TOP partake in the general blind spots of that subgroup, too—their appropriations from rap, reggae, and dancehall are familiar and warmly meant, but shallow, a consumer and spectator’s distanced dabbling in black cultures. Joseph tries to acknowledge this (“this is not rap, this is not hip-hop/ just another attempt to make the voices stop,” he says in “Heavydirtysoul,” and in “Lane Boy,” “I wasn’t raised in the hood/ But I know a thing or two about pain and darkness”), but it just makes it worse. Likewise, gender is seldom an explicit concern, and when it is, it sometimes approaches the worst of earlier “where the girls aren’t” emo, with boys as girlfriends’ innocent victims, as in “Tear in My Heart”: “She’s a carver./ She’s a butcher with a smile.”
Article source: http://www.slate.com/articles/arts/music_box/2017/01/why_twenty_one_pilots_are_america_s_biggest_rock_band.html
