Marlon Wayans wants Hip-Hop to return to the positivity, appearing on Sway’s Universe. Wayans is calling for the beef to stop and not escalate. “We too old to be that dumb, and kids, stop with this stupidity,” Wayans said. “Life is so precious. I’m so grateful to be able to be 51, right. To be able to have lived a long life, my parents would have wanted that.”
Nick Grant gives us hope that real Hip-Hop is here to stay.
Born and raised in Walterboro, South Carolina, a small town that hosted around 5,000 people, Nick knew he was destined for something greater early on. Being raised by his grandparents and growing up on Hip-Hop music, he’d soon find his own footing in the rap game. Soon, he’d explode onto the scene with his undeniable bars, soulful sound, and meaningful lyrics that do not go unnoticed.
Now, the “FEDS” rapper returns with his first project in over three years, showcasing the most vulnerable side of himself fans have yet to see. Clocking in at 16 tracks, Sunday Dinner touches on a multitude of topics including Nick’s personal experiences growing up, such as turmoil in the household, his mom’s addiction issues, and much more.
The Source spoke with Nick Grant in downtown Los Angeles to discuss his love for Hip-Hop, the new project, goals, and more!
What was the moment you fell in love with Hip-Hop?
When I heard Ready To Die by Biggie. It was “Juicy” and “Big Poppa” the single. That era, that time. Doggystyle was influential in me falling in love with Hip-Hop as well. But those two artists, Pac was always around. That era of music, the 90’s era of music. I had to be 5 or 6 when I was hearing this music.
You knew then that you wanted to spit?
I didn’t know I wanted to rap, they made it look fun to me. I just enjoyed it. By the time I got into Nas heavy, because he’s around the same class of artists. Jay Z. Those were the guys where you know what, I’ma try my hand at this and see how it pans out.
Where do you see the current state of Hip-Hop?
Man. [laughs] That’s a good question. We need more balance. We need more people waving the integrity flag, the skillset flag. Shining more light and giving more opportunity to the people that — and I’m not a person where it’s gotta be me. I’ve gotta be the guy you give the opportunity to. Nah, there’s kids younger than me that push the same thing I’ve pushed. That help the art form, help push the envelope and help it get to a more balanced place.
We gotta shine more light on the people that are baring their soul, putting a lot of time and effort into making a statement. As opposed to “oh, this is my friend. This guy’s…” I think we gotta give it to the people that actually deserve it. I can’t say what somebody doesn’t deserve, but we should give it to people that wave a certain flag and have a certain skillset.
What are your thoughts on the female rap scene right now?
Oh they’re killing it. Killing it. A lot of them making us look bad. [laughs] They have more fun. The person that has the most fun is always gonna have more victories.
Sunday Dinner out now, what was the concept that inspired the project?
Sunday Dinner is an album about my experiences in the South, South Carolina to be exact. Living with my grandma, and my mom and dad having their own personal issues that they had to figure out. That led me to living with her. Her rules were school, church, Sunday dinner. That wasn’t a thing that was specifically said, but it was how she moved. She showed that was her purpose for me at that time.
I’d go to school, I slipped up a few times. I’ll be outside hanging with the “wrong people.” Getting in trouble, doing a lot of things at school that she wouldn’t approve of. Going to church, she kept me grounded in a sense with these three things. But Sunday dinner, I’d see everybody. Everybody came over to the house and she’d cook.
My aunt’s would also have Sunday dinner, we’d go over there. My family’s really big, so I’d see different characters come into the household. Whether it was my mom who had addiction issues or my cousin who went to college, or my cousin who’s a basketball player. Taking all these different personalities and applying them to who I am, enhancing my character in a sense.
How do they feel about the project, especially since it’s inspired by them?
I only spoke to immediate family, like siblings. They love it. They feel like it’s honest and truthful. My mom opens up the album, that was a conversation I had to have with her. Because it was her being represented in a light that maybe I didn’t want people to see her in. I wasn’t strong enough to put her in that position to be seen in that, but for me, nah you gotta be vulnerable. If you want to have a voice, not if you want to be the biggest artist in the world — but if you want to feel like your voice is important, you gotta say things that resonate with people. Attract people and bring them in, so that’s what that album is all about.
I love the song “KNOW YOUR WORTH.” What is your favorite song and why?
My favorite song is “GRANDMA SAID.” It’s still “KNOW YOUR WORTH,” but that’s my favorite song at the moment. It’s the soulful element of it, and how specific it is. Even my cousin saying, “yo Nick, you need to come in the house,” all of this stuff. I could smell outside. I could feel what that moment was like as a kid when I was recreating that song. That’s my favorite song at the moment. It changes every day, but right now that’s my favorite song.
Anything you were trying to capture in the cover art?
Man, I had a whole nother idea. It was based on the things that culture, TV, everything in the world that feeds our communities. It was gonna be a plate with a gun on it, I was gonna be super deep. Cocaine on it, a whole bunch of stuff. But it didn’t photograph well. It has to photograph well for this to come across. But I said yo, instead of being so deep and dark, just show something a little more warmer. Everybody likes women, everybody loves a beautiful girl. Everybody in the hood has had their hair cut outside or inside at some point. Something like you know, just more relatable for sure. And not so deep to where certain people say “what point is he trying to get across?” This album was basically just show us in a good light.
How’d you end up working with Tweet on “HEAVEN”?
Tweet is someone I always respect and looked up to. Since I was a kid, she’s been making music. Since I was really young, she’s always been somebody that I loved. I loved her tone, how her voice was. How she put her music together, everything. Her album, Southern Hummingbird, was a classic to me. Influenced me in a major way.
I always said once I’m in the position and able to make an album the right way, the proper way, I want to reach out to her. See if she’ll do a song. I DMed her, she hit me back. She said “yo you’re incredible, I’d love to do a record.” She pulled up. Soon as I hit her, she pulled up. I was in Atlanta at the time, she pulled up to the studio. Chilled, had a few sips of wine. Made some records. We made a whole lot of songs.
How important is Instagram in today’s day and age to reach artists?
Very important. Very important for me, because I got rid of the ego. I was always the “aw, i’m not reaching out to nobody like that. I want to meet them a little more organically,” but this is the times we live in. You gotta apply that to if you’re trying to get something done. A close friend of mine said “man, just reach out to people bro. Stop overthinking it and do it.” By the grace of God, that way it worked that time.
What’s the most exciting DM you’ve gotten?
[laughs] Man, I got a few. I’ll keep it PG, but another one was from one of my favorite rappers: Royce Da 5’9”. When I first came in the game, he’s like “yo keep it up. You’re dope.” After that, he sent me a record. He’s somebody I always watched and respected. Another one was Erick Sermon. Classic EPMD, legendary Hip-Hop producer. I’m young, but I’m really old at heart. These guys were, still are, superheroes to me.
How does this project showcase your growth as an artist?
For me, this project shows vulnerability. lt shows growth, it shows not hugging the tree of “man, I don’t want a motherfucker to see me like this. I don’t want people to have this opinion about me.” It’s all about not caring about opinions anymore. That’s the space I’m in. Excuse my language, but I don’t give a fuck about everybody’s opinion musically, about me in life.
When I first came in the game, I wanted everybody to love me.
It was really organic though, people naturally liked you.
Yeah somewhat, but I still cared. I still moved in a way where I want you to feel like this about me, I’m the best and I’m this cool person. I still want you to feel like that, but I’m not forcing that. I don’t care about your opinion about who I am. If something connects and resonates, I’m always moving on respect always. But I’m not concerned about people’s opinions about me anymore. That’s the place I’m in.
That’s a very freeing place!
Yeah for sure, life is so much easier. Because I feel like that, I’m closer to my goals. Because I’m not letting the distractions of “man if I do this, this person’s gonna feel like this. If i say this, I’ma offend this person?” So definitely a freeing space.
What are your goals?
My whole mentality has always been to get in a space, and help like-minded people. Of course I love money, I want to have money and I want to be successful. But always for me, the thing that’s most important is you’re not gonna live forever, so you gotta create a cycle of helping people and lifting people up. That’s what I want my contributions to life to be. When it’s all said and done, it’s “man, he helped so many people.” It’s my whole mentality of lift as you climb, get to a better place. Help this person, hopefully they keep the cycle going. But I get a lot of flack for it. “What they doing for you? They wouldn’t do that for you if they were in position.” That’s basically what it’s all about.
Anything else you want to let us know?
Sunday Dinner out right now, go get it. It’s my most personal album, my best album. A lot of people agree with me. I had a hump as far as 88 being my first project. Everybody was saying “yo, this is your best project.” But this project got me over the hump. Showing people nah, he made a project better than that. And I actually know who he is. Because it was at a point where “Yo, he’s one of the best rappers. What else? What’s the story? How can I relate to this person? Of course, I love the punchlines. I love the verses, all this shit. What can I take and connect it with?” That’s what this album is about.
Reebok, the iconic sports culture brand, has unveiled a special footwear and apparel collection commemorating the 50th anniversary of hip-hop. This unique collection pays homage to the influential figures in Black and Brown communities who have significantly contributed to the music industry through hip-hop. It follows Reebok’s “Most Extra” line, which celebrated trailblazers in the fashion industry.
Reebok has been a staunch supporter of pioneers in hip hop since the 1980s, recognizing the profound cultural impact the genre would have. The brand has collaborated with numerous hip-hop icons over the years and was the first to create a signature shoe with a hip-hop artist.
To mark the release of this collection, Reebok is donating $35,000 to Hip Hop For Change, an Oakland-based nonprofit committed to using hip-hop culture for education, empowerment, and cultural innovation. This donation will help develop and train educators to provide free in-school programming and community events.
Reebok’s Director of Human Rights Now! Product & Apparel Energy Concepts, Carmen Andrade Hardaway stated, “This collection goes beyond celebrating hip hop’s anniversary. It’s a tribute to the enduring impact of Black and Brown communities in culture and society. It is a testament to how music, art, fashion, and sport all intertwine to ignite the flames of culture throughout the decades.”
The collection features a range of apparel that guides you through hip-hop’s early years, showcasing the work of artists Joe Conzo and Rich Tu. The collection also includes footwear offerings with custom logo designs inspired by the 50th anniversary of hip-hop. Reebok’s commemorative collection celebrates cultural diversity and the impact of hip-hop on society and culture.
Key Highlights from the Collection:
1970s-inspired pieces featuring the Hip Hop Track Top, Hip Hop Track Pant, Hip Hop Photo Tee, and Hip Hop Photo Hoodie.
1980s-inspired t-shirts including the B-Boy Pose Tee and Imagine a World Without Hip Hop Tee.
1990s-inspired Hip Hop Classic Tee showcasing graphics inspired by the east coast vs. west coast rivalry.
Footwear offerings with custom logo designs, suede overlays, and metallic accents in two colorways each of the Club C 85 and Classic Nylon.
The collection campaign features individuals who love and appreciate music, taking you through cultural moments in hip-hop’s history.
Reebok’s commemorative collection is a fitting tribute to hip-hop’s 50-year legacy and its cultural influence on society.
The collection will be available for purchase on Friday, October 27th, online and in select Lids HD, NBA, and Lids stores.
Sal Dali’s Grammy-Winning Magic Meets Speed Walton’s Rhymes in “Beautiful Nightmare”
Cincinnati hip-hop artist Speed Walton, alongside Grammy-winning producer Sal Dali, both natives of the city, recently released “Pearls,” an album that showcases Dali’s diverse production skills, known for his work on Beyoncé’s tracks like “Alien Superstar” and “Summer Renaissance.” Today, Walton reveals the music video for another Dali-produced gem, titled “Beautiful Nightmare.” Directed by Asher Kai and Co-directed by Speed Walton for Art Kids.
For those unacquainted with Speed Walton, this Cincinnati native has been releasing music since 2009, both independently and under Capitol Records. “Pearls,” his latest project, dropped on August 4th and boasts 13 tracks, including “Beautiful Nightmare,” featuring appearances by Jayda Klink, T.Nava and August Rose.
Walton describes “Beautiful Nightmare” as his ode to the music industry, comparing it to Common’s “I Used To Love HER,” with a twist. It’s a love affair with music itself, as he navigates the industry’s often unforgiving terrain, making it a beautiful yet haunting journey.
The song samples The Weeknd’s “The Party & The After Party” from House Of Balloons, creating a moody backdrop for Walton’s narrative. He tells a tale of falling in love with a music business that doesn’t reciprocate, a sentiment many artists can relate to.
“Beautiful Nightmare” is a collaboration that blends Walton’s lyrical prowess with Dali’s musical genius. Watch the video to immerse yourself in this gripping story of love and betrayal in the world of music.
Nas’ 50th Birthday Bash: A Night of Legends, Love, and Hip-Hop
New York City recently witnessed a legendary celebration as hip-hop icon Nas marked his milestone 50th birthday. The Big Apple’s skyline was lit up with star power, as a who’s who of the music and entertainment industry turned out to honor the Queensbridge legend.
The guest list read like a who’s who of hip-hop royalty: Chris Rock, Fat Joe, Mary J. Blige, Q-Tip, Diddy, Havoc, Kendrick Lamar, Styles P, Sheek Louch, AZ, Robert De Niro, Slick Rick, Steve Stoute, Sizzla, N.O.R.E, Questlove and many more. It was a night to remember as Nas was embraced by his peers, with Hit-Boy, Jadakiss, DJ Premier, Ralph McDaniels, and others showing their love and admiration.
In a heartwarming flick, Diddy, Fat Joe, Raekwon, and Cormega shared a nostalgic moment, highlighting the camaraderie and respect that Nas has earned throughout his illustrious career.
But the outpouring of love didn’t stop with those in attendance. Even those who couldn’t make it to the celebration made sure to send their love to the Magic III emcee through Mass Appeal. Cordae, DJ Khaled, Snoop Dogg, Swizz Beatz, and Tobe Nwigwe all took a moment to express their affection for Nas.
Snoop Dogg, in his signature style, welcomed Nas to the “fifth floor” of life, an eloquent nod to the rapper’s 50th birthday. DJ Khaled marveled at the synchronicity of Nas and hip-hop both turning 50 in the same year, showering him with blessings and gratitude. Swizz Beatz, paying homage to Nas‘ significance in the rap game, wished him many more blessings and declared him the “best of the best.”
Nas‘ 50th birthday celebration wasn’t just a party; it was a testament to his enduring influence on the world of music and culture. As the hip-hop community came together to celebrate this milestone, it was a reminder that Nas’ legacy is not just about music; it’s about the love and respect he’s earned from his peers and fans over three decades of greatness. Happy birthday, Nas—here’s to many more years of inspiring us all.
Cardi B and Megan Thee Stallion’s ‘Bongos’ Challenge Rap’s Status Quo
Cardi B and Megan Thee Stallion, two of the most prominent figures in contemporary rap, set the music world on fire with their explosive collaboration, “Bongos.” With over 100 million streams on Spotify alone, the twerk-worthy track is already a certified hit. “Bongos” has been praised for its catchy dembow-esque production and Cardi and Megan’s fierce and crisp delivery. However, the song has also been criticized for its sexually explicit lyrics and unapologetic celebration of female sexuality.
The track’s provocative lyrics and explicit content ignited a wave of controversy and raised questions about the double standards women in hip hop face compared to their male counterparts. In the song, Cardi and Megan rap about their sexuality and ability to please men. They also use some profanity, but no more than you would hear in a typical rap song. Yet, some people have criticized the song for being “too raunchy” and “degrading to women.”
In hip-hop, it is not uncommon for male rappers to use misogynistic language and imagery. This is often seen as a way of asserting dominance and masculinity. However, when women rappers use similar language, they are often accused of being “too sexual” or “unladylike.” This double standard is a form of gender bias often overlooked in hip-hop culture, where women are often seen as objects to be used and discarded.
For example, let’s consider two instances from Snoop Dogg and Rick Ross songs that highlight the double standards in rap lyrics:
Snoop Dogg’s “Ain’t No Fun (If the Homies Can’t Have None)” features lyrics such as “Btches ain’t sht but hoes and tricks.” These lyrics objectify women and degrade them to a demeaning status. Despite the explicit and derogatory content, the song is often praised for contributing to West Coast hip-hop and is considered iconic. In his song “U.O.E.N.O.,” Rick Ross raps about drugging a woman without her knowledge with the line, “Put molly all in her champagne, she ain’t even know it.” These lyrics sparked outrage and calls for accountability, yet Ross faced minimal repercussions, and the song continued to receive airplay.
The music industry has long been a battlefield for debates about freedom of expression, artistic integrity, and gender equality. This disparity in judgment limits creative freedom and hinders progress toward gender equality in the music industry. Recognizing and addressing these disparities is essential to promote a more equitable and respectful music culture.
Beyond the lyrical controversy, “Bongos” demonstrates innovation in its musical production. The song features a captivating blend of styles and influences, with production credits going to DJ SwanQo, Breyan Isaac, and We Good’s Donny ‘Dizzy’ Flores. One of the most intriguing aspects of the song is its infusion of Dembow rhythms, a fast-paced, rhythmic music genre from the Dominican Republic. This infusion adds a unique and infectious element to the track, setting it apart from conventional hip-hop and rap songs.
The incorporation of Dembow rhythms into mainstream music is a testament to the ever-evolving nature of music and the willingness of artists to explore new sounds and styles. This cultural exchange enriches the musical landscape and should be celebrated for its ability to bridge different cultures and bring fresh energy to the industry.
In light of the controversy surrounding “Bongos” and its musical innovation, it is only natural to anticipate a remix that can help expand the song’s reach and impact. While recognizing the importance of artistic expression, we encourage Cardi B and Megan Thee Stallion to consider a remix that takes the song to new heights. Collaborating with global artists like El Alfa, J Balvin, Karol G, or Rosalía would bring a dembow remix of “Bongos” and help further popularize the genre. These are all talented artists who would bring their own unique flavor to the song. Such a remix could incorporate powerful voices from the rap and dancehall scenes, showcasing unity and diversity in music.
A carefully crafted remix could further elevate the cultural fusion of Dembow rhythms and hip-hop, attracting a broader audience while addressing some of the lyrical concerns raised by critics. Cardi B and Megan Thee Stallion’s “Bongos” single has thrust essential issues surrounding gender double standards in rap lyrics into the spotlight. We must hold all artists accountable for their content while recognizing the artistic freedom they should possess. Additionally, we should celebrate the innovative infusion of Dembow rhythms into mainstream music, as it represents a positive step towards cultural diversity in the industry.
“Bongos” is not just a song; it is a catalyst for essential discussions about the state of the music industry.
Cardi B and Megan Thee Stallion’s ‘Bongos’ Challenge Rap’s Status Quo
Cardi B and Megan Thee Stallion, two of the most prominent figures in contemporary rap, set the music world on fire with their explosive collaboration, “Bongos.” With over 100 million streams on Spotify alone, the twerk-worthy track is already a certified hit. “Bongos” has been praised for its catchy dembow-esque production and Cardi and Megan’s fierce and crisp delivery. However, the song has also been criticized for its sexually explicit lyrics and unapologetic celebration of female sexuality.
The track’s provocative lyrics and explicit content ignited a wave of controversy and raised questions about the double standards women in hip hop face compared to their male counterparts. In the song, Cardi and Megan rap about their sexuality and ability to please men. They also use some profanity, but no more than you would hear in a typical rap song. Yet, some people have criticized the song for being “too raunchy” and “degrading to women.”
In hip-hop, it is not uncommon for male rappers to use misogynistic language and imagery. This is often seen as a way of asserting dominance and masculinity. However, when women rappers use similar language, they are often accused of being “too sexual” or “unladylike.” This double standard is a form of gender bias often overlooked in hip-hop culture, where women are often seen as objects to be used and discarded.
For example, let’s consider two instances from Snoop Dogg and Rick Ross songs that highlight the double standards in rap lyrics:
Snoop Dogg’s “Ain’t No Fun (If the Homies Can’t Have None)” features lyrics such as “Btches ain’t sht but hoes and tricks.” These lyrics objectify women and degrade them to a demeaning status. Despite the explicit and derogatory content, the song is often praised for contributing to West Coast hip-hop and is considered iconic. In his song “U.O.E.N.O.,” Rick Ross raps about drugging a woman without her knowledge with the line, “Put molly all in her champagne, she ain’t even know it.” These lyrics sparked outrage and calls for accountability, yet Ross faced minimal repercussions, and the song continued to receive airplay.
The music industry has long been a battlefield for debates about freedom of expression, artistic integrity, and gender equality. This disparity in judgment limits creative freedom and hinders progress toward gender equality in the music industry. Recognizing and addressing these disparities is essential to promote a more equitable and respectful music culture.
Beyond the lyrical controversy, “Bongos” demonstrates innovation in its musical production. The song features a captivating blend of styles and influences, with production credits going to DJ SwanQo, Breyan Isaac, and We Good’s Donny ‘Dizzy’ Flores. One of the most intriguing aspects of the song is its infusion of Dembow rhythms, a fast-paced, rhythmic music genre from the Dominican Republic. This infusion adds a unique and infectious element to the track, setting it apart from conventional hip-hop and rap songs.
The incorporation of Dembow rhythms into mainstream music is a testament to the ever-evolving nature of music and the willingness of artists to explore new sounds and styles. This cultural exchange enriches the musical landscape and should be celebrated for its ability to bridge different cultures and bring fresh energy to the industry.
In light of the controversy surrounding “Bongos” and its musical innovation, it is only natural to anticipate a remix that can help expand the song’s reach and impact. While recognizing the importance of artistic expression, we encourage Cardi B and Megan Thee Stallion to consider a remix that takes the song to new heights. Collaborating with global artists like El Alfa, J Balvin, Karol G, or Rosalía would bring a dembow remix of “Bongos” and help further popularize the genre. These are all talented artists who would bring their own unique flavor to the song. Such a remix could incorporate powerful voices from the rap and dancehall scenes, showcasing unity and diversity in music.
A carefully crafted remix could further elevate the cultural fusion of Dembow rhythms and hip-hop, attracting a broader audience while addressing some of the lyrical concerns raised by critics. Cardi B and Megan Thee Stallion’s “Bongos” single has thrust essential issues surrounding gender double standards in rap lyrics into the spotlight. We must hold all artists accountable for their content while recognizing the artistic freedom they should possess. Additionally, we should celebrate the innovative infusion of Dembow rhythms into mainstream music, as it represents a positive step towards cultural diversity in the industry.
“Bongos” is not just a song; it is a catalyst for essential discussions about the state of the music industry.
On this day 50 years ago (August 11, 1973), Kool Herc threw his legendary back-to-school basement party, which would go on to create the foundation for Hip-Hop music through the “breakbeat” DJ technique he used to keep the party rocking. Many aspiring emcees at the time paired ‘the break’ with the rhymes flowing through their minds, jumpstarting a sound and movement now considered the most popular genre in music; Hip Hop.
Many are familiar with the story of the 1520 Sedgewick Avenue Recreation Center and how Jamaican-born Herc attracted the youth from the community and other boroughs that had already made names for themselves in other aspects of the culture (B-Boying, Graffiti, and MCing). The climate in NYC has often been omitted from history, where the city was on the brink of bankruptcy while crime and “white flight” was at an all-time high. These were the circumstances in which the culture of Hip Hop was born and thrived throughout the city for about a decade before it became recognized by the mainstream.
Salute to the pioneers of the era, such as Kool Herc, Afrika Bambaataa, Coke La Rock, Grandmaster Flash and the Furious Five, The Funky Four Plus 1 More, The Magnificent Seven, and a host of others who were there at the foundation. Thank you for giving us what we can document now as Hip Hop history!
The birth of Hip-Hop infused a flavor element into the world that not everyone was prepared for. As hip hop turns 50 years old today, huge corporations, giant companies, and everyone in between is celebrating a genre of music that once was deemed a fad. No one could anticipate the soul-filled, compassionate talent that would soon become a force to be reckoned.
As a self-certified hip-hop head myself, I personally feel a sense of gratitude for the music that raised me. As a troubled child abandoned by my parents and raised by my granny, I always searched for something to love. My grandma, her mother, and my aunt raised me in the church, hoping to keep me from falling to the streets and setting a solid foundation that would one day come in handy. Hip-Hop wasn’t played in my home, and the first glimpse I received was from my older brother, who was seven years my senior and brought my first Janet Jackson Control tape from the mall. One day in 1986, when I was just seven years old, I went to my father’s side of the family, which was a lot more colorful, to say the least. My cousin Sharon ushered me to her grandma’s old wooden record player and played ‘La Di Da Di’ by Slick Rick and Doug E. Fresh. We played the record the entire day. I was sad to go home because none of that was cooking in my house, and I wanted more. I found my aunt Mildred’s electric can opener, which had a radio attached to it, and discovered DJ Red Alert, and it was over. I was addicted to hip-hop. My big brother, who was way cooler than me, would tell me what was ‘real’ and who was biting, and I listened. For the next few years, I soaked up every snare, R&B remix, and lyric hip hop had to offer. I’d race home to adjust the hanger on the TV to watch Video Music Box on that in-between channel, and that was the highlight of my day. But when I fixed my brother’s broken cassette tape and popped his NWA Niggaz4Life in my headphones—I couldn’t believe the nasty filth that came out of their mouths. And I loved it. I would rap all the lyrics in school and church to my friends and indefinitely get into trouble after.
Hip-Hop kept me busy and somewhat out of trouble. I waited for the hottest releases and saved up money for what are now considered classics. For me, it was Queen Latifah who inserted a pride into me I never had before. MC Lyte’s style and flow let me know it was OK to be different. I even listened to everyone from Snow Informer to Lil Vicious Freaks against my older brother’s advice because I listened to it all.
When my mother resurfaced back into my life seven years later, and I moved to New York City, and could never fathom how far hip-hop would carry me. From working at the Mart 125 on 125th Street at 14 years old doing nails for Dr. Khalid Muhammad and Bobby Brown to meeting Monifah and Marquee there, who introduced Kelis and I to a new producer named Pharrell. From working at Rawkus Records and traveling the world with Talib Kweli, Slaughterhouse, Kelis, and MF DOOM to hosting a hit show on XM radio with one of my favorite journalists, Bonz Malone, called Spitkickers where we had classic rappers freestyle live on air to now writing at the magazine I once hoarded.
As hip-hop turns 50 years old, I want to thank ALL the hip-hop artists who spent countless hours in the studio and away from their families creating music that we connected to….music that made us feel, love, and gave many of us a reason to live.
From The Notorious B.I.G., Salt N Pepa, J.J. Fad, Public Enemy, Nas, Black Sheep, Wu-Tang, Lil Kim, DMX to Royce Da 5’9”, The Roots, Jay-Z, Snoop Dogg, 2pac, M.O.P., The Lox,—-too many to name.
We Salute and love you, and we give a huge Happy Bornday to HIP HOP!
Check out some of the hip-hop songs below that changed my life.
