The NCAA doesn’t have a Rich Paul problem. The problem is that its structure is designed to regulate the freedom of athletes to turn pro in primarily black sports but not in white ones.
And an entity that now preaches the importance of college graduation for agents doesn’t have the same righteous energy for black athletes at its most lucrative institutions.
Earlier this week, the NCAA implemented what was immediately labeled the “Rich Paul Rule,” after the man who represents NBA players LeBron James, Anthony Davis, Draymond Green, John Wall, Ben Simmons and 2019 first-round draft picks Darius Garland and Darius Bazley. The new regulations require that agents interested in representing players who are considering declaring for the NBA draft now must have a bachelor’s degree, be certified with the National Basketball Players Association for at least three years and take a comprehensive in-person exam at NCAA headquarters in Indianapolis. Paul, who never attended college, is one of many agents affected by this rule — but unquestionably the most prominent.
The NCAA’s move was instantly lambasted as hypocritical and vindictive. “The world is so afraid of ground breakers.…This is beyond sad & major B.S.,” tweeted comedian Kevin Hart. James, Paul’s biggest client, longtime friend and confidant, could only laugh at the NCAA’s energy, saying, “Nothing will stop this movement and culture over here.”
Chris Rock explained the context for the NCAA mandate years ago. “We’re only 10% of the population,” he said on 2004’s Never Scared. “We’re 90% of the Final Four!”
Only basketball must adhere to the new NCAA mandate. The actual text doesn’t mention race. Nevertheless, the writing is not just written on the wall, it’s been carved. It’s a “race-neutral” rule that isn’t race-neutral. This comes with historical precedence that the NCAA knows all too well.
One of the worst-kept secrets in sports is how top-tier college football and basketball programs directly benefited from desegregation. Before integration, the vast majority of top black athletes had no choice but to attend historically black colleges and universities (HBCUs). Once the larger and richer predominantly white schools began to integrate, HBCUs couldn’t compete. But there’s been a parallel development too: The graduation rates for black athletes at top sports programs remain consistently and embarrassingly low.
Shaun R. Harper, executive director of the University of Southern California’s Race and Equity Center, found that, overall, black male athletes graduate at higher percentages than black males who are not involved in sports. But that’s not true for the NCAA’s wealthiest leagues: the Power 5 of the ACC, Big Ten, Big 12, Pac-12 and SEC.
“The [NCAA] has claimed in television commercials that black male student-athletes at Division I institutions graduate rates are higher than black men in the general student body,” the report says. “This is true across the entire division, but not for the five conferences whose member institutions routinely win football and basketball championships, play in multimillion-dollar bowl games and the annual basketball championship tournament, and produce the largest share of Heisman Trophy winners.”
Black men made up 2.4% of the Power 5 student population but 55% and 56%, respectively, of its football and basketball teams. Of those numbers, 55% of black male athletes graduated in under six years, compared with 60% of black men in the overall undergraduate population and 76% of all college graduates.
“Over the past two years, 40% of these universities have actually had black male student-athlete graduation rates that have declined,” Harper said. “We’re supposed to be getting better, but actually 40% of these places have gotten worse.”
Meanwhile, the debate over paying college athletes is sharply divided by race. Most whites are against “pay to play,” while most blacks strongly support it because the current system exploits a largely black athletic base.
In the NBA, the sport is still primarily black. (The Institute for Diversity and Ethics in Sport found that during the 2015-16 season, 81.7% of NBA players were people of color and 74.3% were black.) But black athletes have significant power and influence over everything from where they play to who coaches them to the structure of their contracts.
This shifting power dynamic is beginning earlier and earlier too. Bazley skipped college last year to become a million-dollar intern with New Balance. R.J. Hampton and LaMelo Ball, both touted as 2020 lottery picks, are taking their talents to Australia for a year before declaring for the NBA draft. Hampton has already inked a shoe deal with Li-Ning.
As Yahoo’s Dan Wetzel noted, the new rule’s standard doesn’t apply to college hockey players or baseball players, who can be drafted out of high school but can choose to attend college if their draft placement doesn’t appeal to them.
If this wasn’t about a young black man who achieved his success out of the mud and then empowered other black men to recognize their worth in spite of an organization that has for years manipulated their talents for the organization’s gain, if this wasn’t about yet another American institution attempting to police black mobility and freedom, then it’s difficult to see what the actual reasoning is.
This brings the discussion back to Paul and James. It’s often been said there is a Jay-Z lyric for any situation in life. Perhaps the most fitting here is a bar from Jay’s 2001 album The Blueprint, which entered the Library of Congress in March: All I need is the love of my crew / The whole industry can hate me, I thugged my way through, he pledged on “All I Need.” In essence, this has been the motto for Paul, James and the two other members of their inner circle, Maverick Carter and Randy Mims.
When James cut ties to agent Aaron Goodwin in 2005, eyebrows raised and many said that the young basketball phenom had risked his career before it truly tipped off. At the time, it was easy to understand why, given that Goodwin had helped the 2003 No. 1 overall draft pick obtain a bevy of endorsements, including Bubblicious chewing gum, Upper Deck trading cards, Sprite, Powerade and, most gaudy of them all, a seven-year, $90 million shoe deal with Nike. Few believed in James’ vision when he turned to three of his childhood friends to chart the course of his career on and off the court.
“James’ switcheroo a youthful mistake,” the Chicago Sun-Times wrote.
“I will promise you really ugly things will happen,” said former NFL player turned financial adviser Jim Corbett. “This is a big mistake, a bad decision that is going to cost LeBron.”
— bomani (@bomani_jones) August 7, 2019
Which leads us to another Jay lyric, this one from 2009’s “Already Home”: And as for the critics, tell me I don’t get it / Everybody can tell you how to do it, they never did it. Thanks to the friends he entrusted with his career nearly 15 years ago, James is not only the most powerful player in basketball history but also a player in Hollywood, fashion, education and politics.
Money and power elicit respect, as elucidated by Kimberly Jones. But they also open the door for fear and angst. President Donald Trump took shots at LeBron on Twitter last August after the launch of his I Promise School in Akron, Ohio, saying it was hard to make “LeBron look smart” and weighed in on the NBA’s most contested debate, saying he preferred Michael Jordan over James — which Jordan quickly rebuffed. The two were labeled “mob bosses” by an unnamed Western Conference general manager last season after public attempts to move Anthony Davis to the Lakers (a move that eventually happened).
Rich Paul is a threat. To the status quo. To the hierarchy of power. And to the image of an industry that is still dominated by white males and has long exercised fiscal and moral authority over black athletes.
Basketball altered its rules to make it harder for three players who made the game look too easy (i.e., they dominated the white players too much): Bill Russell, Wilt Chamberlain and Kareem Abdul-Jabbar. Maybe the NCAA didn’t implement this rule with Paul as its sole motivation. Just like maybe the NCAA wouldn’t be so open to criticism if it made the education of players a higher priority.
Unfortunately, the NCAA addressed a perceived problem while never addressing its own. Sometimes sports really is a reflection of life.
The holiday season is five months away, but Earth, Wind & Fire received an early gift Thursday. The Kennedy Center in Washington, D.C., announced that the group will be one of the marquee recipients at the 42nd Annual Kennedy Center Honors later this year.
Standing alongside Earth, Wind & Fire on the prestigious night in the nation’s capital will be actress Sally Field; singer Linda Ronstadt; conductor, pianist and composer Michael Tilson Thomas; and the founders of the revolutionary children’s television show Sesame Street, the first TV program to receive the award.
The Honors recognize contributions to American culture through the performing arts. A gala performance toasting this year’s winners will be held at the Kennedy Center on Dec. 8 and aired on CBS a week later.
It’s EWF, though, that will give the night an unmistakable groove. The group, formed in Chicago in 1969, spanned genres from soul and Afropop to disco. Its lead singer, driving force and all-around musical savant, Maurice White, died in 2016. Surviving members Philip Bailey, Verdine White and Ralph Johnson will be on hand to accept the honor.
Earth, Wind & Fire’s earliest success can be traced back to the ’70s, when the group helped ignite the blaxploitation era by creating the soundtrack for Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song. From there, the group, which included up to 10 different musicians during its prime and hoisted six Grammys, carved out its own musical lane and identity during a culturally rich decade that helped shape the sound of black music. Its biggest records include “Reasons,” “Sing A Song,” “Would You Mind,” “After the Love Has Gone,” “Shining Star,” “Boogie Wonderland,” their cover of the Beatles’ “Got to Get You Into My Life” and arguably its two biggest cultural touchstones in “Let’s Groove” and the 1978 dance classic “September.”
“My principle for producing,” White told Billboard in 1979 after the runaway success of “September,” “is to pay attention to the roots of America, which is doo-wop music.”
Forty years later, Earth, Wind & Fire’s music is still at the root of love, peace and the black experience in America. They’ve performed for Presidents Bill Clinton and Barack Obama and inspired Prince, Michael Jackson and Stevie Wonder with their aesthetic execution. The band’s legacy continues to pump heartily through hip-hop, their music having been sampled by the likes of Drake, Kanye West, Timbaland & Magoo, Cam’ron, Yo-Yo and Ice Cube, Mac Miller, Missy Elliott, Jay-Z and countless others.
In his 2014 biography, Bailey reflected on the process of recording the group’s 1975 triple-platinum album That’s the Way of the World. He dubbed it “a spiritual experience” and said that “when Maurice [White] played us the finished mix … I thought we sounded like angels. … It was as if God had been guiding us.”
When the Kennedy Center commemorates the band later this year, it will be further proof that Earth, Wind & Fire’s journey isn’t done yet.
If any subject has been mined to death in American film and television, it’s the idea that everything is not idyllic in the American suburbs.
Somehow, though, Sam Levinson, the creator and director of Euphoria, found a spark of life within that theme. His new teen drama, based on an Israeli series of the same name, premieres Sunday at 10 p.m. on HBO, and it’s already stirring up condemnation and panic thanks to its copious and graphic depictions of teen sex, drug use and self-harm.
I’ve seen the first four episodes of the season, and the first and fourth are especially terrific. The Drake-produced show centers on a biracial 16-year-old named Rue (Zendaya), who spent the summer before her junior year in rehab. Born three days after 9/11, Rue’s witnessed the 2008 financial crisis and her father dying of cancer. Before she started experimenting with the hard drugs that came with her father’s in-home hospice care, Rue was on a cocktail of prescription meds for anxiety, obsessive-compulsive disorder, attention deficit hyperactivity disorder and bipolar disorder. She was a veteran pill popper by the time she’d entered middle school. Her best friend, Jules (Hunter Schafer), is new to town, and the two girls become fast friends after meeting at a party. Jules also happens to be a transgender girl.
“There’s nothing I’m really passionate about, ya know? Like, I’m not dying to say or do anything, really, and every time I admit that to people, they’re like, ‘Oh, my gosh, that’s so sad,’ ” Rue admits to a friend at one of her Narcotics Anonymous meetings, the one person who clocks that she’s still high even as she’s proclaiming to be clean. “But I think that’s the case for most people. Like, when I look at my mom, or the kids at my school — like their profiles or their posts or their Tumblr rants — you realize they’re all just f—ed up too. And lost. They just have a reason to mask it. Whether it be like their families, or their boyfriends, or their hashtag activism.”
As Rue astutely observes, the others in her community have their own issues, which fall along a spectrum of teen drama tropes. Jacob Elordi plays Nate, a jock who falls for a girl who’s inappropriate for the strictures of his highly scrutinized social life. As Kat, Barbie Ferreira is a nerdy, horny girl who writes One Direction fan fiction on Tumblr and tries to reclaim some control over her body after footage of her losing her virginity gets uploaded to Pornhub. There’s a nighttime carnival where everyone’s lives collide in predictable ways. But, boy, is it engrossing to watch how all of these things are colored by the fact that they’re happening to Generation YouTube.
There’s been a spate of engaging, fun, sometimes thoughtful portraits of youth culture lately, including On My Block, Sex Education and Chilling Adventures of Sabrina, which are streaming on Netflix. The delightfully cringey PEN15 is on Hulu. Olivia Wilde’s movie Booksmart features two high school seniors dipping a toe for one night into the behaviors that are practically standard on Euphoria. Kay Cannon’s 2018 comedy Blockers encouraged parents to have more faith in their daughters’ ability to make intelligent decisions, especially about sex, by making them look like hovering, panicked idiots. Soapy teen dramas of the 2000s such as Gossip Girl, The OC and Friday Night Lights came equipped with a content restrictor plate by virtue of being broadcast network properties, as does the contemporary Riverdale, which airs on The CW.
Euphoria is different. It isn’t interested in the kids who have a cushy mattress of family wealth and acceptance to elite schools to soften whatever tourist jaunts they take through the valley of bad decisions. The security blanket of these other films and shows is that they tend to have happy endings. They’re full of girls who find their way back to sensible decision-making. And there was never a question that the feckless boy stoners in Freaks and Geeks and Undeclared would somehow stumble through life without too many Big Problems.
Euphoria is more like Kids, the 1995 film starring Rosario Dawson, Chloë Sevigny and Leo Fitzpatrick that scandalized audiences so much, the MPAA smacked it with an NC-17 rating.
Rather than simply being scandalized by the sex and drug use on Euphoria, viewers could take a breath and ask what its presence is telling us about the world of these teens. To borrow an example from another genre, both rape and consensual sex on Game of Thrones reflected the patriarchal nature of the Seven Kingdoms. They were depicted as natural consequences of the way gender functioned there: Women were dismissed and assumed to be either unworthy or incapable of holding power. Even female characters who escape gender-based violence, such as Arya Stark, Cersei Lannister and Brienne of Tarth, are shaped by the atmosphere that harbors it.
What’s equally fascinating and disturbing about Euphoria is that it’s not set in a vaguely medieval universe full of giants, dragons and ice zombies. Its purview is suburban America, right now, and it’s not a pretty sight. Right alongside the existence of Ruth Bader Ginsburg, Michelle Obama and Elizabeth Warren, the heroines who inspire the dutiful good girls of Booksmart, there’s a country full of kids who simply are not all right, and the sex in Euphoria is symptomatic of that.
The show’s female characters find themselves feebly objecting to boys whose entire expectations around sex have been shaped by Pornhub and similar sites. That’s life for Maddy Perez (Alexa Demie) and her bestie, Cassie Howard (Sydney Sweeney). I appreciate the consideration given to Cassie and Maddy in this series. Often, girls like them are dismissed as vain, airheaded sociopaths, and few seem interested in examining how the world made them that way in the first place.
In one telling moment in episode four, Cassie and Maddy meet up at the carnival. “Hey, you’re not having fun,” Maddy observes, after her boyfriend has admonished her for dressing “like a hooker.” “Me neither,” she continues, before blithely adding, “You wanna do molly?”
Cassie and Maddy aren’t high-flying, Yale-bound overachievers who read Rookie and fill in their meager sex ed with actual facts from Scarleteen. They’re both dating football players, and they have subsisted on a steady diet of contradictory messages telling them to be sexy but not slutty, cool but not careless, and that the best thing they can hope to be is hot. That ideology is upheld by their parents. Amy Poehler’s comedic take on the Juicy Couture-sporting, chardonnay-guzzling Cool Mom in Mean Girls has been supplanted by something much darker in Euphoria. Cassie’s Cool Mom is either oblivious or in denial about what’s happening in her daughter’s life.
Options are limited for girls like Cassie and Maddy. They can disengage from the social strata of high school or find a way to cope. Coping, in this universe, means reclaiming agency in bits and pieces and telling yourself that the decisions you’re making are your own, even when they’ve been shaped by a culture that has little regard for you. You concoct ways to make yourself matter: by having public sex in a swimming pool to make your boyfriend jealous, by participating in a beauty culture ruled by Instagram influencers and butt injections.
That is what powers the show through its equal-opportunity nudity. I have seen more penises in four hours of Euphoria than I have encountered in 30 years of television-watching. But none of this matters if the show isn’t any good. Penises and a plethora of scary-sounding street pharmaceuticals will only hold an audience’s attention for so long.
Levinson, thankfully, is interested in more than that. He opens each episode by focusing on a different character. Zendaya, as Rue, is an omniscient narrator for these sketches. Her delivery is flat without being monotonous, like a person who’s seen too much and is already, like, over it. Rue’s barometer for what constitutes normalcy is not like yours and mine, and yet Zendaya’s line reading goes a long way toward making you believe that maybe it’s not that far off.
The friendship between Jules and Rue is the show’s strongest feature. They’ve both been forced to grow up fast, in ways they’re ill-equipped to handle, and they are the ports in each other’s storms. I’m eager to see what the show does as its big secrets reverberate through the community it’s built. Moreover, I’m hoping that folks can see past the condemnations of its nudity and drug use, which are really unfulfilling escapes from the Age of Anxiety and a societal mess that’s been decades in the making.
Look around and it might feel like we’re in a golden age of rap tours.
Rhyme greats De La Soul recently finished a European tour billed The Gods of Rap with the legendary Public Enemy, Wu-Tang Clan and Gang Starr’s DJ Premier. And the summer concert season is set to feature even more high-profile hip-hop shows.
West Coast giant Snoop Dogg is headlining the Masters of Ceremony tour with such heavyweights as 50 Cent, DMX, Ludacris and The Lox. Lil Wayne is doing a string of solo gigs and will launch a 38-city tour with pop punk heroes blink-182 starting June 27. Stoner rap fave Wiz Khalifa will headline a 29-city trek on July 9. The reunited Wu-Tang Clan continue their well-received 36 Chambers 25th Anniversary Celebration Tour, and Cardi B will be barnstorming through the beginning of August.
With all this rap talent on the road, The Undefeated decided to take a crack at ranking the 20 greatest hip-hop tours of all time.
Our list was compiled using several rules: First and foremost, the headliners for every tour must be from the hip-hop/rap genre. That means huge record-breaking, co-headlining live runs such as Beyoncé and Jay-Z’s On the Run II Tour were not included, given Queen Bey’s rhythm and blues/pop leanings. We also took into account the cultural and historical impact of each tour. Several artists, ranging from Run-DMC and Salt-N-Pepa to MC Hammer and Nicki Minaj, were included because they broke new ground, beyond how much their tours grossed. For years, hip-hop has battled the perception that it doesn’t translate well to live performance. This list challenges such myopic ideas.
With only 20 spots, some of rap’s most storied live gigs had to be left off the list. Many were casualties of overlap, such as Run-DMC and the Beastie Boys’ memorable 1987 Together Forever Tour and the Sizzling Summer Tour ’90, which featured Public Enemy, Heavy D & the Boyz, Kid ’n Play, Digital Underground and Queen Latifah. The 12-date Lyricist Lounge Tour, a 1998 showcase that featured Big Punisher, The Roots, De La Soul, Black Star, Common, Black Moon’s Buckshot and Fat Joe, also just missed the cut.
You may notice that Tupac Shakur and The Notorious B.I.G. are missing from the list. But this was no momentary lapse of sanity. ’Pac’s and Biggie’s brief runs took place when rap shows were beginning to become a rarity, leaving most of their memorable stage moments to one-off shows. Dirty South royalty Outkast’s strongest live outing, when Big Boi and Andre 3000 reunited in 2014, was not included because it was less of a tour and more of a savvy festival run.
There are other honorable mentions: Def Jam Survival of the Illest Tour (1998), which featured DMX, the Def Squad, Foxy Brown, Onyx and Cormega; the Ruff Ryders/Cash Money Tour (2000); Anger Management 3 Tour with Eminem and 50 Cent (2005); J. Cole’s Dollar & A Dream Tour (2013); and Drake’s Aubrey & The Three Migos LIVE! tour (2018).
With that said, on with the show!
20. Pinkprint Tour (2015)
Nicki Minaj, featuring Meek Mill, Rae Sremmurd, Tinashe and Dej Loaf
The most lucrative hip-hop trek headlined by a woman also served as the coronation of Nicki Minaj as hip-hop’s newest queen. What made The Pinkprint Tour such a gloriously over-the-top affair was its seamless balance of dramatic Broadway-like theater, silly high jinks and a flex of artistic ferocity. One moment Minaj was in a black lace dress covering her eyes while mourning the loss of a turbulent union during “The Crying Game.” The next, she was backing up her memorable appearance on Kanye West’s “Monster” as the most wig-snatching guest verse of that decade. And the Barbz went wild.
Gross: $22 million from 38 shows
19. The Damn. Tour (2017-18)
Kendrick Lamar, featuring Travis Scott, DRAM and YG
When you have dropped two of the most critically lauded albums of your era in Good Kid, M.A.A.D City (2012) and To Pimp a Butterfly (2015), there’s already an embarrassment of riches to pull from for any live setting. But Kendrick Lamar understood that to live up to his bold “greatest rapper alive” proclamation he also needed populist anthems to turn on the masses. The Damn. album and world tour presented just that, as he led his followers each night in an elevating rap-along. It kicked off with a martial arts film, a cheeky nod to Lamar’s Kung Fu Kenny alter ego, before launching into the chest-beating “DNA.”
Gross: More than $62.7 million from 62 shows
18. Summer Sixteen Tour (2016)
Drake and Future
This mammoth, co-headlining tour was a no-brainer: Drake, the hit-making heartthrob, Canada’s clap-back native son and part-time goofy Toronto Raptors superfan. And Future, the self-anointed Atlanta Trap King, gleeful nihilist and producer, whose slapping, codeine-addled bars made him a controversial figure on and off record. The magic of this yin/yang pairing shined brightest when they teamed up to perform such tracks as “Jumpman” and “Big Rings” off their industry-shaking 2015 mixtape What a Time to Be Alive. When the smoke settled, Drake and Future walked away with the highest-earning hip-hop tour of all time.
Gross: $84.3 million from 54 shows
17. Salt-N-Pepa Tour (1988)
Featuring Keith Sweat, Heavy D & the Boyz, EU, Johnny Kemp, Full Force, Kid ’n Play and Rob Base
It may seem preposterous in this outspoken, girl-power age of Cardi B, Lizzo, Megan Thee Stallion, Kash Doll, Young M.A, Tierra Whack and City Girls, but back in the early ’80s, the thought of a “female” rhyme group anchoring a massive tour seemed out of reach. That was before the 1986 debut of Salt-N-Pepa, the pioneering group who’s racked up a plethora of groundbreaking moments and sold more than 15 million albums. The first female rap act to go platinum (Hot, Cool & Vicious) and score a Top 20 hit on the Billboard 200 (“Push It”), Salt-N-Pepa led a diverse, arena-hopping showcase that gave the middle finger to any misogynistic notions. And Salt, Pepa and DJ Spinderella continue to be road warriors. They’re currently on New Kids on the Block’s arena-packing Mixtape Tour.
Encore: Opening-act standouts Heavy D & the Boyz would co-headline their own tour the following year off the platinum success of their 1989 masterpiece Big Tyme.
16. Glow in the Dark Tour (2008)
Kanye West, featuring Rihanna, N.E.R.D, Nas, Lupe Fiasco and Santigold
Yes, Kanye West has had more ambitious showings (2013-14’s button-pushing Yeezus Tour) and more aesthetically adventurous gigs (the 2016 Saint Pablo Tour featured a floating stage, which hovered above the audience). But never has the Chicago-born visionary sounded so hungry, focused and optimistic than he did on his first big solo excursion, the Glow in the Dark Tour.
Before the Kardashian reality-show level freak-outs and MAGA hat obsessing, West was just a kid who wanted to share his spacey sci-fi dreamscape with the public, complete with a talking computerized spaceship named Jane. Even the rotating opening acts — topped off by the coolest pop star on the planet, Rihanna — were ridiculously talented.
Gross: $30.8 million from 49 shows
15. I Am Music Tour (2008-09)
Lil Wayne, featuring T-Pain and Keyshia Cole
Between 2002 and 2007, Young Money general Lil Wayne was hip-hop’s hardest-working force of nature, releasing an astounding 16 mixtapes. Then Weezy broke from the pack with the massively successful I Am Music Tour. The bulk of Lil Wayne’s 90-minute set was propelled by his career-defining 2008 album Tha Carter III, which by the show’s second leg had already sold 2 million copies. By the time T-Pain joined the New Orleans spitter for a playful battle of the featured acts, Lil Wayne’s takeover was complete.
Gross: $42 million from 78 shows
14. Hammer Don’t Hurt ’Em Tour (1990-91)
MC Hammer, featuring En Vogue and Vanilla Ice
With 15 background dancers, 12 singers, seven musicians, two DJs, eight security men, three valets and a private Boeing 727 plane, MC Hammer’s world tour was eye-popping. Rap fans had never seen anything of the magnitude of the Hammer Don’t Hurt ’Em stadium gigs, which recalled Parliament-Funkadelic’s army-size traveling heyday in the 1970s.
Each night the Oakland, California, dancing machine, born Stanley Burrell, left pools of sweat onstage as if he was the second coming of James Brown. If the sight of more than 30 folks onstage doing the Running Man, with MC Hammer breaking into his signature typewriter dance during “U Can’t Touch This,” didn’t make you get up, you should have checked your pulse.
Gross: $26.3 million from 138 shows
13. Things Fall Apart! Tour (1999)
Each gig was a revelation. This was no surprise given that Philadelphia hip-hop collective The Roots, formed by longtime friends drummer Questlove and lead lyricist Black Thought, had a reputation for being unpredictable. Still, it’s ironic that a group known for being the ultimate road warriors — they were known for touring 45 weeks a year before becoming the house band on The Tonight Show Starring Jimmy Fallon in 2014 — is represented on this list by one of their shortest tours.
But the brilliant Things Fall Apart club and hall sprint, which took place throughout March 1999, proved to be an epic blitz fueled by the band’s most commercially lauded material to date, Questlove’s steady percussive heart and the inhuman breath control of Black Thought.
Encore: Neo soul diva Jill Scott, who co-wrote The Roots’ breakout single “You Got Me,” gave fans an early taste of her artistry as she joined the band onstage for some serious vocal workouts.
12. House of Blues’ Smokin’ Grooves Tour (1996)
The Fugees, Cypress Hill, A Tribe Called Quest, Busta Rhymes, Ziggy Marley and Spearhead
While gangsta rap was topping the charts, the hip-hop industry faced a bleak situation on the touring front. Concert promoters were scared to book “urban” acts in large venues. Enter the House of Blues’ Kevin Morrow and Cara Lewis, the booking agent who achieved mythic status when she received a shout-out on Eric B. & Rakim’s 1987 anthem “Paid in Full.” The pair envisioned a Lollapalooza-like tour heavy on hip-hop and good vibes. The first ’96 incarnation came out of the gate with Haitian-American rap trio The Fugees, multiplatinum weed ambassadors Cypress Hill, A Tribe Called Quest and Busta Rhymes.
Encore: The series, which has also featured Outkast, The Roots, Lauryn Hill, Gang Starr, The Pharcyde, Foxy Brown and Public Enemy, is credited with opening the door for a return to more straight-ahead hip-hop tours led by Jay-Z, DMX and Dr. Dre.
11. Watch the Throne Tour (2011-12)
Jay-Z and Kanye West
In better times, Jay-Z and Kanye West exhibited lofty friendship goals we could all aspire to, with their bromance popping on the platinum album Watch the Throne. Before their much-publicized fallout, Jay-Z and West took their act on the road for the mother of all double-bill spectacles.
Two of hip-hop’s greatest traded classics such as the ominous “Where I’m From” (Jay-Z) and soaring “Jesus Walks” (West) from separate stages on opposite sides of the venue. Those lucky enough to catch the tour can still recall the dream tag team launching into their encore of “N—as in Paris” amid roars from thousands of revelers.
Gross: $75.6 million from 63 shows
10. The Miseducation Tour (1999)
Lauryn Hill, featuring Outkast
In 1998, Lauryn Hill wasn’t just the best woman emcee or the best emcee alive and kicking. The former standout Fugees member was briefly the voice of her generation as she rode the multiplatinum, multi-Grammy success of her solo debut The Miseducation of Lauryn Hill. By February 1999, it was time to take the show on the road. Hill and her 10-piece band went beyond the hype, especially when they tore through a blistering take of the heartbreaking “Ex-Factor.”
Encore: Outkast (Atlantans Andre 3000 and Big Boi) rocked the house backed by some conspicuous props, including two front grilles of a Cadillac and a throwback Ford truck, kicked off their own headlining Stanklove theater tour in early 2001.
9. No Way Out Tour (1997-98)
Sean “Puff Daddy” Combs, Lil’ Kim, Ma$e, Busta Rhymes, Foxy Brown, 112, The Lox, Usher, Kid Capri, Lil’ Cease and Jay-Z
The Los Angeles Times headline spoke volumes: “Combs to Headline Rare Rap Tour.” Combs, of course, is Sean “Diddy” Combs, the music, fashion, television and liquor mogul who Forbes estimates now has a net worth of $820 million. But back then, the hustler formerly known as Puff Daddy was struggling to keep his Bad Boy Records afloat after the March 9, 1997, murder of Brooklyn, New York, rhyme king The Notorious B.I.G.
But out of unspeakable tragedy rose Combs’ chart-dominating No Way Out album and an emotional all-star tour. Despite suggestions that large-scale rap shows were too much of a financial gamble, Puffy rallied the Bad Boy troops and a few close friends and proved the naysayers wrong. The No Way Out Tour was both a cathartic exercise and a joyous celebration of life. “It’s All About the Benjamins” shook the foundation of every building as Combs, The Lox and a show-stealing Lil’ Kim made monetary excess look regal. And the heartfelt Biggie tribute “I’ll Be Missing You,” which was performed live at the 1997 MTV Video Music Awards, had audiences in tears.
Gross: $16 million
8. Hard Knock Life Tour (1999)
Jay-Z, featuring DMX, Redman and Method Man
Jay-Z stands now as hip-hop’s most bankable live draw. In 2017, the newly minted billionaire’s 4:44 Live Nation production pulled in $44.7 million, becoming America’s all-time highest-grossing solo rap jaunt. It’s a long way from the days of Jay-Z lumbering through performances in a bulletproof vest when he was last off the bench on Puff Daddy’s No Way Out Tour.
Surely the seeds of Jay-Z’s evolution as a concert staple were first planted on his Hard Knock Life Tour, which was documented in the 2000 film Backstage. This was a confident, full-throated Shawn Carter, and he would need every ounce of charisma, with Ruff Ryders lead dog DMX enrapturing fans as if he were a Baptist preacher at a tent revival and the duo of Redman and Method Man rapping and swinging over crowds from ropes attached to moving cranes. What a gig.
Gross: $18 million
7. Bring the Noise Tour (1988)
Public Enemy and Ice-T, featuring Eazy-E & N.W.A. and EPMD
There has always been a controlled chaos to a Public Enemy live show. Lead orator Chuck D jolted the crowd with a ferocity over the intricate, combustible production of the Bomb Squad while clock-rocking Flavor Flav, the prototypical hype man, jumped and zigzagged across the stage.
DJ Terminator X cut records like a cyborg and never smiled. And Professor Griff and the S1Ws exuded an intimidating, paramilitary presence. Armed with their 1988 watershed black nationalist work, It Takes a Nation of Millions to Hold Us Back, an album many music historians consider to be the pinnacle hip-hop statement, Public Enemy spearheaded arguably the most exciting rap tour ever conceived.
Encore: Along for the wild ride was the godfather of West Coast rap, Ice-T, who was putting on the rest of the country to Los Angeles’ violent Crips and Bloods gang wars with the too-real “Colors.” N.W.A. was just about to set the world on fire with their opus Straight Outta Compton. Eazy-E, Ice Cube, Dr. Dre, MC Ren and DJ Yella unleashed a profanity-laced declaration of street knowledge that was instantly slapped with parental advisory stickers. And Erick and Parrish were making dollars with their rough and raw EPMD joint Strictly Business.
6. Nitro World Tour (1989-90)
LL Cool J, featuring Public Enemy, Eazy E & N.W.A., Big Daddy Kane, Too $hort, EPMD, Slick Rick, De La Soul and Special Ed
In early ’85, LL Cool J was a 16-year-old rhyme fanatic living in his grandparents’ Queens, New York, home. Three years later, the kid who became Def Jam Records’ signature artist with his iconic B-boy manifesto Radio was the most successful solo emcee on the planet with more than 4 million albums sold and counting. LL Cool J was also headlining some of the hottest events of rap’s golden era. And he was at his cockiest love-me-or-hate-me peak during the Nitro Tour.
But not even LL Cool J was ready for the monster that was N.W.A. The self-proclaimed World’s Most Dangerous Group completely hijacked the spotlight when N.W.A. was warned by officials not to perform their controversial track “F— the Police” at Detroit’s Joe Louis Arena. A minute into the song, cops stormed the stage and shut down Eazy-E and crew’s volatile set, a wild scene that was later re-created in the 2015 N.W.A. biopic Straight Outta Compton.
Encore: A few months before the Detroit gig, N.W.A. was booed during a Run-DMC show at New York’s Apollo Theater. “We all had watched Showtime at the Apollo, so we all knew if it went bad what was gonna happen,” Ice Cube explained on the Complex story series What Had Happened Was … “We hit the stage, and as soon as they saw the Jheri curls, all you heard was ‘Boo!’ I mean, before we even got a line out, they was booin’. I guess they just wasn’t feeling the Jheri curls.”
5. The World’s Greatest Rap Show Ever (1991-92)
Public Enemy, DJ Jazzy Jeff & The Fresh Prince, Queen Latifah, MC Lyte, Geto Boys, Kid ’n Play, Naughty by Nature, A Tribe Called Quest, Leaders of the New School and Oaktown’s 3.5.7.
Props to the promoter who put together this awesome collection of hip-hop firepower for a tour that at least aimed to live up to its tagline. What stands out the most was the early acknowledgment of rap’s reach beyond the East and West coasts. The significance of including Houston’s Geto Boys, for instance, cannot be overstated.
Scarface, Willie D and Bushwick Bill carried the flag for Southern hip-hop, winning over skeptical concertgoers with their raw dissection of ’hood paranoia, “Mind Playing Tricks on Me,” which had become a favorite on Yo! MTV Raps. Jazzy Jeff and The Fresh Prince proved they could still rock the house with PG-rated material. (It helped that Will Smith had just begun the first season of NBC’s The Fresh Prince of Bel-Air.) Queen Latifah busted through the testosterone with the empowering “Ladies First.” And Naughty by Nature frequently knocked out the most crowd-pleasing set of the night with their promiscuous anthem “O.P.P.”
Encore: The World’s Greatest Rap Show Ever made its Jan. 3, 1992, stop at New York’s Madison Square Garden less than a week after nine people were fatally crushed at a hip-hop charity basketball game at City College of New York. Before Public Enemy’s powerful message of black self-determination, Heavy D, an organizer of the doomed event, made a plea for unity. Fans were certainly listening. The gig was a resounding, peaceful triumph.
4. Def Jam Tour (1987)
LL Cool J, Whodini, Eric B. & Rakim, Doug E. Fresh and the Get Fresh Crew, and Public Enemy
From 1986 to 1992, New York’s Def Jam Records was the premier hip-hop label. Its roster of artists, which included Public Enemy, the Beastie Boys, EPMD and Slick Rick, was unparalleled in range and cultural dominance. So when it came time for partners Russell Simmons and Rick Rubin to spread the Def Jam gospel on its first international tour, the imprint’s biggest star, LL Cool J, was chosen to lead the way. And he didn’t disappoint.
James Todd Smith strutted out of a giant neon boombox sporting a Kangol hat, dookie rope gold chain and Adidas jacket. Of course, that jacket would soon be thrown to the floor as a shirtless Ladies Love Cool James tore through his ’85 single “Rock the Bells” as if it were the last song he would get to perform.
For many overseas, their first taste of American rap also included DJ Eric B. & Rakim, who were killing the streets with their 1987 masterpiece Paid In Full. Almost overnight in Germany, France, Norway and the Netherlands, hip-hop became the new religion.
Encore: This was the first proper world tour for Public Enemy, who had just dropped their 12-inch single “Rebel Without a Pause.” Although they were the opening act, Chuck D and his posse stole the show, establishing their standing as global behemoths. The now-legendary show at London’s Hammersmith Odeon can be heard throughout It Takes a Nation of Millions to Hold Us Back.
3. Up In Smoke (2000)
Dr. Dre, Snoop Dogg, Ice Cube, Eminem, Tha Dogg Pound, Warren G and Nate Dogg, and Xzibit
As over-the-top, profane spectacles go, the Up In Smoke Tour has few rivals. Detroit’s Eminem stormed the stage wearing a red jumpsuit with “County Jail” stitched on the back. Ice Cube, before being joined by his Westside Connection cohorts, Mack 10 and WC, emerged from a cryogenic chamber. Hennessy-sipping and weed-toking Dr. Dre and Snoop Dogg rode out in a hydraulically juiced lowrider. There was a 15-foot talking skull!
The multimillion-dollar stage design put the concert industry on notice that not only could rap shows attain the lavish production values of the best rock shows, they could surpass them. It was also an emphatic statement that the largely West Coast rap dignitaries knew how to throw a party. And there still isn’t another hip-hop song that matches the first 20 seconds of Dre’s “Next Episode” in concert.
Gross: $22.2 million from 44 shows
2. Raising Hell Tour (1986)
Run-DMC, featuring LL Cool J, the Beastie Boys and Whodini
There’s a reason Run-DMC is hailed as the greatest live hip-hop act of its era. They understood that less is always more. Because of their stripped-down beats and rhymes, the group amplified the genius of every aspect of their concert presentation up to 11. Jam Master Jay’s scratching was more thunderous than the other DJs on the 1s and 2s. Run’s pay-me stage presence commanded respect. And D had the throat-grabbing voice of God. They wore Godfather hats, black jeans and shoelace-less Adidas sneakers. The Hollis, Queens, crew was the personification of cool.
LL Cool J was just 18 during the Raising Hell Tour, but he was coming after Run-DMC’s crown every night. The hotel-wrecking Beastie Boys co-piloted rap’s bum-rush into Middle America, scaring parents wherever they landed. And Whodini brilliantly straddled the line between electro funkateers and around-the-way dudes representing BK to the fullest.
As “Walk This Way,” Run-DMC’s genre-shifting Aerosmith collaboration, exploded on the pop charts, vaulting the Raising Hell album to 3 million copies sold (the first hip-hop album to go triple platinum), ticket sales followed. The 45-city tour affirmed hip-hop’s cultural takeover.
Encore: The image of Joseph Simmons commanding 20,000-plus fans to hold up their sneakers during a performance of “My Adidas” at a New York show is still a surreal sight.
1. Fresh Fest (1984)
Kurtis Blow, Run-DMC, Whodini, The Fat Boys, Newcleus & the Dynamic Breakers, New York City Breakers, Turbo and Ozone
Ricky Walker had an idea: The concert promoter wanted to put together the first national rap music and break-dancing tour. In 1984, hip-hop had moved on from its underground beginnings in the Bronx. Run-DMC had just dropped their self-titled debut, and their “Rock Box” became the first rap video to received play on MTV. Breakin’, the first break dancing movie to hit the big screen, pulled in nearly $40 million at the box office on a minuscule $1.2 million budget. Walker saw the future.
He called New York impresario Simmons to tap some of his Rush Productions talent, which included heartthrob Brooklyn trio Whodini, rap’s first solo superstar Kurtis Blow, the comedic Fat Boys and, of course, the hottest hip-hop act in the country, Run-DMC. But when it came time to promote the first show, billed as the Swatch Watch NYC Fresh Fest Festival, in Greensboro, North Carolina, Walker was laughed out of the room by a radio ad man.
Rap was still viewed by many record industry power brokers as a passing fad. In a 1985 interview with Billboard magazine, Walker recalled the salesperson pleading with him. “You’re a friend of mine,” he said. “Can’t I talk you out of doing this show?”
Walker’s instincts, however, proved to be dead-on. Fresh Fest moved 7,500 tickets in four hours. The tour, which also featured some of the best street dancers on the planet, such as Breakin’ stars Boogaloo Shrimp and Shabba Doo, as well as the synth funk-rap group Newcleus, not only did brisk business at mid-level venues but also sold out 20,000-seat arenas in Chicago and Philadelphia. Like the pioneering rock ‘n’ roll shows of the ’50s conceived by Cleveland radio DJ Alan Freed, the Fresh Fest proved that rap could be a serious and profitable art form. The rest is hip-hop history.
Gross: $3.5 million
Drake, the Toronto native and Raptors fan, has spent the 2019 playoffs blurring the line between superfan and millionaire mascot by giving Raptors coach Nick Nurse massages on the sideline, talking trash to Golden State Warriors stars Stephen Curry and Draymond Green, and trolling opposing fans with Instagram posts. His prominence as a celebrity “ambassador” is a watershed moment for the intersection of rap music and sports.
While this all seems pretty outrageous, it’s not unprecedented. Just 11 years ago, LeBron James and Jay-Z teamed up to take on … DeShawn Stevenson and Soulja Boy in a bizarre, hilarious feud that’s a time capsule for pop culture in 2008.
After James had terrorized Washington Wizards to the tune of 32.7 points, 6.6 assists and 7.9 rebounds per game in the 2006 and 2007 playoffs (besides a timely game-winner in Game 3 of the 2006 series), the Wizards needed any advantage they could get if they wanted to overthrow the King. That’s where Stevenson comes in. The shooting guard was in his eighth year by the time the Wizards and Cleveland Cavaliers met for the third time in the first round, and he decided that getting into James’ head would be his best move.
After a 101-99 regular-season win on March 13, 2008, Stevenson had this bit of trash talk for James: “He’s overrated. And you can say I said that.”
When the first-round playoff matchup between the fourth-seeded Cavs and fifth-seeded Wizards was set, the Stevenson quote came back up. James responded by saying … he wasn’t going to respond. When asked, he said, “With DeShawn Stevenson, it’s kind of funny. It’s almost like Jay-Z [responding to a negative comment] made by Soulja Boy. It doesn’t make sense to respond.”
A bit of context: Soulja Boy mastered the burgeoning world of social media by uploading his songs to MySpace and Napster to create a buzz for himself. His hit “Crank That” created an international dance craze and was No. 1 on the U.S. Billboard Hot 100 for seven weeks in fall 2007. The song was not a lyrical masterpiece: “Yeah, watch me crank that Robocop/ Super fresh, now watch me jock/Jocking on them haters, man.”
Jay-Z, on the other hand, was, and still is, maybe the greatest rapper of all time, a lyrical wizard with multiple classic albums and a rap empire at his feet. He and James struck up a kinship in the player’s rookie year, partly because they shared the DNA of being heirs apparent to greatness: Jay-Z following in The Notorious B.I.G.’s footsteps after his death in 1997 and James being the next Michael Jordan after His Airness’ 2003 retirement. (There was also one other detail: Jay-Z was a minority owner of the New Jersey Nets and may or may not have wanted to court a certain all-time great to the team.) Regardless, James’ meaning was clear — he and Jay-Z were elite and Stevenson and Soulja Boy were one-hit wonders.
Stevenson took James’ comment as a chance to add some spice to the playoffs. When the series went back to Washington for Game 3, Soulja Boy was seated behind one of the baskets. (He may not have had the sauce of someone like Drake to get seats near the bench.) Throughout the game, Soulja Boy was waving towels and doing his Crank That dance. Even Washington’s Caron Butler took a moment to do the dance after a foul. Whatever mojo Soulja Boy offered worked that day, as the Wizards won 108-72.
It was a cute story that could have ended there. But Jay-Z must have felt the need to defend his buddy, and his flair for the dramatic was on full display. Jay-Z was in Oakland, California, performing when the James/Stevenson/Soulja Boy fracas was going down, and he played Oakland, California, legend Too $hort’s “Blow the Whistle” and shouted-out the MC. The crowd erupted, and Jay-Z got the idea to rap over the instrumental.
“LeBron was special to him,” Too $hort said in 2017. “And ol’ boy [Stevenson] stepped on LeBron’s toes talking s— and Jay was like, I’m going to shut this down. And he probably saw the moment where the crowd reacted to the song and then that was on his mind.”
So Jay-Z asked Too $hort for the instrumental. “When Jay called, I was like, ‘It will be there in a couple of hours, man.’ I had no idea what he was going to do with it, but I am glad he did.”
The next night, as Wizards players were partying at the D.C. nightclub Love, the DJ debuted a Jay-Z song rapping over Too $hort’s “Blow the Whistle” instrumental: “Ask my n—- LeBron! We so big we ain’t gotta respond … Who the f— overrated?! If anything they underpaid him. Hatin that’s only gonna make him spend the night out of spite with the chick you’ve been datin’.” Without mentioning Stevenson or Soulja Boy, the intent was clear.
The series went six games, with the overrated James averaging 29.8 points, 9.5 rebounds and 7.7 assists per game. (Stevenson averaged 12.3 points.) Stevenson would eventually find himself on the winning side three years later when his Dallas Mavericks (well, Dirk Nowitzki’s Dallas Mavericks) bested James and the Miami Heat in six games in the NBA Finals. While winning a championship is all good, hundreds of players have won rings. However, not many can say they were dissed by Jay-Z in a song. That moment defined Stevenson’s career almost as much as his championship.
The Warriors aren’t without their own contingent of rap stars who will be waving towels in Oracle Arena come Game 3. From E-40 to Too $hort and even MC Hammer, the Bay Area hip-hop scene is ready to lend support and maybe its own batch of troll-y Instagram posts.
Drake’s relationship with the Warriors seems a bit more amicable than that between the parties involved in the 2008 feud. But as the series progresses and the trash talk ramps up, we may yet see a magical musical moment in this NBA Finals. If it’s anything like Jay-Z’s effort, it could be the stuff of legend.
Jay-Z gathered his thoughts as he sat behind a desk at Roc-A-Fella Records’ headquarters in New York. In a rarely seen 1997 interview, the Brooklyn MC gave a striking answer to a question about what percentage of rappers he believed would still be viable artists a decade later.
“A rapper’s life is like three albums … unless you gon’ endure during the times,” Jay-Z said. “That’s a special case. It’s like 3 to 5% of artists who have a successful career. Crazy, right?”
Jay-Z, at the time, was only a few years removed from drug-dealing as a self-described “Marcy Projects hallway loiterer.” A product of post-civil rights movement America (I arrived on the day Fred Hampton died, he’d later rhyme) who came of age during the war on drugs, Jay-Z by 1997 was an independent businessman with a critically acclaimed rap debut in 1996’s Reasonable Doubt. But it’s likely that not even the notoriously confident Jay-Z saw this coming: Two decades after that interview, Jay-Z is hip-hop’s first billionaire.
On Monday, Forbes released a review of the Brooklyn MC’s financial portfolio that concluded Jay-Z’s empire had surpassed the 10-figure plateau. His fortune is spread across a variety of endeavors, including real estate, liquor, music, the streaming platform TIDAL, entertainment company Roc Nation, his art collection and more. The confirmation is both unsurprising — along with Diddy and Dr. Dre, he has long been near the apex of hip-hop’s top earners — and awe-inspiring.
“Here we had this hip-hop industry that everybody sort of wanted to dismiss and thought that it would go away,” said Angel Rich, author of History of the Black Dollar. “It has now turned into the fabric of American society. It’s weaved into every portion of business. We have [another] symbol of that success and what it means in Jay-Z becoming a billionaire.”
At the start of the 20th century, Madam C.J. Walker made a fortune through black hair. In the middle of the century, John H. Johnson became a mogul with lifestyle publications such as Ebony and Jet. And at the end of the century came the start of Jay-Z’s financial success rooted in black music. All cultivated in America. All tapped into the core of America’s spine, black culture, which has alternately been ignored, chastised and co-opted. All understood the power of the black dollar. These foremothers and forefathers of black wealth in white America were prophytes in The Blueprint MC’s real-life blueprint.
Jay-Z’s original (legal) revenue stream puts the moment in perspective. In a career notable for lyrics as literature and congressional honors, one of Jay-Z’s most recognizable lines is his declaration on Kanye West’s “Diamonds (Remix)”: I’m not a businessman/ I’m a business, man. The potency is rivaled only by its accuracy. The accumulation of wealth has been a constant narrative in his career. “You know n—as die for equal pay right? You know when I work I ain’t your slave right?” he rhymed in 2015. “You know I ain’t shucking and jiving and high-fiving/ You know this ain’t back in the days right?”
On 2017’s stellar 4:44, he referenced the history of black wealth and abandonment in “The Story of O.J.” and concluded with the poignant “Legacy.” With daughter Blue Ivy’s innocent inquiry, “Daddy, what’s a will?” Shawn Carter, the patriarch, launches into his explanation while sampling Donny Hathaway’s “Someday We’ll All Be Free.”
Take those monies and spread ‘cross families/ My sisters, Hattie and Lou, the nephews, cousins and TT/ Eric, the rest to B for whatever she wants to do/ She might start an institute, she might put poor kids through school.
Jay-Z then turned to his oldest daughter’s future: My stake in Roc Nation should go to you/ Leave a piece for your siblings to give to their children too.
Success has led to both praise and criticism as well as detailed examinations of his practice of both capitalism and philanthropy. Jay-Z’s financial rise occurred as the income gap between the robustly rich and all other classes has steadily increased over the past 30 years. The word “billionaire” is increasingly viewed as a piece of derogatory lexicon in some circles — even by actual billionaires. But Jay-Z’s black path to entrepreneur and billionaire status distinguishes it from most of his fellow moguls and emphasizes his kinship with his predecessors Walker and Johnson.
For the better part of the decade, Jay-Z, now 49, has taken on the most socially conscious role of his career. And his monetary boasts have evolved. He’ll never apologize for how he amassed his fortune — he never entered the business to stay a starving artist. I ain’t got a billion streams, got a billion dollars, he said on Meek Mill’s “What’s Free.” The 10-figure threshold is a topic of discussion in the Carter household too. We gon’ reach a billi first, he hypothesized on “Family Feud,” also found on 4:44. Generational wealth is a decades-long theme in Jay-Z’s arsenal, dating to 1996’s “Feelin’ It”: If every n—a in your clique is rich, you clique is rugged/ Nobody will fall ’cause everyone will be each other’s crutches.
This largesse has been displayed on a variety of fronts: Paying a considerable chunk of Meek Mill’s legal fees and Lil Wayne’s back taxes. Securing legal representation for 21 Savage’s deportation proceedings. Getting Jabari Talbot’s case dropped; the 11-year-old had refused to stand for the Pledge of Allegiance and was subsequently arrested. Covering the cost of college tuition, with Beyoncé, for 11 high school seniors through $100,000 scholarships during the domestic leg of their On The Run II Tour.
A man who doesn’t take care of his family can’t be rich, Jay-Z lamented on “Feud,” paraphrasing The Godfather. That notion gets reinforced in “Legacy.” Generational wealth, that’s the key, he noted. My parents ain’t have s—, so that shift started with me. Given where he started, reaching a billion dollars is an objectively resounding accomplishment and testament to his business acumen. But “Legacy” hits differently given who is touched by Jay-Z’s message and the fruits of his labor. TIDAL, the champagne, D’USSE, I’d like to see/ A nice peace-fund ideas from people who look like we/ We gon’ start a society within a society/ That’s major, just like the Negro League.
Jay-Z’s rise to become hip-hop’s first billionaire is important beyond the fact of it. His story is also the story of the black dollar in America. How it was used to build this country, and how it was manipulated — and worse, destroyed — because of the power and independence it carries.
Looking at Jay-Z today, it’s hard not to think about the young MC who sat in Roc-A-Fella’s offices discussing his plans in an industry often described as cutthroat and soul-draining. A billion dollars isn’t immune to lost friendships along the way — or evidence that he made the right decision every time.
“The genius thing that we did was we didn’t give up,” Jay-Z said years ago.
Some of hip-hop’s most promising thought leaders were murdered on the cusp of their fiscal, creative and business primes. The deaths of B.I.G., Tupac Shakur (his frequent yet spiritual partners in rap’s mythical “greatest of all time” debate) and just recently Nipsey Hussle, with whom Jay-Z shared a particularly close brotherhood that expanded far beyond music, is hauntingly painful.
He is the destiny their fate denied them. That’s why the moment matters far more than the actual figure in Jay-Z’s checking account. A billion-dollar industry that began in the boroughs of New York has been monetized, criticized and immortalized the world over. And now that industry has a billionaire of its own.