R&B/Hip-Hop

Thumbing through the Feb. 11, 2006, issue of Billboard — a 75^th birthday tribute to Clarence Avant — brings back many memories.

Like my first encounter with Clarence sometime in 2000. Having heard about this revered gentleman, I happened to find myself standing near him at an industry function. As I timidly introduced myself, he shook my outstretched hand and said politely, “Yes, you work for that ofay [slang for white] publication.” I had no immediate response to that except to laugh (we both did) because he was right. At that time, inclusion and equity — two of Clarence’s lifelong missions — still weren’t climbing to the top of the music industry’s business charts. And Clarence wasn’t afraid to call out bullshit when he saw it.

Or when Clarence saw me having breakfast one morning and summoned me to his table. He relayed how disappointed he was in a major label executive who’d wrongly accused me of always writing negatively about him and his company. He didn’t have to (and I was unaware until he told me), but Clarence took it upon himself to step in, admonish the executive and set things straight … an example of his storied brokering, mentoring and counseling behind the scenes — and never done for public credit.

And when Clarence’s children Nicole and Alex reached out about surprising their father with a birthday salute in Billboard. I watched and listened intently as an unsuspecting Clarence looked back at his life and career — from growing up a humble country boy to becoming the pioneering godfather to the Black music community. During that interview, I saw and felt the unwavering passion, perseverance, dedication, joy and, yes, the cuss-peppered anger and frustration that drove Clarence as he worked across industry aisles advocating for opportunity and parity. 

“I did it because there was no one else out here doing it,” he declared in 2006. “Black folks [in this industry] had never had anybody they could talk to. The white boys would only give up so much information. My doors were open. And I got involved.”

From then on, we’d chat over lunches or periodic just-checking-in phone calls during which the impish raconteur would regale me with colorful stories about the industry and other circles that he traveled in, from philanthropy to politics. And if I needed perspective for a story that I was working on, a generous Clarence would always take my call. 

The last time I saw him was in April at the dedication ceremony for the South Los Angeles facility named after his lovely wife, the Jacqueline Avant Children and Family Center. It was both a joyous and very emotional occasion for the noticeably frailer industry giant. But Clarence still possessed his signature sly, mischievous grin and joking banter. 

I joined the Clarence Avant fan club later than most. However, I’m thankful for the precious times we spent together. And for the key lesson he taught me, which I’ll continue to embrace in his honor: Keep paying it forward.

Young Capone, known for songs “What It Iz,” “Lights, Camera, Action,” “Dope Boy Fashion” and more, has died at 35. The rapper’s death was confirmed dead by his publicist, Aleesha Carter, on Wednesday (Aug. 16) via Instagram.

“This is with a heavy heavy heart that I’m even posting this. We made magic when we strategically put out projects, always,” she wrote, sharing a series of videos from Capone’s career. “‘Young Capone, aka Dopeboy Ra, aka Rara, was one of my first Hip Hop/ Rap clients, and I can’t believe the news I just got of his unexpected passing! A friend…a client and just huge in East Atlanta. This is not the easiest post at all. Rest easy, RIP.”

The news comes after the rapper — a protegé of Jermaine Dupri — was reported missing, and was last seen in Chicago. No cause of death was shared in Carter’s statement.

After news broke of Young Capone’s death, Dupri shared a picture of the rapper on Instagram and captioned it with four dove emojis, tagging the late artist’s Instagram account. He also soundtracked the post with the rapper’s Daz Dillinger collab “I’m Hot.”

Capone, real name Rodriguez Smith, earned a name for himself in East Atlanta during the mid 2000s in the underground hip-hop scene, working with Daz Dillinger and Dupri on material before getting signed to Dupri’s So So Def record label. After his signing, he released 2006’s “Lights, Camera, Action.”

As Young Capone, he released two mixtapes: 2010’s Look Who’s Back and 2011’s Paper and Politics. Under Dopeboy Ra, he collaborated with T.I.’s Hustle Gang collective on its 2017 album We Want Smoke. Capone’s final release, SlumMade 2.0, was released in December.

See Carter’s statement below: