It’s March 1, so Black History Month in the U.S. has concluded, but Draymond Green believes we should eliminate the celebration altogether. That doesn’t necessarily mean that the Golden State Warriors star wants to cease honoring Black history, but he did share his grievances with it receiving the shortest month out of the year. Green conveyed his thoughts during a recent press conference and acknowledged wearing a Black History Month shirt. He explained why this was unusual for him.
“This is actually the first time you’ve seen me in a Black History Month shirt all Black History Month, and it’s very intentional,” Green told the press. Then, he eased into his opinion. “And I really just threw this shirt on because I didn’t have another shirt to throw on. But Black History Month, at some point, can we get rid of it? Like, at some point?”
Draymond Green Calls For An End To BHM
MILWAUKEE, WISCONSIN – DECEMBER 13: Draymond Green #23 of the Golden State Warriors handles the ball during a game against the Milwaukee Bucks at Fiserv Forum on December 13, 2022 in Milwaukee, Wisconsin. The Bucks defeated the Warriors 128-111. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. (Photo by Stacy Revere/Getty Images)
Of course, this take came as a shock to viewers. However, Green explained that he advocates for teaching Black history, but it shouldn’t be relegated to just one month. The basketball icon also spoke on recent political controversies about Black history being banned in schools. It’s something that Green finds frustrating, and he didn’t mince words when detailing his thoughts.
“Why we got to keep getting the shortest month to celebrate our history? You got governors wanting to take our history out of schools. And I’m not going to be the fool to go say, yeah, we can celebrate it for 28 days. So at some point, I’d like to get rid of it. It’s—you know, we’re making all these changes in the world. Can’t talk about these people, can’t talk about those people. Can’t say this, can’t say that.
A Yearlong Celebration
“Teach my history from January to December 31st” – @Money23Green
“At some point, it’s time to get rid of Black History Month,” Green concluded. “Not get rid of Black history, like they’re trying to do. But Black History Month? No. Teach my history from January 1 to December 31. And then do it again, and then again, and then again, and then again. That’s what I’d like to see.” Check it out above.
Today, we will come to the end of what would be the 47th year of celebrating Black History Month. The historical celebration began in 1924 after Dr.Carter G. Woodson believed that African Americans were not being taught enough about the history and accomplishments of their ancestors.
Woodson turned to his fraternity, Omega Psi Phi, to help him get the message of ‘Negro History Week’ out, spreading negro history and literature for a week in February of 1924. Out of all months in a year, Woodson chose February because of the birthdays of both Fredrick Douglass and Abraham Lincoln.
Schools and organizations across the nation took in Woodson’s initiative. However, Woodson had a hard time finding course materials and building a curriculum. This led Woodson to believe that a week of celebration was simply not enough to cut down the achievements of ancestors into. In the early 1940s, Woodson begins to make efforts to expand Negro History Week.
On April 3rd, 1950 Dr. Carter G. Woodson, died of a heart attack. With Black history still being prominent in the community, and civil rights and The Black Panthers coming to light in the 1960s, more people began to agree with the notion that Negro History Week should be expanded. On the 50th anniversary of the celebrated week, the Association for the Study of African American History would officially shift the week of celebration, to a month, giving February as we know today, Black History Month.
However, Warwick’s rich musical legacy often goes unacknowledged despite her popularity with the younger generation due to her online presence and likeness being the focal point for a few viral Saturday Night Live sketches. Now, that is where her documentary, Dionne Warwick: Don’t Make Me Over (named after her 1963 song), comes in.
Co-directed by Dave Wooley (the co-author of Dionne Warwick: My Life, As I See It and Say A Little Prayer) and David Heilbroner, the documentary serves as a reminder of Warwick’s impact has had in her over six-decade-long career. The conversation about nepotism babies in the music industry has fizzled out. However, there is there’s still a conversation to be had about musical families to which Warwick belongs to one of New Jersey’s most famous ones.
The Drinkard Singers, Cissy Houston, Whitney Houston, and Warwick all share a bloodline. Although her late cousin Whitney Houston may be more widely known to today’s music lovers, Warwick has an equally robust catalog and impact. In fact, pop singers like Rihanna and Lizzo owe a great deal to Warwick for the doors she knocked down in the genre after she became the first African-American woman to win a Grammy award in the pop category in 1968 for her song “Do You Know The Way To San Jose?”
While we await the day Warwick gets her major studio-backed biopic like her cousin, in which she hopes Teyana Taylor will play her, the documentary Dionne Warwick: Don’t Make Me Over is a great place to start familiarizing yourself with Warwick’s life story.
As a classically trained musician and songwriter, Warwick’s music is the actual musical manifestation of trickle-down economics. As a result, Warwick’s music has influenced and been covered by some of the most revered musicians, including Aretha Franklin, Luther Vandross, and Ahmad Jamal, not to mention the dozens of times her work has been sampled.
Warwick’s 1967 song “I Say A Little Prayer” was reimagined by the late Aretha Franklin. It became one of the singer’s most popular songs receiving several placements in television and movies, the latest being Sing 2. Her 1964 song, “A House Is Not A Home,” was covered by jazz music icon Ella Fitzgerald in 1968, gospel music trailblazer Mavis Staples in 1969, and R&B titan Luther Vandross in 1981. Her 1973 song “You’re Gonna Need Me” was sampled by one of hip-hop’s most respected producers, the late J Dilla, in 2006 on his song “Stop!,” Usher in 2004 on his song “Throwback” featuring Jadakiss off his diamond-certified album Confessions, and “Want You Back” by rapper Fabulous in 2012 which features Joe Budden and Teyana Taylor.
Next, her 1964 song “Walk On By” was sampled by rap legend Slick Rick in 1988 on his iconic track “Mona Lisa,” Logic in 2013 on his track by the same now. The song was also covered by Aretha Franklin the same year and in 1969 by the late Isaac Hayes. Lastly, Warwick’s 1963 “Anyone Who Had a Heart” was sampled by Mos Def on his song “Know That” in 1999, and former G.O.O.D. Music signee Cyhi the Prynce in 2014 on his song “Napoleon.”
Warwick also embodies what it means to be socially responsible with your platform as an entertainer. Neck and neck with her lengthy discography, Warwick’s advocacy work is just as vast. A large portion of Warwick’s documentary Don’t Make Me Over is dedicated to showcasing her philanthropy and advocacy work across several causes, including AIDS research and LGBTQIA+ rights.
Long before Lady Gaga was singing about being born this way or Sam Smith spoke out supporting the Marriage Act, there was Dionne Warwick’s 1985 song “That’s What Friends Are For.” The track, a cover of Rod Stewart’s 1982 single by the same name, was recorded by Warwick featuring Elton John, Gladys Knight, and Stevie Wonder to raise funds for AIDS research during the height of the epidemic. After its release, the song became a major hit raising over $3 million for amfAR, The Foundation for AIDS Research. According to the documentary, it has raised $10 million for AIDS research. It will continue to raise money perpetually as Warwick signed away the rights to the profits to the organization. The song also earned Warwick another Grammy for Best Pop Performance by a Duo or Group and the top spot on the charts.
Another cause Warwick lent her voice was misogyny in rap music in the 1990s. While it remains a pervasive problem over twenty years later, at one point, the New Jersey native called a meeting of hip-hop’s biggest names to discuss the matter. Rap legend Snoop Dogg, an attendee of the meeting, recounted how he was out gangstered by Warwick, making him rethink his role in the problem. In recent times, Warwick’s advocacy work has mainly been done behind the scenes. Still, there are moments when the musician takes to her beloved Twitter page to speak on a matter (most recently, Britney Spears’ conservatorship).
Yes, Dionne Warwick is the undisputed Queen of Twitter and everyone’s favorite Internet Aunt, but let’s not forget her hefty contributions to popular music as we know it today.
Around this time ten years ago, Florida Georgia Line’s “Cruise” had already spent five weeks atop Billboard’s Hot Country Songs ranking. Thanks to a remix from Nelly — a preeminent artist at the intersection of hip-hop and country — “Cruise” highlighted the emergence of bro-country and a turning point in hip-hop-inspired country music production. It would go on to spend 24 cumulative weeks atop the chart — setting a new record Billboard‘s longest-running country number one at the time.
In the decade since the success of “Cruise,” the sounds of Black artists have been increasingly present on country radio and streaming playlists, while the faces of Black artists have struggled to break through and solidify a stronghold in the genre’s mainstream beyond a select few mainstays like Darius Rucker, Kane Brown, and, more recently, Jimmie Allen and Mickey Guyton. To put it into perspective, when Kane Brown topped Hot Country Songs in 2017 with “What Ifs,” he was the first Black artist to reach the pole position since Darius Rucker in 2008, who, in turn, was the first Black artist to reach No. 1 on that chart in 25 years. Rucker would reach No. 1 on the chart in 2009, 2010, 2011, and 2013. Nevertheless, in the time between Rucker and Brown’s chart-toppers, songs sung by white artists who borrowed liberally from hip-hop production motifs saw great success: “Meant to Be” (Florida George Line & Bebe Rexha), “Body Like a Back Road” (Sam Hunt), and, more recently, “Wasted on You” (Morgan Wallen).
In the latter half of the last decade, a shift started to occur. The dual inflection points of Beyoncé and The Chicks’ performance at the 50th Annual Country Music Association Awards and the removal of Lil Nas X’s “Old Town Road” from Hot Country Songs for “not embracing enough elements of today’s country music” marked a new era for Black artists in country’s mainstream. Beyoncé’s performance highlighted the bluesy foundation of country music’s Black roots, and Lil Nas’s response to the “Old Town Road” controversy, and his subsequent remix featuring Billy Ray Cyrus, eloquently exposed the inconsistencies within the country music establishment in reference to who is allowed to mix trap and country and still be considered country. For RVSHVD, a rising country star that has gained ample traction on TikTok, those moments “meant more Black people in country music, more Black people showing that we can do this to.” At the turn of the decade, in tandem with the explosion of TikTok, a new generation of Black country artists have emerged as the genre’s next set of crossover stars, equally capable of crafting a knockout hook as they are at bending the notoriously finicky TikTok algorithm to their will.
Tanner Adell, whose sonic profile blends the vocal bombast of a young Carrie Underwood with the lyrical flourishes of early Taylor Swift, has quickly emerged as one of the leading Black country artists on TikTok. She currently boasts over 333,000 followers on the platform with 5.7 million likes across all of her videos — and that’s not counting the videos of hers that have gone viral on Twitter and Facebook by way of fans reposting her TikToks to those sites. Tanner’s two most-viewed TikToks find her promoting her songs by embracing elements of her artistry and personhood that are seemingly outside of the traditional boundaries of modern country music aesthetics.
A snippet of a still-unreleased song titled “Buckle Bunny” garnered 2.8 million views and over half a million likes; the TikTok is a response to a user saying that “where I’m from, buckle bunny is a huge insult,” and Tanner replying “same” in the caption along with a slew of cheeky emojis. Two other TikToks, each of which earned over one million views, feature Tanner responding to a user eagerly inquiring if she is a “Black girl country singer.” The captions for both TikToks contain some variation on injecting country music with “bgm,” or “Black girl magic.” With content like this, Tanner effectively creates a bond between her and new listeners, which, in turn, folds them into a community that finds common ground in embracing elements of themselves that, in some circles, label them as outsiders. In addition to these kinds of videos, Tanner also utilizes TikTok like an everyday person. She posts videos documenting her wash days and hair care routines, playing around with trending filters, and dancing to popular songs and choreography like Lizzo’s “About Damn Time.” For Tanner, her smart, yet effortless, use of TikTok has translated into tangible success — which she has celebrated through, you guessed it, TikToks. She’s on Spotify billboards, the Dallas Cowboys Cheerleaders have performed to her song “Honkytonk Heartbreak,” her debut single, and, as of a November 2022 TikTok, “Love You a Little Bit” has garnered over four million streams across platforms.
In both his approach to music-making and the way he tackles the TikTok algorithm, RVSHVD looks to hip-hop. After first gaining traction on the platform through country covers of popular rap songs, Roddy Ricch’s “Ballin” chief among them, RVSHVD figured out his own personal cheat code to the app. On his profile, RVSHVD lists four different playlists of TikToks: Originals, Covers, If I Was Featured On, and Country Versions.
“The country version sort of just happened,” RVSHVD said. “I hadn’t seen anybody covering rap songs in other genres. I seen it in rock, like ‘hip-hop goes rock,’ but I hadn’t seen it in country. So I did that and that just sort of took off.” As the TikTok algorithm would have it, RVSHVD had to switch up his content to stay ahead of the curve. “That’s when I came up with ‘If I Was Featured On,’” he remarked. “I got that from Lil Wayne, back on like Da Drought and Dedication. You remember he used to remix other people’s songs?” It is quite easy to get pigeonholed into a monotonous content loop on TikTok, but RVSHVD found a way to successfully transfer the engagement from his covers to his original music. “I’m constantly coming up with new ideas. As soon as I see something not getting some attention, that’s when I switch it up,” he said. “Like changing the kind of videos I do or changing the kind of sounds I’ve been posting… sometimes it’s just as simple as switching locations.”
Through a steady stream of TikToks chronicling the song’s journey from an unreleased demo to a TikTok sound snippet to an official single complete with a music video, “Hit Different” has put up strong numbers across streaming platforms and currently ranks as RVSHVD’s most popular solo song on Spotify. “Hit Different,” which RVSHVD describes as “a down home song, something about me,” wasn’t his first stab at twisting the TikTok algorithm to launch a single. The promotional cycle for “Dirt Road” was the moment the Willacoochee, Georgia singer realized that there was a community of people that were tuning into what he had to say and offer as an artist beyond covers. “I previewed ‘Dirt Road’ because I put ‘Ballin’ up and that one went viral… I was so scared of that virality leaving that I just kept pumping out stuff,” he said. “I was finding a beat, recording it, shooting a video, and posting it all on the same day.” Once he posted the snippet and saw people liking and commenting on the video, that “confirmed for [him] that they weren’t just here for the covers… they actually wanted to hear [his] music too.”
Just as Tanner displays on her TikTok, for RVSHVD, representation is a driving force behind the way he uses TikTok to advance his career and grow his fanbase. “I remember I was at FarmJam,” he reflected. “This lady came up with her son, and he was super shy and this was a little Black boy. She said that when I got on stage, her song was like ‘Oh, he looks like me!’ I was like, man, that’s dope.”
As it stands, 2023 is off to a relatively slow start for Black artists in country music’s mainstream, but the seeds are there. This month, Kane Brown scored his ninth Country Airplay chart-topper with “Thank God,” a duet with his wife, and a quick glance at the Spotify-curated Fresh Finds Country playlist reveals placements for Black artists such as Rodell Duff, Reyna Roberts, Shannon, and Mike Parker. Slowly but surely, young Black country artists are reclaiming the genre’s Black roots through a sharp understanding of how to use TikTok to grow loyal fan communities. This progress keeps RVSHVD hopeful about where the genre is headed, “Now that country music is including more influences and more sounds, it’s attracting more people and building a new generation,” he said.
When it comes to the music industry, a healthy and supportive label can mean the difference between stardom and failure. Sure, most of the immediate attention around a hot new song or album concerns the artist that created it. However, labels often help these creators get to that point of success, whether through financial support or through keen mentorship. Over time, many record companies build a stacked catalog of either varied stars or a tightly curated sound. Still, much conversation around labels these days (especially the most successful ones) concerns how they might mistreat, exploit, or fail to properly compensate their roster. Many within hip-hop could relate to that experience, and thus chose to take matters into their own hands.
Perhaps more than in any other genre, rappers and producers quickly cemented their industry legacy in various ways. Many of the biggest rap stars of all time either spearheaded their labels, started their own, or made huge business moves to become entrepreneurs within the music world. Great labels can inspire change, provide employment opportunities, and create a space of community and support within a volatile industry. Of course, things don’t always pan out perfectly, but many labels in the rap game etched themselves into its history books for reasons larger than the sum of their sometimes controversial parts.
To celebrate Black History Month, we compiled a list of some of the most iconic Black-founded hip-hop labels. A few notes before the list begins in no particular order. First, this list includes record labels which were founded or co-founded by Black artists, entrepreneurs, producers, etc. Of course, many of these labels have parent companies; in other words, the larger music group conglomerate that distributes its releases. Still, these labels appear on the list because at one point in time or another, they represented (or represent) independence, creativity, artistic progression, commercial success or stability, community, innovation, or some or all of the above. We’ll also include some notable releases from each label, although there are many, many more iconic releases than what we’ve listed for each group.
There are too many iconic hip-hop labels to summarize perfectly in one list. So, with that said, let us know in the comments down below which are some of the most impactful Black-owned labels in your opinion, whether in hip-hop or beyond. Also, we recommend you search for independent record labels in your area of interest, as they can yield incredible and undiscovered talent. It’s that next generation of Black artists, businesspeople, entrepreneurs, and creatives that will continue to redefine the music industry. With all that said, let’s take a look at some of the biggest labels in hip-hop history.
Sugar Hill Records
Kicking off this list is, arguably, the label that started it all. Sugar Hill Records is responsible for some of the most essential and groundbreaking records in old school hip-hop in every metric. Sylvia Robinson founded this label with her husband Joe in 1986, along with Milton Madden and funding from Roulette Records. Sylvia already found artistic success in the 1950s and stepped into more of a producer role the next decade. With Grammy Award-winning experience working with Ike and Tina Turner, she created much of the blueprints for hip-hop’s pillars we take for granted today. She released the first rap single to dominate the charts and sell over a million copies with The Sugarhill Gang’s “Rapper’s Delight” (controversy aside). Also, she highlighted more established hip-hop acts like the legendary Grandmaster Flash & The Furious Five, who popularized the DJ as a musician and promoted social consciousness within their messaging.
With other artists like The Funky 4 + 1 and The Treacherous Three, Sylvia and Joe built one of the most successful and significant independent labels of its time in a few years. Unfortunately, Sugar Hill is now defunct following a distribution deal with MCA Records. While much of Sylvia’s work and talent went uncredited, she’s considered one of, if not the godmother of hip-hop. Much of Sugar Hill’s records are incredible distillations of what we know as rap today, and they set the groundwork for future independent companies from an artistic and business-minded standpoint. Hip-hop was born years before Sugar Hill, but Sylvia and Joe were among the first forces to stamp it in the music industry and commercial pop culture at large.
Notable Releases – “Rapper’s Delight” (1979) – The Sugarhill Gang – Sugarhill Presents the Sequence (1980) – The Sequence – The Message (1982) – Grandmaster Flash & The Furious Five – Drop The Bomb (1982) – Trouble Funk – “Whip It” (1983) – The Treacherous Three
Bad Boy Records
When Sean “Diddy” Combs was fired from his A&R job at Uptown Records, he knew that his skill at curation and ear for quality hip-hop couldn’t be squandered. As such, he founded Bad Boy Records in 1993, one of the most successful hip-hop labels of all time. To start, their catalog of artists represents titans of hip-hop and R&B in the ‘90s and 2000s. Faith Evans, The LOX, Craig Mack, Mase, Diddy himself, producers like Easy Mo Bee, Yung Joc, and of course the legendary Biggie Smalls. Sure, it had its ups and downs in its 30-year history, but the Bad Boy collective carved their name into East Coast hip-hop like few other labels have. In fact, although their output is more reserved, they continue to release significant albums in the music landscape.
Most recently, Janelle Monáe’s Dirty Computer received a Grammy nomination for Album of the Year, among a heap of additional critical and fan acclaim. Meanwhile, the label represents one of the most notable genre crossover artists in Machine Gun Kelly, whose latest album Mainstream Sellout saw much commercial success as well. With all that said, Bad Boy Records successfully shifted its focus across its history, and laid the groundwork for one of hip-hop’s billionaires. Diddy’s industry success, and the legacies of the rest of the Bad Boy crew, transcended far beyond label boundaries. Still, one can’t help but imagine what Bad Boy could’ve been if tragic events hadn’t marked its history so deeply. Much of the discussion around the label in the ‘90s concerned a rivalry with another imprint that caused a seismic shift in the genre, on the other side of the country.
Notable Releases – Ready To Die (1994), Life After Death (1997) – The Notorious B.I.G. – Faith (1995) – Faith Evans – Money, Power & Respect (1998) – The LOX – Dirty Computer (2018) – Janelle Monáe – Mainstream Sellout (2022) – Machine Gun Kelly
Death Row Records
When it comes to West Coast rap, few labels are as well-known, influential, and notorious as Death Row. Founded by Dr. Dre, Suge Knight, Dick Griffey, and The D.O.C. in 1991, the label became home to some of the most influential West Coast records of all time. Their first record was Dr. Dre’s The Chronic, which took G-funk to new heights and established the careers of label artists like Snoop Dogg, Kurupt, and Daz Dillinger. What followed were some of the most successful and beloved rap albums of the time, especially after they signed 2Pac in 1995. Also, the sheer popularity and gritty glamor of the collective’s aesthetic, their movement, and their public personas influenced rappers for decades to come. Even more so after their beef with Bad Boy Records, Death Row was as much of a philosophy as it was a brand.
However, that philosophy ended up becoming dangerous. Multiple losses on both sides, such as Pac and Biggie, meant tragic outcomes for both camps. In Death Row’s case, they didn’t fully recover after the conflict, as there were already internal battles between Dre, Pac, and the label executives. Despite its murky history, the label released art that impacted millions, regardless of the circumstances of its creation. In fact, Snoop Dogg recently bought the label from MNRK Music Group last year, so perhaps there will be a different ending to the Death Row story. As many other labels have done, maybe a new generation of Death Row artists will sidestep the label’s past struggles and capitalize on the music that made it truly special.
Notable Releases – The Chronic (1992) – Dr. Dre – Doggystyle (1993) – Snoop Dogg – “Regulate” (1994) – Warren G & Nate Dogg – All Eyez On Me (1996) – 2Pac – BODR (2022) – Snoop Dogg
Ruthless Records
Before Death Row, however, there was Ruthless Records. Eazy-E founded the label in 1987 alongside Jerry Heller. What started out as recordings in Eazy’s parents’ garage became some of the most influential tracks and albums in West Coast hip-hop. Through close collaboration and a relentless desire to do things their way, artists like N.W.A forged monumental careers. While internal discussions and money eventually got in the way of its key members, their influence during those days established them as leaders of the West Coast. Dr. Dre went on to co-found Death Row, and Ice Cube founded Street Knowledge Records, now known as Lench Mob. During this time, a lot of label turmoil was still being figured out in hip-hop, but it didn’t stop anyone from putting out impactful music.
Still, the Ruthless roster stands among many other West Coast pioneers who also contributed to the scene’s success. What makes this label special are its impressive and distant bookends. First, the gritty depictions of street life, hard-hitting production, and gangster attitudes that radicalized late ‘80s hip-hop. Then came Bone Thugs-n-Harmony in the mid ‘90s, who themselves laid some of the groundwork for the most popular sounds of today. The Ohio group not only proved Eazy-E had the vision to lead Ruthless to other scenes and movements in hip-hop, but were also one of the first to pioneer trap music in its prototypical stages. Perhaps Death Row gets a bit more name recognition these days, but Ruthless remains arguably one of the most enduringly influential labels in hip-hop history.
Notable Releases – Straight Outta Compton (1988) – N.W.A – Eazy Duz It (1988) – Eazy-E – No One Can Do It Better (1989) – The D.O.C. – Michel’le (1989) – Michel’le – E. 1999 Eternal (1995) – Bone Thugs-n-Harmony
Cash Money Records
Our first Southern representative on this list was founded by two brothers, Ronald “Slim” Williams and Bryan “Birdman” Williams. With a desire to overcome poverty from rough upbringings, the label became the genre’s biggest revolution in years. In its early days, Cash Money established itself thanks to keen curation, which turned the streets’ favorites into hit artists. With a few years of experience under their belt, they signed Lil Wayne and Juvenile in 2006, and would go on to include Nicki Minaj, Drake, Jacquees, DJ Khaled, and many more (under Young Money, a later imprint of Cash Money started by Lil Wayne). Albums were selling millions of copies and many of these projects ended up defining much of the 2000s bling era. Weezy, for example, is just as well-known for his mixtape series as he is for his classic albums.
Of course, eventually Cash Money’s biggest players ended up moving on. Wayne in particular had a lot of issues with Birdman surrounding the release of Tha Carter V, and a lot of those label tensions could’ve boiled over into other careers. Nicki Minaj, for example, is on Lil Wayne’s Young Money label, which used to be an imprint and later partner of Cash Money (or YMCMB). Regardless of how things have shifted, Cash Money continues this list’s trend of influential labels defining how future ones could operate. Birdman even played a hand in the rise of artists like Young Thug, who not only has beef with his idol Lil Wayne but created a whole generation of clones of his own. Many of today’s most traveled roads in rap were paved by the sound Cash Money championed.
Notable Releases – 400 Degreez (1998) – Juvenile – 5 * Stunna (2007) – Birdman – Tha Carter III (2008) – Lil Wayne – Pink Friday (2011) – Nicki Minaj – If You’re Reading This It’s Too Late (2015) – Drake
No Limit Records
No Limit’s history slightly mirrors that of Cash Money, at least at first glance. Similar come-up in 1991, reached mainstream success from the mid ’90s to the 2000s, and so on. Percy “Master P” Miller started to sell his recordings through a small storefront, seeking out and signing local California talent. However, given he’s from New Orleans, the sound of No Limit was something more new from the jump. Eventually the label relocated to his home city in Louisiana in 1995, and found more MCs hungry to succeed. Within two years, No Limit was one of the more commercially successful labels of the moment. They dropped movie soundtracks and signed the one and only Snoop Dogg after his Death Row exit.
While No Limit’s music wasn’t a critical darling, its artists were so prolific and idiosyncratic that they connected with audiences in a way few other rap labels could. Though all good things came to an end, they represented yet another fresh take on the game. At the time, there was still had a bit of binary bias between West and East. While No Limit is no more, it lives on through No Limit Forever Records, founded by P’s son Romeo Miller. Their groovy, raw, and relentless run of albums in the ‘90s and 2000s was quite impressive as a new player. Also, dozens of rappers have spoken on how Master P shaped their consumption of the art form. During a time in which labels seem to want to put more music out than ever, perhaps No Limit set a blueprint for how artists could make that supply and demand work.
Notable Releases – The Shocker (1996) – Silkk the Shocker – Ghetto D (1997) – Master P – Tru 2 da Game (1997) – TRU – Da Game Is to Be Sold, Not to Be Told (1998) – Snoop Dogg – Mama Drama (1998) – Mia X
Def Jam Recordings
Of all the labels on this list, Def Jam might be the broadest selection, the most difficult to talk about, and the hardest to summarize in two paragraphs. After linking with producer Rick Rubin, Russell Simmons built upon some of his industry experience to build an empire. Early signees included some of hip-hop’s most impactful innovators: Run-DMC, LL Cool J, and The Beastie Boys. Then came Jay-Z, DMX, Kanye West, Redman, Mariah Carey, Rihanna, Big Sean, Frank Ocean, Pusha T, and so many more. Artists either formed gargantuan careers starting off in Def Jam or have arrived at it as established superstars. The sheer variety of genres and styles, the businesses it’s directly and indirectly created, and its broad influence is outstanding.
However, with such a wide pool, you’re bound to have some sharks in the water. In many ways, Def Jam’s size and versatility emphasizes everything a label can be. It can be freeing, restrictive, personal, cold, rewarding, unforgiving, the best thing to happen to your career, the music business screwing you over, or all those things at once. In fact, Simmons is no longer even on the board as executive due to various accusations of sexual assault. Despite that, this label gave artists the experience and infrastructure knwoledge to excel independently, at least in some cases. Even with excitement around Def Jam disappearing with time and context, many of its artists are still invigorating and inspirational. No matter who you are, odds are that you will find something that moves you on this label’s discography.
Notable Releases – Radio (1985) – LL Cool J – Licensed To Ill (1986) – The Beastie Boys – It Takes a Nation of Millions to Hold Us Back (1988) – Public Enemy – The Blueprint (2001) – Jay-Z – It’s Almost Dry (2022) – Pusha T
Top Dawg Entertainment
One of the top labels right now was founded almost twenty years ago. In 2003, after six years producing, Anthony “Top Dawg” Tiffifth met a then-15-year-old Compton rapper named Kedrick Lamar. Eventually, TDE became a proper label with the help of Terrence “Punch” Henderson in 2004 and first started seeing commercial success thanks to successful mixtapes from Jay Rock. Soon after, Ab-Soul and ScHoolboy Q joined, leading the four MCs to form Black Hippy in 2009. With later signees including SZA, Isaiah Rashad, and most recently Doechii, TDE represents commercially successful but artistically progressive hip-hop. For example, many consider Kendrick Lamar one of the greatest to ever do it. Now that he’s exited the label, they might wonder where they go from here.
Well, so far, the incredible success and acclaim behind albums like SZA’s SOS, Zay’s The House Is Burning, and Ab-Soul’s Herbert quell all doubts of quality discographies coming through. Moreover, Doechii became one of the XXL Freshmen of 2022 and is one of the most beloved rising MCs. While some labels fall to either complete lack of notable output or too much infighting, TDE focused on its artistry. Of course, it hasn’t dodged those industry pitfalls, as release conflicts from behind the scenes, accusations of “mid” on the Internet, and the fact that TDE releases take a while still affect the label. However, for what it’s worth, they might have the highest batting average here and inspire many other independent labels.
Notable Releases – Control System (2012) – Ab-Soul – Oxymoron (2014) – ScHoolboy Q – To Pimp A Butterfly (2015) – Kendrick Lamar – Ctrl (2017) – SZA – The House Is Burning (2021) – Isaiash Rashad
Dreamville Records
Next up is TDE’s biggest competition, although they actually feel more like kindred spirits. J. Cole founded Dreamville in 2007 with manager Ibrahim Hamad. Cole wanted to put music out, Hamad wanted to start a label, and within seven years they released the label’s first group mixtape Revenge of the Dreamers after Cole’s mainstream success. While their roster is often compared to TDE’s, they certainly shine as a unified label with just as much talent. Bas, Ari Lennox, JID, and EARTHGANG are just a few of the charismatic creators that push Dreamville forward today. Cole continues to do incredible things, but just like TDE, the newest names are the most exciting thing about it.
JID reached rap royalty with 2022’s The Forever Story, which established him as a leader after already proving his skills. Much of the roster is entering what many would call their veteran years, but their music remains fresh and unencumbered. Let’s not forget their recent Gangsta Grillz tape with DJ Drama, which proves they can dominate on the home court or in another city. Dreamville also has a Foundation in Fayetteville, North Carolina that helped many of its community members through rough times. While many labels often engage in charitable endeavors and extracurriculars like film soundtracks and business deals, few artists come off as genuine, well-mentored, and prepared to take on those responsibilities as Dreamville’s artists do.
Notable Releases – 2014 Forest Hills Drive (2014) – J. Cole – Milky Way (2018) – Bas – Shea Butter Baby (2019) – Ari Lennox – Mirrorland (2019) – EARTHGANG – The Forever Story (2022) – JID
Griselda Records
Finally in this list, we have Griselda, the independent Buffalo, New York label with one of the most prolific and quality discographies in recent memory. Founded in 2021 by Westside Gunn, Conway the Machine, and Mach-Hommy, the label was inspired by their experiences with drug dealing, their focused artistic visions, desire for independence, and building off of rap innovators like Roc Marciano. With the help of rapper Benny the Butcher and in-house producer Daringer, they cultivated a rebirth of hardcore hip-hop. Their beats feel incredibly atmospheric, gritty, and menacing, like the best grimy East Coast boom-bap of the 1990s. Their aesthetic creativity and business acumen in many areas has given each member an illustrious career of their own.
Speaking of Griselda’s roster, it includes the aforementioned wordsmiths plus some of the most respected MCs working today. There’s Boldy James, Rome Streetz, Armani Caesar, Jay Worthy, YN Billy, and Stove God Cooks. In fact, you can count the current Griselda roster with both hands. Even with Conway’s amicable departure, any one of those nine could likely body an average label roster today. Griselda is more than just a label in people’s minds. It’s almost more of a hivemind or a genre at this point. Few labels ever in hip-hop have been so easily identifiable and respected, not just because of their trademark style but because of the consistency of their output. More than any other label on this list, Griselda clearly has a very specific goal. They produce essential hip-hop music and get its hard-working artists a lot of cash, recognition, and freedom while doing so.
Notable Releases – The Plugs I Met (2019) – Benny The Butcher – Pray for Paris (2020) – Westside Gunn – The Liz (2020) – Armani Caesar – Pray for Haiti (2021) – Mach-Hommy – God Don’t Make Mistakes (2022) – Conway The Machine
Over the past few years, it seems like each summer brings us a new it-girl in rap. Coi Leray, Flo Milli,GloRilla, Ice Spice, and Latto have all seen their fortunes rise precipitously with what seems like just one song. Often, it seems like they appear from nowhere overnight and the next day, they are everywhere. This is, in my humble opinion, a good thing. It’s good for them, it’s good for rap, and it’s good for the health of the music business as a whole.
Unfortunately, you can’t turn on a light without casting a shadow. And nasty things breed in the darkness. In the case of rap’s new it-girls, the rancid flip side has been a lot of men — and it’s nearly all men — who suddenly have a lot of opinions on what women should be rapping about. And, considering the audience that these women have found in their peers, what kind of rap women should be listening to. I’m sure you’ve seen the posts on social media or outlets that cover hip-hop.
In December, Hitmaka whined about the prevalence of “p*ssy rap”; in 2019, it was Jermaine Dupri comparing breakthrough female rappers to strippers. On Twitter, seemingly every third post about Coi Leray or Ice Spice or Megan Thee Stallion is the same corny, tired, and thoroughly overused “joke” about how much better their music sounds on mute. It’s exhausting for me and I’m just a guy who writes about rap for work; I can only imagine how tiresome it is for these women and for their fans.
As has been rightfully pointed out time and time again, there is a double standard in hip-hop. Men brag about their “magic sticks,” boast that they shouldn’t have to “f*ck for free,” and demand, near constantly, for women to bend it over, touch their toes, and/or bust it open for a real n****. Which… is fine, I guess. To be honest, I’m a little over it. It’s kind of boring at this point. If the goal in rap is to be the best rapper, to be the most creative artist, you would think they’d all try a little harder than just repeating the same cliches for the past 20 years.
Mind you, in those 20 years, there were only a handful of women flourishing in rap and only about two or three regularly charting on the Hot 100. That all changed in 2018 when Cardi B showed up to kick the gates off their hinges with “Bodak Yellow.” Suddenly, labels could see value in supporting female rap artists again. Fans realized that there were more voices in the conversation waiting to be sought out. And more young women realized that there might be a future in those notebooks they were filling with rhymes.
The difference for Cardi, aside from access to streaming and the recently-revamped Billboard chart counting procedure, was that Cardi wasn’t rapping to impress rap dudes. Women have been trying that for decades and only getting as far as forum love and regional tours. As it turns out, men are great at saying they want one thing, but not actually seeking out or supporting it. Instead, Cardi rapped about the stuff she wanted to, from the perspective of a “regular degular chick from The Bronx.”
That was the formula that cracked the code, and soon, it seemed there were dozens of women in rap applying it to their own regional takes. City Girls brought Miami flavor, Saweetie represented for the Bay Area, and Megan held it down for the Houston hotties. Their successes became beacons for the legions of unknown, aspiring rappers who took the baton and ran with it. And while, yes, the formula calcified a bit and became too… well… formulaic, we still got standouts each year all approaching rap their own way, and most importantly, having fun with it.
So why is that such a problem for so many men?
Well, for one thing, rap is nearly 50 years old, and for nearly all of that time, was widely considered “a guy thing.” Men were centered; many of the performers were men, true, but as pointed out in Clover Hope’s excellent history The Motherlode, many female performers were left out of the history books, overlooked, and forgotten about — especially when their performances didn’t center men. Many of the women who flourished appealed to men in some way; MC Lyte “rapped like a dude,” Salt-N-Pepa brought sex appeal, and Queen Latifah was one of two women in the Native Tongues crew, a position that would come to be the standard during the “first lady of the label” era exemplified by Lil Kim, Foxy Brown, Eve, Rah Digga, Shawnna, and Amil (Nicki Minaj lands on the tail end of that movement as the sole female rapper on Young Money).
However, starting with Cardi, women’s concerns — mainly turning up at the club, but also dealing with f*ckboys, hustling sugar daddies, and flipping transactional relationships to their advantage — are at the forefront of women’s raps. Rather than writing punchlines and boasts as men would write them, women boast “how can I lose when I’m already chose?” to men’s chagrin. Rap always offered ostensibly masculine fantasies to indulge fans’ interests but now the fantasies place women in positions of power and leave rap’s core audience — which has always been average, slightly dork dudes — out of the conversation entirely. (Or so they believe; it seems many men can picture themselves as drug kingpins with trophy girlfriends, but never considered those paramours’ perspectives.)
The carefree Black boy archetype is a thing that has risen in prominence in the past few years. Well, I would argue that today’s female rappers represent the flip side of that coin: the carefree Black girls. But in releasing themselves from the concerns that historically plagued Black women, they’ve highlighted some truths that make men very uncomfortable. While we have labored for the last 100 or so years under expectations of stoicism, criminality, and hypermasculinity, women have often borne the brunt of the negative effects carrying or living down to those expectations have caused us.
What rap’s it-girls — the carefree Black girls — are doing is rejecting the twin roles of matron and mule for Black men’s anger, spite, and frustration at being sidelined in America’s racist system. They’re carving out their own chuck of joy and respite, be it material — handbags and shoes, trips to exotic locales — or spiritual — dismissing noncommital men, demanding the world from their partners. A generation raised on pimp perspectives is only going to see affront in hearing about women taking control of their own destinies.
But maybe we shouldn’t; after all, in their liberation, there’s freedom for us too. Why are we relating to pimps and criminals? And why would we rebuke women embracing sexual freedoms that we would ultimately only benefit from? It seems to me that the narrative that truly needs rejecting is the restrictive one in which we are all constrained to minimizing, flattening roles of men as gangsters or hypermasculine fantasy tough guys and women as demure coquettes solely catering to men’s desires.
It’s been said that rappers shouldn’t be role models — but that was the rappers of old, the ones who demeaned women and destroyed their own communities (at least, lyrically. We all know we shouldn’t take these rhymes at face value). But these carefree Black girls who dance when they want, say what they’re thinking, pursue their goals with a vengeance, and won’t settle for less than they feel they are owed are the perfect role models for a generation that has been learning to grow beyond what has been to what could be.
Black History Month is an incredibly important time. It is a month in which everyone can be educated about the fight for equal rights all throughout the world. Additionally, it is a time to celebrate black culture and its influence that can be found all around us. When it comes to sneakers, there is no doubt that black culture has ultimately served as inspiration for numerous shoes. Overall, companies like Nike and Adidas understand this better than anyone. Consequently, they have come through with various Black History Month-inspired colorways. Today, we are counting down some of the best.
Nike Zoom Kobe 6 “Black History Month”
Image via GOAT
Kicking off our list is the Nike Zoom Kobe 6 “Black History Month.” Overall, this is a sneaker that is definitely going to impress you upon first look. The upper is covered in black scales, while the Nike swoosh is gold. Additionally, there is a green, red, and gold “BHM” logo that can be found on the back heel. This is also bolstered by a gold back heel unit that truly adds some pop to the shoe. If you are a fan of the Kobe 6, then this is a great offering. A wide variety of sizes are currently selling between $600 and $800 USD.
Tennessee State University x Nike Dunk Low “Tigers”
Image via GOAT
Next up we have the Nike Dunk Low “Tigers” which is an homage to Tennessee State University. The sneaker is part of a collection of HBCU dunks Nike released in 2022 for select HBCUs. Right off the bat, it is very clear that this is a nice colorful offering. Just looking at it, you can tell that is meant for those who prefer a lot of different colors in their shoes. The side panels and the toe box here are black, while the overlays are a mix of red, blue, and yellow. Lastly, there are white laces and a white Nike swoosh for contrast. Numerous adult sizes are in stock for an average price of $225 USD.
Nike LeBron 16 “Equality – White Black”
Image via GOAT
Third on our list is the Nike LeBron 16 “Equality.” This is a sneaker that follows the footsteps of the LeBron 15 of the same name. As many already know, this shoe came out in two color schemes, however, we have decided to highlight the version that is mostly covered in black Knitposite. Additionally, the shoe has some white on the midsole as well as the laces. Overall, it is a very clean shoe that fans have adored since its release. A wide range of sizes can currently be purchased online.
Curry Flow 9 “Black History Month”
Image via GOAT
Steph Curry is someone who has released some amazing signature sneakers over the years. Among them is the Curry 9 Flow “Black History Month,” pictured above. This shoe is immensely colorful. Right off the bat, we have a teal upper towards the front which is also met with some yellow and black. Subsequently, the shoe has a black back heel which then extends over to the tongue. Lastly, there are some colorful laces here that bring the aesthetic together. This shoe is currently for sale in a whole range of adult sizes.
New Balance 990v5 Made In USA “Black History Month”
Image via GOAT
The first and only New Balance on this list is a gorgeous 990v5 Made In USA. New Balance has been killing it with the chunky dad runners, and this sneaker is an example of that. Firstly, the shoe is met with white mesh and white suede. Secondly, we get a dose of burgundy all throughout while the New Balance logo is gold. Lastly, the shoe has a nice purple hue on the back heel and the midsole. Overall, this is a colorway that immediately makes a strong impression. As it stands, pairs can be found for an average price between $200 and $250 USD.
Continuing on, we now bring you a Converse Chuck 70 Hi for Black History Month. This sneaker has a cool concept that is certainly done very well. Firstly, the shoe opens up with some black canvas on the side panels. From there, however, instead of your usual solid color patches, we have a different aesthetic. As you can see, on the back heel, cuff, and toe box, we have Kente cloth patterns. Ultimately, it makes for a nice touch that makes this shoe truly unique. You can get this sneaker in a plethora of sizes for an affordable price.
Air Max 95 “Black History Month”
Image via GOAT
Lastly, we bring you the Nike Air Max 95 “Black History Month.” This is one of the more colorful sneakers on the entire list. The entire upper is covered in various different tones. For instance, we have blue, orange, purple, and yellow stripes throughout the sides. Moreover, there is a black tongue with some blue on top of it. Lastly, the toe box is made of black materials, while the midsole is white. Overall, it is a shoe that you cannot go wrong with. If you want a pair, you can currently find it in a full range of adult sizes.
Let us know which Black History Monthshoe is your favorite, in the comments down below.
Many people may have heard of the “Five Percenters” or the teachings that stem from this cultural phenomenon born in the ghettos of America, but there are very few who are familiar with the origins of the 5% Nation (also known as the Nation Of Gods and Earths) or that of the founder of the Five Percent, who is best known as Allah. Artists and athletes such as Jay-Z and Carmelo Anthony have shown either their allegiance or alliance to Allah’s 56-year-old Nation. Of all of the religious and nationalist movements of the revolutionary 1960s, his story is always left out of Black History Month recognition, even though Allah met the same treacherous fate as many of the Black leaders of that era.
Born on this date in 1928, the man known as Allah was born Clarence Edward Smith to Louis and Mary Smith in Danville, Virginia. He moved to Harlem, New York as a young adult and it was from there that he began his lifelong journey in establishing a legacy of pride, righteousness, and all-inclusivity among the youth that has expanded all over the globe.
In commemoration of Black History Month, TheSource.com brings you seven facts about Allah and what his 5% Nation has brought to the Black, Latino, Asian and white youth in the United States and around the world.
Allah fought in the Korean War; won several medals including the Silver Star and Purple Heart.
He was a member of Nation Of Islam’s Temple No. 7 under Minister Malcolm X, however, left the NOI in 1963 shortly before Malcolm’s departure.
Allah was given the “Street Academy” at 2122 7th Avenue(now known as Allah School In Mecca) by NYC Mayor John Lindsay in 1967.
Allah was proficient at martial arts, which he learned in Korea and was an instructor to the members of NOI security, Fruit Of Islam.
Allah was not anti-white and taught white 5%ers, including Mayor Lindsay’s assistant Barry Gotterher.
Allah was killed by unknown assailants on June 13, 1969, however, it was revealed in a document declassified by the FBI in 1981 that he was a target of J.Edgar Hoover’s COINTELPRO initiative aimed at Black leaders.
The message of the 5% is not a thing of Hip Hop’s past. Artists such as NYC’s Fame Labs, Detroit’s(D-Mecca) Njeri Earth and Allah Magnetic aka Mullah Don who carries on Allah’s tradition through their music.
Snoop Dogg faces criticism online for his promotion of his wine brand 19 Crimes at a local Kroger during Black History Month. Moreover, the small town grocery store featured promotional posters and messages that many found particularly insensitive. According to WSB-TV Channel 2, patrons at a Kroger on Peachtree Parkway in Peachtree City, Georgia are not happy with the promo stunts. There’s a life size cutout of Snoop promoting 19 Crimes, and next to it is the bulletin board that caught people’s ire. For example, its featured phrases like “Dream Like Martin” and “Say it loud, I’m Black and proud” struck many as a slap in the face.
LAS VEGAS, NEVADA – FEBRUARY 05: LAS VEGAS, NEVADA – FEBRUARY 05: AFC captain Snoop Dogg is interviewed during an NFL Pro Bowl football game at Allegiant Stadium on February 05, 2023 in Las Vegas, Nevada. (Photo by Michael Owens/Getty Images)
Furthermore, the promotional posters stood next to bottles of bubbly from Dogg’s label and also Black Girl Magic Wine. Even if they were selling a million bucks for a dollar, people didn’t take kindly to the messages. “I just felt that it was offensive,” former president of the local NAACP Johnnie Jones told WSB-TVChanel 2. “They really promoting alcohol. Proud of drinking wine? No. We’re proud of the Tuskegee Airmen whose shoulders I stand on.”
Some customers say selling wine has nothing to do with celebrating Black History Month. https://t.co/fdC3KNnqw0
Kroger Customers Weigh In On Snoop Dogg’s Wine Promotion
Also, he said the store should honor leaders like Atlanta’s first Black Mayor or the first Black Mayor of Fayetteville. “We need to be thirsty for knowledge,” he added. In addition, other customers chimed in on the signs in the report. “It’s very negative,” added Michael Drummond. What’s more is that some defended them and didn’t see a problem with them. “I didn’t think there was anything wrong with showing a display of Snoop,” customer Pam Lewis shared. “I mean, if you want to drink wine whether it’s Black History Month or not it shouldn’t really make any difference.”
Meanwhile, after the backlash, store managers immediately pulled the promotion. Kroger’s corporate offices stated, “Kroger is committed to Diversity, Equity and Inclusion in all we do. Our intentions are never meant to be offensive.” Still, neither the Long Beach legend nor his team responded to this as of yet. Regardless of your take, stay tuned to HNHH for the latest on Snoop Dogg.
Black History Month is a time to pay tribute and remember important Black figures who paved the way. SOHH, how well do you know your Black history? Take this quiz and find out!
