If I had to describe the performance in one word, it would be chaotic—not in a negative sense, but in a powerful, intentional way. With cameos from celebrities like Ricky Martin, Cardi B, Pedro Pascal, and even Lady Gaga, what unfolded felt like a full homage to Latin and Hispanic culture, much like Kendrick’s tribute to Los Angeles culture last year. One of the most powerful elements wasn’t just the message—“The only thing more powerful than hate is love”—but the moment when more than 20 nations across the Americas were listed, reinforcing that the term “American” extends far beyond the United States, into neighboring countries and entire continents to the north and south.
The only moment that slightly threw me off was Lady Gaga’s Latin rendition of “Die With a Smile.” I would have loved to see her cover one of Bad Bunny’s songs, as Ricky Martin did, but I also understand that I may not have been the intended audience for that choice. Another defining moment came when a family was shown watching Bad Bunny’s Grammy acceptance speech on television, with a child holding his award. That scene genuinely touched me. It emphasized the idea that dreams do come true—especially knowing that just a decade ago, Bad Bunny was bagging groceries, and now he’s performing on one of the biggest stages in the world.
From the intricate set design inspired by his home of Puerto Rico to the storytelling woven throughout the performance, Bad Bunny proved why he deserved that Album of the Year win at the Grammys. While the performance has sparked debate across the internet in the hours since it aired, it reinforced something we often forget about art: feelings and vibes transcend language barriers. I didn’t understand every word Bad Bunny said during the performance, but I felt the energy, the passion, and the importance of the moment. That alone speaks volumes.
To me, this performance reaffirmed that representation truly matters. Sometimes people see themselves reflected in others—even when they don’t realize it at first. With this performance, Bad Bunny didn’t just entertain; he championed visibility, pride, and possibility on a global stage.
Shortly after his death was confirmed, Public Enemy’s Chuck D tweeted, “One day Hip-Hop will honor longevity and long life. The last century altered this BLACK strength of currency no matter what was poisoned our way. This short life respect was dripped into our culture. It’s wack. We may have been broke but never been so broken. scattered..shattered. Black History Month Salutes y’all. Damn the 28— it’s alive 365. Dig it.”
One day HIPHOP will honor longevity and long life. The last century altered this BLACK strength of currency no matter what was poisoned our way. This short life respect was dripped into our culture. Its wack. We may have been broke but never been so broken. scattered..shattered.…
— Chuck D (@MrChuckD) February 7, 2025
It’s a sentiment shared by many who have witnessed the ongoing epidemic impacting the community—people are dying far too young. We should be living into our 80s, even 90s, but we are seeing a shocking number of people barely making it into their 60s.
DJ Clark Kent, 58
Biz Markie, 57
Jimmy Spicer, 61
Bushwick Bill, 52
MCA, 47
Kangol Kid, 55
Craig Mack, 47
MF DOOM, 49
Fatman Scoop, 56
Irv Gotti, 54
Gift of Gab, 50
These are just a handful of Hip-Hop artists who’ve lost their lives to cancer, diabetes, strokes or heart attacks. As more and more continue to lose their lives, it seems to be a more urgent problem. Def Jam Recordings co-founder Russell Simmons, who adopted a wellness practice years ago, issued a PSA in the wake of Gotti’s death, specifically aimed at the Black population.
“Brothers and sisters, please don’t let Irv Gotti go without acknowledging the tragedy of his death and of black men’s and women’s health in America,” he began in an Instagram post. “This talented, beautiful, happy, curious enthusiastic spirit has left his body way too soon. I am sure God will receive him with love to the black men and women of America who are left here to face this health crisis.”
Food, Simmons says, is the biggest culprit.
“The epidemic of chronic diseases and illnesses are a result of Americas allowing food industry to poison you. You’re buying into the bad diets they sell and the normalized lack of self care. Again, they are poisoning you and you are dying much faster than your white counterparts Thankfully there is a wave amongst you. You are three times more likely to be vegan than your white counterparts .
“You are much more likely to use natural remedies than the rest of America. You are waking up. but not fast enough. Those of you who are taking directions from great nutritionists like Dr Sebi , you’re walking away from this group of chronic sicknesses. Help your brothers and sisters to take the same route that you are on. Rest in peace Irv you’re such a beautiful soul but gone too soon.”
View this post on Instagram
We are losing Hip-Hop legends at a staggering rate. And while some of them are due to gun violence, many are a direct result of living an unhealthy lifestyle or suffering from some kind of disease. And who is paying for their health insurance? Not the record labels. Jimmy Spicer, for example, was diagnosed with advanced brain and lung cancer in 2018. Despite putting up a valiant fight, his condition took a drastic turn in August 2019 and he wound up passing away a month later.
Because he didn’t have a health plan or a 401K, the “Dollar Bill Y’all” rapper, who was among Simmons’ first artists at Rush Management, couldn’t afford the medical care he desperately needed. Consequently, his daughter Janel resorted to a GoFundMe to help pay for his medical costs. Over the years, his music was sampled by numerous Hip-Hop greats, including Wu-Tang Clan, Montell Jordan and De La Soul, yet he died never really seeing the fruits of his labor.
“I’m not making music right now,” he told me in 2018. “I was working as a porter, regular job just to support my family and now I can’t even do that. I applied for Social Security Disability and I don’t know if that’s gonna be accepted or rejected.”
It’s a common problem for artists. On Sunday (February 2), pop star Chappell Roan called out major labels during her Best New Artist acceptance speech, igniting a firestorm of debates.
“I told myself if I ever won a Grammy, and I got to stand up here in front of the most powerful people in music, I would demand that labels and the industry, profiting millions of dollars off of artists, would offer a livable wage and health care, especially to developing artists,” she said. “It was so devastating to feel so committed to my art and to feel so betrayed by the system and to be so dehumanized to not have healthcare.
“If my label would have prioritized artists’ health, I could have been provided care by a company I was giving everything to. Labels, we got you. But do you got us?”
A former Atlantic Records executive challenged Roan in an op-ed for The Hollywood Reporter shortly after, writing, ” If labels are responsible for artists’ wages, health care and overall well-being, where does it end and personal responsibility begin?” Roan fired back with, ““@jeffrabhan wanna match me $25K to donate to struggling dropped artists? My publicist is @biz3publicity let’s talk.”
It’s a sensitive topic. But in the interim, we can’t keep losing our legends at such young ages; we need to eat better, exercise, put down the drugs and alcohol and stop poisoning our bodies. I’ve been sober since 2006—not a drip of alcohol has gone into my body for nearly 20 years. I don’t smoke, do drugs or eat animals. I also started running a year ago and it’s been a transformative experience–not just physically but mentally. I’m staying on top of my doctor’s appointments, getting all the necessary tests, bloodwork and trying to drink more water (which is tough—just ask my bladder). I want to age gracefully. Most importantly, I want to live.
But this isn’t about me. It’s about our legends. It’s about people we care about and love. Let Gotti’s death serve a greater purpose.
]]>Whether he has an album to promote (Bully) or desperately needs more attention than his Grammy Awards stunt got him doesn’t matter—what we’re witnessing is a sick (yet incredibly arrogant) individual clinging on to a persona that he knows will get clicks.
And, of course, it worked. Kanye became a trending Twitter topic after he claimed he was a Nazi, branded himself “Yaydolf Yitler,” admitted to controlling his wife and proudly proclaimed he loves Adolf Hitler.
Not long after, it was reported Tyler, The Creator unfollowed Kanye, presumably because he’s as fed up with his b####### as we are.
Naturally, Kanye had another eloquent response to that. Underneath a post from Kurrco that read, “Tyler, The Creator has unfollowed Ye fka Kanye West on X/Twitter,” Kanye wrote simply, “GAY,” and left it at that.
Considering Tyler, the Creator’s sexuality has been frequent fodder for netizens, it was an interesting choice of words.
Granted, there was a little humor in that, but it’s a disturbing pattern that’s been part of Kanye West’s character for years now—whether he’s making antisemitic comments, spreading other hateful rhetoric or showing just how much disrespect he has for women.
On Sunday (February 2), West showed up to the 67th Grammy Awards with his current wife Bianca Censori and instructed her to remove her black fur coat as they were posing on the red carpet. We all know what that was about, something he addressed during his latest Twitter tirade.
“I HAVE DOMINION OVER MY WIFE,” he wrote. “THIS AIN’T NO WOKE A** FEMINIST S***. SHE’S WITH A BILLIONAIRE, WHY WOULD SHE LISTEN TO ANY OF YOU DUMB*** BROKE B*****.”
He further claimed, “YES I DON’T MAKE HER DO NOTHING SHE DOESN’T WANT TO, BUT SHE DEFINITELY WOULDN’T HAVE BEEN ABLE TO DO IT WITHOUT MY APPROVAL.”
In a follow-up post, West lashed out at those who labeled the Grammy appearance a “stunt,” saying, “Anyone who called my wife’s Grammy look a stunt is dumb and laaaame yes youuuu. She been dressing naked for 2 years. Now all of a sudden it’s a stunt.”
West concluded, “IF I LOST EVERYTHING ‘AGAIN’ TONIGHT WAS WORTH IT I CAN DIE AFTER THIS.” You’ve likely seen the rest, like this gem below.
I CAN SAY JEW AS MUCH AS I WANT I CAN SAY HITLER AS MUCH AS I WANT MATTER FACT I DO SAY IT WHEN I WANT
— ye (@kanyewest) February 7, 2025
As for Tyler, the Creator, he and Kanye West once shared a creative and personal connection. Tyler has cited Kanye as one of his biggest inspirations, and Kanye has expressed admiration for Tyler’s innovative approach to music and fashion. Their relationship dates back to the early 2010s when Tyler was still part of Odd Future.
The two have collaborated on multiple occasions. Tyler appeared on Kanye’s 2013 Yeezus Tour, and he contributed background vocals to “Freestyle 4” from Kanye’s 2016 album The Life of Pablo.
Kanye also made a brief cameo in Tyler’s “IFHY” music video. Beyond music, they have influenced each other in fashion, with both artists pushing boundaries through their respective brands—Kanye’s Yeezy and Tyler’s Golf Wang. Needless to say, people are jumping ship faster than Censori stripped for the cameras.
Good luck to you “Ye” or whatever you call yourself. Hope it’s worth it.
]]>As one person observed, “No one finds it weird that a female rapper who penned an anti-domestic violence anthem, Queen Latifah, is giving Alicia Keys an award named after a notorious domestic abuser?! The Grammys needs to rename the Dr. Dre Global Impact Award after someone respectable.”
No one finds it weird that a female rapper who penned an anti-domestic violence anthem, Queen Latifah, is giving Alicia Keys an award named after a notorious domestic abuser?! #TheGrammys needs to rename the
Dr. Dre Global Impact Award after someone respectable. pic.twitter.com/GhxMDcnzH7— Ola Ojewumi (@Olas_Truth) February 3, 2025
“Who you calling a b####?” is right. Now, I’ll be the first to admit—I still bump Dr. Dre’s music; from The Chronic to songs like “Forgot About Dre” and “Still D.R.E.” But, as I get older, it gets harder to stomach the blatant misogyny and sexism running rampant in a lot of popular music.
One of my favorite albums, Beastie Boys’ Licensed to Ill, which I credit for introducing me to Hip-Hop in 1986, has a song called “Girls” that I skip. When I was a young kid, I didn’t understand just how absurd it was. These days, it’s like, “Pfft, do your own laundry, dick.”
Back to the subject at hand. Dr. Dre has a history of disrespecting women that dates back to the 1980s, when he physically abused his former girlfriend Michel’le on a regular basis. In fact, during an interview with The Breakfast Club, Michel’le claimed Dr. Dre even shot a gun at her during an argument, missing her by inches.
She left the bullet in the door so he would see it and noted, “He never tried to shoot me anymore. Thank God. But the beatings were—it was a lot… His last wife, I just couldn’t do it anymore. It’s too much.” She eventually began to self medicate with prescription pills and alcohol. She ultimately left Dre after she discovered he was engaged to another woman.
They give out a Dr. Dre Impact Award? Dr. Dre’s ex wife said he beat her all the time, including when she was pregnant. I guess its fitting to give it to Jay-Z considering his associations.
— Stella Beatle (@StellaBeatle) February 3, 2025
Following the 2015 release of the film Straight Outta Compton, Dre issued a statement to The New York Times to address the omission of abuse from the film. In the op-ed, he apologized to the women he has hurt, but Michel’le didn’t buy it.
“He apologized to the public,” she said at the time. “I don’t think that was an apology to me, because if it was, he would’ve either called me without the public and said ‘Michel’le, I am so sorry for what I did to you 20-something years ago,’ that’s an apology.”
Queen Latifah and Queen Alicia Keys at the #GRAMMYs #Grammys2025 pic.twitter.com/Txsnh2cu4S
— Raul Carvajal (@NycAnarchy) February 3, 2025
In 1991, Dr. Dre infamously assaulted former Pump It Up! host Dee Barnes during an industry party. The incident, which transpired after she aired an interview with Ice Cube discussing his fallout with N.W.A, led to legal action, but it also seemed to put a target on Barnes’s back. Following the assault, she struggled to find work in the industry. In a 2019 interview, she told me she was homeless and, as a result, I helped her with a GoFundMe. The story went viral, with Variety, Essence, XXL and Rolling Stone among the many publications picking it up.
“I had never asked for public help before, but I then remembered a long time ago while I was going through the assault trial in 1991, people were sending me checks for my legal fees,” she told me at the time. “I never cashed any of them—not one—but knowing I had that support kept me strong enough to continue to face each court date.”
In 2017, HBO released a series called The Defiant Ones about Dr. Dre and Interscope Records co-founder Jimmy Iovine in which Dre, once again, talked about the abuse he inflicted on various women throughout his life.
“Any man that puts his hands on a female is a fucking idiot,” he says in the doc. “It’s a major blemish on who I am as a man.” (Barnes’ $22 million lawsuit against Dre was settled out of court in the ’90s.)
Needless to say, maybe Keys—who is supposed to represent a “strong, independent woman who don’t need no man” [look up that meme if you haven’t seen it; it’s hilarious]—should have thought twice when accepting the honor. While it’s entirely possible Dr. Dre has changed his ways, his contentious 2021 divorce from his wife of 25 years, Nicole Young, suggested otherwise. But, of course, that’s a case of he said-she said.
We might never know the truth—but shout out Alicia Keys nonetheless. With 18 Grammys and dozens of other awards, she’s gonna have trouble finding space on her mantle.
]]>The battle rap culture has been preoccupied with rumors about who people are dating, Jimz being exposed as an alleged racist and people violating contracts. It’s nice to have an event where the entire buzz around it was “who can rap better.”
Held at the Yonkers Arts Project Space, the event kicked off with two electrifying undercard battles: CNG TY vs. Quwan Da Rebel and Taj Milli vs. Wavyington. However, the real magic ignited when Cortez and Philly Haze took the stage as the main event.
There was something special from the jump when they both took the stage. The battle was top-notch good and a great introduction to the Mecca event.
The battle between these two Latino kings was nothing short of extraordinary, with both MCs delivering hard-hitting bars and clever jokes. Philly Haze showed immense promise as a rising star, impressively holding his ground against the seasoned veteran, Cortez.
He was clean, clear and consistent— which for a battle rapper is always a plus. He also did an insane freestyle that used every word on the wall, displaying his talent and showing his teeth—he wants another plate.
Cortez was his extraordinary self, leaning on his pen and personality to comfortably amuse the crowd before him. When the Murda Ave vet gets in his bag, with flow switches and name flips, it’s hard to deny the Puerto Rican king is one of the best to ever do it.
This was one of the best offerings either have had this year.
The intensity continued with Lady Caution and Bonnie Godiva stepping up next. The clash between these two queens was nothing short of an inferno, leaving fans in awe of their lyrical prowess. Fans were treated to a confident LC215 that’s been cooking all year.
She admitted Bonnie was her first vet and she treated her with the respect she deserved. Bar heavy, it’s easy to forget just how small-framed Philly princess is. She barks like a Mastiff. For Bonnie, she was home and comfortable in her pocket. As a Yonkers native, she knew the crowd intimately and gave them what she’s known for and what they all wanted: bars, jokes and clever wordplay. Another classic (and sure the word gets thrown around a lot but …) battle.
Next up was another female battle between the godmother of battle rap, E-Hart, and Cashflo Rizzy.
E-Hart is another Yonkers native, born and raised on the streets of one of New York’s extra boroughs. Her opponent was Norfolk’s Cashflo Rizzy.
Rizzy was getting crazy with her offering. She had to—she was standing in front of one of modern-day female battle rap’s first few real legends. She stood 10 toes down on the stage and competitively earned the respect of other lyrical giants in the building. She was amazing. But … E-Hart was more amazing. Like Bonnie, she was home and not leaving the stage without a body, pulling out all of the things that has made her so revered.
Watching E-Hart rhyme is akin to watching Floyd Mayweather box. Just like others walk away from a Money Team event with a complete sense of satisfaction (regardless of how great the other opponent appeared to perform), that’s how it feels seeing E-Hart.
The headliner featured John John Da Don facing off against Jae Millz in a battle of swag and lyrical prowess. Jae Millz brought his star power to the stage, backed by the likes of Murda Mook and Loaded Lux, promising an epic show.
The former Bad Boy star was in his bag. His rhymes were concise and relevant, flossing on JJDD with the 20 years of experience he has under his belt. He was funny. He was present. He had people on JJDD’s side grimacing and in the haymaker of the night had Tay Roc and Smack White, who were in the building going crazy.
Now, John John was classic John John: EXTRAORDINARY!
One of the best to do it, it’ shocking he was able to pull the event together and rap had such a high capacity. That’s what’s interesting about JJDD—he just performed at NOME IMPACT and washed two of the Ultimate Rap League’s top newest talents and now, he’s standing in front of Jae Millz, who was on the first SMACK battle ever with the same energy and hunger. While this battle is arguably one of this writer’s favorite back-and-forths of the year, it’s important to note the Yonkers/Atlanta MC has another battle coming up in a few weeks (as well as hosting a tournament for his Bullpen league).
The event drew a star-studded audience, including battle rap luminaries like Ike P, Krissy Yamagucci and Phara Funeral, as well as members of the Ultimate Rap League team who brought the “HBO Real Sports with Bryan Gumble” film crew to capture some footage for an upcoming piece on the league.
Smack White was there to give a Certificate of Recognition from the Yonkers’ City Council that read: “We, The Yonkers City Council, join with the City of Yonkers in Honoring John McGhee, a young African American raised in Yonkers, who went on to become a renowned battle rapper, creating his own league. Going on countrywide tours and lending financial advice as well as exposure to up-incoming battle rappers.”
It was a good call because Bullpen represented all the phenomenal things that are right with the culture with the card— and if you want to check it out, the Pay-Per-View is available on Caffeine on Sunday (July 30) 4 p.m. local time.
]]>The controversy centers around language that suggests slaves developed skills that they could use to their advantage. Additionally, there’s concern about teaching students about acts of violence involving Black people during race massacres. The union believes these standards don’t give students a full and honest picture of history and are doing a disservice to Florida’s students.
The updates to the African American history curriculum were mandated by a 2022 law called the “Stop Wrongs To Our Kids and Employees Act” or “Stop WOKE Act,” championed by Governor Ron DeSantis. “We’re here today because we believe in education, not indoctrination,” DeSantis said last year. He emphasized that Floridians should have the right to work and attend school without being subjected to “oppressive ideologies.” DeSantis also reaffirmed his strong stance against critical race theory, stating, “We are not going to use your tax dollars to teach your kids to hate this country or hate each other.”
“The new standards were defended in the statement as “comprehensive and rigorous instruction on African American History. “We proudly stand behind these African American History Standards,” a statement said. “The intent of this particular benchmark clarification is to show that some slaves developed highly specialized trades from which they benefitted. This is factual and well documented.”
The statement continued, “Some examples include: blacksmiths like Ned Cobb, Henry Blair, Lewis Latimer and John Henry; shoemakers like James Forten, Paul Cuffe and Betty Washington Lewis; fishing and shipping industry workers like Jupiter Hammon, John Chavis, William Whipper and Crispus Attucks; tailors like Elizabeth Keckley, James Thomas and Marietta Carter; and teachers like Betsey Stockton and Booker T. Washington.”
Not everyone agrees with the changes, and some critics have questioned the research done by the workgroup responsible for the standards. Governor DeSantis’ administration also blocked an Advanced Placement course on African American studies, citing concerns about historical accuracy and ideological bias.
The debate continues, with educators, advocates, and officials arguing over how to teach African American history in a way that provides a balanced and accurate understanding of the past.
The question is how does the state do this and simultaneously oppress the brutal, oppressive truths about the nation?
]]>So, I was blessed enough to attend with my daughter. I also sat next to two lovely, industrious young ladies from The Shade Room. Behind me, to my right was AHH senior contributor Rea Davis, and over my left shoulder were three guys I did not know. More on that later, but all of this plays a factor in this op-ed. The BET Awards underscored how varied, diverse, and colorful we are, and all of the conversations are layered and nuanced.
First things first, this year was all about celebrating Hip-Hop’s 50th anniversary and the ratings reflect the excitement people entered the Microsoft Theatre on Sunday. The show was packed with rap performances from all kinds of rappers and MCs, representing different generations and regions. They were straight-up celebrating the music and culture that we love. There were a few deviations, but it was mostly Hip-Hop heaven depending on who you talk to.
Because of the writer’s strike, there was no host this time around. All of this was accomplished without a master of ceremonies and a formal script for the presenters. Most folks made it work, and there were even some hilarious instances like the interaction between Cynthia Kaye McWilliams and Malcolm Barrett. We also got to bear witness to G-Herbo’s amazing reading skills and Ray-J’s raging insecurity with his wife. But I digress.
The 2023 BET Awards gave us some unforgettable moments, despite some very unique circumstances. MC Lyte, DJ D-Nice and Big Daddy Kane tore it down on the stage, while newer acts like Lola Brooke and Ice Spice spit rhymes with crazy set designs. Mad Skillz dropped knowledge bombs in his “Wrap-Up” edition about the history of Hip-Hop. Quavo and Offset from Migos reunited out of nowhere, offering a public peace treaty in the name of the late Takeoff.
There was more. Busta Rhymes’ Lifetime Achievement Award and subsequent speech with a rapid-fire succession of performances that yielded Bia, M.O.P., Rah Digga, Coi Leray, Remy Ma, reggae and more. She might not be considered Hip-Hop, but we have to mention Coco Jones, y’all. She won the Best New Artist award and everybody fell in love with her after a heartfelt acceptance speech. For the record, she does a mean Busta Rhymes (click here for that).
With all of this Pitch Blackness, what is there to be mad about?
There was a mixed bag of responses to the awards that I began to notice on social media. So, I posted queries on both Facebook and Instagram to get some idea of where people stood. I know for a fact the live show was lit, so I went and watched the televised live show. To me, it was still dope with a few deviatons. I have come to realize that Hip-Hop’s 50th Anniversary really underscores a conundrum that the culture faces. The quintessential dilemma that Hip-Hop faces: how to make everybody happy.
First of all, this is impossible, even conceptually. But that seemed to be the goal of the awards. As Hip-Hop continues to age and progress, there is work to do (younger people). Also, there is space to allow the youth to be the youth and move the culture forward (older heads). Together, there’s no reason why brute creative forces, the infinite wise minds and hardcore cultural capitalists cannot fully realize Hip-Hop’s greatness. To me, it was all on full display at the BET Awards 2023.
Yes, there were a few moments of extreme ratcheness (shout out to the very pregnant Chrisean Rock and Sexyy Red), but that’s Hip-Hop and it always has been in some shape or form. Old heads, most of you have danced to “I Wanna Rock (Doo Doo Brown)” or “Nann” with Trick and Trina. If you didn’t, you likely boogied to something like it. So, with Hip-Hop aging, there’s a huge range between who we are and who we are. The divide is clear and present, but there’s also opportunity there.
Growing up, my dad and I often wore matching Adidas outfits or I would wear his sneakers, even though those suede Pumas were too big. This BET Awards, I went with my teenage daughter. The generational exchange was appreciated. The experience was enhanced for me. At times, I was asking her “Who is that?” Other times, I am introducing her to pioneers like Play from Kid N Play, who had performed on that very stage at the Microsoft Theatre. And then there was Rea, the Shade Room girls and the guys behind us that were hilarious. A time was had, the jokes flew and the night was epic. Period.
By the way, outside of the BET Awards, there was a whole activation in Los Angeles for Hip-Hop’s 50th Anniversary that BET put on. That display included live performances from Crime Mob, Jadakiss, Bow Wow, Snoop Dogg and others. It also included a full pop-up museum, Rap City set up and other IG-able installations. The giant boombox was my favorite. Nevertheless, the effort was there and I appreciated it.
Before I go, one last thing. Stop hating on “yourself.” Stop using Euro standards and trying to apply them to our culture. We are the standard and we are the culture. When you go back far enough, you will understand we are the source. Every music genre that is born in America has Black roots. Are we perfect? No. We need a lot of things, starting with love. Love us and the rest will take care of itself.
Long live Hip-Hop and shout out to Texas.
And yet, it feels as though the holiday has only served to further underscore the issues we have. The harsh reality is many of us are still ensnared in the clutches of oppression. I am speaking both mental, spiritual, physical and systemic oppression. From what I have gathered, another day off, parades, BBQs and performances are…another day off, parades, BBQs and performances.
Some of the very artists performing at these celebrations have made a mint actively advocating for the destruction of the Black community. Many more are not party to the Juneteenth activities but are celebrated figures in our community, as I pontificate about being free-ish. And, I’m not here for judgement, because if it was up to me, no less than half of all rappers would be so-called conscious. I am saying we – internally – have to realize we can’t have it both ways. It is like a rapper claiming both the streets and their music career. It does not work: these calls for freedom alongside of works that are counter-community.
With Juneteenth, I find myself grappling with conflicting emotions. While in the past, this day held immense significance for me, this year feels different. What exactly are we celebrating? The progress made since our ancestors realize they were free-ish, seems to be eroding. This plight has many layers, but let us break some of them down.
“I freed a thousand slaves I could have freed a thousand more if only they knew they were slaves,” is a quote falsely attributed to Harriet Tubman, but it feels like somebody today should just offer it up as their own. These days, most people know Black people are simply not a free as Juneteenth suggests. No need to jump into the predatory prison systems, the pipelines that start in school or the ease in which Black youth stumble into those traps. We are fodder and we know it. It feels like the hedonistic lifestyle is the way we choose, but that – in my view – is just another form of slavery. Drinking, smoking, and the sexual free-for-all is the order of the day. Am I wrong? Just look at your screen time and tell me how long can you go without it.
And, this is not me finger wagging. I have checked myself hard recently and reaccessed just about everything from top to bottom.
Black crime rates continue to be alarmingly high. There were numerous shootings at various Juneteenth celebrations. I have not researched them all, but no matter who or why, it is beyond problematic. Gun violence in America is a complex and multifaceted issue. We continue to have one of the highest rates of gun-related deaths among developed countries. While the causes of gun violence are diverse and interconnected, several key factors contribute to its prevalence in American society.
In the U.S. it is fairly easy to get a gun, legally and illegally. We recently posted about a kid that had about 10 guns, all stolen. The accessibility of high-capacity weapons has also contributed to the prevalence of gun violence. Check out the United States compared to similar socio-economic nations.
But I digress. I am not anti-gun, but I am anti-violence. The second amendment says, “A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.” It was written in 1791 when they still used muskets and guns that could fire off a single round at a time. The 15-year old in Atlanta was had semi-automatic pistols equipped with a Glock switch that turned the handgun Ito a machine gun. So what is the point and how does this factor into Juneteenth?
Black America, is it time for a celebration rooted in faux freedom? From high crime rates to fractured family structures and persistent wealth disparities, the issues confronting us are deeply rooted, systemic and unimaginably complex. While it is essential to acknowledge external barriers, it is equally important to address our own internal struggles. We must take responsibility for the choices we make and the actions we take as individuals and as a community. Self-reflection and personal growth are imperative if we are to effect meaningful change.
Another thing: It is crucial that we shift our focus from individual success stories to the collective accomplishments of Black people who are descendants of slaves. We have billionaire success stories like Jay-Z and Byron Allen. When will those stories translate into change within our community, where the “black dollar” reportedly leaves us within six hours. By the way, both of these men and others like them put in the work.
We have a substantial Black elite. There are organizations like 100 Black Men, Links, Masons, Black Greeks, the National Urban League, to the Congressional Black Caucus (CBC) and many others., their role should be to uplift and empower us. And yet, the hood is the hood is the hood. Scholarship drives, voter registration campaigns, and advocacy efforts help people, but it feels endless. Part of my other life has been devoted to helping kids, but it feels like the lives portrayed on social media, TV, and music undo the work with a constant stream of drivel.
While it is understandable to feel disillusioned and disheartened, completely disengaging from the Black community is not the answer. Instead, we should seek to address the challenges we face collectively, with a renewed commitment to creating a better future for generations to come. Juneteenth MUST serve as a reminder of the struggles endured by our ancestors and as a call to action for us to continue the fight for justice and equality. By working together, supporting one another, and uplifting the voices of those who strive for positive change, we can gradually overcome the obstacles that hinder us. It is within our power to shape a brighter future for Black America, and that is worth celebrating.
And to Hip-Hop: Do Better.
Hip-Hop is 50 years old now and it is high-time to start looking at our legacy going forward. Thus far, it its an amazing ride. I do not absolve the hidden hands stirring the pot, but we’ve got to figure it out. We’ve got to balance it out. And fast. I recently honored Chuck D of Public Enemy and it saddened me that we have clear descendants of N.W.A. in pop culture, but not PE. The energy was once the same, but they extracted the worst of the Ni##az With Attitude and commodified it. The same happened with Lil Kim. Again, this is not to chastise, but to challenge. Do better. For ourselves and for our people.
First Lady Flamez solidified herself as the premier female battle rap MC out of Virginia, performing like a true champion. Fans had long awaited her battle against the first lady of Rare Breed Entertainment. The frequent URL battler dominated from the start to finish, with Kausion being able to land a few scathing lines. But it wasn’t good enough and she might need to figure stuff out if she comes off her platform to play against other stamped female MCs. She’s actually on her third loss against vets, which makes the Champion Rookie of the Year fall flat.
Brooklyn’s Toni Blanco went up against newcomer Cheyraq in what really was a grudge match. The two both have been or are involved with the same battle rapper, DOT. This battle was a great back-and-forth. Cheyraq boasted about how fast she got some big names and how it only took her a year to make it to the big stage. However, there’s something to be said about the marinade and paying dues.
What one learns is to keep their composure, because she looked bothered and spazzed out at the end, she looked like the loser. While the new Ms. Dot looked super cute, Toni snatched the “L” because she made the debatable exchange look more like a scolding, reducing the Massachusetts rapper with each round.
DOT Mob’s Chayna Ashley is incredible and showed the battle rap world can stop playing with her name. Aggressive but poised; articulate but comprehensively intricate, she’s by far one of the most frighteningly dope MCs in the culture.
Unfortunately, her gift was not as apparent against Tori Doe, who seemed to crumble standing in front of the seasoned veteran. Tori Doe forfeited two rounds by not saying anything—not one bar.
Whatever is the next Chrome 23 card, fans hope Chayna is blessed with a great talent with a strong work acumen and résumé. She deserves to be showcased as the queen she is.
While those were shining spots of the battle, several hiccups have it in the running as one of the worst battle rap events. There were quite a few outbursts that compromised the night, including Cheyraq’s freak out after Toni Blanco’s ending bars seemed to strike a little too close to home. Elsewhere, Tori Doe spaced out and refused to rap one bar while standing before Chayna Ashley, 40 BARRS looked at her phone during her battle against Yoshi G and Remy’s security interrupted the battle by arguing about 40 BARRS seemingly intimidating Yoshi G by standing in front of her and laughing at her choke. Then, both 40 BARRS and Yoshi G choked (automatically losing the rounds), Yoshi G got upset and threw a bottle at 40 BARRS because she was mocked by Team 40 for messing up her third round and the nasty rumor that Eazy the Block Captain got beat down by Remy’s husband and Tunecore executive, Papoose.
Remy Ma took to Twitter to apologize to the fans.
“I’d like to apologize to everyone that was disappointed tonight because we couldn’t get 3 full rounds from all the opponents,” she wrote. “I tried…and can y’all pleasee STOP with the Eazy & Pap LIES. There’s NO place like Chrome! Right back at it ; see y’all in August #Chrome23.”
Remy Ma followed up with amazing stats that shows growth in the new league’s position in the culture: “Chrome23 The Grudge Card Trending #7 WORLDWIDE EVERY artist on the card trended at some point during the night Over 2 million impressions And a substantial increase in subscribers Despite the hiccups… There’s No Place Like Chrome!”
It’s within this paradigm we find swing, jazz, gospel, blues, R&B, country music, Hip-Hop, Rock & Roll, house music, techno and all manner of soulful utterances of Black folk within the American sphere and worldwide. The question “is Hip-Hop music still considered Black music” can be a murky one, depending on the person.
Historically, the threads of all forms of Black music (i.e., music created by wrongfully enslaved Black people and their descendants) are multifaceted in the sense they’re part storytelling mechanism, part historic record and part act of rebellion against an oppressive system, as well as a source of personal expression. Entertainment was a superficial part, relatively speaking.
With each generation there came a new form of genius to interpret the times through music. As alive as the ebony hands that crafted it, the DNA of all forms of black music in America can be found in the music that preceded it.
A chronological thread can be tied from Hip-Hop, through Rock & Roll, blues, reggae, gospel, jazz and back to slavery—even to Africa itself when factoring in such things as call and response, heavy drums and storytelling.
Within the modern context, Hip-Hop music has changed in many ways compared to its founding in the South Bronx 50 years ago. Economically, it’s grown into a billion-dollar industry. Technically, it’s become easier to create music than ever before. Lyrically? As with beauty, we’ll just leave that to the eye of the beholder.
Most artists will agree that once they create and release music, it’s no longer theirs. It now belongs to the culture—but preferably for a fee. And therein lies the kicker.
Cultural expression is defined as pertaining to a particular society, its ideas, customs and art. Although the music performed by a Black person wasn’t recorded and pressed until George W. Johnson was recorded in 1890 as “The Whistling Coon” for his ragtime whistling, African-Americans of his time—as today—were a veritable engine of free or low wage creativity.
From slave calls and chain gangs to fiery preacher orations and funky ’70s gyrations, Black cultural expression is what helped our American ancestors get to the next day, past the last thing and onto the continuation of their existence. That very existence is why we’re here today. We are their tomorrow.
Similarly, there would be no Hip-Hop if there were no jazz, blues, rock or reggae. Nor would rock be the same without gospel or blues and vice versa.
Black cultural expression permeates everything in America today because it was commoditized in a manner that promotes a certain version of Black cultural expression; a version that reflects America’s idea of itself. It’s a callous, greedy, uncaring, violent, spiteful, vengeful, petty, abusive and death-seeking cultural expression.
These attributes can be found throughout all human societies and in all manner of human expression both historically and contemporaneously. As has always been the case with all forms of Black music in America and the Caribbean, the inspiration for many of Hip-Hop’s best lyricists was the fight against Black pain—the pain of poverty, demonization and marginalization amid the search for dignity in a mad world.
Verily, there are joyful jams, deep flows and those that are eternally inspirational, but you gotta dig for ‘em. Where the marketing budget goes, so too goes the popularity barring a catastrophic rollout.
Economically, the record industry has reaped most of the profits from music that was spawned from the life experiences of Black people of African descent—by a landslide. The true measure of which has only recently been revealed.
Because the roots of Rock & Roll are found in blues and R&B, it’s infused with ancestral energy. Because blues is filled with elements of swing and ragtime, it’s infused with ancestral energy. And because the drums of plantation life mimicked the rhythm of Africa, they too are infused with ancestral energy.
However, once any artform is shared with the broader society, it becomes part of that broader society. But the legitimacy of the artist is also measured by his or her ability to interpret the language, happenings and realities of Black life into music that reflects that interpretation.
The words and concepts used in rap music have always come from the mouths and experiences of individuals in their teens and 20s. Like nothing before it, rap musicians are held to a level of ageism to an extent that musicians of other genres are not. Outside of JAY-Z, Wu Tang Clan and Snoop Dogg, nobody’s trying to listen to Pop-Pop’s flow. Meanwhile, Jon Bon Jovi, Cher and the Grateful Dead could pack a stadium with only a few hours notice.
Capitalism (and racism) alters the landscape due to the nature in which creative expression is monetized. For example, dancers were once essential for any Hip-Hop crew, as well as graffiti artists and DJs. Fifty years later, the MC is penultimate, with graffiti artists, dancers and turntablists having long since fallen off the rung of importance due to their inability to be monetized by labels.
So, the question remains, is Hip-Hop Music still considered Black Music? Why, quite obviously, yes. The fact there are more white rock guitarists playing today than there are Blacks doesn’t change the fact that Sister Rosetta Tharpe was an originator. Tharpe, a gospel singer and guitarist who recorded between 1938 and 1968, is seen by many music historians as the inspiration for Elvis Presley, Little Richard, Chuck Berry, Johnny Cash, Eric Clapton, Jimi Hendrix and many more.
The fact jazz music isn’t dominated by Black musicians today doesn’t erase its beginnings in New Orleans as an amalgamation of swing and ragtime created by Black folk.
Similarly, even though Hip-Hop music is largely controlled by individuals who are not the creators, and even though the majority of Black music is purchased by white Americans, most of its creatives are still of and from marginalized and often impoverished Black neighborhoods in America. Most of the language used and scenarios presented stem from young Black Americans and the manner in which they live their lives.
Thus, not only due to the Blackness of its origins in the South Bronx, but that of its musical ancestry, as well as its modern-day practitioners, Hip-Hop music as a form of cultural expression is Black as hell. But it would be great if the controlling powers were blacker, also.
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