10 HNHH Pitches For 2015 XXL Freshman

Each year around the beginning of March, artists begin sending in pitches to XXL, hoping to wind up on the magazine’s highly-coveted Freshmen list. Thus far, we’ve seen Lil Herb, Bishop Nehru, Fat Trel, and a few others try to convince us they have what it takes to grace the cover along with eleven of their peers, each turning in a short video clip to the publication. We know this is usually handled by rappers themselves, but today we’re taking it upon ourselves to pitch on behalf of those rappers (and, in the wake of Ty Dolla $ign and August Alsina’s appearance on the 2014 cover, singers) we think deserve the spots.

Here are ten artists picked by our editors, and the reasons XXL should include them on the list. 

Are there any hot young artists you can vouch for? Tell us why they're Freshmen worthy in the comments.

At age 21, Vince Staples has already emerged as a leading voice in West Coast gangsta rap. He's got the vocal maturity of someone far beyond his years, and he raps about his Long Beach locale as streets plagued with deeply-embedded violence but also brimming with inspiration. His lyrics prompt increased reflection with each listen, though his songs never lose their energy or sense of urgency. 

Last year, Vince released a mixtape, Shyne Coldchain Vol. 2, and his debut EP, Hell Can Wait, on Def Jam. Both projects, the EP especially, received universal acclaim. We haven't heard West Coast street rap like this since the 90s. Long Beach was a scary place back then, and Vince is here to tell us shit hasn't changed. Though the lead single "Blue Suede" can be called a "banger" simply off pure adrenaline, there's nothing celebratory about it. He chillingly rhymes "New shoes with the blue suede" with "Young graves get the bouquets." The two go hand-in-hand. Vince's brand of gangsta rap is a response to trap and its glossing over of violent street culture. Vince doesn't glorify this life, but when he raps, you know he's living it. 

You may know Tink as Timbaland's next big project—which she is. Though Ross threw shade at Timbaland for putting her on an updated version on the Jay Z-assisted "Movin' Bass", she honestly outshone both bosses on their own track. That hunger is what's gonna keep her in the game. 

It also helps that she’s one of the most talented double-threats we’ve heard in a long while, able to croon with the best of them on tracks like the DJ Dahi-produced “Men” and rap circles around the competition on recent single “Ratchet Commandments”. Tink is still only 19, but her skills suggest she’s had years of practice. 

If she can form a long-lasting artistic partnership with Timbaland, Tink won’t be hurting for world-class beats. But don't credit Timbo for all her success. Even her earlier projects like Winter’s Diary, recorded long before Tim hit her up, show off her incredible ability to navigate any beat with a carefully-concocted mix of singing and rapping. Instead, think of the veteran producer as a mentor, a springboard into the mainstream. Tink’s already made an impact in Chicago, and now it’s time for her to go national.

"Bitch U Guessed It" is the song that put OG Maco on the map, and also the song he's trying hardest to distance himself from. In a recent interview with FADER, Maco, the former frontman and guitarist for a hardcore band called Dr. Doctor, exposed that, when he woke up, hungover as hell, after the "U Guessed It" recording session, he immediately called the song "the stupidest song I ever made." But he wasn't gonna just throw it away: "Naw, this is just that garbage that it's going ... and it's only because people so fuckin' stupid." Ouch. 

But whether Maco's giving us something like "Get Down", an introspection that asks, "Why our country so opposed to tyrants, the biggest one? / Why we scream peace so much, but carry the biggest gun?"--or "FUCKEMx3", which, true to its title, rides a thundering hook that screams, "Fuck em, fuck em, fuck em!"--Maco's gonna stay bringing the unexpected. He's now signed to Quality Control, who last year, elevated Migos from novelty to act to legitimate contenders who rack $40K a show. We hope Coach K and co. let Mac continue to do his thing, too. 

His latest EP, 15, with no guest features, shows how serious he is about staying in the game. 

To be honest, Fetty's here because of "Trap Queen", the song that's earned him national recognition as well as a spot on stage next to Kanye. If he does make the cover, which he's just pitched for, it'll be thanks to "Trap Queen", one the year's biggest hits. Though the song was out for much of last year, it's blowing up right now, cracking the top 20 this week (March 14). Paterson, New Jersey's Fetty Wap came outta nowhere and sang out, with swagger of a seasoned rapper, the year's most romantic song. And it's an absolute banger that doesn't raise an inch off the street.

Fetty hasn't stopped making music. He's signed to 300, and, honestly, "RGF Island", though the (still unreleased) snippet has gone relatively unnoticed, is a decent follow-up: He sings just as much, and still brings all the trap sauce. He's also had a couple of dope features on a late-night Spinking club jam, and he played the love interest in a dirty bedroom jam alongside ladies Audrey Rose and Remy Ma. 

And, if we forgot to mention: He made Kanye's favorite song of the year.

When Lil Bibby appeared on last year’s XXL cover, we immediately cried, “where’s Herbo?!” That’s not to say that Lil Herb is way ahead of Bibby, but as they came up alongside one another, and neither had made huge moves in the industry yet, it seemed like a slight. Since last year’s issue, both have worked with Nicki Minaj, and Herb has gone on to collaborate with Common and Earl Sweatshirt.

Like Bibby, Herb’s voice does not sound like that of a teenager, aged and grizzled by the cold streets he grew up in. What I prefer about Herb is his storytelling ability and conflicted view of his surroundings. On songs like “Fight Or Flight” and “Mama I’m Sorry”, Herb leaves the drill scene behind in favor of pained "chipmunk soul" that humanizes him, both by sounding more organic and by way of his detailed retelling of real-life events. His 2014 tapes Welcome To Fazoland and PPP were both dope, and he’s got another, Ballin Like I’m Kobe, coming soon. Having crafted a style that fits nicely alongside his Chi-town contemporaries while engaging with issues of violence on a deeper level, Herbo seems like he’ll be around for a while, even if he’s not charting hits.

DeJ Loaf recently did a pitch of her own, and we're gonna do one ourselves. She's one of the first softspoken female rappers to make waves in the rap game. Foremost, that's due to the industry's lamentable gender politics, but it says just as much about DeJ Loaf's talent. You don't have to be loud to talk shit. 

Breaking out with "Try Me", a song that sounded so similar to Drake that he had to like it, Dej showed that she wasn't afraid of tough subject matter or slant rhymes, pronouncing the word "family" like "fomily" to make it fit in the rhyme scheme. Soon thereafter, she shot down talk of one-hit wonder status with the excellent Sell Sole tape, which saw her and "Try Me" producer DDS crafting one atmospheric banger after another, all highlighted by her alluring calmness. For one song, "Me U Hennessy", she halted the street talk for a more romantic moment, but for the most part, we got harsh takedowns of "bitches" and "frauds" with an ultra-relaxed delivery. Now with an Eminem co-sign under her belt (on "Detroit Vs. Everybody"), Dej is looking to capitalize on a big 2014 by continuing to buck assumptions about female rappers.

iLoveMakonnen pisses off a lot of rap fans. You know this. But what’s more hip-hop than diverging from the norm and forging your own lane--it’s what the genre was founded on. With his off-key singing and moon-eyed approach to freestyled lyrics, Makonnen initially seemed like a long-shot for stardom, but after he caught the ears of nearly every popping Atlanta producer, and then Drake, things changed. 

But before “Tuesday”--before his mannequin head icon--Makonnen had put in years making lo-fi pop tunes in his bedroom. In fact, he’s probably the dude on this list who’s been making music the longest. This has given him a tireless creative drive and a spontaneous recording method that amazes even the most seasoned producers like Mike WiLL and Sonny Digital. When he teams up with these beatmaking titans, as he did on last year’s Drink More Water 4 and a self-titled EP, he’s prone to come up with hooky, nonchalant gold like “Man of the Party” or “I Don’t Sell Molly No More". He’s unconventional, unapologetically cheesy, and insanely catchy--we think Makonnen will be around for awhile, even if he’s never on the radio or nominated for Grammys again. 

At just 22, Shy Glizzy is awfully confident. His biggest hit revolves around the steady repitition of “I’m so fuckin’ awwsome, I’m so awwsome.” It earned him an ‘Awwsome’ remix with A$AP Rocky and 2 Chainz, two impressive early co-signs. He's already one of the hottest rappers out of the DMV, and it's largely because of his cockiness--his willingness to compare himself to a possum--'cuz, in reality, he really is just a possum out here in this Mouse-infested Disney World.

Indeed, Shy isn't typical DMV. He's more influenced by Gucci and the Atlanta brand of rap that's hot in the clubs and in the street that’s, right now, being led by the young guns. He's rapped with Young Thug and Migos, and producers like Zaytoven have started pushing him. Not only ATL producers, though--Shy has also worked with Young Chop, K.E. on the Track, and he says he has a joint mixtape with former Taylor Gang in-house Cardo on the way. Birdman also seems to have his hawkish eyes on young Glizzy; apparently, they talk every day. He's already made some powerful connections. Big industry playmakers know know he has the energy to put out hot street tapes on the regular. 

Chicago's Mick Jenkins is definitely a sleeper pick for the cover. Like Vince Staples, he focuses on the gritty portraits of young lives in one of the country’s most notorious neighborhoods, but he does so in a smoother, more melodic way than the cold-as-fuck Long Beach rapper. Though, Mick's bass-y bars still resonate with an immediate foreboding. Like fellow Chicagoans (and last year's Freshmen cover stars) Vic Mensa and Chance The Rapper, Mick excels in brainy bars and introspective thought, and on last year’s The Water[s], the production was on-point enough to level the playing field between all three. 

Of course, those dudes have more pop-appeal--it’s hard to imagine a scenario where Jenkins ends up on a hit single--but he appeals more to the people who think Chance is too weird and/or aren’t fans of Vic’s EDM-leaning beats. Since releasing The Water[s] last summer, Jenkins has branched out, collaborating with electro-crooner Kiesza and UK producer The Purist, and touring with Pro Era’s Kirk Knight. These glimmers of crossover potential may not affect his career going forward but show that he’s able to step out of his carefully-constructed sonic world and still bring some heat. 

Since we were introduced to him via 2009’s T.L 2 T.O, Tory Lanez has been grinding his ass off. In addition to dropping some of the most enjoyable R&B-hop tapes of the last five years, he’s also been writing songs for other big (Travis Scott, T.I., Jeezy & Akon) artists, though he still hasn’t received the sort of widespread attention he deserves. He’s rarely mentioned in the same convo as the top guys who both rap and sing, though he’s been doing it longer than almost everyone. His inclusion on the Freshmen list would be overdue, but also much deserved.

On his last release, October’s Lost Cause, he attracted the attention of some hype-worthy electronic-type producers like SykSense, Ryan Hemsworth, and RL Grime, a sign that his secret is out and people are starting to pay attention.