Photo: Jose Gongora
Oprah, Maya, Serena, Michelle. These are just some of the black women, recognized by their first names alone in entertainment, sports, arts, politics and beyond, Rapsody recognizes on her third studio album, EVE. Over the course of 16 tracks, the GRAMMY-nominated rapper from North Carolina wants to show not only the strength and resilience black women hold, but that "black women come in a spectrum."
"I wanted to have a conversation," Rapsody tells the Recording Academy about speaking to black women through the album. "I wanted to write my letters to them to show that or remind us that we are beautiful, we are strong, that we are human."
EVE, the follow-up to 2017's Laila's Wisdom, which paid tribute to her grandmother, continues Rapsody's trajectory as one of hip-hop's most recognized and respected female voices. The Recording Academy spoke with the rapper about her album (out now via Roc Nation in partnership with Def Jam Recordings) about how black women are seen in society, how "IBTIHAJ" came about and more.
EVE is not the first time you've paid tribute to women in the form of an album. Laila's Wisdom was named after your grandmother. Who are you paying tribute to on this album?
Leila's Wisdom was for me, and I wanted to make something that was more broad that all women could gravitate to and see themselves. I wanted to make something that showed that we're not monoliths, that black women come in a spectrum, that we have different flavors and styles and energy and it all should be celebrated and loved, and to show that even I am a reflection of so many different women. I'm inspired by so many different women I know, so many other black women. I learned motherly love from Phylicia Rashad, outside of my own mother and aunt.
I learned the power of words from Nikki Giovanni and Maya Angelou. It's examples like that. So I wanted to make a project that creatively told that story in this way. I probably recorded maybe 40 songs coming forth from this idea about 40 different women and I just would wake up every day and think of a different woman. And it was so much fun and so easy because I respect so many and I follow so many. We narrowed it down to the 16 that we have and that was based on sonics; how we wanted the album to sound, what songs sounded good together, but also for a wide range story. So that's kind of how we came to the project that we have now.
I mean, there's so many badass black women out there. How did you narrow it down to 16?
[Laughs.] It was so hard, believe me. I thought about doing a double disc. I thought about doing part one, part two, but I said in the world that we live in people can't consume that much music right now. They don't even have the attention span to. So once we found two songs that we really wanted to build around sound-wise, because when we make albums we make it off what sonically sounds good together, and that also doesn't repeat the same concepts that I did within the album, so I think we built around "OPRAH" and "SOJOURNER" and "AALIYAH." Those were the first three songs that we created that we knew we were going to keep for the album. And we built around what sounded good with those three songs.
That's kind of how we dwindled it down. And we might have two songs that told two different stories, but musically they sounded the same so we just had to pick which one we thought was the best one. But it was very difficult, though. But I think what we ended up with is variety. If you see music in colors, it's very colorful and a bunch of different colors. It shows the world of black women that I wanted to showcase. You're going to get the rowdy chick. You're going to get the introspective one. You're going to get the loving one. You're going to have songs about beauty. You're going to have songs that are political. So it just covered all the stories and energies that I wanted to showcase.
You named the album EVE. How come?
I wanted a title that represented black women. There's no one name that can tell the story of all these different women so I wanted to start with the first woman ever created, the mother of all living things, and that's Eve from the Bible. So that's why I chose Eve. God created man. He took a rib from him and blew life into a lung and He created the first woman and named her Eve. That is a reflection of who we are and where we come from and the beginning of women, giving birth to the world, nurturing the world, feeding the world through our bodies. So that's why I chose "EVE."
Did you have an audience in mind when creating the album?
Yeah. Specifically, directly first I wanted to talk to black women. I wanted to have a conversation. I wanted to write my letters to them to show that or remind us that we are beautiful, we are strong, that we are human. It's okay to feel weak at times because we do carry so much and we have to go through so much. We have to fight so much, but we still persevere. So I wanted to talk to black women and black little girls, first and foremost. But then I wanted to talk to men to remind them why we should be loved, respected and protected, to remind them of their daughters, remind them of their sisters, their mothers, the women that are around them and to show them that at the core of who we are, you are this because of us.
Every man is raised by a strong woman. That's why I named the last song "AFENIA" but we kept it, we put the sample of 2Pac in it. We revere 2Pac and we love him for the man that he is, but he is who he is because he was raised by a strong black woman. And so those are the first two people I wanted to talk to. But I feel like no matter what race you are, what age group you are, what part of the world you are, this album will still resonate with you and you'll be inspired or feel something from it in some shape, form or fashion.
Do you feel like men have a role in uplifting black women?
I do. I think we have a role to each other. Women have a role to respect and love and uplift man and men should do the same for women. The men are the head of the household. I'm from the South, it's just one thing I believe. But it's for the man to protect the woman and to have her back and to love her and to be kind to her and to be patient and to step up for her in a time of need. Again, we deal with so much, having to bring life into this world, having to be the backbone when your man come home, especially black men from a long day of work and having to deal with the world, and how the world views black me, and how the black men is always on edge because of just everything that they have to deal with.
And it reminds me of a conversation that Nikki Giovanni had with James Baldwin. That section of where you hear Nikki expressing [something along the lines of,] "Well, you lie to the world all day. Why can't you lie to me?" The black man's saying, "Because I have to put on a front, because I have to hold everything in so long, you're the person that I could come to and let it all out and be myself." And it's just a powerful conversation, and I think it's important, that I want to make music that reflects both sides of that story. And at the end of the day we kind of have to be there for each other.
Do you feel the men have a role in uplifting women in the music industry?
Oh yeah, I definitely do. Especially as a female in hip-hop and coming up in this climate and we see how for me, our talent is looked at as less than because we're women, just the images that are portrayed and pushed to the forefront. So I think it's up to the men. It's a responsibility to have my back. And that's something men have been doing for me for my whole career. I was signed by 9th Wonder and Young Guru who believed in me, who felt like they didn't have to change my image and make me something that I wasn't just to fit up with what was trending or what was hot. Kendrick Lamar, he's been a supporter from day one. I'm the only feature on his second album, To Pimp A Butterfly, which is one of the most anticipated albums ever made.
Big K.R.I.T. has always been a supporter. He just recently hit me up to go on tour with him. Men have been supporting me my whole career. Jay-Z signed me. I'm the first female to be signed to Roc Nation and a lot of times men have stepped up for me more than women have at times. So it just shows when men step up and they're part of the conversation and they're part of the fight that we go through just to earn respect, it helps. In the same way, I would love to see the NBA players step up for the WNBA players when you talk about pay equality. It takes a village, not just gender. It takes everyone to create change and we should have that support.
I was inspired to do it. One, from a Nicole Bus record called "You" where she actually used a old Wu-Tang sample the same way I did so I wanted something that felt like that for my album. And for whatever reason, myself and Nicole couldn't work, but 9th just went through a sample bank of a bunch of Wu Tang samples and he was like, "I'm going to do 'Liquid Swords,' just because how dope a song it was and what it meant for the time." And he just felt like that energy fit well with the album.They made the beat. It was crazy. I wrote to it and before we did anything, we had to reach out to GZA to ask for his blessing as a code of conduct because we are the culture and to also ask him to be on it because it just made sense.
It's probably his most popular song, so he agreed that we could even do the song and use the sample and that he would give us a verse. And while we were waiting on his verse we got a call, just trying to work out logistics and everything, getting GZA's verse recorded for the project. There was a person that was with D'Angelo, spoke about how D'Angelo was a fan of both myself and 9th and he thought that D'Angelo would really love the record.
So he wanted to play it for him and we told him we would love for him to. And he did. And D'Angelo connected with it so many other people because what that song meant when it came out for a lot of people, it connected a lot of people to a memory and the history that D'Angelo has with GZA and back then, the first time they did a song together, "Cold World," that's how much he loves Wu Tang. So for him the song inspired him in a way that he wanted to be a part of it and it just happened that naturally, just that organic and it came out to be a banger.
Malcolm X once said, "The most disrespected person in America is a black woman." Do you believe that still to be true today?
Yes, I do. That's one of the reasons I wanted to make this project.There's so much going on in the world: your gender, your race, your religion, so many factors. And black women are sometimes always at the bottom. Because we're women, we're looked at as less than because we're black, we're not respected, and then you have in your household we are the most disrespected, and sadly that's still true today. When I watch videos, black women having to fight for themselves and defend themselves and men are standing around in circles and just, it just never made sense to me.
They have to be the head of the household a lot of times and take up the slack and be the man or the woman. It's just a way harder fight than we expect, even in our image. There are a lot of times where our images are portrayed or taken by other people and they're looked at as being more beautiful when everyone else does. We used to get called ugly and talked about because we were thicker in our thighs and we had plumper, more beautiful lips. And the way we wore our hair, it was called "ghetto." But when other people do it that don't look like us in other races, it's called high fashion. And that's a disrespect. The way Serena Williams is treated sometimes in the tennis world, that's a disrespect that wouldn't necessarily happen if she wasn't a black woman. I definitely want to touch on that, and that's part of the reason I made the project.
What is the most empowering thing about being a black woman today for you?
For me the most empowering thing is our strength and our perseverance. No matter how much you disrespect us and how much you throw at us, we always find a way to thrive again. And that's embedded in our DNA because we've been doing it so long. Even in the political climate and time that we're in, a lot of black women are stepping up and saying we want change and we have to be that change, and I'm down for the cause. It's a powerful time that I love and appreciate. I always seen black women step up no matter how tired we get, no matter how much we continue to have to carry, no matter how many walls and doors get closed in our face, we don't give up. And that's powerful. And that's one thing that makes me proud to be a black woman and that I can stand on, something I can see when I was a little girl in my house with my mom and my aunt, to even in the world today that we live in.
Lil Nas X
Photo: Noam Galai/Getty Images for BuzzFeed
Whether or not you've ever downloaded the app, it's likely you've been hearing about TikTok more and more this year. Though it may be most popular among teens and pre-teens, the short-form video app is not one to brush off as a mindless youth trend. Its users upload 15-second videos set to music (denoted in text at the bottom of the clip) onto the platform, offering the chance for both the uploader and the artist of the song to gain viral fame. And while striving for your moment—however brief—in the spotlight is nothing new, teens' obsession with the year-old app is already making waves in the music industry.
Last month, 20-year-old Lil Nas X broke records as his viral Billy Ray Cyrus-assisted "Old Town Road" took the longest run ever at No. 1 on Billboard's Hot 100, holding its reign on the all-genre chart for 17 weeks in a row. Back in February, the then-unknown rapper, two months after self-releasing the original version of the country-trap song, uploaded it to TikTok along with a "challenge": to change into Western garb before the drop. The song went viral on the app as users like Michael Pelchat, a.k.a. NiceMichael, added their own versions. A month later, Lil Nas X signed to Colombia Records and in April they released the record-breaking remix.
Lil Nas X is not the only notable artist to effectively harness the power of TikTok. Lizzo joined the platform in June and offered the #DNATest challenge, featuring her 2017 bop "Truth Hurts"—she opens the song with "I just took a DNA test, turns out I'm 100% that bitch." This month, the two-year-old song became her first top 10 track on the Hot 100, hitting No. 4 on Aug. 10. "Juice," from her latest LP Cuz I Love You, is her only other song to date to make the all-genre chart, reaching No. 9. The newfound viral moment of "Truth Hurts," similar to that of Lil Nas X, led Lizzo to release a new remix, featuring DaBaby.
A recent Rolling Stone feature examining the app's rapid growth and impact on the music industry highlights the move for labels and artists to push their music on the platform. "We get 10 to 15 inquiries a day from artists and labels wanting to pay us to use their song," Devain Doolaramani, who manages over 20 TikTok users, recently told the outlet. The article explains that the Chinese company Bytedance purchased the lip sync video app Musical.ly in late 2017, and, in August 2018, shut it down and migrated its user base to the new TikTok, giving it a starting point of 500 million monthly global users.
Speaking to both active uploaders and people who support its uploaders, like Doolaramani, Rolling Stone found that the algorithm better supports the chance for 15 seconds of fame, as it "is constantly searching for new clips, rather than just pushing out the latest videos from already popular users." The algorithm also seems to push videos and challenges—and their featured songs—that are already doing well to the next level. Doolaramani noticed that songs featured in around 3,000–5,000 videos seem to get more a bigger boost once they reach that point.
The platform even offers "creator partner managers" for popular users invited into their Creators Program. Pelchat, whose profile says he has over 922,400 fans, is part of the program. As he told Rolling Stone, his manager can help push his videos with lower views to the next level.
"Within the hour, [the video] had 80,000 more likes than what it had before. They have some magical button that they can press and just promote [a video] to the world," Pelchat said, when describing what happens after he reaches out about a video. He added that managers "have a very key part in pushing what [TikTok] wants to do."
Yet, while record labels are currently paying popular TikTok-ers to promote their songs, they could require the platform to pay for the rights to use their music in the future. The article points to a recent Bloomberg report that Universal, Sony and Warner are all renegotiating their existing deals, which expire soon, with the platform.
While it's not clear exactly what the future of TikTok will look like, it is clear that the way young people consume music is ever-changing, and the short-form video app is a major part of that.
Saida Dahir has never gone back to Somalia, her native country, which sits on the east side of Africa. But she knows exactly why it is endearingly called the "Nation of Poets."
"A lot of people in Somalia write poetry about the war and about trauma and everything," she enthusiastically says over the phone about the country's centuries-long tradition with the spoken-word format. "Poetry is this thing that has been in my family since as long as time."
18-year-old Dahir originally emigrated from Somalia with her family when she was three and claimed refugee status in Salt Lake City, but her country's tradition lives on in her work: Dahir penned her first-ever poem at just seven years old.
As she grew older, Dahir found herself at a crossroads with her culture as a black Muslim. "I was out of the norm for every single person," Dahir says. Microaggressions and adversity due to her religion and race caused her to feel different."I went through so much self-hate and so much doubt and wanted to assimilate to the surroundings."
But things changed in the seventh grade when she decided to start wearing a hijab, a traditional head covering worn by Muslim women. "I could either hate the otherness that I had or embrace it," she says of her decision. "I wanted to make sure that the representation that I had, that the future generations of the girls that do put the hijab on aren't scared, aren't worried, aren't sad, aren't getting bullied, because they know they have people to look up to."
Dahir also began to reclaim the way she saw herself through pen and paper. Through spoken-word poetry, she examined her experiences growing up Muslim, female and black in a perdominantly white community in the U.S. "The stranger looks at me funny, like an alien, like some exotic creature that needed to be rescued from its dying habitat, but she didnt know was, I like the same bands as her," she says in her poem "The Thing On My Head."
One spoken-word performance even went viral, when, in 2018, Dahir spoke at the 2018 March Of Our Lives event in Salt Lake City. “How much longer do we have to deal with this sh*t?” she asked the crowd. “Blood pools as we watch innocent bodies get hit/ politicians claim it’s not guns but they need to just quit."
Those experiences make up her powerfully emotive spoken-word debut, The Walking Stereotype, out Saturday, Aug. 17. The album is a way to bring her message of self love to young women who look just like her. "When I started writing poetry, I realized that there is so much darkness that comes with all these identities, but there is also so much light and so much hope," she says.
Dahir also utilizes her YouTube channel to connect with other young people like her, filming vlogs with tips and anecdotes around everything from fashion to college applications.
The Recording Academy spoke to Dahir about her spoken-word debut, what her black-Muslim identity means to her, BTS and other music she listens to, and more.
Tell me about yourself.
My name is Saida Dahir. I was born in a refugee camp in Kenya after the civil war in Somalia broke out. People were very disastrous to my family. We lost everything we knew and everything we had so we fled to Kenya. I was born in one of the little plastic tents in a refugee camp. By the time I was three we were finally granted a green card to seek refuge in the United States. So I moved to white town in Salt Lake City, Utah where I was out of the norm for every single person. That's really what made me who I am and made me do things that I do.
What was your first experience with poetry?
Poetry is this thing that has been in my family since ... as long as time. Somalia's known as the land of poets. A lot of people in Somalia write poetry about the war and about trauma and everything. I started writing poetry when I was seven years old after reading countless poems from my mom and my brothers and getting inspiration. The first poem I wrote was a very trivial ... I think it was just a sappy poem, but that really sparked me to continue and to write about things that I'm very passionate about. That's what brought me to where I am.
Did your family write poetry similar to yours?
Yes. I feel like all of my siblings' poetry has been about social activism and movements and things that they want to see change in the world. I think we use our poetry as a way to inspire people and to inspire ourselves to really want to create change and to keep the feel of power in ourselves.
Sounds like your family has really empowered you.
They have. They've inspired me. They've motivated me. They've really pushed me to excel in every single thing that I've done.
Why name your album, The Walking Stereotype?
The background behind the album title is very funny. You probably can't know from the phone but I'm Muslim, I'm black, I'm a woman, I'm a refugee. I have so many different stereotypes and so many different marginalized groups that I'm a part of. One time I was mentioning this to one of my friends and he jokingly said, "Bro, you're like the walking stereotype." That has really resonated with me because I really am the embodiment of so much hatred and so much destruction put on the groups that I'm a part of. I ran with that phrase and I made a blog called "The Walking Stereotype." That was my Instagram name for awhile. I knew that if I would ever do anything like this that that would be the name that I would make it [with]. There's so much that I talk about in this album, and it's not just one group that I talk about. I talk about every single group, all of my stereotypes that I walk in every single day.
What you said just now, that you embody so many stereotypes, sounds heavy but you sound so light when you talk about it, like you don't let it get to you.
Mm-hmm. It was heavy for awhile. It was so hard for me to claim it and to really find myself. I went through so much self-hate and so much doubt and wanted to assimilate to the surroundings. When I started writing poetry, I realized that there is so much darkness that comes with all these identities, but there is also so much light and so much hope. And there's so much power that comes behind them and culture and history. So when I talk about who I am, I have to be so happy because I would not want to be anybody but who I am. That's why that phrase ["walking stereotype"] it doesn't bring me sadness. It brings me so much courage because ... a lot of people are a walking stereotype. We can all be walking stereos together and we can use that as our shield against the world.
You've been through all these experiences. What made you decide to want to make an album?
Like I said, I've been writing poetry for so long and I would just read them to people and that was that. I would record them but I would never post them anywhere or would never have a YouTube dedicated to it. There is so much power that comes from writing things down and sharing things and having them in a manifested form, so I knew that my poetry was something I didn't want to keep to myself.
I didn't want it to be something people read because my poetry doesn't sit on the paper. You can't just read it because when I say it, there's certain phrases that I emphasize or there's certain parts that I slow down. It's like music basically but it's not music. It's words, but the melody and the rhythm of the words that I say, it's what makes the poem. It's what gives it that mood. That's why I decided that the best place would be not a book, it wouldn't be a post. It would be me, my voice, my genuine reactions, and an album was the greatest way to do that.
To reclaim something for oneself can be a huge process. It takes a lot of reflection and you have to deal with a lot of pain in order to first face it and then decide, "I'm going to change this narrative." Do you remember the moment, or maybe it was a series of moments, where you decided, "I want to do this for myself. I want to reclaim my story. I want to love myself"?
I think the first moment that I had that realization of changing my narrative is when I started wearing the hijab. The hijab is the cloth, the scarf that a Muslim woman wears. I started wearing that when I was in seventh grade. Up until that point I was very assimilated to the American culture. I was a very American child but as soon as I put the scarf on, I was different. I was other. I could either hate the otherness that I had or embrace it.
It took so many years and me learning and me moving and countless microaggressions and countless adversity that was thrown my way, but at the end of the day I wanted to make sure that the representation that I had, that the future generations of the girls that do put the hijab on aren't scared, aren't worried, aren't sad, aren't getting bullied, because they know they have people to look up to. Then things just started escalating on the news ... a couple of years ago with the Muslim ban and with the hatred towards a bunch of the stereotypes that I had. I knew that poetry was the way that I was going to use my voice and change the narrative. So I started writing poems about politics and about laws and about things that I needed to see change. I think that me expressing myself is what helped myself learn who I was.
Having listened to your album, I really felt like it was this love letter to yourself, but the more I hear you talk, I feel like this is almost a love letter to the Muslim black woman.
It really is. It's a love letter to every single person that looks like me because they need the love too. They don't get that love in the media. They don't get that love in the press. They don't get that love in the history books that are written. So we got to love ourselves.
Anything else did you want to achieve with the album?
I think what I want to achieve with the album is to show people that look like me that there's so much talent behind your words and so much power that your words hold. I don't know how to sing. I don't know how to rap. I don't know how to do all of these things that people use to express themselves. I don't even know how to draw. I know how to write and I know how to express myself in English and in so many other languages. I think that there is power behind people's words and every single person has that talent if they write things down, if they speak up, if they express themselves. That is where the true power comes from, your words and how you use them.
You mentioned that you've been writing since you were seven. Has this album been the accumulation of all your writing throughout that time?
The first poem that I wrote in that album is called "The Thing on My Head," which is a poem about how I started wearing the hijab. I wrote that poem when I was in seventh grade so this is an accumulation from poetry from when I was 14. How old are you when you're in seventh grade? I think 13, 14. So a good portion of my life is on that. A good portion of the life that I remember and the life that I lived and the experiences I have since I started writing.
It's basically your sonic debut.
Yes, this is. I've never done anything like this before so when I heard the GRAMMYs wanted me to interview me I was like, "What?"
Did you reach out to someone to record the album or did someone reach out to you?
The record company that I did this album with, they found one of my poems on YouTube that I did at the March for Our Lives. That poem went viral and so they asked me if I wanted to record that poem for another album and I said, "Sure." So I recorded that poem for an album about gun violence. Then a couple of months later they were like, "Why don't you just do a whole album by yourself because you have such powerful poetry?" I was like, "Okay, sure." And that's what I did.
One of your poems is about Parkland. What inspired you to write about the tragedy?
I wrote that poem the day of the Parkland shooting. I found out about it and I got home and I was so distraught ... It was a normal thing. It's a normal thing for us and I was a junior in high school, I had tests to worry about, I had my grades to worry about, but I was immobile because the only thing that was there was just the fear. The fear of going to school and of not coming back. So I did what I do when I'm in situations where I'm so heavily burdened by society, I wrote a poem that day. I've never written a poem in one day before. That was the first poem that I sat down and I wrote the entire thing and I still have not changed it at all because it was the true expression and the true feelings I was feeling that day. The anger and the fear and all of that just boiled down to, "What I can do to make sure that that never happens again?" Then I read at the March for Our Lives and the reaction that I got in the crowd was so many people that said they could relate. There's nothing better than when you can ... people can relate to your emotions.
How does it feel for a total stranger to connect with you?
It's what inspires me to do everything that I do. When I read a poem and after someone walks up to me and says, "No one has ever expressed that before in the way you did and I agreed with everything that you said. It's been something that's in the back of my head," it really just makes everything that I do worth it. If I'm putting people's feelings into words and I'm sharing them and they hear it and they just are like, "I get that," that just is the best feeling in the world.
You sound like a very confident person. Were you ever scared to share your stories with the world?
Yes, I was terrified. Like I said, seventh grade was the pivotal year in my life. The reason why I did the things that I did is one of my teachers, he knew that I wrote poetry and that I never read any of it. He told me that he was going to force me to read a poem at our talent show or he would fail me-
I was like, "Oh no." I was so terrified and I signed up to read a poem at the talent show. I didn't want to do it but I didn't want to fail the class. I knew he was joking, he was not going to fail me, but I decided that this would be an incentive. I went up there and I read a poem and I got a standing ovation. I was just a shy girl and to get that standing ovation was just like, "This is crazy, people like what I did. People like what I wrote."
Then I, of course I was terrified every single time I'd get up onto the stage. I've also walked off a stage and been yelled at and called "terrorist," but I don't think about that. I think about how when I'm on stage, what change I could make and how I can keep the ball rolling.
Is there anything telling your story has taught you?
I think something that telling my story has taught me is that there is so much power behind just being who you are. It's so easy to just think that you can be who you are but it's so hard when the world is so [full of] hate and the world is so exactly how it's supposed to be [with the] status quo. To just say, "No, I'm not going to do that," and just express yourself in every single way that you are and just to love yourself, I think that's incredibly powerful.
The term "refugee" has been all over the news these last few years. People are defining it in different ways. What does it mean to you?
I think it's hope. I think that word means hope. Being a refugee means leaving everything you know, everything you love, your culture, your religion, your background, your language, your food, your home, your family, in the hopes for something better. That's what my family did and that's what the people at the border are doing right now. That's what the people in Syria are doing right now. They know that they're leaving everything they have and their whole universe because they know that something's better and something is waiting for them. When they do arrive to those situations, they're either loved and welcomed or they're pushed out.
My family was not loved and welcomed but we were not pushed out. We were indifferent, but now people are being pushed out. There's never been love. Once we can figure out how we can solve this problem and greet people, because no one is going to ... No one understands that no one's going to leave everything that they have if they're not pushed out, if they're not killed, if they have no other options. I think once we realize that, we can figure out how we can solve this refugee problem in the world. No one just wakes up one day and is like, "I'm going to cross the river. I'm going to walk barefoot. I'm going to not eat for a couple of weeks for fun." It doesn't work that way.
Is there any poem in your album that means the most to you in any kind of way? If so, why?
I think the poem that has the most meaning towards me is, "Oh, Somalia." I've never been to Somalia after the war. When we fled to Kenya I came immediately here. I wrote that poem because I really have never gotten the opportunity to love my homeland. One day I will, I will go back and I will visit. I have that poem for now and whenever I feel homesick of a home that I've never been to, I read that poem and I think about it. One day I'll be in Somalia, hopefully, and I'll be able to read that poem while I'm there. That's my goal.
Has not knowing your homeland affected you?
I think it's affected me because growing up I was too white for the Somalia kids and then I was too black for the white kids. I never really knew myself. I didn't speak Somalia fluently when I was growing up and a lot of the Somalia kids I knew would make fun of me. Then I would get made fun of by the white kids that I was with. It was very disheartening because I never had that safe haven and that safe space. When you're too black for the white kids and you're too white for the black kids, where do you go? You have to make spaces for yourself.
That's why I try to learn so much about my culture. I study more about my culture than people that live there probably do because I don't have it accessible to me. It's not at the touch of my fingertips so I have to try tenfold just to get that experience of my ... calling my place home.
There's this thing Billie Eilish said in an interview. She said something along the lines of, "People underestimate the power of a young mind." Do you agree?
I 100% agree. I'm at this this conference right now with so many young people. They're geniuses. They are so revolutionary and so innovated. They have so many goals and things they want to change about the world. So much optimism. If we were just heard out, if we were just listened to, if we weren't just called, "Oh, they're just kids. Oh, they don't know what they're talking about," we could bring so much to the table. If we don't have a voice, we're just going to talk. We're just going to be disruptive.
Jeremy Jemmott, who worked with Gil Scott-Heron, worked with you on this album. How does it feel to have someone of that caliber work with you on this project?
I love the Black Panther Party and I love "The Revolution Will Not be Televised." When they told me that he was going to be on the album, I literally was in shock. He's an amazing, an amazing, musician. Just knowing that the power and the history behind his art and his talent with my words, it just proves that it's inter-generational. We've been fighting for causes, we've been fighting for the things that I've ... I'm talking about in these poems, for years and years and years. And it shows because when he was drumming back then we were going through the same sh*t.
What other music are you into?
I really love soul music. I'm a big K-pop fan. A lot of people don't know that.
Who's your favorite band?
I love BTS. I love good rap music. It's funny because rap music is literally poetry. When I tell people that, they're really confused and I'm like, "No, you're favorite rapper is in fact a poet. They're just putting the beat behind it." Some of the songs on my album have a beat behind it and so I'm basically a rapper.
You're attending UC Berkeley in the fall, which is really famous for its student activism. What are you most looking forward to there?
I'm really looking forward to be able to be in a college setting. I'm a first generation college student so I know that that is a very heavy burden, but I'm really excited to continue this for the generations after me. Having one person in your family be a college graduate just keeps the ball rolling and rolling and rolling. I'm really just excited to learn more and to grow and to find out what my purpose in life is through the academia aspect and just learn.
What kind of career you want to pursue? Do you want to continue being a poet?
For all my life I wanted to be a journalist, and then I wanted to be a lawyer for a couple of months and so that's what I applied to all my colleges through. Now I think I'm going to go back to journalism.
Photo: Erika Goldring/FilmMagic/Getty Images
With songs like "Whip A Tesla" and "Gravy For Pope," Minnesota rapper Yung Gravy is continuing to grow a following for his humourus lyrics and rap beats.
The rapper, who released his debut album Sensational in May, spoke to the Recording Academy during his stop at Lollapoolaza in Chicago, which he calls his second home, to reminisce about his first show ever.
"One of my first shows ever was a grad party that someone hit me up on Facebook for when I had no numbers at all," he said. "Probably did a suburb of Chicago grad party, turnt up. 12 people in the crowd, it was sick."
Yung Gravy also shared what some of his favorite songs are on his debut.
"My song 'Gravy Train' is dope because I sampled 'Right Back Where We Started From' and I love that song, so that s*** gets me really hyped," he said. "My song 'Yung Gravity' is like this outerspace lowkey banger where it's chill, but then really goes hard and everyone knows the words and it's sick."