Warren G says he once teamed up with Snoop Dogg and Russell Simmons in an attempt to convince Def Jam to let him regain his rights to his masters, but the move was unsuccessful. He recalled the attempt and discussed his frustration with the record label during a recent interview with Bootleg Kev. “I reached out to ’em, sh*t me, Snoop [Snoop Dogg] and Russell [Russell Simmons] even tried to talk to the counsel and tried to make it happen,” Warren G revealed, as caught by AllHipHop. “They was like, ‘no’. It’s like damn. That’s just like a slap in the face.”
From there, he brought up how much he did for the record label and expressed his hope that perhaps they’ll honor his wishes all these years later. “And that’s even like today, I’m like, I would think that they would talk to UMG, Def Jam, and say, ‘look, this dude did a lot for us,’” he continued. “He saved us. He got us out the red. Let’s reward him back, honor him and give him his masters. Let’s not make him wait another four years, let’s give it to ’em right now. Why juice me for the rest of the—y’all been juicing me for 30 years?”
Warren G Attends Snoop Dogg’s Hollywood Walk Of Fame Ceremony
HOLLYWOOD, CA – NOVEMBER 19: Warren G and Snoop Dogg attend the ceremony honoring Snoop Dogg with a star on the Hollywood Walk of Fame on November 19, 2018, in Hollywood, California. (Photo by Axelle/Bauer-Griffin/FilmMagic)
Elsewhere in the interview, Warren discussed the iconic Def Jam Vendetta video game series. He argued that a modern iteration of the game would be extremely successful. “And the thing is, is just, okay, chop it up,” he said. “Just chop it up. Give everybody a piece. Like say if you use five, maybe eight guys, chop that sh*t up.”
Warren G Speaks On Def Jam Contract
Check out Warren’s full comments on his relationship with Def Jam below. For now, he’ll have to wait a few more years before the end of his deal. Be on the lookout for further updates on Warren G and Snoop Dogg on HotNewHipHop.
Warren G says he has to wait 35 years to get his masters back from Def Jam & wants to recreate a new video game like ‘Def Jam Vendetta’ during his interview with Bootleg Kev pic.twitter.com/Ni2G1chX0t
In the early days of Def Jam, there were only a handful of groups managed by then founder and owner Rick Rubin and the Beastie Boys were one of those initial Def Jam groups. One of the first solo artists on the label, a teenager at the time who called himself LL Cool J, was actually scouted by the Beastie Boys’ Ad Rock, who tells the story in an exclusive interview of how he brought James Todd Smith to Rick Rubin in 1984.
Ad Rock, whose real name is Adam Horovitz, claims that he made the beat for LL’s 1985 seminal hit “I Need A Beat” on an 808 drum machine that he’d just purchased with his last $250. Rock said he was stuck between choosing a guitar or the drum machine, but the burgeoning Hip Hop legend chose the latter, which was instrumental in the spawning of the production of the Beastie Boys’ debut album License To Ill in 1986.
As Def Jam’s first artist and the MC behind their first single, it’s only natural that LL COOL J would lead the 2024 MTV Video Music Awards’ tribute to the label’s 40th anniversary at Wednesday’s ceremony (September 11). He kicked things off with “Headsprung” and “The G.O.A.T.,” and Public Enemy swftly followed as Chuck D and Flavor Flav performed “Bring The Noise.” Then, LL came back for renditions of “Mama Said Knock You Out,” “Rock The Bells,” “Around The Way Girl,” and “Goin’ Back To Cali.” In fact, he also performed some cuts off of his new album THE FORCE, namely “Passion” and “Proclivities” with Saweetie (who did not perform).
Finally, LL COOL J performed “Doin’ It” and closed off a pretty awesome performance to celebrate Def Jam and its impact. Beforehand, Busta Rhymes introduced him as “true trailblazer… also my hero. He’s not only a hip-hop innovator, he’s not only a godfather, big homie and a mentor. He was the first artist to release an album on Def Jam and a force to be reckoned with.” It all rings true.
Elsewhere, LL COOL J kept up a bit of a nostalgic streak through his “Murdergram Deux” music video with Eminem. In it, they recreate a variety of classic hip-hop album covers such as LL’s 1987 record Bigger And Deffer and include plenty of other cheeky visual references and moments. It’s been a great year for the New York native, whether it’s looking back on his storied career or continuing his legacy and artistry with new releases. As controversial as Def Jam’s history has been up to this point, it’s fitting that he’s the one to sum up its best parts.
Meanwhile, the VMAs this year also held other very notable moments, such as Eminem’s opening performance of “Houdini” and Megan Thee Stallion’s various pop star homages. It feels like everyone is in the spirit of celebration these days following hip-hop’s 50th anniversary last year, so this Def Jam tribute continues that party. Someone wants it to die, but that’s another story… In the meantime, LL COOL J will continue to rock the stage and represent the culture.
LL Cool J ruffled more than a few feathers when he revealed his Def Jam Mount Rushmore a couple of weeks ago. Moreover, the big reasons as to why relate to his exclusion of Jay-Z and DMX from that list, which many fans disagreed with. For the record, the New York rap legend picked himself, Public Enemy, Slick Rick, and the Beastie Boys as the four artists that define the record label in his view. After some backlash to this decision, he recently elaborated on his thought process on The Joe Budden Podcast and revealed why he gave the edge to those artists despite his love of Hov and X.
“We’re facing stuff that kept the lights on at certain periods of time,” LL Cool J’s comments began. “I know DMX is supremely talented, used to kill the stage, sold a ton of records. I know Jay did a ton of stuff up there. So many others, I can name a zillion artists up there who did unbelievable s**t. I’m very clear about that. But I also know that, when I walked into Rick Rubin’s dormitory, it was a f***ing idea, bro. Like, you’re trying to talk to me about guys that are popular. I watched this s**t when it was a f***ing idea on a Post-It. You know what I mean? It’s two different conversations. The world is talking about who was the most popular. That’s all they care about. Who was the most popular, who was the richest, who sold the most records, who was exciting?
“I get that, and I respect it. I love it,” LL Cool J continued. “But that’s not what built the company. That’s what expanded the company at a different point. Look at our Mount Rushmore! Of the f***ing country. They talk about Mount Rushmore, but then they want me to put Bush on there. Who’s on there? The bones of the country, not who came later. And so people ask this question and then when you answer the question accurately, they want to say, ‘Oh, no, no. Well, Obama was considerably more impressive than this one.’ And of course I love Obama, you know what I’m saying? But the country, the Def Jam, the label was built by a key group of people. Like, this is the Mount Rushmore. You didn’t ask me who were the most commercially successful artists on the label. ‘Cause that’s an obvious answer.”
“Well, I respect the popularity,” LL Cool J responded to Joe Budden’s comparison to Kendrick Lamar and Drake’s battle. “Listen, no one can respect popularity more than me, bro. I had ten platinum albums in a row, I’m in the Rock and Roll Hall of Fame. I got Grammys, 11 nominations. Like, I understand popularity in and out. I got TV shows in 200 countries in the world. It’s a 5 billion dollar franchise! It’s not that. The question was, ‘What is the Mount Rushmore of Def Jam?’ That is about the architects and the boons of the label. By the way, I actually respect these artists that came after on Def Jam. I’m not that guy. Listen, I introduced DMX to the world. You think I don’t love DMX? I put him on my song to introduce him to the f***ing world. I put the guy on!”
Navy Blue being an independent artist has always seemed to fit him better. Being such a talented name in New York’s underground scene did get him a deal with Def Jam Recordings a couple of years ago. However, the relationship was short-lived, as the 27-year-old was dropped from the major label. But as we said, the “Chosen” MC is more of a hidden gem than a blatant superstar. It seems Navy Blue enjoys being the former based on a recent IG post about his new album Memoirs In Armour. This album was initially an 8 track EP, in response to the fact that the album I had worked so hard on for the past 2 years wasn’t able to come out”, he began.
“I’m grateful to have been inspired enough to make this album within the past few months. Due to the shift in circumstances, this project became a refuge to me. I hope you enjoy it. I’m happy to be putting this album out independently —the way I had always intended to be releasing music”. Overall, you certainly tell that Memoirs In Armour is just that as Navy Blue is openly introspective. He talks about his career, his past struggles mentally and physically, in addition to life advice. Also making the album a hit is the equally thought-provoking instrumentals which are airy and dreamy. Blue’s consistently detailed writing mixed with the aforementioned beats are a great combo making this a standout in his catalog and a stellar return after a rough transitional period.
LL Cool J is a legend. He doesn’t have to back up his claims on hip-hop culture. That being said, LL is dishing out some hot takes during his recent press tour. The rapper is promoting the release of his new album, and discussing where he stands within the culture. He recently went on the Club Shay Shay pod, and declared that he should be on the Mount Rushmore of Def Jam artists. Shannon Sharpe noted some of the other names who have been on the label, but LL Cool J stood firm and prioritized himself over the likes of JAY-Z and DMX.
Shannon Sharpe asked which four artists defined Def Jam to LL Cool J, and the latter answered quickly. “It’s LL, it’s Public Enemy, it’s the Beastie Boys and it would have to be Slick Rick,” he asserted. It’s tough to argue with any of his picks. All four acts were defining hip-hop names in the 1980s, and helped turn it into what it is today. LL Cool J is one of the few artists who could get away with putting himself on the list because, frankly, he deserves it. He was the first solo superstar to crossover. He was also the first artist on Def Jam, period. Still, Sharpe stirred the pot.
The host listed off the other rappers who were on Def Jam after LL. “We got JAY-Z, we got Kanye, we got Rihanna, we got DMX, we got Luda, we got Nas,” he read aloud. “Was Hov not on Def Jam?” LL Cool J gave Sharpe a puzzled look before noting that JAY-Z arrived a decade after he did. “Yeah, a thousand years later,” he quipped. This isn’t the first time LL has discussed his fraught relationship with JAY-Z in recent weeks. He also set the record straight on a rumor that JAY-Z battle rapped him in a parking lot in 1996. LL admitted the story was true. That said, he rapped JAY’s partner beforehand, and claimed he spent all of his rhymes.
LL Cool J and JAY-Z have never collaborated, and most of their comments about one another have contained slight jabs. In the same Out of Context interview where LL addressed the rap battle, he shut down the rumor that he dissed JAY-Z on the song “Loungin.” The Queens legend asserted that he would have no reason to diss Hov back in 1996. Why? Because he wasn’t big enough to warrant the attention. It’s blunt but it’s also true. “What could I possibly want from him in 1996,” LL noted. “What do I want with him?”
Vince Staples made sure he went out with a bang before departing from Def Jam Recordings. The now developed Long Beach, California multi-hyphenate has come a long way since joining the label nearly 11 years ago. For him, Dark Times is essentially a culmination of all of the skills that he has now harnessed and honed in. It is a mixture of great storytelling, rapping, thematic execution, and production choices.
One track that sees Vince Staples deliver on all those fronts is “Étouffée.” On this cut, the veteran uses this time to reflect on how far he has come from the Dark Times he went through growing up. Instead of getting really grim, Staples keeps it all the way 100 with the fans and people he proved wrong throughout his career. It is a fairly celebratory moment on the record and is a bit of a full circle moment.
“No love, I’ma sleep with my weapon / Porsche 911, slide through the section / Gotta show my homies I’m on now / Both soles on the ground, never sold out.” While this is going on, Vince is showing love to the rap culture in the rich city of New Orleans. “Big timin’, like them n****s in New Orleans / Grill shinin’, like them n****s from Magnolia / Chopper City in the ghetto, I’m a soldier now.” There is also a bright and fun beat switch at the end, which is clear nod to New Orleans bounce. Even though there are ton of great listens, “Étouffée” may be at the top.
What are your thoughts on “Étouffée” by Vince Staples? Is this the best track from Dark Times, why or why not? What is your favorite aspect of it? How would you rank all of his Def Jam releases? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Vince Staples. Finally, stay with us for everything else going on in the music world.
Quotable Lyrics:
Dropped Big Fish, cuh been weak since (Cuh be trippin’) Damn, tell me how you really feel (That’s how you feel?) And, all I wantеd was a couple mill’ (Okay) Make the city proud (Hood) Put it on ‘forе them crackers come and tear it down What are you about?
Legendary gangsta rapper and former Def Jam signee, BoSS (Bo$$), has passed away. The Detroit native, born Lichelle Laws, died on March 11th at the age of 54. The cause of death was complications from long-standing health issues. BoSS changed the game when she blew up, becoming the first woman signed to Def Jam. She served to kick down the doors and usher in a wave of female emcees under the label. While she may have flown under the radar in her later years, her indelible mark will forever remain in the history of rap.
NEW YORK, NEW YORK–MARCH 12–Rapper Boss (aka Lichelle Laws; Bo$$) appears at a party with DJ Irene ‘Dee’ Moore on March 12, 1993 in New York City. (Photo by Al Pereira/Getty Images/Michael Ochs Archives)
Lichelle Marie Laws grew up in a suburban home. Alongside her education at a Catholic private school, she enlisted in extracurriculars like cheerleading. She was also raised by her parents to take jazz and tap dance classes, as well as ballet and piano lessons. Her parents, both devoted church deacons, instilled strong Christian values in her upbringing.
However, despite her middle-class roots, Laws was determined to leap into hip-hop, which was considered a huge taboo. In 1990, Laws, accompanied by her loyal DJ Irene ‘Dee’ Moore, moved from Detroit to the vibrant south side of Los Angeles after a failed stint in NYC. Their path was etched with the harsh realities of low-income living in LA. The two weathered hunger, peddled drugs to make ends meet, slept on park benches and crumbling hotels and weaved through the gang dynamics of the West Coast. Regardless, the two of them became BoSS, fueled by an unwavering determination to make their mark in the music scene. The name BoSS is an acronym, which stood for “Bitches On Some Shit!”
DJ Quik Connection & Def Jam Deal
One of her earlier collaborations was with Sylk Smoov on “One Nation,” which featured on his debut album. She also contributed to the soundtrack of the Detroit film Zebrahead, sharing credits with many notable artists, like MC Serch, and a younger Nas, then known as Nasty Nas. However, none of this would have happened if she had not crossed paths with West Coast rap icon DJ Quik.
Quik took her under his wing and connected BoSS with a host of rappers for future collaborations. Notably, AMG tapped her for “Mai Sista Izza Bitch,” which was produced by DJ Quik. This helped BoSS catch the attention of none other than Def Jam. As a result, she became one of Russell Simmons’ very first signings to the label and remains one of the pioneering female rappers ever.
BoSS’ debut album, Born Gangstaz, released under Def Jam West, boasted production from Jam Master Jay, Erick Sermon, Chryskillz, among others. The album hit the shelves in May 1993, quickly garnering attention and selling close to 400,000 copies. Furthermore, it stormed to number three on Billboard’s Top R&B/Hip-Hop Albums chart. It also peaked at No. 22 on the Billboard 200.
Although it didn’t quite meet Def Jam’s lofty expectations, the album boasted notable tracks like “Recipe of a Hoe” and “Progress of Elimination.” Mosh notably, the album also housed “Deeper.” The successful single, featured a sample from Barry White and an interpolation of Red Hot Chili Peppers’ “Under The Bridge.” It served to showcase how her distinctive gritty style could blend with other genres seamlessly.
“Deeper” soared to #65 on the Billboard Hot 100, and dominated Billboard’s Hot Rap Songs chart for three consecutive weeks. The accompanying music video featured Laws rapping from behind bars and in a straitjacket. Upon release, it became a major television sensation. It was subsequently broadcast on Yo! MTV Raps and BET’s Rap City, helping to cement her presence in the game.
However, it appeared that things between Boss and DJ Dee began to shift behind the scenes after the album dropped. After the release of Born Gangstaz, the partnership between Laws and Moore ended amicably. Nonetheless, Laws would carry on under the BoSS banner throughout her career.
The WSJ Article
Following the release of her album packed with gritty street narratives, a Wall Street Journal piece cast doubt on the authenticity of Laws’ hardcore, streetwise persona. Published in 1994, the article unveiled Lichelle Laws’ upbringing in a middle-class environment in Detroit. This seemingly contradicted her claims of a rough urban upbringing. However, it overlooked the self-satirical elements within her music, embodied in tracks like “Intro: A Call from Mom.”
Def Jef, the album’s producer who proposed involving Laws’ parents in the project, was shocked by the misconceptions. He emphasized that there was an intention behind BoSS’ music — a blend of reality and satire that characterized her work. “I can’t believe none of the reviews saw the irony of that,” he said. “No one did!” His defense fell on deaf ears, however, and the backlash from the article heavily impacted the trajectory of her career.
And so, despite the success of Born Gangstaz, BoSS never had the opportunity to drop a sophomore project. The rapper’s second album had been slated for release under Def Jam, but the label unfortunately declined her demos, leading to her departure from the company without a subsequent release. Despite this setback, Laws maintained her ambition to deliver another full-length album for most of her life. She once said, “When my record comes out I’m gonna pack up my kidney pills — the 45 I have to take every day — and go wherever.”
After parting ways with Def Jam, BoSS relocated to Dallas, Texas. She made the move with her partner Ricardo Royal, also known as Cocoa Budda. There, she juggled roles as a radio DJ while raising her son Lamar, and balancing her musical pursuits on the side. She had to focus a little more on her health after she suddenly developed kidney complications in 1999. Since she and Lamar’s father were separated at the time, she returned back to her family in Detroit. BoSS reportedly had to undergo three and a half years of dialysis before she could get back on her feet and continue to produce music.
In May 2011, her family revealed her urgent need for a kidney, reaching out to the Facebook community in search of a potential donor, albeit to no avail. In 2017, she faced yet another significant health setback, experiencing a major stroke and seizure. Subsequently, a GoFundMe campaign was initiated on January 31, 2021, to raise funds for a recommended medical procedure.
Although the campaign surpassed its $15,000 target, updates on her condition remained sparse until news of her death broke. Following her passing on March 11th, a wave of tributes continue to flood in from fellow rappers who shared her era and fans who cherished her music. Lichelle Laws’ memorial is scheduled for March 23rd at a yet-to-be-disclosed location, where friends, family, and fans will gather to honor her memory.
It’s no secret that 2Pac was once the face of Death Row Records, but according to Fredro Starr, the late icon did everything in his power to keep him from the same fate. During a recent interview with The Art of Dialogue, Fredro recalled spending time with 2Pac and Suge Knight at the premiere of his 1996 film, Sunset Park. After they all watched the movie, Suge asked Fredro to chat privately, and later ended up making him a serious offer.
“So me, 2Pac and Suge Knight, we take a walk, just us three,” Fredro explained. “Then Suge was like, ‘I want to sign you to Death Row.’ And I’m like, ‘Huh? What are you talking about?’ Suge Knight had a reputation for being…when I talked about energy, ‘Pac is the sun, Suge Knight is the moon. He got the dark energy. So when he was like, ‘I want to sign you to Death Row,’ I got kind of shook.”
“I was like, ‘But I’m already signed to Def Jam.’ I was trying to figure my way out the sh*t. ‘Nah, don’t worry about that. I’ll figure that sh*t out. I know [Jam Master] Jay. I know Russell [Simmons]. I’ll take care of that. Ain’t nothing to worry about,’” he continued. It was then that he shared a look with 2Pac, and the hitmaker’s face said it all.
“[T]he n***a 2Pac was looking at me, he was giving me that side-eye. He wasn’t encouraging the sh*t. He wasn’t like, ‘Yeah, n***a! Sign with Death Row, n***a! We got it popping!’ I didn’t hear none of that from that n***a. That n***a was quiet,” he said. “[He was giving me a look like], ‘You don’t want to do this, my brother. Stay where you at, my n***a.’” What do you think of Fredro Starr claiming 2Pac warned him not to sign to Death Row with a simple facial expression? Are you surprised? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
Detroit rapper Bo$$, who was the first female rapper to sign with Def Jam West, has passed away. UGK legend Bun B confirmed the news in a post on Instagram, Monday night. A cause of death was not mentioned.
“Rest in peace to my big sis Lichelle Laws AKA Boss. One of the best female MCs and a dear friend. Give Rick Royal a hug for me. Long Live The Org!” he wrote. Many artists joined in on paying their respects in the comments section. Jermaine Dupri, The D.O.C., DJ Premier, as well as Monica, and more all left behind remarks. Willie D wrote: “She fought a good fight for a long time. May she rest in eternal love and peace.” Premier commented: “Damn! Worked with her on the Deeper Remix at D & D. She was Raw even in person.”
While further details on her passing seem to remain private, Bo$$’s family set up a GoFundMe for her in 2021 to get help paying medical bills. They explained at the time that she suffered from a renal disease and needed a kidney transplant. She had previously suffered a major stroke and seizure in 2017. “We are now trying to see if the family can get a specialized procedure for her,” the GoFundMe description read. “The procedure is costly and we wanted to reach out to her extended family, her friends and fans, to ask for assistance with helping her to be blessed with this procedure to help her to get back to her health. The funds are needed as soon as possible to set her up for the procedure. After this procedure she will be on the kidney list for a transplant from a donor, once we receive one.”
The GoFundMe ended up hitting its goal of $17,000. Check out Bun B’s post above and be on the lookout for further updates on Bo$$’s passing on HotNewHipHop.
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