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#Repost REVOLT TV: Each One Teach One | Drake, JAY-Z, Snoop Dogg and the business of going green

November 13, 2019

The views expressed in this article are those of the author and do not necessarily reflect the official policy or position of any other agency, organization, employer or company.

As exemplified in countless ways since hip hop’s inception, the ability and opportunity for an artist to expand their personal brand into other ventures is a prudent path that speaks to longevity. Hip hop has emerged at the forefront of dominating the music industry at large, solidifying itself as the most consumed genre in recent years and unsurprisingly making ample room for its leading stars to make all sorts of power moves in business. With its incredibly inspiring and well-rounded growth in mind, the notable emergence of rap artists entering the legal cannabis space is a fitting progression as well, and speaks to the transcendental nature of influence.

The cultural stigma surrounding cannabis is rapidly changing with a handful of recording artists helping lead the charge. While we as a country have a lot of work to do regarding how to ensure the future of the plant is headed in a fair and fruitful direction legally, a topic already at the center of the upcoming presidential election, many rappers have already began applying their business savvy to embrace the plant’s extensive range of medical and recreational uses on an entrepreneurial level.

Throughout hip hop’s history, all sorts of monumental business deals have been inked across every facet of contemporary culture. They’ve ranged from fashion to tech to beverages, and everything in between. In the realm of cannabis specifically, heavyweights such as Snoop Dogg, JAY-Z, Action Bronson, Wiz Khalifa, Method Man and Redman, and more have leaned into their love of weed on a legitimate level.

As recently as last week, Drake threw his name into the ring by announcing his new More Life venture, which is to be facilitated in partnership with Canopy Growth. According to a press release, the brand will be “centered around wellness, discovery, and overall personal growth with the hope of facilitating connections and shared experiences across the globe.”

Given that the Toronto native’s net worth is estimated at $150 million, his foray into the cannabis business is exciting on both a commercial and cultural level. Drizzy, who also has invested in Virginia Black whiskey and the e-sports organization 100 Thieves, would benefit from writing a book on his storied approach to cultivating his personal brand.

In the meantime, there are ample lessons to take away from his example, including executing smart collaborations, placing an emphasis on mentorship, and fearlessly embracing the art of using vulnerability and humor on social media to one’s advantage. Given his ability to appeal to a wide-ranging audience across industries, Drake’s involvement in cannabis is sure to yield a promising return, all while staying true to who he is and bringing business to his beloved hometown.

Another recent addition to the roster of rappers turned cannabis entrepreneurs is none other than JAY-Z, who announced his latest business move back in July of this year. The mogul, who has been studied and celebrated for his revolutionary business acumen, joined Caliva, a California-based cannabis company, as their Chief Brand Strategist.

This partnership is especially important for the future of the cannabis industry, as Hov will be focusing specifically on social justice issues surrounding the legalization of the plant in addition to offering input regarding creativity and overall strategy. Specifically, he aims to improve representation in the industry and work to ensure that those who have been incarcerated or disproportionally affected are not being pushed out of the legal weed business.

”Anything I do, I want to do correctly and at the highest level,” JAY-Z said in a statement surrounding the partnership announcement. “With all the potential in the cannabis industry, Caliva’s expertise and ethos make them the best partners for this endeavor. We want to create something amazing, have fun in the process, do good, and bring people along the way.”

JAY-Z’s focus on the social justice aspect of legal marijuana business endeavors is absolutely necessary and integral for all companies to mirror moving forward. Statistics show that black people are 3.73 times more likely to be arrested for marijuana than white people despite usage being roughly equal among races. From issues such as racial disparity and over-policing to matters like expunging records and ensuring that such jobs in cannabis are equally available to all to benefit from, our country must work to yield tangible change in tandem with the evolving legal status of the plant. JAY-Z’s dedication to criminal justice reform across the board is setting an example every brand can benefit from learning from.

In a multitude of ways, Snoop Dogg was one of the first mainstream names to successfully amplify his legacy through fully embracing his advocacy of the plant to build an empire. From helping start the media brand Merry Jane to co-funding the Casa Verde Capital venture firm, which is focused on funding projects in the cannabis ancillary market, Snoop has had a hand in everything from growing and branding his own set of strains (a la Leafs by Snoop) to investing in the financial landscape as a power player.

He has even worked tirelessly to help change the stigma of getting stoned by speaking openly about his usage and the many benefits the plant provides. As such, his cannabis-influenced business savvy is inspiring others to follow his example with such fearlessness and strategy, all without losing the entertainment and enjoyment factor.

Needless to say, there are ample lessons to learn from Snoop’s example. It’s hard not to praise how the rapper’s love for weed has not only become synonymous with his personal brand, but has afforded him ample opportunity in the business space, and without generating any commercial fallback reputation-wise. With this in mind, it’s safe to say that Snoop is largely to thank for helping de-stigmatize cannabis on a mainstream cultural level.

With artists such as 2 Chainz, Cypress Hill’s B-Real, Juicy J, Wiz Khalifa, Ray J, Freddie Gibbs, Lil Debbie, Migos, Paul Wall, Rick Ross, Riff Raff, Soulja Boy, The Game, Xzibit, Curren$y, the late Nipsey Hussle, Berner, and more all getting involved; the list is only sure to grow over time, and ensure that the future of industry is in the hands of those who know the product and the culture best.

Originally published here on REVOLT TV.

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#Repost REVOLT TV | Each One Teach One | What Kanye West, Snoop Dogg, Vic Mensa and more teach us about reinvention through genre experimentation

October 30, 2019

As KRS-One articulated throughout his catalog and in his many teachings, “Rap is something you do, hip hop is something you live.” As the culture continues to evolve today, many feel it’s not only important, but vital to preserve and honor the fundamental elements: Graffiti, emceeing, breakdancing, deejaying and knowledge. This column called “Each One, Teach One” aims to do exactly that. It will highlight various lessons that can be passed between new and old generations alike.

During Kanye West’s most recent rollout (which for all intents and purposes began in that hazy period of uncertainty accented by manic Twitter usage where Yandhi was first mentioned in August 2018 and finally culminated in the October 2019 arrival of Jesus Is King), it was oftentimes difficult to place any sure bets regarding where the music would be taking us, let alone if it’d be released at all.

Given the focus on the eccentric and passionate unpredictability that has become synonymous with West’s personal brand ethos, it is undeniably interesting to note that his fans seemingly now exist on a spectrum at this stage in his 15-year-plus career. There are those who remain loyal and steadfast, those who are more invested in the music than his moves outside the studio, those who remain nostalgic for the “old Kanye,” those who are simply tired, and those who — perhaps out of self-preservation — have muted his name from the timeline altogether. While 2018’s Ye still became his eighth consecutive album to debut at the No. 1 slot on the Billboard 100, for many fans, it didn’t quite resonate as deeply as his previous releases have, leaving countless curious about what the cards would have in store next for the Chicago native both on a creative level and in general.

Regardless of where one may currently fall on the sliding scale that is Yeezy fandom, West’s career can be quantified in a multitude of ways, including by genre, by era, and by controversy. When it comes to sonic evolution and taste-making experimentation, he has been captivating listeners and keeping fans on their toes since he first solidified his career as a recording artist with 2004’s The College Dropout. He later flipped the script with 2008’s electro-pop masterpiece, 808s & Heartbreaks, proudly showcasing his vulnerable dexterity. As exemplified vibrantly throughout his esteemed catalog, West has precariously exerted his innovative musical prowess, weaving between different genre influences and carving his own influential path as a result.

The star’s arrival at delivering a contemporary and conceptual Gospel project can be considered a fitting, natural progression in the year 2019, especially when factoring in prior occasions that his music has included nods to religious themes and other signifiers of the beloved genre. While he’s made some (on brand) outlandish comments in conjunction with the album’s release, West’s ability to engage his fans through reinvention remains one of his strongest qualities as a legacy artist.

With today’s music landscape providing a continuous inundation of new projects to digest, dismiss or take delight in, risk-taking and experimentation is to be taken seriously, as doing so can either yield great reward or sharp criticism. It is difficult enough to become an established voice in any given genre, and being able to skillfully navigate across genres can potentially unlock an upper echelon of one’s greatness. While hip hop has a storied history of artists including all sorts of influences in their respective artistic output, there are a handful of rappers who have found luminary success experimenting with crossover genres such as rock, country, R&B, pop, funk, reggae and more.

In the spirit of Kanye West diving headfirst into a Gospel-like album with Jesus Is King, let’s take a look at seven times artists released concentrated projects outside of their respective signature sounds over the years.

Artist: Snoop Dogg

Album(s): 7 Days of Funk (2013), Reincarnated (2013, as Snoop Lion), Bible of Love (2018)

Genre(s): Funk, Reggae, Gospel

Takeaway: Snoop Dogg’s multifaceted career is especially fascinating to take notes from. His ability to experiment across genres such as funk, reggae and gospel without turning off his primary audience or losing his identity at the core of his self-expression is arguably unparalleled. As such, putting Tha Doggfather in any other category besides legendary is a grave disservice to how much ground he has covered throughout the years, both sonically and with his business savvy in mind. Ultimately, Snoop makes music he feels passionately about and this is something no one can take away from him. Ever.

Artist: Queen Latifah

Album: The Dana Owens Album (2004), Trav’lin Light (2007)

Genre(s): Soul, Blues

Takeaway: As a hip hop pioneer and entertainment mogul, Queen Latifah’s longevity is rooted in her multifaceted talent and relentless work ethic. While she is best known for her historic contributions in hip hop, she did go on to break out of her musical comfort zone, releasing two all-singing projects that showcased her soulful and powerful vocal chops outside of the genre. Her 2007 project, Trav’lin’ Light, earned her a Grammy nomination, further showcasing how risk-taking can be rewarded and further cement one’s status as an icon.

Artist: Beastie Boys

Album: Polly Wog Stew EP (1982)

Genre(s): Punk

Takeaway: Prior to establishing themselves in music history as seminal rap veterans, the Beastie Boys first got their start as an underground punk/hardcore band in the early 1980s making their rounds in the local music scene. In the foundational years prior to experimenting with rapping and becoming the third hip hop group to be inducted into the Rock and Roll Hall of Fame, the group drew influence from bands such as Black Flag, Misfits and Dead Kennedys. The year after recording their first punk EP, the Beastie Boys released their first hip hop track, “Cooky Puss,” and the rest became history.

Artist: Lil Wayne

Album: Rebirth (2010)

Genre(s): Rock

Takeaway: Lil Wayne has been vocal about being inspired by subcultures such as skateboarding and alternative rock genres throughout his career. After releasing the legacy-defining Tha Carter III in 2008, he decided to showcase another aspect of his artistry and versatility, committing to a full-fledged rock-inspired album. Years after the release of 2010’s Rebirth, Lil Wayne found himself collaborating and touring with Blink-182 in 2019, creating somewhat of a full-circle moment and stirring up nostalgia.

Artist: Childish Gambino

Album: Awaken My Love! (2016)

Genre(s): R&B

Takeaway: Childish Gambino’s third studio album completely strayed from his previous rap-centric works, a shift that ultimately worked in his favor and helped him gain newfound recognition on a widespread, mainstream level. Fans celebrated his R&B-leaning project wholeheartedly, with the standout single “Redbone” essentially soundtracking the entire year and becoming his first top 20 single. The infectious song went on to receive three Grammy Award nominations, winning the award for Best Traditional R&B Performance. While the genre-fluid creative born Donald Glover has stated he is retiring from music and touring entirely, many fans are hopeful he’ll pull a fast one on us again in the near future.

Artist: Young Thug

Album: Beautiful Thugger Girls (2017)

Genre(s): Experimental, Pop, Country, R&B

Takeaway: Young Thug has established himself as a treasured wildcard, taking all sorts of artistic risks throughout his ever-evolving career. A great example of this can be found throughout his 2017 release, Beautiful Thugger Girls, where he can be found weaving between genres such as country, pop and R&B with ease and authority.

Artist: Vic Mensa

Album: 93PUNX (2019)

Genre(s): Emo, Punk, Alternative

Takeaway: This year, Vic Mensa made a bold re-introduction as the lead vocalist of alternative punk band 93PUNX. Their self-titled debut, which featured guests such as Good Charlotte and Tom Morello, was executive produced by Blink-182’s Travis Barker. While the project was met with some harsh reception from fans, the project’s lead single “Camp America” made headlines for its strong political statement against ICE. The accompanying music video went viral and featured children in cages, calling for the country to re-examine its treatment of asylum seekers and immigrants. Artistically, Mensa is establishing himself as a fervent activist, making his transition into punk and rock an organic extension of his self-expression.

Originally published here on REVOLT TV.

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#Repost REVOLT | Each One, Teach One | What generations of women in hip hop teach us about perseverance

October 16, 2019

Each One, Teach One | What generations of women in hip hop teach us about perseverance

Author Kathy Iandoli explores the stories of women in hip hop in her new book with great care and nuance.

By KC Orcutt Oct 16, 2019, 3:47pm EDT

As KRS-One articulated throughout his catalog and in his many teachings, “Rap is something you do, hip hop is something you live.” As the culture continues to evolve today, many feel it’s not only important, but vital to preserve and honor the fundamental elements: Graffiti, emceeing, breakdancing, deejaying and knowledge. This column called “Each One, Teach One” aims to do exactly that. It will highlight various lessons that can be passed between new and old generations alike.

Throughout the past several years, hip hop has been treated to a brilliant resurgence of women dominating the spotlight and the charts. Such hot takes like “women are running rap right now” not only are frequently boasted around on Twitter these days, but are also easily supported in a variety of ways.

To start by bringing it to the charts, 2019 has already yielded the highest total of women rappers making their mark on the Billboard Hot 100 this decade. Saweetie, Iggy Azalea, Cardi B, Megan Thee Stallion, Nicki Minaj, Lizzo and City Girls have all had songs enter the chart so far this year. On top of that enchanting slice of contemporary history, Lizzo also impressively became the sixth woman rapper to ever hit the No. 1 slot, and the first to do so in two years. As of last month, her single “Truth Hurts” officially became the longest-reigning No. 1 single performed by a female rapper without any features in the chart’s history. Lauryn Hill became the first to top the Billboard 100 chart with “Doo Wop (That Thing)” in 1998, helping pave the way for the next generation to make an impact much like the previous generation did for her.

However, while the impact of women in hip hop has undeniably been felt since the genre’s conception, it unfortunately has not been adequately preserved, elevated and honored in the same manner as the men who have been celebrated for shaping the culture. Veteran hip hop journalist and author Kathy Iandoli’s new book, God Save the Queens, looks to change the direction of this discourse by amplifying the stories of women whose journeys and contributions have traditionally been inexcusably omitted or overshadowed. Instead of harping on how women, black women especially, are wildly under-appreciated or criminally slept on in hip hop and in general, God Saves The Queen is a collection of nuanced stories that explain a larger cultural context behind the history, and ongoing obstacles that our favorite rappers have been dealing with for decades and continue to deal with today.

Throughout Iandoli’s thorough and vibrant tribute, which centers on the women pioneers and the tastemakers of today, there are countless examples of perseverance to draw inspiration from. To further echo the powerful testament of women making it happen against all odds, let’s take a look at five women who found their voice doing exactly that.

Monie Love

“No, I’m not cute,” Monie Love declares to me emphatically, her faint British accent accentuating her point. “That’s why I shaved my hair off. I taped the boobies down. Not cute. I’m a mess. I’m a deadly, venomous mess on this microphone. Do not sleep on me.” – Excerpt from ‘God Save The Queens’

Hailing from London, Monie Love is a Grammy–nominated rapper, actress and radio personality who landed in the United States in the early 80s as a teenager, determined to make a name for herself.

”Monie was really hip to things that were making an impact here, maybe in the late 70s, but were coming there to the UK closer to the early 80s,” Iandoli recalls during her interview with REVOLT TV. “International audiences tend to be a few years late when it comes to trends that are in the United States on a niche level. She was getting them right on time because she was so obsessed with hip hop.”

When Monie landed in the scene, especially looking at who the biggest names at Def Jam were at the time, she stood out against other women, and had men being magnetically drawn to her accent and physical beauty alike.

”A lot of people in The Bronx especially hadn’t traveled, right? So, they didn’t know what a girl with an accent was,” Iandoli continues. “She was a unicorn, but she was also pretty. And now you have all these guys who are feeling themselves and she’s like, ‘But, I rap.’ And they’re like, ‘Pffft OK. You’re cute. Date me.’ I think the important rule of perseverance when it comes to Monie Love was how she shaved her head, and taped down her breasts and wore these baggy clothes. She had to strip herself of certain aspects of her identity in the interest of being lyrics forward. I think that is a huge indicator of perseverance when you are willing to take away your own physical attributes and your own aesthetic in exchange for making people actually listen to you. I think it worked. Later on, she was able to go back to more of a style of who I presumed she was before that.”

Lisa “Left Eye” Lopes

“There was so much more for Left Eye to do, both with TLC and as a soloist. Thanks to Left Eye, TLC brought a renewed spirit to outspoken female hip hop artists. The year after their debut, many of their peers followed suit.” - Excerpt from ‘God Save The Queens’

Another great example of dedication can be found in Lisa “Left Eye” Lopes. In the early 90s when TLC first entered the game, they were being touted as a hip hop group. This began to change with 1992’s “Baby Baby Baby,” as the track pushed Left Eye to the side due its primary singing and it landed on the R&B charts. A couple years later, Left Eye’s rap verse was completely removed from the radio version of 1994’s “Waterfalls.”

”Who didn’t listen to that song and think of, ‘I seen a rainbow yesterday...’ Like, why would you take that part out?” Iandoli poses. “It’s because they wanted TLC to be looked at as an R&B group and during that time period, there was a separation between church and state. Meanwhile, in 2019, we have Juice WRLD singing through a whole song and he’s considered a rapper. Left Eye’s perseverance was her being regarded as a super slick lyricist who still did all of these side projects and had all of these other bars on other tracks just to prove what an MC she was. She did a lot of different things in the interest of reminding people that she was actually a rapper and not a singer, so to speak. She could harmonize, but she ultimately was a rapper. And when she released her Supernova project before she passed away, it was a testament to the fact that this was a girl who just wanted to remind everyone that she was hip hop.”

Missy Elliott

“With an upbringing like Missy Elliott’s, she had no room for weakness or flimsy commands from those around her. In her 2011 episode of VH1’s ‘Behind the Music,’ Missy reveals an early life filled with sexual abuse (she was eight years old when her sixteen-year-old cousin began molesting her, which went on for nearly a year), poverty to the point of having no running water, and domestic violence so extreme that she saw her father pull a gun on her mother. These were just a few of the experiences Missy Elliott endured as a child, though that survival instinct and unending resilience are what made her firm in her creative stances and unabashed in her artistic risk-taking. She never feared hitting rock bottom; she had spent her childhood there. Music was her constant, the thing she held closest to her. No one could sway her on her vision for it.” - Excerpt from ‘God Saves The Queen’

As Iandoli reminded me of Missy’s legacy during our conversation, “Missy came from a really terrible background and her survivor’s tale is the reason why she’s still releasing music. Nothing can break that woman.”

Nicki Minaj

“‘I knew she was going to blow up, I knew she was going to,’ Monie says. “I was like, ‘You are going to carry on your shoulders the heart and blessings of all the greats in hip hop that came before you because you are about to do so much damage right now. You are really about to make men get back into their books and start re-creating stuff. You’re that dope!’ It was in the cards for Nicki to blow up, and Monie Love herself predicted it.” - Excerpt from ‘God Save The Queens’

Over the years, Iandoli’s introspective takes on Nicki Minaj, her career, her music and her impact on the culture have led her to become a trustworthy scholar and a refreshing voice of reason. This rings especially true when others, including myself, tend to count Minaj out in recent memory due to whatever may be bubbling on her Twitter page. At the end of the day, no matter where you may land on the Barbz spectrum of standom, Nicki Minaj has undeniably and unapologetically earned her place in history as a legend.

”Nicki was the first product of a post-Lauryn Hill era that actually made this significant splash in the mainstream and stayed on the charts for a decade,” Iandoli says. “It may not have been without pushback and angry tweets, but her story is one of consistency because she has the longest consistent track record.”

Megan Thee Stallion

“So, here we are, over forty years later, and that same dilemma still exists for female rappers. How do you express your individuality and creativity without being labeled as one or the other? The difference now, I suppose, is how the artist handles that situation. Megan doesn’t have a male mentor advising her to pick a side. She has instinct and her mother’s spirit. That kind of drive doesn’t come with a road map, but she’s ready for the ride either way.” – Excerpt from ‘God Save The Queens’

Megan Thee Stallion has risen to prominence as everyone’s favorite rapper whose got next, myself included. Her 2019 project, Fever, remains on repeat and all of hip hop is keeping a close eye on the moves she’s making. While it’s incredible to see, another component of Megan’s allure can be found in her ability to empower other women including artists. While her career is evolving at rapid speeds, in tandem with her “hot girl summer” movement, it hasn’t been without grave sacrifice and loss.

”As for Megan, Megan is going through the motions while she’s going through the fame,” Iandoli explains, referencing how Megan revealed that her mother-turned-manager passed away earlier this year, right as her career was taking off on a mainstream level. “She endured a very significant trauma that we’re watching her fight through. Everyone in the book, every woman in hip hop has had something really horrible happen to them in some way, shape or form. They still recorded music. I think the difference is we’re watching it happen to Megan in real time.”

Iandoli also points out how, similarly, Queen Latifah also recently lost her mother and pushed through to continue with everything she’s working on.

”Megan just started this journey whereas Queen Latifah has had decades to settle into fame and could probably take some time off to do what she had to do,” Iandoli explains. “Megan might not have had that luxury because it’s like your album just came out, everyone loves you, you need to get on a tour. For me, personally, that’s why I connect with her, so well. I understood the need to have to still deliver under terrible circumstances.”

‘God Save The Queens’ arrives on October 22 via Dey Street/Harper Collins.

Story originally published here on REVOLT TV.

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