On this date in 2020, the Hip Hop world lost one of its most revered pioneers with the death of John “Ectasy” Fletcher of the legendary Brooklyn rap trio Whodini, who passed away during the coronavirus pandemic, however, reports stated that was not the cause of his death. Fletcher was 56 years old.
Emerging from Brooklyn’s Albany Projects in the early 1980s, Whodini revolutionized Hip Hop with their innovative blend of rap and R&B, creating a sound that bridged party anthems and introspective storytelling. Comprising co-founders Jalil Hutchins and John “Ecstasy” Fletcher, along with turntablist DJ Drew “Grandmaster Dee” Carter, the group became one of the genre’s earliest commercial successes.
Whodini’s hits such as “Friends,” “Freaks Come Out at Night,” and “One Love” remain timeless classics, celebrated for their catchy hooks, relatable themes, and polished production. Their music often explored universal human experiences, setting them apart in an era dominated by battle raps and party tracks. Their innovative music videos were among the first by a rap group to receive heavy rotation on MTV, expanding Hip Hop’s reach to wider audiences.
John “Ecstasy” Fletcher played a vital role in Whodini’s success. Known for his iconic Zorro-style hat and suave persona, Ecstasy was the voice of smoothness and charisma. His melodic delivery and conversational rap style contrasted beautifully with Jalil’s sharper flow, creating a dynamic that resonated deeply with fans. Fletcher’s contributions extended beyond performance; he helped craft Whodini’s identity as trailblazers who introduced harmony and storytelling into rap.
The group’s contributions paved the way for future artists by showing that Hip Hop could be both commercially viable and artistically innovative. Their influence can be seen in the work of countless artists who followed, and they remain celebrated as one of Hip Hop’s foundational acts. Ecstasy’s legacy continues to inspire, reminding the culture of the power of originality, charisma, and authenticity.
The world of baseball has been rocked by the death of stolen base king and 10X MLB All Star Rickey Henderson, who lost his fight with pneumonia over the weekend. The 65 year old baseball legend played for nine different teams during his Major League career, however, there was no place like home for Henderson, who spent the greater part of his extensive 30-year career with the Oakland A’s. Whether he’s recognized as one of the Top 5 Greatest baseball players of all time by Hall of Famer Ken Griffey Jr. or acknowledged for having more stolen bases by himself than the entire Boston Red Sox franchise had in the history of their team, it is unmistakeable that Henderson was one-of-a-kind on and off the diamond.
Yes, the rumors are true; he used to check into hotels under the assumed, but notable names of James Brown, Luther Vandross and Richard Pryor. It’s also legend that the Yankees once thought there was an oversight of $1 million in their signing budget the year that they signed the undisputed king of stolen bases, but Henderson never cashed the $1 million signing bonus check from the late George Steinbrenner; instead, he framed the check and hung it up on the wall in his home.
Henderson’s 1,406 career stolen bags and 130 SBs in a season still stand as the MLB records to this day. There are several historic moments of iconic sports figures that have not been properly appreciated and the legend of Rickey Henderson isn’t any different. Here at SOURCE SPORTS, we have complied a list of ten accomplishments from the extensive career of Henderson that is arguably unmatched by any other player in the game of baseball.
1. Appeared in Four Decades of Baseball Rickey Henderson’s longevity in Major League Baseball is as legendary as his speed. Over the course of a remarkable 25-year career, Henderson became one of only 27 players in history to appear in games across four decades (1979-2003). This rare feat highlights his adaptability, resilience, and enduring value as a player. From his early years with the Oakland A’s to his final stints with various teams, Henderson’s presence on the field consistently dazzled fans and frustrated opponents. His ability to remain competitive in a physically demanding sport for so long is a testament to his unparalleled work ethic and passion for the game.
Henderson as a rookie in 1979
2. Holds Yankees’ Franchise Record for Leadoff Home Runs Although Rickey Henderson spent just five seasons with the New York Yankees, his impact was monumental. To this day, he holds the Yankees’ franchise record for leadoff home runs. Known for combining speed and power like no one else, Henderson turned the top of the batting order into a threat. Opposing pitchers had to face the daunting challenge of a player who could start a game with a home run or a stolen base, setting the tone for his team. His unforgettable tenure in pinstripes showcased his dynamic skill set and cemented his legacy in Yankees lore.
3. Seven Consecutive Seasons Leading the League in Stolen Bases By 1986, Rickey Henderson had firmly established himself as the king of the stolen base. For seven straight seasons (1980–1986), he led the league in steals, a feat that underscored both his consistency and dominance. No other player of his era came close to matching his speed, instinct, and daring on the basepaths. Henderson didn’t just steal bases; he revolutionized the art of base stealing, turning it into a game-changing weapon. This streak solidified his reputation as one of the greatest base runners in baseball history.
4. Youngest Player to Steal Three Bases in One Game At just 20 years and 241 days old, Rickey Henderson became the youngest player to steal three bases in a single game in his rookie year, a record that stood for an impressive 40 years. Henderson’s remarkable feat showcased his precocious talent and fearless approach to the game. It wasn’t until Juan Soto, at 19 years and 325 days old, broke the record that baseball saw another player emulate such youthful dominance on the basepaths. Henderson’s early exploits were a sign of the legendary career to come, as he redefined base-stealing excellence. Below, he accomplished the same feat again in 2000 at 41 years old against the BoSox.
5. Batted Right, Threw Left – A Rare Combination Rickey Henderson was one of only 57 players in MLB history to bat right-handed while throwing left-handed, a rarity in professional baseball. This unique combination added another layer of intrigue to his already extraordinary career. It’s a reflection of Henderson’s natural athleticism and adaptability, qualities that allowed him to excel not only at the plate but also in the outfield. Whether gunning down runners or driving the ball with authority, Henderson was truly one of the greatest Black baseball players of all time.
6. Broke Babe Ruth’s All-Time Walk Record In 2001, Rickey Henderson surpassed Babe Ruth’s all-time walk record, further cementing his status as one of baseball’s greatest offensive catalysts. Known for his patience and keen eye at the plate, Henderson’s ability to draw walks was a key aspect of his game. His unmatched combination of speed and on-base ability made him a nightmare for pitchers, and breaking Ruth’s record was a fitting milestone for a player who excelled at getting on base and wreaking havoc.
7. 20 Home Runs and 80 Stolen Bases in a Season (Twice) Rickey Henderson is the only player in MLB history to hit 20 home runs and steal 80 bases in a season—twice. This rare combination of power and speed epitomized Henderson’s dynamic playing style. He proved that a player could dominate in multiple facets of the game, making him one of the most versatile threats ever to step onto a baseball diamond. His ability to excel in both power and speed remains a standard few have reached.
8. League Leader in Stolen Bases for 12 Seasons Over the course of his illustrious career, Rickey Henderson led the league in stolen bases for an incredible 12 seasons, a record that speaks to his unmatched consistency and dominance. Whether in his prime or later in his career, Henderson’s speed and base-stealing acumen set him apart. His uncanny ability to read pitchers and execute perfectly timed steals made him a perennial league leader and an invaluable asset to his teams. In the video below, Henderson became the all-time AL stolen base leader with his 893rd swiped bag, surpassing Ty Cobb’s previous American League record.
9. MLB’s Stolen Base Leader at Age 39 Even at 39 years old, Rickey Henderson proved that age was just a number. In 1998, he led the MLB in stolen bases, a feat that highlighted his enduring speed and athleticism. At an age when most players are slowing down or retiring, Henderson remained a top-tier base runner. His achievement at 39 serves as a testament to his extraordinary fitness, preparation, and baseball IQ.
10. Induction into the Baseball Hall of Fame (2009) In 2009, Rickey Henderson was inducted into the Baseball Hall of Fame, receiving an overwhelming 94.8% of the vote in his first year of eligibility. The honor recognized his unparalleled contributions to the game, from his all-time stolen base record to his dynamic presence as a leadoff hitter. Henderson’s induction was a crowning achievement in a career filled with milestones, celebrating a player who changed the game with his unique blend of speed, power, and charisma.
Speech given by Rickey Henderson after breaking Lou Brock’s all-time SB record in 1991
On this date in 1960, record exec, rapper, producer, and pioneer Luther Campbell, aka Uncle Luke, was born in Miami, Florida. Luke has morphed into one of the trailblazers of today’s strip club-based Hip Hop that is seen from southern artists such as Future, Kodak Black and even Megan Thee Stallion.
As the one-time leader of the legendary 2 Live Crew, Campbell launched Luke Skyywalker Records, becoming the first Hip Hop mogul in the Dirty South to boast a gold album(The 2 Live Crew Is What We Are). After five group albums and eight solo albums, Campbell ventured into adult films, starred in his own reality show and even made a run for Mayor of Miami in 2011.
Happy birthday to the Liberty City native who became a family man and a definitive part of Hip Hop history!
On this date in 1998, Earl “DMX” Simmons dropped his sophomore release, Flesh Of My Flesh, Blood Of My Blood on the Def Jam/Ruff Ryders imprint. Less than a year following his debut album, It’s Dark and Hell Is Hot, X put out one of his most celebrated releases that shipped gold in its first week and were posted at the top of the charts for almost an entire month following its release.
The project, which was produced by Irv Gotti, Dame Grease and Swizz, debuted at number 1 on Billboard Top 200 just like X’s premier album. This feat was only accomplished once before by Tupac with All Eyez On Me and The Don Killuminati: The 7 Day Theory.
The singles that led the album’s success were the dark, autobiographical “Slippin’” and the Swizz Beatz produced “No Love 4 Me” featuring then Ruff Ryders newcomer Drag-On. The album enjoyed additional success being that this was the project in heavy rotation during DMX’s silver screen debut alongside Nas in Belly.
Thanks to the entire Ruff Ryder team including the Dark Man Unknown himself for this timeless Hip Hop classic!
Thirty-four years ago, Ice Cube released Kill At Will, a blistering follow-up to his landmark debut album, AmeriKKKa’s Most Wanted. As an EP, it’s a concise yet potent project that not only cemented Cube’s reputation as a pioneering solo artist but also showcased his ability to blend storytelling, social commentary, and unrelenting aggression.
Clocking in at just under 25 minutes, Kill At Will serves as both an extension of his debut’s themes and a standalone statement. The EP begins with “Endangered Species (Tales From the Darkside),” a hard-hitting collaboration with Chuck D of Public Enemy. The track tackles systemic violence, police brutality, and the precarious position of Black lives in America—a message as relevant today as it was in 1990. Cube’s verses are sharp, unflinching, and filled with urgency, while Chuck D’s presence reinforces the weight of its message.
Another standout is “Dead Homiez,” a somber reflection on the cycle of violence in South Central Los Angeles. Cube adopts a mournful tone as he pays homage to fallen friends, capturing both the grief and frustration that come with living in a community plagued by gang violence and systemic neglect. The haunting production amplifies the emotional impact, showcasing Cube’s versatility as not just a firebrand but also a deeply introspective storyteller.
“Jackin’ for Beats” is perhaps the EP’s most innovative track, where Ice Cube raps over a medley of beats borrowed from other popular songs of the time. It’s a playful yet assertive display of lyrical dominance, as Cube effortlessly adapts his flow to each new instrumental, proving his prowess as a master emcee. This track also nods to hip-hop’s roots in sampling and reinvention, making it a clever meta-commentary on the genre itself.
The EP closes with “The Product” and “I Gotta Say What Up!!!,” which continue Cube’s sharp critique of societal issues while reinforcing his role as an unfiltered voice for the disenfranchised. The latter track serves as a shoutout to the hip-hop community, solidifying Cube’s connection to his peers and the movement as a whole.
What makes Kill At Will remarkable is its balance. While it carries the same confrontational energy as AmeriKKKa’s Most Wanted, it feels more focused and distilled. The EP format works in its favor, offering listeners a concentrated dose of Ice Cube’s artistry without filler.
Decades later, Kill At Will remains a pivotal moment in Ice Cube’s career and hip-hop history. It captured the zeitgeist of the early ‘90s, where racial tensions, police violence, and urban decay loomed large in America’s collective consciousness. More importantly, it gave a voice to those living in the margins, proving once again that Cube was more than a rapper—he was a revolutionary.
Listening to Kill At Will today, its themes still resonate, making it both a time capsule and a timeless piece of art. It’s a testament to Ice Cube’s vision and a reminder of the power of hip-hop as a tool for truth and transformation.
Kendrick Lamar has respect for the legends, especially those from the West. On the opening track of his new album, GNX, “wacced out murals,” Lamar revealed his reaction to Snoop Dogg reposting Drake’s “Taylor Made Freestyle” diss toward him:
“Snoop posted ‘Taylor Made’, I prayed it was the edibles It was only right for me to let it go”
Snoop heard the bar and spoke about it with Bootleg Kev.
“That’s my nephew, he’s a rapper man he’s supposed to speak his mind and tell his truth,” said Snoop. “That’s the way he felt and he has the right to say that. I’m his big homeboy so I have to take what’s given to me from his perspective because he’s speaking truth. And the truth shouldn’t hurt you, it should make you better.”
You can hear the full explanation from Snoop Dogg below.
“I was fucked up, My Bad” – Snoop Dogg on Kendrick Lamar calling him out on ‘wacced out murals’ pic.twitter.com/L49xF1Eofj
Back in the beef days, Drake received a cease-and-desist and had to remove the “Taylor Made Freestyle” from online. Originally posted on Instagram, the single used an AI-generated Tupac voice to provoke Lamar.
According to Billboard, the estate threatened to sue and stated the voice was “a flagrant violation” and “blatant use” of Pac’s legacy.
The message was delivered via a cease-and-desist letter filed by Howard King, requesting Drake pull the song within 24 hours or face all of the estate’s “legal remedies.”
“The Estate is deeply dismayed and disappointed by your unauthorized use of Tupac’s voice and personality,” King wrote in the letter. “Not only is the record a flagrant violation of Tupac’s publicity and the estate’s legal rights, it is also a blatant abuse of the legacy of one of the greatest hip-hop artists of all time. The Estate would never have given its approval for this use.”
Additionally, the letter reads, “The unauthorized, equally dismaying use of Tupac’s voice against Kendrick Lamar, a good friend to the Estate who has given nothing but respect to Tupac and his legacy publicly and privately, compounds the insult.”
Last Friday (April 19) on Instagram, Drake dropped off the “Taylor Made Freestyle.”
Upon pressing play, you will hear something you wouldn’t expect: Tupac’s voice. The single opens with an AI Tupac verse requesting KDot stand up for the West Coast. It is followed by an AI Snoop Dogg asking for the same.
AI Tupac raps: Fuck this Canadian lightskin, Dot We need an undebated West Coast victory, man Call him a bitch for me Talk about him liking young girls, that’s a gift from me Heard it on the Budden Podcast, it’s gotta be true They told me the spirit of Makaveli is alive In the nigga under five-foot five, so it’s gotta be you
AI Snoop added: ‘Cause right now it’s looking like you writing out the game plan on how to lose How to bark up the wrong tree and then get your head popped in a crowded room World is watching this chess game, but are you out of moves?
After that, Drake pops in for his own slick talk: The first one really only took me an hour or two The next one is really ’bout to bring out the coward in you But now we gotta wait a fucking week ’cause Taylor Swift is your new Top And if you ’bout to drop, she gotta approve
Since “Like That,” your tone changed a little, you not as enthused How are you not in the booth? It feel like you kinda removed You tryna let this shit die down, nah, nah, nah Not this time, nigga, you followin’ through
He ends the song with a message, “I know you’re in that NY apartment, you struggling right now I know it.”
On this date in 2000, West Coast rap giant Snoop Dogg released his fifth full-length studio album entitled The Last Meal, which was released on Master P’s Dirty South, independent powerhouse, No Limit Records, as well as the first album on Snoop’s Doggystyle Records. This album was released during the “dog days” of Death Row, with Snoop and Dre parting ways with their former boss and label owner Suge Knight. The album was leaked on the internet on December 1, 2000, by Suge Knight who made all tracks downloadable in MP3 from the official site of his and Snoop Dogg’s former company Death Row Records, which featured links to tracks from both Tha Last Meal and Dead Man Walkin’ albums, asking visitors to “take The Snoop Dogg Challenge” and decide “song for song” which is the better album.
There was some heavy production on the album, with tracks primarily from Dr. Dre and Master P, adding Timbaland and Soopafly to the unique flavor of this project as well. The most recognizable track from the album was “Lay Low” a melodic track featuring Butch Cassidy, The Outsidaz with Nate Dogg singing the hook and Dr. Dre behind the boards, capturing that original G-funk sound of the 213.
Salute to Snoop, Master P, Dre and the entire No Limit/Death Row teams who helps mold this timeless classic!
On this day in Hip Hop history, Strong Island rap duo EPMD released their third studio album, Business as Usual on the Def Jam imprint. Although upon its release it wasn’t as commercially popular as its two predecessors, this album is still considered to be a success. In the year of its release, Business As Usual peaked at #36 on the Billboard 200 and claimed the #1 spot on the Top R&B/Hip-Hop chart. The album was certified gold on May 7, 1991, and in 1998, The Source Magazine selected this project to be apart of the “100 Best Rap Albums” list.
Although the project is titled Business as Usual, the sound of the album was largely different than what had made EPMD famous on earlier releases. The production on their first two projects consisted mostly of samples and simple drum patterns. On Business as Usual the sound is more complex and the drum patterns are more involved. Erick and Parrish stepped the game up and ventured away from the tradition sample-heavy beats that were prominent in New York during this era.
Lyrically, this album is a lot more straightforward than there previous efforts. The punch lines are wittier and the newer sound of the production allows the duo to experiment with different flows and subjects. This album also ushers in the career of a rap legend Newark, NJ newcomer Redman. Redman was featured on the tracks “Hardcore” and “Brothers on My Jock.” Redman’s hunger for the spotlight is easily noticed on this project and set the tone for the long and successful career that followed.
The three singles from this project, “Gold Digger”, “Rampage” featuring LL Cool J, and “Give the People”, had high reception in the Hip Hop community; two of them claimed spots on the Billboard Hot R&B/Hip-Hop Singles chart. “Gold Digger” peaked at #14 and “Rampage” at #30. After this project, EPMD went on to release four more successful studio LPs.
There will forever be only one Dark Man Unknown and today is his birthday! Born Earl Simmons on this day in “Money Earnin’” Mount Vernon in 1970, DMX became one of the largest names in Hip Hop as well as a sought after actor on the silver screen. Sadly, X passed away on April 9, 2021 after being in a coma from a cocaine-induced heart attack.
In honor of X’s born day, The Mind Squad at The Source has formulated this list of The Dog’s Top 10 anthems. There’s no particular order, but make sure you let us know your favorite banger!
On this day in 2001, the self-crowned “King of New York” released his fifth studio LP, Stillmatic. During Nas’s musical absence the power in New York had shifted and Jay-Z had stepped up and eclipsed Nas as the best MC in New York. The title itself shows that Nas had a chip on his shoulder and used this album to show the world who was STILL the best rapper alive out of the five boroughs.
Nas and Jay-Z were in the midst of one of the biggest feuds in rap. With this being the theme of the time, the lyrics of this album carried a malicious flavor. This new side to Nas’ sound is most prominent on the track Ether that is one of the most straightforward diss tracks in rap. The disrespect that was put on on this record makes the Drake/Meek Mill conflict look like a childhood dispute. Throughout the album Nas continues to showcase his no-holds-barred style of lyricism, dropping names of those he feels have disrespected him left and right and setting records straight about his spot in Hip Hop. With every bar, you can feel Nas attacking the game and making sure his place is felt by everyone listening. This album is also a lot less openly righteous than his previous work. Nas is a righteous individual so there will always be undertones of positivity in his work, but on this album, the focus was on the cold and darker side to Hip Hop and New York City in general.
Released on Columbia Records, the album debuted at #8 on the Billboard 200 chart and sold 342,600 albums in its first week. Within a month, the album claimed the #5 spot and was certified platinum on January 16, 2002. By July 2008, the album had sold 2,026,000 copies. This “comeback” album received majority positive reviews from critics. Nas was praised by critics from Rolling Stone, AllMusic and The Source, who gave this album the coveted 5 Mics.
