The King of the City: The Best Rapper in 13 Hip-Hop Meccas

These are the MCs that rule the biggest cities in the hip-hop universe.

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Complex Original

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When Kendrick Lamar set off a firestorm with his "Control" verse earlier this year, one angle of his verse seemed particularly audacious.

No, it wasn't that he called out his team of rivals by name. It wasn't even the names he avoided, even if one or two omissions raised a few eyebrows; after all, the names he had dropped were friends. Instead, it was his claim—quoting Kurupt or not, he still said it—that he was the King of New York.

But it also got us thinking: who is the King of New York? And what about the rest of the country? Who is the dominant presence in Detroit, in Los Angeles, in Atlanta?

So we decided to ask the experts. 

We talked to 13 hip-hop writers from across the continent, and asked them to weigh in on hip-hop's current kings. Who runs Houston? Which rapper is on top in Philly? Is Kendrick Lamar really the King of New York?

So read up on royalty, with The King of the City: The Best Rapper in 13 Hip-Hop Meccas.

Written by Shea Serrano (@SheaSerrano), Craig Jenkins (@Craigsj), Willy Staley (@WillyStaley), William E. Ketchum III (@WEKetchum), Maurice Garland (@Maurice_Garland), Brandon Wyche (@HipHopSince1987), Al Shipley (@AlShipley), John Shaw (@jdoggtn), Scott Brown (@blackbeanage), Justin Ivey (@JustinIveyKN), Jeff Weiss (@PassionWeiss), Ernest Wilkins (@ErnestWilkins), Cyrus K. Taravati (@definitely_nah).

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Los Angeles

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King: Kendrick Lamar
Crowning Achievement: The Release of good kid, m.A.A.d. City to national acclaim.
Predecessor: Game
Royal Court: Schoolboy Q, Tyler, The Creator, Problem, Open Mike Eagle

For Kendrick to claim the crown once worn by Biggie, his own mad city must have been bowing to him for years. Neither Hollywood nor Compton is shy of theatrics, so they made K. Dot’s West Coast rap coronation official. You can even mark the exact date: August 19, 2011.

Flanked by Kurupt and Snoop, The Game grabbed the mic at Hollywood’s Music Box Theatre to inform the crowd that the torch had been passed. The audience’s chanting could be heard all the way to the CPT: “Kendrick!!! Kendrick!!!” Dr. Dre was rumored to be watching the ceremony from the VIP rafters. The emperor emeritus didn’t need to appear. He’d already signed and sealed the new Aftermath heir. And unlike previous hopes, Hittman and Bishop Lamont, the doctor actually planned to deliver.

With last October’s good kid, m.A.A.d city, Kendrick achieved a unanimous municipal appeal unseen since 2Pac. A punk friend told me that he was all she listened to in her car—same with her hardcore friends. At the grocery store, a black woman in a head wrap and floral print dress overheard me talking about Kendrick’s verse on “Control.”

“I just love Kendrick,” she interrupted with the enthusiasm of someone who hadn’t liked a young rapper in a long time. “He’s so talented, but he’s so humble.”

Humble is the last word I’d use to describe someone who issued one of the most brazen West Coast proclamations since Snoop came through and crushed the buildings. But this contradiction illustrates the depth of Kendrick’s appeal. You rarely sense that you know him personally, but you feel like you understand and relate. His opinions are open to interpretation, but the characters and themes are clear and three-dimensional. Like 2Pac, Kendrick is a vessel for many to project their dreams, politics, and personality quirks.

Over the last two years, LA has witnessed a rap renaissance unseen since The Good Life and Death Row fired freestyles and shots only a few miles apart. Others are in line for the throne. Schoolboy Q could very well end up playing the Snoop to Kendrick’s Kurupt. In the last 12 months, Problem passed YG for most turned-up function rapper. Tyler, the Creator is the Fairfax favorite, so influential that he even made tie-dye cool. Meanwhile, Open Mike Eagle operates as the art-rap regent of the post-Project Blowed world, collaborating with everyone from Danny Brown and Aesop Rock to Marc Maron and Paul F. Tompkins.

But ask anyone in LA, who’s the king, you’ll only get one answer: the good kid is the man. —Jeff Weiss

Miami

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King: Rick Ross
Crowning Achievement
: The release of Albert Anastasia, the first record to include "B.M.F."
Predecessor: Trick Daddy
Royal Court: Ice Berg, Ace Hood, Plies, SpaceGhostPurrp

He has shown a consistent ability to make hit albums and club/street anthems, despite having his all-important authenticity scrutinized and questioned due to his stint as a parole officer. His public image (and our perception of him as an ethical man) took an immediate hit because of his date-rape lyric in “U.O.E.N.O.” But through it all, Rick Ross still reigns strong as the King of Miami.

To be a leader in rap in Florida, historically, you’d either have to make trunks rattle like DJ Magic Mike or be able to make butts shake on a dance floor like Uncle Luke. While street-based Miami rap had long been a factor thanks to groups like Poison Clan and rappers like Half Pint, Trick Daddy was the first to lead the Magic City into the forefront of the rap world.

Although Rick Ross’s rap roots are outside of Miami—he was born in Mississippi, and first came into hip-hop through EPMD’s Erick Sermon in the late 1990s—he soon landed on Slip-N-Slide, the Miami-based label that also housed Trick Daddy and Trina. Around the same time as Trick Daddy’s last major label release, Rick Ross appeared on the scene with a booming sound and lavish personality on “Hustlin’.”

Leveraging his first single's menacing sound and different iterations of drug trade-fueled fortunes, Rick Ross has released four No. 1 albums (Port of Miami, Trilla, Deeper Than Rap, God Forgives I Don’t). His only album that did not reach the top, Teflon Don, is arguably his best. At the same time, Rick Ross’ rap skills have come a long way from “Hustlin,” when he was mocked for rhyming “Atlantic” with “Atlantic.” And he’s consistently featured on records by some of the biggest names in rap and R&B (Usher, Kanye West, Jay-Z, DJ Khaled).

Ross’s sound has played a major factor in his success, and he’s been at the forefront of new musical movements within hip-hop multiple times. He worked with producers The Runners and Lex Luger early on, before either redefined the sound of the genre’s mainstream. He’s also been able to develop not only his own career, but to help build others. His Maybach Music Group label has rejuvenated the careers of regional spitters Wale and Meek Mill, who are now commonplace on rap radio.

Two of the challengers to Ross’s throne are recognizable names with moderate commercial success (Ace Hood & Plies) but limited appeal to break out to the same level as Ross. Two others are youngsters with different paths to fame. Ice Berg focused on building his buzz in a grassroots manner, thanks in part to a cosign from Trick Daddy. SpaceGhostPurrp, meanwhile, has gained popularity through an enigmatic internet presence and a great ability to recreate the feel of 90s underground rap tapes from Memphis. —Scott Brown

Louisiana

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King: Curren$y
Crowning Achievement
: Establishment of JET Life movement/brand/label.
Predecessor: Lil' Wayne
Royal Court: Kevin Gates, Dee-1, 3D Na'tee, Max Minelli

The dynamics of Louisiana’s hip-hop scenes have changed quite a bit over the past decade. But one artist emerged as a consistent, steadying presence: Curren$y. The leader of the JETS has claimed his spot as king with a relentless work ethic and confidence in the quality of his music. Curren$y’s success is a testament to an uncompromising attitude which allowed him to continue his career, in spite of failed bids at both No Limit and Cash Money Records, the two most powerful and influential rap labels in Louisiana.

Curren$y has flourished ever since he flew from the Young Money nest and took things into his own hands. While his peers sat idly by, Curren$y grabbed the proverbial brass ring and elevated his game. He flooded the market with his mixtapes, much like Wayne did before him, and built a loyal audience who couldn’t get enough of his infectious, laid-back weed raps. Curren$y won over fans—not just stoners—because he was authentic and relatable, cool and carefree.

Lil’ Wayne, Spitta’s former boss, rightfully sat in the throne for many years. But a steep decline in consistency loosened his grip on the crown. Lil’ Boosie has reigned supreme over Baton Rouge for years, and was rising to national prominence before a prison stint halted those aspirations. Jay Electronica had the hip hop world waiting on his every last breathe, yet disappointed fans saw months become years as Jay’s Act II turned into another Detox-style myth. Meanwhile, Mystikal’s release from prison hasn’t quite lived up to the “old guard” reclaiming former glory. We may never know if it’s entirely his fault, but it’s ridiculous that Mystikal has yet to even drop a mixtape three years after being freed.

While mixtapes are what helped jumpstart Curren$y's career, his albums solidified his status as a part of hip-hop’s elite. His well-received debut, This Ain’t No Mixtape proved he was no fluke. It led to a deal with Dame Dash’s DD172 imprint, which resulted in his Pilot Talk series and, ultimately, a deal with Warner Bros. Over the past four years, Curren$y has released consistently good music at a relentless pace via retail LPs, mixtapes, EPs, side projects, Jet Life albums and countless guest appearances.

Curren$y has not only emerged as a solo star, but also created an empire of his own. Jet Life has become a full-fledged brand and given its members a leg up in the rap game. The name alone provided a platform for artists like Nesby Phips and Young Roddy to break through the clutter; Curren$y was even able to revitalize the career of former No Limit mainstay Fiend. And with his Jet Life Recordings tied into his current Warner deal, Curren$y is primed to see his empire grow. Clearly the King of Louisiana is sitting in a very comfortable position. —Justin Ivey

Houston

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King: Bun B
Crowning Achievement: Bun's 2004 "Free Pimp C" guest verse run.
Predecessor: Scarface
Royal Court: Trae, Slim Thug, Z-Ro, Kirko Bangz

This couldn’t be an easier argument to make. In fact, this is hardly even an argument at all. It’s more a declaration of fact, a law of nature, a fire-sledgehammer of truth delivered right to the gut: Bernard “Bun B” Freeman, one-half of the legendary UGK, is the King of Houston.

There are other contenders, to be sure. Slim Thug has retained his near-demigod status in Houston for two decades. The crown would look perfectly natural on his charismatic head. Z-Ro, who never attained the mainstream recognition he’s long deserved, remains an underground king. The multitudes would surely praise his arrival to the castle. Trae tha Truth has managed to overcome a nationwide ban from the biggest radio programming company in the country, and has only ever championed the city with superheroic energy. He was the first rapper in the city’s history to be awarded an official holiday from the city. Even young Kirko Bangz, the most recent rapper to drive out I-10 towards stardom with his Billboard hip-hop topper “Drank In My Cop” and a flurry of guest spots, had an outside shot. But none could chase down Bun.

He has at least one paradigm-shifting album: 1996’s Ridin’ Dirty, a record that managed to squeeze humanity from crack rock and crafted a sonic template that remains the blueprint for country rap nearly two decades later. He has an unquestionable reputation as a hometown stalwart; when UGK was inducted into Port Arthur’s Music Hall of Fame, Bun wouldn’t have looked more enthusiastic if “Diamonds and Wood” had been declared the world’s anthem. And he has the admiration and respect of an industry that is stingy with both (I watched Jay Z call Bun B out onto stage during a mega-concert in Houston, and it wasn’t clear who was more excited to see who). He’d always intimated that he just might be the King of Houston. And after he went bonkers on guest rap verses for three full years during Pimp C’s incarceration (2002-2005), crafting sculptures from nouns and verbs with his tightly wound lyricism, there was no longer room for doubt.

There might’ve been a time when someone else was the head of the city (Scarface’s unreal talent makes him the most obvious choice). And there might be a time in the future when someone usurps him. But as it were, as it is, and as it will be, Houston belongs to Bun B. —Shea Serrano

Memphis

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King: Yo Gotti
Crowning Achievement
: Live From the Kitchen, which helped return the city of Memphis to prominence in hip-hop.
Predecessor: Three 6 Mafia
Royal Court: Al Kapone, Miscellaneous, Young Dolph, Snipes

Memphis rap artist Yo Gotti first came to local prominence in 2000 with the release of his first full-length CD, From the Dope Game to the Rap Game, but his career had actually begun earlier than that. Growing up in the rough-and-tumble Ridgecrest apartment complex in the Frayser area of Memphis, Gotti first appeared as a member of DJ Sound’s crew, recording a mixtape under the name Lil Yo. Although Memphis was the home of a burgeoning rap movement throughout the 1990s, by the turn of the millennium, its music fortunes were on the wane, with the city’s best-known artists, Three 6 Mafia, moving to the West Coast. Thus, the unexpected success of From the Dope Gameput the spotlight on Yo Gotti, who was the first prominent new Memphis artist not from the Three 6 Mafia camp to emerge in nearly five years.

Gotti’s local popularity was solidified with the release of his second and third albums, Self-Explanatory and Life. Songs featuring Lil Jon, Bun B, and Eightball & MJG began to call attention to him on a national scale. Around the same time, Gotti began to record the series of mixtapes known as Cocaine Music, and launched his label, Cocaine Music Group, introducing his artist Zedzilla.

Unfortunately, Gotti’s rise to fame was not without controversy, including a dispute with Memphis rapper Miscellaneous over a song called “Memphis Walk,” and a high-profile incident in which an up-and-coming Memphis rapper named OG Boo Dirty confronted Gotti and his crew outside a Memphis nightclub, resulting in a shooting. But Gotti’s popularity has continued unabated, and since the release of 2012’s Live From The Kitchen, Yo Gotti can truly be called not only the most successful Memphis rapper today, but a bona fide national rap artist.

While Gotti may be the undisputed King of Memphis, there are other worthy contenders to round out the court, including Miscellaneous and the amazingly versatile Al Kapone, who was arguably one of the founders of Memphis rap back in the early 1990s and probably the only rap artist to perform with the Memphis Symphony Orchestra. Young Dolph may be the most popular new artist in Memphis, particularly with the teenage set, while Soulman Snipes resonates with an older, more mature crowd. The latter is a truly different, conscious Memphis rapper who often performs with his soul band Nu Session, and was chosen to represent Memphis at the Apollo in Harlem. The hip-hop future of Memphis is beginning to look brighter again. —John Shaw

Philadelphia

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King: Meek Mill
Crowning Achievement
: Dominating the club scene with his uptempo party tracks on his come-up, culminating in Philly anthem "I'ma Boss."
Predecessor: Beanie Sigel
Royal Court: AR-Ab, Quilly Millz, Gillie Da Kid, Chill Moody

With a population of over 1.5 million people, Philadelphia has a long list of talented, hard-working rappers diligently hustling to be crowned the indisputable "King of Philly.” Earning the title requires an unmatched work ethic, an understanding of industry politics, raw talent, fearlessness, and—most importantly—support from the city itself. So who currently possesses these qualities?

Without question, Meek Mill is the King of Philadelphia hip-hop.

Meek is the King of Philly because he fed his core fanbase, adapted his style to radio, and build his way to mainstream success from the ground up. He came up in the famous Philly battle DVD scene. He emerged from the battles as a "Philly Spitta"—an MC from the scene who can really rap on a competitive level. Through the years, he tapped into the grassroots by rapping about what he’d really gone through—poverty, going to jail, and dealing with the challenges of urban life. His uptempo, radio-friendly songs filled the clubs and helped him reach a broad audience beyond gangster rap. And the local success of his single "In My Bag" not only made him a bigger name, but transformed the song’s title to a common phrase among Philadelphia residents.

While locked up, his Flamerz 2 mixtape was released and increased his buzz. Soon, he’d gotten the attention of Rick Ross and signed to MMG. Linking up with Ross only accelerated his move toward national stardom. The hits followed: “Ima Boss,” “House Party,” “Burn,” “Amen,” and “Dreams & Nightmares” all became huge national singles.

Although Meek’s Dreams & Nightmares may not have had the impact he expected, there are no candidates who could currently compete with Meek. As the city’s king, he has established relationships and a strong presence in the city. His cosign is still the most valuable commodity for an up-and-coming rapper.

Meek's crown may be safe for the moment, but that doesn't mean Philadelphia lacks talented rappers, many of whom are working hard to claim the “King of Philly” title. Their hard work and dedication has not gone unnoticed. AR-Ab, the self-proclaimed “Top Goon of Philly,” and his crew, the OBH (Original Block Hustlers), have the biggest street buzz. Quilly Millz, meanwhile, is known for being a “Philly spitta,” with a sick flow, bars, and catchy ad-libs. Based on mixtape sales, Quilly Millz is the winner, hands-down.

And we can’t list Philly rappers without mentioning Gillie Da Kid, the self-proclaimed King of Philly. Out of our contenders, Gillie Da Kid has the longest professional rap career, and is considered to be a mentor to many Philadelphia rappers. Chill Moody, meanwhile, is more of a backpack-style rapper. He’s booked more shows and performances than any unsigned hip-hop artist in Philadelphia. —Brandon Wyche

DMV

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King: Wale
Crowning Achievement
: The Gifted debuting at No. 1 on the Billboard 200.
Predecessor: Bossman
Royal Court: Los, Fat Trel, DDm, StarrZ

The term DMV came into popular use a few years ago in the mid-Atlantic region to encompass the District of Columbia, Maryland, and Virginia. But as far as hip-hop is concerned, it’s a tale of two cities, Washington and Baltimore, that have long bristled at the term. While “The Bay Area” and “The Twin Cities” have inextricably intertwined musical identities, the cities that birthed D.C. Go-Go and Baltimore club music have vastly different cultures with distinct hip-hop scenes sitting just 40 miles apart on I-95.

After years of rappers from the area getting deals that never materialized into national stardom—such as Bossman from Baltimore, the region’s previous biggest prospect—Wale has emerged as a bona fide radio fixture. And it wasn’t that long ago that Mr. Folarin was on the bubble himself, with a major label debut, 2009’s Attention Deficit, that went triple balsa wood even with Lady Gaga on the lead single. Four years later, though, Wale is second in sales only to his boss Rick Ross on the star-studded Maybach Music Group roster, and his third album, The Gifted, topped the Billboard 200 upon release in June. Along the way, he outlasted most of his XXL Freshman contemporaries, scored a management deal with Roc Nation, and linked up with Rihanna for a superstar-powered remix of this year’s smash “Bad.”

Wale is still a divisive figure, in and outside the DMV, as much for his rancorous personality as for his penchant for R&B hooks and poetry-slam flows. But he’s increasingly earned respect for songs like “LoveHate Thing,” which wraps all of those contradictory impulses into a catchy, well-written radio hit that eloquently addresses the success and envy he's experienced over years of dominating the competitive D.C. scene. And he’s done it all while remaining true to the hometown Go-Go sound, getting stars like Nicki Minaj and Gucci Mane to rap over EU and Backyard Band samples.

Wale’s perseverance has been singular and unlikely enough that it’s hard to imagine him kicking the door open for more DMV rappers to just waltz through. Nevertheless, there are two cities’ worth of hungry, talented rappers on his heels. The foremost runner-up is Los, the Baltimore-bred Bad Boy signee whose latest mixtape, Becoming King, went DatPiff platinum. Beyond him, Fat Trel is depicting a grittier side of D.C. than Wale. Baltimore’s hopefuls consist of StarrZ, whose single “Dope Trilla” is burning up local airwaves, and the enormously talented DDm, the rare openly gay MC who’s feared as a battle rapper and embraced as a collaborator by street-rap peers throughout his city. —Al Shipley

Bay Area

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King: E-40
Crowning Achievement
: In a Major Way, the most perfect album there has been or will be; Then again during his post-hyphy fever dream return to greatness.
Predecessor: Mac Dre
Royal Court: Iamsu, Lil B, Husalah, Roach Gigz

At he settles into middle age, at 46 years old, it might seem an odd time to crown Earl "E-40" Stevens the King of the Bay. But then again, Jerry Brown, the governor of California—a place more associated with youth and vigor than, say, Michigan—is 75. The parallels between 40's career and Brown's are worth pointing out. They were promising as youngsters, rising through the ranks of their respective establishments through pluck and verve. In the mid-aughts, both men—neither originally from Oakland—decided they would try to become that city's mayor. Brown did so officially, and succeeded. E-40 tried to do it with stripped-down Lil Jon beats and failed, possibly deflating the whole ascendant Bay Area scene with it—but not before countless Volvos had rolled driverless down suburban blocks from Vallejo to Maine, much to the delight of a nation new to YouTube.

But now, Brown, somehow capable of wrangling the legislature better than the Austrian bodybuilder who preceded him, commands an increasingly functional Sacramento. E-40, too, seems to have recognized the power vacuum left in Northern California, and has stepped right in to fill it.

At the beginning of his career, E-40 sold tapes out of the trunk of his car in Vallejo, rapping with a delivery once compared to "Woody Woodpecker on crack.” His gangster tales of East Bay life were peppered with inspired turns of phrase, inane neologisms, and street-corner slick-talk seemingly from another era, all strung tightly over thumping beats. What Christopher Walken is to punctuation, E-40 is to syllable counts, allowing him to put his aggressively unabridged version of the English language to work for him in a way few other rappers ever have. And yet through it all he still exudes an endearing, if eclectic, regular-guy appeal. He invests in fast-food franchises. He loves jug wine and potato salad. He wrote a diss song for Rasheed Wallace. Most of his albums contain complicated, fruity cocktail recipes.

As the prospect of hyphy's nationwide popularity loomed in 2006, E-40 took up its mantle with “Tell Me When to Go,” a song that sounded like Bay Area rap put through the wringer, strained of the drugs and the attendant unrestrained goofiness. Apparently done accusing confused non-fans of "listening too slow," it seems he heeded their advice, meeting them somewhere in the middle. Later that year, E-40 released "U and Dat," finally earning himself a well-deserved nationwide hit after being ignored for nearly two decades. The sheer amount of negative space on the song is the most galling aspect of the song to an E-40 purist, not the gamely use of a T-Pain hook.

Thankfully, after struggling with adjusting his sound to the (then) marketable subgenre’s demands, 40 returned to his grubbier roots with an album spree. He released two albums at once in 2010 (Revenue Retrievin’: Day Shift and Night Shift), then again in 2011 (Overtime Shift and Graveyard Shift), then upped it to three in 2012 (The Block Brochure: Welcome to the Soil trilogy). He plans on doing the same again before this year is out. That would make 10 albums in four years, each one loaded with guest appearances from local Bay Area legends like Andre Nickatina, Husalah, Jacka, Mike Marshall, Messy Marv, Cellski, and Spice 1 as well as up-and-comers like Iamsu!, whose assist on “Function” scored 40 another nationwide hit. E-40 has achieved all of this by embracing the Bay Area as it is—not as he, or you, or anybody else would like it to be. That would be a terrible strategy for a politician, but fortunately for E-40, and for all of us, he’s a rapper. —Willy Staley

Toronto

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King: Drake
Crowning Achievement
: The release of his debut EP, So Far Gone.
Predecessor: Kardinal Offishall
Royal Court: P. Reign, OB O'Brien, Tory Lanez, Rich Kidd

With all respect due to Kardinal Offishall, Saukrates, and Choclair, the city of Toronto was once a mere afterthought on the rap atlas. In fact, Toronto hip-hop used to be followed only by Canadians or rap completists (or Canadian rap completists). But in 2009, a groundbreaking mixtape changed the entire landscape. When Drake released So Far Gone, goals that once seemed unattainable for a north-of-the-border artist—widespread American acclaim, major U.S. radio hits, and co-signs across the board from the biggest rap stars—were suddenly being checked off and the stigma of being a Canadian MC (or, for that matter, a former teenage actor who played a wheelchair-bound student on a popular kids TV show) disappeared.

The wins started stacking up: Whether it was signing with the self-proclaimed best rapper alive at the time, firing subliminals at Kanye West and Jay-Z, or, most recently, breaking Hov's record for most No. 1 records on two different Billboard charts, Drake’s power moves are impossible to deny. On his road to global stardom, Drake has repped for T.Dot every step of the way, both subtly (performing at an NHL All-Star Game, ’cause you know, Canadians love hockey) and loudly (filming part of the "Headlines" video at the Rogers Centre with a Blue Jays hat on). Meanwhile, Drake’s record label, OVO SOUND, has become a hotbed for Toronto talent, including soon-to-be stars PARTYNEXTDOOR and Majid Jordan. People sometimes clown Drake for being a rap carpetbagger who freely appropriates the styles of different regions, but you can't say that he hasn't put on for his home city.

This point was made crystal clear earlier this summer when Drake hosted the biggest show of his career with the fourth edition of his annual OVO Fest in Toronto. OVO Fest 2013 brought Puffy and Ma$e back together, reunited the surviving members of TLC, and—most notably—coaxed Kanye West into a rare not-about-himself performance. For neither the first or last time, Drake had the eyes of the entire hip-hop world focused squarely on his hometown. Can't make a king move bigger than that. —Cyrus K. Taravati

Detroit

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King: Eminem
Crowning Achievement
: Being the best-selling artist of the decade, having two diamond albums.
Predecessor: Proof
Royal Court: Royce Da 5'9, Big Sean, Danny Brown, Doughboyz Cashout

The King of Detroit rap isn’t even from Detroit—but with the way he has represented the city on the main stage, his crown is undisputed. Eminem grew up in Warren, Michigan, but he earned his battling stripes on West 7 Mile Road, at The Hip Hop Shop, the same place where many of Detroit’s rap elite honed their skills before him. The bars he sharpened in Detroit impressed rap legend Dr. Dre and Jimmy Iovine enough to bring him into the Interscope/Aftermath fold.

Early on, Eminem’s musical relationship with Detroit was more multifaceted than other cities’ kings. His Slim Shady LP major debut told sobering tales of poverty and Marshall Mathers LP referenced the city’s horrific violence on “Amityville,” but there was still a disconnect. Detroiters were proud to have an artist on the national stage, but Eminem didn’t look like a Detroiter—technically, he wasn’t one, anyway. Plus, the poppy, cartoonish tales of recreational drug use (aside from weed) and rape weren’t a common ground for Detroit’s grit and earthiness.

Then, in November 2002, Eminem starred in 8 Mile—a film that gave a worldwide glimpse into Detroit. The film had embellishments, but for the first time, the world saw parts of the Detroit experience: the blue collar workers at auto plants, the city’s storied rap venue The Shelter, and even exposure to underground emcees like Miz Korona and Strike. Eminem wasn’t Detroit’s first choice for a spokesperson, but from then on, he was recognized as such, and he took the role seriously.

Since then, Eminem has continued to invest in the city that made him, visibly and silently. Publicly, he uses his celebrity to bring spotlight to the likes of Detroit car company Chrysler in a Super Bowl commercial with his classic song “Lose Yourself,” and Detroit area clothing boutique Burn Rubber with an online reality show.

Musically, his royalty remains. His last record, Recovery, had the highest-selling single of his career with “Not Afraid,” and with 4 million copies of the album sold in the U.S., his national sales supremacy remains intact. For a look at his local respect, check his proximity to Detroit royalty. He reunited with his old rhyme partner Royce Da 5’9 (a King of Detroit candidate in his own right) as the duo Bad Meets Evil for the gold-selling Hell: The Sequel, and his manager Paul Rosenberg’s Goliath Management is helping direct Danny Brown’s growing career. Detroit's rising star Big Sean added recording a song with Eminem to his bucket-list, which he accomplished this year. And this week, Eminem announced a new album, executive produced by Dr. Dre and Rick Rubin—clout that no other rhyme slingers from Detroit can claim. Birthplace or not, Eminem is Detroit’s spokesperson, and when he talks, the world—and the city—listens.

Detroit has a strong rap legacy anchored by prime and posthumous impacts of Awesome Dre and fallen legends J Dilla, Proof, and Blade Icewood, but it’s still a fickle rap city. As a result, many of Detroit’s future kings are finding success in different ways.

Big Sean used weekly radio battles to hustle his way into meeting Kanye West, and after Danny Brown paid underground dues, he used a Japanese-inspired haircut to earn the clout necessary to bring Detroit-specific tales like “Cartiers” and “Scrap Or Die” to a worldwide audience. Doughboyz Cashout earned the respect of Detroit’s west side before landing a deal with Young Jeezy’s CTE Records, while Elzhi finally garnered respect by reworking Nas’ Illmatic into a fresh new project that represents his hometown. Black Milk later established himself as one of the industry’s most reputable rapper/producers.

Many of these acts may have preferred different routes to success, but when the opportunity is there, you have to take it—and that’s what Detroit, and its rap scene, are all about. —William Ketchum

Atlanta

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King: 2 Chainz
Crowning Achievement
: His entire 2012.
Predecessor: T.I.
Royal Court: Future, Gucci Mane, Young Jeezy, Pastor Troy

Where other cities have the luxury of having a "king" hold court generationally, Atlanta has a new king every other year. Kilo was the first, OutKast shared it after him and the title has rotated among Pastor Troy, T.I., Young Jeezy, and Gucci Mane after them. Ludacris held the the title at one time, but now a rapper who was once a pawn (or jester depending on whom you ask) in his court has ownership of it.

2 Chainz (formerly known as Tity Boi) seized the throne at a time when it was more or less left vacant due to frequent jail visits by T.I. and Gucci Mane, Jeezy's decline and creative lull, and Luda's Hollywood ambitions. But the crown didn't just land in his lap by default; he earned it. In a city where mixtapes come a dime a dozen, Chainz put out projects that had big name features and club anthems that eventually became radio hits. He supported the music by giving the city memorable events that included the theatrical release of his DVD documentary Codeine Cowboy and his 2011 birthday party, where he arrived by heliocopter and announced the release of his breakthrough Gangsta Grillz mixtape T.R.U. REALigion. From there he put together an impressive 2012 run that saw him become an in-demand feature artist (G.O.O.D. Music's "Mercy," Nicki Minaj's "Beez in the Trap") who now had the former kings of the city calling him for looks. His official debut album Based on a T.R.U. Story went gold-plus, powered by the singles "No Lie" featuring Drake, "Birthday Song" featuring Kanye West, and the DJ Mustard-produced "I'm Different," earning him a Grammy nomination for Best Rap Album of the Year. In the midst of it all, the Atlantan has grown from an opening act to a tour headliner, closing out just about every “Summer Jam” concert this year and setting the stage for the America's Most Wanted tour alongside T.I. and Lil Wayne.

T.I. is a perpetual claimant to the throne, as evidenced by his appearance on Robin Thicke's summer smash "Blurred Lines," but Tip is in some ways a victim of his past success. He was so clearly King of the Mid-'00s that his current status pales in comparison. While Future’s backstory is almost identical to 2 Chainz', Chainz tops the “hair-weave killer” based on right-this-moment-buzz. (Whither Future Hendrix Honest?) Of course that could all change in a Hotlanta Minute; the pace of change is definitely not slow in the ATL. —Maurice Garland

Chicago

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King: Kanye West
Crowning Achievement
: 2007's Graduation, where he achieved bona fide crossover pop stardom, sold 950,000 records in the first week, and managed to go double platinum in a single month.
Predecessor: Bump J
Royal Court: Chance The Rapper, Lil Durk, Chief Keef, King Louie

When it comes to rap, Chicago has self-esteem issues. We all look at what other cities and movements are doing and get frustrated that we don’t have the unity or outlets in place. So we project that frustration onto each other, causing mindless beefs and silly squabbles. While newer crews make strides to dead that mentality, it's still so prevalent that "Worrying about what everyone else is doing" sometimes seems like the real King of Chicago rap.

In case you were wondering, the editors didn't go for it. But really, there’s no other argument to be made: Kanye West is the King of Chicago.

In 2009, Bump J was the undisputed King of Chicago. That was also when he got sentenced to 10 years in prison for his role in a 2007 bank robbery. The lane was set for Kanye to ascend to his current role.

Actually, let's pump the brakes for a second. I'd like to go ahead and make sure we're all on the same page going forward.

*Sits you down, hands you a water*

You DO realize that Kanye West is the King of Chicago rap, right? You're not going to bitch and moan about minor trivialities, right? "Oh, well he doesn't live here anymore!" What are you, high? The conflict, the shit-talking, the willingness to speak his mind about damn near anything you can have an opinion on, the sense of humor, the transparent aspiration to do more and do it better. Hell, the man IS Chicago. The best of the best are able to unite crews, give shine to the future and truly represent for the past, present, and future of Chicago. Kanye was a major player in bringing mainstream attention to the music in this city by co-signing Keef, Louie, L.E.P. and other acts that have been bubbling forever. He didn’t just put them on songs, but shouted them out on his own music. That's some Solomon-level diplomacy, n'est ce-pas?

It's one thing to win the title, but it's a whole 'nother to defend it and keep defending it. Whether you liked it or not, his most recent release, Yeezus, got people talking and still went gold in under a month. We may have to institute some sort of Chairman Emeritus-type of situation going forward. But in the meantime, Mr. West is Mr. Best.

As for the other contenders: Chance the Rapper stole a lot of looks and attention on both a national and local scale with his early 2013 release Acid Rap, a tape that has been lauded by the streets AND the suits, to the point that Chance is on tour with Eminem and Kendrick Lamar as I type these words. With "Dis Aint What U Want" continuing to gain airplay (not to mention Meek Mill jumping on the remix) and his breakout hit "L's Anthem" still impacting (French Montana just jumped on that remix), Durk has managed to avoid the complacency that has befallen a few of the rappers who got their big look in the Chicago takeover of 2012. The hope is that he stays out of trouble long enough to keep it going. Speaking of that aforementioned complacency: Keef and Louie both released recent projects that lacked the consistency and hits that we all know they can create, although they still remain a significant presence. —Ernest Wilkins

New York

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King: Jay Z
Crowning Achievement
: The release of Vol. 2: Hard Knock Life.
Predecessor: DMX
Royal Court: Nicki Minaj, A$AP Rocky, Nas, French Montana

The last time there was a real vacancy on the throne of New York City was in the late ‘90s, when the Notorious B.I.G. was gunned down in his commercial and lyrical prime, and New York’s finest seemed to go supernova all at once, from Diddy and Ma$e to Busta to DMX to Nas to Jay-Z. For a while the city was X’s; he pulled the unrepeatable trick of releasing three Billboard chart-topping multi-platinum selling rap albums in the same 19 month stretch. But in the thick of it, he shifted gears, falling back from rapping full-time to expand his empire to the silver screen (and settle up a gaggle of legal issues). X’s hiatus was Jay’s coronation. After commanding the attention of the streets from BX to BK with 1998’s “Hard Knock Life (Ghetto Anthem)” off Vol. 2: Hard Knock Life and solidifying his reign with 2001’s undisputed classic The Blueprint, Jay thundered into a win streak that took him from local curiosity to King of NY to national superstar to the adept businessman and friend of the POTUS that he is today.

Even when Jay took a two-year sabbatical from rap (that still involved a good bit of rapping) following 2003’s The Black Album, he still debuted to the biggest sales week of his career up to that point with 2006’s Kingdom Come. And though his albums have since been released to increasingly mixed reviews, he still managed to score a late-career No. 1 single and citywide anthem in Blueprint 3’s “Empire State of Mind” and conquer the world once more with Kanye on Watch the Throne’s “Niggas in Paris.” While Kendrick Lamar’s out boldly claiming King of New York from a hill over Compton, Jay was convincing Samsung to buy the first million copies of this summer’s Magna Carta Holy Grail and the Recording Industry Association of America to recognize the prepaid copies with a platinum plaque. And after that paid giveaway, Jay’s about done selling another million just weeks after MCHG's release. This is to say nothing of the music’s dominance in car stereos and barber shops all over the five boroughs or the triumphant Legends of the Summer stadium tour with the newly resurgent Justin Timberlake.

New York’s got competition creeping up in the form of upstarts like A$AP Rocky and French Montana, both of whom's music gets quite a lot of burn throughout the city, and attention must be paid to Nas, who murdered every song he appeared on since at least 2011 and pushed a respectable couple hundred thousand units of 2012’s glorious comeback album Life Is Good. There’s also Nicki Minaj, who, though she seemed to be increasingly disinterested in courting a purely hip-hop audience over the last two Pink Friday albums, is still racking up platinum singles and albums and sold out tours in the name of the Big Apple. They say New York fell off, but anyone who seriously thinks so is Ray Charles to the actual stats. —Craig Jenkins

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