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V Exclusive! Honey Cocaine Talks Being Discovered on Youtube, Tupac's Influence, & F*ck Your Feelings Vol. 1

If you’ve been keeping a watchful eye on Tyga lately, then you’ve probably been informerly introduced to Honey Cocaine. This 19-year-old Cambodian female rapper is making moves as the heir to the Last Kings dynasty and is widely known for her feature on T-Raw’s track, “Heisman.” Equipped with a swagged out level of moxy and rawness, this teenager doesn’t have any plans to slow down anytime soon.  VIBE had the opportunity to catch up with Honey Cocaine at the Chicago stop of the Careless World Tour where the Toronto-bred emcee discussed her discovery via YouTube, Tupac’s influence, the idea behind F*ck your Feelings Vol.1 and more. –Tyler K. McDermott


VIBE: How did you come up with the name Honey Cocaine?
HC: Honey Cocaine is a metaphor. It means sweet and addicting music. Honey is the filling inside and cocaine is the raw outside, it’s like the real hip-hop. Honey is me as a girl.

What drew you to hip-hop?
I grew up listening to hip-hop. All of us did. I mean we’re surrounded by all different types of music, but hip-hop, was just real. Music in general has no boundaries, but with hip-hop, I felt like there were no limits. People who were rapping or singing or whatever; they just said whatever they wanted to say. They would swear, they would say this and that, and I was like, “Damn, that’s how I am as a person. I want to do that in music”. I used to write poems all the time. It was just easy for me to rap. It just came naturally. I knew everything that had to do with rap, like bar-wise, rhyme-wise, and just technical stuff. People don’t know how far I go when it comes to rapping. Rapping is like a science.

Do you have any key influences?
Yeah, Tupac. Tupac is my number one. He was one of the first artists I listened to as a kid. Even before I spoke English, I listened to Tupac. I didn’t even know what he was saying, but something about his voice, about the beats. I know he’s saying something. The same songs I listened to when I was three or four, I can listen to right now like it’s a new song.

How did you link up with Tyga?
It was through YouTube. He seen my videos, people were re-tweeting it to him. I got hella views on my own but then I did the Rack City remix and he tweeted me and was like “Hey, I seen the video.” I was like, “cool” and now, we’re here.

What was the idea behind your mixtape, F*ck Your Feelings Vol. 1?
[Laughs] I had that idea for a long time, that entire blueprint of my mixtape for a long time. I just didn’t know when to release it, as in set dates. But, I’d been working on it for a year, before I even linked up with Tyga. I decided to do a mixtape called F*ck Your Feelings. This was because I was going through a rough patch in my teenage life. It was problems in my neighborhood, where I live, and the area I went to school. People weren’t fucking with me for some reason. It was because one day last year, I woke up and I was like, you know what, “I have to stop worrying about partying, going shopping and shit. I have priorities. I’m about to be 19 years old” and then I just changed. People were like “Honey ain’t fucking with us anymore. Honey thinks she’s too good.” But I was like “Nah, I’m just setting an example for you guys.” There was so much of drama going on. Teenage girls; you know how we are. [Laughs] But I was like, “Yo, fuck your feelings. I don’t even care anymore.” So, all of those songs are to all of the bitches that dissed me because I was trying to respect myself.

When people hear your music, how do you respond to critics who may compare you to Nicki Minaj in terms of the tone of your voice?
Well, it’s going to happen because Nicki Minaj is doing it big, she’s been doing it big. No matter who you are, if I had a deep ass voice, they would still said Nicki, because Nicki is that bitch in the game. No matter what girls are going to be compared to here because she’s the one who’s doing it right now and I respect her to that. I don’t really say anything to that; I’m just like “Cool, thank you!” I’m not trying to be like her. I’m my own person. But, she’s doing it and I’m just trying to be where she is. So, I want people in five years to be like, “You sound like Honey Cocaine.”

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Issa Rae And Kumail Nanjiani Talk Their Black And Brown Dynamic In 'The Lovebirds'

As our latest op-ed points out, black romance films are having a moment, and The Lovebirds is adding a comedic twist to the matter. Ahead of the MRC/Paramount Pictures' premiere on streaming platform Netflix, VIBE correspondent Jazzie Belle sat down with the film's lead actors Issa Rae and Kumail Nanjiani to discuss the refreshing black and brown dynamic between their characters.

"I think it was just more exciting to me [to take part in a different romantic dynamic]. It was just that, and I didn't realize until later," said Rae. "Obviously with working with Kumail, it just like 'Oh, I haven't seen an on-screen pairing like this' and [I] was excited to play with him cosmetically. But yes, it's exciting to see a new and fresh dynamic in movies like this."

"When you see a portrayal of Pakistanis in American pop culture, generally, you're seeing certain lanes. You don't see us being light or funny or fun that often," said Nanjiani. "My family is very, very funny. My friends are very funny, so it wasn't even an attempt to try and show that [brown characters can be portrayed differently]. I just wanted to show how the people I know are. My mom and my dad are some of the funniest people I've ever met."

Watch the full interview above. The Lovebirds is streaming on Netflix now.

Interview's music bed provided by Gus.

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Lakeith Stanfield and Issa Rae in 'The Photograph'.
Courtesy of Universal Pictures

Opinion: Black Romance Films Are Having A Moment

It began with a kiss. Just one decade after the birth of cinema, vaudeville actors and dancers Gertie Brown and Saint Suttle gleefully embraced one another on film. They held hands and locked lips, giving the world its very first image of Black romance and intimacy on-screen. 1898's Something Good-Negro Kiss proved that love and affection was at the center of Black life. More than that, intimacy has always been essential to the survival of our people. Now, some 120 plus years later— cinema has finally reached the point where it has expanded to allow complex images of Black love, across time periods, between same-sex couples, and more recently, without being bogged down in trauma and pain.

Before Good-Negro Kiss was discovered in 2018, one of the earliest versions of Black romance in cinema was 1954's Carmen Jones starring Harry Belafonte and Dorothy Dandridge. Filmed in sweeping cinemascope, Carmen Jones follows a soldier named Joe (Belafonte) who gets so enamored with Carmen (Dandridge) that he becomes obsessive, even going AWOL to be with her. Though the film is sexy, and the tension between the actors is palpable — the romance in Carmen Jones is stilted to make white audiences comfortable. Hollywood was only willing to see Black intimacy through the lens of a renowned musical, wrapped in what ultimately becomes a tragedy. By the end of the film, Joe murders Carmen out of obsession and jealousy. Despite Belafonte and Dandridge's determination to showcase their sensuality, the material only allowed them to go so far. This sort of restraint would become the blueprint for generations of Black romance films.

Considering the utter chaos of the 1960s, it's a wonder that 1964's Nothing But A Man was ever made. A decade after Carmen Jones, Hollywood felt it was time to roll the dice on something different. Starring Ivan Dixon and Abbey Lincoln as Duff Anderson, a railroad worker, and Josie Dawson, a Birmingham school teacher, respectively, Nothing But A Man isn't packaged for white audiences like the musicals of the previous decades. However, the burdens and pains of the couple's relationship, namely Duff's flakiness about commitment and the rage he feels as a Black man living in the South, fall on Josie's shoulders. Moving into the 1970s with films like Claudine and Mahogany, and certainly, in the 1990s and early 2000s, Black romance on-screen would either be shrouded in comedic relief, or the relationships became the sole burden of the Black woman to bear. Often, both tropes were present.

Still, Black romance stories were always evolving. The 1980s sparked something new for Black sensuality in the movies. Though these were still heteronormative depictions, (aside from 1984's The Color Purple), films made significant steps forward in terms of diverse images of Black people. However, they still held on to sexist ideals. 1986's She's Gotta Have It used a Black woman's rape as a form of character development while 1988's Coming to America — billed as a comedy, rewarded its protagonist for lying to his love interest. This would become the formula for the many Black romance movies that came to fruition in the 1990s. Cheating, lies, abandonment, lack of accountability, and trauma are all very present in some of our most beloved films. Poetic Justice, Love Jones, Jason's Lyric, The Best Man, and Love & Basketball, all have some form of struggle love embedded within the narrative — typically leaving Black women wielding the shorter end of the stick.

Poetic Justice is riddled in misogyny, The Best Man has a serial cheater as a leading man, and in Love Jones, the lack of communication and accountability from both partners is dizzying. Moreover, women are often asked to overlook cheating, lying, manipulation, or being friend-zoned to present themselves as worthy of their male partner by the film's conclusion. Yet, in our quest to connect and see brown bodies sensually and romantically in cinema, we hold these films close to our hearts, overlooking many of the toxic traits of the characters.

Despite the mega success of Black films in the 1990s— following the debut of Gina Prince-Bythewood's Love & Basketball in 2000, Black stories in cinema, aside from a few here and there, were all but erased in Hollywood. Throughout this near decade-long drought, prolific director Tyler Perry was one of the only voices in the game. However, the quality of Perry's storylines, as well as the portrayal of his female characters, have proven to be problematic. These characters are often emotionally broken, angry, and at times unhinged. If and when they do find love in movies like 2005's Diary of An Angry Black Woman, 2008's The Family That Preys and 2009's I Can Do Bad All By Myself, it's after they suffer some dire consequence or horrific punishment. This was particularly jarring during a time when there were hardly any other mainstream film images of Black people on-screen.

Thankfully, as we pressed forward into the second decade of the 21st century, Black filmmakers, writers, and producers were knocking down doors in Hollywood once again. In 2012, Ava DuVernay stepped onto the scene with her stellar film, Middle of Nowhere. The film follows Ruby (Emayatzy Corinealdi) grappling with the choice to leave her incarcerated husband, Derek (Omari Hardwick), to follow her dreams and possibly find new love with a bus driver named Brian (David Oyelowo). Though this was a significant shift in the way Black intimacy, sensuality, and romance was depicted in movies, the real transformation happened in 2016, with Barry Jenkins' Academy Award-winning, Moonlight.

Loosely based on screenwriter Tarell Alvin McCraney's real life, Moonlight puts the Black male coming-of-age story center stage. However, instead of honing in on the violence and despair of the inner city, like the hood homeboy films of the 1990s — Moonlight focuses on Black love between Black men. First, there is the relationship protagonist Chiron (Alex R. Hibbert) has with his father-figure, Juan (Mahershala Ali). Later, Chiron explores his queer identity with his classmate Kevin (Jharrel Jerome). The film is a sumptuous duality of hypermasculinity against lush sensuality. With this film, Jenkins effectively shattered our expectations regarding Black intimacy on-screen, while unraveling why Black love in all of its varied prisms deserves a spotlight in cinema.

Moonlight would pave the way for 2019's Queen & Slim and 2020's The Photograph. Two vastly different films, one— a harrowing dramatic thriller, centering Queen (Joe Turner-Smith ) and Slim (Daniel Kaluuya) who are forced together by circumstance. A dull Tinder date paves the way for a standoff with a racist police officer who eventually lays dead, prompting our leads to run for their lives.

Penned by Lena Waithe and directed by Melina Matsoukas — the film is almost an antithesis of what we've seen before when it comes to Black romance in the movies. Instead of the tried and true formula of a meet-cute, conflict, and resolution, Queen & Slim unites a Black man and a Black woman through Black radicalism. They come to lean on one another, inadvertently building a foundation when there is no one else either of them can trust or turn to. The weight of their relationship rests equally on both of their shoulders, as they become each other’s ride or die.

In contrast to Queen & Slim, writer/director Stella Meghie's The Photograph, is a much-deserved presentation of soft Black romance, without the trauma or brutality. The film follows Mae (Issa Rae), an art curator grappling with the death of her estranged mother, and Michael (Lakeith Stanfield) — a journalist who crosses paths with Mae's late mother's work. The film follows the typical romance formula, but the conflict and resolution aren't gut-wrenching or emotionally tumultuous. Mae and Micheal deal with real-life issues without being battered or broken. Both parties —like the lead characters in Queen & Slim, share the weight of their missteps and miscommunication. The Photograph is a recognition of straight-forward Black sensuality and love without the heaviness of Black pain. Despite all of this, the film has garnered mixed reviews. Since there isn’t any toxicity between the main characters or much comedy in The Photograph, it appears foreign to us. As a community, we’ve been conditioned to only recognize Black Love shrouded in chaos. Presently, Black women in particular, are asking Black people to look beyond archaic examples of love that are rooted in sexism, misogynoir, and rigid gender roles. Instead, Meghie presents two grown people who must hold themselves and each other accountable to have a chance at a loving and modern relationship.

Black women are also getting the opportunity to be seen as romantic leading women, in the broader scope of cinema alongside leading men from different cultures. Following the footsteps of the 2006 film Something New, where Sanaa Lathan's leading man was Australian actor Simon Baker, Issa Rae will become a leading lady once more in Netflix's The Lovebirds. The Insecure actress stars as Leilani, opposite Pakistani-American actor Kumail Nanjiani. Rae is a woman who is grappling with her strained relationship with her boyfriend, Jibran (Nanjiani). The couple's commitment to one another is hilariously put to the test when they suddenly find themselves in the middle of a chaotic murder mystery.

Black film, and undoubtedly Black romance film, has come a long way since that very first kiss was captured on-screen in 1898. With more women filmmakers at the helm, diverse projects, and the current wave of Black cinema in Hollywood, Black romance movies have the opportunity to give the next generations more nuanced depictions of connection, sensuality, sex, and intimacy. With films like Queen & Slim, Moonlight, The Photograph, and The Lovebirds — we have witnessed Black people from all walks of life and sexualities dive into romantic relationships with love, accountability, and self-awareness, which are truly the ultimate relationship goals.

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Black Thought And Questlove Secure First-Look Deal With Universal

Amir “Questlove” Thompson and Tarik “Black Thought” Trotter landed a three-year first-look deal with Universal. According to the Hollywood Reporter, the founders of the Legendary Roots Crew will create scripted and unscripted content for Universal Television Alternative Studio and Universal TV under the duo's Two One Five Entertainment imprint.

“This deal is very important to us as we've been content producers and storytellers for our entire career,” Questlove said in a statement on Wednesday (May 13). “A significant investment from Universal Television Alternative Studio and Universal Television in our vision allows us to share these stories on a much larger scale. Tarik and I see this as the next chapter to our careers, and we are very involved in the entire process. I'm directing, Tarik is writing and we both are producing.”

The deal extends the Roots decade-long relationship with NBC, first on Jimmy Fallon’s Late Night talk show in 2009, and serving as the house band for NBC’s Tonight Show With Jimmy Fallon, which premiered in 2014. Questlove is also music director for the Tonight Show.

“Many of our initial projects have been music-centric content, and one of our goals is to become the premiere hub for music storytelling — a safe space for these stories to be shared across a variety of platforms,” added Black Thought. “Eventually we will expand outside of music with our stories. However, as we all know, every story has a rhythm and Two One Five Entertainment will harness that rhythm and create well-produced, compelling content.”

Two One Five Entertainment's roster of projects include the AMC docuseries, Hip Hop Songs that Shook America, along with Black Woodstock, chronicling the 1969 Harlem Cultural Festival. The company has also had a hand in the Broadway productions, Black No More and Soul Train the Musical.

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