More than 15 years later, the pen is still there. What surrounds it is different. Rapsody gradually made more room for Marlanna Evans in the music, allowing listeners closer to the woman behind an artist who was often discussed almost exclusively in terms of technical ability. That shift became especially clear on 2024’s Please Don’t Cry. Her next album, God Gotta Afro & Gold Hoops, arrives Friday (August 21), with its focus again moving outward toward Black identity and the communities she wants her work to speak to.

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Read More: Rapsody Albums & Mixtapes, Ranked

That evolution is easier to hear than explain through awards or career milestones. So, this is not a ranking of Rapsody’s 10 best songs. Instead, these records move chronologically through her catalog, beginning with the early Jamla years and ending at the doorstep of her newest album. Each captures something that changed in the way she approached the music or in what she was willing to reveal through it. Taken together, they show why understanding Rapsody requires looking beyond the reputation she earned for simply being able to outrap almost anybody.

1. “1983” — Return of the B-Girl (2010)

The title alone tells you where Rapsody wanted to begin. This entry appeared as the second track on Return of the B-Girl, Rapsody’s first solo mixtape, released in December 2010. “1983” takes her back to her birth year and uses autobiography as the entry point, giving listeners an early sketch of the person behind a solo career that was only beginning to take shape.

There is plenty of hunger in the record, but young Rapsody does not present becoming an emcee as if destiny were simply waiting for her. She raps about education and having something to fall back on while still making clear where her ambition sits. Even this early, the writing has some of the qualities that would remain throughout her career. She’s always had an attachment to Hip Hop history and a refusal to separate what she learned from what she lived.

2. “Believe Me” — The Idea Of Beautiful (2012)

Two years after her first solo mixtape, Rapsody sounded less interested in introducing herself than in showing what it had taken to get there. “Believe Me,” the first single from her debut album The Idea of Beautiful, carries that difference. The hunger is still obvious, but there is more weight behind it. She is rapping about the uncertainty that comes with trying to turn skill into an actual career, opening one passage with, “Mountains and peaks, valleys I been through.”

That perspective fits an album built around a much broader idea than proving she could rap. Rapsody described beauty at the time as something that could take many forms, and the record gave her enough room to move between ambition and relationships without losing the lyrical foundation established on her mixtapes. Musically, The Idea of Beautiful also strengthened the connection between her writing and the soulful production that would remain important throughout her catalog. Rapsody has said that the sound she absorbed from artists like The Fugees and Little Brother deeply influenced her, particularly because soulful beats inspired her as a writer.

3. “Kingship” — She Got Game (2013)

By the time we get to She Got Game, there was less interest in asking for permission. “Kingship” is Rapsody alone over a DJ Premier production, and that pairing matters because the mixtape itself was crowded with respected names. Phonte, Jay Electronica, Nipsey Hussle, and Raekwon all appeared elsewhere on the project, but this song strips the equation back to one MC and one legendary producer.

Premier’s beat is unusually spacious, giving her plenty of room to determine the pace. Rapsody responds with the kind of densely written verse that had already become part of her identity, but “Kingship” feels more assured than the earlier records. “Washed all my demons in the dark where the fiends trip” is buried inside a run of imagery that moves without stopping to underline every reference. The question was no longer whether she could hold her own beside established rappers. She was increasingly showing that she did not need them there at all.

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4. “Hard To Choose” — Beauty And The Beast (2014)

“Hard to Choose” finds Rapsody turning some of her attention toward the culture around her. The confidence is still there, but the record is less concerned with demonstrating skill for its own sake. She questions what Hip Hop rewards and how easily substance can be overlooked when louder personalities dominate the conversation. Critics at the time singled the song out for its frustration with where the genre was headed.

There is also a line that fits Rapsody particularly well: “The quietest in the room is the baddest one.” It speaks to the position she occupied then. Rapsody was rarely the artist demanding the most attention, even as her reputation among other emcees continued to grow. “Hard to Choose” turns that restraint into part of the point. She did not need to become louder to make the writing hit harder.

Released in October 2014, Beauty and the Beast arrived between She Got Game and the much wider exposure Rapsody would receive after appearing on Kendrick Lamar’s “Complexion (A Zulu Love)” the following year. That placement in her catalog is important. “Hard to Choose” makes clear that the perspective millions of listeners would later encounter alongside Kendrick was already firmly established.

5. “Crown” — Crown (2016)

A new Roc Nation partnership gave Rapsody a larger platform in 2016, but it did not suddenly give her a sense of worth she had been waiting to find. That distinction is all over the title track from Crown, where she treats confidence as something carried internally rather than granted by a label, an audience, or industry approval.

The song opens with the question, “You didn’t leave the house without your crown, did you?” From there, the crown becomes a stand-in for self-possession. Rapsody is not celebrating arrival so much as reminding herself that recognition means very little if it changes the way she sees her own value.

She announced her Roc Nation partnership in July 2016 after years of building through Jamla, then released Crown that November. The timing could have encouraged an easy victory lap. Instead, the project sounds more grounded than triumphant. Rapsody had already spent years earning respect as an emcee, and the deal expanded the machinery around her career without rewriting the work that got her there.

6. “Sassy” — Laila’s Wisdom (2017)

Swagger had always been part of Rapsody’s music, but Laila’s Wisdom gave it more room to breathe. “Sassy” is playful without being lightweight, and its bounce lets her loosen the delivery without giving up the writing that had already defined her career. The song pulls directly from Maya Angelou’s “Still I Rise,” including the question, “Does my sassiness upset you?” Rapsody has said Angelou’s poetry was part of her writing foundation, which makes the reference feel less like a literary flourish than an extension of something she had carried with her for years.

Here, Rapsody is not straining to sound intimidating. That ease helped separate Laila’s Wisdom from the projects that came before it. The album was nominated for Best Rap Album at the 2018 Grammys, while “Sassy” earned a Best Rap Song nomination of its own. Those nominations widened the audience around Rapsody, but the bigger change was already audible in the music. She no longer sounded as though every song needed to function as proof of concept.

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7. “Nina” — Eve (2019)

Black womanhood had appeared throughout Rapsody’s music before Eve, but the 2019 album placed it at the center of the entire concept. Each track takes its name from an influential Black woman, with figures including Nina Simone, Aaliyah, Oprah Winfrey, and Michelle Obama providing different entry points into conversations about identity and legacy. Rapsody said she wanted the album to celebrate those women while encouraging listeners to learn more about them.

Opening with “Nina” makes that purpose immediately clear. The song draws from Nina Simone’s recording of “Strange Fruit,” connecting Rapsody’s own writing to an artist whose work regularly confronted racism in America. Rapsody also places herself within that lineage rather than treating Simone as a distant historical figure. “I am Nina and Roberta,” she raps, linking herself to Simone and fellow North Carolina musician Roberta Flack.

That relationship between past and present runs throughout Eve. The women named in the tracklist are not simply subjects for tribute songs. Rapsody uses what they represent to speak about her own experiences and the lives of Black women around her. The concept gave her a way to discuss history without separating it from the world she was writing about in 2019. Critics recognized the album for doing exactly that, placing Rapsody’s perspective inside a much longer cultural lineage.

8. “Marlanna” — Please Don’t Cry (2024)

Technical skill had become such a dominant part of the conversation around Rapsody that it sometimes obscured the person doing the writing. Please Don’t Cry pushed against that distance. The album gave more space to Marlanna Evans, including parts of her life she had previously been hesitant to make public. Rapsody later admitted that although she had always considered herself authentic, she eventually recognized a fear of allowing herself to be completely seen.

Naming the album’s first full song “Marlanna” makes that shift impossible to miss. She introduces herself outside the stage name while acknowledging some of the perceptions that have followed her career. Rapsody has explained that the persona itself once served as protection for Marlanna, the woman she was still learning how to understand.

That separation had become harder to maintain. Please Don’t Cry grew out of a period that included heartbreak and a great deal of self-examination. The musical environment changed with her. It was her first album without production from longtime mentor 9th Wonder, giving her room to work with a different group of collaborators as the sound expanded beyond the familiar Jamla foundation.

9. “Daddy’s Girl” — MadRaps (2025)

A two-song release with Madlib gave Rapsody room to get back to something simpler in 2025, by rapping because the beat demanded it. MadRaps paired her with the veteran producer for their first official collaboration, with “Daddy’s Girl” arriving alongside “Avon Thru the Wire.” There is no sprawling concept to carry and no pressure to make another deeply personal statement after Please Don’t Cry. The appeal is hearing two artists with very distinct instincts meet in the middle.

Madlib’s production gives her an appropriately crooked backdrop, and Rapsody treats it like an invitation to play. The opening, “Beethoven was Black, truth is a key,” immediately kicks into wordplay before she moves through observations about recognition and where she stands among her peers. The writing remains dense, but the record feels loose in a way that matters after an album where so much of the material required her to look inward.

The title also leaves room for something more personal underneath the flexing. When promoting the track, Rapsody connected “Daddy’s Girl” to lessons from her father, including the practical skills and independence he taught her growing up. That combination feels true to where her writing had landed. The rapper who spent Please Don’t Cry letting Marlanna further into the frame did not disappear when she returned to straight bars.

The Pen Was Never The Whole Story

The throughline across these 10 records is not reinvention. Rapsody never needed to abandon the technical skill that made people pay attention in the first place. What changed was how much she asked that skill to carry. Early records were rooted in proving what she could do with a microphone. Later albums made more space for family and self-examination. Her writing also became a place to wrestle with history and the responsibility she feels toward Black culture.

That progression makes God Gotta Afro & Gold Hoops, arriving August 21, feel less like another reset than the next point on a line that has been moving for more than 15 years. Rapsody has already settled the question of whether she belongs among Rap’s strongest writers. The more interesting part of following her now is hearing what she chooses to do with the pen once proving that is no longer the point.

The post Rapsody’s Growth As An Emcee, Told Through 10 Songs appeared first on HotNewHipHop.

The pair shown is done up in dark, earthy tones with a rugged, trail inspired build. Mesh panels run across the upper, layered with suede and leather overlays. A chunky sole wraps around the bottom, giving the shoe a heavier, outdoor ready look.

The Yeezy 800 is set to release to the public in December. That makes this early pair a preview look months ahead of the general drop, and it lines up with Ye’s history of getting samples into his circle long before retail.

It’s a familiar angle for anyone who follows his page. The classic foot check that’s become his signature way of showing off new pairs. Based on the shot, this looks like one of the first real on foot looks at the shoe outside of Ye’s own previews.

Ye revealed the Yeezy 800 just weeks ago, and pastel colorways followed shortly after that first reveal. Getting a dark, earth toned pair into Connor’s hands this early suggests Ye is still expanding the shoe’s color range as December gets closer.

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Kanye Gifts Yeezy 800’s

This isn’t the first time Connor has had early access to Ye’s footwear. He’s been tied to the Yeezy brand since its earliest days. He’s often surfacing in samples and unreleased colorways before the public ever sees them.

The access has made him something of an unofficial preview source for Yeezy drops over the years. Fans have come to expect an early look whenever Connor posts something new from Ye’s camp.
The Yeezy 800 also marks a bigger moment for the brand.

It’s Ye’s first numbered flagship sneaker since splitting from Adidas. Further, it’s expected to roll out through a wider retail push when it drops in December. An early pair landing with Connor now only adds to the buildup heading into that release.

Read More: Lil Durk Allegedly Texted “We Got The Location” Weeks After King Von’s Death

The post Ye Gifts Ian Connor A Pair Of The Unreleased Yeezy 800 appeared first on HotNewHipHop.

More recently, DJ Akademiks has been making it seem as though he is under attack from Roc Nation. He alleges Roc Nation is behind the lawsuits filed against Drizzy and Stake. Furthermore, he has expressed frustration with hip-hop media for not pursuing the supposed Roc Nation story.

Last week, Akademiks was swatted while on a live stream, and he attributed it to him talking about Desiree Perez. During his most recent stream, he let it slip that he is not the only one allegedly being swatted.

In the clip below, he claims that Larry Jackson of Gamma was swatted. Furthermore, he revealed that Drake was swatted “yesterday.” Ak believes these incidents are connected.

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Akademiks Says Drake and Larry Jackson Were Swatted

“There’s some real sh*t happening that’s not no make-believe,” Akademiks said. At this time, Drake has not commented on the alleged situation. Moreover, there are no other news reports that suggest this to be the case.

For those unaware, swatting is the act of calling a police department and claiming that a violent act or hostage situation is happening inside a home. This sparks an urgent police response, and more often than not, it includes a SWAT team. Swatting is highly illegal and has resulted in deaths.

At press time, neither Drake nor Jackson have confirmed Akademiks’ revelation. Stay tuned to HNHH for updates on this developing story.

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The post DJ Akademiks Claims Drake’s House Was Swatted This Week appeared first on HotNewHipHop.

The comedian’s rise to fame has been truly impressive to watch. He started doing sketch comedy on social media, and grew this into millions of followers. Now, he is acting in movies and continues to collaborate with high-profile individuals.

Recently, Druski sat down with Frazier Tharpe of GQ, where he spoke about a myriad of topics, including Drake. Infamously, the comedian backed Drizzy following the Kendrick Lamar beef. Tharpe asked Druski what compelled him to do so.

“That’s my brother,” Druski said. “I don’t care about what’s hot at the moment or what’s going on…I’m just big on loyalty. I just supported a friend throughout that whole endeavor.”

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Druski Talks To GQ

While hosting an awards show, Druski was accused of trying to avoid Kendrick Lamar at all costs. Some tried to say that this was because of his association with Drake. As the comedian explains, this was just social media doing what it does best: creating narratives.

“That was not intentional,” the comedian insisted. “Social media will take these clips and spin them however they want to spin it.”

If you remember, Druski starred in Drake and Lil Durk’s music video for “Laugh Now, Cry Later.” In previous interviews, the comedian has stated that the video is what led to the success he has now. With that in mind, it should come as no surprise that he is an unconditional supporter of the Canadian megastar.

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The post Druski Reveals Why He Backed Drake In The Aftermath Of His Kendrick Lamar Battle appeared first on HotNewHipHop.

Recently, Akademiks shared an alleged message that Lil Durk sent in a text chain where he seemingly acknowledges knowing where Quando Rondo might be. “I’m not celebrating New Year’s because my dog is dead and nobody is doing anything. Rondo out there acting like they don’t have nothing to worry about even though we got the location,” the message reads.

Durk is charged with allegedly orchestrating and funding a retaliatory assassination that killed Quando Rondo’s cousin Lul Pab in Los Angeles. The prosecutors claim that Durk’s friend paid five associates to travel to California to commit the shooting and sent a text to this friend, stating, “Don’t book no flights under no names involved wit me.”

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Evidence In Lil Durk Trial Surfaces

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Prosecutors also allege that one of Quando Rondo’s affiliates reportedly extended an olive branch in an attempt to make a peace offering. However, Durk reportedly rejected this. “I’m not hopping on the phone to squash […] this for Thang and Von,” he allegedly said. The court filing also says that he wrote, “Call me bout peace, take the peace of the switch.” What’s worse is that the switch in question was an alleged reference to the gun used in the crime. 

The prosecution will also be allowed to use Durk’s music, specifically his song “Pissed Me Off” in court. Furthermore, there have been reports that interviews from Wack 100 and 6ix9ine with Akademiks might enter the trial, too. 

We will keep you posted on any further updates on the trial, which begins on Thursday. 

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The post Lil Durk Allegedly Texted “We Got The Location” Weeks After King Von’s Death appeared first on HotNewHipHop.

From there, Suge recalls finding someone who would do it as quickly as possible. In fact, he offered someone $1.2 million just to get it done quickly. From there, Afeni Shakur reportedly invited Suge and friends to a Las Vegas hotel room, where they smoked Tupac’s ashes. Suge told TMZ that he abstained from the ritual, noting he was on probation at the time.

While Suge’s story comes with some shock factor, there is actually a lot more to it. In 2020, E.D.I. Mean of The Outlawz sat down with Vlad TV, where he told the truth behind the story. If you remember, Tupac actually rapped about having his ashes smoked during his verse on the 1999 song, “Black Jesuz.”

“We die clutchin’ glasses, filled with liquor bombastic/ Cremated, last wishes n***as smoke my ashes,” 2Pac raps on the song.

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E.D.I. Mean Reveals The Truth Behind Tupac’s Request

During the Vlad TV conversation, E.D.I. Mean revealed a talk he had with 2Pac, in which the artist spoke about the significance of the ritual. He had learned it from Native American friends back home, and wanted to have it done to him when he passed. His mom ultimately honored his wishes.

“The conversation was a real conversation. He was giving us history on where it came from, what he learned about it, you know what I mean? Why it was something he thought was interesting… [Tupac said] ‘Wouldn’t it be some shit if one of us died just so we always a part of each other?’… Shit you talk about when you young and you’re high,” E.D.I. Mean explained.

“It’s something the Native Americans did,” E.D.I Mean continued. “That’s where it came from… Because he had Native American friends that he went to school with that told him about that. I don’t know whether it was in the Bay or Baltimore but, yeah, you know, there was an actual lesson behind that.”

Tupac’s murder trial will continue this week in Nevada, as Duane “Keefe D” Davis faces life in prison.

Read More: Tupac Murder Trial: Everything You Need To Know About Keefe D’s Case

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According to the complaint, obtained by the publication, Eric “Von Zip” Martin, described as a Combs associate with connections to Davis and the South Side Crips, allegedly helped establish a relationship between Combs and Davis.

The lawsuit further alleges that Combs met Davis and Martin at a Los Angeles deli and discussed having “problems” involving Death Row Records co-founder Suge Knight and Shakur being handled. The complaint claims that Combs allegedly offered $1 million for the purported job, based on allegations and information attributed to previously released testimony.

The filing also alleges that, after Shakur was shot, Combs reportedly contacted Martin and asked whether “that” was them. It claims Martin subsequently received $500,000 that was allegedly intended for Davis, although Davis reportedly never received the money.

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Diddy Accused Of Ordering Tupac Hit

Keefe D has pleaded not guilty to a murder charge and is accused by prosecutors of helping orchestrate what they describe as a revenge attack following an altercation involving his nephew, Orlando “Baby Lane” Anderson, and Shakur’s entourage. Prosecutors allege Davis obtained the weapon and helped organize the shooting, although he is not accused of being the gunman. His defense has argued that some of Davis’ previous accounts were fabricated.

More importantly, Combs has not been charged in connection with Shakur’s murder, and prosecutors in Davis’ criminal case have not accused him of ordering the killing. The lawsuit acknowledges that Combs has repeatedly denied any involvement, describing the allegations as “pure fiction.” It also notes that Davis has retracted various prior statements, including allegations involving Combs.

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The post Diddy’s Alleged Tupac Link Reportedly Resurfaces In Lawsuit Claiming Mogul Offered $1M for Murder appeared first on HotNewHipHop.

At the time, it was stated that the Fulton County warrant stemmed from alleged child custody interference. Furthermore, the Baltimore County warrant was allegedly related to the 2019 disappearance of Brown’s 10-year-old daughter. Initial reporting from TMZ classified this as an outstanding kidnapping warrant.

Since the arrest, Baltimore County police have confirmed that Brown’s daughter was not one of the kids in the vehicle during the July 6 arrest. Meanwhile, Fulton County has recalled its child custody warrant. No charges have been pursued.

As a result of all this, Brown is suing Fulton County Sheriff Patrick Labat, according to CBS News.

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Alicia Brown Sues Fulton County Sheriff

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Brown alleges a faulty warrant is what ultimately led to her arrest. Furthermore, she believes this was a violation of her constitutional rights. Additionally, Brown alleges to have suffered emotional distress, damage to her reputation, financial losses, and separation from her children.

Brown is looking for a jury trial in the case, although the damages she is seeking have not been disclosed. Elsewhere in her filing, she also named Big Tigger, real name Darian Morgan. She wants access to Labat and Morgan’s phone records, to see if there was any communication between the two. Brown believes this could point to how the initial warrant was obtained, and how authorities knew where she was driving.

After being accused of domestic abuse, the radio host was arrested on aggravated battery and third-degree cruelty to children charges. Brown believes Morgan received preferential treatment, and she hopes to have that investigated as part of this lawsuit.

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The post Big Tigger’s Estranged Wife Alicia Brown Sues For Alleged Wrongful Arrest appeared first on HotNewHipHop.

Yesterday, it was reported that a 6ix9ine interview with Wack 100, conducted by DJ Akademiks, would be used in court. In this interview, 6ix9ine taunted Durk, urging him to “slide for Von.” Prosecutors believe this proves Durk was peer-pressured into the alleged murder-for-hire scheme.

Last night, 6ix9ine was live with Akademiks, where he began trolling the Chicago artist. Elsewhere in the conversation, he asked DJ Akademiks a hypothetical question that led to an interesting exchange.

The rainbow-haired artist asked Ak if he would send Durk’s parents $500K should the rapper get sentenced to life in prison. 6ix9ine prefaced the question by noting how Ak made his career off talking about the Drill scene in Chicago. He also got Ak to admit how much Durk has personally meant to the commentator’s career.

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6ix9ine Questions DJ Akademiks

While Ak was quick to acknowledge how much he loves Durk, he did have to pump the brakes on 6ix9ine. The streamer explained that $500K is a steep price, all things considered. Although he would contribute, he feels as though half a million dollars is a bit steep.

This subsequently led to 6ix9ine stating how Akademiks was one of the first people to send him money when he was dealing with issues from the IRS. Ak then had to admit that this was, indeed, the case.

6ix9ine felt as though he got the better of Ak in the exchange. While he continuously alluded to their friendship, the artist paraded around his recording space, saying, “I walk sh*t down.”

Clearly, Tekashi is revelling in Durk’s situation. Tomorrow, Durk will be back in court for jury selection.

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The post 6ix9ine Asks DJ Akademiks If He Will Send Lil Durk $500K If He Gets Sentenced To Life appeared first on HotNewHipHop.

Well, it turns out that J Cole wasn’t just trying to win back public favor by his emotional performance–there was something that actually triggered those tears. Per Gotham Hip Hop, it surrounds the story of Collin Griffin, a cancer patient he met through a Make-A-Wish in 2017 who passed away a year later.

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J. Cole’s Tearful “Love Yourz” Performance

“Collin’s Make-A-Wish was to meet Cole, and when he passed away the next year, Cole was even mentioned in his obituary. Collin met Cole backstage at a show in DC, and Dreamville took care of him with merch and the like. Cole even took the shoes off his feet and signed them for Collin, asking him to work hard to beat cancer,” the tweet reads. 

“Collin told Cole that his music has been inspirational for him and helped him get through this difficult time, to which Cole responded ‘No, you inspire me,’” it continued. “Collin broke down in tears. Fast forward to Cole’s Cleveland show over the weekend, Collin’s family attended and held up pictures of him, which Cole called out right before performing ‘Love Yourz.’”

The Fall-Off World Tour continues in Kansas City tonight (August 19th) at the T-Mobile Center, then heads to Denver on August 21st. Check out the post above and sound off with your thoughts in the comment section below. 

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The post Here’s The Real Reason Why J. Cole Got Emotional During “Love Yourz” Performance appeared first on HotNewHipHop.