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Back in June, Trippie Redd announced the dates for his 2023 Take Me Away tour, a North American fall outing that was slated to kick off on August 31 and keep him on the road through Oct. 9. And then, recently, the “Danny Phantom” MC canceled the dates with no explanation. Explore Explore See latest […]

Snoop Dogg is a man of his word. After promising to return a verse to T-Pain within the next 48 hours upon receiving it, The Doggfather delivered, and as a result, the “Buy U a Drank” crooner released his new single “That’s How We Ballin.” Explore See latest videos, charts and news See latest videos, […]

An Atlanta judge ruled Thursday that he would allow many of Young Thug’s rap lyrics to be used as evidence against him and other alleged gang members in their upcoming criminal trial, rejecting arguments that doing so would violate the First Amendment.
The ruling came a day after Fulton County Superior Court Judge Ural Glanville held a hotly-anticipated hearing about the use of lyrics as evidence – a controversial practice that has drawn backlash from the music industry and efforts by lawmakers to stop it.

The lyrics could play a key role in the trial, which will kick off later this month. Prosecutors allege that Thug (Jeffery Williams) and his “YSL” were not really a popular music collective called “Young Stoner Life,” but a violent Atlanta gang called “Young Slime Life” that committed murders, carjackings, drug dealing and other crimes over the course of a decade.

Representing the superstar artist, attorney Brian Steel blasted prosecutors for attempting to use creative expression to convict his client. “They are targeting the right to free speech, and that’s wrong,” Steel said. “They are saying that just because he his singing about it, he is now part of a crime.”

But after an hours-long hearing that ran until nearly 9 pm on Wednesday evening, Judge Glanville largely rejected those arguments. “They’re not prosecuting your clients because of the songs they wrote,” Glanville said from the bench. “They’re using the songs to prove other things your clients may have been involved in. I don’t think it’s an attack on free speech.”

In a formal ruling on Thursday morning, the judge denied Thug’s request to ban the lyrics entirely, and granted a motion by prosecutors to preliminarily admit them. Though Judge Glanville said prosecutors would still need to establish why they were using them and that Steel could object during the trial, the judge repeatedly suggested at Wednesday’s hearing that he would allow lyrics to be admitted as evidence and that it would be up to jurors to decide how much weight to give them.

At the hearing, prosecutor Michael Carlson urged Judge Glanville to avoid sweeping questions about free speech. He said the actual issue before the court was not rap lyrics but rather “proclamations of violence” by alleged gang members that are “highly relevant in this case.”

“The issue here is not rap,” Carlson said. “This is not randomly the state attempting to bring in Run DMC from the 80s. This is specific. These are party admissions. They just happen come in the form of lyrics.”

Near the end of the hearing, Carlson sharply criticized the suggestion that the rap lyrics in question were simply works of art without a direct link to real events. “People can look at that indictment and see one thing that’s for sure not fantasy: People are dead. Murdered.”

“That’s not fantasy, your honor,” Carlson said. “That’s tragically real.”

Earlier on Wednesday, prosecutor Symone Hylton highlighted specific lyrics that the state plans to play for jurors during the trial and explained why they were relevant enough to be admitted. They included lines from Thug’s 2016 song “Slime Shit,” in which he raps about “killin’ 12 shit” and “hundred rounds in a Tahoe.”

Hylton argued that “12” is a well-known euphemism for police officers, and that the lyric referred to a specific incident in which an officer was shot by a YSL member. And she said that the “Tahoe” lyric was a boast about the 2015 murder of Donovan Thomas – a key allegation in the indictment.

“Not only did Donovan Thomas drive a Tahoe, there were multiple rounds of shell casings laid out on the ground where he was killed in front of his barber shop,” Hylton said. “While [the lyric] may on the surface seem irrelevant, when you put it to the facts that are going to come out in this case, that particular verse becomes very relevant.”

Among other songs, she also referenced the 2018 track “Anybody,” in which Thug raps “I never killed anybody/ But I got somethin’ to do with that body”; and the song “Really Be Slime,” a 2021 compilation track released by Young Stoner Life Records that features the line “You wanna be slime? Go catch you a body.”

“It’s the state’s contention that [the lyric] means you go out and you go murder someone,” Hylton said. “That’s how you become ‘slime’.”

Young Thug, Gunna and dozens of other alleged YSL members were indicted in May 2022. Gunna and several other defendants eventually reached plea deals, and other defendants were separated from the main case, leaving just Thug and five others to face a jury. If fully convicted, he could face a life sentence.

After months of delays, a jury was finally seated last week, clearing the way for the trial to kick off on Nov. 27 – proceedings that are expected to last well into 2024. But before then, Judge Ural Glanville must decide on whether the jury can hear his lyrics as part of the prosecution’s case.

Civil liberties activists and defense attorneys have long criticized the use of rap lyrics to win criminal convictions. They argue that it unfairly targets constitutionally protected speech, treating hyperbolic verse as literal confessions; they also say it can unfairly sway juries by tapping into racial biases.

Lawmakers in California enacted legislation last year restricting the use of creative expression as evidence in criminal cases, and a federal bill in Congress that would impose similar restrictions has been widely supported by the music industry. But absent such statutes, courts around the country have mostly upheld the right of prosecutors to cite rap lyrics, particularly in gang-related cases.

In his arguments Wednesday, Thug’s lawyer Steel echoed such concerns in pushing to exclude the lyrics from the case. He noted that many other artists had used similar phrases – he name-dropped Rick Ross, Meek Mill and Cardi B — and that rap lyrics are often exaggerated or wholly fictional. Steel argued that individual lyrics should only be admitted when prosecutors have linked them much more specifically to actual alleged actions – an analysis he said the DA’s office had failed to perform.

But Steel’s main message for Judge Glanville was that using the lyrics would violate the First Amendment and its protections for free speech, arguing that it would effectively criminalize the output of a “prolific songwriter.”

“A person in America can say I hate Brian Steel, I hate criminal defense lawyers, I hate prosecutors, I hate judges,” Steel said. “We believe that we flourish when we can share ideas even when they’re repugnant, even when you don’t agree with them.”

“If you allow this evidence,” Steel said, “it’s going to have a chilling effect.”

But Judge Glanville was skeptical of Steel’s arguments from the beginning, repeatedly suggesting that he believed some of the lyrics were relevant enough to be admitted in the case — and occasionally showing frustration with Steel’s arguments to the contrary. At one point, he interrupted Steel to say that “the First Amendment is not on trial.”

Later, Steel said that prosecutors were using Thug’s “words” to convince jurors that he was “a bad man” — the kind of improper “character” evidence that is typically rejected. But Judge Glanville again had a quick retort: “No they’re not. They’re using his words to show that he’s involved in a gang.”

Megan Thee Stallion‘s new single, “Cobra,” already hits pretty hard. With its chunky guitar riff and ominous beat, the latest song from the “Bongos” MC — which dropped last week — came locked-and-loaded with a slamming surfeit of grit and gravity in lyrics about stress, anxiety, pain and determination.
So it makes perfect sense that Meg would take all that angst and roiling emotion, turn it up to 11 and break off the knob on a metal-edged remix. Which is exactly what she did on Wednesday (Nov. 8), when the Houston spitter dropped a face-melting rock re-do of the track featuring Canadian alt-metal band Spiritbox.

The 2.0 version opens with the same big guitars, but then explodes into a booming, reverb-drenched cascade of arena rock attitude as Megan’s voice is joined by yearning/screamo vocals from Spiritbox singer Courtney LaPlante and guitarist Mike Stringer’s sonic boom strumming, giving the song a Linkin Park/Evanescence-like vibe.

LaPlante thanked Megan for roping her band into the remix, writing on Instagram, “Thank you Megan for allowing us the opportunity to collaborate on your already iconic new song ‘Cobra.’ I am beyond grateful to you.” Guitarist Stringer added, “Thank you to Megan for trusting us to mash up both of our worlds. Nothing but respect, and gratitude. It’s an absolute honor.”

After dropping the song last week as the first single on her own label, Megan said the song about losing her grandmother, a rough breakup and the trauma of two court cases was a track that exemplifies the fierce, hooded snakes that exemplify “courage and self-reliance. They stand tall and fierce in the face of challenges, teaching one to tap into their inner strength and rely on oneself to conquer their threats. Emulating the cobra helps one be more confident in the person they are within.” 

The three-time Grammy winner revealed last month that she wasn’t signed to a label anymore. “This part of my album is very much so funded by Megan Thee Stallion because we’re trying to get off … Y’all know what’s the tea. But I have no label right now,” she explained of her decision to go it alone after recently settling a yearslong legal battle with her former record label, 1501 Certified Entertainment. “We’re doing everything funded straight out of Megan Thee Stallion’s pockets. So, the budget is coming from me. Motherf—ing Hot Girl Productions! The next s— y’all about to see is all straight from Megan Thee Stallion’s brain and Megan Thee Stallion’s wallet. We are in my pockets, hotties, so let’s do our big one.”

Listen to the “Cobra” remix below.

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C-Knight, a founding member of Long Beach G-funk rap crew Dove Shack, has died at age 52. The news was confirmed by TMZ on Tuesday (Nov. 7), when a member of the rapper’s family reportedly told the gossip site that the MC born Arnez Blount had died that day after being taken off life support […]

On Tuesday (Nov. 7), Timbaland walked back his recent misogynistic statement about Britney Spears after a furious backlash against the producer for comments he made in an interview last month in which he said frequent collaborator Justin Timberlake should have put a “muzzle” on his one-time girlfriend Spears.
“I apologize to the Britney fans, and her,” Timbaland said somberly during one of his regular live TikTok chats while reading a comment asking him about his attitude towards women. “Yes, ‘you know about respecting women? Hell yeah!”

Rolling Stone reported that Timbaland additionally said, “I’m sorry to all the Britney fans, even to her. I’m sorry, because muzzle was — no, you have a voice. You speak what you want to speak. Who am I to tell you what not to speak? And I was wrong for saying that. I was looking at it from a different lens and what I am is a reconcile person. I’m not a person who takes sides.”

The reaction came after Timbaland took questions from the audience during an Oct. 29 live interview with 9th Wonder at the Kennedy Center for Performing Arts in Washington, D.C. in which someone asked about the renewed interest in JT’s Tim-produced “Cry Me a River” in the wake of Spears’ best-selling tell-all memoir, The Woman in Me.

The 2002 song from Timberlake’s first solo album, Justified, is widely seen as a reaction to the singer’s split with Spears — down to the casting of an unfaithful blonde woman who looks eerily like Britney in the video — and when asked about the song during the chat last month, Timbaland said, “She going crazy, right? I wanted to call and say, ‘JT, you gotta put a muzzle on that girl.”

Spears and Timberlake dated from 1999-2002, and Britney delves into aspects of their relationship in the memoir, including an abortion she underwent while they were together. “Justin definitely wasn’t happy about the pregnancy. He said we weren’t ready to have a baby in our lives, that we were way too young,” she wrote, adding, “To this day, it’s one of the most agonizing things I have ever experienced in my life.”

In the book Spears also notes that the “Cry Me a River” video featured a “woman who looks like me cheats on him and he wanders around sad in the rain” and that the media attention to the video for the song that Timbaland co-wrote and co-produced turned her into a “harlot who’d broken the heart of America’s golden boy.” In reality, she added, she was broken-hearted and “comatose in Louisiana” while JT was “happily running around Hollywood.”

Spears fans were furious after the Timbaland comments surfaced, slamming the producer for his sexist statement. At press time it did not appear that Timberlake — who has kept a low profile during the run-up and roll-out of the Spears book — had reacted to either the original Timbaland statement or the apology; Spears also appears not to have posted a reaction to either comment.

Jack Harlow has earned a lot of flowers in his career, but on Tuesday night (Nov. 7) the “Churchill Downs” MC got a surprise shout-out from an unexpected collaborator. “Tonight Kentucky made a choice. A choice not to move to the right or to the left, but a choice to move forward for every single […]

If you’ve ever gotten sideways with the Barbz in comments, you know how hard the Nicki Minaj fan army will go in support of their queen. But over the weekend, Minaj took to her Instagram Story to ask her most ardent supporters to tap the brakes when it comes to defending her honor. “Dear Barbz, […]

It’s Sunday night, backstage ahead of the second Los Angeles show of Lauryn Hill and the Fugees’ anniversary tour. It will be a few hours yet before Hill opens the concert with a solo set of The Miseducation of Lauryn Hill, 25 years after its release. The seats in the arena are slowly starting to fill.
Prakazrel “Pras” Michel, a founding member of the Fugees, is sitting in his dressing room at the Kia Forum, watching the Buffalo Bills play the Cincinnati Bengals. Tonight is a celebration — of his landmark group, of all of the generations who have loved their music — and of his freedom, however much remains.

In April, the rapper accused in multimillion-dollar political conspiracies spanning two presidencies was convicted of 10 counts, including conspiracy and acting as an unregistered agent of a foreign government, after a trial in Washington, D.C., federal court that saw testimony from the likes of Leonardo DiCaprio.

“Some of the lyrics, this art, is imitating my life right now,” he reflects on Fugees’ legacy and this tour, taking place 27 years after the release of the Grammy-award winning The Score, his rap trio’s second, final, and culture-shaping album. “Especially when I talk about feds and this and that.”

The “Ms. Lauryn Hill & Fugees: Miseducation of Lauryn Hill 25th Anniversary Tour” has dates scheduled through mid-December. Michel, who faces up to 20 years in prison on the top counts, doesn’t have a sentencing date yet. But, he says, he was never concerned about being able to do the tour.

“I trust the process,” Michel explains. He has a new attorney, Peter Zeidenberg, and is optimistic.

Last month, Michel argued in a motion for a new trial that, among other errors, his previous defense attorney used an “experimental” generative AI program to help write closing statements. In the closings, the attorney appeared to confuse key elements of the case and misattributed lyrics — “Every single day, every time I pray, I will be missing you” — to the Fugees instead of Diddy, according to the motion for a new trial.

“Obviously there’s been a little bit of progress, so we’ll see what happens,” Michel says.

Despite that run-in with artificial intelligence, though, he hasn’t soured on the concept: The world needs to recognize the technology is in “its infancy stage,” Michel says, and there’s a long way to go. “It’s the future.”

Outside his dressing room, the narrow hallways of the famed Inglewood venue are full of excited spectators made up of friends, family, fans — including an ecstatic Tiffany Haddish. Wyclef Jean’s room quickly becomes the center of the party, with Drake’s “Started from the Bottom” playing over a loudspeaker as he shows off his performing fit.

Far too often, reunions feel like cheap plays at nostalgia — not so much a celebration of the great work that came a couple decades prior, but an attempt at capitalizing on collective memory. There is no such sentiment here. When Jean, the third member of the Fugees, thinks about the way these performances affect him, it’s a homecoming — and the result of many years of hard work.

“If you ever created a band like in high school the first year of college, that’s what it feels like. So, like the Beatles, for example. It’s almost like you rehearse all your life through high school so you never have to rehearse again,” he says. “And tonight is monumental, because the arena we’re playing here, this is (where) the early Lakers (played). And so that’s how I always explain the Fugees. You know, I said, it’s like Showtime Lakers.”

The Fugees’ message is prescient, too — Michel points out a song like “Mask,” and its resonance with members of a younger generation who have gone through the coronavirus pandemic.

“It’s almost like we prophesized a lot of things,” he says.

So how does a group know when they’ve got some magic? That a reunion tour is truly special? Jean compares it to a mountain — people don’t see the “combustions” that formed it over years — only “the end result, which is beautiful,” he says.

“And that’s sort of like how music is made,” Jean says. “So, when you make music that’s vulnerable, whether it is Stevie Wonder, Earth, Wind & Fire, the Fugees, Nas’ Illmatic, 50 Cent’s Get Rich or Die Tryin’, it’s going to always last forever.”

Close to 10 p.m., Hill emerges. She is awarded a plaque for The Miseducation of Lauryn Hill receiving diamond RIAA status; quotes from bell hooks appear on the screen behind her. In the first of many surprises, Nas appears on stage to perform “If I Ruled the World (Imagine That).”

Hill is joined by Jean and Michel, and it is as if no time had passed. Then Cypress Hill’s B-Real comes out, as does Lil Wayne for “Ready or Not” and “A Milli.”

Afterward, fans pour out into the night. Nearby, rapper Travis Scott’s show is wrapping up at SoFi Stadium. The two audiences weave into one in the street; here are the past, present, and future of hip-hop, intertwined.

As we await both the fate of Kanye West’s long-teased comeback and Friday’s Grammy nominations announcement, the biggest names and fastest-rising stars across hip-hop and R&B have maintained a steady stream of new music for our listening pleasure. As per usual, last Friday (Nov. 3) flooded DSPs with a host of new tracks — including some fun takes on contemporary holiday music — to usher us into the final two months of the calendar year.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Destin Conrad and Masego’s blistering duet to Azealia Banks’ long-teased drill anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.

Freshest Find: Rapsody, “Asteroids”

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“My insecurity is the fear of being rejected / When you this raw they listen with an erection / Niggas pull the Drac’ before they rap about affection / There I go, hard to rap without a message,” Rapsody spits in the first verse of “Asteroids,” her new Hit-Boy-helmed single. With jazzy, percussive production, Hit-Boy provides Rapsody with ample room to lob some “asteroids” at the rest of the rap game. These aren’t direct, petty shots, but astute observations as to where the rap game is in relation to where it could and should be. Rapsody’s flow continues to be virtually peerless; she effortlessly switches between different pockets in the beat without ever making her transitions feel clunky or sloppy. From her slick punchlines to Hit-Boy’s wailing guitar, “Asteroids” is a winner.

UMI, “Why Don’t We Go”

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Over a breezy, dream-pop-inflected instrumental, UMI delivers a summery song about escaping into a physical and emotional space of intimacy with her special partner. “Why don’t we go somewhere we only know / Climb into me, into my waterfalls / Up in the clouds, yeah, we’ve been there before,” she croons. She opts for a no-frills vocal delivery, which allows for a greater focus on the heartwarming simplicity of her songwriting and the track’s overarching concept — it doesn’t actually matter where UMI and her lover are going, as long as they’re going together.

Ye Ali feat. RyFy & Dcmbr, “Zodiac”

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Joining a long line of horoscope-minded R&B joints, this new link-up between Ye Ali, RyFy and Dcmbr is a worthy addition to the lexicon. Steeped in neo-soul with a dash of alternative rock, “Zodiac” finds the three artists not-so-radically flipping the script on the star sign concept. Instead of whittling down the different signs and eventually landing on one that is inherently incompatible with them — they land on them all. “Virgos in LA, Capricorns make me stay / Leos can’t be tamed, but I like it that way / Taurus what I want, Scorpio’s what I need / Every damn day I need a zodiac freak,” Ye sings over the slinky arrangement, just barely reaching the deepest points of his breathy lower register in the process.

Doeboy, “Ain’t Bout Nun”

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For the latest taste of his forthcoming Ignorant EP, Doeboy joins forces with Tay Keith for a blistering warning to all his ops with “Ain’t Bout Nun.” Over skittering snares, Doeboy balances a carefully ambivalent main vocal, with ad-libs that add flashes of character dynamism, for a rap performance that captures every emotional shade of the taunting process. The hook is direct, but it’s that just-shy-of-monotone delivery that makes it feel all the more menacing. “You want war, b–ch, I want duck, it ain’t ’bout none / My ice on, you ain’t gon’ touch, it ain’t ’bout none / If I want her, then I’m f–kin’, ain’t ’bout none / What you want? Ain’t got no budget, ain’t ’bout nothin,’” he spits.

41, Kyle Richh & Jenn Carter, “Stomp Stomp (feat. TaTa & Dee Billz)”

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Having already scored some of the year’s defining regional hits in “Bent” and “Jenn Jenn Jenn,” 41 — the fiery Brooklyn drill collective comprised of TaTa, Kyle Richh and Jenn Carter — continue their real-time documentation of hip-hop’s evolution with “Stomp Stomp.” Drawing on elements of Soulja Boy’s eternal “Crank That,” 41 combines the brash, no-holds-barred delivery of DMX with the quick-based bullet point flow of contemporary New York drill stars like Fivio Foreign, for a track that sits at the center of sample drill’s danceability and genuinely impressive bars — an area in which Jenn Carter routinely shines brightest.

Lucky Daye, “That’s You”

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The D’Mile Musical Universe just keeps getting more intertwined: “That’s You” — the new single from Grammy-winning R&B star Lucky Daye — finally marks the union of two D’Mile disciples, Daye and Bruno Mars. With the “Leave the Door Open” singer on co-production and co-writing credits, Lucky dives headfirst into ’70s-informed R&B songcraft — a notable departure from the more contemporary stylings of Candydrip, his most recent LP. “I been numb, so numb / Spendin’ every dime to gеt everything I want / Therе’s only one thing missing in life / That’s you,” he croons, positioning himself squarely in the “sing-pleading in the rain” era of male R&B.

Shenseea feat. Lola Brooke, “Beama”

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Just as rap is a child of rock-n-roll, it’s also a child of reggae, as Shenseaa reminds us with her new Lola Brooke team-up, “Beama.” It’s a smart collaboration, considering that Brooke already has some West Indian-adjacent inflections in her voice thanks to her hometown of Brooklyn’s position as a major Caribbean immigration hub. With production contributions from London On Da Track, Dready and Philip Cornish, “Beama” finds Shenseea and Brooke getting serious. While both artists have dropped party tracks this year, “Beama” — with its hard-hitting drill-inflected beat — is all about putting the opps on notice. “VVS so cold, straight out of my freezer / Me nuh play, like the dealers, top shottas and squeezes / Me nuh talk to bum bitch bottom feeders / Hot head fever, top model diva,” the Jamaican dancehall artist spits.