The lineup features Lamar, ScHoolboy Q, Jay Rock, Ab-Soul (so all four members of Black Hippy), SZA, Doechii, Isaiah Rashad, SiR, Ray Vaughn, and Zacari, as well as some unannounced special guests. Some “local openers” are set to kick things off at 1 p.m. PT before the “main show” starts at 2:30.
There are no tickets for sale, but attendees looking to get in are asked to bring an unwrapped gift.
As Uproxx’s Aaron Williams previously noted, “In addition to the performances, the event also usually includes food trucks and other activities, while the next day will be Community Giveback day, with barbering services, family holiday photos, raffles, sports activities, and of course, the toy giveaway. There’s also a job fair with onsite employment opportunities.”
Lamar’s inclusion on the bill shows there’s still plenty of love between Lamar and TDE following their split: Lamar’s latest album, GNX, was his first one released not via TDE. As for the Black Hippy side of things, it’s unclear if they plan to perform together like they did this past summer.
Top Dawg Entertainment (TDE) celebrates 20 years of success with its 11th annual holiday charity event at Nickerson Gardens in Watts, Los Angeles. Founded by Anthony “Top Dawg” Tiffith, TDE has built a legacy as a hip-hop powerhouse and a champion for giving back to underserved communities.
Presented by TDE’s charity, Top Dawg Love the Kids, this two-day event kicks off Thursday, December 12, with a charitable holiday concert. Featuring TDE’s roster of artists—including SZA, ScHoolboy Q, Jay Rock, Isaiah Rashad, and others—alongside special guests, attendees can gain entry by donating unwrapped toys, new clothes, or other charitable items. Gates open at 11 a.m. PST.
The festivities continue on Friday, December 13, with a Community Giveback day. Highlights include a toy giveaway, youth sports programming, barbering services, and a holiday photo opportunity. The event also offers a job fair focusing on reentry pathways for ex-offenders.
With roots in Nickerson Gardens, where Tiffith and Jay Rock grew up, TDE remains committed to supporting marginalized communities. The annual event has become a holiday tradition, drawing thousands and emphasizing the label’s dedication to music and social impact.
For event details, visit 11251 Compton Ave, Los Angeles. Rideshare is strongly encouraged.
Taylor Swift does not stop. She’s been one of the hardest-working musicians of the 2020s. Between her new albums and the re-recording of her old albums, it’s any wonder she has time to tour. Things seemed to have cooled down after the less-than-stellar reaction to her last album, though. Swift hasn’t hinted at any new music, or announced re-recording plans. Her longtime producer, however, started cranking the rumor mill on September 18. Jack Antonoff posted a series of photos on Instagram, and one of them featured TDE producer Sounwave.
The black-and-white photo dump sees Taylor Swift, Jack Antonoff and Sounwave occupying the same studio space. Sounwave is alone in his photo, but the background make it clear as day that he was at the sessions being documented. The only real clue that fans have regarding the session is a time stamp with the date December 21, 2023 in the corner. This is a crucial piece of information. Taylor Swift dropped her last album, The Tortured Poets Department, in April. It would be easy to dismiss the photo of Sounwave as being from the Poets sessions, but the producer is not listed anywhere on the album’s credits.
The music that Taylor Swift and Sounwave made in December has not yet seen the light of day, which is why Swifties think there’s a new release around the corner. Jack Antonoff is very much a partner in crime when it comes to giving the fans clues. His posts are often teases of what’s to come, so the chances of a Sounwave photo meaning nothing are low. Besides, Sounwave has an established working relationship with both Antonoff and Swift. The TDE producer is part of the supergroup Red Hearse alongside Sam Dew and Antonoff. He’s also produced smash hits on multiple Taylor Swift songs dating back to 2019.
Sounwave is credited as a producer on Taylor Swift’s “Lover Boy.” His biggest contribution to the Swift catalog came in 2022, though. He is all over the pop star’s album Midnights, co-producing singles like “Lavender Haze” and “Karma.” This collaborative dynamic proved to be a two way street in 2024. The TDE veteran produced Kendrick Lamar’s diss song “616 In LA,” and he enlisted none other than Jack Antonoff to help him out. Given that Lamar’s opponent, Drake, had previously referenced Swift on the “Taylor Made Freestyle,” the link up seemed just as intentional as Antonoff’s new Instagram post.
Many would like to argue that the Drake-Kendrick Lamar beef is getting dragged out; perhaps there is some truth to this. We live in a time when attention spans are limited to seconds, and scandals rapidly riddle the newsfeed one headline after another. It’s hard to keep track of anything, really. However, this situation is an anomaly when applying Drake’s mother’s 72-hour rule. “My mom said to me, ‘You know what, you’ll go to sleep tonight, you’ll wake up and it’ll still bother you. Then you’ll go to sleep again and you’ll wake up and it’ll bother you a little less. And then on the third day, you’ll wake up and someone else will have done something stupid enough that everyone will forget,’” he once told Zane Lowe.
“That’s the 72-hour rule. I’ve learned to control my emotions for those first two or three days. That’s why I don’t run to social media and start yapping about my anger or my frustration, I let it sit, and it always goes away.” It’s sage advice that clearly didn’t stick in recent years. It, unfortunately, wouldn’t have been effective in this beef had Drake simply ignored the releases of Future and Metro Boomin’s back-to-back albums, We Don’t Trust You and We Still Don’t Trust You, that were practically dedicated to a universal disdain towards the Canadian rapper.
The online discourse and industry chatter probably left pressure on Drake’s shoulders to respond at a time when he admitted to needing a break to prioritize his health. And ultimately, if he didn’t bite the bait, he likely wouldn’t have been able to live this moment down. It was a lose-lose situation, but no one could’ve predicted the avalanche of diss records to emerge in the span of a few days, nor the damage it would inflict on Drake.
But does it really matter? Public perception is easily swayed. Many doubted Drake before “Push Ups,” yet it set the tone for the trajectory of the battle. However, subsequent efforts, such as “Taylor Made Freestyle”, backfired and put an even bigger lens on Drake’s motives as an artist within hip-hop. Is his participation to help grow the culture or leech off it? Questions like these linger in the back of minds these days. Whether or not you’re convinced that “Family Matters” is the best song to emerge from the exchange if only due to his lengthy run-time, numerous targets, and beat switches, you can’t deny that the “Drake stimulus” has decreased in value, culturally and commercially.
If Drake is the MC I imagine he can be. Redemption is not off the table.
A loss of this magnitude never felt feasible for one of the biggest recording artists whose persona has been protected by an invincible shield. That’s especially the case following his bounce back post-Pusha T, where he dominated the summer with hits after effectively throwing in the towel. But, anyone with a working pair of ears could agree that since Scorpion, and maybe even before then, there was a decline in quality in exchange for prolificity. So when Ab-Soultweeted, “If Drake is the MC I imagine he can be, redemption is not off the table,” it didn’t immediately feel like some sort of ulterior motive to bait Drake or even a shot from the opposing team. Ab-Soul’s analysis felt like one of a rapper’s rapper and a student of hip-hop. After all, it didn’t take long for old tweets to surface of Ab-Soul singing Drake’s praises over a decade ago.
So, it seemed rather odd for B. Dot to respond to Soul’s tweets, writing, “The disrespect is disturbing.” “Disturbing” more accurately describes the allegations that both Kendrick Lamar and Drake dished at each other. But, B. Dot later clarified that he felt a type of way about the “condescending” tone of Soul’s comments before arguing that Drake has played a vital role in hip-hop for the past decade. “It’s backhanded praise! rap game caught amnesia the past two months,” B. Dot wrote in response to Soul claiming that Drake “could never Fucc wit da Gang ‘Nem on sum rap shyt.”
it’s backhanded praise! rap game caught amnesia the past two months. https://t.co/hUCjqhcR51
Let’s be real: Drake’s place in history is cemented. You nor I could ever strip that away from him, and the music he’s made plays a defining role in how hip-hop and pop music overlapped in the past decade. Not to mention, he’s also been a connective tissue between hip-hop and R&B for just as long. Despite this beef, Drake reportedly maintained his position as the highest-streamed artist on Spotify in June.
At the end of the day, that’s Drake’s greatest strength: creating accessible music for the masses that could be enjoyed in any setting. He’s become a ubiquitous force in hip-hop who hasn’t let his foot off the gas in the past 15 years. Within that time, he’s already set scary precedents that have become norms, whether the allegations of using a ghostwriter or the AI Tupac verse from “Taylor Made Freestyle.” For clarity, the issue isn’t about the collaborative process behind his songwriting prowess; we know he can write when he wants to. It’s ultimately about his perceived respect towards the craftsmanship and those who’ve laid the foundation of his success. Spinning a G-Unit chain in a music video or spending $1M on Tupac’s ring feels more sinister in retrospect.
So, whether Ab-Soul was being condescending or B. Dot’s simply stunned to see Drake’s fall, it was an inevitable outcome for an artist who has oversaturated the market with his presence and spread himself thin. Akademiks, Capella Grey, or anyone else can claim that Drake is about to light up the summer with a banger, but for that to happen, he’ll need to revamp the secret formula. That in and of itself takes time. It’ll take longer than 72 hours to forget the irreparable damage done to his career in the past two months but the best thing for Drake to do is keep to his original plans and take time away from the public eye. Without allowing himself to be missed, Drake fatigue will persist on a mass scale.
In 2022, Kendrick Lamar released Mr. Morale & The Big Steppers, which in 2021 he declared would be his last album released under Top Dawg Entertainment. Now, it’s Reason’s turn to leave the nest: Today (June 18), the rapper announced he is leaving TDE.
Why Is Reason Leaving Top Dawg Entertainment?
He made the announcement via a letter shared on social media. Based on the message’s tone, the split appears to be at least somewhat amicable, with Reason expressing his appreciation for the label, Anthony “Top Dawg” Tiffith, and TDE fans. Reason also references his “decision to travel a different path after the years.”
Worth noting is that least year, Reason made waves for publicly arguing with TDE president Moosa, so perhaps some tension with the label was a contributing factor to Reason’s departure.
Check out the full letter below.
“The last 7 years have been incredible, and I’ve appreciated all the time and experiences that have come within that span of time. I can’t even put into words the surreal feeling I’ve had of being able to share my thoughts, expressions, emotions, stories, and experiences with you all through the platform provided to me by Top Dawg Entertainment.
With that being said, it comes with great appreciation and excitement that I want to announce my split with TDE. I want to give a huge thank you to Top himself, not only for giving me a chance to live out my dream but also for hearing me and understanding my decision to travel a different path after the years. There’s truly no words for the amount of respect I have for you, and that’ll never change, no matter what.
I also want to thank every single TDE fan who embraced me and allowed me to share my music with them. There’s no world in which you don’t mean the absolute most to me. Last but not least, a thank you to all the artists who embraced me.
Thank you for being a constant inspiration and ear while trying to navigate this industry and music. Thank you guys for the time and a huge thanks to everybody for this experience.
When Zacari first burst onto the scene, it was with the track “LOVE” which came off of the album DAMN. Overall, it was an incredible display of his vocal stylings, and fans were left mesmerizing and wanting more. The artist was subsequently officially added to the TDE roster, and since then we have gotten a project, a few singles, and some features. Much like his TDE label mates, he isn’t one to rush out music. However, when he does release, it turns out to be an event.
On Friday, Zacari blessed us with a new track called “Destiny.” With this track, Zacari continues to give us his signature vocals on top of some atmospheric production. In between his verses, we get some rock guitars that add a bit of extra flavor to the song. It makes for a unique listen that showcases the kind of versatility the artist possesses. Hopefully, this single means we are getting an album and perhaps more singles, very soon.
Let us know what you think of this new track from Zacari, in the comments section down below. What are your expectations for his next album, when he eventually drops? How do you feel about the current state of R&B and some of the artists putting out music right now? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
Zacari is the secret weapon of Top Dawg Entertainment. He always crushes his guest verses, and sometimes he lends soulfulness to album cuts he’s not even credited on. His best known feature is still Kendrick Lamar’s “LOVE,” but the singer has shined equally bright on albums by Ab-Soul and TDE as a whole (Black Panther soundtrack). Zacari has yet to drop a solo release, though, and the desire to hear one grows increasingly higher with each new single he puts out. “Lonewolf Still” keeps this desire sky high.
“Lonewolf Still” is Zacari’s second single of 2024. He went the off-kilter acoustic route on “Ocean,” but “Lonewolf Still” sees him veer back into his sultry, R&B sweet spot. It works. The production is spacey in ways we previously haven’t heard from Zacari tracks. It’s reminiscent of blackbear, or perhaps even the weirder side of Post Malone. It’s a welcome change, given that some of Zacari’s earlier singles suffered from nondescript beat selection. “Lonewolf Still” brings all of the atmosphere one could hope for, given the evocative title and album cover.
The lyrics follow suit. “Thunderstorms let me know God is watching over. Ain’t afraid of death as much as I’m afraid of comfort,” Zacari croons. “Leave me ‘lone, you know I been plottin’ on a come up. And I don’t wanna see that girl unless she wanna comе f*ck.” It’s melodramatic on a certain level, but it sounds epic given the textured musical accompaniment. The hope is that “Lonewolf Still” serves as the introduction to Zacari’s debut album. He’s upped his solo game since the late 2010s, and it sounds like’s ready to step off the bench.
What are your thoughts on this new song, “Lonewolf Still” by Zacari? Is this his best single yet? Do you want to hear a solo album in 2024? Who do you want the singer to collab with? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Zacari. Finally, stay with us for everything else going on in the music world.
Quotable Lyrics
Waiting at the table, now I’m serving it Raw, all white McClaren, now I’m swerving it Reading my suspicion, now I’m sure of that shit No more superstition, no wondering
Anthony “Top Dawg” Tiffith occupies an interesting role in the Drake vs. Kendrick Lamar battle. His label, Top Dawg Entertainment, was put on the map thanks to the latter’s run of classic albums. When it came time for Drake to release his Lamar diss, “Push Ups,” however, he took aim at Top Dawg. He claimed the label boss took advantage of Lamar and made 50% of everything the rapper took home. “Top said drop and give me 50” is the chorus of the diss. Regardless of Drizzy’s dispersions, Top Dawg has stood with Lamar throughout the battle.
He even declared Lamar the winner on May 10. Top Dawg, who has had plenty to say about the battle on X (formerly Twitter), said that K. Dot’s victory was a victory for real hip-hop. “The battle is over,” the label boss wrote. “A win for the culture, while keeping it on wax.” He then took aim at publications and outlets for misleading fans and spreading false information. “Especially when these publications try to make it something else,” he noted. “We proved them wrong. That’s a victory within itself.”
This battle is over. A win for the culture, while keeping it all on wax. Especially when these publications try to make it something else. We proved them wrong. That’s a victory within itself. On another note, it’s time to wrap up this TDE 20yr anniversary compilation.
Kendrick Lamar left Top Dawg Entertainment in 2022. He went on to launch his own company, pgLang, which has been the epicenter for all of his recent Drake disses. Despite no longer working with the TDE crew, Lamar appears to be on good terms with all of them. Top Dawg and Terrence “Punch” Henderson have praised the rapper online, while Jay Rock clowned Drake after the release of Lamar’s “Not Like Us.” “Don’t be mad at me y’all 69 God lost,” the rapper tweeted. “Lol old a*s tweets y’all digging up and still can’t read or comprehend.”
Top Dawg is aware of the positive exposure that the Drake vs. Kendrick Lamar battle has brought to his label. He is, after all, a businessman. He wrapped up the tweet by teasing a brand new release, and a first within the TDE camp. “On another note,” he revealed. “It’s time to wrap up this TDE 20 year anniversary compilation.” TDE has never dropped an official compilation before (excluding Lamar’s leftover project untitled, unmastered), so this is a huge deal. Given how big a role Dot played in the label’s history, it’s safe to assume he will be all over the compilation.
ScHoolboy Q recently sat down with TV personality and former Everyday Struggle host Nadeska Alexis to discuss his creative process on his latest LP, Blue Lips. The album, released on March 1st, 2024, is the first project Q has dropped since 2019’s CrasH Talk. ScHoolboy Q curated the interview, even explaining that he sought Nadeska for the discussion due to her unproblematic reputation in hip-hop journalism. Q uploaded the hour-long conversation to his verified YouTube channel, establishing a direct line of communication between the artist and his fans. During the discussion, Q went deep regarding his personal life, his creative process, and his plans for the future, providing fans with a great deal of insight. Here are 5 key takeaways from the ScHoolboy Q interview.
PEBBLE BEACH, CALIFORNIA – FEBRUARY 03: ScHoolboy Q plays his shot from the fifth tee during the second round of the AT&T Pebble Beach Pro-Am at Monterey Peninsula Country Club on February 03, 2023 in Pebble Beach, California. (Photo by Orlando Ramirez/Getty Images)
ScHoolboy Q has made it no secret that he was disappointed by the final mix of CrasH Talk when it was released in 2019. Though the album certainly has some high watermarks, some fans felt that it lacked the experimental flair expected from the TDE rapper. While discussing the creation of Blue Lips with Nadeska, Q explained that he personally handled nearly every aspect of the new project to ensure its quality was fully up to his standards. Each detail in the Blue Lips rollout was handled by ScHoolboy personally, including hand-writing signs used to promote the project, and choosing location shoots for music videos.
One such shoot took place on a former slave plantation, which the rapper chose specifically to create a thematic through-line highlighting the exploitation of Black Americans throughout history. ScHoolboy Q also remarked during the interview that, at one point, he threatened to leave the label or drop the album under a pseudonym on YouTube if music executives attempted to interfere with his creative process at all, showing just how much pull the music industry veteran has at Top Dawg Entertainment these days.
4. The Album Has Been In Production Since 2019
MOUNTAIN VIEW, CA – OCTOBER 22: Rapper Schoolboy Q performs during the Rolling Loud Festival at Shoreline Amphitheatre on October 22, 2017 in Mountain View, California. (Photo by C Flanigan/Getty Images)
Another surprising piece of information revealed by ScHoolboy Q during the recent interview is the sheer amount of work that went into Blue Lips from a production standpoint. According to the Black Hippy alumnus, the project has been in development since 2019. Q explained that he first began writing and recording songs for Blue Lips on the tour bus shortly after releasing CrasH Talk.
Later in the interview, ScHoolboy Q commented that he fully wrote and recorded most of the lyrics on the album by 2021. He added that he spent the last two years tweaking production to the most minimal detail. In a shocking twist, Q explained to Nadeska that he effectively views himself as more of a producer than a rapper at this point in his career, since he spends significantly more time tweaking the technical elements of his music than he does writing or laying down raps.
EL SEGUNDO, CALIFORNIA – OCTOBER 13: Rapper ScHoolboy Q (C) attends the PGA TOUR 2K23 Launch Event at Topgolf El Segundo on October 13, 2022 in El Segundo, California. (Photo by Amanda Edwards/Getty Images for 2K)
During the interview, Nadeska remarked that ScHoolboy Q looked healthy, well-dressed, and well-groomed in his recent appearances, a stark contrast to the scraggly hippie look he rocked during the early points of his career. While many fans have fond memories of the bucket hat and dashiki era Q, the 37-year-old rapper explained that his old trademark look was mostly due to his drug use at the time. Since first becoming sober in 2019, ScHoolboy has continued to grow up and take more of a vested interest in his appearance, leading to his new-and-improved aesthetic.
Beyond just his looks, Q says his sobriety greatly impacted his behavior. Specifically, the rapper claims that he looks back in embarrassment at many of his on-camera moments from his drug abuse days, calling his actions corny. Looking back with sober eyes, ScHoolboy Q expressed during the interview that many of his on-camera antics were performative to drive eyes and ears toward his music, instead of relying on his art to do the heavy lifting.
2. Some Of The Most Personal Tracks Were Left Off The Finished Album
LOS ANGELES, CALIFORNIA – FEBRUARY 25: Rapper ScHoolboy Q attends a basketball game between the Los Angeles Lakers and the New Orleans Pelicans at Staples Center on February 25, 2020 in Los Angeles, California. (Photo by Allen Berezovsky/Getty Images)
On the track “Germany 86′,” ScHoolboy Q explains that his mother served in the United States Army, leading to Q being born on foreign soil during her deployment. Once her tenure as a soldier concluded, Q’s mother was unceremoniously cut loose with no support system, causing her to move back to South Central Los Angeles where the rapper was raised. The Blue Lips virtuoso largely credits his single mother for raising him right, despite some of the poor choices he made in his youth.
“Germany 86′” ends after only one brief verse, which he explained was a deliberate choice. The artist reportedly crafted a song titled “Cry Too Much” for the album, delving deeper into his mother’s trauma, but ultimately, chose to cut it before releasing Blue Lips. Q claimed that the song exposed too much of his mother’s trauma for the public to hear, making him feel like he was exploiting her suffering if the record ever saw the light of day.
1. ScHoolboy Claims He Will Never Retire From Making Music
Once ScHoolboy Q and Nadeska finished discussing the past and present of Q’s creative process, they dove into the future, allowing the rapper to make his boldest and most exciting declaration yet. According to ScHoolboy, he plans to continue making music well into his eighties, and never retire from tinkering with unique sounds. While the TDE signee explained that he’ll likely stop releasing full albums in his old age, he likens his ideal elderly self to a retired Stevie Wonder, still crafting experimental melodies at home without a wider audience. Q specifically referenced older hip-hop pioneers such as Dr. Dre, Snoop Dogg, and Nas as inspirations for his upcoming work, and stated confidently that he has 18 full-length LPs left in him before he’s ready to give rapping a rest.
ScHoolboy Q is in his Pablo era. He says as much on the Freddie Gibbs-assisted, “oHio” from his latest album, Blue Lips. “Lookin’ at my life, think he Pablo/ Y’all poor,” he raps on the hook. Pablo Escobar might be a played-out reference at this point, especially as a hyperbolic benchmark of power and wealth. But ScHoolboy Q has a way of skewing the norm into a distinct portrayal of his growth and by extension, how the world around him has evolved. In this particular instance, it’s less to do with the accumulation of wealth but rather, what it’s afforded him: a sense of tranquility. As a result, ScHoolBoy Q delivers one of his strongest bodies of work with Blue Lips.
The 18-song album contains everything that CrasH Talklacked – personality, depth, and a sense of purpose. At a time when the music industry was in a major overhaul as streaming continued dominating and platforms like Triller and TikTok directed the algorithm, ScHoolboy Q found himself trying to figure how where he fit into the puzzle. He explained to Zane Lowe that CrasH Talk captured his life after the success. In a lot of ways, it felt like a long-delayed sophomore slump in his career.
Blue Lips often feels like a volatile journey with unexpected twists and turns, thanks to the excellent sequencing. Beat switches and song transitions can often feel abrupt but the abrasiveness accentuates each moment. Through this, Q’s range takes heed uninterrupted. “THank God 4 Me,” produced by Kal Banx and initially teased during the producer’s Boiler Room set, opens up with a warm, tranquil flute, accented by gentle guitar strings before switching gears entirely into an abrasive banger that surrounds self-love in a way that only Q could deliver. It’s a commonality across the album that initially feels like jumbled concepts thrown into a blender. There’s a method to the chaos that lets the cohesion unfold organically, especially in ScHoolboy’s delivery. Q compartmentalizes each flow into concentrated moments across the album. It makes each sonic shift, each flow hit harder than the last.
“Love Birds,” for instance, finds Lance Skiiwalker reflecting on the shortcomings of a relationship but Q bursts through with debaucherous brags about a “house full of whores.” Then, there are songs like “Foux” with Ab-Soul. Over fevered jazz percussion, the two deliver another successor to the “Druggies Wit Hoes” series that deviates further from the hedonistic drug-fueled sexcapades that he and Ab-Soul once indulged in. Instead, “Foux” focuses on a void in their lives that can’t be fixed by copious amounts of substances, even with strides in their personal and professional careers.
Finding Hope
The concept of embracing change appears across the album, largely in juxtaposition with pivotal life moments that shaped him. However, the ultimate takeaway is that his worth was never rooted in material possessions but rather, the purity of his intentions. Even the moments where he’s bragging about Presidential Rolexes or foreign cars aren’t necessarily flexes. They are reminders of where it all began and the strides he’s made. It’s a noticeable shift from his mindset on his early albums which felt clouded by despondence.
But on Blue Lips, an album that arrives a decade after his major label debut Oxymoron, ScHoolboy Q finds a sense of hope that only came as he became more removed from the streets. Songs like “Blue Slides” and “Cooties,” specifically, allow a heightened sense of introspection to thrive within questions of existentialism. The former finds Q ruminating on the inevitable outcome of the streets but also, how the pressures of fame manifest in tragedy, whether it be the loss of Mac Miller or the public’s attitude towards mental health, specifically in the case of Ye.
“Cooties” encompasses the other side of the coin — Q is awestruck at marijuana-scented mansions in the Hills and his growth from “being trapped from all the things that you build” – yet he’s still affected by the same anxieties that the average American face. Though he’s never been one to be overtly political, Blue Lips does shed light on his outlook on governmental bodies, including Kamala Harris’ criminal justice record, and the dire threats to the next generation. “Mass shootings, when will they stop it? Hmm another kid gone for unlimited profits,” he raps on “Cooties.” “Rather keep my kid home, before you fuck up the process.”
This consciousness of purpose and self-awareness makes ScHoolboy Q’s latest album such a refreshing entry in his catalog. Sure, the nihilism of gangster rap is pervasive on stand-outs like the hardcore-influenced “Pop” ft. Rico Nasty captures the rugged West Coast skater culture or the militant aggression of “Lost Times” and “Pig feet.” However, there’s a levity to his voice, writing, and attitude toward the world, even when he’s tapped into his most ruthless form.
While albums like Setbacks and Habits & Contradictions captured the numerous adversities he faced with an aloof tone, Blue Lips looks back at those moments as learning curves. The latter half of the project starts unraveling this album’s theme with more clarity. Songs like “germany ‘86” find Q returning to his birthplace. Through this, he details his mother’s return to Hoover after serving her country, only to be thrown to the wolves. It’s here where Q acknowledges that, despite how the women in his life tried to deter him from the streets, it was an inevitable outcome. The environment in which he grew up, regardless of whether he jumped off the porch, would’ve forced him to grow up far too quickly.
Conclusion
There’s a reason why an artist like ScHoolboy Q could wait five years before releasing another album. It’s a luxury that very few artists are afforded, no matter the medium. Blue Lips stands as ScHoolboy Q’s most ambitious album to date, one that pushes the boundaries that he set for himself. With a bit of clarity and ambition, the follow-up to CrasH Talk is a much more gratifying listen that encompasses a level of depth that we haven’t heard from ScHoolboy Q in the past. He’s at peace with himself but more importantly, comfortable in the mental space that he currently occupies.
miller (@bdotTM) 
