One of the most surprising but welcome elements of Kendrick Lamar’s new album GNX is the feature list, with stars SZA and Roddy Ricch catching people’s ears. However, there are also a lot of hard-hitting West Coast rappers on the tracklist, plus some gorgeous vocal contributions from one Deyra Barrera from Tucson, Arizona. The mariachi singer told Rolling Stone of how she linked up with the Compton lyricist. She explained that their collaborative origin was when she sang a tribute at Game 1 of the World Series to former Los Angeles Dodgers pitcher Fernando Valenzuela, who passed away in October.
“My skin gets goosebumps because all of this happened so quickly for me,” Deyra Barrera recalled to the publication about this “blessing.” “I want to cry. This is taking me by surprise. I was in tears, singing for my friend who died, at a packed stadium. And, el señor [Kendrick Lamar] was there. He listened to me sing. I believe in angels. And [Valenzuela] is an angel for me. I had no idea what I would record. I make mariachi, not rap. They told me they wanted my style, my voice. I had no idea how it was going to end up on the record. He welcomed me and was so kind. He said, ‘You have such a powerful voice. Thanks for coming.’ I had no idea what to say. Lamar is a genius, a maestro. Everything he makes is magic.
Deyra Barrera’s Performance That Captivated Kendrick Lamar
“Ever since I can remember, we’ve sung to pay for rent and to make enough money to eat,” Deyra Barrera remarked of the path that led her to this moment with Kendrick Lamar. “It’s been many years of highs and lows, but I haven’t thrown the towel in because this is what I love. I hope this helps me. This industry is really difficult. I need to take advantage of this God-given moment to grow as a singer. From now on, I need to work a lot to have more people listen to my music, and learn who I am. I know Kendrick is going to do the Super Bowl Halftime Show… Imagine if he invited me to sing with him? That would be incredible. I hope people know that it’s Deyra Barrera who is on these songs.”
Days after that World Series game, Deyra Barrera was in Kendrick Lamar’s studio hearing the beats from the album. She wrote down some lines evoking the emotions that Kendrick’s team told her he wanted to present. Eventually, K.Dot stopped by to greet Barrera and express his gratitude for her contributions, even though she says they didn’t get to spend much time together after discussing their ideas. She appears on GNX‘s intro, “wacced out murals,” the track “reincarnated,” and the album’s outro, “gloria.”
Christmas came a bit earlier this year as Kendrick Lamar returned with his sixth studio album, GNX. The 12-song album follows K. Dot’s unanimous victory against Drake earlier this year. Since then, we’ve been on high alert for the possibility of a new album. As the rumors persisted and the year came to a close, Kendrick Lamar is clearly eying another AOTY contender with the release of GNX.
After releasing a short one-minute snippet on his @jojoruski burner account, Kendrick Lamar’s GNX suddenly appeared on streaming services and it’s safe to say he’s coming for what’s his. What’s maybe less surprising is that it’s not necessarily overdone with features. You probably heard a few familiar voices on the project, such as former labelmate SZA and fellow L.A. rappers like AzChike, Lefty Gunplay, and more. GNX also boasts production credits from TDE’s in-house producer and Kendrick Lamar’s long-time collaborator Sounwave, as well as Jack Antonoff, Mustard, Kamasi Washington, and more. Check out the full credits below.
Producer: Craig Balmoris, Dahi, Jack Antonoff, M-Tech, Sounwave, Tyler, Mehlenbacher, franO Composer: Deyra Barrera, Kendrick Lamar Lyricist: Deyra Barrera, Kendrick LamarAdditional Producer: M-Tech Additional Vocals: Deyra Barrera Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty
Producer: Bridgeway, Jack Antonoff, Kendrick Lamar, M-Tech, Sounwave Composer: Kendrick Lamar Lyricist: Kendrick Lamar Additional Producer: M-Tech Associated Performer: Ink, Sam DewBackground Vocalist: Ink, Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruari O’Flaherty
3. luther
Producers: Bridgeway, Jack Antonoff, Kamasi Washington, M-Tech, Rose Lilah, Sounwave Composer: Ink, Kendrick Lamar, SZA, Sam Dew Lyricist: Ink, Kendrick Lamar, SZA, Sam Dew Additional Vocals: Sam Dew Associated Performers: Caleb Vaughn Smith, Drew Forde, Geoff Gallegos, Giovanna Moraga, Kerenza Peacock, Luanne Homzy, Luke Maurer, Paul Cartwright, Sam Dew, Stephanie Yu Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Tony Shepperd Strings: Caleb Vaughn Smith, Drew Forde, Geoff Gallegos, Giovanna Moraga, Kerenza Peacock, Luanne Homzy, Luke Maurer, Paul Cartwright, Stephanie Payne, Stephanie Yu Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr.
Producer: Craig Balmoris, Jack Antonoff, M-Tech, Sounwave, Tyler Mehlenbacher Composer: Kendrick Lamar Lyricist: Kendrick LamarAdditional Producer: M-Tech Associated Performer: Sam Dew Background Vocalist: Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Ruari O’Flaherty
5. hey now
Producer: Jack Antonoff, Mustard, Sounwave Composer: Dody 6, Kendrick Lamar Lyricist: Dody 6, Kendrick Lamar Associated Performer: Sam Dew Background Vocalist: Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty
Producer: Jack Antonoff, Kendrick Lamar, M-Tech, Noah Ehler, Sounwave Composer: Deyra Barrera, Kendrick Lamar Lyricist: Deyra Barrera, Kendrick Lamar Associated Performer: Sam Dew Background Vocalist: Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacbons Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Olu Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown, Ruairi O’Flaherty
7. tv off
Producer: Jack Antonoff, Kamasi Washington, Mustard, Sean Momberger, Sounwave Composer: Kendrick Lamar Lyricist: Kendrick Lamar Additional Vocals: Lefty Gunplay Associated Performer: Amber Wyman, Chad Jackson, Evan Smith, Lefty Gunplay, Malik Taylor, Marta Joner, Miles Mosley, Paul Cartwright, Peter Jacobson, Reika Nakano, Rickey Washington, Ryan Porter, Sean Sonderegger, Serafin Aguilar, Tylana Renga, Yvette Devereaux, Zem Audu Baritone Sax: Evan Smith Bass: Miles Mosley Cello: Peter Jacobson Horn: Amber Wyman, Malik Taylor, Rickey Washington, Ryan Porter, Sean Sonderegger, Seragin Aguilar Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Evan Smith, Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Tony Austin, Zem Audu Studio Personnel: Evan Smith, Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Tay Charles Brown Jr., Ruairi O’Flaherty, Tony Austin, Zem Audu Tenor Saxophone: Evan Smith, Zem Audu Violin: Chad Jackson, Marta Honer, Paul Cartwright, Reika Nakano, Tylana Renga, Yvette Devereaux
8. dodger blue
Producer: Jack Antnoff, Soundwave, Tane Runo, Terrace Martin, Tim Maxey Composer: Kendrick Lamar, Sam Dew, Siete, Wallie The Seinsei Lyricist: Kendrick Lamar, Sam Dew, Siete, Wallie The Seinsei Additional Producer: Terrace Martin Additional Vocals: Ink, Roddy Ricch, Sam Dew Associated Performer: Ink, Roddy Ricch, Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty
9. peekaboo
Producer: Bridgeway, Sean Mombnerger, Sounwave Composer: AzChike, Kendrick Lamar Lyricist: AzChike, Kendrick Lamar Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty
10. heart pt. 6
Producer: Jack Antonoff, JuJu, M-Tech, Sounwave Composer: Kendrick Lamar Lyricist: Kendrick Lamar Additional Producer: JuJu, M-Tech Associated Performers: Bobby Hawk, Ink, Sam Dew Background Vocals: Ink, Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty Violin: Bobby Hawk
Producer: Jack Antonoff, KENNY & BILLY, Rascal, Sounwave, Tim Maxey Composer: Hitta J3, Kendrick Lamar, Peysoh, Young Threat Lyricists: Hitta J3, Kendrick Lamar, Peysoh, Young Threat Additional Producer: Tim Maxey Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty
12. gloria
Producer: Deats, Jack Antonoff, Sounwave Composer: Deyra Barrera, Ink, Kendrick Lamar, SZA Lyricist: Deyra Barerra, Ink, Kendrick Lamar, SZA Associated Performer: Bobby Hawk, Sam Dew Background Vocalist: Sam Dew Mastering Engineer: Ruairi O’Flaherty Mixer: Oli Jacobs Recording Engineer: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr. Studio Personnel: Jack Antonoff, Johnathan Turner, Laura Sisk, Oli Jacobs, Ray Charles Brown Jr., Ruairi O’Flaherty Violin: Bobby Hawk
Quando Rondo’s come-up has been littered with strife and controversy, much of which has continued to hover over his head in recent years. And while the public narrative hasn’t necessarily always been on his side, he’s made efforts towards changing that and having people see things from his point of view. His 2023 album, Recovery, felt like a reflection of everything that he’s seen and done while looking toward a better path. His follow-up, 2024’s Here For A Reason, embraces these hardships as learned lessons and blessings to help him navigate this next chapter of his life.
Unfortunately, the circumstances of these realizations surround real-life consequences. In December 2023, the rapper was arrested and charged on federal drug charges, which he pleaded guilty to earlier this year. He’s currently on house arrest as he awaits his sentencing. However, within the past year or so, Quando Rondo has made strides in denouncing his previous gang affiliation and vowing to be a better role model for the kids in his community. Part of that is leading by example, as he describes on “Life Goes On” rapping, “Young n***as ’round here beefin’ ’bout the color of a bandana/ That’s why I put my flag down and I picked up a Quran.” Though he doesn’t believe his spirituality has altered his creative process, he does believe that it’s brought him a sense of peace.
“[Islam] gave me some of the best energy I ever had,” Quando Rondo explained to HotNewHipHop over a Zoom call from his home. It’s here where he has been recording music and establishing a presence on the livestreaming platform Twitch where he streams gameplay of NBA 2K and GTA 5. In fact, he began rubbing shoulders with a few of the most prominent figures in that world. In the past year, he appeared on a livestream with buzzing streamers Konvy and FazeLacy. Previously, Quando Rondo live-streamed with Duke Dennis, and as we spoke, he attempted to line up a second round of NBA 2K with the AMP member.
We caught up with Quando Rondo before the release of Here For A Reason to discuss this newfound outlook on life, his appreciation for Lil RT, and his aspirations outside of music.
This interview has been edited and condensed for clarity.
HotNewHipHop:The title of each of your projects feels like a statement. 2023, you released Recovery and now, you’ve dropped Here For A Reason. What’s the significance of this title?
Quando Rondo: I mean, sh*t is self-explanatory. Here For A Reason. Been through a lot but still here.
How deep into the project were you before you landed on this title?
I already had the title that I wanted to go with from the very jump, to be honest with you. I had that title in my mind. Well, I had the saying “here for a reason” in my mind for a couple of months before I even started recording. After you release a project, it’s like you already own to the next, thinking about what you are about to do next. So I had that in my mind a little bit, like sometime after dropping Recovery.
There are no features on this project, either. What was the decision behind that?
Man, I never really worked with other artists, like from the beginning, if you go back and look. It’s never really been my thing. I really love to work by myself.
Your music already has a spiritual tone, and the album contains plenty of references to your grandmother’s prayers. Is there a piece of advice from her or even a prayer that stuck with you?
You know, I was raised in a praying house with a praying family. So, I was taught that prayer works. After I go through something, I talk to my grandma and she pray. I feel alright after that.
You also mention how Islam has helped shape your new outlook on life. One line in particular, you mention how you “put the flag down and picked up a Qu’ran.” How has Islam played a role in helping you find that inner peace?
Man, they had a lot to do with it, because you got to think about it: the majority of the Muslim brothers that you’re going to meet, or you see when you go to the Masjid and in public, they let go of their problems. So that’s the type of energy that it gave me. It just gave me good peace and energy. Taking my shot and being a part of Islam, it just gave me better energy. It gave me some of the best energy I ever had.
How has the Muslim community influenced your approach to music?
Ain’t no difference. I still work the same. I had the same process as I did in the beginning.
On the song “Point Of View,” you discuss the public’s perception of you and how you feel misunderstood. Do you feel like that perception around you is changing?
I most definitely feel like that is going to change. You know, tables turn and bridges burn. To explain that song, man, I feel like this: everybody has their own point of view when it comes to anything. In that song, I was just explaining my point of view. Like, you gotta see this from my point of view.
Do you feel like people are seeing your point of view these days?
I mean, with being an artist and not knowing my fans personally or seeing each and every one of my fans, I can’t really answer that. But I hope that people out there who see shit from my point of view too. In life, you have to always put yourself in the other person’s shoes. When a situation or anything comes to me, I always look at it from both angles. You have to.
You released a statement to the city of Savannah apologizing and vowing to be a better role model. How did you feel about the reception to that statement, both from the city and online?
I felt good about it, bro. That’s a statement that I issued. You got to know that I feel 100% good about what I said, and I mean everything I say.
What other plans do you have to uplift your community?
Man, I have a plan to bond at least 10 people out of jail for the Thanksgiving holidays. I know that the label Atlantic Records is 100% behind me. But you know, they do stuff on a planned schedule, and, I ain’t got no patience. Neither do people that are in jail. So I really just is going to choose the day out this week, probably, and just do it myself.
You sampled 50 Cent on “Could’ve Been Me.” What was the process like getting that sample cleared and did you speak to him directly?
Not directly, but through the label, we got it cleared. I’d really like to talk to him, because I want to be in a movie. I got a story.
Are you trying to get your own movie or appear in the Power universe or something?
I’m trying to get him to write a movie about my life. Eventually, yes, I’d play a role. But you know, from the beginning, they gotta be a young lookalike.
Who would you ask to play that role if you had a choice?
Now, that’s something I can’t answer because we would have to go through 500-600 different pictures of people from all over the world who are young, who we feel like really look like me–[look like] younger pictures than me, bro. That’s something I can’t answer. Who’s liked and who’s needed are two different things, sometimes. Man, this business. So on a business note, I’d approach it like who’s needed at the moment?
Who do you think would be needed for that role? If you had a choice.
You know what’s crazy? Lil RT could probably play me.
What are your thoughts on his online presence and antics?
I ain’t gonna lie, I like lil’ bro, and it be so many fans like, “Quando Rondo looks like an older Lil’ RT,” and I’d be looking at the little n***a like, “I like this lil’ n***a.”
Have you been able to link up with him yet?
No due to house arrest and stuff like that, and me being in my own little shell.
You haven’t hit his DMs or anything either?
No, that’s a young man. I don’t know if he works his Instagram and stuff, and I’m a grown ass man. I just don’t see what type of conversations we can have if it ain’t about making something happen.
Before we bounce, I did want to just know what the significance of “Many Men” as it relates to your life.
Think about it: “Many Men” reflects my life. “Many Men wish death upon me.” That’s real. I mean, that ain’t hard to notice. That ain’t hard to see but I’m gonna come out just like the person who made that song.
The first time that I heard that song–I can’t really say that. I was young. I knew nothing about no music and job at the time. Going back later in life listening to it, I thought about the trials and tribulations I’ve been through, the song meant a lot to me. It’s a forever song, that’s a longevity record.
You’ve been diving into the gaming industry and livestreaming. What’s been the most gratifying part about growing a community this way?
Man, I just like playing the game. I like 2k and GTA 5. I’ve been streaming, been playing the game, but it’s like I had stopped doing it for a couple of years. I wish that I kept the hustle going on. I wish I had stayed consistent with streaming and playing the game, because maybe, I wouldn’t have been in a lot of situations, and maybe, I would have been on a way higher level in the streaming world, just like I am in the music world. It’s nothing like having both.
I saw you link up with Konvy and Lacy recently. They aren’t necessarily hip-hop per se but the streamers have developed some sort of footing within hip-hop. What are your thoughts about the position streamers currently play within hip-hop?
You gotta think about it. The gaming people are damn near getting bigger than the rapper or the artist. Look at Kai Cenat, Duke Dennis. I actually played the game with Duke Dennis a couple of years ago. We got a video on YouTube. We played 2k together a couple of years ago. Hold on, I’m trying to see right now. Oh, Duke Dennis still plays the game. I’m going to try and DM him.
Outside of music and streaming, what else do you have planned?
Chilling, for real. Just trying to stay out of the way.
Despite what the rabid, terminally online, and obsessive nature of Playboi Carti fans suggests, he is not music’s only mystery. It’s been four years since his highly influential classic, Whole Lotta Red. In the meantime, the wait for its follow-up has been exhausting, chaotic, often exciting, frequently disappointing, but always fervent. A huge run of non-streaming singles poised 2024 as the Atlanta creative’s year, which itself followed multiple canceled tours, massive festival performances, tease after snippet after announcement after delay, and bare-minimum social media engagement up until some more frequent activity this year. As you can tell, it’s been a vicious cycle that both shrouds Carti in mystery and allows him to benefit from massive industry moves or get a bag whenever he feels like it. To be fair, you can say this about many artists today, so don’t think we’re singling out the Opium boss just to hate.
But his frequent collaborator The Weeknd knew this self-eating snake better than most. Abel Tesfaye’s rise in the early 2010s was wholly mysterious. People didn’t even know his face, while sheer Internet buzz opened the big label rooms and star-studded studio sessions. By 2015, the XO cofounder was a trailblazer capitalizing on his emerging pop appeal through his die-hard following’s ever-rewarded support. Today, he’s arguably the biggest artist in the world. Frank Ocean also knew this cycle, but his approach to his mystique runs opposite to Abel’s. The former Odd Future crooner was at a similar crossroads and instead doubled down on his mystery to make his trajectory all the more legendary… and infamous for its current flatline. Nevertheless, both artists did what Playboi Carti has yet to prove: they made a choice.
Frank Ocean and The Weeknd chose between secrecy and superstardom, and Playboi Carti still can’t seem to find his perfect balance. Of course, the dry spell of releases since Blonde doesn’t automatically make Frank an underground gem, and Abel certainly keeps his moves under wraps to reserve a bit of his sauce for some likes or brand deals. But the Die Lit rager seems to lose control of his ship every once in a while, whereas his soulful contemporaries position even their most mainstream or frustratingly silent movements as careful, intentional, and well-planned. There are a few different examples of this from 2024. After zero streaming support for fan favorites like “H00DBYAIR” or “Different Day,” “All Red” came out like a damp thud more than a big bang, pretty much sounding like Future as opposed to the icy and smoky IG drops that already captivated the vamps.
Playboi Carti is the premier set of any festival he attends, but when it comes to his Opium tours, their abrupt and unexplained cancelations don’t seem to respect their attendees’ time, financial commitments, or patience. He posts a lot sometimes and is all love with fans, but rarely says much and has a few cases of alleged abhorrent behavior. In the minds of fans, Carti’s probably holed up in a cave somewhere making hard rage with the lights off but he’s actually popping out for Camila Cabello collabs, scamming Adin Ross (no judgment call there), and getting bags for ComplexCon and Camp Flog Gnaw this past weekend. At the end of the day, none of this would be worth mentioning if he addressed it fully or not at all. But this “best of both worlds” approach feels raw, messy, but still visceral at best, and manipulatively fabricated at worst.
Carti Loves Flying Close To The Sun
All this reminds us of Playboi Carti’s closest 2020s collaborator: Kanye West. We all know how hectic and unsatisfying Ye rollouts can be, and he also communicates through more secluded channels while enjoying his exorbitant fame. They share behavioral patterns, like posting DMs with associates and benefitting from “leaks” for more hype. Yet, as the VULTURES series, Donda 2, and the meager “All Red” proves, shadowy anticipation can flop. Glorifying these releases contradicts the counterculture they initially communicated, disappointing mainstream and cult fans for completely different reasons.
Winning that trust back takes time. There was a similarly secretive and electric fable around Whole Lotta Red bolstered by leaks and singles that weren’t the album’s eventual sound. Then it dropped, and many booed. But years passed, and eventually, Playboi Carti fans recognized it as an innovation from the underground to a mainstream stage. Now, “Different Day” is basically a year old, and we’ve heard “EVILJ0RDAN” to death.
It seems like Playboi Carti forces himself to reinvent his sound multiple times with each new album cycle because the preceding build-up is already old news by the time it drops. That’s a really enticing approach artistically, but it leaves a lot of missed opportunities in its wake. Those unfulfilled chances might be horrible music industry logistics and politics, or completely by his design. We hope King Vamp can overcome that in the former’s case. This new era is amazing; don’t get it twisted. But if the latter interpretation is true, and he keeps raising his ceiling higher than he can reach, then he knows his cult status and low efforts will get him paid superstar money either way. Wish we hadn’t solved that mystery…
It felt like an era tragically came to a close when Young Thug was arrested as part of a sweeping RICO case against YSL. At a time when a new crop of rappers, such as Gunna and Lil Baby, became bonafide hitmakers, Thug’s influence felt as palpable across the top 40 as it did in the streets. The arrest, however, curtailed Young Thug’s continued ascent as one of the most important musical figures in the 21st century while impeding the growth of his record label, a label that prosecutors argued was a gang. Thug, born Jeffery Williams, was arrested alongside 27 others in 2022 and tried in what is now considered the longest-running trial in the history of Georgia.
On Halloween, Young Thug was finally granted his freedom. After turning down the prosecutor’s offer that would’ve seen him spend at least 45 years tethered to the system–25 years in prison and 20 on probation–Young Thug’s team of attorneys put their fate in Judge Whitaker. In exchange for pleading guilty and no contest to numerous drug and firearm charges, Young Thug will have to serve 15 years on probation backloaded by 20-year sentence, per AP. Considering the severity of the allegations against Young Thug, the outcome was better than most expected.
As part of his probation, Young Thug will have to adhere to a set of conditions that some, including REFORM Alliance Chief Policy Officer Erin Haney, feel could be a trap that could lead him back to prison. Having been a public defender in California and eventually becoming a critical figure in the #FreeMeek movement, she has a firm understanding of the complexities of the probation system. If you recall, the #FreeMeek campaign gained steam over a probation violation–one that nearly had the Philadelphia-born rapper incarcerated for two to four years.
These technical violations have played a major role in mass incarceration across America, and remain a point of anxiety for those who’ve closely followed the YSL case and advocated for Young Thug’s freedom. Even a technical infraction could possibly lead someone like him to serve the backloaded 20-year sentence. For example, Young Thug is prohibited from promoting any gang activity, which sounds reasonable on paper until he releases a song under his label, YSL. Could that send him to prison? Following Young Thug’s plea deal, we caught up with Erin Haney who broke down Young Thug’s probation conditions and the complexities surrounding these conditions.
This interview has been lightly edited and condensed for clarity.
HotNewHipHop: I want to touch on Meek’s case and how it parallels Young Thug’s situation but first, I would like to know if this trial was like anything you’ve ever seen before.
Erin Haney: The trial and the plea open, no. The specifics of the trial, absolutely not. So, the trial itself and the insanity around that, some of the things that happened with sort of everyone being incarcerated, from jurors being threatened with incarceration to attorneys to judges being kicked off the case, you know, all of that. And I think most recently, right, we saw a witness with Mr. Sledge being incarcerated after testifying and being incarcerated on a probation violation at that, right? So all of that was unprecedented, but I think the plea came down to–in terms of the conditions of supervision and how important it would be to make sure that those conditions were not simply a trap back to incarceration, but actually, gave some room for Jeffery Williams to succeed, right? That concern, that trap of probation conditions, is something that isn’t just common within Georgia or nationally.
It’s actually really the basis of how REFORM was born. For us, it’s something that is incredibly close to our work, I think, and the hearts of most people who work at REFORM, since REFORM was born out of Meek Mill getting a technical violation of probation, meaning he wasn’t in trouble for breaking a law or committing a new crime, right? He was on supervision, and he was in trouble, and I think that’s a light way of putting it, but he was sentenced to two to four years in prison, not for breaking a law, but for violating a rule. You know, even as a criminal defense attorney, that’s not something that I spent a lot of time thinking about, mainly because once people are sentenced, especially in a high trial volume type office, you are often thinking about the next person who is pre-trial, who is facing their case. So you aren’t always looking at what happens to people sort of after they’re on supervision, or at least 10 years ago, you weren’t, right? And I think understanding, in Meek’s case, that that you would get two to four years not for committing a crime, but for breaking a rule. That felt unconscionable. And REFORM was born out of Meek’s insistence that, yes, while he had, you know, resources and a platform and people who fought for him, and ultimately, he was freed, that this is the same type of injustice that’s faced every single day by people all over the nation on supervision, especially in places like Georgia, right?
Anytime that you have jurisdictions or states that have really high rates of supervision and really long periods of supervision with really onerous conditions, you’re going to have these unjust and oftentimes unconscionable violations of supervision that find people behind bars again, not because they’re a risk to public safety, but because they broke a rule that was part of the guidelines of their supervision, and we have to do better than that, right? We know that’s not helping public safety or anyone, and I think, what the negotiations in Young Thug’s case broke down over initially were those conditions and ultimately, why his team praised and put their faith into the judge in crafting conditions that they felt Jeffery Williams could actually abide by.
What was your initial reaction to the plea deal? In the week leading up to that moment, there was a lot of talk about some sort of deal which ultimately went stale. Then the prosecutors wanted him to serve something like 20 to 45 years, if I’m not mistaken.
I was following along and watching it. As a nerd, that’s part of what I do for fun. But also it was incredibly interesting, educational, and unlike anything we had seen, right? We know that in trials, and, cases, especially, frankly–sometimes prosecutors who are eager to get someone that those things can go off the rails. We don’t usually see it unfold in quite this obvious of a way. You don’t usually see prosecutors admonished by the court over and over again for the type of stuff that was happening in this case.
As somebody who had been watching it, even though I wasn’t at all involved, I was, initially somewhat surprised, because he has two of the best attorneys, I think, in the country who are doing a phenomenal job for him. I think a lot of people felt like this was probably going as well as it could possibly go, given how much power the government has in these situations. As you mentioned, I heard there were plea deals. I wasn’t sure if that would happen with Jeffery Williams, especially because of how much he had insisted on his innocence. On the other hand, he’s been in the worst conditions that anyone could be in right, one of the worst jails in the nation. He’s been there for two years and just had his 33rd birthday; is experiencing his kids missing him and crying for him.
So the uncertainty of not knowing whether this would go on for months longer, or whether there would be a mistrial and he would have to start all over. I mean, I could see, I think, at that point, why there would be a plea. So that part was surprising, but I think the part that was genuinely shocking. It’s pretty unusual to plead open or plead to the sheet, or however you want to call it, especially mid-trial. So to hear that they had been negotiating with the prosecution and had come to a point where they couldn’t go any further and that they were going to put their faith in the judge by pleading open, in other words, pleading to all of the charges levied against Mr. Williams, right? As if they went all the way to the end of a jury trial and were convicted on all of the counts. That felt surprising.
I think, had he not had two of the greatest lawyers in the country, there would have been a lot of concern about why that was happening and what was going on. But knowing the incredible skill and dedication that his attorneys had, it became clear quickly, I think, that not only was this a good thing based on what Mr. Williams wanted to do, but that his lawyers had seized on the main issue that often gets missed in these cases, which is, what are the conditions of that supervision? So not just how long is it and not just how much time is hanging or backloaded over Mr. Williams’s head but what are the conditions day to day? Because those usually make the difference between sort of a trap door right back to prison, which is, you know, 25% of prison admissions right now are technical violations, right? So trap door right back to prison, or the ability to possibly succeed and go forward and potentially even thrive. It will be challenging with the conditions he has, but it’s different than it being determinative. And that’s really because of the conditions that his counsel fought for.
In terms of his conditions right now, and just the possibility of them being a little bit more difficult to comply with, especially just considering what his work is, what do you think the biggest threat out of these conditions is to his freedom?
Oh, that’s a really good question. I think there are definitely pieces of [what] you mentioned given kind of his specific situation, being a musician, being an artist. There are definitely ways in which he was targeted because of that. What was really important, I think, about the sentence and the conditions, is that many of them were individualized. I think four conditions really stand out as being some of the more onerous conditions of his supervision. Three of those four are ones that are at least as onerous as they apply to everybody else on probation, right?
There are standard conditions of probation that the judge made some exceptions for, right? So they individualize those conditions. So for example, the travel restriction. People in Georgia on probation, the hundreds of thousands of people, sadly, on probation in Georgia, they generally are subject to a blanket travel restriction, right? It’s not just that they can’t travel internationally or across state lines. They can’t even travel across county lines. Given Jeffery Williams’s career and given what he does, Judge Whitaker said on the record that they don’t want him subject to that travel restriction. Not only can he cross county and state lines, but he can also travel internationally, and should keep his passport, and he needs to. That’s the type of individualizing of a condition where that’s not by any means giving him a free pass. He’s still got a lot of conditions, but that condition, in particular, having that exception there that a lot of people don’t have, is going to make a really important difference for him. So that’s one.
I think another really big one that is going to be really difficult, even with the exception, people in Georgia who are on probation have a condition that is a prohibition against associating with “disreputable persons and places,” which is a really vague and broad, and frankly, an offensive term, but it’s been understood to mean that you can’t associate with anybody else with a criminal record. For a lot of people, that means you can’t associate with other family members. And that was clearly a really big piece of this, and so that’s an exception. He’s allowed to associate with his brother, with Mr. Kitchens are going to given contractual obligations, and then with anyone, who is, I think said necessary for lawful business. But what exactly is going to be determined as sort of the bounds of lawful business, right? That’s something that’s very, very subjective, and that’s something that’s going to be tricky. So again, that’s a place where, even with individualizing, that gives him a little bit of room, given his job, right? But it’s still going to be tough.
I think by far the the two toughest ones, right, which are really more specific to him are the “stay away from the Metro Atlanta area.” You heard his dad talking afterward, about how he took particular offense to that, since they’re from there and you know the prosecutor, [Young Thug’s dad] felt was not from there. And so for them to be able to dictate where Mr. Williams goes, felt especially offensive. That one’s going to be difficult, I think.
But the one by far that will be most difficult is the one that is almost impossible to know how it will be applied, which is the one about not being able to have any types of references to gangs, right? That’s a type of condition where, if we were on all on the same page about how we define gangs and gang activity, that might be one thing that we could agree was fair. I think what this trial showed is that we are all, including some witnesses who at various times, define things differently on the stand, prosecutors who define things differently while they were asking questions or through charging documents–we are all on different pages about what qualifies under that type of a condition. That means it’s going to be very, very difficult to predict when something like that will trigger a possible violation and when it won’t. So that. by far, I think is the most difficult condition to abide by.
FULL SENTENCING
THIS JUDGE SAW THROUGH THE STATE’S GAMES AND RULES THAT THUG IS NOT A DANGER
Young Thug entered a Nolo plea for unlawful for person who occupied a criminal street gang position but he pleaded guilty to another charge related to criminal street gang activity. Considering the prosecutors have argued that YSL is a gang and not a label, how does this impact him as an artist? Even in the case of being able to communicate with Mr. Kitchens as part of contractual obligations, how is he able to release music under this label?
I think that’s the ultimate question, right? And that’s what no one has really been able to answer. So I think there are some really important aspects of the no-contest or Nolo pleas to those charges, right? To the one gang charge and the RICO charge. I think one of the things you know, we’d be remiss if we didn’t mention, that these conditions were so important in crafting the sentence that Young Thug ended up with more convictions than what he would have gotten if he had gone with the negotiated plea from the prosecution, right? The deal itself is confidential in terms of what the negotiations were. So this is just what was reported in terms of what was on the record and in the interviews.
From what we know, it sounds like the three charges that the prosecution said that they would dismiss in return for their negotiated plea, which had a ton of really onerous, restrictive conditions day-to-day, is that they would dismiss the RICO charge, one of the gang charges, and I believe the machine gun or firearms charge. So two of the charges that he pled Nolo or no contest to and one of the charges, the firearms charge, that he actually pled guilty to in front of the court, right?
It’s important to think about how critical the details of these conditions are. So much so that it was worth trading the number of convictions to get better conditions. I think it’s important to recognize that the prosecution came in and ultimately objected to him pleading even no contest, even though those charges that he pled no contest to were the two charges that they were going to dismiss. The reason why likely–again, I’m not in their head–but the reason why it’s likely that they were so adamant that they did not want him to be able to do that in front of the court when they no longer had control over the conditions that would be ordered is because, without those two, it means that he has not admitted to the underlying factual allegations, right? So the factual allegations that he would have to admit to with a guilty plea.
If you saw Mr. Sledge two weeks ago, most of the controversy there was over him having to admit to factual allegations to take his plea, and then, getting on the stand, and contrary to those factual allegations, according to the prosecutor, and ultimately the court, him then saying, “YSL is not a gang. It’s a music label. The factual allegations underlying the charges may say it’s a gang. I may have had to agree to that to plead but I don’t agree with that as I’m testifying. I need to tell the truth as I’m testifying, and it’s not a gang,” right? So what Jeffery Williams Nolo plea arguably allow him to do is put a little bit of distance between any type of factual allegation and adoption from him, that YSL is, in fact, a gang.
Will that mean that he can go on making music under a label, YSL? I mean, I think it’s really up in the air. It seems frankly, very risky, given the position prosecutors have taken on this. I think even if he dissolves YSL, and they have a different name for it, some of the questions will be, “What if you reference YSL in a song?” or “What if you play some of the prior music that he’s made that’s so popular?” Or “What if you wipe your nose in a music video?” right? We’ve gotten so overly broad in what they consider to be a sign or an indication of a gang that it really begs the question in terms of who’s going to be interpreting this. How will Jeffery Williams know how it’s going to be interpreted, and how can he make sure that he is following the guidelines so that he doesn’t end up in a situation [like] Meek was thrown in prison for two to four for a technical violation? Jeffery Williams is looking at 20, right? So if he does something or says somethingin a song or performs something that they believe violates this condition, that’s incredibly dangerous for him to the tune of 20 years of his freedom.
On a statistical level, what are the chances that these agreements will send him back?
I think it really gets to the point of probation and the way that it can be more or less effective, right? And the way that it can be an obstacle versus sort of a tool to get services and to get what people need in re-entry. There are studies done on this, the more conditions you place on somebody, the less likely it is that they’ll succeed on supervision, right? So that’s the first piece. So having these really strict conditions makes it more difficult, right? I think that the federal study that was done was every additional condition can reduce your likelihood of success by up to 19%. So, every single condition that courts pile on as a special condition is dangerous, and increases the risk or the likelihood that someone will violate. On top of that, the longer you’re on supervision–it’s sort of counterintuitive in some ways–but it doesn’t increase public safety. It doesn’t reduce recidivism or the likelihood of being incarcerated.
Statistically, if you have actually more than five years of supervision, it’s harmful, right? You actually see an increase in recidivism. You see an increase in the likelihood of return to incarceration, which is part of why REFORM and so many other groups, including great, great groups in Georgia, work really hard on reforms that are evidence-based, that look at the evidence-based supervision terms to ensure that conditions are individually tailored and not onerous, and that time periods aren’t lengthy.
I think that if we just talk about statistically and we think of supervision as, sadly, an incredible driver of mass incarceration and instead of a tool to support success in the community, but realistically, more of a way of tethering people to the system. This is a huge risk, right? It’s a huge challenge. The prosecution, I believe, offered something like three and a half years on reporting status. But again, from what we understand, way worse conditions would have landed him in trouble almost immediately. Under Judge Whitaker’s sentence, he’ll be reporting for double that, so seven and a half years under reporting supervision, but with conditions that hopefully are a little bit more likely to allow him to, at the very least, survive; maybe not thrive in the way that we wish he could, with his talent and with the fact that everyone seems to agree he’s not a threat to public safety, right? If the prosecution is offering him probation, by its very nature, that meant that they were okay with him being in the community. So I think you know, this sort of cracks the door open for him. He seems extremely talented and extremely determined. He has a chance to be able to make it here. Statistically, it is a huge uphill battle with that length of a sentence and that number of conditions and somebody who is, I think, you know, as recognizable as he is, right? So they’re going to be likely monitoring him quite a bit, but I think it’s possible.
The final question I have for you: how does the outcome of the trial and the probation conditions, how does this case impact his freedom of speech moving forward during this time? Does it create a scary precedent moving forward for other cases?
You know, I think any time that we are limiting what people can think and how they express themselves through creative forms of entertainment, especially in this day and age when we have social media; anytime we’re not just limiting that, but punishing it with prison cells that feels extremely dangerous, especially the added danger with supervision is, again, people aren’t being punished for actually breaking laws. So you don’t even have the threshold that you have with a new case or a trial where they have to prove, at least in theory, right, some sort of connection between lyrics or posts and an actual law that was broken–actual criminal behavior.
I personally may disagree with that anyway, but that’s at least a threshold that has to be met on supervision. No crime has to occur, right? All that has to happen is a violation of the condition, and that’s why these conditions are so important. It’s. It’s so critical that instead of sort of glossing over them, as courts normally do, that we spend a lot of time really crafting them so that they are supportive and individualized and designed to promote success in the community and public safety, as opposed to just tether someone to the system and sort of weigh them down. Because here, we don’t have to find that a crime was committed if he is expressing himself through lyrics that the court doesn’t like. Here, all they have to find is that it violates a rule that they created to go with his supervision. And that’s terrifying.
The 2025 Grammy Awards nominations were revealed on November 8th. The Best Rap Album category has, historically, been a source of contention among hip-hop fans for their inconsistency. For every great moment, like Nas finally capturing the award for the unexpectedly fantastic comeback album King’s Disease in 2021 (the award did not even exist when Illmatic released in 1994), there is an equally perplexing moment, like Macklemore’s The Heist beating out Kendrick Lamar’s good kid, m.A.A.d city in 2014.
J. Cole’s Might Delete Later, Eminem’s The Death of Slim Shady: Coup de Grace, Doechii’s Alligator Bites Never Heal, Future & Metro Boomin’s We Don’t Trust You, and Common & Pete Rock’s The Auditorium, Vol. 1 make up the Best Rap Album category this year. Here are five more albums released in 2024 that I believe could also have been nominated for the divisive, but prestigious, award. The submission eligibility period this year covers albums released between September 16, 2023, and August 30, 2024. Therefore, anything released after that (i.e. LL Cool J & Q-Tip’s The FORCEand Blu & Exile’s Love (the) Ominous World) did not make the list.
ScHoolboy Q has received two Best Rap Album nominations in his career. The first came in 2015 for Oxymoron, the album that doubled as Q’s breakthrough into commercial viability (thanks in part to the success of “Studio,” the track with BJ the Chicago Kid that gave Q his first top 40 single as a lead artist). The second came in 2017 for the stunning Blank Face LP, one of the greatest hip-hop albums of the 21st century. Blue Lips, his first album in nearly five years, feels much more like a spiritual successor to Blank Face than a follow-up to 2019’s CrasH Talk.
Blue Lips is enigmatic and uncompromising, much like its creator. ScHoolboy Q deftly moves between booming beats (“THank god 4 me,” “Back n Love”) and jazzy introspection (“Blueslides,” “Germany 86’”). It’s emblematic of a maturity that Q, like many others in his age range, has found in his personal life. Raps about his daughter, mother, lost friends, and continued growth as a man show where he is now. They even offer a bit of insight into where he wants to be in the future.
An album as ambitious in its sound as this one can sometimes come across as varied to the point that it borders on disjointedness. That does not happen here. Q crafts a cohesive listen, delivering a piece of work that never feels overbearing. Blue Lips, in all its eclectic glory, is a work by a master of his craft operating with a new outlook on life and his art. It would have been more than worthy of Best Rap Album consideration at the 2025 Grammy Awards.
Dark Timesis Vince Staples’ final album for Def Jam and a triumphant love letter to the city that raised him. It’s a remarkably mature project and a culmination of over ten years of development both professionally and personally. The more pointed reckonings with the trauma that still influences his decisions today contrast with a younger Staples. Ten years ago, he would have addressed his reality with a sardonic, sarcastic response that masked greater uncertainties.
The vulnerability displayed on Dark Times from the usually very guarded Long Beach rapper leads to some of the sharpest writing of Staples’ career. The nihilism that underscored everything he released from 2011’s Shyne Coldchain, Vol. 1 to 2022’s Ramona Park Broke My Heart gives way to a sense of cautious optimism. “Life hard, but I go harder,” Staples raps on “Little Homies,” a standout cut from the album’s back half. That willingness to go hard resulted in one of 2024’s most award-ready albums. Dark Times would not at all have been out of place among the year’s Best Rap Album nominees, especially since Staples has never been nominated for a Grammy.
Rapsody – Please Don’t Cry
There are few rappers active today who can go bar for bar with Rapsody. Please Don’t Cry, the North Carolina native’s fourth album, is another shining example of this. It’s raw and bold, comfortably her most upfront album to date. And it is also her most diverse, moving from the boom-bap stylings of her mentor 9th Wonder and his fellow Justus League member Khrysis, into a dynamic soundscape, with beats from S1, Hit-Boy, BLK ODYSSY, and a surprising amount of 808s. She embraces the difficulty of life, recalling her younger years. Rapsody rhymes about insecurities that come from her spot in the game, and the several probes by the public into her dating life and sexuality. She brushes it all off, with witty middle fingers to her detractors (“Asteroids,” “Look What You’ve Done”). By the end, she comes to terms with who she is as a woman–despite how messy she may be (“Forget Me Not”). Please Don’t Cry is an excellent album that easily could have netted Rapsody a second Best Rap Album Grammy nomination.
In 2018, Logic received two Grammy nominations, one for Best Rap Song and another for Best Music Video. Both of those nominations came from “1-800-273-8255,” the Alessia Cara and Khalid-assisted hit single that inspired thousands of calls to the National Suicide Prevention Lifeline upon its release. The song is by far the biggest of Logic’s career. Its impact on the people, particularly those who were struggling at the time, is undeniable. Since that dalliance with the mainstream, Logic has not really come close to another nomination at the awards show. Ultra 85, the vibrant and thoughtful ninth album from the Gaithersburg MC, is one of 2024’s most creative albums. It is a release that could have easily found a spot in the field this year.
The self-assured nature in his lyrics and flow (“Paul Rodriguez”), willingness to dive into some truly uncomfortable territory on a wide range of topics (“Favela,” “Teleport”), and smooth old-school-tinged production primarily handled by longtime collaborator 6ix and Logic himself, come together in the most “Logic”-feeling album to date. It is the direct result of over fifteen years of honing his craft and coming out of his shell. He went from drowning in his influences to using them to shape music that is true to who he is: a man with a very hard upbringing who had his life saved by hip-hop. It is a remarkable release, among the most complete offerings in rap this year, and one worthy of recognition.
Lupe Fiasco has not been nominated for Best Rap Album at the Grammy Awards since 2013. There, Food & Liquor II: The Great American Rap Album received a nod. Since departing from Atlantic Records in 2015, Lupe has released some of the most fully realized work of his career. Samuraistands as arguably his strongest release since embracing life as an independent artist.
Produced entirely by Soundtrakk, Samurai aims to answer the question of “What would Amy Winehouse sound like if she was a battle rapper?” It is a concept lifted from a quote in the 2015 documentary Amy. In the quote, the late singer likens her lyrics to “battle raps” in a conversation with producer Salaam Remi. Based on this Lupe Fiasco album, the answer appears to be “outstanding.” Lupe is in rare form across the project. His already sharp pen has only gotten sharper in middle age. It feels like a direct rebuttal to the notion that hip-hop is a “young man’s game.” Tracks like “Mumble Rap” and “No. 1 Headband” are truly virtuosic. Lupe raps over some of the jazziest, most pristine beats of the year. Perhaps Samurai does not reach the highs of his first two albums. Even with that, Lupe Fiasco is an undeniable force as an MC. He took his place among the genre’s best years ago and not letting go of that spot. It is yet another album worthy of recognition, and one that, like the preceding four albums on the list, could have found a seat among this year’s Grammy nominees.
Offset got into some trouble in Paris this week after an alleged confrontation with French rapper Gazo’s entourage. Although details remain scarce regarding the altercation, TMZ reports that the rapper’s team approached Offset over a paid music video appearance that didn’t meet their expectations. Fortunately, no major injuries or arrests occurred, but it did put a spotlight on Gazo, for better or worse.
As a frontrunner for France’s drill scene, Gazo’s distinctive style has garnered plenty of praise abroad. However, his gritty sound and rawness continued to propel his fame forward towards commercial success. This alleged incident with Offset brought him into the global spotlight but there’s much more to Gazo than the recent buzz. Here’s a look at his background and accomplishments that made him one of France’s most intriguing artists right now.
Gazo’s Background & Rise In The French Drill Scene
Born Ibrahima Diakité in 1994, Gazo hails from the working-class suburb of Paris, Saint-Denis. After going through a rough childhood that involved homelessness and getting deeper into the streets for survival–an experience that undoubtedly shaped his gritty, uncompromising sound–he eventually began rapping under the name Bramsou. However, he changed his name to Gazo after realizing that there were several other artists across the world with similar names, making it difficult for him to gain esteem because of the similarities.
He revamped his style under the stage name Gazo, shedding the more trap-centric production style and leaning into drill. It became a fruitful endeavor for him as he landed a collaboration on Gims’ album Le Fléau in 2020, setting the stage for a major debut the following year. In 2021, he unveiled his debut project, Drill FR, which transformed him into the face of French drill. By blending UK and US influences, he opened the floodgates for the genre in France, especially at a time when artists like Pop Smoke and Headie One ushered in a new era in New York City and London, respectively.
In a heated incident outside Paris’s Hôtel du Collectionneur, a group reportedly connected to French rapper Gazo confronted Offset and his crew. According to TMZ, Gazo’s team was upset after Offset reportedly failed to meet the requirements for a music video in which they paid the former Migos rapper $150K to appear as part of a collaboration with the French rapper. Gazo’s entourage reportedly demanded that Offset return the money. When Offset refused, tensions quickly escalated.
Video footage shows the encounter turning physical as someone shoves Offset into a vehicle while his security attempts to de-escalate the situation. Amid the chaos, Offset’s team clashed with Gazo’s entourage in a full-blown brawl, with punches and kicks flying. Offset himself even broke free from his security to retaliate, reportedly landing a kick to one of Gazo’s associates.
The fight culminated in a scramble as Gazo’s crew tried to pull Offset back outside, with one woman suffering a fall in the scuffle. Despite the disorder, no arrests were made. The following morning, Gazo shared a photo with Offset, hinting that their upcoming “Wemby” collaboration might signal a truce.
Collaborations & Breakout Hits
Gazo’s began gaining incredible buzz following the release of “Drill FR 4,” the penultimate offering in the five-part “Drill FR” series, where he showcased his lyrical skill alongside Freeze Corleone. His gritty voice and intense lyrics captured the intensity of the streets of France, drawing attention from fans across the country. With singles like “Haine & Sexe” and “Inhumain,” Gazo pushed the boundaries of French rap, turning heads not just at home but internationally as well. The former eventually went Diamond in France.
The release of his debut album Drill FR in 2021 solidified his standing as a major player in the genre. The album featured collaborations with big names in French rap, including Freeze Corleone and Hamza, and was praised for its cohesion and unique sound. Drill FR quickly climbed the charts and became a cultural phenomenon, reaching a wide audience and propelling Gazo’s career to new heights.
Accolades & Growing International Attention
As Gazo’s music gained popularity, so did his reputation as one of the most influential rappers in French drill. His style—marked by raw, unfiltered storytelling—won him several award nominations, including the prestigious Victoires de la Musique. He also won Male Artist of the Year at the 2024 Le Flammes Awards. Evidently, this recognition extends beyond France. Not only due to his upcoming collaboration with Offset but also working alongside pillars of the UK scene, including Russ Millions and Headie One.
Gazo’s Influence On French Rap
While Gazo’s recent run-in with Offset may have grabbed headlines, his impact on French rap is far more profound and his influence is clearly seeping through the next generation of MCs coming out of France. Gazo’s relentless dedication to the drill genre has brought French rap a new level of international recognition, with fans and critics alike acknowledging him as a trailblazer. As Gazo’s career continues to grow, his influence on French drill—and the global hip-hop scene—is undeniable.
Jeffery Williams and Sergio Kitchens quickly became one of the hottest rap duos not just out of Atlanta, but across the whole genre in the late 2010s. As Young Thug and Gunna, respectively, they cranked out hit after hit, with the former’s influence on the latter and their personal friendship resulting in undeniable chemistry. Despite a lot of legal roadblocks, challenges, and conflicts, the main public narrative maintained an air of support and brotherhood between them. So why do folks think – or perhaps know – that the “Hot” collaborators are now beefing with each other?
As you may imagine, the YSL RICO case threw a huge wrench into their relationship, especially following Gunna’s plea deal almost two years ago. Snitching narratives ensued, defenses emerged, and Young Thug was all quiet about the whole ordeal… Until now, allegedly. With all this in mind, we’re here to break down the history of their bond, their eventual success as label-bound collaborators, and their actions and developments during and after their stints in the YSL RICO trial that caused such public disarray with fans. While their relationship is still up in the air without a full-blown (and not deleted) statement from both sides, things don’t look too promising for any advocates for their unity. How did this happen?
Gunna first met in Young Thug in 2015 through mutual friend and community leader Keith “King” Troup. Wunna went to Thugger’s “With That” music video shoot for his Barter 6project in the south side of Atlanta in 2015, and from there, they formed a close friendship that eventually evolved into a collaborative relationship. Troup sadly passed away in December 2015, something that the “Sold Out Dates” rapper says strengthened his familial bond with his “Halftime” mentor.
August 26, 2016: Young Thug Introduces Gunna To The World
On August 26, 2016, Young Thug released his beloved mixtape JEFFERY, which featured superstar rappers like Travis Scott, Gucci Mane, and more. But this also became Gunna’s first introduction to a massive audience following an earlier mixtape under a different artist name from 2013. He appeared on the track “Floyd Mayweather” alongside La Flame and Guwop.
October 14, 2016: Drip Season & YSL Records Launch
The official connections for these next two events are a bit confusing, but here’s what we can gather. On October 14, 2016, Gunna released his debut mixtape under this artist name, Drip Season, and featured Young Thug on the track “Cop Me A Foreign.” This mixtape was released under YSL Records, which Thugger would officially announce as his new record label just a few weeks later on November 15. Furthermore, this social media announcement explained it as an imprint of 300 Entertainment. While it seems odd to have a project come out under a label that its founder announced weeks later, we presume that they still had some paperwork to sort out concerning these official launches that wouldn’t have impacted Drip Season‘s release.
February 2017: Wunna Is Officially YSL
We told you this timeline is a tad confusing, didn’t we? Around February 2017, Young Thug and YSL Records officially announced that they signed Gunna to the imprint. Looking back, it’s unclear whether or not this was already public knowledge given Drip Season and the JEFFERY feature, but regardless, this is when things were set in stone for good. Also, the details of this record deal and how they relate to his subsequent release schedule are unclear when it comes to financial agreements, rights, number and nature of releases, etc. Nevertheless, the College Park native went into full gear with various albums and mixtapes under the label, including Drip Season 2 that year, Drip Harder with Lil Baby in 2018, 2020’s WUNNA, and 2022’s DS4EVER. And of course, Thug’s featured on all of them.
This is when the tale of Young Thug and Gunna takes a turn for the worse. On May 9, 2022, federal authorities indicted them along with 26 other YSL affiliates in a sprawling RICO case alleging various furtherances of criminal activity. Police arrested Thugger that same day, who faced the brunt of the charges as the purported leader of the supposed “gang.” On the other hand, Wunna turned himself in to authorities two days later on May 11. He faced a single count of conspiracy to violate the Racketeer Influenced and Corrupt Organizations Act (RICO). The court denied both of them bond on several occasions as the rap world reacted to this shocking and stake-heavy move by prosecutors.
December 14, 2022: Gunna Takes A Plea Deal
Then, Gunna’s career took its most significant turn since its inception. On December 14, 2022, he took an Alford plea deal in the Young Thug and YSL RICO trial, which means that he pleaded guilty to his count of conspiracy to violate the RICO act while maintaining his claim of innocence. Authorities released him from prison the very same day. The Drip Or Drown spitter then put out a statement denying any sort of testimony, cooperation, interview, or other processes that would make him a “snitch,” as allegations about that behavior quickly emerged from the hip-hop world and beyond.
However, court footage shows that Gunna answered “Yes” to a couple of key questions while accepting his plea deal in the Young Thug and YSL RICO case. He affirmed that YSL is both a record label and allegedly a gang, that he had knowledge of crimes allegedly committed by its affiliates, that guns and drugs found by police during a search on a car that he was in along with Young Thug were not his, that YSL is allegedly a gang that must end, and that he furthered the alleged crimes of the collective through his music.
June 16, 2023: Wunna Drops, And Young Thug Follows
About six months after Gunna’s plea deal, he dropped his comeback album a Gift & a Curse via YSL Records with no features on June 16, 2024. The album continues to speak on the YSL RICO case and against allegedly false snitching allegations, which some rappers like Lil Durk and Lil Baby seemingly espoused through subliminal lyrics. That’s in addition to the broader conversation labeling him as a “snitch.” The LP was a commercial success and held hit singles like “fukumean.” A week later on June 23, Young Thug dropped an album of his own, BUSINESS IN BUSINESS, while still in jail on RICO charges.
It’s important to note that neither Gunna nor Young Thug featured on each other’s projects from this year. In addition, while Thugger remained silent on his relationship with Wunna, his “DOLLAZ ON MY HEAD” collaborator has remained publicly supportive of Thug and YSL ever since his plea deal. This came amid unconfirmed and seemingly misguided rumors that Wunna wanted to leave YSL Records, plus the discussion around the snitching allegations that the hip-hop community and beyond engaged in.
May 10, 2024: One Of Wun
Amid Young Thug’s trial in the YSL RICO case, Gunna dropped yet another album on May 10, 2024. One Of Wun featured artists like Offset and Roddy Ricch, and some fans speculated that some of its lyrics responded to rappers calling him a “snitch.” The new record was released via YSL Records once more.
As if the little text under an album on Spotify wasn’t enough, Gunna clarified his presence on Young Thug’s YSL Records via a video interview with the streaming platform’s RapCaviar playlist division, published on June 24, 2024 amid his tour. “I’m still signed to YSL,” he shared outside of his mother’s house. “I’m still providing. We’re still pushing. No paperwork has been changed, you know what I’m saying? So it’s like, whatever’s been getting and how we’ve been pushing this s**t, it’s still going.”
Via an Instagram Story post on August 4, 2024, YSL cofounder YSL Mondo retracted his previous claims that Gunna was a “snitch.” This was the latest defense of Wunna against the snitching allegations in his direction by key collective members before Young Thug’s release. For example, Thug’s father Jeffery Williams Sr. publicly expressed his support for him on multiple occasions, even popping out for one of his concerts and asking other rappers to stop speaking about him and the snitching allegations.
As a Halloween treat, fans learned that they might finally find an answer to the Young Thug and Gunna rumors. On October 31, 2024, Thugger entered a plea deal in the YSL RICO case that resulted in his freedom that very same day, with 15 years of probation to follow. As part of his release conditions, he and his lawyer Brian Steel asked if he could maintain his working relationships with Wunna and with Thug’s biological brother Unfoonk, who was also a codefendant in the YSL RICO case. This was because one of the probation guidelines barred contact with YSL affiliates, but Judge Paige Reese Whitaker approved both exceptions. In the “bread & butter” artist’s case, it was due to his contractual obligation to YSL Records.
November 9, 2024: Thugger Fans The Flames Of The Feud
Finally, we arrive at our current juncture and the most solid piece of “evidence” supporting Young Thug and Gunna’s beef. On November 9, 2024, the former tweeted and then quickly deleted the following message toward the latter: “Stop acting like we friends on the internet, I don’t know u my guy.” This followed some other curious social media messages from Thugger about collaborating with Lil Baby (a previous supposed Wunna critic) to “drop one on these rats.” Given the deletion of the tweet and its emergence so soon after his release from prison, many fans speculated that someone hacked his Twitter account to cause false division.
No matter whether Young Thug intended to publish this tweet shading Gunna or not, the message seems to have stuck. Wunna’s brother reportedly responded to this deleted tweet with the following message: “Trust and believe the feeling is mutual [blue P emoji].” Until we get a clear and direct statement from both rappers, it seems like this iconic rap camaraderie is over… For now.
In the near 20-year arc of Freddie Gibbs’ career, no album quite embodies his evolution like Alfredo. The Alchemist-produced endeavor found the lone wolf of Gary, IN with a Micheal Jordan-like defiance. His competitive spirit pushed his pen alongside collaborators like Conway The Machine, Tyler, The Creator, Rick Ross, and Benny The Butcher, resulting in his first and only Grammy nomination. Outside of Pinata and Bandana, Alfredo marked a new chapter in Freddie’s career where he was actually able to reap the fruits of his labor. More importantly, it was a feat that spat back in the face of his critics and doubters. It felt more apparent that his pen worked efficiently when working out of spite. Like Michael Jordan, it sometimes warranted amplifying–or straight-up fabricating–his vendettas to fuel his prowess.
That attitude has pushed him through the hurdles of his career–blackballing, beef, and arrests (at home and abroad), etc. A level of invincibility in his tone made each of his wins much sweeter. 2022’s $$$ felt like a celebratory leap into the big leagues after earning a reputation for his antics beyond his music. High-profile collaborators, celebrity cameos, and a star-studded list of producers tied together his Blockbuster major label solo debut for a commercially viable endeavor. It didn’t necessarily produce a top 10 hit like Warner probably expected but it proved that regardless of Freddie Gibbs’ standing, he’ll create a pocket if there isn’t one already created for him. The casino-themed body of work emphasized that after nearly two decades of working the underground circuit, there was a light at the end of the road.
When you consider albums like You Only Live 2wice in his catalog and Shadow Of A Doubt, this moment was never far from reach. The latter arrived on the heels of Pinata with contributions from Boi-1da, an incarcerated Gucci Mane, and Tory Lanez helping Gibbs bridge the gap between critical darling of the underground and aspirations of becoming a household name. But between both albums, a false rape accusation derailed his career when he was on the cusp of a career incline. And while he was acquitted of all charges, the momentum he had built up in the first half of the 2010s died completely. Thus, You Only Live 2wice served as a reincarnation where he returned with an indisputable Album Of The Year contender. The cover art embodied this second chance–a Renaissance-inspired painting of Freddie Gibbs resurrecting in front of a crowd.
In contrast, the cover art for its sequel, the Halloween-themed, You Only Die 1nce, finds Gibbs fighting his demons from the coffin, some who’ve been with him before rap was a viable career choice, and others who followed him since he was arrested in Austria. Trust issues, loyalty, and paranoia are sandwiched between street legends, political musings, and baby mama drama.
On “Wolverine,” co-produced by Pops, 454, Moo Latte, Freddie Gibbs’s guillotine-like flow shreds through the lounge-like jazz production with mob-like bravado and depicting overcoming a system set up against him. “… These Europeans, they still don’t seem to treat us like human beings/ They stripped me of my culture and my language/ I still flipped and got famous, platinum card, no, no complainin’,” he raps. A few lines later, he draws a grander portrait of the double standards between people like Harvey Weinstein and R. Kelly. “Them crackers rich forever, you Black, they want the whole thing/ R. Kelly singing for commissary/ And no, I don’t condone the shit he did, but he got heat in my library,” he continues.
Throughout You Only Die 1nce, Freddie comes to grips with mortality in ways that juxtapose, and sometimes contradict his resilience. “It’s Your Anniversary” transforms a joyful sample of Tony! Toni! Toné!’s “Anniversary” into a malignant celebration of his enemy’s downfall while “Brick Fees” describes his ascent in the streets through dizzying flows and dexterous rhyming where his regrets take a backseat to the cut-throat circumstances of survival. It’s these moments where he hyper-focuses on the disingenuous relationships in his career and personal life. Songs like “30 Girlfriends (Yeah Yeah)” create a cool atmosphere where he asserts his player status while “Ruthless” transforms 112’s “Cupid” into a brute response to the drama surrounding his exes that have littered the timeline.
Whether it’s the rap feuds, the baby mama drama, or the lingering effects of the street, the question that he explores across this album is whether the cost of success and comfort was worth the hardships. Its culmination leads us to the penultimate song, the haunting BNXY-produced “Origami,” where PTSD flashbacks of street warfare weigh against the exploitive nature of the entertainment industry as he raps, “Got millions in the bank and I still feel like a slave/ My real life your entertainment, these bills gotta get paid.”
This line echoes across the album’s closer, “On The Set.” Produced by Pops and Mischa, Gibbs expresses his disillusionment with the idols he once looked up to while paying tribute to his fallen peers with references to the Diddy case and the untimely deaths of Nipsey Hussle and Rich Homie Quan, among others. “I was gon’ retire from rap when I seen that shit with Nipsey/ Crazy when that shit hit your peers, that shit be hittin’ different,” Freddie raps. Not only does the underlying threat of celebrity linger over him but this line leans into the actual cost of fame and fortune.
You Only Die 1nce serves as the reality check post-$$$ where the voice of the devil on his shoulder grows in prominence as a Higher Power keeps Freddie grounded. But more importantly, he uses the dichotomy to explore the legacy that he will leave behind, whether it’s a catalog of albums that would put him in the Hall of Fame or the drama that has overshadowed the art. Perhaps, the thought of hanging up the mic has festered in his mind for too long, and stepping back from hip-hop is a reality he’s willing to manifest in the future. But with the level of vulnerability that consistently came across You Only Die 1nce, it feels like Gibbs is only beginning to peel the layers back.
“I fell in love with hip-hop in the late 1970s because it reminded me so much of bebop,” the late great Quincy Jones said of the art form and culture we know and love during a 2021 REVOLT interview. “Young people are seekers, man! They always have been. When we’re young, we all want to break the mold and find our truth, and that is a central tenet of both jazz and classical music! Besides, it all comes from the same stuff.” The music legend sadly passed away at 91 on Sunday night (November 3) surrounded by his family in his Bel Air home. He loved hip-hop, and hip-hop returned that passion. The Chicago native enlisted rappers Ice-T and Big Daddy Kane on 1989’s Back On The Block album, plus many MCs like Talib Kweli, T.I., Q-Tip, Three 6 Mafia, and more on his final album, Q: Soul Bossa Nostra.
With this and his indelible legacy and impact in mind, we decided to list six amazing hip-hop tracks that sample Quincy Jones’ work. We obviously couldn’t fit all of them on here, and there’s so much more to discover regarding these connections. LL COOL J’s “Hey Lover,” Ludacris’ “Number One Spot,” and De La Soul’s “Breakadawn,” along with many others, are too iconic to escape mention. But the musicality and creativity behind each of the following cuts leave no room for hyperbole: Quincy was, and forever will be, one of modern music’s indisputable legends for his craft, contributions, career achievements, and celebrations of the sonic language. Here’s how hip-hop chose to reimagine and pay tribute to his greatness.
How could we not kick things off with arguably the best hip-hop beat of all time? Produced by Havoc, Mobb Deep’s “Shook Ones Pt. II” features a wailing siren from Quincy Jones’ “Kitty With The Bent Frame.” It’s off the score from the 1971 film Dollars, which Quincy produced in full. What’s more, this isn’t even the start of his iconic movie collaborators, such as with Roots, The Wiz, The Color Purple, In Cold Blood, The Italian Job, and many more. Back to “Kitty With The Bent Frame,” though, this is an often haunting ambient cut whose urgent atmosphere, jazzy bass licks, and ominous keys provide the perfect backdrop for Prodigy’s legendarily gritty narratives. Ain’t no such thing as halfway efforts in much of Jones’ catalog.
Another iconic hip-hop cut, producer Johnny J used Quincy Jones and Leon Ware’s titular track from the former’s 1974 album Body Heat for 2Pac’s easy-riding All Eyez On Me cut from 1996, “How Do U Want It” featuring K-Ci & JoJo. ‘Pac adds his own sense of swagger to the original’s already funky and soulful melodies and instrumentation. Quincy’s track starts off soft, though, and eventually builds from muted guitars and sobbing synths into a brighter and more energetic jam with some gorgeous vocal melodies and grand drums. The notion that the West Coast legend was able to transform its tenderness into bravado is even more impressive, but that’s how resonant and universal the decades-long producer’s sensibilities are.
Now with a more straightforward example, we have The Pharcyde’s “Passin’ Me By” off their 1992 classic, Bizarre Ride II The Pharcyde. The opening keys on that track are some of the most recognizable in hip-hop history, and they come from Quincy Jones’ 1973 album You’ve Got It Bad Girl. Together, with producer Ray Brown, he uses those opening moments on the track “Summer In The City” with Valerie Simpson to evoke that exact same vibe. There are some killer solos on here propelled by steady drums and heavenly string additions plus vocal soars further on. As for the South Central L.A. group, producer J-Swift adds more lively drums, scratches, and a seemingly altered bassline to keep that same soul alive under a different context. It still sounds like summer in the city, even 20 years removed from its original and over 30 years since they released it.
MC Lyte – “Keep On, Keepin’ On”
There are so many iconic Michael Jackson records that Quincy Jones produced that created monumental hip-hop tracks. “P.Y.T.” became Kanye West and T-Pain’s “Good Life,” and “It Ain’t Hard To Tell” by Nas flipped “Human Nature” perfectly. But we want to highlight MC Lyte’s smooth Xscape collab “Keep On, Keepin’ On” off her 1996 LP, Bad As I Wanna B. A lingering and ethereal synth hangs in the background, and some tuneful steel drums and trills add a lot of flavor and woozy moodiness to the song. Those sounds are from the Quincy and MJ-produced “Liberian Girl” off the blockbuster 1987 album Bad. It’s one of the most unique sonic pallets of that classic, and it resulted in one of the New York femcee’s most idiosyncratic cuts, as well.
Onto one of the most recent Quincy-sampling cuts, which comes from Big Sean and Metro Boomin’s 2017 collab project Double Or Nothing. Their track “No Hearts, No Love” opens with some playful keys and guitar licks, with the keys eventually down-tuned just a bit by producer Metro with some additional dark chords. Despite the solid trap beat, those glistening notes don’t lose their luster and, frankly, they make the track what it is thanks to its support of the Sean Don’s confident bars. Their origin stems from The Brothers Johnson’s 1977 album Right On Time produced by Quincy Jones, specifically the pop and funk-fusing “Strawberry Letter 23.” The original is a much more fun and happy cut overall, but again, those melodies are hard to deny in any context.
MF DOOM – “Rhymes Like Dimes”
Finally, we want to celebrate two late legends with this pick. Out of the wealth of iconic sample flips in MF DOOM’s catalog, the self-produced “Rhymes Like Dimes” off 1999’s Operation: Doomsday is among the most memorable and colorful. Those wondrous keys silky synth leads, and light drums are so joyful and warm that not even DOOM’s husk can take away from their sheen. In fact, it complements it perfectly. Quincy Jones brought this gem of a loop into the world on the 1981 album The Dude on the song “One Hundred Ways” featuring James Ingram. It’s actually the solo that appears after a healing and dream-like vocal performance and is one of many instances where Quincy created larger-than-life moments out of just a few elements and songwriting decisions. To put it bluntly, it’s a magical example of a timeless musical mind and hand.