On a warm summer night in South Dallas, the parking lot at the South Dallas Cultural Center overflowed with people, purpose, and pride. It wasn’t just an event—it was a cultural gathering, a community statement, and a moment of reverence for the sounds that have shaped generations. In celebration of Black Music Month, DW partnered with cultural curator and community connector Cimajie Best to present “The South Got Something to Say,” a sold-out conversation and celebration of Southern hip-hop and its undeniable impact on the broader Black music legacy.
Black Music Month, officially recognized by President Jimmy Carter in 1979 and reaffirmed by President Biden in 2021, serves as a national call to honor the contributions of Black artists to America’s soundtrack. It’s a time to not only reflect on the music that moves us but also to uplift the communities, cities, and creators that gave it birth. For Dallas—a city rich with rhythm, innovation, and untold stories—Black Music Month is an opportunity to reclaim space, celebrate cultural identity, and ensure that Southern voices are not just heard, but respected.
While Dallas Weekly has covered and honored Black Music Month for years, this year’s event had a distinct flavor—a deeper intentionality. Instead of centering mainstream narratives, “The South Got Something to Say” was a love letter to Southern creators, the cultural keepers who’ve shaped hip-hop from backyards and block parties to global stages. And what better place to host it than the South Dallas Cultural Center—a creative institution that has cultivated, supported, and celebrated Black artists since its founding in 1997.
That location choice was no coincidence. From 1997 to 2012, under the leadership of nationally acclaimed artist and activist Vicki Meek—affectionately known as “Mama V”—the center served as a launching pad for legends. Erykah Badu once roamed its halls. Carmen Rodgers was discovered and shared her voice there. Deb Roberts and Delita Martin are two of the most recognized Black artists in the world, both mentored by Meek. Generations of Dallas artists passed through its doors, finding a home for their work and a place for their stories to live. Before a single panel question was asked or beat was dropped, the evening began with a heartfelt tribute to Vicki Meek—an acknowledgment that without her vision, nights like this wouldn’t be possible.
As attendees made their way through the venue, they were greeted with an immersive visual experience curated by Jerry Hawkins M. Ed., a nationally recognized educator, historian, artist and archivist. Hawkins transformed the lobby into a visual timeline of hip-hop history. Original covers from hip-hop magazines like The Source, VIBE, and XXL laid beside iconic album art from legends like Outkast, Dr. Dre, and Dallas’ own The D.O.C. It felt more like a museum than a pre-show—and that was the point. It was about preservation as much as celebration.
Then, the doors opened.
Three local artists opened the evening with live performances—offering raw, original music that reminded the audience just how deep Dallas’ talent pool runs. First up was Billy White a West Dallas rapper who flexed his lyricism. Then the crowd was swooned by singer Hanani, who’s songs showcased a love for classic R&B with an infusion of hip-hop. And Hanani was sure to represent for Arlington every chance he got! The final performance was from Qiyah Abdul, who’s voice and transparency had the crowd locked in. Qiyah shared that her love for hip-hop was truly personal. “I took off work for this y’all!” From break-up songs to memories with her father—also a producer— she made it clear that her love for hip-hop was undeniable. Each performance was an affirmation that the city isn’t just home to stars—it’s growing the next generation of them, too.
But the moment energy jumped a few notches was when BoogieLand hit the stage. A local dance group led by Quinton “Icebreaker” Winston, an award-winning choreographer who also teaches at Booker T. Washington High School, BoogieLand fused high-energy performance with cultural education. As they moved across the stage, the dancers took time between routines to break down the roots of hip-hop choreography—and to make it clear that many of the dances now popularized in places like Los Angeles and Houston were born in Dallas. From the “South Dallas Swag” to the “Dougie,” the crowd didn’t just watch—they participated, rising to their feet to match the group’s intensity.
With energy high and the tone set, the main event began.
Two Dallas icons—The D.O.C., hip-hop pioneer and N.W.A. ghostwriter, and LilJuMadeDaBeat, Grammy-winning producer behind Beyoncé’s Renaissance and Megan Thee Stallion—sat down for a deeply personal and wide-ranging conversation about music, legacy, and the future of Southern sound, specifically from the DFW. The conversation was moderated by journalist, J. Jasmin-Janai Jones MMC, Ph.D(c). She guided the Dallas artists through reflections on their childhood influences, early hustle, and the moments that changed everything.
The D.O.C. shared stories of growing up riding in his uncle’s car, listening to soul titans like The O’Jays and The Whispers—artists whose grooves laid the sonic foundation for the gritty, funk-infused hip-hop he later helped create. LilJu spoke about being inspired by artists like Maxwell, and how Michael Jackson’s Invincible was the first album that pushed him into truly studying music. Their influences were different, but the thread was clear: Black music taught them how to create—and how to lead.
The conversation then turned to a topic that’s long simmered in Dallas music circles: Why hasn’t Dallas received the same recognition as Houston or Atlanta? LilJu didn’t hold back.
“Half the stuff you see on TikTok now? We were doing that in Dallas back in 2008,” he said.
D.O.C. followed with a challenge to the audience and the city at large.
“In L.A., you’re gonna hear 2Pac every day. In New York, it’s Biggie or Mary J. every day. If y’all want to hear Badu every day on Dallas radio—you have to demand it. These stations exist because of you. Make them do the work.”
That theme of cultural ownership became a powerful undercurrent throughout the conversation. D.O.C. shared updates about his creative education initiative, Dream Academy, now with campuses in both Oak Cliff and Frisco. He also teased an unreleased, star-studded hip-hop documentary he’s been sitting on—waiting for the right deal that would value it properly, not just commodify it. The D.O.C. made it clear he has been around long enough to know good music on a molecular level. Even telling the crowd top 3 things needed to create a good record:
You need to have a unique voice. You really do need to have something to say. Don’t just say the same thing everyone else, everywhere else. And finally you need a good ear or someone (pointing to Lil Ju) with a good ear, to create the right sound for you.
LilJu also revealed a new initiative: he and Cimajie Best will soon launch a nonprofit aimed at providing creative education and resources to youth across North Texas. While he laughed about skipping college classes to chase beats—against his mother’s wishes, who was sitting in the crowd—he made it clear: education matters. Support systems matter. And the next generation needs both to thrive.
One of the most emotional moments came when D.O.C. looked directly at LilJuMadeDaBeat and expressed genuine admiration for his work. You could see it land. The DeSoto native nearly choked up hearing such praise from a legend who helped shape his musical DNA.
As the Q&A opened up to the crowd, hands flew into the air. From questions about artistry to industry politics, the audience was locked in—and even after 30 minutes, people still lingered. They didn’t want it to end. And our guests were beyond honored.
When asked how he felt walking off stage, D.O.C. offered this:
“We need more conversations like these. I’m always gonna show up for my people. If it’s for hip-hop and for the culture, then I will be there.”
This event wasn’t just a panel. It was a blueprint.
It wasn’t just a celebration. It was a call to action.
The seeds have been planted—now it’s up to Dallas to water them.
The South has always had something to say. The rest of the world is finally ready to listen.
