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MIKE Announces Tour, Drops Video for New Song “What Do I Do?”: Watch

By Nina Corcoran

MIKE has shared another new single from his upcoming album Beware of the Monkey . “ What Do I Do ” comes with a music video directed by Xin Wang . In the visual, the New York rapper can be seen wandering along the coast of Maryland. MIKE has also announced a slate of North American tour dates. Check out “What Do I Do” and his full schedule below.

“What Do I Do” is the second song MIKE has shared from Beware of the Monkey , following “ Nuthin I Can Do Is Wrng .” The new LP is named after a horoscope he saw in a Chinese restaurant and interpreted as a warning about the future. It’s due out December 21 via his label 10k. MIKE’s previous album, Disco! , came out last year.

Read more about Disco! at the No. 16 spot in Pitchfork’s “ 50 Best Albums of 2021 .”

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03-09 Boston, MA - Middle East (Upstairs) * 03-10 Montreal, Quebec - Bar Le Ritz * 03-11 Toronto, Ontario - Velvet Underground * 03-12 Cleveland, OH - Mahall’s * 03-14 Detroit, MI - Sanctuary * 03-15 Des Moines, IA - xBk Live * 03-16 Minneapolis, MN - Underground Music Cafe * 03-17 Milwaukee, WI - Cactus Club * 03-18 Chicago, IL - Lincoln Hall * 03-19 Lawrence, KS - Bottleneck * 03-22 Denver, CO - Lost Lake * 03-22-26 Boise, ID - Treefort Music Festival 03-25 Seattle, WA - Madame Lou’s * 03-26 Portland, OR - TBA * 03-28 Sacramento, CA - The Starlet Room * 03-29 Berkeley, CA - Cornerstone * 03-30 Santa Cruz, CA - Catalyst Atrium * 04-01 Los Angeles, CA - The Regent $ 04-02 Tucson, AZ - Hotel Congress (Club Stage) $ 04-04 Austin, TX - Ballroom $ 04-05 Dallas, TX - Cheap Steaks $ 04-06 Houston, TX - The Secret Group $ 04-07 New Orleans, LA - Gasa Gasa $ 04-08 Atlanta, GA - The Masquerade (Hell) $ 04-09 Durham, NC - Motorco $ 04-11 Richmond, VA - Richmond Music Hall $ 04-12 Baltimore, MD @ Ottobar $ 04-13 Philadelphia, PA @ First Unitarian Church $ 04-14 Brooklyn, NY @ Music Hall of Wiliamsburg $

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How a Rising Brooklyn Rapper Created a Free Rap Festival That ‘Makes Sense’

By Jeff Ihaza

The font size on many music festival lineups has been shrinking lately, as new events, jam-packed with megastars (who sometimes don’t even show up) have cropped up in the time since pandemic restrictions have eased around the world. For fans, it can sometimes feel overwhelming. Rappers starting their own festivals , by now, seems like a natural part of the game. Everyone from Tyler the Creator to Drake to Travis Scott to Pharrell have put on some version of a multi-artist music festival, featuring a dizzying slate of acts who, likely, are playing the next week somewhere else.

For the Brooklyn rapper Mike , it still feels like something is missing.  “There’s not much events that are dedicated to rap music,” he says over the phone. “There is shit that’s for rap. But, like, not shit that makes sense.”

The City Parks Foundation, a nonprofit focused on civic engagement with New York City’s public parks, approached the 23-year-old MC last year to perform as part of its long-running SummerStage series. He decided instead to put on Young World, which he thought of as a music festival for regular people: a free show in the park, in the daytime, featuring talented young acts. The lineup for this year’s Young World 2, which took place July 21 at Herbert Von King Park in Brooklyn, includes the Houston-based rap experimentalist TisaKorean , New York’s Junglepussy, Brooklyn-based Maassai, and more. There’s also a legendary headliner: hip-hop icon Slick Rick. 

“When I came up with the idea for Young World, that’s one of the things that I thought,” recalls Mike, who counts Slick Rick — who, like him, moved from the U.K. to the East Coast when he was young — as one of his early inspirations. “Like, the craziest Young World would be the one that he performs at. It’s crazy to have that for the second one.”

Young World began in 2019 as a multi-day event in Manhattan. The idea from the start, Mike says, was to find a way to celebrate the more localized worlds that young artists share with their fans. “I always thought about artists who have the ability to create their own world, and build that from scratch or from nothing,” he says. “When I think about basically all the artists that are on the bill, it’s people that have created those types of worlds with music and shit, at least to me.”

Mike, who recently finished a tour alongside Freddie Gibbs , and has worked with the likes of Earl Sweatshirt and Alchemist, has himself built a fanbase in line with the current generation’s impulse for independence. “Young World is basically the idea of you building your own world that you can allow people to come into,” he says.

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So what’s it look like in Mike’s world? “I just want people to be allowed to enjoy good shit,” he says. “You shouldn’t have to pay mad bread for a good experience.”

The first Young World sold tickets on a sliding scale, and this year the festival is open to the public. The venue, a staple of Bedford Stuyvesant, is part of Mike’s everyday life. “We bike past that park all the time, it’s crazy how life shit comes full circle like that,” he says. “I’m just grateful to be able to be putting that to use. It feels like I’m doing something for the people around me.” 

Mike would like to see more events in the city for young people to be able to enjoy the space around them safely and inexpensively. Like a growing number of New Yorkers, he doesn’t like the current mayor Eric Adams, who is known to pop up at youthful buzzy hotspots all the while leading a government increasingly hostile towards young people of color. “But if he pulls up to this shit,” Mike says, “that would be funny as fuck.”

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Today’s Song: MIKE & Tony Seltzer’s Collaboration on “R&B” Is a Breath of Fresh Air for Underground Hip-Hop

Fresh off a successful 2023, producer Tony Seltzer and rapper MIKE unite on “R&B,” a quirky, smooth, and impressive summation of the artists’ respective styles. 

  follow our today’s song(s) playlist.

Stream: “R&B” – MIKE & Tony Seltzer

I t has been five years since Hip-Hop officially overcame Rock and Pop as the country’s most popular genre.

Since then, it has shown no signs of slowing down. Even though our modern music landscape has seen Billboard charts filled with a multitude of great Trap and Mumble Rappers, we have been blessed to have seen an Underground Hip-Hop scene which is, perhaps, at its own peak in relevance. Flaunting their unique respective styles, “ R&B ” finds New Yorkers MIKE and Tony Seltzer collaborating on an effort that is a colorful, fun, and innovative addition to the Alternative Hip-Hop landscape.

October 2023 saw the release of Burning Desire, MIKE’s 6th studio album which was met with widespread acclaim from the online music community. Almost entirely produced by the emcee, the album saw eclectic, short-form, rap cuts adorned by MIKE’s slow, deadpan, almost spoken-word-like rap style akin to contemporaries the likes of billy woods and Earl Sweatshirt (whose feature on the album fits like a glove).

Meanwhile, producer Tony Seltzer is not far removed from the success of 14K Figaro, a versatile collaboration with fellow New Yorker, Wiki. The project showcases Tony Seltzer’s crisp yet melodic production whose merit lies in musical subtlety and a raw, charged fidelity of sound. A common friend between the two artists, rapper Wiki can be heard on Faith is a Rock, a heartfelt collaboration with MIKE and the legendary Alchemist which quietly made waves in the underground earlier last year.

Please don’t judge me for them scams  that was not legit But I spent money on them brands got my mom a crib

Then gon’ touch me, watch them hands, come [up positive] but please don’t flex ’cause i’ma fan, but i’m not a bitch i look sexy, i look handsome, i hop out the whip.

A deep, hard to discern vocal sample kicks the track off alongside a slick synth melody in a soundscape that is enigmatic yet alluring. It doesn’t take long for the beat to flip into a slow, feathery, dreamlike groove. Seltzer’s bubbly drums meticulously laid across a slick R&B chord progression that will stick in your head for hours. MIKE’s flow borders on mumbling but adds a strong, almost Dilla-esque type of rhythmic lilt which plays off the beat incredibly well. His rhyme scheme is consistent throughout much of the track, the uniquely stated lyrics delivered with incredible whimsy.

She wan’ [game] it’s like ransom, I got lotta chip I threw confetti on this dancer for my confidence

I hit the scene already jamming off all kind of shit she said i’m sneaky, like the panthers, from wakanda shit you with the team, you gotta answer, where your honor sit i know the scene, i’m in a trance and i’m pondering.

Masked through the glam of the instrumental, MIKE delivers a confessional, semi-disjointed narrative which paints a cartoonish narrative of a selfish thug.

The stark, (hilariously) pathetic opening line “Please don’t judge me for them scams/that was not legit” is immediately contradicted with a braggadocious line about mainline brands and buying “mom a crib”; it’s clearly not beneath the rapper to scheme for a quick buck. Even though MIKE’s girl calls him sneaky and the rapper isn’t proud he “had to do a homie bad”, he still loves the fact he can “make a dollar stretch” – and hey, at least the rapper feels sexy.

I had to do a homie bad, I ain’t proud of it And when they snooping in my bag, hop out of it Yeah, I be moving with the bammers like Obama kids

When it’s lit i do my dance, like my collar itch i could make a dollar stretch, make a dollar slim i could make a dollar stretch, make a dollar thin.

Just as quickly as it came in, Tony Seltzer pulls the rug on the track and clips back into the same sample as the intro. In all, ‘R&B’ is a fun, varied track which is a must listen for any music fan looking for something fresh. Tony Seltzer’s creativity and MIKE’s storytelling skill pair together in a feat which displays the variety of what Underground Hip-Hop has to offer without sacrificing the listenability.

:: stream/purchase R&B here ::

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Connect to tony seltzer on facebook , twitter , instagram, discover new music on atwood magazine, :: today’s song(s) ::,   follow our daily playlist on spotify, :: stream mike  ::.

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Dimitri Vegas & Like Mike’s path from celebrated DJs to dominating the global electronic music scene has been on a constant, upward trajectory leading them to once again become the World toppling No.1 DJs. Having won the 2019 edition DJ Mag’s Top 100 DJs poll the pioneering duo return to the top spot following their debut back in 2015, that saw them become the first ever duo to win the No.1 DJ’s crown. Their unique live shows have propelled them into global stars and enabled them to become two of the most prominent dance music figures of the modern era. The anointed ‘King of Tomorrowland’ have set the world stage on fire with countless headline performances for festivals such as EDC Las Vegas, EXIT festival, Parookaville, UNTOLD, Sensation and Creamfields. As well as led to the duo becoming a fixture on stages normally reserved for pop and rock stars, of which have included the UEFA Champions League Final in Madrid and Lollapalooza South America. Netting the #1 spot in their native Belgium and going platinum with ‘The Hum’, their magic touch was repeated as their Ne-Yo collaboration ‘Higher Place’ spent 10 weeks atop of the Belgian singles chart and secured the #1 Billboard Dance Chart spot. This placing reoccurred with the release of their Diplo collaboration ‘Hey Baby’ and more recently the unstoppable duo saw their single ‘Selfish’ (feat. Era Istrefi) secure the #1 position in the Billboard Dance Chart. Their single ‘Compilated’ with David Guetta and Kiiara ‘Complicated’ to date has amassed over 130 million streams on Spotify and 75 million YouTube views, whilst the recent All-Star line-up on one of the biggest songs of the summer 2019, ‘Instagram’, involving the likes of Daddy Yankee and Natti Natasha continues to grow with more than over 32 million YouTube views and in excess of 95 million streams on Spotify. These releases add to an already impressive body of collaborative work that to date includes studio time with the crème de la crème of artists in Gucci Mane, Armin van Buuren, Ummet Ozcan, Martin Garrix, Hans Zimmer, Fatboy Slim, Wiz Khalifa, Afrojack and Kid Ink.

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Childish Gambino Announces The New World Tour Global Trek: Here Are the Dates

He also released his 11-track Atavista  (3.15.20 reimagined versions) project on Monday, May 13.

By Michael Saponara

Michael Saponara

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Childish Gambino is hitting the road. Following the release of his Atavista  (3.15.20 reimagined versions) project on Monday (May 13), Donald Glover announced plans for his global The New World Tour.

Childish Gambino Shares ‘Atavista’ Album and Wild Choreo in ‘Little Foot Big…

The “This Is America” rapper is set to tour the world starting this summer with Willow and Amaarae serving as openers. Glover’s first trek since 2018 will kick off in Oklahoma City, Okla., on Aug. 11.

Trending on Billboard

The trek will run through North America, Australia and a handful of European dates. After OKC, Gambino is slated to hit U.S. markets such as Detroit, Philly, Boston, Brooklyn, Atlanta, Houston, Dallas, Denver, Portland and Los Angeles before wrapping up Stateside with a show in Chicago on Oct. 3.

Gambino then heads across the pond for performances in Italy, Belgium, Netherlands, Norway, France, Germany, the U.K. and more.

The Atlanta creator’s Atavista serves as an 11-track updated collection of the unfinished 3.15.20 project he released as the world was gearing up to shut down for the COVID-19 pandemic in March 2020.

Atavista still boasts collaborations with Ariana Grande (“Time”), 21 Savage (“Psilocybae”), Summer Walker (“Sweet Thang”) and Young Nudy (“Little Foot Big Foot”) — albeit with different song titles. Gambino also released a Hiro Murai-directed black-and-white video for “Little Foot Big Foot” alongside the project, starring an appearance from Abbott Elementary ‘s Quinta Brunson.

The 40-year-old isn’t done yet for the year either, as he’s preparing to unleash a second album this summer. The album is the accompanying soundtrack to his forthcoming movie,  Bando Stone & The New World .

Childish Gambino Previews New Tracks With Ye, Kid Cudi on Gilga Radio Show

“My fans are great and have been so patient and are starving — this album is for you guys,” he said during a Gilga Radio stream in April.

Find all of The New World Tour dates below:

View this post on Instagram A post shared by Donald Glover (@donaldglover)

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Lil Yachty Says He Told Drake 'I Don’t Feel Like You Won or Lost' in Kendrick Lamar Beef

The 6 God's friend and frequent collaborator spoke at length about the historic beef, notably pointing out that Drake was “deemed a loser” before the battle started.

Lil Yachty has offered a decidedly measured take on Drake and Kendrick Lamar 's undeniably historic back-and-forth .

In a recently surfaced podcast clip seemingly taken from a not-yet-released episode of A Safe Place , Yachty, whose extensive collaborative history with the 6 God is well-documented, pointed out that Kendrick "clearly had a lot more animosity" throughout the beef.

"Because Drake dropped great records," Yachty said. "Also, let’s be fair, Drake was deemed a loser in this battle before it started. Because people don’t like him and haven’t and he’s won for a very long time and he’s sat at the top of the throne. Honestly and respectfully, I think he still sits at the top of the throne. I think that even if opinionated masses would say that Kendrick won, I don’t think that people are gonna stop listening to Drake."

While Yachty further noted that there are indeed “no rules” in a rap battle of this magnitude, he feels that this particular beef felt like the “most officiated beef” he’s seen. Still, he doesn’t believe his friend and frequent collaborator lost.

"I said to Drake, I told him, I don’t feel like you won or lost," he explained. "Rappers have lost, and then lost everything. … I don’t think that this has happened to Drake. I think that Drake will still be in everyone’s Spotify Wrapped at the end of the year, at the top. I think he can still drop hits and it will still control the summer. I think that Kendrick made very smart moves and I don’t think Drake would disagree."

Lil Yachty speaking on the Kendrick Lamar & Drake rap battle "Drake was deemed a loser in this battle before it started, cause people don't like him and havent... I think he still sits on top of the throne... I told Drake I don't feel like you won or lost" via @ASafePlacePod pic.twitter.com/YYhM7Ir8vX — SOUND (@itsavibe) May 17, 2024

In another clip from the same unreleased (as of this writing, at least) discussion, Yachty gave his assessment of how both Drake and Kendrick were forced to take different angles when it came to their respective disses’ lyrical content. Both artists, he said, are "at the top of their game" and have been for some time. As for the specifics leveled back and forth, Yachty was also quick to point out that there’s "no proof" of either side’s claims.

"They didn’t have much on each either," he said. "So they found, one was pedophilia and then one was an abuser, a woman abuser. And they just both kind of poked at 'em. Extreme accusations, absolutely, which there’s no proof to either one. But it’s beef, right?"

Overall, Yachty added, this as "a really good battle," and represents something that will "never, ever, ever" be seen again. From Yachty’s perspective, however, the beef is over, with Kendrick’s "Not Like Us" ( currently the No. 1 song in the country ) standing as the "pivotal moment" from the back-and-forth.

"That song is the one that’ll live and I hope that one day in the near future these two guys can come laugh about it," he said. "When they’re old and gray and extremely dirt-rich, both billionaires, they can come and laugh about it and move forward."

Lil Yachty speaks on the allegations during the Drake vs Kendrick, artists tagging in, and Not Like Us ending it "ped*philia... a woman abuser... theres no proof to either one... I wished it was only Drake & Kendrick... when Kendrick came like 'I hate this n*gga' everyone was… pic.twitter.com/eRjLgtaZ1z — SOUND (@itsavibe) May 17, 2024

Yachty had time to react to a disgruntled fan who was calling him out for being "absolutely shameless" about loyalty.

you are absolutely shameless @lilyachty “loyalty is priceless & that’s all i need” 🥴 pic.twitter.com/DuCBAUZSaL — أ (@drizzyys) May 17, 2024

Lil Yachty, @lilyachty , also thinks that the song where someone calls his so called brother, a certified PEDOPHILE multiple times, is BANGING!!!! pic.twitter.com/ElZoNaid8O — أ (@drizzyys) May 17, 2024

In tweets responding to the person, Yachty told them to stop trying to spin the narrative.

"u making shit what it’s not, everybody and they mama kno what side I’m on. U fans be over doin shit. I didn’t go into any specifics of the songs. Stop tryna spin narrative."

He continued, "Suck a dick nerd, it wasn’t my beef to speak in..fuck u want me to do? Jump on a feature? I said I felt like nobody won. The whole thing was stupid to begin with. When I support him I’m dick riding, when I dont say shit I switched up. This internet shit is so lame . Can’t win."

Last weekend, Drake, whose " The Heart Part 6 " stands as the final entry in the Kendrick saga, teased that he was moving into a new frame of mind. Specifically, he told fans they could expect some presumably imminent " summer vibes ."

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Killer Mike Tells It Like It Is in New Interview – 'Michael Is Still Album of the Year'

More than 20 years into his rap career, Killer Mike continues to make acclaimed albums and new connections in his community. Criticism may come his way, but at least the Atlanta rapper is trying to make a difference.

Interview: Peter A. Berry

Editor’s Note: This story appears in the Winter 2023 issue of XXL Magazine, on stands now.

Years into his career as an international rap star, Killer Mike ’s most considerable flex is being local. Since debuting on OutKast ’s Stankonia cut, “Snappin & Trappin’” in 2000, the 48-year-old Atlanta native has balanced acrobatic raps with community advocacy. He’s worked to invest in Black ownership and area education while forging a reputation as one of the most ferocious spitters in hip-hop. It’s a dual legacy decades in the making.

Born Michael Render, the MC released his debut album, Monster , in 2003. Filled with percussive flows and dexterous rhymes, the project positioned him as an emerging force from the Peach State. He’s only leveled up since by refining his songwriting while becoming increasingly political with LPs like 2011’s Pledge and 2012’s R.A.P. Music . In 2013, he fortified his blend of speaker-rattling anthems and incisive political commentary when he joined forces with El-P to form Run The Jewels . They have since become one of the most critically acclaimed duos in hip-hop.

Over time, Killer Mike’s political side—as well as his entrepreneurial spirit—spilled out of rap. Since 2011, he’s co-owned and operated SWAG Shop barbershops alongside his wife, Shana. Currently, Mike and T.I. are putting the finishing touches on plans to revive Atlanta’s famed Bankhead Seafood restaurant. In 2015, Mike attempted to run as a write-in candidate to be the 55th District’s rep for the Georgia House of Representatives. That same year, he helped campaign for Democratic U.S. presidential candidate Bernie Sanders . Focusing on his community, the MC engages with area politicians like former Atlanta Mayor Keisha Lance Bottoms and current Georgia Governor Brian Kemp. Killer Mike’s politics haven’t come without controversy, though.

A proud gun owner, Mike was on the wrong end of a Twitter trending topic when he appeared alongside gun rights activist Colion Noir on NRATV in 2018. Mike faced more criticism after his 2020 meeting with Governor Kemp , who’s been accused of encouraging the suppression of the Black vote. Although their meeting was purportedly about small businesses and the importance of trade schools, the skepticism never evaporated. Mike’s pro-gun stance and willingness to reach across party lines have made him an increasingly divisive figure among rap heads, but he doesn’t plan on offering any apologies. He’d rather deliver bars.

This past June, Killer Mike did just that with Michael , his first solo release in over 11 years. The album is perhaps his best yet and is filled with bluesy beats, Black church aesthetics and lucid recollections from a complicated past. Fans from all over are hailing it the album of the year. Mike owns businesses, raps his ass off, engages in politics and he swirls it all together with a blue-collar charm. “I feel like a working-class Jay-Z, baby,” he shares.

Speaking with XXL through a Zoom call on a crisp fall afternoon, Killer Mike discusses arguably having the album of the year, Black Capitalism, generational schisms, his favorite new rappers and more.

XXL : How does it feel to see your Michael album get received the way it has? A lot of people are calling it the album of the year.

Killer Mike: I just left Chicago two days ago, and there was a line of about 400 people. Went for about two-and-a-half, three city blocks who all came to get this record signed. They came to the Run The Jewels show, sold out four straight shows, sold out in Atlanta. And I’m doing signings while I’m here, too, at DBS Sounds and other places and the physical copies. No. 1 rap album and No. 1 R&B album [both in September]. So, it’s not a “was.” It’s an “is.” The album is still being discovered, still being received, and it is still album of the year, not just rap album of the year.

This album humanizes Black masculinity. It humanizes Black Atlanta, humanizes Black Southernism. It validates what André 3000 said with the “South has something to say.” It is a generational statement and testimony to all those people who grew up on the N.W.As, the Tupacs, the Biggies, that says, “Well, what happened to rap?” This happened to rap. It matured. It grew up. I’ve had people from as young as 16 years old, as old as 66 years old all say that this record was transformative, especially by way of Black working-class men, working-class men and the women that love them.

With regard to political and economic issues, what would you say is the biggest philosophical difference between millennials and your generation?

I guess what I know is, all I know is my grandparents had it figured out, and I’m still trying to figure it out. And I guess, ultimately, what all of us should understand, no matter how you choose to separate us is, ain’t nobody going to give Black people s**t. Nobody. You got to fight the government to get what you deserve. We deserve reparations. Will we ever get them? I don’t know. But in lieu of not knowing, let’s work our ass off to do our best individually and collectively. Individually, if I’m strong and my neighbor is strong, then collectively, my neighborhood can be strong. I don’t have any separation for kids younger than me.

Every generation makes mistakes. Baby boomers were a little too enthusiastic about war. They thought war still was a noble thing, and we were fighting on behalf of good. In my age, we realized that our government is [as] evil as the ones we’re fighting. We just happened to be on the inside of this fort, not the outside. So, every generation [is] going to make mistakes. I don’t have a lot of judgment for kids that are younger than me. I’m just going to tell you it’s tough. It’s a rough course, but you can do it. You can do it. You can do it individually, and you can do it collectively once you become strong individuals.

But you got to do it because everywhere in the world I go, the people who look like us are on the bottom. That’s true in every country. And I’ve been around the world. And I’m telling you, the darker your ass is, the closer to the dirt you are. So, there is no system that’s perfect for you.

Manipulate and use whatever system you can to your betterment. Help your neighbor. Stay hyper-local in your thinking and politics, and do the best you can.

You’ve been kind of polarizing at different points of your career. You caught some flack for meeting with Georgia Governor Brian Kemp, who’s been accused of voter suppression.

So, as a kid, I was chubby. Look at this kid, man [puts Michael album cover vinyl in front of screen]. This is a little, chubby, buck-toothed kid. He didn’t have time to convince everybody to like him. He was liked because he didn’t give a s**t. He was nice to people. If you f**k with him, he’d fight like a muthaf**ka. I don’t think I’m always right. I’m willing to say I’m sorry when I’m wrong. But if I know I’m right, I’m right.

If you live in a state and you are a Black Southerner and you don’t talk to the person that runs your goddamn state, s**t. F**k around… Me living like your goddamn sharecropper because you didn’t say nothing, because you didn’t dare say, “I went to our governor. I said we need better opportunity around trades programs in this [state].”

He didn’t do anything in the immediate. But when it came time to restore the HOPE Scholarship, a scholarship that gives kids with C and B averages, B students get an opportunity to go to college for free. When it did that, he added trade schools as well. So, our girls are going to college. Our boys are not. What’s the organization? I support Georgia YouthBuild. Our boys are going to trade school. And now, if our boys go Bs all the way through high school, they can graduate high school. They go to Georgia Trade School for free. Why wouldn’t I want to support that?

Now to the opposite, I asked them, “Please don’t sign the gang enhancement law.” He gave me an audience with the state’s lawyers and his whole staff to say, “This is why we don’t support or you should support the gang enhancement law.” He still signed off on that law. And I said, “Respectfully, I appreciate you giving me your ear. I hate you don’t see it my way.” And I immediately went to the Georgia Public Defenders Fund, and I said, “Well, we got to go after the prosecutors now and say to the prosecutors, ‘Please don’t win your prosecutions. Use it.’”

It’s just politics. Some things you’re going to win. I won on trade schools. Some things you’re going to lose. I lost on [the] gang enhancement. But if I didn’t have a relationship with the governor, how could I have made any of those calls?

Getting back to the music: Who are some newer artists that you like these days?

Man, I like Kenny Mason . I like JID . That boy JID is raw. I like Young Nudy . He raw as a muthaf**ka. I think the world missed an opportunity to support DopeBoy Ra as he just passed. But his catalog is still out there. I think you all should support them. My son Pony introduced me to Rylo Rodriguez . Snypa is muthaf**kin’ amazing. I got who else?

I got it on the female side. My daughter introduced me to the beautiful ratchetness of Sexyy Red , and that s**t is fun and funky. I love it. Also, I’m a big Latto fan. I think she’s a beautiful girl. She spits her ass off, but I still don’t think she gets the credit she deserves in terms of spitting. She’s an amazing hybrid of T.I., Shawty Lo and Gucci Mane . Blxst . I don’t even consider Blxst new anymore. He is here to stay.

You know, it’s Hip-Hop 50. Do you think older artists are doing enough for young ones?

Well, I don’t know. This is what I do know. We’re approaching a time where I’m excited about where I think that rock and roll, you’re going to start hearing covers. So, Snoop Dogg ’s a huge Slick Rick fan, and he covered Slick Rick , and I think that’s dope. I’m looking forward to the young artist or a group that covers A Tribe Called Quest , that covers BDP. That covers… I want to hear Black pop rethought. I want to hear “Left My Wallet in El Segundo” rethought. “Electric Relaxation” rethought.

I also am looking forward to seeing when we, as artists, are taking our legacy acts out as openers. The Rolling Stones went on tour and took Muddy Waters with them. I want to see the day where a huge southern artist who gets the packed rooms takes 8Ball & MJG out because that brings it all the way home and makes it a true experience. I’m looking forward to when I go see the Nas show, and I’m seeing Big Daddy Kane coming out to support. And I know those days are quickly coming.

Speaking of performances, you and El-P have been performing throughout the fall. When’s the new Run The Jewels album coming?

Oh, man. I don’t know. We’re having so much fun out here on the road. We got to get off the road to actually sit around and see what happens, hopefully. I don’t know. Until then, though, you can hear me bringing El-P on this album right here. You hear us on Michael , baby.

What have you been focused on outside of the music?

T.I. and I bought just down the street from the housing development that he built, that was the old Kmart in the center of our neighborhood. There was the 50-year-old restaurant owned by Ms. Helen Harden called Bankhead Seafood. T.I. and I bought the land, the building, the restaurant, the recipes. And the other thing is growing the SWAG Shops. My wife and I have owned the SWAG Shops for 11 years now. We’re going to expand to two more shops.

It’s been 20 years since you dropped your debut album, Monster . How would you say that you’ve changed your approach as an artist, musician and organizer?

I understand that if I’m not meeting on a daily or weekly basis, I’m no longer an organizer as much as I’m a mobilizer. So, what I do is I commune with the organizers, and I mobilize around them, help get money to them, help get people in their faces so they can see the work that’s being done. That’s how I’ve matured over the last 20 years as an organizer. I’m realizing I got a job. My job is to rap. To sing and dance, to make people happy. To make people think about the deep ideas that I may have as an artist.

Eleven years ago, they say: “You made a classic album with R.A.P. Music. This is amazing. How could he do any better?” I pop up out of nowhere 11 years later and give you the album of the year this year, an absolute muthaf**kin’ 5 out of 5 or 10 out of 10, no matter how you rate. I just wake up every day trying to be the best version of Michael I can be and a better version of the Michael I was. That’s it. At the same time, I say, “Free Jamil Al-Amin,” and working on his behalf in Atlanta. At the same time, you hear [on Michael ] on the first song of “Down by Law” when I say, “Free Mutulu.” [Political activist and former prisoner] Mutulu [Shakur] finally got free. And [I] got an opportunity to attend his funeral services, but this man got an opportunity to die with his family and not in a cold jail cell.

So, I’m still advocating, still using my platform to shout those things that needed to be shouted. Still using my platform to help mobilize around the organizers that are organizing, even the ones that they don’t like me, but they take my money, you know what I’m saying? So, what I’m doing is continuing on the platform I have to push the line. I push as an organizer and as an artist and musician. I’m breaking new ground because at this point, I’m 48 years old, and I just made the best work that I’ve made in my life, and I’ve made some great work every step of the way.

Read Killer Mike’s interview in the Winter 2023 issue of XXL Magazine , on newsstands now. The new issue also includes the cover story with Latto and conversations with Flo Milli , DD Osama, Maiya The Don , Monaleo , Mello Buckzz , Sexyy Red , BIgXThaPlug , plus more. Additionally, there’s an exclusive interview with Fetty Wap , Quality Control Music’s Coach K and P discuss 10 years into the label’s growth, and in-depth stories on the popularity of sampling in hip-hop in 2023, the state of hip-hop touring and the best moments of hip-hop’s year-long 50th anniversary celebration.

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2k24 Tour (feat. Niontay)

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6 best performances from mary j. blige’s 2024 strength of a woman concert.

From 50 Cent to Jill Scott, the Barclay's hosted an unforgettable show during Mother's Day weekend.

By Amber Corrine

Amber Corrine

Staff Writer, News

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I’ve never seen the Barclays Center ‘s patio as flooded as it was on Saturday (May 11) with people anticipating doors to open for Mary J. Blige’s Strength of a Woman concert . Excitement-filled chatter rippled through the melanated crowd for the star-studded show that would take place that evening with the Queen of Hip-Hop Soul, 50 Cent , Jadakiss , Fat Joe , Jill Scott , and more.

As the doors opened, the crowd waddled their way into the venue, making sure not to purposely step on anyone’s heels or force their way into the entrance. Even an older lady was kind enough to let me go before her as she awaited the arrival of her daughter, who she says brought her to the show for Mother’s Day. As the audience filled into their seats — with some going back and forth through aisles to retrieve drinks and food, and others trying to finesse their way to sit on the floor — Funk Flex didn’t hesitate to get the party started with a mix of oldies fit for the 30 and up crowd.

Classics like “Rapture Of Love,” Biz Markie’s “Just A Friend” and Golden Age Hip-Hop classics permeated the room as true music lovers recited every word to the heavens. Although murmurs of aggravation with Flex’s constant commentary amid songs were overheard, it didn’t stop anyone from jumping to their feet and hitting a move or two.

As the clocked inched towards showtime, WanMor set the tone with a special Mother’s Day performance which honored their mom and mother’s of Hip-Hop. The mothers of Jim Jones, Pop Smoke, Jadakiss and A Boogie received their flowers in real time, as the quarter bellowed Boyz II Men’s beloved ballad, “A Song For Mama.” Following the heartfelt moment, rising singer, Honey Bxby , opened the showed with a few of her growing singles followed by Lola Brooke , Jadakiss, 50 Cent, A Boogie, Jill Scott, Fat Joe and of course, the headliner and creator of SOAW Festival & Summit, Mary J . Blige — who shared her world with her fans for the entire day. Muni Long was also scheduled to perform, but for unknown reasons, she did not appear.

As a first time SOAW attendee , I felt seen and heard as a Black woman who’s expected to be strong on a daily. Mary J. Blige ‘s discography has not only served as a soundtrack to my 32-year-old life, but also the women who came before me — like my aunt who introduced me to the Grammy-winner’s music as a child. The Strength of a Woman Festival & Summit is truly a Black woman’s playground, and the arena concert was the perfect way to cap a day full of enlightenment and gems.

In partnership with Pepsi , Live Nation Urban, ASCAP, and more, the unforgettable day/night was capped with a confetti filled arena — making it truly an experience that every woman should acquaint themselves with at least once.

Take a look through the top six performances from the SOAW concert below.

Lola Brooke Set The Tone With High Energy

It wouldn’t feel right if Brooklyn’s own Lola Brooke didn’t set the tone for a concert held in her own home city. Lola followed Honey Bxby ‘s humble opener before a mature crowd that didn’t really appreciate the “Touchin'” crooner’s set.

However, when the petite giant took the stage, she asserted that she came to “start this thing off right.” Lola performed her most popular singles “Don’t Play With it,” “You” featuring Bryson Tiller, “So Disrespectful” and her newest single “Shelter Baby.” Her set consisted of her signature jogs across the stage, some choreography, and crowd participation. Lola commanded the stage confidently and definitely gave a star-quality show that all ages received well.

Take a look at her set below.

@iame4lyfe @Binyy #lolabrooke #brooklyn #barcleyswsl @Barclays Center #strenghtofawoman #mothersday @fyi #maryjblige #brooklyn #concert #viral #tiktok #fypシ゚viral #nyc ♬ original sound – Youngest1

WanMor Serenaded Their Mom With "A Song For Mama"

Mary J. Blige signed brother-quartet, WanMor, to her Beautiful Life Productions imprint and has since helped developed the boys into the R&B force they are today. The four siblings who are also the sons of Wanya Morris (Boyz II Men) gave a special Mother’s Day tribute to their mom, along with a few mothers of Hip-Hop.

The boys sang their predecessors’ beloved ballad “A Song For Mama” where they left the matriarch of their family in joyful tears. Joined by the group on stage were the mothers of Jim Jones (Nancy Jones a.k.a Mama Jone), A Boogie Wit da Hoodie (Althea Dubose), Jadakiss (Debbie Phillips), and the late Pop Smoke (Audrey Jackson). Each woman received a beautiful bouquet of flowers symbolizing a “job well done” for all that they’ve done for their successful sons.

Jackson received an overwhelming amount of love from the crowd as she lost her son, Pop Smoke, to gun violence at the brink of his promising rap career in 2020.

Watch as WanMor honors their mother and the Hip-Hop moms below.

View this post on Instagram A post shared by WanMor (@wanmorofficial)

Jadakiss Performs Classics With The Lox

One thing about Jadakiss ; he’s going to keep it cool and calm as the crowd goes wild for his incomparable classics. The Kiss of Death was shown much love as he gave his fans live renditions of “Knock Ya Self Out,” “Back To Life 2001,” and his verse on “All About The Benjamins (Remix).”

With the crowd already hyped dancing to his heavy-hitters with drinks in hand, Jada then brought out Sheek Louch and Styles P to reunite as The Lox . The trio did their bangers together and individual singles including Sheek’s “Good Love” and “Good Times (I Get High)” by Styles P.

Truly a sight to see, Jadakiss, Sheek, and Styles reminded the crowd of the golden days in Hip-Hop when the focus was to make good music that stuck.

View this post on Instagram A post shared by Sheek Louch (@sheeklouch)

50 Cent's Continues To Prove His Catalog Is Gold

50 Cent may be a troll at times, but one thing is for certain: his music catalog speaks for itself. The G-Unit boss, backed by Tony Yayo and Uncle Murda, hit the stage giving his fans exactly what they wanted. The youngest to the oldest of men and women could be seen rapping along to his classics including “Candy Shop,” “Many Men,” “In Da Club,” and many more. The Queens native gave theatrics as he popped off his set from an accelerated stage, and included smoke, pyrotechnics, backup dancers, wardrobe changes, and more.

With more surprises in store, the TV mogul performed the theme song to his show Power , and was joined onstage by Larenz Tate, Michael Rainey Jr., Mekai Curtis, and Da’Vinchi ( BMF ). The audience lost it as the actors waved to the crowd and took snaps of their big concert moment.

The multi-hyphenate’s performance resembled much of his Final Lap Tour, as the setlist included his top-charting singles and even the lap dance segment from his dancers. And of course Fif wouldn’t be Fif if he wasn’t a bit petty. At one point during his act, he made an insensitive joke about Diddy — an ongoing thing he’s been doing online and at almost every show he’s been tapped to be a part of.

However, he got back on track when Mary J. Blige came out to “Hate It Or Love It,” leaving the crowd in applause and covered in gold streamers.

Take a look at him performing below.

View this post on Instagram A post shared by 50 Cent (@50cent)

Jill Scott Brought The Soultry Vibes

Jilly from Philly was a co-headliner at the Strength of a Woman concert and upon hitting the stage, the coveted R&B/Soul singer shifted the entire energy in the arena.

Jill Scott sported an all-black ensemble, long blue box-braids, and her heart on her sleeve. Calling fans “baby” and asking of their well being showed just how much Jill is connected to her supporters. Concert-goers admirably sang along to a medley of her best singles including “Golden,” “A Long Walk,” “The Way” and others — and yes, the mic was on! Although the main event was Mary J. Blige ‘s set, the arena went just as wild for Ms. Scott who left the room feeling warm and full of good vibes.

See a clip from her set below.

@iame4lyfe #jillscott #vocalist #brooklyn #queen #queen #barcleyscenter #strenghtofawoman #viral #mothersday #tiktok #aboutlastnight @Jill Scott @maryjblige ♬ original sound – Youngest1

The Queen Of Hip-Hop Soul Reigned Supreme On Stage

Mary J. Blige appeared onstage a few times ahead of her actual set, but finally gave fans what they were waiting for with her magnetic, mesmerizing energy. The boot-bopping Queen of Hip-Hop Soul ran through a medley of her most timeless hits, surely bringing every woman in the room back to a moment in time when she soundtracked their life. Mary kicked off her time slot with “Love No Limit (Remix)” as she hit her signature two step to a crowd chanting “Go, Mary!”

The 53-year-old also graced the stage with “Family Affair,” “Real Love,” “I’m Goin’ Down,” “Just Fine,” and many more. Within MJB’s set, she brought out A Boogie wit da Hoodie who barely rapped along to his song “Did Me Wrong,” which samples her 1995 song “I Love You.” Blige also brought out Vado to perform their collab “Beautiful Life Allstars” — even though he was late to the stage. What set it off is when Mary and Method Man teamed up to give a live performance of their timeless duet, “I’ll Be There for You/You’re All I Need to Get By.”

The two’s chemistry was just as good in 1995 when they released the record. See below.

@ticalofficialny Mary brought out Mef last night at the Barclays @methodmanofficial @maryjblige @ticalofficial @buytical #TICAL #TicalOfficial #MethodMan #WuTang #IronLung #HipHop #MethodManOfficial #BeeHive #Bees #HipHopMusic #Energy #MaryJBlige #HipHopCulture #PowerFans #Honeycomb #strengthofawomen ♬ original sound – TICAL Official

After the crowd tirelessly sang and danced along to Mary’s incomparable catalog, she surprised fans with an announcement that she collaborated with Giuseppe Zanotti for “The Mary Boot” — which sold out a day after its release.

“Mary J. Blige and Giuseppe just created the Mary J. Blige boot and you can get these boots tomorrow online. Monday. They are for sale,” she informed the roaring crowd while wearing the slouchy, gleaming gold thigh-high boots. “The Mary boot is here. Everybody has been asking, there ya go! Happy Mother’s Day, ladies!”

VIBE caught the announcement on cam. See below.

ICYMI: @maryjblige announced her new boot collaboration with Giuseppe Zanotti at her Strength of a Woman Festival #VIBEonSite pic.twitter.com/hspqAA9W2J — VIBE Magazine (@VibeMagazine) May 13, 2024

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Drake and Kendrick Lamar Is the Last Great Rap Beef. Thank God.

“Family Matters” and “Meet the Grahams” pushed this feud into nuclear territory. This may be the last time a beef ever matters this much—and depending on where you sit, that may be a good thing.

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Editor’s note: This piece was published about an hour before Kendrick dropped another Drake diss— “Not Like Us” —his fourth in four days and third in 36 hours. We can assume it won’t be his last—in fact, he raps on the latest track: “How many stocks do I really have in stock? / One, two, three, four, five, plus five,” so that means we may be getting 10 … total? Ten more? You have to admire this level of dedication to pettiness, even if it’s running our copy editors and production team ragged.

Rap isn’t the NBA. There’s no Anthony Edwards or Jamal Murray capable of sending our washed stars to Cancun. Bronny’s biggest opps are bored NBA writers and the ESPN ticker tape. Meanwhile, Adonis has witnessed two generational MCs scold his father for his child-raising abilities while taking buzz saws to his family tree before the age of 7. Commercial hip-hop—like most of the modern music industry—has become too fat, old, neutered, and niche to launch a new household name and thus more desperate and existentially bloody. This is what happens when the old guard becomes the only guard.

In 2024, with Kanye solely devoted to harvesting Ty Dolla $ign’s life force, only two rappers are capable of hoarding this much cultural real estate. Over the past month, Beyoncé dropped a country record, Quavo and Chris Brown are beefing over who terrorizes women more, and Taylor Swift tried to drive her DeLorean to the 1830s (apparently without all the slavery) . Yet all of these moments pale in comparison to what unfolded Friday night when two members of rap’s “Big Three” finally unleashed their Trinity test.

After weeks of threatening theoretical nukes, Drake finally donned the Oppenheimer hat with “Family Matters.” On the seering, seven-minute diss track Aubrey says that Kendrick assaulted his wife, while Kendrick’s close friend and label cofounder Dave Free sired a child with her. Seeing the mushroom cloud from Lucali’s, Kenny S. Truman said “bet” and immediately dropped a bomb on Drake’s head with the deranged and highly cursed “Meet the Grahams.” The top-level notes are brutal: In Kendrick’s telling, Drake is hiding another child and is the head of a Toronto child sex-trafficking ring. Meanwhile, Drake says that Kendrick hired a crisis-management team to hide the fact he physically abused his partner. If you’re asking why two of the biggest pop stars of their generation are debasing themselves in a bossip beef—all of the details of which, as of press time, have not been verified—while throwing women and kids on the front line, in the words of Kendrick: “I’ma get back to that, for the record.”

In terms of size, scale, and capital, we’re witnessing the last rap beef of this magnitude. And while too much critical ink is wasted on the monoculture—or lack thereof—it bears mentioning there will never be another rapper that occupies the same cultural space as Drake or Kendrick. There probably won’t even be another J. Cole. (Some subscribe to the belief that Jermaine belongs in the same conversation as Drake and Kendrick … I don’t.) As hip-hop becomes more diffuse and hyper-regional, Drake and Kendrick represent the last artists popular enough to suck up this much oxygen, even as the quality of their music has dipped to the point of feeling irrelevant next to their all-consuming celebrity.

The shenanigans started in March, when Future and Metro Boomin dropped their first of two albums this year, We Don’t Trust You . The main headline from it was Kendrick finally emerging from the therapy haze of Mr. Morale & the Big Steppers with a feature on “Like That,” in which Kendrick proceeds to do to Drake what the Canadian has done to his peers and well-endowed exes: turn a barn-burning diss into an inescapable smash hit. “Like That” spent five weeks atop the Hot 100, becoming Kendrick’s longest-running no. 1 in the process. It wasn’t long before an emboldened Metro Hoffa unionized the aging vets of the blog era against Big Drake and OVO industries. A$AP Rocky, the Weekend, Kanye, and Rick Ross happily jumped in.

J. Cole was the first to take the Kendrick bait on the underbaked “7 Minute Drill.” Over two rushed and wonky beats, hip-hop’s resident laundry man got high off the fumes of his overhyped feature run and claimed he wasn’t that jealous of Kendrick before mentioning that 2015’s To Pimp a Butterfly is trash. But just days later, Jermaine decided to Summer Jam–screen himself at his annual hometown festival by admitting to a crowd of thousands that he was tossing and turning at night over the entire debacle. After (prolly) letting Nas and the general public down once again, Cole smartly ceded his time and the floor to the Big Two.

Since then, Drake and Kendrick have traded six records back and forth of varying degrees of quality and lucidity. Drake called Kendrick a short, hobbit-sized cuck, so Lamar lobbed back that Toronto’s finest has his braids pulled too tight and isn’t allowed to say the N-word anymore. One man desecrated Tupac’s grave with AI, while the other pissed all over a timestamp record while reportedly getting fed information from Roy Woods and OB O’Brien. “Push-Ups” and “Taylor Made” bled into “Euphoria” and “6:16 in L.A.” But after Friday’s squabble, all of them have been rendered inconsequential. To continue with the nuclear analogy: With “Meet the Grahams” and “Family Matters,” the Doomsday Machine has been activated, so maybe it’s best to hide underground. (J. Cole certainly agrees.)

If this all sounds exhausting, it should. Drake is 37 and Kendrick is about to be. Both these men have kids and families they could be tending to, but instead we’re treated to a beef that started over essentially nothing—if we’re to believe Kendrick, over Drake and Cole linking up in “First Person Shooter” and invoking the idea of a rap “Big Three.” But not a single song released since “Like That” lives up to the expectations each of these men stoked through their years-long Cold War. Nothing measures up to the base-level quality of “Control,” “Back to Back,” or “Stay Schemin.” Instead, we’re treated to two aging rappers squabbling over … who’s cornier? Or maybe it’s about who is or isn’t Kobe? Or even who should be able to buy Tupac’s ring at Sotheby’s for a million dollars?

Even the beef’s most damaging revelations are disingenuous at best—and outright craven at the worst. Drake’s faux-outrage over the account of Kendrick’s treatment of his partner doesn’t mean much when Drake was cosigning Chris Brown’s gang ties a few bars earlier and was caping for Tory Lanez to be freed a few months ago. Similarly, if Kendrick is so concerned with sexual assault and protecting young women from the OVO compound, why did he spend his last album crying about cancel culture and propping up Kodak Black?

Drake and Kendrick don’t have the politics to be doing all this. Is Drake wrong that Kendrick, “always rappin’ like you ’bout to get the slaves freed?” Not really. But also Drake stands for nothing and has never committed an interesting political thought to record in his life. And if Kendrick knows incriminating information about Drake, why has he withheld it until it was this advantageous? As with most hip-hop beefs, we’ve ended up where we were always destined to—men using women, wives, baby mothers, parents, and children in increasingly gross and depraved ways to satisfy their rabid egos.

The microaggressions, subliminals, and shots that got us to this moment date back to a time when GQ still had enough juice to terrorize rappers into dressing like Williamsburg hipsters . What person under 30 even recalls that Drake invited peers like Kendrick, Rocky, Cole, and Meek to open for him on tour in 2012 and then spent the next decade treating the aforementioned like his sons for taking him up on the offer? How many people still remember all the blog mainstays Kendrick shot at on 2013’s “Control”? If Drake is still upset because Compton’s resident good kid threatened to “tuck him into his pajamas clothes” during a BET cypher, there’s no helping my man. The only entities profiting from this scuffle are Universal Music Group, the Joe Budden extended podcast universe, a bunch of teenage streamers I refuse to Google, and the collection of rap publications that haven’t been nuked by private equity firms.

The most straightforward and generous read of this entire beef is that Drake and Kendrick are rappers lost to time. They’re formalists in a genre that’s moved past the tradition. They came up in a time when cosigns were necessary (Lil Wayne, Dr. Dre), radio runs were crucial, and albums still mattered. Drake belongs to a long lineage of rappers turned pop stars (e.g., LL Cool J, Nelly, 50 Cent), while Kendrick is marketed as a conscious alternative (e.g., Nas, pre-MAGA Kanye, Tupac). Even the duo would love you to believe this is Michael Jackson vs. Prince—numbers vs. “real” art.

Perhaps that’s why the beef feels so toothless. Drake and Kendrick aren’t fighting the same war; they’re two grown men arguing past one another because there’s no one left to challenge. One views dominance—via streaming numbers and celebrity—as inextricable from the art, while the other envisions himself as a purist responsible for upholding a grand tradition. And yet, each rapper has ended up in a similar place.

There’s very little compelling about two men who signed to major labels in their 20s debating who got extorted when the most obvious answer is both. Drake mocking Kendrick for his cringeworthy Taylor Swift and Maroon 5 features doesn’t mean much when he was spitting water-carrying lyrics like “Taylor Swift the only nigga that I ever rated” a year ago and starring in Apple commercials with the pop star. Similarly, can Kendrick really talk about Drake running to Yachty (the recovering “King of the Teens”) for swag, when he found his own nepo-version of the Atlanta rapper in Baby Keem?

At the time of publication, Kendrick is in the lead in this battle, even if that distinction feels hollow. Drake has dropped 13 projects in 13 years, compared to Kendrick’s six. Of course when Cornrow Kenneth descends from his Pulitzer perch to wrestle in the mud with the other aging degenerates it’s going to mean more. But Kendrick is also beating his rival in a way that would have seemed unthinkable a few years ago.

When Drake triumphed over Meek Mill in 2015 it was because he understood the internet better than any of his peers. Meme culture was new and novel. The impact of “Hotline Bling” and the dancing Drake GIF apocalypse was still months away. Meek was having an argument about authenticity when his own label boss triumphed over 50 Cent years priors despite being outed as a correctional officer. A ghostwriter reveal and an alleged incident in which a T.I. associate pissed on Drake’s leg should’ve been enough for the Philadelphia rapper to eke out a win, but Meek wasn’t ready to accept that the internet (and by extension the nerds) won.

Almost eight years later, Kendrick has rendered Drake’s biggest advantage obsolete. The meme economy got a reality TV show host elected to the White House and almost toppled American democracy in the process. Our relationship in 2024 to hyper-online celebrities is no longer cute and interesting. It’s not just that Kendrick has been funnier—“is it the braids?” is an all-timer—it’s that he’s less accessible than Drake. Unless you have the comedic timing of Rick Ross, taunting another man over IG stories is never going to be as cool as someone who refuses to use the internet. The quality of the most recent diss tracks became irrelevant the minute Kendrick outmaneuvered Drake by releasing “Meet the Grahams” about an hour after “Family Matters” dropped. (And especially after Drake was left deflecting Kendrick’s “hiding another child” accusations on Instagram instead of taking a victory lap for his own track.)

Barring a RICO case or something even more horrific—and potentially verifiable—coming to light, nothing released in the past two months will help or hinder either man’s legacy. Unless Drake and Kendrick are half as sick, perverted, abusive, and morally repugnant as these records claim, the most likely outcome is that UMG will cut both a massive check for the streaming boom this animosity fueled. But this is a post-truth beef. Kendrick stans will believe that Drake has a kindergarten class of unclaimed sons and daughters because it’s funny and convenient. And unless a more reputable source than The OVO Post finds that Kendrick does have a history of physically assaulting women, the chances of it impacting his sales and critical stature are practically nonexistent.

Cover-art Ozempic receipts aside, most of the scars from this tantrum will be reserved for the family and friends who have now been immortalized in rushed and harried songs that have already begun to lose their luster. And the only rapper who has sustained real damage thus far did it to himself, and his stans are still convinced rap’s Charlie Brown will kick the football next time. But Drake and Kendrick aren’t held to the same standard as other artists. They aren’t just the most popular rappers of their generation—one could argue they’re among the most consequential musicians of the 21st century. A Canadian child actor and Tupac’s shortest stan went from the Zippyshare trenches to the last remaining superstars of a genre that’s going the way of rock. The perch seems lonely—two rappers bold enough to use their government names unable to connect with the only other person in the world who could relate. Call it poetic justice .

Next Up In Rap

• “Strange Ways”/“Fancy Clown” by Madvillain
• Hypocrisy in Hip-Hop, the End of a Grifter, and Ceasefire Talks
• The Undeniable Truth of the Kendrick-Drake Beef
• Six Reasons Drake Lost
• Elle Duncan’s Meteoric Rise in Sports Media
• Dissecting the Genius Strategy of Kendrick Lamar’s “Not Like Us”

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