“Word to mother when I catch son I’mma’ soul clap him.”
Quandelle Parrish simulates smacking a person on both sides of their head simultaneously while ranting about Lil Yachty.
“Son gonna have red drippin’ down his cheek for real, he gonna think he got a bootleg dye.”
In June, Parrish received a $100K grant
from the Young Academy of Arts to follow his dreams of building a
studio for aspiring rappers in his Bedstuy, Brooklyn neighborhood,
but he has used most of the small fortune on trips throughout the
country to accost “mumble rappers.”
“Mumble rappers” are a new scourge to hip-hop traditionalists. Artists such as Lil Yachty, Lil
Uzi Vert and Desiigner are sidestepping the lazer sharp lyricism of
artists like Nas and Jay-Z to record drug-addled trap music with
questionable enunciation. Parrish says “they killing the game. How
they get a chance when it’s brothers dying to spit?”
When it was suggested that he had just received money to support those very artists, he continued yelling and threatened the photographer.
“I’m takin’ it back to the essence. Bars.. Turntables. Shootin’ the party up. Just like son on
Atlanta said. Niggas is getting’ punched in they face.
Childish Gambino a real n*gga for puttin’ that in the show.”
Parrish is seemingly unaware that
the character he referred to was a tongue-in-cheek mocking of
traditionalists like himself, so protective of the classic hip-hop
sound that they’re willing to take to violence.
So far, Parrish has traveled to 13
cities that artists like Yachty, Uzi and Soulja Boy have been
scheduled to perform in, but hasn’t yet come across any of the
rappers. He saw the Migos in a Hotel in Chicago, but says their security whisked them away when he brandished a pair of brass knuckles.
“I put together a spreadsheet of
all they performances and I saved it to my floppy disk,” he says
while jiggling the shorting power cord on his 2004 Windows XP laptop.
He says that the $100,000 he
received has dwindled to just $25,000. He’s bought first class plane tickets, four star hotels and “thousands of blunt wraps” in his pursuit of the
young rappers, but he still plans to purchase “a wal-mart mic and
some speakers” to fulfill his promises to the Young Academy. Though
many would say Parrish is wasting an opportunity to contribute to the
culture he loves by being divisive, he clarifies:
“The grant was for ‘work true to
the historical origins of hip-hop music,’” he says while holding up
the grant approval letter he received. “So I’m spendin the money
puttin’ in work, tryna run up on one of them n*ggas to bust they
s**t. Snapple cap facts. How is violence not true to hip-hop?”