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The first Dreamchasers, from 2011, was Meek’s big come-up moment it’s where he let loose with “House Party” and “I’ma Boss,” where he proved that his scattershot Philly style could resonate within rap’s mainstream.
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Last week, Meek revived Dreamchasers, the mixtape series where he’s done much of his best work. Somewhere during the whole Drake situation and everything that followed it, people somehow forgot that Meek Mill was the man who made “ Dreams & Nightmares (Intro),” that he was an absolute monster of a rapper. So it brings me great pleasure to report that Meek is back to rapping his ass off.
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(Someone on Twitter, I forget who, pointed out that Meek lost the feud the moment he decided to make the story about Drake getting pissed on in a movie theater a footnote in his response song, rather than the central thesis.) In a lot of ways, that ’90s hardass mentality was what made him great in the first place. Meek was working from an old street-rap playbook. It was almost mystifying - as if Meek believed that, just by exposing the idea that Drake had used ghostwriters, he would automatically win. It would be one thing if Meek had an answer loaded up and ready to go, or if he’d hit back with anything remotely comparable. People weren’t dancing to “Hit ‘Em Up” or “2nd Round KO” or “Ether.” Meek had inspired a culturally omnipresent artifact, one that existed entirely to spite him. It’s that it was a great song - great enough to work its way into just about every DJ set for months, great enough that people were dancing to it. It’s not that “Back To Back” had any lines that were especially withering. Drake gave us “ Back To Back,” an all-time great rap diss track. Meek turned in an absolutely historical bed-shitting performance. When it first started bubbling, I was excited finally, someone close to Drake’s level was going to challenge his dominance! It didn’t happen, of course. The outcome of the Meek Mill/Drake feud was not preordained. And then, with one nighttime tweetstorm, Meek undid so much of his work. After years of cultivating a fanbase nearly as passionate as he was - first as a young hyena on the local Philadelphia mixtape circuit, then as a supporting player in Rick Ross’ Maybach Music empire - he’d finally become a star. He’d planned a grand arena tour with Nicki. He’d released the deeply solid Dreams Worth More Than Money, which sold nearly 250,000 copies in its first week, handing Meek his first-ever #1. He’d skated right out of a prison stay into a relationship with Nicki Minaj. He made emotional music - music where, when you’re stopped at a light, you’re getting funny looks from the people in the car next to you because you’re rapping along too animatedly. Even when he was just talking about sex or money, he was intense and fiery and passionate. Alone in rap’s A-list, he rapped like he had words and ideas that he could not contain, like he’d be physically torn open if he did not rap this shit as loudly and aggressively as possible right this very second. Where the entire commercial rap world had drifted toward airy sonics and lyrical sensitivity, Meek stayed fearsome. “Why you had to go on the net,” he penned.A year and a half ago, Meek Mill was the most vital and most commercially relevant unreformed street-rapper left working. Meek Mill responded to the comment questioning why Hitkidd expressed himself online. I feel like Kanye when he walked into the Rocafella building.”
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I don’t want no clout from this, I NEED PEOPLE TO DO THEIR JOBS. I wished you gave me them same expectations you expect from the label that you’re signed to. So, I ponder as to why my situation isn’t better.
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You’ve made plenty statements about signing slave deals and labels not doing their jobs. “I never said nothing about having help nor asked for a handout. I represented very well for 3 years and NOBODY stood on business,” he wrote on social media. While Kanye and Meek Mill can be compared to advancing in the industry, Dreamchasers producer seems to have a shocking comparison of the two that may not be complimenting. Go to now to order,” he penned on Instagram. It’s time to take control and build our own.
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It’s time to free music from this oppressive system. Today artists get just 12% of the money the industry makes. “Donda 2 will only be available on my own platform, the Stem Player.