Mixtape Magazine Fall 17 by dk.feeley

ISSUE IV

FALL 2017 SYRACUSE, NY

Fall 2017

Mixtape Magazine Edition IV Fall 2017 Editor in Chief: Joanna Agwanda Executive Editor: Regina Cho Executive Designer: Darcy Feeley Photo Executive: Dina Ben-Nissan Fashion Director: Yalexly Perez Community Engagement: Kemet High Secretary: Destinee Andrews Multimedia Director: Jalisa Arnold Fiscal Agent: Kalvin Peary Social Media Chair: Maia Wilson Writers Joel Berakah, Sydney Bufford, Benjamin Cannon, Gabrielle Coslett, Jonathan Chau, Regina Cho, Taylor Epps, Arena JimĂŠnez, Josiah Kebemba, Kaya Pope, Meilin Quinn, Jordan Rose, Punya Sidhu, Dante Scott, Nadia Suleman, Jack Taylor, Kenneth Wilson, Larry Mikanga, Brendan Ryan Designers Darcy Feeley, Yanis Konate, Rajon Enoch, Megan Forbes, Jenna Wengle, Erica Jules, Aru Banks, Angela Ricciardi, Liz Coulbourn Photographers: Dina Ben-Nissan, Taylore Ratsep, Arthur Chen, Vi Pham, Akeem Lovell, Jalisa Arnold Editors: Kyliah Almeida, Regina Cho, Arena JimĂŠnez, Cydney Lee, Trey Jennings, Maia Wilson Assitant Stylists: Jonathan Chao, Chloe Martin, Maya Harwell, Ariana Deng, Destinii Donawa, Meilin Quinn, Punya Sidhu , Samantha Brown , Tiara Logan @mixtapemag_su

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8 10 album reviews loving hip-hop as a 2000’s kid 14 17 dick appointment playlist mental health + hip-hop 18 20 this shit is global now battle of the record labels 22 29 dick appointment playlist pussy is power 30 44 chinese culture in hip-hop boy’s haircare 48 52 student spotlights rap groups are back in style 60 62 top ten most iconic album covers sex drugs n’ hip-hop 66 68 r&b will never die uu diss 70 71 personality test female artists on the come up 72 mixxy madness

Fall 2017

Why are women still not given the credit they deserve? I’m not just talking about the Hip-Hop industry but in general. The only reason I can possibly think of is that people still believe in the prehistoric inaccurate view that women are inferior to men, and it’s alarming. I mean yes, women bear the children and are built smaller than men but what does that have to do with intelligence or ability? What does it have to do with rapping? Not a damn thing. Male dominated industries require an unfair amount of convincing to take a chance on a female. It’s especially bad in entertainment industries where women are constantly taken advantage of sexaully because… they’re women. We have to deal with lack of opportunity, unequal pay and sexual harassment while we are already better than the next man and the one after him. It’s even harder when you are a black women. Now that there is an uphill battle due to the dumbest reasons. Fortunately, we see success is possible by looking at the ladies who made it and making it. Women such as MC Lyte and Ricco Nasty serve as reminders of how dope, talented, beautifully unique and capable women are. Even in the God forsaken Hip-Hop music industry. Being a woman, a black women, isn’t something I would change regardless of the hardships. There’s value in women hood that is special, strong and comforting; to not recognize and appreciate it is a shame. Don’t let it be you. Support your sisters.

Joanna Editor in Chief

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How many rules am I to break before you understand / That your double standards don’t mean shit to me? / I know exactly what you say when I turn and walk away / But that’s okay cause I don’t let it get to me Salt-N-Pepa, None of Your Business

Fall 2017

Dina Ben-Nissan aka. Lil D Photo Executive

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Yalexly Perez aka. ylxly Fashion Director

Kalvin Peary aka. Uncle Kal Fiscal Agent

Kemet High aka. K High Community Engagement

Regina Cho aka. Regi Not-Cho-Bitch Executive Editor

Maia Wilson aka. Maijo Social Media Chair

Jalisa Arnold aka. Soul Tha Kid Multimedia Direct

Destinee Andrews aka. Babe Ruthless Secretary

Photos by Arthur Chen

Darcy Feeley aka. D Feelz Executive Designer

Fall 2017

MIXXY M

DAMN.

Back by popular demand. We held our 2nd Annual Mixxy Madness tournament (via our Twitter @mixtapemag_su), starting with this year's top 32 projects and ruthlessly knock-

DAMN. PLAYBOI CARTI

DAMN. LUV IS RAGE 2 LUV IS RAGE 2 AMERICAN TEEN

DAMN. 6LACK 6LACK STONEY 6LACK BLKSWN BLKSWN AUTOBIOGRAPHY

DAMN. FREUDIAN FREUDIAN FIN 4 YOUR EYEZ ONLY 4 YOUR EYEZ ONLY 4 YOUR EYEZ ONLY NAV 4 YOUR EYEZ ONLY CULTURE CULTURE AT WHAT COST CULTURE FLOWER BOY FLOWER BOY PRETTY GIRLS LIKE...

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DAMN - K

MADNESS ing off bit by bit each round. After a whopping 4,894 total votes, and plenty of petty arguments and gifs in between, one project was named as Cuse's favorite album of 2017.

4:44

4:44 PASSION PAIN AND...

4:44 WINS + LOSSES WINS + LOSSES RATHER U THAN ME

CTRL CTRL CTRL BEAUTIFUL THUGGER CTRL HNDRXX HNDRXX FUTURE CTRL MORE LIFE MORE LIFE GOOD FOR YOU MORE LIFE H.E.R. VOL 2 H.E.R. VOL 2 COZY TAPE VOL 2 MORE LIFE

KENDRICK

I DECIDED I DECIDED AMERIKKKAN BADASS AWAKEN MY LOVE AWAKEN MY LOVE AWAKEN MY LOVE BIG FISH THEORY

Fall 2017

Album reviews of the long-awaited Jay-Z album 4:44, 4 Your Eyez Only by J. Cole, and the extremely successful CTRL by Sza.

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MOST UNDERAPPRECIATED: 4 YOUR EYEZ ONLY - J. COLE

Art by Megan Forbes

BY JORDAN ROSE It has always been a Cole world that we just happened to live in, but in J. Cole's fourth studio album, 4 Your Eyez Only, he welcomes us into the warmth of his home, giving us a tour and waxing the tales of his life. We are hit with the burst of hot air that a furnaced house embraces a cold traveler with in Immortal, giving us the house rules before we get too comfortable. He reminds us that we are in the humble home of a king, and to not confuse his hospitality with naivety. He then sits us down and takes us on a trip. This isn’t a walk through his childhood streets in a civilly crumbling America that was 2014 Forest Hills Drive, or the dive into the deeper trenches of his psyche that was Born Sinner. This is Cole welcoming us into a place we have never fully delved into, the home for his new family, and his heart. He shows us his scars in Ville

Mentality, and the medicines he remedied them with in She’s Mine Pt. 1 and She’s Mine Pt. 2. He illuminates where the drained civil warrior rests in Foldin' Clothes, revealing how meaningful some almond milk can be. This isn’t the Cole who was screaming for posers to “get off his dick” or the Cole that needed to prove he was the new king of rap. And that’s the main reasons why this album is so slept on, because Cole has escaped the captivity of public perception and can be whoever he wants to be, and in 4 Your Eyez Only he chose to be himself. This is Jermaine, a grown man with a child and a family letting us know that life is so much bigger rap. People who don’t fuck with Jermaine won't fuck with this album because it requires you to care about him as a person, not just as the image you’ve created for him.

I was fortunate enough to see Cole in concert during the 4 Your Eyez Only tour in Barclays Center and before he performed Ville Mentality, he said something that stayed with me till now. He said that he knows he cant sing, but that it doesn’t matter what the song sounds like when you’re singing it, its about how it makes you feel like while you’re singing it. That’s what this album is about, how it makes you feel when you’re screaming or singing along to it. This is Cole's heart, this is Cole's soul and this is for his family. He shows us out with eight minutes of baring his pure humanity, reminding us that this album truly was for our eyes only.

Fall 2017

4:44 - JAY Z BY DANTE SCOTT

Gloria Carter, coming out as a lesbian after years of shame. “But life is short, and it's time to be free/Love who you love, because life isn't guaranteed/ Smile.”

In “Kill Jay-Z,” he subliminally targeted Future and Eric Benet. Furthermore, he unapologetically revealed shooting his brother at age twelve, selling drugs to loved ones, his reaction to Kanye West’s 20 minute rant during the Saint Pablo Tour, and egging Solange on which lead to the infamous elevator fight.

The title track “4:44” shamingly answers the cheating allegations that’ve been circulating for years. “4:44” was an open apology to his wife Beyoncé as well as a response to her 2016 album Lemonade, which was centered on infidelity and revenge. He blames Beyoncé’s 2010 miscarriage on his absence, inferring that she mourned the loss by herself. “I still mourn this death and I apologize for all the stillborns cause I wasn’t present/ Your body wouldn’t accept” he raps in mortified voice.

He poked fun at Al Sharpton in “Family Feud,” chides Charles Koppelman and L. Londell McMillian in “Caught Their Eyes” for profiting off of Prince’s death, and even responds to the running joke regarding his legs in “Bam” rapping: “I be skippin' leg day, I still run the world.” In “Smile” he rapped about has how his bad memories change his future for the better and his mother,

Jay-Z touches on the importance of black capitalism and monetization of the black celebrity. “You want to know what’s more important than throwing money at a strip club? credit,” he raps in “The Story of O.J.” Moreover, in the same track, he highlights the insignificance of the tiers that black people create within the black community.: “Rich nigga, poor nigga, house nigga, field

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nigga/Still nigga”. Regardless of the success a black person achieves, they will still be categorized under the same dehumanized scope. Therefore, by titling the track “The Story of O.J.”, he’s proving how invalid O.J. Simpson’s statement “I’m not black, I’m O.J” is. 4:44 different from his classics like Vol. 2… Hard Knock Life or The Black Album in the sense that the work is more suitable and sincere without the extravagant façade fans are used to.

Art by Jenna Wengle

With the release of 4:44, Jay-Z ditched his invincible Big Pimpin’ attitude that defined his image for most of his career, and set an introspective tone to convey his truth. The album was produced by No I.D. and features Frank Ocean, Beyoncé and Damien Marley. Listeners can gather that Jay had some things he needed to get off his chest.

CTRL - SZA BY BEN CANNON SZA'S DEBUT ALBUM MIGHT BE THE MOST IMPORTANT R&B RELEASE OF 2017. As college students, the staff at Mixtape Mag can tell you that having control over one’s life can, at times, feel impossible.

Art by Liz Coulbourn

When discussing the themes of her debut album Ctrl with MTV News, SZA, born Solána Imani Rowe, said she pondered questions like “Is [control] real? Do we have enough? Do we have any? If we don’t, who does?”. The latter question seems to hold the most importance. Throughout Ctrl, SZA recounts her experiences with paramours and friends who make her feel undesirable, leaving her wanting more from the world. On “The Weekend”, SZA plays the other woman who wants to be her man’s main piece. On “Garden (Say It Like Dat)”, she triumphantly sings of being in

love, but also of being afraid to show her true colors. Braided in are songs like the comingof-age disco-bop “Prom” and the groovy, sex-positive “Go Gina”. These songs expand the world encapsulated by Ctrl and help give bigger moments more weight and relatability. This album is by no means perfect. The production is often clunky, the melodies are unpredictable, and SZA's eccentric pronunciations of words can be grating & uncomfortable. But somehow — these imperfections are the record’s biggest strengths. SZA ignores convention and cuts straight to the feeling. Her harsh tone juxtaposes and interweaves itself with her tender cadence. Songs about something as crude as “banging your homeboy/

all up on Valentine's Day” create space for honest moments about loneliness and self-worth. The bass on her lead single “Love Galore” even pulses like a heartbeat. It doesn’t matter how its sounds. SZA does everything she can to submerge her audience into luminous emotion. Ctrl came out during a twoyear period where it felt like everyone was making the same three songs. But here, SZA expresses a tenderness into pop music that has been missing for quite some time.

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Art by Yanis Konate

Lil Wayne, Limewire, and Rap City By Regina Cho

The youngins these days will never know what it felt like to be hype as hell while downloading Soulja Boy’s latest song off Limewire, just to have it wind up being the audio of a JFK public service announcement. Then, your family computer nearly catches the bubonic plague because that file was actually a deadly virus. Not again. But still, our elementary school asses somehow dealt with this, and even went on to do it again and again. I’d like to think this is where I learned the meaning of “persistence”.

instead of (insert censored material here) thoughts of his recent years. Ashanti and Ja Rule set the tone for me on how musical chemistry and balance should be. Kanye rapped with pure soul and chipmunk’ed his R&B samples. The internet didn’t make it cool yet to hate on Fabolous for being “corny”, and he was the undisputed “swag champ”. And although I would cry my 11-year-old ass to sleep watching Ludacris’s “Runaway Love” music video, acting like I could relate as I lay in my cozy suburban home, with my loving parents in the next room, the 2000’s were just a... simpler time.

There was a time Wild ‘N Out shirts were red and black, the jokes actually slapped, and the guests weren’t Vine stars. There was a time when making sure my MySpace profile song was the most fire song out was my main concern. (And that shit, indeed, was always fire.) There was a time when Lil Romeo was on my TV screen because we were all watching his dope ass show on Nickelodeon, not because he was telling me to give ICDC College a chance.

2000’s rap is not old enough to be considered “OG rap music”, and certainly not new enough for the current SoundCloud era wave. While paying homage to the hip-hop pioneers as well as accepting mumble rap are both crucial to moving forward as a genre, there’s a time period that just happened to get lost in the sauce in between. After all, this was the decade ruled by Lil Wayne tapes, back to back Nelly hits and 50 Cent’s absolute best album. The 2000’s era can boast so much greatness, so why does it never seem to get the respect and credit it deserves?

“Trapped In The Closet” was what was fresh in my mind when I heard R. Kelly’s name

Most kids get in trouble for typical shit. You know, failing a math test or staying out past dinner time. If you were a kid that was obsessed with hip-hop in the 2000’s, you got in trouble for shit like spending lunch money on a new album, or starting on your homework late because you were busy watching Rap City at 4 P.M. sharp. It was during this time period I truly solidified and further cultivated my love for music, and I realize that now in retrospect. I realize this now as I flip through old album booklets, savoring in how the artists printed all the lyrics in between the thoughtful booklet artwork. I’ll never have to run to the store after school again to buy a physical CD before they sold out, because now I can stream projects instantly with a click of a button on Spotify. That “first listen” will never feel the same. A massive element of the indulging experience has been lost at the hands of the internet. I’ll never get ready for school with the sound of MTV’s music video countdown in the morning, because The Fader or Complex probably put out a ranking already that people care more about now. I don’t have it in me to be fake obsessed with “old school” boom bap rap, nor

Fall Fall2017 2017

can I pretend to enjoy the “Lil Pump’s”, “Lil Xan’s” and “Lil Yea Yuh Wut Huh It’s Lit’s” of the ever-fluid rap world. I’ll never know all there is to know about the music world and the people in it. There are some

huge moments I’ve missed out on and classic hits I still don’t know the words to. The only thing I know for sure is nothing will ever make me feel the way the nostalgia of the 2000’s makes me feel, and I’ll

continue to be that friend who constantly reminds y’all how blessed we were to experience it firsthand.

Athough I would cry my 11-year-old ass to sleep watching Ludacris’ “Runaway Love” music video, the 2000’s were just a... simpler time.

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The perfectly honest soundtrack to compliment the perils following that 3 A.M. “you up?” text.

lyric quotes

By Taylor Epps

W.Y.D. I’m Wit It, If You Wit It Roommate Anthem (Can Y’all Keep It Down) Play (Interlude) Swingin’ If You Ain’t Duckin’ No Rubber, Not Ducky Yo Side Of The (Twin Sized) Bed I’m The Plug (Butt) Same Time, Same Place Why You Getting Back in Bed (Outro Pt. 1) You Need a Lyft? (Outro Pt. 2)

Fall 2017

Talking about Mental Health is Not for Weak Ass Bitches By Jonathan Chau

Men who don’t take care of their own “shit” are “bitches.” Hip-hop has commonly portrayed people who need therapy as “soft” and “not gangsta.” The saying “therapy is not for black people,” seems old-fashioned, but still plagues the African-American community. According to Dr. Monnica T Williams, most black people avoid psychotherapy because they are afraid of having a negative reflection on their families, seeming crazy, and embarrassment of having to go to a professional for their personal “issues.” As rappers from the past generations reflect on their past more, more discussion is being held. With upcoming MC’s speaking openly about their own struggles with mental health, the negative

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social stigma against mental health is changing. With the influence of hip-hop increasing, the voice of the genre has only become more representative of the people unheard from “pop(ular)” media. Even though artists like Eminem and Kendrick Lamar have rapped openly about depression and other mental illness, there is still a lack of help to cope to with the situation. In an interview with Pop Matters, Ice Cube said that “rapping is good therapy.” Though using music as a coping mechanism can be helpful, this should not be the only treatment used when rappers like Lil Wayne (on his feature on Solange’s “Mad”), have stated his attempted suicide. Earl Sweatshirt, in

his album I Don’t Like Shit, I Don’t Go Outside, discusses his struggle with substance abuse and his “ability to cut people off [and being] borderline sociopathic.” Chance the Rapper, who had stated his struggles with anxiety and PTSD, chooses to self-medicate himself with weed and music. With different psychological issues, the idea that “Hip-hop is our therapy,” as stated by Prodigy, may not be healthy as the only outlet.

Art by Aru Banks

Thanks to rappers such as Kid Cudi and the next generation of rappers like, Lil Uzi Vert, the conversation around mental health and hip-hop is now established in the mainstream. Known for his constant battle with depression, Cudi decided to give therapy a shot. In his 2013 interview with Complex, the rapper said “A year ago I wouldn’t even go to a therapist or psychiatrist… It’s working for me but it’s not for everyone.” This open-mindedness to the topic has influenced a younger generation of rappers. Travis Scott has cited Cudi as “one of the main dudes I kind of looked at and listened to all the time, he saved my life.” Lil Uzi Vert on “XO TOUR Llif3” openly states about how he “might blow [his] brain out” in reaction to the breakup with his girlfriend. X X XTENTACION explicitly rapped

about the death of his close friend, Jocelyn Flores, pushing boundaries, as he simulated a hanging on his Instagram. Logic’s powerful performance of 1-800-273-8255, caused the suicide hotline to have a 33 percent increase since last year. However, not all rappers feel the same way. Drake has attacked the fellow rapper on his playlist, More Life, stating “You stay xan and perked up so when reality set in you don’t gotta face it” This is disappointing. Instead of congratulating Cudi on his strength to express his pain through music, he disses him. Now being the in music, more artists will hopefully use their platform to raise awareness and normalize mental health. Because hip-hop has a vital influence on our culture, hip-hop has the responsibility to openly discuss mental health just as much as they would police brutality. With more conversation held, rappers will become more open and not only help themselves, but also their fans too.

“Hip-hop is our therapy.” Fall 2017

Hip-Hop as a Global Force by Sydney Bufford

There have been many arguments as to where hip-hop began, but it is essential to know that hip-hop hasn’t stayed in one place. Hip-hop has become a global movement. Hip-hop has had a great influence from places like Italy to China. Hip-hop relates to individuals everywhere, no matter their background and location. It takes many different forms as it travels around the globe, mainly drawn from local influence. One notable hip-hop artist is Emis Killa, a 27-year-old rapper from Italy. He won Tecniche Perfette, a freestyle competition in Italy. After that, he was signed to Blocco Recordz where he produced a mixtape and album. In 2012, he released his studio album titled L’erba cattiva. “Parole di ghiaccio”, a song on this album, was made into a music video and was received well from the public. It reached 7.5 million views on YouTube in less than 2 weeks and eventually reached 20 million in two months. This received the most Italian views and Emis Killa got the best emerg-

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ing artist of 2012 at the TRL awards, ran by MTV Italy. His follow up album, Mercurio, was even more successful landing the number one spot in October 2013 and continued to chart up until early 2015. Emis Killa also became a coach on the Voice of Italy for a short while. You’ve probably heard of British rapper Skepta from Drake’s album More Life. Even before being featured, Skepta has been making moves since the mid 2000s. He is a grime rapper, which is similar to hip-hop but has it’s roots in UK garage music. Skepta, born Joseph Junior Adenuga, was originally from Nigeria and moved to London at age 3. Similar to Emis Killa, Skepta began his career through freestyling and rap battles. He won an MC Battle out of 300 people. He joined his brother

JME and became known for the single "Private Caller". The partners created a grime label called Boy Better Know in 2005. Skepta’s third studio album, Doin' It Again, included three singles Titled "Bad Boy", "Rescue Me" and "Cross My Heart". These singles all charted on the Top 40 for UK singles. “Rescue Me” was the most successful charting at 14. Skepta has a total of 4 studio albums and 5 mixtapes. His popularity and success has gained him a position on Debrett's 2017 list of the most influential people in the UK. Korea also has also bred hip-hop artists. G-Dragon is a South Korean rapper. He was born Kwon Ji-Yong and began his career at a young age. G-Dragon was signed to YG Entertainment, a South Korean record label company, at age 11. In 2006, G-Dragon became

part of the group Big Band (formed by YG Entertainment). The other members included T.O.P, Taeyang, Daesung and Seungri. G-Dragon played a crucial role in the group. He wrote lyrics, produced, and composed music. It was in 2009 where he produced his first studio album Heartbreaker. It topped the Gaon music chart, South Korea’s weekly hits chart. In 2012, he was voted ‘Best Male Solo Artist’ at the Mnet Asian Music Awards. Recently in 2017, G-Dragon released his solo EP ‘Kwon Ji Young’. It topped the Bill-

board’s World Albums charts and had over a million in sales. Another notable rapper from Korea, is Jay Park. Although not born there, he was brought to Korea at age 17 after auditioning for JYP Entertainment. He recently signed with Roc Nation this year. He’s the first Asian American to sign with Jay-Z’s label.

as a global force because it’s something many people can relate to. Seeing this genre's incredible reach just further proves that its influence is unmatched and it will continue to thrive, both at its birthplace and on new lands.

Hip-hop has truly made a global impact. Artists have emerged from all over the world adding their own style and local appeal to their music. Hip-hop has been seen

Art by Yanis Konate

Hip-hop has been seen as a global force because it’s something many people can relate to.

Fall 2017

Bad Boy Records, G.O.O.D. Music, Pro Era Records, RocNation, Top Dawg Entertainment, Fuck Money Spread Love, and Cash Money Records.

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Era, Era By Josiah Kabemba

Y’all heard the story of David and Goliath? Well this is the new school version right here. Place any big name label and their artists against Pro Era and watch them take this L. Besides Kendrick and Cole, who got my respect, Pro Era is the future of the rap industry. So all the other old heads and mumble rappers can step aside, cause it’s our time to shine.

the charts and even earn the respect from the legendary hip-hop group, A Tribe Called Quest.

Pro Era, can be considered one of the most successful rap collectives to emerge from the underground of hip hop. Founded by rapper Capital STEEZ, with co-founders Joey Badass and CJ Fly, Pro Era continues to dominate the underground rap game and has worked its way up into the music industry.

– Q-Tip, A Tribe Called Quest

Coming out of Brooklyn, NY, Pro Era embodies the sound and style comparable to that of the Golden Age of hip-hop. Rappers and groups like LL Cool J, Slick Rick, Run-DMC, and A Tribe Called Quest are all examples of the sound and style that has been passed on through Pro Era’s music. The most successful member of the group, Joey Badass, has used his illuminating lyrics and conscious music climb

“Talk to Joey, Earl, Kendrick, and Cole, gatekeepers of flow They are extensions of instinctual soul It’s the highest in commodity grade And you could get it today.”

Joey Badass, Capital STEEZ (R.I.P), CJ Fly, Kirk Knight, Nyck Caution, Jakk the Rhymer, along with producers Chuck Strangers, Powers Pleasant, Bruce Leekix, Hans Solo and Sür Niles are just some of the members who occupy this amazing hip-hop collective. While most of these names are mostly unheard of to mainstream listeners, I assure you, do not underestimate the potential and talent level of these artists.

they can survive and thrive in the music industry without major mainstream success. By showing other artists that being mainstream is not necessarily important anymore, Pro Era can grow in numbers and popularity. While the collective still technically falls under Cinematic Group, Pro Era became an independent record label in 2015, shining as a beacon of hope for underground artists to make it big in the industry. While its formation is relatively new, the potential for this rising hip-hop collective is limitless.

With a stacked roster of talented young individuals, Pro Era has the potential to be one of, if not the best Record Label in history. Why, you ask? Pro Era is an example to all underground rappers that Fall 2017

Getting Out Our Dreams By Kaya Pope

G.O.O.D Music is not just a record label- it is a brand. G.O.O.D has so much more influence than any other label, because they think about so much more than just music. Plus, the music just really bangs. Since joining the team, the G.O.O.D Music starting five has all blown up, and today are stars in their own right. When you have a superstar like 'Ye backed up by Big Sean, Travis Scott, 2 Chainz, Pusha T, and Teyana Taylor what can you tell me? It creates the strongest squad in the industry. Sean said it best “They say G.O.O.D. Music like that new Miami Heat shit, comparing them to us? Man you gotta add Kobe”. These are the people whose music you listen to and whose style you follow. Even if you don't want Ye’s album, you know you want his shoes. They each have their own image and a wave that is distinctly theirs, and as a group they mesh into an elite team with a tighter bond than anywhere else. G.O.O.D artists are all so differ-

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ent, yet they’re able to inspire each other and form the most unconventional collabs that still work, like Travis featuring Kacy Hill in 90210 and Kanye choosing Teyana to star in his Fade video. Artists with completely different sounds jumping on the same track is something that is rarely done well, but G.O.O.D has managed to perfect this art. The vibe at G.O.O.D is just different, the energy more volatile with each artist having their own special way of saying “Imma do me. If you like it cool, if you don’t, fast-forward” in their own platinum album format. Literally Kanye is one of the Godfathers of the modern rap game, how you gonna compete where you can't compare? I’m not just talking shit here. With my father being the former president and current CCO of the label, you can trust me when I say G.O.O.D Music really is the bomb. Or, you could trust him. When I asked my dad why he thinks G.O.O.D

Music is the best, here’s what he had to say: “At G.O.O.D Music we consider ourselves leaders of thought. Thought leaders in culture, thought leaders among the youth, thought leaders in being impactful. Raising the bar. We think of the environment, the architecture, we think globally. We have a vast array of influences, then combine that with the very primal need to get the streets something to ‘eat’. We disappear like a grizzly bear hibernating, and let others get their turn. Then we come back with a vengeance. Because we need to make sure the people have good music.”

Diddy Bop Don’t Stop By Punya Sidhu

Art by Rajon Enoch

Nobody can resist a bad boy. When Forbes list mogul Sean Combs (aka Diddy, P Diddy, Puff Daddy, Puffy, or Diddy-Dirty Money) started Bad Boy records in 1993, the same year he was fired from Uptown Records, he was a 23-year-old with what some may call an attitude problem. Others would call this an unmatched drive for success. As Bad Boy raked in millions from its 90s hits, Combs said in a 1995 interview with the LA Times, “Whatever I do, I want it to be groundbreaking. I think of everything I do as history in the making.”

Me Down” and “Feel So Good” ruled the 90s and helped define the Bad Boy sound: female R&B vocals paired with smooth, dripping-with-swagger flows. Bad Boy’s success flowed into the 2000s with artists like Fabolous, whose hits “Into You” and “Can’t Let You Go” cemented Bad Boy’s New York legacy. Yung Joc’s “It’s Goin Down” gave Bad Boy yet another 2000s hit (Joc was signed to Bad Boy South in Atlanta). The label has also signed French Montana, whose recent “Unforgettable” success has earned him his

first number one single. The label’s ability to stay relevant hasn’t phased out, carrying it from the early 90s into 2017. It didn’t just rule the 90s, but also brought in new talent and sounds from southern artists like Joc, expanding from its New York roots. Bad Boy has been a leader in making hip-hop both a culture, and a business, not just music: From Ciroc to Sean John clothing, Diddy has used the Bad Boy sound and reputation to create a billion dollar business. Who better to sum up the Bad Boy mission than P Diddy himself: "I don't want the Chrysler that looks like the Phantom. I want the Phantom."

I don’t want the Chrysler that looks like the Phantom. I want the Phantom.

Not long after it was founded, Bad Boy released one of the most iconic singles of all time: “Juicy”. The Notorious B.I.G. was catapulted into the limelight, and became one of the main faces of hip-hop in mainstream American pop culture. Some of Bad Boy’s other hip-hop royalty include Lil’ Kim and Ma$e. Helping to create the image of “ghetto fabulous,” as Combs describes in the Bad Boy documentary Can’t Stop Won’t Stop, Lil’ Kim showed us what it meant to be a woman in hiphop. Ma$e’s hits “Can’t Hold Fall 2017

Hold up, hold up, hold up now. Y’all can’t even compete with the talent they got at Roc Nation. It was founded by Jay-Z, a 21-time Grammy winner and true OG in the hip-hop game . . . how could it not be poppin’? It all started out with Jay partnering up with Live Nation Entertainment, after leaving Def Jam, to create a label to service artist’s in all aspects of their brand, the rest is just history. They have some of the biggest and best. Don't play and act like your faves aren’t signed to Roc. Rihanna? Got her. They have hip-hop veterans like T.I, Yo Gotti and Fat Joe. Yo Gotti just dropped a hit with “Rake it Up” and Fat Joe’s “All The Way Up” was the anthem last year, so whether you like it or not, Roc is on top. They also got some fresh newcomers like Vic Mensa and Rapsody, who both just recently dropped projects that are making waves in the community. (For real, don't sleep on Rapsody). But it’s not just rappers, Roc

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has famed producers DJ Mustard and The Dream in the mix too. Roc Nation isn’t just a record label; it is a full on entertainment empire. From artist management to publishing to talent agency, Roc Nation does it all. Y’all ain’t got the hook up like Roc, when you sign there, you are family. Roc has contributed so much to the culture and they haven’t even been around for a decade. Roc Nation is all about quality over quantity. Roc isn’t trying to sign an artist because of their Instagram or SoundCloud clout *cough* Atlantic *cough*; they are truly dedicated to the craft of hip-hop, which is visible through the content their artists put out. The artists of Roc Nation take

their time before dropping an album to curate their perfect sound. You ever heard of a bad Rihanna album? Thought so. Her last album, Anti, won both an iHeartRadio and an American Music Award for R&B album of the year. The Roc Nation mission is “to create the optimum environment for artists to deliver their creative vision to fans worldwide” and they do a pretty damn good job at that. They also are all about philanthropic and service efforts through partnering with the Shawn Carter Foundation, so the label isn’t just business, they are committed to giving back to the communities they serve. Not to mention the founder is married to Beyoncé, so is this battle even a fair fight? Jay is just winning, period.

Art by Rajon Enoch

The R-O-C By Nadia Suleman

Get Top On the Phone How successfully traversing the balance between creative freedom and commercial appeal propelled Top Dawg Entertainment from its humble origins to become the premier record label in the world. By Kenneth Wilson

Top Dawg Entertainment (TDE) has progressed from a basement studio in South Central LA into an icon of modern music whose expansive influence is not even properly emphasized by the over 4 million records they have sold in U.S. alone. Founder Anthony “Top Dawg” Tiffith’s history is summed up by TDE artist Kendrick Lamar on “Duckworth” where he spits, “His family history: pimpin' and bangin' / He was meant to be dangerous / Clocked him a grip and start slangin'.” When the streets became too hot for Tiffith, he moved on to a new hustle: the music industry. TDE finds success in the relationships between the executives and artists that include Jay Rock, Kendrick Lamar, Ab- Soul, ScHoolboy Q, Isaiah Rashad, SZA, Lance Skiiiwalker, and SiR. When asked by Billboard about the relationship between Tiffith and Lamar, Top proclaimed, “I trust (Lamar’s) judgment, he trusts mine.” Kendrick responded that Tiffith provided, “...the proper guidance to know how to inspire the next

kid.” This mutual respect and opportunity for mentorship breeds an atmosphere of creative freedom, perfectly complimented by a structured support system. When Isaiah Rashad struggled with substance abuse, labelmates were able to get him back on track by creating music. When SZA became too overwhelmed trying to finish CTRL, TDE allegedly stole the her flash drive and put the album together for her, an initiative SZA was grateful for. Lamar mentors his labelmates by advising, “Do something you feel good about… You get so twisted in singles you lose vision of the creative process.” Kendrick is a prime example of this, as he followed his commercially acclaimed debut good kid, m.A.A.d. city with the politically charged jazz and spoken word influenced masterpiece To Pimp a Butterfly, both indisputable classics. Kendrick then came back with the most streamed album of the year, DAMN., his first number one hit, “HUMBLE,” and an incredibly successful tour that left me

voiceless after his show in Dallas. TDE provided Kendrick the means to explore his creativity and guided his success while still allowing him to take the risks necessary to become the greatest rapper of our generation, and arguably ever. TDE is the best record label because they offer their artists guidance that compliments their individuality so they can create meaningful and conscious music that simultaneously remains relevant. TDE doesn’t have to sell out to be popular, as they are defining their own originality as commercial. Finally, in the Mixxy Madness tournament conducted via Twitter, the two finalists for album of the year were SZA’s CTRL and Kendrick’s DAMN., with the latter taking the prize. All other labels claiming to be the best need to sit down, and be humble.

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Fuck Money Spread Love By Jordan Rose Fuck Money, Spread Love. Nah, nah, don’t scan past that and try to skim over to where I start talking my shit about the 'Ville. Go back and read it again . . . Fuck Money, Spread Love. That’s not a slogan or a catchy hook, that’s a mantra, that’s a war cry. Those are the prophetic words written on the stone pillar that sits atop the Mount Olympus of hip-hop. And who, you may wonder, protects that sanctified mantra? It’s the one and only DOWN SOUTH NAS, EAST COAST PAC, CAROLINA ANDRE, FAYETTENAM KANYE . . . COLE, THE KING HIMSELF. Seated along with him at the round table atop this mountain is Dreamvillle, a label conceived by J. Cole and Ibrahim Hamad, distributed by Atlantic Records. With Cole as the king, Bas, who was the first to be signed to the label, acts as the noble knight, Cole’s right hand. That’s already like MJ

and Pippen in 96/97. To round off the OG roster we got Cozz and Omen who were both discovered by Cole. Now look at us, we have one of the three kings of hip-hop right now (shoutout Kendrick, shoutout Drake) along with enough role players to make us look like a solid competitor to hold a reign over the rap game. Now, you should know it's “ill-advised to bet against the raised in hell but heaven sent”. Everyone from Lute to Ari Lennox, the vocal soul of Dreamville, to scrappy J.I.D and rookies Earthgang are all linked together because they share the same mindset as Cole: Fuck Money, Spread Love. That singular vision powers not only them, but also the Dreamville Foundation that funds projects to help lower income homes in North Carolina. Foundation funds were also used to buy

back Cole’s old house on Forest Hills Drive so that single mothers could move in when needed and live rent-free until they can afford a home. They make music from the heart and don’t give a fuck who’s fucking with it. That’s what Dreamville is: maintaining the authenticity of the music by staying true to themselves. They are able to mesh with each other on tracks, making not one but two mixtapes together as a team, Revenge of the Dreamers I and II. Cole left the nest of Roc Nation and created his own brand. NOW WHO YOU KNOW DOIN' THAT? SO YES, DREAMVILLE IS GOING WAY UP LIKE A FLOATER, IT'S COLE WORLD NO JACKET AND IF YOU GOT A DOLLAR AND A DREAM AND ROCK WITH US STAND UP GODDAMIT.

Fuck money, spread love. That’s not a slogan or a catchy hook, that’s a mantra, that’s a war cry. 28

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Mic Drop By Regina Cho Step aside, children. Cash Money Records has Lil Wayne. There is simply nothing anyone can say that can top that. Aight, Iâ&#x20AC;&#x2122;m off this.

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Fashion Direction: Yalexly Perez

objectifying women with derogatory terms: their mothers who raised them, their hardworking sisters, their inspiring, progressive daughters, and their successful friends just to name a few. But, they receive no thanks, no appreciation, and there continues to be a lack of discussion on how intelligent and successful their “girls” are.

Assistant Stylists: Jonathan Chao, Chloe Martin, Maya Harwell, Ariana Deng, Destinii Donawa, Meilin Quinn, Punya Sidhu, Samantha Brown , Tiara Logan

And not only is sexism promoted in hip-hop’s lyrics, but also in the industry as a whole. Ask yourself this question, “What is the difference between a rapper and a female rapper?” If you said that one is a man

Written by Gabrielle Coslett Art Direction: Dina Ben-Nissan, Yalexly Perez, and Jalisa Arnold Photographers: Dina Ben-Nissan, Jalisa Arnold, and Akeem Lovell

Women, and of course our bodies, have always been a major topic in hip-hop. Even when N.W.A. brought gangster rap to the mainstream, leaving behind the cool and smooth Funkadelic movement, women still played an important role. And honestly, we all know the main reason why… sex sells.

the word “female” tagged on all of their top hits. Even with all of the sexism that permeates the hip-hop industry, I still can’t shake being a fan of the music, beats and movement. In fact, it’s exactly the opposite. These discrepancies make me love hip-hop even more for one HUGE reason. It brings this issue to the forefront of pop culture. The explosion of female artists in recent decades, and especially today, have forced people to discuss female empowerment and acceptance of sexuality in hip-hop and in society as a whole. With all the

What is the difference between a rapper and a female rapper?

However the main question is, how far is too far when it comes to objectifying the female body in hip-hop, and ultimately in today’s mainstream culture? As a self-proclaimed feminist, I’m not going to lie and say misogyny is not a very real problem in hip-hop. It is extremely prevalent, and many days leaves me wondering why a man can’t notice me for my brains instead of everything else I’ve got going on. I feel as though the majority of today’s hit songs either mainly focus on or mention what male rappers are going to do to their “girls,” “bitches,” or “hoes,” once they leave the studio. Mind you, strong women surround these same men who make careers out of

and one is a woman, note that I did not mention the word male prior to rapper in the beginning of the sentence. In most cases, the reader instinctively added it. But this proves an extremely important point: when a woman achieves the same success as man, she is still categorized separately. Some of the greatest artists, groups, and MCs of all time — Lil’ Kim, Missy Elliot, Queen Latifah, Eve, TLC, Lauryn Hill, Salt-N-Pepa, Destiny’s Child, Beyoncé, Nicki Minaj, Remy Ma, Young M.A, and Cardi B, just to name a few — still have

female objectification that goes on in my favorite genre, a voice is given to the feminist in all of us. Speaking of female voices, it’s only right to talk about the one and only Cardi B. In just a few short months, “Bardi” has blown up the hip-hop spot, and became the first solo female rapper to top the Billboard Hot 100 in 19 years (the last to do so was Lauryn Hill in 1998). Her platinum hit, Bodak Yellow, proves that women can spit just as strong as men can and deserve just as much credit. Fall 2017

Known for her appearance on Love and Hip Hop: New York and her flawless Instagram game, Cardi has climbed from the strip club all the way to the top of the music industry at the young age of 25. She’s already dropped two mixtapes and multiple singles, is one of the hottest new artists to work with, and now serves as one of the strongest voices for the female movement in hip-hop. Her strong lyrics represent the second reason why I can’t shake the hip-hop movement, the acceptance of sexuality. If there is one thing this genre has taught me and countless other women, it is to accept your sexuality. Our bodies are uniquely beautiful, or else they wouldn’t be such a hot topic for both men and women alike. Instead of backing down from the taboo topic of sex, Cardi B embraces it like never before, often talking about what she is going to make her man do to her. The most incredible part about all of it, nobody really seems to have an issue with it; in fact, listeners love it. Now that Cardi B has ignited a new flame in the feminist hip-hop movement, there is a lot of work to be done. There are still countless women in this industry who have worked extremely hard and deserve a lot more credit. Two powerhouses who I think have earned a shout out are Cara Lewis and Kandi Burruss. Combined these two women have a net worth well into the hundreds of millions, and have made massive marks on the music industry as whole, not just in hip-hop. Cara Lewis, one of the fiercest music agents of all time, is credited with representing some of hip-hop’s greatests including Tupac, Eminem,

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Kanye West, Chance the Rapper, Bryson Tiller, Rihanna, Erykah Badu, Run DMC, and a plethora of others. Lewis started her career as a young receptionist who was able to move through the ranks of the world’s top music agencies, including William Morris Endeavor and CAA. She went on to later found her own company, Cara Lewis Group. She is credited not only with helping discover some of yesterday’s and today’s best artists, but also with creating and promoting some of the most successful tours in the music history. In 2016, Lewis was recognized as one of the “Billboard Women in Music” honorees, and has ranked on “Billboard’s Most Powerful Women in the Music Industry” for multiple years. Outside of her line of work however, Cara Lewis doesn’t ring a bell, even though she is credited with helping create the music we all know and love today. Much like Cara Lewis, Kandi Burruss has certainly left her mark on the entire music industry. She is best known in hip-hop/ R&B as a member of the multi-platinum group, Xscape, and as the songwriter of dozens of hip-hop anthems. Here are just a few written by Burruss: No Scrubs by TLC, Bills, Bills, Bills and Bug A Boo by Destiny’s Child, Pop Ya Collar by Usher, U and Dat by E-40, and many others not only for Xscape, but also for her solo career. Outside of hip-hop Burruss wrote There Ya Go for P!nk, It Makes Me Ill by *NSYNC, the most played song of 2017, The Shape of You by Ed Sheeran, and the list goes on and on. I could honestly fill this entire article with songs written by Burruss. She dotes an insane resume not only in the music

industry, but also in reality television, as a member of the cast and producer of The Real Housewives of Atlanta on Bravo, and in her own hit show The Kandi Factory. Although Burruss may be a household name for her own vocals and reality TV airtime, she does not receive nearly enough credit for helping shape the sound that sparked growth in the hip-hop and pop industries. Without her talent for songwriting, many of the songs we all know by heart would be nonexistent. Belly said it best in his 2017 record, P.O.P., there is a very strong power of pussy, and for that women deserve credit. Hip-hop would not be here today if it was not for the strong women who helped grow our industry. I’m not suggesting we take away credit from all of the top “male” artists. However it’s time to give the ladies a little more recognition and stop categorizing them separately when they have proven time and time again they are just as capable of achieving the same success of the opposite sex. Overall, hip-hop serves as a platform for the marginalized voices in today’s society, and ultimately as a major influence of mainstream culture. As hip-hop fans, if we do not start changing our own industry’s stigma towards hard working females, it will only continue to add to the vicious sexist cycle we see in society today.

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Hip-Hop & Martial Arts: The Damned Legend of Kung Fu Kenny By Jack Taylor

Art by Erica Jules

The DAMN. Tour featuring D.R.A.M, Travis Scott, YG, and Kendrick Lamar was one of the biggest events of the summer for hip-hop heads. The show featured, without a doubt, one of the most creative combinations of stage performers for years to come. Each concert started out with soulful sounds from D.R.A.M, which was then followed up by Travis Scott or YG. The Cactus Jack artist performed on top of a giant bird in reference to his most recent album, Birds in The Trap Sing McKnight, providing one of the most hype moments of the show. Kendrick Lamar performed last and exhibited a unique cinematic experience to go along with his raps. The Compton MC who had recently nicknamed himself “Kung Fu Kenny,” fully displayed his martial arts influences throughout the entire show. Behind Kendrick, was an enormous screen that showed a short flick titled, “The Damn Legend of Kung Fu Kenny.” In it, the rapper is shown practicing Turtle style Kung Fu, which is a reference to Chinese mythology. Kenny masters the three techniques of Turtle style including shell shock, reveal, and snatching. Afterword, he sets off on a quest to “find the glow” as

instructed by his master. At the end of the film, Kenny finds the light between the legs of a female dancer. It’s up for interpretation as to what exactly this light represents. Kendrick also brought out professional martial artists to fight in unison with his raps. Dressed in masked outfits to go along with the theme, the performers flashed swords around and flipped all over the stage. Although every second of the show was dope, many fans were curious about where the Chinese influences came from. Kendrick has gone on to say that his nickname was directly pulled from Don Cheadle’s character in Rush Hour 2. He occasionally even wore a black robe that closely resembled the one from the movie. However, it is evident that other movies have inspired Kenny. His yellow and black jumpsuit that he frequently wore on tour was clearly an homage to Bruce Lee, and the video resembled the plot and art style of a 1970s Kung Fu film. However, It’s important to note that Kendrick isn’t the first artist to showcase his enjoyment of martial arts films. This has been a popular theme in rap since the birth of the genre. The classic 90s rap group, The Wu-Tang Clan, is probably the most iconic crew to draw inspiration from Chinese culture

and Kung Fu films. The group’s debut album is titled Enter the Wu-Tang (36 Chambers), which is directly taken from the 1978 film The 36th Chamber of Shaolin. In addition, several songs include samples from famous films produced by Shaw Brothers Studio, a film studio located in Hong Kong. The first sounds you hear from the album aren’t from any members of the group, but from dialogue from the movie Shaolin vs. Wu-Tang (1983). In their newest album released in October 2017, the first thing you hear is the iconic tune to every Kung Fu film produced by Shaw Brothers studio. It’s same intro to the film Kill Bill, which was written and directed by Quentin Tarantino. Interestingly enough, the RZA produced the soundtrack to that film. In 2004, The RZA, also known as Bobby Digital and many other names, released a book titled The Wu-Tang Manual. It contains info about each member of the group, religious influences, cinematic influences, how to rock “Wu Wear,” use NY slang, and any other necessary information fans would want to know about the rap group. It is a book that I own personally and have read front to back many times. In one specific chapter of the book, The RZA recalls growing up in the Stapleton Projects. He shares

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stories about skipping school to see Kung Fu films in Times Square with ODB (Ol Dirty Bastard) in the late 70s, and only having to pay a $1.50 for admission. They would show pornos, and horror movies, but The RZA was going for the Kung Fu flicks. The RZA uses films such as The Five Deadly Venoms (1978) and The 36th Chamber of Shaolin (1978) as examples of movies that made him want to practice

martial arts, master the craft, and learn about the culture. However, after seeing The Eight Diagram Pole Fighter (1983), the hip-hop legend understood why he admired these movies so much. The 36th Chamber of Shaolin is essentially a film about the Manchurian government oppressing a small town. They kill innocent people through public hangings and allow no one to live freely. After

one student’s family is murdered, he escapes to a Shaolin temple where he learns Kung Fu. Years later he returns to the town to kill the head of the oppressive government. On the other hand, The Eight Diagram Pole Fighter highlights themes of brotherhood and loyalty. The RZA recounts seeing his friends (members of the Wu-Tang Clan) crying while watching this film. This is because the themes were

The is probably probably The Wu-Tang Wu-Tang Clan, Clan is the most iconic crew to draw inspiration from Chinese culture and Kung Fu films.

so relatable. The RZA writes: “Listen we’re oppressed. It does feel like we were betrayed a long time ago. I can’t really describe it any other way. It’s real because the issues are alive with us. You’re living in the hood and you’ve got knowledge and dreams and you got wars between neighborhood and neighborhood and neighborhood. Everybody’s backstabbing

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everybody. And when you know someone who’s got your back, that’s a life-or-death thing. That’s a real bond, a real brotherhood.” The RZA concluded that these films were essentially on screen adaptations of the lifestyle for those living in urban areas. The dangers, struggles, and emotions were all placed into these badass films where the hero, or the oppressed, always

defeated the oppressor. This left young viewers feeling satisfied and empowered. But the RZA and his crew weren’t the only ones watching these films. Shaw Brothers studio became a major source of entertainment for creators of hip-hop during the creation of the genre. In the 1970s, grindhouse films were a popular form of entertainment in urban areas.

These films were characterized as exploitation films that were highly sexualized or just low in quality. The films were typically shown one after the other, almost like a marathon, at an insanely cheap admission fee. Most of the films shown were pornos, but every once in awhile a martial arts film from Hong Kong would play. Grindhouse theaters were abundant in New York City in the 70s. At the same

time, hip-hop had just been born in the South Bronx area. The young generation of men and women following this new wave of music used grindhouse films as a cheap form of entertainment to escape from everyday life. However, the Kung Fu films exhibited would go on to influence the art, style, and way of life for fans and creators of hip-hop. This is best exemplified in the recent Netflix series The Get Down. In the show, there is a character who goes by the name of “Shaolin Fantastic.” The nickname is directly pulled from the Shaolin monks who were frequently casted as peaceful Kung Fu experts in grindhouse films. The way this character spray paints, fights, and views DJ’ing is all inspired by these movies. His mentor even goes by the name of Grandmaster Flash, who was a huge proponent in the creation of hip-hop in real life. The birthplace of hip-hop was no easy area. Those sections of the Bronx and other areas of NYC were a tough place to grow up and still are today. It seems that viewers of these Kung Fu films were so enamored because they found solace in the overall themes and messages. For the young viewer, it was almost as if they were living out these movies in real life. Like The RZA said, there was a real connection to these on-screen characters. They became role models of the people, and changed the way we carried ourselves. The themes of these movies have clearly left quite an impression on hip-hop in the past and will most likely continue through Kendrick Lamar.

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LL COOL B, AKA LUSCIOUS Buckets gave us the run-down all the way from having to hide his dreads from his parents at first, to how he achieved his flowing locs he has today.

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LOCS COOL BUCKETS See, What Had Happened Was: “Even though my mom had dreads, she didn’t want me to have them. It was like a career and professionalism thing. But I heard you could get dreads by doing a two-strand twist out and leaving it in, and I would get my hair twisted all the time, so it was normal. So, Zoya twisted my hair and basically I was like, ‘Aight, I’m not taking these out.’ For two months, when I visited home, I had to pretend I just recently got my shit retwisted. Then one weekend, my parents tried to like pop up on me and surprise me. We had to go to this surprise party and my mom told me to take ‘em out, and I was like ‘It’s dreaded.. I literally can’t take them out.’ So yea, that’s how I got them. It’s cool now though. My mom retwists them now.” Wrap It: “If you don’t wrap your hair up at night, like no matter what type of hair you have, I don’t trust you. Know what I mean? If you got waves, an afro, you gotta wrap your head. I put on a du-rag every night because if not, they look kinda crazy and frizzy. Other than that, these are pretty low maintenance, which is pretty cool.” The Products: “When you first get your shit, you gotta make sure you’re oiling your scalp and shit. In the morning, I’ll put some moisture in ‘em. Oil my scalp with some castor oil or something. Coconut oil is great, too. I use the Jamaican Mango & Lime wax to twist. I like the wax because I feel like

Conducted by Regina Cho - All interviews have been slightly edited for continuity and clarity.

it’s really twisting shit. I just went in my mom’s cabinet honestly. Shea Moisture Jamaican Black Castor Oil really helped my shit grow.” The Meaning: “I’m really proud to have grown up being Black and during the natural hair movement. I say it all the time. I see a lot of different hairstyles; I see people with afros, braids, and in the 2000’s it was more cornrows. And people have been more socially accepting of men taking care of their hair, too. That’s why my hair was fucked up in the first place, honestly. I just didn’t know a lot about it. Hanging around guys, you don’t really see that typa shit, I mean, unless you hang around Court. When other dudes ask ‘Oh, who twisted your shit?’ I just be like, ‘......They ain’t doing yours!’ (laughs).” Best Tip: “I know this is so typical to say because people really be gassing the shit out of it, but coconut oil does deserve the hype. Every hairstyle I’ve had, it’s always been there for me. It’s so versatile. Also, make sure you got friends who are girls so your hair isn’t fucked up. That’s important. Shoutout to Taylor (Benitez). She helped me out a lot. I didn’t even know what leave-in conditioner was until she told me I needed it.”

Photos by Dina Ben-Nissan Fall 2017

DR. JYMEEK JENKINS, PHD IN WAVEOLOGY

Some guys got the waves that’ll make you seasick, while others only pull up with the kiddie pool. Jymeek shared a few tips on how he keeps his spinnin' 360. Wolfing: "First, you gotta wolf it for a few weeks, maybe like 2-3 weeks or however long you're dedicated to the wolfin' stage. Constantly be brushing your hair. Then, when you cut it, the waves are gonna be underneath. Actually, if you can see your waves while you're wolfin', then you KNOW it's aboutta be some crazy shit under there." Brushing: "I remember when I was younger, I would brush so much to the point where my mom would say I was gonna brush a hole in my head. It's the most important part. Always brush even when you don't feel like it. If you get tired, switch hands (laughs). I have two, and I'm actually aboutta get a third one. This one is my soft one for when my hair is shorter but I also have this really hard one for when I'm wolfin' so it can really lay down my hair. Then there's a medium one for the in-between stages, you know what I'm sayin', if you wanna be extra with it like I am."

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The Du-Rag: "Make sure your du-rag is tight enough to where it's secure, but not too tight to the point where you can even think straight. You also gotta avoid ‘the line’ on your forehead. When you tie your shit, make sure it lays flat. Always get the silk ones, not those polyester ones." The Products: "Pink Lotion to secure the waves. Then, I got this argan oil that makes the waves shiny as fuck." The Meaning: "It's a bonding experience really. You know, we have competitions with our friends on who can get the best waves and whatnot. I'm the leader of the pack right now, but I'm not gonna go there. (Starts rapidly fake-brushing his hair.) Gotta catch up, niggas. I remember in 9th grade, there would be times where we'd just sit at the lunch table and talk about it. Yeah, it was like that. That was also when I had this one single wave (Regina: Wait, one? Jymeek: Yeah, literally just one across the middle of my head). I kept touching it and I would deadass go show my mom and my sister like 'Look! Feel this one wave right here'. But you know, that black boy joy had them gassing me up."

Maybe he’s born with it, maybe it’s Shea Moisture. It Was Fate: “When I first got to school, I didn’t really trust anyone to cut my hair. That’s really how it happened. I remember I walked into Campus Cuts and I thought to myself how I really didn’t trust anyone to shape up my hair. I was like fuck it, I’ll just grow it out. But then, by the time it was time to get a cut back home, I kinda liked the long hair. And it’s been a learning process ever since.” The Products: “Cantu Leave-In Conditioner, yea, that’s… that’s my shit right there. And I use Shea Moisture [Coconut and Hibiscus] Curl Enhancing Smoothie. I also like Shea Moisture Jamaican Black Castor Oil.” (Regina: Is Buckets your roommate? He said he used that, too. Court: Yea, I actually used his a little before I got my own without telling him about it. Regina: *laughs* Aight, don’t worry, I won’t put that in the interview. Court: *laughs* Aight, cool.) The Shower: “I use sulfate-free shampoos. Then, I gotta put a shit ton of conditioner in it and finger-detangle it. (Regina: Look at you knowing these hair terms and shit. Court: Look, I’m really about this life.) I have a wide-tooth comb, but honestly, I feel like more hair breaks off when I use it, so that’s why I finger-detan-

gle. Also, I feel like I can define the curls more if I use my hands. I section it into four different parts and do it that way, which is why it takes me a good like 30-40 minutes to wash my hair sometimes.” The Meaning: “I think the whole natural hair movement is really empowering, especially for women. You can just wear your hair out and there’s less of the ‘Why didn’t you straighten it?’ or ‘Why don’t you get a perm?’ type stuff. They can wear their natural hair without having be a shell of themselves and feel the need to conform to society’s standards of hair. It’s pretty dope.” Appreciation: “My mom went from always asking me ‘When are you going to get your hair cut, Court?’ to now asking me about what products I use. Actually, we would talk about that, and when I started using the Cantu one and I told her it’s good, she went out and bought some for herself. It’s kinda crazy to think I had that type of impact on my mom. She appreciates it.” Best Tip: “Satin pillowcases and sulfate-free shampoo. If you want nice curls, just find a routine that works for you and stick to it.”

CANTU COURT

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Why do you think there has been more of an emphasis on DJâ&#x20AC;&#x2122;s & producers lately? Because of social media. Back in the day, you wouldn't really know about DJs and producers because they were always behind the scenes. All we ever saw were the artist but now social media has created a platform that shines a light on them. Interview by Kemet High Sabrina Salomon DJ Reppinâ&#x20AC;&#x2122;: West Orange, NJ Class/Major: Senior/ Communications and Rhetorical Studies When did you fall in love with music? I've been in love with music ever since I was a young kid. I sang in church all my life, I was in band from elementary school up until high school. My brother is a pianist and drummer. I knew I loved music when I found myself constantly listening to instrumentals. It's just something about hearing a clean beat and instruments that just makes me vibe. I love it. Who, as a person, or what, as a situation has been your biggest influence thus far in your music? I would say all the other DJs on campus have been my biggest influence in my music. Everything I've learned, I learned it from them. I literally go to parties and have my recording app open recording the party. While I'm there, I'm enjoying the party and having fun, then the next day I play it back and really listen to it all over again. I pay attention to what they played, when they played it, how well it was mixed and I also listen for new music that I may not have. I even listen to the crowds reactions of certain drops and mixes to see what to do and what not to do.

Photo by Vi Pham

If someone made a soundtrack on your life, what songs would be featured and why? Any Chance The Rapper song because Chance is me and I am Chance. What can you say about the musical scene at Syracuse University? How do you differ? The musical scene at Syracuse University is kind of like a battle field, in terms of DJing. There are not a lot of DJs at Cuse but there's a good amount. I think everyone has a completely different style.

Take me back to the first beat/ mix you ever created? First mix I ever made was during winter break my freshman year. I was being mentored by another DJ and he wanted to hear something. At this point, I barely even knew what I was doing and for sure didn't have the right equipment. It took me about an hour or two to "perfect". I say that because if I listen to it now, I know it'll be straight trash. He told me I had a lot of potential and that motivated me to practice and get better. If you could look back at your experience at Syracuse University, whatâ&#x20AC;&#x2122;s one thing you would change? One thing I would change is definitely putting myself out there more. I want to make a bigger impact on the music and party scenes on campus. I still have one semester left so I'm going to try and make this happen. How did you come up with your DJ name? So my family nickname is Sab and my friend from back home gave me another nickname, which is Kimosabe. It is an insider between the two of us, only we know what it means. That name just stuck with me after that. It became my Instagram and Snapchat name and people even started calling me that in person. When I was deciding on a DJ name, I originally went with DJ Sabe, but it just didn't sound right to me. After a couple days of going by that name, that's when I decided to make the change to DJ Kimosabe and I'm glad I did. Who do you idolize, musically? I idolize so many different people musically. From local musicians and artists to the most famous ones. One person I truly admire is a friend from back home. His name is Ansy and he pretty much does it all. He writes, produces and plays almost every instrument. I can literally sit and watch him do his thing all day. What I admire about him the most is how passionate he is about what he does. I want to be as passionate about DJ as he is about his music.

Fall 2017

Mixtape Showcase Review By Kemet High Cherish Cobb

Female rap has been everywhere in the past 20 years. The ear of a listener is constantly changing, and unfortunately noting where we are in regards to hip-hop, often means that artists in general have to portray a lifestyle or ideology that they don’t really connect with. For women, it’s been even harder to stay genuine in a scene that constantly attempts to mold what’s put out. Don’t get me wrong, there is clearly hope with a tactical army who knows their value and weaponry. Those, who are unapologetically them, like Cherish, are the ones who will make it to the ears of real music and take over once again. C-Billz, in every way is the definition of raw human emotion, real life experiences, and heart. This is not to say that her music is nothing but gritty because just as fast as it’ll

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make you want to shoot someone, it’ll make you want to smile. A lot of artists get lost in the scope of conflict between making what they want and it doesn't pop, and making solely what the people want, which isn’t what they would really put out if numbers didn’t matter. C-Billz hit the nail on the head. I don’t have her down for ever making music for someone else, but it damn sure can and will pop across the entire country. Her demeanor is striking, her words are attractive, and her flow, damn, her flow is on some crazy. I could continue to give y’all some deeper insight on who she is and what her music sounds like, but y’all should just plug up for yourself. I will confidently say this though; what made her completely different from the artists she competed with, was the fact that she already has it. Soundcloud: C-BillzOfficialPage

Photo by Akeem Lovell

On November 11th, 2017, we hosted our very first Mixtape Showcase in collaboration with SUNY Oswego. If you missed the blessing, 7 fired up artists graced the stage in competition but one came with a little more flavor; she goes by the name of C-Billz. Cherish Cobb, repping Syracuse, New York lit the stage up like Andre Rison’s clothes & mansion back in 1994. As she rocked the mic and highly influenced everyone to lean back & do the money dance, it wasn’t until after that people realized that something truly special was at hand. She’ll probably hate me for saying this, but as small as she way, she clearly had the biggest presence.

Fall 2017

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comes, I'm going to take it but I'm not craving fame or anything like that.

Interview by Kemet High Justine Thompson Singer Reppin’: Born & raised in Jamaica, Residing in Brooklyn/ Queens Class/ Major: Senior/ Music Industry When did you fall in love with music? When I came out the vagina, I immediately loved it. I guess, when I started going to prep school in Jamaica and we had to do music for a class. I noticed in that class that I could sing. That's when I realized I liked it, because I was good at it. We had concerts and I was always chosen to do the solos and things like that. It made me shy away a little bit because back home in Jamaica, you have to do everything. What was your experience like at LaGuardia? Half of your day is academics, and the other half is your craft. There was a lot of competition. Everybody wanted to be good at everything but each person didn't get individual attention so you were on your own. Everyone had to sing in a chorus but I did learn a lot; I learned how to read music and sing but I felt I lacked a bit of individual attention. But I did grow to feel like an artist towards leaving.

Photo by Taylore Ratsep

How do you think that prepared you for Syracuse? Being here in this school is not the nicest place to be just because they are very European. It's like classical music is all they think about. There is a jazz setting but that's the closest to black anything you could get. We have this music history course and we only had two weeks of learning about African music; that's like four classes, that's it. It's actually really wild. You could count on one hand how many black students are here. What do you want to do post graduation? My parents plan is for me to continue studying in a graduate program. Essentially I just have to keep creating. You have to put in the hours to see results. You see yourself on a large or minimal scale? I don't want to be a Rihanna or a Beyonce. I want to be a lowkey artist who can have my life but still be comfortable and happy. If that

What do you look for production-wise? Something that has some soul/R&B influence. If I'm being honest, something that is also alternative. It has to be something I have never heard before. I'm over EDM and electronic shit. I've recorded over EDM beats before and there's a reason why I don't share it. I don't feel it. I need it to have some more "stank" on it. Do you have any projects in the works? I have one single out with a friend who’s in Bandier. We worked on that song in my songwriting class and figured we should link. We worked on other things but we haven’t released it yet. I’m planning on releasing something before I graduate so I can catch some people here. You talked about portraying emotion that you weren’t going through. Would you say artists do that naturally? There are people who are definitely honest, but you have to feed into people’s feelings. Not everybody has been cheated on and shit. It’s beneficial to do that because you have to play on people’s feelings because that's how they connect and continue to listen. What would you tell 11 year old you? I’d say “stop worrying so much about things. Stop thinking about what the next person is doing..” I would say “calm down. It’s ok”. What do you think is the biggest mental struggle being at Syracuse? Being here is stifling because I’m black, and being a woman on top of that… My freshman year, I was late to class. One of my professors was giving a story about how this black opera singer was constantly late to her gigs, so they got rid of her because of that. We knew good and damn well that wasn’t why. But I was shook because why was he telling me this? Why were you just comparing me to another black woman? That’s the biggest struggle being here; navigating being a black woman. What is the biggest change you’ve made from your freshman year to now? I would say that I learned not to take shit from anybody. I’ve gotten a lot tougher. Not that I’m a savage, but I’m going to say something because I can’t let people mess with my spirit. If you’re not giving me the energy that I’m giving, then it’s not working and I’m going to keep it pushing. That’s what I’ve concluded in my years here; don’t take shit from anybody. Fall 2017

Interview by Kemet High Taylor Benitez Singer Reppin': Canarsie, Brooklyn, NY( You already know; flossy) Class/Major: Senior/ Vocal Performance When did you fall in love with music? I was born into singing. I feel like I've been singing since I could talk because my mom sings. She never had to push me. I saw her love for it, and it made me love it even more.

Do you remember the first song you ever sung, recorded, or wrote? The first song I wrote was way back in the second grade; I was like 8. I haven't had any complete songs yet... I have so many first songs & first sections, and first choruses and verses but finishing a project has always been hard for me because I am an over-editor. I'll start something and I'll edit it too much because I'll be like, "that wasn't perfect. I could do this different". I used to sing a lot in elementary school. I was definitely a show off. I would be like, "It's flag day, can I sing to celebrate?" What kind of platforms or levels do you see yourself at performance wise? I never wanted to be a Beyonce because I always wanted to have privacy. I want to be a regular person but of course as an artist, you want to be famous. You want people to know your voice. I want people to really fuck with me, not because they heard my song 15 times on the radio. Were there any experiences growing up that contributed to the way you make music? Other than your mom being a performer? Honestly, I was just always into Soul & Gospel music. I would always listen to Kim Burrell, Jazmine Sullivan, and all of the old artists my mom would listen to like Aretha Franklin, or Etta James.

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Depending on labels and teams, they try to frame your music for you. Is that something that you're open to? I am because I feel like you have to play the game. I feel like I have to be in there and do it my way. I would make a pop song but put my own thing on it. How did you get to Syracuse? I'm going to keep it a buck with you... this wasn't like my dream school. I applied because I knew it was good name, and it was the best one I got accepted to so I just went. Even though I like other music schools, I knew that the degree would mean more here. The name "Syracuse" is enough. What were your highest and lowest moments at Syracuse? I would have to say the Delta showcase I did my sophomore year. I just liked that performance and I loved the vibes of it. It was a really nice vibe. I sung "Beautiful" by India Arie. They had the band there and everything, and it was a lot of people; it was a really nice night. My lowest moment would be discovering things about my own emotional health in Syracuse. I had to grow out of that and accept things about myself. It was hard and it was really taxing. What are some things you love and hate about our community at Syracuse? The thing I like the most about the community is that it's very easy for us to communicate. I feel like it's hard to be in the dark about things going on because of how small it is. I do feel like we're really united when we talk about being united. And then when we’re not, we’re not. You can see somebody at a party and have a conversation, and then you see them next day and they act like they don’t know you. That’s the culture. I wish people would just open up a little more.

Photo by Taylore Ratsep

Do you see yourself ever recording a song with her? I definitely would. It's so funny though because my brother makes music too, and he had my mom do a vocal line on a track. I was like, "I don't remember doing a song with Ajani... I don't remember recording anything." I dead ass thought it was me. She gave me her voice.

Fall 2017

When hip-hop was a youngin’, rap groups defined the genre; so it’s cool that rap groups are back in style. Newer groups like Brockhampton and Run the Jewels are making strides in hip-hop and picking up where groups like N.W.A, Wu-Tang and Outkast left off. Hip-hop may have been born in the 1970s, but it blew up in the 1980s with legendary hip-hop crews like Run-D.M.C, Salt-N-Peppa, Public Enemy, and N.W.A taking the scene. With their flashy characters, innovative sounds, and loud social and political commentary, these groups helped hip-hop enter the mainstream; the genre saw itself topping the charts and selling in high

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numbers for the first time. Put simply, rap groups laid the foundations of hip-hop; they allowed hip-hop to establish itself in popular culture, and they helped propel hip-hop into its Golden Age. Around the early 90s marks what many consider the genre’s prime--when acts Tribe Called Quest, Salt-NPepa, Outkast, and Wu-Tang took off. With the financial incentive of not having to split royalties and the appeal of not having to share the spotlight, solo careers became fashionable. Ice Cube and Dr. Dre found individual success outside of N.W.A, and Busta Rhymes out of Leaders of the New School.

Of course, some rap groups continued to do their thing. Wu-Tang released “Wu-Tang Forever” in 1997, which topped number one on the Billboard 200. Shortly after, however, in 1998, they released “The Swarm,” which topped at 81; and their subsequent albums performed progressively poorly on the charts. Rap groups seldom made the charts after the Golden Age, and over time, rap groups faded into quasi-obscurity being shoved aside by solo artists. But people are getting back into the group mentality with groups like Brockhampton, Migos, A$AP Mob and more. What’s different is the unique

Art by Angela Ricciardi

By Meilin Quinn Rap acts lost their momentum for a while. They lost their hype, but now they’ve got it back.

grip that rap groups now have over popular culture. Rap groups are stylish and trending again, and this is partly due to the memes. There were the “rain drop, drop top” memes that Migos inspired and the Rae Sremmurd #MannequinChallenge. The exposure these memes brought to both groups contributed greatly to their popularity. The impetus behind the resurgence of rap groups, though, is the strong synergy of group dynamics. Brockhampton’s strong chemistry is evident through their music videos and albums; it’s clear that their music is truly a group effort, with some members in charge of creative design,

some behind production, and others behind vocals. Every member is essential, and that’s indicative of a good rap group. Like Brockhampton, rap duo Run the Jewels have a complementary dynamic that has allowed them to produce three consistently brilliant albums. Run the Jewel’s chemistry is encapsulated in their single “Talk To Me,” in which they trade verses with perfect timing, hyping each other up while hyping listeners up at the same time. Some rap groups today don’t have this strong consistency. A$AP Rocky is miles ahead of the rest of the Mob, Tyler

ahead of Odd Future, and Joey Bada$$ ahead of Pro Era. And, though there’s the strong chemistry in Migos from their blood relation, Quavo is head and shoulders ahead of the rest of Migos. Conversely, The Wu-Tang albums were bigger than any of the rappers’ single projects. The key to a good rap group is that the group is greater than its parts, and this isn’t the case with some modern-day groups. But hip-hop is going through something of a Renaissance with its newer groups. Some of these groups, with their powerful dynamics, are breaking new ground and redefining what rap is for the new generation.

The impetus behind the resurgence of rap groups, though, is the strong synergy of group dynamics.

Fall 2017

TOP TEN MOST ICONIC HIP-HOP ALBUM COVERS

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By Joel Berakah DISCLAIMER: Let it be known that this list is about the most ICONIC album covers, not the most creative, if that was the case, then this list would have been completely different. So, before you start attacking my list with your angry comments about so and so albums being snubbed, remember that.

SNUBS A Tribe Called Quest, Midnight Marauders (1993) Eminem, The Marshall Mathers LP (2000) Snoop Doggy Dogg, Doggystyle (1993) Drake, Nothing Was The Same (2013) 2 Live Crew, Nasty As They Wanna Be (1989) N.W.A, Straight Outta Compton (1988) Lauryn Hill, The Miseducation of Lauryn Hill (1998)

10. Geto Boys, We Canâ&#x20AC;&#x2122;t Be Stopped (1991) Photographer: Cliff Blodget Art Direction: Cliff Blodget/Rap-A-Lot The Geto Boys third album cover is considered to be one of the most controversial in hip-hop history. Bill Bushwick violently forced his girlfriend to shoot him in the face in a drunken argument so that his mother could benefit from his life insurance policy. He ended up only losing an eye, and his label thought it would be a good idea to take a picture of him at the hospital for the album cover. A failed suicide attempt along with a gruesome photo shoot created what would be their major breakthrough album.

9. DMX, Flesh of My Flesh, Blood of My Blood (1998) Photographer: Jonathan Mannion Art Direction: Jonathan Mannion A literal interpretation masterfully executed, DMX got inside of a bathtub filled with 60 gallons of fake blood for his sophomore LP. The cover exemplified the traits that describe who X is. It was menacing, de pressing, dangerous, and aggressive.

Fall 2017

8. Outkast, ATLiens (1996) Illustrator: DL Warfield Art Direction: Frank Gomez During the era where hip-hop was riddled with the East CoastWest Coast rap rivalry, André 3000 and Big Boi challenged the industry by pushing a new sound of Southern rap to the forefront. The comic book inspired album cover portrayed them as the heroes of the South. In an interview with the Los Angeles Times in 1996, André 3000 explained the concept behind the album cover: “The ATL for Atlanta, and the aliens for our status as foreigners in the hip-hop game.” The album booklet also came with an 18-page comic.

7. Ol’ Dirty Bastard, Return to the 36 Chambers: The Dirty Version (1995) Photographer: Alli, Illustrator: Brett Art Direction: Danny Clinch One of the most unique characters in hip-hop history, with one of the most unique album covers ever. The artwork is a literal copy of his food stamp ID card. To prove that he lived his art, ODB took MTV News, two of his kids and his mom with him in a stretch limo to pick up his food stamps. A legendary moment, R.I.P. ODB.

6. Kanye West, Graduation (2007) Illustrator: Takashi Murakami Art Direction: Takashi Murakami Kanye West recruited Murakami who is often referred to as “Japan’s Andy Warhol” for the design to his third LP. The colors, direction and symbolism of the artwork wonderfully captured the brand new aesthetic and sound that ‘Ye was ushering into, while still keeping the collegiate theme that fans loved. The concept revolved around a metropolis named University City. Being the perfectionist that he is, it took around two to three years for him to agree on the final design for the album.

5. Wu-Tang Clan, Enter The Wu-Tang: 36 Chambers (1993) Photographer: Daniel Hastings Art Direction: Jacqueline Murphy Wu-Tang gave the classic rap crew image a new twist, a complete emphasis on the crew. Individual members are masked up so that their identities are unknown, and it intensifies the intimidation factor that the cover gives off. The classic W logo in the background poses almost as a warning signal that the clan has arrived.

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4. The Notorious B.I.G., Ready to Die (1994) Photographer: Butch Bel Air Art Direction: The Drawing Board Although Ghostface Killah and Raekwon called out Biggie for biting the Illmatic cover, the artwork has still proven to be timeless because of how powerful the image is itself. The title reads “Ready to Die” but displays a seemingly content baby. The baby was long believed to be a young Biggie, but it was actually just a random baby, later found out to be Keithroy Yearwood.

3. 50 Cent, Get Rich Or Die Tryin’ (2003) Photographer: Sasha Waldman Art Direction: Stang Inc. Everything you need to know about 50 Cent is in this cover. The image alone tells his story. The glass with the bullet hole represents the fact that he had been shot nine times, but the diamond cross with the matching 50 Cent Gucci belt and gun holster reflects the success he attained despite his setbacks. The cover blends the perfect combination of money, power and violence that only 50 can pull off.

2. Dr. Dre, The Chronic (1992) Photographer: Daniel Jordan Art Direction: Kimberly Holt The Chronic perfectly fused weed and rap together under layers of smooth laid back flows and G-funk sounds. The cover flipped the design of Zig Zag rolling papers with Dre as the cover, making him the face of smokers. The cover further pushed both hip-hop and marijuana into mainstream pop culture. The album is also responsible for introducing a young Snoop Dogg to the hip-hop industry. 1. Nas, Illmatic (1994) Photographer: Danny Clinch Art Direction: Danny Clinch, Aimee Macauley The artwork for Illmatic is utter perfection because of how it displays what hip-hop is and what it represents. The album sounds exactly how it looks. His home, Queensbridge Projects, serves as the backdrop with himself as a child in the forefront. The image is striking due to the seriousness and calmness of the photo. Many artists throughout different genres have used childhood pictures as artwork to grab the audience’s attention, for example, Biggie’s “Ready to Die” and Lil’ Wayne’s “Tha Carter III” are notable ones that come to mind. The cover allows the listener to feel the elements of the stories that Nas tells on the album, and because of that, Illmatic is forever. Fall 2017

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Sex, Drugs, and Rock n’ Roll Hip-Hop By Arena Jiménez

On July 18, 2017, rap finally surpassed rock as the most popular musical genre in the U.S. For many of us, this seemed long overdue. Rap music is all around us – on the radio, at parties, on television and movies. Rap artists are some of the most famous, influential and talked about people on popular media. Surpassing rock almost seemed like something rap had already done. However, outdoing rock music was not easy. Rock has been dominating music since the 50s, long before hip-hop existed. It’s no wonder it is such an inextricable aspect of American culture. Rockstars defined and re def ine d what was “cool” for decades. Party like a rockstar, feeling like a rockstar, looking like a rockstar - rockstars lived the lifestyles that young people looked up to. They represented rebellion, fun, recklessness, luxury and a kind of hedonism that people couldn’t get enough of, whether they criticized it or aspired to experience it. And although rock has officially (it was long overdue anyway) lost its crown as America’s most consumed genre, the concept

of living like a rock star has remained. The trend of rappers comparing themselves to rockstars is not new. In 2007, Shop Boyz came out with the single “Party Like a Rockstar,” in which they rapped about,

formance by a Duo or Group. This idea of rappers acting like rockstars has resurfaced recently with Post Malone reaching #2 on Billboard Hot 100 with his single “Rockstar,” in which he raps about the rock n’ roll lifestyle - having sex with groupies, throwing TVs out of hotel rooms, doing drugs and drinking copious amounts of alcohol. And last year, when Rae Sremmurd had their first number-one single with “Black Beatles,” in which they portrayed rock stars in the music video. It seems that, even now, when rock music is nowhere near as popular as it used to be, the public still clings to the glamour of the rock n’ roll lifestyle.

Art by Aru Banks

It seems that, even now, when rock music is nowhere near as popular as it used to be, the public still clings to the glamour of the rock n’ roll lifestyle.

essentially, partying like rock stars. The song had playful undertones (“T-t-t-totally duuuuude!”) and upon release, it was wildly successful, reaching #2 on the Billboard Hot 100 and receiving a Grammy nomination for Best Rap Per-

In his now infamous 2013 BBC Radio 1 interview with Zane Lowe, Kanye West proclaims, “ We culture. Rap the new rock n’ roll. We the rockstars.” Only four years later, hip-hop officially beat rock n’ roll and became America’s favorite musical genre, now rappers have truly become the new rockstars. And so, just like at the 2009 VMAs, Kanye was absolutely right. Fall 2017

By Brendan Ryan I stand there in the massive crowd of thousands on Randall’s Island, yet we’re all silent, waiting for the next move of the mystery man on stage. “How many of you guys have ever been in love. Okay, how many of you guys have ever been through a breakup?” he asks before transitioning into “Ivy,” the hit song off his long-awaited album Blonde, a dreamy blend between simplistic concepts of R&B and pop backed by a washed-out guitar. It’s Frank Ocean, the man who who ended a fouryear hiatus when he released both a visual album, Endless, and the critically - acclaimed

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Art by Erica Jules

Blonde. Surprisingly, Frank did not go back into hiding after Blonde, but rather continued to innovate. In 2017, he began releasing new music on his Apple Music radio show, Blonded. After premiering the chart-climbing Calvin Harris single “Slide” on the show, he proceeded to release four of his own songs with multiple versions of each. While some may say Ocean has strayed away from his R&B roots, he simply showcases the range of the genre. His first single, “Chanel,” takes a distinctly R&B piano and a drumline seemingly from a marching band before belting a completely falsetto verse, and

of slick rap and a great voice to complement his flow. Bursting onto the scene with his five song EP, blkjptr, he immediately became a diamond in the rough of a very crowded Chicago rap scene. The title track off the tape transitions seamlessly from a strong rap about wealth and clout into a distressed begging to a lover for company, flexing his underrated voice. On his 2017 LP, blkswn, Smino seems much more comfortable and takes more risks. From establishing his now trademark ad-lib of “Yah, Yah, Yah” on a number of songs, to desperately yelling on the chorus of “Anita,” Smino establishes not only

describes the joys and downfalls of being a side-piece in a beautiful traditional R&B style. With high profile features from Travis Scott and TDE’s own Isaiah Rashad and Kendrick Lamar, who turns a conceptually vulgar and immature verse into a powerful declaration about how men use some women only for their genitals, SZA has help that highlights her skills. Despite this, SZA and her album shine the most when she sings solo. On “The Weekend”, she belts out her satisfaction with only holding any importance to a man during the latter part of the week behind a beat of finger-snaps and a soft piano.

finally beautifully boasting his wealth. Right before summer he dropped the fast “Biking”, complete with JAY-Z and Tyler, the Creator features, and the autotuned drowned serenade “Lens”. Finally, on the night of the VMA awards, Frank dropped his last summer gift, “Provider”. The song uses strong vocal correction and autotune, the same type of modification he satirized on his first hit single, “Novacane,” showcasing the dynamic nature of R&B.

his name in the industry, but also his identity. Smino is one of the pioneers of a new sector of the R&B genre that draws major influence from some of today’s most mainstream rap artists such as Lil Uzi Vert and Playboi Carti, showing how the genre adapts to today’s modern music.

On “Normal Girl” SZA yearns for a typical relationship with activities such as meeting her significant other’s parents through piercing high notes.

St. Louis native and Chicago-based artist Smino has taken the music world by storm with his combination

While Frank Ocean and Smino are revolutionizing the genre, SZA reminds us why the genre is amazing at its core ideals. The Top-Dawg Entertainment signed singer released her sophomore album, Ctrl, at the beginning of the summer and it took many music circles by storm. On the album SZA

While many expected R&B to fade out in the new-era of autotuned heavy modern music, this has rather started a renaissance of the genre, which is as dynamic as any other genre.

Fall 2017

UU, So first and foremost, I just got to say that I was the first person to come at UU’s neck. (Go back and check the Mixtape Cypher from Fall ‘16. It’s probably bleeped out but just know, I said what I said.) It was with so much passion and disdain that I delivered that message, because I was utterly hurt by who they planned on bringing… AND THEN HE DOESN’T SHOW UP ?!?!? Who’s in charge of making sure they show up? Well, I don’t care about that anymore. I’m here on another mission.

it’s paying dividends. Here’s where the whole damn gag is: If hip-hop is having such an amazing year, THEN WHY IS THE HIP-HOP HEADLINER FOR JUICE JAM UGLY GOD?!?!? I mean, don’t get me wrong… oh wait, nevermind, I have no way to defend Ugly God as a headliner. He has about 2-3 “hit” songs (that’s me being nice) and last time I

but granted, he is problematic. Amine would have been a better choice. Not the best, but better. I’m just going to stop listing artists because I could have booked a better show than this with a box of Krispy Kreme donuts as my budget. I’m just sick of the blatant disrespect UU is showing the dope artists out there who are trying to be big, or who even are big, and yet they decide on the person no one knows about just because his face was on a magazine cover. I’ve been to a good Juice Jam. I’m privileged enough to say that, but these freshmen and sophomores don’t have that luxury. I could obviously go on forever, but I’m going to end on this note from the car ride rapper, Jermaine Cole, as a message for the Student Association to take into account when they give UU money again: “Fool me one time, shame on you; Fool me twice, can’t put the blame on you; Fool me three times, fuck the peace signs; Load the chopper, let it rain on you.” SA, please don’t let it happen a third time.

Last year, I couldn’t wholeheartedly blame the University Unionians for Fetty Flop, but this year, I got time. What’s good UU? This year was, arguably, the greatest year for hip-hop ever. Hip-hop took the crown as the most popular genre of music AND the underground scene is having such an incredible era of emergence into the mainstream scene. We got people like Ski Mask and Lil Pump, who, if they released like 3 years ago, would’ve definitely been water under the bridge with no time to spare. We, as a community, were not as open to new sounds before, but these artists have been making their pushes slowly, and now

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checked, 2-3 songs doesn’t add up to an entire set, but just in case, I’m going to pull out my calculator to try and add this up… yeah, nope, even Siri is confused. There were so many better options in Ugly God’s freshman class that would have been better options to headline a show. XXXTentacion is arguably the most talented in the group,

With the utmost sincerity, Larry… or Lawrence… or Young La.

Art by Rajon Enoch

I could have booked a better show than this with a box of Krispy Kreme donuts as my budget.

Tonight’s house party, what shoes are you wearing?

Truthfully, I wasn’t gunna go

Black suede thigh high boots, bitch

I mean... checkered vans Most likely to smoke weed...

What’s for lunch?

Krabby Patty... without the bun... or patty... a vegan ass salad Steak, we eating good everyday

My n****

With the homies

Who do you go to for advice?

Solo dolo

Boys?

My money is mine and his is too

*Yawn*

HOOD BITCH

THROWBACK QUEEN

You give no fucks what so ever. You don’t worry about what the next person has to say and you’re confused as to why they’re worried about you. You’re a believer in “if I can take it then it’s not yours” and you apply that in all aspects of your life, especially when it comes to your coin.

You’re as real as it gets. Your mentality of a natural born hustler, mixed with street intellect, allows you to move calm, consciously and passionately through all endeavors. You have a strong sense of self but stay humble. You value loyalty and always keep it gangsta.

Drink of choice: Ace of Spades

Drink of choice: Henny

No one is wiser than my grandma

ART HOE

OLD SOUL

You’re a strong believer that beauty comes from within. You hand flowers to your haters because you still wish them the best. You don’t practice the art of petty because it’s bad for your chakras and you’re all about good energy.

You’re well rounded. You’re tough but you have the purist, most fulling love to give. You’re slightly introverted but that doesn’t stop people from gravitating towards you. You respect intellect that goes beyond the surface of what is known and into the depths of what is felt.

Drink of choice: Water

Drink of choice: Moët

Fall 2017

Edition IV

Oakland - Kamaiyah, Kreayshawn

Detroit - Dej Loaf, Kash Doll, Angel Haze, Molly Brazy

LA - Cam and China

Toronto - Honey Cocaine

Minneapolis - Lizzo

Atlanta - Jodie Shane, Bali baby, Kodie Shane

Dallas - Nezi Momodu, Asian Doll, Cuban Doll

NC - Rapsody

MIXTAPE MAG

Women have been powerhouses in the hip-hop game since the beginning. The wave isn't stopping anytime soon, and it's only getting stronger. Here are some of the dopest female rappers you currently need on your radar.

DMV Area - Rico Nasty, Sa Roc

The Bronx - Malibu Mitch, Cardi B, Princess Nokia

London - Lady Leshurr, Paige Cakey, Little Simz

Brooklyn - Young Ma, Junglepussy, Leikeli47

Manchester - IAMDBB

Harlem - Azalea Banks

Chicago - Breezy, Queen Key, Noname, Tink, Syd, Shaw, FM Supreme

Fall 2017

I want to say a little something thatâ&#x20AC;&#x2122;s long overdue / The disrespect to women has got to be through / To all the mothers and sisters and the wives and friends / I want to offer my love and respect to the end - Beastie Boys, Sure Shot

Edition IV

MIXTAPE MAG

Fall 2017

Edition IV

MIXTAPE MAG