50 Cent may keep himself embedded in our pop culture dialogue by way of his extremely active social media accounts, however, for all intents and purposes he is a rather private person. Thus, when he revealed his girlfriend to the world in the summer of 2019, it received quite a bit of attention.For good reason, after all, Jamira Haines– better known as Cuban Link across social media and YouTube– is breath-taking. Since walking the red carpet together for the premiere of 50’s popular TV show Power, the couple have hit more than one red carpet– she even joined Fif as he earned his Walk of Fame star– and they’ve become frequent fodder on each other’s social media channels. 

What’s more, she’s got the brains to match the beauty. Haines is reportedly studying to become a lawyer, in between gigs modeling and working on her personal fitness goals. We’ve dedicated this IG Gallery to each of her pursuits, and even Fif makes a brief (trolling) appearance.

Enjoy the Instagram Gallery below.

Brad Barket/Getty Images for STARZ 

Living what she preaches

Late night dip

Late night lingerie, too

50 Cent always on his troll, even IRL 

Celebrating in her birthday suit

Putting in work

On boss time

Ouff

On her way to becoming a lawyer 

Pure Heat

Becoming an authoritative voice isn’t easy. With each individual Twitter account serving as an instrument in the infinite orchestra, sometimes the dissonance can outweigh the discourse. Yet hip-hop is full of leaders, of writers whose livelihood rests on being compelling orators. Especially for those who dare to explore complex themes of societal equality, political status, and interpersonal connection. Doing so without credibility is a fool’s errand, and in a genre where artists continuously develop trust with their fanbase, a misstep can feel like a betrayal.

When OutKast first delivered “The Whole World” on November 27th, 2001, the Atlanta duo had long established themselves as reliable narrators. Those who observed the world as it was, who spoke frankly about issues without sugarcoating nor preaching. On the mic, Big Boi and Andre 3000 exuded wisdom as palpable as any OG figure, letting their vivid imaginations carry listeners through issues that might otherwise prove alienating.

As we’re currently in the midst of witnessing, division runs rampant throughout western society. Tenuous relationships exist between entertainers and consumers, and in a predominantly black space like hip-hop, some conflicted listeners likely struggle to look beyond their prejudices. It’s all to often heard that a rapper is “glorifying violence,” though many of those same rappers are haunted by untreated post-traumatic stress disorder. And yet these critical listeners still return to the music, providing monetary support while holding disdain for the societal issues plaguing the black community. It’s a problem that has been prevalent since the rise of rock and roll. Artists like Chuck Berry and Little Richard helped develop the culture and inspire iconic bands like The Beatles and The Rolling Stones, all while forced to contend with the fallout of a segregated era. The tenuous balance of valuing entertainment while disregarding entirely the entertainer’s well being.

Brigitte Engl/Redferns/Getty Images

It’s no wonder that OutKast opted to portray “The Whole World” as a circus, a concept reflected in the visuals and musicality alike. The imagery is evocative, leaving little to interpretation yet still effective. Andre, donned in the garb of a tragic clown, serves as the main attraction, set upon by the gaze of an entirely white audience. As the song opens, Three Stacks reflects on the painful relationship between fan and rap artist with frank simplicity. “Cause the whole world loves it when you don’t get down, and the whole world loves it when you make that sound,” he sings. “And the whole world loves it when you’re in the news, and the whole world loves it when you sing the blues.” Provided fans are able to retain a safe distance, an artist’s pain is all too easily received as pleasure; it’s the same reason why many are quick to praise a rapper’s darkest work, one created during a time of personal crisis.

Leave it to the enigmatic genius to serve his satire with a smile. In his opening verse, Andre 3000 deftly dances his way through a variety of topics. His vernacular, matched in scope by his imagination and all the more potent for it, make even his battle rap braggadocio sound refined. “Set a date sucker, in battle we can engage,” he spits, one with the bouncy lullaby. “I’ll slice you, wife you, marry you, divorce you, throw the Porsche at you is what I’m forced to do.” There’s something fascinating about Andre’s syntax, manipulating traditional word placement to suit his purpose — yet somehow sounding more eloquent as a result. Though his verse itself isn’t inherently political in nature, Three Stacks doesn’t need to say much to make a point. It’s a testament to his power as an authoritative narrator, where elements like a slightly weary cadence can sell his temperament better than any lyrical description.

Jeffrey Mayer/WireImage/Getty Images 

Given how far Killer Mike has come since first careening onto the scene with his debut album Monster, it’s hard to picture a time where he wasn’t passionately leading the charge in the fight for equal rights. Like Andre, Mike swerves the deeper commentary “The Whole World” is making, instead placing his lyrical prowess at the forefront. Interestingly enough, the complex dynamic between an artist and a politically-and-or-racially resentful fan would be a topic that the Mike of today could easily discuss at length. Here, he’s simply part of the performance, another act in the circus. Given that the rapper spent much of “The Whole World’s” music video in front of the American flag, it’s likely he had no qualms of ruffling patriot feathers. How many current-day Run The Jewels fans would disagree with Mike’s political stances or challenge his philosophies on black excellence? While it may have taken him a while to evolve into the leader he is today, his involvement here indicates that he was always ahead of the curve.

It’s only Big Boi who verses the song into overtly political territory, his opening bars painting a picture of a world in turmoil. As the single was released only a few months after nine-eleven, where tensions with the Middle East were boiling, and George W. Bush was President of the United States, it’s fair to say that Americans were overwhelmed with anxiety. “Wait, back to the enemy of the state, is the Republicans or Democratic candidate?” wonders Big Boi, unable to make the distinction. It’s a familiar song and dance, one that has yet to slow nearly twenty years later. Politicians remain at odds. Hip-hop still stands as the dominant commercial musical genre, though many of the same prejudices and judgments remain for those who craft it.

That’s not to say one must abide by everything a rapper claims in order to appreciate their music. But as “The Whole World” aims to point out, it’s disturbingly easy to pass judgment from the sidelines and dehumanize an artist. Though Big Boi advises he and his groupmate look inward for inspiration, that chorus of dissonant voices can feel overwhelming. So next time you think of resenting Andre for his absence, instead choose empathy and aim to understand why he took a step back. You may love it when he makes those sounds, but is it really worth it if all he’s singing is the blues?

Not much new music was released in the last week as singles and albums were pushed back out of respect for the protestors risking their lives to combat anti-Black racism in the middle of a pandemic. Still, a number of people have been looking for music to entertain them during this historic time. We saw some artists release new protest anthems in support of the Black Lives Matter movement, and others drop their regularly-planned programming. Our staff gathered up our personal favorites from the last several weeks for the new update of the TIDAL Wave playlist.

We start off with a stretch of music that will wake you right up, including Meek Mill's new single "Otherside of America" and select sounds from Run The Jewels, Flatbush Zombies, and Freddie Gibbs. This week's update is filled with RTJ4 tracks, also complemented by a number of selections from FBZ's new album now, more than ever. 

Elsewhere on the tracklist, there are offerings from Gunna, Lil Durk, Sleepy Hallow, Conway, Joell Ortiz and KXNG Crooked, Leon Bridges, Lil Yachty, and more.

Listen to the playlist below and check out our individual picks. Be sure to also sign up for your free trial at TIDAL here.

Alex Zidel (Editorial)

Gunna - DOLLAZ ON MY HEAD (feat. Young Thug)
Lil Durk - 3 Headed Goat (feat. Lil Baby & Polo G)
RMR - I'M NOT OVER YOU
Lil Yachty - Whew' Chile
SAINt JHN - Roses Remix (feat. Future)

Alex Cole (Editorial)

Sleepy Hallow - Don't Panic (feat. Sheff G)
Sleepy Hallow - 6am In NY
Run The Jewels - JU$T (feat. Pharrell Williams & Zack de la Rocha)
Run The Jewels - never look back
Flatbush Zombies - herb

Lynn S (Editorial)

Leon Bridges - Sweeter (feat. Terrace Martin)
DJ Drewski - Water (feat. DreamDoll, Rubi Rose, & Molly Brazy)
Flatbush Zombies - herb
Flatbush Zombies - iamlegend
Flatbush Zombies - dirty elevator music

Cole Blake (Editorial)

Armand Hammer - Frida (feat. Quelle Chris & Fielded)
Armand Hammer - Ramesses II (feat. Earl Sweatshirt, Fielded & Moor Mother)
Armand Hammer - Bitter Cassava (feat. Pink Siifu)
Run The Jewels - JU$T (feat. Pharrell Williams & Zack De La Rocha)
Run The Jewels - never look back

Mitch Findlay (Editorial)

Run The Jewels - holy calamafuck
Run The Jewels - out of sight (feat. 2 Chainz)
Run The Jewels - pulling the pin (feat. Mavis Staples & Josh Homme)
Flatbush Zombies - dirty elevator music
Conway - Front Lines

Paul Pirotta (Sales)

Meek Mill - Otherside Of America
Freddie Gibbs & The Alchemist - 1985
Joell Ortiz & KXNG Crooked - Memorial Day

Mike Rapp (Sales)

Run The Jewels - out of sight (feat. 2 Chainz)
Meek Mill - Otherside Of America
Run The Jewels - JU$T (feat. Pharrell Williams & Zack de la Rocha)

Aron A (Editorial)

Jorja Smith - Rose Rouge
Apollo Brown & Che Noir - '94
Yaya Bey - sida A/ juu rant

—-

It’s been quite awhile since we last came through with an instalment of our artist-breaking series, and a lot has happened since that time. Unbelievable amounts of stuff, really– our last edition happened in July 2019. 2020 barely had a chance to start, and we were hit with the global pandemic that is COVID-19. While the pandemic is not over, we’re now in the midst of an even more important battle, with wide-spread racism and exposing all forms of police brutality. It’s heavy, to say the least.

Nonetheless, we’re hoping to brighten a few people’s day by breaking back our music discovery feature, and showcasing as-of-yet unheard artists for our readers. 

If it’s your first time seeing this feature, here’s a quick breakdown of how it works.

• Every week, or every other week, or maybe every three months every 9 months, each of our staff members submit a song from an artist we’ve never yet (or else, barely ever) posted on HNHH (so get your song into the hands of a staff member, and wow them with your musical prowess) 
• The song does not need to be new, in fact, most of the time, it’s an older record
• This can include music videos
• We listen to all the submissions as a team 
• Eachstaff member votes on their top three favorite submissions out of that week’s batch of submissions 
• We cull the votes, and feature the top 3 on the website, in a nifty little article like this
• We also always user/fan-submitted music as well. We go through all our Soundcloud messages and pick out the best submissions we find to include in our meeting (please send us your most fire submissions, it can be your song or someone else’s).
• When we’re in submission-listening-mode, you will know because we send out a tweet like this. See the tweet or IG post, submit a song.

This week, after a long hiatus, the three most-voted artists are all staff-submitted records. Stay tuned for the next instalment, keep an eye on our socials so you can submit your record.

We’d love to find out from the list below you’d like to hear more of on the site – vote at the bottom to tell us!

Artist: Mere Raj *Staff Submission*

Song: “DND”

Location: Charleston, South Carolina

Sounds: Don Toliver meets Bryson Tiller meets R&B

Discover more music: Mere Raj’s Soundcloud

Posted before: No 

Artist: Nasaan *Staff Submission*

Song: “Ben/Frank”

Location: Detroit

Sounds: Cold story-telling

Discover more music: Nasaan’s Soundcloud

Posted before: Yes

Artist: Chris Elite *Staff Submission*

Song: “Draco” feat. 22gz

Location: Brooklyn, New York

Sounds: New York drill, a la Sheff G

Discover more music: Chris Elite’s Soundcloud

Posted before: No 

“I watch this video and reminise on that krazy am hour of september 13, 2010. I got a visit from Lesane Parish Crooks. Reserch this name.”

There’s a question that often frequents certain rap circles: “what would the rap game be like if Tupac was alive today?” ‘Pac doesn’t necessarily stand at the top of hip-hop’s Mount Rushmore due to his technical prowess or even the charge of his wordplay. He’s the greatest to ever do it because he wasn’t afraid of speaking his mind, and through that, he challenged the listener with timeless gems that resonate even during the most unpredictable moments in life. A pen that undoubtedly influenced generations of rappers that followed, Tupac painted an image of a Black America ravaged by the Reagan administration’s policies and budget cuts. An America that was being silenced and even further marginalized through Reaganomics and tough-on-crime stances that continued to target Black and Brown Americans across the country. That’s a narrative in hip-hop that hasn’t changed mainly because things haven’t changed. In the past few weeks, we’ve witnessed an uprising in America that has led to protests in other countries demanding justice. 

Raymond Boyd/Michael Ochs Archives/Getty Image

The murder of George Floyd isn’t an uncommon story in America. We’ve seen it in the past, most notably with Eric Garner, who died from suffocation at the hands of police in 2014, over allegations of selling loose cigarettes. George Floyd, it was an alleged counterfeit $20 bill. Both deaths shouldn’t have happened, and anyone with a grain of humanity in their soul would agree. But the death of George Floyd has sparked protests across the country calling for imminent change. Change that’s beginning to seem somewhat tangible. Not just within the justice system but in society as a whole. Racism is still rampant and has been, even in the most subtle ways. Nearly 100 years after Black Wall Street was burned to the ground, America’s witnessing some of their “sacred values” that are rooted in racism get burned to the ground as well.

In the midst of a revolutionary uprising, a few people across social media began criticizing artists like Kendrick Lamar for not using his platform to issue a statement or show his solidarity publicly. His music has previously been anthemic for the Black Lives Matter movement. The hook for “Alright,” for example, became a chant during demonstrations against police brutality. This week, Kendrick Lamar’s 2015 opus To Pimp A Butterfly returned back to Billboard 200 chart after seeing 120% increase in sales. “Alright” has soundtracked peaceful protests but as these same peaceful protesters get hit with teargas and rubber bullets, the intro to Kendrick Lamar’s “HiiiPower” truly resonates.

“The sky is falling, the wind is calling/ Stand for something or die in the morning.”

“HiiiPoWer” was initially introduced by Ab-Soul before every other member of TDE at the time began to push the movement as a collective. References to HiiPoWer are scattered throughout the TDE discography but there was a stronger emphasis on the idea in Section.80. Kendrick explained it as a movement that should be treated like a religion of sorts, one that’s meant to bring a sense of enlightenment and elevation to the minds of Generation Y.

“HiiiPoWer is the way we think, the way we live. See it’s known as today that the human race is nothing. No morals. No standards. What we’re about to do is raise the level of expectations. No, you don’t have to have a lot of money. You don’t have to be rich. But you will be rich in mind and spirit. Some say it’s as big as a crew, some say it’s as big as a gang. HiiiPoWer, we stand for it as if it’s as big as a religion.”

“HiiiPoWer” was a key introduction to someone who would become one of the most important artists of our time. 2011 was a year that many considered essential to the rap renaissance. Artists like Drake, Wale, J. Cole, and Kendrick Lamar were on their come-up, but truthfully, no one’s vision was as vivid as Kendrick’s.

‘Pac once said, “I’m not saying I’m gonna rule the world or I’m gonna change the world, but I guarantee you that I will spark the brain that will change the world.” Kendrick Lamar became that mind. “HiiiPoWer” was admittedly inspired by a dream Kendrick had, where ‘Pac visited him to tell him not to allow his message and his memory to die. He didn’t. 

Kendrick Lamar tackles conspiracy theories and oppressive systems, taking notes from prominent Black figures who dedicated, and ultimately lost, their lives for Black liberation. MLK Jr. and Malcolm X had visions that were bigger than themselves or even their immediate geographical community. Even references to Black Panther co-founders Bobby Seale and Huey P. Newton emphasizes the message of imminent change on “HiiiPoWer”, though we’re witnessing it come into fruition nine years later. The reference to Seales, at this point in time, seems to reflect exactly what has gone on in the past two weeks. Bobby Seales was tried as part of the Chicago Eight accused of conspiring to incite riots at the 1968 DNC Convention in Chicago. The riots that ensued in late August 1968 sparked due to police brutality against demonstrators. Police fired teargas into the crowd, beat down demonstrators, and arrested them. Then-mayor Richard J. Deley shut down a protest permit for anti-war demonstrators before deploying 12K police officers, the Illinois National Guard, and Army Forces. Sound familiar?

“Tryna stay above water, that’s why we shun the navy
Pull your guns and play me, let’s set it off
Cause a riot, throw a Molotov
Somebody told me them pirates had got lost
‘Cause we been off them slave ships
Got our own pyramids, write our own hieroglyphs.”

The theme of liberty, especially for the Black community under an oppressive system, runs deep throughout the track. But there are moments when Kendrick admits that his fate could be similar to ‘Pac’s. Or Malcolm’s. Or Martin’s. As a voice of rebellion for a generation, a community of marginalized groups, Kendrick acknowledges that his words carry weight. There’s a long list of activists, Black activists specifically, who have been targeted and have been under surveillance for speaking out against the system. Kendrick invites the world to view his autopsy if ever he’s assassinated for speaking his truth. But even now, in the age of social media, where performative activism is at an all-time high, these community leaders and activists who have been at the forefront of the Black Lives Matter movement organizing and leading protests are being heavily surveilled under the FBI’s concern for “Black extremism.” Just last week, The Verge published an article on protecting digital security ahead of protests, to block authority from receiving information that would tip off the police, or allow them to trace you. 

Roger Kisby/Getty Images

What emboldens this is J. Cole’s production on the song. Cole enhances the feeling of paranoia with synths that sound phone-tapped blended with dial-up Internet tones and morse code. The drums kick with a powerful punch and a Just Blaze touch. Distorted guitars clash through the beat like an interception on a radio signal, and Kendrick’s leading the takeover. 

2020 will mark 24 years since Tupac was shot and killed in Las Vegas. He was only 25-years-old at the time. He changed the world in his own way, though he never lived to witness it with his own eyes. Even as injustices continue to take place, the power system at large is beginning to dwindle at the hands of the people, slowly but surely. It’s long-deserved, and a battle that has been passed on from generation to generation. The level of expectation, as Kendrick Lamar explained on the “Cut You Off” outro, has been raised to a point where rebellion can be the only solution to change. 

“All of society is doing is leeching off the ghetto. They use the ghetto for their pain. For their sorrow. For their culture. For their music. For their happiness. For their movies to talk about Boyz In The Hood,” ‘Pac said in the same interview referenced earlier. “I don’t want to be 50-years-old at a BET ‘We Shall Overcome’ achievement awards, you know what I’m sayin’? I want when they see me, they know that everyday that I’m breathin’, it’s for us to go farther.”

“HiiiPoWer” has been overshadowed in Kendrick’s catalog by the more commercially appealing records, understandably. His core fans, though, will always hold the record in high regards. Some were introduced to Kendrick with this single while others recognized a moment as his official arrival to the realm of rap’s elite. That same summer Section.80 was released, Snoop Dogg, Dr. Dre, and The Game officially passed the torch to Kendrick as the new reigning King of the West Coast. Surely, ‘Pac would’ve been alongside all three rappers if he had lived to see the day. 

“I watch this video and reminise on that krazy am hour of september 13, 2010. I got a visit from Lesane Parish Crooks. Reserch this name.”

There’s a question that often frequents certain rap circles: “what would the rap game be like if Tupac was alive today?” ‘Pac doesn’t necessarily stand at the top of hip-hop’s Mount Rushmore due to his technical prowess or even the charge of his wordplay. He’s the greatest to ever do it because he wasn’t afraid of speaking his mind, and through that, he challenged the listener with timeless gems that resonate even during the most unpredictable moments in life. A pen that undoubtedly influenced generations of rappers that followed, Tupac painted an image of a Black America ravaged by the Reagan administration’s policies and budget cuts. An America that was being silenced and even further marginalized through Reaganomics and tough-on-crime stances that continued to target Black and Brown Americans across the country. That’s a narrative in hip-hop that hasn’t changed mainly because things haven’t changed. In the past few weeks, we’ve witnessed an uprising in America that has led to protests in other countries demanding justice. 

Raymond Boyd/Michael Ochs Archives/Getty Image

The murder of George Floyd isn’t an uncommon story in America. We’ve seen it in the past, most notably with Eric Garner, who died from suffocation at the hands of police in 2014, over allegations of selling loose cigarettes. George Floyd, it was an alleged counterfeit $20 bill. Both deaths shouldn’t have happened, and anyone with a grain of humanity in their soul would agree. But the death of George Floyd has sparked protests across the country calling for imminent change. Change that’s beginning to seem somewhat tangible. Not just within the justice system but in society as a whole. Racism is still rampant and has been, even in the most subtle ways. Nearly 100 years after Black Wall Street was burned to the ground, America’s witnessing some of their “sacred values” that are rooted in racism get burned to the ground as well.

In the midst of a revolutionary uprising, a few people across social media began criticizing artists like Kendrick Lamar for not using his platform to issue a statement or show his solidarity publicly. His music has previously been anthemic for the Black Lives Matter movement. The hook for “Alright,” for example, became a chant during demonstrations against police brutality. This week, Kendrick Lamar’s 2015 opus To Pimp A Butterfly returned back to Billboard 200 chart after seeing 120% increase in sales. “Alright” has soundtracked peaceful protests but as these same peaceful protesters get hit with teargas and rubber bullets, the intro to Kendrick Lamar’s “HiiiPower” truly resonates.

“The sky is falling, the wind is calling/ Stand for something or die in the morning.”

“HiiiPoWer” was initially introduced by Ab-Soul before every other member of TDE at the time began to push the movement as a collective. References to HiiPoWer are scattered throughout the TDE discography but there was a stronger emphasis on the idea in Section.80. Kendrick explained it as a movement that should be treated like a religion of sorts, one that’s meant to bring a sense of enlightenment and elevation to the minds of Generation Y.

“HiiiPoWer is the way we think, the way we live. See it’s known as today that the human race is nothing. No morals. No standards. What we’re about to do is raise the level of expectations. No, you don’t have to have a lot of money. You don’t have to be rich. But you will be rich in mind and spirit. Some say it’s as big as a crew, some say it’s as big as a gang. HiiiPoWer, we stand for it as if it’s as big as a religion.”

“HiiiPoWer” was a key introduction to someone who would become one of the most important artists of our time. 2011 was a year that many considered essential to the rap renaissance. Artists like Drake, Wale, J. Cole, and Kendrick Lamar were on their come-up, but truthfully, no one’s vision was as vivid as Kendrick’s.

‘Pac once said, “I’m not saying I’m gonna rule the world or I’m gonna change the world, but I guarantee you that I will spark the brain that will change the world.” Kendrick Lamar became that mind. “HiiiPoWer” was admittedly inspired by a dream Kendrick had, where ‘Pac visited him to tell him not to allow his message and his memory to die. He didn’t. 

Kendrick Lamar tackles conspiracy theories and oppressive systems, taking notes from prominent Black figures who dedicated, and ultimately lost, their lives for Black liberation. MLK Jr. and Malcolm X had visions that were bigger than themselves or even their immediate geographical community. Even references to Black Panther co-founders Bobby Seale and Huey P. Newton emphasizes the message of imminent change on “HiiiPoWer”, though we’re witnessing it come into fruition nine years later. The reference to Seales, at this point in time, seems to reflect exactly what has gone on in the past two weeks. Bobby Seales was tried as part of the Chicago Eight accused of conspiring to incite riots at the 1968 DNC Convention in Chicago. The riots that ensued in late August 1968 sparked due to police brutality against demonstrators. Police fired teargas into the crowd, beat down demonstrators, and arrested them. Then-mayor Richard J. Deley shut down a protest permit for anti-war demonstrators before deploying 12K police officers, the Illinois National Guard, and Army Forces. Sound familiar?

“Tryna stay above water, that’s why we shun the navy
Pull your guns and play me, let’s set it off
Cause a riot, throw a Molotov
Somebody told me them pirates had got lost
‘Cause we been off them slave ships
Got our own pyramids, write our own hieroglyphs.”

The theme of liberty, especially for the Black community under an oppressive system, runs deep throughout the track. But there are moments when Kendrick admits that his fate could be similar to ‘Pac’s. Or Malcolm’s. Or Martin’s. As a voice of rebellion for a generation, a community of marginalized groups, Kendrick acknowledges that his words carry weight. There’s a long list of activists, Black activists specifically, who have been targeted and have been under surveillance for speaking out against the system. Kendrick invites the world to view his autopsy if ever he’s assassinated for speaking his truth. But even now, in the age of social media, where performative activism is at an all-time high, these community leaders and activists who have been at the forefront of the Black Lives Matter movement organizing and leading protests are being heavily surveilled under the FBI’s concern for “Black extremism.” Just last week, The Verge published an article on protecting digital security ahead of protests, to block authority from receiving information that would tip off the police, or allow them to trace you. 

Roger Kisby/Getty Images

What emboldens this is J. Cole’s production on the song. Cole enhances the feeling of paranoia with synths that sound phone-tapped blended with dial-up Internet tones and morse code. The drums kick with a powerful punch and a Just Blaze touch. Distorted guitars clash through the beat like an interception on a radio signal, and Kendrick’s leading the takeover. 

2020 will mark 24 years since Tupac was shot and killed in Las Vegas. He was only 25-years-old at the time. He changed the world in his own way, though he never lived to witness it with his own eyes. Even as injustices continue to take place, the power system at large is beginning to dwindle at the hands of the people, slowly but surely. It’s long-deserved, and a battle that has been passed on from generation to generation. The level of expectation, as Kendrick Lamar explained on the “Cut You Off” outro, has been raised to a point where rebellion can be the only solution to change. 

“All of society is doing is leeching off the ghetto. They use the ghetto for their pain. For their sorrow. For their culture. For their music. For their happiness. For their movies to talk about Boyz In The Hood,” ‘Pac said in the same interview referenced earlier. “I don’t want to be 50-years-old at a BET ‘We Shall Overcome’ achievement awards, you know what I’m sayin’? I want when they see me, they know that everyday that I’m breathin’, it’s for us to go farther.”

“HiiiPoWer” has been overshadowed in Kendrick’s catalog by the more commercially appealing records, understandably. His core fans, though, will always hold the record in high regards. Some were introduced to Kendrick with this single while others recognized a moment as his official arrival to the realm of rap’s elite. That same summer Section.80 was released, Snoop Dogg, Dr. Dre, and The Game officially passed the torch to Kendrick as the new reigning King of the West Coast. Surely, ‘Pac would’ve been alongside all three rappers if he had lived to see the day. 

It’s rare that a song’s power only intensifies with time. Though nostalgia can be a powerful means of preserving replay value, more often than not a song stands as a representation of a moment in time. A reflection of the social climate, of the musical trends prevalent. When N.W.A. first released “Fuck Tha Police” back in August of 1988, over thirty years ago, it’s uncertain whether Ice Cube, Dr. Dre, Eazy-E, MC Ren, and DJ Yella had any idea what they had created. A song that has continued to resonate with people of all ages, unified by a shared disdain for abusive police and the systems they represent.

Following the death of George Floyd, murdered by the disgraced police officer Derek Chauvin, the protests that sparked in defiance looked to the past for its theme music. With thousands placed in direct confrontation with police, in many cases forced to suffer abuse with impunity, the need for a rallying cry has reached an apex. “Fuck Tha Police” has found new life as a modern-day anthem, one whose message has endured for decades. In its simplest form, a stand against authority figures, especially those who succumb to the temptations of tyranny. Yet amidst the simple bluntness of the titular curse lies a long and complex history. One chock-full of racial prejudices borne through a lack of empathy and understanding. Satisfying though it may be to blast “Fuck Tha Police” in a cop’s vicinity, the deeper meanings should not be diluted.

Al Pereira/Michael Ochs Archives/Getty Images

The story of its creation was sold to many by the 2015 N.W.A biopic Straight Outta Compton, which depicted our five heroes being racially profiled outside of a recording studio and roughed up for no other reason beyond their skin color. In reality, a revelation on HBO’s The Defiant Ones confirmed that “Fuck Tha Police” was originally declined by Dr. Dre, after Ice Cube presented the young producer with the incendiary lyrics. It was only after Eazy-E and Dre engaged in a joyride on the Los Angeles freeway, possessed by a desire to fire paintballs into passing cars. “Fifteen minutes after that, the police is behind us,” reflects Dre, older and wiser. “They pull us out of the car with guns drawn, lay us face down on the freeway.”

In the same clip, Cube admits that Dre’s frequent trips to jail were the catalyst for “Fuck Tha Police.” As he explains, Dre’s company tended to mean that the parties were in full swing; in Cube’s eyes, the Doc’s recurring weekend slammer trips were the ultimate buzzkill. “I was mad that all the fun stopped, and Dre had to go to jail till Monday,” smiles Cube. “So I wrote ‘Fuck Tha Police.’” A far cry from the narrative put forth in the film, but authorial intent doesn’t necessarily matter when the product is ushered into the world. The minute it was released, “Fuck Tha Police” provided a voice to everybody who ever experienced police brutality. Especially when Cube’s opening verse painted such a vivid picture, one that could be juxtaposed with any given protest montage of today with no shortage of relevancy.

Albert L. Ortega/Getty Images

It’s become all too familiar a sight. A Black person harassed, assaulted, and in the bleakest cases, murdered because a police officer claims to have feared for their safety. We’ve seen the footage. Traffic stops turned fatal, as was the case for Philando Castile. A fatal chokehold placed on George Floyd over a counterfeit bill. Instances where the consequences of an officer’s actions went unfeared, the system backing them designed as an impenetrable safety net. For Ice Cube, frustrated by the seemingly unconquerable presence of the police, rebellion came through music. By belittling the organization that had disrupted his daily life. Provocative in its blunt title and direct message, it didn’t take long before “Fuck Tha Police” caught the ire of law enforcement across the country. For those who self-aggrandized themselves as untouchable, the hostile bars of Compton’s finest served as the ultimate undermining. And given how infectiously catchy the track was, its popularity ensured that “Fuck Tha Police” quickly achieved anthem status. And given how many different walks of life have experienced negative interactions with aggressive police officers — across all generations — NWA’s controversial creation continues to carry the same weight today.

Though the track’s longevity speaks to the brilliance of its creators, it also reveals a darker truth on the other side of the coin. The fact that the animosity between the civilian population and the police sworn to serve and protect still exists is a disturbing reality. It also highlights how deeply entrenched within the system that racism really is. “Police think they have the authority to kill a minority,” rapped Ice Cube, in his instantly recognizable opening verse. Sadly, that truth has revealed itself like clockwork. Only this time, it seems as if the people have had enough. The streets have since come alive in protest; there isn’t a person in the entire United States that hasn’t come to know the name of George Floyd. Though some police have attempted to combat the uprising with force, they’ve quickly realized that heightened publicity can be a devastating counter to their all-too-often unprovoked bouts of violence. Excessive force will no longer be judged by fellow officers, but the court of public opinion — one that is, for what feels like the first time, standing largely united. All the while, N.W.A’s “Fuck Tha Police” continues to capture the zeitgeist once again, gaining renewed purpose as a protest anthem for a new generation. 

The road to Hollywood hasn’t been an easy journey for Rome Flynn. Prior to winning an Emmy for his role in The Bold & The Beautiful and before he starred in three seasons of How to Get Away with Murder, the Chicago native periodically lived in shelters with his mother and siblings when he was a child. As he got older, he learned from his mother’s tenacity, watching as she built a life herself and her eight children. Rome moved to Los Angeles on a whim and a prayer, working odd jobs until he landed his first major role in 2014: Drumline: A New Beat. Since that time, the past six years have seemed like a whirlwind as he’s shared acting spaces with Viola Davis, Cicely Tyson, Richard Roundtree, Tyler Perry, Loretta Devine, Tia Mowry-Hardrict, and many other noteworthy actors. Yet, not many people know that music is Rome’s first love, and while the budding actor is returning to a space that’s familiar to him, it’s a side of himself that he has yet to share with the world.

Recently, Rome Flynn released his single “Keep Me In Mind,” a sultry, sexy, side piece R&B jam that the musician has admitted is about his good friend Kehlani. The track is the second song we’ve received from Rome, as it follows “Brand New,” his first release last Fall. We spoke with Rome last October about “Brand New,” so it was only fitting that we follow up with the multihyphenated performer to discuss his transition from acting to the music industry. He described this stage of his journey as a “freeing experience” as he shared that he’s also “in a really good creative space.” Yet, there are multiple levels of vulnerability in choosing to walk this path of creativity, and as he presents this side of himself that people aren’t used to, he forges ahead into unchartered territory.

“I think that artists that do music and grow their fanbase from people that [have] grown accustomed to seeing them as artists, it’s a different kind of vulnerability,” said Rome. “For me, I’m really putting myself in a position where I’m allowing people to really judge who I am personally after kind of navigating them to judge me through the characters that I’ve played.” According to the actor-singer, it’s not necessarily a bad thing. “When I come and try to reintroduce myself to people [outside of my roles on televison], there’s a little bit of pushback just because change is always scary for people. And anything that doesn’t align with who they think you are, it doesn’t feel natural to them. It feels forced or it feels fake maybe or something to do. So, it’s a road that I’ve been having to travel…It’s a different vulnerable space.”

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“Brand New” and “Keep My In Mind” are but two pieces to a grander puzzle as Rome has been laboriously crafting his debut EP. When he spoke with us last year, Rome was clear that the project would be titled Energy, but things seem to have shifted. With growth comes movement, and Rome has put the idea of “energy” on the shelf for the time being. “As I was writing most of these records for this EP that will have probably six or seven songs on it, they’re in line with the vein I want to be in with [‘Keep Me In Mind’], so I don’t think ‘energy’ is something that—that’s something I may revisit another time but, yeah,” Rome said. “With art, it just evolves and I’m just allowing myself to grow. If I do grow in a different direction, I have to allow myself to do that.”

The COVID-19 pandemic has forced many artists to press the pause button their plans as studios have closed, social distancing keeps people away from one another, and tours have canceled. Rome’s untitled EP, an album that’s “geared toward love,” is still slated for release this year, but things may take a bit longer to come together than he expected. Rome holds his cards close to the chest when sharing details about the project—a record the self-proclaimed “hopeless romantic” describes as “Trap-R&B”—but he did let us know that he’s looking at having “maybe two or three” features on the record, including a collaboration with Wale.

“I just spoke to him a few days ago about doing something with him,” Rome shared. “I’d love to do something with Bia. We’ve been talking about it.” His music tastes are clearly influenced by our favorite classic oldies as Rome told us he has Soul icons like Marvin Gaye and Teddy Pendergrass on rotation, but that doesn’t mean that this current generation of artists doesn’t move him. “I’ve been listening to Tory Lanez. I think that he has such a unique, kind of this Trap-Soul thing that’s similar to why I listen to Bryson Tiller a lot,” Rome admitted. “I listen to Chris Brown’s album a lot, Indigo. I like Eric Bellinger. He has his own kinda style. Erykah Badu. Those are a few R&B people. Khalid, too.”

While Rome Flynn’s looks have set him apart in Hollywood, the 28-year-old has often been pigeonholed as a vacant-minded pretty boy. If you take a quick stroll through his social media pages, you’ll find thousands of messages from people who have defined him strictly by his outer appearance—but his “intellectual property,” as he calls it, is a personal quality that Rome would rather be exalted over any physical characteristic. His life experiences have made him a person who sees far beyond the surface and he hopes that his audience will take the time to do the same as he exposes inner parts of himself rarely seen by the public. It’s clear that his river runs deep, but the assumption of superficiality plagues the rising star.

“I think that a lot of times people just see me for my photos and they only see me as some sex symbol or something like that. I never asked for any of that. It just kind of happened,” he said. “And because of that perception of people seeing the amount of attention that women give me or whoever, they have this idea that I believe it or I buy into it. But really, when people give me compliments on how I look, I frankly don’t take them with much credibility.” He added, “I’d rather be [noticed] for the work that I have put in, for my career, and where I came from. Those kinds of things. I think people think I’m pretty shallow and I’m actually the exact opposite. I probably think deeper into things than I should.”

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Regardless of how he hopes people will perceive him aside from his exterior, Rome understands that when it comes to being in the public eye, it’s impossible to control the minds of the masses. “Whether or not people love you or hate you or like your music or not, your job is to always just try to be true to yourself and allow those other things to weed themselves out,” he told us. It’s a bit of advice he’s received from his fellow artists as he moves from portraying Gabriel Maddox on HTGAWM into hopefully becoming the next R&B star. 

“I had a conversation with Kehlani about how she navigates being an artist. She’s one of very few artists who are just out in the open with everything and it’s a really vulnerable space, but she kind of elaborates it to being a freeing place to be,” Rome continued. “I can see how that can be. Having a conversation with her and recently having a conversation with Sevyn about her journey, too… Her kind of perception on that is being true to yourself. People are going to hate you or love you regardless, so as long as you’re happy with what you’re doing, that’s really all you really have control over.”

While fans await the Spanish version of “Keep Me In Mind,” watch the Riley Robbins-directed music video for Rome Flynn’s latest single below.

This week, while I was discussing different Black revolutionary texts with a friend in the midst of socio-political upheaval, she referenced an incredibly powerful Audre Lorde essay: “The master’s tools will never dismantle the master’s house,” (which you can read here). In the essay, Lorde explains that to bring about real, systemic change, we cannot work within the same racist institutions and systems built on these principals. As protests erupted in all 50 states this past weekend, and as celebrities chimed in on the dialogue, I think the Black community needs to be reminded of something. 

With the amount of resistance being faced by Black Americans as they attempt to disrupt oppressive systems in the country, one would wonder what makes dismantling white supremacy so controversial. In this piece, I will explain why the Black community needs to let go of respectability politics to usher in a new era of Black liberation. 

Martin Luther King Jr.’s legacy has long been misappropriated as a tool for respectability politics: the idea that marginalized groups need to behave in a ‘respectable way’ in order to receive better treatment from the group in power. This means that Black people need to talk right, act right, and dress right in order to avoid maltreatment from the white ruling class– ‘right’ meaning as closely aligned to whiteness as possible. Respectability politics are best illustrated when Black boys, or men, get murdered by law enforcement and people attempt to justify the killing by bringing up the way they dress, or maybe a history of smoking weed. The justification is that because this Black boy had on a hoodie and sagging pants, and because this Black boy smelled like weed, he therefore deserved it. Not all Black boys wear hoodies and sag their pants, and not all Black boys smoke weed, however, the point is, Black boys are policed as if these things equate to them being a criminal. George Zimmerman described Trayvon Martin as wearing a hoodie the night he killed the unarmed teenager, and claimed self-defense in fear for his life. The judge in the case also allowed evidence of Martin’s marijuana use to be used in the case, although this had absolutely nothing to do with Martin’s murder. 

AUGUST 1963 – Dr. Martin Luther King Jr. addresses a crowd at the March On Washington D.C – CNP/Getty Images

The idea of respectability politics is that, if Black people act and conduct themselves in a “proper manner,” they can avoid being subjected to white violence. They can avoid being lynched, they can avoid being murdered by law enforcement, and black women, specifically, can avoid disproportionately dying in childbirth due to medical racism. 

The appeal of respectability politics is understandable. There’s a desire to disarm and dismantle harmful stereotypes by instead exposing people to counter-stereotypic examples. If Black people are stereotyped as “poor,” “lazy,” and “thugs,” then exposing people to college-educated Black scholars or the Black elite who are actively disproving these stereotypes is rational. However, we need to finally recognize that respectability politics is nothing more than a coping mechanism that places the burden of change on marginalized communities. It also is not the answer in the fight for equality, systemic racism cannot be combated with “proper” behavior. Dr. King was still assassinated, regardless of how “respectable” he was. 

1963: civil rights leaders, including Martin Luther King, Jr., protest with signs as they march on D.C. – Buyenlarge/Getty Images 

Respectability politics has become so deeply internalized in the Black community that we’ve convinced ourselves we can avoid white hate by simply not acting in a way they would deem deplorable. As rapper Noname said, white supremacy is masterful because of the number of tools it employs for different oppressive systems. Respectability politics is no different. Our celebrities and Black elite are often agents of white supremacy by pushing the narrative of respectability politics, believing that members of the community can earn respect from white America by simply “acting right.”

Last week, Shameik Moore offered a thread to the black community on how to best “avoid” being killed by the police. Somehow, Shameik rationalized that we must work within our community to get the white ruling class to stop killing our people. “I refuse to have a slave mentality,” He said. “I don’t not fear for my life because I know how to carry myself in tuff situations.” Last Saturday, two Atlanta college students, Messiah Young and Taniyah Pilgrim, were surrounded by six officers who tased them and dragged them out of their car as they attempted to leave a protest after curfew. Young sustained a fractured arm and 24 stitches when he was pulled from the car. Excessive force was still used against Young and Pilgrim by law enforcement, despite their status as being college-educated. With the power of education, these students certainly do not have a “slave mentality,” yet were still brutalized by law enforcement.

MAY 1963 – A water cannon is used on Black children and teens, during a protest against segregation, organized by Martin Luther King Jr. and Reverend Fred Shuttlesworth, in Birmingham, Alabama – Frank Rockstroh/Michael Ochs Archives/Getty Images

Lil Wayne argued that when speaking about police brutality, you need to get specific. You can’t blame all white people or all cops. Wayne said, “And if we want to place the blame on anybody, it should be ourselves for not doing more than what we think we’re doing.” To Wayne, it’s solely the black community’s responsibility to do more, in order to avoid potential violent run-ins with law enforcement. Wayne does not believe there is a systemic problem in the criminal justice system, despite UN Human Rights appointed experts calling for the U.S. to reform their criminal justice system which has roots in slavery. 

MAY 1963 – A Black woman fights with policemen during a protest against segregation in Birmingham, Alabama – Michael Ochs Archives/Getty Images

Killer Mike who comes from a family of police officers, pleaded with Atlanta citizens at a recent press conference, as they ravaged through their city to “stop burning down their own homes.” He said that now is not the time to riot, but instead to plan and organize, to vote for new officials, and to ensure the police officers involved in George Floyd’s murder are prosecuted. Prosecuting the officers involved will do little for systemic change in an institution founded on racism. The U.S. Drug Enforcement Agency (DEA) has recently been granted permission to investigate people protesting George Floyd’s death. Now, what does the DEA have to do with socio-political upheaval? Absolutely nothing.

“Drug enforcement” has long been used as a euphemism for racial profiling. The fact that the DEA is involved at all–the same government body that waged the War on Drugs which has had devastating long term impacts on the Black community– illustrates America’s institutional racism perfectly. Even with reform within the local criminal justice systems, there’s still a larger change within federal law enforcement that needs to happen in order to fully eradicate systemic oppression.

What all of these prominent figures in Black culture fail to realize is that white supremacy will not and cannot be dismantled with respectability politics. This narrative of respectability politics is dangerous. It does nothing to tackle the actual issue of white supremacy. Black people should not have to earn respect to be treated humanely. Black people should not have to conduct themselves in a specific manner to avoid being murdered at the hands of law enforcement. Respectability politics will not dismantle 200-year-old systems of white supremacy deeply entrenched in the very institution that is meant to protect us. If we attempt to use the same systems created to oppress us to achieve change, none of our efforts will be longstanding. 

The blueprint for law enforcement in the United States originated from slave patrols in the nineteenth century. These slave patrols had three main priorities: “(1) to chase down, apprehend, and return to their owners, runaway slaves; (2) to provide a form of organized terror to deter slave revolts; and, (3) to maintain a form of discipline for slave-workers who were subject to summary justice, outside the law.” This organized terror was considered a civic duty, to subdue and oppress African Americans in the South as much as possible. Slave patrols also enforced curfews and worked to prevent any sort of organized resistance. Now, 200 years later, as American law enforcement patrol through American cities aggressively attempting to subdue protestors and enforce curfews, one would wonder what has truly changed since the era of slave patrols. The whole system of American policing was built on principles of white supremacy and it is past the point of reforming, simply prosecuting officers involved in George Floyd and Breonna Taylor’s murder is not enough. The master’s tools will never dismantle the master’s house.

1831: Slaves rebelling in Virginia during the revolt led by Nat Turner – MPI/Getty Images

Even now, as protests across the country turn into riots, respectability politics still echoes in many criticisms of protestors. A particular comment I came across regarding the rioting and looting in Minneapolis that ensued last week really struck me with the level of naivety and flawed thinking: “They were taking us serious before y’all started robbing Target.” Not only is this untrue, but it also places unrealistic expectations on Black rage. White people can trash a city and riot for no reason other than their sports team losing a game, which is precisely what happened in 2018 when the Philadelphia Eagles defeated the New England Patriots in the Super Bowl LII. Patriots fans in Philadelphia began to flip cars and light trash cans on fire in the streets. This happened again after the 2016 World Series, and again after the 2014 World Series. Yet, somehow, Black anger from centuries of systemic racism is inappropriate. 

To the Black community, it is time to let go of respectability politics. As long as white supremacy persists, we will never completely earn that “respect,” no matter how close we assimilate to whiteness. The media paints protestors as violent and senseless rioters and looters with no purpose, but the truth is, Black people are fed up. As Malcolm X once said, “If you’re not careful the newspapers will have you hating the oppressed and loving the people who are doing the oppressing.” Black people have tried peaceful protesting. We have tried kneeling. We have tried raising awareness. We have tried respectability politics. And yet, they still keep killing us. 

MAY 2020 – Police remove people from a vehicle during the George Floyd protest in Minneapolis, Minnesota – Scott Olson/Getty Images

Unfortunately, you can’t fight tear gas with roses and eucalyptus. You can’t and shouldn’t have to be peaceful in reaction to 200 years of white violence. As the president hides away in a bunker ready to wage war against his citizens, even he cannot deny that the revolution is upon us. And it is not meant to be pretty. It is time to dismantle the system.

I leave you with some Black liberation texts to explore if you want to understand how to achieve full liberation. New Reader has provided a collection of texts completely free of charge by prominent race scholars like Audre Lorde, bell hooks, James Baldwin, and Huey P. Newton. Here is the link. The answers are in the text.

This was not an ordinary week. We won't pretend as though it was. There is a revolution happening outside and, although we would love to solely focus on music and the regular hip-hop news, that's not entirely appropriate right now.

We have made an effort across our editorial staff to bring you news from the protests in addition to some hip-hop news. This week, labels and artists decided to push back their releases and, although there was still some new music released today, it was to a much lesser degree than what was expected.

Every week, we update our TIDAL-exclusive TIDAL Wave playlist with the songs that our staff has been feeling the hardest. If you've been turning to music for a temporary distraction from the world that surrounds us, check out the updates we've made this week.

We start off with one of the stand-outs from Lil Wayne's brand new Funeral deluxe edition before bringing you the fire "T.D." freestyle from Lil Yachty's new album with Tierra Whack, A$AP Rocky, and Tyler, The Creator. Next up on the docket is Conway's "Front Lines" effort before Freddie Gibbs and The Alchemist take over.

We've also got new cuts from G Herbo, Kevin Gates, SAINt JHN and Future, RMR, ROSALÍA and Travis Scott, 6LACK, Aminé, and more. Check out our individual contributions below and sign up for a TIDAL trial here.

Alex Zidel (Editorial)

Lil Yachty - Whew' Chile
Lil Yachty & Tierra Whack - T.D. (feat. A$AP Rocky & Tyler, The Creator)
Slimelife Shawty - Street N**** Dream (feat. Rylo Rodriguez & DT)
Gunna - DOLLAZ ON MY HEAD (feat. Young Thug)
Juice WRLD & Trippie Redd - Tell Me U Luv Me

Alex Cole (Editorial)

Lil Yachty & Lil Keed - Range Rover Sports Truck
RMR - I'm Not Over You
G Herbo - Trenches
Ace Hood - Facts
GASHI - Paranoid

Mitch Findlay (Editorial)

Lil Yachty & Tierra Whack - T.D. (feat. A$AP Rocky & Tyler, The Creator)
Lil Wayne - Russian Roulette (feat. Benny The Butcher & Conway)
Conway - Front Lines
Joell Ortiz & KXNG Crooked - Get Ya Money
Freddie Gibbs & The Alchemist - Frank Lucas (feat. Benny The Butcher)

Erika Marie (Editorial)

Lil Wayne - Russian Roulette (feat. Benny The Butcher & Conway)
Freddie Gibbs & The Alchemist - Frank Lucas (feat. Benny The Butcher)
Lil Wayne - Help (feat. Tory Lanez)
Kamaiyah - Extravagant
The LOX - Gave It To ‘Em

Cole Blake (Editorial)

JPEGMAFIA - CUTIE PIE!
Freddie Gibbs & The Alchemist - Something to Rap About (feat. Tyler, The Creator)
Freddie Gibbs & The Alchemist - Frank Lucas (feat. Benny The Butcher)
Lucki - Nigo
Conway - Front Lines

Lynn S (Editorial)

ROSALÍA & Travis Scott - TKN
6LACK - ATL Freestyle
Lucky Daye - Shoulda (feat. Babyface)
Aminé - Riri

Paul Pirotta (Sales)

Lil Wayne - Russian Roulette (feat. Benny The Butcher & Conway)
SAINt JHN - Roses Remix (feat. Future)
Freddie Gibbs & The Alchemist - Scottie Beam (feat. Rick Ross)

Aron A (Editorial)

Freddie Gibbs & The Alchemist - God Is Perfect
Freddie Gibbs & The Alchemist - Scottie Beam (feat. Rick Ross)
Freddie Gibbs & The Alchemist - Skinny Suge
Kevin Gates - Grandmotha Grave

Rose Lilah (Editorial)

SAINt JHN - Roses Remix (feat. Future)
Gunna - DO BETTER
Gunna - I’M ON SOME
Lucky Daye - Shoulda (feat. Babyface)