50 Cent was the most recent guest on Million Dollaz Worth Of Game will Gillie and Wallo, and a great one at that. In their episode, which dropped on Sunday (September 1), they discussed Fif’s career, business moves, and his unbelievable spending on legal fees over the years. However, one of the most colorful and heartening parts of the interview was when 50 recounted the story of the first time he met Eminem. Given their incredibly strong bond as musical collaborators, business partners, and decades-long friends, hearing this backstory from him is a pretty hilarious experience that feels nonetheless wholesome.
“It was wild,” 50 Cent told the media duo around the 51-minute mark of the video below. “It felt like… Remember that show they had? Punk’d on MTV? I thought they had cameras and they was going to come out and say ‘You’ve been punked.’” Also, he revealed that he wore a bulletproof vest when he first met Eminem. This took Em aback when he excitedly hugged him after looking forward to this meeting for a long time. Apparently, this made the G-Unit mogul more doubtful.
“He flew me to L.A., right?” 50 Cent continued. “I came out. I was so bugged out from the experience that I came through the airport with the vest and s**t on. I’m lucky I took the shock plate out the front of the joint. Because when I came through, it didn’t. But the lawyer that I had with me that took me to [Eminem]. I get there he’s like, ‘Yo!’ He felt the vest and s**t and was like…” 50 then imitated the Detroit MC’s reaction.
“‘Yo this is going to be the biggest s**t right?’” 50 Cent recalled Eminem asking. “He was so excited that it made me question whether what was happening was right ’cause I just wasn’t so used to it. It felt so good that it couldn’t be like right. I’m like ‘Yo, nah.’” Well, all’s well that ends well, right? After timeless hits, millions of dollars, and a whole lot of contributions to each others’ legacies, we’re sure that they laugh back at this moment now.
Newer Travis Scott fans are in for a treat from earlier in his discography this Friday (August 23), but for the rest of us… this isn’t our first rodeo. La Flame will drop his 2014 mixtape Days Before Rodeo on digital streaming platforms for the first time this week, celebrating its tenth anniversary and teasing the inclusion of more tracks from that era’s vault. All this excitement around this re-release led many die-hards to look back at the DBR days quite fondly. The project has some of this catalog’s most beloved tracks to this day, and as its title suggests, it proved crucial to the development and massive success of its successor, the 2015 studio album Rodeo.
As such, we’re taking a look today at just five of Travis Scott’s songs on Days Before Rodeo that paved the way for what he achieved on Rodeo, although you could say that about the whole mixtape. Of course, there’s a very specific and connected lineage to highlight: DBR owes much of its identity to the Houston superstar’s first tape, 2013’s Owl Pharaoh. Thus, Rodeo is an even more extended development of many of those original ideas. But when it comes to rapping performances, production styles, and the psychedelic aesthetics that Travis is so renowned for today, DBR is what really started to nurture these key elements of his discography and artistry. His 2015 album sent these elements into the stratosphere of mainstream hip-hop. But these five tracks, in no particular order, are what made them compelling in the first place.
“The Prayer”
Ever since this intro track kicked off Days Before Rodeo, Travis Scott has had an undeniable penchant for amazing opening cuts. “The Prayer” sets up this precedent instrumentally with cinematic organs, string arrangements, regal keys, sharp percussion, and a disorienting but intoxicating outro. His performance, unencumbered by Owl Pharoah‘s pitched-down vocal doubling, also points to more clear and cold-blooded verses on his 2015 studio album. Perhaps most importantly, this record also parallels many of the thematic and structural opening motifs of Rodeo‘s opener, “Pornography.” “The Prayer” opens with the following line: “Midnight awaking, hyper ventilating / Drunk laps running around the globe, wild goose chasing / After three number one albums, would’ve thought I’d feel amazing.” It previews the hedonistic but ambitious concept behind Rodeo before refining his vivid picture-painting even more on that LP.
However, one of the best things about Rodeo isn’t just its loosely assembled but nevertheless compelling subject matter. It’s also full of absolute ragers, and before “Antidote” took over the rap world, “Mamacita” proved for the first time how far Travis Scott could go. It’s by no means his first big commercial and cultural “banger,” as the star-studded “Upper Echelon” landed on Owl Pharaoh. But where that 2013 track chose to be bombastic and overblown, this Rich Homie Quan and Young Thug collab meld that moshpit mentality with the darker, woozier, and more nocturnal vibes that Rodeo would fully embody a year later. This is thanks to Metro Boomin’s striking sample flip of an electric guitar line, atmospheric synth pads, and tough-as-nails drums and bass. If that isn’t enough for you, then look at how Cactus Jack continues to electrify crowds with this anthem to this day.
Speaking of collabs, this Days Before Rodeo cut is actually not one of the best on the mixtape, but it’s most certainly one of its most important. For starters, this kickstarts Travis Scott’s crucial collaborative history with Quavo and the Migos. More broadly, it’s a lofty and audacious attempt to meld vintage soul samples, cavernous synth bass, eerie keys, and grand strings together into a cohesive and progressive song that evolves and molds as it goes along. This would prove to be a key songwriting formula for Rodeo tracks like “3500,” “Nightcrawler,” and many more. It’s something that Travis eventually perfected in 2015 and beyond, but better execution down the line doesn’t diminish the weight of “Sloppy Toppy.” Fortunately, he also got much better at picking song titles.
While Rodeo‘s more summery and light moments don’t always see the same retrospective appreciation as its shadowy trap highlights, Travis Scott has always tried to balance out his sonic directions. “Backyard” represents this warmer side on Days Before Rodeo (along with cuts like “Grey”) thanks to a simple but tender sample flip, paired explosively with a crisp snare, live-sounding hi-hats, and a carefree chorus. It would fit well in a playlist with Rodeo‘s “Flying High,” but it’s more directly related to the impressive flow switches, involved verses, and stark drum patterns on a song like “Apple Pie.” That’s another thing: this was one of Travis’ best verses and rapping performances to date back in the day, and Rodeo pushed these lyrical heights even further. Thanks to songs like “Backyard,” people fell in love with him as an MC, not just as an artist.
“Drugs You Should Try It”
Finally, we’d be remiss not to mention Travis Scott’s most iconic song from Days Before Rodeo in many fans’ eyes. When he dropped DBR, this was easily his most personal, intimate, and beautiful song yet, and he’s scarcely replicated its magic since. Rodeo‘s “90210” is the key example of the musical legacy that this classic left behind, as well as that album’s more soft and emotive displays like “Impossible…” Plus electric guitar worship. The simplicity of the instrumental paired with the track’s melodic dominance – and especially its unique vocal delivery – built a new lane for Travis to express himself. In fact, it arguably cemented his auto-crooning style for good, an approach that he’s yet to let go of. While Owl Pharaoh had pretty moments, “Drugs You Should Try It” is the first stroke of genius in Scott’s discography, and it defined his idiosyncrasy and innovation as an artist.
Jay-Z has a lot of history to look back on, whether it’s his still-contentious alleged beefs or the wealth of great bars that he’s given the culture. Still, not every Hov bar is easy to research or break down, and one particular line off of his smash 2003 hit “Public Service Announcement” has always left fans scratching their heads. “My homie Strick told me, ‘Dude, finish your breakfast!’” he raps at one point, and it turns out that no one figured this bar out because it was such a specific anecdote. Moreover, former NBA player Smush Parker recently explained the context behind this line during a conversation with the legendary Rucker Park’s Streetball collective.
Apparently, this Jay-Z line refers to a failed dunk attempt from Parker to Strick during a game at the Rucker, to which Strick told his opponent: “Yo, young fella, you gotta finish your breakfast” with a side-eye. The Brooklyn MC witnessed this moment and chose to christen it on one of his biggest songs, which is quite the flex. Frequent Jay collaboratorJust Blaze made this “PSA” beat off of The Black Album, and he previously spoke on how they already finished the project by the time he cooked this song up.
“The Black Album was done, it was handed in,” Just Blaze told REVOLT of the Jay-Z collab all the way back in 2013. “My two contributions were ‘December 4th’ and the intro [‘Interlude’], which I was fine with. And we’re at Battery [Studios] mixing something. One of my best friends by the name Big Jack comes in the studio, ‘I got something you gotta hear.’ I put the headphones on and he puts this record on and all you heard was ‘doom-doom-doom-doom-doom’ and I’m just sitting there like ‘What is about to happen?’
“So, I made the ‘PSA’ beat in the headphones while the engineer was mixing one of the records we was working on,” Just Blaze continued concerning Jay-Z. “I made the beat in like 10 minutes and I ran over to the studio… So, the next day Jay’s doing listening sessions for the press for The Black Album… I’m like ‘Nah, you gotta come in here.’ And I play it and at first his reaction was just like… and I’m like ‘Do you not hear what we’re all hearing?’ As he’s doing the press, he’s thinking about this beat in the back of his mind. Coming up with the song… So, he comes in the next day. Spits the whole thing over in one take…Two or three weeks later we’re at the Garden and the entire arena knows the words.”
One of Lil Wayne’s most legendary projects, and arguably the one that shot him up into the stratosphere of hip-hop, celebrated its 20th anniversary on Saturday (June 29). Moreover, Tha Carter has spent two full decades captivating fans and providing a crucial blueprint for modern rap, and it’s been a wonderful journey to witness. “I’m Weezy F. Baby and this is Tha Carter,” Weezy tweeted on Saturday, quote-tweeting a post about the album’s anniversary to invite newer and casual fans to do their homework. With a reunion with Birdman going down recently as well, it’s a great time for him to reflect on his amazing career and strive to live up to this potential in the future.
Furthermore, Lil Wayne is also making sure that he forms a strong relationship with the new generation, such as basketball star and rapper Flau’jae Johnson. She recently spoke on their collaboration “Came Out A Beast” off her new album Best Of Both Worlds and how it lit a spark under her creative flames. “Working with Lil Wayne on ‘Came Out a Beast’ was a surreal experience,” Johnson stated to Complex. “His energy and talent pushed me to new heights.”
But don’t think that Lil Wayne isn’t reflecting on the game as a whole as opposed to his sole contributions, because he’s often got two cents to share on the game. For example, he recently updated his top five MCs of all time list in an interview, and it carried a different context compared to his previous rankings. Jay-Z, Missy Elliott, Eminem, and Biggie Smalls made the list, and so did Young Money partner Drake. This caught many fans’ eyes and ears due to Drizzy’s current beef with Kendrick Lamar, and the fact that K.Dot didn’t make the list.
Of course, it’s not like the Compton lyricist had to make the list, or that Lil Wayne had previously included him, but it’s a curious choice nonetheless for fans. After all, why wouldn’t the New Orleans legend pick one of his proteges? We’re sure that Nicki Minaj is number six. Between a LeBron James-assisted Beats commercial, more new music on the way, and celebrations of his iconic past work, it’s a great time to be Tunechi right now.
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 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.
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
there are a lot of beautiful ideas of what this art can be and how it can expand itself in the world and have a life of itself — the possibilities are there now.” – RZA
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.
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…
Travis Scott has always been a student of hip-hop ever since he became a Kanye Westprotege 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.”
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.
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.
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.
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 ToneLP), 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.
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.
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.
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.
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.
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.
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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