As an estranged founder of Roc-A-Fella who was instrumental to its rise, Dame Dash has a lot to reflect on and spill beans about when it comes to that era. Not everything he says is accepted as true by his other colleagues, but it’s unlikely that debate will ever die down. Moreover, the executive recently recalled how Jay-Z didn’t want to sign Kanye West to the Roc, and how he had to fight for his place in their roster of MCs. Overall, this isn’t particularly new information, although he doubled down on how hard he had to fight to combat their reluctance.
“I almost couldn’t sign Kanye, I had to get a vote,” Dame Dash expressed recently during an Instagram Live session. “I had to fight to put Kanye out, I had to fight Lyor [Cohen] and Jay-Z. They didn’t want that man to come out. So the point was, I was like, ‘Yo, I’m not gonna be in a place where I gotta fight to put that man out.’ The same way I had to fight to put Jay out, fight to put Rachel Roy out, fight to put Cam out. Everything that I’ve ever had to put out has been against nerds telling me not to put it out.”
Meanwhile, this is what Jay-Z had to say about this debate in a 2009 interview with XXL. “Let’s first clear this thing about Dame and Kanye and all of us,” he began his version of the story. “We all had a conversation about Kanye and whether to sign him. No one knew what would become of Kanye. Not Dame, not me not Biggs.
“So we all sat down and said, ‘Let’s at least sign so we can keep the tracks in-house,’” Hov continued. “‘It’s only good business.’ And Dame said, ‘We can put Beans and Cam, surround him and make this type of album.’ I wasn’t saying don’t sign Kanye. I was saying, at least keep the beats in-house, if anything.” For more news and the latest updates on Dame Dash, Jay-Z, and Kanye West, check back in with HNHH.
The history of Roc-A-Fella is a long and complicated one, and it hasn’t gotten any easier to navigate as the years draw on. However, we have seen multiple of its key members- whether executives or artists- reflect on some alleged misconceptions on its downfall. That’s not where Dame Dash began his recent breakdown of it, though: he started off on a new episode of The CEO Show by talking about Roc member Memphis Bleek’s career. It started off as an assessment of the rapper’s relevance today, then went into the gossip around all the members’ fallings-out, and then moved to the executive’s claim that he “saved” Bleek from robbery.
“No disrespect to Bleek,” Dame Dash began his statement. “But I don’t feel like he would not want to still be making current records and making a lot of money doing new records. You know, I didn’t want him to be– no disrespect, but no one wants to be on the ‘Oldies but Goodies Tour.’ You want to be known for new s**t.” Then, he started to push back on Memphis Bleek’s explanation of how the Roc fell.
Dame Dash Addresses Memphis Bleek’s Tale Of The Roc’s Downfall: Watch
“The misconception about Roc-A-Fella is they kicked me out; I left,” Dame Dash claimed. “When ‘Change Clothes’ came out, I had already had an office at Rocawear. I was already done, I didn’t wanna run Roc-A-Fella no more, I still don’t wanna run a music [company]. I had retired from Roc-A-Fella long before this so called split.” Furthermore, he used Memphis Bleek as an example of him pushing the Roc’s affiliates to take care of themselves, not their higher-ups.
“People close to him were taking his publishing,” he went on. “When he was signing his record deal, someone had his– he was signed to a production deal. And, I’m not going to say nobody’s name. I’ll let them deal with that. He talks about it. All his publishing was getting taken. They were getting a piece of his royalty. He was getting robbed. So, I went and got him a lawyer. I went and got him a real accountant and it really caused a lot of friction internally.” For more news and the latest updates on Dame Dash and Memphis Bleek, come back to HNHH.
Being dubbed the “Godfather of Chicago Hip Hop” is no easy feat, but No I.D. is more than deserving of the title. The producer worked his way to become one of the most acclaimed hit-makers of the 2000s and 2010s. Beyond it all, his music knowledge earned him the Presidency seat at G.O.O.D. Music between 2008 and 2011. Known for his collaborations with collaborations with Jay-Z and Kanye West, No I.D. has churned out a ton of hits over the years. However, these seven stand as some of the biggest songs he’s put his magic on.
“Bound 2” was never actually released as a single, but it evidently became one of the highlights on Yeezus. No I.D. was not the primary producer on the album, however, but a secondary co-producer, alongside Kanye West, Mike Dean, Noah Goldstein, Ché Pope, and Erick Danchick. The song was met with overwhelming praise and is considered one of Ye’s best tracks. “Bound 2” also enjoyed viral success after the release of its music video. West and Kim Kardashian, who were engaged at the time, both appeared in the passionate video. Kim, who was seen otpless, rode atop Kanye’s motorbike while facing him directly. “Bound 2” peaked at number 12 on the Billboard Hot 100.
“Find Your Love” – Drake (2010)
Before Drake’s eventual world domination, he was on quite the rise in 2010. He released “Find Your Love” in May, right before the summer and it became a summer staple. Originally intended for Rihanna, the song appeared on Drake’s debut album, Thank Me Later. “Find Your Love” was a joint production venture. No I.D., Kanye West, and Jeff Bhasker each contributed to the song’s distinct dancehall feel. The single performed very well in the United States, peaking at the third spot on the Billboard Hot 100. Furthermore, it has been certified 3x platinum for over three million units sold.
Big Sean’s debut album was a lauded effort, and its success was largely in part its lead single. “My Last” was released in March 2011, but still enjoys a healthy rotation at many clubs and parties today. The single featured Chris Brown, who took on the infectious chorus. “My Last” was solely produced by No I.D., who was also the President of G.O.O.D. Music at the time. “My Last” peaked at number 30 on the Billboard Hot 100, but reached the summit on the Hot Rap Songs chart. As aforementioned, it is one of No I.D.’s most notable tracks that has stood the test of time.
“Heartless” – Kanye West (2008)
No I.D. and Ye both co-produced this track. Furthermore, the former is credited as his birth name, Ernest Wilson, for co-writing as well. “Heartless” was released in 2008 and was one of West’s earlier notable tracks. It was released as the second single on Ye’s acclaimed, experimental fourth album, 808s & Heartbreak. Following the lead single, “Love Lockdown,” “Heartless” follows Ye’s auto-tune sung-rap style. Lyrically, the song details his sadness over his breakup with Alexis Phifer. “Heartless” was a hit upon release, also enjoying success on the charts of other countries. On the Billboard Hot 100, it peaked at the penultimate spot.
“Run This Town” Jay-Z Ft. Kanye West & Rihanna (2009)
Upon release, “Run This Town” was lauded by fans. At the 2010 People’s Choice Awards, it took home the Favourite Music Collaboration award. The song also went on to win two Grammy Awards for Best Rap Song and Best Rap/Sung Collaboration. No I.D. produced the song alongside Ye, and co-wrote with Hov, Rihanna, and Jeff Bhasker. “Run This Town” is one of the most popular tracks in No I.D.’s discography. Beyond the United States, the track peaked atop the UK Singles Chart. It also performed well in other parts of Europe, as well as in Canada.
Perhaps his first major hit as a producer, No I.D. scored mainstream success with Bow Wow’s “Let Me Hold You.” The track, which featured Omarion, became a huge radio favorite in 2005, and through the 2000s. “Let Me Hold You” was written by Jermaine Dupri, No I.D., who also worked on the song’s production. “Let Me Hold You” was also met with critical praise, particularly for the two artists’ evolving sounds. Brenda Russell was also credited as a songwriter, as the song sampled Luther Vandross’ version of her song, “If Only For One Night.” The song eventually peaked at number four on the Billboard Hot 100. It reached the summit on the Hot Rap Songs chart.
The Grammy-winning “Holy Grail” is widely considered one of the best rap songs of the 2010s. Jay-Z is joined by Justin Timberlake on the lauded track. At the beginning of the year, Timberlake had already featured Hov on another Grammy-winning track, “Suit & Tie.” Their second time around evidently proved to be yet another success. “Holy Grail” peaked at number four on the Billboard Hot 100, and finished the year as the 22nd most popular hit. No I.D. co-produced the song alongside The-Dream, Timbaland, and J-Roc.
Figures like Benzino and Dame Dash were at the top of their game decades ago, but as time has passed, so have the ways of the music industry. Now, the landscape looks completely different, and the men responsible for running The Source and Roc-a-Fella have unfortunately fallen on hard financial times. Both have been open about their struggles in the past, with Dash recently speaking his truth on an episode of The CEO Show. During his interview, the 52-year-old confirmed that he’s been watching his bank account balance dwindle for years, despite all that he previously accomplished as an executive and entrepreneur.
“I’ve had to start [a] new company from scratch, without any money to start it with,” the guest told host Dr. Taje Moreno. “I had to do it [by] rubbing two sticks together. So I can’t pay out three or four hundred thousand a year in child support, ‘cause I ain’t making that. But I’m not ashamed of that because I have things to show for it, but it hasn’t profited yet,” he confidently continued. Though he’s “broke,” Dash is still “proud,” he explains past the 11:30 mark in the video below.
In addition to that, the New Yorker clarified that the ownership stake in his ex-wife Rachel Roy’s fashion line was taken into consideration when the payments were determined. She presently controls that equity, which Dash believes should supplement Roy for the missing child support. “You can’t be mad at me and make me feel bad if the money that I had to give the kids, you got, and you still expecting me to pay that while I’m investing and losing money for years,” the father of three vented.
Elsewhere on The CEO Show, Dame Dash was asked about the nature of his relationship with Jay-Z, which has obviously had its ups and downs. Despite everything they’ve been through, the former still believes he and Hov “can always talk out” their differences. Read more about that at the link below, and tap back in with HNHH later for more pop culture/news updates.
During a recent appearance on The CEO Show, Dame Dash opened up about his relationship with Jay-Z. Dame revealed that he’d be willing to sit down with Jay-Z to work out their differences. He says, however, that there are some things that’d need to take place before they could work together again.
“So where I’m at now, is that if Roc-A-Fella and the ones that weren’t billionaires wanted to get money on the right terms, I’m down. Meaning if Jay wants to f*cking have a conversation, and talk about the people that didn’t make the money,” he explains. As for what’s getting in the way of the discussion, Dame says they’re just each focused on their own lives. “I think because I’m doing my own thing and he’s doing his own thing… I don’t know,” he describes.
“There’s things, and I don’t want to get into it, that morally I can’t be a part of,” he continues. “But if he could just shed all the things that I don’t like immorally, and all the people that have done things and are doing things that morally I can’t f*ck with…” He went on, claiming he’d consider working with Jay-Z again if he separated himself from those who aren’t “family.” He notes that other people were the catalyst for their falling out in the past. “That’s what separated us, everybody else,” he says. Dame also claims that despite his willingness to talk things out with Jay-Z, there are some obstacles that he has to consider. “That’s still my brother,” he explains. “You’ve got to remember there’s like lawsuits that have happened, there’s a lot of sh*t that’s happened.”
“Jay’s never had that accountability to have that real conversation with me,” he also adds. “I can do it anywhere, I don’t give a f*ck… I’ve always said as a man that we can always talk it out.” What do you think of Dame Dash claiming he’s open to the idea of working things out with Jay-Z? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates on Dame Dash and Jay-Z.
Dame Dash says that he’s worried about Irv Gotti’s “mental health” after his former business partner claimed that JAY-Z was solely responsible for the success of Roc-A-Fella Records. Speaking on The CEO Show on Saturday, Dame fired back at the remarks.
“Irv is my brother, so sometimes I worry about his mental health,” he said during the interview. “What I see him doing is celebrating, taking his artists’ masters and selling them and saying, ‘Y’know, this is how I make my money,’ and that’s the furthest thing that I would ever do with any one of my artists. My thing is to keep a creative as economically empowered as possible ’cause you know what you get when you get a rich creative? You get a Kanye [West], you get a JAY-Z. So my artists generally end up being billionaires.”
NEW YORK – OCTOBER 24: Entrepreneur/Record Producer Damon Dash, along with rapper Irv Gotti, visits MTV’s “Sucker Free” at MTV Studios Times Square on October 24, 2007. (Photo by Gary Gershoff/WireImage)
As for Gotti’s comments, he had been speaking with N.O.R.E. on Drink Champs, last month, about JAY-Z’s The Book of HOV. There had been rumors that Dame Dash had been “removed” from the exhibit. In response, Gotti mentioned that he feels JAY-Z doesn’t like Dame. “Jay didn’t need nobody,” Irv said. “[Dame] started Roc-A-Fella with Jay and Biggs [Kareem Burke], so he should get credited. [But] I’m saying the making of the records — I don’t know what you want me to say. Jay didn’t need nobody. Jay was picking the beats, Jay was rapping over the beats, Jay was making things — it was all Hov! Dame was along for the ride. It was a great ride.” Check out Dame’s response below.
Dame Dash Fires Back At Irv Gotti
JAY-Z and Dame’s relationship has been rocky at best for years. In 2021, JAY-Z and Roc-A-Fella Records sued Dame Dash over an attempt to sell Reasonable Doubt, as an NFT.
An artist’s breakthrough album is arguably their most important because of the pivotal role it plays in their career. It may not be their magnum opus, but it definitely leaves an unforgettable impact on their life moving forward. For iconic rapper Jay-Z, that album is his third solo album, Vol2 … Hard Knock Life.
It evidently played a huge role in the rapper’s rise to superstardom, and 25 years later, it is certainly one of his most iconic albums. In many ways, Vol2 is the real genesis of Jay-Z’s monumental legacy in the commercial eye. His chart-topping success and massive impact on the Hip Hop industry can be traced right back to this album. Vol 2… Hard Knock Life turns 25 this year, and even now, remains a timeless and experimental Hip Hop album.
NEW YORK, NY – CIRCA 1998: American rapper, songwriter, record executive, entrepreneur, and media proprietor Jay-Z performs during a Def Jam Island Records party circa 1998 in New York, New York. (Photo by Lester Cohen/Getty Images)
At the time of the album’s release, Jay-Z had already gained recognition in the Hip Hop industry. His first two albums, Reasonable Doubt (1996), and In My Lifetime, Vol. 1 (1997) were acclaimed upon release. However, Vol2 catapulted Jay-Z to mainstream commercial success. The album was released on September 29, 1998, and was a hit as soon as it hit the airwaves. Most importantly, he could no longer be ignored in debates discussing the new rap giants in the Hip Hop scene, even in a year that saw DMX release back-to-back #1 albums, Black Star dropped their seminal debut, Miseducation Of Lauryn Hill topped the charts, and Outkast released Aquemini.
On Vol2, Jay-Z featured production from renowned producers, including Swizz Beatz, Timbaland, Stevie J, and Jermaine Dupri. This varied lineup of geniuses contributed to the album’s diverse sound. It was a rich mix of production talents, and their collective musical creativity built the album up to be what it is, sonically. Furthermore, their contributions to the success of the album cannot be overemphasized. They shaped the project and brought Jay-Z’s musical ideas to life. Samples and interpolations are heavily used in the album’s production, and they play a significant role in creating the album’s unique sonic landscape. Several tracks on Vol 2 employ samples. However, the most notable of all the tracks on the album is “Hard Knock Life (Ghetto Anthem)” which heavily samples the song “It’s The Hard Knock Life” from the Broadway musical, Annie.
Vol 2 is a 14-track album, and Jay-Z enlisted a diverse lineup of guest appearances on 12 of its tracks. One of its featured artists is Memphis Bleek, who appears on three different tracks. Other notable names on the project include: DMX, Foxy Brown, and Ja Rule. Jay-Z released four singles from Vol 2, including “Can I Get A…,” “Hard Knock Life (Ghetto Anthem),” “Money, Cash, Hoes,” and “N***a What, N***a Who (Originator 99).” The most successful single was “Hard Knock Life (Ghetto Anthem),” which peaked at number 15 on the Billboard Hot 100 chart.
NEW YORK, NY – CIRCA 1998: (L-R) American entrepreneur and record executive Damon Dash and American rapper, songwriter, record executive, entrepreneur, and media proprietor Jay-Z performs during a Def Jam Island Records party circa 1998 in New York, New York. (Photo by Lester Cohen/Getty Images)
The album was also a massive commercial success, debuting at number one on the Billboard 200 chart and staying on top for five consecutive weeks. It was Jay-Z’s first album to debut atop the charts. Vol 2 went on to sell over six million units, and as such, has been certified 6x Platinum by the RIAA. It received mostly positive reviews from fans and critics, and at the 41st Annual Grammy Awards ceremony, won the award for Best Rap Album.
While it was Jay-Z’s first of many Grammy wins, he was not in attendance to receive his award. It was later revealed that he famously snubbed the Grammys in 1999 due to the Academy failing to nominate DMX. He also believed the Grammys were constantly disrespecting the genre. Since then, there have been significant changes, and Jay-Z is the most Grammy-nominated artist ever.
Upon its release, “Hard Knock Life (Ghetto Anthem)” became a cultural touchstone, transcending the Hip Hop genre and resonating with a wide audience. Additionally, Vol2… Hard Knock Life, marked a crucial moment, not just for Jay-Z, but for the evolution of Hip Hop. The album is a seminal body of work that set a precedent for many subsequent Hip Hop artists and albums. Overall, it is undeniably a classic rap album, and in another 25 years, will still be regarded as such.
Memphis Bleek catapulted into the hip-hop scene under the imposing shadow of Jay-Z. Yet, he didn’t let that eclipsed beginning define him. Born as Malik Deshawn Cox in Brooklyn, New York, the rapper had a sense of urgency and ambition often reserved for those striving for self-made statuses. Crafting bars and delivering beats were part of his daily routine, all before he could legally vote. This erstwhile protégé of Jay-Z and a fixture of Roc-A-Fella Records has persistently redefined himself. Bleek balances artistry with entrepreneurship. The man, who refuses to let others ghostwrite his narrative, enjoys a net worth of $3 million in 2023, according to CAknowledge.
Memphis Bleek’s musical journey is a cornucopia of hits, collaborations, and ventures that defy categorization. Albums like Coming of Age and 534 weren’t just discographies but statements of his lyrical capabilities. While some artists lose themselves in collaborations, Memphis found an opportunity to reinforce his individuality. Whether teaming up with Jay-Z or Rihanna, he was never overshadowed, proving time and again that he’s a lyrical force to be reckoned with. Songs like “Is That Your Chick” and “Do My…” have turned into hip-hop classics for their delivery and enduring impact on the genre.
Beyond The Stage: The Man, The Myth
PHILADELPHIA, PA – SEPTEMBER 03: Memphis Bleek attends 2016 Budweiser Made In America Festival – Day 1. On September 3, 2016 in Philadelphia, Pennsylvania. (Photo by Shareif Ziyadat/WireImage)
You can’t discuss Memphis Bleek without acknowledging his endeavors beyond the music. An affable personality with a knack for business, he’s invested in various ventures, including his own label, Get Low Records. His personal life has largely been kept under wraps, save for his 2014 marriage. It also shows a man who knows where to draw the line between private and public. Though it may sound counterintuitive in the social media age, Memphis’s decision to maintain a level of mystery only adds another layer to his enigmatic persona.
Balancing The Ledger: A Portfolio Worth Its Weight
NEW YORK, NY – CIRCA 1998: (L-R) American rapper, songwriter, and also record executive Memphis Bleek. And American rapper, songwriter, record executive, entrepreneur, and media proprietor Jay-Z. Pose for a portrait during a Def Jam Island Records party circa 1998 in New York, New York. (Photo by Lester Cohen/Getty Images)
If his financial advisor’s office walls could talk, they’d probably rap. Memphis Bleek has diversified his assets in the true spirit of modern entrepreneurship. Investments in real estate, a label, and even a line of flavored spirits show that his fiscal acumen is sharp. To understand Memphis’s financial strategy is also to peek into the mind of a man who knows that the rap game’s uncertainty is not to be trifled with.
Memphis Bleek: The Epitome Of Endurance & Ingenuity
Memphis Bleek and Pharrell Williams during Jay-Z’s “Best Of Both Worlds”. New York Performance – Backstage at Madison Square Garden in New York City, New York, United States. (Photo by Johnny Nunez/WireImage)
Some artists can be described as flashes in the pan. Memphis Bleek is the entire kitchen stove—reliable, diverse, and far from one-dimensional. He’s navigated the precarious terrains of music, business, and fame, without losing his authentic self. His career isn’t just a lesson in survival but a master class in reinvention and resilience. Overall, the numbers on the checks and bank statements may fluctuate, but the essence of who Memphis Bleek is remains constant: an artist and entrepreneur who refuses to be confined by the expectations of others.
This month marks the 22nd anniversary of JAY-Z’s sixth studio album, The Blueprint. It was released on September 11, 2001 via Def Jam and Roc-A-Fella Records. Widely regarded as JAY-Z’s best album, The Blueprint is known for its use of soul samples and for including some of his most iconic tracks. In the wake of one of the United States’s most devastating tragedies (in his hometown, no less), the album still managed to sell well, moving over 427,000 copies in its first week, not to mention it debuted at No. 1 on the Billboard 200.
The now-triple platinum album’s success during such a painful time in American history was a testament to its quality. It truly spoke volumes about JAY-Z’s hold on hip-hop and pop culture at the time. Additionally, the report that he recorded the album in just two weeks makes the album an even more impressive listen. Today, we are revisiting JAY-Z’s The Blueprint for its 22nd anniversary.
JAY-Z’s efforts prior to the The Blueprint boasted plenty of guest features. For example, 2000’s The Dynasty: Roc La Familia acted as a showcase for his Roc-A-Fella roster. Even so, Jay never took a backseat on any of his studio albums. However, The Blueprint was a moment for Jay to shine with little outside help as he spat some of the hardest bars of his career. The lone guest feature on The Blueprint came from Eminem who delivered a show-stopping verse on “Renegade” that perfectly contrasted Jay-Z’s.
While it had a consistent sound in its production, The Blueprint was full of variety. It showcased JAY-Z’s effortless hit-making ability with songs like “Izzo (H.O.V.A.),” not to mention his ruthless rhymes “Takeover.” The Blueprint includes some of Jay’s hardest-hitting tracks like the relentless “U Don’t Know” and the slick “Hola Hovito.” Still, it also includes moments of introspection on album highlights like “Song Cry,” “Never Change,” and the closing track, “Blueprint (Momma Loves Me).” JAY-Z even gets playful in his delivery on songs like “Girls, Girls, Girls” and “All I Need.” He was certainly the star of his own album, but his top-notch team of producers brought the best out of him.
The Blueprint includes some of JAY-Z’s best rapping, but part of what made it a career-defining album was its production. Just Blaze, Timbaland, Bink, Trackmasters, Eminem on the aforementioned “Renegade,” and a young Kanye West served as producers on the album. Known for its soulful instrumentals, The Blueprint flipped many classic soul records to make some now-iconic beats. For example, the Kanye West-produced “Izzo” brilliantly repurposed The Jackson 5’s “I Want You Back.” Many respected producers contributed to the album, but The Blueprint notably helped establish the careers of Just Blaze and Kanye West. The two would soon become hip hop’s most in-demand producers for soul beats during the 2000s. Additionally, West’s use of soul samples helped lay the foundation for his signature sound on his early albums. With a team of talented producers, JAY-Z made an undeniable classic.
The Blueprint Arguably Stands As Jay-Z’s Best Work
An argument can easily be made for The Blueprint being JAY-Z’s best album. To start, it is his most critically acclaimed album. It is currently his highest-scoring album on the online review aggregator Metacritic. The album also received a perfect rating of five mics in The Source magazine, while his classic debut, Reasonable Doubt did not. JAY-Z might personally rank Reasonable Doubt at the top of his discography but The Blueprint is an undeniable masterpiece. Jay was already a hip-hop star by 2001, but he was in a class of his own by his sixth album. His previous works showed that he could master current sounds and trap his peers, but his sixth studio album saw him leading the charge for hip hop in the 2000s.
Ultimately, The Blueprint reset the standard for the quality of JAY-Z’s albums, which he attempted to maintain in its sequels. While they did not stack up against the original, they marked significant moments in his later career that were ambitious in their respective approaches. The Blueprint remains one of Jay’s most impactful and most celebrated albums. In 2019, the album was officially selected for the Library of Congress’s National Recording Registry for its contributions to music. Its impact and influence on hip-hop is still evident today, 22 years after its release.
Dame Dash’s shares in Roc-A-Fella are reportedly at risk of hitting auction, according to court documents obtained by AllHipHop. Dash helped launch the label alongside JAY-Z and Kareem “Biggs” Burke back in 1995. The situation revolves around a lawsuit regarding Dash’s dismissal as a co-director on the movie Dear Frank.
After being ousted from the project for allegedly being high on the set, Dash promoted himself to a producer on the project and changed its title to The List. An ensuing lawsuit resulted in a jury ruling against Dash and directed him to pay $805,000 in damages to filmmaker Josh Webber and Muddy Water Pictures. In order to complete the deal, Webber’s lawyer, Christopher Brown, wants Dash’s one-third interest in Roc-A-Fella to be sold at a live, in-person public auction.
Damon Dash and Jay-Z during Damon Dash’s Birthday Party – May 4, 2004 at La Bodega in N.Y.C. New York, United States. (Photo by Johnny Nunez/WireImage)
JAY-Z’s attorney, Alex Spiro, has since jumped into the dispute. He argues that Dash can’t do so due to the company’s by-laws forbidding any such transfer or sale. “Neither [ Brown or Webber] nor Dash have obtained (or even sought) permission to auction Dash’s 1/3rd interest in [Roc-A-Fella Records]. As a result, any purported transfer of Dash’s 1/3rd interest in [Roc-A-Fella Records] at the public auction [Brown and Webber] seek would be ‘void and ineffectual’ and would ‘not operate’ to transfer Dash’s interest. And the [Roc-A-Fella ] board is entitled to decide whether to approve any transfer of Dash’s interest,” Shapiro explained, as noted by AllHipHop. The judge has yet to issue a final ruling.
JAY-Z and Roc-A-Fella Records previously sued Dash for allegedly attempting to sell his shares of the label as a Reasonable Doubt NFT. The lawsuit concluded with both parties agreeing that no individual shareholder could mint an NFT of the album. Be on the lookout for further updates on the latest legal dilemma for Dame Dash and Roc-A-Fella on HotNewHipHop.
