The Brooklyn rapper used the behaviors as a thick yellow line that separated his lane from the podcaster’s. You could categorize it as a punch line, or the statement that makes the joke. The statement was in honor of the victims or to call attention to a deviant behavior that exists within the culture. It was reactive. Maino’s initial retort insulted Akademik’s physique (a jar of relish) and challenged his masculinity as defined by cultural standards. By Maino’s own admission, if Akademiks would have bowed out, he may not have shed light on such devious claims. But he didn’t, so the victims must be named.

Abuse as the ultimate gut punch.

The ability to use abuse as an upper cut feels taboo, but familiar. Kendrick Lamar and Aubrey “Drake” Graham used forms of abuse against women and young girls as the twisting knife, although Lamar’s was more financially successful. Family Matters framed Whitney, Kendrick’s longtime partner, as a domestic abuse victim who suffered at Kendrick’s hand. Throughout both “Meet the Grahams” and “Not Like Us”, Lamar alludes to predatory behavior within Drake’s camp with quips like “certified lover boys, certified pedophiles.” Even referencing it as a quip feels disingenuous, but I can’t deny the presentation. “Not Like Us” soared and Kendrick continued to mind the business that paid him. The video that showed a 23-year-old Drake’s interaction with a 17-year-old onstage in Colorado no longer did.

Curtis “50 Cent” Jackson’s intricate involvement in “The Reckoning”, a documentary that included intimate accounts of victims and former associates of Sean “P. Diddy” Combs, has been controversial from several angles. The accusations against 50 Cent and his reactions to recently named victims is enough to allow viewers to analyze the documentary as less exposition, more vendetta. Daphne Joy, one of the mothers of his children, has accused Jackson of rape and domestic violence as recently as 2024. The rapper even joked about her being named in Rodney “Lil Rod” Jones’ lawsuit as a sex worker that Diddy had conversations with him about.

In 2025, 50 Cent congratulated Jones in an Instagram post for a Grammy nomination as a producer for Leon Thomas’ song “Yes It Is.” In the caption, Jackson wrote, “This is Fire. lil Rod is talented, Diddy still ain’t pay him for the LOVE album. And he touched his butt!” 50 Cent found himself publicly apologizing to Megan Thee Stallion for his participation in the online bullying she dealt with before and during the Tory Lanez trial. The concerns of whether or not he is a genuine advocate are not unfounded. While I was encouraged that someone with power in the industry made it a personal responsibility to “expose” Diddy’s ascension and the people that were abused on that path, I was uncomfortable that the conversation is controlled by someone who could see the victims at the punch line. It’s a culture that promotes blind advocacy for like-minded men and intolerance once that vitriol is spewed in-house, because the abuse alone is not egregious enough to excommunicate an ally.

Domestic Violence is always a bar.

Rarely, if ever, the woman or children in question are considered in the matter. Think back to “Drunk in Love” by Beyonce that featured JayZ. Let me refresh your memory.

Beat the box up, like Mike in ‘97, I bite

I’m Ike Turner, turn up baby, no, I don’t play

“Now eat the cake, Anna Mae

Said, “Eat the cake, Anna Mae

For the sake of completion, JayZ inserted the names of Mike Tyson and Ike Turner to demonstrate a specific level of sexual aggression. But, at whose expense? Mike Tyson’s violence extended outside of the ring and beyond the bite of Evander Holyfield’s flesh. Tyson, whose biography includes the description of a time he punched Robin Givens harder than any of his opponents, was accused of sexual assault by Erinn Cosby and was found guilty of rape in 1992 after the assault on Desiree Washington. The decision to include two men whose sexual deviancy and domestic violence has been acknowledged by their own admissions was a choice.

Ike Turner’s documented beatings of Tina Turner were an egregious reference to the intimacy between two loving partners. That’s not a symbol of passion. It was an unnecessary comparison that spiraled into some of the more memorable lyrics of the song. In honor of the culture, Tina Turner’s abuse has become a meme of two star-crossed lovers in a violent, yet sensational relationship and dismembers the brutal, life-threatening abusive reality of their love. It’s a dystopian parallel that while hip-hop capitalized off of lines such as “Eat the cake, Anna Mae”, Tina Turner endured nightmares triggered by the memories of the abuse she suffered at Ike’s hands.

The memeification of abuse.

There was a meme that originated about a decade ago that depicted Chris Brown standing on a curb staring at model, actress and influencer Karrueche Tran in 2015. The internet interpreted the moment as a desperate attempt from a loving boyfriend to encourage a conversation with the object of his affection. It’s the object part that always gets me, right? Being the object of someone’s affection immediately strips the validity of your feelings of being pursued or loved upon. An object does not speak but is possessed. Social media ignored the seconds of the video where Karrueche’s friends tried to block Chris Brown as he forced his way into the vehicle. The follow-up report that police were called after he arrived at her residence behaving aggressively was just a blip in a much larger narrative of young and possibly toxic love. It altered the vantage point of Brown yelling Karrueche’s name in the middle of “Back to Sleep (remix)” that featured Zayn Malik and Usher, released in 2016.

The five-year restraining order that was granted against Brown in 2017 rightfully reforms the perception into abuse and control, a characteristic his audience was exposed to first in 2009 after his assault of Rihanna. Yet, when stories and lawsuits detail allegations of aggression and violence, these are not added to a history of evidence but treated as anomalies. Separate instances where there was a temporary lapse of judgment that was immediately course-corrected. These perspectives are presented even when those pivots are publicly proven to be unsuccessful. There doesn’t need to be atonement or culpability for an abuser to thrive in society. Only time and jokes.

Is the abuse a challenge to black excellence?

As I watched Dave Chappelle’s most recent Netflix special, “The Unstoppable”, he spoke about The Mann Act being used to stop Jack Johnson’s strides amongst the boxing elites and his public conquests with white women. Chappelle identifies The Mann Act, which is also named The White Slave Traffic Act, as a tool utilized to curb the upward advancement of Johnson’s career after he’d beaten white boxers and became the champion. Chappelle then makes sure to identify the parallels between “the unstoppable negro act” and Diddy’s sole count and conviction as a result of this law that was introduced in 1909 and codified in 1910. Specifically, The White Slave Traffic Act “made it a crime to transport women across state lines for the purpose of prostitution or debauchery, or for any other immoral purpose,” according to PBS. It was a broad stroke that proposed to address an increasing number of women who were being lured into immoral behavior and prostitution which George Kibbe Turner dubbed “white slavery.”

Chappelle’s reference to Johnson and the “unstoppable negro act” that the government successfully charged and convicted Diddy with missed a few moments of history. Another black entertainer that was charged under The White Slave Traffic Act was Chuck Berry, a pioneer of rock and roll music. In 1959, Berry was charged under the law for his transportation of 14-year-old Janice Escalanti across state lines. Berry’s intentions, according to the performer, was to hire the young girl to work the door at a nightclub he had recently opened because he felt sorry for her and she allegedly told Berry that was 21 years of age.

During this trial, he was acquitted of another White Slave Traffic Act case for his relationship with Joan Mathis, a 17-year-old he admitted to having a sexual relationship with at the time as Mathis confessed that she and the pioneer were in love. He was ultimately convicted in Escalanti’s case and was incarcerated. Charlie Chaplin, who married a 16-year-old at the age of 29 and another 16-year-old at the age of 35, was also charged with The Mann Act, but was not convicted. When Chappelle initially drew the parallel between Jack Johnson’s conviction of The White Slave Traffic Act and Diddy’s conviction under a similar statute, it was true, but incomplete. It was also a clear example of how the simplification of facts leads to the dilution of their severity. While Johnson’s conviction appeared racially motivated, Sean “Diddy” Combs was not simply overachieving for a black man. The details of the trial revealed deviance that deserves more than an alignment with a challenge to black excellence.

How does the culture course correct?

The way abuse is weaponized starts with a lack of information. If the culture aims to reset its approach to the misrepresentation of abuse and the dehumanization of victims, artists have to be culpable for their ignorance, as does the audience. The passive mentions of domestic violence or predatory behavior have to be met with sources and empathy. In an exemplary society, this challenge would be addressed with the appropriate platforms and conversations that centered victims as individuals with unwanted trauma and not the reason for their abuser’s misfortune. Yet, that community seems too small to matter.

As Doechii is harassed by Adin Ross and a streaming legion that often mimics the darkest arenas of dialogue, we have to examine how the dismissal of his jokes and disgusting commentary about Megan Thee Stallion’s abuse opened the door for this behavior. Until the artists of this generation become more responsible for their influence throughout the communities, they extract capital from, the conversations of abuse will continue to manifest a dangerous satire that feeds on a victim’s trauma. It’s a degradation of a culture that was founded on liberation and now breeds personalities manufactured to absolve it of its humanity.

Whether you want to pay attention or not, things are changing and swiftly right in front of us. The government is shut down due to a lack of agreement between Republicans and Democrats on healthcare for the very people who voted for them to have the power they wield. We’re watching the Secretary of War speak to a room full of decorated generals about the responsibility of shaving consistently, which directly targets black men in the military, and the requirement of a gender-neutral haircut to participate, which directly targets women in the military. Make no mistake, my loves. We’re in the shit.

What I’ve always found in the books I’ve read and even from personal experience is that music, arts, culture is powerful. Even in oppression, the artists of that struggle used their creativity to ensure messages of unity, strength and truth were spread throughout the community and even beyond. I was editing this when I stumbled across Jacob Lawrence’s The Migration Series and I was hypnotized. I’m always intrigued when I discover a piece of art or culture that had never been introduced to me. Listening to him speak while sorting through the 60 paintings that beautifully recall the migration of African Americans from the south to the north gave me enlightenment. If you’ve never had the pleasure, here’s the link. You’re welcome.

I guess what I’m trying to say is that our arts are not an escape. They are one of the many tunnels through. So, when I listened to Chance the Rapper’s album, Starline, it felt like a call to action. A moment to reflect, support and reform. I experienced it as if he were asking us to reconnect with the history that we’re so quick to disregard. I promise I will get back to the album, but don’t you find it ironic how people within our community say, “We aren’t our ancestors” and minimize their contributions to our comfort, and in the same quarter, grow upset that the current administration wants to do the same. Interesting.

Okay. Back to Star Line’s reconnection to a disrespected past.

I watched Anthony Anderson interview Chance during his press run during the album’s release and he talked about the historical link to the uprisings in Africa and the Civil Rights movement here in America. It was a connection that allowed him to recognize that he could create music for more than just us. He could make music for all of us. Ride was my favorite moment of Starline and I could make the argument that it’s the most radical.

When you listen to it, DexLVL and Chance’s production dressed in a One Way and Al Hudson sample draws you into a sweet sway. Just drifting back and forth. And then you listen to the words. He talks about shooting out a rainbow and glides directly into mentioning coalition as the main goal by turning “Tommys into Djangos.” The mere mention of getting his Gullahs off the Gilligan, a tribute to his family’s history in North Carolina, enabled a moment of learning for the listener. Yeah, you. If you don’t know who the Gullah people are, I’ll start your journey here.

Shit, Drapetomania was a term coined by a Southern physician named Samuel Cartwright who aimed to explain the “disturbing desire” for enslaved peoples to seek freedom. According to Cartwright, “The cause in most cases that induces the Negro to run away from service is such a disease of the mind as in any other species of alienation, and much more curable, as a general rule.” The cure, you ask. “Whipping the devil” out of the slaves who tried to escape or even cut off their big toe. Yeah, it was like that. This album connects you to so much information. I watched The Emperor Jones after listening to it to see why he even made the reference in “Space & Time.” Keeping it a buck, he did that.

I saw someone on social media say that his album The Big Day wasn’t good because he was with his wife. I know that’s crazy for me to even give life to. But of course. I have to say something about something. The idea that his creativity was stunted by the presence of his partner is ludicrous, especially when you know that they’ve been in each other’s lives since 2013 and he released Acid Rap and The Coloring Book in this time. Just ammo if you see the bullshit lurking.

I loved the project, obviously. He decentered himself in a conversation about revolution, community and the black experience and explored ways to honor the struggles that exist outside of him. It’s like that. I wouldn’t say it if it weren’t. Listen to the album and follow the path it takes you on, because it was a ride.

Tyler instructs us to leave our baggage at home, “none of that deep shit.” This project calls for full-body engagement. While he’s a mastermind at world-building, Tyler has continued to prove himself a savant as he provides a growing acceptance of artistic beauty in hip-hop through honesty and individuality.

“Big Poe” was an ideal precursor that would properly foreshadow the direction of the album. I had to listen several times to harness the feel of the lyrics because of how mesmerizing the production was. Do you remember the iconic sequence from “Juice”, released back in the early 90s, when Tupac’s character, Bishop, chased Q through the apartments. Insert “Big Poe” as the underscore. Followed up by “Sugar on My Tongue”, Tyler, The Creator makes it obvious that ‘Don’t Tap the Glass’ was made to be absorbed, not analyzed.

There exist scrambled themes of loving and longing in the up-tempo “Don’t You Worry Baby”, which features Madison McFerrin, and “Ring Ring Ring”, where we find Tyler crooning to someone and protesting for a final moment or in the least, a conversation on the phone. The other tracks of the album rest in a self-assuredness and wealthy resistance to the idea that his friends aren’t comfortable dancing at the functions anymore. A resistance to the notion that hip-hop is centered on dissension and conflict.

Along with the album, Tyler has recently released several videos on his YouTube channel titled “Glass Tapping” followed by the name of the song each clip is meant to reference. The videos present as a mini-series, all hovering between 17 - 22 seconds. The sole performer in the snippet makes a real-life reference to the overarching idea of the song to follow and dance unabashedly for the second half of the clip.

The videos behave as an extension of the world Tyler planned to create with “Don’t Tap the Glass.” The woman with stiletto nails and a golden B.A.P.S. era updo. The white man who pronounces, “Burn this shit down” into the camera before “Big Poe” begins to play. Each serve as a character in an alternate reality where listeners saw themselves in the songs they loved and danced to the melodies like they would never hear them again.

It’s impressive how Tyler continues to evolve upwards and outwards. Similar to how Beyonce continues to shapeshift effortlessly into different versions of herself, Tyler, The Creator has embarked on a journey of self-establishment and cultural connection that allows him to emerge personally and create community with upcoming artists that have had a hard time finding success being themselves. ‘Don’t Tap the Glass’ is a musical time machine that threatens to make the audience do something they haven’t done in a while. Put the phones down and dance.

Shinola, a Detroit-based luxury lifestyle brand, released two-limited edition watches and a leather record bag designed with J Dilla in mind. To celebrate the launch, the lifestyle brand partnered with Big Sean for a brief recap on J Dilla’s family legacy and his contributions to music and culture, in general.

The collection is the latest part of Shinola’s Great Americans Series, announced back in 2013. The Great Americans Series has featured landmark men and women such as Elijah McCoy, Maya Angelou and Smokey Robinson. The nod comes after the city of Detroit announced February 7, Dilla’s birthday, would be formally crowned Dilla Day.

Keke Palmer and Kash Doll link-up on the Baby, This is Keke Palmer podcast.

Arkeisha Knight, better known as Kash Doll, appeared on Keke Palmer’s podcast to talk about her beginnings as a dancer, her journey through love and how she succeeded by being authentic to who she was from the start. Knight and Palmer felt like longtime girlfriends who stumbled upon an audience.

Kash Doll hinted at a new project that she could only speak with Keke about behind the scenes and even revealed the reason she ended the relationship with the father of her two children, Kashton and Klarity. The dedication Knight has to her children is unrelenting and is in lockstep with her dedication to the hustle.

Share Culture Tones

Sada Baby is released after his mugshot goes viral and alleges that he is being targeted.

Sada Baby, born Casada Sorrell, was arrested Tuesday, April 8, in connection to an arrest that happened back in January where he was initially stopped for improper tint on his vehicle’s windows. Sterling Heights police officers ran his truck’s plate and discovered an outstanding warrant. He had been charged with driving while unlicensed for three years. As they searched his vehicle, back in January, they discovered a possible illegal substance that needed to be tested for verification.

Sada Baby resolved the initial charge for driving unlicensed as he pled guilty to the lesser charge of failure to display a license and a $200 fine on March 28. Yet, another warrant was issued for him last Friday as the test results came back from the substance found in the rapper’s truck and he is charged with narcotics possession of less than 25 grams.

According to Sada, he was arrested in front of his home and even upon release from Macomb County Jail, feels that he is being targeted due to the results of January’s case.

Babyface Ray joins Dr. Marc Collins and Empire founder/CEO, Ghazi, onstage for the inaugural Culture Shifters Summit.

Dr. Marc Collins and Brand Innovators put on the inaugural Culture Shifters Summit hosted by the Stephen M. Ross School of Business at the University of Michigan with Babyface Ray, Ghazi and others Thursday, April 10. The summit covered topics from the importance of cultural relevance to the intersection of impact, culture and storytelling.

The panel Babyface Ray contributed to explored how brands are leveraging music moments to create deeper emotional connections for the audience. Angela Clark, VP of Digital Studio for Patagonia, Kimberly Sterling, Head of Strategic Marketing Partnerships for Pantone, and Roy Broderick Jr, Chief Growth Officer for WHTWRKS, were also speakers at the event.

First up was Nivea and she had the Detroit crowd in a chokehold with the hits, “Laundromat”, “Don't Mess with my Man” and “Complicated”. Draped in hot pink, Nivea connected with the crowd in a way that took me by surprise. It also made me realize there is no such thing as an old song. Her music has aged like fine wine in our minds. Nivea was perfectly placed at the top of the show's lineup to set the scene for what would be a nostalgic display of a beautiful era in music and culture.

And then there were the Ying Ying Twins. While Nivea curated a vibe filled with lyrics about relationships, love and loyalty, The Ying Yang Twins had one job. That was to remind the crowd of how much we could turn up. “Whistle While You Twerk” came on and the crowd was immediately lifted. I was taken back to the days when the duo had a lock and key on the radio and music video TV stations. D-Roc kept it cool and employed the universal two-step throughout the performance, occasionally engaging the concertgoers. Kaine was incredibly animated during the set, feeding off the crowd’s energy and throwing together a quick dance bit here and there to shake things up. The Ying Yang Twins understood the assignment and delivered well on expectations. 

At this point of the show, it was time for RSVP to take center stage. As the men danced to Ray J's “Sexy Can I” and Ray snatched off his mask to reveal himself to the audience, I knew good or bad, we were all in for a show. Each RSVP member had a turn in the spotlight with Ray J at the top, followed by Sammie, Bobby Valentino and then Pleasure P. I understand the allure of the group and how big their following must be individually. Some fans had complaints about Ray J's ability to steal the show with his antics, but that's an obvious part of his brand. When he disappeared from the stage and ended up hugging women in the crowd, it was a piece of the show that people will remember and appreciate. The steps weren't Temptations quality, but we have to remember this group hasn't been a “group” for long. I didn't expect perfection. I wanted to be time-transported and entertained. RSVP checked that box by the end. 

I had never been to a Boosie show before, so this was my first time seeing him perform. There was no doubt as to what song we would hear first. “Wipe Me Down” blared through the concert sound system and almost everyone in the building sang in unison, “I pull up at the club, V-I-P. Gas tank on E, but all drinks on me. Wipe me down!” That song is entrenched into hip-hop culture for eternity with “Independent” by Webbie which features Boosie right behind it. One thing I learned about the Louisiana rapper was how he can shake an arena. From getting all of us to swag surf mid show to mimicking an off the wall quote he made popular during 2020, the audience was glued. “Set It Off” made its way before Boosie said his goodbyes, but Detroit was left eager for what the rest of the show had to offer.

The two performers who left me jaw-dropped were Bow Wow and Plies. Plies was introduced after Boosie- just before Rick Ross- and I had not realized how many of his songs I was familiar with. Not to say that I questioned his artistry, but I've never considered myself a hardcore Plies fan. The fact is that he had enough songs and features on the radio where I was singing tracks word for word. His energy was great the entire time and he locked in with each part of the crowd. The same can be said about Bow Wow's performance of the night. 

Bow Wow came out hot. “Shorty Like Mine” was performed with an endless amount of energy to start his set. As I watched him jump from the left of the stage and footwork over to the right, I was genuinely impressed. Bow Wow is often overlooked as a legend in hip-hop. It's a perception that confuses me, because by the numbers and the cultural contribution he's achieved more than many of the rap artists with “motion” today. He has a catalogue that his fans enjoy and sing aloud whenever it's played. The Bow Wow effect was actively in the room that night with his classics and even a couple of cameos from Detroit rap artists Icewear Vezzo and Peezy, who performed the viral hit, “2 Million Up.” As he celebrated his birthday at the end of the show, it was nice to see him receive his flowers. Flowers that were earned.

Both Omarion and Trey Songz were the lover boys the women in the crowd wanted. During his time in the spotlight, Omarion showcased the versatility in his music within the creative direction of his stage time. We saw him don a black suit at the start, which segued into a bare-chested ensemble and shortly after a blue velour suit where he showed love to fellow Californian, Kendrick Lamar, as he danced to “Dodger Blue” and slipped “TV Off” into the middle of “Pose To Be.” 

How much you enjoy The Millennium Tour depends on your expectations as you enter the arena. The performances are meant to place you in a time capsule and transport your soul to a place of nostalgia. I laughed. I joked. I sang. It may not have been perfect, but it was still a time. 

DELEON also has partnered with UnitedMasters to provide 1,000 DJs with subscriptions to United Masters’ SELECT tier which will provide access to distribution, brand-building tools and direct industry connections. DELEON also pledges to provide 500 hours of studio time in Los Angeles and New York City. If you’re a DJ, the age of 25 or older, enter HERE through April 14.

Jermaine Dupri’s docuseries about Atlanta’s Magic City has been picked up by STARZ. Deadline confirmed the 5-part series will debut in the summer of 2025 with Drake’s DreamCrew Entertainment signed on as a producer beside J.D. According to Kathryn Busby, STARZ President of Original Programming, Magic City: An American Fantasy is “a riveting behind-the-curtain look at one of the most unique places in Black culture.”

**My two cents. It’s fun to watch Dupri create a docuseries to pay tribute to an iconic strip club, when in 2019 I can recall him denigrating the pot of women rappers by saying, “I don’t think they’re showing us who is the best rapper. For me, it’s like strippers rapping.” It was a way for him to explain the lack of variation that existed amongst women in hip-hop at the time. In an effort to clarify his original comments he said, “My statement was about the three (Nicki Minaj, Megan Thee Stallion and Cardi B) that she asked me about.”

Casey Wasserman, Kendrick Lamar’s booking agent and the chairman of the organizing committee for the 2028 Olympics hosted by Los Angeles, told the Associated Press, “Fortunately, in my day job I represent Kendrick Lamar. He is truly an L.A. icon so I think it would be a pretty fair bet that Kendrick will be involved in the Olympics in Los Angeles in some way.” Wasserman went on to talk about how influential the spirit of rebuilding plays into the overall theme of L.A.’s hosting efforts. “The rebirth, the rebuild, maybe reimagining L.A. 2.0 - and the Olympics as a catalyst for all those things - we think is really part of our ethos.”

Lizzo, Lil’ Nas X and Flyana Boss will be front and center at the OUTLOUD Music Festival. The two-day event is a part of WeHo Pride weekend in West Hollywood. OUTLOUD Music Festival began in 2017 as a celebration of LGBTQI+ voices. Previous performers to grace the festival stage have been Keke Palmer, Big Freedia, Janelle Monae, Doechii and Lil’ Kim. This year’s return to WeHo Pride marks the festival’s ninth year.

The festival will take place May 31-June 1, 2025, in West Hollywood Park with the venue offering General Admission passes, VIP and even Super VIP Weekend Pride Passes which include access to an exclusive lounge, a swag bag and concierge services.

Some Liberty City neighborhood streets of Miami will be renamed in honor of the area’s most iconic hip-hop stars. District 3 Commissioner Keon Hardemon of the Miami-Dade Commission set forth a proposal to rename several Liberty City streets after hip-hop legends’ song titles and/or well-known phrases. The proposal was approved on March 18. The streets will not be completely renamed but will be labeled with alternative names.

While there was public support for the change, there were commissioners who voted against the idea. Commissioner Eileen Higgins voted yes only after Hardemon agreed to swap out “Grind with Me” Terrace, which would have been a nod to the Pretty Ricky hit. It will in turn be named “People Change” by Miami artist Jacki-O.

Why Rappers Love Donald Trump

Access. The symbolism of wealth is wrapped in the image of a white man. In the third quarter of 2023, black Americans held $4.9 trillion in wealth in comparison to the $120.4 trillion held by white Americans, according to a compilation of data set forth by LendingTree researchers. It’s the room covered in diamonds that we can’t wait to walk into. The flash of the money doesn’t entice black entertainers, though. The power that white men appear to have when harnessing massive wealth is the golden goose. Donald Trump is the embodiment of that threshold of control.

Even before hundreds of executive orders that threaten to cripple America’s economy, Trump has always held a unique space in rappers’ hearts. At the peak of his popularity in the 90s, he had cameos on the Fresh Prince of Bel-Air and Method Man’s “Tical”, followed up by a refreshed buzz with the release of The Apprentice. Raekwon was the “black Donald Trump”. Young Jeezy was “Donald Trump in a white tee.” Despite paying for several full-page advertisements that called for a reinstatement of the death penalty before any of “The Central Park Five”- who were subsequently cleared of all charges - had been tried, he was revered as an ally. And a pretty powerful one, too.

The current president has consistently been touted as a savvy businessman who made great decisions and worked his way to a fortune. What we didn’t realize was that most of Trump’s fortune came from his father and he participated in tax schemes and in some cases “outright fraud”, according to an expose published by the New York Times in 2018. The $25 million dollar settlement for ‘victims’ of Donald Trump’s fraudulent university is not what we think about. The president has been able to reframe any perceived failures as successes and is willing to bulldoze any door that does not unlock for him. The black entertainers who have idolized him, do so in hopes to have the ability to navigate the world with the same air of arrogance and unlawfulness he does.

In the Pedagogy of the Oppressed, Paulo Freire talks about how in a quest to liberation, those who are oppressed often adopt the behaviors of their oppressors.

“The very structure of their thought has been conditioned by the contradictions of the concrete, existential situation by which they were shaped. Their ideal is to be men; but for them, to be men is to be oppressors,” he writes. He goes on to explain, “At this level, their perception of themselves as opposites of the oppressor does not yet signify engagement in a struggle to overcome the contradiction; the one pole aspires not to liberation, but to identification with its opposite pole.”

Some loyalties to Trump lie in his ability to use his presidency to pardon artists like Kodak Black. Just weeks after a lengthy sit down at the Doral Golf Club in Miami, Florida, Lil Wayne pled guilty to felony gun possession and awaited a formal sentence until his pardon made its way alongside 142 other pardons and commutations in the last moments of Trump’s previous presidency. Snoop Dogg’s change of heart could be in relation to a pardon for Michael Harris, a co-founder of Death Row Records who was serving time for attempted murder and cocaine trafficking. Since then, Snoop has had “nothing but love” for Donald Trump, because he’s “done nothing” to him.

His tendency to make individually significant gestures restore a faith in him that ripple throughout our community. Trump can make comments that disparage the city of Detroit such as, “Our whole country will end up being like Detroit if she’s president” as he locks in endorsements from Detroit’s hip hop community like Icewear Vezzo, Trick Trick and Peezy. To properly examine this, we have to be honest about the conversations we hear or are a contributing part of. The weight of his felonies added a lure to his persona. This billionaire became more relatable through conviction. The privilege is astonishing to witness and amongst many black entertainers, hard to resist.

The Black Community’s Classism Problem

The black community has a classism “problem” that we dare not examine in the public eye. It’s the dirty secret that leaks into the songs we love. I cannot think of a more recent example than the online backlash Latto faced when users described the lyrics to “Brokey”, from her recently released album, Sugar Honey Iced Tea, as elitist. The bar goes, “Bitches gotta wait ‘til they birthday to go out of town, BROKEY!” The Atlanta rapper was able to generate better publicity with a social media competition and even spotlighted a young woman who was fired from her place of employment for her participation. It made for an admirable human-interest story, but the roots of dissemination were exposed, even if just for a moment.

The discourse wasn’t surprising to me. It was just late. I understand that more than a few people felt stung from those particular lyrics. In this economy, a lot of people in my community have to plan trips ahead, specifically because of finances. But haven’t rappers always flexed their wealth? By no means am I attempting to distance myself from enjoying songs heavy on capitalism. It just so happens that flaunting what you’ve earned to those who probably can’t afford your lifestyle is a formula that sticks.

Aspirational class identification plays a main character in that regard. It's a term I learned while doing research for this particular piece. It is when a member of a lower class identifies more with a higher class because they hope to be a part of it in the future. When the audience watches rappers draped in millions of dollars’ worth of diamonds, those viewers connect through a desire to belong one day. Let’s use the Bronx as an example.

The foundation of hip-hop has been traced back to the 70s in DJ Kool Herc's basement on Sedgwick Ave in the West Bronx. His sister, Cindy Campbell, had the biggest party thus far and Herc’s break-beat technique was on the loudest system he had ever performed on. That was August 11, 1973. There was much more going on in the Bronx. Neighborhoods with a certain percentage of minorities were redlined which labeled them high-risk, leading directly to the withdrawal of any political or corporate investment into the communities.

Political divestment led to a lack of infrastructure and protection for the residents. There was no one to battle the eradication of firehouses in these neighborhoods. In turn, whether the fires were caused purposefully, for financial reasons, or accidentally, there were far less resources to fight the flames which displaced thousands. A lack of professional opportunities and an erasure of security for minorities cultivated a frustration and a will to carve out a safe space to express themselves creatively and more importantly, freely.

Yet, we find ourselves in a bit of a conundrum. With such a lack of resources in the community, a rat race for material gain is set in place. The objective of “Keeping Up with The Joneses” encourages us to set ourselves apart when we catch lightning in a bottle and achieve even a fraction of the freedom capitalism promises. In actuality, this growing separation is how capitalism continues to fester. It quickly converts the have and have nots into the want nots. Now, it's not just the opportunity and the cars and the money that separates us. It’s the idea that somehow the people who have are innately better and want it more. This is where support for a conservative movement that directly threatens your own community comes into play.

Commerce vs. Culture

Which melts into the next concept that if you stand on something more than your pockets, there is a ceiling to your worth in the industry. We live in a time, and have for a while now, where the artists who are trying to correct cultural behaviors, educate the community or even tell their story in a cautionary way, are essentially muted. Drake said that Kendrick Lamar was rapping like he was “tryna to get the slaves freed.” As if that were an insult. As if someone trying to relinquish people from the chains that bind them is the problem. It’s a perplexing statement to say out loud, but it didn’t stop a lot of hip-hop fans from agreeing with it.

Initially, I was confused as to why so many people started to feel like double entendres and messages with meaning were a nuisance instead of an experience. I remember when I read lyrics from the inside of CD covers to make sure I caught the true essence of what the artist tried to communicate. I deciphered the meanings of lyrics as a teenager and had conversations amongst friends once we figured out what a rapper really said after months of mis-quotes. There was an excitement in how the song made me feel, but a large part of that had to do with what was communicated to me. A lot of hip-hop fans don’t share those memories.

Conversations that surround the quality of music rarely ever involve the actual listening quality of the music. It’s become a numbers game. Billboard position. Streaming numbers. Social media follower counts. These numbers dictate the way current-day hip-hop fans listen to music, or if the music deserves to be heard at all. Rappers have caught on quickly, too. Songs and albums are getting shorter. There’s rarely shit to dissect.

Artists recycle vibes constantly and the audience has grown to adore and even admire it. The industry of it all has taken center stage and whereas the community once fought to dismantle the disproportionate system, we have found that some of our most successful have chosen to operate within and benefit from processes that blatantly attack the well-being of their communities. Snoop Dogg included.

The Snoop Dogg Effect

Just last year, there was an ongoing debate of the crown that Snoop wears as the biggest rapper in the world. The conclusion was supported by the Snoop Dogg effect we saw take flight at last year’s Olympic Games. Everyone loves him. So, MAGA marketing demands that a black figure so highly respected seemingly in all corners of society be front and center during such a demonstrative transfer of power that has A LOT of black Americans feeling displaced and confused. To Snoop, to Nelly, to Rick Ross, it may very well be just supporting the new Commander-in-Chief and getting to the bag. It’s just disappointing that the bag in question is attached to an administration equipped with Nazi salutes and mass deportation deeply ingrained in their policies.

It’s also a 180-degree rotation from who Snoop has presented himself as for so long. A rapper that was once “so inspired” by the work Mothers Against Police Brutality was doing he donated $25,000 to the community organization in support of Colin Kaepernick’s million-dollar pledge. Trump’s slew of executive acts included full pardons for two police officers convicted in the death of a man riding a moped during a pursuit for a minor traffic offense as they attempted to pull him over in an unmarked vehicle.

Snoop’s Youth Football Club is a community-first strategy that presented him as an OG in search of organic ways to enhance the lives of the children who grew up in similar struggles. How are fans expected to reconcile his assumed allegiance to a president who looks to gut funding for federal programs and services that help those same children survive?

Who is community?

America is an individualistic society. Every man for himself. It may not matter to them that their support gives a younger audience the nod to further normalize this man’s presence and those that represent the values that his term will uphold.

It may not matter to them that he pardoned roughly 1,500 people who were charged for their participation in the events of Jan.6 at The Capitol. Who gives a shit about his plans to end birthright citizenship, which was ratified in 1868 to give citizenship to former slaves and is enshrined into the Constitution? Did they anticipate a trade war where the very community that supports them is engulfed in overwhelming daily expenses?

The answer is likely no. The marginalized population has become a blind spot to an industry squarely focused on the bag while figures like Donald Trump continue to hold space in many black entertainers’ picture of freedom. A freedom that will cost the rest of us a hip-hop culture that promised true liberation.

Rod Wave cancelled the rest of his “Last Lap” tour, after the delays and rescheduled dates from the end of 2024. In October of last year, Grizzly Touring announced that Wave’s “Last Lap” tour would be postponed due to production issues. Once again, as shows in Nashville and Detroit were on the horizon, the concerts were not only postponed - but the entire tour was also cancelled. According to Rod Wave, he spent $13 million on the show and production subsequently was not “built right” and that it wouldn’t be fair to give his supporters a “half-right show”. After fans hopped on social media to voice their disappointment in the slew of cancellations, the rapper and singer posted that he would be taking a break to travel the world, find love and take care of his children. It’s always fascinating to me how fans absolutely adore their favorite artist, but do not take into consideration their mental well-being when the herd mentality sets in.

Around midnight, February 2, Beyonce released a teaser with the caption, “COWBOY CARTER TOUR 2025.” It is assumed that this was the delayed announcement, previously expected on January 14. Due to the growing devastation from the California Wildfires, Beyonce directed her energy towards assisting families affected in Pasadena and Altadena. There are no further details available for the tour. No dates. No locations. It was enough of a teaser to send fans and critics into a tailspin. On one hand, there are users who feel as if Beyonce's announcement is tone-deaf and operates from the capitalistic foundations our country is essentially suffering from. Fans shrug off the idea that Beyonce has any more responsibility than the countless entertainers and industries pushing forward alongside her.

Blacc Sam has confirmed that there is a nine-episode docuseries centered on the late Nipsey Hussle in production. In a conversation with The Hip Hop Museum, Nipsey's brother and business partner discussed the Jonah Berger inspiration behind the $100 Crenshaw mixtape, the inception of the Marathon Clothing Brand and the drop of a nine-part documentary that will feature unreleased Nipsey Hussle tracks. Sam spoke to the importance of timing and providing fans with an appropriate soundtrack in Nipsey's honor.

“I think it's more fitting that it goes to the soundtrack of the documentary, which in the doc goes through his younger days and his older days, so you'll be able to put these songs on and plug and play when these songs were created. The documentary is almost done. It's going to be nine episodes. We should be finishing it by the end of this year.”

Two anonymous women have filed a lawsuit in Los Angeles Superior Court citing TDE executives and TDE employees who allegedly created a “pervasive culture of sexual harassment.” The lawsuit was filed by Arns Davis Law and Brandon Banks Law according to a press release. Two names mentioned in suit are Anthony Tiffith Jr. and chief marketing officer, Brandon Tiffith. Within the filing are claims of sexual battery, promotion of underage drinking and breach of contract, as one of the women accused the independent record label of refusal to pay for her professional services.

TDE's lawyer, Marty Singer responded with the following:

“This is a clear example of a shakedown lawsuit by [name blocked] and [name blocked], who made a demand of $48 million through their attorneys on fabricated claims and whose attorneys are looking for their ten minutes of fame. There are text messages and communications that totally refute these baseless claims. Additionally, Ms. [Name blocked] and Ms. [Name blocked] were never employees of Top Dawg Entertainment. We are confident that we will prevail in this action,” TDE’s lawyer Marty Singer told AllHipHop.com.

In 2022, F.N.F. sparked a swift movement. A turnt Gloria Hallelujah Woods took to the neighborhood with friends by her side to have a good old time twerking on headlights. She wasn’t some overnight sensation who hadn’t participated in the grind, though. Three years prior, she released Most Likely Up Next. It wasn’t an industry-polished project but tracks like “Steph Curry” and “GMFU” showed a young woman with a developing pen and the determination to tell the stories she’s lived. 

Glorious presents as a self-fulfilling prophecy. Throughout the debut, GloRilla chronicles her faith, relationships and growth with a substantial focus on empowerment. She communicates her ideals with such fervor that it feels genuine and relatable. Glo has a tight grip on the pulse of the people and keeps an entire audience on the line until track 15.

GloRilla is known for club bangers, but Glorious is a body of work complete with explorations of freedom, love and fame. Initially, “Intro” comes on and we listen to her talk about her professional and personal glow-up. She pulls back the curtain with swift mention of a viral DUI arrest at the hands of Suwanee police officers by saying, “Police pulled me over, caught me slippin’ but I’m sober now.” GloRilla also makes sure to let us know that she heard the “one hit wonder” whispers. 

At the end of 2022, after the initial spark that F.N.F. became, GloRilla and the CMG Label released Anyway, Life’s Great, Grammy-nominated single included. With the exception of songs like “Blessed” and “Tomorrow 2”, none of the project’s tracks carried too far into 2023. A slew of commercially unsuccessful melodies and a Fivio Foreign collaboration later, Gloria was left questioning herself. “Anytime I put out a song, they weren’t really feeling it,” she lamented as she spoke with AP News. “I lost a little confidence. But I knew I could get it back. That’s why I didn’t give up. I took it as motivation.” It’s a belief in herself that comes from more than confidence, yet from a faith that’s deep-rooted in her upbringing. 

“Hallelujah” as a middle name should have been the great identifier. If the audience had yet to recognize how instrumental GloRilla’s spirituality was in her life, “Rain Down on Me” featuring Kirk Franklin, Maverick City Music, Kierra Sheard and Chandler Moore was the bible in the glove compartment. An unlikely collaboration turned into a soulful Memphis hymn spotlighting how grateful she is for her success and a call to shield those she loves from harm. Glo’s family background is rooted in religion, as she’s one of 10 children who were each prominently active in the church and prohibited from listening to secular music. 

In an article with Relevant Magazine, she emphasizes how important God is to her journey. “I always have to put God first in whatever I do, you know what I’m saying?” she said. “I just don’t let too much negativity get to me.” 

GloRilla moves throughout Glorious with clarity and poise. I credit much of the project's cohesion and seamless transition throughout to the producers featured on the debut studio album.

And there were a lot of them. I feel like I have to preface this with the fact that I love the music. I understand how collaborative the industry has become, and it has contributed to its growth. I also am starting to miss the connection that producers and artists developed as more of a pair than a squad. 

I am impressed at how cohesive the album felt even in the presence of so many creative minds in the room. In Glo’s case, several of the producers have collaborated previously, which I’m assuming creates an air of familiarity even in the studio with a new artist. For “Intro”, producers Go Grizzly and B100 met again after creatively connecting previously on songs like “Truth Is” for Detroit singer Queen Naija and “Yeah, Glo” while meeting up again for GloRilla’s “How I Look”, a back-and-forth snipe-session between Glo and Megan Thee Stallion. Grammy Award-winning London Jae joined the two on both Glorious tracks as well. 

The transitions, like the one hosted by Keelondn on the Bossman Dlow-featured “Step” that slides into “Let Her Cook” are (chef’s kiss). The good part about having so many creative hands on the project is the variety of drum patterns and schemes throughout the album. “I Luv Her” was sent over by T-Pain’s longtime friend and show DJ, DJ Montay, and the deep basslines swarmed by an auto-tuned T-Pain and GloRilla’s gritty tone create a melodic rap dream. The layered synths and atmospheric sounds from South Carolina’s Supah Mario on “Procedure” build a dynamic landscape for the Southern trap elements he sprinkles all over the track. Linked with Gotti’s ability to arrange the songs to carry the album through, the producers GloRilla dialed up delivered masterfully. 

The conversations she had on her album about allowed her to authentically align with all of us. Who can’t relate when Muni Long sings, “That nigga don’t deserve my friend”? “Don’t Deserve” is an anointed anthem for any friend that has watched someone they love give their all to a person who everyone else knew didn’t earn it. Glo spends just under 4 minutes uplifting homegirls around the world to discover themselves again, separate from a man. 

“I Ain’t Going” digs even deeper into a similar tone, as the Memphis rapper addresses hypothetical domestic violence by warning anybody willing to try. “Nigga put his hands on me, we gon’ be smokin’ on him next.” GloRilla is so boisterous and direct throughout, but the message isn’t diluted. It feels like a major directive she had for this project was to connect and inspire. Whether it was by speaking truth to another woman’s pain or putting the stamp of approval on Friday, the audience is hanging onto her words because she presents as one of us. One of all of us. 

Glorious showed up in October with a tracklist that will cascade well into 2025’s playlist. GloRilla’s ability to absorb criticism and pivot has allowed her to emerge as the people’s champion. Arenas screamed Glo’s name as Megan Thee Stallion hyped her new bestie up on the “Hot Girl Summer” tour. 

GloRilla is headlining the GLORIOUS tour soon. She sat down with Ebro and Apple Music to break down the project and admitted to being excited about new music. Another chance to give the audience what we’re looking for. G

loRilla has learned how to tell our stories in ways that engage, entertain and empathize with us. We can’t help but love her for it.