Andre 3000’s iconic Source Awards moment is really emblematic of southern culture.
Something less discussed as time has went on is that when Andre said this to this crowd, he got boo’d. Southern hip hop was still not accepted into the mainstream hip-hop community which at the time was dominated primarily by the East & West coast.
Despite the fact that most African Americans live in the South and trace their roots down here, there is still quite a stigma about us. I think that reputation still heavily lingers despite the popularity that southern Black culture has had in entertainment for the past 20 years.
In particular, much of our perception of southern rap has really centered around Atlanta & trap. Because the Atlanta sound took over mainstream rap for so long, we’re only just now seeing other sounds being explored and be popular by mainstream consumers.
Because of this, I think many artists get really nonsensical ‘critiques’ on social media that really exposes a lack of knowledge on southern rap.
For instance, the very popular phonk, vaporwave and ‘slowed and reverb’ remixes that we see all over Youtube and TikTok is a gentrified chopped & screwed.
To put it simply, we’re forgetting recipes yall.
If there was ever an essential piece of media to cover hip-hop from a historical perspective, i have to mention the documentary, Hip-Hop Evolution. Hosted by a great conscious rapper from Canada, Shad, the doc has several episodes digging into the history, forgotten stories, and how different sub-genres unfolded within hip-hop.
In particular, Season 4’s ‘The Southern Lab,’ S3’s ‘The Dirty South’ and more all discuss a range of stories from Houston, Miami, Memphis, Atlanta, Louisiana, Houston, and Virginia. (Yes, Virginia is the South, let’s not have this debate)
In particular, I want to hone in on the story of the Geto Boys in Houston from S2’s ‘The Southern Way. Keep in mind, there may be some oversimplification and generalizations to make my points, I do recommend watching the full 4 seasons of the doc.
The doc does a great job at showcasing what led to the mindset change within southern rap to being more accepted.
Bun B, of Houston group UGK, highlights a a great point about the early days of rap battles in the 80s that were extremely intense in the South because of the lack of record labels combined with not only fighting the battle of skill amongst themselves but also fighting pre-conceptions of southerners as hillbillies and as “lesser intelligent individuals.” It hardens you as a rapper.
Thus, part of the Geto Boys appeal that led to their popularity is how each member captured a different aspects of Southern personality.
The group overall are important figures for southern gangsta rap.
Scarface is often considered one of the best Southern lyricists but the one I have to highlight in particular is Bushwick Bill.
Someone whose lyricism and outward expression became synonymous as horrorcore rap, infusing supernatural/horror theme into production, imagery, and lyrics. The group’s first major hit, ‘Mind Playing Tricks on Me’ is a great representation of that mental anguish and haunted life of a southern gangster that they captured.
The Geto Boys are not the only foundational rappers of the South but they are one of the ones to help break down the gatekeeping barrier that old-school hip-hop had for Southern rap. They helped prove to the South that southern rappers had a place, and in particular for Houston, set the path for other groups like UGK to start making music.
So if you follow my line of thinking, we can see the legacy that leads to the likes of Megan Thee Stallion.
I won’t spoil everything but I always recommend this doc because it really hits any blind spots you may have. We have this conception that history happens very linear as if events and culture did not co-exist and mingle with each other at the same time. This doc does a great job at showcasing how sub-genres weaved together and other cultural influences played a part in hip-hop’s history. Its certainly one of the most respectful mainstream docs I’ve seen to capturing the genre’s history while still feeling authentic to the culture and its artists.
Hip-hop has always been a collaborative genre but I really think no other region really represents it well than the South.
So, when we’re talking about a rapper like Megan, I often see these unfounded critiques to me that her flow is the same, her cadence is boring, etc etc.
Megan is just a Houston southern rapper with Memphis & pop music influences. This most recent album of hers is a great example. It feels very indulgent in bringing those influences, her dweeb & unique personality, and giving at least every type of sub-genre within rap that appeals to her a spotlight.
As the album is named Megan, its a great self-titled concept of covering all aspects of herself within the album. It’s a more positive follow-up to Traumazine which covered the recent struggles within her life and in the public eye. Megan is a concept that definitely could be seen as not as cohesive but I have to appreciate how she took it regardless.
With all this said, Megan has a couple songs and choices for this era that really exemplifies how true to this she is as a rapper and her southern roots that continues to be underplayed in media coverage of her.
The excitement I went through when these two first collab together was through the roof.
It’s too obvious at this point to ignore that female rappers are killing the hip-hop game right now. What will never be discussed enough is how most of them are southern rappers.
Latto, Megan, GloRilla, Flo Milli, Monaleo - just to name a few.
Once the friendship between Meg & Glo really solidified, I just smiled with glee at seeing two black southern girlies having the time of their lives together.
GloRilla is such a great collaborator for Meg because of her Memphis, low-rider, crunk influence. Its a sound that goes right alongside Megan as much of Houston rap is intertwined with Memphis. Both of their cadences and flows carry those 'dirty South’ tones and for me, harkens to a familial energy that anyone whose experienced the South relates to. Glo in particular has a tone that reminds me of my father’s family in the deep south.
If you’ve heard Project Pat or anything Three 6 Mafia, Glo fits right alongside it and I hope one day she does a full-out horror-core track.
There is a rawness to both their vocals that makes their cadence so present in their tracks. You’ll often hear people talk about how aggressive Meg or Glo are when they first come on the beat. But if you go back and listen to all the southern artists I reference and especially the ones that inspire them, that’s just how most southerners speak and typically rap anyway.
In particular, the song ‘Paper Together’ on Megan is evocative of everything I just discussed. Not only by having UGK featured, known now to be one of Megan’s biggest influences, but also the track is produced by Juicy J, a Memphis rapper.
It fully encompasses Megan’s roots in one track and I think a great flex of her place within southern rap.
Nothing else hits this point more than the fact that she mentions her ‘Tina Snow’ alter-ego in a verse on this track as ‘Tina Snow’ is named after Pimp C.
Paper Together is a song that I know my southern old-head father would enjoy. One that I could throw on while we’re riding down the road together.
Personally, I think its one of the best tracks on the album but as this essay should teach you. Southern rap at its most authentic, is always going to be a little niche.
At most we can ask for is proper recognition and appreciation.
Like she says in the track “Please put some motherf*ckin respect on Texas royalty’
Thinking back to my introduction, it should be noted that the constant undervaluing of Megan’s talent as an artist comes from her authentic southernness. Megan has made waves within mainstream female rap certainly but of the two major lanes of pussy rap & pop rap, Megan has paved her own southern pussy rap sound in the likes of a Foxy Brown, Trina, or even Eve.
Online, I often find that female rappers are expected to have this pop-rap vocal (i.e like a Doja or Nicki type) of switching your voices around, ‘alter-ego’ type that is great lane on its own. But its not what is the only way of making rap as a female. It’s just what has become the norm, most acceptable for mass market appeal.
I applaud Megan, she chooses to make her pop-rap in her own way and doesn’t fall into the pressure that it has to look a certain way. I love she keeps her southern tone.
Mamushi & Otaku Hot Girl are obviously the most popular pop-rap songs off this album but for their obvious dweeb and gamer appeal which is still very different and unique. But an underrated one that screams Megan to me is Downstairs DJ.
It’s just a fun concept, I love how she writes the DJ motif throughout the lyrics. Megan just has hilarious wordplay.
The entire phrase of "Me, myself and I, and a rose/Ebony lezzy, Xvideos’ got a giggle out of me. Megan’s unabashed sexuality has this level of authenticity & relatability to it..
You just hear that lyric and you know so many people relate to but wouldn’t say it quite as loud but Megan’s music really gives you that place to let it out. As much of pussy rap does.
We can’t deny that Megan is one of the biggest scapegoats within the public eye with her free expression of female sexuality to critique black women through. Between Hot Girl Summer, the horrid actions & response to Tory Lanez, her feud with Nicki, and WAP - Megan can be looked at through the lens of fighting against misogynoir and patriarchy within the black community.
She challenges so many notions through her music and how she carries herself and not enough connections are made to how her southern roots play into all of it.
There is a unique story to the plight of Southern black women. I think Megan continues a long legacy that due to respectability politics, people do not want to associate to her. Even now, I know someone reading this will think I’m overdoing her impact.
Outside of Beyonce, name me another major black southern female figure in the entertainment industry with the reach Megan has. Certainly not one that gives such representation for queer, black southern nerds and dweebs.
She’s not a perfect person, don’t mistake this as idolization, I’m giving her her flowers because I know, myself as a black southern woman, think I can put a good perspective compared to others.
Because of Megan’s place within rap as a woman, misogynoir keeps her from being fully recognized as a great within southern rap.
Even when you think of the legacy of southern rap, you hear about the Outkasts, the T.I’s, the Ludacris, the Migos, and so on. But rarely nor do we uplift enough to Trina, Rapsody, Gangsta Boo, or Diamond & Princess. Missy Elliott is the only person I’d argue whose gotten her dues and even then, I still think she could get more love. (my shock when I found out her upcoming tour is her first headlining one!!)
Megan’s artistry so far showcases how she infuses her personality into her lyricism while infusing her familial and southern roots into her production and sound.
When you go re-listen to her discography, I want you to pick up the inspirations on the track and think again about whether Megan’s cadence/flow/whatever is actually bad or if its just a southern sound you might have missed out on.
No media recommendations this week. I mean it should be obvious.
See you all soon & don’t forget to share on your socials & subscribe for future essays!