“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.
Overall, the last 31 days have been pretty special as it pertains to the hip-hop world, and that is why we are excited to present the hottest hip-hop albums and songs of October 2024. Some of the biggest artists in the culture came through with new music. Tyler, the Creator stunned with Chromakopia. Moreover, GloRilla was able to prove her superstardom with Glorious. Additionally, artists like Ab-Soul got us hyped up with some fresh singles. Ultimately, it was a truly incredible month.
Let us know your hottest hip-hop albums and songs fromthe past month, in the comments section down below. Additionally, stay tuned to HNHH for the latest news and updates from the music world.
Sean “Diddy” Combs’ legal issues aren’t slowing down by any means. Currently locked up as he awaits federal trial on trafficking charges, the disgraced music mogul continues to see the lawsuits pile up on decades-old allegations surrounding sexual assault. This week, two new lawsuits emerged that alleged Diddy assaulted two minors including one who was 10 years old at the time of the assault. Below is a breakdown of the latest lawsuits against Diddy.
Sean “Diddy” Combs performs at the Bring It Home Midnight Rally held for Andrew Gillum at Florida A&M University’s Lawson Center in Tallahassee, Fla. the night before the 2018 midterm election Monday, Nov. 5, 2018. via Imagn
Spearheaded by attorney Tony Buzbee, a lawyer who said that he planned to file 120 lawsuits against Diddy amid RICO charges, a John Doe filed a complaint against the music mogul claiming that he had been sexually assaulted in 2005 in an attempt to gain some sort of footing in the music industry. Per Variety, the lawsuit claims that Doe’s parents hired a music consultant to aid his aspirations to become a musician. The consultant allegedly helped link Doe and Diddy during a trip to New York City where Diddy held an “audition” for the then 10-year-old.
The lawsuit, which has been filed to the Supreme Court of the State of New York, claims that Diddy asked to meet the boy alone before his family joined them. Doe claims the consultant left him with Diddy at a hotel where he performed a couple of songs for the mogul. However, Diddy allegedly told the boy that he would “make him a star” before asking him how badly he wanted to make it. As stated in the complaint, the boy responded that he would “do anything.”
Alleged Spiked Sodas
The complaint then details the moments before the alleged assault. Doe said that someone gave him a soda before he began feeling “a little funny.” The accuser’s attorney said something was slipped into the drunk “including but not limited to GHB and/or ecstasy.” Diddy allegedly told the boy “you have to do some stuff you don’t want to do sometimes” after he consumed the drink. The lawsuit claims that Diddy forced Doe to perform oral sex on him, despite resisting, and the complainant fell unconscious. The boy allegedly woke up to Diddy whose “pants were undone, and his anus and buttocks hurt badly.” When the boy complained, Diddy reportedly threatened to harm his parents.
Feb 4, 2018; Minneapolis, MN, USA; Recording artist P. Diddy a/k/a Sean Combs prior to the game between the New England Patriots and the Philadelphia Eagles Super Bowl LII at U.S. Bank Stadium. Mandatory Credit: Brad Rempel-USA TODAY Sports via Imagn
In another lawsuit filed by Buzbee, John Doe claims that Diddy sexually assaulted him during a 3-day audition for the mogul’s MTV show, Making The Band. Doe said the incident happened in 2008 when he was 17 years old, and when he had his one-on-one meeting with Diddy, “Combs asked Plaintiff hypothetical questions about handling situations involving sexual pressure,” per court documents obtained by CNN. “As Combs described these scenarios, he began to sexually assault Plaintiff by touching Plaintiff both over and under his clothing, including groping and fondling his penis and instructing Plaintiff to undress.”
A common theme in the allegations paints Diddy as a fear-mongering executive who leveraged his status and power over his victims. Doe said that Diddy stressed that he could “make or break” his career. According to the suit, the abuse continued over the three days with the Bad Boy founder allegedly demanding the 17-year-old “to demonstrate the ability to embody a ‘sex idol’ persona” before sexually assaulting him again. On the third day, Doe said he was eliminated after Diddy and his bodyguard allegedly assaulted him.” The lawsuit states the elimination occurred “as Combs claimed that Plaintiff was untrustworthy due to his reservations about performing oral sex on his bodyguard.”
Diddy’s Responds
Feb 1, 2014; New York, NY, USA; Recording artist/rapper Sean Combs aka Diddy performs during the Revolt Party at the Time Warner Cable Studios. Mandatory Credit: Mark J. Rebilas-USA TODAY Sports via Imagn
As the allegations began to make headlines, Diddy’s attorney issued a statement to CNN that didn’t directly address the latest lawsuits but denied the claims of trafficking and abuse. “As we’ve said before, Mr. Combs cannot respond to every new publicity stunt, even in response to claims that are facially ridiculous or demonstrably false,” Combs’ attorneys said in a statement, in part. “Mr. Combs and his legal team have full confidence in the facts and the integrity of the judicial process. In court, the truth will prevail: that Mr. Combs never sexually assaulted or trafficked anyone—man or woman, adult or minor.”
The Houston-based attorney has been at the forefront of the dozen-plus lawsuits filed against Diddy. In addition to the two John Does accusing Diddy of assaulting them as minors, 10 others, both men and women (some teens at the time), who accused Diddy of sexual misconduct. Per People, he also opened a hotline for alleged victims, claiming that he received 12,000 calls in one day after his press conference.
Diddy’s Indictment
The latest lawsuit adds to the nearly two dozen filed against Diddy since last November. Following Cassie’s bombshell lawsuit, Diddy faced allegations surrounding heinous acts behind the scenes. Last month, federal agents arrested him on claims that he controlled a “criminal enterprise” that actively engaged in sex trafficking, forced labor, and physical abuse. After appearing in court, he pleaded not guilty to charges of trafficking, racketeering, and transportation to engage in prostitution. The court has set a tentative date for his court hearing for May 2025. We’ll keep you posted on any further updates.
As the allegations emerged in the past year, the mogul’s kids, often by his side, finally broke their silence. In a statement issued to Instagram, they flatly called out the “conspiracy theories” and “false narratives” while showing support for their dad. “The past month has devastated our family. Many have judged both him and us based on accusations, conspiracy theories, and false narratives that have spiraled into absurdity on social media. We stand united, supporting you every step of the way,” the statement read. They continued, “We hold onto the truth, knowing it will prevail, and nothing will break the strength of our family. WE MISS YOU & LOVE YOU DAD,” the statement read.
As with every new Tyler The Creator album, CHROMAKOPIA is a lot to take in. That’s not just due to the manic, genre-fusing, and intricately layered production, but also because of how much his lyrics reveal about his current perspective and his impactful journey as an artist. While the Hawthorne native keeps things exciting with his performances, the thematic density of most tracks leaves a lot of open room for analysis and deep topical explorations. In other words, this new album can feel overwhelming at times, especially when we’ve only had it for a few hours. Furthermore, it’s impossible to define all of its themes succinctly in such a short time span.
But there are many verses on here that immediately stand out as some of Tyler, The Creator’s best writing, his most complete narratives, and his most compelling examples of keenly crafted nuance. Whether it’s about fatherhood (or his own father), Black hair, religion, or identity, the former Odd Future frontman’s pen reached some of its highest all-time peaks. As such, we’ve compiled the five best verses from CHROMAKOPIA that caught our ears in our first couple of listens. We’ll stick to the rapping performances on here for the sake of consistency, and to Tyler himself. Even though these are just early impressions, the statements and reflections on this LP certainly leave their mark the moment they hit your ears. We can only imagine what other treasures they hold, and these excellent verses could point the way.
“Darling I” Verse 2
Relationships, commitment, and fatherhood are big themes on CHROMAKOPIA, so it’s only fitting that Tyler The Creator would outline his feelings on romance on one of the album’s first tracks. With steady flows, he delivers one of his most blunt and direct verses on the album that explains why he’s not a fan of monogamy. First off, the “WHAT A DAY” creative compares partners to all the different cars that he loves for different reasons, which also calls to lingering themes of success and excess from CALL ME IF YOU GET LOST. This isn’t just a playboy anthem, though, as Tyler also points to his own flaws that prompt this perspective.
“Too many grooves, I’m too curious to try to be / Hiding things, feeling shame built inside of me / ’Cause honestly, T is not perfect / So how can I get everything from one person?” Tyler, The Creator raps on the cut. At the end of the day, he really appreciates his love-lorn bonds, but concludes that what will really provide him with long-lasting company is the art he creates. That feeling of love is what he chases and cherishes, even if it’s temporary.
Both verses on “Hey Jane” (named after an abortion-related healthcare company) speak about Tyler The Creator’s relationship with a woman and their unexpected pregnancy, divulging their personal insecurities about it and affirming their commitment to support each other no matter the woman’s decision. They’re both stellar narratives with cutting lines and tender details, but since the second one is from the woman’s perspective, we’d rather let potential mothers speak on that for themselves. Regardless, the Camp Flog Gnaw leader provides a balanced and mature assessment from both sides, and his story shines through beautifully.
Through lines like “We ain’t make it to love yet / Took a shortcut to forever, I’m upset” and “You got to deal with all the mental and physical change / All the heaviest emotions, and the physical pain / Just to give the kid the man last name? F**k that,” Tyler, The Creator swings on the pendulum of fear and fearless support with grace. He knows it’s not the perfect situation, but he’s ready to take accountability for his and his partner’s choices, prioritizing her wants and needs. From a narrative perspective, the letter-like framing of each verse makes this one of CHROMAKOPIA‘s most striking lyrical moments.
“I Killed You” Verse 1
Tyler The Creator is a rapper, not a poet, but the first verse on “I Killed You” blurs that line through a common literary device in both art forms: personification. Building off of themes of heritage and identity, he speaks about his hair and remarks on its importance in Black culture. Much like the rest of CHROMAKOPIA, there’s a masterful push-and-pull on display. On one hand, Tyler explains all the things that Black culture and he himself has done to adapt their hair to a society of white supremacy that looks down on them. “No finding out, a couple knots was a map / We escaping them routes” is a particularly cutting line that feels ashamed of trying to erase that history with chemicals, cuts, straightening, etc.
However, by the end of the song, Tyler, The Creator concludes that he could “never kill” his hair, flipping the first line from “If they see you on top of me, I got to leave” to “If they see you on top of me, then I’m at peace.” What was once a passing mention on CMIYGL turned into one of Tyler’s most skilled, proud, and culturally powerful statements as of late.
When Tyler The Creator gets rowdy on CHROMAKOPIA, it’s an exciting and perfectly matched pairing with his rambunctious bangers. “Thought I Was Dead” embodies this explosively, particularly the verse that begins with a double-down on his stance against white rappers (and probably fans) mocking hip-hop. The 33-year-old is unapologetic about his past, flaunting what people see as hypocrisy as personal growth and success. Lines like “I’ma crash s**t out ’til my hair white / I got too much drive, I’m a terabyte” indicate that his brashness isn’t gone from the early Goblin days. It’s just much more well-executed this time around.
In addition, we’d be remiss not to mention the seamless flow switches and dynamic deliveries on this verse. It’s the best and most hard-hitting example of Tyler, The Creator’s bravado on CHROMAKOPIA, one that takes just as much aim at an insufficient and uninspired rap game as it does at critics of his often unfiltered perspective. Obviously, the flips and one-liners help these shots land: “T-T changed like the fit got dirty / I was young man, then a n***a hit thirty / I was one mill’, then a n***a hit thirty / B***h, you ain’t Coco Gauff, you can’t serve me.”
“Take Your Mask Off” Verse 4
Through multiple verses here, Tyler The Creator calls out the pain that “masks” result in. He discusses fake street rappers, greedy and hypocritically bigoted preachers, and rich, unfulfilled partners. But the most interesting verse is the fourth one, on which Tyler seems to address himself, his insecurities, his negative energy, and what other people might criticize about him. Maybe it’s a reach, but there are specific references to hair falling out, home wrecking, fear of fatherhood, being rich at 19, and other details that he owns up to on other CHROMAKOPIA cuts.
Nevertheless, it’s still filled with gut-wrenching bars like “Your respect won’t get given ’til we posting your death / It’s clear you wish you got your flowers sent / You eating fertilizer to balance s**t.” Perhaps this is all about another rapper, but maybe Tyler, The Creator is taking off his own mask of high self-esteem, confidence, and consistency. There is always the looming fear of losing oneself and “falling off,” plus the fact that a boisterous and self-worthy soar to the Sun can lead to a crashing spiral down to Earth every once in a while. Tyler Okonma has incredible reasons to believe in himself. But we’re glad he feels comfortable enough to take the mask off without fear.
While Lil Durk has seemingly made some positive changes in his life in recent times, the Chicago-born rapper’s alleged past has come back to haunt him. According to reports from ABC7, the FBI arrested the rapper, accusing him of paying money for a retaliatory attack on Quando Rondo in Los Angeles. As more details come forward, we’re breaking down everything we know about the situation right now.
OTF Members Picked Up By Feds Over Alleged Quando Rondo Murder Attempt
ATLANTA, GEORGIA – OCTOBER 05: Quando Rondo attends the BET Hip Hop Awards 2019 at Cobb Energy Center on October 05, 2019 in Atlanta, Georgia. (Photo by Carmen Mandato/Getty Images)
Five individuals tied to Chicago’s hip-hop collective “Only the Family” (OTF) face federal charges in Los Angeles, California, for allegedly conspiring to kill rapper Quando Rondo. Authorities linked these accusations to a supposed retaliatory attack following the 2020 killing of King Von, an artist and friend of OTF’s founder, Lil Durk.
Charges & Allegations Against OTF Members
The feds charged the defendants—Kavon London Grant, Deandre Dontrell Wilson, Keith Jones, David Brian Lindsey, and Asa Houston—with conspiracy to commit murder-for-hire, committing murder-for-hire resulting in death, and using a machine gun in a violent crime, according to the Chicago Tribune. If convicted, these charges carry severe penalties, including potential death sentences.
Prosecutors allege an unnamed OTF affiliate, who reportedly offered cash and music industry opportunities as incentives for killing Quando Rondo, directed the suspects. Authorities accused Lil Durk and OTF of using funds from OTF to cover travel and car rental expenses linked to the planned attack.
ATLANTA, GA – AUGUST 29: Rapper King Von attends Compound Saturday Nights at Compound on August 29, 2020 in Atlanta, Georgia.(Photo by Prince Williams/Wireimage)
The charges stem from the 2020 killing of King Von, who died after an altercation with Quando Rondo outside an Atlanta nightclub that resulted in a fatal shooting. King Von, born Dayvon Bennett, had risen in the drill rap scene with popular tracks like “Crazy Story” and “Took Her to the O,” thanks to Lil Durk’s mentorship. Following Von’s death, Durk allegedly offered a “bounty” on Quando Rondo, whose real name is Tyquian Bowman, as reported by FBI Special Agent Sarah Corcoran.
According to federal documents, the plan to kill Rondo took shape nearly two years later. On August 18, 2022, Durk’s associates were allegedly informed of Rondo’s stay at a Los Angeles hotel. Allegedly under Durk’s orders, the OTF members traveled from Chicago to California, financed through Durk’s resources.
Quando Rondo narrowly escaped injury in August 2022 when gunmen attacked him and his family near a West Hollywood gas station. Bowman’s cousin, Saviay’a Robinson, 24, died in the incident, though Bowman and his sister emerged uninjured.
Court records detail how Deandre Wilson, Keith Jones, David Lindsey, Asa Houston, and a fifth, unnamed suspect arrived in Los Angeles and rendezvoused with top OTF associate Kayon Grant. Grant, who allegedly flew in on a private jet, provided accommodations, rented vehicles, and secured firearms, including a modified automatic machine gun. The group wore ski masks, provided by Grant, to conceal their identities.
The indictment outlines how the group tracked Rondo and Robinson, following their black Cadillac Escalade through multiple locations across Los Angeles, including a marijuana dispensary and a West Hollywood clothing store. When the Escalade eventually stopped at a gas station across from the Beverly Center, Houston reportedly positioned the vehicle for the ambush. Three men, including Jones and Lindsey, approached and opened fire, killing Robinson but missing Rondo.
Surveillance footage allegedly shows the vehicles tailing Bowman’s SUV as it traveled between a marijuana dispensary, clothing store, and ultimately to a gas station where the shooting occurred. Houston reportedly drove the Infiniti to an alley near the gas station, where Jones, Lindsey, and another accomplice exited to carry out the ambush.
After the shooting, the suspects allegedly regrouped at a nearby In-N-Out Burger to discuss payment. The indictment states that the group then returned to Chicago, flying out from San Diego the next day. Payments for the attack were allegedly handled by Wilson, who distributed an undisclosed amount to Jones and Lindsey. Police arrested the suspects on Thursday in Chicago. They now face serious federal charges, including conspiracy to commit murder-for-hire. Court records have yet to confirm attorney representation for the defendants.
The feds charged 32-year-old Lil Durk, whose legal name is Durk Banks, with “conspiracy to use interstate facilities to commit murder-for-hire resulting in death” for Lul Pab’s murder. The FBI affidavit claims the revenge plot tied to the fatal shooting of King Von in 2020. “Mr. Banks is charged with orchestrating a cold-blooded murder that resulted in the death of a rival’s family member,” said Martin Estrada, United States Attorney. “Not only that, the shooting occurred in the open, at a gas station at a busy intersection, endangering many others in the area. If convicted, Durk, along with his co-defendants, could face a maximum sentence of life in prison.
Per Akademiks, the indictment lists Durk as Co-Conspirator 1. Authorities believe Durk’s Chicago-based collective, Only the Family (OTF), has played a central role in the scheme, with additional arrests potentially forthcoming. FBI agent arrested Lil Durk on Thursday night in South Florida and remains in federal custody. He reportedly tried to leave the country, with FBI agents intercepting him before he could board a flight to Italy. His representatives have not yet issued a public comment on the charges.
Durk’s Attempt To Evade Authorities
Following the arrests of his associates, Lil Durk reportedly made arrangements to flee the country, booking flights to Dubai, Switzerland, and, ultimately, a private flight to Italy. However, federal agents apprehended him in Miami before he could leave U.S. soil. Lil Durk and his co-defendants are being held as they await transfer to Los Angeles, where the case will proceed in federal court.
Durk No Longer Has The Key To The City
In recent weeks, Durk’s philanthropic efforts and success have earned him the keys to two Chicago suburbs: Bellwood and Broadview. However, the recent developments have led one of the mayors to withdraw the honor. Mayor Katrina Thompson of Broadview, Illinois, made the announcement on Friday. “While the American system of justice grants everyone the presumption of innocence until proven guilty in a court of law, in the Village of Broadview, the court of public opinion of residents has even higher moral and ethical standards of behavior,” Mayor Katrina Thompson said in a statement to WGNTV.
“And our public partners must also reflect the same uncompromising standards demanded by our residents. Given the news that Durk ‘Lil Durk’ Banks has been arrested in Florida and charged with murder for hire, the Village of Broadview is withdrawing our honorary ‘key to the village’ granted to Durk and is terminating our partnership agreement with his youth organization, Neighborhood Heroes Foundation. As mayor, protecting Broadview’s interests and upholding the values of residents is job number one.”
Bellwood Mayor Harvey says Durk’s arrest came as a shock to him. However, he refused to make a decision on taking away the key until the facts play out in court. “We live in the United States of America where the accused is innocent until proven guilty,” he said, per CBS. “As I said, right now we have allegations. He has not been tried.”
The BET Hip-Hop Awards are a far cry from what they used to be. Over the last few years, interest in what used to be one of the most anticipated events on the hip-hop calendar has dwindled. This comes down to several issues, primarily with BET as an institution no longer being in touch with modern hip-hop beyond what’s popular today. As the show’s presentation continues to change, things have gone away that need to return. Fans view the show more negatively thanks to many unneeded changes over the years. Here are five things that the BET Hip-Hop Awards are missing that could improve the quality of the once-culturally significant event if they were implemented when the next one happens in 2025.
Every year, the BET Hip-Hop Awards used to play host to a series of cyphers. They featured different groups of rappers aiming to outdo each other in their freestyle verses. Some of the biggest names in the game appeared in these cyphers, often to promote recent work or remind fans how good they are. The first-ever cypher at the 2006 event featured Lupe Fiasco and Styles P. At the time, the two recently released their debut and sophomore efforts, respectively. The 2011 iteration of the show featured Eminem introducing the greater hip-hop world to Slaughterhouse. They had signed to Shady Records and were building buzz as a group online for years ahead of their debut album, Welcome To Our House.
In 2010, the G.O.O.D. Music roster of Kanye West, Big Sean, Pusha T, CyHi The Prynce, and Common delivered verses shortly before the release of West’s opus, My Beautiful Dark Twisted Fantasy. The showing helped put CyHi on the map and solidified Big Sean as a rapper to look out for in 2011. The year prior, Yasiin Bey, Black Thought, and Eminem rhymed together. It was a friendly clashing of the titans that fans almost never get to experience anymore. Top Dawg Entertainment’s roster came together in 2013 for a performance that famously saw Kendrick Lamar fire shots at Drake long before their feud dominated headlines. And who could forget when Eminem returned solo in 2017 to deliver a scathing takedown of then-president Donald Trump in a winding four-and-a-half minute verse?
Since those late-2000s and early-2010s glory days, the cyphers have had diminishing returns. The greats no longer come out to show out. The effects of this change culminated in BET completely doing away with the cyphers in 2024, ending a tradition that existed for seventeen years. Asking superstars to sign on in 2025 may be a tough request. The most popular names around rarely freestyle these days as is. But, the cyphers do still need to return. Preferably with rappers who are more in-demand than those who populated them in the last few years. Names like the ones in the Griselda camp or legends reclaiming their spots in the game like Common and LL Cool J, two MCs who made major comebacks in 2024, could be fun to see next year.
I did not know the BET Hip-Hop Awards were airing on the night of Tuesday, October 15, until over halfway through the show. Nor did people I know. The only reason I found out the show was on that night is because of a Twitter post criticizing the lack of cyphers. In previous years, the BET Hip-Hop Awards (and the all-encompassing BET Awards earlier in the summer) made sure that fans knew when and where the event was taking place.
There was little advertising for the 2024 event. Going into what is usually one of the network’s biggest ratings boons of the year without substantial promotion will almost certainly be reflected in their viewership this year. It is hard to build interest in a show without marketing the show as heavily as possible. Next year, a point of emphasis has to be on advertising. There is no other annual hip-hop award show as significant as the BET Hip-Hop Awards. It should feel like that every single year.
In 2023, Fat Joe hosted the BET Hip-Hop Awards. In 2024, he came back to do it again. Joe, for better or for worse, is a legendary figure in New York City’s hip-hop scene. In a vacuum, having him host the show is not a bad thing. He is not necessarily musically relevant anymore. But he’s a regular attendee of different events throughout the year and still clearly loves hip-hop. However, giving him the opportunity to perform “Make It Rain,” a single from 2006, at a show in 2024, is inexplicable.
Doubly so for the Soulja Boy and Roscoe Dash joint performance that took place later in the night. While fun, Dash was popular over a decade ago. These days, Soulja Boy is more known for his antics than his music. “All The Way Turnt Up” is still a great song. It is still a damning indictment on the state of the show when the performance of a song from 2010 is a highlight of the night over some of the newer acts that showed up (Bossman Dlow and GloRilla, for example). The BET Hip-Hop Awards may no longer have the cache to convince contemporary superstars to perform. But most of the valuable TV time should be used to spotlight bubbling acts. Not people who haven’t been on the public’s mind in over a decade.
4. Nominate Non-Mainstream Acts For Awards
The BET Hip-Hop Awards are the only major televised hip-hop award show in the United States. As such, the awards should be more reflective of everything happening in hip-hop. There is nothing inherently wrong with mainstream acts being on the nominees list. Popular acts should always be acknowledged. And all things considered, Kendrick Lamar was more than worthy of the eight awards he took home. However, hip-hop is healthiest when both mainstream and acts who are not in the mainstream receive acknowledgment on big stages. The underground and “middle ground” are the strongest they’ve been in years. Moreover, it would have been nice to see mainstays like Roc Marciano, Blu, and Vince Staples, or younger rappers like MAVI and Rae Khalil, be nominated for their work. There are big things happening outside of the mainstraeam at the moment.
The 2024 BET Hip-Hop Awards emanated from Drai’s Nightclub. Drai’s Nightclub is a venue in The Cromwell Las Vegas, a luxury hotel in Paradise, Nevada. They should never return there. Presentation is everything, and despite the performers’ best efforts, the event still felt small. It felt more like a Friday night in a city than a program set to be viewed by between 800,000 and a million viewers (2023’s show drew 953,000 the night it aired).
The stage itself was remarkably limited. Despite every camera cut suggesting otherwise, the crowd was so poorly mic’d that it often felt like they were apathetic. The most recent Grammy Awards took place at the Crypto.com Arena in Los Angeles. While the BET Hip-Hop Awards are not nearly as popular as the Grammys, they should be above hosting them in such an awkward venue. They need to return to a larger venue in 2025, one that makes the show feel important. The vibes in Drai’s Nightclub were not befitting of an awards show that’s nearly two decades into its run.
It’s been a triumphant year in hip-hop, from receiving quality bodies of work from artists like ScHoolboy Q and Vince Staples to the Blockbuster battle between Kendrick Lamar and Drake but it looks like the final quarter of the year will continue to keep up the momentum with Tyler, The Creator’s forthcoming album, CHROMAKOPIA due out on Monday, October 28th. Ditching traditional release dates may set the tone for artists moving forward to avoid the first-week sale debacle.
Tyler, The Creator is undoubtedly a visionary who is just as meticulous with producing each of his albums as his live performances. And if you saw him live during the Call Me If You Get Lost tour, then you know that his commitment to bringing his albums to life is bar none. Though we aren’t entirely aware of what’s to come on his upcoming project, he recently announced the CHROMAKOPIA tour for 2025–a trek that will take him and his latest across the globe with some excellent openers including Lil Yachty and Paris Texas. For those looking to cop tickets and see Tyler, The Creator live, here are all the details.
The CHROMAKOPIA tour is set to launch in early 2025, following the release of Tyler’s album on Monday, October 28th. This tour spans several months and will also see Tyler, The Creator performing in major cities across the globe. Furthermore, with stops in North America, Europe, the United Kingdom, Australia, and New Zealand, fans worldwide will have a chance to catch him live.
Special Guests: Lil Yachty and Paris Texas Will Join the Fun
MONTREAL, QUEBEC – AUGUST 05: Lil Yachty performs at the Osheaga Music and Arts Festival at Parc Jean-Drapeau on August 05, 2023 in Montreal, Quebec. (Photo by Mark Horton/Getty Images)
Tyler is certainly not going on this journey alone. In addition to the headliner, the tour will feature special performances by Lil Yachty, who has continued an impeccable run in 2024, and fellow Los Angeles natives, Paris Texas, who are riding high off of their 2023 album, Mid Air and released two singles this year. Each of Tyler’s tours have curated the opening acts amazingly, and the inclusion of Yachty and Paris Texas will undoubtedly produce one of the most exciting tours of the year.
Ticket Sales Begin November 1st
Tickets for CHROMAKOPIA: THE WORLD TOUR will be available to the general public starting Friday, November 1st, at 10 AM local time in each city. Fans eager to secure their spots should act fast and secure their spots when it goes live. You can purchase tickets here.
For those with an American Express card, there’s good news. Card Members will have the opportunity to access presale tickets for shows in North America, the UK, Australia, New Zealand, and select European markets starting Tuesday, October 29th. Additionally, Amex Card Members will have exclusive access to limited-edition tour merchandise at select venues, making it an exciting perk for fans attending the shows.
The tour announcement comes days before the album drops and shortly after he unloaded two new singles off of the project including “NOID” and “St. Chroma.” However, the next few weeks are bound to be incredibly busy on Tyler’s end. Along with the album, he’s set to host a listening party the night before in Inglewood. Then, on November 16th and 17th, he’ll be hosting the annual Camp Flog Gnaw Carnival in Los Angeles, which will mark his first live performance of new material.
St. Paul, MN – February 4 – Xcel Energy Center Milwaukee, WI – February 6 – Fiserv Forum Kansas City, MO – February 8 – T-Mobile Center Denver, CO – February 11 – Ball Arena Los Angeles, CA – February 14, 17 & 20 – Crypto.com Arena Sacramento, CA – February 23 – Golden 1 Center Oakland, CA – February 24 – Oakland Arena Portland, OR – February 26 – Moda Center Vancouver, BC, Canada – February 28 – Rogers Arena Seattle, WA – March 2 – Climate Pledge Arena San Francisco, CA – March 5 – Chase Center Las Vegas, NV – March 7 – MGM Grand Garden Arena San Diego, CA – March 9 – Pechanga Arena San Diego Phoenix, AZ – March 12 – Footprint Center Austin, TX – March 15 – Moody Center Dallas, TX – March 17 – American Airlines Center Houston, TX – March 19 – Toyota Center Atlanta, GA – March 21 – State Farm Arena Orlando, FL – March 22 – Kia Center Miami, FL – March 24 – Kaseya Center Charlotte, NC – March 26 – Spectrum Center Pittsburgh, PA – March 28 – PPG Paints Arena Columbus, OH – March 29 – Schottenstein Center Washington, D.C. – April 1 – Capital One Arena Cincinnati, OH – June 27 – Heritage Bank Center Cleveland, OH – June 28 – Rocket Mortgage FieldHouse Chicago, IL – June 30 – United Center Detroit, MI – July 3 – Little Caesars Arena Philadelphia, PA – July 5 – Wells Fargo Center Boston, MA – July 8 – TD Garden Baltimore, MD – July 11 – CFG Bank Arena Raleigh, NC – July 12 – Lenovo Center New York, NY – July 14 – Madison Square Garden Brooklyn, NY – July 17 – Barclays Center Montreal, QC, Canada – July 22 – Bell Centre Toronto, ON, Canada – July 24 – Scotiabank Arena Newark, NJ – July 27 – Prudential Center
UK/EU Tour Dates
Antwerp, Belgium – April 25 – Sportpaleis Paris, France – April 27 – Accor Arena Milan, Italy – April 30 – Unipol Forum Zurich, Switzerland – May 1 – Hallenstadion Frankfurt, Germany – May 2 – Festhalle Cologne, Germany – May 4 – LANXESS Arena Oslo, Norway – May 6 – Oslo Spektrum Copenhagen, Denmark – May 7 – Royal Arena Prague, Czech Republic – May 9 – O2 Arena Krakow, Poland – May 10 – TAURON Arena Krakow Berlin, Germany – May 12 – Uber Arena Amsterdam, Netherlands – May 14 – Ziggo Dome Birmingham, UK – May 17 – Utilita Arena Birmingham London, UK – May 19 – The O2 London, UK – May 21 – The O2 Dublin, Ireland – May 24 – 3Arena Manchester, UK – May 27 – Co-op Live Glasgow, UK – May 30 – OVO Hydro
AU/NZ Tour Dates
Auckland, New Zealand – August 18 – Spark Arena Melbourne, VIC, Australia – August 22 – Rod Laver Arena Melbourne, VIC, Australia – August 23 – Rod Laver Arena Sydney, NSW, Australia – August 26 – Qudos Bank Arena Sydney, NSW, Australia – August 27 – Qudos Bank Arena Brisbane, QLD, Australia – August 30 – Brisbane Entertainment Centre Perth, WA, Australia – September 4 – RAC Arena
When 38 Spesh and Benny The Butcher teamed up on Stabbed & Shot in 2018, they were in the midst of a transformative year of their career. Hip-hop was witnessing the rise of one of the most important collectives of the past decade–Griselda–and upstate New York created a self-sufficient hub for independent rap. That year, Benny The Butcher emerged with his debut album, Tana Talk 3 while Spesh jumpstarted a second wind of his career with Son Of G Rap, a collaborative project alongside Kool G Rap that felt like a passing of the torch.
Although one of the most underrated releases from 2018, Stabbed & Shot has been a fan favorite among both artists’ core bases. Six years later, Spesh and Benny reunited for its sequel that captures their growth and chemistry over these past few years. For two MCs who’ve proven time and time again that they are practically unf*ckwittable on the microphone, Stabbed & Shot 2 was another exercise in consistency.
“We both have grew as individuals and men, and to still be able to have that skill level and honestly, surpass the first one, is really the most rewarding thing,” Spesh told HotNewHipHop over a Zoom call. “To show that we’re not actually on a decline after all of these years is probably the most rewarding thing. To be able to listen to a solid body of work, and compare it to something that we knew would be very hard to even match, let alone top, so it’s probably the most rewarding thing is to be able to see that we’re actually still, you know, improving.”
2024 alone has been the most visible year in their careers. For 38 Spesh, it revolved around the release of two strong bodies of work–Mother & Gun and Grafh’s God’s Timing, which he produced–and for Benny The Butcher, it marked the end of a 22-month drought. He finally dropped his Def Jam debut, Everybody Can’t Go, along with two summer packs, Summertime Butch and Buffalo Butch Vol. 1, the latter of which contained the highly anticipated, “Buffalo Freestyle” featuring Drake. Similar to Spesh, Benny views this body of work as a testament to their journey in their respective careers and an homage to those who’ve paved the way for them.
“I’m saying to the 10th power, we’ve been influenced by [Styles P and Jadakiss],” Benny said. “But we are confident that we trailblazed this back-and-forth lane ourselves. We’re confident that people hold us high up there in the ranks. We confident that it’s a back-and-forth duo who aspired to be better than me and Spesh.”
We caught up with 38 Spesh and Benny The Butcher (who jumped on the call halfway through) to discuss their latest joint project, their favorite back-and-forth verses from Styles P and Jadakiss, the Drake collab, and why they feel like the Jerry Rice and Joe Montana of hip-hop.
This interview has been edited and condensed for clarity.
Credit: Photo Rob
HotNewHipHop: I feel like there’s a little bit more vigor when you and Benny step in the booth together, but from your perspective, how’s the energy different when you two are in the studio together, working on a project, compared to your solo projects?
38 Spesh: Well, it’s definitely a more of a competitive sport thing, you know? It’s more like a sport thing when we working together. We have to actually perform at a high level. Because, we both have a high skill level. So, you know, we both push each other to bring the best out of each other.
Benny described this as “pure intellectual street dialect mixed with hindsight.” Just considering that both of you kind of had some of your most visible bodies of works this year, what was the most rewarding part about seeing this project through?
38: It was a lot of growth from the last release. So, it was a lot of different rewards with dealing with this, from the actual understanding of the business–better understanding of the business–a better understanding of ourselves, a lot more to talk about and touch on. Because, you know, it’s six years later. We both have grew as individuals and men, and to still be able to have that skill level and honestly, surpass the first one, is really the most rewarding thing. To show that we’re not actually on a decline after all of these years is probably the most rewarding thing. To be able to listen to a solid body of work, and compare it to something that we knew would be very hard to even match, let alone top, so it’s probably the most rewarding thing is to be able to see that we’re actually still, you know, improving.
How long did this project take to bring to life in its entirety?
38: The idea and the concept was always there but once we started working–we work pretty fast. So I would say, you know, a few studio sessions. That’s how we do. The first one, we made in three studio sessions. I say this one, we made probably four studio sessions.
In your interview on My Expert Opinion, you mentioned that consistency is how to separate yourself from the crowd as MCs. How did the consistency of your respective solo catalogs in the past few years help you two deliver a potent body of work after coming together again?
38: That’s exactly what forms the body of work–the consistency. Like, you know, if we would have slowed down in any way, we wouldn’t have been able to deliver the way that we actually deliver. The consistency is what helped us be able to elevate our penmanship; to actually be able to deliver a better project. This is a sport, so the more that you practice, the better that you’re going to get. A lot of people slow down after they put out great bodies of work, or they let life get in the way, or whatever, things of that nature. We actually kept practicing and kept practicing and sharpening our skills and actually improved. So, you know, and that was due to the consistency. And if we had a lack of consistency, the project wouldn’t sound as good. So consistency is one of the main key factors of why we was able to over deliver.
There are sports references scattered throughout your catalog but you’ve also garnered attention from many athletes. How does it feel knowing the music that you create reaches well beyond the audience that you’re speaking to?
38: It was a surprise at first, because I never imagined reaching–I only rap for the direct audience, and my main goal was to feed them, but [with] the authenticity and the high level of penmanship, I realized that when you’re great at something, you’re recognized by people that are great at what they do. You move on the same frequency. I’m the best at what I do, so the people that are the best at what they do are going to appreciate what I do because we’re just the best at what we do.
I had to understand the reason why LeBron [James] is saying my stuff word for word, it’s just because we move at the same frequency. We operate at the same extreme frequency of being the best. So that’s what made me understand, like, oh, “okay, even if I don’t watch sports, or even if we come from these different backgrounds, it’s just that actually, we all have the same thing inside,” and it’s just the drive to be the best and the skill set to be the best. That’s why they relate to it, more or less than just the music is, it’s a high skill set when we just the best that do it, you know?
You didn’t produce anything on this project compared to the first installment of Shot & Stabbed. However, there’s the inclusion of Harry Fraud, Daringer, and other prominent names. What was the beat selection process like with this project?
38: Honestly, we go completely off-field. So it really don’t be in a producer’s hands, it be in our hands. Usually, the producers be guessing and a lot of times, the producers be guessing wrong. Producers guess, they say, “Oh, I got this. That sounds [that’s] good for y’all,” and a lot of times they don’t be on point. It be the ones that they don’t think that we would love, that they sitting on, that they probably would skip past, that we like, “hold on, go back, play that one. That’s the one.” And, you know, so it really be on us. We go into there, and we go completely off the way that the music makes us feel. Me and Benny kind of give each other a head nod. That’s our sign of agreeing, like, “oh yeah, this is the one,” because we both moving off of the way it makes us feel. Each one of these beats was hand-picked completely off of feeling.
So, you know, it wasn’t even about the name of the producers, because it could have been–some of these guys I’d heard of for the first time. Like a couple of producers on here, I actually heard for the first time. One of them is Asethic who I met off Instagram from just scrolling, and he had a sound–he produced “High Stakes”–and it was a sound that was actually in our vein. And I said, “This feels like us.” Another guy who produced the single “Brick Specials,” I never heard of before in my life, and I just came across him off of YouTube, and it was just a feel. So it wasn’t really the producers actually coming up with ideas or concepts or sounds for us. It was just us searching for the actual sound that we love.
How would you describe the feeling of this project in that case? In terms of the head space that you and Benny were in.
38: We was in a hungry space, and it was a space that we had to get back to due to all of the success and how far we have actually travelled from six years. We found ourselves back in a hungry space, though, and it took us a while to get back to that space of hunger, but that was the space that we knew we had to be in in order to approach this project. That was the space that we were in, and that’s why we were able to deliver like that, because we were in a space where we had something to prove.
You’re going three-for-three in 2024 with the release of God’s Timing and Mother & Gun. How do you think this project complements those releases in a way that’s similar to your 2018 run?
38: It’s just a display of consistency, showing the people how diverse and how talented I actually am. God’s Timing was displaying my production. Mother & Gun was displaying my lyrical ability and storytelling. And I feel like Stabbed & Shot is displaying my bar work, you know? So it all goes together, just showing how diverse and how talented I am.
Benny enters the Zoom call.
Benny, thanks for joining us today.
Benny: What’s happening, baby? What I miss?
I wanted to ask you specifically: if you could compare yourself and Spesh to any duo in sports, who would it be?
BTB: I’m not going to lie, I’m going to have to say the obvious. The obvious is Shaq and Kobe. Jordan & Pippen. But I’m going to say, Jerry Rice and Joe Montana.
Elaborate. Why those two?
BTB: Two champions. Basically–
38: That was a good pick, bro, because I don’t even watch sports like that. But 94–
BTB: [Laughs]
38: Listen, ‘94 49ers was my favorite team.
BTB: Real sh*t. Spesh is like the quarterback. He’s like the mastermind of this sh*t. He really just call the plays and I run the routes. It’s like, when you working with somebody like him, all you got to do is be in the right place at the right time, and you gonna catch the ball, you gonna score. That’s it. Run that right route and catch the ball. It’s gonna be a touchdown. When I’m working with this man, half the work is already done. All I got to do is show up.
NEW YORK, NEW YORK – OCTOBER 18: 38 Spesh and Benny The Butcher visit SiriusXM at SiriusXM Studios on October 18, 2024 in New York City. (Photo by Jamie McCarthy/Getty Images)
I asked Spesh this already but I wanted to know, from your perspective, how does Stabbed & Shot 2 complement your 2024 output so far?
BTB: It’s basically like the cherry on top because I wanted to have a very active year. Even coming into this year before any of my projects dropped, I sat back and realized I haven’t put out an album in 22 months before Everybody Can’t Go. So I wanted to do the direct opposite. I wanted to flood the market so Everybody Can’t Go, Summertime Butch, Buffalo Butch, then Stabbed & Shot 2. That’s just like the perfect way to end the year.
How would you parallel your run in 2018, when you released Stabbed & Shot, to this year? 2018 was a very critical year in both of your careers and 2024 has been your most visible.
BTB: Man, it’s like we in a time machine. If you say it was six years ago, one of our most dominant years, and look up, we still doing the same sh*t six years later in the best shape of our lives. So it’s almost a testament to the hard work, the perseverance that we got and the determination. We could do this next year too, if we wanted to.
The comparisons to Styles P and Jadakiss are littered across the album. They even appeared on Stabbed & Shot in 2018. After working with them, how was it trying to channel that energy onto this project?
BTB: I mean, basically, we are who we are, you know, I mean, and we’ve definitely been influenced by those dudes, man, to Infinity and Beyond. I’m saying to the 10th power, we’ve been influenced by them. But we are confident that we trailblazed this back-and-forth lane ourselves. We’re confident that people hold us high up there in the ranks. We confident that it’s a back and forth duo who aspired to be better than me and Spesh. We set the stone with that sh*t, going back and forth with them, you know what I’m saying that? But I think we could carry it ourselves, and we veterans in this game at this point too.
38: Agreed.
Is there a particular back-and-forth between Styles P and Jadakiss that you two hold dear to your hearts?
38: Man, most of the time, they go crazy every time, you know what I’m saying? Every time.
BTB: 100%
38: I remember the first time when I lost my mind probably was “Banned From TV” when they went back-and-forth. Then, it was a joint off of the Ruff Ryders album called “Dope Money.” That was my sh*t.
BTB: Those are probably my favorites up there. I was definitely going to say “Banned From TV” but that “Dope Money”–
38: Oh my God.
BTB: That sh*t was crazy. “We Gonna Make It,” can’t forget that. Can’t forget that.
38: “We Gonna Make It,” yeah. By the time “We Gonna Make It” came out, we already knew what they did.
BTB: Facts.
On “Jesus Arms,” Busta Rhymes says, “A lot of you better start rethinking your top five.” I know this is not the first time you guys have heard that from the legends, but how does it feel, even to this day and everything you guys have accomplished, hearing the pioneers and the bricklayers of this sh*t your praises in that sort of way?
38: Well, that’s one of the best feelings that come with this sh*t. It will always be appreciated to hear one of the pioneers give respect. Besides everything else, that’s all we really wanted before money. Before we even knew what money was, all we wanted was for them to let us know that we was good at what we did. So, that never leaves. That never leaves.
BTB: When you watch people ball out and do this, when they respect your jump shot, that’s a different kind of feeling. That’s definitely something that I look forward to, besides, you know, the money and the awards. The respect from your own peers, that means a lot.
You’ve done four collaborative projects with each other now: Stabbed & Shot, Stabbed &Shot 2, Trust The Sopranos, and Cocaine Cowboys. How would you rank those projects from one to four?
BTB: I’ma go Stabbed & Shot 1. Then, I don’t know after that. I love Trust The Sopranos. Cocaine Cowboys, it was special. I just feel like Stabbed & Shot 1 is special to me because it’s a marker in time. It just set the pace for what me and Spesh was about to do. And I feel like all of those albums are special because we put a lot into all of those, so it’s kind of hard to rank them. But I just know the first Stabbed & Shot is super special to me, because it’s just a marker in time, and it put everybody on notice, because they knew this day was coming. They knew we was about to leave a whole bunch of sh*t in our path. They knew he’s about to tear sh*t up so that’s a special one for me.
38: Yeah, I feel the same exact way. Stabbed & Shot 1 was like the beginning of the start of me taking this serious in the next level. And it was kind of like my introduction to this lane. That sh*t is definitely number one. It’s hard, like he said, to rank any of them other projects, but, you know, Stabbed & Shot 1 is definitely the significant one.
Benny, before we go, I wanted to ask you about the Drake collaboration. It’s been one of the most sought after records in your unreleased catalog and finally dropped over the summer before it was removed from DSPs. How did you feel about it finally hit streaming services and what was your reaction once it was removed?
BTB: I feel good to hit streaming services. I like dropping new music, getting people’s reaction, especially something fully loaded with bars like that. And, how I felt when I when I got took him down–I really didn’t feel how the people felt. Because I knew it was a possibility that that might happen. I was prepared for that already. So when it happened, I ain’t take it hard like that. You know, this game is full of loopholes and yellow tape that you got to crawl through to make certain sh*t happen. He just wasn’t able to make that happen. But, you know, no love lost for Drake and his team and no shit like that. You know, it’s just business and it’s just music, you know what I’m saying?
What can fans expect from both of you before the year ends?
BTB: What you got? What you working on over there, Spesh? You got some secret projects over there that you’re producing?
38: For the end of this year, it’s just about Stabbed & Shot 2. Next year? I’m loading up for next year. Next year, it’s gonna be a bunch of sh*t coming, but I don’t think I’m releasing nothing else this year. I’m not sure.
BTB: Me too. I’m on the same page. It’s all Stabbed & Shot. If we feel like really getting in the booth and releasing another single, just because but Stabbed & Shot 2 going to hold people down for the rest of the year, I believe.
The story of Demetrius “Big Meech” Flenory, the co-founder of the Black Mafia Family (BMF), feels like an urban legend. For the better part of this century, Meech has been incarcerated in federal prison after he was convicted of operating one of the most extensive drug trafficking and money laundering rings in the history of the U.S. Big Meech’s legacy continued to live on throughout the years, whether immortalized as a benchmark of success in hip-hop or his son Lil Meech’s depiction of him in Starz’s BMF series. With TMZ reporting his release from prison to a halfway house, we’re delving into everything we know about the situation thus far.
A Federal Bureau of Prisons spokesperson tells me Demetrius “Big Meech” Flenory was transferred yesterday from FCI Coleman Low to community confinement (home confinement or halfway house).
Flenory has a projected release date of Jan. 27, 2026
On Tuesday (Oct. 15), Demetrius “Big Meech” Flenory, 56, was transferred from FCI Coleman Low in Wildwood, Florida, to a halfway house in Miami, according to the Bureau of Prisons’ Miami Residential Re-entry Program. News first emerged across blogs that reposted screenshots of his status. However, official reports from TMZ confirmed that the transitional step is part of his sentence for running BMF.
With Flenory’s release to a halfway house, he’ll serve the remainder of his sentence in a more lenient environment. According to Complex, he’ll be released on January 27th, 2026. This comes after a judge agreed to shorten his sentence three years earlier this year due to a string of positive developments. His lawyers argued that he maintained good behavior and efforts toward personal development, which includes obtaining his GED and staying out of trouble.
“The Opportunity To Begin A New Chapter”
Barnett later shared a statement to Hot 97 regarding Meech’s release. “I’m overjoyed that Demetrius Flenory is finally free after nearly 20 years behind bars. Two decades is an incredibly long time, and it’s been inspiring to witness the power of hope and resilience,” she said. “He used his time in prison to focus on personal growth and transformation, and now he has the opportunity to begin a new chapter,” the statement continues. “He’s out, but millions more remain trapped inside – there’s still so much work to be done. We need to push for real change, for a justice system that recognizes the dignity and potential for redemption in every individual. Our commitment to challenging the injustices that still exist within the criminal legal system remains unwavering. There is nothing more urgent than freedom.”
The Origins Of The BMF Empire
Big Meech, alongside his brother Terry “Southwest T” Flenory, founded the Black Mafia Family in 1985. As depicted in their Starz series, the brotherly duo gained footing in the Detroit area before expanding their operations. However, their foray into entertainment and hip-hop led prosecutors to claim they only used it as a front for their drug empire. However, by the time the early 2000s came around, federal agents began cracking down. They exposed the Flenory brothers’ imprint as a front for a sprawling cocaine trafficking network that brought in over $270 million. They claimed Meech operated from Atlanta, where he oversaw distribution. Meanwhile, they believed his brother Terry managed shipments from Los Angeles in collaboration with the Mexican cartels.
In October 2005, a large-scale raid, launched by the Drug Enforcement Agency (DEA) and an Organized Crime Drug Enforcement Task Force, led to the arrest of over 30 members of BMF. The operation resulted in the seizure of over $20 million in assets, including $2 million in cash, jewelry, and luxury homes across multiple states, the Daily Mail reports. Through information gained from dealers and distributors who worked for BMF, authorities were able to execute this operation successfully. Federal agents also captured wiretapped conversations from Terry’s phone where he raised concerns about Meech’s excessive partying and the potential damage it would inflict on their operation. The prosecutors brought forth 900 pages of transcripts from these conversations.
Eventually, the two were indicted and charged under the Continuing Criminal Enterprise Statute possession with intent to distribute more than 500 grams of cocaine, conspiracy to distribute five kilograms or more of cocaine, two counts of possession with intent to distribute more than five kilograms of cocaine and conspiracy to launder monetary instruments. By 2006, authorities charged 16 more people with conspiracy to distribute cocaine and with money laundering. Authorities arrested more alleged associates in the years that followed with 150 people charged for their supposed roles in BMF.
In November 2007, a judge handed down a 30 year prison sentence to Demetrius and Terry Flenory. They pled guilty to “involving the large-scale distribution of cocaine throughout the United States from 1990 through 2005.” “The BMF was a violent, sophisticated drug smuggling and money laundering organization that began right here in Detroit, Michigan,” Robert Corso, then Special Agent in Charge, said. “Terry and Demetrius Flenory expanded what was a small, local operation into a multistate, multimillion-dollar criminal enterprise with direct links to Mexican-based drug trafficking cartels.”
The Road To Freedom: Sentence Reduction & Personal Growth
Demetrius’ recent transfer to community confinement comes after his attorney, Brittany K. Barnett, successfully petitioned for a sentence reduction. Earlier this year, a judge shortened his prison term by almost three years due to his good behavior while incarcerated. Barnett revealed that Big Meech made significant strides toward rehabilitation. She emphasized that Flenory now has a chance to begin a new chapter in his life.
Big Meech’s brother Terry has been out of custody since May 2020. The court granted Southwest T an early release following health concerns during the COVID-10 pandemic. The compassionate release marked a pivotal moment in the Flenory family, one that spurred hope that Big Meech would similarly be coming home.
The BMF Show & Its Cultural Impact
Big Meech’s release coincides with the buzz surrounding the fourth season of BMF, a Starz show produced by 50 Cent that documents the rise and fall of the Flenory brothers’ empire. The series, which features guest stars like Snoop Dogg, Yung Miami, and Eminem, has become a massive success, further solidifying the cultural impact of the BMF saga. In a unique twist, Demetrius Flenory Jr., Big Meech’s son, portrays his father in the show–a personal touch to the retelling of his family’s story. The series continues to spotlight the Flenory brothers and their rise to power in the underworld of drug trafficking.
It seems as if each day, the Hip Hop community is more shaken by allegations, many coming from Jaguar Wright. While the accomplished singer hasn’t had much traction in her career in what seems like decades, she’s still managed to keep the industry captivated. Her tales of times working behind the scenes with some of the biggest names in music have become viral moments that blogs have picked up on. However, things were magnified when Piers Morgan invited her as a guest on his show, and she began spouting her accusations of alleged “evil” behavior from the likes of power moguls, including Sean “Diddy” Combs and Jay-Z.
For years, Wright has appeared on podcasts revealing what she says are the abusive ills of Hollywood’s elite. “For four years, I’ve been screaming not just Diddy, but Diddy and Jay-Z are monsters… And the victim-making machine kept going on,” Wright told Morgan during their chat. Her proclamations have gone unchecked by Combs’ camp—seemingly as they battle bigger issues related to his sex trafficking case. Yet, not everyone has let Wright’s declarations slide as she matter-of-factly makes allegations that accuse fan favorites of being abusers, drug addicts, traffickers, and guilty of sex crimes.
Due to her Hollywood tales’ sensationalized, frequently unbelievable elements, audiences are often split about the validity. Some take the singer at her word and quickly share clips of Wright’s discussions. Others aren’t buying it, waiting for more proof of Wright’s claims. Yet, several celebrities who have found their names wrapped up in Wright’s explosive conversations have clapped back, refusing to stand by as she makes allegations against them. Here are a handful of times when Wright’s peers have accused her of outright lying or bending the truth.
Following Wright’s eyebrow-raising interview on Piers Morgan Uncensored, it appeared as though Ray J was upset with her. Initially, he called her out for choosing Morgan’s platform and not opting for an outlet that leaned toward the culture. He stated, “You wanna keep taking these other n*ggas money and not showing love to the community? That sh*t weak as f*ck.” Ray also suggested he would have been a better fit. “You’re hitting all these other motherf*ckers back that’s from all these other countries. Like, you safe over there. You safe with me. Stop acting scary, Jaguar.”
That tune changed not long after because soon, he was calling her an outright liar. In an interview last year with RealLyfe Productions, Wright accused Ray J of being the last person to see Whitney Houston. She alleged the reality star mogul, along with mega-music executive Clive Davis, were involved in Houston’s death. Ray caught wind of the accusations and put his foot down.
“First off, I want to say Whitney Houston was a very special person in my life,” he told The Reality Check. “She has a very special place in my heart. […] I’m not going to talk sh*t about you, Jaguar. But when you are creating these stories and pushing narratives with no real basis, it’s clear that you’re doing some kind of attention-chasing, or you’re doing this sh*t for clout. Or just for negative destruction, right? Is that about seeking the truth? You want to stir up the pot for your own gain?
He also went to bat for Jay-Z and Beyoncé, who are Wright’s regular targets. “Our culture needs more truth and integrity, not chaos and confusion,” said Ray. “People were listening. You got our attention. Is what you’re saying true? Because this sh*t is outrageous. But I came to the conclusion that once I seen a story about me, and what you had to say about me and situations in my past, that is where I started to understand that you are totally fabricating stories and you are a complete liar. So, that means that I have no respect for you and nothing you’re saying. So, now, I’ma go further. How dare you disrespect Jay-Z and Beyoncé? Jay-Z is an OG. Don’t ever disrespect Beyoncé.”
Probably two of the most significant entertainment figures who responded to Wright’s allegations were the Knowles-Carters. Once again, her appearance on Piers Morgan Uncensoreddid not go unnoticed by the uber-famous couple and their teams. “Harvey Weinstein, Jeffrey Epstein, Robert Kelly, Sean Combs have one person in common, professionally and privately: Sean Carter [Jay-Z],” she alleged. “This has been a fist of tyranny punching through our culture for decades. It must stop.”
Meanwhile, Wright’s stories may travel fast through the internet, but Jay and Bey’s attorneys work faster. In the blink of an eye, Morgan was back on his program, issuing a public apology to the power couple. “Their lawyers contacted us to say that those claims were totally false, and have no basis in fact,” he said. Then, Morgan revealed that Wright’s comments would be clipped from the interview. “We apologize to Jay-Z and Beyonce.”
Some have theorized that Wright was never sued or threatened in the past because her stories must be true. However, it has been suggested that suing her wouldn’t do anyone any good because they couldn’t collect on a financial judgment (a la Taska K and Cardi B). Yet, Morgan and the networks he’s affiliated with could certainly be taken to court, which caused the swift apology clip.
Christopher Williams
The height of New Jack Swing icon Christopher William’s career was in the 1990s, but his legacy lives on. You can find him these days performing at festivals and even making a reality TV appearance or two, but his name was engrossed in controversy after Wright spoke about him in one of her many sit-downs. Wright alleged that many years ago, Williams had an oral sexual encounter with Diddy. Later, Williams clapped back, calling her a “crackhead” and said her assertions “ridiculous.”
He told Willie D Live, “Now she’s going on and on and on like she’s sure. But I’m like, ‘Bro, she’s hurting.’ I’m praying for her because we have to make a different stand and a different choice at this time. If I’m really solid, how can what she says affect me?” Moreover, this wasn’t the end of these two going back and forth; Wright would hop on RealLyfe Productions‘ couch again with a response. She vehemently denied taking any drugs and stood by her words.
Back in 2020, Wright was on Live once again and revealed shocking allegations about her former friend, Common. Wright was divulging alleged stories about the Chicago rapper and Philly icons The Roots, claiming that the emcee sexually assaulted her. According to the singer, the two were clothed when they were sharing a bed following a concert, and Common allegedly attempted to put his penis in her mouth. “You was with Serena [Williams], that didn’t work out. You was with whoever, you always got whoever’s hot dating you, but the sh*t don’t last long,” Wright said. “He ain’t been right since Lauryn Hill left him anyway.”
While speaking with Philadelphia’s Rise and Grind Morning Show, Common directly addressed the scathing rumors. “God bless, Jaguar. I really don’t have any negative thoughts towards her,” Common said. “I was for surely disappointed and hurt when she said what she said about me because it wasn’t true, I know people that have experienced sexual assault and that’s not anything to just say if it’s not true. But I also understand that she may be going through some things that I don’t understand.” He added, “In all truth, I went through different emotions. I’m like, oh man, why is she saying this? This is not true. How’s this gon’ affect me?”
DJ Vlad
He’s faced some harsh criticism from Hip Hop culture of his own, but that hasn’t stopped DJ Vlad from speaking up against Jaguar Wright. The VladTV creator also appeared on Piers Morgan’s show—the same episode as Wright. While the two didn’t speak on the program, Morgan did ask Vlad his thoughts on the singer’s outrageous allegations. Vlad made it clear he wasn’t a fan.
“Jaguar Wright is known to be a conspiracy theorist,” he told Morgan. “I don’t really co-sign anything that she says. I’ve never had her on my show, and I don’t have any plans to have her on my show.” Vlad added, “A lot of this stuff is just things she’s heard, things she’s making up. I can’t co-sign anything that Jaguar Wright is saying.” However, Wright later called his bluff, and in her following interview with RealLyfe Productions, she pulled up an email on her phone. She alleged that it came from DJ Vlad’s team, who requested an interview with her on VladTV.
When he caught wind of Wright’s latest update, Vlad was unmoved. He took to X to say, “Like I said in the Piers Morgan panel, Jaguar Wright has never been invited to do an interview, and she never will be. This is someone who seems to be suffering from mental illness. Anyone who interviews her is taking advantage of a mentally disabled person for views.” Famed music writer Touré has also echoed these sentiments about Wright’s mental stability.
It’s all fun and games until you hear your name wrapped up in a wild story, and Joe Budden wasn’t having any of it. The media personality took to his podcast to address Wright’s Piers Morgan interview and shut down rumors that the singer perpetuated. His response made it clear that he didn’t believe much of anything Jaguar Wright said about her knowledge of industry dealings and abuse. Budden also found himself on the receiving end of Wright’s accusations after she reportedly claimed the former rapper had a sexual encounter with Bad Boy producer Stevie J.
“No, she is grabbing the salacious and very obvious headlines and expounding on them with sh*t,” Joe Budden began. “And again, I’m only saying this ’cause I heard her say out of her mouth, that she saw a video of Stevie J and Joe Budden f*cking. So, I know, I know, I can say with 100 percent certainty—oh, that this lady just be saying sh*t to add to the luster of whatever the f*ck she’s saying.” To imprint his point, Budden continued, “I’ve never been in any compromising situation. I’ve never been in any situation where someone tried to overtake – that’s never happened to me.”
