Some brands have a legacy in Hip-hop culture that runs so deep you almost forget it’s there, until they remind you.

That’s Red Bull.

At first glance, it may seem odd that an energy drink brand found a space within Hip-hop, but what makes Red Bull so special is that they produce content that shows a level of cultural acumen that most mainstream brands don’t possess.

They platform the MF DOOM’s of the world, or the bubbling artists who haven’t had their true breakout moments yet; The ones that you have to be dialed in to know about.

For decades, they’ve curated an archive of musical knowledge and in-depth interviews that still stand the test of time, and they’re still going.

Recently, they’ve been putting new content out into the world that’s reigniting their association with Hip-hop culture.

They have the blueprint for building equity within a culture, and with their most recent freestyle, featuring Ab-Soul, turning heads and catching ears, there’s a lot to learn from them.

THE BACKGROUND

Red Bull was founded by Chaleo Yoovidhya and Dietrich Mateschitz in 1984, after Mateschitz traveled to Thailand and tried Yoovidhya’s popular drink, Krating Daeng, which Yoovidhya had created roughly 10 years earlier (The Vis ID of Krating is essentially the same as Red Bull's current one).

Mateschitz discovered that Krating Daeng cured his jet lag, and he approached Chaleo Yoovidhya about forming a partnership around the drink.

They went on to found Red Bull GmbH — both Mateschitz & Yoovidhya taking a 49% stake, with the remaining 2% going to Yoovidhya’s son.

The company remains privately held by the Yoovidhya family and the Mateschitz side of the business.

As for Red Bull’s foray into music…

It dates back to around 1998 with the founding of the Red Bull Music Academy, but in the years since, they’ve created several verticals within the Red Bull Music ecosystem, including Red Bull Records (2007), Red Bull Radio, Red Bull Music Studios, and Red Bull 1520 (2019).

Through each of these verticals, they’ve been able to give underground artists across all genres brand sponsorships and mainstream visibility, while building brand equity in youth culture in ways most brands only dream of.

Specifically, through Red Bull Music Academy, Clash, BC, and 1520, they’ve created lanes for all the pillars of Hip-hop.

I. RED BULL MUSIC ACADEMY

RBMA was co-founded by Many Ameri in 1998 to bring together artists from different backgrounds and help them expand their musical vocabulary.1

What started as a one-off lecture in Berlin has, over time, become a vast archive of interviews with some of the best artists in their respective crafts.

It was the only place where you could find rare stories about Dilla (courtesy of Questlove), a sit-down interview with Madlib, or even an in-depth interview with D’Angelo.

Reclusive artists somehow found themselves in the middle of a room, telling stories about their greatest records with candor, before a crowd that felt blessed to be there to witness it.

The entire Red Bull Music Academy archive contains decades of pop music knowledge.

Before folding in 2019, they amassed over 500 lectures and 1,000s of hours of recordings, with everyone from Prince’s engineer Susan Rogers to Boosty Collins and Bob Power.

To date, the MF DOOM interview is one of the most-viewed on the RBMA YouTube page, followed by interviews with other music greats like Jimmy Jam and Terry Lewis.

Simultaneously, Red Bull has also built out other verticals with content going back almost 20 years; a rich history that most brands don’t bother keeping up with publicly.

II. BC ONE

Hip-hop has 4 pillars: Graffiti, DJing, Emceeing, and Breaking.

At best, most brands acknowledge emceeing and DJing while forgetting the other two pillars. However, where they’ve lacked, Red Bull has built a strong presence.

BC One (Break Competition One) is their globally recognized breaking competition, which began in 2004 in Switzerland, when they invited 16 b-boys to compete.

In the years since, BC has grown to over 85 qualifier events, programs across 35 locations, and a massive presence on YouTube.

III. CULTURE CLASH

Before Verzuz, the closest thing we had to watching music’s heavyweights battle was Red Bull’s Culture Clash.

It started in 2010, drawing inspiration from Jamaican Sound Clashes — a competitive format that originated in Kingston in the 50s, where two crews battle it out with records.

In the years since introducing the format into the Red Bull ecosystem, they’ve had Culture Clash events with everyone from Spice & Shaggy to MikeWillMadeIt and Crime Mob.

The most recent Sound Clash was in 2025, and although it’s not guaranteed they’ll host one every year, Sound Clash events remain a huge part of the Red Bull Music Academy's musical archive.

IV. RED BULL 1520

After Red Bull Music Academy shut down in 2019, the brand returned with a revamped platform, Red Bull 1520 in 2023.

The new YouTube page is completely dedicated to Hip-hop music and includes content series that have sparked interest on social, including “Spiral,” a freestyle cipher coined from the Japanese term that inspired the format.

A. SPIRAL

Spiral is a one-take freestyle cipher that Red Bull based on a similar format they started in Japan known as Rasen.

In this format, 3 emcees deliver their best bars, and of course, Red Bull cans are nearby to “keep them energized,” or “match the energy” of the moment.

It experienced a few viral moments in Hip-hop circles on social media as one cipher, particularly the one featuring Joey Bada$$, helped spark a battle between him and up-and-coming West Coast emcee Ray Vaughn.

B. SYMPHONIC

Symphonic finds Red Bull blurring the lines between genres and vibes; Since 2022, they’ve paired artists like Metro Boomin’ with symphony Orchestras, reimagining the trap sound and making it classical.

The first episode featured Rick Ross with a 50-piece All Black Noir Orchestra in Atlanta, and in the years since, it's become a popular format for Hip-hop artists looking to give fans an elevated concert experience.

To date, Metro Boomin’s symphonic performance is the most popular on the platform at over 22 million views on YouTube.

C. 64 BARS

Earlier we mentioned the Hit-Boy-produced “64 Bars” format, which just released its first episode with Ab-Soul.

The premise is simple: Have an emcee (or group) lock in for 64 bars over a dope beat from a dope producer.

True to the brand, they chose an emcee just left of center in Ab-Soul (Solo!), and paired him with Hit-Boy, who’s been having a year himself; together they caught social’s attention, in what looks to be the first of an ongoing series.

EPILOGUE

The Red Bull content catalog is sprawling, and the above-mentioned series are truly just a drop in the bucket compared to how they’re showing up in culture.

What makes them unique is that, as a brand, they don’t directly sponsor any U.S. rappers, but they create platforms that instantly make them part of the cultural conversation.

They’ve launched ideas post RBMA in a way that brands should aspire to create, and for consumers, especially creatives, we should definitely take advantage of the archive they’ve built & the one that’s currently being built with their newer work.

If you’re looking for some in-depth music knowledge, behind-the-scenes stories of your favorite songs, or some inspo for your next creative endeavor, I highly encourage you to head over to the Red Bull Music Academy Page.

You’ll find some gems in every lecture, guaranteed.

One.

The micro-drama industry has finally made its way to the U.S., with micro-dramas premiering through TikTok’s PineDrama app racking up views.

Those who’ve been tapped into the trend know micro-drama originally picked up steam in China as a preferred mode of social storytelling. It had already been a multi-billion dollar industry over there.

To that end, in the U.S., full-length movies often float around on TikTok in chapter-like form, making micro-dramas a perfect fit for audiences here.

But, from the picture above, you can guess that there’s someone pop culture hasn’t really mentioned who’s helped make Micro-Drama what it is today in the U.S., and that’s Kountry Wayne.

Wayne has a blueprint that has shown what content creation at its largest scale looks like.

He operates a network that releases upward of 1,200 videos per month, recently achieved 1 billion views on Facebook in a month, and amassed 100 million views on YouTube in his most recent month.

The Kountry Wayne Network is a content flywheel that keeps him releasing close to 40 pieces of content a day — most of which he doesn’t even appear in.

Kountry Wayne has been a mainstay in the comedy world for some time with specials on Amazon Prime, appearances on daytime talk shows, and an upcoming Rom-Com with Coco Jones.

The engine behind his sustained success is the micro-drama, and we can’t discuss the emerging trend without talking about Kountry Wayne as one of its forefathers.

I. THE CONTENT GAP

Over the years, each social platform has pulled levers to get creators to populate their timelines; Sometimes the lever is a promise of massive reach, other times it’s monetization.

No matter the scenario, success often depends on a creator’s ability to recognize gaps in the content space, fill those gaps, or provide content for a potentially underserved audience.

This is a crucial part of Kountry Wayne’s success.

Across any number of interviews past and present, you can hear him talk about how important Facebook has been to his career.

Average social media users know that Facebook has more or less been dubbed as the place for older users — it’s the platform that your auntie is still the most active on, and where your grandpa still reposts the conspiratorial content about 5G in the water.

(He could be right though, just sayin’)

While the majority of content creators focused on Instagram & TikTok, Wayne poured his energy into OG Facebook, where he quietly built a massive audience of die-hard Millennials who enjoyed his comedic timing and storytelling.

After making $70 for the first time from the platform, he knew he had something and doubled down.

Moreover, Wayne immediately saw how invested fans were becoming in the storylines and decided to chapterize them to keep the story going.

When combined with his 2020 pivot to shooting vertical content (right as the world was forced to stay at home because of COVID), his content flywheel took off to another level.

And while content creators around the industry were focused on getting the best DSLR on the market to film highly produced studio content, he was shooting straight from the iPhone & rocking with the older FB audience.

II. HIS CONTENT UNIVERSE

The most intricate aspect of Kountry Wayne’s operation is that he doesn’t just put out one story for consumption; His productions are an entire universe with multiple storylines, new & recurring characters, and scenarios.

Across every platform, if you look in the comments, you can see just how locked in his audience is.

“Is Towanda as crazy as Dawn? Why is Candace taking so long with the podcast equipment? Are Rodney & Rone gonna stay cool?”

@kountry_wayneWhen Rodney pops up to apologize to Rone but gets side tracked by MoMo! #Love

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On top of that, Kountry Wayne’s cast & crew can also create spin-offs of their work under the flywheel. Meaning if Rodney’s storyline is catching heat, he can effectively create his own universe with new characters and plot lines.

III. THE INFRASTRUCTURE

In a recent interview with Earn Your Leisure, Wayne mentions deliberately avoiding studio overhead to keep his costs from ballooning.

In lieu of a dedicated studio, he takes a grassroots approach that smaller content creators are likely familiar with; i.e., Wayne uses what’s around him — his house, the park, etc.

At most, you may see his teams shooting in a local business or office building, which, depending on the situation, is still cost-effective.

This also impacts the process of moving from thought to execution. With the productions being quick and scrappy, there’s no time to ruminate or do dozens of reshoots; The team only has enough time to show up, try the scene a few times, and move on to the next thing.

Overall, between the low overhead and the crew filming chapters independently, Kountry Wayne’s network is nimble, requiring only a few iPhones, someone to hold them, editors, and potentially a social media manager (at first glance, at least). There’s more to his formula.

IV. WHAT’S NEXT?

Wayne has said that Hollywood has approached him multiple times for the blueprint to his content production, and for $500 million, he’s willing to give them the formula.

In his interview with Earn Your Leisure, he mentioned that he’s in the process of creating his own app that will also host feature films and other content from Black creators.

As for the Micro-dramas, if you check any of his pages at any given time, you’re likely to see the next chapter in your favorite Kountry Wayne story is live.

Even as we speak, a few chapters of some of his most recent stories have gone live.

One thing’s for sure, if nothing else: Kountry Wayne is the blueprint, and an innovator who’s showing what social media can be at its height.

You gotta salute him.

Let it sizzle in ya spirit.

One.

After two years of anticipation, Drake is officially back with not one but 3 albums, along with multiple music videos to support them.

For some, the 3-project rollout drove conspiracy theories; this was Drake’s grand scheme to get out of his UMG contract, much like Frank Ocean did with his deal back in the day.

For others, this was a brazen attempt to win back fans at any cost; With 40 songs out at the same time, something is bound to stick.

But perhaps there’s a different conclusion to draw, and that’s about Drake’s trajectory as an artist.

In our last piece on Drake, we talked about how brands grow, and in his case, growth is about being the biggest artist on the planet.

Moreover, if you look at Drake’s career through the lens of a portfolio brand, it suddenly becomes a lot clearer.

With 3 simultaneous album releases, his goal is clear:

Drake is becoming Coca-Cola.

If you look at any list of the most recognizable brands on the planet, Coke is in the top 10, if not the top 5, and it has a portfolio with something for everyone.

You want water? They’ve got Dasani, Smart Water, AHA, and Topo Chico.

You want soda? Classic Coke, Sprite, or Fanta (zero sugar available upon request)

You want tea? C’mon.

You get the point.

Drake has spent years cultivating audiences outside the U.S., so much so that he can drop a club hit domestically, a club record abroad, and something for the World Cup without any of it feeling out of place.

And it might give a lesson or two to marketers and brand managers about how to move with their brands & sub-brands.

THE PORTFOLIO

If we look at Drake as the master brand and the 3 most recent additions to the brand’s portfolio, you can see that each project serves a different audience and taste.

In line with the Coca-Cola parallel, it can be envisioned like this:

A. ICE MAN = COCA-COLA RED

This is the flagship version of the product that launched the brand. It’s the vibe that made everyone a believer, and it’s the one fans are most familiar with.

As the flagship, it embodies the positioning of the master brand/company to a T — no major surprises; it’s exactly what you hope for every time.

When compared to every other product in the brand’s portfolio (in this case, Drake’s albums pre-Honestly, Nevermind), it has a similar taste.

B. MAID OF HONOR = DIET COKE

Diet Coke drinkers are a very particular type. Many of them don’t rock with the flagship product or zero — they are specifically Diet Coke drinkers, and that’s it. They drink it religiously, stick to that particular formula, and otherwise consume juices or soft drinks outside the category and/or the brand.

That’s Maid of Honor.

This is for the casual Drake listener who only listens on occasion, at parties or other high-energy settings.

If it comes on their shuffle? Cool, but they won’t go out of their way to search for it.

C. HABIBTI = COCA ZERO

It tastes the same as the flagship product, but its formula has been slightly altered, making it appealing to audiences who don’t want or can’t handle the ingredients in the original flavor.

Maybe you don’t like the flagship brand’s boldness, or the sugar and carbs. Maybe you can’t drink it anymore for health reasons.

That’s okay because Zero has all of the other elements that made you a fan of the brand; it has a cult-like following that only the dedicated rock with.

CREATING SHELF SPACE

Even for a company as big as Coca-Cola, getting shelf space is fierce competition. In today’s music industry, there’s a similar plight — rather, it’s about mental & cultural shelf space (or what Byron Sharp calls mental availability).

In an era when there’s an endless amount to consume and fans tend to be done listening to albums after the first night, the question becomes: how do you ensure fans don’t lose interest?

You give them so much content to dig through that it would literally take a few weeks to see it all.

That’s why, in addition to the 3 projects, Drake also dropped 18 music videos — all on the same night.

Some videos contain easter eggs that add context to the lyrics, while others provide a peek into the lifestyle of the OVO crew.

The clippers and reaction community are gonna eat for months off of this.

Overall, while our libraries may be virtual at this point, the volume of content released creates a dynamic in which Drake occupies a sizeable amount of (mental & virtual) shelf space.

A SKU FOR EACH AUDIENCE-SEGMENT

Coke’s website says it has a drink for any occasion. We can understand “occasions” to mean anything from going for a walk to gaming, snacking, or social gatherings.

Essentially, they have a drink for every need, mood, or cultural moment.

At this point in his career, Drake’s audience stretches across the globe, to the point where even if you don’t know music, you likely recognize his face and maybe a moment or song with him.

With an audience that massive, rather than staggering the projects to serve his Hip-hop audience first and then the international audience, as he’s done in the past, he’s addressed everyone at once.

ICE MAN = THE HIP-HOP AUDIENCE

Drake’s core will always be Hip-hop.

He came up in the underground, and his inspirations include Dilla & Little Brother. As such, that aspect of his identity is solidified, and he’ll always be a part of Hip-hop culture.

However, as “For All The Dogs” showed, as Drake enters the latter half of his career, he’s been faced with a decision about whether to grow with his core audience or engage younger generations of Hip-hop fans.

Ice Man picks up where “For All the Dogs” left off, with him doubling down on his decision to engage with youth and create an offering geared to Gen Z Hip-hop listeners.

Not a knock - just an observation.

MAID OF HONOR = THE INTERNATIONAL AUDIENCE

With Ice Man covering the hip-hop audience, Maid Of Honor picks up where Honestly Nevermind left off — it’s electronic, it’s upbeat, it’s house, etc.

This one is for the Summer, and specifically his international audience, and anybody else not attuned with the vibes on the more rap-focused LP.

HABIBTI = THE R&B/HEARTBREAK DRAKE AUDIENCE

Drake’s work has always been R&B-coded, even since the early days of loosies like “Do It All.”

For fans who immediately called Views a classic when it dropped, consider Take Care as his de facto best project, and love when Drake dabbles in his 90s R&B bag, this is eleven songs for them.

Habibti is a purer offering for the hardcore Drake fans who want that particular sound sans the aggressiveness of Ice Man or the house/dance vibes of MOH.

EPILOGUE

We're just a week removed from the release of the three LPs, but it’s safe to say that they’ve placed Drake back in familiar territory at the top of the charts, poised to run another summer.

My suggestion is to set the reviews aside for a bit and just vibe with the music — there’s a lot to sift through, but one track that’s for sure gonna ring off is “Janice STFU.”

Rumor has it that he might have a fourth project on the way. Either way, 2026 has been a really active year for Hip-hop.

I think it’s safe to say The Culture is doing just fine.

One.

The internet lost its mind earlier this week when Audermars Piguet & Swatch announced their new collab.

The chatter reached fever-pitch levels after fake AI-generated photos showed a colorful collection of co-branded Audemars Royal Oak watches, which retail for over $50k.

Some stars vowed never to buy the brand again because it became affordable to the average Joe.

Others applauded the decision, saying luxury items should be available to everyone.

For me, the discourse leads to an interesting conclusion about the future of high-end brands, and by extension, youth culture & streetwear.

Consider that, a little over 20 years ago, AP would never have partnered with culture.

They partnered with Jay-Z once on a limited-edition line of watches, which was extremely rare. And a few celebs got their own editions here and there.

But since then? Nothing.

Truth is, they never needed to.

But times are changing.

High-end brands across the industry are realizing that the scarcity-based playbook they’ve run isn’t enough to keep market share anymore.

Gen Z is cynical about the upper class and its symbols of luxury; wealth inequality is rising, and watches are seen as relics of the old guard rather than status or investment pieces.

They now see culture as a new entry point.

Other high-end brands are following suit by seeking ways to reach new (and often younger) consumers who fall outside their usual consideration set.

We can see this through the high-low collabs permeating youth culture.

In short, the next era is here, and it’s driven by democratized access (that doesn’t “cheapen” the brand’s image) and a rededication to the retail experience to drive community.

let’s break it down, though.

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PHYSICAL PROXIMITY & CLOSENESS

Over the past few months, many of streetwear’s biggest players have opened new flagship retail locations. Two are located in West Hollywood, and one is in Atlanta.

While this typically wouldn’t count as new news or evidence of a market shift, the retail experiences themselves show that the streetwear space is going all in on elevated experiences that position the stores as legitimate third spaces.

Where retail shops of the 90s & 00s had just enough sitting room for you to try on your items and leave, these spaces are so inviting, they’re prepared for your stay; and naturally, prepared for your wallet as well.

I. A Ma Maniere

AMM's new location is built like a home away from home. The 6-story retail & hospitality experience has floors for shopping, resting/recharging, and luxury art.

Each part of the retail experience has a different name, look, and feel, and the site shows that this location is designed to “blur the lines between luxury shopping, hospitality, dining, and culture.”

II. Kith West LA

Ronnie Fieg’s latest Kith location in West Hollywood just opened a few weeks ago, and the sprawling retail location already looked plush, but what took it to another level (on top of an exclusive New Balance drop) was the co-opening of his new flagship restaurant, “Ronnie’s Pronto.”1

The menu included a suite of New York-themed foods, including a kith-branded grilled cheese sandwich, and its proximity to the store's retail arm makes it easy for shoppers to make a day of it.

III.Aimé Leon Dore West LA

Aimé Leon Dore also opened a new flagship location in West Hollywood that channels a very specific country club energy. A cafe is also attached to it, which offers an assortment of beverages and snacks — all of which feel perfectly curated for IG.

SYMBOLIC PROXIMITY & CONNECTION

While the Kiths and ALDs of the world are finding success with physical retail locations, other brands dominating youth culture are creating associations with high fashion that elevate both brands and help them reach new consumers.

In this world, the primary goal is to tap into the emotional appeal of the product — getting people to identify with the feeling that comes with luxury items while making it affordable.

In essence, it accomplishes what diffusion lines do without potentially altering the brand’s image. A high-end fashion line seeks affordability under the guise of cool, while the youth-culture “low” brand gains coolness through its newfound affiliation.

Everybody wins.

I. AP & Swatch

Audermar’s new “pocket watch” with Swatch has already made waves online in a way that paid media can’t replicate.

To that end, the collection is partially driven by Audemars ’ hope of attracting younger consumers and female watch collectors entering the mechanical space — a goal mentioned by Audemars’ CEO, Ilaria Resta, in 2025. 2

The collection drops May 16th, and it is likely the most talked-about collaboration of the week, with mentions from major publications, rappers, and activity across all social platforms.

The item itself retails for $399 and shows a marked shift from Audermar, who envisions this piece as a “charm,” in a sense, the idea being that it can hang on your bag or pocket. A quiet, colorful, flex.

II. Miu Miu & New Balance

Miu Miu has experienced a meteoric rise in culture and has been listed by the Lyst index as one of the hottest brands in the world for the past few years.

A contributing factor to Miu Miu’s success is its deliberate focus on youth culture via high-low collabs, particularly through its New Balance partnership, which continues to this day.

Coco Gauff is a Gen Z favorite and an accomplished athlete who is signed to both New Balance & Miu Miu, making her the perfect ambassador for the collaboration.

III. Adidas & Wales Bonner

Wales Bonner is one of the brightest stars in the luxury world, with her own line, affiliations with Louis Vuitton, and a new appointment as the creative director at Hermès.

In the midst of this, Bonner has also been a steady collaborator with Adidas, pushing the brand further into the high-fashion space while maintaining its youth-culture edge.

Her collabs with the brand see reimaginations of the Samba with crocodile skin and other elevated materials. And while Adidas is no stranger to high-low collabs via their work with Gucci, having an affiliation with Wales Bonner also gives them a unique layer of proximity to Black culture that they can’t gain from Gucci.

WHAT NOW?

The story has always been: the more high-end the brand, the harder it is to obtain.

It’s been a successful playbook for what feels like centuries, but how does that playbook net out in the years to come? Global shifts are prompting brands to reconsider who their ideal consumer is, and this feels like just the beginning.

The high-low collabs are definitely dope to see, though. Only time will tell who’s next to make the move.

Nevertheless, shoutout to AP & Swatch and all the other brands that are making a jump into culture. It’s not easy, but once you find the right lane, it pays dividends.

One.

Mother’s Day is on the horizon, and Hip-hop is one of the few genres where homage to mothers is a cornerstone of the art.

After all, mothers are the ones who raised us.

They nurtured us.

They tended to our wounds.

They rejoice in our greatest victories.

There’s no one on Earth who’ll have your back more than your mom.

In Hip-hop, “mom” isn’t just a character or inspiration for records; she’s the origin story for the hustler, the first witness of the underdog’s greatness, the emotional receipt of a grind that paid off, and sometimes the wound that changes your worldview.

From “Dear Mama” to 808s & Heartbreak, mothers have given hip-hop one of its deepest emotional vocabularies: appreciation, humanity, wisdom, grief, and legacy.

This edition of the SNOBHOP newsletter explores the impact of mothers on Hip-hop’s biggest artists & the emotions we associate with them. Let’s get it.

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THE LANGUAGE OF APPRECIATION

One of Hip-hop’s oldest emotional promises is “if I make it, we all make it.”

It’s cultural, ancestral, and sacred.

That promise is primarily about making sure Mom is taken care of before anyone else. Because often, the artists who jumped off the porch at a young age did it for her, if not only for themselves.

The feeling comes through in records about repaying a debt you could never truly repay, and in showing appreciation in the best ways possible.

Some of rap’s greatest emcees have given us the language of appreciation for mom.

Drake

Drake periodically lets fans into his relationship with his mother, Ms. Graham, outlining his triumphs, worries, and, at times, the strains that come from his rise to the top.

However, a standout from his catalog is “Look What You’ve Done,” which sees Drake wrestling with the prospect of his mother getting older, him making it as a musician, and the earnest promise that he’s got her no matter what.

The opening bars about his mother immediately set the scene, and what follows is a sincere and beautiful ode to the woman who believed in him throughout his entire journey.

THE LANGUAGE OF HUMANITY

There comes a time in life when you grow old enough to realize your parents weren’t gods or villains. They were people. Flawed, interesting, and complicated people trying to balance their own lives & desires with raising someone else to be able to navigate their own lives.

They did d it with no handbook. No packets. Just cereal with the canned mirk (Word to Finesse).

When you add in the extra layer of being Black, and at times, a single parent, many artists realize the miracle it took to make it out of where they come from.

Those feelings manifest in profound records that underscore a humanity that you come to grips with as you mature.

JAY Z

Jay Z has referenced his mom numerous times through his career, but the first time fans heard Ms. Carter’s voice was on “December 4th” — the opening song on what was supposed to be Jay Z’s final album, “The Black Album.”

On it, she recalls the details of his birth as Jay gave fans intimate details of his parents’ relationship & his upbringing.

In the years to come, Jay gave us 4:44, his most introspective project to date, and “Smile,” a record dedicated to his mother, Gloria Carter.

In it, he acknowledges the complexity of the life she had to live, not only raising him but also having to hide her true self from him & the world alike. In recognizing that aspect of her humanity, the song & video are a really dope ode to her, featuring spoken word from Ms. Carter at the end.

BABY KEEM

Baby Keem’s newest album was a deep look into his family and his relationship with his mother, who battled addiction throughout his life.

She’s been a recurring theme throughout his music, but on his newest album, Ca$ino, he speaks candidly, releasing the pain and letting his mother know that he doesn’t blame her for anything.

J. COLE

On songs like “Apparently,” J. Cole finds himself wrestling with the price of ambition & the weight of the sacrifices his mother endured to get to where he is, admitting that need to treat her better.

Coupled with the prospect of his mother getting older and him needing to spend more time with her, we’re given a timeless record ripe with a newfound self-awareness, transparency, & appreciation for the woman who helped him become who he is today.

THE LANGUAGE OF WISDOM

The foundation for how we navigate the world comes from our parents, for those lucky enough to have them. And mothers give you the wisdom that sets the course for the rest of your life.

It’s the type of gnosis that makes you say “damn, that’s what mom meant” on a random Tuesday afternoon while driving back from the office.

Mom knew. She always knew.

A mother’s wisdom follows you throughout your lifetime.

Tyler The Creator

On Chromakopia, Tyler peeled back more layers of life, and on “Mother” in particular, we actually hear his mother’s voice in the intro.

Throughout the song, his mom makes sure he stays out of trouble and makes it to 18, with instructions very familiar to those who grew up in Black households — especially the piece about not calling if you get in trouble (because she did warn you beforehand).

And while Tyler loves his friends (as evidenced in the song), the words his mom gave him to navigate the world left a mark.

THE LANGUAGE OF GRIEF

Ye is perhaps the most profound example of what a mother’s love can do. She gave him unwavering confidence in himself and his vision, and inspired him to break through the many walls in his way.

He’s written about his mother since the early days, with records like “Hey Mama,” and even in the latter half of his career, on the album “Donda,” which featured recordings of her lectures throughout.

Shortly after her passing, he wrote one of the most profound albums of our generation: 808s & Heartbreak.

It wasn’t just the sound of romantic heartbreak. It was the sound of a man whose life was at a crossroads.

He was wealthy, but lonely.

Ahead of his time, but lost in the world.

He lost one of his deepest emotional anchors and, in the process, pioneered a new sound because rap’s old one wasn’t enough.

In the years since, he’s given us some of our most powerful reflections on grief in rap music, including the more recent “Life of the Party” featuring Andre 3000.

Clipse

In 2025, the brothers from VA dropped their first album together in almost 15 years, and the first song on it is a tribute to their parents, who died months apart.

Each brother recounts the death of a different parent, and their passings are a recurrent theme on “Let God Sort ‘Em Out.”

The Birds Don’t Sing gave fans a level of depth they hadn’t seen from Clipse, and it also provided a cathartic soundscape to those who’ve felt similar pain.

THE LANGUAGE OF LEGACY

Over the years, many of Hip-hop’s brightest stars have died prematurely. Often, it was at the height of their careers or just before they reached the next level.

In these cases, we’ve seen how deep a mother’s love is, as they have provided the culture with the legacy of their sons despite their physical absence.

It’s a legacy they hold dear, and could choose to be selfish with, but instead they share it with us.

Ms. Afeni Shakur

We owe what we have of Tupac’s legacy, in large part, to the work Ms. Shakur has done to preserve his works and create an archive from them.

Moreover, our understanding of Pac as a revolutionary and changemaker is largely shaped by her role as a member of the Black Panther Party. She gave him the foundation necessary to change the world.

Even after Pac’s passing, Ms. Shakur held onto everything from personal notes to songs, doing whatever she could to ensure his work wasn’t exploited posthumously.

Much of the archival work was donated to the AUC in Atlanta in the mid-2000s, and she ran Pac’s foundation & estate until her passing in 2016.

Ms. Voletta Wallace

In the aftermath of the East Coast/West Coast rivalry, the world also lost The Notorious B.I.G., and like Ms. Shakur, Ms. Wallace was a present force in Hip-hop in the years since Biggie’s passing, keeping his legacy alive through his estate, launching The Christopher Wallace Memorial Foundation, and carefully managing his image and likeness until her own passing.

In the physical absence of her son, Ms. Wallace played a crucial role in ensuring Biggie’s legacy was remembered rather than exploited, as corporatism often attempts to do.

Ms. Maureen Yancey

In 2006, the world lost the legendary J Dilla to Lupus. His legacy has since grown to heights far beyond what he could have witnessed, and in the years since, his mother, affectionately known as “Ma Dukes” to fans, has been very active in preserving his memory via his estate.

Ma Dukes also donated Dilla’s MPC 3000 & Moog synthesizer to the National Museum of African American History in D.C., permanently enshrining the equipment that Dilla changed the reputation of forever.

EPILOGUE

When we talk about mothers in Hip-hop, this is truly a conversation that could go on for hours.

In lieu of that, here’s a playlist with some of rap’s best records dedicated to mothers all around the world.

That said, hug your mother if you can, give her a call/text this week, or patch things up if that’s where you’re at with it.

Because once the clock runs out, that’s it, gang.

No overtime. No do-overs. Just old voicemails and pictures to scroll through.

It’s been about 3 years since I could talk to mine.

Just saying.

One.

For years, brands have treated creators like short-term leases.

They use them to hold products online, post content, and transfer a little social equity onto the timeline. Once the term is up, they re…

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The list of inductees for this year’s Rock & Roll Hall of Fame was recently released, and while a few well-deserved inductees were on there, one instantly stood out: Sade.

Now listen… Everyone reading this should know Sade.

Sade is the embodiment of a level of mystique that artists rarely maintain anymore — a kind of laissez-faire approach to public appearances, contrasted by a meticulous & thoughtful approach to artistry.

She never overexplained herself to the press or allowed them access to the private details of her life. She simply showed up to offer her art, tour with the band, and went back to the richness of her life without spectacle.

That mystery made being a fan of her music a badge of cool, refinement, and maturity. As the years have gone by, knowing Sade has been like being “in the know” about a niche designer fragrance or the best lowkey spot in your city. It raises an eyebrow in the best ways and elicits a nod from the initiated.

Consuming her catalog means being in a space in life where Saturday mornings are for cleaning the house to Lover’s Rock.

The soundtrack for life’s smoothest moments is very select, but Sade is the perfect choice for any of them. She means a great deal to modern Hip-hop and pop culture, too.

Sade has one of the most sampled catalogs out there, is an inspiration to artists like Drake and Beyoncé, and is one of the few artists who have transcended generations, from X’ers to Gen Z.

Ahead of the Rock & Roll Hall of Fame, this week is dedicated to her & the band.

Let’s get into it!

BACKGROUND

Helen Folsade Adu was born in Ibadan, Nigeria, on January 16th, 1959, to a father who was an economics professor and a mother who was an English nurse.

After their separation, she and her mother moved to Southeast England, where she spent the duration of her childhood.

Upon graduating high school, Sade went to London’s Central Saint Martins to study fashion, with a focus on menswear, and she eventually began modeling as a side gig (on top of securing a job selling clothes at Camden Market).

Her foray into music was completely by chance.

As fate would have it, a local band named Pride had lost its lead singer, and they were convinced that Sade could sing with them.

She was reluctant, but with some persistence, the band convinced her to join them until they found a permanent lead singer.

However, after Pride toured around London for a bit, it was clear that the audience was enamored with their new lead singer.

By 1983, Pride had imploded, and the remaining members, Stuart Matthewman, Paul Cooke, and Paul Denman, decided to form a band around Helen, named… Sade (they also took the early version of Smooth Operator with them).

Andrew Hale also joined the fold as a keyboardist, and with time, Sade began courting interest from various record labels.

As a band, they eventually signed with Epic, with Sade Adu stipulating that the entire band be signed, stating that she wouldn’t partner with a label unless they agreed to that term.

Once the contract was locked in, they were off to the races.

I. THE SOUND OF SADE

When Sade’s debut album dropped, it took the UK by storm.

The lead single Smooth Operator sounds much like its name, with a jazzy soundbed & exotic drums powered by Sade’s signature vocals.

It performed well commercially too, peaking at #19 on the UK charts and #5 in the U.S., and has since become one of the defining songs of her career.

Smooth Operator was even namedropped in various '80s hip-hop songs by rappers like Rakim and Big Daddy Kane.

Moreover, as Sade’s popularity grew in the UK, they became an even bigger hit in the U.S., becoming synonymous with a sub-genre of R&B called Quiet Storm.1

Quiet Storm was a smooth 70s radio format associated with acts like Luther Vandross and The Isley Brothers, thanks to their laid-back sound and penchant for slow jams. As it grew in popularity, Sade fit right in the mix with them on the radio.

After the success of 1984’s Diamond Life, Sade quickly followed up the next year with their sophomore album Promise, which was also highly acclaimed.

And while Diamond Life made a strong debut in the top 5 on the Billboard charts, Promise took the #1 spot and eventually became 3x platinum, thanks to the boost she was receiving in the U.S.

Its lead single, “Sweetest Taboo,” is also another standout from Sade’s career and has even been referenced in pop culture.

Fun fact: In The Boondocks, Tom DuBois was infamously beaten up by a woman named “Sweetest Taboo” while seeking marriage advice.

Sade would soon follow up with another acclaimed addition to their catalog with the 3rd album, Stronger Than Pride, in 1988.

The title track served as the lead single and was as mesmerizing as what the first two albums gave fans, making it another standout in Sade’s catalog.

Their signature sound also led to 1992’s Love Deluxe, which, depending on who you ask, is Sade’s best album (granted, it’s a tough debate to have).

Love Deluxe gave the world another all-time Sade track in “No Ordinary Love,” which featured the same dreamy/sultry vocals, a funky bassline, hard-hitting drums, and conceptual visuals that made Sade a worldwide phenomenon.

With a few years of back-to-back album drops under their belt, the band went on hiatus after Love Deluxe.

Sade Adu wanted to take time to live a normal life in privacy with her family and attend to a sick loved one without having to think about creating an album or going on tour.

After 8 years off, she eventually returned in 2000 with another highly acclaimed album and a fan favorite in Lovers Rock. This time, Sade’s sound was infused with elements of modern R&B and (dare I say?) Hip-hop drums.

Sonically, it felt like an evolution from the prior 3 albums, and still decisively Sade.

This was followed by another hiatus until the late 2000s, when the band hinted that they’d like to get back to work if she was ready.

This eventually led the team to return to in-person work (their preferred way to create), and in a little under a year, they recorded Soldier of Love, which was accompanied by a world tour.

Soldier of Love delivered the same smooth quality that made the band famous, and it felt familiar yet new. And, much like her other work, it was well received by artists and fans alike.

SADE’S VISUAL WORLD BUILDING

Sade understood early on that artistry is about creating an environment people want to step into, one that doesn’t stop at the music itself.

That approach gave the music staying power because it didn’t matter if she and the band were only releasing music every few years. When they did, it felt truly inspired, and fans were nourished by the wholeness of the storytelling.

From day 1, every album was a worldbuilding exercise.

The cover art and title tell a story in themselves. Love Deluxe, for example, actually stemmed from a photoshoot with a friend & photographer, Albert Watson, where he had the idea of photographing Sade nude.

Watson assured it could be done tastefully, and if anything, she could always throw away the photos afterward.

Sade liked the end result but said it wouldn’t be the album cover. However, her team convinced her, and the rest is history.2

And then there’s the music videos.

Sade’s very first music video, Smooth Operator, was about a man who was a player, and watching it feels like consuming a four-minute feature film — ironically, one that would fit right in with today’s social media timelines, given the recent trends around micro-films.

Each visual over the years felt intentional and shot with effort. Whether it’s Soldier of Love in 2010 or Is It a Crime in 1988, you're thrust into a unique universe with its own terrain, storyline, characters, and film grain.

WHY HIP-HOP LOVES SADE

As a sample-based genre, much of Hip-hop’s soundbed is informed by music from other genres. To that effect, Hip-hop’s love affair with Sade is part texture, part nostalgia, and an effort to connect with the richness of her legacy.

For many of Hip-hop’s greatest, Sade’s albums were the soundtrack to a specific era of 80s R&B that they either grew up hearing from their parents or experienced during young adulthood.

Moreover, her music carries emotional depth, sensuality, sonics, and a particular type of cool that artists love to reference.

In that way, each of her hits that gets sampled serves as an emotional and generational bridge, giving the present-day song more context.

When paired with the deep storytelling of Sade and the deep soulful voice and smooth instrumentals they were couched in, her work is often the perfect soundbed for great rap records.

This made her early albums a goldmine of samples.

Diamond Life provided samples for everyone from Drake to MF DOOM, leading to fan-favorite records in their careers.

Often, fans can’t even tell why they like the song or that the instrumental is a Sade flip — it just has a certain etheric quality that makes it hit different.

MF DOOM - DOOMSDAY

DRAKE - FREE SPIRIT

THE SADE AESTHETIC

In more recent years, Sade’s fashion sense has been a focal point of later generations’ discovery and admiration.

Also, considering Gen Z’s affinity for minimalism, 90s nostalgia, and social justice, it makes sense that Sade would begin to serve as a role model for them.

On TikTok in 2024, you could find Gen Z’ers referring to themselves as “Sade girls” — a title that some attribute to the clothing. But for real Sade fans, it reflected the fullness of Sade’s presence in culture, including discussions of complex issues like war, while still embodying the effortless cool she was known for.

EPILOGUE

In the years since “Soldier Of Love,” Sade has released music here and there for projects and causes that speak to her.

In 2020, Sade contributed a track to the soundtrack of Ava DuVernay’s “A Wrinkle in Time,” marking the first time she had released original music in almost 10 years.

And, in 2024, she released “Young Lion” for the nonprofit organization Red Hot.

“Young Lion” was a tribute to her son, Izaak, acknowledging the burden he carried growing up before coming out as trans. It appeared on Red Hot’s compilation album Transa and was accompanied by a video.

To that end, Sade has kept a relatively low profile in the past few years, but with the Rock & Roll Hall of Fame induction in November, one can hope we’ll get new music, or even a performance at the show itself.

If neither happens, it’s all good.

She’s already given entire generations a model for how elegance, mystique, and emotional depth could coexist.

That’s why her music lasts, why her visuals still feel rich, and why her influence keeps resurfacing in each generation.

If you’ve made it this far, I’m assuming you either love Sade or are intrigued enough to learn more about the band.

Either way, you should add some Sade to your playlist this week. Watch what it does for your life.

If any member of the band or Ms. Adu sees this, we hope you come back soon. An early listen is needed on my end.

Let me know.

For some unreleased Sade?

Shiiit, I’ll hop a flight to the UK. Just saying.

One.

Lupe Fiasco is ahead of his time.

Before Blerd was a term, or rappers made a hobby out of going to Japan, there was Lupe, right at the center, embodying everything they said a rapper couldn’t be.

He was intellectual and lyrical, riding a skateboard, rocking Maharishi, Japanese denim, and an artist's logo written in Arabic script. All in 2006.

Fast-forward 20 years, and those same brands hold weight in the streetwear space. Suddenly, what seemed “niche” in ‘06 now proves prophetic.

Lupe deserves credit not just for being different, but for making that difference legible.

He was at the forefront of a class of creatives who introduced a level of cool that Hip-hop (and culture in general) sorely needed — a type of cool that the mainstream now highlights through festivals and conventions spanning everything from Hip-hop to Anime and even blends of the two.

But in ‘06?

None of that existed in the mainstream.

His debut single “Kick, Push” turns 20 this weekend, and although there was a relationship between Hip-hop & Skateboarding before it dropped, he took skating from the left of center to THE center.

So like we always do at this time, you know we gotta talk about it.

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I. INFLUENCES SHAPING LUPE’S WORLDVIEW

A. Martial Arts

It was clear early in Lupe’s career that East Asia was important to him ( The “Tokyo” part of Paris, Tokyo, should’ve been a clue).

Moreover, Asian culture & Hip-hop culture share a decades-long relationship that goes back to Shaw Brothers Kung Fu films and 1970s Enter The Dragon with Bruce Lee & Jim Kelly.

All of those influences found their way into Black culture in one way or another, leading many Black people to study martial arts, including Lupe’s father, Sensei Gregory Jaco.

To that end, Lupe’s family has been involved in the martial arts community for over 60 years, and his father, Sensei Jaco, was a pillar of the community who had mastered multiple martial arts. He was even given an official day in Cook County in recognition of his contributions to Chicago & the Black Martial Arts movement.

Lupe himself also holds multiple black belts in different forms of karate, which you can occasionally see him practicing on IG, and all of those influences made their way into his art.

B. ANIME & GAMING

By extension, it’s also clear to see why Lupe’s music includes references to Japanese Manga and video games on Food & Liquor.

The 2nd single, “I Gotcha,” for example, features clips in which Lupe & his love interest play an Atari-like console, as the green screen evokes the classic 80s game Asteroids.

On other songs, Lu frequently references games like Street Fighter 2, and in 2016, he actually beat a highly ranked Street Fighter player in an exhibition match.

In “Daydreamin,” Lupe works in what appears to be a gaming shop complete with vinyl, toy figures, and a giant robot. Moreover, in his feature on Kanye West’s “Touch The Sky,” he mentions the classic anime Lupin the 3rd.

Later in Lu’s career, these themes remain strong; the biggest example is the title of his 2015 LP, “Tetsuo & Youth,” which is inspired by Tetsuo Shima — the antagonist in the seminal 80s anime film “Akira.”

C. CHICAGO

Much of Lupe’s music is also informed by his life in Chicago, where he saw firsthand how society's ills affect the community and its people.

When coupled with the lessons of his parents, he’s used his music to create complex stories around geopolitical events, socioeconomic conditions of Black America, and even the government’s alleged role in helping destroy these neighborhoods.

At times, he’s been so outspoken that it’s damaged his career.

Despite that, he was doing what an emcee was supposed to since the days of “The Message,” and that’s provoke thought through dope rhymes that are reflective of what’s going on in the world.

II. KICK, PUSH USHERS IN A NEW FORM OF COOL

As the comment above points to, what makes Lupe’s career & Kick Push such a powerful artistic statement is its validation of the interests of thousands (if not millions) of Black youth who hadn’t yet seen their hobbies on Hip-hop’s mainstage.

The irony is that the song itself was never meant to be a single. Lupe actually recorded “Kick, Push” for a DVD for a local skate shop named Uprise.

And, technically, the song itself isn’t about skateboarding.

It’s more about escapism — the protagonist of the song uses skateboarding as a way to drift away from his problems, and he just so happens to skate. 1

III. THE ESSENTIALS OF COOL

If “Kick, Push” validated that The Culture was yearning for a different type of cool, then Lupe’s fashion and lyrical references showed how deep his cultural fluency actually ran.

Lupe was an early supporter of Hypebeast (back when it was hosted on WordPress), and he even hosted his own blog on the official Hypebeast website. He was right around the time of the next wave of designers who would take over, including KAWS. 2

But one of the clearest examples of his curation is likely the brand he launched around 2007/2008, Trilly & True, which, until recently, no one knew was designed by Virgil Abloh before he blew up.

Speaking of 2007…

Fans of Lupe’s 2nd album “The Cool” will remember track #8 entitled ‘Gold Watch’ — a laidback, sample-driven record in which Lu listed out “the essentials of cool”.

The list included Diptyque candles, Maharishi sandals, and Junya Watanabe.

For many rap listeners, “Gold Watch” was the first time they had heard of Monacle Magazine or Maharishi, and in the years since, Lupe & Maharishi have collaborated on two collections (the most recent of which appears below).

And if that wasn’t enough, Lupe was also an early adopter of BAPE & BBC Ice Cream — the streetwear lines of Nigo & Pharrell, respectively (who were also friends of his).

His wearing those brands in the mid-2000s helped spread a new level of cool for the youth who knew what was happening in the mainstream but wanted a different swag.

EPILOGUE

20 years later, Lupe is still as relevant as ever, this time sharing new essentials of Cool: At MIT, he lectures on Rap Theory & Practice, breaking down the craft's most intricate elements.

In partnership with Google, he’s launched a new tool called TextFX, which leverages AI to help artists with songwriting by suggesting alternative meanings and phrases for certain words. To that end, we’re seeing more artists openly (and secretly) embrace the power of AI.

And all the while, Japanese culture, via Anime, is now Gen Z’s favorite pastime.

In the end, 2026 is just like 2006, and it appears Lupe is still ahead of the curve. At the very least, we can say that he knew what was cool, before The Culture did.

One.

Jade Cargill recently appeared on the Joe Budden Podcast, and to some, that may appear random, but for those in the know, this was one of the best interviews they could’ve booked.

Jade’s appearance on the JBP, one of the biggest podcasts in culture, further highlights a relationship that’s existed for decades but has largely flown under the radar of mainstream media:

The relationship between Wrestling and Hip-hop.

Since its inception, Wrestlers have been sampled on Hip-hop tracks, and rappers have often appeared on WWE programming.

Moreover, they’re both sports with many similarities and a language only their most hardcore fans can understand.

THE LANGUAGE: KAYFABE

Kayfabe is defined (in professional wrestling) as the fact or convention of presenting staged performances as genuine or authentic.

Essentially, everyone who’s watching wrestling knows that what’s happening is staged (to an extent), BUT it’s theatre with much higher stakes: the “stories” themselves might be fake, but the injuries, crowd reception, etc., are real.

However, when you’re a kid watching your favorite wrestlers in the ring, you don’t necessarily know that it’s fake. You think the drama, the punches, and the storylines are all real (in hindsight, you might ask yourself, why do these two guys who hate each other stand in a ring going back and forth without actually throwing a punch).

But that’s the magic of Kayfabe, and a key rule of kayfabe is that you don’t break the illusion.

That brings us to Hip-hop.

Growing up, you believe that your favorite rapper is the toughest person on the planet, and that they really are who they say they are, etc. But often, they’re relaying the details of the life of someone they knew, or aspired to be like.

The “storylines” are manufactured, too. Some artists create beefs to push the sales needle, while others hope to generate PR for their next move.

In essence, Kayfabe in Hip-hop amounts to the story of Gangstaliscious in The Boondocks — it’s all a performance.

In more recent times, the performers have become more street; much of it is still performance and persona, with some good PR around it.

THE RELATIONSHIP

If you look online, you’ll see that some of Hip-hop’s biggest stars have supported the Wrestling world since the 80s and early 90s, when Master P brought the No Limit Soldiers to WCW Nitro.

As the years progressed, the relationship grew stronger and more pronounced across different verticals.

I. THE MUSIC

Just as the 2000s started, WWF was in the middle of its golden era, and just 3 months into the year, they partnered with Priority Records (the label partner of No Limit & Eazy E, respectively) to release the WWF Aggression soundtrack.

This project further solidified its relationship with Hip-hop by featuring the Hip-hop songs that WWF stars used as intro music in one place. The project featured everyone from Run DMC to Redman and Snoop Dogg, and it went gold in the U.S.

II. THE GAMES

Moving deeper into the early 2000s, we see another pronounced expression of the relationship between the two arts in the 2003 game Def Jam Vendetta & its sequel, Fight For NY, both of which have become Millennial cult classics.

In fact, the company AKI, which developed the fighting mechanics for multiple games like WWF No Mercy, provided their technology to Def Jam Vendetta, making the two games brothers of sorts.

The mechanics of Vendetta & Fight For New York are based on the same constructs that the AKI corporation used to create WF No Mercy — it’s quite literally a WWF wrestling game with rappers as the skin.

III. THE PERSONALITIES

Ric Flair

The Nature Boy has been a fixture in Hip-hop for some time now because of his character’s aura in & out of the ring.

Moreover, Flair’s signature “Woo” has been used by rappers as both an ad-lib and in punchlines. His image also appears on cover art, and iconic interview clips are used for album/track intros.

Rappers like Offset from The Migos have even named songs after Ric Flair, featuring him prominently in music videos as well.

Shawn Michaels

HBK, aka The Heartbreak Kid — Shawn Michaels, rose to prominence in the WWF right as the Attitude Era was heating up, and he quickly became a favorite in the 2000s on Monday Night Raw.

The line above from Kendrick Lamar is a reference to Shawn Michaels’ signature move, “Sweet Chin Music.”

Moreover, in 2025, rapper Sexxy Red struck up a relationship with the WWE, which was well received by fans.

In more recent times, her new single has achieved virality on TikTok largely because TikTokers are editing the song with old clips of the Heartbreak Kid Shawn Michaels performing his signature moves/dances on his way to the ring.

The WWE caught on and has since included Sexxy Red in the promo for upcoming episodes of Raw. The clip below is from her most recent appearance, where she reunited with HBK.

JOHN CENA

Hip-hop was integral to John Cena’s image, and while some may doubt his affinity for Hip-hop culture, he not only adopted the clothing and the music for his intro music — at the height of Cena-mania, he dropped an entire Hip-hop album through the WWE.

Even as recently as 2015, he had music on the WWE 2k15 soundtrack featuring Wiz Khalifa.

WALE

Often touted as Hip-hop’s #1 Wrestling fan, Wale has even made appearances on Smackdown; in 2017, he was part of a storyline where he moderated a rap battle between ‘The New Day’ and ‘The Usos’ live.

Wale also has dozens of wrestling lyrics in his work and a famous freestyle, “Bad Guy, Razor Ramon,” named after the 90s wrestling legend.

HIP-HOP AT WRESTLEMANIA

Rappers have a long legacy of appearances at WrestleMania, dating back to Run-DMC at WrestleMania V and Salt-N-Pepa at WrestleMania XI.1

In more recent years, Snoop Dogg (who’s also the cousin of wrestler Sasha Banks) has been a part of the builds for Wrestlemania and even engaged in a bit of Kayfabe when he dropped “The People’s Elbow” on The Miz a few years back.

As we get closer to this year’s Wrestlemania, Triple H & the other execs at WWE are including Hip-hop artists into the story builds that roll out the event.

One of the most recent editions is Lil Yachty, who had to go on X to defend his presence at WWE after receiving an invite from rising WWE star Trick Williams during SmackDown.

OTHER HIP-HOP & WRESTLING CROSSOVERS

WALEMANIA

Being the huge WWE fan that he is, Wale partnered with Kazeem Famuyide to create Walemmania, a national event that ran from 2015 to 2025, further legitimizing the relationship between Hip-hop and wrestling outside of WWE.

Wale & Co. brought rappers, wrestlers, and other entertainers in one spot to celebrate both genres in a unique experience that you really couldn’t find anywhere else.

4TH ROPE WRESTLING

In 2024, Westside Gunn & Smoke DZA, both avid wrestling fans, created Fourth Rope Wrestling, an entity through which they promote their own roster of wrestlers, featuring unique storylines and events.

Gunn has been a wrestling fan for years and often incorporates his favorite wrestlers into the promotional materials for his albums, including cover art.

He occasionally samples wrestlers in his music, which has also caused tension with the WWE. In 2025, they kicked him out of a Monday Night Raw event despite having paid thousands for his seat.

No official reason for his being escorted out was given, but many speculate it’s also due to his having a competing wrestling entity.

BUT, THERE’S UNDERLYING TENSION…

The pushback against Lil Yachty, and even an idea Jade Cargill mentioned on the JBP around bringing a group of women to the WWE to draw in a different crowd, highlights that there’s still internal resistance to opening the sport up to different audiences.

The WWE is expanding its scope to attract more fans, especially Gen Zers and multicultural consumers, and, in doing so, it is acknowledging audiences that have historically supported it.

These are audiences who never really expected to see themselves physically reflected in the wrestlers they supported, and now appreciate it as it happens.

These are also the same audiences who saw earlier generations of Black wrestlers forced to fit into racist & sexist stereotypes just to have a place in wrestling — something that Stone Cold Steve Austin recently spoke with former champion Ron Simmons about.

WHY IT MATTERS NOW

We should expect to see more crossovers between Hip-hop and wrestling. Hopefully, you’ll leave this piece seeing that it’s not a new phenomenon and that the two really share a kinship that’s worth expanding.

Will that happen?

Only time will tell.

But if the old guard of WWE decision makers is watching, they should know that the appetite for more is there, and there’s an entire fanbase that’s waiting for them to lean in.

We’ve seen what happens when other brands truly embrace their Hip-hop roots. Maybe the WWE will see too.

One.

We’re officially in Q2 of 2026, and Nike’s quarterly earnings report just dropped.

On the surface, Nike’s year appears turbulent: D2C revenue is down 4%, Converse sales are down 35%, and globally, Chi…

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Magnum Opus.

A Latin phrase from the 1700s used by alchemists to describe “great works.”

It shouldn’t be used lightly, only in special circumstances like alchemy, where elements combine in a way that produces gold. Elements that produced great work.

On March 28th, 2006, T.I. released his 4th studio album “King,” and for many it was his magnum opus — the greatest work of his career.

After 3 albums with increasing momentum, the stage was set for his career to take the next step, and King overdelivered on all fronts.

It arrived the same week as his feature film debut in ATL.

This was during an era when 106 & Park still helped break records, malls were the weekend spot, and stores like FYE let you preview albums before dropping money on the CD (and Best Buy had first-week exclusives for $9.99).

This week is the 20th anniversary of King, and no matter where you rank it in T.I.’s discography, it’s arguably the most important album of his career.

Let’s revisit it.

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Atlanta is not a real place.

Anyone who’s ever visited here, even just for a day, will tell you that.

Why?

Because in one day you’ll experience every season possible — at 10 am, you’ll need a winter coat.

By 3 pm, you’ll have pollen covering your car. Don’t worry, though, because overnight there will be a mixture of rain & ice to wash away (then freeze) the pollen. A 4.3 magnitude earthquake will also wake you up on time for work.

On Friday, you’ll be in a hole-in-the-wall club on the Westside where you’ll run into an A-List celebrity quietly enjoying the amenities. People know who it is, but the celeb is left virtually unbothered.

Later that night, you’ll witness a fight at a Waffle House.

In the corner, enjoying their meal, you’ll spot a slightly less famous B-list celebrity, somehow ignoring the commotion.

You get that gut feeling telling you to leave, but you’ll ultimately stay to watch the drama. (pro tip: if one of the fighters leaves the altercation & proceeds to the trunk of their car, you’ve stayed too long).

All in all, you’ll feel at home because that’s just Atlanta.

However, for those who’ve never been ot Atlanta, the closest reference they have for Atlanta culture is the movie ATL.

ATL turns 20 on March 31st, and its legacy is unmatched.

It grossed $21 million on a $7 million budget, served as T.I.'s film debut (and helped boost the impact of his album King, which dropped the same day).

ATL introduced the entire world to Atlanta’s skating/dance heritage and helped launch the careers of several actors.

So, of course, we gotta talk about its impact.

I. THE ORIGINS

ATL is loosely based on the lives of super-producer Dallas Austin and T-Boz of TLC (although the romantic angle is fictitious); both Dallas & T-Boz are Atlanta natives who entered the music industry in the late 80s/early 90s, when much of Atlanta’s cultural influence was emerging on the mainstage.

While many think that Cascade Skating Rink is the setting that inspired the film, the rink that T-Boz & Dallas frequented as teens was Jelly Beans, aka Greenbriar Skating Rink in Atlanta's Ben Hill area.

Jelly Beans was the skating rink that many of Atlanta’s youth would meet at every Sunday to dance & skate. It was fun, competitive, and communal; many of ATL’s music royalty who have cameos in ATL found themselves and each other skating at Jelly Beans.

According to T-Boz, the film was originally named ‘Jelly Beans.’

However, negotiations over licensing with Jelly Beans’ owners broke down during filming, ultimately leading to a last-minute change of the name to “ATL.”

The first draft of the film was written by Antwone Fisher in 2000, then underwent several revisions, with the final copy written by Tina Gordon Chism. 1

What started as a loose portrayal of the lives of Dallas Austin & T-Boz in Old Atlanta became a layered tale of social status, familial struggle, coming of age, and summertime fun, and it took only 45 days to shoot.

II. THE PRODUCERS

Since ATL is their story, the film is also executive-produced by Dallas Austin & T-Boz. Warner Bros. had acquired the rights to portray their life stories years prior, so that was going to be the de facto home for the film as well. 2

With the concept ready to go, T-Boz & Jody Gerson of UMG went out to pitch the story. That led them to James Lassiter (Co-founder of Overbrook Entertainment with Will Smith), who came on board as a producer.

After Overbrook Entertainment came to the table, they reached out to renowned music video director Chris Robinson to direct the film.

Chris had worked with everyone from 8 Ball & MJG to Alicia Keys, and ATL was his first feature film.

III. THE CAST: THEN & NOW

Chris Robinson says in the BTS doc for ATL that Warner Bros. gave him a lot of authority over casting, and he used the opportunity to create stars rather than look for established actors.

Just like Chris, many of the cast members made ATL their first feature film, and the film's success helped them either transition into Hollywood or move from music to film.

A. TI

Although T.I. had not yet appeared in a movie, his performance in ATL showed he had a future in Hollywood.

He played a layered character balancing obligations too heavy for any 17-year-old to have. His character, Rashad, was a surrogate father to his younger brother, whom he wanted to keep off the streets.

He also had to balance his dreams of being an artist, a budding relationship with New New, friends' disloyalty, and a tense household after he and Ant lost their parents and now live with their uncle.

After ATL, T.I. has appeared in several films, including Takers, American Gangster, and Marvel’s Ant-Man. He would also go on to create his own reality shows, “The Family Hustle,” which ran on VH1 for several years, followed by BET’s “The Grand Hustle.”

B. LAUREN LONDON

Like her co-stars, ATL was Lauren London’s first feature film, and she killed it. New New felt like the It Girl that people went to school with, and her accent was so iconic that people imitate it to sound like they’re from the city to this very day.

New New was a walking contradiction and, ironically, the only character who could see Rashad's full nature. Lauren’s on-screen energy made the film work, and it’s hard to imagine anyone else in that role.

Just a year after the release of ATL, she went on to star in the cult classic “This Christmas” alongside Loretta Divine, Delroy Lindo, and more. From there, she appeared in more films, including Madea’s Big Happy Family and Baggage Claim, before securing a recurring role on CW’s hit show “The Game.”

Most recently, she starred in the limited Netflix series “You People” with Jonah Hill, and has debuted a collection with Puma dubbed “Love Story.”

C. BIG BOI

2006 was a blockbuster year for Big Boi on the music and film front. ATL dropped in May, and his character, Marcus, became an instant favorite as the antagonist who was bringing Ant into the streets.

His portrayal was so convincing that catchlines from his scenes, like “I know that ain’t who I think it is” & “you shaking like a stripper, tighten up,” have now entered the cultural canon as memes and sounds for social media creation.

Later that year, Idlewild, the movie and soundtrack, dropped, further showcasing Big’s acting expertise (and giving OutKast another platinum plaque), and in 2007, he went on to star in “Who’s Your Caddy,” followed by several films like the Superfly remake, the Quad, and Star in the years to come.

Musically, Big also dropped several stellar solo albums, a joint project with Phantogram, and a joint project with fellow Dungeon Family/ONP representative Sleepy Brown.

And, in 2025, he was officially inducted into the Rock & Roll Hall of Fame.

D. EVAN ROSS

Evan showed convincingly as the hardheaded younger brother who was attracted to the flash and quick money the streets offered him.

His performance in the final act of the movie still lives on social media alongside memes of Big Boi pressing him about monies owed at the end.

In the years since, Evan has appeared on numerous shows and movies, including The Hunger Games: Mockingjay Part 1 & 2, The Masked Singer, and Fox’s hit series Star.

E. JACKIE LONG

“You got a Picasso in yo’ house!”

As Esquire, Jackie Long was essentially a foil to Rashad — while Rashad was proud of where he was from, comfortable in his own skin, etc. Esquire wanted to distance himself from his hometown.

He wanted the lifestyle that New New had, though she deeply resented it. And Esquire was willing to lie about where he was from to get where he needed to go.

ATL was Jackie Long’s Hollywood breakthrough, though he also appeared in OutKast’s film Idlewild later that year as 'Monk.’

In the years since ATL, he’s been a recurring cast member on The Chi, Power Book II: Ghost, and the host of several podcasts, including one based on The Chi.

IV. ATLANTA: THEN & NOW

In 2006, Atlanta was right in the midst of change.

Shirley Franklin was the mayor who just inherited an $82 million deficit on the heels of Bill Campbell’s tenure.

Moreover, Hurricane Katrina had just hit New Orleans, and many of the displaced New Orleans citizens made their way to Atlanta. Changes were happening on every level, from the streets to the schools, and even in corporate offices.

Cascade Skating Rink was jumping, and the Snap Music movement was also in full effect with D4L & Dem Franchize Boys battling it out on the airwaves. Laffy Taffy & Oh I Think They Like Me dominated the airwaves as the music industry painted Atlanta as the source of Hip-hop’s demise.

But this was nothing new.

The world had been fixated on Atlanta because of Crunk Music’s breakthrough, and ATL arrived just as Atlanta culture was becoming an exportable/consumable product (courtesy of the internet).

20 years later, Atlanta is in a totally different space.

The Georgia Dome has been replaced by the Mercedes-Benz Stadium; Philips Arena is now State Farm Arena; and the city that once housed roughly 3 million people now hosts 6 million and counting.

Musically, the era of Atlanta artists responsible for building the city’s profile is now over; many of them are now elder statesmen who’ve moved on to other business ventures, while some, like T.I., are gearing up for their final studio albums.

The 2010s generation grabbed the baton from old Atlanta and brought Atlanta culture to the world. Unfortunately, that dynasty has all but crumbled, yet a new beginning appears to be blooming.

The next generation of artists leading Atlanta consists of young women who are bringing the fun back to the city after a decade of street music was destroyed by death & incarceration.

In many ways, Atlanta is experiencing a hole that has yet to be filled, and in the absence of that, ATL still provides a nostalgic reminder of Atlanta’s roots and what it should hearken back to in order to rise again.

EPILOGUE

20 years later, ATL remains the truest on-screen representation of the city itself, and the story's layers are more resonant than ever, from staying out of the streets to the economic disparity that affects many native Atlantans today.

The cast has all moved on to do great things, and rumors have swirled for years about ATL 2 being in the works. The latest news in 2025 is that the movie is still in development.

If you’ve never seen ATL, it’s a good time to watch it, especially if you’re not from Atlanta and you’ve always wanted a real glimpse at authentic Atlanta culture. If nothing else, you’re in for a good coming-of-age story.

One.

There are some entertainers who feel like cousins you’ve known for a lifetime.

You grew up with them and their work, their presence, their impact, etc., and they graced your TV screen at pivotal points in your life.

Their presence influenced everything from how you talk or dress to how you show up in the world. Often, their resumes are so long that you almost can’t remember a time when you didn’t see them around.

That brings us to Jason Weaver.

Jason’s been in the entertainment world for over 30 years, and he’s been part of some of the biggest movies & shows in Black culture.

But his work crosses the boundaries of Black media into the “general market,” and everything in between, and he’s still showing up.

You might not think you’ve seen his work, but you likely have at some point.

Clips from a recent interview Jason did with The Art of Dialogue show him recounting his history in TV/film/music, and through that, many in The Culture are realizing just how extensive his resume is.

He’s a legend who deserves his due, and legend, in this case, doesn’t mean that he’s finished.

Not by a long shot. Jason is still out here making an impact. With that said, this edition of the SNOBHOP newsletter is all about his career.

Let’s get into it.

BACKGROUND

Weaver was born in Chicago, Illinois, in 1979 to Kitty Sparkle. His mother was in entertainment, both as a jingle writer and as the lead singer of a group called “Kitty & The Haywoods.” At one point, her group even provided background vocals for Aretha Franklin on the 1976 Sparkle soundtrack.

With a strong heritage in entertainment, Jason started acting at 11 and got his first role in 1990 on Oprah Winfrey’s Brewster Place as Matthew Thomas, and also appeared early on in The Kid Who Loved Christmas.

After the success of those two projects, Jason became a staple of 90s & 00s culture, appearing in various films that still resonate with The Culture today.

THE JACKSONS: AN AMERICAN DREAM (1992)

Jason’s big break was in 1992, when he starred in this 3-part, 5-hour miniseries about the King of Pop and his family. The Jackson family was deeply involved in the film's audition process, and Jason even had to wait 3 months for Michael to complete rehearsals for the “Dangerous” tour before he agreed to let Jason play him in the film. 1

It’s essentially a Black culture classic that featured all the heavyweights in Black entertainment, like Lawrence Hilton Jacobs, Angela Bassett, Terrence Howard, and more.

This film set a standard for Michael Jackson biopics and, more than anything, served as the launchpad for Jason’s career (thanks to Suzanne De Passe) by highlighting his abilities as both an actor and a singer (most of the songs were sung by MJ, but Jason performed his own renditions in some scenes).

LION KING (1994)

There are still people out there who don’t know this, but Jason Weaver is the singing voice of Young Simba in the animated version of Disney’s “The Lion King,” which is the highest-selling traditional animated film of all time. 2

Another fun fact is that Jason Weaver’s work as young Michael Jackson, specifically his singing, opened the door for him to do The Lion King.

While filming as young MJ, something on set malfunctioned, prompting the producers to ask him to sing “Who’s Loving You” live.

As luck would have it, Sir Elton John was on set, and he was producing The Lion King for Disney. Elton John heard Jason sing and asked him to audition for the role. The rest was history.

His vocals helped define Simba’s musical arc, and the story still resonates because of the legendary deal his mother negotiated on his behalf.

Rather than opting for a SINGLE lump-sum payment, Jason’s mother ensured that he would receive royalties for his work, so the original songs you hear in the film still pay him to this day.

SMART GUY (1997)

Smart Guy was ahead of its time in many ways. The show was about a boy genius named TJ (played by Taj Mowry, the younger brother of Tia & Tamera), and his family, and featured all of the hallmarks of a classic black 90s sitcom: Strong Black Dad, brilliant sister, and a cool older brother, which brings us to Jason.

Jason played TJ’s older brother, Marcus, an entrepreneurial-minded, multi-hyphenate who was either coming up with money schemes with Mo (Omar Gooding), flirting with older women, or doing his best to keep TJ (and himself) out of trouble with his pops.

What made Marcus’ character so dope was how familiar he felt. Jason portrayed cool in a way that felt real, aspirational, and familiar. He was the kind of older brother many Black kids either knew or wanted to be, which made Smart Guy, as a sitcom, feel all the more rare.

DRUMLINE (2002)

Drumline was another coming-of-age film loosely based on the life of Dallas Austin, highlighting facets of Black culture we hadn’t seen on screen before.

Specifically, the film paid homage to band culture, and it’s often credited with fueling broader interest in HBCUs like NCAT and marching band life.

In an interview with The Art of Dialogue, Jason also mentioned that Drumline's success is partly responsible for a 10% increase in HBCU enrollment. In fact, it beat out “Ice Age” in theaters when given an equal amount of screens, and by the time the movie went to DVD, its popularity exploded.

As Teddy, Jason helps give Drumline much of its texture, humor, and feel, especially in moments that touch on fraternity and band culture in ways audiences hadn’t really seen on screen before.

To that effect, below is a clip of Teddy crossing the Burning Sands to become a member of the National Honorary Band Fraternity Kappa Kappa Psi.

ATL (2006)

‘ATL’ is another Dallas Austin-produced classic that’s loosely based on him (and T-Boz from TLC). Having been cool with Dallas Austin since he worked on Drumline, Jason was plugged into the auditions for ATL.

With time, ATL became another cult classic that brought Atlanta culture to a global audience — so much so that in the early 2000s, it was virtually guaranteed that if you ran into someone hoping to visit Atlanta who had seen the film, their first question would be “do y’all really skate down there?”

For those who haven’t seen ATL, Jason Weaver was right there as T.I.’s gold-grill-wearing, bravado-having best friend, Teddy.

Jason’s portrayal was so convincing that many believed he was an Atlanta native just playing himself in the film (and, after 24 years of living in Atlanta, the city now claims him as a native).

THE CHI (ONGOING)

All of the prior roles bring us to today, where Jason plays Shaad on Showtime’s hit series ‘The Chi.’

As Shaad, he’s been on The Chi for the past few seasons in a dramatic role that really showcases his range as an actor. When you consider the roles Jason’s taken in the 90s, they were generally lighthearted — the brother, the sidekick, the friend, etc.

However, in The Chi, he plays an ex-con rebuilding his life in Chicago who experiences challenges, triumphs, romances, and everything in between.

It’s one of the most versatile roles of his career; the type that makes you hope that Hollywood takes notice and offers him more roles like this.

Don’t just take my word for it, though. Watch below for context.

PART II: THE MUSIC

Jason’s music career is another super-underrated part of his career that has more layers than people give it credit for.

After the time he spent working on The Jacksons movie, Motown execs, who were frequently on set, noticed his talent and parlayed it into a record deal.

Building on the momentum of his acting career, which was also blooming at the same time, Jason released Love Ambition in 1995, which produced a few singles that charted, including “Stay With Me.”

If you’re active on TikTok, you’ll notice that a piece of the hook (at the 3:11 mark) has been floating around as a meme/gif paying homage to 90s culture.

But for Millennials, the clearest reminder of Weaver as a musician is “One Call Away,” his 2004 collaboration with Chingy, which became a massive crossover hit and peaked at No. 2 on the Billboard Hot 100.

Jason recently recounted the story of appearing on “One Call Away” in interviews, and the song has also seen a recent surge in popularity due to Gen Z nostalgia and TikTok pages dedicated to resurfacing gems from the 2000s.

For many, it was a reminder of just how talented Weaver is and how his presence in culture extended beyond acting.

EPILOGUE

Just to reiterate, Jason Weaver is hands down a legend, and, for the sake of time, I left out some of the other roles he’s done that have impacted culture, but don’t let that stop you from checking them out.

If you still don’t believe that he’s one of the GOATs, check out any of the films from above in their entirety.

As for me?

Writing this convinced me that it might finally be time to watch The Chi (Better late than never, I know). But it’s in its final season, and I need to see what happens to Shaad at the end.

One.

We’re just 3 months into 2026, and the year is already shaping up to be a great one for Hip-hop.

We’ve seen multiple major releases, a few #1 albums, and a flourishing media environment.

Moreover, new waves of artistry are emerging on every coast, and a lot of new Hip-hop talent is slowly cementing its place in the mainstream. While it’s too early to tell who the next “Big 3” will be, the bones of a new era are there.

In addition to the talent, though, we're also seeing the rise of new media personalities & writers who are bringing fresh energy to the game.

In the 90s & 00s, Hip-hop media was all about access. There were a few publications you absolutely HAD to be tuned into in order to know what was going on or who mattered.

In the most recent era, it became about virality. Media revolved around whoever could create the most polarizing series of moments, no matter how unsavory they might be or how bad the music was.

Then there’s the era taking shape now… An era that’s centered on the personalities themselves.

And this new era is bringing the best of the old along with the new, piecing it all together.

It’s the same taste, rigor, and accountability that made the OG journalists famous, infused with an eye for talent and owned platforms that allow the new generation to cover major and indie artists at scale.

And while many of the “new” journalists have been in and around The Culture for years, solidifying themselves and carving out media real estate, some are now reaching new career arcs where they’re the go-to people for music convos.

Building on the path laid by the likes of Dream Hampton, Angie Martinez, Angela Yee, Danyel Smith, Nessa, Clover Hope, Tracy G., and Heather B., to name a few, today’s edition of the SNOBHOP newsletter is dedicated to the next generation of ladies who’ve brought us new content, interview moments, and even memes that are becoming a part of Hip-hop canon.

Let’s get into it!

I. GINA VIEWS

Gina Views has been growing her platform for years and has aspired to work in media since she was a teen. In fact, she recently experienced a full-circle moment interviewing with Bow Wow, whom she met in 2012, back when her dream was to host 106 & Park.

Gina has also put together cyphers of up-and-coming talent in the Los Angeles area, been featured on Sway’s Universe, and is one-half of the “Effective Immediately” podcast with fellow LA Native DJ Hed.

Watching her work reminds you why you fell in love with Hip-hop culture and the function of Hip-hop media by proxy: it’s not just for gossip or for plugging your next project; rather, media acts as a form of accountability.

At a time when rappers would rather hit the timeline to air their grievances than get in the booth, Gina’s the type to say what everyone is thinking, but won’t say out loud.

She really is ya favorite homegirl.

See the clip below for reference.

Notable interviews: Bow Wow, Jagged Edge, Ari Lennox

II. LOREN LOROSA

Loren is the fourth (unofficial) member of The Breakfast Club crew, who came into the picture just over a year ago.

Originally hailing from Delaware and attending Delaware State, she moved to LA in 2016 to get into entertainment, and found her way to TMZ, where she worked her way up to Senior News Producer before leaving for The Breakfast Club.

In the time since, she’s brought an entirely new energy to the show, and her chops as an investigative reporter shine in between interview segments. Loren is often able to get high-profile people to talk to her off the record about reported events, and in the past has quickly verified claims that guests have made (or rebutted) during their Breakfast Club interviews.

She also hosts her own show, “The Latest with Loren,” on YouTube, makes the occasional appearance on Charlamagne’s show “Brilliant Idiots,” and maintains her own brand, Brown Girl Grinding.

Notable interviews: Dame Dash, David Banner

III. NYLA SYMONE

DJ, Host, Curator — the list goes on. Nyla’s been in the mix for a minute, hosting weekly shows on SiriusXM and Power 105.1 (the home of The Breakfast Club, where she makes occasional appearances).

She also hosts a podcast on The Black Effects Podcast Network called “We Need To Talk” (WNTT) and interviews artists on her personal YouTube channel.

Nyla’s interviews are always chill and laid-back, with phones out if need be, and the questions don’t feel overly rehearsed; it’s the kind of conversation that leads to big reveals from artists because they feel safe in the environment.

On top of hosting duties, Nyla’s also developing a new platform called “Certified Vibe,” where she talks with creators, builds playlists, and curates moments.

Notable interviews: Crystal Waters, Smino, Conway The Machine

IV. NADESKA ALEXIS

Nadeska’s an OG, whom some of you may remember from her days at Complex, where she was a Co-Host on Everyday Struggle with Joe Budden & DJ Akademiks.

However, her voice is truly shining on Apple with her eponymous show, “The Nadeska Show,” and on “Rap Life Review” with Ebro.

In addition to that, Nadeska does dope album breakdowns, like the one she recently posted on IG, diving into the themes of Baby Keem’s new album, “Casino.”

Today, you can find her chopping it up with many of today’s best emcees while offering a balanced and introspective view of their work.

At her core, she is a journalist’s journalist, and her fcommitment to the craft gives you glimpse of what the heyday of Hip-hop media felt like. It’s also why artists like Schoolboy Q sought her out for his “Blue Lips” press runs: Real journalism, no mess.

Notable interviews: Coco Jones, Schoolboy Q

V. ELSIE NOT ELISE

If you’re active on music spaces across social media, you’ve likely come across Elsie’s content without even knowing.

One of her trademark series, “Get to know Your Favorite Producers,” where, as the name implies, she speaks with some of Hip-hop’s biggest producers, has tons of gem-filled clips floating across the internet.

Moreover, Elsie uses her platform to highlight up-and-coming talent while also making time to sit with music industry heavyweights.

The dope thing is that in chats that she has with established music industry figures, she doesn’t shy away from asking the questions that fans really want to know.

Her interview with Punch last year is a perfect example of that — it was insightful, filled with stories and gems, and an overall entertaining watch that’s worth revisiting.

Notable interviews: Punch of TDE, Russ, DJ Dahi

VI. ARIA HUGHES

Aria is a veteran journalist in the fashion space who’s held positions at WGSN and WWD over the years. She also did freelance work for brands like Refinery29 & BET, before joining Complex in 2019.

In 2024, she was appointed Editor-in-Chief at Complex, and her impact on its content, both on- and off-camera, is evident to anyone who’s followed the Complex brand for a while.

Series like Please Explain, hosted by Aria, have now become standouts from the brand.

In Please Explain, Aria sits down for interviews with streetwear giants, music industry legends, and more; the conversations are always fresh, well-produced, and ultimately worth tuning in to.

Notable interview(s): James Whitner (A Ma Maniere), Jerry Lorenzo (Fear of God)

VII. MANKAPRR CONTEH

If we’re calling this new era “journalist-led,” Mankaprr is exactly what that looks like.

She’s currently a staff writer at Rolling Stone Magazine and the journalist behind cover stories for artists like Janelle Monae, Meg Thee Stallion, Cardi B, and Rema.

Reading even just one of her cover stories, you feel immersed in the world of the artist, almost as if you were there riding with them and Mankaprr as they conducted the interview. The scenes she paints are vivid, and her work is worth taking the time to read.

Peep below at the 20min mark to get a dose of some of her music opinions, specifically on Bey & Cowboy Carter in this episode, and then check out some of her writing work on Rolling Stone.

EPILOGUE

This is truly just a snapshot of the media landscape in Hip-hop today, and there are a ton of dope journalists across platforms & mediums doing amazing work, so if I missed a few, apologies in advance!

That said, for those reading this, if you ever want to know what’s happening in the culture, not just on a mainstream level, but who’s bubbling, the women above have their pulse on it.

If you’ve never heard of them before reading this, check out some of their work. They are among those interviewing new talent, helping keep the culture alive, and ensuring the future is documented in real time.

With them on the frontlines, Hip-hop’s doing just fine.

One.

We’re just a few months into the new year, and some of the most relevant media formats out there include: Vinyl, Blu-Ray, and CDs.

Many of us reading this were told that by 2026, these things would be extinct — pieces of a forgotten past in a future where we all live like the Jetsons, and media is beamed directly into our minds via microchips & AR Headsets.

As fate would have it, that is far from the case (although the microchip thing is sorta around the corner, but I digress).

The LA Times recently published an article on Gen Z’s affinity for physical media formats, and based on the numbers, disc sales (DVDs & Blu-Ray) were down only around 9%, compared to the 20%+ drops the category has seen in prior years.

Moreover, in culture, we can see that trends around archiving & physical media have been bubbling up as well.

For instance, Criterion Closet has become a YouTube phenomenon, and episodes like the one below from Vince Staples helped shine a light on Robert Townshend across social media when it aired.

It also got Gen Z talking about cultural grails like “The 5 Heartbeats” and where to find it/watch it.

Specifically within Hip-hop, there are multiple archival IG/TikTok accounts that upload footage of rare moments. In some cases, they even operate as secondhand markets for grails like out-of-print Source Magazines, streetwear pieces, and more.

Bringing it back to the LA Times piece, one of the main reasons they cite for this shift to physical media is subscription fatigue.

This is definitely part of the case, but I think there’s a deeper truth we need to talk about: comfort and stability.

We all have comfort media that we consume, whether that’s albums, songs, movies, TV shows, etc., that we’ve indulged in 1000s of times over the years.

We run to these works when we’ve had a hard day, or a breakup, or in a moment of boredom; when something around us suddenly changes, they make our world feel less shaky. They add a layer of surety to our lives.

Which begs the question… What do you do when those things you’ve leaned on for comfort suddenly disappear?

First, you search for them.

Then, a quick Google search confirms that your favorite show is no longer available on [insert platform] as of [insert date].

No update on if or when it’ll be back.

No word on where you can find it.

And until the corporate folks figure out how to squeeze more money out of it, it’s just… gone.

For a generation raised on digital, there’s no sense of permanence, and even the nostalgia they reference is intangible. More to the point, every week, the media they love seems to disappear into the ether.

They’re realizing a new truth: You gotta own some sh*t. Hard Copies only.

Since we’re seeing this commitment to physical items, AND events pop up in every form of media, let’s talk about it.

Subscribe now

I. MUSIC

While music streaming gave consumers a near-infinite library, it took away vital parts of the music-listening experience, from album artwork to liner notes to even holding the product itself.

We can see a shift in how people think about their music listening experience in this Luminate data below. In short, you’ll see that digital music sales declined last year, while physical music sales increased.

Culturally, people are also tapping into the physical experience on local and national levels, and we see this in various ways.

A. Vinyl Collections

Record Store Day is still one of the main drivers of sales in the music world, & Vinyl sales have risen consistently for 19 consecutive years.1

It’s definitely not a fluke; it’s a signal that people want a more personal experience with the music they consume, even if the vinyl is just for decoration. Lines for rare vinyl can even extend around the block, and brick-and-mortar locations often experience their best retail day during this Holiday and during months like Black Music Month.

B. Album Clubs & Music Meetups

In both major and local markets, we can also observe that album clubs and third spaces dedicated to discussing/dissecting art are making their way back into the cultural zeitgeist.

In Atlanta, for example, High Bias Listening is a weekly party where the hosts/DJs usually focus on one artist or genre for the night (i.e., Marvin Gaye theme, or a 70s Soul theme), and it brings in avid music fans, 20 & 30-somethings looking to unwind, and everyone in between.

C. CD Players, Walkmans, and Wired Headphones are Back

Yes, you read that correctly.

Walkmans are making a comeback, as are CD players & wired headphones. In fact, according to The Guardian, John Lewis & Partners, a manufacturer, saw a 74% increase in CD player sales last year.

Moreover, search traffic for the term “CD Player” has risen over the past 5 years, peaking around the Christmas holiday, in line with reports that Gen Z’ers have been asking for CDs for Christmas.

And with each passing day, more celebs are being spotted wearing wired headphones. Some report opting for them because they can’t fall out or randomly disconnect from Bluetooth, while others like the analog aesthetic that they bring.

Regardless, it goes back to this idea of comfort & stability, albeit in a slightly less dramatic way than stated earlier.

The video below from Dua Lipa (at the 3:50 mark) is a good reference on the subject.

II. MOVIES

I talked briefly about the streaming wars earlier, but to sum it up in one term, things are fragmented.

There was a time a few years ago when it seemed like cultural staples were playing a roulette-style game with streamers; one month they were on MAX, then suddenly on Netflix. Then neither. But then the licensing deal got settled, and now it’s back, but only for 6 months.

There’s something deeper worth mentioning that supersedes media temporarily disappearing from platforms and that’s the potential of…

LOST MEDIA.

Much like music, the promise of streaming is the near-endless library, but it doesn’t account for lost media, i.e., films from the past few decades that never made it to streaming.

There are tons of shows/films that you can’t find on streaming services, where original copies cost hundreds of dollars. Without the people dedicated to ripping their owned physical copies online, much of this work would be lost to history.

III. GAMING

At the turn of the century, one of the biggest features of the newer gaming consoles (the PS2 and Xbox, specifically) was that they could play CDs and DVDs — a very clutch feature at the time.

However, the gaming industry has undergone several changes over the past decade, and perhaps the biggest change has been that many of the newer consoles don’t have disc drives — everything is cloud-based.

A. DELISTMENT

The new model allows gaming brands to have more control of the IP, and while stripping out features in favor of selling them as DLC (downloadable content). More to the point, like the other forms of media, gamers run the risk of being delisted.

Although this has only happened a handful of times, the concept is that once a game has been delisted by the platform provider (the console makers), if you don’t have the disc AND you didn’t buy it beforehand, you can’t really access it anymore.

Franchises like Forza have seen that happen because of complex licensing agreements.

EPILOGUE

At the end of the day, this is a generation pushing back against decades of corporate politics that have denied them consistent access to the art they know and love.

And we still see these things happening every day — the average consumer likely needs at least 3 streaming platforms to catch up on every show that’s popular in the cultural zeitgeist.

And as streamers continue to offer bundles, we’re slowly moving towards the re-invention (or is it a rediscovery) of cable.

What this proves, if nothing else, is that time is a flat circle and physical experiences, and media will always have a place at the table.

The pendulum swung really hard to digital, and it’s just making its way back, that’s all.

Buy some DVDs this weekend, some of my favorite shows are leaving streaming soon. Sigh.

One.

Today, the most valuable IP franchise in the world turns 30, and whether you’ve engaged with Pokémon or not, you’ve surely seen it in culture in some way: At international airports, holiday parades, and even referenced by musicians and streetwear brands.

Pokémon is one of those franchises that has changed the fabric of society, and its influence shouldn’t be overlooked.

To that extent, a recent CBC article discussed the socio-economic & political effects of Pokémon and how it’s become a form of “soft” power for Japan; rather than asserting their influence through policy, they can do so through their IP.

Moreover, many of today’s gaming & tech trends also have their roots in the brand, and its 30th celebration has some really dope marketing pieces, too.

In short, Pokémon is a big deal.

The story of Ash Ketchum is one of resilience and effort that’s crossed generational boundaries, so much so that it’s hard to envision a world without Pokémon.

Pokémon might not seem like it has such a large and profound presence, but perhaps that’s a testament to its impact; It’s so omnipresent that you forget it’s there.

With that said, today’s all about a multi-billion dollar franchise that’s become a global treasure. Y’all know the vibes! Let’s get into it.

BACKGROUND

In 1983, Satoshi Tajiri founded a magazine called Game Freak that covered all things gaming. After a few years of publishing the magazine in partnership with Ken Sugimori, they pivoted the company into a game development venture of the same name in 1989.

The tipping point that led to the creation of Pokémon itself happened that same year with the release of Nintendo's Game Boy.

The Game Boy was revolutionary, and it had a feature that allowed two Game Boys to share data via a cord connection. This prompted Satoshi and his colleagues to consider the concept of a Pocket Monsters game for the Game Boy.

A year later, he developed Pocket Monsters, and after years of ups & downs, Game Freak (in partnership with Nintendo) released Pocket Monsters Red & Green on February 27th, 1996. These were the very first Pokémon games to hit the streets.

Two years later, these games would be released internationally, and the U.S. was introduced to Pocket Monsters as Pokémon Red & Blue (replacing Green, which was a more bug-prone version of the game). Both countries also released a special edition yellow game in 1999/2000.

After the Pokémon Generation 1 games made their way to the U.S., it was a wrap. Pokemania was officially in effect, and what followed was a phenomenon that captured the attention of youth worldwide across every sector, from TV to gaming.

On the heels of Pokémon’s initial success, Nintendo, Game Freak, and Creatures (a game card developer) officially joined forces to create The Pokémon Company, which became the de facto entity for all things Pokémon going forward.

I. THE ANIME

In 1998, two years after Pokémon Red & Green hit the shelves in Japan, the anime based on the game made its debut in the U.S., and in November of 1998, we got the first episode of Pokémon (Indigo League).

What followed was years of dominance, with 6 movies grossing over $100 million domestically (and much more worldwide), and merch that grossed even more.

II. THE MOVIES

There are over 20+ Pokémon movies out in the world, and they still manage to pull in massive numbers decades into the franchise’s existence.

Many Millennials fondly remember the first 3 films (The First Movie, Pokémon the Movie 2000, & Pokémon 3: The Movie) as anchors of their childhood.

The First Movie was a blockbuster hit and the highest-selling of the animated Pokémon movies; however, in line with the earlier point, 2019’s live-action movie “Pokémon: Detective Pikachu” is the highest-grossing Pokémon film to date, with over $400 million in revenue.

III. THE TRADING CARD GAME

At this very moment, billions of Pokémon cards are in circulation across several continents, everywhere from Book Offs to Walmart.

The rarest cards can fetch hundreds to hundreds of thousands of dollars, and with collectibles becoming a focus for this generation, some of the OG cards from the 90s have steadily increased in price over the years (peaking in the 2010s). 1

The rarest Pokémon card in the world at the moment is the Pikachu Illustrator — only 39 were made, and it recently sold for over $16 million.

IV. THE VIDEO GAMES

To date, Pokémon Red/Blue/Yellow reside at the top of the list of the highest-selling Game Boy Color games ever (some lists reference Tetris as the highest, so it’s debatable).

In the early 2000s, The Pokémon Company continued releasing Pokémon games using a paired approach (e.g., Silver & Gold, Ruby & Sapphire), and those games also climbed the list of best-selling console games.

The gameplay experience was unique in that, depending on the edition of the game you picked up, you’d experience key differences in gameplay, including how the “sprites” pose, your start screen animations, legendary Pokémon encounters, and starter character variations.

The anime and game-playing experience for many Pokémon fans from the late 90s peaked in the 2000s with the release of Pokémon Gold & Silver.

And, around the same time, Pokémon movies were also making their way into the cultural zeitgeist. When combined with the volume of Pokémon cards hitting the market, the Pokémon brand entered a cultural Golden Era, and the dominance still continues.

As recently as 2025, rankings on modern consoles like the Nintendo Switch show that new-generation Pokémon games like Scarlet/Violet are still among the highest-selling video games on their respective consoles (28 million sold, just a few million shy of the Generation 1 games at ~31 million).

V. POKEMON GO

In 2018, Pokémon shifted the conversation around Augmented Reality and created a moment of mass adoption with Pokémon Go - the game that’s come the closest to letting people become real-life Pokemon trainers.

For those who missed this era, Pokémon Go released Pokémon into “the wild,” i.e., geo-tagged locations where people would travel to find specific monsters.

In many cases, this led to large crowds converging on a single area, and in some cases, rare Pokémon sightings triggered stampedes in the areas where they were found. It was the first time an AR game created such a buzz, and it lasted for quite a while.

According to Scopely, Pokémon GO is still ranked within the top 10 of mobile games every year since its release.

VI. THE 30th ANNIVERSARY CELEBRATION

In anticipation of the 30th anniversary of Pokémon, they’ve partnered with brands in various parts of culture that show just how widespread their reach is.

Moreover, with Japan being the home of the franchise, multiple Japanese brands that have ties to America are leaning all the way into the celebration in various ways.

Al Nippon Airways (ANA) recently announced it would introduce 3 Pokémon-themed jets, building on a partnership with The Pokémon Company that began in 1998. 2

I. APPAREL

Brands like Uniqlo have been teasing a collection releasing in June that features the 3 starter Pokémon, which are available to players at the beginning of the Pokémon Red, Blue, and Green; a nice nod to the first-generation games and a clever way to leverage 90s nostalgia.

Adidas is also getting into the mix with a co-branded collection later this year.

II. INTERNAL RELEASES

To celebrate this milestone, the Pokémon Company has announced a few high-profile releases, including a digital re-release of Pokémon Fire Red & Leaf Green for Nintendo Switch & Switch 2.

For those unfamiliar with Fire Red/Leaf Green, these were remasters of the OG 1996 games that were released for the Game Boy Advance in 2000. Original copies of these games fetch hundreds of dollars in their original condition online.

Pokémon has also partnered with LEGO on exclusive sets that are already appearing on secondary markets for hundreds, and Walmart has announced trading card drops that will go live on Pokémon Day.

VII. THE CULTURAL REFERENCES

Pokémon has given the world phrases, imagery, references, etc. that have appeared across different facets of pop culture; many of them are so pervasive that even members of the Silent Generation (for example) are vaguely familiar with them, which is a feat in itself.

Here are just a few that have crossed the bounds of anime and even youth culture into overall pop culture:

a. Macy’s Day Parade

Pikachu has made multiple appearances at the Macy’s Thanksgiving Day parade, showing how recognizable its marquee character is. His most recent appearance, seen below, is from the 2024 parade, where he can be seen on a Pokeball-themed sled with Evee, another Pokémon from the OG series.

b. Other Media

Other programs known for their pop culture references have episodes that reference Pokémon, including American Dad and Rick & Morty.

In the picture below, Rick can be seen using a device that is very reminiscent of a Poké Ball, which is a clear homage to the series.

EPILOGUE

February 27th is officially Pokémon Day, and every year, surprises coincide with its celebration. While a few of the pieces of the celebration are above, I wouldn’t be surprised if The Pokémon Company has a few more things up its sleeves, especially considering that it recently opened the first Poképark in Japan. Naturally, tickets to the park are sold out months in advance.

Imagine what your life would be like if you kept that holographic Charizard from back in ‘01? You probably wouldn’t be working right now.

But, then again, where’s the fun in that?

I’m gonna tap in with this Pokémon Fire Red release on Switch to get a dose of nostalgia. If you find yourself reminiscing on those days, you should do the same.

Let me know when you catch Mew.

One.

In January, Nielsen released a new installment of its intelligence series that tracks the viewing habits of Black & Brown TV viewers, and perhaps two of the most interesting insights center around the consumption habits of Black viewers under 35.

One stat noted that 2/3 of Black viewers want representation in their advertising, which should feel expected, but right after that, another stat revealed an even more interesting insight about Black Gen Z’s media consumption.

In the Nielsen ratings pulse, they found that Black viewers under 35 are very frequent viewers of A Different World, Living Single, and Martin — 3 Black 90s sitcoms from what many consider a Golden Era of TV.

Let’s unpack this for a sec…

ADW, Living Single, and Martin are all over 30 years old, and primarily made for Gen X. Yet the affinity for them carried over into the Millennial generation, and now they’re being consumed just as heavily by Gen Z’ers.

In years prior to this study, some of these sitcoms were so popular that they were caught up in licensing wars between various streaming platforms, and in the years since, they’ve inspired podcasts, spin-offs, and HBCU tours (The ‘A Different World’ reboot lands next year, btw).

When we talk about why the aforementioned shows have such a grip on Gen Z, 90s nostalgia plays a large role, but there are broader conclusions to be drawn about what this says of the media landscape as a whole.

TLDR: We’ve lost some recipes.

Granted, the general market never had them to begin with, but they AT LEAST had an ingredient or two back in the day. Even those are missing.

The evidence suggests that this generation is nostalgic for Black stories that aren’t narrated as crisis.

In essence, these are comfort shows — low-stakes, reminiscent of more stable times. But if we go a layer deeper, we uncover more truths.

WHY THESE SHOWS RESONATED

Instead of crisis- or struggle-based narratives, 90s Black sitcoms often offered viewers themes that were, quite literally, about being regular people living their everyday lives, striving for their dreams, and balancing relationships.

This strikes a chord because much of today's media still operates at extremes. Black characters still fall into tropes of gangsterism, extreme poverty, and promiscuity, with the occasional dash of Black excellence sprinkled in.

But, these 90s grails had distinct & simpler qualities: Craft, Cool, and Aspiration.

I. Craft

The key ingredient in any good creative is attention to detail and respect for the craft, and while many aspects of quality craftwork are subjective, some are not.

If we follow the recipe/ingredients analogy a bit more closely, the idea is that when you swap real ingredients for substitutes, audiences may not know per se what changed, but they feel it. They can taste it. They can see it in the preparation — the wrapper looks different; something’s just off.

TV/film are the same.

When the work feels surface-level and the casting is without cultural specificity, consumers can tell the difference.

The aforementioned shows were of the highest quality — great ensemble casts typically anchored around 1 prominent 90s star (Queen Latifah, Martin Lawrence, Lisa Bonet, etc.) And characters with backstories that felt real & easy to connect with.

The Wardrobes weren’t just regular street clothes either.

Nah, they were the “IT” brands of that time — Air Jordans that are now deadstock, AACA clothing, Tommy Hilfiger - you name it.

II. Black Cool & Aspiration

90s Black sitcoms resonated because they were clearly made for a Black audience, not for the general market.

But if we dig deeper, there is, again, another more resonant truth here: These sitcoms broke the mold because the characters were just… Cool as fuck.

For example, Martin Payne was the top radio host in Detroit, and he had his own spot (where he would routinely kick people out).

At a time when many Gen Z’ers are living with roommates or at home with their parents, and figuring out budgeting/living with their partner, these sitcoms greet them with situations that are aspirational, comedic, and reflective of their journeys.

Moreover, characters like Khadijah James owned a magazine in the heart of New York and wore some crazy fits. All her homegirls had motion. Kyle Barker was that guy. Overton & Synclare were a vision of Black love that wasn’t based on excellence; it was normalcy.

Dwayne & Whitley were goals — Whitley was an art buyer, and Dwayne was an engineer, and they were together throughout college before ultimately graduating and entering adulthood.

And they had dope ass friends, like Freddie Brooks, a carefree hippie-ish Black woman, Kim Reese, who was going to school to become a doctor, and the list goes on.

Today’s media hasn’t really captured these vibes for some reason.

Because of that, when the current generation realized that the only place they exist is in Black 90s sitcoms, making them unique reference points to their adult experiences.

WHAT’S THE GAME MISSING?

I. MORE COMING OF AGE TALES

Netflix’s Forever showed that the interest is there - it was one of the most critically acclaimed series of 2025 and amassed over 19.1 million viewers after release.

It was quickly renewed for a second season, and fans have been waiting patiently for season 2 (the scoring in season 1 was immaculate, too).

Much of its impact stems from the fact that a story like this hasn’t been told on screen for Black audiences in a while. In fact, we haven’t seen it since the showrunner for Forever, Mara Brock-Akil, created Girlfriends, which ended over a decade ago.

The overarching point here is that there’s room for more stories like this. AND, I’d venture to say there’s an untapped white space in coming-of-age stories for Black boys.

Hear me out.

In the 90s, there were Juice, Menace II Society, Boyz N The Hood, etc., but again, these shows mainly revolved around the harshness of the streets, and the cultural codes above seem to be what Gen Z is gravitating towards.

In the 2010s, DOPE dropped and was well received, but there hasn’t really been anything like that since. Miles Morales comes close, but animation can only do so much — there’s something more visceral about real-life adaptations/ on-screen portrayals.

There’s a reason people still reference movies like DOPE & ATL. It’s the stories — they were rare and reflective of a reality many faced, but few saw on TV.

II. BRING BACK BLACK COOL

We briefly talked about cool earlier, but it’s very clear that it’s missing. TV in the 90s featured layered Black characters, and they’ve all but disappeared in modern media.

Speaking a bit selfishly here, there hasn’t really been a range of cool Black men on TV since the days of Fresh Prince, Martin, The Wayans, etc.

That means no Black Dads like Frank Mitchell, No Kyle Barkers, no one to visually pass on the cultural codes that informed the original generation that reveres the 90s sitcoms.

You’ll see flashes of these archetypes in shows like Atlanta and Insecure, but the 90s had a really wide range of characters that people gravitated toward. It’s the reason why rappers have lyrics like:

“First things first, rest in peace Uncle Phil… You're the only father that I ever knew.”

In film/tv and advertising alike, we need to bring back “cool” in this manner.

Not tropes — but actual nuanced portrayals of cool.

We need more characters like Jamie King (The Jamie Foxx Show), who were archetypes of cool that reflected the everyday person. Shows like his helped build the WB before they pivoted away after forming the CW.

EPILOGUE

For my creative colleagues out there, I think it’s worth considering how to incorporate some of the ideas we’ve discussed above into your scripts and work.

The stats are clear: the UNDER 35 consumer demo is grasping at something.

While much of this is personal observation based on stats, it’s also about doing good (and smart) business, in general.

Bring back the quality. Bring back The Cool.

It’s just good business.

One.

We’re midway through Q1 of 2026, and new album announcements are starting to roll in from some of the world’s biggest artists.

With each release, I’m also seeing a return to guerrilla, more organic m…

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The Oscars are right around the corner, and just a few weeks back, the nominations were released.

Sinners, the blockbuster film of 2025, led the way with a record-breaking 16 nominations (the most of any film ever).

That’s More than the Titanic.

More than La La Land.

More than All About Eve.

And while there’s much debate online about the nominations and predictions for who should win, many people’s eyes were drawn to one nomination in particular: Best Supporting Actor.

In this category a true film legend finally recieved his recognition from the Academy (and hopefully a win to match), and that legend is…

DELROY LINDO.

For those who’ve seen his work over the years, it likely feels like you’ve grown up with Mr. Lindo.

In each role, he leaves viewers feeling as if they’ve known him a lifetime, and his characters have transcended cultural boundaries, with X’ers, Millennials, and now Gen Z familiar with his range.

With Black History Month just starting out, it’s only right that this week’s post be about a legend whose flowers are long overdue.

Let’s get into it.

BACKGROUND

Delroy Lindo was born in Lewisham, London, on November 15th, 1952, and spent most of his youth there until his teens.

By then, Lindo and his parents left London and spent a brief period in Toronto, CA, before settling in San Francisco, U.S.

After moving to the U.S., Lindo earned his B.A. from San Francisco State University and then traveled to NYU to study film at the Gallatin School.

By the 80s, his career was beginning to pick up on Broadway with appearances in plays like Master Harold (his ‘82 Broadway debut), and 1988’s Broadway: Joe Turner’s Come and Gone by August Wilson, for which he received a Tony nomination for best actor.

With the foundation of his career in place, a string of movie features in the 90s would cement Delroy Lindo in the minds of fans and Hollywood alike.

Here are those pivotal roles, along with a few in the 2000s that continued his legacy:

I. WEST INDIAN ARCHIE (MALCOLM X) 1992

West Indian Archie was incredibly intelligent and had a rare gift of memorization.

He was the numbers man in Harlem, and he never forgot any number that gamblers gave him. Literally. He filed everything in his mind and avoided writing on paper so that there was no trail to his work — a trick he tried to pass on to Malcolm.

As Malcolm X (Denzel Washington) notes in the movie, Archie could’ve cured cancer or become a famous mathematician, but because he had the bad fortune of being born during the height of Jim Crow, he was reduced to gangsterism and eventually became a junkie who could barely function.

Though this was only a fictional portrayal, for those who’ve grown up in neighborhoods, much like the ones you see in Malcolm X, you’ve likely come across a ton of West Indian Archie’s — brilliant young men who became victims of the system, with minds that could’ve changed the world but never left the block.

In the end, it made for a memorable character who played a key role in Malcolm X learning how to hustle in (and eventually leave) the streets of Harlem.

(Fun Fact: Spike Lee tried to get Delroy Lindo to appear in ‘Do the Right Thing’, and it didn’t come together. This became their first time working together).

II. WOODY CARMICHAEL (CROOKLYN) 1994

Delroy Lindo’s portrayal of an out of work Jazz Musician who was also the patriarch of the Carmichael family showed just how far his range extended.

While the crux of the movie is a coming-of-age tale of Troy as she and her family deal with the loss of her mother, we see Woody's ups & downs underscore the family’s struggle and transition.

At one point, Woody plays his music to an almost empty auditorium of family and friends, and the tension eventually results in a separation from his wife and his temporary departure from the home.

In this role, LIndo captured the tension of a man whose dreams once faithfully provided for his family but have since hit a rough patch. He hopes these dreams can be realized again while balancing the responsibilities and pressures of providing for and raising a family.

It’s something many men experience, but few rarely express outwardly. Spike Lee encapsulated that in one character, and Delroy Lindo delivered flawlessly.

III. RODNEY LITTLE (CLOCKERS) 1995

For those who don’t know, A Clocker is a drug dealer.

The term refers to the fact that they are always “on the clock” 24 hours a day to make money, and this was the second time Spike Lee and Delroy Lindo worked together on a film.

In Clockers, Delroy plays a local drug kingpin named Rodney, who shows how ruthless the drug game is.

He does so not necessarily through brute strength alone, but with how he pulls in the youth, acting as a surrogate father figure to them, and then carelessly discarding them when it suits him.

On the surface, Rodney was generally cool, dropping gems to Strike (subtly manipulating him) and even advising him on his health.

But in the clip below, Strike, Mekhi Phifer’s character, finally sees exactly how brutal and coldhearted the person he’s been working for is after being questioned about a crime and telling Rodney, “f*ck you.”

IV. JOE BLACK (THIS CHRISTMAS) 2007

Look, no actor's discography is complete without a solid Christmas movie — I don’t make the rules, but it’s a fact.

Delroy Lindo added a cult classic to his catalog with This Christmas, where he portrayed Joe Black, the boyfriend of the Whitfield family matriarch whose husband left the family to pursue music overseas (in his later years, no less).

Acting opposite to Lindo was Idris Elba, the oldest son of the family (and a gambler), who rejected Joe’s presence as the man trying to fill the spot left by his father. The scene below is a key moment in the film, and although ‘This Christmas’ is not entirely about the dynamic between Idris Elba and Delroy Lindo’s characters, Lindo’s presence pulls the movie together.

V. PAUL (DA 5 BLOODS) 2020

In this Spike Lee joint, Lindo plays the tortured soul of a First Infantry veteran who served 3 tours in Vietnam.

Paul was a representation of Black G.I.’s and the post-war struggles that many of them faced — PTSD, mental health issues, and familial problems stemming from what they saw in the jungles of Vietnam.

Moreover, ‘Da 5 Bloods’ depicts the harsh realities of war itself as it shows viewers the real-life effects that the war had on the Vietnamese people; All of this while showing how Black G.I.s weren’t given their due.

Paul was a complex character whom you sometimes rooted for, sometimes against, and eventually made your peace with. And much like the aforementioned movies, LIndo was the piece that made it all work.

Many believe (myself included) that Delroy Lindo deserved an Academy Award for this role. If you’ve never seen it, watch it. It’s worth every minute.

VI. DELTA SLIM (SINNERS) 2025

Slim was the living embodiment of the Blues — a griot who passed the tradition down to Sammie, effectively serving as the elder who conducted his right-of-passage ceremony at the Juke Joint.

In many ways, Slim’s character is like Paul’s from “Da 5 Bloods” in that Slim was a survivor — a veteran of sorts, who was dealing with the same trauma, just from decades earlier.

The car scene in which Slim recounts what happened to his buddy Rice shows the depth of the pain that inspires blues music and helps explain why he is the way he is.

Despite all of his flaws, as the elder, he still gave his life first when the vampires showed up (mini-spoiler, but you should’ve seen Sinners by now).

EPILOGUE

The Oscars are still a little over a month away, and only time will tell how they turn out.

Regardless of how many wins ‘Sinners’ gets (and hopefully they sweep), I think we all can agree that we’d love for The Academy to award Delroy Lindo.

While that trophy would represent the strength of his portrayal as Delta Slim, it would also represent West Indian Archie, Rodney, Woodie, and a host of other characters who shaped the 90s and the 2000s.

There are so many other roles to mention — we could give the honorable spots to gems like Romeo Must Die, Gone in 60 Seconds, The Harder They Fall, etc., so if you’ve never seen any of the movies above, check them out.

If you have, watch them again anyway.

After all, they feature a legend.

One.

Artists have long struggled to receive fair compensation for their work, whether the year is 1512 or 2026.

In a sense, things haven’t changed much over the past 500 years.

In the 1500s, artists had pat…

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