MF DOOM has been gone for more than four years now, but the mysterious masked rapper’s legacy lives on. Since his passing in 2020 at age 49, podcasts and books have traced his life, while innumerable tributes in song and memorial sets at major festivals have highlighted the rapper's legacy. Now, there’s a revamped look at one of his most popular projects.

A deluxe 20th anniversary edition of DOOM’s 2004 album Mm..Food was released on Nov. 15 by Rhymesayers Entertainment and Metalface Records. It features previously hard-to-find remixes, including one by Madlib, as well as interview clips. There are also vinyl, CD, and cassette versions with extra goodies. 

Mm..Food is notable for many reasons. It is both bizarre even by DOOM’s eccentric standards (this is, after all, the guy who rapped an entire album as a Godzilla villain), and was also arguably his most commercially successful project, with multiple successful singles and even a gold certification.

It also has quite a history. Below are 10 fun facts you may not know about Mm..Food. And no, we don’t count the fact that the title is an anagram for MF DOOM’s name — consider that a bonus.

Every Song Has A Double Meaning

The album’s title is a clue to its major conceit: the songs are food (or sometimes drink) themed. But things aren’t always as they seem, especially with a supervillain.

"It had to be two things: It had to be a food people could relate to and there had to be another play on the word," DOOM explained to XXL. "So it's about finding a word where you can take two different approaches to it."

The idea was that, in addition to the surface explanation, there would be a second meaning for each song relevant either to hip-hop or to society at large.  

"Food is nourishment," DOOM said. "And this is nourishment on a hip-hop level." 

Mm..Food Gave DOOM His Only Platinum Single

MF DOOM has two certified gold albums — this record and his Madlib collaboration Madvillainy. Both reached that status just this year. But Mm..Food has two gold singles, "One Beer" and "Hoe Cakes."

Even more remarkably, the album also has a platinum one, DOOM’s only million-seller: "Rapp Snitch Knishes."

"Kookies" Had A Different Beat…And Contains A Surprising Second Meaning

The original beat for "Kookies," which appeared on initial pressings of the album (and is now billed as a remix), was produced by Just Blaze. The reason it was removed? It contained an unlicensed sample from a "Sesame Street" record that the producer got when he was six years old. Just tells the entire, very charming, story here. 

Per the album’s dual-meaning conceit, the song isn’t just about the kind of cookies you eat, DOOM explained in an interview that took place in 2004.

"‘Kookies’ is ill, totally on some Internet porn type s—," he told writer Luke Fox. "I notice when you online on some porn s—, the word cookies comes up. Oh, I guess that's the picture as it saves to your hard drive. They call those cookies. So, I got a fever for them cookies. I'm a cookie monster, trying to go into the cookie jar. 

"So, on the surface the song sounds like I'm talking about regular cookies," DOOM continued, "but there's little innuendos that'll let you know."

The Album Came With A Bonus Disk & Recipe

A bonus CD called, appropriately, Mm..LeftOvers was given away with some copies of the album. On the record are several remixes that have been repurposed for the Mm..Food 20th anniversary reissue. It also contains one of this writer’s favorite DOOM duets, the hilarious "Hot Guacamole" with MC Paul Barman. ("What type of ill type of ill tricks do the mask do?" Barman asks. "The faceplate remove, and I give chicks tattoo," DOOM responds.) 

In addition to music, the bonus disc comes with a bonus recipe from the artist himself, for "Villainous Mac & Cheeze." If you want to make the dish, you can find the recipe here.

DOOM Asked For A Surprising Change To The Cover Art  

Mm..Food’s cover shows a cartoon DOOM at a table, eating breakfast. But artist Jason Jägel’s original cover had one major difference from the version we’ve come to know and love: it showed the rapper smoking a blunt. 

Once the drawing came in, art director Jeff Jank got a request to remove the blunt. The ask didn’t come from the record label, or a nervous manager. Instead, it came directly from DOOM himself.

A Number Of The Beats Are Special Herbs

A lot of the music on Mm..Food is familiar to die-hard DOOM fans, because the beats appear with different titles on his Special Herbs series of instrumental albums. For example, Special Herbs, Vol. 4, 5 & 6, released a full year before Mm..Food, contains three beats that would show up on the album. 

It Has The Riskiest Stretch Of Any DOOM Album

Every review of Mm..Food complains about the long string of four consecutive skits that sits right in the middle of the album. Pitchfork, for example, called it "a nasty rut that makes Mm..Food? pretty much unplayable front-to-back after the first few spins."

Certainly, DOOM was aware that taking a full six and a half minutes in the middle of his LP to devote to skits might not be a popular decision — but he proceeded anyway. Audiences are left with a brilliant audio collage that advances his character’s narrative, ties into the themes of the album and gives nostalgic glimpses into his childhood via its samples, including The Electric Company.

The Album Inspired A Cookbook

Appropriately, a food-themed rap album inspired an actual cookbook. Bushwick Grill Club put together Mm..Food — The Recipes. It features spicy beef lettuce wraps (because of the album’s "Beef Rapp"), chopped cheese knishes (for "Rapp Snitch Knishes"), and more. 

Illustrated by Cassady Benson and written by food industry vet Frank Davis, the cookbook is "about taking an album where DOOM laid out a 15-dish menu and turning that motherf—er into a recipe zine," Davis wrote.

It Introduces A Different Comics-Inspired Alter Ego.

DOOM, of course, took his supervillain character from Doctor Doom. But on Mm..Food he inspired a friend to adopt a comic character personality as well. Rapper Stahhr appears on the song "Guinnessez" as "Angelika," a personality named for Angelica Jones, a.k.a. Firestar, from Spider-Man and His Amazing Friends. 

"I didn’t know that I was going to be named Angelika on the song," Stahhr told Complex. "DOOM called me one day and said, ‘Yo, I had this dream, you were flying, you had these blue lasers shooting out of your eyes. That’s your energy, really powerful, I want you to look [Firestar] up.’ I went to the comic book store, I bought all the comics about Firestar and I read them, like, ‘This is exactly me.’"

The Album Led To DOOM’s First National Tour

Amazingly for an artist who put out his first single under the MF DOOM moniker in 1997, it took until the Mm...Food album cycle for DOOM to mount a nationwide tour. The trek, with opener Brother Ali, took the villain from coast to coast. 

He kept the album’s culinary theme going even on the road, as a canned food drive was set up in conjunction with local food banks for each show. The Mm..Food Drive Tour reportedly raised over a thousand pounds of food.

Privately, Peanut Butter Wolf has always been a singer. It’s just that being the founder of the revered independent label Stones Throw Records is time consuming. For 28 years, the L.A.-based label has fearlessly released cutting-edge hip-hop, jazz, soul, and funk records, as well as innovative blends of those genres.

It’s been a slow burn to this moment, but on Dec. 6, Wolf will make his official debut as a lead singer in a covers project called Campus Christy. So determined to see this part of his musical life to fruition, Wolf uses his government name, Chris Manak. 

"I’ve always liked to sing," Wolf tells GRAMMY.com, adding that he sang a bit in a band with [former] label art director Jeff Jank. "We used to do  versions where I was singing. I always thought I sounded good, but when I heard the recordings after I was cringy. I was so off key. But then I started getting comfortable with it."

Campus Christy was developed in partnership with Brian Ellis, Egyptian Lover’s trusted co-producer and chameleonic studio wizard. The self-titled debut deftly moves through bombastic pop psych, space rock, twangy soft rock and psychedelic folk — the type of obscurities found through decades of crate digging. Even the most recognizable artist being covered, Neil Young, comes in the form of deep cut cover "Little Wing," the stripped-down opener from Young’s 1980 album Hawks & Doves.

If the cover choices have a unifying quality it’s that for Wolf, "people aren’t singing perfect. I think it’s more about having your emotion come through."

The last and only Peanut Butter Wolf album, My Vinyl Weighs A Ton — a collection of West Coast underground rappers over Wolf’s choice production — came in 1999, just three years after the DJ/producer founded Stones Throw. The subsequent years were spent proliferating the many faces of Madlib, experimenting with brilliant weirdos like James Pants, Vex Ruffin, and Koushik, introducing Mayer Hawthorne and DāM-Funk, and reintroducing the world to J Dilla and MF DOOM. At its heart, Stones Throw is a hip-hop label with a caveat from Wolf that the beauty of hip-hop is its acknowledgement of all musical forms and its ability to absorb those forms.

"I think that’s my mission statement at Stones Throw," he says, adding that that mission might not be particularly conscious. "Just to keep an open mind to different types of music. Be into groups and songs more than what genre it is."

Like all things Stones Throw, that ethos defines the Campus Christy record. Both projects are something of an extension of Peanut Butter Wolf’s personality: indifferent to genre, knowledgeable, but without snobbery — in a word, cool. From his home in Los Angeles, Peanut Butter Wolf spoke with GRAMMY.com about Campus Christy and the challenges of running an independent label for nearly 30 years.

The following conversation has been edited for length and clarity.

Campus Christy was originally your high school garage band’s name. What sound were those kids after?

It was a covers band; I still have the tape. We only did one show in our friend’s garage. I remember we did "All Day and All Night" by the Kinks — it was in the ‘80s; there was a ‘60s revival. We were discovering music from the ‘60s, but also we liked a lot of hip-hop and new wave. I think we did New Order. We did Kraftwerk’s "The Model," We did Buffalo Springfield. Really just party music, I guess. We also did "The Killing Moon."

Was there a catalyst that got you going to do this project?

It was really during lockdown. A lot of people have lockdown records; I’m not promoting it as that. It was during a lonely time where I wasn’t around anyone except my wife. Like a lot of people, I thought my life was in danger and I did lose people during that time too. 

[At the same time], I was finding stuff that I didn’t know about on Discogs. The songs I was connecting to were the kind of bedroom-sounding loner pop. It ended up being more of those songs that I was choosing [for Campus Christy].

What keeps you open to taking those kinds of sonic risks in running a label when it might be easier or more logical to lean into proven successes or the familiar?

I’m just exposed to a lot of music. Instagram has helped out a lot too. People send me stuff, but I seek stuff out on my own. 

I have a bar now [Highland Park's Gold Line] for six or seven years; we have DJs seven nights a week. It’s a vinyl bar with 10,000 records from my collection — I just love going in there. There’s younger people who make music that go there. It’s a meeting ground for a lot of people in the area of town that I live in. That’s become my happy place. There’s a lot of artists that are on my label that I got to know them at that bar.

Do the roster additions of Kiefer, Jerry Paper, John Caroll Kirby and Sudan Archives in the last five years feel like a sea change in the sonic direction of Stones Throw? These artists are bringing jazz, indie rock, new age fusion jazz, and experimental R&B into the catalog.

I think one change is just having the [recording] studio [at the Stones Throw office in Highland Park]. A lot of the stuff is recorded there. I think that might give it a similar sound sonically.

There’s a significant difference between the electro/synth pop of James Pants and the oddball indie rock of Jerry Paper, but also an overlap. There’s a difference between Madlib’s jazz experiments as Yesterday’s New Quintet and Kiefer’s jazz piano over a drum machine, but also kinda not.

You get it. [Electronic jazz musician] John Carroll Kirby’s been great. We’ve done so many records with him; he just signed with us for more. We generally do three album deals with people. One thing I’m thankful for is when people come back and they don’t necessarily have to. [Filipino-American beatmaker] Mndsgn is one of my favorite artists. We just signed with him to do more records after his three albums were done. We do have a lot of new artists; we just signed this guy Lionmilk; I’d put the genius word there.

Who would you like to see get more attention on the label?

I’ve always said [Filipino-American producer and singer] Vex Ruffin. I think Vex has a lot of great stuff. It’s been a longer journey for him. Part of that is he does have a family. Responsibilities make it tough for him to tour. I always feel like everyone on the label should be more known than they are. Sudan Archives just toured with André 3000 and has a lot of attention.

You also have to remember every artist has their own wants and needs in terms of how many fans they want. Some artists are happy with just having a record come out. Sometimes as the label, I get a little too excited and want a person to do that and this, but what I should be doing is asking them what their goals are and what they want. Then it becomes my job to help them realize that.

Part of the Stones Throw story is one of significant loss. How did MF DOOM’s passing in 2020 hit you, given the prior losses of Dilla and Charizma?

I’ve had a lot of losses.

The first rapper that I ever worked with, this guy Miles McNeese [a.k.a. MC Cool Breeze]. He was this guy in high school that really wanted to be a rapper. He borrowed a drum machine from somebody and gave it to me; we started making songs together. Miles was someone who really believed in me first. We recorded a lot of songs together. He eventually went to the army. I lost touch with him for awhile and I found out he committed suicide. That was one of my first losses. 

Then I put out a record with this group Lyrical Prophecy and the lead rapper in that group died early. Those two guys were before losing Charizma. Obviously Charizma was a big one. When I found out about DOOM I was still in shock and disbelief. [His family] wanted privacy for a few months before telling anybody.

DOOM was always a good guy. It’s just hard when someone has so much more to give and they leave us. With Dilla and DOOM they both were at the height of their game.

In 2026, it will be 30 years of Stones Throw. Do you ever think about retirement?

I’ve thought about retiring all the way through it. [Laughs.]

It is my life. My friendships are the people that I work with. We hang out not just for music things. I don’t really see any reason to take a step back at this point. Through the years I’ve had people who want to buy the label. I do have some offers right now, but I haven’t even fielded it really.

Does it feel like whether you’re at the helm or not, you want the label to keep going?

Well, my daughter likes Taylor Swift and Ariana Grande, so I don’t know how that would work out. [Laughs.] She is four. 

Blue Note is still around and they started in 1939, I think. Their first gold record — from what I read, I should look into this — was Nora Jones in the 2000s. [Editor's note: Come Away With Me was Blue Note’s first certified diamond record (2005).] The second one was a John Coltrane record from 1959. Our first gold album was Madvillainy, which just happened this year, 20 years after the release. The first gold singles are by Mild High Club, Los Retros, and Aloe Blacc is going to be the third one. Which is 20-something years later for Aloe Blacc.

You’re entering the golden years.

It is "the slow and steady wins the race" for me. The stuff that I like wasn’t always necessarily on top of the charts or even the top of the hip-hop charts. Main Source [album Breaking Atoms] was probably my favorite album of 1991 and it didn’t chart that high. DOOM’s KMD project didn’t chart at all. When we worked with him, it didn’t do that well for us either. It did better than most things on Stones Throw, but really at that point none of us thought it was going to reach another generation and become heralded as one of the most important hip-hop albums of all time.

Havoc is excited. The Mobb Deep MC and acclaimed industry producer is preparing to film a video with Wu-Tang Clan MC-turned-actor and Internet crush Method Man, and the thought of new music for the masses has him thrilled to pieces.

"This shit is about to be fire," he says enthusiastically. "I can't wait for everybody to check it out."

This single is dropping as part of a larger project with Method Man, which will serve as a tribute to their fallen comrades Ol' Dirty Bastard (ODB) and Prodigy, respectively. But that's not the only new music in the pipeline: after getting the blessing from his late rap partner estate, Havoc will drop the final Mobb Deep album featuring never-before-released verses from the late, great Prodigy, and production by longtime Mobb Deep producer Alchemist, on November 2nd, 2024 — on what would have been Prodigy's 50th birthday.

Born Kejuan Muchita in Brooklyn, New York, Havoc was raised in the Queensbridge Housing Project — the same place that would give the world rappers like MC Shan, Cormega, and of course, Nas — and attended the High School of Art & Design in Manhattan, where he met Albert Johnson (later known as Prodigy). There, the duo would form Poetical Prophets, which later became "The Infamous" Mobb Deep. 

Havoc isn't only known for his rhymes — whether as a solo artist, notably on "American Nightmare," where he traded bars with ex-Juice Crew MC Kool G Rap, or as one-half of Mobb Deep. He's also become one of the most acclaimed producers in hip-hop, sitting behind the boards crafting tracks for Lil Wayne, 2 Chainz, and Eminem. 

GRAMMY.com spoke with Havoc to talk about his new projects, his legacy with Mobb Deep, and how being both a rapper and a producer is a blessing and a curse.

This interview has been edited for length and clarity.

Let's just dive right into it. Let's talk about your new single with Method Man and your new album.

The concept of the album is to pay tribute to our loved ones who passed away — to Ol' Dirty Bastard, and to Prodigy. We thought it would be cool to do a salute to them. Method Man and I had worked together before this — and seeing that we worked together so well, you know, we decided to do it again. 

With the Mobb Deep album: that's been a long time in the making. I wanted to make it years ago, but it wasn't completely my decision. I also needed to work with Prodigy's estate, and they needed time to come to terms with the idea. I gave them as much time as they needed — and of course, we hit a few bumps in the road, but nothing major. We were finally like, "It's time." It's time to continue with the Mobb Deep legacy — to remember Prodigy — and to give the supporters the music that they miss, and love, from Mobb Deep. 

Alchemist was one of the people that we worked with when we did the Mobb Deep albums. We were always in contact because we were good friends — and I wanted to have him included to keep up with the Mobb Deep tradition. His inclusion is what our supporters would expect from a classic Mobb Deep album. 

I wanted to explore, a little bit, what you said earlier about collaborating with Method Man to both pay tribute to your fallen comrades, and to produce new music. How much of it would you say is paying tribute to ODB and Prodigy, while educating young heads about their history — and how much of it is the "new sound" that's representative of where you two are in your careers right now?

It's equally a bit of both. We're talking about where we're at right now in our careers and our lives — we're both older now. Method Man really doesn't like to curse too much, and I understand — but I'm on there, talking my talk, as usual. Nonetheless, Method Man is in the greatest space he's ever been in, in his life.

You also have a great deal of influence in hip-hop as a producer. Some may go so far as to say that you're one of the most iconic producers of all time. From your perspective, the two-fold question is this: would you say your impact is more felt as a rapper, or as a producer? And is that your legacy, in this industry, and how you'd like to be remembered?

I believe I'm better received as a producer than as a rapper — which is kind of like a gift and a curse. It doesn't bother me too much, but I pour a lot of my heart into writing — I started as a rapper first, and did production later. 

I don't know how the transition happened — how I became better known for my production work more than my rapping — but I'd love for people to know how rapping is indeed my passion, because, to me, it's tough being a rapper that writes his lyrics and does his production at the same time. That's a big leap. If you could ask any rapper that same question, they'd tell you that it's a lot to do. 

I'm happy that I'm being recognized, but I'd like respect for my pen game. 

Let's go back to the early years — 1991, and your appearance in "Unsigned Hype" in The Source when you started to make headway in the mixtape scene in New York. Did you recognize that you were tapping into something special, or did that recognition come later?

I think we knew we tapped into something special, whether people recognized it at the time or not. So, when the recognition from a broader audience came along, it just affirmed what we knew all along. 

With "Unsigned Hype," that opened the floodgates for us. One thing led to another, we signed our first record deal, and that's when we started releasing our singles and working with Wu-Tang Clan and other artists. That's when we took hip-hop by storm. So we knew that we'd tapped into something special, and we hadn't even finished the full album yet. 

Read more: The Unending Evolution Of The Mixtape: "Without Mixtapes, There Would Be No Hip-Hop"

Where did your mind go with it, once you realized that? Did that change the way you made music, from that point forward?

I believe so. We had a unique recipe, and we followed that recipe for the rest of our career. And we knew that people wanted a specific sound from us, and they wanted us. They didn't want Nas, or Big L, or even Biggie. They wanted Mobb Deep. So we never tried to be like anyone else — we just gave them us, and that was the winning formula.

How did you handle being drawn into the intense East Coast-West Coast feud, particularly after 2Pac named you in 'Hit 'Em Up'?

We were ready for it. We were prepared for war. Look, hip-hop is a contact sport. It is very competitive. So I just looked at it as a rap battle. At the time, I looked at it and thought, "Well, maybe when we see each other in person, there will be a little scuffle." We're artists — we might rap about certain things, and speak about political issues and life in the hood, but at the end of the day, we're entertainers. 

I thought people had more respect for human life. I never thought it was a life-and-death game. But when it became a life-and-death game, it shook the core of my existence. I didn't like it at all. And I don't believe that anybody involved — not Pac, not Big, not anybody — deserved to lose their life over some rap beef. 

It made me paranoid, and I believe I still have PTSD over it. Biggie Smalls and I share the same birthday. So it hits closer to home for me. 

Did you ever get a chance to squash the beef with Pac while he was still alive?

Not at all. He died in the middle of our beef. We put a record out called "Drop a Gem on 'em" in response to "Hit ‘Em Up." We put the single on the radio — it was clear we were dissin' Pac — and, not even seven days after we first dropped the single, we found out he got shot in Vegas. And we pulled the record from the radio — purposefully.

It wasn't until maybe 20 years after the fact that we got a chance to speak with Snoop Dogg. I never thought I'd get a chance to chill around West Coast rappers, but time heals everything. Now, I'm friends with Tha Dogg Pound. I'm friends with Snoop Dogg. I'm in Los Angeles all the time. But that was way down the line.

You have to understand that when it came to Snoop, we didn't have any "beef" to squash, especially after Biggie and Pac were murdered. Once we started hanging out with West Coast artists, we knew that beef was over — and I believe the media hyped it up more than it needed to be, to be honest. No life is worth losing over some rap beef. 

For a brief period, you and Prodigy weren't on the best of terms. You even engaged in a bit of a Twitter (now X) back-and-forth that left many fans — myself included — bewildered. Looking back on all of it now, what was the issue at hand, and how did you guys resolve it?

Prodigy and I have known each other for so long, we're brothers. Internally, differences were brewing — but when you're brothers, you're going to get into arguments and disagreements, but at the end of the day, you still love one another, and you're going to work things out. 

It was never meant to spill over into the public. And I take responsibility for that. I expressed myself publicly at a time when I shouldn't have been near any electronic devices, you know what I'm saying? I was drinking, and you're emotional when you're drinking — but when I was sober, I realized what I was doing was wrong. 

I'm not going to go on record to say what we were beefing about, but at the time, I thought it was valid. Prodigy and I squashed it a year later, though — we knew it was bad for business, plus, we'd known each other for too long to let it go on like this. 

Let's touch a little bit on the G-Unit years. There's a lot that you did with the label — and you'd already had that relationship with 50 Cent before the signing. So, tell us what you learned during the G-Unit era about the business, hip-hop, and so on.

I'd begun working on a solo album, and the late Chris Lighty was my manager. He'd told me about this young dude named 50 Cent, and I heard some of his stuff and I was blown away. 

I'd told Lighty that I wanted to work with Fif, and 24 hours later, I had him in my studio. At the time, he told me how much he'd admired Mobb Deep, while also hinting that he was considering working with Eminem and Dr. Dre, as they'd shown some interest. He'd even asked me what I thought he should do! 

Well, my solo album never came out. Years later, when Mobb Deep got shifted around from label to label, and got dropped from Jive Records, Fif had already sold 10 million records with Get Rich or Die Tryin'. And I didn't believe that he'd even remember me — but when he heard what happened, he called me up and said he wanted to sign Mobb Deep.

Prodigy initially didn't want to do it, but he changed his mind once he sat down with 50 Cent. The rest, as they say, is history. I was so pleased to be down with a crew that had sold so many records. But a lot of our fans, at the time, was hatin' on it. They thought we'd sold out. 

I don't even know where to begin with this, but: let's talk about Prodigy's death. It was a gut punch to me, and I can't imagine how it was for you. Where did you find the resolve to take on the responsibility of being the torch-bearer for all things Mobb Deep once Prodigy was gone?

I found it while I was thinking about Prodigy. I was thinking about him, and I was saying, "If God forbid, the shoe was on the other foot, he'd be moving forward." He'd be celebrating the Mobb Deep legacy. I don't think he'd want Mobb Deep to fall to the wayside. He'd be missing me like crazy, but he'd be taking Mobb Deep to the next level. 

With that, I found the resolve. I then thought about the supporters, and how they deserved one last Mobb Deep project. And I'm gonna make sure that happens because I don't want to be the one that fumbled the ball just because Prodigy isn't here. I'm the one who has to make sure that the masses hear it. 

And this is the last Mobb Deep album. At least, for now. There are still plenty of Mobb Deep verses to go around, but that's not for me to decide. I spoke to the estate about this album, and this album only. That's where my focus is. 

So, after this final Mobb Deep hurrah, what is next for Havoc?

There are a lot of things I want to get involved with — documentaries, film scoring, getting my label off the ground, mentoring young artists — that I don't think I'll ever be bored. No, there won't be any Mobb Deep anymore, but there's still Havoc. And that's my legacy. 

Hip-hop in Brazil has always been women's turf. From pioneers like Dina Di to mainstays such as Chris SNJ, Kmila CDD, and Negra Li, female rappers have never put the mic down since first grabbing it in the early 1990s.

Yet, despite the steady growth of Brazilian hip-hop in the last decade, women are often overlooked compared to their male counterparts — some of whom lack the skill but still enjoy the fruits of fame.

This dynamic is common in many countries, such as the U.S. and England. But, like Megan Thee Stallion and Ice Spice, Brazilian rappers are rewriting the game. In recent years, names like Ajuliacosta and Tasha & Tracie have made a mark on the country's hip-hop scene; their solid releases fueled by sharp rhyming and performances loaded in artistry. These artists run a wide gamut of subgenres, exploring sounds as much as their lyrical horizons. Social issues, racism, sex, love, and anti-LGBTQ+phobia — there's a lot in their lyrical arsenal.

Read more: A Timeline Of Brazilian Hip-Hop: From The Ruas To The Red Carpet

Read on for a selection of women in Brazil's diverse hip-hop scene, a world that melds together baile funk and trap, southern beats and grime, traditional chants and fast bars. Continuing the tradition of resistance while reshaping the present and future of Brazilian hip-hop, these artists keep the mics and bars high.

Hailing from Mogi das Cruzes, in the outskirts of São Paulo, Ajuliacosta is amongst the most relevant names of Brazilian hip-hop today. Her laidback flow and sharp pen are a statement against a rap scene used to praising ordinary speed-flow and pointless braggadocio. 

AJC has performed at several festivals since her debut, 2023's Brutas Amam, Choram e Sentem Raiva. On that record, Julia moves swiftly through her personas: the loving demoiselle, the saddened girlfriend and the merciless OG. All of that is filtered by the perspective of an independent Black woman from a favela whose flow slides on bars and reiterates words to make them stronger. Self-titled a chavosa (stylish) majesty, she sings in "Queen Chavosa": "The hussle, it's us. The support, it's us. The sponsor, it's us." 

Suav is a stylized writing of "suave," the Brazilian Portuguese word for "smooth." Indeed, Anna Suav's voice can be quite soothing, with words that caress the listeners' ears through her R&B-laced hip-hop. But Anna can also play the warrior, a fierce bar-spitter who proudly shouts out her region, the Amazon rainforest.

On "Dengosa & Brabona" — a Jersey bounce joint released in last June featuring brega funk (a variant of baile funk) MC Rayssa Dias — Anna transforms the rapid beats into a soulful bed for her warm vocals. In "Levante," alongside fellow Northern rapper Bruna BG, she declares: "From where we come, there will be more." 

Indeed, over the past decades, artists hailing from the Amazon region have been claiming more space and recognition in the South-centered Brazilian music industry. Female hip-hop artists like Anna Suav, Bruna BG, Nic Dias and Nega Ysah are leading the front. 

Born and raised in Salvador, Bahia, Áurea is one the most versatile contenders on the rise. Her concise, but purposeful catalog showcases an artist unafraid to bend rap according to her taste. Where spitting rhymes over the modern, percussion-laden strain of samba known as pagodão or going all-out on grime beats, Áurea wastes no bar. "My flag is black, my voice is a shotgun," she fires in her performance in the YouTube channel Brasil Grime Show.

With the mic in hand, she not only claims a space for her own music but also for Bahia's hip-hop scene. The state, home to Brazil's largest Black population, has birthed several prominent rap acts, including Opanijé, Afrogueto, and Vandall.

Whether acting, writing, performing on theater stages, or improvising in an Instagram video, Bione embodies the versatility and sharpness of rap. A remarkable alumna from Slam das Minas PE — one of Brazil's most influential poetry slams — Bione is a multifaceted talent who explores hip-hop through various forms. 

Born and raised in Pernambuco, a northeastern state celebrated for its cultural richness from literature to music and carnaval, Bione first arrived on the scene in 2019. On her 2022 debut album, Ego, Bione collaborated with Mãe Beth de Oxum, a pillar of local Black traditions, and fresh voices from brega funk. On the track "Deixa as Garota Brincar," she boldly declares, "[The male rappers] tried to make me afraid of them, but now they're afraid of me."

Duquesa, which translates to "duchess," is the title young Jeysa Ribeiro chose for herself when she set out to claim her spot among Brazilian rap royalty. She is certainly living up to the name: In just a few years, the rapper from Bahia has risen from an impromptu first performance at a book release event to becoming one of the most recognizable names in Brazilian hip-hop. Her success is underscored by her nomination for Best New International Artist at the BET Awards 2024.

Whether spitting bars over a fast-paced drill beat or gliding smoothly over an R&B groove, Duquesa embraces both the blessing and the responsibility of her growing reputation: "I don't have time (...) I'm worried about getting rich this year, everybody's asking me about my next release," she sings in "Turma da Duq" ("Duq's Crew"). Her career is guided by the legendary Mano Brown, leader of the iconic Brazilian hip-hop group Racionais MCs, a weighty association she handles with ease — her talent speaks for itself.

Showing off an impressive style of grandiloquent bars and melodic, yet corrosive prosody, Ebony is a name that should not be forgotten. She has released two albums in the past three years, Visão Periférica (2021) and Terapia (2023) and has remained a significant presence in the hip-hop conversation. Whether through her clever pen in singles and features with up-and-coming names such as Urias and Carlos do Complexo or her talent for engaging in fiery debates within Brazilian hip-hop, she has stayed relevant.

One such debate she ignited herself in late 2023 with "Espero Que Entendam." The track is a powerful diss aimed at the top-tier male rappers in Brazil, and produced in collaboration with producer Larinhx, and their male-dominated hegemony: "I told them I have bars/if I start to spit them, they will be shocked," she rhymes.

Hailing from São Paulo’s West Side, MC Luanna blends the city's downtempo, rap-infused baile funk with the rebellious spirit of classic hip-hop. The result is a modern, unique sound — a mix of antihero, rude girl lyrics delivered with a laid-back flow.

In her 2022 album 44, MC Luanna paints a sharp portrait of a young Black woman navigating the challenges of São Paulo. With precise rhymes, she seamlessly weaves together themes of hedonistic love, loyal friendships, and outshining her rivals with her skillful lines.

When Monna Brutal raps, it's time to learn. In her arsenal, you'll find a feverish pace and sharp wordplay, along with laid-back phrasing and tongue-in-cheek punchlines. 

Born in Guarulhos, on the outskirts of São Paulo, Monna Brutal has been paving a solid path in Brazilian hip-hop. Her four albums (from 2018's 9/11 to the 2024's Vista Grossa) showcase an artist confident in her power. Monna tackles fake stars, social issues, and LGBTQIA+ discrimination with the same gnarly bite. In "Hashtag," she spits a fiery warning: "If you try to beat me up, you'll be my next track."

Showing off a Slipknot t-shirt on her TikTok account, flaring neon-colored laces on a music video, and keeping her fancy nails always sharp, Slipmami won't go unnoticed. And clothing is just a piece of the puzzle she brings to the table. The Rio de Janeiro rapper is a blend that only hip-hop could create: a cross-pollination of anime characters and precise, lascivious lines.

Her 2023 debut album, Malvatrem, is a fierce statement from a girl who knows what she wants — both in bed and in the streets. She rhymes over finger-snapping beats, dirty South jams, baile funk drums, and grim chords. Whether on tight tempos or loose trap vibes, Slipmami spares no bars and no one.

Brazilians of Nigerian descent, twin siblings Tasha and Tracie have been stirring up  Brazilian street culture for a couple of years. They first emerged into the hip-hop world in the mid-2010s as bloggers who praised Brazilian favela sartorial style as much more than a trend — it was a lifestyle. They were right, and in 2021 they brought their life experiences to music with their debut, Diretoria.

The album sent shockwaves through Brazil's hip-hop scene, showcasing a duo that could deliver abrasive lines and mellow double entendres, straightforward jabs, and clever wordplay. Since then, the sisters have kept their pen and mic busy via features and collaborations, such as the gritty "Drop da Santa"—a nod to São Paulo favela kids who wear Santander/Ferrari garments exclusively.

29-year-old hip-hop artist Tierra Whack returned to the GRAMMY spotlight on September 6 for "An Evening with Tierra Whack" at Brooklyn’s National Sawdust. Part of the GRAMMY Museum's New York City program series, the event was moderated by journalist Ivie Ani and aimed to bring the renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast.

Before taking the stage for an engaging conversation and performance, Whack sat down with GRAMMY.com for an intimate backstage interview. Reflecting on her journey and the significance of being back under the GRAMMY umbrella, she expressed, "It feels like the first time, honestly. Every event. Every opportunity. I treat it just like a fresh start… I'm always happy to be here."

March 2024 marked the release of Whack’s debut studio album, World Wide Whack, which she followed up with her first Tiny Desk concert over the summer. Catchy cut "Shower Song" melds '80s electro and Whack's upbeat singing voice, along with a similarly fun music video, thanks to her collaboration with conceptual artist Alex Da Corte.

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 & 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

Many of Whack's songs focus on the ordinary. Take "Mumbo Jumbo," inspired by a visit to the dentist. "Everybody has a fear of the dentist. I love the dentist. I just played off of that," Whack said. The song's distinctive sound came about because she recorded it shortly after having a tooth pulled. "Mumbo Jumbo" reflects her experience and commitment to self-expression, even when words don't come out as expected.

Read more: 5 Women Essential To Rap: Cardi B, Lil' Kim, MC Lyte, Sylvia Robinson & Tierra Whack

Staying Grounded Amid Stardom

Whack remains humble despite her growing fame. Candid about her struggles with mental health (her song "27 Club" deals with these challenges), she spoke about living her dream and connecting with her idols. "I remember I used to cry watching music videos. Missy Elliott, Busta Rhymes. And now I can call those people my friends," she said. "This is crazy. I see my phone ringing and I'm like 'oh Jill Scott is really calling me.'"

This humility shone through when twin sisters asked to sing in front of everyone. "You two are amazing. You actually made my night," Whack responded. Following her performance, she insisted everyone at National Sawdust join her for a group selfie, showcasing her inclusive spirit.