Boi-1da, The Free-Spirit Super Producer, In His Grammy Moment

Boi-1da isn’t one for repetition — he’s an explorer of sound. Throughout his run as a top-booking producer, he’s fused his love of hip-hop, reggae, dancehall, R&B, and other genres in pursuit of the next sonic wave, and he’s done it by refusing to limit his creative ambitions.

“I don't like to just do the same thing,” Boi-1da said. “I'll get bored and just feel like doing something completely outside of the box just to challenge myself or push myself. And it's good for the mind. You sit there and make a million rap songs, beats, ideas, and whatnot. But then sometimes I just want to do something different and just get outside of my box and comfort zone.”

From the days he spent obsessing over FruityLoops beats as a teen to the years he’s been cranking out platinum-selling hits like “Headlines” and “Work,” the Kingston-born and Toronto-raised producer has harnessed his artistic powers to spearhead the industry’s biggest musical trends and established himself as one of the top producers in the last 15 years. Between collaborations with heavy hitters like Kendrick Lamar, Eminem, Nicki Minaj, Rick Ross, and fellow Canadian superstar Drake, along with a slew of platinum plaques to his name, Boi-1da, born Matthew Jehu Samuels, has the hardware to back up the claims.

As the Grammy winner’s star has grown brighter, he’s kept his profile low and his goals in frame. And his approach to life and music has led to a second Grammy nod this year for Producer of the Year in the Non-Classic field, with songs like Jack Harlow’s “Churchill Downs,” Kendrick’s “Silent Hill,” and Beyoncé’s “Heated” helping him score a nomination. “It's always a deep honor to get any sort of nomination from the Academy. So to have this again, it almost feels surreal,” the 36-year-old producer said. “It's hard to even muster up a feeling. This is stuff I dreamed about as a kid.”

With the momentum of Drake’s “God’s Plan” setting the industry ablaze, Boi-1da was nominated for producer of the year for the first time back in 2019. That year, the title was granted to Pharrell Williams, an artist he said inspired him to make music. This year, Boi-1da is joined by pop juggernaut Jack Antonoff; Steve Lacy and SZA producer DJ Dahi; The Black Keys guitarist and vocalist Dan Auerbach; and Oscar-winning producer Dernst "D'Mile" Emile II.

While the relatively laidback and humble producer attributes his success to his family and talented friends in the industry, he’s beginning to embrace his own greatness in full — a feeling that’s grown as he’s reflected on his accomplishments. This year’s Grammy nod would have been a “surprise” in past years, but the recognition came right on time.

“I'm not going to lie, I wouldn't say I was surprised this year,” Boi-1da shared. “I did a lot of big songs. I was on some of the biggest albums this year. It is one of those things where you don't expect it but you expect it, you know?”

Boi-1da’s success in 2022 — like all years — is tied to his uniquely aimless approach to music-making, which is about as boundless and free-flowing as the strokes of an abstract painting. Admittedly, he doesn’t always know what songs will climb the Billboard charts, or which artists will hop on which beat. Most times, he said those things come together naturally, and he’s at his best when his mind is transfixed on other things, like video games and movies like the Brazilian crime flick City of God.

“I still watch a lot of movies and play a lot of games because there will be those times when you just don't feel like making music,” Boi-1da noted. “For me, I’ll watch a good movie and be like, ‘Wow, I really like that movie,’ and it’ll make me want to get in the studio for some reason. Or, I’ll play a game and I’m like, ‘I want to make music now.’ It’s always important for me to keep my mind occupied on other stuff because it just leads me back to music every single time.”

Over time, Boi-1da has learned to let the music happen and have fun in the process, and collaborations with friends like Harlow on “Churchill Downs” breed those kinds of moments. Boi-1da and the Louisville rapper came together seamlessly for the song’s concept, and the Drake-assisted track later turned into one of the biggest songs of Harlow’s career and a standout on his debut album, Come Home the Kids Miss You.

“Working with Jack is just so effortless and so easy,” he said. “It's like two homies just get in the studio, we crack some jokes and we just figure it out.”

His collab with Kendrick was much of the same magic. The two superstars have worked together for years on album cuts like “The Blacker The Berry,” so putting their minds together to notch out tracks for the Grammy-nominated Mr. Morale & The Big Steppers was like another day in the studio. “Anytime I’m in L.A., I always got to tap in with Dot,” he said. “So we were just having fun and cooking up some ideas in the studio. He’s a mastermind. He took everything we did and just went into his hut, master-crafted it, and put it all together. But it’s always effortless working with Dot. He’s one of my favorite people to work with.”

On his discovery of untapped sounds that turn to trends, Boi-1da has mastered the ability to bend the familiar and make it nuanced. Whether he’s working on stadium anthems like “N95,” soulful, sample-driven hits like Drake’s “Pound Cake/Paris Morton Music 2” or fierce, dancehall-infused tracks like Beyoncé’s “Heated,” his appetite for experimentation has reached towering heights. And working with artists like Beyoncé brings his Frankenstein-like production to life.

“It's always a pleasure working with Beyoncé,” he said. “That's the queen, man. Whatever she does, whatever she stamps, or whatever idea she has, it's just always a goal. She just doesn't miss and it's just a pleasure working with her.”

As he charts his path forward, the super producer is chasing another “dream” of his: a compilation album. He shied away from revealing a release date, but he said fans can expect “everybody’s favorite artists” on the project. “I'm taking my time with it and making sure it's the best quality of music that I've ever done,” he said. “That's just my dream — to do something I haven't done yet. I can't wait for everybody to hear it.”

In fulfilling his dream, Boi-1da said he will continue to roam freely as a creative and drift toward whatever inspires his path of musical exploration.

“I'm just a free spirit with music,” he said, “I just go wherever the wind takes me, so I couldn't even predict what I'm going to get into. It's just going to happen. You're just going to hear about it. I go where the wind takes, where life blows me.”

– MTV News

Resetting the metronome: Philly beatmakers build community through monthly meet-ups

Dan Brightcliffe knows the isolation of beatmaking. All the hours spent fixed to an MPC drum machine or needling through sample packages on a laptop can be grim even for the most withdrawn of producers.

To forge a culture of collaboration, Brightcliffe, 33, and fellow producer Quinton “Q No Rap Name” Johnson, 30, host Flipabeatclub, a monthly beatmaking event that is generating buzz and building community in Philly’s music scene.

Since August, Johnson and Brightcliffe have drawn producers to Cratediggaz Records to create hip-hop, house, and electronic beats in tandem. Some dig into their vinyl collection, and others use computer programs or phone apps, but what brings them together is their love of beatmaking and eagerness to connect.

Philly’s FABC looks to reset the metronome by bridging the gap between artists and producers, and expanding the club’s reach beyond the city’s borders.

“There really hasn’t been much of an outlet for people who make sample-based music,” said Brightcliffe, who produces under the name “Philth Spector.” “It seems like there’s a slight disconnect between the people who make beats and the people who rap, which is one of our goals outside of just giving producers a platform and a network to create.”

Dan “Philth Spector” Brightcliffe (standing far right) checks the progress of the beatmakers during the Flipabeatclub monthly beatmaking event at Cratediggaz Records, 711 S 4th St., Phila., Pa. on Fri., Jan. 20, 2023.Read moreELIZABETH ROBERTSON / Staff Photographer

Producer Matt “$LiMs” Leahey, who has been a part of the Philly club since its inception, said FABC is etching a path for beatmakers who create boom-bap and lo-fi tracks, and veer away from the trap-heavy sound of mainstream rap. The monthly meetups are also big for Philly rappers, many of whom haven’t caught the same gleam as artists in other cities with hip-hop influence.

“I think [FABC is] really important because Philly doesn’t have much of a hip-hop scene in the same way that Atlanta, New York, or L.A. [does],” Leahey, 21, said. “Most rappers in Philly that I’ve seen come up in the last decade — except for superstars like Lil Uzi Vert, Meek Mill, and others — don’t really break out of Philly.”

Leahey said the same problem goes for the local beat scene. But with the presence of FABC, he’s confident things will turn around.

Bob Fisk, who owns Cratediggaz, said FABC is the grounds from which producers can perfect their craft and form connections with Philly rappers, songwriters, and singers. And in time, breathe new life into the city’s soundscape.

“There’s so much talent in the city, it’s crazy,” Fisk, 39, said. “There’s always been the existence of it. New York had the clubs, but we always had the talent.”

At each meetup, club members craft a beat from a chosen sample, then play their records on a Zoom call with FABC chapters in L.A., Toronto, D.C., and Sacramento. And at the end of each month, their beats are packaged as a compilation and released on Bandcamp.

The Sacramento club is helmed by FABC founders Donell McGary and Armando Montesinos, better known as “Dibia$e” and “Mon$rock,” who started the beatmaking network in November 2021.

Back then, only a handful of creatives met at Sacramento record store Twelves Wax for a session. But after a surge in COVID-19 cases, McGary and Montesinos moved the sessions to Zoom, which quickly drew in viewers like Brightcliffe and others from countries as far as Tasmania and Turkey.

“Being a hip-hop producer has always been guarded, like you don’t share your secrets,” said Montesinos, 43. “But it’s important to spread love, connect with people, and have those interactions.”

One of the club’s original members was Johnson, a Dallas native, who used to drive from Vallejo to Sacramento to make beats alongside McGary and Montesinos when he lived in the Bay Area. Before he moved back to Philly, Johnson talked to Montesinos about bringing the FABC brand to the East Coast.

Quinton “Q” Johnson of Phila. (right) gets Gregory Bissell of Phila. set up so he can broadcast his beat during the Flipabeatclub monthly beatmaking event at Cratediggaz Records, 711 S 4th St., Phila., Pa. on Fri., Jan. 20, 2023.Read moreELIZABETH ROBERTSON / Staff Photographer

Johnson, unsure of the new chapter’s direction, met Brightcliffe at the first event in Philly, and brought him on as a cohost. Inspired by the Sacramento club’s success, Johnson wants to bring Philly’s beatmaking sessions to a live audience.

“They built like a Wu-Tang of beatmakers out there,” the Mount Airy resident said. “I don’t know if it was planned this way, but now they have built up a lineup if they ever want to do a show … Our plan is to do something similar.”

Philly FABC member Gregory Bissell, 29, said he saw the chapter’s growth in attendance and impact after just three meetups.

The Louisville, Ky., native, who started making beats in 2020 to pass the time in quarantine, said the club’s beatmakers have already collaborated on shows with local artists. And with more members, showcases, and meetups outside Cratediggaz, he believes the music scene can reach new heights.

As FABC looks to stretch its reach even further, McGary, 46, said Brightcliffe, Johnson, and other chapter leaders just need to stay the course.

“There’s a five-year plan,” he said. “If we do this, and we do it well for the next five years, it will do wonders. It’s only going to magnify.”

– The Philadelphia Inquirer

For The Record: How Clipse’s 'Lord Willin'' Established Virginia’s Foothold In Rap

On their 2002 debut album 'Lord Willin',' Clipse’s drug-slinging rhymes and the Neptunes’ pop-centric production established Virginia’s foothold on street rap.

As rap moved into the new millennia, the industry abandoned the antiquities of its past and widened the margins, drawing in musical talents from all corners and elevating them to astronomical heights. Street rap duo Clipse was instrumental in the geographical shift, with 2002’s Lord Willin' establishing Virginia’s foothold on coke rap and a new era of lyrical titans.

By the early 2000s, hip-hop’s maturation was in full swing: Atlanta was building towards its future reign, the boom of Houston’s hip-hop scene was on the horizon, and Virginia’s spotlight grew brighter over the decade as Timbaland, Pharrell Williams and Chad Hugo of the Neptunes crafted the era’s most innovative sounds. 

While Timbo went on to guide the careers of Ginuwine, Aaliyah and Missy Elliot, local legend Teddy Riley brought Pharrell and Hugo under his wing. As the Neptunes, the two produced records for the likes of  Ma$e, N.O.R.E. and R&B groups SWV and Total. Eventually, the duo revisited their relationship with two childhood friends who would later chronicle their hometown’s booming drug trade under the moniker Clipse. 

Virginia-based MCs and brothers Gene "No Malice" and Terrence "Pusha T" Thornton aspired to leave a life of selling drugs in favor of cooking up hit records. With the help of Pharrell, Clipse signed to Elektra Records in 1998, and by the next year, had an album, Exclusive Audio Footage, ready to hit retail stores. 

"That album was nothing more than friends together doing something they love," Pusha explained in a 2002 interview with XXL. "No outside interference, no arguing. It was all happy times."

Despite a record slated for a 1999 release date, the group’s triumph was short-lived. The album’s lead single, "The Funeral," failed to make a mark outside of Virginia radio, and the project was shelved. While the album was heavily bootlegged for years — and mysteriously released on streaming platforms this May — the two brothers were dropped from the label.

"I’m gonna tell you who was disappointed the most," Pusha recounted to XXL. "That was Pharrell. He was like real hyped about working with [established artists] but he’s always been like, ‘Yo, we gotta show them how we do it.’"

Determined to shepherd their career success, Pharrell build up enough cache to establish Star Track Entertainment with Arista Records in 2001. He brought No Malice and Pusha in as the imprint’s first signees and released their debut album, Lord Willin’, on Aug. 20, 2002. 

Boasting guest spots from heavyweights like Jermaine Dupri, Jadakiss, Styles P, Faith Evans, Fabolous and others, Lord Willin is a mesmerizing journey through the Thortons' roots in the Indian Lakes section of Virginia Beach —  an environment that fed their hunger for life’s treasures and fueled their rap careers. 

"It was really about establishing identity, and, like, putting our flag in the ground," Pusha recalled in a 2012 interview with Life +Times. "We basically wanted people to understand and know where we were coming from — no one had ever seen this side of Virginia before. We knew that this music was a bit newer."

The Clipse were outside of what the Neptunes were doing, Pusha continued. "This was at a time when Pharrell was hot, the Neptunes were hot. He was on every hook from Nelly to Mystikal, everybody" and is the first voice on "Grindin'." "The intro…basically set the tone for all of those maneuvers and moves. It was just like, 'This is what we are, we’re different. This is the streets, this is Virginia, this is new, this is risk-taking.' Playas, we ain’t the same. You know."

Led by street anthem "Grindin’" and radio smash "When The Last Time," the album is laced with sooty tales about the duo’s drug-and-gun dealings and the glamorized corruption of their past hustle  ("Virginia"), a lifestyle sown from the pillars of their own family tree. On the LP’s "Intro" No Malice raps, "Scouts honor, started with my grandmama / Who distributed yay she had flown in from the Bahamas."

All 13 tracks are produced by The Neptunes, who were at the peak of their powers and fresh off collaborations with Britney Spears, Jay-Z, Usher and other artists. The Clipse meld their minimalistic and radio-seeking production with the rawness of No Malice and Pusha’s coke-slinging rhymes on "Cot Damn" and "Gangster Lean."

Along with the riches of big-time dealing on "Let’s Talk About It," No Malice offered a sign of empathy on "I’m Not You," rapping, "To feed poison to those who could very well be my kin / But where there’s demand, someone will supply / So I feed them their needs at the same time cry / Yes it pains me to see them need this / All of them lost souls and I’m their Jesus."

The production of Lord Willin’ doesn’t always match the gravity of No Malice and Pusha’s mountainous themes and enthralling anecdotes, with the pop-ish sounds of songs like "Young Boy" muffling the accounts of their upbringing. But by all measures, the Clipse’s debut placed the military town and tourist city on the hip-hop map — a foray that was driven by the duo’s vivid lyrics and the Neptunes’ generally immersive production.

Clipse’s first full-length showing landed at No. 4 on the Billboard 200 and sold 122,000 units in its first week of release. It was certified Gold by the RIAA on Oct. 1, 2002, and sold upwards of 950,000 copies as of December 2009, according to Nielsen Soundscan. In validating its classic status, Rolling Stone also ranked the album No. 12 on its 100 Best Debut Albums of All-Time list. 

Lord Willin’ sparked Clipse’s continued success and popularity. Their 2006 follow-up Hell Hath No Fury is now a classic, while the We Got It 4 Cheap mixtape series with Re-Up Gang members and Philadelphia-based rappers Ab-Liva and Sandman is beloved. But in the years since No Malice and Pusha’s third outing, Til The Casket Drops,in 2009, their musical paths couldn’t have grown more detached.

While Pusha has built a stellar solo career with the same coke raps and command he came to the game with, No Malice found solace in his faith. He distanced himself from the rap industry and altered his former moniker "Malice" on Twitter back in 2012.

"Can you imagine how many people went to jail listening to things that I said? Forget everybody else and other rappers and other groups, think about how many times people got pulled over, went to jail (and) my record playing in the car," No Malice told Vlad TV in 2017. "Think about how many times somebody’s head was blown out, and the theme music is still playing."

The brothers have collaborated sparingly over the years, with the group coming together for Pusha’s "I Pray For You," Kanye’s "Use This Gospel" and on the I Know Nigo! compilation cut "Punch Bowl." Every time the duo reunites, fans clamor for another classic from the group, including King Push, who, admittedly, is just as uncertain as the public. 

"I talked to him this morning and he was like, ‘Yo, I’m hearing what people saying,’ but he’s not committing," the "Diet Coke" rapper told The Breakfast Club in April. "Regardless of whatever perspective he wants to attack it from, me and him are creative enough to definitely make it work. That’s not an issue, it’s just him and what does he want to do."

It's been two decades since the release of Lord Willin', but the album has only appreciated in the years since No Malice and Pusha first put the city of Virginia Beach on their backs. While the older Thorton has squared his focus on his spirituality, and Pusha has forged a path as the "Martin Scorsese of street rap," their contributions will remain linked and their legacies forever immortalized.

– The Recording Academy/GRAMMY.com

Beyoncé’s Biggest Sonic Pivot Yet Finds Inspiration In The Past

From the moment Beyoncé announced her seventh studio album, Renaissance, in June, the Grammy-dominating artist sent the Beyhive into hysteria as the fandom clung to every sign pointing to the project’s new sonic and artistic directions. With the release of lead single “Break My Soul,” Beyoncé strayed away from her signature surprise-LP motif, opting for a standard rollout for the long-awaited project that included an internet-shattering British Vogue spread, mysterious box sets, and an open letter published to her website that detailed the gravity of the new release.

Renaissance is Beyoncé’s first solo album since the cultural and visual landmark Lemonade in 2016 and follows the 40-track compilation Homecoming: The Live Album and the soundtrack record The Lion King: The Gift in 2019. She revealed that the July 29 arrival of Renaissance came after three years of recording during the pandemic, a moment of stillness that she “found to be the most creative.”

“Creating this album allowed me a place to dream and to find escape during a scary time for the world,” she wrote in the letter, which went live the day of the project’s release. “It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom. It was a beautiful journey of exploration.”

Creating this album allowed me a place to dream and to find escape during a scary time for the world.

Beyoncé dedicated the album to her Uncle Jonny, whom she described as her “godmother” and the person who introduced her to the vibrance of dance music and the transcendent spirit of Black and Latinx queer culture that she captures in Renaissance. She also paid homage to the “pioneers who originate culture… the fallen angels whose contributions have gone unrecognized for far too long.” On “Pure/Honey,” Beyoncé samples the hit songs of New York club icons Kevin Aviance (1996’s “Cunty”) and the late Moi Renee (1992’s “Miss Honey”). She also enlists Nigerian superstar Tems, Jamaica-born rapper Beam, and “Slave to the Rhythm” singer Grace Jones, gifting fans with an electrifying step into dance music that roars with an ultra-femme and self-empowering energy.

While fans and critics praise Beyoncé’s spotlight on legendary dance songs and artists, there’s been controversy surrounding writing credits and samples on Renaissance — a reality when honoring the greats of any musical past by including their work. The singer removed an interpolation of Kelis’s 2003 hit “Milkshake” from “Energy” after Kelis posted a series of Instagram videos and comments saying she was unaware the song would be sampled on Renaissance. Beyonce also changed a line on “Heated” to remove a term that’s considered ableist.

The album — which boasts credits from heavy-hitters like The-Dream, Syd, Honey Dijon, Hit-Boy, and others — is lush with dazzling grooves and a liveliness made for the enchanting dance floors of the clubs, ballrooms, and kiki houses to which Beyoncé pays homage in what is only the first act of a forthcoming trilogy. Little is known about the two future albums, but Variety reported one or both will feature country-leaning tracks, and many fans predict a further descent into dance music or a return to her R&B and pop roots.

The momentum surrounding Renaissance was nearly squandered when the album leaked online two days before last Friday’s release, but the Beyhive remained patient, awaiting its official drop, and have since basked in the project’s house, disco, Afrobeat, electronic, and techno-driven sounds.

Had to re listen to Beyoncé Renaissance…From the Album title i expected a project w/ in-depth story telling though it’s only act i of a trilogy & w/ great assumption she giving a play theme,so act ii should be story/climax & act iii would be the resolution. https://t.co/zRAvUDM2F4

— SaintRoyll⚜️ (@SaintRayon) July 31, 2022

Renaissance is Beyoncé’s first full venture into dance music and arguably the biggest sonic pivot she’s taken in her career. Inspired by the legacies of disco queens Donna Summer, Robin S., and Teena Marie, Beyoncé conjures hip-swinging tracks like “Cozy,” “Virgo’s Groove,” and “Move.” She pierces the sharp riffs and sensual euphony of “Plastic off the Sofa” with ballad-level vocals.

While the creative direction of Renaissance seems novel for Queen Bey, a few songs in her catalog may have hinted at the eventual artistic shift. They aren’t as bold as her recent effort, but “Blow” and “Haunted” from her 2013 eponymous album have inklings of dance and techno tucked in the background. Featuring production and writing credits from Pharrell Williams, Timbaland, J-Roc, James Fauntleroy, and Justin Timberlake, “Blow” is emblazoned with a funk and disco flare later heard on the new album’s “Summer Renaissance” and “Cuff It.” “Blow” even managed to peak at No. 1 on the U.S. Hot Dance Club Songs chart in 2014.

The songwriter behind “Haunted,” New York musician Boots, said the song was partly inspired by the music of Aphex Twin, who’s known for his ambient and techno styles. The song has a largely minimalistic composition, but its more upbeat moments hint at an atmospheric and darkened electronic sound later explored on the pulsating and thudding “Heated.”

There are other parallels to dance music within Bey’s oeuvre before Renaissance, like the techno-inspired “Radio” and “Naughty Girl,” which interpolated Summer’s 1975 classic “Love to Love You Baby.” Those records illuminated what was to come from the artist, and the direction of Renaissance is in line with the 28-time Grammy winner’s desire to explore exciting new creative passages.

With Beyoncé and Lemonade, the Houston-born singer-songwriter inspired other artists to seek new visual bounds and abandon the age-old album rollout for the wonderment of a surprise drop. She centered her music and 2018 performance at Coachella, later dubbed “Beychella” by fans, on the culture of historically Black colleges and universities, incorporating a marching band, J-setting choreography, and a step show.

Before then, Bey and her hubby, Jay-Z, released the collaborative album Everything Is Love in 2018, with the duo clearing out the Louvre in Paris to film the music video for lead single “Apeshit.” Beyoncé later followed that up with The Lion King: The Gift as well as the 2020 musical film and visual album Black Is King, which saw her step into the world of Afrobeats with “Find Your Way Back,” “Already,” and the Saint Jhn, WizKid, and Blue Ivy-assisted “Brown Skin Girl.”

In all its glory, Renaissance stands on its own as an alluringly fresh artistic dive for the legendary pop star, and its projected (and unsurprising) success is a testament to how well she’s maneuvered creatively. The album is expected to take the No. 1 Billboard spot in its first week. The new dance-forward release has further cemented Beyoncé’s place as an international fixture and luminary artist, and with two other installments reportedly in the works, there may be more achievements to come.

– MTV News

We’ve Got A File On You: Wiz Khalifa

Since dropping his multi-platinum selling album Rolling Papers in 2011, Wiz Khalifa has been one of the industry’s most influential and consistent hip-hop artists. The Pittsburgh product has dropped projects nearly every year since 2006, and in that time, has leveraged his genre-fluid sound and magnetic personality to reach the pantheons of rap superstardom.   

Before his career skyrocketed with “Black and Yellow” and “Roll Up,” the rapper, born Cameron Thomaz, was a freshly unsigned artist in 2008 who was forced to take his career into his own hands after a short stint at Warner Bros. Records. He shifted his focus, dropping mixtapes like Deal Or No Deal and the wake-n-bake classic Kush & Orange Juice as “albums” and building his fan base online by uploading YouTube clips of him freestyling, smoking pot and performing on stage.  

From there, Young Khalifa drew in millions of fans with his infectious laugh and genre-hopping hits like “The Thrill,” “We Dem Boyz,” “Work Hard, Play Hard” and other records, eventually elevating him to international heights. Along with his music success, the “Bake Sale” artist has taken up acting roles in the Apple TV+ series Dickinson, FOX’s animated comedy show Duncanville and the upcoming film Spinning Gold, where he plays George Clinton in the biopic about Casablanca Records head Neil Bogart. 

Even as he’s evolved as an entertainer and businessman with Khalifa Kush and Mistercap, Wiz has continued to crank out projects with long-time collaborators and Taylor Gang affiliates Cardo and Sledgren on Wiz Got Wings and this year’s Stoner’s Night with Juicy J. In adding to his legacy, Wiz is set to release Multiverse on Friday, his third project of 2022 and his first full-length album in four years. 

On the new album, the 34-year-old artist teamed up with producers Hitmaka, Scott Storch and others, crafting a project that pulls you into a cosmic and ethereal music experience. Singles like “Bad A** B*tches,” and “Iced Out Necklace” showcase Wiz’s usual knack for club and trap hymns, while “Memory Lane” delves into the artist’s often understated degree of introspection. 

For Multiverse, Wiz was driven to bring his creative ideas to life and make the best music possible – and to have fun doing it. Ahead of the album’s arrival, we chopped it up with Wiz over the phone to talk about the inspiration behind Multiverse, some of his biggest musical moments, funniest soundbites and a few weed-tales along the way. 

Multiverse and Vinyl Verse (2022)

STEREOGUM: What was the idea going into the new album and how was the creative flow this go around?

WIZ KHALIFA: “It was to make the best music possible and to have fun and try to come up with something I haven’t done before, but (also) to really get ideas out that I’ve been having for a minute.  The album kind of took shape on its own with me just trying to create different moments for myself, whether it be a fun and upbeat moment like “Iced Out Necklace” or club moment like “Bad A** B*tches” or, you know, more serious or soulful moments or segues into things that lyrically I can do. But musically it’s really cool and it kind of takes you on a journey. That was the idea behind it, just to make something that gives people a chance to sit down and really enjoy some sh*t.”

STEREOGUM: You worked with Hitmaka a good deal on this project. How did the creative process differ from your past projects?

WK: We’ve made songs like “Something New” and “Letterman” and a couple of singles, but we haven’t really had a chance to go in and make our own style of how we collaborate. That’s my main thing, I love working with talented people and I love developing our own pattern and our own formula, and that’s what I feel like we had a chance to do on this one. We set aside songs that might work for other people or might be cool for other people, but make them really cater them to me and how I work sonically and the vision I want to get out there. I don’t think we’ve had a chance to do that until the work that we did on this album.

STEREOGUM: The idea of “Wizzlemania” has really been built around this album. Tell me, what’s a moment in “Wizzlemania” look or feel like?

WK: “Wizzlemania” is when the whole world understands what’s going on in my mind, and it comes out in different forms. It reminds you of what a high-caliber artist looks like and what you want to expect from yourself or the work you see from other people. It just redefines what that greatness (is). It redefines style, it redefines fun and it redefines freedom. A lot of people find themselves through Wizzlemania, and it's a fun time the entire time for everybody.

STEREOGUM: How do you feel the new album will add to your legacy as an artist?

WK: As an artist, it shows a lot of growth and things that people might know about me or might not (know). It gives me an opportunity to touch on a lot of different subjects and talk about things in different ways, but still get the same respect or reaction. And it shows a lot of freedom as far as taking risks, designing things the way I see them fit, and also not going straight towards a trend or what they see as popular, but to create something else and give people the option to dive into it.

STEREOGUM: Along with the new album, you and Logic are set to co-headline the summer tour, Vinyl Verse. Many don’t know this, but you didn’t actually meet Logic in person until recently. How was that experience and what made you decide to go on tour together?

WK: It was good to meet him finally in person. He’s super cool online and with the music and stuff like that, so any interaction that I had with him is dope. But it’s not very normal to have multi-platinum selling songs with somebody and never meet them, but that’s the reason it makes sense to go on tour. Clearly, our fan bases really support each other hand in hand, whether it's records, making the numbers do what they do or even just the message. 

It’s good to just have that common ground, and with me and him, we’re both at that point where we’re used to what we’ve done for the game. But we’re bringing it to the next level and opening everything up for people to do things great in the next 10 or 15 years. So, if that takes us finally coming together and hitting that stage, then that’s what we’re ready to do.

The 10 year anniversary of Rolling Papers (2021)

STEREOGUM: A large portion of your fan base looks back to Rolling Papers as your magnum opus. Many of them were first introduced to you through that project and it clearly had a big impact on your career. With you just a year removed from celebrating its 10-year anniversary, could you tell me what that album means to you?

WK: It’s a really special album for me. I had my first No. 1 on that album, and I think it was before streaming had come into play, so I’m pretty sure there’s a plaque in one of my rooms that had four or five of the first singles that I dropped on that album that all went multi-platinum like instantly. For me, it was like, “Damn, alright. I guess we’re doing big things.”’ It kind of solidified me as one of those guys who is going to do bigger things in this game than just come in and make a song and go away. It kind of put me up there in my own (mind) and my expectations were huge.  

You mess with Wiz and you get this certain type of look that goes with it, and it helped turn me into an international artist as well. I did a lot of collabs at the time and features that gave me an opportunity to show my skill, compete on a high level and gain that fan base, too. It definitely opened up a lot for me, and I put in a lot of work all the way up to that point just with mixtapes, being on the road and building the brand of Taylor Gang. So, it was perfect timing. I felt like I was ready to carry that on as opposed to it just hitting me and then having to catch up to it. I was already there mentally.

“See You Again” (2015)

STEREOGUM: Based on YouTube views, streaming numbers and other metrics, “See You Again” is your biggest song to date. Looking back, how big of an impact do you feel that song has had on your career?

WK: That song made me out of this world. Up until that point, I was a regular human being, but then people were looking at me like a “thing.” The amount of weeks that it spent at No. 1, I think it was like 13 or 14 weeks as the No. 1 record, almost broke history but it’s tied. And then it being one of the most streamed songs on YouTube, I think it fluctuates as the most viewed song ever. You don’t f*cking wake up and be like, “Yo, I’m going to have the most viewed song ever in the world,” but it happened to me. 

I’m super thankful and grateful for it and the message behind it is one that’s timeless. It helps people get over loss, or helps people heal or helps you grieve or whatever. Unfortunately, those situations go on all the time, but to have a song that touches you in that moment and to be the writer of that song that touches you is a really big privilege.

STEREOGUM: Was it “See You Again” or another song that really gave you that reassurance that you can really move and operate in various musical lanes and still make a major record?

WK:  Yes, that was always my goal and approach with music. Whether people saw it or not, I wanted to show how multifaceted I am. To display that was always the point where people, I don’t want to say still don’t get, but it’s not as obvious to them as it is for me that I’m not just a rapper. Songs like “See You Again” help that and there are plenty of other moments on different albums that I have where I show that. 

It’s songs like “The Thrill,” one of my classic flips of a song that was already out, that show that I’m able to mix and mingle and blend in and out of different genres. That’s something I’ve always showed throughout my whole career. It’s something that I'm happy and super proud to be able to do and still be authentic and be looked at as somebody who makes great music, and not just in one pocket or style of music, I can exist all over the place.

STEREOGUM: On “See You Again,” it features singer-songwriter Charlie Puth. Do you have any interesting stories about interacting with him? He seems like a really interesting guy.

WK: Yes, he’s a cool dude. I don’t want to ruin his image or anything like that, but I just remember getting him really stoned.  We were practicing “See You Again” and I was drinking lemonade with weed-infused in it, and he f*cking loved it. He’s really talented on the piano and coming up with grooves. And this fool got high and just came up with the smoothest little groove about the weed, and I was like, “Man, you need to smoke more.” Those were some fun times of him just being like real innocent and cool, but also open to the experience. That’s what I always remember.

Mac and Devin Go to High School (2012)

STEREOGUM: How was the filming experience?

WK: That was crazy because I literally just moved out to LA like a week before we started shooting, and (Snoop Dogg) was so attached to me like, “We need to shoot a movie, we need to do this and do that,” and we literally hit the ground running. The way that Mac and Devin developed their relationship in the movie was really how me and Snoop developed our relationship in real life. I was getting to know him as a person on set. 

Every day I was hanging out with his kid, we were recording the album afterward so we would film all day and then we would go to the house and record all night. I was learning his patterns, how to communicate with him and what to expect and what not to expect. It was kind of fun to start off kind of nervous and then by the middle and end of the movie, I didn’t feel like I could do anything wrong. I felt like I really knew him. 

What stuck out to me was just how caring and generous Snoop is. Me being there for the first time, I didn’t know what to expect but he was really hands-on and made sure my costume looked good and my lines matched me and who I was trying to portray. I hadn’t really dealt with that from somebody who was really in the game. I was more used to people being standoff-ish and not really trying to help other than to embarrass, but I saw that he genuinely cared about seeing me look good in the movie, too. 

That sh*t really f*cked me up. I’m like, “Damn, Snoop wants to make sure I look good, too.” So, that was a major thing I picked up from that was how nice and how genuine he is and how good he treats people, whether it’s the cameraman, the lady bringing the water or the person holding the script. Every person has a role, and they all need to feel good while they’re doing that role.

STEREOGUM: With you talking about how genuine and kind Snoop was, did you learn how to navigate in the industry as a rapper from him? I heard you talk about in past interviews how you don’t like how some rappers can be arrogant or dismissive toward non-celebrities in certain moments.  

WK: Definitely because of him. It’s hard not to learn how to make people feel good from Snoop. I’m genuinely a nice person, so it would be more difficult for me to be an a**hole than it would for me to be straight-up kind. I’m naturally like that, but when I met Snoop, I look up to the n*gga so much and he’s so much richer and so much cooler than everybody who acts like an a**hole and he’s not an a**hole. So, that’s not who you have to be. Sometimes you might think just because of people’s reactions or whatever happens like, “Ok, I got to be like that because I’m in this position.” But he let me know to be rich, famous, cool and a real inspiration, you don’t have to be an a**hole, you got to be a nice guy. That reassured me that if Snoop is that cool then everybody should be that cool. He set the bar. 

The “buff Wiz” pic (2018)

STEREOGUM: You’ve talked about how going viral is like an art for you. When you posted the picture of you shirtless with boxing gloves on, did you know it would blow up the way it did?

WK: Yes, it was strategic. People love a good magic trick, and for me to have a regular body to just popping up looking buff as hell, that gets a lot of attention. And it got to be shot right. I was in Miami and I had just trained at the ​​Fontainebleau, like outside the hotel, and you know how Miami is, it kind of rains like every five minutes and sh*t, so it was just a good scene.

It felt like we were filming a movie, so I’m going to go ahead and invite people to it. I hadn’t been really showing too much of my private life. Like, people knew I was in the gym or whatever, but they hadn’t seen the full progress of it. It’s just all about timing. I know my path isn’t so oversaturated to be meaningful, so if I can give you some meaningful content, it’s going to go far. You know what I mean? I think that’s what people can get from me.

They know it means something. I’m not just doing it literally for (Instagram), but the gram loves it or whatever platform that I choose to use. I use it with intent, and that’s the way I feel like I’ve navigated throughout my career.

ATL Freestyle (2008)

STEREOGUM: After your record deal with Warner Bros. ended, I heard you talk about how pivotal of a time 2008 was in your career. At that time, you went back to Pittsburgh and began focusing on showcasing your music and personality on the Internet. What inspired that move and what was the early reception like?

WK: The inspiration was that I was signed to Warner Bros in 2007, and by 2008, I didn’t have a record deal anymore. But I learned from being signed over there. Things were a lot different back then. The way they worked radio back then was different, the way they broke a new artist was totally different, everything was structured totally different. So, at that time, they had these things called a flip cam and they really didn’t know what to do with the camera. They were just like, “We’re giving these to every artist and we’re having them document their day,” or whatever. And I’m seeing what the artists are doing and I’m like, “That’s terrible” and “That looks stupid.” 

So, I’m like, “Give me a flip cam” and they’re like, “No, you got to be a certain tier of an artist,” and I’m like, “Oh, really? That’s cool.” But I looked the camera up on my computer at the time, and I found out you could buy the camera at Best Buy – it was like $60. I went and bought the camera and then I was like, “Cool. What’s the platform I can upload these videos on?”. I didn’t know where else to put them, so I made my YouTube channel and that’s how it all happened. 

I bought the camera and the (ATL Freestyle) was literally the first video I recorded and I uploaded. I gave it just a generic name, but I knew that’s where I wanted to build from – doing freestyles, me in the studio, b-roll of me smoking weed, me in the car with the homies, us doing shows. I knew that was my lane as far as content and what I wanted to show the people. And that was just me doing my research and kind of being sensitive to what the labels were trying to do but, in my mind, I really knew how to do the sh*t and take it over and do it my way.

STEREOGUM: Was there ever a video you recorded that made you think, “There’s no way we can drop this on YouTube”?

WK: There’s definitely some footage that I didn’t put out, but I edited everything. I uploaded all the stuff to my computer and then I would chop it up based on what I wanted and what I thought was cool and what I was promoting at the time. A lot of times I was promoting a mixtape or something like that, so I’m playing the songs behind (the video) and then I got a sidekick and started having fans hit me up on the email on there. So it was direct contact with the fans and that was like a whole other vibe as well. 

I was able to just make videos, talk to (fans) through the videos and through email as well. It was a real interactive thing, but I was in control of all the content all the way up until I started buying bigger cameras and getting different cameramen involved to get the same effect. But I can’t even say there was a lot of stuff that didn’t make it. 

When I woke up during the day, I knew what I was going to film to make an episode just so I didn’t get a bunch of bullsh*t, and then I knew what I want to give people too because I know the last video I did. So, I was already mapping it out in my head, and by the end of the day, I had checked everything off and I was able to dump it and create the episode.  

The Breakfast Club interview (2018)

STEREOGUM: Wiz, I think you started something behind The Breakfast Club interview you did back in 2018. You said men have to break their bananas in half before they eat them or their “sus.” I think you were ahead of the “no glizzy” eating wave before it got started. 

WK: Yo, that was wild. Even with the shorts, they talk about “hoochie daddy shorts” and all that sh*t, but who was getting ridiculed for wearing short shorts? Like, come on now. And now it’s a style trend; you embrace that for the whole summer. N*ggas wear short shorts proudly, but I’m cool with that because as proud as I am, I want everybody to be proud. But at the end of the day, it takes somebody standing up and not being afraid to be themselves.

Conan smoke session (2016)

STEREOGUM: Another viral moment: You let Conan hit the weed and got him higher than he’s probably ever been. How did that come about?

WK: That was wild. I didn’t even think he was going to hit the weed to be honest. We were kind of just chilling backstage. I thought I was just going to go there to go on the show … but I got him pretty f*cked up.

STEREOGUM: At this point and even earlier, the world kind of placed you in this “approachable, weed-smoking rapper” lane. Was there a moment you thought “I need to be that kind of artist” or was it a lane that you naturally fit within?

WK: It takes a lot of programming for people because they’re used to their thoughts about how it affects people or what their job is or whatever. And through me and through time, I was able to prove that all of (people’s) reservations about weed weren’t really true. And when professionals see me come in and handle myself, I speak really well and I’m really personable. They give me a script to read or something like that, I knock it out. I’m just really knowledgeable about my job and how to do it, and they see me functioning off pot and it just makes everybody so much happier.

It’s definitely a blessing and it’s definitely a privilege. It’s something that I use to my advantage because them seeing me as free and as open as I am, it kind of opens their mind up to the ways it can be used and that you don’t really have to judge or put that same stigma on everybody that smokes pot. There are some people who abuse the privilege, and there are some people who don’t act correctly when it comes to pot bringing everybody together. And them knowing that my motives are pure and genuine, you might f*ck around and have a good a** time hanging around me and it just brings it all together.

STEREOGUM: You’ve recently dove head first into the mushroom and psychedelic industry with Mistercap. What was the shroom experience that changed your perception of the drug and inspired you to get into the business?

WK: I’ve always done my own research with psychedelics. I never knew it was going to be as popular as it is now, but with seeing the shift and how people’s minds change, it’s opening a lot of people up to the possibilities of what they can do. It’s something that’s still developing, and with all the business, medicine and mental health research, we’re going to keep finding new things about it. And the thing about weed and mushrooms is we’re all finding out better and better stuff. I’m just giving it time and just letting it all develop. And like I said, as people’s experiences with it change, there’s not going to be anything that people could tell them that would make them feel that it might not be the right thing or it might not be good for them. It’s just a matter of getting to that point and I’m just being really patient and just distant in the space while it’s here. I’m here to help people have those experiences with it.

STEREOGUM: You posted a video of you blowing smoke from a “canagun” in his cousin’s face, but how would you engineer a mushroom gun? I like the name “mushgun.”

WK: I like a shroom-ray. I feel like mushrooms can be absorbed through skin somehow, so whatever is going to do it, we’re going to make it absorb through your skin with the shroom-ray.

“Spinning Gold” (TBA)

STEREOGUM: You were cast as George Clinton for the upcoming “Spinning Gold.” How did that role come to fruition and what was filming like?

WK: It was cool as hell doing that. I always take the opportunity to learn, read the room and see how a real production comes together. All the actors are great, all the comedians are great and the writing is amazing. The costumes are crazy. I pick up on all that sh*t by just having the (costume) fitting and having them come over to show me what the mood board was for my character and their friends actually go on set because I love getting dressed. So, to be able to dress in some funky sh*t and act a little bit crazy and do what I do is a really good opportunity. And I’m always there to learn, as well as execute and perform. 

The thing about acting is that people don’t give a f*ck if you’re a rapper, a musician or popular in your field, you have to come there on time and do your job. And you got to stay there the amount of time that everybody’s there and you really got to work. Nothing is really handed or given, and it’s just different but it’s super fun. And I like being on that end, as well as being a superstar in rap. But I like to build, I like to grow and that’s part of my growth.

Ken Car$on and other artists (2022)

STEREOGUM: You mentioned in a past interview how you really rock with rapper Ken Car$on. , What other artists are you excited about?

WK: For me, if I come across your album or mixtape, I’m going to f*ck with you if I can listen to the whole project. I like everybody who’s popular. Just some of the clips I hear on IG, like there’s n*ggas from Chicago, there’s n*ggas from New York, there’s n*ggas from Florida, there’s n*ggas from the A, there’s n*ggas from Detroit, there’s n*ggas from The Bay, there’s so many n*ggas, right?  Hella of them. But for me, I’d say since the year started, I’ve really been in my own world and I’ve just been listening to things that inspire the type of music I’m going to make. It’s hard to tune everything out, but that’s just where I’m at.

STEREOGUM: I heard you mention you don’t like criticizing younger rap stars looking to ascend in their careers. Why is that?

WK: I feel like art is up for interpretation, so if I have an opinion on something that doesn’t mean that I’m right or wrong, that’s just my own personal opinion. To criticize somebody to what I think is right or wrong, for me, I just don’t even have that right to do that because a lot of these kids are going to have huge fan bases. They’re going to sell millions of records. They’re going to sell millions of tickets to shows regardless of what me or any other individual might think would be better or worse for them. It’s not really my place to say what’s good or bad, it’s my place to nurture and do what’s right or wrong. I’m more about behavior and how you treat people than what you actually do.

– Stereogum

A Requiem For Hip-Hop’s “Clout Era”

Think back to 2017, a time when rap’s hyper-punk and vibrantly rugged sound emerged from the deep pantheons of SoundCloud and YouTube’s outer rim. Artists like Lil Pump, Playboi Carti, Lil Yachty, and others arose from the cracks and introduced a new pyro-trap and emo-rap wave that set the internet ablaze.

The endless sorrow of XXXTentacion’s “SAD!” and the zaniness of Lil Pump’s “Gucci Gang” helped popularize a sound once perched in rap’s subterrane, which paved the way for other purple-haired and tattoo-faced stars like Juice WRLD, Lil Xan, Tekashi69, and Trippie Redd to enter the genre’s newest musical locus. With their arrival, a new legion of artists rolled in with microwaveable hits that fed Internet drifters and school-aged Gen-Z’ers in search of an artist that emanates today’s rebellion. They found it in the mumbled lyrics, off-key melodics, and piercing chants of the era’s rappers and trap crooners, who floated over pulsating beats and lo-fi mixes. The music was undeniably of the now, and the artists’ celebrity grew as their sound and antics on social media became more outlandish.

By the time this music found a mainstream profile under the banner of “SoundCloud rap,” we were nearing the end of what podcasters DJ Akademiks and Adam22 recently defined as the “clout era,” a period that saw artists with limited musical talent, maybe one or two mild SoundCloud hits, and a flair for virality thrust into the industry spotlight. As they dove deeper into drug-induced stunts, dubious pranks, and the highest acts of troll-ery, these artists landed high-profile record deals and gained millions of fans and social media followers by drawing onlookers into their wild lives outside of music. But as declared on the Off The Record podcast last month, the clout era died just as quickly as it was born, leaving many artists in musical purgatory and the dens of Internet culture’s past.

What distinguished this era from rap’s fleeting successes and one-hit wonders of the past was its emphasis on outrageous online behavior. Although there were some genuine innovators among the bunch, this was a time defined by minimal musical talents whose drug-induced rants, contentious interview moments, and brainless claims (yes, Kid Buu still thinks he’s a clone) fueled their celebrity and budding rap careers. While the lives of street artists like YoungBoy Never Broke Again, Kodak Black, and others were the subject of countless YouTube videos and mooted Twitter threads, the quality of their music was the catalyst of their success. But for many artists of the clout era, their talents simply paled in comparison, forcing them to depend on their wild escapades. And although TikTok has introduced the world to artists like the Boyboy West Coast, iLOVEFRiDAY and even two-time Grammy winner Lil Nas X via the mega-hit “Old Town Road,” much of their early success and virality came from the millions of TikTok users and fans who used clips of their songs for their own videos. As those vids blew up online, more people were drawn to the artists’ music and personas, a process that differs vastly from what young artists were doing in the mid-to-late 2010s.

At the height of the clout era, an artist’s lifeline was dependent on their next viral moment. When their music fell on deaf ears, they leaned on videos of them getting kicked out of hotels, calling out their supposed “opps,” and detailing their life’s wildest moments on Vlad TV interviews. For a time, that landed them at the top of blog feeds and in the minds of hip-hop fans. But after Tekashi69 – the industry’s top clout-baiter at the time – landed in jail in November 2018, DJ Akademiks says the era as we knew it was finished: “I’ve never seen an era just be like — it’s not even a ushering out period, that shit is just corny. You can’t imagine anybody doing what [Lil Pump] was doing and what all these guys that got super-viral were doing back then … that shit is a dub.”

The influence of the clout era began to wane after the passing of XXXTentacion, Lil Peep, and Juice WRLD, genuine innovators who were rising cultural figures at the time of their passing. Losing many of the scene’s biggest stars stripped the era of much of its allure and exposed the dangerously drug-fueled lifestyles often tied to its music, which ultimately led to Peep and Juice WRLD’s fall. The decline was compounded by the rise of Brooklyn and New York drill, with artists like Pop Smoke, Fivio Foreign, Sheff G, 22Gz, and others flipping the hip-hop soundscape on its axis. Pop Smoke’s “Welcome To The Party” and Fivio Foregin’s “Big Drip” marked the sonic shift toward slower beats and a darker, grittier, more realist aesthetic, a movement that eventually forced clout-era artists out the industry door.

Meanwhile, a new generation of SoundCloud rappers began to emerge, with artists like Ken Car$on, SSGKobe, Yeat, BabySantana, SoFaygo and others adopting a similar aesthetic and rip-roaring rebellious sound, but without the same exploits of the clout era. After seeing how the careers of those artists came and went, the new brigade of underground rappers is steering clear of their stunts and focusing on the music: “One of the main reasons why Lil Pump was so big was because of his antics,” artist Midwxst told Complex in a recent overview of the scene’s new wave. “But sometimes you have to learn, OK, you shouldn’t make your whole persona based around these things.” SSGKobe added, “I definitely feel like there’s less gimmicks now. I feel like a lot more people are genuine in this underground scene. They’re more true to themselves than trying to fit in.”

Where does that leave the original clout-era products? As their initial hits and viral moments came to pass, several of those rappers failed to make major splashes on Billboard or regain the momentum they had at the peak of their powers. With their fading celebrity, many have stopped making music completely or have done so inconsistently over the last few years. While artists like Lil Xan fell to the background due to concerns with his physical and mental health, others like Ugly God stopped releasing music for reasons still unknown to fans. The “Water” artist, known for his salacious lyrics and brash attitude, hasn’t released another project since 2019’s Bumps & Bruises. In response to the YouTube clip from the Off The Record podcast, which had Ugly God and six other artists on the video’s thumbnail, the Indiana-born artist made a tweet out to Akademiks and asked him to stop grouping him with the other artists of the clout era.

While artists Lil Pump and Smokepurrp have maintained their activity, their profiles have dwindled consistently throughout the years. Between the two artists, Purrp recently went viral for performing in front of a nearly empty crowd in Pontiac, Michigan for his We Outside Tour. The Florida rapper dismissed the video, writing in an Instagram tour recap, “Tour been lit DONT BELIEVE THE HYPE, I love what I do and ima give my fans a show regardless, I bet they won’t post this tho.. WE OUTSIDE!¡”

Along with the encouragement of drug use, the era was built on viral-chasing raiders like Tekashi69 who brought the tactics of online sensationalism to the streets. He blended the two worlds, but after countless videos of the “STOOPID” artist goading his enemies and taunting authorities on social media, his antics finally caught up with him and he landed in jail for firearms and racketeering charges in 2018. But even after his release in April 2020, despite Billboard. 6ix9ine’s last project, TattleTales, fell massively short of expectations. The 2020 album was projected to sell over 100,000 equivalent album units in its first week, but it only earned roughly half that. He’s barely been heard from since, though he’s apparently still got enough juice to get recent single “Giné” into the lower reaches of the Hot 100.

There are other artists who are wedged in a space of complacency, as they either haven’t fallen off musically or haven’t left the minds of hip-hop fans. Names like Lil Yachty come to mind; he semi-successfully rebranded as a Michigan rapper and is still being tapped for interviews and to perform at major festivals like this year’s Rolling Loud. Artists like Doja Cat, Trippie Redd, and Playboi Carti have further ascended from the bounds of the clout era by continuing to pen Billboard-topping hits and maintaining the intrigue they first held as new acts. After declaring her cow status on the forgotten viral hit “MOOO!,” Doja Cat has become one of today’s biggest pop stars, and even nabbed a Grammy this year for the SZA-assisted “Kiss Me More.” While Trippie Redd and Playboi Carti haven’t reached the heights of Doja, the two artists have broadened their fanbases and expanded their catalogs and now sit near the top of a short list of still-relevant clout era alumni.

To continue leveraging their stardom, other artists have redefined themselves or pivoted completely to other career paths. Viral sensation-ista Bhad Bhabie first graced TV screens in 2016 during an appearance on Dr. Phil. The “Gucci Flip Flops” rapper parlayed her “Cash me outside” moment into a music career and signed with Atlantic Records in 2017. But after the music label dropped the then 18-year-old in 2021, Bhad Bhabie shifted to OnlyFans content, and in April posted receipts showing earnings of $52 million on the subscription service. While he still makes waves as an artist, clout-era alumnus Blueface has branched out into the reality TV world with Blue Girls Club TV, with the YouTube series placing the Los Angeles-born artist among the list of most-talked-about artists on social media and blogs like The Shade Room.

The best days of the clout era are long gone. Fans will never have a chance to see how generational talents like XXXTentacion, Juice WRLD, and Lil Peep would have fared in today’s soundscape, or if they would have kept the prior era alive, but their music has inspired other young artists to reach their career heights and to do it their own way. As for those still living, who remain young enough to theoretically recapture the musical and cultural force they once had: Can the likes of Lil Pump, Ugly God, and Lil Xan ever hope to thrive outside the ecosystem that launched them? If not, they can at least look forward to the SoundCloud rap package tours that will surely be popping up 10-15 years from now because nostalgia is the most potent clout of all.

— Stereogum

Charting Drake's Unforgettable Path To 'Honestly, Nevermind'

Just hours after its announcement, Drake released the surprise album Honestly, Nevermind on June 17. The dance and house-inspired record, his seventh studio effort, further proves the pop icon's transcendent abilities and his willingness to extend his artistry to its furthest limits.

On the 14-track project, Drake casts his boisterous rap persona aside and flows over the reverberating sounds and soothing piano keys of South African house and American club music. Collaborators Black Coffee, Noah "40" Shebib and Gordo (formerly Carnage) steer the Toronto rapper and singer on a course of creative free flow, allowing his wistful lyrics and airy vocals to shine on "A Keeper," and "Falling Back."

Despite his stature — and ability to seemingly shift the course of hip-hop and pop at will — Drake has never dedicated an entire project to embark on a new musical pathway. But after being the face of mainstream hip-hop and pop for over a decade, there was no better time to delve into a state of experimentation. Enter, Honestly, Nevermind.

From hip-hop love ballads to strip club anthems and Afro-Caribbean tunes, the four-time GRAMMY winner is responsible for some of the era’s greatest hits. Whether melding melodic bridges and hooks with rap, or dabbling in Afrobeats and British grime, Drake has morphed the pop music soundscape to his liking without compromising his creative intuition — a habit that sprouted the moment he gleamed under the industry spotlight. 

Drake came into the spotlight at an auspicious time, when hip-hop heavyweights like Jay Z, Eminem, Kanye West, Rick Ross and his mentor Lil Wayne sat atop the hip-hop leaderboard and an intense auto-tune phase met its end. Drake's  2009  debut EP, So Far Gone, shook the world by fusing the timbre of slow-grind R&B with the spirit of braggadocious rap.

The EP’s break-out single, "Best I Ever Had," peaked at No. 2 on the Billboard Hot 100 and garnered his first of many GRAMMY nominations — one for Best Rap Song and Best Rap Solo Performance. The "Nice For What" artist had officially created a distinct sound that elevated him to early superstardom.

Drake wasn’t the first artist to sing and rap on his songs, but in an interview with the Jewish Chronicle in 2012, he declared himself the first person to do it at a high level. "There were people who incorporated melody before me, but I would deem myself the first person to successfully rap and sing."

Backed by the Young Money Entertainment hype machine, Drizzy continued his success in 2010 with his first studio album, Thank Me Later. The project boasted concert-ready hits like "Over" and "Fancy," and threaded moments of soul-stirring emotion and honesty on "Fireworks" and "Shut It Down." With its commercial and critical success, the great Canadian hope fulfilled the colossal expectations set upon his shoulders.

Off the heels of his debut project, Drake endeared rap fans with his vulnerability. But this was a pocket he had to carve out for himself and fend against the "soft rapper" label that loomed over his early career. 

"I wish that we lived in a time and a generation where people would stop viewing my honesty as overly emotional," Drake told GQ in 2011 ahead of the release of his second album, Take Care. "People always act like I spend my life crying in a dark room. I don’t, I’m good. I’m a man. I want to be remembered as an artist that gave you a piece of me, as opposed to some surface bulls<em></em>*t. I don’t think people realize that we die, we leave here, and either they forget about you or remember you. And how they remember you is up to you. I just want to be remembered as a poet that was open and honest because I wake up every morning and I’m me." 

But instead of disrupting his accent, the vulnerable Take Care earned Drake his first GRAMMY Award for Best Rap Album and cemented his name among hip-hop’s elite with "Headlines," "Marvins Room" and "The Motto." While Thank Me Later was a respectful debut, Drake felt the latter project offered a firmer grip on his artistry and was a better reflection of the culture of his hometown.

"I came back home and reconnected with my friends… and just realized that we have a true opportunity to again establish ourselves separately from everybody else," Drake said in a sit-down with Elliot Wilson and B.Dot of Rap Radar in 2019. "So, that was when we were truly hellbent on we’re going to have our sound, that sounds like our city, and it’s going to be dark and it’s going to be moody and it’s going to sound like how cold it feels outside."

From his debut Thank Me Later to Nothing Was The Same, Drake reconfigured the limits of rap. His work continued to expand the genre to the outer banks of R&B — paving the way for other rapper-singers like Tory Lanez, Post Malone and the late Juice WRLD.

But it wasn’t until 2016’s Views that Drake veered from his signature sound and began exploring yet another genre. The seeds of "AfroDrake" were sown on album standouts "Controlla," "Too Good" and "One Dance," (his first No. 1 record), further inspiring other artists to delve into the Afrobeats, reggae and dancehall lane.

Drake’s fascination with Afrobeats and dancehall continued on the sonic mishmash More Life in 2017, where songs like "Blem" and "Madiba Riddim." Perhaps a prelude to the sounds of Honestly, Nevermind, the then 30-year-old artist also ventured into UK drill with "Gyalchester" and the Giggs-assisted "KMT" on the project, and made room for British grime maven Skepta to shine on "Skepta Interlude."

Drake has traversed between varying sounds throughout his discography, flirting with house and dance as early as 2011 with the Rihanna-assisted "Take Care." The artist later delved into synth-soaked house cuts on 2013’s "Hold On, We're Going Home," foreshadowing a shift to 100-BPM electro tunes.

As Drake has ascended to icon status in the past 13 years, he’s continued to experiment with various sounds and musical subcultures, reshaping them to fit his own musical taste. But accusations of cultural appropriation began to swirl with the release of the UK funk and dancehall smash "Once Dance," despite the song featuring Afrobeat artist Wizkid, one of the biggest names in the genre.

Drake dismissed the claims in a 2019 interview with Rap Radar.

"The definition of appropriating a culture is not supporting that culture, doing songs with people who are deeply rooted in that culture, giving opportunity to people who are in that culture, that’s not appropriating," he said. "Any time I embark on one of those journeys, I ensure that I'm not only paying all due respect verbally but like I make a point to give opportunity to people that I respect."

Following the success of More Life, Drake's 2018 effort, Scorpion, was a further declaration of his genre-hopping prowess. Songs like the stadium-filling "God’s Plan," sorrowful "Jaded," and the eerily soothing Michael Jackson collab on "Don’t Matter To Me” evenly split the double-sided album into R&B and rap tracks.

Between the 2020 mixtape Dark Lane Demo Tapes and his 2021 studio album Certified Lover Boy, Drake continued to exercise his range, releasing Atlanta trap anthems, brooding R&B songs, and Afrobeat and UK drill records. He developed a formula that generated massive streaming numbers, as his lyrics and songs like "Toosie Slide" and “Way 2 Sexy” became the subject of TikTok videos and Instagram captions. Still, Drake's sound had grown increasingly redundant and the artist was in need of a creative audible. From that standpoint, Honestly, Nevermind delivered.

The album is by far the biggest sonic leap Drake has taken in his nearly 15-year career. Like Kanye’s Yeezus, Drake’s latest effort adopts a sound untouched by hip-hop acts of his caliber while dividing his allies and skeptics. Honestly, Nevermind's dive into house and dance music — both sonically and in its use of producers — further fueled a sense of confusion among rap fans who are unaware of the queer, Black history and influence of the two genres.

The creative detour has birthed lengthy Twitter debates and memes of the highest virality, with folks giving their take on the success or failure of Drake’s artistic pivot. Since its release, Honestly, Nevermind has largely received mixed reviews, with an assemblage of fans either praising or mocking Drizzy’s genre shift.

Publications have been split on the album, with Pitchfork’s Alphonse Pierre writing, "It’s light and breezy, and the songs flow right into each other like a DJ mix, not unlike 2017’s More Life." While the album should work, Pierre opined that Honestly, Nevermind "feels a little empty for one glaring reason: Drake’s writing lacks its former zest." Other music critics have applauded the massive departure, with Rolling Stone Senior Editor Jeff Ihaza writing that Drake created "a collection of blissful dance tunes constructed for embrace and abandon." Honestly, Nevermind, Ihaza continued, is Drake leaping beyond his peers for a "refreshing sign of what’s to come." 

Drizzy appears unbothered by the criticism that’s come with the new release. "It's all good if you don't get it yet. It's all good. That's what we do. That's what we do," Drake said during the album's release party, per Complex.

Honestly, Nevermind is projected to sell between 210,000-230,000 album-equivalent units based on early projections by HitsDailyDouble. And according to Billboard, the album has broken the record for most first-day streams by a dance album on Apple Music, only taking one hour to achieve the feat.

Whether it alienates his listeners or draws in a new legion of fans, Honestly, Nevermind signifies Drake’s willingness to take creative risks and, like Kanye, allow those artistic pursuits to grow in favor over time and inspire other mainstream hip-hop acts to explore the depths of hip-house.

– The Recording Academy//GRAMMY.com

The Ascent Of Baby Keem From Underground Rapper To Grammy-Winning Artist

Once obscure from the bright lights of mainstream rap, the name and profile of Baby Keem has risen the past year with the release of his debut album, The Melodic Blue, elevating him from an underground treasure to one of the genre’s most promising young stars.

Off the heels of sleeper-hit “Orange Soda” in 2019, the 21-year-old artist has scaled the Billboard charts with songs like “Range Brothers” and “Family Ties,” both assisted by his Pullitzer Prize-winning cousin Kendrick Lamar. His freshman album drew critical praise and some hardware to show for his musical ascension.

The Vegas-raised artist, born Hykeem Jamaal Carter Jr., was named Billboard’s first 2021 R&B/Hip-Hop Rookie of the Year and received three nods for the 64th Grammy Awards, including Best New Artist. He didn’t take home that coveted award — bested by Olivia Rodrigo — but was still able to take the Grammys stage for a win in the Best Rap Performance category.

Keem, the once faceless artist who hid behind palette-styled cover arts early in his career, has stepped firmly into his place as a transcendent musical talent, expanding from his enigmatic underground status to a known product of today’s sound. But even before his freshman debut and his signing to Kendrick Lamar’s pgLang media company, Keem started rapping at age 13, eventually honing his skittish flow and charismatic delivery over a cheap microphone.

“When I really started, I was 13 and I had Apple studio sh*t on my computer,” Keem said in an interview with Lamar for the 40th Anniversary Issue of i-D Magazine. “I had borrowed $300 from my grandma and I got my stuff on Craigslist. I was probably 15. I got a mic for $50. It was sh*t but it worked. So, I just started learning on that. I made it work.”

From the point his music developed, he landed a few production credits on Kendrick Lamar’s Black Panther soundtrack and the albums of Top Dawg Entertainment associates Jay Rock and ScHoolBoy Q. Keem gained some traction from his first mixtape The Sound Of Bad Habit in 2018, which set the stage for his stop-and-go flow to shine, rapping “Dare I say it / B*tch, I’m Baby Keem, I don’t have time for trends” on the opener “Wolves.”

His name flashed to the masses with Die For My B*tch a vivacious and stylishly moodish project, with the standout track “Orange Soda” becoming a platinum-certified hit because of the song’s pulsating beat, hilariously cheeky lyrics, and outward brashness. Despite the buzz from Keem’s first two mixtapes, much about him was still a mystery.

Back then, an image or interview with the California-born artist could barely be found. But things changed once rumors about Keem’s affiliation with Lamar began to swirl, and soon, the cloak of invisibility surrounding him would shed as their kinship was revealed. As an artist, Keem didn’t lean on their relationship at first. Instead, he revealed in an interview with The Rap Pack that he worked on his music without the “Alright” artist knowing. That way, he could come into form on his own and leave any thoughts of nepotism to the wayside. “He didn’t even know I made music for a while,” Keem said. “He was on some, ‘What do you want to do?’ And I was like, ‘Man, I just want to go to college, bro. I’m going to figure it out.’ I wasn’t even 100 percent sure I was even good at music.”

Keem later added: “If I wasn’t ready to like do what I’m doing now, then it wouldn’t be happening, you know what I’m saying? Even in the process […] I wouldn’t even ask for anything. I didn’t send him my music until later, later. I just wanted to make sure it was from me personally; I wanted to make sure it was owned.”

That was then, but now, Keem has doubled down on his relationship with Lamar and squared his focus on refining his creative process and broadening his sound. As Keem highlighted in an interview with Ebro Darden in October, everything he does is in service of the music. No matter the occasion, he’s always searching for things that spark inspiration and lead to his evolution as an artist, songwriter, and record producer:

“I don’t really leave that mold. I feel like when I go home, everything I do is for the sake of the music. If I watch a movie, or if a play a video game, I’m studying something. There’s something in there I can use, especially a movie for sure. If I watch Netflix right now, I’m watching the way it’s shot because I want to shoot a music video, or I’m looking at the actors and studying them in their gestures because I might want to mimic or take inspiration from it.

I try to have my moment, but I be bored. Like, people go on vacations and things like that and I’m not there yet. I don’t know how to go on vacation yet.”

From his first project to this year’s Grammy, Keem has carved out a lane all his own, using his frenetic and experimental sound to pierce through the guards of hip-hop circles. Once overlooked, he’s now recognized as one of the industry’s young musical supernovas. On “Trademark USA,” he declares his placement in rap, “I took the torch / I quit being nice.”

His Grammy win only serves as affirmation for his current spot, and the one he’ll be in the future. But for now, he’ll enjoy the ride, and in time, learn to take the proper vacation he deserves.

– UPROXX