Chicago Awards $3.8M to 18 Neighborhood Business Projects

By Eddy “Precise” Lamarre

Chicago has awarded over $3.8 million to 18 businesses and nonprofit projects on the South, Southwest and West sides. The grants are expected to support approximately $10.5 million in construction, renovation and expansion work.

The Neighborhood Opportunity Fund awards range from $86,250 to $250,000. Recipients include restaurants, wellness centers, cultural projects, a video-production facility and community-focused businesses in neighborhoods including Chatham, Auburn Gresham, South Shore, Austin and West Englewood.

Which Chicago businesses received grants?

Several projects have direct relevance to Black Chicago.

Area 44 Cafe at 8455 S. Cottage Grove Ave. in Chatham was awarded $187,500 for a cafe, juice bar and event-space buildout.

B&B Ice Cream and Candy at 8238 S. Racine Ave. in Auburn Gresham received $187,500 for renovations. Blue Kite Wellness, located at 2020 W. 79th St., received $250,000 toward a behavioral health and wellness center.

Dreamville Campus in West Englewood was awarded $250,000 for nonprofit facilities. Full Video Production Services Inc. in South Shore received $144,722 for its production facility.

Suga Ray’s Famous Chicken & Waffles, planned for 6945 S. Stony Island Ave., received $250,000 for its restaurant buildout.

Other recipients include an escape-room business in South Chicago, a bike shop in Grand Boulevard and a community resource center in Austin. The complete 18-project list is available through the City of Chicago announcement.

How does the Neighborhood Opportunity Fund work?

The Neighborhood Opportunity Fund supports permanent construction and rehabilitation projects along eligible commercial corridors.

According to program administrator SomerCor, grants can cover 75% of eligible expenses up to $250,000. Approved projects may also qualify for up to $50,000 in technical assistance for services including design and construction management.

The program is funded through payments made by downtown developers seeking density bonuses. Eighty percent of eligible proceeds are directed into the neighborhood fund instead of relying on property-tax or federal revenue.

Businesses generally need control of the project property through ownership, an eligible lease or a purchase agreement. The fund operates as a reimbursement or escrow-based program, so receiving an award does not necessarily mean the entire grant is paid at the beginning of construction.

Why do these awards matter to Black Chicago?

Access to construction capital can determine whether a neighborhood business moves from an idea to a functioning storefront.

Traditional financing may be difficult to secure for entrepreneurs without substantial personal capital, property or established banking relationships. A grant that covers a major share of renovation expenses can reduce the amount an owner must borrow.

The range of projects also matters. This round includes food businesses, wellness services, cultural spaces and media production. Those businesses can help commercial corridors serve daily neighborhood needs while creating gathering places and opportunities for local vendors.

The inclusion of Full Video Production Services is especially notable for Chicago’s creative community. A permanent production facility in South Shore can support filmmakers, photographers, editors and young people seeking practical experience in media.

Still, an award is the beginning of the process. Residents should watch whether the projects complete construction, hire from surrounding neighborhoods and remain accessible to the communities the fund is designed to serve.

Can other Chicago businesses apply?

Applications are accepted in evaluation rounds. The city’s Neighborhood Opportunity Fund page lists the next deadline as 11:59 p.m. Nov. 13, 2026.

Owners should confirm that their address is inside an eligible corridor before paying for plans or beginning work. They should also review the program’s rules on eligible expenses, site control, financing and reimbursement.

The latest awards show that neighborhood investment can support multiple forms of local ownership. Their long-term value will be measured by completed storefronts, sustainable operations and stronger commercial corridors.

Insecure Anniversary Tour Canceled, Inglewood Show Remains

By Eddy “Precise” Lamarre

The planned 13-city tour celebrating the 10th anniversary of Insecure has been canceled because of conflicts involving the cast’s work schedules. Issa Rae and the show’s team will still hold one anniversary event Oct. 8 at YouTube Theater in Inglewood, California.

The cancellation affects planned appearances in Chicago, Atlanta, Detroit, Houston, Philadelphia, Brooklyn and several other cities. Rae announced the change alongside Yvonne Orji, Jay Ellis, Natasha Rothwell and showrunner Prentice Penny in a video posted by HOORAE Media.

Why was the Insecure tour canceled?

Penny said members of the cast had secured new work, making it difficult to keep the original tour schedule intact. Rae added that the group only wanted to produce the tour if the principal participants could appear together and give audiences a complete experience.

Ellis is working on “The Rookie: North,” while Rae and Penny are developing another HBO project. Those overlapping commitments made the multi-city reunion increasingly difficult to coordinate, according to theGrio.

The group delivered the news with the humor that helped define the series. Cast members passed responsibility for the announcement until Rothwell finally confirmed the cancellation.

What happens to purchased tickets?

Rae said refunds will be honored.

Blex Media reported that Ticketmaster refunds will be returned to the original payment method. The outlet said funds are expected within 14 to 21 days after Ticketmaster receives them from the event organizer.

Ticket holders should retain their confirmation information and check the email account connected to the original purchase. Anyone who bought a ticket through a resale platform should review that platform’s separate refund policy.

The Chicago appearance had been scheduled for Oct. 1. That engagement is included in the cancellation.

Why did Insecure earn a national anniversary tour?

Insecure premiered on HBO in 2016 and completed its five-season run in 2021. The series followed Issa Dee and her circle as they navigated friendship, romance, career decisions and adulthood in Los Angeles.

Its cultural influence reached beyond television. The show presented Black characters whose lives could be funny, uncertain, ambitious and imperfect without forcing every storyline to explain Blackness to an outside audience.

Music was central to that identity. Solange Knowles worked as a music supervisor during the show’s early seasons, while Kier Lehman helped build a soundtrack that introduced viewers to established and emerging Black artists.

The music selections frequently became their own conversation after an episode aired. For independent artists, placement on Insecure could open a path to listeners who trusted the show’s taste.

That legacy makes the canceled tour disappointing for music audiences as well as television fans.

What remains of the anniversary celebration?

The Oct. 8 Inglewood event will bring the celebration back to the community where Insecure was set and filmed. Full programming details were not included in the cancellation announcement.

Keeping one event allows the team to recognize the anniversary without presenting a reduced touring lineup. It also reinforces the importance of place to the series. Inglewood was part of the show’s visual language, business ecosystem and musical identity.

The road trip may be over, but the anniversary remains an opportunity to examine what Insecure changed for Black television creators.

Its lasting achievement was not simply that audiences watched. Viewers recognized their conversations, music, neighborhoods, friendships and uncertainty on screen.

Doja Cat Discusses Substance Use, Identity and Her Healing

Screenshot photo source Instagram @dojacat

By Eddy “Precise” Lamarre

Doja Cat has publicly addressed her past cocaine use, difficult relationship with alcohol, racial identity and ongoing mental health treatment. The rapper and singer discussed the subjects through a series of TikTok videos shared Aug. 31.

Her comments offered context for several periods of controversy in her career while emphasizing that she considers herself to be on a continuing path toward healing. Entertainment Weekly, Complex and E! News reported on the videos.

What did Doja Cat reveal?

Doja Cat said she struggled with cocaine approximately eight years ago but considers that experience to be behind her. She distinguished that history from her relationship with alcohol, which she described as a recurring problem without identifying herself as an alcoholic.

She connected drinking, untreated mental illness and online validation to destructive thinking. Her account focused on how social media could reinforce the negative thoughts she was experiencing instead of providing genuine support.

Doja Cat also addressed accusations that the darker imagery used during her Scarlet era reflected something dangerous about her character. She explained the imagery as an artistic representation of personal problems, addiction and mental distress.

Her remarks should be understood as her personal account, not a clinical explanation of addiction or mental illness.

How did she address race and self-image?

The artist, who is biracial, said she began struggling with her identity after moving to a predominantly white neighborhood at age 8. She described feeling confused about where she belonged and how she understood her Blackness.

That history provided context for criticism Doja Cat has faced concerning her past online behavior and racial identity. She acknowledged that there was a period when she struggled with self-hate, but she rejected the idea that those feelings still define her.

“I don’t hate myself,” she said in one of the videos.

Doja Cat encouraged people experiencing similar confusion to care for themselves, sleep and seek help. She did not suggest that personal reflection should replace professional treatment.

Why does this conversation matter in music culture?

Artists are frequently expected to turn emotional distress into music while keeping the underlying struggle away from public view. Social platforms intensify that pressure because an artist can receive praise, mockery and judgment within minutes.

Doja Cat’s disclosure complicates the public character that has surrounded her work. Provocative imagery can function as performance, but it can also grow from experiences the audience does not fully understand.

Her comments do not erase earlier controversies. They provide information listeners can consider when evaluating her evolution and the public conversation surrounding her.

The disclosure is also relevant to Black and biracial fans who have experienced isolation in communities where their identity was questioned. That part of her message reached beyond celebrity news and into a familiar discussion about belonging.

What has Doja Cat said about treatment?

Doja Cat revealed in March that she had been diagnosed with borderline personality disorder. She said she has participated in therapy for several years and expects treatment to remain a long-term process.

Mental health conditions and substance-use disorders require individualized evaluation. Anyone facing an immediate mental health or substance-use crisis in the United States can call or text 988 for confidential support.

Doja Cat’s videos ultimately presented healing as unfinished work. Her willingness to discuss that work publicly may help shift the conversation from spectacle toward accountability, context and care.

Drake Debuts Iceman Tracks With Don Toliver at Toronto Show

Screenshot

By Eddy “Precise” Lamarre

Drake delivered the first live performances of three songs from Iceman during a surprise appearance at Don Toliver’s Toronto concert. The hometown moment gave fans their first look at how the album translates from streaming platforms to an arena.

The rapper joined Toliver at Scotiabank Arena on Aug. 31, performing “Shabang,” “Burning Bridges” and “Janice STFU.” The appearance occurred during the Toronto stop of Toliver’s tour supporting Octane, according to Billboard Canada and Complex.

What did Drake perform in Toronto?

Drake began his appearance with “Shabang” before transitioning into “Burning Bridges.” He also performed “Janice STFU,” one of the album’s biggest Canadian singles.

“Janice STFU” debuted at No. 1 on the Billboard Canadian Hot 100 and spent three consecutive weeks in the top position. Billboard Canada reported that the run made it Drake’s longest-leading Canadian No. 1 single of the decade.

The performance marked Drake’s first time presenting material from Iceman in concert. The album, released in May, previously reached No. 1 on the Billboard Canadian Albums chart.

Drake told the Toronto crowd that he appreciated Toliver giving him an opportunity to perform the album. Toliver, in turn, acknowledged Drake’s influence on his generation of artists.

That exchange carried additional weight because both performers have maintained a strong commercial presence in 2026. Toliver’s Octane also topped the Canadian albums chart earlier this year.

Why was this surprise appearance important?

Surprise appearances have become an effective way for major artists to test new records without immediately committing to a full tour announcement. A three-song set creates social clips, fan reactions and real-time feedback while preserving the excitement surrounding a larger live presentation.

For Drake, the hometown setting offered another advantage. Toronto audiences have been part of his story since the beginning of his career, making Scotiabank Arena a natural location to introduce the Iceman material.

The appearance also placed two generations of melodic rap on the same stage. Toliver has developed his own atmospheric approach to hip-hop, but his combination of rap, melody and large-scale production exists within a lane Drake helped expand.

Their mutual respect kept the moment from feeling like a routine guest appearance. It presented established influence and current momentum in the same frame.

Is Drake preparing another major live run?

Drake has not formally announced an Iceman tour. Recent activity, however, gives fans several reasons to watch his next move.

He has remained visible at events around Toronto and has shared cryptic references to “FOMO 2026” online. Those posts have fueled speculation about additional music or a possible live campaign, though Drake has not confirmed what the phrase represents.

His Toronto performance provides one confirmed development: Iceman has officially entered its live phase.

For fans, that may be the strongest indication yet that the album’s story is continuing beyond the charts.

Beyoncé, Jay-Z and the deeper meaning behind that Afro

Jay-Z debuts his newly combed-out Afro while documenting his hair transformation using Cécred products, a journey inspired by his daughter Blue Ivy and a tribute to his late father.

The Carter family’s latest viral moment is less about marketing and more about fatherhood, legacy and Black pride

By: Eddy “Precise” Lamarre

When Jay-Z stepped onto the stage at the 2026 Roots Picnic in Philadelphia earlier this month sporting a newly unveiled Afro, social media immediately went to work.

Some people praised the look. Others turned it into jokes and memes. A few questioned whether there was a deeper reason behind the transformation. Now, thanks to a recent video shared by Beyoncé, we have more insight into the journey that led to one of the year’s most talked-about celebrity hairstyles.

At first glance, it might seem like another well-executed marketing opportunity from the Carter family. After all, the video documenting Jay-Z’s transition from locs to an Afro prominently features Cécred, Beyoncé’s hair care brand. Jay-Z used the products throughout the process of maintaining and combing out his hair, creating a natural connection to the company.

Given that Jay-Z has been increasingly visible throughout 2026 after spending much of the past few years out of the spotlight, it would not be surprising if some viewed the moment through a business lens.

But the story appears to go much deeper than capitalistic gains.

What Beyoncé revealed was something far more personal.

According to Beyoncé, Jay-Z initially began growing his hair out for his daughter, Blue Ivy. Like many young Black girls, Blue was navigating her relationship with her natural hair and the challenges that can come with it. Jay-Z wanted her to understand that the texture and characteristics of her hair were something to embrace rather than hide.

By growing his own hair, he was creating a visible connection between father and daughter. He was showing Blue that their hair was similar and that both of them should be proud of it.

That alone transforms this story from a marketing campaign into a lesson in fatherhood.

Too often, conversations about Black hair focus exclusively on women and girls. Those conversations are important, but Black fathers play a role as well. Representation matters. Seeing a father intentionally embrace his natural hair to help his daughter build confidence sends a powerful message.

The story becomes even more meaningful when viewed through the lens of family history.

Beyoncé shared that Jay-Z ultimately decided to comb out his locs into an Afro because his father wore one. The hairstyle was a tribute to his dad and a way of honoring his memory. The fact that he debuted the look in Philadelphia added another layer to the symbolism. According to Beyoncé, Jay’s father was a fan of Philadelphia sports teams, making the Roots Picnic an appropriate place for the public reveal.

When you connect all of those dots, the picture becomes much clearer.

This was not simply about hair.

It was about a daughter learning to love herself.

It was about a father supporting his child.

It was about a son paying tribute to his father.

It was about Black hair, Black identity and Black family.

That is why it is somewhat surprising to see how quickly some critics rushed to dismiss the moment.

Many have argued that the video was strategically released to counter criticism surrounding Jay-Z’s partnership with Target and the retailer’s rerelease of his landmark 1996 album Reasonable Doubt. The partnership has generated controversy because Target has faced backlash from consumers and activists following changes to its diversity, equity and inclusion initiatives amid increasing political pressure from the Trump administration and conservative groups.

For some observers, the timing feels intentional.

Maybe it is.

The reality is that no celebrity exists without criticism, skepticism or envy. The larger the celebrity, the louder the criticism tends to become. The Carters have occupied a unique place in popular culture for decades, and virtually everything they do is analyzed, debated and scrutinized.

That comes with the territory.

Could this video serve multiple purposes? Absolutely.

Most public-facing content from celebrities and major brands serves more than one objective. That is the nature of modern media.

But even if there is a business component attached to the rollout, it does not erase the sincerity of the story being told.

Sometimes a marketing moment can also be a meaningful moment.

Sometimes a brand video can also be a family story.

Sometimes a celebrity conversation can also become a conversation about culture.

For me, that is what makes this particular moment resonate.

Whether people choose to view it as strategic, sentimental or somewhere in between, it ultimately highlights something worth celebrating: fatherhood, Black men embracing vulnerability, Black hair in its natural form and the enduring strength of the Black family.

And that’s just fine with me.

Ye finally releases Bully and delivers striking “Father” visuals

By: Eddy “Precise” Lamarre

Ye finally dropped the latest iteration of Bully. I haven’t had a chance to really sit with it yet, partly because it’s only available on YouTube and Spotify right now. I’m hoping it lands on Apple Music soon so I can give it a proper listen.

In true Ye fashion, he also released a compelling and artistic video for “Father” featuring Travis Scott. If you watch closely, you’ll catch some visuals that feel both strange and incredible, the kind of detail that keeps you going back for another look.

How podcasts became the new power structure in Hip-Hop

By: Eddy “Precise” Lamarre

The evolution of hip-hop media has entered a defining moment. Podcasts now sit at the center of the culture, shaping narratives, breaking artists, and redefining what influence looks like in real time. This is not a trend. This is the current structure of media.

Platforms like the The Joe Budden Podcast, Drink Champs, Million Dollaz Worth of Game, and Caresha Please have become cultural institutions. They are not simply outlets for conversation. They are power centers where artists, executives, and audiences meet to define what matters.

What makes this era different is the rise of the rebrand. Hip-hop has always valued reinvention, yet podcasting has created a lane where personalities can transition into entirely new identities while maintaining cultural relevance. Joe Budden stands as one of the clearest examples. Once known primarily for his music, he now drives weekly conversations that influence how fans interpret albums, industry moves, and artist behavior.

That same shift is visible with Gillie Da Kid and Wallo267. Their platform reflects a deeper narrative within hip-hop. Gillie transitioned from rap into media while Wallo, after spending more than two decades incarcerated, returned with a voice rooted in experience, growth, and accountability. Their success shows how podcasting can amplify lived experience in a way traditional media often overlooked.

N.O.R.E. adds another critical layer to this conversation. As a former rapper who successfully transitioned into hosting Drink Champs, he has created a space where veteran artists are not only remembered but celebrated. His platform allows legends to revisit their stories, clarify their legacy, and connect with new generations. In a culture that often moves quickly, that kind of space matters. It bridges eras and ensures that foundational voices remain part of the conversation.

Then there is Yung Miami, who has built a new identity through Caresha Please. Her presence represents another layer of this shift. Artists are no longer confined to one lane. They can control their narrative, expand their voice, and connect with audiences beyond music.

This podcast era has also redefined how influence moves through the culture. Social media acts as the amplifier. Clips from interviews travel instantly across platforms, reaching millions within hours. A single quote can spark debates, create headlines, and shift public perception overnight. These moments extend far beyond the full episode, allowing podcasts to live in fragments that dominate timelines and group chats.

Because of that reach, these platforms have become essential stops in album rollouts. Artists are no longer relying solely on traditional press or radio. Instead, they sit down in environments where conversations feel organic and unfiltered. A well-timed appearance on Drink Champs or The Joe Budden Podcast can frame an album before listeners even press play. These interviews provide context, transparency, and narrative control, all of which influence how the music is received.

This shift signals something larger about the state of media. Authority has moved. The gatekeepers have changed. Podcast hosts, many of whom come directly from the culture, now hold the ability to validate, critique, and elevate. Their voices carry weight because they speak in a language the audience understands. There is a level of trust that feels earned rather than assigned.

At the same time, the space continues to evolve. Production quality has increased. Deals with major platforms have expanded distribution. Independent creators are building audiences that rival traditional outlets. The lines between journalist, personality, and influencer continue to blur.

Hip-hop has always been a culture that adapts quickly, and podcasting reflects that spirit. It provides room for reinvention, ownership, and direct connection. It allows voices that once operated on the margins to move to the center.

This is what media looks like right now. Immediate. Conversational. Community-driven. And constantly shifting.


Top 10 Hip-Hop Culture Podcasts Right Now

  1. The Joe Budden Podcast
  2. Drink Champs
  3. The Breakfast Club
  4. Million Dollaz Worth of Game
  5. Caresha Please
  6. Earn Your Leisure
  7. Joe and Jada
  8. Rap Radar Podcast
  9. 7PM in Brooklyn
  10. Dead End Hip Hop

Friday Heat: Raye, Yeat, Snoop Dogg and Rick Ross

RAYE (Photo credit: Aliyah Otchere)

By: Eddy “Precise” Lamarre

This week’s Friday Heat brings a strong mix of soulful expression, street energy, and genre-bending creativity across both albums and singles. Raye sets the tone with THIS MUSIC MAY CONTAIN HOPE, delivering a project rooted in vulnerability and musical depth. Elmiene follows with sounds for someone, offering a smooth, introspective listen that leans into feeling and storytelling. Yeat keeps his momentum going with ADL, packed with his signature sound and high-energy production, while Fetty Wap returns with Zavier, bringing a familiar voice back into the conversation.

On the singles side, there’s range and presence across the board. Snoop Dogg slides through with “Stop Counting My Poccets,” keeping it direct and unapologetic. Rick Ross, French Montana, and Max B connect on “Minks In Miami,” delivering luxury talk over polished production. Tank And The Bangas team up with Lucky Daye for “Move,” blending soul, funk, and rhythm in a way that feels refreshing.

Jenevieve continues to carve her lane with “Waiting Room,” while aja monet links with Meshell Ndegeocello and Georgia Anne Muldrow for a layered, poetic offering on “elsewhere.” Momo Boyd brings a lighter touch with “She’s a Sweetheart,” and KAIRO adds a melodic presence with “HALO.”

Closing things out, Desiigner taps back in with “Relax,” Trevor Jackson delivers emotion on “Bleed Next To A Shark,” and Zoe Osama keeps it raw with “BITCH PLZ.” This week’s lineup reflects how wide the sound is right now, with each artist bringing something distinct to the table.

Albums

Raye – THIS MUSIC MAY CONTAIN HOPE


ELMIENE – sounds for someone


YEAT – ADL

Fetty Wap – Zavier

Singles

Snoop Dogg – “Stop Counting My Poccets”

Rick Ross, French Montana, Max B – “Minks In Miami”

Tank And The Bangas – “Move” ft. Lucky Daye

Momo Boyd – “She’s a Sweetheart”

Jenevieve – “Waiting Room” (feat. Jordan Ward)

aja monet – “elsewhere” (feat. Meshell Ndegeocello & Georgia Anne Muldrow)

KAIRO – “HALO”

Desiigner – “Relax”

Trevor Jackson – “Bleed Next To A Shark”

Zoe Osama – “BITCH PLZ

Ghana leads historic UN vote on slavery, U.S. and Israel vote against it

By: Eddy “Precise” Lamarre

In a moment that carried both historical weight and modern urgency, John Dramani Mahama stepped onto the global stage at the United Nations to deliver a message that reached far beyond diplomacy. His speech, delivered just ahead of a landmark vote, framed the transatlantic slave trade not as a distant chapter in history, but as a defining moral issue that continues to shape the present.

Mahama’s address set the tone for what would become a deeply revealing global vote. Ghana introduced a resolution calling for the transatlantic slave trade to be formally recognized as the “gravest crime against humanity,” alongside a call for reparatory justice. The resolution ultimately passed with strong support, but not without resistance that exposed clear geopolitical divisions

The final tally told a powerful story. A total of 123 countries voted in favor of the resolution. Three countries voted against it: the United States, Israel, and Argentina. Meanwhile, 52 countries abstained, including the United Kingdom and several members of the European Union. 

Those abstentions and opposing votes became just as significant as the resolution itself, signaling hesitation among Western nations around the implications of formally elevating slavery within the hierarchy of crimes against humanity. Critics argued that such language could create legal and moral precedents tied to reparations and historical accountability.

Before the vote, Mahama addressed these tensions directly. In his speech, he emphasized the importance of language and truth, stating that “there is no such thing as a slave,” only human beings who were trafficked and enslaved. He underscored that the system was built on denying African humanity and reinforcing a false racial hierarchy. 

He framed the resolution as more than symbolic. According to Mahama, the transatlantic slave trade was a violent global system that extracted wealth while embedding long-term inequality across continents. He pointed to the estimated millions who were forcibly taken, stripped of identity, and subjected to brutal conditions that fueled economic growth in Europe and the Americas.

Mahama also stressed the importance of collective memory. He described the resolution as “a safeguard against forgetting,” warning that historical erasure continues through distorted narratives, limited education, and the softening of language around slavery. 

The resolution itself is not legally binding, but it carries significant political and cultural weight. It calls on nations to engage in dialogue around reparations, which may include formal apologies, financial compensation, and the return of stolen artifacts.

Ghana’s leadership in this effort reflects its broader role in global conversations around historical justice. As a country deeply tied to the legacy of the transatlantic slave trade, Ghana has consistently positioned itself at the forefront of efforts to reshape how that history is recognized and addressed.

At the same time, the opposition and abstentions highlight the complexity of that mission. For some nations, acknowledging slavery at this level raises difficult questions about responsibility, liability, and the long-term consequences of historical injustice.

Still, the resolution’s passage marks a turning point. It signals a growing willingness among a majority of nations to formally recognize the scale and severity of the transatlantic slave trade, even as others remain cautious.

Mahama’s speech ultimately served as both a reminder and a challenge. It reminded the world that the legacy of slavery remains present in today’s global systems, and it challenged leaders to confront that reality with honesty and action.

As the resolution moves forward, the divide revealed in the vote may shape the next phase of the conversation. Recognition has been established. The question now is whether accountability will follow.

JAŸ-Z said what about battling and Hip Hop culture

By: Eddy ‘Precise” Lamarre

JAŸ-Z sat down with Frazier Tharpe of GQ for an interview for their April cover story. The music mogul opened up about his career the past year and shared some thoughts on the culture. 

GQ’s April cover story is an exclusive interview: 30 years of Jay-Z, in his own words:

Jay-Z has kept his thoughts to himself for the better part of the past decade. It’s been nine years since his last solo album and nearly four years since his titanic verse on “God Did.” As Hov himself puts it: “It’s been a minute.”

Now 56 years old and thirty years on from his debut album, Reasonable Doubt, Shawn Carter is more influential than ever before. But the journey hasn’t been without controversy, criticism, and challenges. When the hip-hop mogul sat down with GQ’s Frazier Tharpe for a pair of rare on-camera interviews in January, he put everything on the table reflecting on music, business, family, and life over the past three decades as Jay-Z.

Check out the video and hear what he has to say about the culture, battling and his life.