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Hip-Hop

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Jon Batiste has been lucky so far and avoided being pelted on stage by any sex toys, cell phones, bracelets or mixed drinks. But when the former Late Show bandleader and Grammy-winning solo star sat down with Andy Cohen on Thursday night (Aug. 10) on Watch What Happens Live for a round of rapid-fire “Spill […]

Following his 10-year prison sentence this week for shooting Megan Thee Stallion, Tory Lanez took to Instagram late Thursday (Aug. 10) to maintain his innocence and declare that he won’t “stop fighting till I come out victorious.”
Lanez (real name: Daystar Peterson) — who was convicted on three felony counts in December over the 2020 shooting — addressed the note to his “Umbrellas” fan group.

“I have never let a hard time intimidate me,” he wrote. “I will never never let no jail time eliminate me. Regardless of how they try to spin my words, I have always maintained my innocence and I always will.”

He writes that during his sentencing hearing, he took responsibility for “verbal and intimate moments that I shared with the parties involved,” but not for the shooting itself. “In no way shape or form was I apologizing for the charges I’m being wrongfully convicted of. I remain on the stance that I refuse to apologize for something that I did not do.”

Tuesday’s decadelong prison sentence for Lanez — which comes more than three years after the July 2020 shooting — was more than the probation sought by his lawyers but less than the 13 years prosecutors had suggested. The shooting occurred after Lanez, Megan Thee Stallion (real name: Megan Pete) and their friend Kelsey Harris left a party. According to prosecutors, Meg exited the vehicle and Lanez shot at her feet while shouting, “Dance, bi—!” Lanez was charged with the shooting in October 2022.

Read Lanez’s new statement in full below:

To The Umbrellas,

I have never let a hard time intimidate me. I will never never let no jail time eliminate me. Regardless of how they try to spin my words, I have always maintained my innocence and I always will.

This week in court I took responsibility for all verbal and intimate moments that I shared with the parties involved. … That’s it.

In no way shape or form was I apologizing for the charges I’m being wrongfully convicted of. I remain on the stance that I refuse to apologize for something that I did not do.

I’ve faced adversity my whole life and every time it looked like I would lose, I came out on top. This is nothing but another moment where my back is against the wall and I refuse to stop fighting till I come out victorious.

Tough times don’t last, tough people do.

To my family, friends and umbrellas thank you for your continued support.

See you soon.

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Hip-Hop celebrates 50 years of existence on August 11, and the genre continues to expand far beyond its origins in the Bronx into what is now a global phenomenon. To honor the evolution and existence of Hip-Hop, Hip-Hop Wired compiled a 50-song playlist that we hope captures the best the music and culture has to offer.
Photo: Getty

We’ve been creating playlists for a while now but nothing was as difficult as this one. For starters, we agonized over how to group together 50 songs from over the decades and were frustrated with the fact we had to omit songs from the 1970s. The reason is, the music truly took hold of the world in the early 1980s, as we open up our playlist with one of the greatest songs created in any genre, “The Message” released in 1982.
Photo: Michael Ochs Archives / Getty

Most historians point to The Sugarhill Gang’s “Rapper’s Delight” as Hip-Hop’s first music single, while others would say The Fatback Band’s “King Tim III (Personality Jock)” gets the nod. Both tracks were released within months of each other in 1979, laying down the foundation for the MCs that emerged in the following decade.
All throughout the playlist, there will be glaring omissions, regions that didn’t get love, and other points of contention. Trust us, we’re just as upset but we wanted to include 10 songs that we feel captured each decade from the ’80s until now. If we had more time, we probably could have included 50 songs per era but who is willing to sit through that?
Photo: Hulton Archive / Getty
To all of those acts who feel like we missed them, accept our apology and understand this was difficult to compile. We are also at the mercy of the DSP we used to host the playlist as some artists and their catalogs are not available in the digital realm

That said, we’re always honoring the veterans on our site and we pledge to return with a sequel to this playlist later in the month to get to those tracks we surely missed.
Photo: maksim kulikov / Getty
For now, check out our Hip-Hop @ 50 selection of tracks below. If you’re enjoying what you hear, sound off in the comments or via our social media channels.


Photo: Source: Al Pereira / Getty

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Update: Hours ahead of the show on Thursday, Aug. 10, the 50 & Forever City Sessions show set to feature Ja Rule as headliner was canceled “due to unforeseen circumstances,” according to a message on the event’s page. Ticketholders will receive a refund, and no action is required. 50 & Forever will be announcing a new City Sessions show in New York City at a later date.
Original story below:

As we enter hip-hop’s birth month, the entire music industry is pulling out all the stops to celebrate the genre’s 50th birthday. On Friday (Aug. 4), Amazon Music announced Ja Rule as the headliner of the final “50 & Forever” City Sessions livestream of the summer. The Grammy-nominated rapper will join a lineup of peers and collaborators for a performance from The Rooftop at Pier 17 in New York City on August 10, the eve of hip-hop’s 50th anniversary.

Throughout the “50 & Forever” series, Amazon Music is paying tribute to hip-hop’s monumental global influence on music, culture and society. Created by Rotation, the hip-hop and R&B brand from Amazon Music, “50 & Forever” has celebrated the occasion with curated events, livestreams, playlists, original content, and new music across a plethora of platforms, including Amazon Music, Twitch, Audible, Prime Video and Amp.

Ja Rule’s performance marks the finale of the “50 & Forever” City Sessions series from Amazon Music. This summer, the Amazon Music channel on Twitch has streamed content every week leading up to hip-hop’s 50th anniversary on August 11. Thursday’s (Aug. 3) City Session livestream from Atlanta featured Jeezy, T.I. and Young Dro. Amazon Music also streamed exclusive live performances from hip-hop stars like Rick Ross, Wale, Clipse, Joey Bada$$, Curren$y and more.

Ja Rule has earned eight top ten hits on the Billboard Hot 100, including the No. 1 singles “I’m Real” (with Jennifer Lopez), “Always On Time” (with Ashanti), and “Ain’t It Funny” (with Jennifer Lopez). On the Billboard 200, the hip-hop giant has sent a pair of titles to the chart’s summit: 2000’s Rule 3:36 (one week) and 2001’s Pain Is Love (two weeks).

Travis Scott‘s Utopia concert at Rome’s Circus Maximus on Monday made headlines for a surprise appearance by disgraced rapper Kanye West (who now goes by Ye), but according to CNN the show was newsworthy for a number of reasons that had nothing to do with the music.

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The network reported that at least 60 people required medical attention after someone sprayed pepper spray into the audience during the show according to Rome’s civil protection department; at press time it was unclear if the pepper spray was employed by venue security or a fan. A 14-year-old who climbed a false wall in an attempt to see the show for free was also reportedly injured after falling 13 feet.

In addition, the director of the city’s Colosseum has reportedly called for a halt to shows at the adjacent Circus venue after the Scott crowd’s exuberance sparked fears from locals that they’d experienced an earthquake. “The Circus Maximus is a monument. It is not a stadium, not a concert hall,” director of the Colosseum Archaeological Park, Alfonsina Russo, reportedly told Italian news service AGI; her spokesperson confirmed the comments to CNN.

“These mega rock concerts put it at risk, including the Palatine Hill nearby,” she added in a statement calling for an end to shows at the ancient Roman chariot-racing and entertainment venue that has hosted Guns N’ Roses, Bruce Springsteen and Imagine Dragons shows this summer as well. “Rock concerts should be held in stadiums so as not to endanger public safety.” Russo said that only opera and ballet performances should be held at the Maximus, a grassy standing-only oval arena that has no formal seating.

Italy’s fire service told CNN that they received “hundreds” of calls from concerned citizens that there had been an earthquake in Rome around 10:30 p.m. local time. A local reporter said that the apparent earth movement was likely the result of the 70,000 fans jumping up and down to Scott’s music, especially when special guest Ye took the stage.

Spokespeople for Scott and Live Nation had to returned requests for comment at press time.

Scott announced the Utopia show on Aug. 1 after a previously announced show at the pyramids of Giza in Egypt was cancelled due to what his team called “complex production issues.” The Maximus show was the first gig of what Scott has promised is a soon-to-be-announced U.S. and European tour in support of the album that debuted at No. 1 on the Billboard 200 album chart. It will also mark his return to the road following a long layoff from live performance in the U.S. following the 2021 Astroworld tragedy in his hometown of Houston, in which 10 people died and hundreds were seriously injured during a crowd crush.

While a grand jury in Houston decided in June that neither Scott nor the organizers of the festival would face criminal charges in the incident following a 19-month investigation, Scott and Live Nation are still facing a number of civil lawsuits over Astroworld.

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Source: Leon Bennett / Getty
Musician, producer, author, filmmaker and founding member of The Legendary Roots Crew, Questlove, is set to gift the world with another book featuring his vast musical knowledge and unique insight. In honor of Hip-Hop’s 50th anniversary, Ahmir “Questlove” Thompson is following up the all-star tribute to Hip-Hop he led at the Grammys with a new book titled, Hip-Hop Is History.

According to Variety, the book will be released under Questlove’s publisher, Auwa Books, and is slated to drop during the first quarter of 2024.
From Variety:

“No one is else is writing it,” Questlove tells Variety from an unusually quiet NBC Studios in New York, where he and the Roots would normally busy themselves rehearsing for their nightly gig with “The Tonight Show Starring Jimmy Fallon” but are currently on hiatus due to the strike.
Like his previous titles — most notable “Mo’ Meta Blues” and “Music Is History” — the book will benefit from his near-total recall of music history: things he heard, read about or witnessed first-hand. Co-written again with Ben Greenman, the book will be the second title from AUWA, Questlove’s book line through MCD (formerly called Farrar, Straus and Giroux), following the Sly Stone memoir “Thank You (Falettinme Be Mice Elf Agin),” which is due in October.
Between Questlove’s growing book catalog, his Hip-Hop tribute and his Summer of Soul documentary, (not to mention The Root’s entire discography), it’s safe to say Questlove is an authority on music and Hip-Hop culture the masses could only benefit from hearing from. A real-life documentarian he is indeed. And as far as musical knowledge and expertise go, Questlove is an apple that didn’t fall far from the tree or its roots. (See what I did there?)
More from Variety:
“I’m in the legacy business,” he tells Variety, noting that he’s the son of (and former drummer for) doo-wop legend Lee Andrews. “There was no nostalgia culture before the 1970s, so, my dad was the first generation of the oldies-doo wop crowd. I know everything about curating these types of events, working with everyone from Bowser from Sha Na Ha to Dick Clark.”
Still, being in the legacy business is stressful for Questlove, a man who is consciously changing his life “from having 19 jobs a year” to “maybe” four.
“I’m doing all this because somewhere out there, in 2031 or 2041, there will be a new Ahmir Thompson, or Ahmira Thompson – maybe my kids when I start having them – and all of my hard work won’t be for naught. Perhaps, I will have reached somebody the same way that I was reached.”

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And the world will be better for it. Hip-Hop, like all music created through Black culture, has a legacy that should be preserved and protected for future generations to learn from and be inspired by. Salute to Questlove for continuing to be one of the culture’s most prolific messengers.

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Da Brat and wife Jesseca “Judy” Harris-Dupart welcomed their first child together, a baby boy named True Legend, on July 6. On Thursday (Aug. 9), the elated couple has shared the first photos of their month-old bundle of joy.

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“It was only right,” wrote Da Brat in a caption of one of the three photosets she posted to Instagram this morning. In the photos, True Legend rests against a red background donning green-gray pants and hat, while holding a miniature microphone in one hand, and a tiny boombox in the other. In another photoset featuring a photoshoot helmed by People, Da Brat and Judy pose tenderly with their baby boy. “Look, this came out of my stomach,” Da Brat told People. “I cry every day. I just look at him and boo-hoo, because I’m so grateful.”

After marrying Harris-Dupart, who serves as the founder and CEO of Kaleidoscope Hair Products, in 2022, Da Brat underwent in vitro fertility (IVF) treatments using eggs from Harris-Dupart and sperm from an anonymous donor. Following a devastating miscarriage, the “Funkdafied” rapper became pregnant with True Legend. “I never want to do that again,” Da Brat said, “but for him it was worth it.”

Another photoset, shared to both Da Brat’s official Instagram account and the page the couple created for their new baby, finds the family of three bonding in the hospital room moments after delivery. Da Brat notes that her and Harris-Dupart’s “love playlist” helped her relax during her cesarean section, not Biggie as she originally thought. “Who would ever think this? Da Brat-a-tat-tat from 1994!” she mused. “I’m with a beautiful, successful woman who completes me and inspires me to be better. I’m elated to be a mother. I never thought I would be, and I wouldn’t change it for the world. I never need another thing in life.”

Da Brat has earned 13 entries on the Billboard Hot 100, including the top ten hits “Funkdafied” (No. 6) and “Not Tonight” (No. 6, with Lil’ Kim, Left Eye, Missy Elliott & Angie Martinez). The award-winning rapper has landed four titles on the Billboard 200, including 2000’s No. 5-peaking Unrestricted.

Lizzo could be facing further legal action on the heels of a lawsuit filed by three tour dancers who claimed in a complaint filed last week in Los Angeles that the “Juice” singer subjected them to sexual harassment and a hostile work environment that included allegations that they were pressured to touch nude dancers during a live sex show.
According to a statement from attorney Ron Zambrano — who is representing dancers Arianna Davis, Crystal Williams and Noelle Rodriguez — “we have received at least six inquiries from other people with similar stories since we filed the complaint.”

Zambrano added that, “Noelle, Crystal and Arianna have bravely spoken out and shared their experiences, opening the door for others to feel empowered to do the same. Some of the claims we are reviewing involve allegations of a sexually charged environment and failure to pay employees and may be actionable, but it is too soon to say.”

At press time a spokesperson for Lizzo had not returned a request for comment on Zambrano’s statement.

The complaint filed last week on behalf of Davis, Williams and Rodriguez accused Lizzo (born Melissa Jefferson) and her Big Grrrl Big Touring Inc. of a wide range of legal wrongdoing, including racial and religious discrimination. Among the allegations in the suit were claims that Lizzo pushed the dancers to attend a sex show in Amsterdam’s famed Red Light District and pressured them to engage with the performers.

The lawsuit also claimed that the captain of Lizzo’s dance team, Shirlene Quigley, forced her religious beliefs on the plaintiffs and took repeated actions that made them uncomfortable, including commenting about their virginity and simulating oral sex on a banana in front of them.

In one of the most notable allegations, the suit claims that Lizzo, who has made body positivity a key aspect of her brand, “called attention” to a dancer’s weight gain after a performance at the South by Southwest festival.

Last Thursday, Lizzo issued her only response to date to the suit, calling the allegations “false” and “sensationalized stories” in a statement on Twitter. “I am not the villain that people and the media have portrayed me to be these last few days,” Lizzo wrote. “I am very open with my sexuality and expressing myself but I cannot accept or allow people to use that openness to make me out to be something I am not.”

She said that the allegations that she and her company created a hostile work environment that included allegations of religious and racial discrimination were “unbelievable as they sound and too outrageous to not be addressed.”

Lizzo specifically addressed the allegation that she had “called attention” to a dancer’s weight gain, saying, “There is nothing I take more seriously than the respect we deserve as women in the world. I know what it feels like to be body shamed on a daily basis and would absolutely never criticize or terminate an employee because of their weight.”

Though Lizzo did not specifically address the individual accusations in the suit in her statement, she called them “sensationalized stories [that] are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional.”

In a response, Zambrano said Lizzo’s statement “only adds to our clients’ emotional distress”; at press time the names of the alleged six other people reportedly contacted Zambrano after the suit was filed had not been released. Billboard has reached out to one of Lizzo’s lawyers, Marty Singer, for comment on Zambrano’s statement but had not heard back at press time; according to NBC News, Singer had recently called the lawsuit “specious.”

Following the suit and Lizzo’s statement, filmmaker Sophia Nahli Allison — who at one point had been attached to direct the singer’s Love, Lizzo documentary — explained on her socials why she left the project. “In 2019, I traveled a bit with Lizzo to be the director of her documentary. I walked away after about 2 weeks. I was treated with such disrespect by her,” Allison wrote.

“I witnessed how arrogant, self-centered, and unkind she is. I was not protected and was thrown into a sh-tty situation with little support,” she added. Allison also said her gut told her to leave the project, and that she is “grateful” that she did, adding that she “felt gaslit and was deeply hurt.” At the time Lizzo’s reps had not returned Billboard‘s requests for comment on Allison’s claims.

Earlier this year, Amazon Studios announced that auditions had begun for the second season of Watch Out for the Big Grrls, a series that chronicled the singer/rapper’s search for her next crew of “BIG GRRRL” dancers to accompany on her 2022 tour; according to NBC, among the six unnamed people Zambrano has talked to, some said they worked on the Amazon series.

In addition, on Tuesday, the Jay-Z-founded Made In America festival, which was to feature headline sets from Lizzo and SZA, announced that it was pulling the plug on this year’s edition due to “severe circumstances outside of production control.” A statement from organizers did not give specific reasons for the cancellation and a spokesperson for promoter Live Nation referred Billboard to the statement without offering additional comment. NBC reported that before the suit against Lizzo was filed, an unnamed source close to the production said that ticket sales for this year’s Made in America fest in Philadelphia were “not good.”

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Source: Scott Dudelson / Getty
Years before rappers began embracing the comparisons to artists like Pablo Picasso and Jean Michel Basquiat, West Coast MC Ras Kass was showcasing his lyrical art for the world to see, all while embracing the Van Gogh legacy.

Emerging on the scene in 1996, MC Ras Kass built a reputation for thoughtful tongue-in-cheek wordplay and heavy societal content with his iconic 1996 song, “Nature of the Threat.” Hailed for its expansive and piercing analysis of white supremacy, the song and the album, Soul on Ice, reimagined the perception of West Coast lyricism in the middle of its East Coast, West Coast tension.

Celebrated by his fans and peers as a wizard of words, his skill became his calling card as he continued to prioritize lyricism years before the culture shifted towards it. In the middle of his ascent, however, he ended up ensnared in a publicized dispute with his record label, Capitol, and the industry at large for respect, autonomy and proper compensation. Stalled and unable to forge the momentum he needed due to label disputes, he continued to fight for his brand, releasing projects with other comparable MC’s like Canibus, Killah Priest and Kurupt, as well as his own projects over the course of the next decade and a half.
Twenty-seven years after his debut release, Soul on Ice, Ras is just as skilled as he was then and equally as cynical. Hopeful, reflective and unapologetic, this interview is one of his rawest reflections on Hip-Hop 50 years after its inception.

HipHopWired: Ras, how are you feeling today?
Ras Kass: I’m alive so I’m blessed man.

Ras, you are regarded as one of the most prolific MCs ever, you know, people use the word legend a lot. I’m hoping that I could get some perspective and get some stuff from you that I don’t typically hear in interviews. So I’m gonna start with the beginning. You coined a phrase that said, Carson raised you, but Watts made you. 
So yeah, I guess that would be right. I lived in Carson my entire life. But I didn’t socialize. I didn’t even go to school in Carson until [the] middle of the seventh grade. So my, you know, kind of my formative years were in Watts. That’s where my friends were. I went to hang with them when I got out of school. That’s where I played at. Summertime, that’s where I stayed at. So I always claimed both, and there’s been certain rappers that try to give me shit over it. I’m a Watts baby. People have to make things mutually exclusive, because people categorize things. And it has to be this or that. And some things are a little more nuanced.

[embedded content]
So how did both cities influence you and in what ways?
Lots. By culture, like my culture, how I was raised within Watts is very important. My mother came from a family that moved in the late ’50s to Los Angeles from Louisiana, their culture was Creole. Thereby, I was raised around a lot of Catholics, while most blacks are Baptist and all this other stuff. I was raised and went to Catholic school where the majority of the students were diverse. In Carson, we lived in a neighborhood where there was space. And what happens when you got that kind of space, people don’t socialize, they have enough space to be amongst themselves. So you don’t f*ck with everybody, you stay in your own space. And so I had my bedroom; I did what I did in my bedroom, in my garage, in my backyard. Sometimes I went out to the front and then socialized with those kids. But in general, I have my own world.
“I hope as a collective, as a people on the eve of the 50th we probably should be looking into having some type of a union.”

The most essential Spanish-language rappers, the G.O.A.T.s, and the most riveting Masters of Ceremonies, of yesterday and today: It’s a heavy crown that only a few dozen are worthy of upholding, and of passing on its majestic power. As a salute to hip-hop’s golden year, with the genre officially turning 50 on Friday (August 11), the Billboard Latin and Billboard Español teams are uniting to compile a list of the most extraordinary, compelling and commanding Spanish-language hip-hop acts of our generation and beyond. 

As any self-respecting rap pundit knows, hip-hop was born in New York, 1973. But unbeknownst to many is that the Latin immigrant population dwelling in the Bronx played a fundamental part in the genre’s growth. Nuyoricans took the style back to the island, where in the 1990s, it got the tropical treatment in the hands of genre pioneers Vico C, known as the Father of Latin Hip-Hop, streetwise poet Tego Calderón, and her royal reggaetón majesty, Ivy Queen — and later Residente, who revolutionized the style via sardonic wordplay and fearless social commentary.

Through cassettes and bootlegs, the Spanish-language art form traveled far and wide, planting seeds of rap throughout the Hispanophone world. Trailblazers began adopting the lyrical style in Spain during the ‘90s, thanks to the likes of Nach, SFDK, El Chojin and more.

By the turn of the new millennium, the blockbuster Eminem-starring film 8 Mile inspired a movement among the youth in pursuit of winning rap battles, as they flexed their freestyling abilities. Mexican tianguis eventually became a hotbed for battle rap, where batalla heavyweight champ Aczino helped elevate the art form to the next level.

Enter Red Bull’s Batalla de los Gallos — formed in 2005 — which, throughout the years, helped boost the booming scene across Ibero America, snowballing by the years and making stars out of urban kids with lyrical dexterity. There’s also Buenos Aires’ battle rap competition El Quinto Escalón, which began in 2012, where the likes of Paulo Londra, Duki and Wos rose from the Argentine capital’s underground scene to international notoriety, via viral YouTube videos.

Today, Spanish-language rappers continue to play a formidable role in the movement’s evolution and expansion.

In a similar approach to Billboard/Vibe’s 50 Greatest Rappers of All Time list, the Billboard Latin and Billboard Español teams took into account the following criteria in the selection process and ranking: body of work/achievements (charted releases, gold/platinum certifications), cultural impact/influence (how the artist’s work fostered the genre’s evolution), longevity (years at the mic), lyrics (storytelling skills) and flow (vocal prowess.)

Note: We opted not to include the significant contributions of pop-reggaetón acts on this list, or of rappers like Bad Bunny and Anuel AA, who have focused more on reggaetón and the reggaetón lifestyle. This is not a reflection of their rhyming capabilities or commercial success, but rather our attempt at keeping the focus of the list on artists whose output have been more rap-centered. We also aimed to spotlight the most representative rappers of Spanish-speaking countries with foundations in hip-hop, for the sake of diversity.

So without further ado, here are the 50 best Spanish-language rappers — including both solo artists and groups — and let the battles begin!

Alika

Image Credit: @irieproducciones