Rap pioneer Ice-T, on the other hand, made his opinion known a long time ago and chose instead to remind fans of his old tweet telling them exactly what he thought of Rush Limbaugh. Quote-tweeting his own post from July of 2012, Ice-T recalled a backhanded slight he once received from Rush and what he believed it said about the outspoken host. “Rush Limbaugh said he was impressed I knew the word ‘tyranny,’” reads the old tweet. “He’s a racist piece of sh*t.” Judging by the fact that he exhumed this five-year-old tweet just days after the man’s death, it’s probably safe to assume Ice’s opinion hasn’t changed much since.
Ice-T has found something of a third life (after his second one as the perpetually befuddled sergeant Fin Tutuola on Law & Order: Special Victims Unit) thanks to his witty political commentary on Twitter. Recently, his comments about Trump’s second impeachment trial amused fans while his empathetic response to his father-in-law contracting COVID-19 suggests he’d be a more than respectable replacement for the departed Rush, should he ever decide to pursue punditry full time.
While many view Black History Month as a time to celebrate the accomplishments of Black Americans, JID wants to call a little attention to America’s history of institutional abuse of its Black citizens. His new single, “Skegee,” is named for the city of Tuskegee, Alabama, a city central to both Black achievement and where the US conducted the infamous Tuskegee Syphilis Study from 1932-1972.
In the first verse, JID addresses the conflicting choices with which many Black Americans are faced: “You peep all the karma that come with makin’ the cream,” he rhymes, posing the dichotomy before pulling back the curtain to reveal the game behind the game. “Get your eyes cleaned for something you have never not, not seen.” An interview with former mayor of Tuskegee, Ronald D. Williams, also reveals insight into the city’s history.
In the second verse, he shows how these forced choices are the results of policy, not just tough situations that cropped up out of nowhere. Although JID says he was recruited to Tuskegee University, a prestigious historically Black institution, the name only calls to mind the 40-year experiment in which Black citizens of Tuskegee were involuntarily studied for the effects of untreated syphilis and denied treatment (or even information about the existence of treatment once it had been developed). While JID’s recollection isn’t entirely accurate (there’s no evidence that the unethical study deliberately infected its subjects), his song may very well be many fans’ first-ever introduction to the existence of such a study — and why it remains important to this day.
With so many Americans currently refusing COVID-19 vaccination, it’s important to understand why some of them might mistrust the government, knowing this history, as well as acknowledging how much work is left to be done to repair that broken trust if true progress is to be made.
Cardi B and Mariah Carey may soon have some new music featuring both on the way, according to their recent conversation in Interview Magazine. In the midst of a discussion about the differences between being a civilian and a celebrity, prejudice in the music industry, and the sexual awakening in pop culture since Carey’s heyday, the two made plans to collaborate on a song together — and on a bra line, after Cardi admits that she couldn’t find one that gave her the right mix of coverage and exposure.
After Carey asks Cardi “Do you have a favorite bra?” Cardi replies, “I don’t know because I’m not really a bra person. These titties be hanging. Even when I wear a certain bra, I have really big nipples, so I need a bra that shows my cleavage but could really tuck my nipples in. There ain’t none yet.” That prompts Mariah to suggest, “We need to do a bra line. We need that specialty line.”
The two then briefly discuss the music industry’s inherent prejudice against Black women, which is something Carey believes she and Cardi can fix. “We’re going to do that,” she vows. “We’re going to do our bra line, and one of these days, can we do a song together?” Cardi agrees, “I would love that. I would love to do a record that touches souls. You had me heartbroken when I was 11 years old and I didn’t even have a boyfriend.”
The last time Bobby Shmurda had an inescapable hit was the summer of 2014 — nearly seven years ago. That was the summer of “Hot N****,” which climbed to No. 6 on the Billboard Hot 100 — before the rules changed that allowed the publication to count streams — launched the “Shmoney Dance” meme, and spawned seemingly dozens of freestyles and remixes featuring everyone from Chicago drill upstarts to New York ’90s legends. There’s even a reggae remix featuring Junior Reid and Popcaan.
But then his GS9 crew was scooped up by the NYPD on a truly dizzying array of crimes all bundled into a racketeering charge that claimed GS9 was a drug-dealing, war-waging gang. Bobby’s own words were used against him as the prosecution used clips of “Hot N****” to bolster its accusations. “I been selling crack since like the fifth grade,” Bobby boasts on the song. Despite the Supreme Court’s previous decision that lyrics can’t count as evidence, Bobby’s case lawyer felt strongly enough that Bobby — and his GS9 cohorts, including fellow rapper Rowdy Rebel — would lose that the rapper pled guilty to one count of third-degree conspiracy and one count of weapons possession, receiving five years in prison, after time already served.
Those five years ended this week, to the jubilation of “Hot N****” fans and Bobby’s friends in the rap game, including Rowdy and Migos member Quavo, who vowed to pick him up from Clinton Correctional Facility upon his release. He emerges to exuberant celebrations on social media and tempered excitement for new music, but that begs the question: Can he recover the momentum he lost during his six-year stint behind bars, especially in a music world that has so thoroughly moved on from the specific moment in time that he could rightfully say he owned?
For one thing, the driving force behind the success of “Hot N****” was Vine, the now-defunct social app that turned six-second video clips into pop culture meme fodder. A snippet of Bobby’s “Hot N****” video, in which he removes his ball cap and flings it into the air before beginning a hip-gyrating “Shmoney Dance,” amused users who jokingly pondered the hat’s whereabouts and shared the clip widely on other services, making Shmurda as close to ubiquitous as a character can be in today’s dearth of monoculture.
Vine has largely been replaced by TikTok, an app that plays by its own unique set of rules, mostly populated by and driven by users who may not even remember the days of “Hot N****” or the circumstances of Bobby’s disappearance from the public eye. The sounds that attract TikTok users are goofier than the menacing, booming Jahlil Beats production that backed “Hot N****.” The dances are mostly performed by the users themselves, in complicated choreography reminiscent of the Japanese “Para Para” synchronized dance style.
For another thing, that “Jahlil Beats, holla at me” tag hasn’t been heard on a Billboard hit since 2016. The prevalent sound of Bobby’s Brooklyn stomping grounds is Drill, inspired and produced mainly by London beatmakers like Axl Beats and Melo808. These producers craft sparse compositions with skittering drums and airy, haunting samples, similar to Jahlil’s cavernous cacophonies but stripped back, almost all low-end with few bells and whistles. Fortunately for Bobby, he seems suited to this style and has a toehold in the scene thanks to Rowdy Rebel’s appearance on the posthumous 2020 Pop Smoke song “Make It Rain,” so the GS9 boys might not be total strangers to Drill fans.
However, the intervening six years of Bobby’s sentence has seen changes to distribution models, an increase in streaming, cultural changes in the usage of social media, and of course, several new artists who have cropped up to fill the already saturated hip-hop market. There are even more voices to fight through for exposure, with even more avenues for those voices to be heard, and tastes that have changed drastically from the days when Bobby graced the cover of XXL’s2015 Freshman issue. Half the rappers who joined him on that cover have since faded from public favor, while in the intervening years, the SoundCloud rap scene popped off, women have come to dominate the charts, and fans have gravitated to ever more melodic-sounding artists.
That said, there’s precedent to believe in a comeback. Artists going away as publicly as Bobby did often builds myth and mystique. When artists are plucked away in their prime, music fans often feel a sense of loss that can drive anticipation for a comeback. Tupac’s All Eyez On Me is one example of an artist’s triumphant return from prison; while more recent examples are less stark, artists like Gucci Mane, Lil Wayne, and T.I. returned from shorter stints to respectable careers driven by each artist’s prolific output and cult status, even if their mainstream acceptance was somewhat dulled by the time away.
It’s possible that Bobby can adapt to all these changes to reclaim his grip on the playlist-based Billboard charts, reassert his social media presence, and pick up right where he left off. However, it’s equally possible that the world continues to pass him by, save for a loyal niche following that sees him as more than a meme and contributed to the plays of his meager discography past “Hot N****” and “Bobby Bitch.” The wide-open nature of this new frontier is both a blessing and a curse, but at least Bobby Shmurda has the freedom to explore its possibilities.
Kanye West may have been the second-highest paid celebrity of 2020, but he wasn’t always successful. In fact, Kanye faced a few major setbacks when he was coming up in his rap career, including being told by a label executive that his rap game wasn’t good enough.
On an episode of Story To Tell with Andrew Barber for The Coda Collection, Lupe Fiasco joined to discuss his early career. Touching on his relationship with Kanye, Fiasco recalled one instance when Kanye had his ego bruised in a major way by LA Reid, a label head who was recently forced to step down from his position at Epic Records following a sexual harassment case:
“We brought Ye into Arista to showcase for LA Reid before Roc-A-Fella. Stack Bundles was sitting there. Imagine it’s me, Stack Bundles, Kanye, and LA Reid in the office. When we stopped, LA was like, ‘Yo you should stick to making music, you stick to making beats.’ Real sh*t. So that’s why I always honor Ye, no matter how crazy he goes. I’ve seen that man struggle and him just working through it.”
Elsewhere in the interview, Fiasco discussed how he and Kanye have always had a working relationship. “I’ve been knowing Ye for a long ass time. I remember first meeting Ye when he first did ‘The Truth.’ We did a little speaking thing, I think at Columbia College. That’s when n**** had a ‘fro or some sh*t, it was weird. But I was working with Ye for years. I got Ye joints. I remember Ye used to come up to the crib and be like, ‘Hey man, what you think about this verse?’”
Watch Barber’s full conversation with Lupe Fiasco on The Coda Collectionhere.
DaBaby’s pugilistic reputation has again reared its head as Variety reports the pugnacious rapper is being sued for assault after having a music video shut down. The owner of a Runyon Canyon rental property tried to stop DaBaby from shooting a video and the rapper allegedly got rough, knocking out the owner’s tooth, spitting on him, and stealing his phone and some “valuable kitchenware.”
In the lawsuit, the owner, Gary Pagar, says DaBaby rented the property on the condition that it would be occupied by no more than 12 people in keeping with COVID-19 safety regulations. DaBaby — who has flouted COVID safety in the past — supposedly brought 40 people to shoot his music video. Pagar says that when he arrived to put the kibosh on the proceedings, someone pushed him to the ground, DaBaby sucker-punched him in the mouth, taunted him by tossing his phone back-and-forth, and threatened him not to call the police. When someone else called the police, Pagar says DaBaby and company fled the scene, taking his phone and the kitchenware with them.
He also says they only paid a portion of the rental bill and left behind thousands of dollars of damage, including destroying a security camera in the hopes of keeping their activities a secret. Oh, and Jake Paul is allegedly involved because of course Jake Paul would be involved. He’s said to have been sitting in a car with DaBaby when Pagar arrived.
When it comes to her past, Cardi B is an open book. The rapper has often talked about growing up in the Bronx and how much work she put in before breaking out into mainstream. But one aspect of her life is oftentimes scrutinized due to the misogyny attached to the line of work: stripping. However, Cardi is an expert at shaking off critics who try to discredit her former job. In part, it’s stripping that allowed Cardi to earn enough money to start making moves in her rap career.
Cardi recently sat down for a conversation with Mariah Carey for Interview Magazine where they chatted about music, Cardi’s daily routine, and her past. Speaking about her time stripping, Cardi said the experience made her feel “on top of the world” because she was one of the most-requested dancers:
“The stripper attitude is, ‘I’m not ashamed of being a stripper because a lot of these b*tches don’t have sh*t. A lot of these b*tches don’t have a place to stay, don’t have no car, can’t afford this, can’t afford that. Y’all out here f*cking n****s for free, but y’all shaming me because I’m shaking my ass? Y’all hoes be showing y’all f*cking bodies on social media, and y’all not getting paid.’ That mentality stuck with me. I felt like, ‘You’re judging me, but I’m making more money than you.’ I felt like nobody could shame me for being a stripper. When I started stripping, I was making probably $500 a night. As I got bigger, I was making $2,000, maybe $5,000. When I got really popular on Instagram I was making $7,000 to $10,000 a week. I felt on top of the world. I felt so untouchable and so sexy, because there were rappers that all these girls lust over who would come to the strip club and request me to go to their section. They would request me. If I’m so trash, why are these guys requesting me? I’m getting paid for my looks. Nobody’s going to spend money on you if you’re ugly.”
Elsewhere in the conversation, Cardi said that, although she has a big personality, she still can get quite nervous around other celebrities. “A lot of celebrities invite me to places, but I’m really shy,” she said. “We’re doing this over the phone, but if it was in person, I wouldn’t be able to look you in the eyes. That’s how nervous I get around celebrities.”
Idris Elba is best known for his acting work, but he’s also well-established in the music world. He performed at Coachella in 2019, he co-starred in a Stormzy video later that year, and also in 2019, he dropped a mixtape. In recent times, he’s been working on music and it looks like he has a Megan Thee Stallion collaboration on the way.
In an interview with CapitalFM’s The All-New Capital Weekender (as Billboard notes), Elba revealed he has a track with Meg and Davido on the way: “I’m putting out quite a bit of music, man. I’ve been really focused in coming out of last year into this year, trying to put more music out, so expect more. I’ve got a tune with Frankie Wah coming, I think it’s gonna be good. […] I got a sneaky tune with Meg Thee Stallion and Davido, shout out to the fanatics.”
He also added that he hopes to get on a track with his Cats co-star Taylor Swift, saying, “I’ve known Taylor a few years. People see the album sales, the awards. What they don’t see is the hard work. She is an incredibly hard-working person, she isn’t resting on her achievements. To perform live with her would be fun and hopefully we can make that happen.”
Watch Elba talk about his upcoming projects below.
Last year, Chiiild, the moniker for Montreal-based singer Yonatan Ayal, arrived with his debut project, Synthetic Soul. The seven-track effort was led by the success of “Count Me Out” and “Pirouette,” tracks that helped bring plenty of attention to him. He was eventually named one of the most promising Canadian acts and this year, Chiiild will look to fulfill that with his upcoming debut album, Hope For Sale.
While we’ve yet to receive music or a release for the project, Chiiild’s Yonatan spoke to us about the direction fans can expect him to go in on Hope For Sale. “The intention I think was — to break it down — lyrically, to be more conversational, to reflect the times [more],” he said. “A lot of the artists that I love and I grew up on are just like mirrors of society… it’s beautiful because you see what’s happening, what’s trending in life, not so much just music, and you’re like, ‘Hey this is what I need to reflect, this is my reaction to that trend.’”
Coming off a year like 2020 that was as hectic and overwhelming as any set of 12 months could be, Chiiild insists that as an artist, it’s important for him to reflect the times for listeners of today and tomorrow. “I’m here to translate what has happened in the streets and try to immortalize it on record and say, “Hey you know what? Tomorrow’s going to be better,’” he said.
As he continues to prepare new music for a release at some point this year, we sat down with Chiiild’s Yonatan and asked him for some of the Black artists that influenced him and his sound as he grew up and found his voice, and he gave us these thoughts on the five (but really six) Black artists that inspire his work.
Gigi
She’s an Ethiopian singer. She put out this self-titled album when I was a kid, or at some point a long time ago. It was just played on rides from Montreal to Toronto every few months when I went to visit family. It was so peaceful, so moody, [and] it still had so much of our culture in it. As an artist, you’re a sponge so it just seeped into me early. I would say she’s definitely my first inspiration. If you listen to the record, she has this version of her album, it’s called “The Illuminated Audio Version,” and it is so meditative, so peaceful, it just transports you to another place. When you think about the music that we’re making, that’s a big part. There is a sense of escapism, I do want you to put your headphones on, or turn it up real loud, and just get lost in it, build a ritual around the record and I feel like that’s what that album taught me to do. The best way for me to describe it, I’m not sure what it’s called by word, but it’s that moment where something that’s not sad makes you wanna cry. That’s the feeling where you’re on the brink [of tears] and you’re like I don’t know why I just feel this way and it’s overwhelming. That’s the goal, that’s the destination [with escapism]. I know it sounds dramatic, but I’m pretty dramatic.
Massive Attack
[They’re] kind of a Black and a White artist in one. To be fair, I don’t really see color in the same way partially because of that same experience we talked about earlier. I would say that music is probably the closest attempt at blending R&B, punk, reggae, dub, [and] industrial. It’s what they created as a world their own… I feel like the attempt is to create a world of our own as well, I want to be best in class, in my space with my tribe and my people, and build that one-on-one relationship. When I listen to Massive Attack, I’m just like, this is something that doesn’t get classified as Black music, but is Black music to me. That’s something that I love. Other things in life made me tap into who I am instead of trying to fit, being an Ethiopian Canadian, it’s like how much representation do we have in the world or in media until The Weeknd, that’s like yesterday. It’s not that long ago, I would say I was encouraged to just be myself because that’s the only way that I was able to radiate the way I’m supposed to. There’s a quote that I’m going to misquote that I heard that I think kind of sums it up the best: “Great strength is shown in restraint.” Being able to restrain from doing all those things and just focusing on my values and what I want to put in the world is my greatest strength and where I find my strength. It took a really long time to get to a place where I’m just like, “This is me, this is who I am, whatever take it or leave it.’ It takes everyone a lifetime to really get fully acclimated with themselves. At the same time, that’s what this is about, that’s really why I’m doing this. I’m doing it to represent myself and people like me and people will find it.
Sam Cooke
Because of how “Count Me Out” was conceived. “Count Me Out” really came from me watching an episode of Being Mary Jane and Sam Cooke’s “(Somebody) Ease My Troublin’ Mind” was playing. I was just immediately taken back by it, went and bought every CD I could find, or vinyl, but I essentially collected them all within that year and studied it, studied it, studied it and I was like, “I want this.” I want to do something like this that feels like this but that is a reflection of all my inspirations. When you think of “Count Me Out” and how starts in that string intro and how it’s in 6/8 and just the way it’s composed. You can tell that as an artist you’re a sponge, I’ve been listening to Sam Cooke for the whole year, “Count Me Out” happens, it’s just the natural process. I’m not sure anything that I’m doing other than trying to be my own being is on purpose. I think as artists we recognize things that are beautiful, interesting forms and that stuff happens in your everyday life. You go out the house and you see a strange car and you’re like, “Oh, this is really interesting, there’s something really attractive about it.” With music, you go into the studio and press a bunch of buttons and do all kinds of things and when something really special happens, as a great artist you recognize it, that’s all you’re doing. Like yeah, you did press the buttons, and yeah, you make it sound, but the point is you recognized it, that’s the difference.
Bob Marley
I’m kind of going back in time, so it’s like that’s also part of my DNA growing up. If you’re in an Ethiopian household, you understand the impact of Bob Marley but what’s impressive and with Bob Marley is his ability to represent everybody. Every shade of Black was represented with Bob Marley and that’s one man, it’s unbelievable. He did his thing and I really truly respect that and aspire to radiate one-fifth of his energy. I think some things are popular because they’re popular and some things are popular because they’re good and I think Exodus is popular because it’s both good and popular. It’s just incredible, that’s probably the album I listen to the most. I love “Buffalo Soldier,” I love the storytelling element, “No Woman No Cry” [as well]. It’s a journey, you turn on that album and from top to bottom it just feels incredibly homogenous. He’s telling his story, but at no point do you feel attacked or threatened by what he’s saying, and I think that’s a big superpower of him and his collaborators. He can be revolutionary without making you defensive. That’s magic, I don’t know how you do that. You just sing along to it whether you’re the perpetrator or the victim. You’re just like, “I’m with you.” That needs to be studied if it hasn’t already been studied it’s just the way that his messaging is just second to none.
Jimi Hendrix/The Weeknd
I would say Jimi Hendrix for his incredible gift, his talent, and ability to just communicate through his instrument, that’s something that we all as musicians want to be able to do. The other one would be The Weeknd more recently. Representation alone, the fact that he just keeps pushing the bar for artists like us, like I said, growing up there was no one that looked like me on TV and for him to go and continue to push the bar it’s incredibly inspiring and challenging at the same time. I’m in constant awe. That’s kind of the bar that keeps moving, if that makes sense. I’m grateful that we have somebody like that.
It was reported yesterday that after spending six years behind bars, Bobby Shmurda (real name Ackquille Pollard) would get out of prison on a conditional release today. Sure enough, this morning, the rapper was released from Clinton Correctional Facility.
A spokesperson from the New York State Department Of Corrections told Vulture, “At approximately 8:30 this morning, Ackquille Pollard was conditionally released from Clinton Correctional Facility. Mr. Pollard will be under community supervision in Kings County until he completes his sentence on February 23, 2026.”
Shmurda preemptively celebrated his then-upcoming release last night with an Instagram post. He shared a 5-minute clip from the movie King Of New York, in which Christopher Walken’s character gets out of prison and then celebrates his freedom. Shmurda wrote alongside his post, “How the fuc y’all forget about me.”
Quavo recently vowed to be the one to pick Shmurda up from prison, saying, “I’m going to get my guy. I’m personally gonna go pick up Bobby Shmurda. I’m ’bout to go get him. I’m gonna let him show you how I’m gonna pick him up. It’s gonna be big.” Yesterday, Shmurda’s mother indicated that once the rapper is free, he plans to spend most of his time making music.
