atlanta music tagged interest

Despite earning a scholarship to the HBCU Fort Valley State University, Quan’s love for the sport waned as he set his sights on making music. His entry into Atlanta's rap scene in 2011 coincided with an electrifying period for rap music in the city that also saw the rise of GRAMMY-nominated rap trio Migos. Quan helped pioneer the defining sound of Atlanta trap, and his emotionally charged lyrics and a dynamic flow influenced a generation of melodic rappers that the culture reveres today.

Quan’s early string of mixtapes, first released in 2012, showcased his hunger and ultimately, his ability to create bangers. His first three projects — I Go In on Every Song, Still Goin In, and Still Goin In: Reloaded — soundtracked clubs, house parties and college campuses, and college campuses during the 2010s. While hits like "Difference" and "Walk Thru" broke through nationally, Rich Homie Quan's music held special significance in the South.

Shortly after dropping his infectious "Type of Way" and hopping on YG’s 2013 "My N—" remix alongside fellow Atlanta emcee Jeezy, Quan's profile skyrocketed. Rich Homie Quan embarked on his first tour, joined New York rapper Trinidad James on his first headlining tour, and was the first artist signed to indie label T.I.G. Entertainment. Quan, who had never performed at a "real show" before going on the road with James, recalled learning a lot from the rapper about their craft and the ins and outs of the business.

Quan's desire to overcome hardships was regularly detailed in lyrics, including "Achievin" from his 2018 debut album, Rich As In Spirit. "Ain’t never had nothin’, use that for motivation," Quan rapped on the track. "Can’t rush what God got for you, you got to have patience." This constant drive for success allowed Rich Homie Quan to become more than a regional rapper; he claimed a stake in his hometown of Atlanta, proving to be a continuation of Andre 3000’s sentiment that the "South had something to say."

Learn more: A Guide To Southern Hip-Hop: Definitive Releases, Artists andamp; Subgenres From The Dirty South

In 2014, he reunited with former middle school classmate Young Thug, as a member of Cash Money Records' hip-hop collective Rich Gang. Quan and Young Thug mastered the art of working in synchronization, crafting magic to produce career-defining hits like "Get TF Out My Face," "Tell Em," and platinum-certified hit "Lifestyle."

By 2015, Quan was becoming acclimated to the charts, with "Lifestyle" peaking at No. 18 on Billboard's RandB chart in 2014 and the "My N—" remix charting at No. 22 the year prior. If he wasn’t already on the radar as one of hip-hop’s rising stars, Quan's "Flex (Ooh, Ooh, Ooh)," which went double-platinum in the same year, solidified that he was here to stay and would never shy away from "going in."

Growing up in Philadelphia, Whack credited her mother for nurturing her creative side, encouraging her to explore poetry, singing, and even sports. "My friends held me accountable at school," she recalled. "When I would see them in the morning, they would ask, 'What you got? Let me hear something,' and then they would hit the beats on the tables… I think it really helped me sharpen my skills and be who I am today."

The main event featured an onstage conversation with Ivie Ani, audience questions, and a live performance where Whack showcased tracks from her latest album, including "MOOVIES" and "SHOWER SONG." Throughout the evening, she shared insights into her artistic journey and her refusal to be pigeonholed into one genre or style.

Here are five other things to know about the Philly raptress, as we look back on "An Evening with Tierra Whack." Find more exciting GRAMMY Museum programs taking place in Los Angeles and New York City on the GRAMMY Museum website.

Read More: 21 Live Events At The GRAMMY Museum This September: Experience Orville Peck, Kate Hudson, Tierra Whack andamp; More

From Viral Video to Stardom

At 15, while riding in the car in Philly, Whack spotted a group of guys with a camera. Feeling the need to showcase her talent, she jumped into an impromptu freestyle battle and began performing under the name "Dizzle Dizz." This was the height of the Twitter and YouTube viral era, and by the next morning, her video was trending.

On stage with Ivie Ani, Whack explained her transition from the battle rap scene to exploring a broader creative range. "Being from Philly, most of us, we come out as babies rhymin'," she joked, earning laughs from the crowd. "But I don't want to be stuck in a box. [So I] started listening to the Miseducation [of Lauryn Hill], the Musiq Soulchild." Her 2018 mixtape, Whack World, and the GRAMMY-nominated single "Mumbo Jumbo," further cemented her status.

Introvert with Many Faces

Whack openly shared how she's an introvert who loves to experiment with genres and personas. Wearing her signature red hair and wide-framed glasses, she talked about her album, World Wide Whack, which includes album notes that describe her persona as "an all-seeing trickster and provocateur, a reflector of truths in the Yoruba tradition, and a Pierrot, the original sad clown in 17th century Italian theater."

She recounted how early in her career, she was often told to focus on one style. Some wanted her to just rap, others to sing. But engineer Kente Simms encouraged her to embrace all aspects of her artistry. "He was the first engineer who told me 'yo, you can do it all... Be who you are. Be free,'" Whack recalled.

A 'Sponge' for Stories

When Ani first asked about what Whack "consumed" when making World Wide Whack, Whack talked about binging food. On a follow-up, the crowd got a look inside what Whack does when she's not in the studio recording. A lot of it, as it turns out, is staying at home and binging Netflix documentaries. She’s inspired by success stories across various fields, not just music. "I wanna see the hardships. I want to see you overcome," she shared. Whack couldn't say enough about the influence of documentaries on many powerful female musicians who came before her, including Tina Turner, Dolly Parton, and Celine Dion.

"MUMBO JUMBO" Was Inspired By The Dentist

Mickey Factz is an influential rapper who was one of the major voices of what is sometimes called "the blog era." He is also a pioneer in teaching how to rap with his Pendulum Ink school.

Being a native New Yorker, Biggie Smalls was my voice from the age of 11 and 12 years old. I’d imagine his tales of life mirror this new generation’s rappers and the 11 and 12 year olds that listen to them. The rawness of his vocals. The conversational way in which he rapped. The stories. The vulgarness.

Again, I was 12, sneaking my father’s CD to play the project. I wanted to at first hear "Juicy" and "Big Poppa" and ended up loving "Unbelievable" and "The What." I chuckled at Biggie and Lil Kim’s interlude of sex. I was amazed at the storytelling of "Gimmie The Loot" and "Warning." And being 12 without any internet, I literally thought Big died after "Suicidal Thoughts" — I didn’t know if it was a skit or not.

I didn’t know these types of things could be done in a studio. I didn’t know what a studio was. Big introduced me to that. That is why I loved Ready To Die. It inspired me to be who I am today.

Ron "Amen-Ra" Lawrence is a veteran producer who, just a few short years after ‘Ready to Die,’ became a key part of Bad Boy Records’ Hitmen — the production team that brought the label to its greatest heights. With his partner Deric "D-Dot" Angelettie, Lawrence produced Biggie’s "Hypnotize."

When Ready to Die dropped, it was a game-changer. As a young producer in New York, I was blown away by Biggie's raw storytelling and the gritty, soulful production.

The album felt like a cinematic experience, pulling you into the harsh realities of Brooklyn life. Every track hit hard, and you could feel Biggie’s hunger and determination in every bar. It wasn’t just an album — it was a movement, a defining moment for East Coast hip-hop that set a new standard for the game.

Open Mike Eagle has spent his music career pushing the boundaries of the hip-hop underground with his critically beloved brand of "art rap." He also co-founded "The New Negroes," a standup-meets-music variety show that aired on Comedy Central, and created the Stony Island Audio podcast network.

Honestly I never loved this album. It was bleak at a time when things were also bleak for me. I gravitated to albums that activated my imagination more than ones that validated the darkness I was already seeing. He was ready to die but I wasn't.

I enjoyed the parts where it felt like he was rapping on the street corner. I liked him going back and forth with Method Man on "The What," and "Unbelievable" made me want to hear Big and Primo make an album baby. In my high school there was a Biggie contingent and a Pac contingent, and this third contingent with me and my weird friends that didn't like either because we were listening to Busta Rhymes and the Fugees and Wu-Tang. We listened to Jeru and OGC (who we heard got beat up by Bad Boy goons). We wore ski goggles and freestyled on the train.

I'm a grown-up now and I'm too smart and tired to see things in false dichotomies. I understand how important this album is in that it charted a path for a rapper with street-honed skills can also make summer BBQ anthems and legitimate intentional club hits. It's incredibly important but I never loved it. God bless the dead.

Fatboi Sharif is a young New Jersey rapper whose creepy, evocative writing and dynamic live performances have garnered him a significant fanbase and mainstream attention over the past several years. Like Big, he has a taste for both the jazzy and the macabre.

Ready to Die is certainly an album that has stood the test of time, and for me it's as relevant now as it has ever been. What I've always loved about the album is the picture it paints cinematically, like an audio film. I've always been amazed how flawlessly the themes connect and flow without missing one piece of the element.

The title of the album alone speaks volumes with just the social and financial situation going on in the inner city during that time period of the ‘90s that trickled from the late ‘80s. Ready to Die is a war cry for a youth who are put into situations that they don't see a way out of.

From themes of paranoia ("Warning," "Ready to Die," "Everyday Struggle"), mental illness ("Suicidal Thoughts"), as well as celebrating making it through all the madness on the other side ("Juicy"), Ready to Die is a perfect blender of thoughts and emotions that puts you right in that time period but doesn't sound dated. It's a landmark album that will continue to be studied and influence generations for eternity.

Learn more: A Guide To New York Hip-Hop: Unpacking The Sound Of Rap's Birthplace From The Bronx To Staten Island

Your Old Droog is a prolific Brooklyn rapper whose mind-bendingly clever rhymes have earned him co-signs from Madlib, Black Thought, Pharoahe Monch, and late legends MF DOOM and Sean Price.

Ready to Die is the first rap album I loved, and really what indoctrinated me into the genre. The rhymes, the storytelling, thinking it was two different people rhyming on "Gimme the Loot"… I remember eating rice ‘n beans at my friend’s mother’s house when I was 12 years old and bugging out over the lyrics.

You heard the name "Biggie" ad nauseam, you knew "Juicy" and you were very aware of the tragedy that happened with him and 2Pac — but listening to that album really opened a portal into his artistry.

That same Puerto Rican kid also played "Who Shot Ya" for me for the first time as well, which wasn’t on the album but I feel like it’s closely related. I think I bought the album because I wanted to hear the "One More Chance" remix, but "One More Chance" original version and "Everyday Struggle" ended up being my favorites. "Suicidal Thoughts" was mind blowing too — no pun.

It’s really a dark album at its core but I think it does a great job highlighting a musical and poetic savant. The vocals, the technique and diction: I think it’s a document of one of the greatest MCs of all time.

Lord Sko is a young rapper and self-proclaimed "true-school hip-hop revivalist," he combines the best of old and new in his music.

Ready to Die is one of my favorite hip-hop albums of all time because of how vivid it is lyrically. When I first started to do the knowledge on hip-hop, this was one of the first albums that I studied and it was easy to digest as a young kid. With that being said, the genius of the album has aged beautifully and it is a body of work I still consistently go back to when I need some inspiration.

Dylan "Cinemasai" Green is a rap and film journalist, an appropriate combination when discussing a man who dubbed himself the "rap Alfred Hitchcock." Green is a contributor at Pitchfork and the creator of the podcast "Reel Notes." He is the author of ‘Reel Notes: Culture Writing on the Margins of Music and Movies.’

Everything about Biggie — from his flows to his vocal tone to his punchlines — is about being cool, calm, and collected. I love Ready to Die because it pits that persona against thoughts and trauma that gradually gnaw away at Big's subconscious. The triumph over adversity on "Juicy" scrapes up against the depression and self-doubt of "Everyday Struggle"; he's smooth as silk laying down game on "Big Poppa," but also willing to take it to the street with anybody on a song like "Who Shot Ya?"

It's not a concept album, but Ready to Die paints such a complete portrait of a person, it's hard to believe it's a debut album. Big felt fully formed.

Jessica McKinney is a music journalist who has been on staff at BET, Vibe, and Complex, among a long list of other credits.

I was born a year after Ready to Die came out, so I didn’t really get into it until about a decade later. I’m sure New Yorkers who were around when it dropped have their own strong memories, but even as an outsider, I could feel what a big moment it was. I first heard tracks like "Big Poppa" and "Juicy" on the radio, and I was hooked by their catchiness. As I grew up, I realized what made those songs so special was how Biggie mixed soulful samples with gritty street raps.

I remember my mom pointing out the samples and singing along, which didn’t fully click with me back then, but now I see how that mix of sounds made the album so timeless. It also continues to bridge generational gaps. And even though I had no personal experience with the themes in songs like "Suicidal Thoughts," Biggie’s storytelling still struck a chord. As a fan of rap and hip-hop, what I appreciate most about Ready to Die — beyond Biggie's undeniable lyrical prowess and effortlessly smooth delivery — is how its groundbreaking influence continues to shape the music we hear today.

Read more: 50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem andamp; More

Saleem "Baba" Gyau is an AandR manager at Roc Nation and a manager of some of the most talented artists in hip-hop, including Roc Marciano, Fly Anakin, and Kool G. Rap.

The 30th anniversary of the Notorious B.I.G.’s Ready To Die is a significant milestone. This album is a timepiece for me because I was already hipped to BIG when "Party N Bulls—" dropped in '93, during my sophomore year in college at UMES. Fast forward to 1994, the year I eventually dropped out — this album was introspective and sometimes aided me on missions of mischief.

My affinity for Brooklyn and how it was described enchanted me to the point that Brooklyn is now my home. The anniversary is a moment to reflect on its impact and the enduring legacy of Biggie’s artistry.

Eric and Jeff Rosenthal, aka ItsTheReal, are storytellers and interviewers whose work has encompassed sketch comedy, writing, and innovative podcasts. Their most recent major work is the award-winning "The Blog Era," a narrative podcast that covers the hip-hop that thrived between the eras of Napster and the streaming services. They also host a show, "2 Jews andamp; 2 Black Dudes Review the Movies," with Biggie’s labelmates and contemporaries The LOX.

Biggie Smalls is the illest. Last week, Technician the DJ warmed up the crowd before The LOX performed at New York City's Terminal 5. He played bits of 50 Cent, Tupac and DMX, but what got the beyond-sold-out crowd into an absolute frenzy was throwing on the instrumental from the Notorious B.I.G.'s "Warning." As Tech used his fader to go in and out of muting the track, the crowd created a tidal wave of sound, rapping every syllable of the song as if it was theirs, as if they were threatening a rival army, as if the song came out yesterday. That song — and the album it appeared on, Biggie's debut Ready to Die — turns 30 years old this week.

Biggie himself only lived long enough to see 24. It's easy — and appropriate — to mourn the life that Big could have led, had he not been heinously murdered. But when we listen to Ready to Die, we celebrate the youth. We love the excitement, the bravado and the passion of someone who both cared so much and didn't give a f—. That's youth. Youth is a genre still so new that a whole project could change the trajectory of society. Youth is the guts to make it happen. Youth is pushing the boundaries in lyrics. Youth is painting beautiful imagery of the darkest situations. Youth is dedicating a whole skit to the sounds of a girl riding the artist in ecstasy, calling him a "chronic smokin', Oreo cookie eatin', pickle juice drinkin', chicken gristle eatin', biscuit suckin' mothaf—a."

We love transporting back in time to when we were young too. When hip-hop still felt like it was on the cusp of something bigger, not the juggernaut we all know today. When a rapper like Biggie felt unique and representative of his small part of town thanks to his flows and his references and his dress. We love the poetry of a song like "Big Poppa" and the fireworks that come from collaborating with Method Man on "The What." And we love the wholesomeness, the purity and the possibilities that exist within "Juicy," a track that went on to become a defining crossover anthem. We choose to ignore a generation of fly-over-staters who co-opted that song; instead we feel the words of a young man who spoke so vividly about a reality that would transcend time and place.

Happy 30th to an album and an energy that lives on. Long Live Biggie Smalls.

"I know certain artists get ‘too big’ and they front on the GRAMMYs. I’m not one of those guys," the rapper says. "I’m a fan of hip-hop, so the accolades that come with being a rapper is what I appreciate."

On his upcoming album The Kid That Did (out Sept. 13), the EMPIRE signee born Marcellus Rayvon Register hopes to inch closer to his long-standing ambitions. Singles "Wavy Navy University" with Veeze and "Rubberband Man" mirror Ray’s familiar dark and rough-cut musical style; songs like "Money On My Mind" and "Legacy" detail the perils of his past lifestyle and the new opportunities he’s seizing as a rising artist.

Despite the growing fandom, Ray still carries a notable sense of paranoia. On "Guardian Angel" featuring R3exx Life Raj and Samuel Shabazz, he admits he needs protection in moments of uncertainty and triumph. These songs, combined with soon-to-be hustler anthems like "I Need Some Motivation" and the celebratory "High Off Life," demonstrate Ray’s deepening versatility on the 20-track project.

GRAMMY.com interviewed Ray before the release of The Kid That Did. The "Shy Kid" artist talked about navigating the music industry as an independent, his powers of manifestation, and his friendship with superstar sports agent Rich Paul.

This interview has been lightly edited for length and clarity

I know you’re in rollout mode, but what headspace were you in with this new project?

From playing the music for a couple of different people and getting feedback, I’m actually feeling more creative. I’ve been going to the studio just to create more right now. Sometimes I get in a pocket where I can’t create, but I’m feeling good right now.

What inspired the album title The Kid That Did?

I felt like being the youngest out of all my siblings and making it out where we came from, that’s what inspired the title and the music you’re listening to.

On The Kid That Did, you reflect on your upbringing in Detroit and fast forward to your current success. What inspired the direction of the album?

I was just looking at the reality of everything around me — my peers and the people I grew up with. I still stay in Michigan, so I’m around and I see what’s going on.

Just having both my parents in the household was a blessing. Everybody doesn’t get a chance to do what I’m doing, so I just feel like everybody is cursed from birth. And I feel like I broke that curse.

With this album, do you feel you’ve become a staple artist in rap — not just in Detroit?

I definitely feel like I earned the title because I’ve been doing it for so long. Even for me to be on the phone with GRAMMY.com to talk about what I’m talking about, I feel like I earned the title.

In past interviews, you’ve talked about being a "genuine soul." Do you feel the music industry has tried to change or taint you?

The space that I’m in now, I’m not really tripping. When I was first coming into the game, I wanted to be the greatest artist. I wished I could record and be like [Jay-Z] and Ye, and I’ve come to realize that I can only be who I am.

All that other stuff that makes me feel uncomfortable that I don’t want to do, I don’t have to do it to create the music I want to create. It used to weigh me down, but now I’m not tripping too much.

Sometimes I just have to put my game face on. When I get to a point where I feel like I’m overwhelmed, I always tell myself, I could be doing something totally different. It wasn’t always like this.

Do you feel you’re at a point where you can really enjoy the fruits of your labor? Or do you still have your eyes on certain dangers that surround you?

I can definitely enjoy it. I’m a human being so my lifestyle is just regular. I don’t really go about stuff how I should. I could be a bit more private. But every artist – even the biggest artists – have to deal with the evils of the world.

There are a lot of reflective moments on the new album. On "High Off Life" you rap: "Risk taker, I had to stand on the ledge/ At the top looking down, and they say, ‘give me a hand.’" Did you foresee yourself being in the position you’re in five or 10 years ago?

I definitely manifested this. I used to talk to myself in the mirror about this stuff. I went to the studio night in and night out for moments like this. I put my goals in front of me, I wrote stuff down, and I wanted it bad. That was before I knew what the music industry was. I was just a fan of hip-hop, and I knew I wanted to make music.

Another man of manifestation: Rich Paul. How did you get the superstar sports agent on the album?

It was pretty simple. When I first met him it was genuine love. He was like a regular person; you wouldn’t even think it was Rich Paul. When we connected on FaceTime through a mutual homie, we had a conversation and I remember he said, "When you come out to Cali, my homeboy got a studio you can use."

I thought the gesture was just for me to record there, but when I pulled up to the studio he was in there. We talked for three or four hours, and I didn’t do a song until the fifth hour. [Paul] heard the beat, and as I was doing the song, I could see him jotting down something like a quote. I said it would be fire if he laid the quote down. He didn’t go against that. He did it, and the rest was history.

What other plans do you have in mind for the future?

I want to say being a CEO of a label, but I don’t want to say, "a CEO of a label." I just want to be a staple in music, where my name and brand is still flourishing whether I’m rapping or not. I have this dream of having a big state-of-the-art studio where I can help other artists. I’m nowhere near done rapping, but I just know later down the line I want to be thought of as someone who helped Detroit move forward in the music industry.

Where does Detroit rank among the best hip-hop cities?

People are definitely on the Detroit wave, but not like the Atlanta wave. I don’t think it’s as big as it could possibly get to, but I definitely think we’re shining right now.

We just have to keep making solid business moves and be a little more creative with our art. We have to show different things because we can have a wave of music, and then that might fade away. We have to make sure we are on our job to keep everything going.