WTF Is Going On In Hip-Hop?!

Welcome to 48th issue of Backseat Freestyle. This is my weekly hip-hop newsletter I send out every Friday focusing on one big thing that happened over the past seven days. I also include links (15-25 of them) to what I’ve been listening to, reading and watching. You can check out the archive, here, and read more about me, here. If you’re already a BF subscriber, thank you for your continued support. If you’re arriving to this issue by way of a forward, LinkedIn or social media, please subscribe below. And please share this newsletter with your circle so that they can enjoy it, too; personal referrals are my best path to long-term growth. With that said, let’s get into it….

Front Seat

This is what’s driving hip-hop this week….

I’m back! I unexpectedly took a hiatus last year while I was working as the showrunner on The Breakfast Club on BET. Those were some early mornings and the need to get to bed at a decent hour shrank my days. (An amazing experience; the television show has gone on hiatus and I’m on to the next one.) My draft folder is filled with all the newsletters I never finished on Andre 3000 and age, Travis Scott’s slow return, Puff’s legal history and more. Lot of regret I couldn’t turn the corner on those. I did start a weekly playlist of the 10 songs you need to know each 7 days that I think it worth a follow, called Jay’s Plays. Needless to say, I’m feeling like this is a new season for Backseat Freestyle. The postseason, even. I wanted to publish this on Friday for a triumphant return, but I would have really played myself, with all that I would have missed in the Drake/Kendrick battle over the historic weekend. But I’m also looking beyond the battle and putting an eye on 2024. There was a lot of noise that hip-hop was heading in the wrong direction, but it’s been bucking that charge. Plus the media landscape is changing, we lost some heads and there’s some trends worth paying attention to. Word to Key Glock, let’s go.

Back Seat

Respect my mind or die from lead shower.

1. Hip-hop has been especially lively this year…on the musical tip, with strong albums already released by ScHoolboy Q, 21 Savage, Kenny Mason, Tierra Whack, Mez and quality singles from Cardi B, Babyface Ray, GloRilla, Jay Worthy via LNDN DRGS and YG, among many others. Some of my personal favs so far this year include “I Didn’t Go” by Joyner Lucas featuring Symba and DMX, “Alter Ego” by Doechii with JT, Cash Cobain’s “Fisherrr,” Latto’s “Sunday Service” and Maxo Kream’s “No Then You A Hoe.” The genre’s demise has been greatly exaggerated. But I already knew that; so I wrote about it last year. 

2. Ye’s Vultures 1 collaborative album with Ty Dolla Sign goes number one. Although he’s proven to be irredeemable by continuing his descent into the grotesque with his ever-worsening comments on just about everything, the genius he actually possesses as it relates to music is still there. Though not as strong as his past efforts,Ye has a keen ear for composition and sound that remains relevant; and what makes his chart-topping feat most interesting is his distribution and direct-to-consumer efforts related to the release and merch. To be indie these days means a lot of different things, but his Vultures lift was done with little help and perhaps it could prove to be an updated blueprint for veteran rap stars. (I think Larry Jackson’s gamma operation is going to build itself with a blueprint like this before he’ll pivot to breaking a new act.)

3. Killer Mike sweeps the rap categories at the Grammys. The Atlanta MC nabbed hardware for Best Rap Album, Best Rap Performance and Best Rap Song. I didn’t publish a Hip-Hop Award Season 2023 post, but Michael would have been my choice for best album; however, I would have picked J.Cole the MVP nod for his string of guest appearances. 

4. 20 v one. I might have under-sold just how lively it’s been in 2024. Everyone is firing on Drake: Future and Metro’s We Don’t Trust You and We Still Don’t Trust You albums featured a who’s who of artists who lined the Toronto superstar up, including The Weekend (“All To Myself”), A$AP Rocky (“Show Of Hands”) and most notably Kendrick Lamar (“Like That”). Rick Ross got in on the action too (?) with “Champagne Moments.”

5. Where is all that coming from? Drake and J.Cole connected for “First Person Shooter Mode” where the two popped big shit as they traded bars back and forth, including Cole’s memorable “Love when they argue the hardest MC/ Is it K-Dot? Is it Aubrey? Or me?/ We the big three like we started a league/ But right now I feel like Muhammed Ali.” While Kendrick’s “Like That” verse took obvious shots at Drake (“For all your dogs getting buried/That's a K with all these 9’s, he gon see Pet Sematary”) he scarcely clipped Cole beyond references to cliquing up and, of course, “Motherfuck the big three, nigga, it's just big me.” That said, the why is largely speculative. Rumors abound regarding Future and Drake falling out over a woman (she denied it), Metro and Drake falling out over props for their respective albums last year (aka tweeters and deleters), and Ross falling out with Drake (?) over a cease-and-desist order the latter’s camp allegedly sent to French Montana over a collab. Akademiks, on the other hand, suggested this is all over “First Person Shooter,” as he heard Kendrick declined an offer to be on the record and supposedly Cole changed his lyrics after K.Dot passed. (Kedrick later alluded to it when he said “surprised you wanted that feature request” on “Euphoria,” which we’ll get to on number 22.) In a broad sense, though, and as much as we can surmise, it really seems to be about Drake’s reign and calling it into question (particularly his approach; his mining younger stars and styles on “For All The Dogs” was noticeable, though subjective.). 

6. J. Cole fired back. To the surprise of many, Cole came at Kendrick first with “7 Minute Drill,” and aggressively called into question the Compton rapper’s artistic merits (“Your first shit was classic/ Your last shit was tragic”) as he took potshots at the reception to Mr. Morale and the High Steppers. While the move was unexpected, fans clamored for the duel as Cole had leveled up in the preceding years through a dizzying run of collaborative work (See: “Johnny P’s Caddy,” “London,” “The Secret Recipe,” just to name a few) that proved his pen was as mighty as his more highly-praised peers in the Big 3. 

7. J. Cole then retreated. The Fayetteville rapper is gearing up for the release of The Fall Off, a denouement, of sorts, and Might Delete Later is a dope primer project ahead of that album; “7 Minute Drill” was a number on Might Delete Later. But as Cole was celebrating the new collection at his Dreamville Festival he stunned the crowd and the hip-hop world by apologizing for “7 Minute Drill” and bowed out before the main event saying the record was “goofy” and didn’t sit right with him. I admired him for the retreat (because nobody truly wins a battle, which we’ll get to, and his truth about his soul’s purpose is righteous). And while reaction was mixed, he didn’t exit unscathed. 

8. Ladies beefing, too. The City Girls have had an unsteady go of it; last year I remember, when JT and Yung Miami were guests on The Breakfast Club and you could tell before/during/after taping that they like one another but there’s such a cloud hanging over them as a result of their experience in the industry. That darkness got the better of them one day on Twitter. Nicki and Megan Thee Stallion went at it, trading dis tracks. JT and Glo got at it online. And Ice Spice and Latto have been firing off at each other.  

9. It goes without saying but, this Year of the Woman y’all keep talking about is actually an era. Flo Milli has leveled up this year. Cardi is finally about to drop her sophomore album. Coi Leray, Glo, Latto, Megan and Rapsody are about to fuck shit up again. Doja and Nicki are still working strong albums from 2023. And I’m hoping more people pay attention to Lady London, Kamiyah and Bktherula. It don’t stop.

10. Diddy do it? Allegations, lawsuits, settlements and rumors aren't easy things to navigate through and I say that as someone who has experience doing courtroom, legal and entertainment reporting. It’s even harder to do among the whiplash speed of social media. Diddy’s fall from grace has felt like the result of all the things being levied against him at once rather than a final gavel. But, maybe that’s the point. The proceedings did reveal a blind spot in hip-hop journalism: economics have made staff more broadly versatile than rooted in specialty and reposting commentary satiates the gristle of social media more easily than reporting. 

11. Hip-hop journalisms today. Earlier this year, Elliott Wilson started a conversation about hip-hop journalism when he commented about the Twitch user, Kai Cenat. Cenat is a charismatic figure whose sizable audience has drawn the attention of the music industry and as such his solo streams have turned into something more, such as his separate hangs with Offset and Nicki that served as a promo opportunity for the rappers’ new albums. Elliott’s caption— simply “hip-hop journalism?” across various posts—prodded those to think about things. What we consider to be hip-hop journalism or the elements we project into the debate, in my opinion, are largely based on the magazine era and the attention they once commanded and the agenda they set. The conversation used to start in those pages and rise up to Angie Martinez, barbershop fodder, MTV, BET, etc. That, of course, has changed drastically. Those brands (The Source, Vibe, XXL) now mainly respond to the happenings by aggregating what podcasts talk about, what rappers post, curating the gist of radio interviews and propping up social media personalities. It’s economics; those things feed the meter. I don’t think that’s good or bad as much as reality. And I think there’s great podcasts, I think Big Boy is the best interviewer today and Akademiks is a good gossip talent (that’s not a slight). Obviously, there’s bad podcasts, bad personalities, etc. I think the legacy outlets could use more strategy around direction and personnel and be better at optimizing what should be their distinct POV, which they could then leverage their skills (original content production, fact-checking, historical analysis; even just general acknowledgement of good music). But that’s a longer conversation for another day. What we have now is a wider ecosystem that’s imperfect but growing (and with that its itinerant growing pains). 

12. Complex is beefing back up. Speaking of a POV, Complex was sold to NTWRK and the executives brought back Noah Callahan-Bever, who in turn has brought back some of his trusty lieutenants, chief among them Brendan Frederick, to further refine their mission. As talented as those guys are, the most important thing is the property is owned by people who want the brand for what it is versus wanting the brand so they could scale for sale’s strength. That matters. Without that, NCB’ plan to revive Complex News would have likely been a non-starter. 

13. Uproxx is also investing in their brand. Uproxx’s founder (who also co-founded Rawkus Records) is teaming up with will.i.am and also the former CEO of Complex to re-acquire Uproxx along with hiphopdx.com and Dime magazine, and some other media assets, that Warner Music Group had previously cobbled together in a content play. The new company, Uproxx Studios, will also have the exclusive rights to WMG’s “YouTube inventory of stars.” The group has tapped Elliott to be their editorial director and he’s already launched a new YouTube show, The Bigger Picture.

14. My media thoughts. I suspect there'll be a lot of growth in the first year of the new Uproxx operation, but it sounds like sales (via YouTube shows, WMG videos and branded content) will be their main means of revenue and that can be an unpredictable business for a demo that likes things that aren’t traditionally brand safe or if the market takes a turn. I’m hoping that there is a year one boom and the dollars they make can power some ambitious goals. As for Complex, I’m intrigued by NTWRK’s e-commerce business undergirding the operation. Feels like that pairing could be bountiful. 

15. The Main Event: Drake versus Kenrick. The idea of the Big 3 never sat right with me. I think if we’re being honest, if we’re being benevolent then it’s the Big 5 and you have to include Future and Nicki Minaj. If we’re being realistic, it's more like the Big 1 because of Drake’s accomplishments. And we can cite streaming foremost but also Drake has radio, minted new stars (taking some blood from them to stay young in the process, for sure), and output that outpaces his peers. He’s not as dominant anymore, however. I wrote about the Drake Era back in 2021 and how his distance ahead of the pack has shrunk. Kendrick competes so differently than Drake; it's hardly apples to oranges but…it’s apples to oranges. He eschews the traditional idea of bangers for conceptual albums, none more impressive in my estimate than DAMN., which earned him a Pulitzer Prize. I have a print of the tracklisting in musical wave form hanging behind my desk. (TPAB is outstanding as well, but the way K.dot deconstructed self amid religion within the scope of damnation and two different paths to get there, depending on whether you listen to the album front to back or back to front? Simply amazing.) And those albums can have intervals that last years in between as he painstakingly concocts a new classic. For his work, Kendrick is beloved. Drake, on the other hand, is conceptual in execution if not the end result. He’s admirably pushed the boundaries of hip-hop and expanded the scope of influence to incorporate collaborators, melodies and sounds from farther reaching sources of inspirations than his cohorts. He’s revered if not loved, for his work that has dotted all over our lives, from the club to captions and on between. His otherness (as he once told me, he has the unfortunate combination to overcome of being Canadian, corny and lightskin) never allowed him to be fully embraced even as he dominated. Dominate he did, though. It’s not only a clash of the titans but a clash of styles. (At a certain point, I wonder, if all this is because Kendrick felt his album adoration should match if not surpass Drake’s track success?)

16. Drake fired back at everybody. Drake has battled before (Pusha T, Meek Mill) and he flexed his experience with “Push Ups,” taking aim at Kendrick’s height, shoe size and contract status. He also directly addressed Future, Metro, The Weekend, Ross and more. “What the fuck is this, a 20 v one, nigga?/ What's a prince to a king? He a son, nigga.” The Whoo Kid intro was a dope icing on the cake. Then Drake left things open with a warning to “not wake the demon up.” 

17. People liked it. Drake not only earned praise for his first salvo but his pointing out the odds (20 v 1) with so many foes going against him at once only reinforced his position as the top dog. For me, I thought he used humor well, from the cover to the swipes. It wasn’t necessarily a 1:1 but a firm defense.

18. Drake went back to back. Looking to repeat his strategy against Meek Mill, Drake pressed the gas and released another track, “Taylor Made,” this time more squarely centered on Kendrick. He used A.I. to incorporate 2Pac and Snoop on the track while taunting Kendrick for taking too long to respond. I thought using West Coast icons against Kendrick (particularly ‘Pac) as a tactical way to swipe at Kendrick’s heavy-handed use of legacy and lineage to prop himself up was a good shot. 

19. People had mixed feelings. Instead, the use of A.I. divided fans. Most noted it was a good track, but felt unease over the artificial intelligence. This was especially confusing at a time when fans weren’t sure if tracks being released were real or not as they weren’t initially coming out on DSPs or an authoritative figure like Funk Flex. 

20. Ye jumps in. A former friend/foe/friend/foe, Kanye West similarly had a contrasting style match-up with Drake despite being an influence on him. I always felt Ye wished he had the gifts Drake had and Drake wished he had the audacity of Ye. What once seemed like a dormant divide re-ignited briefly when Ye added to the “Like That” remix with his own shots at Drake and Cole and claimed “Everybody was very, very energized about the elimination of Drake.” HIs flame proved to not burn bright. 

21. Class of 2024. (Fitted) hats off to A Tribe Called Quest, Kool & The Gang and Mary J. Blige for being inducted into the Rock & Roll Hall of Fame.

22. Kendrick fired back. K.dot struck back on “Euphoria,” a slow, multi-beat (multi voice) deconstruction of Drake. “Let your core audience stomach that, then tell 'em where you get your abs from.” Prior to this response, I had conversations about how in some ways this was a win-win for Drake because he’s done this before and he’s battling so many folks at once, while it was, in some ways, a tougher challenge for Kendrick because he’d be asked to do things he hadn’t done before: dissing on his own track, and with a funny cover and clever dis hook. Things he’s capable of doing, naturally, given his ability, but he hadn’t done on his own releases.

23. People had mixed feelings. I thought Kendrick’s content was damning and he cut deep. Surprisingly he took it to the family orbit by insinuating Drake was a dead-beat dad; K.dot claimed Drake went there first but as close as Drake got was saying he’ll be around bodyguards like Whitney, which, I took as a regular bar but maybe it was read as a brush back toward Kendrick’s wifey, who is also named Whitney. But, for me, there was too much emphasis on vocal inflections to the point of distraction and no hook. The irony is fans wanted Kendrick to just rap, a claim that often surfaces for Drake. Those who thought the searing element was too strong to ignore, hailed the record. The ending was riveting.

24. Easter egg hunting. True to his genius, Kendrick’s “Euphoria” was littered with layered references, from the Richard Prior introduction to his use of DMX’s rants. 

25. Kendrick dropped again. “6:16 in LA” was a strong follow-up (and much better production!) and in the true essence of battling, he flipped a Drake signature with the timestamp and location reference  to initiate delineation (I'm this and this; you're that and that) and then deconstructed Drake’s operation. If “Euphoria” was dropping a bomb, this was up close knife work. Still, after two drops a piece, I think either Drake was ahead at this point or it was tied. 

26. Easter egg hunting again. Just the number of theories behind 6:16 was astonishing. 

27. Divided we stand. Although Kendrick’s dis records were more contextually dense, there was a sector that shouted the songs only proved once again that Drake makes better music. Drake is a better song composer; though Kendrick remains the more skilled rapper. This only drudges up the differences in their approach, i.e. Drake and classic bangers versus Kendrick and classic albums. There’s a generational push/pull there too. The classic album has always been heralded as the standard bearer for a rapper but as streaming took over (illegally and legally), the value of a song being able to stand on its own increased tenfold. Two other surprising things also happened: LA rode extra hard for Kendrick almost as if New York or the east coast was Team Drizzy. I don’t begrudge the obvious rooting interest but Pac vs Big this was not. And Kendrick’s attack of Drake’s Blackness; the debate intensified online with commenters suggesting being bi-racial doesn’t equate to being lightskin and even further down the commentary hole there were those yelling that half Black isn’t Black.

28. People really don’t like Drake (anymore?). Part of this all reminds me of when people began to grow tired of Jay-Z. Not saying Drake is Jay-Z, but he holds a similar position in this era in terms of his placement if not pedestal. A tidbit: Back in the day when we would record our MTV’s Hottest MCs roundtable, there was one year when we recorded two iterations. The first one never aired and largely the reason for that was because a number of us (myself, Shaheem Reid) felt our bosses steered us to name Eminem as the top MC; nobody felt he had it that year, but as a result of Jay-Z fatigue there were those who rather have seen a new person be named over a Hov repeat. Again, you can only reign undisputed for so long before things change. But the otherness I referenced before, has become a sizable target where people project what they want Drake to be and do. For example, Drake is lambasted for not having a more active voice toward social justice compared to Kendrick and Cole. It would be great; though he has signed on in support of a ceasefire in the Hamas/Israeli conflict. Nas was more in that vein, Jay was not until much later in his career. In fact, the way Drake taunted Kendrick in his additional tracks reminded me of the way Jay attacked Nas. It has a touch of “What does Ja Rule think?” The idea that Drake uses Blackness as a prop also grew louder, and though I think that is unfair, I don’t discount anyone feeling their feelings as much as I’m surprised by the volume. 

29. Blow for Blow. A thrilling weekend as a dizzying pace of releases from Drake and Kendrick flooded fans with material. 

• Drake fired back with “Family Matters”: Drizzy wasted no time addressing Kendrick on the first verse, but he continued the ugly turn of events when he accused Kendrick’s business partner, Dave Free, of fathering one of Kendrick’s children. During the second verse he fired on The Weekend, Metro Boomin and A$AP Rocky with precision, yet he sent a stray Rihanna’s way when he targeted Rocky. By the third verse, Drake was locked back on K.dot, with a wickedly sarcastic opening line “Kendrick just opened his mouth, someone go hand him a Grammy right now.” However, the further along he got the lower he went, this time claiming Kendrick beats his fiancee. 

• Kendrick responded with “Meet the Grahams”: Kendrick returned fire but was treading in muddy waters from the opening his salvo by addressing Drake’s son and continuing the dead-beat dad allegations. Later, in the third verse, he addresses an alleged daughter that Drake supposedly has as he pounds the trope into the ground while he claims in the last verse that Drake stooped low first by calling out his family’s name. I don’t have that as being the correct timeline for things turning ugly with Drake, but holler at me if there’s credence to it that I’m missing. 

• Kendrick put the pressure on with “Not Like Us”: It didn’t take long for K.dot to reload and…holy fucking hell WE FINALLY HAVE A HOOK FROM KENDRICK! Though it’s basic, Mustard slaps underneath it by injecting synths to provide a thrill. This track has some real high moments in the second verse as Kendrick rhetorically asks what’s a owl (Drake’s OVO logo) and responds “bird niggas and bird bitches.” It’s the most cutting 16 of the entire battle without question. The first verse bogs things down as Kendrick swaps out the dead-beat dad allegations for claims of pedophilia. But by the bridge, Kendrick bookends the second verse with a simmering chant of O-V-ho. It’s not only the biggest blow in the battle, it’s a real anthem. He’s clearly up.

• Drake defends himself on “The Heart Part 6“: Throughout the battle, Drake has offered up a variety of flows and a better ear for beats, as he showcases again on this one. Here, however, even his highpoints feel dirty, particularly his jab over Kendrick’s girl following Dave Free on IG but not Kendrick. (Though, It’s true) and his swipe about Mariah Carey’s “Touch My Body” being a trigger for K.dot’s history with molestation (he claims his mother endured it). 

30. Nobody wins rap battles. Inevitably, battles that are this competitive take a turn for the worse and that’s what happened between Drake and Kendrick as they kept at it. Things either get too ugly to win or the debate dies down only to resurface as the same point they started. The reality is we saw two superstars go higher and higher but also lower and lower with each subsequent release as they doubled down on the atrocious accusations that they slung at one another; Drake alleging that Kendrick’s beats on the mother of his children and Kendrick alleging that Drake is a pedophile that targets underaged women. Although Rolling Stone published a piece crowning Kendrick the winner, the fact is it was all a mixed bag. Kendrick sounded sharper on his own material than he’s been in years. Drake was accused of a slate of improprieties by a gang of rappers and took it all on the chin while still standing. It was pretty close the entire battle, but it turned….

31. Super ugly. Why are women collateral damage in the Drake-Kendrick rap war? Kendrick accused The Boy of not being a man, but he was plenty childish in his own right. Drake, meanwhile, has to deal with his misogynistic tendencies. 

32. What next for Drake? He’s still standing after it all (Kendrick and others) and even on the radio when they discuss the hip-hop civil war, the songs they play before and after the conversation are Drake’s or featuring Drake. He may be bruised but he competed and didn’t get knocked out. Additionally, the people who thought he was better than Kendrick will continue to feel that way. 

33. What’s next for Kendrick? He has a certified banger on his hands with “Not Like Us” and sounds reinvigorated. Plus, it was dope to hear K.dot stretch out in ways we haven’t heard him before. I hope he follows all this up with a plain rap album; with no concept, it could even just be an EP. Additionally, the people who thought he was better than Drake will continue to feel that way. 

34. Sideline story. Cole will speak one day in an interview and I hope he’s afforded the grace his sincerity entitles him to. Rozay has gotten feisty lately considering his spats with DJ Envy and hopping into this fray; it’s been weird to watch but maybe he can channel the aggression into his next LP. Metro can’t rap, so he tweets but that’s truly weilding a knife during a shootout; I don’t say this facetiously but he gotta get back to making beats. 

35. Legacy. I’m very aware Drake and Kendrick could continue going at each other, but I hope it fizzles out. You could say this was the biggest battle in hip-hop history, what with its social media impact and the immediacy of the releases between the clear top dogs. The past weekend is one that will be hard to match in rap’s overall timeline. I’m OK with recognizing it as such. I do think, though, that Jay-Z versus Nas had more at stake and the local element plus the shadow of Big and ‘Pac’s deaths made it more dangerous. That’s battles though, always room for debate.

36. Industry plants. This year has seen the rise of two alt R&B-ish stars in 4Batz and Tommy Richman and with it the charges that they’re industry plants because of their seemingly out of nowhere arrival. I enjoyed this read on industry plants and the prod that the online commentariat is using it wrong. It’s true; it’s all very much harder than someone or a group of people just pushing the button.

37. SIP: Mister Cee and Dallas Penn. DP was a good guy to see around in the streets and the game was better as a result of him having been in it. I only just met Mister Cee recently and though it was brief I was honored as his “Throwback @ Noon” in my estimation is the greatest contribution to hip-hop radio, especially and without irony, when he provided the culture with audio obituaries on the days he lost our heroes. Camilo filled his shoes for one day, which you can check out above.

Trunk (Music)

Music, news, reads, podcasts and videos that I’m checking for this week.

I want to use this space today to give props to folks who have done some great work recently regarding the battle(s). I think Complex’s Jordan Rose has been all over it with his breakdowns, same for Rolling Stone’s Andre Gee and Mankaprr Conteh with their analysis and essays. And Hot 97’s Ebro in the Morning team has had some of the best conversations each morning to recap the material. Of course, Elliott Willson had and still continues to have his pulse on the second-by-second updates. Plus, salute to Rodney Carmichael and Sidney Madden for the 2024 NABJ Journalist of the Year Award that recognized their work on Louder Than A Riot. And last but not least, cheers to the memory and work of the late, great Greg Tate who was honored posthumously by the Pulitzer Prize group for his career and work in hip-hop criticism. 

Backseat Freestyle is written and produced by me, Jayson Rodriguez, for Smarty Art. If you have any comments, feedback or questions, feel free to email me: [email protected]. If you would like to discuss sponsoring an issue of the newsletter, contact: [email protected] and check out the rates, here. And follow me elsewhere:

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Podcast: I recorded a demo and once I get the main thing (this newsletter) back on a regular schedule, I’m gonna go back to flirting with an audio companion.