Kendrick Lamar is sitting on top of the rap game like never before, but there’s a question that’s hard to ignore: Should he be thanking Drake for his biggest commercial success yet?
On February 8, 2000, Ghostface Killah released “Supreme Clientele,” a groundbreaking album that would cement his status as one of hip-hop’s most creative storytellers.
The road to Grammys has been paved by bold, barrier-breaking women who fought to be seen and recognized in a male-dominated industry.
The long-standing debate over ghostwriting has once again ignited after Kendrick Lamar’s Grammy-winning diss track, “Not Like Us,” which took aim at rap superstar Drake, who has faced scrutiny for allegedly not writing all of his own bars.
As anticipation builds for Kendrick Lamar’s upcoming Super Bowl LIX halftime performance, fans and critics across the globe are gearing up for what promises to be one of the most culturally significant shows in the event’s history.
On January 25, 2000, Jadakiss, Styles P, and Sheek Louch blessed the streets with “We Are The Streets,” their sophomore effort and a project that had hoods across the nation lit.
While these platforms offer unprecedented opportunities for connection and cultural expression, they simultaneously amplify negative interactions in ways that can strain community bonds.
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