Heavy is the Head that Wears the Crown: Pusha T’s Changing the Guards of Hip-Hop

Pusha T Photographed by James Pereira, 2022

Today, the term “Fear of God” can be associated with the “*ESSENTIALS” clothing brand, but from 2010 to 2011 it became an introductory mantra for Terrence “Pusha T” Thornton; a well-rooted, competent agent of pure hip-hop with lyrical, cynical and honestly, “cerebrally sharp” tendencies. With his older brother No Malice (formerly known as Malice) by his side, they both chronicled their braggadocious origins in the Virginia drug trade. Together, they’re known as the Clipse, a lyrically vicious duo with a vast knowledge of their former lives, one of ambition, imprisonment and felonious dealings. No, neither one has ever been imprisoned nor caught in any criminal act- however, the stories embedded in their intricate rhymes depict a truthful tale of friends, associates and even managers felled by the terminal affliction of law enforcement! With albums like, “[Lord Willin’](https://music.apple.com/ca/album/lord-willin/309071685)”, “[Hell Hath No Fury](https://music.apple.com/ca/album/hell-hath-no-fury/204865737)”, and even their least enjoyed “[Til the Casket Drops](https://music.apple.com/ca/album/til-the-casket-drops/341698250)*”, under their belt, it can be argued that the Thornton brothers share a deep understanding of what Hip-Hop needs in order to remain authentic. As they both matured, they delved into different paths in life- one (No Malice) devoted to serving his lord and savior Jesus Christ and the other (Pusha T) looking to establish his independence in the rap industry!

IT’S LIKE THE CHANGING OF THE GUARDS…

© Jason Goldwatch, 2011

Dealings with treacherous record labels came with contractual ordeals, which in result reinvigorated Pusha T and his Re-Up Gang’s motive to weaponize their talents with mixtapes. Once No Malice made his conscious choice to depart from the Clipse, Pusha T respected his older brother’s decision and used this as a call to action. After appearing on albums like “*My Beautiful Dark Twisted Fantasy” and G.O.O.D. Music posse cuts like “[Mercy](https://music.apple.com/us/album/mercy-feat-big-sean-pusha-t-2-chainz-single/1445169359)” and “[New God Flow](https://music.apple.com/us/album/new-god-flow-single/1445171463)”, Pusha T’s star was said to be rising and shining indefinitely. Setting aside all of the issues on-wax with various outer forces such as Lil’ Wayne, Drake and most of the YMCMB figures, Pusha T focused mainly on catering to his core audience with a subject matter that’s relative. Cocaine distribution, accompanied by motifs of self-reflection using simile comparisons! Critics have argued that Pusha’s repetitive approach to how he synthesizes the subject of cocaine, no matter how dicey and descriptive he gets, still doesn’t magnify the opus behind his art. He hears and is self-aware of what the consensus is, yet he perseveres and continues to add nuance to the “Hell Hath No Fury*”-esque flow and word delivery.

© Jason Goldwatch, 2011

It wouldn’t be until late 2011 when Pusha T would release his solo debut material… no features, no mixtapes- an official solo album without No Malice! “*Fear of God II: Let Us Pray”, an underrated, dated and understandably overlooked piece of art. Once you press play, Rico Beats embarks on an imperially holocaustic conquest through your eardrums. Your ears may easily pick up on the dated sound that “[Changing of the Guards](https://music.apple.com/us/song/changing-of-the-guards-feat-diddy/1570362175)” is coated in… an instant build-up played at different octaves with light bass drums and little to no hi-hats. Just Pusha T, his rhymes and the beat. A short and sweet introduction into what Pusha had in store for listeners. In coalition with the legendary Kanye West and Jeezy, Pusha T seeks the forgiveness of God and those strung out on their high sold by his hand with “[Amen](https://music.apple.com/us/album/fear-of-god-ii-let-us-pray/1570362163)*”.

FORGIVENESS FOR OUR SINFUL WAYS

With a seamless exit from “Changing of the Guards”, you’re met by a deep baritone monologue by Shawty Redd, the producer behind “Amen”. The short monologue places everything into perspective, raising the curtain on a hyperbolically fused anthem for hustlers, an anthem of atonement and accountability. Once Pusha T begins his rhyme, he describes the various routes one may take when money isn’t easily accessible and implements that philosophy into the humble beginnings of his former life in the streets. Describing designer clothes and shoes, to questioning what one can do in order to attain the most basic things life has to offer, leaves you speechless by those unanswered questions. Flow-wise? It isn’t the lyricist’s BEST performance but given the times and how dated the beat sounded- exceptions can be made.

Personally, after listening to the track and considering the juxtaposition between a drug dealer’s advantageous actions and the guilt from performing those actions, I believe that “Amen” brings about the braggadocio element in its purest form. Having Jeezy (colloquially known as “Snowman”) on the track shows how indebted Pusha T feels to his subject matter, his continuous tribute to the infamous trek to riches.

Pusha T & Kanye West on the set of “Diet Coke”, 2022

Kanye West adds a bit of civilian normalcy to “Amen”, an innocent fragment compared to the guilt-tripped conjunction between two dealers.

THE SELF-RIGHTEOUS DRUG DEALER DICHOTOMY

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Pusha T unsheathes his pen and sets it to paper, once again drawing from the well of introspective retrospection. Reflecting on his past life while amplifying the honesty needed to bring about his conviction, Pusha allows his listener into the conversation between him and God. The song? “*Alone in Vegas”. A beat composed of organ synths and hard drums with no hi-hats, very simple and clean… a combination that any listener can bare to endure while consuming his lyrics. He begins by stating the obvious, “[I let you into my diary to admire me…](https://genius.com/Pusha-t-alone-in-vegas-lyrics)”, a declaration placing us on a pedestal of proving — Pusha questions his value to the public despite his faults even so he was successful at attaining his position of power. He goes on to describe what the lavish life entails, the perks of establishing the firm ground others trespass without regard. From the luxurious sight of “Gull wing doors” to “Sunk leather seats*”, Pusha enables us to imagine what life is like being him, a dealer turned rapper embarking on a life of painless peace.

However, no life is truly lived without sustaining pain. In the hook, Pusha continuously says “I write this alone in Vegas”, insinuating his distinction amongst others in the same trade. He can go anywhere in the world, in the company of important and famous people and would still have to answer to himself no matter what. He succumbs to that reality very early on, writing it on paper to verbally declare it in our presence — unveiling that reality to those who listen! In the music video for “Alone in Vegas” (displayed above), Pusha treks throughout the city’s infamous strip of hotels and casinos, chauffeured around by his lonesome, setting a visual representation of alienation. You can spot him looking out the windows of his hotel room to the ones in his Maybach-Benz, duplicating two juxtaposing images.

One image (hotel room) can be interpreted as being alone isn’t always a good thing for a man of his celebrity. The other image can be seen as being alone having its advantages… wealth, a life without betrayal and a singular motivation. Music is subjective, so when analyzing every track on “*Fear of God II: Let Us Pray*” and the promotional interviews associated, I take everything with a grain of salt… and you should as well.

Pusha T for Billboard (2012), © Def Jam Recordings

As time went on, Pusha T has received the same criticism by the same critics, those he considered his “surface-leveled listeners”, who refuse to think deeply beyond the subject matter of cocaine. He hasn’t shied away from revealing more about his past, yet he synthesizes more out of the subject of drugs gradually connecting it to various accounts of his former life in the Virginia streets. As of 2025, he reunited with his brother No Malice (renamed to Malice, once again) forming back the Clipse. They’ve since then released “*Let God Sort Em Out*”, a vastly introspective album of brotherly love!