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Wu-Tang Clan “Once Upon A Time In Shaolin” Timeline: What Happened & What’s Next?

June 13, 2024 by newhiphopnews

On a trip to Egypt in 2004, the RZA first ideated a new Wu-Tang Clan album that would deservedly treat music as high art, not as a commodity to create and distribute quickly and on a dime. By the time the LP Once Upon A Time In Shaolin “came out” in 2015, following almost a decade of studio sessions with the whole Wu, the project became a more pertinent experiment and statement amid streaming’s rising devaluation of music. He and producer Cilvaringz worked heavily on recreating that gritty sound from the 36 Chambers days, compiling verses from every surviving member of the rap group plus some extra names like Redman and Cher.

So when 2015 rolled around, and the album released as a unique physical copy with no digital equivalent, the idea was to tour it around museums, listening events, and the like before landing on a single buyer. Wu-Tang Clan members like Ghostface Killah, Method Man, and Raekwon all voiced their grievances over remaining in the dark on this release strategy. Despite the internal conflicts of the group, Once Upon A Time In Shaolin stuck to this approach, and its legacy continues to champion this idea, albeit in an altered manner, to this day. But it definitely went through many obstacles to find itself in 2024, and will likely face more. But where did this all start?

Once Upon A Time In Shaolin‘s Original Sale Plan

Wu-Tang Clan’s rare unreleased album, Once Upon a Time in Shaolin. pic.twitter.com/POArhx34f7

— XXL Magazine (@XXL) June 8, 2024

Once Upon A Time In Shaolin entered the steep marketplace with some legal stipulations: its eventual owner would not be able to release or profit off of the album until 2103, 88 years after its release. About 150 art aficionados, critics, and art dealers heard the album at a MoMA listening session in 2015, and auction house Paddle8 searched for a buyer. This was more of a compromise when compared to the original vision for this Wu-Tang Clan album to tour the world in a briefcase. Alas, they eventually found the project’s buyer, which opened up a notorious can of worms.

Martin Shkreli Buys The Wu-Tang Clan’s Album In 2015

In 2015, hedge fund head and infamous “pharma bro” Martin Shkreli bought the album at an auction for $2 million. This wasn’t just controversial based on the presumptuous image that he represented as Once Upon A Time In Shaolin‘s owner, but also because of his actions elsewhere. A big narrative around this sale was that Shkreli had raised the price of the anti-parasitic drug Daraprim, for AIDS treatment among other uses, by 5,000%. He promised to leak the album if Donald Trump became U.S. President in 2016, yet upon his election, he only played some snippets here and there and shared them online across various platforms. Shkreli also boasted about playing the album for partners and colleagues, and this obviously caused a stir in the Wu-Tang Clan camp.

How Did The Wu Respond To Shkreli?

The RZA claimed ignorance of Martin Shkreli’s moves to raise Daraprim’s price before they finalized the purchase. In fact, the group apparently donated much of the proceeds behind the sale to charities supporting cancer treatment and other medical efforts to circumvent high pharmaceutical costs. While he defended Shkreli’s right to purchase the album as a hip-hop fan and appreciator of art, others weren’t so keen. Ghostface Killah got into it with the “pharma bro,” resulting in some back-and-forth diss videos in which Shkreli played more of the album. Method Man also spoke on feeling blindsided and at odds with Once Upon A Time In Shaolin in 2017, and others like Raekwon spoke of their differences in the years since.

Martin Shkreli Goes Down

In 2017, a court convicted Martin Shkreli on federal charges involving security fraud, and while he tried to sell the album on eBay before his imprisonment and 2018 sentencing to seven years, Once Upon A Time In Shaolin became one of the assets that the court seized as part of a $7.3 million forfeit. The Wu-Tang Clan’s album fell into the hands of the U.S. government, and Ghostface Killah and Raekwon were among those who blasted Shkreli after this arrest. But the question of what would happen to the album remained a mystery… until 2021.

Pleasr Takes Over

In July 2021, the U.S. Department of Justice announced the sale of Once Upon A Time In Shaolin in its continued asset seizure of Shkreli. The buyer was later revealed as NFT company PleasrDAO, who bought the Wu-Tang Clan project for $4 million. This doubled its value but still left its future as an uncertain sea of speculation.

Pleasr’s Lawsuit Against Martin Shkreli

On June 10, 2024, PleasrDAO filed a lawsuit in Brooklyn federal court against Martin Shkreli for allegedly playing unauthorized copies of Once Upon A Time In Shaolin since 2021 that breached the terms of his forfeiture order. Not only that, but the company claimed that he boasted about this practice on social media. Shkreli blasted this lawsuit attempt online, calling PleasrDAO “super nerds” that displayed a “lack of diligence” in their arguments.

Once Upon A Time In Shaolin Is Slowly Becoming A Reality… Right?

Apparently, this did not halt Pleasr’s efforts to get the album out to the public little by little… and on their terms. Earlier this June, New York City’s oldest synagogue held a listening event for bits of the album (not in its entirety), and the company announced that the Museum of Old and New Art in Tasmania would host 30-minute listening events playing select Once Upon A Time In Shaolin cuts twice daily as part of its “Namedropping” exhibition, running from June 15 to June 24. Not only that, but they also reportedly launched five-minute snippets from the Wu-Tang Clan album as NFTs, as part of a reported agreement to “unlock” the album by speeding up the timeline until October 8, 2103 by 88 seconds with each purchase. Will it generate the $28 million necessary to put all the pieces together? Time will tell…

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Travis Scott’s College Essay About G.O.O.D. Music Dug Up By Fan, Internet Rips It Apart

May 27, 2024 by newhiphopnews

Travis Scott has always been a studen t of hip-hop ever since he became a Kanye West protege back in the early 2010s. Over the years, we have seen him take the respective sounds of artists like Ye, Kid Cudi, Future, and more and create a one-of-a-kind psychedelic sound. But even before he began his rap journey, he was looking to get ahead even when he was an actual student. According to XXL, one of many Travis Scott fan accounts recently uncovered a college essay from his short stint at university. This four-page paper from December 5, 2009, seems to have been for an English professor of some sort.

If you did not know, Trav attended The University of Texas at San Antonio (UTSA). He would drop out during his sophomore year, before ultimately becoming the controversial superstar we know him to be. In the essay, Scott flexes his rap knowledge by summarizing the careers of Kid Cudi and Big Sean. He refers to them as “well-known rappers that had similar lifestyles but different messages.” Subsequently, these parallels “carried them an opportunity to get sign to a multi-million-dollar company called G.O.O.D. MUSIC.”

Fans Joke Travis Used Wikipedia For This College Essay

Full essay: pic.twitter.com/oX7jZlierh

— Travis Scott Vault (@travis_vault) May 27, 2024

Near the end of the paper, Scott wanted to this story to convey that, “Success is not something that is giving out. You must go out and take what you want.” Even though the multi-hyphenate must have felt good about his efforts here, fans have been quick to tear it up. “Dude wrote the intro, then just copy paste Wikipedia!” one user writes. “Goddamn my brain is hurting reading this s***” another adds. While some of the grammar is not totally refined, it seems that he knew this information on the back of his hand.

What are your thoughts on this college essay about G.O.O.D. Music by Travis Scott? Do you think this is a poorly written, or well written paper? Could you see Travis knowing all of this, or do you think he did some light research? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Travis Scott. Finally, stay with us for everything else going on in the music world.

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6 Times Rappers Lied In Diss Songs

May 10, 2024 by newhiphopnews

Gayle King interviewed Fat Joe last year, where he opened up about how a rapper’s lyrics lie. His statement came after King asked Fat Joe what he thought about Young Thung’s lyrics being used against him in court. His response caught King off-guard: “I’ve been rapping for 30 years – I’ve lied in almost 95 percent of my songs.” No one was expecting to hear this, but it begs the question: how many rappers have been lying on record? How many have lied in a diss song? Quite a few, it turns out.

In the ongoing Drake-Kendrick Lamar beef, the media and fans have been skeptical about Lamar’s claims on “Meet the Grahams.” The track dropped on May 3, raising eyebrows when Lamar rapped, “Dear baby girl, I’m sorry that your father not active inside your world.” Lamar is obviously taking his cue from Pusha T, who exposed Drake’s son Adonis back in 2018 with “The Story of Adidon.”

The difference is that when Pusha’s track dropped, Drake owned the truth and started showing his son publicly. In the case of Lamar’s track, however, Drake immediately responded on Instagram, writing, “Nahhhh hold on can somebody find my hidden daughter pls and send her to me…these guys are in shambles.” The difference in response–plus Fat Joe’s reveal with Gayle King–makes you wonder if Lamar is just making stuff up. Are the rapper’s lyrics lies? It certainly wouldn’t be the first time a rapper has bent the truth in a diss song.

1. Jay-Z Vs. Nas: Baby Seat Claims On “Super Ugly”

Everyone knows Nas burned a hole through Jay-Z on his record “Ether.” It was so powerful that the song title became a verb used in lingo: “You ethered him.” When Hov dropped The Blueprint in 2001, he included a couple of comebacks, notably “Super Ugly.” Jay-Z fired shots at Nas by trying to trash talk his now-ex Carmen Bryan, with whom Nas has a daughter. He raps, “I came in your Bentley backseat (Damn) / Skeeted in your Jeep (Woo) / Left condoms on your baby seat (Woo).” Were this rapper’s lyrics lies, too?

Speaking with VladTV in 2017, Carmen Bryan addressed the diss song and its dishonesty. She pointed out the fact that her daughter was nine or 10 years old when “Super Ugly” dropped, so she’d outgrown baby seats by that point in time. Bryan believes the track was an impulsive, emotional reaction on Hov’s part. The rapper was trying to bounce back quickly and was simply grasping for whatever he could. Bryan also claims that a mutual friend later told her that Jay-Z ultimately regretted dropping the track.

2. Ma$e Vs. Cam’ron: Family Intimacy Claims On “The Oracle”

Back in 2017, Jacksonville-born Bad Boy Records rapper Ma$e dropped “The Oracle.” The track was a scathing diss aimed directly at Cam’ron’s neck. The two had run together in the ’90s in Children of the Corn, a group they formed with Big L and Herb McGruff. But on Hot97 in 2004, Ma$e and Cam’ron had a heated argument after which Cam’ron swore he’d never speak to his old friend again. After that, Cam’ron dropped diss song after diss song against Ma$e.

When “The Oracle” came out in 2017, it was a full-on assault. Ma$e commented on Cam’ron’s ulcers, lambasted him for selling Sizzurp liquor, and then went for the throat. He claimed Cam’ron was intimate with his own sister. Ma$e raps, “Every since 10 you was a thirsty n**** / I ain’t gone talk about the time you f***** your sister.” In a later interview on The Breakfast Club, however, Cam’ron stated that he doesn’t even have a sister. The interviewers prodded for possibilities, but Cam’ron was steadfast.

3. Gucci Mane Vs. Young Jeezy: Rapper’s Lyrics Lie About Keyshia Cole

Gucci Mane and Young Jeezy started beefing way back in 2005 when the two collaborated on the track “Icy.” Young Jeezy had been under the false impression that the track was meant for his debut record. What actually happened was that it ended up on Gucci Mane’s first independent album, Trap House. To add fuel to the fire, Gucci Mane never even paid Jeezy for his appearance on the record (or so Jeezy claims).

Over the 2000s and 2010s, the two would continue to beef. In 2012, Gucci Mane dropped the critically acclaimed album Trap God. A fiery sling at Jeezy, “Truth,” was on the record. This time Mane brought Keyshia Cole into the mix, whom Jeezy had been in a relationship with from 2005 to 2007. On “Truth” Mane raps, “I did a song with Keyshia Cole, and I know you still miss her (Yeah) / But Puff was f****** her while you was falling in love with her (Wow).” Keyshia Cole would make a stand against the record, tweeting, “That ain’t my business!! he’s lying! its all G tho.” Mane would respond with an apology and tell Cole that it was simply meant to add fuel to the fire between him and Jeezy.

4. Nas vs. Jay-Z: The Foxy Brown Claims

Earlier in the article we covered Nas’s beef with Jay-Z. It was on the track “Ether” that Nas systematically dismantled Hov. One of the enduring digs Nas made was regarding Foxy Brown. On “Ether,” Nas raps, “Foxy got you hot ’cause you kept your face in her p*** / What you think, you getting girls now ’cause of your looks?”

It’s true that some believe Jay-Z was involved with Foxy Brown when she was underage. Jay-Z mentored Brown after she signed with Def Jam in 1996 and helped her create the platinum Ill Nana album. But these rumors have never been confirmed, and Brown herself has recently denied them once again. On Instagram in 2023, she made a post calling the allegations “Fake fairytale news.” She went on to say, “The Fox and Hov flies are pathetic at this point.” It’s hard to say whether the Illmatic rapper’s lyrics are lies, but Brown has a point. It’s been almost 30 years, and no one has provided sufficient evidence.

5. Ja Rule Vs. 50 Cent: “Life’s On The Line”

50 Cent released “Life’s on the Line” in 1999 as an attack against Ja Rule and Murder Inc. The motivation came from Ja claiming that one of 50’s associates robbed him of his chain while shooting a music video. The beef simmered between the two, and when Ja dropped “Murda 4 Life,” 50 felt he was snubbed during the shoot for the video. “Life’s on the Line” was a straightforward attack, but Ja has continuously claimed that the entire beef between him and 50 was a gimmick. In a 2023 interview with Math Hoffa, Ja claimed that creating a beef was 50’s plan from the beginning. Apparently, 50 fabricated the beef to garner attention and explode upward in the industry. So, it seems the rapper’s lyrics on “Life’s on the Line” were a rapper’s lies.

6. Tupac vs. Biggie: “Hit ‘Em Up” & Faith Evans

Tupac’s “Hit ‘Em Up” might be the most famous diss song of all time. The song is a direct attack on The Notorious B.I.G. and Bad Boy Records. It also famously spawned The Outlawz, who provided backup on the track. Tupac’s track was a scathing attack crafted after Tupac interpreted Biggie’s “Who Shot Ya” as a shot at him. It all started in the lobby of Bigge’s Manhattan Quad Studios. Tupac was coming to do a verse after receiving an invite. Unknown assailants jumped, robbed, and shot him in the studio’s lobby. When “Who Shot Ya” dropped, Tupac believed it to be about him. This series of events would ignite the entire East Coast-West Coast rivalry of the ’90s hip-hop scene.

Early on in “Hit ‘Em Up,” Tupac shouts at Biggie, “You claim to be a player but I f***** your wife,” a direct hit on Biggie’s wife Faith Evans. Biggie’s widow has repeatedly denied the claims for decades, most notably in her 2009 memoir Keep the Faith. In an interview with VladTV in 2014, Faith spoke candidly about what really went down. Apparently, when she joined Tupac in the studio to record on his track “Wonda Why They Call U B****” she was unaware of the brewing beef between Tupac’s label and her husband’s.

Evans said the situation was strange in the studio, and the tension was palpable. After finishing the session, she went to collect her payment from Tupac at his hotel, where he allegedly asked her for oral sex. Tupac offended her, and she declined. Once she was there, she says, she realized it might’ve been part of Pac’s plan from the get-go. Though fans still speculate, this is one of the most famous instances where a rapper’s lyrics lie.

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Ghostface Killah Is Still Supreme: 7 Of His Best Songs Of The Last Decade

May 9, 2024 by newhiphopnews

Happy 54th birthday to Ghostface Killah, one of the best to ever rap. As a member of the Wu-Tang Clan, he’s been engrained in hip-hop culture for the part 30 years now. In fact, it’s not hard to see the collective as a whole’s influence in the contemporary generation of MCs. Many within the Wu and within the Griselda crew have pointed out the kindred spirit between them, and any gritty lyricist you love today has roots in the Shaolin land. Of course, it’s thanks to revered spitters like Ghost that this cultural and artistic connection exists, but don’t think that history and time have eroded his untouchable qualities as a wordsmith and storyteller.

On albums like Ironman (1996), Supreme Clientele (2000), and 2006’s Fishscale (plus, hopefully, the upcoming Set The Tone LP), you’ll find plenty of vivid imagery, staggering wordplay, and cinematic storytelling, but don’t think that’s where the buck stopped. Tony Starks continued to collaborate prolifically, play with new conceptualizations of tried-and-true ideas, and process more experiences to turn into excellence. You can determine for yourself whether these Ghostface Killah songs (solo material, not feature verses) match up to his most classic work. But you’d be a fool to label him anything less than one of the greatest hip-hop artists alive, or to classify some of his 2010s and 2020s output as undeserving of that praise.

“Love Don’t Live Here No More” Feat. Kandace Springs – 36 Seasons (2014)

In chronological order, we start with Ghostface Killah’s 2014 concept album 36 Seasons, centering around Tony’s return home after nine years behind bars. This is one of the opening cuts, and narrates how much he looked forward to seeing his girl after so long. Through detailed narration, a tender instrumental, and conflicting emotions about loyalty and loneliness from both romantic parties, Ghost creates a very hard-hitting cut. It’s an amazing sample flip to boot, and suggestive lines like “Gone for 9 years like 9 months to a child” give some more depth to what this love’s dynamic actually looks like.

“Six Degrees” Feat. Danny Brown – Sour Soul With BADBADNOTGOOD (2015)

Over one of the oddest instrumentals Ghostface Killah’s tackled over the last decade, he crafts really striking chemistry with none other than Danny Brown. Hearing the vocal contrast between the former’s composed force and the latter’s unleashed yelps is a true treat, especially when the beat switches between stronger boom-bap drums and swings and more jazzy, eerie, and syncopation-focused percussion. It’s no wonder the instrumental can come across so haunting with lines like, “Sixth sense, six pack, six degrees of separation / My evil third eye blinks with no hesitation” sticking in your head. Heavily reverbed and cavernous guitar plucks, woozy tones, and an overall minimal atmosphere really emphasize the hedonistic nature of their boasting.

“Resurrection Morning” Feat. Raekwon & Bilal – Twelve Reasons To Die II With Adriane Young (2015)

Ghostface Killah’s known to be larger than life: overwhelming orchestral instrumentation, energetic verses of life’s realities and mysteries… the whole shebang. But over the past decade, few collaborations or tracks in his catalog are quite as passionate, evocative, or dramatic as this one, which centers around a man sacrificing himself seemingly to exact revenge to achieve atonement or to curse another. Whether it’s choral vocals, ringing organ chords, hard-hitting boom-bap drums, electric guitar strums, or uplifting piano arpeggios, “Resurrection Morning” really gives weight behind gut-punching lyrics like, “Murderer, take lives like mine’s was once taken / Or leave my seed in this cold world, my heart’s aching.” There are also some striking chord changes throughout that not only keep the song dynamic but also illustrate the complexity of emotions within.

“Buckingham Palace” Feat. Benny The Butcher, 38 Spesh & KXNG Crooked – The Lost Tapes With Big Ghost Ltd (2018)

At face value, there’s not much new to say about “Buckingham Palace”: a loud and bombastic horn-led boom-bap beat, equally boisterous bars like, “We kamikazes, microphone aeronautics / We bounce off promoters like West Coast hydraulic,” and fiery verses from the guests. But not only is this a well-balanced and properly electrified throwback, but it also shows off a lot of dynamic blow-trading between all these MCs. Spesh and Benny, in particular, trade bars off quickly, melding their individual verses into one. All in all, this will probably hit especially hard for the old heads out there, and is among the best examples of P Tone retreading old territory.

“Morning Ritual” Feat. Kendra Morris – Czarface Meets Ghostface With CZARFACE (2019)

When they hit, there’s nothing like a Wu-Tang Clan reunion, and this is probably the biggest highlight on the collaborative album between Ghostface Killah and CZARFACE (Inspectah Deck, 7L and Esoteric), although ironically enough, Inspectah isn’t on this one. Instead, Ghost and Esoteric trade between two instrumental tones over the same percussion: the former’s contains menacing horns for his villainous energy (“I got a question for the mirror, ‘The Ballys or the Wallos?’ / ‘The Desert E, or should I do the pound with the hollows?’“), whereas the latter spits more lackadaisically over cold synths and ghostly pianos and pads. The switches between the two are always worthy of a stank face, and it’s more evidence of the now-54-year-old working perfectly with whatever teammate is by his side in the booth.

“Soursop” Feat. Masta Killa, Harley & Solomon Childs – Ghostface Killahs (2019)

The closing track on the somewhat self-titled 2019 album from Ghostface Killah is an unconventional reggae flip that nonetheless contains one of the best beats on the project, and a refreshingly laidback atmosphere for him to attack. He’s still able to come through with aggressive deliveries coating more luxurious and nature-tuned lines like, “Sharpened machetes that slice through the trees for berries / Busting coconuts, Selassie legendary” or still bragging threateningly with lines like “Machine gun mask on, looking like a bunch of goalies.” But most impressively, neither contrasting approach dilutes the other. The Staten Island native has missed some fusions before, but this is just as sunny as it is sonning any rapper attempting to match his energy.

“Claudine” Feat. Ghostface Killah, Method Man, Nicole Bus & Mathematics – Wu-Tang Clan (2023)

Finally, we have a bit of a cop out. But as one of two Wu-Tang MCs on here for the group’s first official single in six years in the year of hip-hop’s 50th anniversary, we wanted to shout out Ghostface Killah’s emotive, powerful, and deeply verse on “Claudine.” Per legendary Wu producer Mathematics, who’s behind the board here, this song is a tribute to his mother and to “all mothers, wives, and young women,” and is a soulful tale of love, perseverance, pain, and togetherness. Method Man goes over a complicated relationship with a partner, whereas Ghost honors his deceased mother. “Her face was cold, she felt my tears in the casket / And every drop that fell on her cheek, I cried acid.” It summarizes much of what makes his work transcendent in a powerful way, and we can’t wait to hear what else he crafts.

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Who Did Ice Cube Influence?

May 9, 2024 by newhiphopnews

Ice Cube was shouting, “I keep bellin’,” all the way back in 1988. The Los Angeles rapper (born June 15, 1969) rose to fame in the late ‘80s with his notorious Compton rap crew N.W.A. The gangsta rap pioneers formed after Ice Cube linked up with Dr. Dre for his first group, C.I.A.’s, only release. Dre was simultaneously plotting N.W.A. with Eazy-E and brought Ice Cube into the fold, ultimately leading to C.I.A.’s disbandment. Since then, Ice Cube’s influence has been all over hip-hop. Why?

Ice Cube was the lyrical mastermind of N.W.A.’s Straight Outta Compton, the group’s best-selling album. After an ongoing argument over royalties, he decided to call it quits and left the group. He later stated that the group’s manager, Jerry Heller, offered a questionable contract, which he refused to sign. But after Cube left it all behind, he went on to make continual waves across a lengthy solo career.

The effect his work has had on hip-hop–both with N.W.A. and his solo albums–cannot be overstated. His lyrical style and approach to delivery are sprinkled throughout the efforts of many contemporary hip-hop artists. Let’s highlight some big names who have cited Ice Cube as an enduring influence.

Kendrick Lamar’s Content Reflects Ice Cube’s Approach

INDIO, CA – APRIL 23: Rappers Kendrick Lamar (L) and Ice Cube perform onstage during day 2 of the 2016 Coachella Valley Music & Arts Festival Weekend 2 at the Empire Polo Club on April 23, 2016 in Indio, California. (Photo by Kevin Winter/Getty Images for Coachella)

Fellow Compton native Kendrick Lamar is known for eclectic influences that include old-school stars like Sly & the Family Stone and John Coltrane. The rapper’s music is a kaleidoscope of sounds and styles, but there is an undeniable Ice Cube flare running through a lot of it. For Lamar, this was likely somewhat impossible to escape.

The 17-time Grammy winner notes that Dr. Dre’s continued mentorship has had an undeniably West Coast effect on his sound. In his interview with N.W.A. back in 2015, Lamar told the legendary rap group that, simply put, “Anything that I’ve done…has come from what y’all done.” While this is more or less true of most rappers, it seems especially true of Lamar. And when you factor in Ice Cube’s influence as the lyrical brains of Straight Outta Compton, relevant comparisons become more noticeable.

His general content isn’t so far off from Ice Cube’s. Throughout much of Ice Cube’s career, his lyrical content has focused on the raw realities of Los Angeles street life. Lamar’s own song content and political appraisals take a similar approach. They both have attempted to discuss the basic situation of their lives without necessarily trying to glorify or promote it.

The Game Studied Ice Cube’s Death Certificate

INDIO, CA – APRIL 23: Recording artists Ice Cube (L) and The Game perform onstage during day 2 of the 2016 Coachella Valley Music & Arts Festival Weekend 2 at the Empire Polo Club on April 23, 2016 in Indio, California. (Photo by Kevin Winter/Getty Images for Coachella)

Another Compton native, The Game (born Jayceon Terrell Taylor), has specifically referenced Ice Cube’s solo work in his music. For him, Ice Cube’s delivery on record is one of the greatest ever. His major-label debut, The Documentary, gives nods to Ice Cube’s sophomore album, Death Certificate. He studied this album, along with other hip-hop classics, during his time in recovery from gunshot wounds in 2001. He once cited the Death Certificate diss track “No Vaseline” as a monumental track that fueled him in his own beef with 50 Cent. It’s worth noting that The Game also has Ice Cube’s old group N.W.A. tattooed on his chest. This is an obvious nod to the group’s lasting impact on his life. The combination of N.W.A. and Ice Cube’s influence left an indelible mark on The Game’s approach to hip-hop.

El-P Connects With Killer Mike Over AmeriKKKa’s Most Wanted

LEEDS, ENGLAND – AUGUST 26: (EDITORIAL USE ONLY) El-P of Run he Jewels performs on the Main Stage East on Day 1 of Leeds Festival on August 26, 2022 in Leeds, England. (Photo by Matthew Baker/Getty Images)

One half of the rap duo Run the Jewels, producer El-P’s background is well-known. After all, he produced the likes of Aesop Rock, Murs, and Del the Funky Homosapien. What many fans aren’t aware of are his artistic debts to Ice Cube. El-P cites Ice Cube’s influential solo debut, AmeriKKKa’s Most Wanted, as one of the things he and Killer Mike connected over. While he was originally hesitant about the possible link-up with Killer Mike, that album proved to be common ground for bonding. Another bridge between the duo was talking about Ice Cube’s departure from N.W.A.

Logic Covers “It Was a Good Day”

LONDON, ENGLAND – SEPTEMBER 10: Logic performs at Alexandra Palace on September 10, 2018 in London, England. (Photo by Burak Cingi/Redferns)

The Maryland rapper Logic has released a string of eight albums since 2014. He broke through with his third mixtape in the Young Sinatra series in 2013, leading to a Def Jam contact. A little over a year ago, Logic dropped an alternative cover of Ice Cube’s “It Was a Good Day” off The Predator album. For him, it was an attempt to showcase his debt to the Los Angeles rapper.

Logic’s work has consistently divided hip-hop fans, and this homage to his influence was no exception. Some listeners bobbed their heads along in approval, while others flooded social media with insults. It turns out, however, that Logic did his due diligence before recording the cover. He cites direct approval from Ice Cube via text to transform the 1992 single.

Quavo Inspired by Ice Cube to Become an Actor

NEW YORK, NY – JUNE 04:(L – R) Takeoff, Offset, Quavo, and Ice Cube visit 106 & Park at BET studio on June 4, 2014 in New York City. (Photo by Bennett Raglin/BET/Getty Images)

Quavo hails from Georgia, where he founded the acclaimed group Migos with his nephew Takeoff and their friend Offset in 2008. The trio would ride a high level of success over the 2010s with four commercially successful albums. In 2016, Migos acted in an episode of Donald Glover’s rap drama Atlanta. They portrayed fictional versions of themselves as a gang named “Migos.”

This would prove to be the beginning of Quavo’s larger acting ambitions. In the year leading up to Migos’ break-up, Quavo worked on multiple feature film roles. One of the major reasons for Quavo to pursue a rapper-actor career path comes from Ice Cube’s influence. He sees Ice Cube as a trailblazer in this respect, someone who successfully navigated both worlds. Quavo has remained dedicated to acting, playing roles in three films thus far: Savage Salvation, Praise This, and Cash Out with John Travolta. He’s currently working on his fourth, Takeover, where he is stepping into a leading role as the character Guy Miller.

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Young Thug’s “Hear No Evil” turns 6: Why The EP Is A Critical Entry In His Catalog

May 6, 2024 by newhiphopnews

Since breaking into the rap scene over a decade ago, Young Thug has endeared himself to fans with his unique style. The YSL founder’s main qualities include his genre-bending voice and catchy and innovative flows. Young Thug has a rich catalog, but one of his key releases came on April 13, 2018, when he dropped the EP Hear No Evil. The EP was a surprise as Young Thug had earlier promised not to release any new music. The rapper said he would act deaf for a year and not make any music in solidarity with his deaf brother.

However, Thug, known for his unpredictability, broke that promise with the EP’s release. Even before Young Thug’s Hear No Evil EP dropped, he announced he was changing his name to SEX, much to his fans’ bewilderment. Despite the uncertainty and unpredictability that surrounded Thug at that point, Hear No Evil came and has since remained a critical entry in the Atlanta-born rapper’s catalog. The EP turned six years old this year and still holds significant importance as it showcased Thug’s versatility, collaborations, and impact on the hip-hop scene.

Young Thug’s Experimentation & Musical Versatility

In Young Thug’s Hear No Evil EP, the rapper showcased his willingness to experiment with different styles and musical sounds. It also showcased his musically diverse range of songs in the three-track EP. For instance, the first song in the EP, “Anybody,” featuring Nicki Minaj, was melodic and introspective, while the second track, “Up,” featuring Lil Uzi Vert, had hard-hitting trap beats at its core. Young Thug further displayed a cool flow and high-pitched squeals in “Now,” featuring 21 Savage.

Impressive Features

One of the highlights of Young Thug’s Hear No Evil EP is the rich list of features. Despite being a three-track project, Young Thug pulled in some of the heavyweights of music at the time. Nicki Minaj, Lil Uzi Vert, and 21 Savage’s presence on the EP made it more appealing to pop-craving listeners. Thug remained his usual self, dishing out unconventional rhyme schemes, contrasting with the featured artists who already possess their distinct personalities and qualities.

Impact On Hip-Hop Culture

With Hear No Evil, Young Thug solidified his position as a hip-hop trailblazer. Although the EP didn’t receive rave reviews after its release six years ago, much has changed since then. Six years in, Young Thug has been praised for his lyrical prowess and dexterity, innovative choice of producers, and impressive vocal delivery. Therefore, Young Thug’s status as a trendsetter in the hip-hop genre was much more solidified thanks to the EP.

The influence of Hear No Evil can be felt throughout contemporary hip-hop. The project’s experimental production and Thug’s unconventional rapping style have become hallmarks of the genre. Thug influenced a new generation of artists with his distinct style, with the EP now seen as a blueprint for the sound of modern trap.

A Unique & Unforgettable Video For “Anybody”

Despite failing on his promise not to make music for a year because of his deaf brother before Hear No Evil‘s release, Young Thug still dedicated a video to his sibling. Thugger did so through the video for “Anybody,” featuring Nicki Minaj. In the clip, the song’s lyrics were translated using sign language, paying tribute to Young Thug’s brother and deaf people worldwide. It was a great tribute from Thug and showed his human side and creativity, adding to his already remarkable qualities. Besides the video, Thug also paid tribute to his deaf brother with the EP’s cover art that featured a picture of his beloved sibling. These acts showed in more ways than one how intentional Thug was about showing love to his brother even though he released new music in 2018.

Conclusion

As Hear No Evil marks its sixth anniversary, its impact on Young Thug’s career and hip-hop remains to this day. The EP is a critical entry in Thug’s catalog and showcases how he evolved as an artist. It also showcased his ability to push boundaries in hip-hop. Despite being a three-track project, Young Thug’s Hear No Evil is still a standout project in his discography. It shows how versatile an artist he is while also displaying his collaborative prowess and influence in hip-hop.

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Rico Wade Had Reflected On Dungeon Family Bonds Weeks Before Passing: Details

April 28, 2024 by newhiphopnews

Many members of the Dungeon Family reunited in Atlanta on Friday (April 26) for a private memorial due to the loss of one of its pillars: Rico Wade. Moreover, his mother’s basement was the “dungeon” that Outkast, Killer Mike, Future, and many more called their home, whether literally or figuratively. While the Organized Noize producer was not the most famous person in the world, his final public remarks, particularly ones from an AllHipHop interview about his Dungeon Family partners, have taken on a more meaningful, saddening, but still beautiful luster after his passing. They went through a lot of bumps as folks in the industry, and even through his health struggles and alcoholism, they always came back together to let their love, support, and gratitude be crystal clear.

“I just had heart surgery, where they had to put a stent in my chest,” Rico Wade told the publication in an interview from the day after he went to an André 3000 concert. “This happened January 19 and I just felt like, ‘Man, I would have missed it [the concert].’ God didn’t want my life. He wanted my attention and he got it. It’s been blessings on blessings on blessings since then. Since that moment, I’ve been blessed in every way. It’s hard to not cry every time I think about it.

Rico Wade, Killer Mike & Big Boi In Atlanta

Rico Wade Interview Dungeon Family Relationships Hip Hop News — Big Boi, Killer Mike and Rico Wade attend Grammy Celebration on February 25, 2024 in Atlanta, Georgia. (Prince Williams/WireImage/Getty Images)

“They all love and respect me,” Rico Wade remarked about the support he got from the Dungeon Family amid his health scare. “They all look at me as a person that did it for them, especially after what I just went through. I’ve spoken to every last one of them, and it’s been like, ‘I want to hug you and I want to let you know how important you are to us. I’m glad you’re still here.’ I hate for it to take a life-altering situation, but even Future, that’s my cousin, he’s been so busy. But if I text him now, he texts me right back. I seen André last night at the show, and I was in the studio the other day seeing [Big] Boi. Everybody can see that I’m clear and clean. They can see that I ain’t drinking and they can see my energy…

“What’s crazy about that is that Killer Mike is one of the most articulate, intelligent people I know,” he said of Mike’s Grammy wins and his brief arrest at the ceremony. “So sometimes -– not purposely ’cause I wouldn’t say it was a conspiracy. But they were waiting for him or whatever, like, because of something that happened at the Staples Center or whatever. Since then, the city has been so supportive. Other news outlets have been so supportive of giving him that platform to let him speak because not only did he sweep the Grammys, his album is really good. The song with André and Future won Song of the Year. So it’s like, I’m happy that I’m here.” For more news and updates on the Dungeon Family and its fallen legend, check back in with HNHH.
Rest In Peace Rico Wade.

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7 Slim Shady Bars That Will Still Shock You In 2024

April 26, 2024 by newhiphopnews

Later this summer, the world will mourn the death of one of music’s most influential and successful provocateurs: that one guy working at Burger King, spitting on your onion rings. As magnanimous and lauded as Eminem’s work is, and as much as people have started to hate on it over time, nothing represents the highs and lows of the Detroit rapper’s career quite like his Slim Shady persona. Moreover, the announcement of his new album, The Death Of Slim Shady, calls into question what the future really holds for Marshall Mathers. Will his art continue without Shady, is this his final album as an artist, or will another persona rise like a phoenix to bring his career out of the ashes for a (third? fourth?) revamp?

Regardless of what goes down with this new LP this summer, we’re taking a look at just a handful of Slim Shady bars that would still turn many caring souls into Karens on impact. Eminem’s alter ego has used every taboo, trigger word, or buzz term under the sun as a punching bag or punchline: murder, homophobia, racism, sexism, sodomy, sex, drugs, the youth, war, the military, politics, mental health, the rap game, celebrities, pop culture, divorce, religion… even gerbils, to most sane people’s disgust. Whether to subvert, challenge, offend, or simply reflect poor taste, he’s got one heck of a lyrical legacy that paved the way for so much good (and bad) in not just hip-hop, but pop culture at large. So before Slim’s “death” this summer, and in chronological order, let’s debate over which of his many quotables across his discography should be on his tombstone.

“My Name Is” (1999, The Slim Shady LP)

What better place to start than our introduction to Slim Shady? While there are plenty of wild bars here, we picked one that is already quite disturbing as is, but was reportedly originally meant to be much more harrowing. “Extraterrestrial, running over pedestrians / In a spaceship, while they’re screaming at me, ‘Let’s just be friends!’” Eminem raps on the cut. Sounds simple enough, right? Well, according to Em’s autobiography The Way I Am from 2009 (plus various other reports), the original version was this: “Extraterrestrial, killing pedestrians / R**ing lesbians while they’re screaming, ‘Let’s just be friends!‘” He changed it because Labi Siffre, a gay rights activist, found this and other lines on this song to be homophobic, and would not clear the sample of his song “I Got The…” for “My Name Is.” As provocative as Shady could be, he could’ve been way worse…

“The Real Slim Shady” (2000, The Marshall Mathers LP)

Of course, this classic couldn’t go without a mention either, and one particular line kept its controversial luster over the years for interestingly different reasons. “But if we can hump dead animals and antelopes / Then there’s no reason that a man and another man can’t elope,” Eminem spits towards the end of this first verse. Its first part refers to MTV star Tom Green’s moose-humping antics, and it overall argues that folks shouldn’t treat homosexuality as disgusting if they find Green’s comedy funny. Yes, it points out double standards in what is permitted and what is “taboo” in media and culture, but it’s also a backhanded way to denounce homophobia, which was much more common back then. Especially today, we can’t help but wonder if there was a less derogatory way to stand for gay rights. Then again, Slim Shady doesn’t discriminate: he hates and mocks everyone equally.

“I’m Back” (2000, The Marshall Mathers LP)

And when he returned, the world was never really the same. The reason why? Particularly abhorrent but still intricate lines like “If this chick was my own mother, I’d still f**k her with no rubber / And cum inside her and have a son and a new brother / At the same time and just say that it ain’t mine,” directed towards Jennifer Lopez and, by association, to taunt Diddy. To say that this is probably the most sickening line on this Slim Shady cult gem, which also includes a censored reference to the Columbine shootings, should really illustrate just how sick Eminem was back then, and not in a good way. Alas, even incest is something that these alter egos rarely tackle, and to tack this on before the last chorus of “I’m Back” is one heck of a mic drop.

“Without Me” (2002, The Eminem Show)

We promise this is the last classic on the list, but sometimes democracy is right. Speaking of democracy, one of the most cutting lines on here isn’t explicitly profane; just a cold jab at a politician’s health and a quick but merciless dismissal of criticism. “I know that you got a job, Ms. Cheney / But your husband’s heart problem’s complicating,” Eminem raps, responding to her denouncement of his lyrical content.

So, what does he do to Vice President Dick Cheney and his wife? Does Shady critique their politics and war-mongering, cut them up in a billion little pieces, put his bum on their lips, or spike their drinks at a cocktail party? In other words, does he prove them right? No. He just remembers the VP’s four heart attacks before this song’s release (which rose to five afterward), recalls his three heart procedures at the time, and tells Lynne: “Your husband’s going to die soon.” Yikes…

“A** Like That” (2004, Encore)

Now we get to the slightly deeper cuts from Slim Shady that don’t have the benefit of the doubt or the undisputed quality of his best work. Over an Indian-inspired beat, and with a pretty offensive Asian and Southeast Asian accent, Eminem’s lust takes aim at Hilary Duff… who was 17 years old when this song came out. “Hilary Duff is not quite old enough, so I ain’t never seen a butt like that / Maybe next year, I’ll say ‘a**’ and she’ll make my pee-pee go d-doing, doing, doing.” From 2004’s Encore onwards, and especially on 2009’s Relapse, Slim Shady starts to use more accents to find way more ethnicities and cultures to make fun of. Add to that his obsession with celebrities and crossing any sort of line, you have one of the most cringe-worthy moments in his entire catalog.

“Same Song & Dance” (2009, Relapse)

Speaking of the 2009 album Relapse, this song doesn’t lean into the accents as much, or into cultural appropriation, but it’s among the most explicit, descriptive, and disturbing accounts of targeting various celebrity women and engaging in murder, sexual assault, and the like. “I’m ’bout to make a new outfit out of you / New outfit? S**t, I’ll make a suit out of you, shoot / Now, show me how you move, baby, do how a-you do,” Slim Shady threatens towards the end of the song. It’s one of many horrible moments of describing torture, with this one specifically referencing the skin-wearing villain from the film The Silence Of The Lambs, Buffalo Bill. Eminem doesn’t usually break out the skin-carving in his murderous or sexually depraved narratives, so we at least need to give him points for creativity… or is it the other way around?

“Fall” (2017, Kamikaze)

This is easily the least shocking or controversial bar on this list, but we included it because we think it’s not only one of, if not the most controversial, Eminem lyric to appear in his late-career arc. It’s also possibly indicative of what his creativity looks like today and what The Death Of Slim Shady could really mean. On this song, Marshall Mathers targets Tyler, The Creator, his then-recently revealed sexual orientation, and his criticism of Em’s later work despite being a lifelong fan. “Tyler create nothin’, I see why you called yourself a f***ot, b***h,” he raps, and it’s important to note that in no version of the song does he actually or fully pronounce or spell out the homophobic slur. An improvement from his early stuff, at least, but with even more backlash than in the past.

For one, this isn’t really Slim Shady anymore: this is Em, Slim, and Marshall all rolled into one throughout this LP. It doesn’t have the same shock value or relevance as back in the 2000s. This song came out during a more progressive time in hip-hop (although some fanbases sadly haven’t caught up), and represents the then-45-year-old MC’s anger at the negative reception to his post-2000s work. Furthermore, the personalities became harder to distinguish, and any attempt to shock or subvert in the same way he did for decades was more corny than controversial. Nevertheless, it does pose an interesting question as to how Eminem will deal with Shady’s loss after this summer, whether that rebellious and brash part of him can ever really die in his music, and what are the sides of him that this persona has, for better or worse, obscured from our view.

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The Timeless Impact Of “Illmatic”: Hip-Hop’s Love Of Nas’s Debut Album 30 Years Later

April 20, 2024 by newhiphopnews

Hip-hop’s history books contain millions of enduring statements, infinite ideas, and indelible expressions penned by hundreds of thousands of students of the game. Thousands of them got their brilliance delivered to mass audiences, hundreds reached the peak highs of their time and style, and dozens have transcended the genre into a status of cultural ubiquity. But out of all of these writers who shaped the philosophies, language, and communication of rap music, there is a strong case that, along with The God MC Rakim, none have been more influential or definitive than Nas. We took it upon ourselves to accept that challenge and see just how pivotal Esco’s pen has been to the community.

To celebrate the 30th anniversary of his classic album Illmatic yesterday (Friday, April 19), we listed out seven of the most quoted lyrics, motifs, or refrains from this magnum opus across hip-hop’s history, along with just a few of many examples. As arguably the greatest LP the genre has to offer, a status that only a handful of rap records can claim, there is obviously so much more to say, and many more lines that you’ll hear in songs released since ’94. But these are among the bars on the project that most closely evoke its narratives in your head when you hear them in another song or everyday conversation. We’d love to know your picks, as we certainly missed a lot, so join us in celebrating this masterpiece and thanking Nas for his craft and creations down in the comments section below.

I Never Sleep, ‘Cause Sleep Is The Cousin Of Death (“N.Y. State Of Mind”)

While this phrase obviously existed before Illmatic‘s release, no rapper spits it today without evoking Nas’ “N.Y. State Of Mind.” It’s a phrase that perfectly fits within the vivid description of Queens’ street life and placed the album into a special era; a coming-of-age tale that inspired countless others put their unique spin on. Over the years, we’ve heard the greats reference this specific bar including J. Cole, Kendrick Lamar, Eminem, Denzel Curry, and The Game.

Furthermore, the most famous of these is likely Lil Wayne’s “6 Foot 7 Foot,” which actually references another Illmatic bar we’ll get into later. “Life is a b***h, and death is her sister / Sleep is the cousin, what a f***ing family picture,” Weezy raps on the cut. Another notable modern example is $UICIDEBOY$’ 2016 cut “AM/PM,” on which Ruby raps: “If sleep is the cousin of death, I guess me and $lick counting sheep ’til we out of breath.” From ’90s East Coast hardcore to 2010s New Orleans horrorcore-adjacent trap; who would’ve thought?

The World Is Yours / I’m Out For Dead Presidents To Represent Me (“The World Is Yours”)

Here’s a two-parter, mainly because the mere title of “The World Is Yours” and the “It’s mine, it’s mine, it’s mine, whose world is this?” refrain lives on in a lot of rap media: bars, interviews, promo material, movies… you name it. J. Cole has an early song titled “Who’s World Is This?” and there’s also Blu’s classic album with Exile, Below The Heavens, with the track “The World Is.” Out of the many enduring Nas bars on this song, one of them is the money-focused, “I’m out for dead presidents to represent me.” Joey Bada$$, a student of Nasir Jones who references him very often, spits this bar on 1999‘s “Hardknock,” and 2016’s “AMERIKKKAN IDOL.” Logic does the same on 2012’s “All Sinatra Everything,” and of course, there’s Jay-Z’s use of it for his “Dead Presidents” series. That definitely didn’t backfire at all…

*Life’s A B***h And Then You Die…* (“Life’s A B***h”)

Next is AZ’s iconic hook on “Life’s A B***h”: “Life’s a b***h and then you die, that’s why we get high / ‘Cause you never know when you’re gonna go.” Other than being one of the most cutting and reality-affirming moments on Illmatic, Nas’ words here transcended even the hip-hop genre. One of the most curious homages we found in our research was a live version of metal band Deftones’ “Teething” from 2001, in which they added this chorus to the track to a pretty hype effect. Just goes to show that these lyrics have etched themselves in musical and cultural history, not just within hip-hop. Back to that, though, some quick examples: Kendrick Lamar’s “FEAR.,” A$AP Rocky’s “Phoenix,” Tyler, The Creator’s “Lone,” and “Headstone” by Flatbush Zombies, which actually references dozens of rap classic throughout its runtime.

Somehow, The Rap Game Reminds Me Of The Crack Game (“Represent”)

Here’s what Nas had to say about this bar from “Represent”: “It’s all about getting a dollar, don’t trust nobody, keep your eyes open, don’t play with nobody, focus on what you’re supposed to get out of it. This s**t is dangerous, it’ll take you down… What’s the difference?” Once again, Jay-Z echoed this sentiment in his 1997 track “Rap Game / Crack Game,” and Biggie Smalls references the rhyme scheme on Ready To Die‘s “Things Done Changed” that same year. “If I wasn’t in the rap game, I’d probably have a ki, knee-deep in the crack game.” Cam’ron also echoes the bar on “Sports, Drugs & Entertainment,” and Benny The Butcher, 38 Spesh, and Elcamino develop the metaphor on 2021’s “Blue Money.” “Crack game like the rap game but ain’t as safe / If we got the same plug we like label-mates,” Spesh spits.

Half Man, Half Amazing (“It Ain’t Hard To Tell”)

Also, we wanted to shout out Nas’ reference to the Five-Percent Nation on this “Human Nature”-sampling cut, “It Ain’t Hard To Tell”: “Nas is like the Afrocentric Asian, half man, half amazing.” The second half of that bar is the namesake of the third track (featuring Method Man) on Pete Rock’s 1998 album Soul Survivor, and also that of cuts from Blocboy JB and more. As for lyrical mentions, Mac Miller does so on the Faces cut “Friends” featuring ScHoolboy Q, Joe Budden gives a nod on “NBA,” and 50 Cent used it to belittle Ja Rule on the diss track “Your Life’s On The Line.” Safe to say, this last example proves that these aren’t always very favorable references, at least when it comes to who the bars might be intended for, if it’s not just an homage to the Queens legend.

One Time For Your Mind (Various)

Finally, we have a repeated phrase throughout Illmatic that is the title of one of its songs, and also appears on the outro of “Represent.” “One time for your mind” comes from Grand Wizard, who provides the aloof hook on the first example before Nas gets into the chill cut. This is such a versatile phrase that can be used as an ad-lib, a filler bar, a historical reference, as part of a complex rhyme scheme, or as a reminder to keep the mental focus up and live for the singular moment. It appears in pop hits like “Pon De Replay” by Rihanna, lyrical onslaughts like Lil Wayne’s “Dreams & Nightmares,” Lupe Fiasco’s “Paris, Tokyo,” Ab-Soul’s “Double Standards,” Das EFX’s “Real Hip-Hop,” The Roots’ “No Alibi,” and so many more. Despite the variety of uses for this bar and many others, every hip-hop head knows its origins well.

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R.I.P. Rico Wade: A Pivotal Bridge In Hip-Hop’s 50-Year History

April 19, 2024 by newhiphopnews

“I just think timing is everything,” Rico Wade opens up the first song on Killer Mike’s Grammy Award-winning 2023 album, MICHAEL. “Like, n***a, this it. This, this one right here… That ain’t easy. Stay motivated, stay inspired. I owe it to myself, stay down on it. And it ain’t been hard throughout the journey: it’s been a journey.” On April 12, 2024, Wade passed away at the age of 52, and Mike offered a touching tribute. “I am Praying for your wife and Children, I am praying for the Wade family, I am praying for us all. I deeply appreciate your acceptance into The Dungeon Family, mentorship, Friendship and Brotherhood. Idk where I would be without ya’ll.”

Much like the Run The Jewels MC, countless hip-hop artists, legends, and fans have much to thank Rico Wade for. From Outkast to Future, from Goodie Mob to Janelle Monáe, and even acts outside of their Dungeon Family collective like TLC, Ludacris, and more, it’s clear that the East Point native is among the key reasons why the South (and Atlanta, in particular) has such an omnipresence right now. Not just hip-hop, but music and pop culture at large. He lives on in many ways: as a host, a talent judge, a gifted producer alongside Sleepy Brown and Ray Murray as Organized Noize, a curator, a liaison, an organizer… But perhaps most importantly, Rico is a bridge. He is the crux through which 50 years of hip-hop history can be examined, as one of his greatest achievements was honoring the old and shaping the new.

The Growth Of The Southern MC In Rap’s Ecosystem

While Houston already created a blueprint for Southern rap through acts like the Geto Boys, the talent that Rico Wade introduced to the “Dungeon” (the studio in his mom’s house’s basement) proved instrumental in furthering the identity of the Southern MC as opposed to their East Coast and West Coast counterparts. They were not simply backpack rappers, cold-blooded lyrical killers, or hot-headed gangsters. They could be a little of everything with unique self-awareness, diverse melodic sensibilities, and palpable passions for soul and cultivating the mind. “It was street without the crime,” Rap Pages editor Allen S. Gordon said of their content. “How do we live, how do we survive? How do we encourage each other, how do we kick it, how do we have fun? None of it is degrading.”

For examples of this, look no further than André 3000, who as early as Outkast’s first single “Player’s Ball” (on which Rico Wade provides the intro), previewed his eventual space in GOAT conversations alongside legendary lyricists like Nas, Ice Cube, and Scarface. On the flip side, look at one of the Dungeon Family’s late-era bloomers: Meathead, or as he’s better known today, Future. While he may not have the same weight behind his pen, he’s easily one of the most influential artists in music period working today thanks to his auto-tuned crooning and other aesthetic innovations, his earworm flows, and that same woozy, soulful, bass-heavy, and ATL-drenched idiosyncrasy that he attributes to his time with his big cousin Rico in the Dungeon. “Nobody could ever do what Rico Wade did for me,” Pluto said in 2014. “Everything I know about music, I know because of Rico.”

Rico Wade & Organized Noize’s Production: Defining The Dirty South… And Beyond

Ever since the very early 1990s, Rico Wade’s mentorship, instincts, talent curation, and sensibilities put innovative and impressive rappers at the forefront no matter the style. But of course, that’s also because of the production that Organized Noize perfected. In the face of sample-based and therefore expensive production styles dominating the Coasts (and thus, all of mainstream rap), the Dungeon Family cut down and got live: bass, multiple different drum sounds for each new song, horns, guitars… you name it. Just listen to the lushness of “Crumblin’ Erb” by Outkast, “The Day After” by Goodie Mob, or “Sumthin’ Wicked This Way Comes” by TLC and Andre 3000. However, the percussion was still rooted in grimy and familiar rap rhythms, and in terms of songwriting, Organized Noize knew exactly how to capture the culture.

Rico Wade provided plenty of hits and commercial smashes to etch Organized Noize into many popular styles of music of the time in addition to the musty underground. The most notable of these is likely TLC’s “Waterfalls,” whose combinations of vocal harmonies, guitar plucks, and horns are Dungeon all the way. While Wade definitely built off of established g-funk and other scenes, it was this overtly colorful production that most tangibly laid the groundwork for the Pharrells, the Kanye Wests, the Tyler, The Creators, and the JIDs of rap history.

Why Rico Will Forever Represent The Roots And The Fruits

Future speaks about growing up in the Dungeon with his cousin Rico Wade #RipRicoWade pic.twitter.com/Q1srcXZQ6M

— O.T.G (@365OTG) April 13, 2024

Rico Wade’s place in hip-hop history will never fall victim to old-head biases or new-school ignorance. One of the most interesting ways in which he links the roots and the contemporary fruits of rap is how he welcomed the first and final waves of the Dungeon Family for two completely different reasons. Outkast had to audition and ended up delivering 30-minute-plus verses, which impressed Wade and earned his trust and support. Meanwhile, when he found out that Future was his cousin, they started to speak about Rico’s father’s side of the family that Fewtch was connected to, which he knew very little of because many of them were incarcerated. The trap icon stuck around in the Dungeon and soaked up so much game, all simply because he was family.

At the end of the day, neither approach is more valid or heartening than the other, and they resulted in amazing art for the culture regardless. On MICHAEL, the album that the late legend opened up just last year, “SCIENTISTS & ENGINEERS” reunites representatives from three distinct waves of the Dungeon Family: André 3000, Killer Mike, and Future. 30 years after “Player’s Ball,” and 50 years since hip-hop was born, he continued to evolve the game, to fuse it with other beloved and important music, to represent his city to the fullest, to embrace the next talents, to preserve the culture’s foundations, and to always create something greater and more compelling than the sum of the old and the new. It was extremely hard for Rico Wade to forever be the bridge in hip-hop history. But to him, it wasn’t hard throughout the journey: it was just a journey.

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