Search results for The Notorious B.I.G.

Bad Boys For Life is gearing up to be one of the biggest blockbuster films of year, and we're only 10 days in! While fans are sure to enjoy the action-packed blockbuster starring Martin Lawrence and Will Smith, it's what the latter leading man had to say during last night's TIDAL CRWN Talk to promote the film that had many people gasping, particularly fans of late rapper The Notorious B.I.G.

While the entire hour-long convo at the iconic Apollo Theater was amazing overall — trust us, we were there! — it was when the convo got to the subject of Hip-Hop and Biggie that things got interesting. After Martin revealed a cool tale of his time with the "Juicy" emcee on the set of his wildy popular '90s sitcom, Will took things a step further to reveal that he actually met Biggie for the very first time hours before he was slain on March 9, 1997.

Here's what Will Smith said exactly about his short-yet-memorable encounter with BIG:

"I met Biggie the night he died. I met Biggie at the Soul Train Music Awards like 4 and half hours before he died. I met Biggie, we hung out, we took a picture and all of that. I went to sleep, woke up the next morning, and he was dead."

— Will Smith

R.I.P forever, Biggie. Watch the full interview right now below by logging into your TIDAL account:

The Notorious BIG remains one of hip-hop’s most celebrated figures, a legend beyond hyperbole. Though he only provided us with two albums during his tragically short life, Ready To Die and Life After Death, the impact of Biggie’s artistry remains felt to this day. A master of flow, of charisma, of storytelling — the young man had the mind of a genius wordsmith, one that left a profound impact on those within his circle. As such, rappers like Diddy, Lil Kim, and The Lox have continued to honor his memory at every turn.

Al Pereira/Michael Ochs Archives/Getty Images

Today would have been his 48th birthday, and former Junion M.A.F.I.A. collaborator Lil Kim took a moment to send him some love. “Happy Biggie day guys!!!! Today we celebrate the King!” she writes, prompting flashbacks of tracks like “Get Money.” Jadakiss, who also grew close with Big during The Lox’s Bad Boy tenure, fired off some well wishes — as well as a poignant reminder. “Happy birthday to B.I.G the REAL/ ONLY KING of New York !”

Of course, the sad reality remains true — Big is no longer with us, at least not in the physical form. His music, however, has only grown stronger in time. Young hip-hop fans have eagerly discovered his catalog, while OG’s have grown wistful losing themselves in nostalgic return trips. In truth, we could all benefit from a reminder of Big’s legacy, so show some love to late, great Notorious one on his birthday. Happy birthday B.I.G! 

Legendary hip-hop photographer Chi Modu is suing the estate of Biggie Smalls following a court dispute that resulted in the estate calling him a “parasite.”

Al Pereira/Michael Ochs Archives/Getty Images

In 2018, Modu says the estate wanted to use a 1996 picture he took of the Biggie posing in front of the Twin Towers, in New York City. Modu wanted $100,000 a year for the estate to license various pictures he took of Biggie. 

“I basically asked for a living wage for my work,” Modu told The New York Post. “Up until then, they were paying much, much less, so you see what’s going on.”

“The person who presses that shutter is the owner” of the picture, Modu said. “As copyright holder, I’m the person with the first right to exploit it. This is a fight for the artist, because artists aren’t earning a living wage.”

Notorious B.I.G. LLC sued Modu in California. The estate claims Modu used images of Biggie to sell snowboards without permission. Modu says less than two-dozen were sold.

Modu has taken iconic photos of Tupac Shakur, Snoop Dog, Q-Tip, Ice Cube and others throughout his career. You can check out a full gallery of his hip hop pictures on his website.

[Via]

Diddy probably has countless stories about his old friend The Notorious B.I.G., who passed away on this date twenty-three years ago. We are celebrating one of the greatest voices of all time today, highlighting “The What” as one of our throwback selections of the day, and Puff Daddy is also taking time to tribute his collaborator. Posting a photo of the two having a conversation in the studio, Diddy recalled how the legend was actually considering retirement at that stage of his career, explaining his thought process.

“Big was the perfect artist,” says Diddy on the throwback picture of himself and the rapper. “This candid moment when BIG was having writers block. This only happened to him once. He was talking about retiring. And I’m basically just tell him to stop talking crazy and that he was the greatest of all time. Then he went in and made hypnotize!”

“Hypnotize” was the final song released by The Notorious B.I.G. before his death. It was co-produced by Diddy and went on to become one of Big’s most popular records ever. Hearing the context of its release makes it all the more special. 

Re-visit the tune below and let us know your favorite Biggie song of all time in the comments. 

Just a short time after Supreme unveiled a new collection featuring Tupac Shakur’s hologram, KITH has rolled out its capsule collection featuring The Notorious B.I.G.

Coinciding with the 23rd anniversary of the assassination of the late legend, the capsule arrives on Monday (March 9th) to honor Biggie. Ronnie Fieg unveiled the collection Instagram, showing off a roster of shirts and hoodies featuring Biggie’s Ready To Die artwork along with portrait shots of the rapper across the chest of some pieces.

In addition, he gave special look at exclusive pieces reserved for friends and family of The Notorious B.I.G. and KITH that feature the full lyrics of both Ready To Die and Life After Death as design schemes.

The new collection arrives as the latest in the brand’s string of collaborations. Relatedly, KITH teamed up with Def Jam in September of last year to unleash a capsule collection celebrating the label’s 35th anniversary. Since then, the brand has also teamed up with Disney to design yet another Converse shoe, following up on the Coca-Cola collaboration that dropped in August.

KITH x The Notorious B.I.G. capsule collection will be available both online and in-stores.

Not many artists can say they have a song with both 2Pac and the Notorious B.I.G in their repertoire. The legendary Method Man had the honor of dropping “The What” with Biggie off Ready To Die, as well as “Got My Mind Made Up” off 2Pac’s All Eyez On Me. Buju Banton provided vocals on one of Pac and Big’s rare collaborations “Runnin’ (From The Police). Yet for many hip-hop fans, Bone Thugs-N-Harmony’s respective sessions with Pac and Biggie led to two of the greatest collaborations the culture has ever seen: “Thug Luv” and “Notorious Thugs.”

2Pac and Bone’s “Thug Luv,” which was recorded prior to Pac’s passing in 1996, was released as part of the classic The Art Of War. Released on July 29th, 1997, Bone’s first double album became an instant commercial success; by the following year, it was already certified quadruple platinum — four million copies. Though the project houses many enduring records, “Thug Luv” stands out as a lightning rod, the quintessential blend between horrorcore and unflinching gangsta rap. Sparking off with an electrical hum evocative of Frankenstein’s laboratory, DJ U-Neek’s eerie instrumental is reminiscent of vintage horror flicks from the seventies and eighties. A tense synthesizer loop provides the basis, an ominous piano triplet alluding to the unknown. In the background, Bizzy Bone’s hellish chants of “POP POP run with us, Pac and Rip with Thug Luv” strike a disorienting chord, lost beneath the intensity of Pac’s brazen shit-talking; you can almost picture him in the booth with two shotguns drawn, the inspiration for the gunfire-based percussion.

Ron Galella, Ltd./Ron Galella Collection

Though Bone and Pac seemed destined to clash over a misunderstanding gone awry, they eventually found mutual respect for one another upon crossing paths in Cleveland. Said respect eventually led to Pac and Bizzy Bone hitting the studio with LA rapper Sylk-E-Fyne, where they laid down an original version of “Thug Luv.” Interested parties can actually check out that version below, featuring a stripped-down version of the instrumental, an additional verse from Bizzy Bone, and Sylk-E-Fyne rapping in place of Krayzie, Layzie, and Wish. It’s not entirely clear as to why the group decided to replace Sylk and revisit the track for their sophomore release, but given “Thug Luv’s” undeniable quality it’s easy to formulate a theory.

In its current iteration, the one that served as track two of Art Of War’s second disc, U-Neek’s instrumental revisions enhance the preexisting sense of menace. Violence permeates “Thug Luv,” and Bizzy himself plays a pivotal role in magnifying the track’s unsettling qualities. His opening verse is frantic yet graceful in its delivery, his opening biblical imagery poetic in its juxtaposition against murderous threats. Perhaps emboldened by the 2Pac’s presence, Bizzy lets fly one of the best verses of his career — one that can stand alongside any rapper’s finest work. Everything from his chilling cadence to his impeccable melodic navigation serve in elevating “Thug Luv” from a thriller to a full-scale horror flick. And that’s all before Pac himself bursts in, his baritone threats clearing the room before any gun need be drawn.

Likely recorded around the time he was working on All Eyez On Me, Pac’s thug persona was at an all-time high. Musically, songs like “Ambitionz Az A Ridah” and “No More Pain” spoke to his gravitation toward the darkness; not to mention ongoing feuds with Biggie Smalls and nihilistic warnings like “Hail Mary” and “Troublesome 96” all but foretelling his tragic fate. On “Thug Luv,” all his sneering arrogance spilled into the mic, cementing him as hip-hop’s ground-level boogeyman figure; not only would he rain death upon his enemies but he would laugh while doing so. A stark contrast to Bizzy’s rapid-fire flow, Pac opts for a more methodical delivery, choosing his words carefully and letting the gravity behind them resonate. Pac’s cadential mastery comes alive as he stretches his syllables, drawing from personal experience as he pens reflections on crime and punishment. “I’ll probably be punished for hard living, blind to the facts, thugs is convicts in God’s prison, hands on the strap,” he raps, in his opening bars. “Praying so Father please forgive me, police be rushing when they see me, I flaunt it — America’s Most Wanted, live on T.V.”

LISTEN: Bone Thugs-N-Harmony ft. 2Pac – Thug Luv

Raymond Boyd/Getty Images

Where “Thug Luv” is the pre-war battlecry, “Notorious Thugs” is the post-massacre reflection. Dead bodies litter the floor as a grand piano is ushered in. Recorded at some point between 1995 and 1997, the Notorious B.I.G’s double album Life After Death saw Bone Thugs-N-Harmony once again setting disc-two ablaze. In many ways, the sprawling and dreamlike epic that is “Notorious Thugs” draws many parallels with its darker counterpart. Each song begins with a chant of sorts, both centering around the respective names of Pac and Biggie. Each song features the presence of piano, albeit used to different effects. Where “Thug Luv” utilized the keys to drive tension, “Notorious Thugs” uses them to soothe. It’s over a minute before Big actually starts rapping, giving the hypnotic refrain of “it’s Bone and Biggie Biggie” room to sink into your subconscious.

During the recording sessions for Art Of War, Puff Daddy reached out to Bone Thugs with an invitation to record — as specifically requested by Big himself. Honored by the request, Bone hit the studio only to find an assortment of various liquors and an abundance of marijuana. Before long, they succumbed to the sweet call of studio inebriation to the point where Big was left prodding their unconscious bodies. Luckily, the Thugs were able to rally and hit the booth as intended — you can actually hear Krayzie reflecting on the hilarious experience right here. He explains that Big wasn’t feeling laying a verse then and there, instead opting to bring the instrumental back to his pad and continue his writing there. When he returned to lay down his verse, “Notorious Thugs” transformed from a regal posse cut to a genre-defining anthem.

Serving as a snapshot on his career, Big’s reflection arrives by way of razor-focused flow. Allusions are made to his beef with “you know who,” to his relationships with several female artists. His complicated history with the Wu-Tang Clan is addressed by way of homage. Dominance is asserted through classic East Coast mafioso imagery. His inclination to share wisdom as famously seen on “Ten Crack Commandments” shines through as he warns of the perils of inexperience. For those who value technical prowess, look no further than Big’s transition from two different schemes, rapping “Then I blew like nigga move like Mike, shit, not to be fucked with, motherfucker better duck quick, cause me and my dogs love to buck shit, fuck the luck shit — strictly aim, No aspirations to quit the game.”

Raymond Boyd/Getty Images

Though Biggie’s verse remains the most impactful — fair, given that the song stemmed from his album — Bizzy, Krayzie, and Layzie kept pace with the late legend. With each member bringing their own unique personality into the fold, it’s hard to say which Bone Thug emerged with the standout verse. Bizzy’s frantic delivery brings no shortage of highlight quotables, while Krayzie’s restrained performance gives his harmonies room to land the most effectively. Tasked with closing the six-minute-plus epic on an elevated note, Layzie Bone opts to channel the macabre energy of one Stephen King, planting a melodic refrain Redrum on anyone looking to contest. Together they combined to live up to their namesake, and it’s no wonder an artist of the Notorious B.I.G’s caliber was eagerly seeking them out to collaborate.

Over twenty years removed from the release of “Thug Luv” and “Notorious Thugs,” they endure. Each member of Bone Thugs-N-Harmony should be proud of what they contributed to the game — not only as a collective, but as respected collaborators to a pair of hip-hop’s most celebrated figures. Only a handful can say they worked with both 2Pac and Biggie. Not only did Bone Thugs do exactly that, but they also happened to give us two of the hardest-hitting anthems of all time, keeping pace with artists often deemed GOAT-tier. And with that in mind, what does that say about Bone Thugs? 

LISTEN: Notorious B.I.G. ft. Bone Thugs-N-Harmony – Notorious Thugs

The Notorious B.I.G. passed away at the young age of 24 and, today, he would be celebrating his birthday. If he were still alive, the rapper would have been 48-years-old. It’s crazy to imagine how things would be if he was never murdered on that fateful day in 1997. Would he still be releasing music? Would he have helped some new rappers come up? We’ll never know.

As we celebrate one of the all-time greats on his birthday, Snoop Dogg came through by showing us a dope chain and pendant that he’s got in his collection, tributing the legend.

Al Pereira/Michael Ochs Archives/Getty Images

The West Coast rap icon shared an image of his pendant, which shows Biggie wearing a crown and looking stoic. The gold version of the rapper is wearing a chain himself, stunting a Jesus piece in a little bit of chain-ception. 

Snoop Dogg is one of many that has been thinking of The Notorious B.I.G on his birthday. Having come up at the same time as the rapper, Snoop has stories for days about his work ethic and his relationship with Tupac Shakur. 

Take a look at his chain below and let us know if you would rock this. It’s definitely pretty unique.

If there’s one format that never fails to elicit excitement, it’s the posse cut. With roots deriving from hip-hop’s inherently competitive elements, a trial-by-fire tradition associated with regionalist pride among other factors, the posse cut often finds emcees in an unspoken quest to emerge with the standout verse — much to the benefit of the song as a cohesive whole.

Alliances are built and strengthened; the old adage of strength in numbers holds true in the booth. Unfortunately, the posse cut has come to feel like a dwindling art. Where it once seemed to be one of the game’s preferred structures, an all-but-guaranteed album highlight, newer artists have tended to steer away from the beloved tradition. That’s not to say they have disappeared entirely, but it’s become a far cry from the glory days in which hip-hop’s best lyricists would unite on sprawling, multiple-verse, sometimes even six-minute-long epics.

In honor of the posse cut, we have compiled a list of the thirty best hip-hop hs to offer. As to what technically qualifies a posse cut, it should be noted that crews have been by and large excluded from the mix — lest the list turn into a rundown of Wu-Tang Clan’s greatest hits. Should a crew be present on a track having opened the door for a fellow emcee or two, however, that’s another story. Should you call yourself a hip-hop-head, it’s likely you’ve heard a few of these already. Maybe even all of them.

Should that be the case, be sure to hit the comments with your thoughts on the ranking – including any snubs you might feel were overlooked. Obviously, placing thirty classics in numerical order is not exactly a cut-and-dry process, and many of the selections below are, to be perfectly honest, interchangeable from their allotted spots. How far can one timeless anthem really differ from another? Perhaps it’s best to not overthink this one, and simply bask in a celebration of some of the greatest collaborative hip-hop songs of all time.

– Mitch Findlay

30.  Dreamville, J.I.D, Mez, Buddy, Jace, Reese LAFLARE, Ski Mask the Slump God, Smokepurpp & Guapdad 4000 – Costa Rica

While healthy competition can drive a posse cut to heightened levels of excellence, so too can the simple purity of camaraderie. Especially when substances are involved. The Revenge Of The Dreamers 3 sessions were legendary in that regard, bringing emcees of all walks of life into the studio for a two-weeks-long creative haven, culminating in no shortage of new music and friendships forged along the way. In many says, the bombastic “Costa Rica” feels like the heart of the Dreamers sessions, a gathering of like-minded emcees feeding off one another’s energy during an extensive night of recording.

Hearing the stories of “Costa Rica’s” creation is akin to hearing a longtime journeyman reflect on a particularly epic night. Those electric feelings bleed into the song itself, with each emcee simply happy to be there — nobody is vying for top billing, with the brief verses all possessing an endearing sort of spontaneity. There’s something undoubtedly pure about hearing the entire room echo Ski Mask The Slump God’s raucous cries of “going on a date with an AK!” A relatively new addition to the list, but one that captured a distinct moment in time, one that will likely follow each participant for the rest of their lives. 

– Mitch

29. Trae Tha Truth, T.I., Dave East, Tee Grizzley, Royce Da 5’9″, Curren$y, Snoop Dogg, Fabolous, Rick Ross, Chamillionaire, G Eazy, Styles P, E-40, DRAM, Gary Clark, Jr. & Mark Morrison – I’m On 3.0

There are posse cuts, and then there are songs that boast more featured artists than most albums. It’s difficult to get more than 10 MCs to deliver dope verses that feel both fresh and different enough from one another, while ensuring that the track as a whole doesn’t drag on for so long that listeners start to check their watch. This balance is key, and that’s exactly what Trae Tha Truth and his assembly of artists successfully achieve on “I’m On 3.0.” Serving as the third installment of Trae’s “I’m On” series, this most recent incarnation takes what Trae and his previous collaborators did on both prior renditions and builds on it. While Mark Morrison’s vocals remained on the chorus, now accompanied by Gary Clark Jr. and D.R.A.M., Trae traded in the eight rappers from “2.0,” and recruited a whopping 12 replacements. Although a bold move, it ultimately paid off.

While some posse cuts require the song itself to somehow work around all the different contributing rappers’ individual styles in order to create a cohesive sound, in this case, the burden seems to lie on the artists themselves to ensure that their particular flow and lyrical flair fits the overall vibe of the track. Although there are certainly some undeniable standouts amongst this group, Chamillionaire’s verse has been widely regarded as the major highlight, the track serving as a platform on which the underappreciated MC was finally able to really show off his chops. In the case of this cut, the expression “third time’s the charm” certainly rings true.

– Lynn

28. Sway & King Tech, Eminem, RZA, Xzibit, KRS-One, Tech N9ne, Chino XL, Pharoahe Monch, Kool G Rap, Jayo Felony, DJ Revolution – 1999 Wake Up Show Freestyle

As the new millennium was dawning on a generation of hip-hop fans, Sway and King Tech were using their position to assemble an absolutely insane collective. Capturing the raw energy of a cipher and channeling it onto a golden-era instrumental, the “1999” edition of the “Wake Up Show” freestyle kicked off with Bobby Digital on a mission, representing for the Wu-Tang movement and bringing a legendary pedigree from the jump. On that note, there’s plenty of notable wordsmiths on deck; Eminem landed his first collaboration with Xzibit and Tech N9ne, Chino XL proved why he stands among the underground’s most respected lyricists, and KRS-One imbued the track with the presence of a true “master of ceremonies.” 

– Mitch

27. Chris Brown, Kanye West, T.I., Fabolous, Rick Ross & Andre 3000 – Deuces (Remix)

Chris Brown has had his fair share of ups and downs. 2010 was essentially a peak “down” time in Brown’s long career, as a year prior, he left Rihanna with bruises on her face following an argument with her that escalated to physical blows. Thus, by the time 2010 rolled around, Chris Brown was essentially working his way back into our good graces, one song at a time. 

It was around this same time that the singer ended up collaborating with Tyga for their joint mixtape, Fan of a Fan. “Deuces” served as a single off it, also featuring R&B singer Kevin McCall. It’s the sort of catchy, easy beat that you can still bop your head to right now, which is exactly the type of record we needed from Breezy back then– something we didn’t have to analyze too closely but would be easily enjoyed by masses. 

As the song grew legs on the internet, Chris Brown recruited a ton of star power for the massive remix– which just goes to show the span of his reach and his clout, even amid domestic violence allegations. It doesn’t hurt to have Kanye West, T.I., Drake, Andre 300, Fabolous and Rick Ross in your corner when you’re in the process of a career comeback. Each artist drops off their personalized dose of female relationship fodder and what spurs them to leave a particular relationship, for a total of eight verses on this epic remix. Andre 3000 blesses us with the final farewell, in philosophical manner: “And here I am, all heavy with the words where / Somebody that’s a nerd, likely fast forward / But, shit, they asked for it / It’s hard to throw up them deuces / ‘Cause when you know it’s juicy / You start to sound like / Confucius when makin’ up excuses / Chase the Cabooses until the track gone / I gotta find me a new locomotive, stop makin’ sad songs.”

– Rose

26. Lil Kim, Left Eye, Da Brat, Angie Martinez, Missy Elliott – Not Tonight (Ladies Night Remix) 

With so many classic posse cuts being testosterone-heavy affairs, you know the ladies had to come through and represent. “Not Tonight’s” official remix arrived in 1997 as part of the Nothing To Lose soundtrack, earning its “Ladies Night” moniker with appearances from Left Eye (RIP), Da Brat, Angie Martinez, and Missy Elliott. A pivotal moment for females in hip-hop, the accompanying clip was lined with legendary artists like Queen Latifah, Mary J. Blige, T-Boz, Xscape, and many more.

Oozing with a charismatic swagger, each rapper attacks the groove with their own distinctive flow: Angie with the newcomer’s wide-eyed energy, Brat with the aggression, Kim with the Junior M.A.F.I.A sauce, Left Eye with the playful sensuality, and Missy coming through as the exclamation point — “you ain’t gon’ use me to just be singin’ hooks.” 

– Mitch

25. DJ Khaled, Akon, T.I., Lil Wayne, Rick Ross, Birdman, Fat Joe – We Takin Over

“We Takin Over” had the ultimate formula for a certified hit. The track, led by posse-cut-conductor-extraordinaire, DJ Khaled, boasts verses from five major hip-hop heavyweights—Lil Wayne, T.I., Rick Ross, Birdman, and Fat Joe—some in their prime, others proving with ease that they’ve still got it. Their verses were also punctuated by Akon’s signature high-pitched vocals delivering a criminally catchy hook on the chorus. Combine all of these elements with some stellar production from Danja, and you’re guaranteed to come out with a banger.

While practically every MC on this world-domination anthem manages to hold their own, there’s one clear star. As was often the case on a Weezy-featured posse cut in those days, Wayne blows everyone else out of the water, sliding in at the very end to close out the show only to upstage his preceding partners. His unhinged, bloodthirsty delivery paired with Danja’s looming production has the track ending on a high, followed only by one final declaration of the title from Akon. Based on the sheer number of remixes alone that this cut birthed, it’s clear that “We Takin Over” left an impression not just on fans, but on other artists, as well. Though certainly a product and reflection of it’s time sonically, it still manages to hold up all these years later.

– Lynn

24. The Game, Jim Jones, Snoop Dogg, Nas, T.I., Fat Joe, Lil’ Wayne, N.O.R.E., Jadakiss, Styles P, Fabolous, Juelz Santana, Rick Ross, Twista, Kurupt, Daz Dillinger, WC, E-40, Bun B, Chamillionaire, Slim Thug, Young Dro, The Clipse, Ja Rule – One Blood Remix

Junior Reid’s 1989 single “One Blood” has been flipped on countless occasions but perhaps, the most popular use of the sample is in The Game’s single, “One Blood.” Reid’s original single represents unifying the human race, regardless of race, class, or religion, in the face of division. The Game carried the theme in the megamix that brought together rappers from every coast in an attempt to unify gang bangers. Twenty-five rappers were included on the track such as Jim Jones, NORE, Nas, T.I., Lil Wayne, Snoop Dogg, Jadakiss, Clipse, Styles P, and more, though some of the verse may have been reused from the regional remixes The Game also released. 

Running for nearly twelve minutes in length, the star power alone would be worth its placement on this list but its impact on the streets is forever as the game unified Crips and Bloods from the East and the West on one track. 

– Aron

23. Tech N9ne, Busta Rhymes, Yelawolf, Twista, Twisted Insane, D-Loc, U$O, JL B.Hood & Ceza – Worldwide Choppers

Fast rap isn’t for everyone. In fact, it has recently become synonymous with “corny,” a go-to move for rappers hoping to mask a lack of sauce with sheer technical prowess. Yet countless artists have proven that double-time delivery can be undisputably badass, including some of Tech N9ne’s handpicked “Worldwide Choppers.” Not only does this posse-cut feature nine contributing rappers from across the globe, it does so while operating under a strict conceit: all parties must gun for that god-forsaken Guinness World Record.

Arguably the quickest of the bunch, Tech sets the tone for fellow hyperspeed rappers Twista and Busta Rhymes to absolutely wreak havoc, with both parties sliding several interesting flow-schemes into their verses. Between Twista’s “stig-a-ma-tism” scheme and Bus-a-Bus’ “Get ’em, hit ’em and finish ’em” scheme, we’re looking at a masterclass in verbal dexterity. 

– Mitch

22. Jay-Z, Twista, Killer Mike, Big Boi – Poppin Tags

When hip-hop fans think of posse cuts, they think of all-time great rappers, multiple dope verses, and production that will keep your head nodding along throughout the entire song. Jay-Z’s “Poppin Tags” off of The Blueprint 2 is absolutely one of those posse cuts that ticks off every single box and then some. 

First off, let’s start with the soulful production by none other than Kanye West. By 2002, Kanye was an established producer and “Poppin Tags” was yet another highlight on his growing resume. As for the verses, those are what make this song truly stand out. Jay-Z begins the track with a fast yet steady flow that features bars about, as the title suggests, spending a lot of money. From there, Twista comes into the picture with blisteringly fast bars that create a nice contrast between him and Jay-Z’s skill sets.

The entire track is six minutes long and in the latter half, we get some southern influence with verses from Georgia natives, Killer Mike and Big Boi. Both of these MCs bring their signature flows and sounds to the track which helps spice things up a bit. Depending on where you live, one could argue Big Boi and Killer Mike actually outshine Twista and Jay-Z although that’s a debate we’re sure the commenters would love to engage in.

– Alex Cole

21. Kanye West, Big Sean, Pusha T & 2 Chainz – Mercy

Kanye West’s GOOD Fridays series recalls a simpler time in rap, when the market was less crowded and free download links were still the norm. Ye really shook things up with the series, drawing in more and more eyes every Friday when he came through with some sort of fire, GOOD Music cut, often featuring a crew of artists. “Mercy” was among them, and would go on to make the final tracklist of the underwhelming Cruel Summer compilation album. Nonetheless don’t let that take away from the strength of the collaboration which features a pre-controversial (well, pre-Trump) Kanye West, Sean Don, Pusha T and GOOD Music-affiliated 2 Chainz. 

The beat is one of the most iconic aspects of this record, with its dancehall sample and alternating keys kicking off the record. There’s really nothing else to say except that it was, and remains, a banger that will still get a party lit in a matter of seconds. 

– Rose

20. T.I, Jay-Z, Kanye West, Lil Wayne, M.I.A – Swagga Like Us 

Where posse cuts of the nineties seemed to thrive off the spirit of lyrical competition, those creeping closer to modern times appeared more concerned with sheer spectacle. Despite enlisting three heavy-hitting lyricists for the occasion, T.I’s “Swagga Like Us” was hardly concerned with administering death-by-a-thousand-bars. The musical equivalent to a Basquiat hanging in one’s foyer, the Grammy-Award winning Paper Trail single was so confident in its mere existence that all it needed to do was show up.

That’s not to say the four emcees didn’t come correct, with the Troubleman asserting himself as the defining verse, but it’s clear they approached this one with the energy of a pickup game. A championship pickup game, to be sure. Impossible to ignore on the basis of sheer talent, “Swagga Like Us” remains a defining cultural moment, the ultimate flex on wax. 

– Mitch

19. Noreaga, Big Pun, Nature, Cam’Ron, Jadakiss, Styles P – Banned From T.V.

What is it about Jadakiss that seems to gravitate toward the posse cut format? Once again, Mr. Raspy slides onto this list as a key contributor to Noreaga’s absolutely stacked “Banned From TV.” On that note, fellow Ruff Ryder Swizz Beatz made New York history the day he wrapped this particular beat up — little did he know he’d be providing the soundtrack for a gathering of the the titans, including an appearance from the late Big Pun, the quitely scene-stealing Nature, and a classic back and forth from Kiss and Pinero.

Though many have come to know NORE as a lovable and perpetually inebriated storyteller on Drink Champs, long before that he was an integral member of the New York hip-hop landscape; one who commanded enough respect to bring such a  ridiculous lineup to the table in the first place. And the results speak for itself, with “Banned From TV” encapsulating everything a classic posse cut is all about. Leave the best verse debates for the philosophers.

– Mitch

18. Dr. Dre, Kurupt, RBX, Lady Of Rage, Snoop Dogg – Stranded On Death Row

Dr. Dre has been at the center of many epic collaborations, and narrowing down one in particular was no easy feat. For the longest time, 2001’s extensive west coast anthem “Some L.A. N***az” had all but secured the position — that is until “Stranded On Death Row” started to spread back into the picture, a relic of one of hip-hop’s darkest and dopest eras. Featuring contributions from Kurupt, RBX, The Lady of Rage, and a young Snoop Dogg, the Dr. Dre-produced banger features hard-hitting verses from all involved.

Kurupt spazzes out the gate, his tongue-twisted style and references to Jean Claude Van Damme instant reminders of simpler times. Yet it may very well be the Lady of Rage who leaves the deepest impression, he sneering cadence and violent vows solidifying her as the most feared inmate on the doomed cellblock. “I plead guilty on all counts, let the ball bounce where it may, it’s just another clip into my AK,” she raps. “Buck ’em down with my underground tactics. Facts and stacks of clips on my mattress.”

– Mitch

17. Drake, Kanye West, Lil Wayne, Eminem – Forever

You can’t talk about modern-day rap posse cuts without mentioning “Forever,” the 2009 single from Drake, Kanye West, Lil Wayne, and Eminem. When it was originally released as part of the More Than A Game soundtrack, the song was tremendously impactful. You’ve got to believe that if these four rappers linked up another time one decade later, the critical reception would be even wilder. And that’s saying a lot, considering “Forever” has gone 6x platinum since its release.

Each artist featured on the track is given ample time to shine through on “Forever.” Drake starts things off before Kanye West slides over the second verse. Lil Wayne takes over for the third verse before things close out with a remarkable appearance from Eminem. Drake, Kanye, Weezy, and Em are all iconic in their own right and they will each sit high on rap’s totem pole when this is all said and done. Drake sang that he wanted this to last his entire life and, eleven years later, he’s arrived at that stage. We may never see another star-studded posse cut like this.

– Alex Zidel

16. Kanye West, Kid Cudi, Pusha T, John Legend, Lloyd Banks, Ryan – Christian Dior Denim Flow

“Christian Dior Denim Flow” counts another entry in the GOOD Fridays series helmed by Kanye West. It’s another example of the type of insane artist-gathered collaborations Ye was putting out at this time, alongside beats that were often “big” for lack of a better words– beats that were luxurious, over-the-top, lofty– perhaps recalling My Beautiful Dark Twisted Fantasy in the sense that they were highly arranged and layered, but a bit less refined.

“Christian Dior Denim Flow,” similar to “Mercy” also contains production that at one point breaks down, leading the way for Lloyd Banks’ raspy verse. Kid Cudi delivered the melodic hook with assistance from John Legend, but he also closes out the song with a verse– that was another hallmark of these GOOD Fridays collaborations, they were often songs spanning over 5 to 6 minutes in length– especially long if you consider these days’ 1-2 minute records. Yet this just ensured that every single artist featured on these posse cuts would have their own time to shine, ultimately making each one so exciting. 

– Rose

15. Bone Crusher, Cam’Ron, Jadakiss, Busta Rhymes – Never Scared Takeover Remix

For those who came of age during the early millennium, Bone Crusher’s “Never Scared” likely holds a special place in your heart. Though the original lineup of Killer Mike and T.I. made for a strong baseline, Bone Crusher’s New York ambitions secured three of the East Coast’s most capable lyricists in the midst of their primes. With the hard-knocking and uniquely Southern instrumental from Avery Johnson and Jermaine Dupri intact, Cam, Jada, and Busta made themselves at home, seemingly moving to one-up each other with each new verse.

Narrowing down a clear standout might come down to personal preference, but there’s something about Jadakiss’ steely demeanor that makes his presence on the “Takeover Remix” uniquely formidable. “I ain’t neva scared, I got big hammers everywhere,” his flow methodical. “In places where you need yo passport at, I’m heavy there.” 

– Mitch

14. Fat Joe, Big Pun, Nas, Jadakiss, Raekwon – John Blaze

On the basis of reputation alone, “John Blaze” promises to be an onslaught of bars from a handful of dominant East Coast emcees. Many of whom would feel right at home in a top-ten lyricist conversation. As such, there’s an unspoken sense of healthy competition permeating the padded track — though Big Pun would swiftly go on to live up to his well-earned moniker of dream-shatterer.

While recognized by purists as elite, the effortless nature with which Pun would absolutely run laps around legendary emcees often goes unappreciated by the game at large. “The same n***a who known to blow out your brain mineral, I reign subliminal inside your visual,” he spits, his dexterity insane. “Try to supply your physical with my spiritual side of this lyrical / I’ll appear in your dreams, like Freddy do, no kidding you / Even if I stuttered, I would still sh-sh-shit on you.” Listen, there is no universe that would position me to speak ill of Nas, Jadakiss, Raekwon, and Fat Joe — but “John Blaze” really does feel like Big Pun’s showcase. 

– Mitch

13. Obie Trice, Lloyd Banks, Eminem, 50 Cent – We All Die One Day

Obie Trice was looking to make a big first impression with his debut project, Cheers, all the way back in 2003. When you’re backed by an artist like Eminem, there is always going to be pressure to deliver and that’s exactly what he did. Perhaps the biggest highlight on his debut effort is the posse cut “We All Die One Day” which features the likes of Eminem, 50 Cent, and Lloyd Banks.

This extremely gritty banger stands out thanks to some gritty production by Em – among other reasons – who also provides the longest and most technical verse of the song. The track starts with a smooth chorus from Lloyd Banks that eventually transitions to a visceral and violent verse from Obie Trice who is very open about shooting and killing those who get in his way. In the ensuing verse, Lloyd Banks flexes his money and accomplishments while letting people know that he still has an edge to him despite making it out of the hood. Following Em’s verse, 50 Cent helps wrap the song into a neatly tied bow as he provides some violent bars that run parallel to Obie Trice’s first verse.

As far as blood pumping posse cuts go, “We All Die One Day” is certainly up there.

– Alex Cole

12. B.G ft Big Tymers & The Hot Boys – Bling Bling

Say what you will about the mastermind behind it, but Birdman’s Cash Money dynasty has endured as one of hip-hop’s most legendary movements of all time. Featuring the talents of B.G, Juvenile, Turk, Lil Wayne, Mannie Fresh, and Baby himself, the New Orleans-based label helped forge a sound that continues to influence hip-hop as we know it today.

“Bling Bling,” originally released as the lead single on B.G.’s 1999 album Chopper City In The Ghetto, brought the entirety of Cash Money into the fold for a stacked celebration of lavish living. Driven by an iconic beat from Fresh, who also holds it down with a swaggy verse, “Bling Bling” encapsulates the collective’s sound at its most effective — playful, confident, and formidable if pressed. “N***s wear shades just to stand on side of me,” raps B.G., closing things out with a highlight verse. “Hoes say take that chain off boy ya blindin’ me.”

– Mitch

11. Ruff Ryders, Jadakiss, Snoop Dogg, Scarface, Yung Wun & Jadakiss – WW III

Regionalism is one of the most important tenets in hip-hop stylistic analysis. Throughout the years, different cities and states have developed distinctive sonic qualities, many of which are held dear by the artists who claim a given locale. On Ruff Ryder’s introductory banger “WW III,” location played an integral role. Bringing together the likes of Jadakiss, Snoop Dogg, Scarface, and Yung Wun, each rapper opened their verse by representing for the cause.

The conceit imbued “WW III” with a sense of gravitas, only enhanced by the bombastic — and instantly iconic– Swizz Beatz production. In one corner stands Snoop Dogg, representing the “west coast.” In another stands Yung Wun, triumphantly screaming “ATL Shawty!” Across is the imposing figure of Scarface, holding it down on behalf of the entire “muthafucking South.” And for the East Coast is none other than Jadakiss, who closes the anthem out with a nail in the coffin.

– Mitch

10. Danny Brown, Kendrick Lamar, Ab-Soul, Earl Sweatshirt – Really Doe

On paper, “Really Doe” stands among the most stacked gatherings of lyricists on this list. In reality, it was never meant to appear as such. When Danny Brown originally conceived the song, it was meant to be a duet between himself and Ab-Soul. Upon hearing the instrumental, Kendrick Lamar deted from the intended plan to contribute elsewhere on Atrocity Exhibition and made himself at home.

Last but not least came Earl Sweatshirt, whom Danny bestowed the coveted position of the final verse, an honor reserved for the most valuable player. Few can dispute that the former Odd Future poet absolutely bodied the track, lines like “I’m the type of ni**a it ain’t never been an honor to judge” deftly showcasing his clever mind at work. Throw in a creepy instrumental from Detroit legend Black Milk and you’re looking at the perfect posse cut for witching hour reflections. 

– Mitch

09. Puff Daddy, The Lox, Notorious B.I.G, & Lil Kim – All About The Benjamins Remix

With all this talk about a Verzuz battle between P. Diddy and Dr. Dre, many have been fondly reminiscing about the Bad Boy era. After all, such was the time when the Notorious B.I.G. was alive and well, bodying tracks at every opportunity. The classic remix to Diddy and The Lox’s “All About The Benjamins” is no exception, with Biggie and Lil Kim sliding through to represent for the Junior M.A.F.I.A. movement.

From the moment Diddy sets it off with a laid-back yet assertive opening verse, his flow seeped in the signature style of his label, “”All About The Benjamins” never lets up. Aside from boasting hard hitting salvos from a youthful Jadakiss and Sheek Louch, it’s the new additions that leave the deepest imprint. “German Ruger for yo’ ass, bitch, deep throat it,” raps Lil Kim. “Know you wanna feel the womb ’cause it’s platinum-coated / take your pick, got a firearm you shoulda toted.” You’d be hard-pressed to find a hip-hop head incapable of vibing to this timeless cut.

– Mitch

08. LL Cool J, Method Man, Redman, Canibus, DMX, & Master P – 4, 3, 2, 1 

Many hip-hop historians have come to remember “4,3,2,1” as the song on which LL Cool J and Canibus dissed each other in their respective verses. A darkly comedic turn of events to be sure, as the whole beef essentially kicked off after LL misinterpreted one of Canibus’ lines and decided to clap back accordingly. It’s hard to resist the scandalous allure of such a narrative (especially since it led to some great diss tracks from both parties), but we mustn’t forget one key factor.

This song assembled some of the best lyricists of the late nineties and engaged them in competitive sparring over Erick Sermon’s production. Given the pedigree of talent involved, it’s hard to deem a clear winner. Yet there’s something unmatchable about DMX’s menacing cautionary tale, which reveals the consequences of crossing his path at sundown. If you’re unfamiliar with the fact that LL Cool J was a murderous rhymer in his prime, look no further than “4,3,2,1.”

– Mitch

07. DMX, Jay-Z, Jadakiss, Styles P, Sheek Louch – Blackout

It doesn’t get more New York than DMX’s epic Flesh Of My Flesh, Blood Of My Blood gathering “Blackout.” Another instance of healthy yet borderline competitive sportsmanship, the Swizz Beatz produced classic finds DMX, Jadakiss, Styles P, Sheek Louch, and the Jigga Man sliding through to lay down verse after verse. In true posse-cut fashion, the chorus is forsaken in favor of straight bars and listeners are all the better for it.

Especially when it comes time for Jay-Z’s supremely confident verse. “The beeper done changed, you dead bitch, the Reaper done came,” he raps, his mafioso roots coming through strong. “I suggest ni***s stop speakin my name, cause trust me, y’all can still feel the heat in the rain.” A welcome collision of worlds between the Ruff Ryders and the R.O.C, “Blackout” is the perfect encapsulation of a structure we simply don’t see anymore. And yet, at the time of its release, music like this was still doing numbers. 

– Mitch

06. A$AP Rocky, Kendrick Lamar, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson, Big K.R.I.T – “1Train”

At the time of its release in 2013, all six rappers present on “1Train” were stars in their own right. Speaking with Complex, Rocky explained that he wanted to create a posse cut evocative of early nineties hip-hop, employing an array of his contemporaries boasting a variety of distinctive styles. Tethering the disparate time periods is Hit-Boy, who laces a symphony at once rugged and distinguished. There are honed flows and outlandish quotables, be it Danny Brown’s “worst enemy’s penis” bar or the imaginative Action Bronson implementing a “Chilean Horse” into his imagery.

It’s almost impossible to discern the standout performer, as each rapper comes together like some deadly coalition, but Big K.R.I.T’s murderous bars certainly conclude matters on an emphatic note. Despite its relative youth, it’s fair to deem “1Train” one of the most impactful tracks of the past ten years.

– Mitch

05. Eminem, Dr. Dre, Snoop Dogg, Xzibit, & Nate Dogg – Bitch Please 2 

The Up In Smoke Tour remains one of hip-hop’s defining tours, with Dr. Dre, Snoop Dogg, Xzibit, Ice Cube, Nate Dogg, Eminem, and countless Aftermath affiliates embarking on a weed-fueled odyssey. In some ways, Marshall Mathers LP’s fifteenth track “Bitch Please II” encapsulates the spirit of Up In Smoke. Marking a milestone for Slim Shady, who secured his first collaboration with Snoop Dogg and Nate Dogg, the eerie sequel emerged as a highlight on its unexpected home album.

Between Dre’s braggadocio, Snoop’s laid-back swagger, Xzibit’s imposing aggression, and Em’s scathing wit, there’s somehow enough common ground to make for a cohesive vibe. With stellar verses from each performer — including one hell of a chorus from Nate Dogg– it’s Eminem’s climactic “fuck you” that resonates the deepest. Although, X to the Z does make a compelling case, especially when he whips into his “ashes to ashes” rhyme scheme.

– Mitch

04. Bone Thugs & The Notorious B.I.G. – Notorious Thugs

The East Coast met the smokey Midwest on Biggie Smalls’ second studio album Life After Death when the Brooklyn legend linked up with Bone Thugs-N-Harmony for “Notorious Thugs.” 

Gangsta rap was at its height while hip-hop suffered the loss of both Biggie and Tupac in a matter of months of each other. The hypnotizing piano keys, twangy guitar, and the choral harmonies of Bone Thugs turned into a haunting gospel of romanticized inner-city turmoil with violence and paranoia riddling each rapper’s verse. What might be most notable about the track, though, is that it became a further testament that Biggie had mastered the art of flow. Before even signing a deal, Biggie Smalls was highly revered for his technical prowess and viscous flow but “Notorious Thugs” took it to a new level. Without compromising his skillset, he leaned deeper into the double-time, melodic flow that Bone Thugs introduced to the game with a defining verse in his catalog.

– Aron

03. Three 6 Mafia ft UGK & Project Pat – Sippin’ On Some Syrup

To say Three 6 Mafia were ahead of their time is an understatement. To this day, many of their lyrical and sonic trends — from celebrations of hedonism to the dark southern banger — have become embedded within the very fabric of the contemporary soundscape. Nowhere is that more effectively encapsulated than on “Sippin On Some Syrup,” a posse cut extraordinaire that brought the Underground Kings and Project Pat into the fold for a rollicking good time.

The track, which arrived on the 2000 album When The Smoke Clears: Sixty 6, Sixty 1, featured a dangerously smooth instrumental produced by the two-headed monster Juicy J and DJ Paul. The perfect backdrop for an influx of excellent verses, with the late Pimp C, DJ Paul, Juicy J, and Bun B holding it down. With each mind married to the singular concept of giving into inebriation, it’s difficult to single out a standout verse — though it’s hard not to credit Pimp C for bringing the legendary term “simp” into the mainstream vernacular. 

– Mitch

02. International Player’s Anthem (I Choose You)

UGK’s biggest commercial record is also considered one of hip-hop’s finest collaborations, and a certified classic. Pimp C and Bun B teamed up with fellow hip-hop duo OutKast in 2007 for this ode to marriage, from the perspective of a player who may or may not have changed his ways. It’s equally important in UGK’s catalog, as the last single the duo put out before Pimp C’s passing.

The music video for the collaboration made the record even more exciting: it’s a full-out hip-hop wedding with Andre 3k playing the role of the lucky man, and other artists acting as invited guests to partake in the big day. 

It’s hard not to simply drop in Andre’s full verse here and call it a day. Apparently, Pimp C didn’t even like Andre’s verse when he first heard it (!!), taking issue with the fact that Andre had opted to remove the drums for his opening verse. Still, the song comes together in epic fashion. As soon as Andre’s verse ends, the drums pick up alongside Pimp C’s nasally verse. Willie Hutch’s “I Choose You” fills the record with soul and funk, thanks to the horn arrangement and vocal sample. It’s a record that marries soul with hip-hop with funk. In spite of this, it’s the type of record that doesn’t sound dated, the type of record someone could ostensibly drop today and we would consider it to be just as fire as it was over 10 years ago.

– Rose

01. Bone Thugs & 2Pac – Thug Luv

There aren’t any other groups in hip-hop that have the bragging rights that Bone Thugs-N-Harmony have. A Midwest group signed to Eazy-E’s Ruthless Records, they remain the only hip-hop group to ever work with Biggie and Tupac while the legendary rappers were still alive. Even for a group with five members, collaborations with artists like Big, Pac, Eazy-E, and more had Bone Thugs bringing their influential sound across the coasts. 

“We doin’ this shit from Cleveland to L.A,” 2Pac screams at the top of his collab with BTNH on “Thug Luv.” Riddled with sound effects of gunshots, Pac and Bone Thugs bring the world into a warzone. Between Pleads to the Lord for forgiveness, Pac and Bone Thugs’ united Thug across America for an anthem specifically geared for the streets. Though the only collaboration between the two entities, they hoisted Thug Life for the world to see. 

– Aron

The Notorious B.I.G., beloved hip-hop figure and general G.O.A.T, passed away on March 9, 1997 at the young age of 24. He left two young children behind, C.J. Wallace and T’yanna Wallace, each with different mothers, Faith Evans and Jan Jackson respectively. Each child has gone on to do their own thing, while continuing to carry their late dad’s memory with them. C.J. Wallace, for his part, actually portrayed his father in the film Notorious, and he’s become a successful entrepreneur with a cannabis brand. 

Earl Gibson III/Getty Images

T’yanna also has the entrepreneurial spirit (which may or may not be a trait passed down from their hustler father). She began a clothing brand, Notorious Clothing, in 2013, which clearly references and remembers Biggie. She also went to college, pursuing a degree at Penn State– so it’s safe to say Biggie would be proud, and T’yanna has her shit together. Still, she doesn’t want to just be known as Biggie’s daughter, as she told NY Post, “I don’t want to live off of my dad’s money. I want to make my own money. I worked in the cafeteria for a year while I attended Penn State.”

Take a glimpse at how T’yanna Wallace is living her life these days, from Notorious Clothing and beyond, in the Instagram Gallery below.

Owning the runway and repping her dad at the same damn time

Putting in work 

Father and daughter

Celebrating her 25th year 

Uncle Cease in the cut

Peep the hoodie 

Blocking out the haters 

T’yanna’s pre-school graduation must have been lit

Sibling love

Biggie and his baby girl

Kevin Durant has been a part of the Brooklyn Nets for almost a full season now and while he hasn’t actually played any minutes, there is no denying that he has left his mark on the city. Thanks to his signature shoes, KD has been trying to show appreciation for Brooklyn and his latest Nike KD 13 does just that.

As you can see, the shoe has a grey, white, and black upper that looks a lot like the team’s Bed-Stuy jerseys. The colorway is called “Home Team” which adds a further sense that this is, indeed, a colorway fit for a Brooklyn Nets fan. From there, we have a colorful camo dyed midsole that is inspired by none other than the Notorious B.I.G. This offering is absolutely perfect for all of you Nets fans out there so if you’re in need of some new basketball shoes, look no further than these kicks right here. You can expect them to drop on Friday, May 1st for $160 USD.

Be sure to stay tuned for more news from the world of sneakers, as we will always bring you the latest updates.

Image Nike

Image Nike

Image Nike

Image Nike

Image Nike

Last Monday (March 9), many across the hip-hop community honored late rap icon The Notorious B.I.G. on the 23rd anniversary of his death. From Diddy and T.I. to even streetwear brand KITH, many showed love to Big Poppa by making sure his memory continued to live on. Although a week off schedule, Snoop Dogg also decided to share some B.I.G. love on IG with a rare throwback flick.

Des Willie/Redferns

The photo, taken by seasoned photographer Chi Modu a short time before Biggie was killed in an as-yet-unsolved Los Angeles shooting, is a pretty rare shot of the Brooklyn icon. While not completely unseen — the image was used in a capsule collection Modu did with Berlin-based designer INAN back in 2018 — it’s still a great shot that Snoop gets major props for highlighting. The flick itself was liked by over 250,000 people, including Biggie’s former protégée and lover on the low Lil Kim. “Forever the king of East coast,” wrote one person in the comments, and were sure nobody would disagree with that statement. R.I.P. forever, BIG.

Take a look at the rare photo Snoop Dogg posted of The Notorious B.I.G. below, and make sure all you rap fans out there continue to keep him in your memories:

Though he passed away twenty-three years ago to this day, the legacy of The Notorious B.I.G. still endures. Many hip-hop fans still consider him to be one of the most influential rappers of all time, and his timeless catalog has amassed over eleven-million monthly listeners on Spotify alone. Suffice it to say, there are plenty who still hold Biggie dear to heart — especially those who knew him first hand. Today, Diddy took to Instagram to shine a spotlight on his friend and protege, proudly reaffirming his position as the greatest of all time.

There’s not much else to the sentiment, though its importance should not be undervalued. In this age of instant gratification, where artists are essentially expected to keep up with an album-a-year pace, it’s all too easy for older acts to fall by the wayside. Though The Notorious B.I.G. has indeed become larger than life, constant reminders of his talent remain necessary, especially as new generations of hip-hop listeners begin to discover the culture.

Whether or not you agree that Biggie is the greatest rapper of all time is a matter of taste. But it’s abundantly clear where Diddy’s loyalties lie — after all, this is the man who came up alongside Big, who executive produced albums like Ready To Die and the posthumous Born Again. It’s incredibly wholesome to see him continuing to ride for the fallen King Of New York, a tradition he will likely continue on an annual basis. Rest in peace to The Notorious B.I.G. Where does he rank in your top 10? 

The Roots are being honored in Philadelphia in a major way as the legendary hip-hop group and Philly natives are set to be honored with a stretch of East Passyunk in the city of Brotherly Love, officially earning them what is now Avenue Of The Roots.

Per the Philadelphia Inquirer, the red signage was already placed at the 600 Block of Passyunk on Friday. A dedication ceremony to commemorate the moment and honor their legacy will take place during the last week of May 2020, coinciding with the timeline of this year’s Roots Picnic.

“….does this mean WHAT I THINK IT MEANS!!!???!!!???” de facto frontman Questlove penned in a caption on Instagram. “[H]ell of a way to find out!!!! WOW!!!!!”

The legislation was originally proposed by activist Leroy McCarthy, the same individual allegedly behind moves to have streets named after the likes of The Notorious B.I.G., Phife Dawg, and Tupac Shakur. It was Philadelphia City Council legislator Mark Squilla who officially introduced the resolution that led to the establishment of Avenue of the Roots.

“I am happy that Avenue of the Roots is getting done, happy for hip-hop, happy for Philly and beyond. Plus, this is Black History Month in the making,” McCarthy said in a statement. “Congrats to The Roots and Team Roots for putting in the work over the years. This honor is well deserved. It took hard work to get this done, and the overall efforts for hip-hop recognition, but this is bigger than me — doing it for the culture, and hip-hop don’t stop. I’m looking forward to the street dedication in May 2020.”

Pharrell Williams is among five new members of the Board of Directors of the Rock and Roll Hall of Fame. 

Kevin Winter / Getty Images

According to PageSix, he joins Michele Anthony (Executive Vice President Universal Music Group), Jody Gerson (Chairman & CEO Universal Music Publishing), Pam Kaufman (President ViacomCBS Consumer Products), and Jon Platt (Chairman & CEO SONY/ATV Music Publishing) as the new group joining the Board.

“We’re both fortunate and honored to welcome these creative leaders in music and entertainment to our Board,” said RRHOF Board Chairman John Sykes. “Each brings to our Board deep experience and extensive knowledge of music that will help us continue to grow the Foundation as a true cultural institution.”

As a member of the Board, Williams’ responsibilities will include the selection of the inductees into the Hall of Fame and to “support the Foundation’s mission to engage, teach and inspire through the power of rock and roll, recognizing the indelible role rock and roll music plays in modern life and culture,” as said in the announcement.

Depeche Mode, the Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T.Rex are the Board of Directors’ selection for the Rock & Roll Hall of Fame’s 2020 inductees.

The induction ceremony will air on HBO, Saturday, May 2.

While we’re pretty certain Megan Thee Stallion is throwing up the R-O-C nowadays, it’s an interesting thought to ponder what kind of career she’d have if she was batting for one of the other top hip-hop labels in the game. Def Jam would be cool. Hey, even joining Nicki Minaj over at Young Money would’ve been an epic “2DopeQueens” moment. However, her latest IG post from Super Bowl LIV weekend actually had us thinking about an alternate reality where the Fever emcee was down with Bad Boy Records.

Based off her “Bad girl for life” caption to these IG photos alongside Diddy and French Montana (seen above), it’s not hard to see Meg filling the shoes that Lil Kim once wore before her. Granted, it ain’t all shiny suits and Harlem shaking over at Bad Boy if you ask Sauce Money or Mase right about now, but there’s no denying that Puff produced massive hits at one point for the likes of R&B trio Total, the aforementioned Queen Bee herself Lil Kim, pop project Danity Kane and most notably late rap icon The Notorious B.I.G. to name a few. Who’s the say Meg couldn’t be the next in that lineage?

Peep the photo of Megan, Diddy, French and another with Lala and 2 Chainz above, and let us know if you think The Stallion would make a good fit at Bad Boy Records by sounding off in the comments below.

Photo by Frazer Harrison/Getty Images for EA Sports Bowl at Bud Light Super Bowl Music Fest

Not everyone can break through the glass ceiling. For every transcendent star that sets the world alight, there’s a whole graduating class of aspiring artists they’d once shared mics with that find themselves left in the dust. At a time when New York hip-hop scrambled to meet the rising tide of west coast gangsta rap, the east coast of the mid-to-late 90’s was bustling with talent that were happy to pool their resources and act for the betterment of the genre’s birthplace. Leading the way for the empire state, Bad Boy & Rocafella Records would grow from humble beginnings to become twinned powers and were unified by the close-knit ties between their two flagship stars, Jay-Z and The Notorious B.I.G.

Repping Bed Stuy and Marcy respectively, these Brooklynites became the two defining voices of the time. But even though the dust has settled and Big has been gone for 23 years, there are those who still have grievances to air from that whirlwind of an era. In the wake of Diddy’s speech at the 2020 Grammy’s that placed an onus on providing an “even playing field” for black artists, one dissenting voice from his past couldn’t help but point out the apparent hypocrisy.

Sauce Money at Jay-Z concert, 2006 – Johnny Nunez/WireImage/Getty Images

“Just watched Diddy Icon acceptance speech at the Recording Academy and I can honestly say I respect the message, just not coming from him,” proclaimed BK veteran Sauce Money on Instagram. “He practices the same backdoor politics against his own people.” Not content to stop there, the tenured MC broadened his scope to issue a stark warning to both Sean Love Combs and Hov himself, stating “Him and his friend Jay-Z. If the Grammys are on the clock, then ya’ll are too!”

Without prior knowledge of Sauce Money’s legacy, this could be chalked up to nothing more than a disgruntled older rapper sniping at an icon a la Lord Jamar. But if anyone is qualified to speak on the ecosystem of 90’s east coast hip-hop and beyond, it’s Sauce. From 1991 onwards, Marcy Projects’ Todd Gaither has carved out what could appear to be a relatively innocuous career. Always in the relay team but never the frontrunner, his decision to lay low for much of the past decade has downplayed how indispensable he was at certain points in the journeys of more commercially and critically-esteemed artists.

Like Sean Carter, whom he first met at the age of 13, Sauce Money was initially thrust into the spotlight by way of an endorsement from the legendary Big Daddy Kane. Armed with a commanding rasp that bear similarities to that of Raekwon, Daddy’s Home single “Show & Prove” was an intergenerational endeavour from Sauce’s then-manager that gave him, Hov, Shyheim, Big Scoob and the Wu’s Ol Dirty Bastard a chance to shine.

After spitting his first ever verse in front of Jay, the two rappers/hustlers were doing their utmost to get their presence felt but, as he informed DJ Vlad, noone could “see the vision.” Fast-forward to two years later and Jay had grown weary of waiting for the industry’s green light and facilitated his own come-up on his classic debut album Reasonable Doubt. Laden with quotable bars and a typically timeless Preemo beat, Sauce’s lyrically astounding performance on “Bring It On” remains one of the keystones of his legacy to this very day. That said, the track’s hallowed status doesn’t mean that there’s any love lost between him and Jaz.

“He’s a piece of shit,” he declared in 2012. “Without getting too much into it, he’s a twofaced kind of n***a. He’ll backbite with you about a n***a then we get with the n***a, he’ll do the same.” Unsurprisingly, Jaz-O was aggravated by Sauce’s remarks and has since vowed to “punch him in the face” for this sleight and other comments he’s made over the years.

Across Jay’s next two projects— In My Lifetime Vol 1 & Vol 2… Hard Knock Life, the always welcome Sauce Money guest spot would become a recurring trope on “Face Off” and the Erick Sermon-produced “Reservoir Dogs.” Capable of wizardry with the pen, it was this reputation for conjugating stunning verses that granted Sauce a platinum opportunity. Despite it being one of the most solemn moments for his borough and hip-hop culture at large, Sauce’s most commercially successful offering came when he was drafted in to write Puff Daddy’s verses for the Grammy-winning “I’ll be Missing You.”

“It was going to be difficult at that time to open up and eulogize a good friend,” Sauce told Genius in 2016. “For whatever reason, he [Hov] reached out to me and said ‘I’m going to introduce you to Puff.’ I remember going to the studio and sitting down with him, I didn’t know which record it was at the time.” With Puff historically comfortable with the checks but less adept at the rhymes, Sauce’s name is found on the official credits as opposed to being enlisted as a ghostwriter.

“It was bittersweet,” he continued. “I’m still affected by Big’s death but having the chance to participate in something like this. It was an honour. He just wanted to capture some of the things they did, the conversations they had…I made sure that I walked him through it and got as close to the rhythms as he could. He did a great job.”

Memphis Bleek and Jay-Z on the red carpet of a movie premiere, 2000 – SGranitz/WireImage/Getty Images

Although Jay had been instrumental in presenting him to Puff and mainstream audiences alike, Sauce Money wasn’t part of the Roc-A-Fella dynasty in the official capacity that Beans or Memphis Bleek would be. Operating under the tutelage of former Orlando Magic player Dennis Scott, an appearance on the Combat Jack Radio Show saw Sauce reveal that he’d actually been an offered a deal with Atlantic when Jay was still getting rebuffed by the majors. Opting to sign to MCA Records but still informally linked to the ROC camp, Sauce’s next few years would be fraught with roadblock after roadblock. Yet for all that they’d styled themselves as an everlasting monarchy in hip-hop that’d span generations, there was one MC from Marcy that had always detected impermanence.

“I was gone early, but from the time that I was there, I didn’t see how it could last,” Sauce told ForbezDVD. “If nothing else, just for a business move on Jay’s behalf because it’s like ‘ok, we’ve reached a certain plateau.’ Jay’s a very ambitious person and it’s only right that he should be able to eat totally off himself and not break up his money three ways. ‘Cause at the end of the day, he’s the one that’s carrying the shit.”

No matter how structurally unsound Roc-A-Fella was by the turn of the millennium, Sauce was flagging too. As his record deal unravelled, Sauce Money set a course for pastures new. However, it proved to be too little too late for his debut project Middle Finger U.  

Armed with two Hov features in the form of the brooding “Pregame” and “Face Off 2000” his long-awaited studio project arrived in November 1999. Helmed by an all-star assembly of producers that featured Juice Crew progenitor Marley Marl, DJ Clark Kent and DJ Premier, the album’s title track caused unexpected friction with another legendary New York artist in Big Pun. Complete with the line “Did you hear? I’m the fattest, nicest n***a you know,” Punisher and the Terror Squad had misinterpreted the line as a diss and as a result, DJ Whoo Kid’s placement of the track led to him having an uzi pulled on him by the late Puerto Rican in Harlem.

His lyrical skill notwithstanding, Sauce is candid about the album delays and how they’d diminished the cultural relevance that it may have had otherwise. “I was having problems with MCA, so I moved the project to Priority. Like I said, it was two years late. There was a lot of other things that went into that situation that I won’t mention,” Sauce told Vlad TV. “The timing was bad, some of the material was a little dated to me. Even though I did have some good songs on it, the timing of it, the separation, everything played a part in that. It was impossible for it to do anything good.”

Left deflated by the middling response, Sauce would turn his attention towards his lucrative ghost-writing business, penning plenty “songs you love” but keeping discretion as to for who. But over the past year, a new, more embittered side of Sauce Money has begun to seep out into the public eye. In March of last year, the Brooklyn MC emerged from his self-imposed hiatus and with a renewed fire in his belly. Implored to act due to the “sucker shit” that Diddy had allegedly been partaking in, Sauce unveiled a diss track that took Puff to task in eloquent but foreboding fashion. As well as claiming that he’d kept “my mouth shut, but I guess it wasn’t good enough,” Sauce issued a stern warning to the Bad Boy CEO that didn’t skimp on intensity.

“Should’ve flamed your ass in ’06/Did the drugs make you forget, who it was who wrote your biggest hit,” Sauce spits on the track. “N***a my pen the reason you the shit, you are crossing a thin line about 10 times/Shorten my bag, now I gotta go in mines with you in mind.”

Promising that’ll “only get worse from here” as the beat tapers off, there’s every possibility that his comments about Diddy’s Grammy’s speech could be the overture to another diss track that he’s been sitting on for a rainy day. However, what’s even more uncharacteristic about his most recent outburst is the fact that his long-time friend Jay-Z wasn’t merely caught in the crossfire, but was an active target. Adamant that Jay actively “toned it down” for mainstream listeners and had a “disgusting flow” from his earliest years, Sauce and Hov’s relationship has had its fair share of tumultuous moments but it’s nothing that their bond couldn’t overcome.

Diddy and Biggie performing, 1995 – Raymond Boyd/Getty Images

“We family,” he assured Vlad in March 2019. “I’m not gonna make diss records and put them on the internet, that’s corny to me. Me and Jay don’t always get along. We bump heads y’know? But if I have an issue or he has an issue, we talk to each other.” So, when he held this opinion just 9 short months ago, what’s caused this change in tact that’s made Sauce Money willing to admonish his brother before the world’s prying eyes?

Well, if we can get speculative for a minute, it’s hard not to take notice of the close proximity between Sauce’s first barb that’s been directed in the way of the Roc Nation president and the release of his adversary Jaz-O’s first single on the label just one day prior. Formerly content to operate behind-the-scenes, all signs point to Sauce Money harbouring a renewed desire to take his rightful spot in New York’s hip-hop mythology. Or at the very least, root out falsehoods in hip-hop. Now rallying against the same music industry inner-workings that had extinguished his chances to be a star in his own right, it’s safe to say that this won’t be the last we hear from the Marcy Projects veteran in 2020.

Mike Lowrey and Marcus Burnett are back, y’all! 

Columbia Pictures’ highly-anticipated trilogy in the hit Bad Boys series premieres next week, and to get fans excited TIDAL decided to host an intimate conversation in Harlem at the iconic Apollo Theater with the two stars of Bad Boys For Life, Will Smith and Martin Lawrence. As it ended up being the first stop on the press tour here in America, you already know they had a lot to share with the fans who’ve made this dynamic trilogy such an iconic series ever since it debut almost a quarter century ago. HNHH was in the building to get an earful of all the gems they were willing to reveal about Bad Boys 3, and we got all that and tons more. 

Johnny Nunez/WireImage/Getty Images

Keep scrolling to check out 10 prominent highlights from Will Smith and Martin Lawrence’s talk with TIDAL, hosted by seasoned music journalist Elliott Wilson, which includes behind the scenes tales, little known facts about the first two films, how DJ Khaled plays into all of this and if in fact there will be a Bad Boys 4

Fans Are Excited To See Bad Boys For Life — Like, A Lot!

The entire Apollo Theater was packed — there was literally standing room only. It proved that even after 17 years since the last sequel premiered back in 2003, there’s still a very high demand for people to see Will and Martin back in action together on the big screen.

A Good Portion Of Bad Boys and Bad Boys 2 Was Improv

Two key examples that were brought up were scenes from Bad Boys 2: the “date interrogation” and the one where Martin’s character, Marcus Burnett, is tripping off ecstasy. Both actors joked about the guy who plays Reggie in that scene being so genuinely scared that he never acted in another role again. We checked the IMDb page for the actor, Dennis Greene, and they were right — absolutely nothing!

Kevin Winter/Getty Images

SPOILER ALERT: The Movie Begins With A “Shock” And A “Break-Up”

While no big spoilers were given away during the sit-down, Will and Martin did allude to a “big shocker” at the beginning that might make you tear up, as well as a “breakup” scene between the two partners that will test their friendship. Sounds like big drama!

Prince Had A Club In Miami That Martin & Will Partied At During The First Bad Boys Film

Both guys say it lived up to its name, with Martin even saying that he’d “have to kill you” if he shared memories from partying at the Miami hotspot.

SPOILER ALERT: The Opening Scene In Bad Boys For Life Reveals That Marcus Becomes A Grandfather

In one of the few scenes they actually showed to the crown on big screens set up throughout the Apollo Theater, we see the guys embracing on a high speed chase only to end up at a hospital to witness the birth of Marcus Burnett’s (played by Martin Lawrence) grandchild. It’s pretty charming to say the least.

DJ Khaled Has A Role In The Film As “Manny The Butcher”

Will said that Khaled was so excited to be a part of the film that he showed up “4 weeks before his scene” just to hang out on the set.

Bad Boys Was Originally Given To Martin Lawrence First, Who Was Then Tasked With Finding His Own Co-Star

Martin says his sister was the one who suggested Will. They eventually had dinner to see if the chemistry was there, and within five minutes Martin says knew he had met his match. Will confirmed this and said the chemistry had to be on point like the first two films in order to even make the third one. He concluded that “friendship” is the key to Bad Boys 3, even quoting the series’ classic slogan, “We ride together, we die together — Bad Boys for life!”

Dealing with Michael Bay on the first two Bad Boys films was tough for both Martin & Will

The tension was real on set. Both guys confirmed that Bay just simply didn’t have “people skills”  and they each had to learn how to work with him. Will tells a hilarious story about almost attacking Michael Bay on the set of Bad Boys 2, with Martin having to literally hold him back by the waist.

Hip-Hop Was A Huge Influence For The Bad Boys Series And The Personal Careers For Both Lead Actors

With Will Smith being a rapper first, and Martin embracing Hip-Hop dating back to the House Party films, both men credit rap culture to being one of the key components to even bring them to a film series like Bad Boys. Martin brought up The Notorious B.I.G. as an example, saying that during that now-classic episode of Martin where Biggie makes a guest appearance that they spoke extensively about his relationship with Faith Evans. Will went a step further and added that he actually met Biggie for the first time on the night he died.

Bad Boys 4 Is 100% Possible

Without giving any official confirmation, Will Smith said that if people liked Bad Boys 3 that he would definitely be up for Bad Boys 4. Fingers crossed! 

Be sure to catch Martin Lawrence and Will Smith return for Bad Boys For Life when it hits theaters next Friday (January 17).

Though he’s widely regarded among the game’s greatest lyricists, Eminem has amassed a sizeable repertoire of production work during his lengthy tenure. Having worked with The Bass Brothers, Luis Resto, and of course the legendary Dr. Dre, Em’s willingness to learn the process kept his musicality honed behind the boards. A journey beginning with co-production on The Slim Shady LP, it wasn’t long before Em was laying down beats for Jay-Z, Nas, 50 Cent, G-Unit, The Game, Jadakiss, Redman, Lloyd Banks and more. 

Though the bulk of his instrumental work was reserved for his own material, Em’s unique sound and style made him an interesting producer to follow. Like his mentor Dre, Em’s inclinations veered toward the darker sound, though his instincts often skewed closer to mischievous. His creative relationship with Luis Resto, a guitarist and pianist, ensured those elements remained fixtures of Slim’s toolkit. In truth, it’s unclear how his vast production repertoire has been received in the greater hip-hop conversation. Yet given the volume of quality he’s laid down throughout the years, Em’s input deserves to be highlighted with a renewed sense of appreciation. 

Now, a little over a year removed from Eminem stepping into the producer’s chair on Kamikaze, here are his twenty-five best beats of all time.

Scott Legato/Getty Images

25. EMINEM – SOLDIER

One of Eminem’s biggest strengths as a producer is his ability to translate his emotions through music. His third studio album, 2002’s The Eminem Show found Em handling the majority of the production, his first leading turn in the director’s chair. Contextually speaking, the album served as an explanation; The Marshall Mathers LP told us what pissed him off, whereas TES highlighted why. The layers were unfolding before our eyes, and Em made sure to let his music speak accordingly. “Soldier,” the first part of the album’s thematic center, was an outlet for Marshall Mathers frustrations – not Slim Shady, but the man behind the curtain. With up-tempo and tense atmosphere, his melancholic melody suggests a sense of hopelessness. A testament to Em’s ability to reiterate his point in dual mediums, and one of the most personal beats of his career.

LISTEN: Eminem – Soldier

24. JADAKISS FT EMINEM, STYLES P, & SHEEK LOUCH – WELCOME TO D BLOCK

“Till I Collapse” made it abundantly clear that Eminem held Jadakiss in high regard, so their collaborative partnership in 2004 was hardly surprising. Given that Em spent that era on somewhat of a production tear, it seemed inevitable that he’d be lacing his first journey into D Block’s territory. Sonically, “Welcome To D Block” found Em operating in the headspace he’d carry into Obie’s Second Rounds On Me later that year. Sparse arrangements, bleak and angry in nature; a man bearing the scars of wars against Ja Rule and Benzino. Perhaps emboldened by D Block’s street pedigree, Em’s desolate Kiss Of Death banger retains his unique musical characteristics while still capturing the unfamiliar qualities of Jadakiss’ fabled home turf. 

LISTEN: Jadakiss ft. Eminem, Styles P, & Sheek Louch – Welcome To D Block

23. OBIE TRICE, EMINEM, & 50 CENT – LOVE ME

Perhaps an unconventional selection, 8 Mile’s “Love Me” remains one of the quintessential posse cuts in the Shady Records canon. Originally presented in a Kay Slay freestyle, Em took the original skeleton and expanded upon it. With a methodical and spooky arrangement, “Love Me” is simultaneously frantic and hypnotic; as Em appropriately puts it, it’s like “trying to smoke crack and go to sleep.” The drums are as simple as they come, barely-there kicks and a clockwork snare, a far cry from the instrumentation of today. Yet Em was always at his best when tailoring beats to his flows, and the ghostly drift of “Love Me” proved that less can most definitely be more. 

LISTEN: Obie Trice, Eminem, & 50 Cent – Love Me

Jim Smeal/Ron Galella Collection Getty Images

22. D12 – WHEN THE MUSIC STOPS 

A collaborative effort between Eminem and Kon Artis, currently known as Mr. Porter, “When The Music Stops” deserves due credit for bringing a harpsichord into the hip-hop fold. An instrument favored by Mads Mikkelsen’s Hannibal Lecter, the medieval-sounding contraption lays the foundation for one of The Eminem Show’s heaviest track. Driven by an unrelenting build, Em and Porter’s patience in sustaining the drop add additional weight to Slim’s verse. “When The Music Stops” feels particularly poignant as one of The Eminem Show’s darker tracks, a spiritual thematic successor to “The Way I Am.” Whether you appreciate Em’s musical instincts or not, nobody is crafting instrumentals quite like this.

LISTEN: D12 – When The Music Stops

21. XZIBIT FT EMINEM – DON’T APPROACH ME

Still gaining his foothold as a producer, one of Em’s formative tracks was “Don’t Approach Me” off Xzibit’s Restless. His fourth official collaboration with X, Em allowed his myriad frustrations to bleed into the beat. An explosive therapy session, Em’s somber beat included one of his eventual staples — the muted guitar riff — as well as his best imitation of Dr. Dre’s signature percussion. What makes this track stand out is its minimalist nature, complimenting the cadence and effortless flow of both emcees. The harmonic elements present arrive exactly when each verse calls for it, culminating in a cinematic synth string to drive home their sorrow. Also, bonus points for being one of Eminem’s first beats outside of his immediate Shady/Aftermath umbrella. 

LISTEN: Xzibit Ft. Eminem – Don’t Approach Me

20. OBIE TRICE – AVERAGE MAN

In the run leading up to Obie Trice’s debut album Cheers, the musical chemistry between Em and his newest protege was still finding its footing. While tracks like “Rap Name” found Em implementing his own stylistic inclinations onto Obie, it was unclear how Em might soundtrack an entire project from the Detroit lyricist. Come “Average Man,” the introductory cut off Cheers, it soon became clear. The guitars came out in a badass arpeggio, encouraged by the recurring presence of gothic keystrokes. Though he never quite adopted a production tag, Em’s trademark strings make an appearance for added emphasis. Occasionally prone to cartoonish violence, “Average Man” revealed a maturity in Em’s production; some might even consider 2003 to be his beat-making prime.

LISTEN: Obie Trice – Average Man

19. NAS – THE CROSS

In a bonafide hip-hop tragedy, a rapped Nas and Eminem collaboration never manifested; it’s said that Nas reached out for Eminem to rap on “Daughters,” but Em felt he had already covered that ground. “The Cross” is the next best thing. Yet another co-sign from a GOAT tier lyricist, Nas stepped firmly from his comfort zone on the Em-laced God’s Son track. In some ways, it feels like a cousin to “Moment Of Clarity,” boasting a similar tempo and production. Fuelled by an ascending piano riff and emphatic brass hits, “The Cross” succeeds in giving Nas ample pockets to flow. Striking a tone of melancholic martyrdom, Em’s production brought out a powerful performance from Jones, one in which his frustrations were coaxed out and encouraged.

LISTEN: Nas- The Cross

Bill Pugliano/Getty Images

18. D12 – GIT UP

Though D12 World arrived during the height of Eminem’s battle with addiction, the album was not without its bright points. One such high would set the project ablaze, the introductory “Git Up.” A detion from Em’s expected percussive pattern, his chosen groove encourages unconventional flow-schemes; he himself opts for a robotic delivery, exposing the depth of his nursery-rhyme appreciation. Perhaps he designed the instrumental for that very reason. In true Shady fashion, the progression is dark, the atmosphere ominous. One of the hardest tracks he’s ever laid down, complete with his most intricately arranged percussion. 

LISTEN: D12 – Git Up

17. D12 – AMERICAN PSYCHO

While Em’s hand for production was tried on The Marshall Mathers LP, he truly came into his own on 2001’s Devil’s Night. The first of two D12 albums found Eminem stepping into the producer’s chair; revisiting it showcases some of his musical habits being formed. Though many are quick to praise “Fight Music” as the opus, “American Psycho” edges it out through sheer atmosphere. A full-scale horrorcore masterpiece, the track finds Em laying down a chilling instrumental befitting of the macabre lyrical subject matter. A song that features Bizarre devouring a miscarried fetus needs an appropriate beat. Speaking with HNHH in 2015, Swift McVay went so far as to call “American Psycho” his favorite Devil’s Night track. “When I heard Em’s verse, Kon Artis, Biz’s verse, I went off the roof,” he reflects. “It gave me chills…That was one of the songs I couldn’t wait for the audience to hear.”

LISTEN: D12 – American Psycho

16. EMINEM – SUPERMAN

Though songs “for the ladies” have often been thrust upon many an unsuspecting major-label studio album, Eminem has always bucked the trend in his own unique way. As “Steve Berman” once cautioned on The Marshall Mathers LP, the bulk of Slim’s content centered around “homosexuals and Vicodin.” And yet here he was crafting a bawdy sex jam, boldly likening himself to the Man Of Steel leaping “tall hoes in a single bound.” Aside from subverting expectations on a character level, “Superman’s” beat remained entrenched in Em’s wheelhouse, with western-style guitar arpeggios and a triumphant main theme. Nor does the anthem stagnate, with new elements entering into the mix as the (nearly) six-minute opus soars to its smug and satisfied post-coital climax.

LISTEN: Eminem – Superman 

15. EMINEM – WITHOUT ME

There are distinct advantages to self-producing. For starters, it allows an artist to add another layer of expression to their track, to enhance their desired sense of character. For Eminem circa 2002, coming off the back-to-back tandem of The Marshall Mathers LP and the grotesquely goofy Devil’s Night, “Without Me” was not without an aura of mystery. The first glance at a man ready to expand on his own narrative, The Eminem Show’s lead single served as Eminem’s informal introduction to his new sound. Cartoonish synthesizers ooze in a slick disco loop, embellished by occasional bursts of Rhodes riffs and sultry sax. On a rhythmic level, the drums and bass form a perfect marriage of danceability, keeping momentum with Em’s steroid-infused mischief bars. In some ways, it covers the same ground as “The Real Slim Shady,” albeit with less unease; on this go-around, Em isn’t shaking his fist at those above him, but rather spitting from the balcony on those below. While “Without Me” might not be your cup of tea, the sheer impact it would go on to have on his production moving forward reserves it a place within this list.

LISTEN: Eminem – Without Me

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14. EMINEM – TILL I COLLAPSE

A solid introduction can often go unsung. It’s rare to see a hip-hop track begin with thirty-seconds of uninterrupted music. On “Till I Collapse,” Em’s main themes are foreshadowed in the opening segment, only to be later enhanced by militant percussion and chugging electric guitars. The brilliance of Em’s earlier guitar-based work is in its subtlety, eschewing rock-rap traditions by using them as complementary ingredients. Multi-instrumentalist Luis Resto deserves due praise, one of Em’s chief collaborators behind the boards. Together, they crafted The Eminem Show’s definitive track, a late-game adrenaline shot that has yet to wear off. 

LISTEN: Eminem – Till I Collapse

13. EMINEM – LOSE YOURSELF

It’s impossible to deny the impact of “Lose Yourself.” Not only did the 8 Mile Soundtrack’s lead single net Slim an Oscar, it went on to galvanize his status into a full-blown cultural icon complete with parental approval. On a production level, “Lose Yourself” found Eminem exploring groundwork laid by “Sing For The Moment,” a clever reimagining of rock-and-roll’s expected elements and qualities. Rather than repurposing an Aerosmith sample, he, Jeff Bass, and Luis Resto crafted a tense and melancholic original arrangement, tailored to mirror the emotional ebb-and-flow of Em’s lyricism. Barely restrained electric guitars mirrored boiling blood, while soft piano flourishes captured vulnerability. Though it would be one of Em’s earliest forays into “rock-rap” territory, it would likewise be one of his most sophisticated. 

LISTEN: Eminem – Lose Yourself

12. D12 – PURPLE PILLS

It’s difficult to talk about Eminem’s production without dipping a toe into the cartoonish. One has to wonder whether there would be a “Without Me” without D12’s lead single “Purple Pills.” Where the former is more overtly playful, there’s something sinister bubbling beneath the latter’s hallucinogenic synthesizers. Evocative of the laced drug trips the Dirty Dozen hazily recounts, “Purple Pills” goes so far as to implement a harmonica solo in its closing moments. And this isn’t a mere fragment – it’s a full-blown minute of pure harmonica bliss. Shout out to Ray Gale for that one. Before you cry afoul that “Purple Pills” was placed higher than “Lose Yourself,” consider the circumstances surrounding its release. Not only did he have to spark immediate public interest in his loyal crew, but he also had to provide a musical canvas befitting of their outlandish modus operandi. And damned if the resulting acid-trip through Dali’s Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening didn’t succeed in nailing that rare bird double homicide. 

LISTEN: D12 – Purple Pills

11. 50 CENT – I’M SUPPOSED TO DIE TONIGHT

50 Cent has always been a threatening force on wax. A dominant presence in gangster rap, prone to doling out beatings and drawing the firearm without remorse. When he teamed up with Eminem, however, his proclivities toward violence developed an additional layer. Spurred by Em’s inclinations toward the haunting, a quality that he shares with mentor Dr. Dre, Fif found himself veering into existential territory going so far as to deem himself “Satan’s Angel” on “I’m Supposed To Die Tonight.” Urgent despite its dirge-like pace, this early The Massacre highlight is tense enough to maintain chills for its duration. Another instance in which Em takes nursery rhyme qualities and injects them with a syringe of nightmare fuel. 

LISTEN: 50 Cent – I’m Supposed To Die Tonight

Kevin Mazur/WireImage/Getty Images

10. 2PAC & THE NOTORIOUS B.I.G – RUNNIN (DYING TO LIVE)

Before winning over Afeni Shakur with a handwritten request to produce her son’s posthumous album Loyal To Tha Game, Eminem laid the backdrop for a collaboration between 2Pac and The Notorious B.I.G. Aside from the legendary pedigree, “Runnin” manages to sound sonically appropriate to both artists, neither of whom strayed from darker music. A pitched up flip of Edgar Winter’s “Dying To Live” anchors the song with a vain sense of hope, only to be subsequently eroded by Em’s goonish strings. The influence of Dr. Dre bleeds through “Runnin,” though Eminem’s general ear for chord progressions and preferred sounds ground him in his own distinct realm. 

LISTEN: 2Pac & The Notorious B.I.G. – Runnin (Dyin To Live)

9. EMINEM, OBIE TRICE, & DMX – GO TO SLEEP

Like Dre, the man from which he likely learned several tricks of the trade, Em has never shied away from the horror genre. And while some of his earlier material found him donning the killer’s overalls, his anger would occasionally run beyond the conceptual. That would prove the case on “Go To Sleep,” a collaboration with DMX and Obie Trice penned in the midst of the Ja Rule & Benzino feud. It’s no wonder he pulled out medieval instruments for the torture session; both church organs and the harpsichord are dusted off. The end result was one of Em’s most aggressive beats, a quality reflected in his and X’s rabid performances; Obie was always content to play the restraint, calculated killer with the ridiculous vocabulary.

LISTEN: Eminem, Obie Trice, & DMX – Go To Sleep

8. JAY-Z – MOMENT OF CLARITY

“I made beats for Jay-Z for free, page me,” flexed Eminem, on a freestyle circa 2003. And that he did, with “Moment Of Clarity” earning a spot on Jay’s retirement lap The Black Album. An extra-special feat, considering that Jay was tailoring the entire project around the work of his favorite producers. The prestige alone earns “Moment” a spot on this list, especially given the infrequency with which Em blesses outsiders; the pedigree of those seeking his production, from Redman, Nas, and Jay, should inherently put credit on his name. In essence, “Moment Of Clarity” features a straightforward synth riff and a varied take on boom-bap drums. It’s the sounds themselves that reveal Em’s meticulous ear, transforming something simple into something memorable.

LISTEN: Jay-Z – Moment Of Clarity

Kevin Mazur/EM/WireImage/Getty Images

7. EMINEM – MOCKINGBIRD

Where Em’s affinity for lullabies is generally used in the name of evil, “Mockingbird” marks a detion from the expected. Marking the emotional centerpiece of Encore, Em’s homage to his daughter Hailie Jade makes for a compelling journey even without the lyrics. Driven by a lovely piano line and the occasional string section, “Mockingbird” pulls at the heartstrings without diving into sentimentality. Once again, Eminem and Luis Resto strike gold with simplicity, crafting a strong melody and allowing it to paint a stirring portrait. At once sad and regretful, loving and triumphant, Em’s reflection on fatherhood is one of the most revealing tracks of his career. 

LISTEN: Eminem – Mockingbird 

6. LLOYD BANKS – TILL THE END

Though never officially signed to Shady, Eminem’s touch was certainly felt on Lloyd Banks’ debut The Hunger For More. Producing three of the albums highlight tracks, Em made sure to bless Banks with one of the most haunting beats of his career. To make a distinction, “Till The End” resonates through wistfulness rather than menace. The air of tragedy having struck, the fallout that only comes with time. A soft, lullaby-esque piano riff is the main backdrop, a staple of Eminem and Luis Resto’s modus operandi. Subtly arranged with hints of underlying trauma, “Till The End” is a cinematic addition to Em’s production discography.

LISTEN: Lloyd Banks – Till The End

5. EMINEM – THE WAY I AM

A monumental moment in Eminem’s journey behind the boards, “The Way I Am” was the first beat he ever crafted on his lonesome. Em has always thrived producing for himself; it allows him to best express his highly conceptual songs, capturing whatever emotion might be the driving force. Here, it’s none other than sheer frustration, appropriately mirrored by a maddening loop of delayed piano. Hallmarks of Eminem’s ever-building toolkit are present: slightly overdriven guitars, minor-key riffs, shuffling hi-hats, and subtle gothic accouterments. A simple arrangement in theory, “The Way I Am” succeeds as a direct reflection of a man at his most embroiled. Not to mention, it marked his introduction into the game as a multitalented force, which in itself gives this Marshall Mathers LP highlight extra gravitas. 

LISTEN: Eminem – The Way I Am

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4. OBIE TRICE, LLOYD BANKS, EMINEM & 50 CENT – WE ALL DIE ONE DAY

One must envy a fly on the wall in this particular studio session. A Shady Records posse cut fueled by piss and vinegar, violent cockiness, and the swagger of those sitting atop the rap game, “We All Die One Day” may very well be the hardest track in Eminem’s discography, period. Encapsulating both their disdain for their opponents and their pride in their own dominance, Em, G-Unit, and Obie Trice absolutely obliterate a merciless beat from the Shady ringleader. As he is wont to do, Em keeps his percussion relatively simple, kicking up the intensity with a deep, slightly distorted synthesizer. The main melody unfolds with a descending minor scale reaching its natural conclusion, almost playful in its simplicity. Yet there are no games being played here. This beat encourages aggression from all participants, who are happy to oblige.

LISTEN: Obie Trice, Lloyd Banks, Eminem, 50 Cent – We All Die One Day

3. EMINEM – STAN

One of the earliest Eminem beats to incorporate a sample, the 45 King collaboration “Stan” remains one of Slim’s most enduring musical moments. A detion from his sound of the time, acoustic guitar chords and a bittersweet bassline unite, only hinting at the depravity to come. Those familiar with the Dido song from which the hook is taken might recognize her track’s progression into a major key lift. Em and the 45 King swerve that direction entirely. There’s something self-fulfilling about the “Stan” instrumental; a progression that doesn’t quite commit to melancholy, keeping the fainted hint of optimism alive. The concept of an obsessive fan driven to madness might have teetered on comedic in a lesser writer’s hands. Yet thanks to Slim and King’s masterfully crafted beat, the tragic story is imbued with the power it deserves. 

LISTEN: Eminem – Stan

2. 50 CENT & EMINEM – PATIENTLY WAITING

“Patiently Waiting” is the embodiment of the killer from Relapse tiptoeing to your doorstep. Where pizzicato strings can sound almost whimsical in the right hands, Em flips them on their heads, creating an atmosphere of simmering tension closer to the opening dissonance of a horror movie. A recurring, deeper element reminiscent of a muted guitar keeps the pace lively, as occasional slow-burning synth strings creep into the mix. Prior to its release, the sample size of 50 Cent’s Eminem-laced songs remained too small to draw any conclusions. After “Patiently Waiting,” however, immediate musical chemistry was forged. With many still touting Get Rich Or Die Tryin as a classic, it’s likely they’d have much to say about its legendary third track.

LISTEN: 50 Cent & Eminem – Patiently Waiting

1. JAY-Z & EMINEM – RENEGADE

Curiously enough, Jay-Z’s Blueprint did not include a single guest appearance, save for a lone contribution from Slim Shady. Emerging at a time in which Em was public enemy number one, “Renegade” came equipped with an inherent sense of urgency. At the helm were Em and frequent Shady collaborator DJ Head, who conjured up a haunting beat complete with several signature staples: gothic choirs, minor-key piano arpeggios, a slick bassline. A noted departure from Blueprint’s sonic aesthetic thus far, “Renegade” proved to be new territory for the Jigga Man, who ably bodied the beat. More importantly, it made for the first collaboration between the rappers, a relationship that would ultimately secure Marshall a placement on Jay’s exclusive “retirement” send-off.

LISTEN: Jay-Z & Eminem – Renegade

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Fatman Scoop has been utilizing his time indoors by interviewing a few of our favorite artists. The latest to share a social distancing split-screen with Scoop is Snoop Dogg who spoke about a few memories as he told tales of hip hop history. Snoop recalled a few harrowing incidents involving Notorious B.I.G., but no matter what East versus West drama was going on, he and Biggie remained friends.

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Snoop Dogg said that a series of events caused him to run into Lil Cease not long after Tupac was murdered and Cease took him to see Biggie. "He's in a walker, what the old people walk around in," Snoop said. "He got the walker sitting at the edge of the bed and when I walk in the room, we started talking. Then, he looked me in my eyes and he say something to that—he's sad that Tupac is dead, but I can look in his eyes and I could see that he hurt."

"This is not a man that's happy or glamorized," Snoop added. "This a man whose friend that's dead, they had a misunderstanding and he could never get no justice for his emotions, but he's showing me his emotions. He explaining to me how much he loved Tupac and I ain't trippin'. Not once did we bring up the Brooklyn incident, because what's understood don't need to be talked about." Watch Snoop Dogg chop it up with Fatman Scoop below.

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Snoop Discusses For The First Time How He Sat With Biggie After The Shooting In NYC Over The NY NY Diss Song, What Biggie Said About Tupac's Death And More Watch IG LIVE Nightly 7PM EST For News,Advice,Opinion And More! To see the full interview or the whole show: Click the link in my bio! For: Full Show With News- Click IG Live Series (Full Show) Interviews Only - Click IG Live Interviews Only Then click on the Interview You Want To Watch ?? @i.amkvj Thanks To @snoopdogg For Coming Through

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He’s a crossover artist who is hailed as hip hop royalty with a sound and a style all his own. Ludacris has enjoyed a successful career in both music and film that has spanned over two decades, and when it comes to lyricism, he knows the ins and outs of what makes a good flow. During his recent appearance on XXL’s Hip-Hop Moments of Clarity, the rapper was asked to give his top five rappers with the most “undeniable flows,” and Ludacris called it “one of the greatest questions” he’d “ever been asked.”

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His first pick shouldn’t come as a surprise to many. “So, top five flows, man. Andre 3000 is going to be in there. I feel like he always challenges, always challenges. Imma put Kendrick Lamar in there as No. 2. Imma put J. Cole in there as being, like—right now, I’m thinking of people that are versatile and constantly trying to think of different flows that don’t pretty much have a set flow that they always do,” Ludacris said. Those are three. Imma go ’head and put Jay-Z in there, man. Jay-Z, you know, he does different things and he does experiment with different flows. And mostly, his different subject matter and how he’s able to weave through and be on a track with anybody. So that’s No. 4. Damn, man, No. 5.”

For the final position, Luda struggled with choosing between Lil Wayne and Eminem. “I was honestly gonna put Lil Wayne. Damn, this is hard because it’s like you got Lil Wayne… You got Eminem, but Imma have to go with Lil Wayne because the body of work and his consistency and he’s been in the game almost 30 years, bruh.” It seems that he was paying attention to living rappers, so Ludacris added Tupac and Notorious B.I.G. and honorable mentions. Do you agree with his list?

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Swae Lee decided to be a source of healing for the world through the art of music. On Friday (June 5th), as protests against police brutality and systemic racism persist across the country and around the globe, Swae shared a 2-minute clip to Instagram to acknowledge the events going in the world right now.

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“Hey, what’s up you guys,” he begins in the video. “I’ve just been tuning in, paying attention to everything going on around us in the media, in our communities, right outside our front doorstep. So, I just wanted to use my voice to do something positive. Imma sing a little tune for y’all. Vibe wit’ it." He proceeds to perform a tribute cover of Diddy, Faith Evans, and 112's 1997 song, "I'll Be Missing You," originally written in memory of the late Notorious B.I.G. Swae dedicated the beautiful tune and its powerful message to "the loved ones we lost and everyone joining this fight pushing forward." 

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Dedicated to the loved ones we lost and everyone joining this fight pushing forward

A post shared by Swae Lee, Lee Swae? (@swaelee) on Jun 5, 2020 at 11:04am PDT

Earlier this week, Swae partook in one of the demonstrations occurring in Miami to fight these horrible injustices done by police. “The voices of humanity are being heard now more than ever !!!!” he wrote on a post from the protest. “Feel the power of unity we have always been stronger as one …putting our differences aside is the biggest step for mankind. One love everyone stay safe and remember the right thing to do is the right thing."

Ludacris has been widely regarded as one of the game's most inventive lyricists, arguably underrated in the grand scheme of things. Throughout his storied career, Luda has worked with no shortage of legendary emcees, from Nas to Jay-Z, Busta Rhymes to Twista. Yet despite sharing a clever mind for references and elite tier wit, Ludacris and Eminem have never joined forces on wax -- at least, not yet.

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In the days following his recent Verzuz battle with Nelly, which served as a welcome reminder of his legacy thus far, Ludacris opened the floor to take fan questions -- including one about bucket list collaborations. "I did collaborate with Notorious B.I.G. but it was a posthumous album so I wasn't able to actually collaborate with him while we was alive," reflects Luda. "2Pac, I'd love to collaborate with, but if we saying alive? I haven't done a track with Eminem yet, and that's on my list. The world needs a Ludacris and Eminem record for sure."

Given that Em has been open about his respect for fellow lyrical greats -- not to mention having made reference to his Ludacris listening habits on "So Far" -- it wouldn't be surprising to see this one manifest in the near future. And if it were to happen, what kind of track would you like to see these two concoct? One thing is for sure, there would be punchlines in abundance. 

It's time to put some respect on Stevie J's name—that is, according to the hitmaker. The Grammy Award-winning producer is known for his work with Bad Boy Records and crafting tracks for Diddy, Notorious B.I.G., Beyoncé, Mariah Carey, Rick Ross, Summer Walker, Bobby V, Faith Evans, Black Rob, Jay Z, and more. He's responsible for "Only You" by 112, Biggie's "Mo Money Mo Problems," and Mariah Carey's "Honey," but Stevie J feels as if people aren't giving him the props he deserves.

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All of this Instagram Live Battle and Verzuz talk has rap and hip hop fans bringing up artists and producers that some people have overlooked, including Stevie. A fan wrote on Twitter, "I really want @hitmansteviej to go against any producer!!" to which the Love & Hip Hop star replied, "I’ll end any x every producers career." That's a bold statement, but he believes he has the receipts to back up his declaration.

When someone asked if Kanye West was in that group, Stevie J said, "He’s dope but yep." There have been rumors that Timbaland and Swizz Beatz are attempting to get Diddy and Dr. Dre to face off in a Verzuz battle—for a price with proceeds going to charity—but someone tweeted that those two aren't a proper match. According to the Twitter user, Dr. Dre should go up against Kanye while someone like Diddy should battle an artist like Stevie.

"Dudes not bringing my name up because NONE of them can touch me vocally or musically. Not cocky jus facts!" he wrote in response. Do you agree with Stevie J on this one?

Instagram Live sessions, with a partner or solo dolo, are becoming more and more rampant these days. When you check your IG feed, it’s often a sea of purple-red circles indicating various IG Live sessions in the works. Smoke DZA has been doing his thing on Instagram Live too, apparently, with a new clip showing the Kushed God rapper speaking with fellow New York MC and OG Lil Cease. 

Cease was a member of the Biggie-helmed group Junior M.A.F.I.A, and not only the late rapper’s friend but cousin.

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The clip from their conversation centers on Biggie and Jay-Z, with Cease revealing that Biggie had apparently admitted that Hov was a “nicer” MC than he was.

“Once Big met him at the Palladium, and they bonded on some g-shit. Cause they respected each other as men and they respected each other as artists,” Cease says in the IG Live chat, “Big wasn’t afraid to tell him…Big thought he was doper than him, that’s what he used to say, like, ‘yo that n*gga nicer than me.'”

“These are straight facts,” Cease continued, adamant that he was not lying. He even went on to point out a singular moment that Big felt Hov one-upped him, referencing his line on “Dead President.” 

“When Jay-Z said that line on ‘Dead Presidents’ — N*gga take a freeze off my kneecap/N*gga believe that— Big was like ‘Yo he got me.'”

Check out the clip below. If it’s a debate between Hov and Biggie, who do you have? Let us know in the comments.

Although he’s hailed as a rap icon, the late Biggie Smalls only has two albums under his belt. The slain rapper lost his life to a drive-by shooting back in 1997, and his family, friends, and loved ones are left to speculate a life and career that could have been. On his second and final album, Life After Death, Biggie collaborated with his fellow Bad Boy artists The Lox to deliver the classic track “Last Day.” Over the years, The Lox member Jadakiss has shared stories about his times with Christopher “Notorious B.I.G.” Wallace, and he recently bestowed a few more memories with People’s Party with Talib Kweli.

“We would just go inside his session and pick his brain,” Jadakiss recalled. “Ask him mad questions, just ask him about all type of sh*t. Ask him what was he thinking when he wrote certain verses. Ask him what to expect. He told us Puff was gonna do a lotta things we didn’t like, but he was gon’ make us stars. That was actually a reality.”

Jadakiss added that Biggie was a big supporter of The Lox and admired their work ethic. “He had big plans for us working together,” the rapper added. “As you can see, we was one of the only rare features on the Life After Death project. Wasn’t too many. For us to be young, new artists, to be on that album was a big thing for us.”

Biggie told Jadakiss, Sheek Louch, and Styles P to always be hungry in the rap game and to “never take no days off.” Jadakiss also said that after Big performed at the Apollo Theater with Mase and Junior M.A.F.I.A., the late rapper told him that he needed that show because he only had $200 to his name.

“That’s one thing I might do. Sh*t come across the table that other artists might not do and if it ain’t too much going on, Imma take it,” Jadakiss said. “I always remember him saying that.” Check out the clip of Jadakiss talking with People’s Party with Talib Kweli below about being in the studio as Notorious B.I.G. recorded his classic and final album Life After Death.

The adolescent half of the Stranger Things cast are quite familiar with 90s hip hop thank you very much, even if none of them were born yet at the time. All six of the Netflix series’ teen stars—Millie Bobby Brown, Finn Wolfhard, Caleb McLaughlin, Gaten Matarazzo, Noah Schnapp, and Sadie Sink—appear in an upcoming episode of James Corden’s Carpool Karaoke together. In a preview for the episode, the cast of youngsters did not hold back on dipping into various iconic decades prior to their birth, including the 1990s, which saw the reign of hip hop as rappers like Notorious B.I.G. dropped hits on hits. Among them was “Big Poppa,” and you better believe these kids tackled that timeless jam.

The cast also played a guessing game in which they don mind-reading helmets similar to the one worn by Eleven in the show, as each of the two contestants try to say the same word at the same time. They also try their hand at regular summer jobs that they wouldn’t normally attempt due to their massive star status.

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While the fourth season of the beloved sci-fi horror series was expected to be released sometime this year, production had to be shut down recently due to coronavirus. This filming hiatus means that fans may not be able to stream Strangers Things 4 until 2021. However, the cast’s Carpool Karaoke episode, which was filmed last summer, is available to watch in full on the Apple TV app now.

“Now, what y’all wanna do? Wanna be ballers? Shot-callers? Brawlers?” You don’t have to be a fan of hip hop to know where those lyrics are pulled from. “It’s All About the Benjamins” dropped way back when in 1997, but it’s still a relevant hip hop, party jam. The Deric “D-Dot” Angelettie-produced classic had multiple versions that featured Diddy, Notorious B.I.G., Jadakiss, Sheek Louch, and Lil Kim. Diddy’s bars are some of the most memorable from “It’s All About the Benjamins,” and Jadakiss talked about penning Puff Daddy’s lines during a recent visit with People’s Party with Talib Kweli.

According to Jadakiss, he was just minding his business, spittin’ a few bars when Diddy overheard him. “I already had that rhyme,” the rapper said of Diddy’s verse. “He heard it and was like, ‘Nah, that’s me. Let me get that rhyme right there. He took that and put that on ‘Benjamins.’ Me and [Sheek Louch] didn’t like the ‘Benjamins.’ He almost forced us to record the verses that we have on there. We didn’t really understand what that beat…it [didn’t] grasp us at the time. We wasn’t eager to just record it.”

Yet, Diddy had a vision and knew it would be a hit. “That’s what makes Diddy Diddy,” Jadakiss added. “That really was like, our first commercial and ‘hood hit that catapulted us besides the mixtape stuff that we was doing.” Diddy’s final “All About the Benjamins” verse wasn’t how it was initially penned, because Jadakiss also revealed that the rap mogul “did about four versions of it.”

Check out what else Jadakiss had to say below, including bits about Mase writing for Kanye and how he felt about being mentioned in Yeezy‘s 2005 hit “Touch the Sky.”

When your father is considered to be a hip hop legend, it’s difficult to come from under his shadow. Christopher “Notorious B.I.G.” Wallace’s life was snuffed out back in 1997 after he was gunned down in a drive-by in Los Angeles. The person or persons responsible have never been brought to justice, but the rapper’s legacy continues to live on through his music, his fans, and his family.

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March 9 marked the 23rd anniversary since Biggie’s murder, and to celebrate his life, the rapper’s daughter, T’yanna Wallace, hosted her first runway show for her clothing line Notoriouss. T’yanna’s brother, CJ Wallace, was there to support his sister and rapper Casanova reportedly was the guest performer.

T’yanna was almost four-years-old when her father was murdered, and throughout her life, her name has always been attached to the rap icon. T’yanna told PageSix that she’s ready for people to embrace her identity and see her as her own person.

“I don’t like when people say, ‘Oh, that’s Biggie’s daughter,’ because that’s not my name,” the 26-year-old said. “Now everybody knows Notoriouss clothing by T’yanna Wallace. I barely hear ‘Biggie’s daughter.’ I hear T’yanna first, and I like that.” She reportedly added that she’s “making a name for myself… I don’t want to live off of my dad’s money. I want to make my own money. I worked in the cafeteria for a year while I attended Penn State.” Check out a few photos of T’yanna Wallace staking her claim in the fashion game below.

If there was ever any doubt that 50 Cent‘s Get Rich Or Die Tryin was anything other than timeless, look no further than its ninth platinum certification. Originally released on February 6th, 2003, executive produced by both Dr. Dre and Eminem at the height of Shady/Aftermath’s reign, Fif’s debut featured smash hip-hop hits like “In Da Club,” “21 Questions,” and “P.I.M.P.” Singles that still go off today, with “In Da Club” remaining one of the most widely-recognized mainstream rap singles of all time. 

Get Rich sold 872,000 copies in its first week — remember that this was an era where people actually went out and bought albums. By the end of the year, the project had moved a staggering 12 million copies, with six million stemming from the United States; as such, Fif’s debut was certified 6x Platinum by the RIAA in 2003, an accomplishment that has only now been updated.

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A quick perusal of the RIAA’s “Gold And Platinum” section finds updated statistics devised as of February 24th. As of now, 50 Cent’s Get Rich Or Die Tryin has upgraded to nine-times platinum, a number his fans have come to develop a strong association. Following this latest milestone, Fif is only one million short of the coveted diamond status, an accomplishment that only a handful of fellow rappers have achieved.

As it happens, his friend and former labelmate Eminem has a few Diamond certifications under his belt, earned  The Marshall Mathers LP and The Eminem Show.. OutKast‘s Speakerboxxx/The Love Below, also released in 2003, holds the prestigious honor. Nelly‘s Country Grammar has it locked, as does 2Pac‘s classic All Eyez On Me and Notorious B.I.G.’s Life After Death. Should he find himself moving one million album-equivalent units, 50 Cent seems all but destined to join the ranks. And let’s be honest — the accomplishment would be well-deserved.

Kanye West is undoubtedly one of the most critically acclaimed musicians of the 21st century. But it’s not only his musical career that’s been entertaining to follow. From famously interrupting and ruining Taylor Swift’s 2009 MTV Video Music Awards acceptance speech because he believed Beyonce had been snubbed, to claiming that his utterly strange support of Donald Trump was “God’s practical joke on all liberals,” the Chicagoan has cultivated a public persona of being brash, arrogant and bizarre. But let’s face it, the man’s a born entertainer and this audacity absolutely spills into his music. Since 2004, when he strode into the rap scene with his first project, College Dropout, it’s been mostly back-to-back hits. To avoid a sophomore slump, though, Kanye knew he had to build off the foundation he laid on his debut. Which is exactly what he did in 2005 with his exquisite follow up album, Late Registration.

Call him what you will — Hov, Jigga, or simply Jay-Z — we’re talking about one of the most influential voices in the world today. Jay-Z’s gimlet-eyed focus has turned him into the quintessential black capitalist, an entertainment business mogul with a career pathway strewn with Grammy awards, advertising sponsorships, record labels, and philanthropic endeavors. In 2019, he was named by Forbes magazine as the first hip-hop artist billionaire, thanks to investments in clothing, champagne, cognac, the ride-hailing service Uber and his Roc Nation entertainment company. But none of this would have been possible without his music. Born Shawn Carter, he grew up in Brooklyn’s tough Marcy Houses projects and broke onto the scene with his 1996 debut album, Reasonable Doubt. His profound talent as a lyrical marksman was immediately apparent as was his commitment to tell the stories of black men trapped, and too often killed, by the cruel system in which he was raised. But after national success with his debut, could he prove himself on the worldwide stage with his 1997 sophomore album, In My Lifetime, Vol. 1.?

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LYRICISM

Jay-Z’s sophomore project In My Lifetime, Vol. 1 helped solidify his reputation as a true wordsmith. Showcasing his uncanny storytelling abilities he effortlessly raps about his rapid upward trajectory, the conflicting emotions of sudden stardom, and becoming the hottest new artist in Brooklyn. On the first track, “Intro/A Million and One Questions/ Rhyme No More,” he dives right into calling out the doubters and detractors:

“A lot of speculation
On the monies I’ve made, honies I’ve slayed
How is he for real? Is that N***a really paid?
Hustlers I’ve met, dealt with direct
Is it true he stayed in beef and slept with a TEC?
What’s the position you hold?
Can you really match a triple platinum artist buck by buck
But only a single goin’ gold.”

Never mind that Reasonable Doubt, Jay-Z’s debut album, only achieved modest success on the charts and sold less than 500,000 copies in the first year — it doesn’t stop him from bragging openly about his newfound riches: “Can you really match a triple platinum artist buck by buck/ but only a single goin’ gold.” He even audaciously compares himself to the then King of New York, Notorious B.I.G., who had only recently been murdered. Reminding everyone of his “triple platinum artist” status, Jay-Z wastes no time swooping in to claim the title for himself.

While his debut was all about exposing his mafioso style and bad boy mentality, by contrast In My Lifetime is an up-close-and-deeply personal story that showcases Jay’s talent for mining the emotional landscape. In “You Must Love Me” he opens with a verse to his addict mother, who was struggling with her own demons when her son began selling drugs: “All you did was motivate me: ‘Don’t let ’em hold you back!’/What’d I do?/Turned around, and I sold you crack.” It’s a harrowing account of a miserable childhood of violence, drugs, and a sadly marginalized life. Through it, he continues to rap, “You must love me,” which rings out like a sombre and beautiful echo. On another track, “Imaginary Player,” he appears eager to show his young followers that business acumen and rap can coexist:

“You got show dough, little to no dough
Sell a bunch of records and you still owe dough
I got 900 and 96 plus 4 mo’ dough”

Jay’s distrust of record companies was well documented even early on, leading him to form his own lucrative label with Dame Dash in Roc-A-Fella Records. In the clever bar above, he warns artists who are languishing in dead-end record labels, making money only from performances and not from album sales. In many ways, In My Lifetime served as one of the first manifestos on how to break free of the shackles of poverty and achieve success. And when it’s narrated by one of the greatest storytellers in rap history, you listen.

Regarded as one of the finest hip-hop albums of the century, Kanye’s sophomore work Late Registration also touches on thorny subjects such as poverty, drug trafficking, racism, the toxic college fraternity culture and the blood-diamond trade. By doing so, Kanye proved, especially in 2005, that he was one of the only mainstream rappers willing to tackle political issues. In “Diamonds,” he raps about the links between the jewellery trade and Sierra Leone’s civil war. In “Crack Music,” he exposes the oppression of black militancy by drug use, while in “Roses,” he takes on America’s healthcare crisis. Not a natural storyteller, Kanye’s lyrics show flashes of brilliance occasionally. But no one can ever accuse him of not using his platform to shine a spotlight on controversial topics — which is more than you can say about his peers.

Late Registration is peppered with skits and acapella monologues to relay various tales, including one about Kanye joining a black fraternity, where a proletarian ethos rules: no need for fancy cars or trophy girlfriends. However  Kanye is expelled from the fraternity after getting caught breaking the rules: making beats for money, taking showers, and buying new clothes. It’s Kayne’s attempt to debunk the myth that the American dream is attained only through materialism. “Gold Digger” is unquestionably the best-known song on the album. Featuring the sensational voice of Jamie Foxx, Kanye delves into a narrative about the dire life of an African American man being financially manipulated by his wife, a.k.a. the gold digger.

“I know there’s dudes ballin’, and yeah, that’s nice
And they gonna keep callin’ and tryin’, but you stay right, girl
And when you get on, he’ll leave yo’ ass for a while girl”

Then comes a superb plot-twist: after being faithful and sticking with his wife through all their trials and tribulations, the husband betrays her with a white woman. The gold digger needs a rich man, the rich man needs a trophy wife. It’s life in hip-hop ville, according to Kanye. “Addiction” is an underrated gem on the album, and in it, Kanye explores the existential dilemma of finding satisfaction through life’s vices:

“What’s your addiction? Is it money? Is it girls? Is it weed?
I’ve been afflicted by not one, not two, but all three”

He continues:

“Why everything that’s supposed to be bad make me feel so good?
Everything they told me not to is exactly what I would
Man, I tried to stop man, I tried the best I could
But you make me smile”

Kanye’s music is his conduit to relay stories about his life, his addictions and his obsessions. And Late Registration is full of relatable stories. He may well be a better producer than a rapper, never having delivered anything as lyrically intricate or smooth as our man Jay. But Ye, even back in the 2000s, was savvy enough — and you can’t deny his passion and determination — to know that storytelling brings people together.

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PRODUCTION

Kanye’s production skills are second to none. Late Registration is proof of his talent. The early 2000s saw work from many memorable producers but Kanye was one of the first to use samples and orchestral melodies behind his drums to provide upbeat and soulful tempos. Aside from Dr. Dre and Scott Storch, he was one of the earliest to introduce the piano to the genre, which has since become one of the most used instruments in hip-hop. It’s often said that Kanye is one of the best producer-songwriters in music history and this album was probably where that legacy first took root.

In My Lifetime showcases textbook, New York-style beats from the late 90s. Puff Daddy’s production team, The Hitmen, handled this album and included beat masters such as DJ Premier, Ski, Buckwild and Prestige. With the expertise of this top-tier production ensemble, the album possessed a vastly more polished sound than its predecessor. It even featured a series of cleverly placed samples that included Biggie Smalls on “Face Off” and Benjamin Lattimore on the intro track. In retrospect, it’s clear that this was the pivotal moment when Jay-Z began honing his musical techniques and decided to transition from using standard drum beats to more sophisticated ones.

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IMPACT

In My Lifetime Vol. 1 and Late Registration are undoubtedly two of the most prominent hip-hop albums in the past thirty years. For Jay-Z, it was his first opportunity to start a global dialogue about his impoverished beginnings, paired nicely with some bragging about his jiggy and newfound lavish lifestyle. But at its core, it was an album that spoke to the streets and all of the young people living there who endure so much. Go ahead, dream, Jay-Z tells them, because you too can straddle both extremes.

For Kanye West, Late Registration was proof of his brilliance and his role on this earth: to transform the production-scape of rap albums forevermore. People also learned that he’s an artist willing to start necessary dialogues by going to places many rappers are too afraid to deal with. The world got their first taste of the full Kanye West package with Late Registration, hailed an “undeniable triumph” by Rolling Stone magazine and adored by millions. Let us know which album you think is best.

Unashamed of sharing his L’s, another portion of EPMD legend Erick Sermon‘s interview with the No Filter Podcast has surfaced. We previously reported that Sermon shared that he was asked to produce a track for Nas’s Illmatic, but he passed on the opportunity because he wasn’t vibing with rising rapper’s street sound. Sermon also stated that Christopher “Notorious B.I.G.” Wallace asked to be featured on one of Sermon’s records, but he told him no because he wasn’t sure if it would be a good look.

Now, Sermon tells the tale of artists he could have signed back in the day. “I was on Raekwon‘s steps and he was Shallah at the time and he wanted to sign with me. He’ll tell you the story,” Sermon said, adding that he told Raekwon that he wasn’t really in a position to ink deals with anyone. “[I was] too young at the time to know what to do with something like that. Too young.”

Sermon also said that he passed up opportunities to sign Ludacris and The Game. As far as Luda was concerned, Sermon thought the young rapper sounded too much like Redman. “If you would have heard the demos, you would have really thought that,” he said. “And then, again, him having the afro look. It was a whole thing that he came with, but me and Luda became good friends. When Luda got signed, he called me and asked me where should he go to… I told him to go to Def Jam.”

The EPMD icon shared that he met The Game while he was walking around L.A.’s Fox Hills mall. He told Game to “spit 16” but the young rapper didn’t know what Sermon meant. “Game knew how to rhyme, but he didn’t have a format of being that.” Later, Sermon met up with Game and G-Unit early on in the Compton rapper’s career. The two talked about their first meeting and Sermon admitted to Game that he wasn’t upset that he signed to G-Unit because, like Raekwon and Luda, Sermon admitted he “wasn’t ready.” 

Watch Sermon chat candidly about a few of his missed opportunities below.

Today, Eminem surprised the world and dropped his tenth studio album Music To Be Murdered By. Here are some of the key takeaways. 

THE GANG’S ALL HERE

Like Kamikaze, Music To Be Murdered To brought several new collaborators into Em’s circle, including three placements from D.A. “Got That Dope” Doman. For the most part, however, the album find Em reconnecting with many longstanding collaborators, including the main musical core behind Relapse. For the first time in a minute, Dr. Dre blessed Slim with four instrumental contributions, not including skits: “Premonition,” “Never Love Again,” “Little Engine,” and “Lock It Up.” Alongside the Good Doctor stood producer Dawaun Parker, the clutch behind-the-scenes MVP behind much of Relapse. 

Another recurring presence is Luis Resto, a multi-instrumentalist responsible for working on many of Eminem’s best beats of all time. A perusal through the credits reveals Resto’s name on fifteen of the album’s twenty cuts, providing “additional keyboards” as well as deeper compositional contributions. As one of his most loyal collaborators behind-the-scenes, it’s time to start recognizing Resto’s impact on Em’s sound.  

Though Music To Be Murdered To found Em collaborating with many new friends, he also made sure to connect with some former collaborators. Former D12 associate turned hype-man Denaun Porter lays down a kinetic beat for the lyrical banger “Yah Yah,” which marks Em’s first official collaboration with Q-Tip. Not to mention his first official collaboration with Black Thought following their turn on the 2009 BET cypher. He even brought Slaughterhouse out of retirement on “I Will,” though old friend-turned-foe Joe Budden was a notable snub. Naturally, longtime friend and collaborator Royce Da 5’9 held it down with three verses and a few production credits, and it wouldn’t be an Eminem album without a hook from Skylar Grey. Even Alchemist, who spent a longstanding run as Em’s touring DJ, came through to co-produce on “Stepdad.”

TORBEN CHRISTENSEN/AFP Getty Images 

DEATH BY A THOUSAND CUTS

Since declaring war on his enemies in 2018, Em spent the majority of the following year fielding petty shots and deeper critiques from the likes of Lord Jamar, Machine Gun Kelly, and Nick Cannon. And while many fans openly prayed for Em to rain fire and brimstone upon him, it seemed unlikely that he would dedicate a full diss track to one singular party. It’s no surprise to see Slim address each one individually on Music To Be Murdered By, to varying degrees of intensity. 

Lord Jamar catches the most bars, as delivered on Slaughterhouse collaboration “I Will.” As his verse nears its conclusion, he reverts back to the “hip-hop-as-a-house” analogy that has been a throughline throughout their war of words:

I am far more worse than a forty-some bar Lord Jamar verse
Nothing means more than respect, so when I curse
You could say I swore to protect
My image I have zero time or regard for
A never-was-been claiming rap when it’s not yours
If it was anyone’s house G Rap and Rakim would be having you mop floors
Run-DMC would be havin’ you cleanin’ sinks
Yeah your group was off the chain, but you were the weakest link

Given that Jamar will likely respond to this by the time next Monday rolls around, it’s likely this particular cycle will continue until it simply dissipates. On that note, Em also addressed Machine Gun Kelly twice, leaving fans unpacking his motive through mixed signals. The first arrived on the Young M.A. collaboration track “Unaccomodating,” as Em seemingly moved to call a halt on the once-heated duel between Rap God and Rap Devil. “But when they ask me is the war finished with MGK? Of course it is / I cleansed him of his mortal sins, I’m God and the Lord forgives — even the devil worshippers,” raps Em, in the second verse. “I’m moving on but you know your scruples are gone when you’re born with Lucifer’s horns.” 

While this confident declaration of victory could easily be seen as — at the very least — mildly antagonistic, it still feels like an armistice. And yet, merely eight songs later, he’s letting off another jab. On a track with Royce Da 5’9”, Black Thought, and Q-Tip of all place, Em took a moment to son the Gunner, spitting a dexterous scheme equating him to a premature baby born in his image: “Me and this game we got married already, had the prenup ready, fucked on her, should’ve seen her belly / she barely was three months pregnant, Bitch had to give me a baby, we named it Machine Gun Kelly.” One big happy family. 

And course, the trilogy wouldn’t be complete without a reference to Nick Cannon, who has been doing his damndest to elicit a response from his longtime sparring partner. His wish, albeit a diluted version, was granted on “No Regrets.” “For some adversaries, I carry big guns,” he spits, in what feels like a spiritual successor to “Fall.” “So some targets’ll get the kill shot, some, I just barely nicked ’em.” 

Jeff Kravitz/FilmMagic/Getty Images 

ROOTS RUN DEEP

If there’s one thing that has remained important to modern-day Eminem, it’s the preservation of hip-hop history. In an age that finds many young voices glossing over the cultural forefathers, Em has made it his personal mission to shout out his peers and chief influences alike. One of the first mentions arrives on the opening track “Premonition,” as Em shouts out three of his former collaborators; by his estimation, Tech N9ne, 2 Chainz and Jay-Z are kindred spirits, inevitably plagued by some of the more frustrating critiques. “Instead of us being credited for longevity and being able to keep it up for this long at this level, we get told we’ll never be what we were,” he vents. “Bitch, if I was as half as good as I was, I’m still twice as good as you’ll ever be.”

A proud student of the school of “Notorious, Puba, Cube and The Poor Righteous Teachers,” Em also takes a moment to shout out his old pal Sticky Fingaz on “Godzilla.” And while quick homages are scattered throughout, the centerpieces arrives on golden-era homage “Yah Yah.” It’s only appropriate that a gathering of elite lyricists is home to Slim’s love-letter to his formative influences: 

Now here’s to LL, Big L and Del
K-Solo, Treach, and G Rap
DJ Polo, Tony D, ODB, Moe Dee, Run-DMC
Ed OG, and EPMD, D.O.C., Ice-T, Evil Dee
King Tee, UTFO, and Schoolly D, PE, and BDP
YZ and Chi-Ali, Rakim and Eric B., they were like my therapy
From B.I.G. and Paris, Three Times Dope, and some we’ll never see, and PRT
N.W.A and Eazy-E, and D-R-E was like my GPS
Without him, I don’t know where I’d be

Be sure to check out Music To Be Murdered By, itself a homage to the Master Of Suspense Alfred Hitchcock, and share your thoughts accordingly. 

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If you ever sit down with hip hop legends, you’ll hear them share stories of what they consider to be their biggest L’s. Missed opportunities seem to be what can plague an artist, and in a recent chat with the No Filter Podcast, Erick Sermon had no problem sharing two regrettable decisions that he lives with until this day. 

Christopher Polk / Staff / Getty Images

Christopher “Notorious B.I.G.” Wallace is hailed as one of the best rappers to have ever picked up a mic, although his career was short-lived. The 24-year-old rapper was gunned down in Los Angeles during a drive-by in 1997, and by that time he was already a hitmaking, award-winning star. However, before he became the big-name rapper that we know today, he was just Biggie from Brooklyn trying to make it in the industry.

Erick shared that he had run into Biggie around New York and expressed interest in working with the rising rapper. When Biggie heard that Erick was working on a record, he sent word to the hip hop icon that he wanted to a spot on the album. Erick now shares that he turned Biggie down and told him no because he had his own crew including the likes of Redman and Keith Murray, and admitted that he didn’t think featuring B.I.G. would be a good fit.

Sermon also shared that he turned down an opportunity to work with Nas a producer on his critically-acclaimed classic album Illmatic. “So he comes and sits down, I give him C-list beats Doggy. Because don’t forget all my rappers is ‘Wiggity Wow’ and when I ‘S-P-E-L-L’ and I got Redman, I have these others. So that street content, I couldn’t really get with that. I know it sounds crazy, though, man.” He added, “I didn’t hear Illmatic, he was making Illmatic. When he left me, he went to Pete Rock... I’m sitting here thinking that this is a kid from Queens that is just rhymin’ again, but I don’t understand.”

Nas and Sermon did end up working together and according to Sermon, they completed three songs. However, the studio that housed the tracks burned down. Meanwhile, after Illmatic came out, Erick said he wasn’t immediately regretful. “I’m ain’t gon’ lie to you, I didn’t look at it like that at that time then. I was a star,” he said. “Business As Usual was out and now we getting ready to drop ‘Crossover’ and ‘Headbanger’ and I got Redman coming out. Don’t forget, that wasn’t my style of rap.” Check out Erick Sermon share his stories below.

This year’s Rock & Roll Hall of Fame inductees were announced on Wednesday (Jan. 15) and it included some of the most notable acts in the music industry over the past several decades. Some of those names included The Doobie Brothers, Nine Inch Nails, the late Whitney Houston, and more. However, this year’s inductee list includes the name of a well-respected, legendary emcee within the culture, none other than the only Christopher we acknowledge, the Notorious B.I.G.  

With the news breaking that the “Kick in the Door” rapper was being added to one of the most prestigious historical museum sites in music history, Biggie’s closest counterparts in his mother, Voletta Wallace, and Diddy, his longtime friend/brother and collaborator, had the warmest receptions to the report. 

In an Instagram video that started off with a scream and Biggie’s “Juicy” playing in the background, the Bad Boy CEO excitedly says, “Whew! Ayo, I wanna share this special moment, special announcement with y’all. Biggie, you did it! You did it, motherf**ker! Yeah! The Notorious BIG is going to be inducted into the rock and roll motherf**king Hall of Fame. What the f**k! What the f**k! Love! We miss you, king. New York stand up! Brooklyn, yeah!”

Wallace’s mother Voletta carried out her appreciation in a much calmer manner in the form of an over-the-phone interview with Billboard. While speaking with the publication, Wallace expressed her gratitude stating, “Today, I’m feeling great… As a mother, I’m extremely proud of his accomplishments. You know, I still see such a young man at a young age, and sadly, he’s not here to witness all this. But it’s an astute honor, and as a mother, I’m just elated for that.”

Ms. Wallace continued, “Many of (his songs) speak truth. It might be gritty, and maybe the language is so out there, but he was honest. There was nothing fake about what he was doing. I think for such a young man to resonate such honesty in his lyrics is awesome.”

She closed out the conversation saying, “This legacy was trusted to me, and I have to respect it. I couldn’t walk away from his legacy, so I have to care for it, I have to love it, and I have to respect it.”

The 2020 Rock & Roll Hall of Fame class induction ceremony will take place in the month of May at in Cleveland’s Public Auditorium & Conference Center. The Life After Death creator will be joining his former friend Tupac Shakur as the seventh hip-hop act in history to be honored by the Rock & Roll Hall of Fame. Check out Diddy‘s hype IG post celebrating Biggie’s induction to the Rock & Roll Hall of Fame below.

Steve Harvey became a household name as the beloved host of Family Feud, but it looks like the seasoned comedian will soon be prepping for a whole different type of feud if he doesn’t stop stealing jokes from equally legendary jokester Mark Curry.

The former Hangin’ with Mr. Cooper star recently gave TMZ an earful of his disdain for Harvey’s biting ways, telling the media outlet, “My thing with Steve Harvey is that he used my material on both his platforms,” referring to Harvey’s stints on the NBC shows Little Big Shots and the daytime talk show Steve which was canceled last year. Even after approaching him at Def Comedy Jam 25 in 2017 about the subject, Curry says Harvey is still on his “jacking joints” steez that he spoke publicly about on FOX SOUL’s The Mike & Donny Show last month.

As TMZ puts it, Harvey stole one of Curry’s Halloween bits on the latter show a few years ago, then turned around and did it again on Little Big Shots, which Mark wrongfully-yet-hilariously refers to as “kids say the somethin’ somethin’.” He even uses a classic rap reference to make his point even clearer, stating to TMZ, “When Puffy sampled, he did it right!” in reference to Puff Daddy producing hits in the ’90s for the likes of The Notorious B.I.G., 112, Faith Evans and others that heavily sampled soulful records from the ’60s, ’70s and ’80s.

While we’re sure this beef won’t be approaching 50 vs French Montana levels anytime soon, at least it’s producing some positive outcomes. Mark Curry confirmed that his frustration with Harvey stealing his material has actually inspired him to come out of retirement to do a whole new comedy special, even listing Netflix, HBO, Showtime and Bounce TV as potential hosts.

A battle royale-style sequel to Kings Of Comedy? We’re here for it! Watch the full clip below TMZ: