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“ I was great at rhyming the moment I started— I was nine years old. I was never not good.”
That early confidence was less boastful than it was prophetic. His creativity was not learned; it was innate, a calling rather than a choice.
Black Star Rising and Solo Ascent
Flashmag! Issue 168 January 2026
The late 1990s marked Bey’ s emergence as a vital voice in hip-hop’ s conscious rap movement. His 1998 collaboration with Talib Kweli as Black Star, culminating in the acclaimed album Mos Def & Talib Kweli Are Black Star, first announced his arrival as a potent force in hip-hop. This project offered a refreshing alternative to the commercial excess dominating the genre at the time, showcasing lyrical dexterity and thoughtful social commentary.
His 1999 solo debut, Black on Both Sides, arrived as a manifesto— a dense, poetic exploration of Black identity, urban struggle, and artistic integrity. In conversations about his early work, Bey has consistently emphasized music as a vehicle for truth-telling. Speaking about his approach to hip-hop, he once reflected that the culture represents more than mere entertainment; it’ s a form of journalism from the streets, a way of documenting and dignifying experiences that mainstream society often overlooks. This commitment highlights his early dedication to authenticity and originality, viewing his artistry as a unique and personal expression.
Reflecting on that chapter, Bey once said:
“ Hip-hop has always been a kind of journalism. It’ s how we report what’ s going on around us. I don’ t rap to entertain— I rap to tell the truth.”
His work was never about trend-chasing. It was about bearing witness.
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