Macklemore wins four Grammys. Now what?

13 Thoughts On Macklemore Winning Over Kendrick Lamar At The Grammy Awards

When Macklemore scored four Grammy Awards on Sunday while Kendrick Lamar went home empty-handed, it nearly sparked another L.A. Riot. As the debris settles, VIBE dissects the fallout of Mack's big wins and K. Dot's predictable pistol-whipping (a.k.a. getting hit with the snub)

1. Let’s just get this out of the way: Kendrick Lamar recorded the hip-hop album of this generation. Helen Keller could hear that. 2. good kid, m.A.A.d. city is a pillar of 20th century rap excellence. It’s the reason critics were salivating over it and penning 6,000-word think pieces contextualizing it in the tradition of the Black blues narrative. Because ultimately, it’s the press and the fans (not mutually exclusive) who serve as the historians that champion the works that will be remembered and studied for generations to come—regardless of what the bozos at the Academy decide. 3. All that to say: Were you really surprised at the Best Rap Album snub? Especially after that laughable news report about Macklemore almost being excluded from the rap categories. (More on this later.) The NARS damn near always gets it wrong when it comes to Black music categories. 4. But they never fail to capitalize on popular Black artists who bring in their own fans to engage in the big show. Black artists seldom win in the Big Four major categories, yet the Grammys ride them like Seabiscuit for credibility. Last year Kanye revealed an interesting factoid: Of his 21 Grammy wins, he’s never beat out a white artist for a gramophone. (No surprise he’d catch onto this.) Meanwhile, Kendrick can score seven nominations and put on the most electrifying performance of the night, but he can’t get no trophies? FOH fam. We ain’t trying to ride the Titanic as the house band—we need that “King of the World” balcony scene swag. 5. And this is why we need to support our own award shows. The BETs and Soul Trains. Because at the end of the day ::Cam’ron voice:: that’s the only way our art is going to receive its proper praise. Not to say that we always get it right, but our shows' barometers are way more on point than the Grammy Family geezers’. Fuck yo' awards like Eddie Murphy's couch. 6. Speaking of which, don’t you miss the The Source and VIBE award shows?

7. Back to Macklemore. To say this guy isn’t hip-hop is just absurd. He’s an indie artist who started from the bottom of a bleak backpack rap scene, like an Irish, new millennium Master P slinging CDs out of his trunk. Talib Kweli and Big K.R.I.T. were openers on his tour. Corny or not, he bucks back at the powers that be, whether ideological (homophobia) or consumerism (see: “Wing$” “Thrift Shop”). And he raps. So what he’s from Seattle and his hair sucks. Dude belongs in the rap categories. Hip-hop can be pop(ular). 8. As much as any snub of Kendrick’s masterpiece would sting, how much of the ire directed at Macklemore is the cause of him making his way into hip-pop without being ushered in by an already established Black rap figure? Eminem seems as aware—if not as vocal—of the impact that white privilege has had on his career trajectory. But has being Dr. Dre’s plus-one (aside from being one of the best lyrical talents of his time) helped that transition to hip-hop icon be much less awkward than Macklemore’s ascent? 9. About that text message. When will Mack come to terms with his white guilt? It’s a cross to bear for any white artist emerging via a Black art form. And Macklemore usually seems to be very aware and articulate about it. But why post that text message Instagram? Is the message what is important, or the fact that those sentiments were texted to K Dot? It was awkward and seemed self-serving—Macklemore has already echoed the same sentiments to The Source pre-victory and had a platform to say the same at the podium. He could’ve even tweeted that he felt his award was undeserved after winning. But by publicizing it on IG, by saying “I robbed you,” it was just weird and uncomfortable. You must exhibit some chill, bro. 10. What if a snub of this magnitude happened in a traditionally non-Black category, like country? Would a text message apology be appropriate? After winning Best Country Solo Performance, did Darius Rucker of Hootie & The Blowfish send Blake Shelton a text saying "My bad, dawg. It's weird, because, you know, I'm Black and all and I robbed you out of a Country Music award. Oops?" 11. Now for the other guys: How does Drake feel about being bested by Macklemore? Or Kanye? Did he text them, too? Should they feel some type of way? (Yes.) Although “Thrift Shop” and “Can’t Hold Us” make me want to stuff my earlobes with tissue paper, overall The Heist is a good album. It ain’t better than Yeezus or Nothing Was the Same, though. I'd bet my tax return that had Kanye been in the building, he would've bumrushed the stage on some, "I'mma let you finish" shit.

12. Where does Macklemore go from here? Sure he has his share of hip-hop buddies who vouch for him. But in besting rap’s golden child, and, in essence, becoming the face of hip-hop to a lot of Middle Americans who know no better, does he become ostracized as hip-hop’s new dark horse trespasser? And how does this affect his music, if at all? (Please don't record an apology record, sir.) 13. Is the Grammy Academy doing anything to remedy its credibility problem? Back in 2011, after Justin Bieber and Drake were snubbed by Esperanza Spalding (love her) for Best New Artist, Steve Stoute wrote an open letter published in the The New York Times basically airing out the Grammys: “Where I think that the Grammys fail stems from two key sources: (1) over-zealousness to produce a popular show that is at odds with its own system of voting and (2) fundamental disrespect of cultural shifts as being viable and artistic.” And while the President/CEO of Recording Academy Neil Portnow has responded by meeting with Stoute and others to “come together in a collaborative manner to discuss how The Recording Academy can continue to evolve in an ever-changing cultural environment,” what have they really done? Will Black hip-hop artists ever get a fair share at the Grammys? —John Kennedy

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The Unrestricted Music Ministry Of Yolanda Adams

Since the beginning of her career, gospel legend Yolanda Adams has accomplished an enviable feat for artists in the genre the Queen of Contemporary Gospel is respected and still sought after in both the genre and secular music world, but seemingly without the criticism and pushback her peers like Kirk Franklin and Mary Mary have faced at various times for straddling the two. We’ve marveled at the Grammy-award winner and radio host for her “She is serving - Wait, can she wear that?!” fashions and Ebony Fashion Fair model realness. And Yolanda, as a person, seems connected to “the world” in a way that may leave some church kids clutching pearls. But the Houston native (Houston clearly only produces real ones) didn’t grow up under the same strict doctrines as some of her gospel peers and her less restricted understanding of obedience in faith has made her incredibly open, accessible and connected.

On the eve of receiving the Gospel Music Icon Award at the 2019 Black Music Honors, VIBE talked to Adams about the sisterhood of Gospel, how she maintains her eternal slayage (who knew Yolanda Adams was a distance runner?), the power of music, and man-made restrictions in the church.


VIBE: You are being awarded the Gospel Music Icon Award at 2019 Black Music Honors. The BMH are meant to tribute trailblazers in Black music who may not have otherwise gotten their roses. You are definitely a trailblazer, but do you feel like you’ve been under-appreciated considering the magnitude of your contribution not just to gospel music, but music overall?

Yolanda Adams:  I’ve never felt as though I’ve been cheated or not awarded. As a matter of fact, I believe, personally, that I’ve been one of the most applauded gospel artists, especially female. One of the things that I do know is that sometimes you’re blazing trails that you really feel are just the norm. It’s not like you’re trying to do anything that’s different; you’re just doing you. And you’re enjoying doing you so much, that everybody else comes along and they join the bandwagon. I’ve never felt that I was in it by myself, although I’m a solo artist. I’ve had such a great support system with my family; my husband, my daughter. I’ve had so many people, like Shirley Caesar, Tramaine Hawkins, Albertina Walker - all of the great women who said, “We’re so proud of you, you keep doing what you’re doing. You make us look good every place that you go.” I had that support. Whenever I would call Tramaine and say, “How do I do this, this, and that?” She would always explain. Same with Pastor Shirley Caesar. Same with Nancy Wilson. I did (The Yolanda Adams Morning Show) as a result of having a conversation with Nancy Wilson. She said, “There will come a time, especially when [your daughter] Taylor gets older, that you will want to be home. So the best thing for you to do is something that you can use your radio/TV journalism degree in.” And I thought about it, and I’m like, “Wow, you know what? You are so right!” So a great conversation with her and being built up by her resulted in the creation of (the decade-long show).

So, no, I never thought that I had been underappreciated or undervalued. I always knew that what I brought to the table - and CeCe (Winans) and I have this conversation often - there was never any competition between her and I, or Vicky Winans or all of the great women in gospel music at that time because we all had our niche.

The thing that I have always said is that in this vast universe that we live in, there is an audience for everyone, and then there’s an audience that’s being left out, that somebody else needs to capture. I don’t have to fight for what belongs to CeCe, I don’t have to fight for what belongs to Vicky, or what belongs to Tasha Cobb, or anybody like that, because God has so strategically given me the platform that I have, and my responsibility in that is to be the best Yolanda I can be.

That’s a word. Let’s talk about your audience, though, because you were part of the class - along with Kirk Franklin and Mary Mary - that broke gospel music open to the mainstream. Bebe and Cece Winans cracked the door open (in the ‘90s), but you, Kirk, and the Marys blew the gap between gospel and secular all the way open. I think it’s hard for people to appreciate how big that was, then. You probably got less criticism than Kirk and the Marys because people felt like their sound was secular. Your sound wasn’t as secular; it just translated. Or did you catch heat?

When I first started, people were like, “She’s really jazzy. Why does she have to be so jazzy?” They have to understand; I was never part of a traditional gospel-type upbringing. In my household, we listened to everything. There was no restriction. We danced in our house, so I didn’t have the stronghold and the bars of “You can’t do this” and “You can’t do that.” I lived in such a cool house, God was so cool, he went to the skating rink with us on Friday and Saturday and went right to church with us on Sunday. So in my mind, I never had those types of restrictions placed on me. It was only when I started my solo career - when I was totally solo from (Houston’s Southeast Inspirational Choir) and I started traveling - people were like, “Well why do you wear makeup? And why are your dresses so short? And why do you do this and why do you do that?” I’m the kid who was into modeling. I’m into fashion. I’m into all of this stuff, so for someone to tell me my lipstick offended them, I’m looking at them like, “Ok, well then you don’t wear it.”

So you didn’t grow up in the COGIC church.

I didn’t grow up in COGIC or Pentecostal. I grew up in a Damascus church setting, and then we moved to non-denominational, which was like, “Hey, if the Bible doesn’t put all these restrictions on you, then why would you let people put these restrictions on you?”

I love that because that is such a challenge: Even though Christians are called to be circumspect and “in the world, but not of the world,” people are the ones who put so much restriction on faith. That’s us doing that, not God doing that.

Here’s the thing about knowing the Bible; you have to know the Bible for yourself.  You have to know what God said. Because if you look at what Jesus concentrated on - and I tell people all the time, you need a Bible or a Bible app that shows you the words of Jesus in the red - think about it. He’s concentrating on being loving, sharing, caring and giving, and treating people like you want to be treated. And healing people from the inside out. That was His core thing. And He said, “I came to bring the Kingdom to you,” so what is Kingdom mentality? Kingdom mentality is; if you’re broken-hearted you don’t have to be hurt; if you’re poor you can become wealthy; if you’re lonely, you don’t have to be lonely anymore. So you have to look at that, because folks start taking the Bible at face value, and they never look at the history behind it.

You’re thirty years into your career and working on new music now. Gospel music is going through some of the same transitions that R&B is going through, and we’re having the same conversations about the fundamental ways (of making music) versus the new ways, etc. What are you looking to do with your music now?

Here’s the thing: everything in life goes through cycles. Everything. Whether it’s fashion, whether it’s automobiles, whether it’s tech. It doesn’t matter. Everything goes through cycles. We’ve been having this conversation since…1987 (laughs). “What do you expect your music to do?” “Why is it that gospel music is going through this  transition?” Well, all music goes through transitions; life goes through transitions. I’m going through a different transition with my life right now with my daughter being in college. It’s just the way life goes. Everything turns around. It’s the way of nature; the sun rotates and we rotate, and we’re always turning on an axis, so that is the rhythm of life.

But here’s what I always focus in on: I am not recording an album to get another Grammy. Thank God if I get one, or when I get one because we call those things that be not as though they were. And you know, thank God for all these accolades. But at the end of the day, how can I help heal the world with what God has given me in my heart? That is always my basis for doing any album, any product, going into any business venture. All of that. Everything in my life has to do with what is in my heart at this present time. God, how can we get it out to the people that need it?

You said earlier you believe you’re one of the most celebrated female artists in gospel, and you’re definitely still one of the most visible artists in contemporary gospel. You get called for every tribute. I’ve seen you tribute Lionel Ritchie, Patti Labelle, [and] other gospel artists. You walk that line between gospel and secular so well. What do you attribute to people calling you up, even when they’re doing a regular tribute for R&B artists, and are like, “We need Yolanda”?

One of the things I think people sense with me is that I truly love people. That’s the first thing. And usually, I have a relationship with the people that are being honored. So they know that I will be very respectful to the tribute, and I will be very respectful to the artist. I will be very respectful to my friend. They know that my gift is being able to translate other people’s music that I admire into my own style without veering so far away from what they originally did with it.

I saw you do “Jesus is Love” for Lionel Richie a couple of years ago, and I was at Black Girls Rock last year getting the holy ghost right quick (during the Aretha Franklin tribute). You just bring the house down with your energy and your vocals every time, you kill it, so I think another thing is that they know you’re gonna SANG! (Yolanda laughs).

We touched on your fashion and the fact that you briefly dabbled in modeling. When you step on stage, so many women I know are like, “Yolanda is snatched! I need that dress!” Can you speak to the choice to be fashionable even while ministering?

I think I inherited that from folks like Mahalia Jackson. If you look at the history of gospel music, we have a history of being fly. You have to go back to the Clara Ward Singers, The Barrett Sisters, and folks like that. Even when Shirley Caesar and them were younger, they would wear gowns, they would wear updos. You could see Albertina Walker in the same room you saw Aretha Franklin, and Albertina Walker’s gown would be more killin’ than Aretha’s at the time! The beauty of gospel music is that our fashions are so unexpected. People are like, “Oh, they’re just gospel artists.” Then you show up and they’re like, “Wait a minute, now!’ And if you go back into our history as African-Americans, that’s why they call it your “Sunday Best” because church was the place you could go to show off your fashions. The hats, and the gloves, and the pocketbooks, all those kinds of things. We had to have it straight.

Do you have a fitness regime?

Oh yes, I am very wellness-centered. I know that at any time, without warning, I can be called to be on television, and it has been a practice of mine, since I started, to make sure I am physically fit, spiritually fit, emotionally fit, and sometimes that’s not so easy with the climate of the world that we live in now. But my regime is once I get off the morning show, I go straight to the park or the gym for strength training. I run at least three miles when I do my runs. My long days can be anywhere from 9-12 miles, but I never do less than three miles. Sometimes it’s for sanity purposes, sometimes it’s for meditation purposes, but I love fitness because I know what I want to look like in my clothes.

For the record, you’re 50...something. I’ll say fifty-something. But you are in peak shape, form, energy, all of that. So it’s obvious that you take care of yourself.

I tell people all the time: If you want to start living better, start today. With an extra glass of water, an extra apple. And I’m not saying cancel sugar out altogether because our brains need the sugar, but you don’t have to add extra sugar.

Right. And I do think that’s something that presents a challenge for folks who’ve grown up in the church - we eat with our fellowship.

It can be food and fellowship as long as the people who are bringing the food know how important eating well is. Just like you can bring fried chicken, you can bring baked chicken. Just like you can bring fried fish, you can bring baked fish. You don’t have to put all of that grease in your system. Now if you’re only doing it once or twice a year, that’s not a problem. But if you’re doing it every Sunday, every Wednesday, every Thursday, every Friday, you gon’ have a problem.

I used to go to [your 1993 hit] “The Battle is Not Yours” when I needed encouragement. Who do you listen to for encouragement?

I listen to a lot of the stuff that I have recorded and have written. My go-to's are Tramaine, Cece, Vicky, Richard Smallwood, Donnie (McClurkin), Donald Lawrence...I listen to everybody. I love listening to all gospel music. Especially at that time.

Who do you listen to on the secular side?

I listen to Mary J., Lauryn Hill, I listen to Monica, I listen to Brandy, Kenny Lattimore—

You listen to the voices.

Yes, I love voices, and I love different voices. Rashan Patterson. PJ Morton - I’ve known him since he was three years old. I love to hear young people express themselves, whatever it is. India Aire; I love her new album (2019’s Worthy). I’ve been listening to “Roller Coaster,” that song is so amazing. There are just certain things I hone in on. Tamia’s new project (2108’s Passion Like Fire). Johnny Gill has a new project (Game Changer II). Uncle Charlie (Wilson) has a new project. Lalah Hathaway, she is so amazing. I love the richness of voices, and I love people who are passionate about what they’re writing, what they are expressing and how they make you feel. I need some feeling in my songs, you know?

Who would be in your ideal line-up for a tribute to Yolanda Adams?

Oh my gosh, can I pick like 20 people? (laughs). If I could pick 20 people, it would be Avery Sunshine, Anita Wilson, Jekalyn Carr, Tasha Page House, Monica, Brandy, Jazmine Sullivan, Kelly Price, Donnie McClurkin, Jonathan McReynolds, Brian Courtney Wilson… I know I’m probably at 40 now! Joss Stone...So many people. I am a music lover, and I love to hear people expressing their love for what they do, and I know I’m repeating that, but all of those people I named, they’re so passionate about everything that they do. I could just listen to all of those people all of the time. Oh, and Lalah!

Based on how much you love music and you love feeling the emotions, can you speak to the power behind ministry in music?

Music is so… it’s so a part of us. Remember I said earlier that everything has a rhythm? It is in us. Our hearts beat at a rhythm, our blood flows in a rhythm. We can be walking down the street and then all of a sudden, we’re walking at a rhythmic pace. It’s just the way that we’re wired. So it is automatic that music has such a profound influence on the way we feel. When we’re in love, we can listen to Anita Baker. When we’re asking questions, we can listen to Donny Hathaway or Roberta Flack, or Donnie McClurkin or Fred Hammond. When we have a heartbreak, we can listen to Mary J. Blige. When we wanna be empowered, we can listen to Beyoncé. When we wanna cuss somebody out, we listen to Cardi B (laughs). I love Cardi!

But I’m just sayin’. There’s a rhythm to everything, so my thing is, it is automatic that we feel the power of someone’s interpretation when we’re listening to music. There is no way you can’t get the feeling that Jazmine really did knock the windows out of somebody’s car. It’s almost like you go back to that experience where somebody made you so mad you wanted to do that. And this is what I think music does as ministry. When we talk about ministry, the root is “minister,” which is also where we get “administer.” So music can administer healing, it can administer hope, it can administer empowerment, it can administer everything that you need it to. Power that changes people’s lives comes with the impact of music.


The 2019 Black Music Honors, celebrating Yolanda Adams, Tamia, Xscape, Freddie Jackson and Arrested Development, is set to air in broadcast syndication Saturday, September 14, 2019. Visit for more information.

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Jenny Regan

Un-Classic Man: The Evolution of Jidenna

Jidenna is glowing. The edge of the summer sun creeping into VIBE’s New York office highlights the 34-year-old's purple hues and cantaloupe-colored prints that adorn him. His mustard kufi, sitting snug atop his braids, is more than just a "cool hat." It's an introduction to who he really is. “I am Jidenna, the Un-Classic Man.”

Jidenna didn’t rigorously exfoliate that persona off—it shed on its own. The 2015 release of “Classic Man” helped usher him into the mainstream game under Janelle Monae’s Wondaland roster. The track provided the artist his first Billboard Top 40 hit, a Grammy nomination for Best Rap/Sung Collaboration and a chopped and screwed version featured in the Academy Award-winning film Moonlight. But the boom-trap feel of the record is nowhere to be found on his sophomore release, 85 To Africa.

Instead, the Nigerian-American gives life to hip-hop’s current identity crisis by stamping its passport across the African diaspora. “I want the album to integrate the African diaspora with the continent,” he says of the LP’s mission statement, which features a polished display of Afrobeat(s), R&B, psychedelic soul, funk and raw bars from an artist many haven’t figured out yet.

“It's [like] Dr. Martin Luther King Jr. If you look at him, that generation's mission statement was to integrate people of color and mainstream society, but mine is the diaspora into the continent,” he adds while elongating his goals. “I'm living and dying for that. There's nothing more important as black people as that. Nothing. There's plenty of things we gotta work on because if we do, a lot of other things will actually change. The economics in the hood, the idea of it being gentrified, the positions of power with women, the LGBTQ+ community worldwide. You have to deal with all of that to integrate the diaspora and the continent.”

Jidenna’s big ideas aren’t without merit. The son of a West African scientist and chief, the artist is not only knee-deep into social issues that plague the African-American community, but has strong ties back home. It’s enough to overwhelm any online revolutionary but Jidenna isn’t built that way.

“Someone described me as an aux cord for the diaspora to the continent,” he says. The album takes listeners to his once-humble abode in Atlanta—a cultural hub for black excellence in its own right—to sounds currently taking over Afrobeats and trap-themed parties. Horns blow with endurance on the album’s title track with special guests like GoldLink and Mr. Eazi shining on “Babouche” and “Zodi,” respectively. Jidenna’s sonic road trip is laced with good intentions, legendary producer Young Guru says.

“Jidenna's album is sort of a bridge, that's why it's 85 to Africa,” he says when asked about engineering the album.“It's bridging those gaps, but not only bridging those gaps musically but [also] bridging those gaps politically, bridging those gaps business-wise. That's the general purpose and the idea, along with very mature subject matters. I don't know if the average American knows what a 'Sou Sou' is.”

Throughout the album are odes to Caribbean and African culture like on “Sou Sou,” an offhand way of saving money in West Indian households. However, on the track, Jidenna compares the practice to a night in Ankara sheets. “Sufi Woman” plays to any soul sister keen to Yoruba, Brazillian Candomblé or whatever intensifies the spiritual vibrations. The lustful vibes continue on “Zodi,” which masterfully samples Busta Rhymes’ 1997 hit “Put Your Hands Where My Eyes Can See.”

“If we are to be stewards of what this culture is, we have to allow it the space to evolve,” Guru mentions of Jidenna’s marriage of Afrobeats and hip-hop. It finds a calming balance on the album's lead single "Tribe" with a psychedelic video to match. “And that means sonically, subject matter wise and style-wise. That means us as 45-year-old parents of the culture allowing our 16-year-old children to express themselves. All of that is inside of this album. That's why you hear the direct nod to an old Busta Rhymes record but still making it new.”

He’s humble about the notion, but Jidenna and in-house producer Nana Kwabena were some of the early U.S.-based artists to blend the sounds of Afro House and Afrobeats into hip-hop’s obsession with trap beats. He points to "A Little Bit More," one of four singles from his debut album, The Chief. “That was the first time on the radio you were hearing real pidgin from a U.S.-based artist,” he recalls. “Nobody was saying 'Wahala she no dey give me.'” (Translation: She doesn't give me any trouble or worries.)

But Jidenna admits he’s not fond of his first studio project. He points to industry suits clamoring him about the “Classic Man” ethos. The pressure to be a gimmick only fueled the need to return to his roots.

“I enjoyed songs off it but [it was] the process. I was dealing with a label who wanted me to stick to one thing and I'm not that person,” he says. “It's not even natural to me. I live in between worlds. So that album, there was like three iterations for it so by the time it was done, I just wanted to get it out. I'm not proud of it and I'm still not.”

With 85 to Africa, Jidenna says he went in with no expectations as he traveled from Atlanta to Nigeria, Ethiopia, Swaziland (Eswatini), and Namibia. “I was just traveling through the continent and that's why it's 85 to Africa and not one country. That's how far I had to get away to make a natural album.”

He might not be a fan of his early tunes but he’s a scholar in trap and African music. “There's hella genres in Afrobeats, we're not even there yet,” he says about America's fascination with artists like Tiwa Savage, Burna Boy, and Mr. Eazi. “We're at the beginning. It's like when hip-hop started in 1979 and everyone is like, 'This is hip-hop.' We're literally at that point.”

Pointing to legends like Ebo Taylor, King Sunny Adé, Sunny Okosun, Cardinal Rex Lawson and Miriam Makeba, Jidenna hopes students of music listen to these artists in hopes of grasping a better understanding of other genres like highlife and jùjú music. He also believes hip-hop will have to pull a Sincere and head back home to the Motherland.

“I think for the first time in hip-hop history, hip-hop has to look outside of its history to evolve,” he says with much certainty. “Otherwise, it would be boring. I'm glad trap evolved the way it did because naturally, I was a fan because I was in it. I always told people, 'Trap music is African.' Those rhythms, those triplets, when Jazz players are talking about, 'Yeah, Jazz music baby. You know, the 6-8.’ When we're hip-hop historians, all old and grey, we’re gonna say, 'Migos was doing to the platter platter platter,’" he says in relation to their triplet flow.

Jidenna's love for hip-hop was felt throughout his 85 To Africa pop-up listening parties that were meant to recreate the days of The Tunnel (look it up) and house soirees. While playing his album, some fans had their chance to dance with the singer, with others pledging their devotion to Jidenna on social media.

He's well aware of his sex appeal but no one thought a simple studio photo would turn him into a trending topic—before he even released details of his album. “It's so funny because it shows that one, you don't know what will pop off and two, what people find attractive about you, I didn't like that picture,” he says.

But for every eye-catching photo of Jidenna comes an appreciation or at least, a respected view of his music. When it comes to his peers like Cardi B and Megan Thee Stallion, their talent is often questioned because of their sensuality.

“I'm biased. I think the female form is an unbelievable form. Period. I think that men and women can appreciate that, not to say that there's no beauty in men, but I do think that human beings really enjoy women,” he says between pauses.

“I know for a fact that a lot of female artists feel the pressure to be more revealing. Men are starting to feel that way, too. The pressure to lift weights, the pressure to put beard oil on, the pressure to get a lineup every week. I'm glad because women put a lot of work in. What's cool is that women in the U.S. are going through a phase where it seems like y’all are more unapologetic than ever before. Women are speaking crass and bolder, and that's why they're rooting for Megan and artists like Cardi. Lizzo also represents a certain kind of freedom and I think that kind of liberation is great.”

While speaking to the double standards of hip-hop’s shining stars, Jidenna believes men have tapped into their vulnerable sides. “With men, you're seeing what women have done more traditionally and that's being more vulnerable and admit to mental health and admit to having self-esteem issues,” he says. “I can go across the board from A$AP Ferg to Big Sean to myself. Our journey is that way and for women, it's the other way.”

From owning his artistry to his masculinity, Jidenna is in a special place of self-awareness.

“I think he's found his purpose and his sound,” Guru says. “With him and Nana coming together as a group, as a team, I think he was making sure that he was not being pigeonholed into a hit record, which sometimes can be a curse. But a lot of times you don't get to see the full scope or run the gamut of what that artist can do and I think that on this album. He's shown you his full gamut of what he can do as an artist. He can rap, he can sing, [and] he put together melodies that are not normal but that completely fit where we are right now. That's just him as an artist.”

Jidenna is finally where he wants to be and it's time hip-hop takes notice. Stream 85 to Africa here.

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Frazer Harrison

12 Hip-Hop And R&B Collaborations With BTS We Need ASAP

K-pop music has steadily grown into a cultural phenomenon that has spread from Korea and attracted a massive, diverse audience across the globe, with a few of Korea’s hottest exports like EXO, Pentagon, NCT-127, Blackpink, and Monsta X gaining momentum in the United States. However, South Korea’s own BTS are global musical juggernauts that stand far above everyone else.

BTS, also known as Beyond The Scene or Bangtan (Bulletproof) Boys, have made the biggest splash of all groups from Korea since their debut EP, 2 Cool 4 Skool (2013). The seven-man union, formed by Big Hit Entertainment in 2010, are three rappers and four vocalists: RM (the leader), Suga, J-Hope, Jimin, V, Jungkook, and Jin, respectively. With their homegrown, in-house writing and production, they developed a familiar but unique style that combines hip hop roots with the best of Korean and American pop music, and a splash of R&B. It’s presented with pastel colors and an alluring brand of soft, non-conforming masculinity, precise choreography, and deep layers of musical talent. They’ve also earned a staggering amount of accolades, including being named one of the “25 Most Influential People On The Internet” and “Next Generation Leaders” by TIME, the first Korean group to hold an RIAA certification and the first to have been nominated for a GRAMMY, along with four Billboard Music Awards and more honors.

Their hip-hop roots run deep as they started as a teenage rap group, with RM, Suga and J-Hope initially being battle rappers. A trip to Los Angeles, however, as documented on the reality series American Hustle Life, proved they had a very long way to go with understanding of the culture among other skills. Thankfully, after a boot camp style schooling from west coast legends Coolio and Warren G with choreographer Jenny Kita, they’ve grown tremendously as evident on their debut LP Dark And Wild (2014).

Since then, BTS has collaborated with hip-hop stars like Wale, Desigiiner, Krizz Kaliko, Nicki Minaj, and recently, JuiceWRLD on “All Night,” an exclusive from the soundtrack to their new mobile game, BTS World. The boys are riding high after their Gold-selling album Map Of The Soul: Persona, their new film Bring The Soul, and news of a collaboration with R&B/pop singer Khaled on the way. The BTS A.R.M.Y. (Adorable Representative M.C. for Youth) is excited for the possibilities of fresh new collaborations with other hip-hop and R&B artists. Read below for VIBE’s list of the 12 hip-hop and R&B collaborations with BTS we need ASAP!



Toronto’s own megastar may be a controversial, polarizing pick because of the criticism of him (allegedly) riding on newer artists’ popularity to bolster his own career and “wave riding” international genres and artists without giving the proper credit. Regardless, based on Drizzy’s Billboard chart-topping history, a BTS and Drake collaboration would be nearly guaranteed to be a home run.

Musically, Drake is versatile enough to match elegant harmonies with Jin, V, Jungkook, and Jimin (imagine a remix to the steamy “Singularity”) and go bar for bar with ease next to RM, J-Hope, and Suga over  production from 40. His tracks with artists like Bad Bunny, popcaan, Wizkid, Romeo Santos, Black Coffee, and Giggs have all been solid, but BTS pairs the best with October’s Very Own because they both excel at creating bubbly, up-tempo and mainstream-friendly pop records, late night, vibey and confessional R&B songs, and explosive rap jams for the crowd who craves pure lyricism. And after the two had a warm meeting at the VMAs, fans shouldn’t be surprised if we see something on the horizon very soon.

Lil Uzi Vert

The tone and direction of BTS and Lil Uzi Vert’s most electrifying hits are the difference between night and day. On the flipside, they share much more common ground than you’d think with their high energy songs and performances, and an eye-catching penchant for their colorful, eccentric fashion looks and charismatic, light-androgynous swagger with the dance moves to match.

BTS’s recent effort with Juice WRLD, “All Night,” has already shown how well the group can pair with the hip-hop superstars from America’s Soundcloud generation, especially with the right producer in tow (Pro Era’s Powers Pleasant). With Lil Uzi Vert, we can expect a hit that carries the same pop and crossover appeal with that glittery sheen Uzi displays on “That’s A Rack.” However, if they really want to blow our collective minds, it would be a fresher look for BTS to see how the Bangtan spitters RM, Suga, and J-Hope would fare on the aggressive, high-octane end of Uzi’s versatile playground. They obviously can be as explosive on wax as evident on their first full length album, Dark and Wild, and in a more recent context, “IDOL” and “Mic Drop.”

BTS could fit with a respectable number of Uzi’s contemporaries as their cadences, flows, and gender fluid style are the products of its time. The Philly rapper stands above the pack however because of his smooth versatility to rock out, no matter the genre or direction of the song. If these two forces of nature got together, this could be an unprecedented crossover song for both of them.

Black Hippy

Kendrick Lamar and BTS have been tied together through a combination of minor controversies, and frequent collaborator, producer Teddy Walton attended a show and declared on Twitter that he wanted to work with the group. Obviously a Kendrick Lamar and BTS collaboration would turn heads, but who said he’s got to be the only one who gets to have all the fun?

If we live long enough to get a whole collaboration between BTS and Kendrick, Jay Rock, Schoolboy Q, and Ab-Soul, it would be the greatest gift that a hip-hop fan never knew they needed. RM, Suga, and J-Hope all are very nimble and clever lyricists who can go bar for bar with Black Hippy while the other four vocalists are no stranger to blending in on a pure hip-hop song. Also, their collective versatility ensures we wouldn’t get the same song twice.

When it comes to content, the catalogs of both groups contain plenty of songs that go into a wide range of topics, be it personal or social commentary, braggadocios raps, and just strictly for the turn up. Musically, BTS’s flows and vocals are versatile enough to ride over either a beat by Terrace Martin, Sounwave, or DJ Dahi.

Missy Elliott

For over 20 years, Missy Elliot has been a maestro of the clubs, the streets, the bedrooms and the Billboard charts for herself and a long list of some the greatest solo acts and groups who have ever done it. Her and BTS would be a very strong tandem because of her own experience in working with R&B and pop groups like Playa, 702, Destiny’s Child, and The Pussycat Dolls.

Missy’s no stranger to working with top artists from across the globe as she has created with Little Mix, Lady Sovereign, and MC Solaar. A BTS collaboration would not be so far out of her comfort zone because they both share a connection with their colorful, vibrant, eclectic music and imagery with their versatility with rapping, singing, and dancing.

Their effort could create a unique moment because both are great creating danceable hits using a wide variety of sounds from different genres (“Get Ya Freak On”/”hip-hop Phile”). We could also get some very sultry standouts as both are known for having sensually sweet voices and have great chemistry with partners. (“The Truth Untold”/”Crazy Feelings”). And if that doesn’t entice you, imagine the insane possibilities for their video treatments and their choreography at their live shows.

Tech N9ne

On the group leader RM’s solo mixtape Rap Monster, he tapped Strange Music’s resident crooner Krizz Kaliko for the soulful tune “Rush” back in 2015. Considering how far BTS as come along since then, it’s about time that fans got to hear one of rap’s most wicked lyricists, Tech N9ne, create a monster masterpiece with the group.

Albums such as Dark And Wild (2014) offer the group at their most aggressive while recent tunes like 2018’s “MIC Drop” and the Steve Aoki remix with Desiigner feature their most explosive lyrical performances, proving doubters why they’d make such a strong pairing. With Tech N9ne being one of the greatest rapid-fire spitters of all time and BTS, collectively, being able to switch flows and spit just as fast, we'd be likely to get a raging, lyrical barnburner. Possibly with Tech N9ne’s frequent collaborator Krizz Kaliko back on board as well.

On the flipside, Tech N9ne has shown tremendous versatility in his content and beat selection over the past 20+ years with thought-provoking deep cuts like “Show Me A God” and fun, loose bangers like “Caribou Lou.” And the soundscape on BTS songs like “Boy Meets Evil” and “Am I Wrong” from their 2016 album Wings are the kind that demonstrates not-too-bubblegum, yet not-too-hardcore sound where Tech can shine. If we can get a “BTS Cypher 5” on their next full-length album with Tech N9ne, we should all lose our collective minds.

Bad Bunny

Beyond Korea, K-pop has extended its reach into Latin America, Puerto Rico, Mexico, and brown folk in the United States. Coincidently (or not), we’re also witnessing the ongoing reign of Urbano and Latin Trap music, including one of the brightest, most eclectic stars of them all, Bad Bunny. That said, a Bad Bunny and BTS collaboration would be the international answer to the 1980s classic Run-DMC and Aerosmith tune “Walk This Way”, that music needs right now.

Despite the language barrier, it wouldn’t be impossible for them to create an international smash as BTS are known to enjoy various genres of Latin music. Working with Bad Bunny would be a fun match because they are both known for their flamboyant, colorful styles that defy gender norms, and electrifying flows. Bad Bunny’s talents would add a unique flavor that would bring more attitude, flair, and exciting, bouncier flows if paired with BTS. And while K-pop and Latin music collaborations aren’t anything new (Super Junior and Leslie Grace already beat them to the punch with “Lo Siento”), the impact could possibly be greater if done for a worldwide audience in the Western music world.


It doesn’t take a music industry genius to know that if some wise guys or gals came up with a world tour with Beyoncé and BTS together, there would be no stadium big enough to hold both the Beyhive and the A.R.M.Y.

Beyonce’s voice is powerful enough to add an extra compelling layer of emotion to a song like “Listen,” and dynamic enough to get the party rocking like she’s done with “Get Me Bodied.” BTS already has the range, depth, versatility, and work ethic as a group to meet Beyoncé’s high level of singing and performing and it would be interesting to see what the band would look like with choreographer JaQuel Knight or how Beyonce’s moves would look under the guidance of J-Hope and Jimin. Hearing and seeing these two together for the first time would be a matchup of the century.

Boyz II Men

One of BTS’s biggest co-signs they’ve unexpectedly earned this year was from Boyz II Men’s Shawn Stockman, when he covered Jimin’s solo cut “Serendipity” while playing his guitar on a video he posted on Instagram. And that’s a high honor considering how BTS are the same fruit off The Jackson 5’s R&B/pop tree as the Philly trio.

Out of the many iconic groups that precede them, Boyz II Men is the best choice for a collaboration because the four vocalists and the trio’s voices can work cohesively together as they have a balanced range of pitches. And if need be, Boyz II Men are no stranger to singing in different languages as they covered k-pop songs on 2005’s Winter/Reflections and 2011’s COVERED -Winter. The only disappointing part is knowing that Michael McCray’s deep, sultry bass won’t be present after he revealed his battle with multiple sclerosis in 2016. Still, both groups have the musical range to appeal to both Asian and black audiences at the same time, so seeing them work together would be an amazing passing-of-the-torch moment.


Love Yourself, ‘Tear’ (2018) from their Love Yourself trilogy is a prime example of how the group's collective vocal ability isn’t limited to pop music. They’ve proven with songs like “Singularity,” “The Truth Untold,” and “Magic Shop” that they’re just a proficient in contemporary R&B and neo-soul as they are at everything else. And while many contemporary American acts could sound great with BTS, perhaps the one that would be the most refreshing is H.E.R., whose deep, sensual, and gripping style will grab you by the ears and hold you by the heart. Both have the vocal range and deeply layered content to create an emotionally rich affair that could wind up either in the form of duets with either one of the singers or full group collaboration. We might not get a strong pop song from them, but considering how strong their emotional appeal and relatability is with their music if brought together, we don’t need them to make one at all.

Chris Brown

BTS’s lead dancer and singer Jimin has mentioned on a few occasions that he is a Chris Brown fan and he’d like for him to work with the group one day. In fact, three members once danced on stage to Breezy’s “Take You Down” and the crowd couldn’t get enough. Imagine how insane that same crowd would be if he were with the group on stage.

Aesthetically and musically, BTS has the most similarities to Chris Brown when it comes to their intense work ethic, creativity, natural dancing skills, and their knack for seamlessly weaving through hip-hop, pop and R&B on their albums. The obvious difference is that Brown is highly skilled at all those things, where some of the individual members are weaker in at least one of those aspects. It can be argued that J-Hope, Jimin, and RM are literally Chris Brown if you were to separate him into three people because those members, individually, carry all the things fans love about Brown’s music and performances.

Based on all of this, a BTS and Chris Brown collaboration would be insane because their styles would perfectly gel, which could create real chemistry that we could see and feel on stage.

J. Cole

It’s been documented that BTS, especially the leader RM, are fans of J. Cole as they once sampled his James Fauntleroy-assisted “Born Sinner” for their song “Born Singer.” If you were to listen to some of RM, J-Hope, and BTS’s earlier work, you can even see how they were inspired by Cole through their content and flows. Since the group is far more of a polished act nowadays and has cultivated their own style, a J. Cole and BTS collaboration would be something special.

Just as J. Cole garnered a cult-like following through his music and the way he addresses social and mental health issues, BTS has done the same thing for the past several years on wax, interviews, and more famously, in their speech in front of UNICEF in 2018. A joint record between the two could be a powerful track that cuts through like a hot knife on butter. Or we could even get a chance to hear Cole, Suga, RM, and J-Hope perform lyrical surgery on a “BTS Cypher” or on a J. Cole album where really gets in his bag like “MIDDLE CHILD” or on the Dreamville posse cut “Down Bad”. BTS has the language and versatility to match with J.Cole, so this would be an exciting effort from both acts.

Janelle Monae

This may look unorthodox on paper as BTS and Janelle Monae’s respective approaches to music and performing come from different, but related musical influences from black music. A closer look at the two however shows that they still share a parallel space. They often defy gender norms with their outfits and soft color schemes, giving some of the most vibrant, creative visuals you’ll see in this generation with videos like “Boy With Love” and “Pynk.” Also, both are vocal allies of the LGBTQ community and people of color.

Musically, Monae is an multi-faceted artist who can sing, dance, and even trade bars with the best of them as heard on “Django Jane.” And the way she uses her vocals and bars to create \ soul-stirring moments on socio-political songs like “Cold World” and “Americans” as BTS has done on “21st Century Girl” and “Am I Wrong.” Together, Monae and BTS could be a freedom fighting force on wax and create a groundbreaking moment that will cross racial and gender barriers across the world.

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