Rapsody Talks New Upcoming Album, Lauryn Hill Tribute, & The Importance Of Regional Music | Bonus

0:00 Welcome to Effective Immediately, a production of the Black Effect Podcast Network and iHeartRadio. Yo, it's Effective Immediately. I'm DJ Head, special guest in the studio. Love is in the building. I say that. I have a preface with that. You got to put some respect on her name. A god MC, an inspiration, black as fuck, Grammy Award winning.

0:26 Rhapsody is here.

0:27 What's up? Let's start it off right. I love you. I thought we made progress.

0:33 I did. Okay. I said it to you, though, didn't I?

0:36 You did, but you won't do it in public, though.

0:38 I did do it in public. Remember when we was, um... Where was we at? I said it in front of... It was some white people there, too.

0:45 You won't say it on camera, though.

0:47 Love you, Rap City.

0:49 I love you, too. I'm ready now.

0:51 Oh, my God.

0:54 They wanted to know.

0:55 They wanted to know.

0:57 Um... This has been like an ongoing thing because my thing is, for me, like it's very difficult for me to emote. I don't really, I'm not an emote person. And you just exude love and appreciation and affinity and gratitude and grace and all the things.

1:15 And I'm just not there in my journey.

1:18 You are in your own way and I receive every bit of it.

1:20 Well, thank you. I appreciate that.

1:22 It looks differently.

1:23 It does. It looks a lot different on you than it do on me.

1:27 But I feel it nonetheless every time I see you the way you embrace me and pour into me the things you tell me that's love okay.

1:35 Well I appreciate you for being here first and foremost congrats on everything because I think aside from like you winning the awards and getting the accolades that's been overdue for you I'm just proud of like you because I think I think from I think from coming from like Layla's wisdom all the way up to like was it Please Don't Cry, when I think we saw Rhapsody get extremely, like, vulnerable.

2:03 You know what I mean? And, like, peel back the layers.

2:05 And I think that taught people about you. It's like, yeah, she's amazing. Like, people, I think, just correct me if I'm wrong, people look at you like, my perception of how people view Rhapsody is like this super dope rapper that is black and proud, right?

2:23 Yep. But, like, you're also a human being.

2:26 I'm very much a human being.

2:28 You're a human being.

2:28 So human.

2:29 And I think that's the part that gets overlooked. And I think when Please Don't Cry came out, I was like, oh, Rapsy's a human being. It was like a discovery. And the reason I wanted to talk to you about that, because I recently found, not recently, but as I became an adult in my life, I found out my mom was a woman.

2:48 And it fucked me up. I hear you.

2:50 I got you.

2:50 You understand where I'm going with that? Yep.

2:52 And I was just like, oh, because you know how we idolize our parents as superheroes. And then when I saw my mom become a woman, and I was like, oh, my mom is not a superhero.

3:01 She's a human being. It fucked my mental up.

3:04 Yeah, it rewires you.

3:06 It rewired me in a way. Did you have that, one, in your process of evolution? Have you had that stage of discovery about yourself? And then two, have you had that interaction with others?

3:17 Yeah, absolutely.

3:19 Yeah.

3:20 I think the biggest thing in healing and self-discovery is figuring out and understanding how human you are. you know, and allowing yourself to have grace with yourself for being a human, you know, for feeling the things that you feel, you know, but the work is all in learning to understand it and observe it and observe others so that you have a lot more pleasant experience, you know, with everything that life throws at you, like, you gain these superpowers of, of grace and gratitude. Um, and it makes the human experience a lot more joyful and enjoyable. You know, once you have an understanding of your onion, your layers, your why, why do I do this? You know, why do I feel that way about this? And then it's like,

4:11 now I can have a different approach and appreciation for it. Um, and seeing other people like that's, that's a gift that comes through it. Like I have this superpower where, You know, I have a lot more grace with people because I see that they're human. You know, I have been disappointed in this business, disappointed by people that I absolutely love and look up to. I've been let down. My heart's been broken, all the things. But, you know, I don't have to carry the pain of it or to point fingers or to give blame. I could just observe and say, you know, I see the humanness in what you're experiencing and it has nothing to do with me. You're just projecting that on me.

4:49 Yeah.

4:50 And, you know, I love that I have that perspective because I want to continue to love people, even with a boundary.

4:56 Even with a boundary. Yeah.

4:57 I think people don't understand that you can love with a boundary.

5:00 You absolutely can. I think that's a way to love someone is to set a boundary.

5:04 Ain't it the greatest love? Because you teach somebody how to love you and how to respect you, you know. And if I care enough to teach you that, that means that in a way I still want to have some type of relationship, even if it may be different than what it was with you. Um, so yeah. And even to your point, like you get to see too, like your parents there, they were going through the same human experience and you have a lot of grace, you know, even with your upbringing and who you are, that nothing is perfect. We all are learning life together at different times in different ways, but we all are learning it.

5:40 I think, I think what's dope about that is like, you get that through your music, but also like when, when you walk in the room, You get the same aura, and I don't want to put that on you, but I remember the first time, actually the first and only time I was around Janet Jackson, I got to interview Janet Jackson, and she like walked in the room, but she like, I didn't see her feet move.

6:01 She floated?

6:01 She just floated in the room.

6:02 I heard that about Felicia Rashad.

6:03 Really?

6:04 Yeah, somebody said she just floats.

6:06 So that's a thing.

6:07 It's a thing, yeah.

6:09 Yeah. Get the fuck out of here.

6:11 Levitate.

6:12 It's okay.

6:12 It's so bad. So you give me that same aura. That's crazy. You give me that same aura of things. But I do want to dive into this because I have a theory and you're going to see where I'm going with it. I think I posted it maybe, I don't know, maybe 11 years ago or nine years ago or something like that. And I said, I believe God is a woman.

6:34 Okay. Okay. And, boy, them people tore.

6:36 Me up online. Them Christians came out and said, how dare you.

6:41 Them people whooped my ass when I said, I think God is a woman. And, of course, I was being an asshole because I said, well, think about this, right? What other entity would say, only worship me and go tell everybody about me?

6:53 Don't that sound feminine to you? You understand? You a jerk.

7:00 I thought you was going to be poetic.

7:01 Nah, nah.

7:02 Who else can create life?

7:04 You're like, nah.

7:05 I'm always going to staple some bullshit to it. But God got Afro and gold hoops. I think I fully understand the metaphor and the ideology behind it, but break it down for those that don't understand.

7:20 I'm really saying see God in yourself. God is shapeless, formless, genderless, colorless. You know, so this whitewashing of what Jesus looks like and God is supposed to look like. And, you know, it all came from a trip in Ghana. I took I got up early one morning at like 5 a.m. We were taking a five, six hour drive to see the Ashanti region. The sun is coming up. The sky is orange. I'm in Africa. I'm like, you know, you said I'm black as fuck. I really am. So I was just in my moment and I'm hearing in the background this westernized white gospel music. And it just took me out of where I was. So I asked him, I said, can you change the station? Change it. Another one.

8:03 Another one. I said, why is this the only thing that's playing on a radio? It's what everybody listens to out here. And it just made me think, like, even in the continent, you know, we've been spirituality and religion has been co-opted. And then it relates back to America and what they did to slavery. And we look at what Jesus is and they're banning books and DEI is going and we're, we're rewriting history and whitewashing history. And I'm just like, you know, let's start with, with God.

8:30 You know, if, if my album was a book, it would be banned every single one of them.

8:34 Right. Right.

8:35 And so I wrote this album as if somebody found it in the future, a hundred years from now, a thousand years from now, 50 years from now, And that, you know, I had to say, what truth am I leaving you about who you are and who we are? Because they're going to change everything. But I need you to know the truth. What is the cause that I'm leaving you? And it's joyful. It's rebellious. It's urgent. It's street.

8:58 It's fun. It's so many things. But I wanted to start with first. Don't forget to see God in yourself. God can have an afro. God can have a fade. God can have.

9:10 Locks.

9:10 God can have beads. God can have a bust down. You know, like look in the mirror and see God in yourself.

9:17 So, okay. All right.

9:19 But I still, to me, okay. What about the people who either can't see God in themselves? How do they then? participate in this like if they don't feel like that or they can't see that they haven't gotten there how do they then participate I.

9:36 Think for me like everybody's on their journey at their pace in the same way some people listen to please don't cry and they weren't emotionally or emotionally mature enough or ready to receive that and what healing looks like this is no different you know but it's a seed to plant like you may not understand it in that one song but maybe the journey of the album and the things you hear and if it if it makes you curious for something you don't know to go dive into it it's it's a it's a doorway that's what this album is you know um it's a doorway through for you to go find your truth And whatever that truth is, and that is it for you. But take the walk and don't let somebody tell you your truth.

10:23 Go find your truth for yourself.

10:27 Can you elaborate on the choir, too? Because you said you brought that up when you were in Ghana.

10:32 Yeah. You heard this, like, whitewashed soundscape. Yeah.

10:37 The choir that's throughout the project, where did that come from?

10:42 Like, where is that choir from?

10:44 So while we were planning the trip, I first went to Johannesburg in 2012 and 2013, and I worked with an artist there by the name of Nomsa Mazwaye, a.k.a. Nomi Superstar. She's on my first album. So I hit her. I said, I'm coming to Joburg to record an album. She was like, is there anything you're going to need while you're here? I said, we got this one record.

11:07 I got the choir for a different record, but they ended up being on Gaga to Afro. I said, I got this one record. We're looking for a choir. We want some kids. And she sent me a video of these kids singing, and I was like, they're perfect. But, you know, once I did the Ghana trip, I had the experience with the radio and all the other experiences.

11:25 And we got to Joburg to record with Mr.

11:27 Porter.

11:29 One of the third songs we did, but the first beat he worked on was God Got an Afro. And I was just freestyling the hook. And he was like, yo, we should get some kids to kind of say it on some like nanny nanny boo boo type vibe. Like, God got an afro. So we were already scheduled to record with that choir, but we just added that record to it.

11:50 Got you. And then what about No Way?

11:53 That was the record we wanted the choir for.

11:55 Got you.

11:56 Yeah, yeah. So we worked on that one before we went to Africa. Me and Dana have known each other since, I want to say, 2011, 2012. And he's like my cousin. He was raised a part of his life in North Carolina. But every project I do, I always hit him. but I've never like gotten on a plane to go sit, you know, like everything has its timing. But for this one, I called him. I said, I'm getting on a plane and I'm coming because I need you for this album.

12:26 And I had planned to like go see a few people. When I walked in the house in Detroit, he said, look, it's my mission for this project and my involvement is I want people to see you like I see you. I need people to see you like I see you. Like, They don't see how gifted and talented you are, how many superpowers you have. I need to figure out a way for them to see it. And so that's the journey we went on. So I sent him a playlist of songs that I was inspired by that would put him into the world of what I was trying to build.

13:00 And I sent him pictures from Pinterest of that world, too. And, you know, one of the first of two beats he sent me was the No Way beat.

13:09 Oh, okay.

13:09 Yeah, so that kind of kicked it off.

13:11 Okay, so I want to dive into a couple of these songs.

13:14 My favorites on the project, I have favorites. Never Break, Joyful. Of course, I got an Afro. I want to dive into that video, too, because I feel like creatively that people need to tap into some of that energy on that video.

13:32 And I have my theory, but I'll let you clear it up. And then also some lyrics. Actually, let me go back. Let's talk about the video because... When I watched the video, I was like, oh, this is, it's like aesthetically dope. But there's like messaging in there. And I wanted to know how intentional you were behind that video.

13:54 Because to me, it gave me like classic Missy Elliott vibe, I guess you could say, aesthetic to it.

14:00 Like, you know, it's like you got, I see the blackness in there. It's in there. And then it's like a little bit of fun. But then it's like, here goes the messaging. And then like, was that intentional?

14:11 As intentional as we could be. I dream and think and ideate so big. And for this one, to me, it was such an important kickoff, important first visual, first record. I wanted it to feel like The Wiz, but bigger. So The Wiz was my inspiration. Like when Dorothy first falls into the Oz and the count is there and the kids come off the wall and they're in the playground flipping around and all like, It was that type energy.

14:42 Or Michael dancing down the street. So I had this whole different video concept. Out of our budget, for sure.

14:49 You want to do some shit.

14:52 I want to do some shit. When I say The Wiz, The Wiz 2026, on some hip-hop vibe. I wanted people walking on stilts.

15:00 Oh, you wanted to shoot a short film type of deal?

15:04 A short film was definitely in my joint. But for this one, I wanted to be like a... look, look, feel like a one shot, but it was, it was kind of bridging black American Africa. So it's like we in New York, we in the street, like it's, it's the wardrobe was bright, like, but fashion, it was like super fly. But then you have like, uh, dancers. I wanted a lot of dancers, um, in like mask or different cultural wearings. But then I wanted people walking on stilts, you know, like I, I wanted to have a lot of movement, a lot of dance, a lot of color, uh, And you know that. Expensive. So, you know, then we had another concept and we had like two days to shoot what we were trying to do, three videos. So

15:51 I got with my director maybe like two days before I said, let's scrap everything and this is what we're going to do. We're going to do this, this, this, this, and boom, boom, boom. And that's what we got. We really leaned on the editing to tell the story that we couldn't. you know, with having a big budget to do what I wanted. And, you know, those were some things I said. He would send me a draft. I was like, there's not enough Africa in here. You know, instead of me walking over the buildings, like, put me on a pyramid somewhere in Africa. Like, we have to make this bridge, you know, of Pan-Africanism. Like, we have to bring that back. Um, you know, playing with the hair, um, the big act, like in the middle of the white wigs,

16:31 you know what I'm saying? Like, you know, all things like that. We were super intentional about, and there were some, a lot of things we wanted to even shoot for that. We just didn't have time to do that. You know, we're more intentional.

16:43 So I got you. Um, well, I enjoyed the video and I thought, I thought it was dope. I thought it was great.

16:49 Now that knowing the backstory, it's really dope. Given which are the resources that you had to pull it off to get the message across.

16:56 But you did bring up one shot. You wanted to shoot the video in a one shot?

16:58 I did.

16:59 That would have been hard.

17:00 What's your favorite, not random, but what's your favorite one shot? Like from a video or movie perspective.

17:06 Oh, that's tough. This is America is up there by Childish Gambino. That joint is nuts.

17:13 I forgot about This is America.

17:15 What am I forgetting?

17:16 I was going to say Who Dat? J. Cole was one of my favorite one shots.

17:22 That was early.

17:23 Because that was super early at one shot.

17:25 Super early one shot.

17:26 They weren't doing them like that. Not in hip hop. I know.

17:29 I think he might have been one of the first.

17:31 He should have been. It could have been. But I remember watching that when I was younger. I was like, this is fire.

17:36 He's nuts.

17:38 Because before you learn, as I got.

17:40 Further into Marvel films and stuff like that, I started to learn what a one shot, what that actually takes to pull off.

17:48 And so, especially from a.

17:50 Music video standpoint, I think LaRussell did one.

17:54 Yeah.

17:55 I think LaRussell pulled one off just recently.

17:57 Kendrick did one for Mr. Morale.

18:00 For Mr. Morale.

18:01 That was fire. Oh.

18:03 Yeah. Him and the girl.

18:04 Let's not forget about it. Crazy. Crazy.

18:08 I still got Cole as like my favorite because it's like in the street. It's like.

18:13 No, that was nuts. That shit was crazy.

18:16 Yeah. But yeah, you just brought up one shot, so I had to go with that thought.

18:21 We had to nerd out a little bit.

18:22 Yeah.

18:23 So I want to dive into... Actually, before we go to pick a side, let's dive into No Way. Because No Way, you got some shit off your chest. You know, I listen to bars. I'm going to read you some bars, and I just want you to expound on them if you can.

18:39 Take back this culture. Recoup on the energy. Yeah.

18:45 Sometimes I feel like... on a mainstream business level, we've given the culture away.

18:50 Sold it out.

18:51 Yeah, definitely sold it out or watered it down. Um, the culture is beautiful. Like it's strong. Like if you know what, what the culture really is, is outside in the street and everyday life and small, you know, um, cities countries towns all around the world groups of people but on a mainstream level like what we project to the world of what hip-hop is like it could be you know very small um of what women how women are represented even how men are represented this idea of what hip-hop is flashy is gangster it's you know like no it's a beautiful art form um and i think we've We haven't protected it enough in that way. Even in media, we aren't protecting it enough. Like even some places we go to sit down and tell our... stories

19:53 we're giving it to the to the wrong people i think the.

19:56 Next bar you said it was the next bar is put a gate on the culture and then put a gate on the culture and take the key i mean and then turn the key put a gate on the culture and turn the key um No Jumper and Vlad, the whole industry. So when I heard that part, I was like, damn. I think you're one of the first few people that I've ever heard. Like, that's a lot of conversation that people have amongst each other, labels, teams, stuff like that. But to say it on the record, I was like, damn, this is kind of like, this is interesting because I don't know if it's, I mean, I want your perspective on it, but I don't know that people are having these conversations out loud, and maybe that's a thing.

20:40 Maybe that should be the process. I, I'm a truth teller and truth seeker through and through. Um, and if it don't do anything, it should spark the conversation, you know? Um, you know, again, like why do we go sit down with certain people and give so much of a story away that I don't think is necessarily protected. And like, I'm, I'm just trying to see the angle. Um, I just love this culture too much. And there are people that really love it and care about it. And we'll, we won't go sit down and have these long conversations with them.

21:15 Right.

21:15 We don't, we'll talk about things that we don't like versus the people that we do like, you know, it's like, how are we being intentional with our art form and our story and our truth and who we give it to? Like journalism matters, you know, who, who holds our truth matters and how it's presented to the world. Like, I just think we should care more about it.

21:38 I share the same sentiment. Actually, I never said this before, but I remember me and Gina were somewhere, and.

21:46 I actually saw.

21:47 Vlad because he had heard things I said about him or not. And, you know, I'm the kind of person, I don't lead with disrespect. It was just anything I say about you, I'm willing to say to you. And so he said, he was just like, you know, he shook my hand, I shook his hand, and he was just like, you know, I heard things, and I know where you're coming from.

22:05 He said, I don't understand the energy, and I'm.

22:06 Just like, well, to be honest, I just don't fuck with your platform, and I don't really fuck with what you do with your platform.

22:13 It ain't personal.

22:14 It ain't like I want something bad to happen to you, and I don't want you to be broke, or I just don't really respect how you, what you do with your platform, and that's, you know, it's not serious, and I know, like, my people fuck with him. Like, you know, my big homies, they fuck with him, and I told him, like, They fuck with you, and I've consulted with them about these things.

22:31 Like, I don't know how to.

22:33 Navigate the relationships or whatnot, but me personally, from where I come from and how I conduct myself, I just.

22:40 Don't really fuck with it.

22:40 I can't get down with it.

22:41 I can't fuck with it.

22:42 And he was like, well, I'm glad that we can at least coexist in a space and it be. And I said, yeah, I don't have no malice intent towards you on no level.

22:49 Right. I just don't. With what you do, I just.

22:52 I don't.

22:53 I can't. Yeah. So I let them know that, and, you know, it was respect.

22:58 So the next thing on, pick a side. Shout out to Amanda Reefer, too.

23:04 Oh, man, what a talent.

23:05 Amanda Reefer's incredible, isn't she?

23:07 I'm just waiting for the day that everybody understand who she is and how talented she is.

23:14 You want to know a fun fact about Amanda Reefer?

23:16 What's up?

23:17 And I told her this, so this is not news, but I've never said it on the air before, but.

23:21 I didn't fuck with her. when I first came across her, no. And she had this, and it wasn't because of anything musically. I thought she was an incredible vocalist. I didn't know that she did so much. And I want to correlate it back to what Ms. Porter said to you. People don't see you in the way that you believe that people are seeing you because when I saw her, I'm like, oh, they just got another, she's a beautiful singer and, you know, cool.

23:48 They're going to put some songs together and slap some shit and put her shit out, right?

23:51 Yeah. And that's, you know, I've been in this business 20 years. So I'm used to.

23:56 Seeing the play.

23:56 I know the play.

23:58 And so one day we went and I sat in. That's the importance of being outside and not being on the internet.

24:03 That part.

24:03 I went and pulled up on her. And she had this event. Shout out to Brittany Bell. And they had this event for her with Red Bull. And she shot this, like, short film for her project.

24:14 Yep.

24:14 I saw it.

24:15 She wrote it, directed it, shot it, edited it. Yep. She was editing it herself on the laptop. Yep.

24:21 And then when they were trying to figure out how to play it or whatever, she went and like did it herself. And I was just like, so then I finally pulled her aside.

24:29 I'm like, yo, who are you?

24:36 Because I'm a nerd. So like I know how to edit videos. You know, I'm like I've done everything in this room.

24:41 You've touched.

24:42 I know how to do.

24:43 And so I was just so much. And she was like, yeah, I did this. And then I set the camera up and I. I shot it, then I whoop, and then she was like, then I scored it, and she produces music.

24:53 I'm just like, oh, like you the real thing.

24:55 Writes her own music.

24:57 Right, and I was just like, and then styles herself, makes her own clothes.

25:00 She makes them, not buys and gets a style that she creates.

25:04 She making her own clothes. I was like, yeah, you got it.

25:08 I'm a fan. I'm fucking with it. I told her that night, I said, you know what?

25:11 I was wrong. I'm in. Whatever you need, I got you.

25:14 Yeah, Amanda's amazing. I met her... I was tapped into her music. I thought she was dope. I think we was talking online. I don't know if I hit her first. I'm good for sliding into my DMs and like, yo, you ill.

25:26 Yeah.

25:27 But she reached out like, yo, sis, can we do a song together? And we got in the studio. We hung out for five, six hours that day. And same thing, she was just telling me everything she did. She was playing old music. She's told me her full story. Her story is... When she's ready to tell it, she'll tell it. But, man, she's, like you said, she's an alien. You know, she's so gifted in so many things. Yeah.

25:52 So I was pleased to see her on your project.

25:56 But you said, let me see, the bar is, should I pop a titty for niggas to get it? Pop some pussy, kiss some niggas for niggas to get it. And when you said that, I'm like, damn. You saying that, again, going back to what you said about the other platforms and media and whatnot. I think these conversation starters are important because.

26:15 A lot of women feel like that. Right.

26:17 They feel like, oh, if I don't do this, I'm not going to get the attention I deserve. Or if I don't do this, I'm not going to. And I also look at it like almost a divide. And I want to get your perspective. Do you feel like you're either over here or over there? Or is there like a median that people could play where it's like maybe I don't do that, maybe I don't do this, or maybe I do a little bit of both?

26:35 My thing is it's about choosing your truth and authenticity versus capitalism. whatever your truth is, as long as you're walking it, you know, truthfully and authentically for who you are and do your thing. You know what I'm saying? I love Cardi. I think Cardi is very honest in who she is.

26:54 She's authentic as hell.

26:56 As hell. Like, Kim was authentic as hell. Um, you know, that's what it was always about. But I think we're now in a time where everybody looking sound alike. So that can't be real.

27:10 Yeah.

27:10 Like, we're all born at different times in different places we experience life differently so how are we all coming out kind of looking the same talking about the same things same cadence the same voice same mannerisms like you know and I've talked to some women and it's just like you know I would want I want to do this but you know so you know it's me like again creating a conversation of What are you doing it for?

27:38 Who are you? You know, and we talk about like, let's take the India Irie versus Young Miami thing. Right. I believe, again, your truth is your truth. Like people ask me about conscious rappers. I think every rapper is conscious if they're being truthful about their experience. You can't tell me somebody that grows up in the hood and they might have to do or live a certain life.

28:02 that they're not conscious of their surroundings and what they're experiencing and putting it on wax to give you the story. The thing comes from, okay, let's not glorify it, though. Where do we go from there? What's the knowledge, wisdom, and understanding of why we even had to do that to get there? But tell your truth, right? So, you know, that's just the space that I sit with it. And two, like, understanding the history of this music business and, you know.

28:32 How our music and culture has been kind of co-opted and infiltrated in a way where we don't even necessarily own it in a sense anymore. You know what I'm saying? Like, how did we get here? What is the Harvard report? You know, like, let's do knowledge on that and understand, like, you know, some conversations even around that. So it's just me bringing that to the forefront.

28:58 I feel that. Are you, are you one of them?

29:00 Like, I remember earlier, like you didn't like the FemC thing at first. And then now it's more like, I don't think that's a thing anymore. Have you noticed the diminish of that?

29:09 Yeah. I see. I don't even have to say it anymore because everybody else is saying it. And, you know, um, more and more, I think media outlets are kind of making the distinction and women have been doing their thing, you know, where you kind of got to tip your hat and you, you can't, put it in that box anymore so yeah that's that's been a thing I've been seeing like but other conversations too even around that it's like if you're going to have somebody write your music, because some artists write their own music and some artists, men and women, have writers. I think it's important to have a writer that writes from your perspective.

29:50 I feel that.

29:51 Especially when we think about women that have writers, a lot of them are men. And so is it really women empowerment if a man is saying it? You understand what I'm saying? You know, so it's always about that. Like, what is your story and what is your truth? Not a man's because this is what I wrote for you and I think it'll be hot because this is what I want to hear. No, like for you, what is your truth? What do you want to say to the people?

30:22 Whatever it is.

30:24 I've been having this conversation a lot as far as sound because I think it's important for regions to own their identity. I say this before all the time. I learned about Atlanta because of Jermaine Dupri and Outkast and Organized Noise. I learned through that culture. I learned about Houston from UGK and Trader Truth because of the lingo, the culture, the cars, the women.

30:51 The outside, whatever.

30:53 Jay-z same thing new york like um i think we've kind of lost that that's been lost in translation as far as everything like you said is.

31:03 Now the same the same yeah.

31:06 What's your thoughts on like region regional music coming back or do you think is it is it necessary for the culture Absolutely.

31:14 I just think truth is necessary for the culture. And, you know, if you grow up in a region, I'm sure you're influenced by it for sure. Now, that's not to say like as the world becomes smaller with the Internet and streaming and all these things that you're not influenced even outside of the world. I'm super influenced by Africa on this project. And a lot of people be like, you don't even sound like you're from North Carolina, you sound like you're from New York. And I was like, well, New York has very deep roots in North Carolina. Like, we got so many HBCUs and, you know, the highway from New York to North Carolina. A lot of drugs came through there. A lot of New York rappers came through there. It just is what it is. Like, we

31:54 like sister states, so it is what it is. You know, but I still think it's really important to, like, Tell your truth and tell your stories. If you live in Atlanta, what does Atlanta sound.

32:06 Like?

32:06 Knife used to do this thing where we would take road trips sometimes, whether it be D.C. or Atlanta. We had a label festival we were going to. And whatever city we was in, he had a playlist for that city.

32:19 Oh, is that right? Yeah.

32:20 That's fire.

32:20 That's a good idea.

32:21 We would go through Philly, and we'd listen to a number of Philly music. When we land in L.A., we listen to L.A. artists. We go to Atlanta, he had this thing where he would play, I can't remember what particular OutKast song it was, but it was a part where we see the skyline of ATL. He would always play this song. And so it's things like that that matter, like bringing your experience, bringing your area, bringing your story, bringing the sound of who you are and what you experience, like allow us to be a part of that. Do you have to do it for the art? No, but I think it's very truthful. Like, you know, I can't imagine me growing up in North Carolina and not bringing my experience. That's who I am. I don't know anything

33:02 else until I've traveled. Now I can tell you about Ghana and Africa because I've been there.

33:07 I feel that.

33:08 But I think it's important, too, to, like, give them the genesis of who you are.

33:12 I like that. That playlist idea is a great idea. It's cool, right?

33:16 That's really cool because that exposes you to things you probably otherwise wouldn't tap into.

33:20 Exactly. And you hear something like, I want to go to this restaurant because I heard such and such rap about it.

33:25 Exactly.

33:25 Let me experience what my favorite artist is experiencing.

33:30 I think we really need that. To me, that would be the most... Number one is producers. We need to get back to the producers. We need to get back to the producers. Appreciating, validating, celebrating, and compensating the producers.

33:46 That's number one.

33:46 Number two would be that, what you described as The truth, but from your perspective, from your culture, from your background, your lens, I think those are the number one and two things we're missing right now.

33:57 Okay.

33:58 I also want to get into because so Gina and I went to the BET Awards. Okay.

34:05 We're there.

34:06 We go to the BET Awards. We do all the things. I see you on the carpet. You're like, I love you.

34:12 I got to go. They were like.

34:15 You got to get to your seat right now.

34:17 Yeah, they was rushing you through. You had a whole team of people. I was like, oh, yeah, let her go.

34:21 Cool.

34:22 And next time I saw you, I see you walk out on stage and I see Lauryn Hill rapping back at you. And you're rapping because it's a Lauryn Hill tribute. You're doing this. And Lauryn is out her seat. rapping at you and it looked like a duet and i i felt like it was me up there like i was like yeah this shit is fire like can you first let's go back how did you get involved with that tribute and then i want to go to that moment on stage um.

34:55 When it was announced uh that they were doing a lauren hill tribute um i like probably so many people um i screenshot it i sent it to my manager i said hey they gotta, like, I need it in my life, like, you know, but we just left it there, it was like, yo, let's just see what happens, and Adam Blackstone was the first one to tell me, I was at a Blue Note show, Estelle's Blue Note show, and Adam was there, he said, come here, he's like, has BET hit you yet? I said, uh-uh, they hit me about, and he was like, we want you to do the Lauryn Hill tributes, I was So, you know, he, Jesse Collins.

35:33 Shout out to Jesse, man.

35:34 Yeah, so they were a big part. I know Ebony Nichols was a part of that team, too, of, you know, putting the lineup together. So I'm grateful that they thought about me. That's how I got on it. What was the other question?

35:49 Take me to, because I know you, I don't know if you still get nervous when you do shows.

35:54 Every time.

35:54 When you do a Rhapsody show, I remember you said you do still get nervous.

35:58 Every time. This was the one I was the least nervous.

36:00 Are you serious?

36:01 Yes.

36:03 You're least nervous. Which is crazy, right? Why?

36:05 Because I know that woman back in front.

36:09 Got you.

36:09 I grew up on that record. That's my North Star. I know what they were going through, creatives. Everybody's waiting to see what song they're doing. Adam first hit me, because I had requests. I was like, can I do this record? He was like, such and such got that record. I said, who got this record? Such and such. I said, all right. I said, it don't matter what I do because I know everything.

36:33 Yeah, I know the whole catalog.

36:34 Just let me know. I'll be ready. He said, we thinking about giving you Foo Jay Live. I said, okay, whatever you want. And then he called me and he was like, we want you to do doo-wop. I was like, you want me to do doo-wop? Yeah. I would have never expected that they wanted me to do doo-wop. And so they were like, you know, we just trying to figure out who we want to do it with you. So, you know, I'm thinking, yeah, because I don't sing, boy. So, you know, that's how it came to be. But I wasn't nervous because I was like, I know it. I'm excited.

37:03 But I still had a little nerves. It was like, one, you got heels on. Get up here and fall. I can walk at them. But, you know, this floor is a nice floor. You know, so don't get up here and fall.

37:15 Them stages be slippery. People don't know.

37:16 Yeah, boy. It ain't no traction on them joints. And two, like, don't be... so overly excited that you do mess up mess up because that's the thing too like you'll be so overly excited and everything will just you'll be trying to grab it and it's gone you know um so I was excited but I I have a practice that I do that always keeps me grounded um but man like that's my favorite moment of my career of hip-hop like being able to be on that stage and give flowers to a living icon and legend and your biggest inspiration and to see how happy and joyful they are like you know it took me I said let me get through the first few bars before I look at her and I looked at her and she was rapping back I said oh we in it like it was

38:08 just like tunnel vision I ain't really see or feel nothing else it's just like I'm here like thank you yeah you know.

38:16 I just was so excited for you because I know what she means to you.

38:19 Yeah.

38:20 And then when they put, because I'm sitting in the audience because I'm a peasant. Stop.

38:26 So I was sitting, it's like, I mean, there's a section like me and I see DJ Self. It's a bunch of us sitting there and we like having a hip hop moment. And I see Lauren and rapping back at you, because they put Lauren up on the screen, and I seen her rapping back at y'all, and I was like, oh, what a moment.

38:42 What a, what a, boy, like, if I could bottle this up and sell it, boy, I'd be a trillionaire. Like, it's, it's the most wholesome, like, fulfilling, I think, that you can get. Again, to tell the person that inspired you the most, thank you, in that way, you know?

39:00 To honor them like that.

39:01 To honor them like that, and I, I'm just happy to be a part of it, but I think they did a whole it was like one of the best tributes i've ever seen to kick it off with tanya blunt yeah like what do we talk like it was so beautiful and to add her kids to it um we were on a creative call and they were telling me like uh selah and yg and zion part of it i was like.

39:22 Yes they hit the nail on the head. Yes.

39:24 You know, especially if you pay attention, like, everything is rooted in family and those kids. So you would be doing a disservice to her, too, to not have them because that means so much to her, too. So, yeah, it was beautiful. And then she, like, you know, like, you rap. Like, I love you, like, type joint. Like, I love you, too.

39:44 Yeah.

39:45 You know, it's, yeah, man.

39:48 To me, those were, so it was, Two moments. Actually, three moments. I think this was one of the best.

39:53 Awards that I've seen in a long time.

39:57 Three moments. I'll give you mine, and then you can give me yours. One was the opening with Tip.

40:03 All right.

40:03 That's my same. Him and King.

40:05 Him and King. Yep.

40:06 Because I know what people be thinking. And I said this, too. I said it to Tip and when King was here as well. I like that when the Trauma Bond record came out, He's like, yeah, we got our problems, but it's us. And it's just like, when I saw King in that seat and Tip was performing, I was like, this.

40:28 Shit is fire.

40:29 It was so perfect, man.

40:31 It was fire. That was one.

40:33 The second moment was you being, because I know what Lauren means to you. And the third moment was Tiana getting honored.

40:41 With Janet.

40:42 When Janet Jackson walked out, again, I didn't see her feet moving.

40:46 Yeah, she floated. She floated for sure.

40:48 She floated out there.

40:51 Tiana was crying. The whole section was crying. The girls that were sitting next to us was crying. Gina was crying. I'm like, what the fuck is going on?

41:03 Everybody was crying.

41:04 And I was just sitting there. I'm trying like, yeah, I'm a gangster, fool.

41:08 I'm not. So those are my three moments.

41:13 It was nice to me to see I mean, it was nice of me to feel that energy of black excellence being celebrated in that way. Lauren Hill being one of those people who's immortalized in our culture. It made me go back to when I saw, I think it was Apple Music put out that top 100 albums of all time.

41:32 And she got number.

41:33 One of all time.

41:36 To me, that was fucking, I was like, oh my God. So I had a moment while I was watching you perform. I'm like, okay, this is what it looks like when it's, when the art is appreciated, like, amongst everybody.

41:50 Yeah.

41:51 So, yeah, what was yours?

41:53 Oh, T.I. and King, for sure. That was definitely one. The tribute as a whole. I mean, just to add this, like, after I performed, I went back to the seat because I sat, like, in the middle of the family. Sarah, she was like, you know, I hugged her mom, and then Sarah was like, yo, when you walked out, I thought that was my mom. She was like, I was like, what? Like, so just for me personally to know that the family was happy too. Like that was a moment. Um, I mean, I think you hit the good ones. The thing I didn't, I still haven't seen the whole show because I got pulled like 30 minutes to go get ready, get hair, makeup. So, um, a lot of it I missed live. Let me see what I, what I remember.

42:41 Um, yeah. That's it. That's all good.

42:44 It was so many good moments, though.

42:47 Okay, so I.

42:50 Got to ask you this because a guy got an afro and gold hoops.

42:55 What is the appropriate hoop size? This has been a thing, right? Have you seen this?

43:00 Like, the girls are, like, because you see certain people with hoops and be like, oh, I love your hoops. And then I see some of the homegirls be like, oh, look at her hoops. And it just be like, well, I don't know the difference. They all look like gold hoops to me.

43:13 Like, I don't know.

43:14 They different sizes, shapes. You got the door knockers, the name plates.

43:19 What is a door knocker? What's that?

43:21 The door knocker is a. So the bamboo ones, they got the, like, funny shape. They're, like, square.

43:29 Okay.

43:30 The door knockers are more, like, flat. They look like a door knocker.

43:33 Oh, it's flat. Yeah, like, it's a.

43:35 Cool shape, but it's... And then these are my custom pieces with Simone Smith.

43:41 Gotcha.

43:42 I like big hoops.

43:43 Big ones.

43:43 I'm a big hoop girl.

43:44 Okay.

43:44 Big bamboo earring girl. Like the extra larges. Extra large hoop.

43:49 So they come in size like t-shirts.

43:51 These do.

43:52 Okay. So it'd be like small, medium, large.

43:54 It'd be large and extra large. There ain't no small mediums. You need to get large and extra large because the hoops, they hooping.

44:02 Okay. You know.

44:03 Yeah.

44:05 I mean. I don't know nothing about this shit. This ain't my department.

44:09 It's like you got the twisty hoops. You got like so many hoops.

44:14 Got you. Okay.

44:16 Plethora of hoops. Diamond studded hoops.

44:20 Diamond studded hoops.

44:21 Silver hoops. Are you silver or gold? That's the thing too.

44:26 There are silver hoops?

44:27 Hell yeah.

44:31 Clearly I don't know what the fuck I'm talking about. Okay, last thing is collaborations on this project. Like, it's kind of insulated.

44:41 Yeah.

44:42 I know that's intentional because you were trying to capture an essence, right?

44:46 There were some features, but I was so, like, very intentional and specific about who I wanted, and a lot of people we just couldn't get.

44:56 Oh, okay, gotcha.

44:57 You know, like, pick a side. I heard that hook, and I was like, I only hear, like, a Rihanna, a Chaka Khan, or some international voice. There's an artist by the name of Thandizi Mazwaye from Johannesburg. I heard her on it. You know, but Amanda came through. Yeah. Like, tough. I heard Jhene Aiko on Never Break. She was working on her album at the time. For Abandon Me, we wanted to play it for Eminem, but I had a hard deadline if I wanted this album to come out in the summer.

45:37 Got you.

45:38 So missed the deadline. We sent Pick Aside and Abandon Me to Lauren. She has it. Um, she just, she's outside. She's getting her flowers. She's performing every two days. She got a show. So it's a timing thing with that. Um, so like, those are like, yeah.

46:05 How does Rhapsody say no to a feature?

46:09 Um, it'll either be, um, This one isn't necessarily speaking to me at this moment. Do you have anything else? Or sometimes it's just the truth. Like, I would love to do it. Like, right now, people ask me for features during the making of that. It's tough, you know, like, because I'm just here. And me coming out of that world was kind of hard, too. And if I don't necessarily align with their energy or their music, You know, it's just like, thank you for thinking of me, but this one doesn't fit the space I'm in right now creatively.

46:46 Gotcha.

46:47 You know, I ain't never disrespectful.

46:50 No, no, you don't. Okay.

46:52 And then how does Rhapsody say, like, basically say no to advances? Like, how do you turn a motherfucker down?

47:00 Oh, man. Sometimes I lie most of the time. I ain't gonna front.

47:08 What? You can't be made with love and lying.

47:11 I know, that's terrible. What's the lie?

47:13 What do you say?

47:14 I'll be like, I'm with somebody. If I'm just trying to get it off quick. Yeah. But I don't think I've had a lot of that. You ain't had to lie. I ain't had to lie.

47:35 So don't make Rhapsody lie, okay? Yeah.

47:37 Yeah. Yeah, I'm trying to think. Like, I haven't had a guy, like, come up on that tip in a minute for whatever reason.

47:44 They probably intimidated you. Maybe. I would assume it was intimidation.

47:49 Yeah, maybe. I don't know.

47:51 I would bet you money it was that.

47:54 Yeah.

47:54 Like, man, I got to have a better 16. But I'm honestly, like.

47:58 If I just, like, if the energy ain't right, I'm just, like, I'm just super not attracted. Like, I'll text somebody a number, and I'll text them. I'll just get a vibe. Yep. then it just fizzles away. It just never goes anywhere.

48:10 I feel that.

48:11 Well, I want to encourage everybody to tap into this project, Gaga to Afro and Go Hoops.

48:18 I think that you've done a phenomenal job of staying true to yourself, but also incorporate.

48:22 Especially with this project, Joyful, Gaga to Afro. There was another one on here that you had some energy on it. Like, it was some tempo in there.

48:32 Black love.

48:33 If it's feeling like some shit, I could, like, you know, throw in a different... And a little function or whatever. So I'm like, okay. But I really appreciate you as a person.

48:44 Thank you. Reflected. Reflected.

48:47 Thank you. I really appreciate you as a person. And I'm glad that you came through today.

48:52 I'm always going to come sit with you.

48:54 I appreciate you.

48:55 I'm happy that you still invite me and make space for me. Like, I really do love you, bro.

49:00 Wow.

49:01 Like, you can pick up the phone any time of day, night, don't matter. I would do anything for you.

49:08 Wow.

49:08 That's how much... Yeah.

49:09 You know, as a matter of fact, speaking of which, you were in Detroit when I talked to you on FaceTime.

49:15 Oh, yeah, yeah, yeah. You was working on this project. Yes, I was.

49:17 I didn't know what the fuck I was like, you was like, yeah, I'm in Detroit. And you was like in the studio with the homies and said, what the fuck are you doing in Detroit?

49:24 That's what Terrence would call me every time I'd be in Detroit. He was like, why are you still in Detroit? Detroit got that sauce. What you talking about?

49:31 It's cold. Yeah.

49:34 I do have to shout out Mr.

49:35 Porter, though. Facts.

49:36 He was so instrumental in creating this project with me. He walked with me hand in hand the whole way through... And to your point of, like, making sure we shout out the producers, like, I don't make this album without him being attached to it, you know, because he met me at every corner. He, like, sonically built things that I saw. He pushed me. He poured into me. He got on a plane and went to Africa, you know.

50:02 For real?

50:03 Yeah, like, he got on a plane and came to Africa. He got on a plane and came to North Carolina. I was like, what are you doing? You know, like, so... Shout out to Mr.

50:12 Porter.

50:12 He produced 11 out of the 16 joints.

50:15 Shout out to Mr.

50:15 Porter. And vocally, that's him singing on Never Break.

50:20 Yep.

50:22 He has vocals on No Way. He has vocals, of course, on Gaga to Afro. As we proceed, he has vocals, background on Pick a Side with Amanda. He has vocals on Time. He's all over this record vocally.

50:36 That's fire. Shout out to Mr. Porter. Shout out to the producers, man. Respect the producers and the DJs.

50:41 And the D for sure.

50:42 Um, God got an Afro and go hoops. Go tap into that. Rhapsody is here. Um, she's amazing.

50:48 And, um, I hope that, uh, I hope that you make space to come back and see me.

50:53 Are you crazy? This is my seat. Just put my name on it. Give me a plate.

50:57 It's effective. Immediately. Effective. Immediately.

51:00 A production of the black effect podcast network. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows. You can hit us collectively at Effective Immediately and make sure you hit that subscribe button on all our platforms.