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Sa-Roc & Sol Messiah Predict The Next 50 Years Of Hip-Hop

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The Hip-Hop 50 celebrations have been a necessary reminder of the global impact of the culture. The celebrations primarily highlighted the commercialization of hip-hop, from the streets of the Bronx to a global phenomenon. However, it’s provided an incredible moment to celebrate and acknowledge the pioneers who broke through barriers to achieve such success. Still, the number of legends on a grassroots level deserves their flower, too. Rhymesayers artists Sa-Roc and Sol Messiah have undoubtedly left their mark on their culture in their own right. Sa-Roc is a formidable MC who has gone bar-for-bar with the best of ’em. This was evident in her excellent 2020 Rhymesayers debut, The Sharecropper’s Daughter. Sol Messiah is an original member of the Bronx chapter of the Rock Steady Crew. Throughout his illustrious career as a producer and DJ, he worked with legends from KXNG Crooked to JAY-Z.

The chemistry they developed over 20 years ago took center stage at Red Bull BC One Midwest Cypher in Minneapolis. Considered the largest and most prestigious breaking competition in the world, Red Bull BC One drew in a sizeable crowd at First Avenue. Hip-hop purists celebrated breaking in its purest form. Meanwhile, Sa-Roc and Sol Messiah served as the musical talent for the evening.

“Being a part of events like this kind of validates and affirms that, you know, hip hop as a culture really is a global influence around the world. And it’s here to stay,” Sa-Roc told HotNewHipHop hours before they hit the stage. Sol Messiah added, “My whole upbringing was dealing with the four facets of hip-hop. So it’s really great to see that 50-some-odd years later, it’s still being celebrated and it’s still the biggest energy that you find on Earth.”

To celebrate hip-hop’s 50th anniversary, we caught up with Sol Messiah and Sa-Roc for an in-depth conversation that dives into the past, present, and the future of hip-hop.

This interview has been edited and condensed for clarity.

Sa-Roc & Sol Messiah On Preserving The Culture & Pushing It Forward

Sa-roc & Sol Messiah perform at Red Bull BC One Midwest Cypher.
Sa-roc Rapping at Red Bull BC One Midwest Cypher in Minneapolis, MN, USA on July 29, 2023. Jules Ameel for Red Bull Content Pool.

Approaching the 50th anniversary of hip-hop, how does it feel bringing all these pillars together ahead of the major milestone?

Sa-Roc: For me, it’s really dope to be a part of it. I think that my introduction to hip hop and to rhyming was being fully immersed in the culture, getting the history. So, I had a really strong foundation for the importance of what it is I was doing in terms of moving the culture forward. Being a part of events like this kind of validates and affirms that, you know, hip hop as a culture really is a global influence around the world. And it’s here to stay.

Sol Messiah: For me, it’s really important because that was one that was blessed to grow up in a culture. Initially, a graffiti artist and a B-boy, and then, eventually going into DJing. And I’m also a member of the original Rock Steady Crew, Bronx chapter, and the Universal Zulu Nation. So this is just a combination of all of that. My whole upbringing was dealing with the four facets of hip-hop. So it’s really great to see that 50-some-odd years later, it’s still being celebrated and it’s still the biggest energy that you find on Earth.

From your POVs, how would you describe hip-hop’s evolution? From where it began to see where it is today. Not just on a mainstream scale but on a grassroots level, too. 

Sol Messiah: I’ll say this: for a minute, it seemed like it was going off the rails. A lot of people realize that when money came in, when the budget came in and started to hit, it was like – I was a DJ, then for a lot of MCs at the time – they would separate us. B-boys pushed to the back. Graffiti artists were not even seen for a while. And then they separated the DJ and MC and started to focus directly on rap. But luckily, the underground or the grassroots, with us who deal with the fourth facets and just the purity of it. That’s what I see.

Just like with this festival that we’re doing now with Red Bull, I liked that they bring them all back together. We still have us that tie those together. So it evolved with ‘Yeah, we got to make some money,’ it got worldwide, but it’s still a little bit – you kind of have to push to have the other elements seen. But I think the b-boys are crazy dope, DJs, graffiti artists – it’s crazy. And the MCs – the real MCs, that is. Not the rappers but the MCs are actual griots.

Sa-Roc: I have to echo a lot of what he said. I think that I think that the mass commodification of hip-hop has definitely moved it a little bit away from the foundation and the culture as a whole. But the independent artists, the actual artists that have been doing the work to maintain that the wholeness, the holistic nature of the actual culture, you know? When you travel the world and you see you randomly see b-boy and b-girl classes in Berlin. Or you go to West Africa, you hear like, people rhyming, seeing graffiti in different countries, as well. You see that it’s still alive and thriving.

So the culture itself has taken roots and maintains a consistent stronghold on the culture as a whole. But just as we do, we grow, we fall, we rise, you know? We have our ebbs and flows as humans, the culture evolves and changes and shifts in the same way. So I’m excited that we are refocusing the attention on the foundational elements of hip hop as we approach the 50th anniversary. I’m excited to see this movement reach our highest skill level in all of these elements.

Being signed to Rhymesayers, how do you feel about Minneapolis as a hub for hip-hop compared to other major cities?

SR: I think that because it’s not like one of the cities that you immediately think of like your LA’s or Atlanta’s or New York, the scene was allowed to grow and flourish in a way that was a little bit less corruptible if you could say. So the music that came out of Minneapolis – and not just hip hop – but Prince, Jimmy Jam and Terry Lewis, and you know, Stokley from Mint Condition and all the things that Rhymesayers brought to the culture. They have left an indelible impact on the broader culture, in the nation and around the world. But it was allowed to grow and blossom and develop a strong, loyal support group and fan base outside of this machine. So that’s a really beautiful thing.

I think you can tell that in terms of the sound and the creativity and stuff and the music. The uniqueness of the music that comes out of Minneapolis. So it’s, it’s a really dope thing to kind of be a part of the imprint of Rhymesayers, and have that artistic creativity to do the same.

SM: One thing I’ll say, we travel a lot, and we go anywhere in America. Minneapolis, outside of LA, is probably the only place where you can go where it’s not a mainstream artist, he or she will have a show with DJs and MCs, and the place will be packed from front to back. I realized that when I came here about seven years ago. I was like, ‘wow, they still loving hip hop.’ It doesn’t have to be a mainstream name for it to pack out. And people love it to hear these MCs and watch these DJs. That’s what I dig about what Rhymesayers, specifically. [They] brought and keep to the culture of hip hop in America.

As a celebrated MC-DJ/Producer duo, who are your top three MC-DJ duos of all time?

SR: I would definitely say Gang Starr. I would say… I would say Pete Rock and CL Smooth. But speaking candidly, the song “T.R.O.Y,” that’s the only song I really, like, remember solidly from them. But because it’s such a classic, I’m still gonna give it to them. And what Pete Rock has done individually, obviously, it’s amazing. But then, I mean, this might be controversial, but I’m gonna have to go with Jazzy Jeff & The Fresh Prince. I feel like in some circles, people kind of relegate them to pop and stuff like that. But think about the impact that their hip hop has had on the culture then helping to give Philly a wider stage and what they’ve gone on to do both individually and together. So yeah, I’m going to say DJ Jazzy Jeff & The Fresh Prince. 

SM: Okay, so mine is first, DJ Jazzy Jeff & The Fresh Prince. And why? Not because we think of “Summertime” and all that. But if you go back and you look at their stage shows, they were together, they were a crew. You see Jazzy Jeff leading the way and he was actually [Will Smith’s] cheerleader. And they were a dope duo. Another one I would say is Gang Starr, Guru and DJ Premier. And mine, one of the top is Run DMC with Jam Master Jay, which is a crazy duo – well, trio.

Sa-Roc, you worked with [Indian music composer] GV Prakash on “Paranoid.” From your travels and your experience, how do you think the next 50 years of hip-hop will look internationally?

SR: I think, you know, definitely was just continue to develop and grow. I know, for myself, I’ve worked with a lot of international artists and done bilingual songs with different artists. And to me, it’s important to have that kind of dialogue to create this conversation of hip hop as a global influence. And I think the more artists do it, as we’re seeing with the blends of like Afrobeats, and hip hop artists in the States.

I’ve worked with artists in South America and stuff like that. So like, I think that as these musical genres start to blend, as we see amapiano gaining any more popularity and stuff like that, I think that it’s only going to get bigger. And I think it has firmly established its validity. But I think that once we recognize that there are all of these additions to the conversation all over the world, it can even it can only get better, bigger, and grow larger and even more important in the eyes of the world, you know?

Is there a specific scene or country globally that you’d like to see incorporate more hip-hop?

SM: I don’t know if Ethiopia has a poppin’ hip-hop scene but I would love to see Ethiopian hip-hop and see what they bring to the culture. I’m sure it exists, I just haven’t heard it. But as far as the next 50 years and the rise of it, as she said, hip hop language is spoken all over the world. No matter where we go. And even if you just go look it up, you’ll see hip hop, with all the elements. But, I think that being that we have the internet now, you’re gonna see more in a visible fashion. So that we’ll see brothers and sisters in India, we’ll see people in Pakistan, we’ll see the b-boys everywhere and MCs everywhere, in their language, which is crazy to me.

I’ll give you an example, we were in Mexico and we were riding down the street and it would be boys in the middle of the street to do and spins. And I was just like, what? In traffic? Hitting spins at the red light. And that just shows you how strong and how powerful the culture is for it to reach everywhere. You go around the world, they might not know what mainstream artists is but they know what b-boying is. They know what MCing is, they know what DJing is, you know? I think it’s just gonna grow, get bigger and stronger and more entrenched, which helps the people because hip hop is the people. It’s the grassroots, you know?

Sol, can you corroborate the story about JAY-Z giving Dead Prez a free 24 bars on “Hell Yeah (Remix)” in an attempt to sign them to Roc-A-Fella?

SM: We was just talking about this the other day. There is a writer and journalist named Dream Hampton. And Dream had the Dead Prez demo of the original song, “Hell Yeah.” She would take it and she played it for JAY-Z. And JAY-Z was like, “Yo, this is dope. This is crazy. Can I jump on that joint? You think they’ll let me jump on that joint?” And she was like, “I’ll ask them.” She went over and asked, “Can JAY-Z jump on this?” They was like, “JAY-Z? Of course, JAY-Z can jump on this. That would be amazing” Now, he went and did that, then after that is when he was interested in signing them. That’s how the actual story goes. 

And the reason I know is I know her but she literally just wrote this up and put it online the other day. But that is what happened. Because there are two versions: there’s my version, and the original version, which is slower and mine is the remix. And JAY-Z jumped on it willingly like it was nothing.

He was just like, you know – because Dead Prez, they’re well respected worldwide. They’re one of the few groups that have a message and don’t stray away from or try to cater to the mainstream. They just do straight-up revolutionary hip hop and JAY-Z wanted to be a part of that. But you know, JAY-Z has done a lot. He works with Jay Electronica, he worked with different people that you’re like, “Wait, you’re working with them?” He is the most mainstream artist probably ever right? If you think about it. One of our first billionaires, right? But yeah, that’s how he jumped on it because of Dream Hampton. 

Finally, what do you two hope and predict the next 50 years of hip-hop will look like?

SR: I think that we’re gonna see more of hip-hop in the academic space. We’ve already seen some of the leading universities incorporate Hip Hop curriculum. I’ve luckily been able to be a guest speaker in different classes and speak about my experience as an artist and my perspective as a representative of the culture. I think where we’re inevitably headed in the same way in which we talk about classical genres, you know? These artists like Beethoven and Mozart, and all the rest, are revered as this very timeless, classical kind of music.

Hip Hop has shown over and over again, it’s a classic form of music, it has a global imprint, and will continue to do so. So it will become unavoidable,  especially as we bring it back to the foundation with these celebrations where, in a sense, forcing these larger media platforms to acknowledge that, you know? Acknowledge the impact, not only on music but fashion and dialogue has social and historical conversation and commentary. But that’s what we’re gonna see. We’re gonna see more and more of these classes, we’re gonna see majors being developed, because it’s unavoidable. It’s here to stay.

SM: I think that the purity of it is probably going to come back because people will kind of get tired of watching the watered-down, corny. Whether it’s guys talking about drugs and murder, or its women talking about their bodies every single sentence, or the guy’s murdered somebody every single sentence. I think it’s gonna come back to what’s actually real, the purest form, which is talking about our situations at hand and what we deal with every day.

And I just think it’s gonna come back to the beginning. Everything runs in cycles. Chuck D said, “Life runs in cycles.” I mean, it’s literally what’s going to happen. And, you know, being more respected as a way an art form where we can get – you don’t have to be a pop artist to be able to get you some money for doing what you do. It’s nothing wrong with the culture, you know, being a DJ, being an MC, being a graffiti artist. Fashion – that’s another element that we added to it, but we also added health to it. There’s an element in hip-hop. So, I think it’s gonna come back to the roots.

The post Sa-Roc & Sol Messiah Predict The Next 50 Years Of Hip-Hop appeared first on HotNewHipHop.

Mondaii Talks Making Feel Good Music, Writing For K. Michelle, And Being Mentored By Jimmy Jam & Terry Lewis

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There is plenty of talent to be found in the lush expanses of Georgia. The Peach State is a leading force in all genres of music, but it’s had quite a run in Hip Hop. Labels like Quality Control Music and Young Stoner Life have helped develop Platinum-selling voices from Atlanta and beyond, and in a small town called Thomaston, a young Mondaii was waiting for his chance at stardom.

As a rapper with the soul of a country boy, Mondaii, real name Tony Matthews, navigates his burgeoning career with a determined spirit. His journey, magnified by his rich Southern heritage, resonates with those who hear the authenticity in his words and the strength behind his usually soft-spoken demeanor. His path to this place—albeit still early in his career—reads like a stroke of luck. While immersed in his day job at one of K. Michelle‘s restaurants, little did Mondaii know that his artistry would catch the discerning ear of the very singer he worked for.

Discovering his musical brilliance through the digital whispers of social media, K. Michelle extended an invitation to collaborate. She recognized the gold mine of talent before her, changing the trajectory of Mondaii’s future. Thus, began his ascent, co-penning tracks for the hitmaking singer, with some blossoming as singles and others waiting in the wings for the release of her upcoming album.

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Photo Provided By Alex B. Rogers

I remember just seeing Eminem, “Forgot About Dre.” I said, wait a minute. He’s a white rapper that sounds like this. It taught me that, wow, Hip Hop really comes in all shapes, sizes, colors, orientations. It’s about the craft, and not so much about everything else.

-Mondaii

Yet, it isn’t just his songwriting that sets him apart. Recognized and celebrated by the iconic duo of Jimmy Jam and Terry Lewis, Mondaii received a grant that furthered his musical journey and cultivated deep-rooted mentorships. Today, these legendary producers stand beside him, guiding and nurturing as Mondaii crafts his own legacy.

From the onset of our interview with Mondaii, it was clear that he is a young man with a dream in his heart and his eye on the prize. He’s tackled every opportunity headfirst, hoping that the music he creates will resonate with listeners who may be overlooked, but who still push forward with confidence. Read through our expansive (and fun!) conversation with this emerging artist as he speaks with us about his roots, songwriting for K. Michelle, wise advice from Jimmy Jam and Terry Lewis, his dream collaborations with Pink and Nicki Minaj, being open about his sexuality, and remaining authentic in an industry that often dulls one’s shine.

This interview has been slightly edited for clarity.

HotNewHipHop: So I see that you’re a Georgia native. And, of course, Georgia has been spitting out hitmakers and talents for as long as I can remember. What inspired you to pursue music professionally, and not just as something you’re just doing on the side?

Mondaii: Well, I’ve always had a dream of doing music. But what made me do it professionally is I saw how much money could be made from songwriting. I see people living different types of lifestyles. If this is what I love, then why wouldn’t I want to pursue this as a career? I mean, I never seen myself clocking in—and no shade to the people that do this, you know what I mean? I never really seen myself clocking in like a normal nine-to-five. Sometimes, I feel like I have ADHD, my attention span is short, for one. So, me doing something routine could get very monotonous fast for me. And I felt like, my purpose and my God-given calling was music.

In 2017, I would make these Rap videos where I would do covers on Instagram to people’s tracks. I’ll maybe do an eight to 16-bar freestyle. I just started doing it more consistently. One day, K. Michelle saw it and sent me a DM! And she was like, wow, I didn’t know he was talented. I want to work with you on my album. And I was like, wow. Here’s my chance. Alright, we’re doing it! We’re doing it! Kind of like that.

That’s incredible! I heard that at the time you were working at K. Michelle’s restaurant?

Yes, I was. I was working as a server. And I would never mention to her that I did music. Because although it was K. Michelle’s restaurant, she had like a manager to oversee. So, I really never see her, she’d be calling the big shots. Even when times where I did see her, it was not like I was dying to say, “Hey, here, check out my mixtape.” Because I know, before I met K. Michelle, I’d be afraid. I’d be like, “Y’all, K. Michelle’s gonna curse me out. Like, she’s gonna go off and then I’m gonna be jobless.” [laughs] So, I never said that I did music.

However, right next door to K. Michelle’s restaurant was Killer Mike’s barbershop. And I remember after work, I’ll be outside with my friends, some of the workers over there, and we have little cyphers in front of the restaurant and stuff. And I remember one of the chefs at K. Michelle’s restaurant—I don’t know if she showed K. Michelle, or one of my other co-workers that were higher up in position than I was showing her that I rapped. But long story short, she found out, and she was like, “Yeah, well, you never said anything.” And I was like, you know, I was scared of her like [laughs]. So, that’s how that happened.

And what tracks did you work with her on specifically?

Okay, so in 2017, I started working with K. Michelle. So, I would do her smaller projects. I worked on her mixtape. I remember she would just send me all kinds of cool creative ideas and be like, “What can you do to this?” And I feel like she would get a kick out of how fast I can send her something back. Like, so many different people’s songs. One time she sent me “Playing Games” by Summer Walker, I came up with something super fast and sent it back to her. She would send me all the hottest tracks that are out that she wanted to do.

I remember this Cardi B song. And she just sent it to me, and I’ll send her something back really, really quick. But that was on her mixtape stuff, which was really, really good. Now, fast forward. You know, I was starting out. I’ve always been a songwriter, and I like to write songs, but I would write mostly Hip Hop tracks. So, what was really special about our relationship is I feel like she saw something in me that I didn’t see myself at the time.

But I didn’t sell myself short. Because at the time, she was like, “Hey, enough with the mixtape stuff. I want you to work with me on my album.” I listened to R&B growing up as a kid, but I never wrote any R&B music. So, it was something new for me to do, but I liked writing. I took it on as a challenge. And fast forward to today, I’m her I’m the Problem album, which is supposed to be released very soon. I’m gonna have a total of nine songs on the album.

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Photo Provided By Alex B. Rogers

Dang!

You can check out two songs that I’ve already written. I’m on “Wherever the D*ck May Land.” It’s featuring Gloss Up from Quality Control. I wrote on that one that’s currently out. And I also wrote on the track that she has out called “You.” So, those are two singles that I have out on her album right now. And I have seven more coming. Excited for those to come out!

That’s incredible. Congratulations on that. Because that’s a very—that’s a story that doesn’t happen to everybody. It’s just taking advantage of an opportunity that’s presented to you and then just watching it unfold over the course of years to something better. I love those hustling-from-the-bottom stories, you know? And you said this was your introduction to writing for R&B. What is a huge lesson, just as a songwriter in general, that you learned? What’s something that you just have observed in the songwriting process?

Well, I think one of the most valuable things that I’ve learned is to get your business together. You know, it’s not called the music music, it’s called the music business for a reason [laughs]. And, you know, I want to keep this interview on a positive light note. But, I have had instances where I’ve worked with artists, and I’ve had music that I was a part of that necessarily wasn’t credited for. But, you know, all in all, it taught me, okay, this is how you should be moving.

You’re in the studio, get splits. As an up-and-coming writer, you know, I used to be scared to make people feel uncomfortable or will make me feel uncomfortable to conduct business after. If you’re in a studio, we’re all creative, we’re all hyped about the song. “Yeah, yeah, that’s the one, that’s the one!” And then I gotta be like, “Alright, y’all. Okay, so I’m gonna need your information. I’m going to share information.” [Laughs] You see how that can be like a mood killer?

I was scared to do that. Sometimes I would be like, “I’ll just wait later,” you know? I mean, they clearly see I was on the song. But no, you wait later, people get amnesia. You got people handling the business that wasn’t even in the studio. And next thing you know, you’re gonna look on the credits, and you’ll be like, “Wait a minute. Where I’m at?!” [laughs] If anything, I feel like, you know, it’s taught me how to be a boss. And it’s taught me to be my own bodyguard. Nobody’s gonna take up for me and speak up for me how I’m gonna do it for myself.

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That’s really true. Yeah, especially out here in the Music Music! [laughs] Well, keeping that energy, as you said of something that’s positive and coming off of the lessons that you’ve learned and what you see is valuable… I know that Jimmy Jam and Terry Lewis have been mentors and friends to you. That’s super interesting to me because I have loved them since my childhood, way back when the dinosaurs roamed the earth [laughs]. I was a Janet girl, Ms. Jackson, if you’re nasty. Talk about how you met and developed a relationship with them. How that has influenced your career? And just the advice from monumental legends like them?

Oh, yes! First of all, I love them. They’re like my big uncles. I be like, ‘Yo! Big Unc!” Literally, I was just talking to Mr. Jimmy today, actually. Um, but yeah, I met them by applying. I met them through the opportunity of applying for a grant. So, last year, they had a grant, they partnered with the Black Music Coalition. And of course, they awarded up-and-coming musicians, an award to help them out.

So, during that time, I really didn’t live in Atlanta, but I would always be here. And I’m not even going to hold you, I was struggling. I wanted to be in Atlanta so bad. I was trying to get on people’s albums, in the studio, I was sleeping in my car. It was really, really rough for me. And I applied for this grant. I almost didn’t apply because I felt like, what are the chances? You got so many people that are doing things way better than I am? You know what I mean? What are the chances? People with more impressive accolades than me? What are the chances that I’m gonna get this grant by applying?

I saw the grant, and I saw some of my friends applying and saying, hey, tag me in this. I kind of hate being one of those people because I feel spammy. Anyway, I felt like God really put it on my spirit to like, “Listen, boy, go’n ahead and apply for that grant.” Because that’s just our relationship [laughs]. So, I applied, and maybe a month or so went by. I was still in my parents’ house in the country in a small town called Thomaston, Georgia. I think I was running some errands for my mom, and I got a call from a random number. It was like, “Hey, you’re a finalist in the Jimmy Jam and Terry Lewis Musicmakers Grant.” And I was like, “Oh, what?! Like, really?” I was so stunned. I remember being super excited.

But I don’t even think that I was as much excited that I was a finalist with the grant. I was just super excited that Jimmy Jam and Terry Lewis knew who I was, a small boy from a country town in Georgia. So small people go to Walmart for fun, you know what I’m saying? Like, they know me. What?!

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A post shared by Tony Matthews (@mondaiimusic)

So, I was super excited about that. Fast forward. I had heard I was a finalist, they flew me out to L.A. to meet with them. And I met with them, I chopped it up with them. We talked about music. I feel like we connected instantly. You know what I mean? They just have really, really great spirits. They really had like a very mentor and father figure-like presence. They’re legends in this game. Yeah. So, I told them my story. I feel like they resonated a lot with me. And I was awarded the grant.

And then, after being awarded the grant, I sat down and chopped it up with Mr. Terry and Mr. Jimmy. Mr. Terry tells me…he sits me down. He says, “You know, when you’re out here in L.A., you’re getting all those awards and everything. Don’t stare up at the Hollywood sign too long because you might crash.” So, I’m looking like, I feel like it’s a message, but what does that mean?

He says, “Don’t stare at the Hollywood sign so wrong, you might crash.” So, you know, I pondered a little while, I came back to him. And I said, “I got it. I know what it means.” And we talked, and the meaning of what he said was so profound. He’s basically saying, you know, don’t chase what’s in, or what you think is glitz and glam or trendy. Because you might crash.

Not that you literally might crash, but you could crash because you might burn yourself out. And he was telling me the premise of that Hollywood sign. The glitz and glam of the industry are not the same premise of why you are gifted your gift. Yeah. And he was basically saying if you were given your gift to be impactful and make a difference in the world, then that should be your motivator, always. That’ll continue driving you when you don’t get the yeses that you need. Or you don’t have the instant gratification that you need or you would like. Do you get what I’m saying? So, he was like, “Just always know what your motivating factor is and strive to do great things in music, so that you could give back, as well.”

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That’s really good. Because you can see it all the time in interviews, on Instagram, social media, all over. Artists, they’ll tweet or put in a caption—you can tell they’re just burnt out, they’re just tired. You gotta get up here and put on this TikTok video because that’s viral right now. And you gotta make this song with this person because that’s what’s hot right now. And it removes them from their authenticity of why they even got into it in the first place.

But speaking of one’s authenticity, you touch on your sexuality in your music. We’re seeing an influx of queer artists being comfortable with incorporating their creative talents with just who they are and how they live their lives. This is in an industry with a history of telling people to hide that part of themselves. Why do you feel it’s important for you to share that in your music?

You know, I feel like it’s very important for me to include that part of my life and my music because it is me. And it’s actually a big reason of why I have a strong passion for music and how I got into music in general. I felt like growing up as a kid, I feel like people could see things on people. People like to pretend that they don’t know. I felt like I always tried to be something I was not. I’m from a small country town. My parents are Southern Baptists. So, I was always told, if you’re gay, you’re going to hell, you’re gonna burn in hell. Zero to 100!

How everybody else be forgiven for their sins, but I’m going to hell? [laughs] No, option me, though. So, yeah, I just remember not being able to fit in. I always remember trying to change. I remember trying to always change things about myself. People always tell me, “Oh, you don’t need to walk like that.” Or, “You don’t need to sound like that. Put some more bass in your voice! Men don’t talk like that. Men don’t do this, men don’t do that.” And you’re trying to change all these things about yourself. You will lose your mind.

I thought maybe I’ll fit in more if I play football, maybe more masculine. Did not work. I tried to play basketball, did not work. So, I’m like, what? How can I be there with my peers? How can I fit in without being ostracized? I mean, I’ve always had a unique voice that I was a little bit insecure about because I sound different from my average male peers. So, I was like, I’ll try this out. I’ll try that out. I know, I’ll try rapping.

And I remember just seeing Eminem, “Forgot About Dre.” I said, wait a minute. He’s a white rapper that sounds like this. It taught me that, wow, Hip Hop really comes in all shapes, sizes, colors, orientations. It’s about the craft, and not so much about everything else. So, I started rapping. I’m not gonna tell you a lie and say I was just instantly good. I actually sucked [laughs]. But I wanted to do it, so I just kept studying the craft, learning different techniques, and I gradually got really, really, really good at it.

It’s to the point where I was like, “Oh, I’m gonna pop my ish!” I feel like it’s a sport for me now, I want to be the best. I’m coming to compete. So, I feel like my sexuality has definitely been a part of my music. That’s why I want to include it because I feel that with me, not really having a close-knit group to go to growing up, I feel like I want to put that more in the music so we can normalize certain things. Normalize that it’s regardless of your sexual orientation or your interests.

People like to classify LGBTQ with a rainbow. But it’s ironic that it’s a rainbow that has multi colors. But we’re only viewed in one color spectrum. And I want to let people know that, hey, we have layers. You know, we’re not all flamboyant, death-dropping, duck-walking, you know what I mean? We have layers, we’re all unique. We all possess different things. And I don’t want to be just limited to, you know, making gay music or music for the queer community. I want to make music for everybody. Yeah, we’re artists. Yes, I am. But I’m going to make music for everyone.

That’s amazing. And how would you define your music? Like, “My music is for people that _____”?

My music is for people who want to feel good about themselves and spread love to others. I just want to empower people. And I want to make them feel like they’re the ish, because they are.

And what can we expect from your upcoming project?

Well, I have an upcoming project called Boy Interrupted. And I feel like you can expect some bops that are gonna make you feel good. Also, I feel like we can expect some more reflective songs that are gonna be a little bit more thought-provoking. I like giving food for thought in my lyrics.

Okay, all right. Well, food for thought, sprinkle, sprinkle [laughs]. Of course, you’ve already worked with K. Michelle, Jimmy Jam and Terry Lewis are your mentors, you got your foot in the door coming out of a little country town and doing some big things. What are some dream collabs? If you could manifest something right now, get a phone call, three artists that you would be dying to stop everything you’re doing and just hop in the studio with?

Oh, my goodness. So, it’s going to be a random selection. I would say my dream collaboration will be Nicki Minaj. Like, everything to be in the studio with Nicki Minaj, whether writing on a project or us collaborating. I feel like growing up, just the confidence in which she attacked her lyrics—before her, I really, really liked Biggie Smalls, but you know, that collaboration wouldn’t be possible unless someone regenerated his voice. So, I would say the first one would be Nicki Minaj.

The second one would be Pink. I really love listening to Pink as an adolescent and in my middle school years. I feel like Pink lowkey inspired my songwriting because I like to tell tales of triumph that wins. Like, I was once the underdog, just like feeling in power, or stories of where you can go from down here but go up there? Because I feel like that’s been my life. So, I would like to collaborate with Pink because she makes those timeless, empowering hits. And who else…

Hold on, hold on. What Pink are we talking about? Are we talking about Pop Pink? Are we talking about Country Pink? The belting out ballads Pink?

It could be whatever! I love my early 2000s Pink. “You and Your Hand” and “Family Portrait.” I like that. That was cool because I do Alternative music as well. I write that as well. But I would also like ballad Pink, create something timeless. I want to create timeless music, I don’t want to create anything that’s just for the now. That even when I’m gone, it can transcend across time, you know?

Yeah. That replay value from one generation to the next.

Yes. And I think my third collaboration would be…this is so hard. Does it have to be an artists or producer?

It could be anything!

Mr. Jimmy Jam and Terry Lewis!

Oh, of course. Of course!

Of course! They already got the game on lock. Been producing hits for years. You know? I feel like I’m talented. We know they’re legends! [laughs]

Yeah, that is the perfect answer. Because the good lord knows if I had an ounce of musical talent, I’d be chasing them around the country…begging! [laughs] And this is my last question. I asked it to everybody. It’s harmless. So, we know that celebrity in and of itself is an illusion, right? When people look at artists, they see them for what they think they are. Fans see them as whatever they can find on social media or in interviews or in their artistry. And even people on an artist’s team have expectations of what they should be doing to work on their career. Families have expectations of who they are within the household unit. As an artist, what is something about the heart of who you are as a person that doesn’t always translate because this veil of celebrity can be almost a boundary between you and the general public, or even just the world?

Wow, that is a very thought-provoking question [laughs].

That’s why I asked it last!

Wow. Because look, I’m trying to figure out if this is an interview or a therapy session [laughs]. But no, I think something that gets overlooked due to the expectations from the music industry about me is that—wow. That’s a great question. I’m over here, like, stuck. I don’t know…that gets overlooked? Maybe it does. But I, I guess that I’m not always confident. I’m not always as confident as my lyrics may portray me.

I know, I pop mad ish in my lyrics. If anybody knows me, I’m pretty soft-spoken. I’m very considerate of others. I’m an extreme empath. Like, I feel, and I sense energies very easily. So, I have a really, really, really big heart at the end of the day. And I really try my best to help people. Even with my music, I want to make people feel good. I’ve felt not seen so many times in this music industry, or overlooked due to what I perceive you have to have to make it in this industry.

People like things that are flashy, that are boastful, but at the end of the day, I’m just a regular guy. I’m regular. I feel just like the next person, I get my feelings hurt sometimes when I put them on the line. I’m not always the most confident. So, sometimes I had to just pep myself up and encourage myself. That’s something that I feel like could get lost in translation with my music and in the industry. That I’m just a regular guy trying to strive to make it through this thing called life.

The post Mondaii Talks Making Feel Good Music, Writing For K. Michelle, And Being Mentored By Jimmy Jam & Terry Lewis appeared first on HotNewHipHop.

Rah Digga & Mickey Factz Talk Hip Hop Academy Pendulum Ink: Lyricism, Mental Health, & Preserving The Culture

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Nestled within the panorama of Hip Hop, Mickey Factz has helped to craft a fresh narrative among criticisms that the culture has lost its way. Pendulum Ink, an academy with the heartbeat of lyricism, is pulsing and alive. We’ve heard of colleges and universities offering special courses related to Rap and its most influential voices. Yet, with Pendulum Ink, we have a Hip Hop academy that was created by the culture, for the culture.

If there is anyone who can walk us down the roads of Hip Hop history, Mickey Factz is it. From the onset of his career, the Bronx native paid homage to the greats before him in his freestyles and became a formidable force in the Battle Rap circuit. As a preserver of Hip Hop, Pendulum Ink was the next logical step to give back to the culture that shaped his artistry—and he’s called on heavy hitters to make it a reality.

In the hallowed space of Pendulum Ink, the intricacies of rhyme come to life, and the essence of Hip Hop is deconstructed and celebrated. Students aren’t just learning the rhythm of words but are introduced to disciplines that marry the streets’ ethos to academia. Think Rhymecology, a study of rhyme’s power, and Criminology with Hip Hop, which unpacks societal narratives and cultural implications.

Since its inception, Pendulum Ink has seen its fair share of guest lecturers passing on the generational wealth of intellectual currency. Enter Rah Digga, a lyrical powerhouse who has not only been a top-selling, globally recognized artist, but someone who shares in Factz’s hope of instilling core values in this era of Hip Hop. Her upcoming mental wellness session is charged with promise, spotlighting the transformative power of lyricism and showing how verses can be more than just words. They can be a salve, a tool for mental introspection and healing.

“Now, more than ever, we’re just seeing the after-effects of not being able to discuss mental health in our community. Particularly the Black community. We’re just always expected and reared to be strong and tough it out and thug it out. But there are a lot of myths. We’ve witnessed a lot of mental breakdowns. We see the effects that fame and fortune can have on people and there just hasn’t been enough mental health awareness in place to protect the culture in that regard.”

-Rah Digga

Our conversation with these trailblazers unfolded layers of thought. They spoke of mental health, its paramount importance in Hip Hop, and its resonances in Black culture. As the echoes of Hip Hop’s monumental 50th anniversary reverberate, Rah Digga and Mickey Factz touched upon a legacy that’s deeper than just music. It’s about unity, the imperative of education, and the silent strength in generational wealth. Further, for the academy’s second annual Women’s Month, Pendulum Ink’s guest lecturers include not only Rah but notable figures like Shawnna, Bahamadia, Jaz The Rapper, and more.

Read through our expansive, intriguing chat with these two legends as they discuss Pendulum Ink, harmony in Hip Hop, femcees being more than their visual image in the industry, and the need for more artist development—and see the moment Rah Digga realizes she has many more industry friends than she first thought.

This interview has been slightly edited for clarity.

HotNewHipHop: I appreciate you both so much for taking the time today. Let’s jump right in: Rah, how did you get involved with Pendulum Ink?

Rah Digga: He had noticed that I was doing a program of my own called Lyrics Matter. And you know, I often post about things that I’m doing. I’m always doing lectures, I’m always doing master classes and workshops. So, he reached out to me and asked me if this was something that I would like to be involved with. I said certainly, because I feel like as artists, you know, we have a—in addition to serving up the lifestyle, I feel like it’s our duty and our obligation to also teach. I feel like the educational aspect of the culture is equally important as the lifestyle. So, I signed on and there I was.

Read More: Mount Rushmore: The Women Of Rap

I think it’s super important. With mental health and Hip Hop, I agree, it’s a culture and not just a genre. Generational wealth isn’t always just financial, it’s education and knowledge. Mental health has become such a hot topic, why did you want to talk about it in this specific course?

RD: Well, for the most part, I feel like nowadays, even now more than ever, there is an important element missing in the culture, and that is artist development. Oftentimes, we’re seeing the ramifications of artists just kind of waking up to these multimillion-dollar deals and getting money thrown in their hands without being mentally prepared for or having the discipline that it takes to really maneuver in this industry. And the effects are harmful.

And words, just in general, are very powerful. Thoughts become things, and I feel like a lot of people rely on music for their mental escape and things of that nature. So, it’s important that the messengers are mentally equipped to deal with that, as well as understanding and acknowledging the people that are receiving the messages and the vibrations and the frequencies that come with our music.

Now, more than ever, we’re just seeing the after-effects of not being able to discuss mental health in our community. Particularly the Black community. We’re just always expected and reared to be strong and tough it out and thug it out. But there are a lot of myths. And we’ve witnessed a lot of mental breakdowns. We see the effects that fame and fortune can have on people, and there just hasn’t been enough mental health awareness in place to protect the culture in that regard.

Spliff Star, Swizz Beatz, Rah Digga and Busta Rhymes perform at the BET Awards 2023 held at Microsoft Theater on June 25, 2023 in Los Angeles, California. (Photo by Christopher Polk/Variety via Getty Images)
Read More: Rah Digga Weighs In On Lord Jamar’s Thoughts On Female Rappers

And with your course at Pendulum Ink, pairing that with lyricism, what does that look like? I know what it means, but can you explain specific angles to what you’ll be teaching within that course?

Mickey Factz: I can help out with that. Me and Rah haven’t really had a conversation about what she’ll be teaching.

RD: I’m totally going on the fly! [laughs]

MF: [Laughs] On the fly! So, Erika, how the course runs, we’ve had multiple, big artists come in. From Method Man to Twista to Inspectah Deck and so on and so forth. And how we run the classes, first, we have a question and a discussion about the flow of this particular legendary guest artist. Then, we have a discussion about their technique in terms of the writing prowess that they have. And the third question dives deep into their mental health from a perspective of a song that they had where they express themselves from an emotional standpoint, where we got a chance to not just hear how skillful this person is, but how they open up themselves from an emotional standpoint.

So, it’s going to be a surprise for Rah to hear what song we chose to see where she dove deep into. Then, we’re going to give her a chance to kind of break that down from where she was at that standpoint. We have Jeff Walker, our mental health specialist, that is on staff, that’s going to lead that particular question.

Read More: Busta Rhymes Shouts Out Rah Digga, Announces New Flipmode Squad Album

That’s great. I mean, I’ve been a mental health advocate for decades and am a suicide survivor as well. So, being involved in Hip Hop and having this academy and course is something that I can definitely get behind. Let’s shift just a bit to celebrating Hip Hop’s 50th. Rah, you have an expansive career and are an icon as a woman in Rap. What are you seeing within this generation of women in Hip Hop, as compared to your own?

RD: My observation is they are—I don’t want to use the word forcing because nobody is being forced to do anything. But I would say they are being influenced to rely heavily on their image and everything else outside of the actual talent. And while we know, you know, marketing and sex sells, and things of that nature, I feel like these women are also being—I think it’s taking a mental toll on them.

I think it’s causing a level of insecurity that my generation and the previous generations before me didn’t necessarily have to deal with once upon a time. It was just a matter of, you know, rocking side by side along the guys, and just being able to compete in that realm. But now, there is an overhaul of having to worry about what you look like and your body type. I think it’s causing women to do things to themselves just to keep up with the pressures of the image. I think it’s having a negative impact on the women nowadays.

I would say they are being influenced to rely heavily on their image and everything else outside of the actual talent. And while we know, you know, marketing and sex sells, and things of that nature, I feel like these women are also being—I think it’s taking a mental toll on them. I think it’s causing a level of insecurity that my generation and the previous generations before me didn’t necessarily have to deal with once upon a time.

-Rah Digga

Read More: Honouring Female Hip-Hop Legends For Black History Month
rah digga, slick rick lil mama, yo-yo
NEW YORK, NY – JANUARY 20: (L-R) Lil Mama, Yo-Yo, Slick Rick, and Rah Digga attend Brooklyn Bowl on January 20, 2017 in New York City. (Photo by Johnny Nunez/WireImage)

What advice would you give to anybody who is thinking about entering the game? “I want to be a rapper, I want to be a songwriter, I want to be…” With your vantage point in Hip Hop history, what is something that they should first do before jumping into the industry?

RD: I think I think every artist, not just women, but every artist in general should ask themselves what is it exactly that I stand to gain. Like, if I’m just here to pick up a bag and go and use this as a springboard, that’s fine. Whatever your M.O. is. If you’re somebody that really cares about the culture, and really cares about the art, you just want to display your artistry. That’s fine. Whatever you’re trying to do, you have to be real with yourself.

Everyone has this prepared dossier of what they think someone who’s offering them a deal or a contract wants to hear. But I think you have to be real with yourself first. What is it that you’re looking to gain from this? And based on that answer, you should stand strong in that and do what you need to do to fulfill your goal. When it’s all said and done, you don’t want to be the one that has benefited the least off of your blood, sweat, and tears. So, you know, whatever your goal is, make it work, but be real with yourself about what your goal is.

Read More: Mickey Factz Floats Over Jay-Z’s “Encore” On L.A. Leakers: Watch
 
 
 
 
 
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And with 50 years of Hip Hop behind us, what is your projection for the next five decades? What would you like to see?

RD: In the next 50 years of Hip Hop, I would like to see artists take back the culture [laughs]. I would like to see, you know, less suits and other entities dictating the culture, and we dictate the culture ourselves. I would like to see more ownership with the artists. I’m hoping that at this stage in the game, artists aren’t still getting trapped in lifelong deals and things of that nature where they’re benefiting the least from it.

And I would like to see some sort of union or some sort of conglomerate that can take care of some of the pioneers and the legends who haven’t been able to monetize the way the newer generations have. I would like to see some sort of network put together for those artists in need. Everyone kind of stand together in it much like SAG is standing behind the Writers Guild. I would like to see the music industry and musicians keep that same energy.

Yeah, there’s been a push for that in recent years, right?

RD: Yes, there has. I mean, I’m not up to speed on where it stands right now. But I don’t think much has changed. And now, with this AI moving in, it won’t be long before human being artists get boxed out altogether. So, whatever it is we’re gonna do, it kind of needs to happen sooner than later.

MF: Yeah. KRS-One and I think it’s a Chuck D. KRS-One, and I wanna say Kool Herc? They have started a nonprofit organization to assist in getting some funding to help out some of the older artists.

RD: Oh! That’s impressive. As long as we start somewhere. The seeds are planted, and I’m looking forward to seeing them be fruitful and multiply.

MF: Yeah, and that’s what we’re trying to also do with Pendulum Ink. We’re building this up so that we can employ some of the older artists, we can get them jobs and either public schools, private schools, or even at the collegiate level to teach lyricism in the right way as it should be taught. So, just to add on to that, that is the purpose. And we’re moving forward, and Rah Digga is a part of that particular journey in this space.

That’s what we’re trying to also do with Pendulum Ink. We’re building this up so that we can employ some of the older artists, we can get them jobs and either public schools, private schools, or even at the collegiate level to teach lyricism in the right way as it should be taught.

-Mickey Factz

 
 
 
 
 
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I think what was so attractive to me about Pendulum Ink is that I reflected on how, over the years, there have been so many artists that have their own courses at places like Harvard. They’ll teach something at some college someplace for a semester and move on. To have something that is collectively, purposefully Hip Hop oriented, with our art, legends, and OGs being able to instill that knowledge, I think that that is something that’s so, so great.

RD: I agree.

MF: Thank you. I mean, it’s very important that we honor—there’s never been a space, like a Hip Hop school, right? Where you could just come and learn mental health for yourself and learn how to rhyme on beat. And then, even learn criminology in Hip Hop. Learn the music business, learn finance, learn the visual aesthetics in hip hop, learn the history of Hip Hop. We have over 15 courses that just specialize in strictly Hip Hop. And you know, the future of this is gonna go to levels people have never seen before, and we’re just very, very excited—

RD: And learn how to perform! [laughs]

MF: [Laughs] That’s coming up, too.

Yes, because there have been some artists I’ve seen where I’m like, please don’t make me write about this [laughs]. But most of the time, I’m very much about unity in Hip Hop and always ask, especially with artists who have longevity and success, who has been the most supportive during your career?

RD: I gotta shout out my sista Sha-Rock. She is definitely in my corner. She’s designated me as the lifetime host for Sha-Rock Day in the Bronx every June. Busta Rhymes. It goes without saying. You know, we’re in our different spaces, but we always link up when necessary.

I don’t really have “industry friends” like that. But I will say, just as far as like, peers? I mean, all of the OGs. MC Lyte, [Roxanne] Shante, [Queen] Latifah. All of the females before me, they always reach out to me from time to time. Anytime there’s an opportunity. And they just speak encouraging words, letting me know like, “Hey sis, we see you still got boots on the ground like that. Keep pushing.”

Even some of the younger artists. Rapsody is a little sister to me. Sa Roc is a little sister to me. We’re actually heading out for tour starting this Friday (August 4) is our first show. Larry Jones, another dope artist. I just recently developed a sisterhood with Kash Doll. So, there’s even artists who are in their prime right now that I’ve formed somewhat of a connection with. There’s always been a strong support system for me because everybody knows anytime—all my Jersey artists. Redman—we have a jersey conglomerate of artists that just show up for each other whenever.

So, I can’t really say I don’t have any friends [laughs]. But I think I have more friends than I realize, now as I as I scroll down my Rolodex. It’s like, you know what? This is a person I can count on, and this is a person I can count on. Mia X is a good friend of mine. I mean, there’s no bad blood with me and anyone. I can’t think of anyone that I’ve ever had industry beef with. Babs is another sister of mine. You know Remy [Ma] is another sister of mine. We just click, we just vibe and understand each other. Shawnna. I mean, I could just name everybody. It’s all good in the ‘hood with me. Monie Love! Yo-Yo!

ATLANTA, GEORGIA – MAY 12: Busta Rhymes and Rah Digga onstage during 2023 Strength Of A Woman Festival & Summit – Mary J. Blige Concert at State Farm Arena on May 12, 2023 in Atlanta, Georgia. (Photo by Prince Williams/WireImage)

I just interviewed Yo-Yo and Rapsody, both phenomenal. I asked them the same question because there’s so much being spread about divisiveness in the culture. “Who’s beefing with who,” when in reality, there’s so much more support than we realize.

RD: I think, you know, most of that just seems to appear when you’re in that super mainstream space, and you’re kind of getting pitted against each other. “Well, who’s gonna have the number one this week,” and, “Who’s got more Billboard stuff going on?” I think when all of that gets interjected into the mix, because that was even happening in my time, and then once you actually sit down with a person or get in the same room with a person, it’s like, “Hey, we actually have way more commonalities than we have differences. We’re all women trying to survive in a male-dominated genre.” So, I think once we actually speak to each other, it’s always love. But up until that, yes, the politics or the “politricks” of it all will have you competing.

Very true. This is my last question. I asked it to everyone. But basically, we all know that celebrity is an illusion, right? And when people see Rah Digga, they have an expectation of who they think you are based on your career, or what they can see online, or the music they listened to. But that’s all a haze because it’s just a presentation of your artistry. When that illusion is lifted, what is something about the heart of who you are as a person that doesn’t always translate, that people can’t always see?

RD: I think the biggest surprise that people will learn about me is I’m very sensitive. I’m very soft and pink [laughs]. I’m very sentimental. Like, the things that you would think are like priority to a general celebrity…for me, it’s about family. It’s about breaking bread, it’s about communication. I like to lean more into the humanity side of my artistry as opposed to the illusion side of it.

So, when people meet me—after they have a conversation with me—it’s like, “Wow you real down to earth, like you real cool, you real grounded.” People just expect diva from celebrities, particularly females, and when they meet me, it’s like, “Oh, wow, like you’re super cool.” I think, cooler than they would expect the typical artist.

Yeah, that’s been the primary answer. People are like, “I’m not as diva-ish or caught up in the celebrity aspect of my career as people think.”

RD: I’m not as hardcore as my voice portrays me to be [laughs]. No, really, I’m actually extremely girly. My favorite color is pink, and I cry at the movies. I’m definitely thick-skinned when I need to be, but things that—I can’t go to bed at night knowing that someone’s mad at me. With the exception of the trolls. F*ck the trolls [laughs]. But, if there is tension with someone in my life, I will go out of my way to rectify it. And I have no problem being the one to extend that olive branch.

Aw, Rah Digga is a softy!

RD: I am! I really am. The trolls don’t know in real life they have me in a fetal position [laughs].

MF: [Laughs]

No, no. I have to take that out so they don’t think they can get to you!

RD: Right. Look, psych! [Laughs] I will find you! Because I will track your IP address down so fast!

Keep updated with all things related to the femcee icon at rahdiggamusic.com. Also, make sure to check out the remaining must-see tour dates, as Rah Digga is currently on the road with Sa Roc.

 
 
 
 
 
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  • August 10 – Atlanta, Georgia at City Winery
  • August 11 – Durham, North Carolina at The Pinhook
  • August 12 – Asheville, North Carolina at Grey Eagle
  • August 13 – Nashville, Tennessee at City Winery

The post Rah Digga & Mickey Factz Talk Hip Hop Academy Pendulum Ink: Lyricism, Mental Health, & Preserving The Culture appeared first on HotNewHipHop.

Ladies First: Cheryl “Salt” James Talks Hip Hop’s 50th & What She Wants To See From Future Femcees

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There are several celebrations to be had within Hip Hop in 2023. The most obvious is the culture’s 50th anniversary, culminating in all its glory on August 11. Our OGs—from all five pillars of Hip Hop—have been receiving their flowers for their contributions to a genre that has weaved itself into the fabric of entertainment worldwide. A celebrated pioneer who has been a voice for generations is doubling up on the festivities, as Cheryl “Salt” James also rings in 30 years since the release of Salt-N-Pepa’s groundbreaking album, Very Necessary.

The New York City trio of James, Sandra “Pepa” Denton, and Diedre “Spinderella” Roper would quickly become powerful voices in a male-dominated scene. The group’s first hit, 1985’s “I’ll Take Your Man,” saw them edge their way into mainstream conversations. Two years later, “Push It” followed, a song that was a B-side to their single “Tramp.” Soon, the ladies found themselves as the leaders of a new era, championing women’s empowerment and conversations about sex-positivity and safety during a time when the HIV-AIDS epidemic ran rampant.

cheryl salt james
American hip-hop trio Salt-n-Pepa, circa 1987. They are Cheryl ‘Salt’ James, Sandra ‘Pepa’ Denton and DJ Spinderella. (Photo by Tim Roney/Getty Images)
Read More: Missy Elliott Reveals Mary J. Blige, Queen Latifah, Diddy, Salt-N-Pepa Mentored Her

Although the beats and bars made for chart-topping hits, James recalls it being more than a cultural uprising in sex-centered spaces. It told the tales of strength in womanhood and defiance in the face of adversity. Very Necessary gave us anthems like “Whatta Man” and “Shoop,” heralding a new dawn for femcees. With five decades of Hip Hop behind us, we were curious about what a Hip Hop pioneer like Salt would like to see from the next 50 years.

Here are a few highlights from our upcoming interview with this giant force in Hip Hop. From her opinions on today’s generation of femcees to the women in her life who always held her down, check out standouts from our forthcoming conversation with Cheryl “Salt” James.

On The Women Who Inspired Salt-N-Pepa

Well, we were inspired by Roxanne Shante. For sure. We did the answer to Slick Rick and Dougie Fresh’s “The Show.” We did “The Showstopper,” you know, she did her answer records. So, that was the inspiration. And along the way, it’s been a few, but one that sticks out story-wise is Sparky Dee.

When we were going on stage, she could see we were visibly nervous. And she gave us a real pep talk. Like, you know, “Just like go out there and do you, be you know, go hard, be confident.” I remember that really helping back in the day, and we’re still friends. Sparky. MC Lyte is also a friend that I’m inspired by, even now with everything she’s doing outside of Hip Hop. She always talks about how “My Mic Sounds Nice” was like, the song that like lit her up. So, those would be the people for me.

Read More: The Rise of Women’s Empowerment In Hip-Hop

On Where She Would Like To See Hip Hop Evolve To Next

Um, I think the pendulum has swung really far in one direction. Balance again, you know, because when we were coming up, as you know, we had Lauryn Hill, who was The Educator. We also had Lil Kim, who was liberated sexually, we had Salt-N-Pepa, we brought fun fashion and femininity. Hip Hop, we had Latifah! Who was the Queen, Missy [Elliott], The Innovator. Like, there was so many choices, you know, and everybody was different, and everybody was authentic. I feel like we’re going in this kind of cookie-cutter direction. So, [I hope for] more authenticity, more balance, more opportunity for young people who have a different message than what’s popular to have a chance to be heard.

Advice She Has For The Next Generation

…I see so many artists Michael Jackson, Prince, Whitney Houston, you know, the biggest artists, just be consumed by this, by this business. To the point that they feel stuck and they don’t feel like they can get out. So, I would say…I know this is a really long, deep answer [laughs]!

HNHH: No, it’s fine! I’m tuned in on a deeply personal level. [laughs]

[Laughs] Just, like, just don’t be consumed by the business. Don’t be consumed by it. Keep your identity, maintain who you are. So that no matter what happens, you’ll be alright.

Make sure to stay tuned for our upcoming interview with Pepa, and then another with the ladies together, celebrating 30 years of their culture-shifting album, Very Necessary.

The post Ladies First: Cheryl “Salt” James Talks Hip Hop’s 50th & What She Wants To See From Future Femcees appeared first on HotNewHipHop.

Amy Luciani Is On Her Grind: Talks “Love & Hip Hop,” JT Dream Collab, & Rick Ross Co-Sign

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Detroit has long been a hub for talent, and Amy Luciani is looking to make her mark. The city that birthed the rhythmic Soul of Motown has seen its list of greats spanning all music genres. Those legends—unmatched voices etched in music history—continue to inspire new generations hoping to touch the lives of fans across the globe. Amy, born Amber Rose, is a femcee out of the Motor City looking to carry the torch of 313’s greats, albeit with her own flair.

Also influenced by the resonances of 1990s trailblazers like Missy Elliott and Aaliyah, Amy hopes to be respected as much as admired. In our chat with the newest Love & Hip Hop Atlanta star, she gives nods to hitmakers like Foxy Brown, Brandy, and Monica—all of whom she emulated in her youth. She and her sisters, who are now a part of her team, used to be in a girl group together. The raptress explains that for years they were on tour with some of the early 2000s biggest names, and after enduring the ups and downs of a temperamental industry, Amy Luciani presses forward independently.

“For now, the independent route is definitely the one that I’m loving. And it’s working. Me putting everything in the place how I want it to be, I’m able to actually represent myself to the world the way I want to, without a big machine kind of branding me to be this person that I’m not. So, it works for me.”

amy luciani
Photo Provided By Publicist

Like many artists, Amy moved to Hotlanta to continue her musical pursuits. She’s expanding her reach by connecting with the movers and shakers, as well as increasing visibility through reality television. However, it’s not all about building on a music career; as Amy Luciani explains it, giving back to the community through her Covered Atlanta charity has been equally as important. As she takes her place in the spotlight, one can see that Luciani is much more than what meets the eye and is determined to prove it.

Read through our engaging interview with Amy Luciani as she speaks about navigating as an independent artist, wanting to collaborate with City Girls star JT, getting a co-sign and support from Rick Ross, and how the world often misses out on how hard she’s grinding on her career.

This interview has been slightly edited for clarity.

HotNewHipHop: Thank you so much for sitting with us for Ladies First. This is a series where I like to talk with women in the industry as businesswomen because often, you’re boxed in to how you look or present, or simply pitted against your peers. However, I’m curious about your place in the industry.

Amy Luciani: Yes, absolutely. It’s very important.

And I know that you’re an independent artist. How has it been for you to develop in this current state of Hip Hop?

Yes, so I am an independent artist, and I’ve always told people the independent route, it’s a great route to go as well as a label but, me, I’m really choosy. I’ve been blessed enough to be around a lot of people who have signed to major labels, and I’m cool and have relationships with different A&Rs and label execs. But that doesn’t mean that, you know, the money they’re giving you up front is worth the type of deal that they’re offering.

So, for me, the deal that works for me has not come across. I’ve had several deal options and offers but independently just works better for me because I get to still be my own creative artist. I don’t have to really compromise what I’m showing to the fans and how they want my narration to be as far as the artist. So, the plus side of it is I get to be a little more hands-on and creative. Of course, the downside, a label is nothing more than a huge machine that’s connected to a lot of things that I don’t—I can’t just reach out and get.

But, I’m just on the independent grind, so I’m you know, team building and we all know what being independent means. We don’t have those connections that label gives us so that means we just gotta grind harder. So, my team and I, we just grinding, and if the right deal comes across, when it comes across, we’ll sit down and talk about that. But, for now, the independent route is definitely the one that I’m loving. And it’s working. Me putting everything in the place how I want it to be, I’m able to actually represent myself to the world the way I want to, without a big machine kind of branding me to be this person that I’m not. So, it works for me.

It seems like it’s been working out pretty well. I mean, you performed at South By Southwest and you have Amy’s World EP. What is the next set of goals you have for the remainder of 2023?

Yes, I did just drop the EP Amy’s World. It’s doing really well. We only have one music video off of the EP so far. And we are gearing up to shoot the next follow-up single on August 5th, it’s a girl-motivated anthem-type record. It’s called “W TGA,” which is “Where Them Girls At.” It’s just gone be super cute.

So, we’re gearing up to shoot that next week and just really trying to push the album and EP out there. Getting ready to do a lot of press for the EP and, you know, just working at the new EP out there to a lot of the DJs. I’m doing the old-school work. I am going to the clubs and networking with DJs and being hands-on with the radio personalities. We’re in grind mode, it’s definitely work, but it’s a lot of fun and a way to grow legs organically.

I love that because I’m an old lady *laughs*. I remember back in the day we were out here grinding from one bar show to the next little club show. So, I love people who are committed to doing the footwork and not just waiting for some social media moment for someone to notice them.

Absolutely! I love the grind.

I also love to hearing that you have a girl anthem sort of thing happening, because I saw that you were inspired by the ’90s. Aaliyah, Foxy Brown, and all the greats. I always ask women, if you could line up, let’s say a track with three or four other artists, in the line of a “Not Tonight,” who would you throw on that track? I’ll take living or dead.

I always say Aaliyah. Being that I’m from Detroit, and she’s from Detroit. I remember as a kid, my sisters and I, we had a music group. We were the opening act for Bow Wow, B2K, Da Brat, all of them from 2001 to 2004. So, for three years we toured and I just been a huge fan of Aaliyah for a long time. I definitely say it would have been Aaliyah on the R&B-type level. I’m a huge fan of Missy Elliott, I love Missy’s work. Just from a creative standpoint, I felt like she was so ahead of her time. And I just love that she was—Missy never changed who she was, and her backstory reminds me a lot of mine because she started off in her group with her sisters and branched off. So, very similar story.

I definitely love JT. I will say some of the, you know, newer rap girls gas me up. I’m Team Cardi and Team Nicki. I love both of them. But I would say JT and I would do a really good record. I also love Tink. Definitely want to do something with Tink. Um…I’ll work with any of the girls. But I will say right now I will probably get in the studio with JT.

That’s a good list. JT is fire, and it’s so good to see how she’s evolved and just got better.

Yes!

Yeah, she’s really studying her craft and doing that well. I love to see her just sonically and visually become a better artist in real-time. Meanwhile, staying in that lane, who are some women in the industry that have been supportive? Anyone just shoot you a DM to let you know that they see your grind or like your music?

Yes! Kash Doll. We’re both from Detroit, so she definitely supports. JT has commented and responded on like, a freestyle that I did. On one of the big blogs. I’ve gotten DMs from people just asking to be in the studio. Man, I’m drawing a blank because there’s been so many! T.I. has followed me, commented on my page, “Damn, she’s tough.” You know, it’s been some people if, if I go through my comments, I’ll kind of see the blue checks. And I’ll be like, “Wow, that’s awesome.” You know, they noticed me and are peeping the grind.

So, it’s been quite a few of them. I don’t know, it’s hard to name off the top, but I guess the biggest would be Rick Ross. He’s the biggest person who has DMed me and introduced me to some producers and things like that online. And I ended up getting a studio with these people working with them. So, definitely a big shout out to Rick Ross.

I love the unity that comes with Hip Hop. Sometimes that’s so missed and forgotten because it becomes so much of who’s beefing with who, and I’m like, “Nah, who hit you up and told you we’re doing a good job?”

Exactly.

Speaking of unity, I also wanted to ask about your charity, Covered Atlanta. Can you talk a little bit about that and the motivation behind its launch?

Sure, yeah. My charity, Covered Atlanta. I started it because I noticed that it was a necessity for a lot of the less fortunate people in Downtown. It’s a lot, and most people think they just need food. And I’ve been a part of that group of people who anytime I wanted to support or, you know, donate to the less fortunate, first thing I will say is, let’s do a food drive. Let’s give them food. And one particular day, I was downtown, it was really cold. Someone came and asked and said, of course, we appreciate food, we will take it but what we really need are things like toiletries, blankets, and a pillow. And they said, we sleep outside and people don’t think like, I know, beggars can’t be choosy, but we will love pillows.

And so I said, wow, I never thought about that. So, I put a post out to my followers. I said, hey, on this day, if you want to come Downtown with the freshly washed, gently used blanket, meet me here. And it was so many people who came out with the blankets and how happy they were. I was like, you know what? I’m gonna steer away from the food donations. Now, I’m just gonna collect blankets, toiletries, covers, and pillowcases. Things like that. Once I started that, just every winter, we do that. So then, we started doing sleeping bags, medicine, Tylenol, like we just whatever the main necessities are. Tissue, pads, tampons, it just extended.

Cover Atlanta basically was to cover the less fortunate people who are going through hard times, and just to help them keep them warm. So, that’s how it started. And it’s growing, I’m actually looking forward to doing something again this year for it. A lot of the youth participate in it. Sometimes, it’s a lot of people’s first time giving to the less fortunate. So, it’s the whole experience. I’m just hoping that as we keep publicizing it, more people will come on board and help out.

Thank you for that and your efforts in community building. Even if it seems like a small space, how that trickles out and has a ripple effect is so impactful.

Yes. Yeah, definitely.

Shifting gears a bit, of course, I want to ask about your experience on Love & Hip Hop Atlanta and how that visibility has altered how audiences see you. How has the first taste of reality television been? How has the public responded?

Being the newest cast member, and main cast member on Love & Hip Hop, it’s definitely been an experience. It’s been a great one. I’ve always been a fan of reality TV and shows, and I knew coming on board, it would be a big billboard to promote the music and to stimulate a different type of fan base nationally. So, coming on here with the major plan, you know, for the publicity in the network, to get the brands out there get my face out there. So far, it’s honestly, now that I’m in it, it’s like any other job where you work your hours, you gotta clock in, you got a boss, you meet with your team. You know, you get along with some of your cast or the people who work with you, you don’t get along with some of them. So, honestly, it’s the same thing.

But the bigger picture is, you know, my following is going up social media-wise, my streaming is going up. And people are now starting to nationally say, oh, okay, so, you know, let me check her music, and I will see if we like her. Even just having an opportunity for so many more people around the world to see me. I feel like it was honestly one of the best business decisions that I’ve made in a while. Definitely loving the experience.

Read More: Erica Banks Discusses Her Fling With Khaotic, Amy Luciani Calls Her “Delusional”

Did you have any concerns beforehand?

Um, I won’t say I had any concerns. I know, being like I said, I watch reality TV, I knew what I was signing up for. I just knew *laughs* what could happen. The good and the bad. So, I just take it all. Like I said, this is a self-investment in my career. Taking the good and the bad. So far, so good. We just got back from a big cast trip. It was just an experience, I’m definitely glad to be a part of the cast.

That kind of transitions into my last question. I asked it to everyone. It’s harmless. And really, I ask because I’m nosy *laughs*. But as a person on reality television and an artist, having that visibility, people often think they know who you are based on what they can see, right?

Mmhmm. Yep.

Because we know that celebrity itself is an illusion. You are showcasing a part of yourself but it’s also a persona that may not be who you actually are. Your fans think they know you, your team thinks they know you, family thinks they know who you are.

Yep!

What is something about when that veil is removed, those expectations are removed, what’s something about the heart of you as a person that doesn’t always translate because of the illusion?

Yeah. Well, we sign up to be artists and put ourselves out there. I think that, I don’t know, I think I’m a lot more logical in my thought process. So, I see the good and bad, but I think the fans perception of me, because on social media, I can only show so much. Typically, if you look at my page, you know, I have my fancy Rihanna deals and all of that, so, obviously, it looks like, “Oh, pretty little b*tch, and she just posing in her little clothes, she ain’t really got nothing going on.”

And people, you know, they don’t know, the internet, we can’t show so much of our day-to-day. People don’t know, I just came home from work. Today! Like, literally, I Ubered here, I’m getting makeup done. I’ve been at my office for four hours, I got two employees. I’m looking for another one. I am not just a girl on the internet posting pretty pictures. That’s a twice-a-week thing. People don’t really see the work that I’ve done. They don’t know. You know, it’s just a lot of work that I do. And, I mean, it’s a grind.

I think that’s the best part about coming onto this show, is because now I’m getting to show people with a few more minutes of time, like oh, now you can see it on TV. Okay, here’s my mom; she manages my product. Here’s my sisters; they manage this product. I’m a person like everybody else. I think that’s going to be the best part of what people will see outside of what I get to show them on a woman and post on Instagram. So, I think that people are going to learn this year about me that I’m not a millennial who just woke up and got on Instagram and got some success. It’s been seven years of me really working hard and really getting a lot of doors slammed in my face and keeping going and picking back up, picking myself back up. So, it’s a lot.

I think that, at my own fault to a certain extent, that I don’t get enough credit. But then, when I think back on what I put out on social media, I can honestly be logical and say, “Well, hey, you didn’t really show the grind. You kind of just popped up in the nice fancy cars and all of that stuff.” So, now I’m taking it back and kind of being like, let me show y’all what it’s been, what it took, where I come from, who I am, like outside of this music stuff. Honestly, I’m excited. I’m definitely excited.

Make sure to tune into Love & Hip Hop Atlanta every Tuesday on MTV.

The post Amy Luciani Is On Her Grind: Talks “Love & Hip Hop,” JT Dream Collab, & Rick Ross Co-Sign appeared first on HotNewHipHop.

Lil Durk Recorded First Hits “In A Closet” In Indiana

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In a hilarious interview with Canadian journalist Narduwar the Human Serviette, Lil Durk revealed some shocking details about his humble origins. Of course, Durk is one of the biggest artists of 2023. His eighth studio album, Almost Healed, peaked at #3 on the Billboard 200. Meanwhile, his collab with J. Cole, “All My Life”, peaked at #2. Additionally, “All My Life” has been streamed nearly 80 million more times than NBA YoungBoy’s Richest Opp mixtape, which was released at the same time.

Meanwhile, John “Narduwar” Ruskin is one of the most visible music journalists around. Known for his vivid outfits and frenetic style, his also seen as a gold standard for interview prep. “This is one of the most impressive interviews I’ve ever experienced in my life. Seriously, Pharrell said of Ruskin pulling out a vinyl of the first-ever single Pharrell produced. Meanwhile, Drake called a 2010 interview “best that I’ve ever done in my entire life.”

Read More: Lil Durk opens up about confronting someone in his DMs

Lil Durk Gets The Narduwar Treatment

 

 
 
 
 
 
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“In the beginning, you sent your music to Rude Boy Entertainment?” Narduwar asked a surprised Lil Durk at Summer Smash in Chicago. “Yeah,” Lil Durk said with a laugh, “Yeah. I told her that,” Durk continued, pointing to someone behind the camera. “In Iowa?” Narduwar confirmed as Durk kept laughing before correcting him that it was in fact in Indiana. “What was that like?”

Read More: Lil Durk shows out at Morgan Wallen’s concert in Chicago

“It was cr*zy. Recording in like a closet. They didn’t believe, everyone didn’t believe in us. We were making our type of music. Shout out rude boys.” It’s exactly the sort of question that has made Ruskin’s journalism legendary, and indispensable. Furthermore, Ruskin opened the interview quoting Durk’s verse from “Maserati”. Durk has released all his music through Only The Family, the legendary Illinois rap group and recording label. However, it appeared that he appreciated Ruskin shouting out his very humble origins. What did you think of the interview? Let us know in the comments. Follow all the latest music news here at HotNewHipHop.

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The post Lil Durk Recorded First Hits “In A Closet” In Indiana appeared first on HotNewHipHop.

Lil Xan’s Never Felt Better: On Mac Miller, Sobriety & Emo Rap Legacy

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Lil Xan’s career as a rapper has been filled with many ups and downs. His struggles with addiction and other mental health concerns have been publicly documented over the years. Yet Lil Xan has persevered, feels healthy, and most importantly, is ready to return to music.

This comeback is solidified with the drop of “NODA,” Xan’s first single in over a year. This may come as a surprise to many fans, as Xan’s whereabouts musically have been in question, especially due to the many false rumors circulating around his name. However, in this exclusive interview with Hot New Hip Hop, Lil Xan speaks on his mental health today, his journey to sobriety, and many other details surrounding his absence and decision to return to music now that he is in a better place. Check it out below.

This interview has been edited and condensed for clarity.

Lil Xan Interview

Hot New Hip Hop: Throughout 2018 and 2019, you had a number of announced projects that were ultimately never released. Can you speak to the events surrounding those scrapped projects and where you were mentally during that time?

Lil Xan: I always say to people, the cr*ziest year of my life was probably 2018. Just because of how much was going on and just where I was at in my career. It was kind of like, just a wild, cr*zy time. During that time, my mental state was horrible. I’m sure a lot of people could tell that were following on social media and all that, but I had planned a few projects that I really — you know?

I wanted to give the fans something and I think that’s where it stemmed from. But I was just so mentally unstable. I was physically unhealthy. That ultimately resulted in a lot of scrapped projects, which some things are reworked to be. I don’t know, just some things are just reworked and might see the light of day one day if fans want it possibly. But we have a new project coming in the next few months that’s consistent and it’s what I always wanted to give the fans. Just a consistent, good project that I feel shows off the evolution of sound. The fans, I just want to give them something new, something dope, something more mature. I hope that answers your question, I guess. 

Read More: What Happened to Lil Xan?

So really, is anything from now that came from any of the stuff that you scrapped during that time, or did you leave that in the past, and now you’re moving on to new things?

Maybe I’ll put it out there to the fans if they want to hear some music, but obviously, I’d let them know that it was recorded years before obviously. If they want it, yeah, I’ll end up maybe dropping it on Soundcloud, something more lowkey. But, right now, this next single and this next project was done in like the last year, and it was done when I was in a good place. The best place I’ve ever been mentally I feel. The best place I’ve ever been in my sobriety as well. That’s why I wanted to take some time off, be sober, and make a project sober. That just speaks true to me. 

You’ve mentioned before that Mac Miller played a huge role in your life as both a person and an artist. In what ways did Mac have the most influence on you, and how did his death influence your journey to sobriety?

The cr*zy thing about Mac is he unknowingly — millions of kids he’s affected. I mean millions of people he’s affected, obviously, in a positive way with his music. But, from 2009, man, his music has just helped me in every situation that I’ve been in in life.

Every time I would bump the newest Mac Miller project whether it was a mixtape like Macadelic, or a new album like Watching Movies, I felt like it described exactly what kind of hardships I was going through, even if I wasn’t on drugs at the time. I might’ve been younger. But, every time I found myself in a dark place, I felt like there was a Mac Miller lyric that just spoke to me. I’m sure millions of other kids had that same experience with him, his music is just so good. He was unknowingly that. He had a big part of my life before I would even meet him later in life. And obviously meeting him, I never expected that.

That was a far-fetched idea at the time, but my good friend Cole Bennett ended up directing a music video for Mac, Carnage, and I believe MadeinTYO, another good friend of mine. Cole was another big fan of his if you ask him. But Cole had asked me if I wanted to meet up at the shoot because he knew that I was a big f**king Mac Miller fan too. So, I was like, “Thank you so much bro, this is dope bro.” So, I took an Uber over there, I got to meet Mac for a little while.

I got to talk to him. I walked in kind of on a conversation that they were already having, but I still felt the knowledge, and he was talking about some real hard sh*t that I would later in life go through. And then, I wouldn’t say we ever became good friends or anything, but we were definitely friends.

He had invited me and my girlfriend at the time to his show, which would end up being his last show, at I believe, Hotel Cafe in Los Angeles. It was a great show, man. John Mayer was there. Cee-Lo Green, Jason Sedakis, Olivia Wilde — everyone from A-list movie stars to the biggest names in music were there, which really spoke to how loved he was in the music industry, and all types of industries. He was just a nice guy.

After the show was over — it was a great show, very small, intimate, only like a hundred people let in — I got to talk to him a little bit backstage. I don’t even remember what we talked about, but as I was saying goodbye to him, a lot of people know this, he had approached me and just told me two words. He said, “Be safe.” I was taken aback at the time because I had already said bye to him, so I was like, “Be safe,” oh, I get it. Maybe I looked that f*cked up that night, but that’s probably what it was, he was looking out. But those two words really spoke to me because a month later, he would pass away. Unfortunately, like the day after my birthday, as well.

It really put that thought in my head that I need to be safe. I need to be more careful. I wish I would’ve took his advice a little sooner because I would still go through some of my worst hardships past that. But I always kept that in the back of my mind. That, just, be safe, things are going to be okay, and it really is a powerful thing to me. 

Read More: Lil Xan Opens Up About Addiction: “If I Keep Doing This, I’m Gonna Die Soon”

And especially to hear that from someone that played such a big role in your life and was so inspiring, I’m sure those words meant even more because of that. 

I might have shed a tear bro. It was powerful. 

Lil Xan shot by Stephen Garnett
Image via Stephen Garnett

You played a huge role in the development of the emo rap scene, a subgenre that I feel has greatly influenced much of mainstream Hip-Hop today. Do you feel you get the credit you deserve for your influence?

It’s funny when you search up, you can search up any artist, it’ll be, like, Lil Pump, Trippie Redd, you’ll get the “people also search for,” and I always pop up too and it’s like “emo rappers,” and I’m like, “oh sh*t, emo rappers.” Damn, that’s what I am. I never knew that, but obviously, I understand where that comes from. It’s like depressing, a lot of that music, a lot of that early Soundcloud stuff. Like me, Lil Peep, yeah, I definitely see that being the genre.

Do I feel like I get enough credit? Yeah, I do. I’m not going to sit here and be like, “I’m not getting enough credit, people don’t understand my genius.” No. I’m not like that. I think I was just part of a great thing. I think Soundcloud was just at its height back then and it was just such a unique and cool platform to showcase original talent. It reminded me a lot of punk rock, which inspired the whole XANARCHY kind of brand, like that whole punk rock stuff.

Yeah, I think it was a great, great time. I think I’m given my credit in certain places, but we’re still going, this is just the beginning, like that was the Soundcloud era, and we’re still going to keep pushing past that. It was good for its time, and as far as do I think it has influenced music? Yeah, I mean, people have been rapping about, I mean singing about, heartbreak since music was invented. It’s a very, very popular topic and for me, I spoke a lot of true experiences with bad break-ups, and so it was very authentic, and so that’s where I kind of leave it at that. 

That was definitely an intense era and you were really at the heart of it at that time. 

I would love to go back, bro. That’d be cool. 

Read More: Lil Xan Gets In His Indie Rock Bag With “My Girlfriend”

This year marks the 50th anniversary of the birth of Hip-Hop. Does this anniversary hold any significance to you?

I didn’t even know that until you brought that up. I love music, man, it’s going to be around forever, I think music is one of the most powerful, important things, and maybe that’s just me speaking as an artist. Music is just beautiful, man. You got all these different flavors, all these different genres, and new things to discover. Happy 50th birthday Hip-Hop, we’re going to be celebrating the 500th birthday one day. I’m happy for music, man. 

Can you speak to your mental state at the time of your psychiatric hospitalization, as well as the online reaction to it, and how you overcame that?

There’s a lot of things in my past that I wish I could go back and maybe — obviously, not post a lot of stuff that’s private information. It was all part of the falling out. I wish I would’ve handled that a little bit differently. I wish I wouldn’t have taken to the internet to display raw emotion so quickly, but that’s just what I was used to. It was kind of a cry for help. I really did spend three days in the hospital on a 5150, that’s what they call it.

I’m not going to lie, I was on drugs at the time. Obviously, I was spiraling down. I had relapsed and I was watching all these terrible videos that had come out about me. I just didn’t know how to feel and I got in another dark, dark spot and I was like “Yo, I got to get help,” so I called the 5150 on myself in hopes that it would help in some way. And thank God I did because, after those three days, they only would let me out of the 5150 if I agreed to go straight into a detox, rehab program, or else they could keep me there for like 21 days. So I agreed. And that’s when I got sober. That’s when I went to the detox and I think it was like the fourth time being in detox, but yeah, that was the time.

I spent about thirty days in detox and then I went to the rehab program, but I only lasted like a week or two. And obviously, everybody expected me to relapse and fail because of leaving rehab, but I didn’t. I kept strong, and now we are like a year and six months I believe later, and I feel really good now. I wouldn’t even be attempting to drop a new single or even progress if I didn’t feel mentally in a good spot. I’m in the best place I’ve ever been in my life right now, but obviously there’s still a lot of room for growth. 

Did you feel that that moment was really a turning point for you?

Yeah, there’s been a few turning points, but that one was definitely like the nail in the coffin. I was in the hospital. When you’re on that 5150 sh*t, someone is watching you constantly, but it was just so awkward. I was just sitting there with the dude just staring at me all night, I’m like “bro, I’m not going to hurt myself, I promise.” He’s like “I’ve heard that before.” It was a turning point. It was like, “aw man, look at me in the hospital for the hundredth f*cking time” due to some d*mb drug stuff, but that one was the final nail in the coffin. 

Read More: Lil Xan Confirms He’s “Been Sober From All Prescription Pills” Since Suffering Seizures

But I commend you for that because that takes a lot of strength to do that, and to do that for yourself, to call it in on yourself. So, I really commend you for that. 

Thank you, I appreciate that. Like I always tell people, if anybody is ever struggling, in a dark spot, whether it is mentally or with drugs, you have to want to change yourself. You are your own best friend and your own worst enemy. You have to want to get sober before you can get sober. Like, yeah, your friends can be like, “yo, we’re sending you to rehab,” or your parents can be like, “we’re sending you here and you’re going to get sober,” but if you don’t want to get sober, you’re just going to come back and start doing the same shenanigans that you were up to.

Lil Xan
MADRID, SPAIN – MARCH 27: Lil Xan performs on stage at La Riviera on March 27, 2019 in Madrid, Spain. (Photo by Angel Manzano/Redferns)

Do you feel that it was a mistake to go on tour in 2022 with the Dropout Kings so soon after you reached sobriety in rehab? Also, how did you feel about their public comments directed towards you after you left the tour?

The thing about that was, I don’t know if I had just gotten sober, yeah I had. I had just gotten sober. It was a business issue. That’s what that stemmed from. There were no contracts and stuff like that. That was something that I didn’t even really see what was going on because I was trying to stay off social media. I was trying to stay off social media because at that time I was early on trying to get my mind better and it was the early days of my sobriety.

So, I know that they had some rude comments and some mean comments but I just want everyone to know, that didn’t stem from anything on my part, that was the new management. That was just a business issue. But, I wish them nothing but the best, honestly. I hold no ill will toward any of those guys, but it did come across as just a really f*cked up thing and people speculated it was low ticket sales, nah, it was literally just from a business incident. That’s what it stemmed from. And then the Dropout Kings, obviously had their own idea of what went wrong. But it’s all good, man. That’s just a little blip in the past at this point. 

Read More: Lil Xan Takes A Different Approach On “Wide Awake”

That was right after you went to Scott Storch’s rehab facility right? Was that around the same time?

Yeah, shoutout to Scott Storch. Shoutout to Steve Lobel. The Heavenly Center, THC. I don’t know if they invented that, the Cali Sober, I don’t know if they invented that, but you could smoke weed in their detox and rehab facilities. I thought that was very, very interesting, I was smoking weed before, but I’m a big pothead now. And I think it helped out a lot. I know a lot of people who practice medicine and stuff will say that’s literally the f*cking stupidest thing ever, and to a lot of that I agree too. That’s dope. But it works for certain people and it worked for me. Shoutout to them, man. 

How do you respond to fans and critics that claim you are not dedicated enough to music? Do you feel this invalidates how much work you have put in to yourself over the last few years?

I’ve always had it with the critics. I think everyone is entitled to their own opinion. I would say that every artist contributes to the greater music broadness. What would I say to that? You know, obviously, I used to have it out for Anthony Fantano. But honestly, if I could tell Anthony Fantano, I’m a fan of him, bro. I might have said some d*mb sh*t in the past, but I like dude. I was just young and d*mb, I respect everybody’s critique and opinion.

Everybody is not supposed to like my stuff. I feel like we should all be building each other up rather than breaking each other down. It is what it is, man. People are going to always say I suck. Some people are always going to say I’m great. You’re never going to win them all, so as I get older, I’m almost 27, I’m finally reaching this level of, I feel like maturity, maybe not, I don’t know. I just feel more comfortable in my own skin. Maybe it’s just from all the harshness of the critics and the haters and stuff, but it’s built a lot of character and it’s made me a stronger person. I respect everybody. Everybody has their own opinion. 

What’s next for Lil Xan musically?

We have NODA dropping this month, I believe June 30th. NODA, Not On Drugs Anymore, man. That’s a special song, man. Obviously a lot of people know I haven’t dropped a song in over a year, maybe even longer. The last one I believe was “Life Sucks”, I love that record too. This kind of follows in that same pattern of “Life Sucks”, the previous record. It just sounds more mature. You’ll definitely hear remnants of, “obviously, this is a Lil Xan song,” but ultimately, I wish I could’ve gave people this next project as my first project. Not saying I don’t like my first project, I love it, it’s a classic. I just wish I was where I am now back then. Obviously, that’s in the past, you can only go forward. I’m just excited to show people, let’s call it, a new level of maturity in my music. 

Read More: Lil Xan Commissions Paintings Of XXXTentacion, Mac Miller & Lil Peep

I like that, too, because obviously, you can’t change the past, but to be able to show that you’ve grown from it, and do that through your music is really cool. 

Yeah, exactly. I like that word, like “grown from it.” That’s exactly what this single, and not only this single but the project, it’s growth. I finally feel like I’ve grown into myself and I’m comfortable and that’s the best thing, man. 

You have worked hard to promote anti-drug use on social media and have publicly documented your struggles with addiction and mental health, something many people are not brave enough to do. Do you want that to be the legacy you leave behind?

Yeah, I’m a very open person. I used to just let it all f*cking out there on the table, man. I still am that same person, but with better intentions. If something bad happens, I’m not going to freak out and go to Instagram, trust me. I’ve learned my lesson on posting sensitive stuff there. I don’t even know how to start thinking about my legacy when I feel still kind of so young. I feel like there is still so much to do.

What do I want to leave behind, man? My wild antics, or good music, or what people consider bad music, I don’t know, man. I think time will tell. I definitely want to leave this Earth feeling like I’ve helped enough people in their own personal battles. That’s just the most important thing to me. I just want to help people. Love me, hate me, whatever, like the music, don’t like the music, that’s fine, man. That is fine. I just want to place myself in places where I can help out. That’s all I’ve ever wanted to do and I know that’s probably not what people know me as because it was misconstrued because I was all high on live.

And you know, it’s funny, I laugh at a lot of that stuff, it’s pretty hilarious. That’s just not the person I am anymore and I want to show people that. I plan on showing people that through my music and most importantly through my actions. 

Read More: Lil Xan Superfan Appears To Get Exact Same Face Tattoos As Rapper

The post Lil Xan’s Never Felt Better: On Mac Miller, Sobriety & Emo Rap Legacy appeared first on HotNewHipHop.

Ladies First: Rapsody On Hip Hop’s 50th & Women’s Influence On The Culture

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In this era of Hip Hop history, women have been dominating the culture. A voice that has reverberated for years above the masses is Rapsody, a femcee who began carving out her space in Hip Hop over 20 years ago. Rapsody, born Marlanna Evans, grew up in the small town of Snow Hill, North Carolina, and as a child, she admired women lyricists whose pens were mightier than their swords. It is no surprise that Rapsody has not only amassed great success in the industry but has become a coveted voice within the culture. Albums like Eve and Laila’s Wisdom show that she is both a student and a teacher regarding R.A.P.—”Rhythm And Poetry.”

We’re honoring 50 years of Hip Hop this year, and the celebrations haven’t ceased. What was birthed in The Bronx has become an international phenomenon, and brands like D’Usse Cognac are curating events to highlight such a milestone. Founded by Jay-Z, D’usse has been a staple in Hip Hop. They specially curated a series of must-attend Day Parties, and over the weekend, Rapsody was with the brand in Houston, where we caught up with her. We talked about the significance of this milestone and her vision for the next 50 years of Hip Hop.

“I want to see, you know, a lot more women owning labels, producing. Just taking on all those roles that men have dominated for years. Because we’re talented, we’re worthy, we have value. We’re heavy hitters in change.”

Read through our chat with venerated emcee Rapsody to check out what she had to say about D’Usse holding down Hip Hop, her desire to see more women take their deserved places at the forefront of the culture, and why it’s important for her at this stage of her life to remove the veil of celebrity that often keeps her at arm’s length from her fans.

This interview has been slightly edited for clarity.

HNHH: Thank you so much for speaking with us! Let’s jump right in—tell us all about the D’Usse event in Houston and this year’s ongoing Hip Hop 50 celebrations.

Rapsody: I thought the event was amazing. To come together in Houston, which is, you know, one of the major cities that’s contributed a lot to Hip Hop. And women that have come from here! Just to come through and celebrate 50 years of that it has been amazing. And to do it with D’Usse, we know how important Hip Hop has been, especially to the liquor brands.

As you know, [D’Usse is] one brand that we’ve always helped uplift, but to do it in this way, I think it’s amazing. D’Usse is a representation of Hip Hop, they go hand in hand. We had a good time, Houston came out,! We went through South music, I brought some East Coast music. It was just a beautiful evening. That’s what Hip Hop was created—to bring people together, to celebrate our individuality, our community, and that’s what it felt like here tonight.

The celebrations of Hip Hop’s 50th anniversary are putting our pioneers back in the forefront. What are your hopes for the future of the culture?

Aw, man. It’s been 50 years, and when I think about the future, I mean, I hope we continue to, you know, expand in our creativity. I love to see Hip Hop continue to build and grow in the space of education. I think that’s so important. We have so much power there. And I want to see, you know, a lot more women owning labels, producing. Just taking on all those roles that men have dominated for years. Because we’re talented, we’re worthy, we have value. We’re heavy hitters in change. I was talking to somebody the other day, and it’s like, Kool Herc had that party back then because his sister needed money to go back to school to get clothes. It was something. So, women have always been a part of the culture, and I want to see us really represented in all spaces.

Exactly! The contributions from women in Hip Hop are endless. Who were some of the women that have been a shoulder for you to lean on? Who has offered up words of wisdom in your times of need?

Man, my Hip Hop community when it comes to women? I don’t want to forget anybody! First, I would say Rah Digga. She was the first woman in Hip Hop that ever created with me on a record. And that meant a lot. Like, she was the beginning of me knowing what sisterhood looked like in this business. And Chaka Pilgrim, who, when I signed the Roc Nation, she was the president of Roc Nation. And she just taught me so much in a short period of time before she transitioned on to her next career path. But, you know, she was always there with words of wisdom, encouragement, support…anything I needed.

The same with the current president Shari Bryant. She’s been like a rock star and a great example of what a woman looks like in those spaces and how supportive that is for our village. MC Lyte—that’s the big sister. Queen Latifah. Missy Elliott. Misa Hylton, a legend. Icon. She’s been, you know, a huge, huge factor in my life. Probably the biggest, and has taught me so many things. I could go on and on! But those are some.

That’s beautiful. I love to hear that. So, there are several ways that the industry is honoring Hip Hop’s 50th. What is something that you’re looking forward to this year? Or what is a highlight that you’ve already experienced?

Man, okay. I have short-term memory loss! [laughs] A Hip Hop 50 event that I’m looking forward to? Let me think. I’ve been a part of several, but—the anniversary, true anniversary, we’re celebrating all year, but it’s in August, right? So, I’m really looking forward to those events, because I know they’re gonna be big.

I’m actually doing one in New York with Rakim and a bunch of other artists. So, to do an event like that in celebration of 50 years in Hip Hop, and to do it with a legend like Rakim and so many other artists, and to have representation of the newer generation with myself, I’m really looking forward to that. What the crowd looks like, the age spectrum that I know will be represented. So, I’m excited about that.

This is my last question for you. I actually asked you this a few years back when I interviewed you then. Alright, so we all know that celebrity is an illusion. People, whether it be fans, labels, management, PR, etc.—they have expectations of who you are or who you should be. There’s a veil, sometimes purposeful, that keeps the public from connecting because they often get caught up in the illusion of the entertainment industry. So, what is something about you—the heart of who you are, not as the artist Rapsody, but as a person—that doesn’t always translate to the world because that illusion shadows it?

Wow, that’s an amazing question! We were talking about this earlier. And that’s been a big growth point for me, these last three years, is taking off the veil. I think the biggest misconception for people with me is that I’m not perfect. I’m just as human as you are. I tell people I always want to show up as a representation or reflection that we are one and the same. I see myself in everybody, and I hope they see themselves in me. And that’s what—yeah, just connecting with people on a human level.

I don’t want to be the artist that people want to be like or emulate. And I don’t want to be the one that they just look at as a sex symbol and want to have sex with. I want to be the girl next door, your home girl. And I think that might be the biggest disconnect for me. That, yo, I just want to be the home girl. You know, to let you know that it’s perfect to be imperfect. I have stretch marks, I have a mole, I have all these perfections, and there’s still beauty in that. We all look the same, you know, so that would be it for me.

The post Ladies First: Rapsody On Hip Hop’s 50th & Women’s Influence On The Culture appeared first on HotNewHipHop.

Big Daddy Kane Isn’t Threatened By AI But Fears It’s Impact New Rappers

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Earlier this month, a report emerged indicating that no hip-hop album or single has topped the Billboard 200 or Hot 100, respectively. Still, hip-hop remains a dominant genre in America and across the world. The Billboard charts are certainly indicative of an artist’s success but it doesn’t define their artistry. “That’s the mindset of a pop artist,” Big Daddy Kane told HotNewHipHop in response to the recent Billboard report. “You know, I mean, that’s what matters in popular music. You know, not how great the person is singing, not how dope the lyrics are. None of that stuff. It’s just how popular the song is.”

Kane comes from an era where the strength of one’s pen carried far more weight than a Billboard entry. Next Friday, he’ll join EPMD, KRS-One, and Slick Rick as part of Doug E. Fresh’s Hip-Hop 50 performance at Essence Festival in New Orleans. The roster of artists joining forces for this performance has played a pivotal role in shaping the culture that we know today as hip-hop.

However, amid a technological revolution that has become a threat to intellectual property, Big Daddy Kane believes the younger generation of artists is facing bigger hurdles. Artificial intelligence has been a point of contention since the rise of FN Meka. Since then, we’ve heard AI replicate the voices of artists like Jay-Z and Drake, among others. It’s a frightening development but not one that puts the legacies of artists like Big Daddy Kane at risk. However, he does fear how it might impact future generations.

Read More: Fat Joe Says Big Daddy Kane Cut Him Off From Biggie & Tupac Cypher

Big Daddy Kane’s Message To The Younger Generation

NEW YORK, NEW YORK – OCTOBER 17: Big Daddy Kane performs during TrillerVerz at Barclays Center on October 17, 2021 in New York City. (Photo by Johnny Nunez/WireImage)

“Dear younger generation, please be careful in controlling the narrative of your artistry. Do the best that you can stand out as a unique artist in his day and era. Be that person that people respect because of you. Not because of the beat, not because of the hook, but because of you, the artist,” Kane explained. “As we move into the era of AI and holograms, we, at some point — I don’t mean a long time from now. I mean, in the near future – you won’t be relevant.”

Kane confidently states that his legacy, and those of Rakim, KRS-One, and MC Lyte, are set in stone. AI isn’t trying to replicate them. “We’re not a threat,” he continued. “This is for the younger generation: you have to, please, you know, protect your art form and your status as an artist… I think that’s something they really need to focus on so they don’t get replaced by computer technology. I would really hate to see that happen to young cats, especially the ones that truly believe that they have talent and want to showcase it.” 

Read More: Kendrick Lamar & J. Cole Praised By Big Daddy Kane For Being “True To Lyricism”

Kane: Hip-Hop Isn’t On The Decline But They Wish It Was

Big Daddy Kane
WASHINGTON, DC – APRIL 14: Big Daddy Kane attends 2018 DC Emancipation Day at Freedom Plaza on April 14, 2018 in Washington, DC. (Photo by Brian Stukes/Getty Images)

In 2023, it’s hard to imagine what hip-hop was like in the late ’80s, especially for those who weren’t even born then. Cassette tapes continued to dominate the music industry years before CDs were introduced. Kane came from a courageous era where hip-hop was discounted as a fad that wouldn’t have an everlasting impact. In 2023, even if hip-hop isn’t dominating the charts, it’s hard to deny that the genre has effectively influenced pop music at large. In a sense, that’s essentially why album sales and singles hold weight in online discourse.

“I think that there are so many other music genres that would like to see the decline of hip hop,” Kane said. “Anybody that understands corporate structure, they know that what happens in that type of situation is that quantity comes in, and quality goes out.” In the current climate, it’s a delicate balance, he explains. “​​Hip hop is so strong and so powerful. But it’s a major, major quantity. But there’s not a whole lot of quality.”

Still, there are several rappers that he could count on to deliver quality music: J. Cole, Conway The Machine, Rapsody, and Lady London. “There’s a certain algorithm that plays on the radio, where, you know, majority stuff sounds the same. And artists like that may not fit that format,” he said. “But there is amazing music out there. They may not be selling.. because they don’t fit that algorithm. But there are a lot of talented young artists out there today. You know, I don’t blame the artists, I blame the people that are in control of where music is played, and what music they’re putting out and feed to the youth.”

Read More: Big Daddy Kane Calls J. Cole His “Hero,” Praises Migos, Rapsody, & More

The post Big Daddy Kane Isn’t Threatened By AI But Fears It’s Impact New Rappers appeared first on HotNewHipHop.

Rob49 On Birdman Passing The Torch & Names His Top 5 NOLA Rappers Of All Time 

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New Orleans is a pivotal city in hip-hop’s landscape. A place where the entrepreneurial ventures of Birdman and Master P set the blueprint for independent rap across the world and elevated the names of artists like Lil Wayne and Snoop Dogg to GOAT status. Birdman, specifically, has made a concerted effort to elevate the South throughout the years, whether forming groups like Rich Gang or going to bat for artists like NBA Youngboy. The latest rapper that Birdman took under his wing is Rob49 – the 24-year-old rapper that’s ushering in a new era for NOLA. 

Read More: Rob49 Taps Kevin Gates & Birdman On “Hustler’s Anthem V2”

Birdman Passes The Torch

Rob49 performs at Lil Wayne's Lil Weezyana festival in 2022.
NEW ORLEANS, LOUISIANA – OCTOBER 29: Rob49 performs during Lil Weezyana 2022 at Champions Square on October 29, 2022 in New Orleans, Louisiana. (Photo by Erika Goldring/Getty Images)

On Friday, June 8th, he unveiled his latest body of work 4GOD II, a culmination of his ascent to stardom in the past year. It arrived ahead of his second annual Vulture Island Weekend in his hometown which included a celebrity basketball game and a concert where he was able to connect with fans for the first time in a long time. Ultimately, it was an event that furthers the notion that he currently holds the throne for the city. It’s no surprise that Birdman officially passed him the torch on the intro to 2022’s Welcome To Vulture Island – an act that seemed like a far-fetched reality to him a few years ago.

“When he first did it, it really didn’t mean nothing to me,” he told HotNewHipHop of his initial reaction to Birdman formally passing him the torch. That is until a few months ago when he revisited the intro to Welcome To Vulture Island. “I was like, man, this is the new New Orleans, like this is Birdman. I started thinking about where I was when I was in high school and middle school and shit. We would listen to this sh*t and it was just so far-fetched for us. I’m just like, ‘damn, this is really it and he’s giving it to you,’ so it was a big thing for me.”

Read More: Hottest Hip-Hop And R&B Albums Of 2022 So Far

Rob49’s Top 5 NOLA Rappers

New Orleans rapper Rob49 at All Rap-Caviar experience.
LOS ANGELES, CALIFORNIA – JUNE 23: Rob49 attends Spotify’s All Rap-Caviar Experience on June 23, 2022 in Los Angeles, California. (Photo by Phillip Faraone/Getty Images for Spotify)

Birdman’s become a guiding force in Rob49’s career, having been one of the first people who tried to sign the rapper to Cash Money. Although the deal didn’t pan out, the Cash Money co-founder evidently wanted to see Rob49 prosper regardless. He recently featured on the single, “Woedy” from 4GOD II, a song that Rob revealed nearly didn’t make the final cut of his album. “[Birdman] told me to stop separating my feet and put both of my feet in rap. That’s the biggest advice he told me and I did it and it worked for me. That’s the biggest advice he told me and it works,” he explained.

While Birdman came through as a pivotal force in Rob49’s career, he’s among the several New Orleans natives that helped shape the budding star’s artistry. During our conversation, he listed his top 5 NOLA rappers of all time, which includes the obvious choice of Lil Wayne. “Soulja Slim because he just reminds me of myself. Like, his wordplay, his aura – he just reminds me of myself,” he explained. “Lil Wayne because he’s just the best rapper alive.”

Although Soulja Slim became one of No Limit’s most legendary signees, it’s evident that the sounds of Cash Money resonated deeply with Rob49 throughout his come-up. In addition to Slim and Weezy, he listed Juvenile, Birdman’s nephew, Nino Calvin, and B.G. to round out his top 5. “Juvie had that project in him that we have in New Orleans,” he stated. 

Read More: 26AR & Rob49 Team Up For Menacing Single “Hottest In My City”

Biggest Misconception About New Orleans Hip-Hop?

Rob49 during Vulture Island weekend 2022.
NEW ORLEANS, LA – JUNE 17: Hip Hop artist Rob49 shows off his Rolling Loud chain at the conclusion of his Vulture Island Celebrity Basketball Game on June 17, 2022 in New Orleans, Louisiana at McDonogh 35 High School. (Photo by Peter Forest/Getty Images for Rob49)

Louisiana, as a whole, has had a grip on the hip-hop landscape, but it’s hard to deny the number of fierce lyricists. New Orleans, specifically, birthed the talents of both Lil Wayne and Jay Electronica – two MCs who’ve earned their position among hip-hop’s elite. However, New Orleans hasn’t necessarily gained a reputation for being sharp wordsmiths. Some have even gone as far to say that rappers from the city don’t even bother rhyming their words. 

“I think the biggest misconception is like us with our rhyming pattern,” Rob49 said. “I know people are like, ‘Oh, they don’t rhyme,’ but New Orleans people, we talk our sh*t. Like, that’s what we grew up on, you know what I’m sayin’? We just poppin’ it. We ain’t trying to rhyme.”

Read More: Rob49 & G Herbo Collab On “Add It Up”

The post Rob49 On Birdman Passing The Torch & Names His Top 5 NOLA Rappers Of All Time  appeared first on HotNewHipHop.