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To this day, 2Pac aka Tupac Shakur remains a pivotal figure in hip-hop culture, embodying everything the genre stands for: truth, emotion, rebellion, and purpose. He didn’t just rap about the streets; he unpacked the pain, politics, and pressures that shaped them. His music blended vulnerability and toughness in a way few artists had ever done, turning personal struggle into universal storytelling.
RELATED: Drake Allegedly Cops 2Pac’s Legendary Death Row ChainWhether he was delivering poetic insight on “Keep Ya Head Up” or raw intensity on “Hit ‘Em Up,” 2Pac made hip-hop feel bigger than entertainment. He made it feel necessary.
His impact didn’t stop with the music, though. 2Pac redefined what a rapper could represent, pairing activism and artistic vision with charisma and fearlessness. He pushed hip-hop into social consciousness, encouraging artists to speak for their communities and confront real-world issues. That fearless honesty (and the mythic rise and dramatic end that followed) cemented him as a cultural hero and cautionary figure. Generations later, artists still channel his energy because he gave hip-hop a soul and a higher purpose.
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You can see 2Pac’s fingerprints all over modern hip-hop. The way artists wear their hearts on their sleeves, weave social commentary into music, or use visuals to communicate deeper messages all trace back to him. Even stylistically, Pac’s influence remains, from bandanas and tattoos to the confident, revolutionary spirit many rappers embody. Most recently, NLE Choppa’s “KO” video pulled clear inspiration from Pac’s “Hit ‘Em Up” era, from the aesthetic to the energy. It was more than a tribute. It was proof that 2Pac’s blueprint continues to guide young artists in their pursuit of authenticity and impact.
His presence also lives in the competitive spirit of hip-hop. Modern-day rap battles and diss records still mirror the emotional weight and intensity he brought to conflicts. Artists don’t just trade bars; they build narratives, take stands, and speak from the heart, just as Pac did. Whenever rappers turn introspective, challenge the system, or speak directly to the youth, they’re continuing a tradition he helped carve out.
2Pac isn’t just a legend, he’s a standard. His voice still echoes in the culture, in the music, and in the conversations hip-hop continues to spark about life, identity, and struggle. As new artists rise and the genre evolves, Pac remains a foundational force, not frozen in history but alive in influence. That’s why he will forever be intertwined with hip-hop, not just the era he defined, but for every era still being shaped by his legacy.
RELATED: Mariah Carey Says She Wish She Shot Her Shot At 2Pac
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Maksim Chmerkovskiy doesn’t want any bad blood with Jan Ravnik. Following his recent criticism of the casting of Taylor Swift‘s backup dancer on Dancing With the Stars as a pro, the ballroom bash’s former pro has shared an apology and attempted to explain where he was coming from in an Instagram video posted Thursday (Oct. 30).
In the clip — which comes six days after Chmerkovskiy said on a wife Peta Murgatroyd’s podcast that Ravnik had “absolutely no business being a pro on Dancing With the Stars” due to lack of experience — the competition show alum sat in his car and addressed the former Eras Tour performer directly. “I want to apologize to Jan for the way my words have made you feel, for hurting your feelings,” he began. “There is a lot more I want to say.”
“I would love to talk about this, bury the hatchet,” Chmerkovskiy continued, noting that he hopes to meet up with Ravnik someday to squash the beef in person. “I think you’re going to walk away knowing me and feeling completely different, and, dare I say, we probably might even be friends.”
The dancer went on to say that he hadn’t intended any malice when he’d said on the Oct. 24 episode of The Penthouse With Peta that Ravnik had none of the “foundation, technique, quality [or] understanding of the partnership” necessary to properly coach celebrity contestants on DWTS. (Murgatroyd also added at the time, “He’s a Taylor Swift dancer, it’s the obvious reason why he was hired … Hiring a non-ballroom dancer to teach ballroom dancing to a celebrity as a job is outrageous.”)
“My personality [is], ‘I love you, and I will tell you how it is,’” Chmerkovskiy explained in his apology video. “My commentary on dance does not come with feelings and emotions, it just comes with a completely different range of reasoning.”
Season 34 of DWTS marks Ravnik’s first spin on the series, which he joined after spending two years supporting Swift on her global Eras trek. The Slovenian-born dancer was paired with Jennifer Affleck from The Secret Lives of Mormon Wives for the competition, but after dancing their hearts out to the 14-time Grammy winner’s “Look What You Made Me Do” on a Halloween-themed episode that aired Tuesday (Oct. 28), the pair was eliminated.
Shortly afterward, Ravnik seemingly addressed Chmerkovskiy’s criticism of him by telling Entertainment Tonight, “The people who’s trying to stay relevant, spreading the hate, this is not a way to do it.”
Elsewhere in Chmerkovskiy’s video, he added that the attention surrounding the issue has been “crazy,” as hordes of people have apparently been sending him hate over his comments about Ravnik. “Let’s not defend someone by attacking somebody else,” he said emphasizing that he’s unfazed by people trying to “hurt [his] feelings” by bringing up his own losses and the “incredible mistakes” he made during his tenure as a pro on DWTS.
There are now just eight contestants left on this season of DWTS, including another Mormon Wives star, Whitney Leavitt, as well as Robert Irwin, Jordan Chiles, Alix Earle and Danielle Fishel. The next episode will take place on Nov. 4 with a Rock & Roll Hall of Fame theme, featuring guest judge Flavor Flav.
Watch Chmerkovskiy’s full apology video below.
Trending on Billboard
While Tyla is dripping in “Chanel” on her latest designer single, the South African star is making movies on the dancefloor with MOLIY on “Body Go” and holding onto remnants of a past relationship with Lojay on “Memories.”
And there’s no stopping what’s coming from Mavin’s golden children Ayra Starr and Rema on their hypnotic collab “Who’s Dat Girl,” which debuted at No. 3 on U.S. Afrobeats Songs this week (chart dated Nov. 1). The single arrives less than one month after Rema popped out as a surprise guest during Starr’s performance at this year’s Global Citizen Festival, where they duetted on Rema’s “Baby (Is it a Crime)” single from earlier this year and his 2022 international smash “Calm Down,” with Starr filling for Sade’s and Selena Gomez’s parts, respectively.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.
Lojay & Tyla, “Memories”
Lojay and Tyla cosplay as exes who are hesitant to let go of their haunted “Memories” of each other on this tantalizing highlight track from the former’s debut album XOXO. But their mellifluous “Eh-la-la-lo, eh-le-ah-no-ah” harmonies sound like a subtle hint that they’re still meant to be together. The Lagos loverboy reunites with his “Monalisa” collaborator, Afrobeats hitmaker Sarz, who brings his Sarz Academy protégé Twitch along for the duet’s sensual Afropop production.
MOLIY & Tyla, “Body Go”
Whether you’re in the back of the cab or in a “section full of baddies” at the club, MOLIY and Tyla command you to “dance, whine your body, go down” on their dancefloor filler. The infectious waist-whining rhythm of “Body Go” complements its come-hither lyricism. Months after releasing her U.S. Afrobeats Songs No. 1 “Shake It To The Max (Fly)” remix, the Ghanaian star continues to seize her moment.
Ayra Starr & Rema, “Who’s Dat Girl”
Mavin’s marquee stars Ayra Starr and Rema burn brighter together on their “Who’s Dat Girl” banger. Starr flaunts her It-girl status with poise, while Rema’s rapid-fire flow momentarily steals the spotlight from her – only for listeners to realize he’s spending his whole verse gassing up the gyal. And Ragee and The Elements’ dancehall-inspired and Middle Eastern-influenced production gives “Girl” a multicultural edge.
Young Jonn, “Full Control”
Young Jonn is giving up “Full Control” of his body tonight on his sleek and sultry single, which arrives ahead of his upcoming sophomore album Blue Disco. Producer Yung Willis’ electronic flourishes and subdued log drums help soundtrack Jiggy’s late-night rendezvous. “This one is about owning your space and moving with confidence. After so many collaborations, I wanted to drop something that’s purely me – my energy, my vision, my vibe,” he said in a press release about “Full Control,” which debuted at No. 42 on U.S. Afrobeats Songs.
Boj & Anaïs Cardot, “After Hours”
After delivering gorgeous verses on Asake’s “My Heart” and Wizkid’s “Slow” last year, French Gabonese singer Anaïs Cardot lends her lithe, featherlight vocals once more on Boj’s “After Hours” single ahead of his upcoming album Duplicity. Their intimate exchange floats over Genio Bambino’s guitar-driven production, which softens into an old-school R&B synth loop for an extra touch of romance.
The Cavemen. feat. Pa Salieu, “Gatekeepers”
The high-life masters just released their new album, Cavy In the City, today (Oct. 31), and on this latest single they brought Gambian-British singer Pa Salieu along for the ride. His contribution to the laid back track is less, singing, less rapping, than it is spoken word, adding a contemplative element to a track that is an engaging groove in the context of the overall album. The duo also announced a series of European dates for early next year, where they’ll take the new record on the road.
Shallipopi feat. Gunna, “HIM”
Shallipopi has been on an incendiary run of late, and this time he taps Atlanta MC Gunna for a street-to-street linkup that manages to feel like it lives simultaneously in both artists’ worlds. Shalli has an extended verse to open the track, using his slinking yet confident delivery to set the tone, before Gunna comes through to flow over the Spanish-inflected guitar that animates the brooding beat. It somehow manages to seem like a commercial hit, even though it’s still rooted in the streets. Another high-quality addition to both catalogs.
Flavour & Baaba Maal, “Afroculture”
Flavour — who also produced this song — often has a very distinct style, and this track embodies that, with driving percussion, traditional vocals and classic instrumentation that delivers a largely instrumental intensity that is lush with its different stylings and insistent in getting in — and staying in — listeners’ heads. It’s almost breathless, and feels much shorter than its three-plus minute run time, even as it fits in an avalanche of elements to create its sound. A real triumph, and a joy.
Lil Kesh feat. Balloranking, “TTGG”
Lil Kesh is one of the best and most consistent artists on the scene right now, and his vocals are distinct from anyone else out there. He’s so adept at melody and crafting catchy hooks that his verses can often fly under the radar, but he’s truly well-rounded in so many different ways that each release of his is a must-listen. Balloranking slides through with a different style on his verse, but it fits well within Kesh’s world on this ode to finding ways to get through tough times (which is one way of putting it).
Joeboy & Shoday, “Ring”
Joeboy is an effortless vocalist, one of the true crooners in the Afrobeats scene, and this is a twist on his usual love song — finally, after playing around with a number of women, he’s met someone who makes him want to cut off all his relationships to dedicate himself to getting married to the woman of his life. Accompanied by a hilarious music video which shows all that drama coming home to roost, this is another ear worm in his ever-expanding catalog of catchy hooks and varied takes on love songs.
MediaPunch / Diddy
Sean “Diddy” Combs was transferred to federal prison in Fort Dix, New Jersey, on Thursday to begin his 50-month sentence, a Bureau of Prisons spokeswoman said.
The 55-year-old disgraced music mogul has spent his time at the Metropolitan Detention Center in Brooklyn, New York, before he was sentenced to 50 months (4 years) on two counts of interstate prostitution.
Combs was acquitted of the more serious charges of racketeering and sex trafficking and pleaded not guilty while maintaining his innocence.
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According to NBC News, Combs’ new living arrangements for the next 4 years, Fort Dix prison, is a low-security prison for men that houses up to approximately 4,000 inmates.
Combs’ legal team asked U.S. District Court Judge Arun Subramanian at his sentencing to send him to Fort Dix for drug rehabilitation and an opportunity to be closer to his family.
The news website also reports that Combs’ legal team will seek an expedited appeals schedule while calling the prosecution’s use of the “Mann Act,” which forbids by law traveling across state lines to engage in prostitution, “unfair.”
Diddy is slated to be released on May 8, 2028, and could be let out of prison earlier for good behavior, or have his whole jail sentence commuted if Donald Trump issues him a pardon. Trump is reportedly not considering it at the moment.
Speaking with reporters from the Oval Office, Trump revealed that Diddy’s team did reach out to him in hopes of securing a pardon.
“A lot of people have asked me for pardons,” Trump said. “I call him Puff Daddy, [he] has asked me for a pardon.”
Well, we hope Diddy uses his time behind bars, however long that is, to reflect on life and come out of the experience a fully rehabilitated person.
Source: Joshua Applegate / Getty
Offset has not taken his foot off the gas one bit.
The ATL rapper dropped a surprise album, “HAUNTED BY FAME,” on Halloween. Following the positive reviews of his collaborative record with JID on “Bodies”, this adds to a great year the former Migos artist is having. The project holds three features, one of which is from NBA YoungBoy, for whom Set has been on the MASA tour, opening up for him.
YB & Offset have collaborated in the past. With arguably YoungBoy’s best feature on the Migos record, “Need It”. The other feature was a shocker and the first time that NoCap and Offset have worked together. Strange combo, but it worked.
Leading up to this surprise release, Offset’s ex-wife Cardi B was in her bag, dropping her long-awaited sophomore album, “AM I THE DRAMA?” Which led to the Set It Off rapper to show her love and give her ex her well-deserved flowers, “For sure, the sh*t hard, she’s gonna do her big one. I just want all peace, we all gotta win, we got our kids to take care of.”
Fast forward to “HAUNTED BY FAME”, it seems as though he may have had a change of heart. Offset appears to have taken some shots at Bardi on his song, “NO SWEAT”, requesting his ex to get some help, “You a fool if you think that I’m hurt, you ain’t happy I know how it work. How you married and still giving birth? Get some help, b*tch, you goin’ berserk.”
The Bodak Yellow rapper has not responded (yet).
Billboard rounds up the highlights for one of the most uniquely presented gigs of the Foos’ decades-spanning career.
10/31/2025
Trending on Billboard Chris Jones is pledging allegiance to his teammate’s famous fiancée, and Taylor Swift is loving it. In a sweet moment from a recent press conference, the Kansas City Chiefs defensive tackle walked into the room with the pop star’s Billboard Hot 100-topping single “The Fate of Ophelia” blasting on his phone speaker. […]
Trending on Billboard
The staff at the Atlanta’s Masquerade can’t say for certain if the music venue is haunted, but there are stories – lots of stories.
The sprawling four-room venue first established itself in Atlanta in 1989 – two years after the first venue of its name was opened by the same owners in Tampa – and took over the former DuPre Excelsior Mill at 695 North Avenue that had come to life a century earlier. The mill produced a packing material to fill mattresses and other items (before foam eventually made it obsolete) and, like many 19th century factories, several workers were injured in the production process, and the belt of the mill took the life of at least one man.
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While no one has managed to exchange names with those haunting the various Masquerade venues, no one claims to be specifically visited by mill workers. There’s a woman who was seen by several staff members hanging around the freight elevators at the 695 location. One of Masquerade’s owners Berta Ochs says he was supervising the construction before the venue first opened one night and a leftover coin operated basketball machine started up. He could see a man shooting hoops and after yelling at the figure to leave, Ochs said, suddenly he was gone.
Employees have often felt like they were being watched when no one else was around and one employee who was working the venue’s haunted house Chamber of Horrors says she felt a tap on her shoulder, turned to find no one except a medical instrument from the prop table flung at her feet. There have even been online rumors that Masquerade has vampires.
Greg Green, Elena de Soto, and Brian McNamara.
Josh Martin
“Not to dispel the rumors,” says Masquerade marketing manager Camilla Grayson, “But I think that was because there was a plaster vampire up in the rafters that was left over from an event.”
“There’s also a popular roleplaying game called Vampire of the Masquerade that people go around doing live enactments of,” chimes in Masquerade GM and talent booker Greg Green. “That might have played into that whole vampire rumor too.”
Masquerade has not helped itself in the matter with rooms that denote the afterlife. Since its first Atlanta location, it has featured multiple rooms named Heaven, Hell and Purgatory and referred to them as a trinity of nightclubs. The rooms were stacked with Heaven obviously at the top, Hell on the bottom floor and Purgatory somewhere in-between.
“The upstairs Heaven room was known for the bounciness and sway of the floors,” recalls Green, who has been with the venue for nearly 35 years. “When people would get to jumping in unison and you were downstairs, you could see the ceiling looking like a trampoline. When you hear about people reminiscing, it is like, ‘We were jumping on the trampoline floor in Heaven and we just knew we were about to fall through, but never did.’”
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The venue’s 695 North Avenue location was a behemoth on the streets of Atlanta’s Fourth Ward – with an entirely black stone exterior save for a purple cursive neon sign that read Masquerade. It was an intimidating figure brought to life by founders Ochs, Brian McNamara and Dean Riopelle that attracted all forms of rockers and punks in the early 1990s including Fugazi, The Ramones, Foo Fighters, Radiohead and, of course, grunge legends Nirvana who were paid $200 to play for a room of maybe 50 people, according to Green.
Pay receipt for Nirvana’s 1990 performance at Masquerade.
Elena de Soto
With three rooms to fill, Masquerade was able to take a chance on many bands in their early years including Bjork, N.W.A and Coldplay. Green recalls a young Dave Matthews coming through at the start of his career with manager Coran Capshaw (a now-renowned artist manager who runs Red Light Management) selling the musician’s t-shirts out of his trunk.
In 2016, Masquerade had to leave behind the 695 North Avenue location when ownership sold the building as gentrification (and undoubtedly the historic music venue) made the Fourth Ward a desirable neighborhood to build a mixed-use development. Ownership was looking for another space to house the multi-room venue, when the city of Atlanta stepped in.
“The city wanted to keep us given the cultural institution that we were and [the city] had all these vacant spaces that they said, ‘Hey, is there any of this that you can use, even on a temporary basis,’” Green explains. The space is part of Underground Atlanta, a formerly neglected shopping and entertainment district that first opened in 1969, but the buildings date back to the mid-to-late 1800s when they served as the Georgia Railroad Depot and were a major hub early on for the city. “We didn’t really have a choice at the time. And wound up moving equipment, gear and all the stuff, building out on a small scale what it would take to operate temporarily and it just worked. That was nine years ago and we’ve stayed and we’ve expanded.”
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The Masquerade at Underground Atlanta now features four rooms Heaven (1,450 capacity), Hell (625), Purgatory (300) and Altar (250) connected by a shared courtyard. A fifth venue is expected to open in 2026.
Despite moving to a new location – surrounded by pedestrian-only spaces with shops and art galleries – Masquerade has not lost its spooky factor. Underground Atlanta’s custodial staff refuses to enter certain areas of the entertainment district at night and has heard people talking at night when no one was around. On one of the interior buildings there’s a plaque that says this wall was part of the first Civil War era hospital in Atlanta, “The dead and wounded were brought here,” explains Grayson.
A back hallway that connects all the venues is littered with creepy dolls with burnt-out eyes brought in by operations manager Howie Stepp – though no one knows where he sources the dolls from. Online, fans say they’ve seen a headless confederate soldier that walks around at night, and the courtyard is along Kenny’s Alley, which is named after a man who died in a jousting accident at the Georgia State Fair in the 1800s. That same courtyard is where fans from every room gather between sets to smoke, order some food, grab drinks and interact with music lovers of all genres.
New Found Glory play the Heaven room of Masquerade in 2022.
Elena de Soto
“The courtyard is the great equalizer,” Grayson says. “It’s awesome watching a K-pop fan interact with a ska fan because they’re both coming out of shows at the same time. It’s an awesome mix of people from all walks of life.”
With the ten-year anniversary of the new location looming, Masquerade is reaching new milestones. By the end of 2025, Green says the venue and their company Masquerade Presents, that promotes larger concerts in the city, will have presented a record 800 shows. Despite steep competition from various local venues including the more than 70,000-capacity Mercedes-Benz Stadium, the Live Nation-owned Coca-Cola Roxy and Tabernacle, and the home of NBA’s Atlanta Hawks State Farm Arena, Masquerade has continued to thrive by taking a chance on up-and-coming artists and seeing that goodwill returned.
“We really don’t look at the individual shows as a series of battles to be won or lost,” Green says. “We look at it as one long campaign. If we can come out just a little bit better off at the end of the year than we were at the beginning, then it’s a win.”
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In recent years, they have hosted shows with Japanese Breakfast, Mitski and Doja Cat. Alex G played 10 years ago at the 250-capacity Purgatory, worked his way up from Hell to Heaven and, earlier this month, he returned to Atlanta to play the 22,000-cap Eastern with Masquerade Presents as a co-promoter. Arena act Travis Scott played the Heaven room earlier this year to celebrate the 10th anniversary of his debut Rodeo.
“Part of our ability to maintain over all that time is an attitude of treating people just as well when they’re young and getting their start as we do when they’re superstars,” Green says. “Providing them with amenities they might not get at other small rooms like private green rooms and showers and laundry and all the things.”
“We’re able to take that risk on [rising acts] a second time, because we really believe in the music that people are creating, and not just focused on the numbers and the data. We were actually there. We’re talking to our staff that we’re working it that said this was really cool,” Grayson adds. “We’re like, ‘They are worth having back because they absolutely kicked ass to 30 people.”
Last Month’s Indie Venue Profile: Antone’s in Austin
The Billboard Hot 100 chart has long been seen as a measure of success for musicians across all genres, with placement on the list solidifying years of hard work. For the first time in 35 years, Hip-Hop, one of the most successful genres of modern times, has fallen out of the top 40 of the Billboard Hot 100 list, and it could signal a shift in consumer tastes.
Billboard reports that, surprisingly, not one Hip-Hop song occupies the top 40 slots of the Billboard Hot 100, with the highest ranking song being YoungBoy Never Broke Again’s “Shot Callin” at the No. 44 slot. Following are Cardi B’s “Safe” featuring Kehlani from Cardi’s latest album, Am I The Drama?, and BigXthaPlug’s “Hell at Night” featuring Ella Langley, sitting at No. 48 and 49 in that order.
The outlet adds that the last time this happened was on February 2, 1990, with Biz Markie’s classic “Just A Friend” at No. 41 on the charts, ahead of becoming a top 10 hit for the late rapper and DJ. The following week, the song leaped to the No. 29 slot.
More from Billboard explaining how this happened:
Recent rule changes to Billboard’s Hot 100 methodology did play a part in the streak coming to an end. For the chart dated Oct. 25, descending songs were deemed recurrent and removed from the chart if they had exceeded certain durations on the chart while also falling below certain updated chart thresholds — for instance, if they had fallen below No. 25 after spending over 26 weeks on the chart. That particular change resulted in the departure of “Luther,” which had fallen to No. 38 on the previous week’s Hot 100 in its 46th week on the listing.
The headline itself does sound alarming on the surface, but it seems that a technicality is the reason for this, not a dip in quality. As we try to highlight at Hip-Hop Wired via our CRT FRSH playlist, the music and culture are thriving well, and it should be expected that another artist or more will make their way to the top of the charts again. Given the chart dominance of acts like Drake, Kendrick Lamar, and the aforementioned BigXThaPlug, we should see Hip-Hop near or back at the top soon.
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Photo: Billboard
Trending on Billboard
Offset unleashed his surprise Haunted by Fame project on Friday (Oct. 31), which appears to find him addressing Cardi B and Stefon Diggs’ relationship, along with his estranged wife’s pregnancy.
The not-so-subliminal shots at Cardi and the New England Patriots wide receiver come to close the first verse of the Coupe-produced “No Sweat.” Set essentially implies Cardi downgraded by trading Chicago Bulls star Michael Jordan for Dennis Rodman, who was more of a caffeinated role player.
“How the f—k you leave Jordan for Rodman/ You a fool if you think that I’m hurt/ You ain’t happy, I know how it work,” he raps.
He seemingly continues to blast Cardi for getting pregnant by the NFL player while their divorce still isn’t finalized. “How you married and still giving birth/ Get some help, b—h, you going berserk,” Set spews.
Billboard has reached out to reps for Cardi B and Offset.
Cardi B filed for divorce from Offset for a second time in July 2024. The Grammy-winning rapper and Migos member share three children. Cardi began dating the NFL star earlier this year, and went public with her relationship while sitting courtside at a Knicks game with Diggs in May.
“I fell in love. I got two rings [on] my finger. I lasted seven years,” she said of the relationship with Offset in September during an X Spaces. “Seven years that I didn’t have to last with somebody. I lasted seven years in a marriage. Stop saying, ‘Oh, but you’re still married.’ No, I’m legally separated.”
She also alleged at the time that it was her estranged husband’s demands holding up the divorce. “Y’all wanna know the tea?” Cardi said. “The only way I can get out of my marriage is if I pay for somebody else’s taxes — even though I pay for my own — and give them one of my properties.”
The Bronx native is expected to give birth to baby No. 4 in the coming months, and then she’ll be hitting the road for the Little Miss Drama Tour in February.
As for Offset, Haunted by Fame is his second album of 2025, after dropping Kiari in August. Releasing music on Halloween isn’t new for Set, who released Without Warning alongside Metro Boomin and 21 Savage in 2017.
Listen to Offset’s “No Sweat” below.
