJ AG Online’s iconic King’s Cross livestream, delivering a raw and commanding debut performance of the track. With no filters and no overproduction, the set leaned into what matters most — real presence, real bars, and a genuine connection with the crowd.

The performance felt like a snapshot of the frontline UK scene at its best: immediate, communal, and alive. It was a moment that confirmed Mella isn’t just emerging — she’s arriving.

📱 Watch the DJ AG Online King’s Cross performance:
TikTok: https://www.tiktok.com/@frontlinemedia/video/7592315259671547158
Instagram: https://www.instagram.com/reel/DTLDanziGV_/

Why “Timeline” Matters

At its core, “Timeline” is about growth, resilience, and direction. Rooted firmly in London environments yet pushing forward with contemporary storytelling, the track positions Mella as an artist with clarity of vision and the confidence to move differently.

For a UK scene constantly evolving, Mella represents a voice that feels both grounded and expansive — one that honours where it’s from while refusing to stay still. If this release is the opening chapter, the pages ahead promise something special.

Credits

Artist: Mella (@melllamusic)
Label: Black Diamond Music Group (@BLACKDIAMONDMUSICGROUPOFFICIAL)
Production: Threefold Studios (@ThreefoldStudiosEnt)
Including Frontline Productions (@front_lineproductions)

Media & Platform

This article and accompanying visuals are published by Frontline Media.

🔔 Subscribe for more UK music, visuals, and culture
📍 Representing Camden, North West London

#Mella #Timeline #BlackDiamondMusicGroup #UKHipHop #LondonRap #Camden #KingsCross #OfficialMusicVideo #FrontlineMedia #UKMusicScene

A Night of Reggae & Soul - Maxi Priest Live at Boisdale Canary Wharf

London, 22 November 2025 — Legendary reggae-fusion and soul artist Maxi Priest delivered an unforgettable night of music and emotion at Boisdale of Canary Wharf, treating fans to a stirring blend of classic hits and soulful vibes. The event, held in the intimate and elegant surroundings of Boisdale’s live-music restaurant overlooking Cabot Square, brought together lovers of reggae, soul, and timeless rhythms for an evening to remember

Set within the elegant surroundings of Cabot Square, the venue — known for combining fine dining, whisky and cigars with live music — provided the perfect backdrop for a night of nostalgia, romance and rhythm.

Venue & Atmosphere

Boisdale of Canary Wharf — known for its refined Art-Deco décor, panoramic skyline views, a whisky bar, cigar lounge, and nightly live music — provided the perfect backdrop for a blend of dinner, drinks and live performance. With its combination of fine dining and a dedicated stage, Boisdale continues to stand out as one of London’s premier venues for music lovers.

Guests enjoyed the full “dinner + show” experience: arriving before dinner, dining in style, then witnessing a masterful performance as the lights dimmed and the music began.

Hit After Hit

Maxi Priest delivered a carefully curated set that pulled from his wide catalogue of hits, a sonic journey across reggae, soul, and pop. Some of his most popular songs include:

  • “Wild World” — opening the night with familiar, heartfelt energy.

  • “Some Guys Have All the Luck” — a breezy, uplifting moment that had the crowd swaying.

  • “Close to You” — one of his greatest global hits, and one of the evening’s standout moments, sung with heartfelt emotion.

  • “That Girl” — bringing vibes and energy that resonated across the room.

  • “I Gave My Heart to You” — a softer, intimate performance that drew a warm chorus from the crowd.

  • “Should I” — a lovers-rock classic that reminded many why Maxi’s voice remains timeless.

  • “Easy to Love” — proving that his music continues to stay relevant and resonate.

  • “Woman in You” — a smooth, soulful celebration of love and connection.

  • “Loving You Easy” — closing the night on a high, with gratitude and groove, leaving the crowd exhilarated.

Each song felt like a journey, blending years of legacy, emotion, and stage-craft. Many in the crowd sang along word for word; others simply closed their eyes and soaked in the vibes

Supporting Act: A Perfect Prelude

Opening the night was rising soul-vocalist Ada Morghe, whose smooth, jazzy tones and soulful delivery set the mood beautifully for what was to come. Her performance eased the crowd into a night of rhythm, soul, and warm anticipation.

The show began around 9:00 pm, giving attendees the chance to dine, relax, and then lose themselves in live music — a personalised and intimate alternative to large-arena concerts.

And with Ada Morghe’s warm, soulful opening set, the mood was set beautifully. Her sound blended with Maxi’s for an evening that felt deeply musical — a true celebration of reggae, soul and cross-genre artistry.

After-Party Vibes — Saxon Sound System Keeps the Night Alive

When Maxi Priest’s final notes faded, the energy at Boisdale of Canary Wharf didn’t cool down — it surged. The legendary Saxon Sound System took over the decks for an after-party that extended the night into dancing, celebration and Caribbean-infused groove.

Saxon, one of the UK’s most historic reggae sound systems — known for launching the careers of major UK reggae/dancehall stars and influencing later generations of artists — has a reputation for delivering reggae, roots, dub, and dancehall with a distinct UK-Caribbean flavour. At Boisdale’s Hine Bar & Garden Terrace (the upstairs/after-hours floor of the venue), DJs from Saxon kept the rhythm going late into the night.

Guests who stayed on after Maxi’s performance were treated to a seamless transition: from live set to DJ-driven party — a mix of classic reggae, neo-soul, Afrobeat, and Caribbean-infused grooves, backed by live MCing and the signature Saxon sound. The venue atmosphere shifted: dinner tables made way for cocktails, the music mix shifted to deeper vibes, and what was already a magical evening became a full-on celebration.

For many in attendance, the after-party by Saxon turned a beautiful live concert into a full experience — food, live legend, dancefloor, late-night energy. It showcased how venues like Boisdale and sound systems like Saxon can blend nightlife, culture and live music into one seamless celebration.

This after-party wasn’t just a closing act — it was the perfect bookend to a night that celebrated music heritage, community, and the enduring power of reggae and soul.

Why This Night Mattered

This performance by Maxi Priest was more than just a gig — it was a celebration of a musical legacy that spans decades. For many guests, the intimate setting at Boisdale offered a rare opportunity to connect closely with an iconic artist in a way only possible in a live setting.

  • Cultural resonance: Maxi Priest’s blend of reggae, soul and mainstream pop has influenced generations. Hearing him perform those songs live — many now classics — reminded the crowd of the longevity and enduring relevance of his music.

  • Atmosphere & experience: Dining, drinks, cigar-lounge ambiance and live music all under one roof made for a full-bodied night out, offering more than a concert — a complete cultural and sensory experience.

  • Connection: The intimate venue allowed fans to feel close to Maxi and the music, capturing that rare synergy between artist and audience, between heritage and moment.

DENY, defend & dipose! United Healthcare CEO Assassination: Examining the Details, Motivations, and Broader Implications

Written by Kevwe Ogufere

Summary of the Assassination and Case Details

Brian Thompson, CEO of UnitedHealthcare, was fatally shot with a 3d printed 9mm semi automatic pistol (ghost gun ) with a suppressor, in a Manhattan street, outside the Hilton Hotel while walking to an investor conference. The suspect, Luigi Nicholas Mangione, a 26-year-old Ivy League graduate, was arrested days later at a McDonald’s in Altoona, Pennsylvania. Surveillance footage and a handwritten manifesto linked Mangione to the crime, with his writings expressing anger towards the U.S. healthcare system and corporate greed. Magione is currently at Blair County Court Pennsylvania where he was charged with possession of an unlicensed fire arm, hours later prosecutors in New York City charged Mangione with murder 

The killer believed to be Mangione did the murder on a city bike and rode it to central park. He then later emerged from central park around 77th street without his backpack, which is believed to contain items integral to to the murder, such as the gun, cell phone and more, central park is still in the process of being heavily searched. He then made his way to 88th street where he is caught camera by CCTV on the bike from there he went to 86th street where he got a cab to 178th street and broadway and entered George Washington Bridge Bus Station which is an interstate bus station, going of radar and sending the FBI and NYPD on a 5 day manhunt.

Mangione, who comes from a wealthy Maryland family, has denied involvement in any conspiracy, claiming he acted alone. At the time of his arrest, he possessed a firearm, multiple fake IDs, and documents criticizing health insurance companies.

Who Was Brian Thompson?

Brian Thompson was born on July 10th 1974. He lived in Minnesota, and graduated high school in 1993 and went to college. After graduating from college in 1997 he worked as manger for PricewaterhouseCoopers (PwC). In 2004 Brian took a job with UnitedHealth Group, in 2021 he became CEO of UnitedHealthcare the insurance company of UnitedHealth Group which provides health insurance to about 50 million Americans. At 50, leading the largest health insurer in the U.S, his career in healthcare finance positioned him as a prominent figure in an industry that has been both a cornerstone of the American economy and a source of public frustration. Known for spearheading investor-focused initiatives, Thompson’s leadership coincided with a period of rising profits for UnitedHealthcare, even as public trust in health insurers continued to decline. Brian earned about 10 million a year at his job. In 2018 he purchase a mansion in Maple Grove Minnesota where he lived with his wife and 2 children. At some point after this Brian and his wife separated living in separate residences less than a mile apart in Maple Grove.

December 4th 2024 Brian Thompson was in New York city to attend an annual investors meeting for UnitedHealthcare, he was there to announce a predicted revenues of over $450 billion dollars. Later he was shot in the back multiple times and killed while walking by a masked gunman with a 9mm semi-automatic gun with a suppressor. At the time of his death Brian was subject to a Department of Justice Investigation. He had been accused of insider trading and fraud, furthermore the company UnitedHealthcare that he worked for had been accused many times of denying legitimate claims. Brian had received threats, and had been assigned a security detail for protection. The detail however was not with him when he was shot and killed, revealing a significant flaw in UnitedHealth protection strategy.

This was a targeted killing of Brian was by someone who had a motivation to kill him, normally this significantly narrowed down the search for the suspect, but in this case; considering he worked for UnitedHealthcare, a very unpopular company, there was potentially millions suspect and due to the nature of the killing. It was even potentially suspected to be a hired hitman with potentially military experience.

Colleagues described Thompson as a driven, pragmatic leader. His death has shocked the healthcare and business communities, igniting conversations about the safety of high-profile executives and the underlying social tensions in the United States.

Details About Luigi Mangione

Luigi Nicholas Mangione was born may 6th 1998 and raised in Maryland, into privilege. His Grandfather Nicholas was a wealthy real-estate developer who owned several valuable assets including country clubs and nursing homes. Nicholas died in 2008 due to complications from a stroke.Luigi Mangione had a legacy of academic excellence and familial wealth. In 2016 he became A valedictorian and graduated from an elite Baltimore prep school, in 2020 he earned degrees in computer science from the University of Pennsylvania, with both a bachelors and a masters degree. That same year he started to work as a data engineer for true car incorporated  an automotive pricing and digital retailing website for new and used cars based in Santa Monica California. In January 2022 Mangione joined a co-living community in Honolulu Hawaii called surf break selfd-described as a “vibrant, inclusive global network of adventurers, remote workers, and mindful travellers united by shared life in our coliving + coworking spaces” It is on the 40th floor of a high rise building the rooms rent ranged from $1,600 a month to $3,300 dollars a month. Luigi left the community in April 2022 due to suffering from chronic back condition called Spondylisthesis which according to the NHS is where one of the bones in your spine, called a vertebra, slips forward. It can be painful”. Physical activity like surfing and hiking had agrevated his physical condition. He returned to Hawaii in 2023 where he started a book club, December 2023 he was cited or trespassing at a state park. At some point he had back surgery and lost contact with his family However, Mangione’s life took a dark turn as he became increasingly disillusioned with corporate America. His manifesto and social media activity reveal an admiration for figures like Ted Kaczynski, highlighting his ideological shift towards anti-corporate extremism. Mangione’s documented back pain and medical struggles may have further fueled his disdain for the healthcare system, exacerbating his grievances.

Motivations Behind the Assassination

Mangione’s writings indicate deep-seated anger at the “parasitic” nature of health insurance companies, which he blamed for prioritizing profits over public well-being. His manifesto lambasted corporate greed, citing the U.S.’s exorbitant healthcare costs and stagnant life expectancy. It is likely that his actions were motivated by his personal experience with health insurance companies.

Sarah Nehemiah Surfbreak Community Spokesperson said “Mangione lived at Surfbreak from 2022 until April of that. It was our understanding that he left due to a lifelong back injury that was exacerbated by surfing and hiking. To our knowledge nearly all members of Surfbreak from his tenure lost contact after he left. To our knowledge he did return to Hawaii briefly in early 2023 and started a book club. Several members left due to discomfort in book choices.” It likely that his life long back injury exacerbated by surfing and hiking is what initiated a toxic relationship with him and health insurance where he was most likely denied treatment due to his socioeconomic status at the time likely triggering resentment which boiled over when assassinated Brian Thompson CEO of united healthcare. It also likely that this traumatic experience politically radicalised Magione. His good reads page featured people such as Theodore John Kachinsky also known as the Unabomber. The Unabomber killed three people and injured 28 more across the US in a series of mail bomb attacks. Luigi Mangione said this about Industrial Society and Its Future, which is Theodore John Kaczynski manifesto “It’s easy to quickly and thoughtless write this off as the manifesto of a lunatic, in order to avoid facing some of the uncomfortable problems it indemnifies. But it’s simply impossible to ignore how prescient many of his prediction about modern society turned out. He was a violent individual - rightfully imprisoned - who maimed innocent people. While these actions tend to be characterised as those of a crazy luddite, however, they are more accurately seen as those of an extreme political revolutionary” this proves

Luigi Mangione had clearly taken inspiration from other people that had used political violence and that his injury was point of political and ideological radicalisation. Magione approvingly cities another review saying “had the balls to recognise that peaceful protest has gotten us absolutely nowhere at the end of the day, he’s probably right. Oil barons haven’t listened to any environmentalists, but they feared him. When all other forms of communication fail, violence is necessary to survive. You may not like his methods, but to see things from his perspective, it’s not teorrorism, its war and revolution. Fossil fuel companies actively suppress anything that stands in their way and within a generation or two, it will begin costing human lives a greater and greater magnitudes until earth is just a flaming ball the current system, so how long until we recognise that violence against those who lead us to such destruction is justified as self defense” this indicates that Mangione motivtes were political in nature but rooted and triggered by personal experiences.

Further evidence found at the crime scene reinforces this view. Three words—“deny,” “defend” and “depose,” were reportedly found written on shell casings at the scene where UnitedHealthcare CEO Brian Thompson was shot and killed. In the case of UnitedHealthcare and other health insurance companies ‘delay, deny and defend’ moto, is a popular tactic health insurance companies are accused of using to avoid paying claims and increase profits.

This was clearly is a form of political messaging which has already seen some impact socially. A Florida woman has been arrested and charged after allegedly using the same language associated with the suspect in the murder of a top health insurance executive while on a phone call with her healthcare firm.Briana Boston, 42, had just had a medical claim denied and was talking on a phone call with a representative from Blue Cross Blue Shield. The Lakeland resident then allegedly said: “Delay, deny, depose. You people are next.”

While Mangione’s specific grievances remain under investigation, they reflect broader societal frustrations with privatized healthcare. His actions, though extreme, underscore the discontent felt by many Americans, particularly in the working and middle classes, towards health insurers.

UnitedHealthcare and America’s Healthcare Struggles

UnitedHealthcare epitomises the duality of America’s healthcare system: a world leader in medical innovation but one of the most expensive systems globally. For many U.S. citizens, healthcare is not a right but a privilege tied to employment or financial stability, yet UnitedHealth Group which is the parent company of UnitedHealthcare is 8th biggest companies in the world by revenue. On average 16% of insurance companies deny claims in the Healthcare space. UnitedHealthcare rejects around 32%, 1 in 3 paying customers have their claims rejected.

Working-class and middle-class Americans often find themselves burdened by high premiums, deductibles, and out-of-pocket costs, leading to resentment against health insurers. Between 2010-2020 the cost of deductibles have more than doubled at +11%,monthly premiums +55% worker earning +27%. Low income families spend close to a third of their income on health insurance premiums, around 29% (low income 20th percentile). UnitedHealth Group in 2023 revenues grew by $47.5 billion.

To achieve such massive growth in a the healthcare Industry UnitedHealthcare optimised through technology. ALERT(Algorithms for Effective Reporting and Treatment) is used to determine claims, such as wether a mental health patient has gone through to much therapy, which is around 30 sessions in eight months, from 2013 through 2020 United had denied claims for more than 34,00 therapy sessions in New York alone, amounting to $8million in denial care. All while UnitedHealth reports $7.9 Billion in QZ profits. “UnitedHealth uses faulty A.I to deny eldery partients medically necessary coverage lawsuits claim” this is due to the A.I. having a 90% error rate have due to sick people being unlikely to appeal claims roughly 0.2% will appeal claims. UnitedHealth exploit medicare advantage plan which allot of lower income Americans are dependent on. This economic strain fosters a perception of healthcare companies as profiteers exploiting an essential need.

The reaction to the assassination of the CEO of UnitedHealthcare has trascended social barriers. It has caused other insurers to respond as well, for example Blue Cross which is one of the biggest insurers in the U.S. within a day of the killing happening reversed their anethesia coverage, which would have put a time limit on how long patients can receive anaesthetics. According to NPR healthcare “Anthem reversed places to put time limits on anaesthetic coverage” as well.

However this is unlikely enough as many Americans frustrations towards UnitedHealthcare is just a microcosm of their pent up frustrations with the for profit model of US privatised healthcare that puts profits above healthcare and needs of vulnerable first. Health expenditures per capita, U.S. dollars, 2022 current prices and PPP adjusted was $12,555 in the United States which is notably more expensive than Canada which was $6,319 and UK $5,493. Both of which have a more socialised form of healthcare in still very much neoliberal capitalist system where healthcare is free and covered by taxes and governmental resources. However this has still flaws many of which as been caused by economic failures in UK. The subsequent privatisation of UK healthcare and austerity have reduced the quality in services the NHS can provide which has caused many in the UK and globally to get behind the American sentiment. However despite this for low income percentile earners particularly working class, middle places, communities and people of colour and vulnerable peoples( for instance the homeless, disabled, veterans, pregnant women and the elderly) many still see options such as the UK socialised NHS healthcare system as much better alternative to the privatised insurance based for profit model that exist the United States and this sentiment seems to be bipartisan.

Digital Radicalisation

Mangione’s ideological alignment with far-right and anti-corporate narratives exemplifies the growing phenomenon of digital radicalization. Online spaces have become breeding grounds for a wide spectrum of extreme ideologies, including incel (involuntary celibate) communities, far-right groups, anarchists, far-left movements, separatists, and other radical viewpoints that feel marginalized by the neoliberal status quo. These groups often exploit the frustration and disillusionment of young people grappling with stagnant material conditions in Western societies, especially in the aftermath of the global COVID-19 pandemic. Rising inflation, a deepening cost-of-living and housing crisis, and widespread disillusionment with mainstream political parties have fueled a volatile mix of grievances. This discontent is further exacerbated by systemic issues such as Western involvement in global conflicts, youth isolation, and deteriorating mental health amidst the pervasive influence of social media and information and communication technologies (ICTs).

These digital platforms amplify feelings of disenfranchisement, creating echo chambers where personal grievances are seamlessly merged with broader political extremism. The lack of meaningful systemic reform has pushed many young people to seek alternative, often radical, narratives that promise answers to their growing frustration. Online algorithms frequently compound this process, funneling users toward increasingly extreme content based on their viewing habits.

Mangione’s admiration for Ted Kaczynski—whose anti-modernist manifesto critiques industrial society—further underscores the allure of such ideologies for certain disillusioned individuals. Anti-modernist and anti-capitalist rhetoric resonates in an era of heightened privatization, digital capitalism, and surveillance. Cities like New York, equipped with extensive CCTV networks and advanced surveillance technology, epitomize the growing tension between security measures meant to maintain order and the socioeconomic instability faced by lower-income populations. These disparities create fertile ground for resentment, with many individuals feeling that politicians, corporate executives, and elites remain insulated from the realities of economic decline and social insecurity that plague marginalized communities.

The rising discontent with the political status quo has emboldened some to undertake extreme acts of political violence, as seen in the attempted assassination of former President Donald Trump at a Pennsylvania rally in July. Despite advances in surveillance and security technology, individuals—especially disaffected youth—have increasingly found ways to circumvent these barriers. Drawing inspiration from asymmetrical warfare tactics, they leverage tools of anonymity and ingenuity to evade detection. The proliferation of 3D-printed firearms, the use of electric bikes for swift and inconspicuous mobility, and the growing popularity of ski masks and face coverings have created an unsettling landscape where acts of violence can be planned and executed even in heavily monitored urban centers like New York.

This convergence of digital radicalization and technological adaptation highlights the evolving nature of extremist tactics in the modern age. Platforms that were once dismissed as fringe corners of the internet have now become pivotal in disseminating radical ideologies and equipping individuals with the means to act on them. As these trends continue to unfold, they raise urgent questions about the capacity of societies to address both the root causes of discontent and the digital ecosystems that enable their radicalization.

The Broader Economic Context: Inequality and Disillusionment

The assassination occurs against the backdrop of a global recession, post-pandemic economic contraction, and a shrinking middle class. Rising inequality and job precarity have fueled class consciousness, but this awakening is fractured, often diverging into far-left, far-right, or anarchist ideologies.

Critiques of capitalism, particularly in privatized industries like healthcare, resonate with many Americans who feel excluded from the system. This growing disillusionment underscores the urgent need for systemic reforms to address inequality.

Empathy for Healthcare Workers and Structural Critiques

Healthcare workers, from frontline staff to executives like Brian Thompson, operate within a system deeply shaped by capitalism. While many professionals strive to improve patient outcomes, they are often constrained by the profit-driven imperatives of privatized healthcare. This tension highlights the broader structural issues of a system that prioritizes financial returns over universal access and affordability.

STEM professionals, including healthcare executives, frequently lack the critical training to contextualize their roles within larger socioeconomic and political frameworks. Without a nuanced understanding of how economic systems influence their work, they may unwittingly perpetuate structural inequalities. For some, personal experiences or exposure to societal critiques can foster awareness, but for many, the disconnect between their professional responsibilities and the systemic implications of their roles remains unaddressed.

While public critiques of the U.S. healthcare system—such as the predatory nature of private insurance models and exorbitant costs—are valid, acts of violence like the killing of UnitedHealth Group CEO Brian Thompson cannot be condoned. The celebration of his death in some online circles is not only tragic but also deeply unethical. Thompson’s symbolic role as the face of a profit-driven healthcare model does not erase his humanity. To those who knew him personally, he was not only a corporate figure but also a father of two and a human being whose loss is profoundly mourned.

This tragedy underscores a complex dynamic: widespread public anger at the inequities of the American healthcare system collides with the personal dimensions of those working within it. Thompson’s death is emblematic of the deep resentment many Americans feel toward a system that leaves 50 million people dependent on plans like those offered by UnitedHealth. Yet, focusing anger solely on individuals rather than the underlying structures risks deflecting attention from the systemic reforms that are urgently needed.

The privatized, for-profit model of healthcare in the United States perpetuates inequities that disproportionately impact lower-income Americans. These individuals often face a devastating choice between unaffordable medical care and inadequate coverage under predatory insurance plans. While enhanced security measures for high-profile executives may deter future acts of violence, they cannot address the root causes of such events. Until the material conditions that fuel this resentment—such as unaffordable care, inaccessibility, and socioeconomic inequality—are addressed, the potential for similar tragedies will persist.

This incident serves as a stark reminder of the ethical complexities in critiquing systemic failures. It is essential to channel public frustration into constructive dialogue and systemic change rather than perpetuating cycles of dehumanization. Reforming the healthcare system requires not only structural overhaul but also a shift in societal values—away from profit motives and toward compassion, equity, and accessibility for all.

Media Coverage and Public Disconnect

The assassination has highlighted a widening gap between mass media narratives and public sentiment. While media outlets focus on Mangione’s privileged background or on demonisation of the killer and his abhorrent actions, many fail to recognise that the celebration of killer online (especially through online meme culture) is demonstration of valid discontent with predatory nature of health insurance companies and the for profit model of healthcare. Deeper societal critiques—like the systemic flaws in healthcare—remain under-explored.

This disconnect perpetuates a cycle where tragedies are sensationalised without addressing the root causes, leaving the public disillusioned with both the media and political institutions.

Conclusion

Brian Thompson’s assassination is a stark reminder of the complexities of modern discontent. It underscores the need for nuanced conversations about healthcare, inequality, and the digital age’s role in fostering radical ideologies. By addressing these systemic issues, society can begin to heal divisions and build a more equitable future.

Amapiano World Takeover

Amapiano World Takeover

South African music has a rich and diverse history, drawing from a range of cultural influences and musical traditions. One of the latest musical genres to emerge from this vibrant scene is Amapiano. This exciting new sound has quickly gained popularity both within South Africa and around the world, thanks to its infectious beats, catchy melodies, and unique blend of genres.

Natives: Race and Class in the Ruins of Empire by Akala

Natives: Race and Class in the Ruins of Empire by Akala

Narratives is a book written by the rapper Akala. Written in 2019, the book is partially a memoir and a statement/analysis of race and class, and the various historical eras and subsequent impact on contemporary British society. The book explores the Britains colonial past and how contemporary British society is inherently linked to the British Empire. This is reflected in British society, mainly through how perceptions of race, class and conflicts play out. He uses his personal experience to explain the impact of these societal constructs on the working-class and minority groups. In particular, he examines the impact of diaspora music.

The Square: Inside The Revolution

The Square: Inside The Revolution

The Square: Inside The Revolution - Insight into the heart of 2011 Egyptian Revolution. ‘The Square’ is a 2013 Egyptian-American documentary film by Jehane Noujaim, which depicts the Egyptian Crisis until 2013, starting with the Egyptian Revolution of 2011 at Tahrir Square.

Sakawa: A Machiavellian practise or a Spiritual Way of Life

Courtesy of IMDB

Courtesy of IMDB

Sakawa is a documentary directed by Ben Asamoah about a group of young Ghanaians that turn to internet fraud to help them with a desperate situation. Sakawa is a Ghanaian term for illegal practices that combine modern Internet-based fraud with African traditionalist rituals. The term or word Sakawa is a Hausa word that means putting inside, how to make money. The rituals, which are mostly in the form of sacrifices, are intended to spiritually manipulate victims so that the scammer's fraud is successful.

Courtesy of Cambridge University Press

Courtesy of Cambridge University Press

Courtesy of Environmental Justice Atlas

Courtesy of Environmental Justice Atlas

The film utilises a unique approach to the concept of online fraud. He focuses entirely on those engaged in Sakawa as a way of life. For many poor Ghanaians, Sakawa is their only means to make money. The film is a dark statement on the unintended consequences of technological advancement. Many of the e-waste dumps depicted in the movie are the product of the west’s overconsumption of technology; however, this same technology would eventually be used by locals against westerners. Campbell suggests that the term “digital religion” describes “this merging of new and established notions of religious practice means digital religion is imprinted by both the traits of online culture and traditional religion."1. This concept is embodied in the practice of Sakawa.

Courtesy of Screen Anarchy.

Courtesy of Screen Anarchy.

Unlike most documentaries on this subject, he does not focus on westerners being victims of fraud. Instead, he wanted to tell the story of those engaged in Sakawa as a way of life. The e-waste scene, for instance, is compelling. The dump signifies Ghanians frustrations. On the one hand, you have the boys and girls that practise Sakawa, and you can condemn them; on the other hand, there is us in the west that contribute to this environment getting polluted. The implementation of their personal stories helps demonstrate how Sakawa is an unwanted necessity for many poor Ghanaians. Its Machiavellian principle used ironically against the West, the end justifies the means. In the film, no white people are not shown, but they are spoken about in the context of wealthy countries such as Canada, the UK and America. Showing how the West and white people in Ghana are associated with prosperity. You cannot blame them because this is the narrative they are fed through the internet, TV, or returning immigrants.

Courtesy of Docville.

Courtesy of Docville.

There is a scene where the Director enables an individual to tell his story, the scene is extremely powerful. In it, the man explains, “I have been through it all. I used to be a houseboy. A man cooking for a white woman. Can you imagine? I cannot even cook. So, I used to call my mother. When I called her... she would explain to me how to cook...I used to buy fish for, like 250 euros. In one week... She would eat fish worth 250 euros and pay me 12 euros a month. For the whole month. And she spent 500 euros in 2 weeks on fish. Thats allot. So, don’t feel guilty about the white people. There is no one here to help us. We’ve got to help our family That’s true. With no degree, government jobs are not an option”. The Director essentially shows how Sakawa is necessary to get to the next stage of their life so rather than being depicted as an oppressor they are victimising and victims. The film also demonstrates the importance of Voodoo(also known Vodun, Vodú and Vodou) in Ghanian society, he highlights the difference in the meaning of Voodoo in the west vs global south. In the west, Voodoo is associated with revenge, blood, sacrifice, evil and the devil. In reality, Voodoo's spiritual practice is about balance, energy, and how to learn more about the universe.

Courtesy of Continent Tour

Courtesy of Continent Tour

Courtesy of Cambridge University Press

Courtesy of Cambridge University Press

Courtesy of Sakawa

Courtesy of Sakawa

What makes the film convincing the director film style. The filmmaker blurs the line between observational documentary and setting up the scene. He does not care whether this disqualifies the film as a documentary. In terms of emotions, he believes it is essential to convey what is being felt. He also wanted to get away from the rock role way of shooting documentaries in Africa(i.e. handheld) and instead framed it and shot it beautifully to show Ghana in a beautiful light, humanise the people's stories, in tern making the narrative more convincing and relatable. Through focusing on Sakawa boys, the driver behind the narrative also makes the overall argument more convincing. However, the limitations of the film are what it does not depict. The Director only shows the entry-level to Sakawa and does not show the top tier fraudsters such as Hush puppy. Furthermore, an opportunity I felt was missed to the relationship between Sakawa and other regional fraudsters such as Yahoo boys/419 from Nigeria, who have much more different oppressive dynamic with government and police. Also, the role of the Abrahamic religions in Africa and their views on Sakawa was under-explored. Overall, the films raises important questions of whom the digitalisation of Africa benefits. With a large investment in ICT’s from china in countries like Ethiopia and Ghana, you would expect this to revolutionise life for the average Ghanian. However, the fact that Sakawa is a necessity for many Ghanaians raises the question. Whom is it benefiting?

References:

Sakawa, 2018 [online] Ben Asamoah, Netherlands 15/02/2021, Youtube

Photos/Videos

https://www.imdb.com/title/tt9617614/mediaviewer/rm4121583872/

https://file.ejatlas.org/img/Conflict/2837/74b3b300-d205-4c85-8ef9-d98685f55f35-2060x1368.jpeghttps://www.cinemaescapist.com/2020/02/review-sakawa-ghana-movie/

https://haenfler.sites.grinnell.edu/wp-content/uploads/2018/10/Sakawa-poster.png

https://www.cambridge.org/core/journals/african-studies-review/article/abs/sakawa-rituals-and-cyberfraud-in-ghanaian-popular-video-movies/063807DDAF1C7785834F32AEDD0BC491

https://continenttours.com/africa-destinations/ghana-togo-benin-including-annual-ouidah-voodoo-festival-jan-2020/

https://sakawa-film.be/voodoo

https://www.youtube.com/watch?v=ttT1hYRPD1k&t=4s

Urban Front does not own any of the rights to the photo & videos used in this article. All photos and videos are used under fair use.

The Stars behind ‘la originals’ that changed the game

Image via Estevan Oriol

Image via Estevan Oriol

“If you ain’t been tatted by Cartoon you ain’t got no tatt, if you ain’t been shot by Estevan then you got a weak ass photographer”. The recent Netflix documentary LA Originals, directed by Estevan Oriol, depicts the lives of famous photographer Estevan Oriol and tattooer Mister Cartoon. Often something that is overlooked when discussing the 90’s Hip Hop scene, is the major contribution from those working behind the scenes. Prior to this digital age dictated by social media likes, clout chasers and mumble rappers, Los Angeles was an extremely different landscape. While tattoos are widely accepted today, back then only those deemed outcast were brave enough to permanently brand their skin. The most reputable of these Tattooers Mister Cartoon, was known for his elaborate graffiti-inspired style brought to life in black and grey. He has tattooed every one from gangsters, to A-list celebrities. This dynamic downtown lifestyle was caught on film by photographer Estevan Oriol. LA Originals does a great job of showing how these artist documented this culture-shifting period, and helped visualise what it was like to live in Los Angeles during the 90s.

Oriol is an American of Italian and Mexican descent. He started his career as a hip-hop club bouncer turned tour manager for popular Los Angeles-based rap groups Cypress Hill and House of Pain, Estevan’s passion for photography developed while travelling the world. With an influential nudge and old camera from his father, renowned photographer Eriberto Oriol, Estevan began documenting life on the road and established a name for himself amid the emerging hip-hop scene. He soon became an internationally celebrated professional photographer, director and urban lifestyle entrepreneur.

MV5BYTc5NGU4YTUtNjc4YS00YTkxLWIyMGItN2Q4N2ExNzkzY2YyL2ltYWdlXkEyXkFqcGdeQXVyMjc0MzY1NzI@._V1_.jpg

Estevan Oriol

Image via Estevan Oriol

His counterpart Mister Cartoon began his career as a graffiti artist before branching into murals, album covers, logos, and now most famously known for his tattoos. Since the age of eight, Mister Cartoon realized he was an artist and went on his first paying art job at the age of twelve. Having grown up in the Harbor Area of Los Angeles County, young Cartoon began airbrushing T-shirts and lowrider cars before adopting the legendary"Fineline Style" tattoo art, which was developed in the California prison system. In an interview with No Jumper Cartoon explains how he had “two middle class parents that worked allot… with them gone I went into the streets … my dad was always a hustler and had vintage cars, you know we were a regular mexican middle class family growing up in southern california”. He also elaborated how “In the Harbour you have two choices, you can be a longshoreman or sell dope… in the 80’s gangbanging was at an all time high and your own people preyed on you, and i got fortunate that i love to draw and do graffiti, I started to learn how to use artwork to manipulate the situation”. This upbringing clearly rubbed of in his art. His richly detailed, hand-rendered designs pull much of their inspiration from the Los Angeles of Cartoon’s youth. At one time, the black and grey, fine line style was synonymous with LA street life. Cartoon’s work has helped bridge the gap between those hardscrabble beginnings and the style’s current popularity

6eeff283-mister-cartoon-bobby-hundreds_the-hundreds_14.jpg

Mister Cartoon

Image via thehundreds.uk

Image via mistercartoon.com

Image via mistercartoon.com

Image via mistercartoon.com

Image via mistercartoon.com

Together the two would go on to found SA(Soul Assassins) Studios Global, a lifestyle-marketing agency based in Los Angeles. SA has partnered with companies such as Microsoft, Nike, Vans, Stussy, Metro PCS, Rockstar Games, and Harley-Davidson and taken part in film marketing projects with Fox, Weinstein Company, and Universal. With both Estevan Oriol and Mister Cartoon being heavily entrenched in Hip Hop culture, they would go onto tattoo and photograph some of the biggest names in Hip Hop and most iconic celebrities. Oriol has photographed Al Pacino, Robert Dinero, Dennis Hopper, Ryan Gosling, Chloe Moretz, Marissa Miller, Kim Kardashian, Kanye West, Snoop Dogg, Floyd Mayweather, and others. He has also produced shoots for internationally-acclaimed photographers such as Ellen von Unwerth for Sang Bleu and Luca Babini for GQ Italy. In addition to shooting campaigns for companies including Cadillac, Nike and Rockford Fosgate and directing new media projects for My Cadillac Stories, MetroPCS, MTV and Apple, Oriol has designed album covers and directed music videos for artists including Eminem, Cypress Hill, Blink 182, Snoop Dogg and Xzibit. Cartoon’s work has helped bridge the gap between those hardscrabble beginnings and the style’s current popularity. Stars such as Eminem, Travis Barker, Slash, Dr. Dre, 50 Cent, Beyoncé, along with athletes like CC Sabathia, Amarie Stoudemire and Carlos Boozer wear Cartoons art on their skin. Cartoon’s art has been featured in numerous publications including Rolling Stone, The Wall Street Journal, Complex, Juxtapoz, XXL, GQ, and others. Most notably the pairs influence can be heavily seen in Rockstars Iconic GTA San Andreas, with their artistic style being referenced heavily to bring the virtual world to life.

Image via Estevan Oriol

Image via Estevan Oriol

Image via Estavan Oriol

Image via Estavan Oriol

Image via Estavan Oriol

Image via Estavan Oriol

Image via Estevan Oriol

Image via Estevan Oriol

Image via Estevan Oriol

Image via Estevan Oriol

Image via Estevan Oriol

Image via Estevan Oriol

One of the elements that is heavily represented in their work is their heritage. Mexicans have had a long relationship in the US. Mexican Americans in 2018 made up 11.3% of the United States' and 61.9% of all Latinos in the United States. Over 60% of all Mexican Americans reside in the states of California and Texas (which used to be part of Mexico and today still shares a border). Mexican American families of indigenous heritage have been in the country for at least 15,000 years, and mestizo Mexican American history spans more than 400 years, since the 1598 founding of Spanish New Mexico. They would become U.S. citizens in 1848 via the Treaty of Guadalupe Hidalgo which ended the Mexican–American War. In particular Los Angeles (spanish for ‘The Angles’) has a thriving Hispanic community. Cholo and Chicano became a chosen identity for Mexican Americans in the United States. Although Chicano had negative connotations as a term of denigration prior, it was reclaimed in the 1960s and 1970s by Mexican Americans to express self-determination and solidarity in a shared cultural, ethnic, and communal identity while openly rejecting assimilation. Both Estevan Oriol and Mister Cartoon played a huge role in bringing Chicano pride and the wider downtown culture to the mainstream. Estevan says in the LA Originals documentary that “one of the things that is there with Chicano art is violence, poverty, addiction, and alcoholism”. With both artist living through the 1992 Rodney King Riots, and the crack epidemic there is no doubt that their environment deeply impacted their art. Estevan explains “I was shooting a lot of women, gangsters and lowriders you know because that is what I was around”.

Images via Estevan Oriol

This unique LA culture is best encapsulated in Mister Cartoons collaborations with Nike. With Los Angeles being considered the home of cortez since day one, the ‘2005: MR. CARTOON CORTEZ’ was bound to be made. Highlights included the black colorway with an Aztec symbol instead of the Swoosh, as well as the white version with an integrated LA-logo. Mister Cartoon explains that “This was crazy because here I was doing an Aztech on a Cortez. You have the Spaniards coming to New Spain which was Mexico to bring disease, a great war between the Spaniards and the Aztecs to create the Mexican People”, also on the Aztec warrior he “put the brush mustache which is representative of the homies now”. Furthermore Oriol’s photo of the LA hand sign would go on to become one of the most famous, iconic and copied pieces of art in LA history.

Image via FlightClub

Image via FlightClub

Image via Estevan Oriol

Image via Estevan Oriol

Ultimately LA originals does a great job showing how these two talents were being true to themselves and the culture they loved. Through embracing rap music before it went mainstream, tattoos before every spring breaker sported them, and gang signs before such iconography trickled down to Starbucks cups and H&M T-shirts. They imprinted directly onto the establishment and are also among the most visible contemporary Chicano artists in the city of Los Angeles. Estevan Oriol’s work has been showcased in select galleries and institutions such as Smithsonian Center for Latino Initiatives, Mesa Contemporary Art Center, Petersen Automotive Museum, and The Museum of Contemporary Art, Los Angeles’ Art in the Streets exhibit—concluding with a best-selling books of his work: LA Woman, L.A. Portraits, And This Is Los Angeles. Oriol and Cartoons work has also been featured in Complex, FHM, Juxtapoz, GQ, Vibe, Rolling Stone and other publications, with appearances on popular television shows such as, CNN’s AnthonyBourdain-UnKnown Parts, CNN’s Street Food-Roy Choi, HBO’s Entourage and Last Call With Carson Daly. It is also important to note that service to the community has been an essential part of Cartoon’s career. He takes place in monthly outreach programs where he shares his knowledge with young people and devotes time to many other community-based initiatives. Through innovation, creativity and persistence the pair have permanently left their mark on Hip Hop and LA culture.

References:

LA Originals - https://www.netflix.com/watch/80995284?trackId=13752289&tctx=0%2C0%2Cfc3942203cee637679a8e24899e808c6c3093cbc%3A87c16900c660967d37adb3bdd9cfd7ef0ece78be%2C%2C

Photography from - ESTEVAN ORIOL, estevanoriol.com, 05/04/2020, https://www.estevanoriol.com/

Photography from - MISTER CARTOON, mistercartoon.com, 05/04/2020, http://www.mistercartoon.com/

https://www.estevanoriol.com/about

http://www.mistercartoon.com/studio-info

No Jumper - https://www.youtube.com/watch?v=BdkJIMZiQsQ&t=3014s

https://en.wikipedia.org/wiki/Estevan_Oriol

https://en.wikipedia.org/wiki/Mister_Cartoon

https://en.wikipedia.org/wiki/Mexican_Americans

https://www.sastudiosglobal.com/

https://www.linkedin.com/company/sa-studios-global/

https://en.wikipedia.org/wiki/Chicano

https://en.wikipedia.org/wiki/Cholo

https://www.theguardian.com/film/2020/apr/09/la-originals-hip-hop-netflix-film

https://variety.com/2020/film/reviews/la-originals-review-estevan-oriol-mister-cartoon-1234576848/

https://sneakers-magazine.com/history-check-45-years-of-nike-cortez/

Norris, Michele (January 1, 2003). "Mister Cartoon's Growing Tattoo Empire". National Public Radio. Retrieved March 12, 2009.

"Mister Cartoon Draws Brand Interest". Brand Week. February 13, 2006. Archived from the original on May 22, 2008. Retrieved March 12, 2009.

Kingston, Anne (January 24, 2008). "Gracious living and the tattoo". Maclean's. Archived from the original on March 6, 2012. Retrieved March 12, 2009.

Estevan Oriol Drops First Photography Book—Titled ‘L.A. Woman’. BallerStatus.com (Sept. 16, 2009).

"Archived copy". Archived from the original on 2011-12-09. Retrieved 2011-11-28.

https://www.youtube.com/watch?v=xcu_cMjHsx8

"Estevan Oriol Joins BallerStatus.com as Partner & Creative Director". BallerStatus.com. March 6, 2018.

https://www.imdb.com/name/nm1474553/

https://thehundreds.uk/blogs/bobby-hundreds/mister-cartoon-interview-2018?country=GB

Meet One of The Pioneers Behind Brooklyn Drill

Image via AXL Beats

Image via AXL Beats

AXL a UK based producer has recently made a name for himself in the Drill/ Hip Hop Scene. Through introducing the sonics of UK Drill to Brooklyn Rappers, the creation of a new hybrid subgenre has taken the world by storm, with even mainstream artist such as Drake and Travis Scott jumping on the new wave.

In the early 2010s, a new style of trap music emerged out of Chicago characterised by violent, dark, crime, nihilistic and gang-related lyrics over ominous trap-inspired beats. Producers such as DJ L and Young Chop helped pioneer and establish sound sonically, while rappers such as Chief Keef, Lil Durk, Fredo Santana, SD and Lil Reese helped progress genre to the mainstream by mid-2012. New York Rappers would attempt to emulate the scene with little success, while in London a new regional subgenre emerged combining the lyrical gritty content of road rap and fast-paced grime beats with Drill, creating the UK Drill sound. In the last decade, this hybrid sound gained popularity internationally. In particularly UK producers such as AXL have become increasingly prominent in the New York street rap scene, which would eventually lead to foundations of NYC Drill movement, and launching the careers of rappers such as Sheff G, Fivio Foreign and 22Gz.


The 19-year-old producer arrived in the scene late 2016. Like, allot of UK Drill producers his sound utilised sliding and bending 808’s. Fast drum patterns of around 140pm(also seen in grime), he also incorporated grime vocal samples manipulating them to fit the drill sound and tempo. Through releasing visual instrumentals on youtube he slowly started to make a name for himself. Unlike allot of UK Drill producers rather than remaining local he quickly became the choice of Brooklyn rappers helping evolve the street rap scene into its own Drill subgenre. With genre developing unique lingo, attitude and content distinct to that region.

22Gz’s “suburban” is perhaps one of the first relevant Brooklyn drill songs in part to AXL’s production and use of church bells, a staple of his Chicago drill predecessor. Sheff G’s “No Suburban” also utilised AXL production. Here AXL’s rampant sound compliments Sheff G’s aggressive delivery while makes multiple subliminals. However his collaboration with Fivio Foreign on “Big Drip,” arguably launched his mainstream career. The track exploded to nearly 10 million views on YouTube within a few months.

Recently the producer has collaborated with mainstream acts such as Travis Scott & Pop Smoke on“Gatti” most notably Drake. AXL received a call from the Toronto rapper’s manager. “He told me Drake listened to some of Fivio Foreign’s songs produced by me.” AXL sent Drake a beat and soon after he released “War.” AXL says, “The beat sounds like mid-trap and mid-drill. It doesn’t sound like a regular aggressive drill beat. It’s more calm. It's a soft tempo drill beat. I think that’s Drake’s vibe, and it clicks with him.” Today the video has over 40million views.

In an interview with complex AXL said that “Grime is a whole different genre compared to drill. There’s some aspects of grime in UK drill, like the 808s, and you’ve got the slides and the fast-tempo snares. That’s kind of interacting with grime. But grime is different than Drill. And the drill you’re hearing now like the one Drake is on, is a mixture between grime and drill. DJ L, we created the sound. Shout out to him, he started off the sound. We took that sound and changed it to something else that’s way cleaner and neat. Something everyone could hop on. That’s the difference”

AXL along with other UK Producers such as 808 Melo, Ghosty and Hargo is completely redefining the sonics of American Hip Hop, through adding a bit of UK flavour. While Grime struggled to break through to America, due to its rugged underground sound, that can be abrasive in its purest form to unseasoned listeners, it’s successor UK Drill seems to break down every cultural barrier and has seen success from Australia to Ireland and New York.

References:

https://en.wikipedia.org/wiki/Drill_music

https://www.complex.com/music/2019/12/drake-war-drill-producer-axl-beats-interview

https://pitchfork.com/levels/axl-beats-drake-travis-scott/

https://www.youtube.com/watch?v=xf3eAb4l38Y

https://www.youtube.com/watch?v=lIlMtVGI5Pg

Unknown T cleared of Murder

Image via Salim Adam for adidas London

Image via Salim Adam for adidas London

20 year old rapper Unknown T from Hackney, also known also known as Daniel Lena was recently cleared of murder at Old Bailey in London.

Unknown T’s entry into the music scene was very promising. His hit Homerton B not only put Homerton on the map, but sonically stood out in the Drill scene. This single broke mainstream official charts and the video has over 20million views on youtube. He also had recently signed a contract with Universal Music Group, as well as appearance at major festival such as Wireless and performing at London’s 20,000-capacity O2 Arena during a guest appearance at a Drake concert. With follow up tunes such as Throwback and features on songs such as Medusa the artist demonstrated how musically dynamic and diverse his art could be, and many believed that he could be one of the few Drill artist to break into mainstream Hip Hop and Pop culture.

However his career was brought to holt after being accused of murder Steve Narvaez -Jara. In Old street, Islington on 1st of January 2018 Steven Narvaez - Jara an engineering student at Hertfordshire University, was murdered at a house party. Subsequently Mohammed Musse along with Lena and Ramani Boreland were charged with murder.

The incident was allegedly initiated by a dispute over a girl. A snapchat video was played during the trial. It was captioned “beef got crackin", the video depicts attackers holding large wooden objects in a densely packed room. A witness said that there around 100 people in room when a fight broke out also involving a machete. Lena in defence of himself emphasized he was unaware of anyone being armed at party, and that he did not attack or punch anyone. Apparently the fight broke out between Mohammed Musse, who apparently was drunk and acting disorderly, and Steve. After chaos erupted at the party apparently Steve slipped and fell to floor and was hit by wooden sticks and stabbed with a Machete however the fatal wound was caused by a knife. He died of a stab wound to the heart however it is unconfirmed who his killer is.

While Musse and Boreland will be sentenced at a later date. Lena and Boreland was cleared of murder, however boreland was convicted of manslaughter by majority. Another man, Mohammed Musse, was convicted of violent disorder. Lena was also cleared of hiding a 4mm revolver and ammunition under his bed in 2017 at age 17, claiming the weapon was imposed on him by a stranger.

The question that this raises is what implications does this have the UK music scene. With rappers such as Loski on trial for carrying a hand gun, Headie one serving a sixth month sentence, and J Hus being sentenced to eight months in prison 2018 for carrying a knife. Many feel that UK Rappers are being unfairly targeted. The media and Metropolitan Police recently has had a clamp down on genres such as UK Drill and have been removing videos from platforms such as youtube

Speaking to the Guardian in 2018, Lena complained that the drill scene – long the subject of criticism in the media – was being unfairly attacked. “They don’t understand the reality,” he said. “It’s not about the music, it’s about what’s behind the music. You can’t blame the music, or say you’re giving a helping hand with no aid. They’re pointing the finger at us but forgetting there’s three fingers pointing back.”

This raises issues of public expression and freedom of speech, and who is really entitled to such liberties. Whether this is down to racial profiling or classism, as a large demographic involved in UK Rap scene are black or different ethnic minorities, it still important to note that on the other side speaking about one’s harsh reality in music can raise attention from police and media if it implicates you in crimes. Whether you were involved or not or simply a bystander or have changed your way of life, speaking your truth can get unwanted attention and this one of the risks many rappers UK Rappers facetoday. As for rapper Unknown T with him being cleared of charges and out on bail he has a promising career a head of him as he is talented artist that bring allot of originality to UK Drill genre, however he will need to put in work to regain his position in UK music scene, although the publicity this trial gained him could work in his favour and aid in his progress.