‘The Miseducation’ arrived in 1998 and fused R&B, hip-hop and soul into a record that defined a decade. It opened with 422,000 first-week sales and went on to win two GRAMMY Awards. Nearly 30 years later, Hill is still asked why she never followed it.
“When you’re inspired and desire to be principled, what doesn’t get talked about enough is the drain… nor the challenge to find safety so that you can create with integrity,” she wrote. “Most see opportunity as dollars only and often exclude the ‘sense’.”
Hill then pushed back on the idea that ‘The Score’ and ‘The Miseducation’ arrived without struggle. “[They] were [not] made because we were ‘allowed’ to represent what we did. We fought for every inch,” she added.
She continued: “Wild success can cause greed that begins to denegrate [sic] the art for the money. Artists go through phases, creativity requires expression, exploration and experimentation.”
Then she compared her own approach to Harriet Tubman, framing herself as “running to speak difficult truths to power before certain forces tried to close those doors. If it was so easy to do, where is that expression now on the world stage? Systems fear what they can’t control. Creativity is most potent when it’s free.”
Beyond the comment, Hill remains active. Earlier this year, she led a tribute to D’Angelo and Roberta Flack at the 2026 GRAMMY Awards. This summer, she will headline the first UK edition of Diaspora Calling! with fellow Fugees member Wyclef Jean. Her sons, Zion and YG Marley, will also appear at the festival, which celebrates Haitian art and music.
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