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The Grammys will forever be trash but music and the artists still need it

The Grammys are going to leave you disappointed.

Accept it, live it, and take it on the chin. It’s been the case since the award show’s inception and will always be that way from now until the end of time.

In 1984, The Police’s “Every Breath You Take” won over Michael Jackson’s “Beat It” and “Billie Jean”. Back in 2005, not only did “Daughters” by John Mayer win over Kanye’s “Jesus Walks”, but he lost Best New Artist to… Maroon 5!

The same is the case in this era.

In back, to back, to back Grammys, there were snubs in the most important category of all: Album of the Year. In 2015, Beck’s Morning Phase was chosen over Beyoncé’s Beyoncé, in 2016, Taylor Swift’s 1989 won over Kendrick Lamar’s To Pimp a Butterfly, and last year Adele’s 25 won over Beyoncé’s Lemonade. 

How we process that disappointment, whether through outrage, disappointment or boycotting, is fine — it’s your prerogative. But what we shouldn’t do is get in our feelings and say: “The Grammys don’t matter.” Dismissing the award show is petty, lazy, and a lie we’re only saying to ourselves.

Art is incomplete without an audience. It’s why parents hang their kids’ piece of shit painting on the refrigerator, it’s why there’s an employee of the month award, and why we honor the best in music once a year — we want to be acknowledged for the work we put in.

In late December of 2013, MMG artist Wale damn near lost his mind when the pop culture publication, Complex released its “50 Best Albums of 2013” list. After being left off completely, he called to discuss his grievances, threatening them in the process.

“I swear to God I’ll come to that office and start knocking n****s the fuck out,” Wale screamed in the realized audio footage. “I’ll see y’all tomorrow. Get the security ready.”

In an interview with Power 105.1’s The Breakfast Club that ensuing January, Wale admits that his feelings were hurt, but stood strong on the fact that he was being purposefully overlooked and under-appreciated.

In explaining himself to the the crew, he compared his investment in music to that of an athlete:

“I don’t care about the money, Jo. I like the sport. I played sports my whole life. I like the competitive nature. I like the sport of rhyming. I want to have quadruple entendres on certain records and everybody to be rewinding them… that’s what I care about.”

Co-host Charlemagne countered by saying he should just focus on the music. That channeling what he does it for would be far more productive than going off on a music publication for a subjective list.

While Wale agreed attacking the publication wasn’t his best move, he didn’t easily subscribe to the idea that just “focusing on the music” and using the snub as “motivation” was the answer either.

“How I felt at the time was like: I came into this game when I was 21 years old. I’ve been doing that [using the frustration as motivation] for six years. I got the most played record on urban radio and they didn’t put it on the Grammys. It’s building up on me now. What am I doing wrong?”

Kanye’s infamous moment at the VMAs back in 2009 echoes Wale’s frustration. Ye interrupted Taylor Swift’s acceptance speech at the VMAs — not exactly the most prestigious award out there — to take a stance on an award that he felt Beyoncé, not him, but Beyoncé, should have won.

Artists care; creatives care, even if you don’t. And while the Grammys don’t determine the success of an artist — Nas has 13 Grammy nominations and Snoop has a staggering 17 noms, both with zero wins — it certainly does add a cache that artists are entitled to strive for.

https://giphy.com/gifs/snoop-dogg-vmas-2014-moment-of-silence-ToMjGplxKnHKanBqb72

Whether it’s views, clicks, likes, RTs, Emmys, the Academy Awards, or Grammys, creatives are in it just as much for the public’s perception as they are their personal gratification. If that weren’t the case, these artists wouldn’t show up to the red carpet and we wouldn’t continually tune in.

Award shows are important because they serve as a measuring stick of sorts. They don’t set the standards, but they deem that they should be there. It’s why Rotten Tomatoes is successful, why we have a President approval rating, and why artists are moved to tears when they do win awards.

When artists win awards, they achieve universal recognition and a self-esteem boost that moves the culture, and art, forward.

This upcoming Sunday, at the 60th annual Grammy awards, you will most likely be disappointed. But that’s not the point. The point is that art is being encouraged, and that’s what matters.

Meet the 25-year-old robotics engineer who just inked a deal with Apple

Silas Adekunle had no idea what he was gettin’ himself into.

The 25-year-old British-Nigerian entrepreneur met with senior executives at Apple in a San Francisco Four Seasons Hotel to showcase what he and his staff of 9 had been working tirelessly on — a four-legged “battle-bot.”

Society’s fascination with robotics is on par with with advancements we’ve been able to make in the field. But when Silas entered the game, he wanted to make his mark in a different way.

As opposed to making bots “clunky” or with mouths, which he stated “scared” users away, he wanted to leave the face animations to us — the humans.

“When I went into robotics I really loved motion,” Adekunle told Forbes. “People are used to clunky robots, and when you make it appear to be realistic, people either love it or they’re freaked out.”

The scheduled 15-minute chat that went on for more than an hour and included racing the spider-like bot across the floor and making it perform very personable traits: like bowing and shooting lasers. At one point in the demonstration, Silas even used his phone to give the miniature bot commands.

Mekamon, which is what Silas calls the bot, impressed Apple’s head of developer relations, Ron Okamoto, so much that he offered an exclusive distribution deal to Silas in November 2017 according to Forbes.

It wasn’t revealed at the time, but when Silas met with the exec at the Four Seasons back in March, Apple was planning to launch ARKit — its very first platform for augmented reality — and Silas’s Mekamon was an ideal partner for the technology.

AR is the same technology used in smartphone screens, made popular by Pokemon Go, and pushed even further with Apple’s latest iPhone X

Apple priced his four-legged “battle-bots” at $300 and are sold in nearly all of its stores in the United States and Britain.

Silas, having already raised $10 million for the company, is seeking a new round of funds as well some licensing deals with entertainment companies in Asia.

Silas and his team have also started to add even more features to Mekemon. Touch response, for example, has been successfully implemented, which can display signs happiness, aggression, and even calmer movements.

Despite starting from humble beginnings in Nigeria where he lacked the exposure to technology that many kids get today, Adekunle is now one of the thought leaders in the tech field.

It just shows that all you need is a vision and the rest will fall in line when you act on them.

The XFL is coming back. Is this perfect timing or just a trash idea?

What if I told you that, despite plummeting NFL viewership, health concerns for players, and racist owners, Vince McMahon is still down with his alternative pro football league?

Well, today, ESPN’s Darren Rovell is reporting that the WWE founder is planning to bring back the XFL.

After 19 years and a short one-season stint in 2001, it appears that Vince sees the potential the once-controversial league could have today.

According to PWInsider (h/t WrestlingInc.com’s Joshua Gagnon), McMahon wants to take his time in order to have a “proper foundation” in place.

This explains why last month WWE filed paperwork with the Securities and Exchange Commission to sell about $100 million in stock to fund McMahon’s company, Alpha Entertainment, which makes investments (like professional football).

The XFL started off very popular and even had players go on to compete in the NFL like Pittsburgh Steelers quarterback Tommy Maddox and running back Rod “He Hate Me” Smart.

The league did not last due to heavy criticism from NFL loyalists as well as the poor quality of play, but it seems that McMahon thinks he’s learned from his past mistakes.

PWInsider also added that McMahon wants to focus on building rosters and finding coaches before progressing too far with plans for the new XFL, meaning it could take the league until 2020 until it sees the light of day.

Perhaps McMahon was inspired by Ice Cube’s success with his alternative professional basketball league Big3.

Cube managed to round up some retired ex-basketball players who still wanted to compete and completed a full season last year. Big3 was marketable enough that they’ve already re-upped their contract with Fox Sports 1 and plan to be back next summer.

The XFL recently returned to the forefront of our conciseness thanks to ESPN’s 30 for 30 documentary This Was the XFL.

The 2017 documentary highlighted the rise and fall of the league and once again got people talking about McMahon’s creation.

McMahon has announced the return of the league at a news conference at 3 p.m. ET. There will be no ‘politics,’ no cheerleaders, or players who have previously been arrested. In this sense, McMahon is veering far away from the old XFL model.

Looks like Johnny Manziel is all aboard the XFL train.

Mo’Nique is out of her damn mind. Why she’s hurting the equal pay movement.

When was the last time anyone checked for Mo’Nique?

Yes, the actress from Phat Girlz and Garfield: The Movie. When was the last time someone intentionally went out their way to uncover Mo’nique-specific content?

Was it The Parkers? After debuting on UPN in 1999, the sitcom became syndicated on BET, UP, TV One and eventually even VH1 and MTV. It’s decent. It’s believable for someone to have followed the series.

Possibly her Queens of Comedy footage? Her performance at the Orpheum Theatre in Memphis, Tenn. back in 2001 is a classic indeed. She was clearly the most talented and memorable performer on stage. I can see people going back to revisit that from time to time on YouTube.

But that’s it.

It can’t be Precious. I just wouldn’t believe you. Though Mo’ grabbed nearly every award and honor under the sun — from Time magazine’s Best Female Performance of 2009 recognition to winning the Academy Award for Best Supporting Actress — the heaviness of that film makes it, at most, a once-in-a-year watch.

And I’d call you a flat out liar if you said it was Almost Christmas. The 2016 film — which was her last major motion picture by the way — had a banquet cast that included Donald Glover, J.B. Smoove, D.C Young Fly, Keri Hilson, and Gabrielle Union, just to name a few. No way she was the first name you were looking for.

So what exactly is Mo’Nique Angela Hicks talking about?

Six days ago (Jan 19th) she took to Twitter and Instagram and called for a Netflix boycott on the grounds of gender and color bias.

In the rant, the comedian explains that she felt the $500,000 offer from Netflix was not fair in the light of Amy Schumer’s $11 million dollar offer and, according to her, Chris Rock and Dave Chappelle’s $20 million dollar contracts.

#BOYCOTT#NETFLIX FOR #COLORBIAS AND #GENDERBIAS. PLEASE STAND WITH ME. I LOVE US.

A post shared by Mo’nique (@therealmoworldwide) on

As Mo’Nique explained it, Netflix responded that they don’t look at resumes, and claimed they used Schumer’s sold-out MSG arena and a big summer blockbuster movie as justification for her offer.

For Mo’Nique that wasn’t good enough.

The following day, the 50-year-old comedian doubled down on her boycott, explaining in detail the negotiations on Sway in the Morning.

In the almost one-hour interview, Mo’Nique revealed that she blackmailed the Netflix vice-president into taking a phone call with her team, called herself the “most decorated comedian alive,” and managed to slander Oprah and Tyler Perry in the process.

“It’s affecting my livelihood. My family is hurting because these low offers keep coming in… When those four entities, Oprah Winfrey, Lee Daniels, Tyler Perry and Lionsgate, allowed that lie to go on and simply because I would not work for free,” she explained to Sway. “So when Netflix came in with this low offer, ‘See the buzz is she’s difficult, she’s demanding and she’s black, we definitely don’t have to respect her.’ So that’s why I’m saying we must boycott Netflix until they treat female comedians of color fairly.”

Equal pay has been an issue in all professional spaces since women first entered the workplace. Women are almost half of the workforce, are the foundations in half of American families with children, and receive more college and graduate degrees than men. Yet, on average, women earn 80 cents for every dollar earned by men, a gender wage gap of 20 percent.

Earlier this month even, it was reported that the four-time Oscar-nominated actress Michelle Williams was paid $80 per day, totaling less than $1,000, for reshoots of Ridley Scott’s All the Money in the World; the same shots where co-star Mark Wahlberg was paid $1.5 million for.

These are real-life hurdles that deserving and hard working women have to overcome everyday, still, in the society we live in. The issue is real and the movement is important.

Which is why Mo’Nique is out of line.

If Netflix is gender biased, how do they offer Amy Schumer $11 million and renegotiate to $13? If Netflix is color biased, how do they give Dave Chappelle $20 million? Is there bias, or did they offer Mo’Nique what they felt she was worth, and she didn’t agree with it?

This egregious lack of self-awareness, ego, and entitlement, not only makes her someone unattractive to work with, but, unfortunately, comes at the expense of the women and Black entertainers who are actually not being paid for their worth.

I’m not really a fan of Amy Schumer, but Netflix is right. In 2016, she published a book, had her Emmy-winning sketch show renewed for a fifth season, and became the first woman comic to headline Madison Square Garden. In 2017, she starred in two major motion pictures in Snatched and Thank You for Your Service, all before leading to her 2017 Netflix special.

In this world, it’s not about what you’ve done, but what you’ve you done lately and Almost Christmas ain’t it.

https://www.instagram.com/p/BeRJFotFgID/?utm_source=ig_embed&utm_campaign=embed_legacy

If Mo’Nique’s call for equality means diminishing Amy Schumer’s work, coming at Oprah, AND making me give up Black Mirror, then maybe the equality she’s seeking is a cost I can’t bare.

Mo’Nique’s pride is the problem here, and it’s blocking her from seeing the movement she’s jeopardizing.

Wonda Sykes went through something similar but, instead of crying wolf, handled it like a professional. She responded to Mo’s boycott on twitter, saying she too was given an offer she found offensive, so she just went to where someone saw her worth.

If there weren’t Black men getting deals on Netflix or women being allowed to negotiate their million dollar contracts for more millions, Mo’Nique may have had some credibility here.

If she had done something relevant, other than a collaborative Christmas movie with b-class actors, she might’ve had some credence.

But the truth of the matter is that Mo’Nique is washed-up, bitter, and unaware of the market value she holds.

I don’t know, maybe there is a legion of Mo’Nique fans out there feinding for her next move; but Netflix didn’t see it. To mask irrelevancy in the name of colorism and sexism is lazy and flat out wrong. And for that, Mo’s out of her damn mind.

How Chamillionaire is using his success after rap to empower others

We’re only remembered by what we’ve done lately.

This unfortunate truth is not only a testament to our short attention span, but it proves that our appreciation is often shallow in the first place. The last time you heard of Chamillionaire was probably 2018, during the NBA Finals.

The 38-year-old Houston native, who’s mega-hit “Ridin” solidified him as a legend in the pantheon of all-time one-hit wonders, was spotted courtside at the Cavs/Warriors game, and people were legit confused.

I’m not going to lie, it was funny seeing people react in complete shock to the fact that the former rapper was able to afford courtside seats at an NBA Finals game, but what did they expect?

There aren’t many examples of the lives rappers lead once they’ve retired from the game, so I get it. I was wondering what the hell he was doing with those expensive seats, too. It had been well over a decade since Chamillionaire released music, so, how else could he possibly make money?

If they don’t own a label (like Diddy) or aren’t in entertainment (like 50 Cent, Joe Budden etc), it’s easy to assumed they’ve fallen off, but such is not always the case. In fact, Chamillionaire, lowkey, has been having the best post-rap life ever.

In the presence of greatness…..

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Back in a 2006, only a year removed from the peak of his career, Chamillionaire was already plotting business moves. In an interview with All HipHop, he revealed his car customizing business called Fly Rydes as well as a model agency he was planning. He explained,

“It’s called Masterpiece Mind Frame because in the word mind frame, your MIND comes before your frame. Print modeling can turn into movies and other stuff, and you can just step all the way up the ladder. It’s like that with males and females, and if you’re trying to go somewhere, just walk up the ladder, you know, and take it to the next step.”

Most artists in Chamillionaire’s position would be happy to have two Grammy nominations and a hit record, but it was during that success where the Houston native was thinking about his next move.

That same mindset got him his own independent label and music entertainment business in 2011 when he split with Universal Records — another bold move from a rapper in his era.

And in 2015, while Chamillionaire was still in our memories’ rearview, venture capitalist Mark Suster of Upfront Ventures announced that Chamillionaire was “moving to LA for a while and working in our offices and developing his ideas” as an “entrepreneur in residence.”

Focused.

A post shared by @ chamillionaire on

According to Suster, the two met in 2009 and he was taken aback at Chamillionaire’s grasp of audience engagement.

In fact, he was so enthralled, in 2010, Suster penned an article titled “What Tech Entrepreneurs Could Learn from Chamillionaire,” and now everyone at Upfront Ventures will be able to benefit from Chamillionaire’s wisdom.

Of course, while we’re over here thinking Chamillionaire is broke, he’s actually bunkered up with the movers and shakers in Silicon Valley. There is a lot to learn from Chamillionaire, whether you’re an artist who has come across their first lump some or an aspiring entrepreneur.

Rap offers unique opportunities to individuals who, in most cases, have a lot going against them. Maybe Cham knew he wasn’t going to be in the rap game for long. Maybe his plan was to leave as soon as he made some real money.

Either way, as soon as he had it, he invested it. If more rappers saw the game like Chamillionaire did — like a rare, once-in-a-lifetime chance that wont be there forever — we’d see a lot more rappers under the radar making as much money on the low as possible.

It’s also important that we, as fans, start appreciating other forms of prosperity. We love when a rapper throws money, literally, on the floor, but charitable acts get swept under the rug.

Recently, after reading how Trump’s new immigration restrictions affected 39-year-old Jorge Garcia, who was separated from his wife and two children by immigration officials, Cham reached out with intentions of lending a hand.

Garcia was eventually deported Monday (Jan 22nd) but Chamillionaire wants to lend a hand with finances while he’s gone — according to Warikoo, Garcia’s family has apparently already spent $125,000 on attorneys and filing fees.

We can keep on believing that the only relevant musicians are the one’s that are in front of us, dripping in the jewelry, but that would be incredibly ignorant of us. This isn’t the first time the rapper has helped people in need, either — he raised over $45,000 for those affected by Hurricane Harvey.

For someone who the public didn’t expect to have floor seats, Chamillionaire sure has had quite the post-rap life. As he put it on his  website:

“Just like so many other people out there, I don’t want to sit on the sidelines, I want to do the most that I can to help.”

5 jewels Tyler, the Creator gave us in his new interview about ‘Flower Boy’

When Tyler, The Creator’s fourth studio album Flower Boy was released in 2017, it was immediately placed in the album of the year discussions.

The album debuted at number two on the Billboard 200, stayed for ten weeks, and is now nominated for Rap Album of the Year for the 60th annual Grammys.

From the Eric White album cover to the meticulous chord arrangements, if you listened to Flower Boy you could hear and see there was intention that went behind every decision.

Or so you would think.

Flower Boy was able to sell and gain attention despite Tyler refusing to do interviews, which left the responsibility of interpretation solely on the listener. This is fine, but it also leaves room for the listener to be disengaged or miss certain nuances that make the project great.

Today, Tyler brings our attention back to Flower Boy, first giving a reason why he hadn’t given an interview by saying he’d do so himself.

https://twitter.com/tylerthecreator/status/955463361134608384

Enlisting stand-up comedian and writer Jerrod Carmichael to perform the interview, it seems as if Tyler did just that: he set up his own interview.

Because Tyler hand picked who was giving him the interview (and also because he and Carmichael are close friends), as opposed to a radio interview, which could go in any direction, this felt more like an informative conversation.

This is the most relaxed and open Tyler has been in an interview and he actually reveals a lot. To save you some time, here are the five things I learned after the interview.

Tyler’s not depressed

A big misconception and takeaway many have had upon listen to Flower Boy is that Tyler is somehow sad or depressed. Grated, tacks like “Lonely” and “November” are incredibly moody, Tyler attests that it speaks to an emotion, not an overarching mood.

“For ‘Cherry Bomb’ I purposely was like, I don’t want to get personal at all. Like, I’m just going to make songs. And in this one I was like alright, let me write down every feeling.”


Pothole was inspired from by mom

According to Tyler, the song “Pothole” was based off words of wisdom his mom imparted on him.

She told me “some people just are not really as loyal or close to you as you think,” he remembers. “Sometimes moms know best and I had to find that out on my own,” he continued.

Tyler goes on to admit that “Pothole” was based on an actual experience, although he did not specify.

“Just realizing, some people and things are potholes, and after too many potholes you’re not going to be able to get anywhere because it just fucks up the tires and wheel alignment and things up like that. Situations, people, certain things can be potholes to get to your end destinations and you just gotta watch out.”


“I ain’t got time” was supposed to feature Nicki Minaj, was originally apart of Kanye’s Pablo sessions

Released as one of the first singles the album, “I Ain’t Got Time” has a natural bounce to it that one would expect. But imagine if it had Nicki Minaj.

After telling Carmichael that he supposed Kanye didn’t like the beat, Tyler goes into how he put the final touches on the instrumental and who popped into his head when he did.

“I know Ye doesn’t like this song so, Nicki Minaj’s voice would be fucking perfect for this,” he told Carmichael. “We send it to her… A month later they said she could come up with nothing,” he continued.


He wrote “Glitter” for Justin Bieber.  Rap verse inspired by Quavo.

Tyler also gave us some insight on the track “Glitter”. Inspired by 90s R&B (hard drums, pretty chords and singers trying to out-run themselves gets Tyler every time) he wrote it for Bieber and admits never receiving a call back.

“I wrote that for Bieber. I wanted him to have that song. But he never returned my call.”

After being shut down by Bieber, Tyler explains to Carmichael how he got the idea of Quavo creating on the rap part. Tyler describes “rapping it how he would have wanted Quavo to”, he came across his verse, and kept it.


He wanted Rick Ross and Playboi Carti on “November”

“November”, which is probably one of the most dramatic and emotional songs on Flower Boy, actually had bigger plans, too.

Tyler wanted the first eight bars of “November” for Rick Ross, but got denied.

“I wrote that, wanting Tracey Throne to go there but I never asked because, for that specific part, I already got rejected by Rick Ross.”

And Carti, too. When describing how he felt Carti would fit he described his voice like a “go-cart” precise handling.

There was so much detail that went into the album that, without this kind of insight, may have been missed by the causal listener. When someone treats their art like a masterpiece, it deserves a significant listen. I think Tyler wanted us to know that.

How Fredo Santana and Drill music laid the blueprint for what rap is today

Saturday morning (Jan. 20, 2018), it was announced that Fredo Santana, born Derrick Coleman in 1990, had been found dead in his Los Angeles home, having suffered a seizure from what appears to be kidney and liver failure.

Though Fredo’s absence leaves a huge void in the hip-hop community, it’s vital that we acknowledge what he left behind.

Fredo Santana was more than an artist. Whether he knew it or not, he was the essence of one of the most influential movements to happen in hip-hop in decades.

“In The Cut”, “Glo Up”, “Savage”, and really being “about that life” we’re all brought to our consciousness and vocabularies thanks to Fredo.

Lil Uzi Vert, Kodak Black, and Trippie Redd — from their lingo to the upside down crosses — all have evident influences and, in part, owe the lane they’re prospering in due to Fredo.

What hip-hop lost was more than just some artist who was on the bottom floor of a sound that took off. What we lost was a walking embodiment of an energy that transformed a city and culture.

And it all started from putting a voice behind the pain.

At the time, no one really knew what was happening when Chief Keef, Lil Reese, Lil Durk, and Fredo Santana started making music in 2012, they just knew it made them feel something.

If the plethora of hoisted guns didn’t grip you, their youth did. And if for one second you didn’t believe them, the local Chicago news backed them up.

GBE’s (Glory Boyz Entertainment, later known as Glo Gang) assent was almost parallel with Chicago’s recognition as one of the deadliest cities in the country, putting their perspective in high demand.

Who were these kids? How did they get ahold of those weapons? Why are there tattoos on their faces? There was an intrigue like never before because we were given access like never before. We’d seen gangsta rap of the West Coast and trap music from the South, but, from first sight and sound, this was clearly different.

For the sake of categorization, “drill” became the sound’s genre classification but, as illuminated in Chief Keef’s “Don’t Like”, it’s clear that it’s more than that. The young boys hanging on each others shoulders, passing blunts, and declaring their loyalty to one another is beyond some one-worded definition — it was what they knew.

The authenticity made it easy to embrace. Shirt off, guns waving, and kidnap references are all staples in rap videos and songs today, but were first seen in Chicago.

That crass, unapologetic approach to making music based on how you feel, regardless of any set model, is something I can’t help but think GBE made possible.

That influence has permeated to an extent that even reaches other parts of the globe. When you look at the London rap scene you can see clear comparisons to what was first seen on the South Side of Chicago.

If Keef was the face of this influence, Fredo was the heart of it. “Fredo in the cut, that’s a scary sight”, is as perfect a bar as there is in characterizing Fredo.

He’s not the most visible, does not have the chart success or plays, but is arguably more felt than anyone thats ever been a part of drill.

Image result for fredo in the cut that's a scary site

It’s why Drake personally requested him to make a scene-stealing cameo in the video for “Hold On, We’re Going Home”.

It’s why Kendrick gave him a look on “Jealous”, a cut from Fredo’s sole studio album, 2013’s Trappin Ain’t Dead. It’s why there’s been an outpouring from the biggest names in the industry.

😢😢😢 Rest In Peace Santana

A post shared by champagnepapi (@champagnepapi) on

In a lot of ways, drill music is an outlet — a vocal testimony of unfortunate realities; it’s chronicled oppression.

Rap is often described as the “CNN for black people” and drill was Chicago’s youth on the ground reporting. Keef, Fredo, Durk, Reese, Chop etc. were the voices of a disenfranchised people.

Fredo Santana will forever be a part of rap’s storied history. Artists will forever mimic his thoroughness and try to match his fearlessness in his name, and Chicago will forever be in debt to the spotlight he helped bring the city. And for that he can rest easy.

Kodak Black does not need your sympathy. He needs a better system.

Kodak Black was arrested in his Florida home yesterday while on Instagram Live and charged with seven felony counts, including grand theft of a firearm, child neglect, possession of marijuana, two counts of possession of a weapon by a felon, and two counts of probation violation.

You can actually hear the officers in the background as his IG Live broadcast was still rolling.

https://youtu.be/1v0LiZk7RCI

The 20-year-old rapper, born Dieuson Octave, will remain in custody at a Broward County jail after a court hearing Friday where he will be held without bond, according to Florida’s Sun Sentinel.

Even if you don’t follow Kodak’s music, if you’re a fan of hip-hop, you know that the “Tunnel Vision” rapper’s name has become synonymous with jail time.

In 2015, Kodak was arrested in Pompano Beach on charges of robbery, battery, two counts of false imprisonment of a child under 13 years of age, three counts of false imprisonment of an adult, driving with a suspended license, and possession of marijuana.

In 2016, he was for possession of a weapon by a convicted felon, possession of marijuana, and fleeing from law enforcement, placing him on a year of house arrest. And in 2017, Kodak was arrested on a probation violation charge after he was accused of leaving his house to go to a strip club. He was also indicted on sex assault charges last October.

There is obvious tremendous culpability here. With the amount of money Kodak makes he can easily hire a body guard with registered weapons instead of having a stolen one.

He could adhere to his house arrest restrictions and not have 4.9 grams of marijuana in his bedroom closet. He is also an alleged sexual assailant. No one is making excuses for his behavior by any stretch of the imagination.

However, it is just as lazy to demonize the rapper. To assert that he just “can’t do right” or that he is incapable of abiding the same rules everyone else is mandated to adhere is the first level of a multi-faceted problem.

When you see Kodak in and out of jail, why is it he, a 20-year old kid born to an immigrant family in the slums of the Florida projects, who is labeled broken and not our correctional system, that incarcerates at a rate 4 to 7 times higher than other Western nations, causing American taxpayers over $80 billion per year?

Think about Meek Mill.

In November of last year, the Philadelphia born rapper was sentenced to 2-4 years in state prison… for riding a dirt-bike! We’re talking 2-4 years for a nearly decade old case from when he was 18.

https://twitter.com/isaiahthomas/status/927715530848587776?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fkulturehub.com%2Fmeek-mill-prison-sentence%2F

The same in-and-out-and-in cycle that has plagued Kodak is the one that has effected Meek, and is the real problem that needs to be looked at here: Recidivism.

Recidivism, which has come to be known as “the revolving door” is the tendency of a convicted criminal to reoffend.

According to Prison Scholars, 67.8% of all released prisoners are re-arrested within three years of release. And being that African-Americans make up a larger proportion of these prisoners, of course, recidivism most directly affects them as well.

When we look at cases like Kodak and Meek Mill, delinquent should not be our fist thought. Neither should hard-headed or “threat”.

There is an obvious link between poverty and imprisonment in our country that cannot be ignored. And because our prison systems do not make life after incarceration habitable — with limited economic mobility and fiscal consequences — there’s no wonder why poor communities of color also pay the highest price of high recidivism.

Kodak Black doesn’t need your sympathy, he needs a better system. Without a program that rehabilitates, Kodak is doing no better behind bars than he is on the streets.

Joey Badass is getting in the podcast game. Here’s why more rappers should too.

Joey Baddass is joining the podcast game.

Recently, the B4.Da.$$ rapper revealed he’s starting a podcast called ’47 Minutes’, to premier on Tidal later this year. Per his Twitter, he says his focus will be to “talk about shit from hip hop, politics, spirituality and whatever the fuck else I want.”

https://twitter.com/joeyBADASS/status/950209698808164354?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fpigeonsandplanes.com%2Fnews%2F2018%2F01%2Fjoey-badass-podcast-tidal

In the past, the two worlds of music artist and journalist, while close, never blurred. You had your rare occasions —  like when legendary radio personality Angie Martinez dropped a single or two in the nineties — but she was an exception, not the rule.

These days to be a “critic” all you need is a mic and running internet. Being that R&B/hip-hop was last year’s biggest genre (accounting for 24.5 percent of all music consumed), it seems like the perfect time for rappers to become commentators in today’s space.

Even still, I had to get used to seeing artists on the other side of the interview. Separating rappers from their artist persona didn’t really click until I realized it’s what goes on in the sports industry. Retired pro ball players often become commentators, announcers, and even game callers, as their insight proves valuable. It works.

Badass is just one of many rappers that have recently entered media in one way or another.

Nas was one of the first to cross over into the media side of hip-hop. In 2003, The Queens-born rapper invested a “six-figure” sum in the publication Mass Appeal, making himself Associate Publisher. He told Forbes at the time that he thought he “could add value across the board.”

In 2011, Snoop Dogg felt that he had a perspective to give, launching his own television program called GGN: Snoop Dogg’s Double G News Network. From Seth Rogan to musicians like Miguel, Snoop conducts interview and produces content himself.

And Snoop loves the journalism game so much that last year he added nighttime talkshow host to his resume when he premiered as a co-host (with Martha Stewart) on VH1’s Martha & Snoop’s Potluck Dinner Party. 

The same goes for Bow Wow who was served as host for BET’s 106 and Park and Diddy who created his own television station, Revolt TV — rappers are finding that they have something to contribute to the conversation and industry outside of their artistry.

Joe Budden’s 2017 probably took the rapper/journalist relationship to new heights during his brief stint at Complex’s Everyday Struggle.

The now retired rapper, who is a member of Slaughter Gang and who was formally employed by Atlantic, constantly got into feuds and tiffs with artists simply because of his brash no-nonsense approach. Being that Joe is a rapper and not your traditional journalist, the show was unique and successful.

Even before Everyday Struggle, Joe Budden had a docu-series on YouTube and was probably one of the first to break into podcasts when he premiered with his own podcast (‘The Joe Budden Podcast’).

Since then, other rappers and even producers, have followed Budden and crossed over into the podcast field as well.

Legendary Queens rapper N.O.R.E. (of Capone-N-Noreaga) and Miami hip-hop pioneer DJ EFN have one of the highest rated podcasts under the CBS umbrella called Drink Champs where N.O.R.E. gets his rapper friends drunk to talk shit.

Rick Rubin, arguably one of the most influential producers of all-time, started a podcast with author Malcolm Gladwell (10,000 hour rule) called the ‘Broken Record podcast’ in 2017, where guests like Eminem, who never gives interviews, stop by to chop it up.

Rappers have the access, knowledge, and insight to be great music journalists, and the growing medium is bound to attract others, like Badass, to the table to give their take.

As much as I like rappers rapping, having an open mind to the kind of platform they can bring and how said platform can elevate the genre is interesting enough to make me tune in.

Up next: 9 underground rappers from Chicago with unlimited potential

There is no science, algorithm, or formula that can predict the success of an artist.

While there will always be industry plant conspiracies and indictments of wealth being behind certain artists’ come-up, at the end of the day, the product — the music– always speaks for itself. Every city has its own “scene,” and no matter how they vary, one truth remains constant: there are levels to that shit.

Artists “break” all the time. Some off a song, some off a tape, some even build a fanbase to tour off of a while, but not many have that next level talent.

Chicago rappers like Sir Michael Rocks (also of The Cool Kids), who’s collaborated with Curren$y, and Rockie Fresh, who’s signed to MMG, aren’t new by any stretch of the imagination, yet still have not made the successes as say a Saba, whose Bucket List Project made Rolling Stones 2016 top 40 albums, or a NoName, who’s performed private concerts for both NPR and The New York Times.

This level in particular is for the artists that are on the verge. The underground talent in Chicago that you may not know of yet, that have all the right tools to get on the radar.

These aren’t your Keefs or your Chances, or even your Mick Jenkins or your Towkios. Here are the ten that are one opportunity away from being all over the map.

Phoelix, @Phoelix_MD

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2017 was huge for the Fox Valley native.

After building up a buzz by adding his signature sound to some of last year’s most memorable work — from NoName’s Telefone and Saba’s Bucket List to appearing alongside the Zero Fatigue crew — Phoelix dropped his debut mixtape Gspl. 

While he’s still finding his footing as an artist, Phoelix’s penchant for sounds already puts him in an elite class. Not to mention, his last two offerings show tremendous growth already.

With his network and skill, there’s no reason why everyone won’t know about Phoelix in 2018.


MFnMelo, @MFnMelo

This Pivot Gang veteran is not knew to the Chicago scene or to making music at all, but he has all the makings to be the next big thing on the map.

Taking cues from Pivot frontrunner, Saba, MFnMelo has mastered the balance between intricate bars and making groovy records.

If you’ve never heard from this West Side affiliate, peep his October debut effort, MeloDramtics and get acquitted.


Young Jasper, @UnoThrash

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Formally Uno Thrash, Young Jasper has quietly been building his presence here in Chicago.

Upon first hearing him, you may be inclined to lump him into the Playboi Carti/Rich The Kid category, but along with melody, he offers catchy hooks and fast-paced flow.

While it’s been over a year since he’s released the four track long UnoThrash EP, this could be the year he takes it a step further.


Elton Aura, @MC_El

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It seems like people finally started paying this Fox Valley, Chicago native some respect when he dropped his Sun Shower EP with Burns Twins and Bedows, but he’s been making waves long before the collaborative effort.

You’re not going to find a better songwriter out there or an artist so in tune with themselves expressively. If Elton replicates his work ethic from last year, 2018 is his.

https://soundcloud.com/eltonaura/sets/elton-bedows-burns-twins-sun-shower


Femdot., @Femdotdotcom

If I had to put my money on the next Chicago artist with bars to make a splash it would be Femdot.

When you hear him rap, it’s clear he wants to be the best rapper you’ve ever listened to. His relentless effort to perfect his craft seamlessly translates though his music and his passion is imprinted on every bar.

He’s a hidden gem in the city of Wind, but not for long. Check out his latest album The 20/20 Hour here.


Cam Obi, @iamCam

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Even if you’re not familiar with him, you’re sure as hell familiar with his music.

The Chicago producer has worked with heavy hitters like NoName, Saba, Chance, Mick, Vic, Big Sean, J Cole, Isaiah Rashad, and more.

There’s no doubt Obi will have ears waiting when he drops his 2018 debut.

If not for Obi himself, to hear the finished version of the Chance, Alex Wiley, and Mick Jenkins banger “Grown Ass Kid”, which everyone is clamoring to get their hands on.

https://soundcloud.com/dailyhiphopsounds/grownasskid


Cdot Honcho, @CdotHoncho

Who said drill was dead? Honcho raps with confidence, energy, and passion as if it’s the height of the drill era.

His mixtape Takeover, which dropped in December, has already received a positive response and it shows that there is definitely a lane for his content.

His single “Anti” set the streets on fire (they still haven’t cooled down). Make sure Cdot Honcho is a name on your radar in 2018.


Monte Booker, @montebooker

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If you’re like me, you didn’t see the genius of Monte Booker until his joint mini documentary with St. Louis rapper Smino Brown dropped last year.

Booker, who toured Europe last year and who is signed to Soulection Records, is not your textbook underground talent, but has yet to break as a household name.

That will change in 2018. As it’s the year if the producer, this engineer/DJ has the world in his hands. Check out his most recent song “Drunk”.


Valee’, @valee

Photo by Bryan Allen Lamb

Valee’ shocked everyone last year when he came out of nowhere with the hits “Shell” and “Started Off My Day”.

With no one “putting him on,” he hustled by connecting with the right people and putting out the right product.

That can only make you certain that we’ll hear plenty more from him in 2018. Check out his last album VTM: