Lil Wayne is a hip-hop legend for a variety of reasons. His delivery is iconic with his trademark mind-bending flows and nasally vocals. But he’s no slouch on the lyrical front either. In fact, Wayne has a history of masterful lyricism that goes back as long as almost anybody. During a recent interview, he elaborated on the moment when he learned that he needed to up his lyrical game in order to make it in rap.
“They hear one person’s verse, they start talking about it in their regular day. That’s how I always used to look at things. You know, later on in the day they might [be like], ‘Hey, what he had said earlier?’ And then it had revealed itself in real life, whatever he said or she said earlier done come out in life,” he explained at the beginning of the clip. But he goes on to conclude with the lesson that the whole experience taught him about lyricism. Check out the full clip of the interview below.
Wayne is also a notorious sports fan and he’s been talking a lot of basketball recently. In one interview that came in the form of the rapper comparing himself to one of the best players in the NBA. When talking about basketball stars and their equivalent rap talent Wayne said that he’s closest to LeBron James in terms of rappers.
He’s also been commenting on matters of the league itself. He asked fans to calm down some of their hot takes about Draymond Green needing help following his recent indefinite suspension. He also claimed that the troubled, but extremely talented Ja Morant could be the face of the league going forward. The comments sparked plenty of interest from fans as Morant spent the bulk of the early season suspended for various offenses in the past year. What do you think of Lil Wayne’s observation that lyrics are more important than delivery in rap? Let us know if you agree with him in the comment section below.
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.
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)
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.
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.
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.
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.
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 toeveryone. 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.
With each release, Mick Jenkins has continued to prove that he is one of hip hop’s most creative lyricists. With three studio albums, multiple mixtapes and new music on the way, the Chicago rapper has set himself apart from his contemporaries. He is known for his distinctly deep voice, thought-provoking rhymes, and conceptual approach to music. Outspoken in his lyrics, Mick Jenkins has never been one to shy away from rapping about political issues and social injustices. His music strikes a balance between conscious lyricism and introspective poetry that captures listeners.
Born in Huntsville, Alabama, and raised in Chicago, Mick Jenkins began releasing mixtapes during his college years. Although he later dropped, his early output led to the release of his debut project, 2012’s The Mickstape. The following year, he released 2013’s Trees & Truths, a conceptual mixtape that utilized trees as an extended metaphor to discuss a range of topics. The project laid the foundation for his breakout mixtape the following year,The Water[s], exposing hip-hop fans to Mick Jenkins’s unique style of lyricism.
In 2014, Mick Jenkins released his fourth mixtape, The Water[s]. Much like Trees & Truths, it was a conceptual work that made use of water as its primary motif. On The Water[s], Mick Jenkins refined his rapping style, creating a signature sound. The mixtape arrived during a post-Acid Rap Chicago scene where non-drill rappers started to shine, bringing balance to a city’s reputation for violent music. Songs like “Martyrs” and “Jazz” exemplified the soul and substance of the mixtape’s lyrical content and production. The Water[s] featured Joey Bada$$, as well as Chicago artists including Jean Deaux, The Mind, and Noname, all of whom are close collaborators with Mick. The project gained Mick Jenkins a cult following and recognition as one of the most exciting new artists at the time.
In addition to his skills as a rapper and songwriter, Mick Jenkins has a distinct ear for production. The Water[s] saw him rapping over spacious yet modern production, and he continued to experiment with his sound on future releases. His 2015 EP, Wave[s] displayed his versatility with melodic dance songs and glitchy beats, testing different flows and cadences.
Mick Jenkins’s 2016 debut album, The Healing Component was a culmination of his skill, imagination, and knack for experimentation. The album was centered around themes of love, applying it to personal relationships between himself and others. It blended multiple genres, including hip-hop, R&B, electronic, and jazz, all with the help of close collaborators. The Healing Component included production from the likes of Kaytranada, THEMpeople, Sango, and BADBADNOTGOOD. His second album, 2018’s Pieces of a Man further showcased Mick’s ability to shine over any type of production with intricate bars and passionate melodies.
Each new album is an exciting glimpse into the mind and soul of Mick Jenkins as he carefully arranges his albums with a fully realized concept. He has continued to release critically acclaimed albums that have their own artistic vision. Almost 9 years since The Water[s], Mick Jenkins has gone on to innovate. In the 2020s, he has so far released the fun Circus EP and the poignant Elephant In The Roomalbum. Mick Jenkins’s catalog continues to grow with the announcement of his fourth album, The Patience. Slated for an August 18 release date, the album will feature the recently released lead single, “Smoke Break-Dance” featuring JID. Based on the fact that he consistently impresses fans with each release, a new Mick Jenkins album will likely solidify the legacy that he has already created.
With each release, Mick Jenkins has continued to prove that he is one of hip hop’s most creative lyricists. With three studio albums, multiple mixtapes and new music on the way, the Chicago rapper has set himself apart from his contemporaries. He is known for his distinctly deep voice, thought-provoking rhymes, and conceptual approach to music. Outspoken in his lyrics, Mick Jenkins has never been one to shy away from rapping about political issues and social injustices. His music strikes a balance between conscious lyricism and introspective poetry that captures listeners.
Born in Huntsville, Alabama, and raised in Chicago, Mick Jenkins began releasing mixtapes during his college years. Although he later dropped, his early output led to the release of his debut project, 2012’s The Mickstape. The following year, he released 2013’s Trees & Truths, a conceptual mixtape that utilized trees as an extended metaphor to discuss a range of topics. The project laid the foundation for his breakout mixtape the following year,The Water[s], exposing hip-hop fans to Mick Jenkins’s unique style of lyricism.
In 2014, Mick Jenkins released his fourth mixtape, The Water[s]. Much like Trees & Truths, it was a conceptual work that made use of water as its primary motif. On The Water[s], Mick Jenkins refined his rapping style, creating a signature sound. The mixtape arrived during a post-Acid Rap Chicago scene where non-drill rappers started to shine, bringing balance to a city’s reputation for violent music. Songs like “Martyrs” and “Jazz” exemplified the soul and substance of the mixtape’s lyrical content and production. The Water[s] featured Joey Bada$$, as well as Chicago artists including Jean Deaux, The Mind, and Noname, all of whom are close collaborators with Mick. The project gained Mick Jenkins a cult following and recognition as one of the most exciting new artists at the time.
In addition to his skills as a rapper and songwriter, Mick Jenkins has a distinct ear for production. The Water[s] saw him rapping over spacious yet modern production, and he continued to experiment with his sound on future releases. His 2015 EP, Wave[s] displayed his versatility with melodic dance songs and glitchy beats, testing different flows and cadences.
Mick Jenkins’s 2016 debut album, The Healing Component was a culmination of his skill, imagination, and knack for experimentation. The album was centered around themes of love, applying it to personal relationships between himself and others. It blended multiple genres, including hip-hop, R&B, electronic, and jazz, all with the help of close collaborators. The Healing Component included production from the likes of Kaytranada, THEMpeople, Sango, and BADBADNOTGOOD. His second album, 2018’s Pieces of a Man further showcased Mick’s ability to shine over any type of production with intricate bars and passionate melodies.
Each new album is an exciting glimpse into the mind and soul of Mick Jenkins as he carefully arranges his albums with a fully realized concept. He has continued to release critically acclaimed albums that have their own artistic vision. Almost 9 years since The Water[s], Mick Jenkins has gone on to innovate. In the 2020s, he has so far released the fun Circus EP and the poignant Elephant In The Roomalbum. Mick Jenkins’s catalog continues to grow with the announcement of his fourth album, The Patience. Slated for an August 18 release date, the album will feature the recently released lead single, “Smoke Break-Dance” featuring JID. Based on the fact that he consistently impresses fans with each release, a new Mick Jenkins album will likely solidify the legacy that he has already created.
Lupe Fiasco is an artist who is known for being a truly incredible lyricist. Throughout his career, he has provided fans with some truly incredible albums. Moreover, he is someone who is always pushing the envelope and providing fans with new music. We have gotten a couple of singles from Lupe here and there over the last few months, and they have all been great. That said, despite all of his success, there are still times when Lupe has been made to feel “regular.” As it turns out, Drake may be one of the reasons for this.
We know this thanks to a meme that was posted on Twitter recently. In the video clip below, you can see how the meme makes fun of Drake and how his lyrics will have ordinary folks feeling like losers. From sleeping at the Sheraton to wearing New Balance and Levis, Drake has taken aim at a lot of elements of modern living. Overall, it is easy for Drake to do this as he has a whole lot of money. Although, sometimes, it comes at the expense of his fans’ egos. As Lupe Fiasco explains, Drake has made him question his own self.
He makes me feel guilty for shit I didn’t even do and question the legitimacy of my ACTUAL responsibilities … https://t.co/njh168FHsi
— CHECKIN’ Out Now! #APTMC (@LupeFiasco) June 26, 2023
“He makes me feel guilty for shit I didn’t even do and question the legitimacy of my ACTUAL responsibilities,” Lupe Fiasco tweeted. Although Lupe is one of the best artists to ever do it, Drake still has him questioning life and wealth. Of course, the artist is mostly joking here. However, he does have a point. Now, some people can’t look at New Balances the same way, which is truly tragic.
Having said all of this, hopefully, we get some more new music from Lupe Fiasco, very soon. He is a prominent voice in the culture, and fans want to hear from him soon. Let us know your expectations for new Lupe music, in the comments below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world.
It’s always great to see the old guard compliment the new, especially these days when hip-hop seems more splintered than ever. However, rappers like the legendary Big Daddy Kane are here to remind us that there are still traditions and skills that have endured throughout the years. During an interview with AllHipHop on Saturday (June 10), the Juice Crew MC spoke on the evolution of lyricism. Specifically, he spoke on Paragraphs I Manifest, his upcoming Netflix documentary that will apparently center around similar topics. His breakdown included shoutouts to not just Kendrick Lamar and J. Cole, but also to the Griselda camp and Lady London.
“When you look at the era of the Melle Mel, Grandmaster Caz and Kool Moe Dee and then you see how it evolved and became Rakim and KRS-One, and then you see how it evolved again in the era of Nas, Biggie and Jay-Z, from a lyrical standpoint, you want to see it keep evolving,” Big Daddy Kane shared. “By the time the ’90s came around, hip-hop had become so commercial, that it was more important about having commercial songs and something more simplistic.
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/Getty Images)
“A lot of the artists that came after that, their mindset wasn’t really on being lyrical, it was on writing catchy songs,” he continued. “That’s really where their mindset was. So when you see people like J. Cole, Benny The Butcher, Conway The Machine, Kendrick Lamar and Lady London, I have a special respect for that because they’re true to lyricism.” Of course, this is far from the first time that Big Daddy Kane praised these MCs in particular for their talents.
“J. Cole is my hero,” he expressed earlier this year. “That’s my dude right there. J. Cole is my hero. I love Kendrick as well. Rhapsody, Lady London. Lady London is a monster. She is incredible.” What’s more is that rappers like Cole are able to bring that sensibility to even the most mainstream of rap trends and sounds of the moment. His recent Lil Durk collab, “All My Life,” has been one of the most praised rap tracks of the year so far. Meanwhile, Kendrick keeps wowing audiences of every fandom with every huge festival he headlines. For the latest news and updates on Kendrick Lamar, J. Cole, and Big Daddy Kane, stay up to date on HNHH.
If you thought Hip Hop was slowing down because it’s the end of the year, Styles P is shaking things up. The controversy regarding 21 Savage’s remarks about Nas’ relevancy took over Hip Hop for a brief period. As conversations have dissipated, Styles shares his unfiltered thoughts about the hot topic.
“You can’t hate the young fellas for being stupid,” Styles said on My Expert Opinion. “If they sayin’ illogical sh*t, that’s our fault. Those that came before ’em, now we gotta pull back and see, where did we f*ck up.”
Others chimed in, and as several voices overlapped one another during the discussion, The Lox hitmaker wanted to make his point clear.
“I like 21 Savage!” Styles declared. “I don’t love him, I like him a lot lot. Don’t love him, I like him a lot, lot, lot. The sh*t he say tickles me pink and I’m like, ‘I can’t believe this n*gga said that. It’s dope.’ I f*cks with him.”
However, Styles switched things up with a passionate delivery.
“My n*gga, you not a lyricist. F*ck all that,” he said. “Drake’s supposed to tell this n*gga, ‘N*gga, chill. That’s Nasir. That’s Nasir Jones.’ My n*gga, you are talented, you are dope. You’re f*ckin’ fly, your flavor, you mean a lot to the culture. You are important… You ain’t one of them. You ain’t a three-point shooter from deep. Nas is.”
Following the controversy, Nas released his 21 Savage collaboration, “One Mic, One Gun.” It was a track that 21 later said was already in the vault. When announcing the single’s release, Nas emphasized the need for more unity in Hip Hop, especially during tense moments.
“Only way we moving is with love, respect and unity,” Nas wrote. “The foundational principles of hip hop. Excited to collaborate with my young brother and I hope more artist use turbulent moments and turn them into a time to make new art. That’s what it’s about.”
(@chillajones)
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