Despite the perception that Black entrepreneurs like P. Diddy, Russell Simmons, Jay-Z, Cash Money [or Young Money] are moguls, they are, in actuality, the children of their respective parent companies. P. Diddy’s Bad Boy Records is owned by Warner Music Group; Suge Knight’s Death Row by Interscope is owned by Universal Music Group; Def Jam is also owned by Universal… What’s worse is that, despite popular perception, there are no Blacks -none -in top executive positions of the parent companies. What the parent companies, as well as the Black moguls, would like us to believe is that “the R.O.C. is runnin’ this rap shit.” This why Jay-Z is touted as the “C.E.O of Hip-Hop.”
—  M. K. Asante, It’s Bigger Than Hip-Hop: The Post Hip-Hop Generation, p. 111-112

"What I think happens with females in this game, they tend to allow other people to pit us against each other. I’ve said this before. They make it seem like there can only be one female. It can be a thousand guys that’s putting out music and rapping and doing what they do, but when it comes to females in this hip-hop business, they make it seem like it can only be one, and if there’s more than one then ‘Alright, y’all better be at each other’s throats every chance that you get.’ And any time you say one of those things, they’re like, ‘Oh yeah, she has to be talking about this person when she said that.’ And I just feel like it got really crazy, to the point where I wouldn’t tolerate it." - Remy Ma, 2014

Support the new generation of female rappers (femcees).

Under the banner of ‘keeping it real,’ the hip-hop generation has been conditioned to act out a way of life that is not real at all. The hip-hop industry (as opposed to the hip-hop community) has been successful in framing an authentic Black identity that is not intellectual, complex, creative, educated, or diverse, but a monolith of violence (only against other Blacks!) and sexism. These images are not just harmful domestically, but are beamed around the world as a statement about universal Blackness.
—  M. K. Asante, It’s Bigger Than Hip-Hop: The Post Hip-Hop Generation, p. 25

I realize this dude don’t get as many views as he deserves so sharing it up


i’m tired af of seeing whole music videos featuring black male artists that have ZERO black women in them. and if they are black, it’s always the pretty light skint, bouncy curls type. can’t even support your women but you want me to support your artistry? da faq???

Daylyt also says that “being a gun-line rapper is a cancer.”

In a newly published interview with VladTV,Daylyt spoke on the skill required in today’s hip-hop landscape, saying it’s no longer a factor.

“When you go mainstream, it’s 100 per cent entertainment and fuckin’ zero per cent skill nowadays,” he says. “Let’s take a lot of rappers, like Chief Keef—let’s take Soulja Boy. Was Soulja Boy really skilled? Was he a skilled rapper? No, he wasn’t a skilled rapper, but he was very entertaining.”

“Let’s really look at all the rappers that can really rap, are they getting the airtime or the radio play that some of these niggas who can’t rap are getting? No,” Daylyt continues. “Lil B came up with an idea: ‘Y’all like stupid shit? I’ma go to the max with the stupid shit.’ And he went to the max with this stupid shit… Let’s be honest, skill is not a factor in today’s hip-hop scene. It’s not.”

Daylyt also addressed the repetitive use of gun-line bars in battle rap affirming that type of rapping “is a cancer.”

“All your whole verses are gun this, gun that, bro,” he explains. “If all you’re talking about is guns and all he talking about is guns [and] then the two people after that, [if] all they talking about is guns, y’all wonder why I stand out the most, man. I’ve learned from my Grind Time days that being a gun-line rapper is a cancer. It’s actually a cancer. It may be dope for the moment… [But] I’m beyond that now. I’m way beyond that type of rapping now.”