"It is important that we mentor younger musicians who are pan-African, who are patrons of Africa, who care about development, to use their lyricism and their popularity and their social media presence to push development and positivity in the art [...]. An African knows who he is. He finds himself in a community that he's responsible for. You know, so make music about Ubuntu. Make music, know who you are, and understand that you are in a community. [...] We discussed identity, pan-Africanism, freedom, economic hardships, political hegemony, and stuff like that. So, the hip life—the significance of hip life music—was young people who had become popular all of a sudden had found fame and were using it to tell the young African side of the story, fighting hegemony," Kwame said.