Uptown Records has officially relaunched under Republic Collective, marking a new chapter for the label during its 40th anniversary year. Danielle Price Sanders will lead the relaunched company as President, Uptown Records/EVP, Republic Collective, with Natina Nimene joining the executive leadership team as EVP, Urban Audience and Artist Relations, Republic Collective.

Andre Harrell founded Uptown in 1986 and developed a roster that included Mary J. Blige, Jodeci, Soul for Real, Lost Boyz, The Notorious B.I.G., Heavy D, Al B Sure!, Guy and so many more.

The announcement arrives with new music and recent activity from a roster that includes Yung Miami, G Herbo, Trap Dickey, Sunkis, 9B Meechie and producer ATL Jacob. Price Sanders said Andre Harrell built “one of the most influential record companies in music history.” In a press release, Price Sanders explained that the relaunched label will support “the next generation of artists.” She also noted that Uptown will operate as part of Republic Collective alongside other Collective labels and in connection with Def Jam, led by Tunji Balogun and Kevin Lipson.

Yung Miami is among the artists at the center of the relaunch. Her April 2026 single “Spend Dat” debuted on the Billboard Hot 100 at No. 66 and rose to No. 34, giving her first Top 40 entry as a solo artist. The song also reached No. 25 on Billboard’s Hot Rap Songs chart and moved from No. 50 to No. 34 on the Hot Hip-Hop/R&B Songs chart. Yung Miami said Uptown “already feels like home” as she continues her solo career with the label.

G Herbo’s Uptown-released album Lil Herb debuted at No. 1 on Apple Music’s Hip-Hop Albums chart and featured the platinum-certified single “Went Legit.” Trap Dickey’s project The Ville included “Down South” featuring Key Glock, which passed 25 million streams and became the No. 2 most-added song at Urban Radio. The relaunched label plans more news and announcements in 2026.

The post Legendary Label, Uptown Records Relaunches With Yung Miami, G Herbo, Trap Dickey & more. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Today, MIKE unveils the full lineup for the fifth annual edition of his free New York festival Young World, in collaboration with SummerStage. Taking place once again at Herbert Von King Park in Brooklyn on July 11th, Young World V will boast performances from Max B, Thirteendegrees°, ERISTHEPLANET, SALIMATA, Niontay, Black Noi$e and a special set from MIKE and the Band of the Century. Alongside the musical performances, Young World V will also host an assortment of local Black-owned businesses as vendors on-site, all hand-picked by MIKE, with more details on this year’s vendors to be unveiled soon.

Every summer in New York City, MIKE hosts Young World, a fully accessible festival created to elevate Black creatives across music, fashion, food, and visual art. Always free to attend, Young World attracts one of the most economically, racially, ethnically, and culturally diverse audiences of any event in New York.

The name Young World serves as a mission statement for the festival. It speaks to the young generation shaping culture today, while paying homage to Slick Rick’s classic track “Hey Young World” a key influence on MIKE and a nod to the legacy of hip-hop. Since its inception, Young World has grown into one of Brooklyn’s most anticipated music events. The festival has featured an impressive lineup of artists including: Noname, Earl Sweatshirt, Pete Rock, Georgia Anne Muldrow, Slick Rick, Skaiwater, Navy Blue, Junglepussy, Jay Critch, MAVI and many more. In 2024, the festival reached its highest attendance yet over 8,000 people. NYC SummerStage remains Young World’s production partner, and this year, Supreme and Marshall are both supporting the event.

Young World V serves as a celebratory capstone moment for the first half of the year for MIKE, following the release of his critically acclaimed collaborative project POMPEII // UTILITY with Earl Sweatshirt and SURF GANG.

See below for the full Young World V lineup.

Young World IV
July 11, 2026
5-9 PM
Herbert Von King Park | Brooklyn, NY

Lineup:

Max B
Thirteendegrees°
ERISTHEPLANET
SALIMATA
Niontay
Black Noi$e
MIKE and the Band of the Century

The post MIKE Unveils Full Young World V Lineup. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Mystikal, who received multiple Grammy nominations in the early 2000s, will serve 20 years in prison for raping a woman at his Louisiana home in 2022.

Mystikal, whose given name is Michael Lawrence Tyler, pleaded guilty to third-degree rape in March with a sentencing cap of 20 years, five years less than the maximum punishment for the crime. His plea deal reduced the charge from first-degree rape, which carries an automatic life sentence.

Days before his Tuesday sentencing hearing, he asked a judge to withdraw his guilty plea, saying he “did not have sufficient opportunity to fully consider the consequences,” according to ABC affiliate WBRZ.

The victim spoke in court before sentencing and asked the judge to give Mystikal the maximum sentence, WBRZ reported. She reportedly said the rapper had punched her, choked her, pulled out her braids and forcibly raped her at his home in Prairieville, about 18 miles from Baton Rouge.

“If I did that to you, I deserve the max sentence,” he said in response, according to the local TV station.

A lawyer for the rapper did not immediately respond to a request for comment.

Mystikal has been held without bond at the Ascension Parish Jail since his arrest in 2022.

The Louisiana rapper rose to national recognition in the 1990s and is known for his 2000 hit “Shake Ya A–,” which was nominated for a Grammy in the best rap solo performance category.

In 2003, he pleaded guilty to sexual battery and was sentenced to six years in prison. That same year, he was a Grammy nominee in two categories: best rap album for “Tarantula” and best male rap solo performance for his single “Bouncin’ Back (Bumpin’ Me Against the Wall). S: NBC

The post Mystikal Sentenced to 20 Years in Rape Case. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Producer: John Dutch

The post Smoke DZA & John Dutch – ‘KILLOFFSEASON’ ft. Westside Gunn, Curren$y & Max B. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Following the announcement of his forthcoming new album Glory of the King’s Hand, Brooklyn rapper and producer Chuck Strangers shares the new single “G Pack,” which finds Chuck flowing with pensive stream of consciousness reflections on the consistency of his grind over time as a resolute sign off for the album before the Human Error Club-produced instrumental outro. The new single arrives closely following previously released tracks “Everyday,” featuring Obii Say and “Torn In Two” with The Alchemist.

Building on a decade in the game, Glory of the King’s Hand, out July 10th via Lex Records, represents Chuck’s evolved sound and direction with an emphasis on intentional songcraft and composition. Having lived comfortably as a proficient beatmaker rhyming over his own lush beats in the past, Chuck moves into a refined approach to collaboration on the album, bringing together vocalists, producers, and musicians to curate a holistic vision for this new full-length. “I made choruses, there’s melodies, there’s instrumentation … I really tried to just make better songs that people might want to hear again — that are more than just a good verse,” he says, speaking on the process.

Chuck handpicked a collaborative roundtable of the current and underground rap scene’s most prolific producers to contribute to this album, including The Alchemist, Animoss, Theravada, Kenny Segal, Preservation, Child Actor, Morriarchi, Human Error Club, Cam Beats and more along with features from billy woods, Zeroh and Obii Say.

Upcoming Live Dates

* Support from AKAI SOLO & Focus the Truth

7/9 – Atlanta, GA @ Drunken Unicorn*
7/10 – Asheville, NC @ Sly Grog*
7/14 – Durham, NC @ Pinhook*
7/15 – Philadelphia, PA @ Silk City Diner*
7/16 – Washington, DC @ Comet Pingpong*
7/18 – Brooklyn, NY @ The Woodshed (w/ Obii Say)*

The post Chuck Strangers Shares New Single – “G Pack” + New Album & Headline US Tour Next Month. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

As part of the Grammys’ annual process of accepting proposals from the music creators and professionals who make up its membership body, and its ongoing commitment to reflecting today’s dynamic musical landscape, new Categories and rule changes are now in effect for the 69th Grammy Awards®, which culminate with the 2027 Grammys® live across ABC, Disney+ and Hulu on Feb. 7, 2027.

“2027 is going to be an amazing year for the Grammy Awards, and one that reflects the extraordinary growth we’re seeing across music,” said Grammys CEO Harvey Mason jr. “The changes advanced by our Recording Academy members speak to the breadth of today’s music industry and the many genres, crafts and creators shaping it. We’re excited to see these updates come to life in the year ahead as we celebrate the music people who are driving music forward.”

NEW CATEGORIES

Best Asian Pop Music Performance
This Category recognizes artistic excellence in Asian pop music performances originating from or widely recognized within Asian markets, including but not limited to K-pop, J-pop and C-pop, with meaningful use of one or more Asian languages. Awards are presented to the performing artist(s).

Best R&B Collaboration or Duo/Group Performance*
This Category recognizes excellence in contemporary R&B performances for works by established duos or groups, as well as collaborative works between solo artists, duos and groups. Awards are presented to the performing artist(s).

Best Traditional Pop Vocal Performance
This Category recognizes excellence in singles and tracks that consist of a type and style of song and/or performance that cannot properly be intermingled with present forms of pop music. Awards are presented to the performing artist(s).

Best Traditional Folk Album**
This Category recognizes excellence in albums of traditional folk recordings. Awards are presented to artist(s), producer(s), engineer(s)/mixer(s), and songwriter(s) of new songs, if other than artist(s), of greater than 50% playing time on the album.

Best Latin Song
This Category recognizes the achievement of songwriters for newly written Latin songs predominantly in the Spanish language (at least 51% of the lyrics). Awards are presented to the songwriter(s) of new material.

*With the addition of this new category, the Best R&B Performance Category has been revised and renamed Best R&B Solo Performance.
**With the addition of this new category, the Best Folk Album Category has been revised and renamed Best Contemporary Folk Album.

VOTING PROCESS UPDATES

Ballot Plus
Ballot Plus is an opt-in alternative to the 10/3 voting structure that allows Voting Members with expertise across multiple genres to vote in up to 15 peer-related Categories, regardless of Field, based on their verified professional credits and contributions.

Voting Members who opt in must submit credits by a specified deadline. Participation in Ballot Plus is subject to verification of credits. Voting Members who do not opt-in, miss the selection window, or do not meet the verification requirements will receive the standard 10/3 voting ballot. Voting Members will receive more information about Ballot Plus in the coming months.

DEFINITION, ELIGIBILITY & CRITERIA UPDATES

Best New Artist
Category description language and guidelines have been refined and a maximum number of times an artist may be submitted increased from three to four. These updates provide greater clarity around an artist’s impact during the eligibility period and more flexibility in the number of times an artist can submit, reflecting the evolving nature of artist development.

Album Eligibility
The threshold of new recordings required on an eligible album is lowered from 75% to 66% to reduce the exclusion of entries that are widely recognized throughout the music industry as new albums.

Best Album Notes and Best Historical Album
Internet-only releases are eligible in Best Album Notes and Best Historical Album if the additional materials and album notes are part of the commercial download, ensuring albums released solely in digital form remain eligible for consideration.

Songwriters and Composers Recognition Expansion
Songwriters and Composers of new material on the winning albums in most genre album Categories will now receive Grammy statuettes and Achievement Certificates in parity with the recognition currently afforded to Producers and Engineers in those categories.

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According to the Federal Bureau of Prisons website, the music mogul is now scheduled to be released from federal custody on Feb. 23, 2028, marking the latest change to his anticipated release date.

The update continues a pattern of adjustments that have steadily moved Combs’ projected release date forward. Earlier this year, the Federal Bureau of Prisons listed his release date as April 15, 2028. Before that, it was listed as April 25, 2028 and, previously, June 4, 2028.

The Bureau of Prisons have not publicly explained the latest change, Combs has been participating in a drug-abuse rehabilitation program while incarcerated at FCI Fort Dix in New Jersey. His attorneys previously sought placement at the facility because of its treatment programs and proximity to family.

“In order to address drug abuse issues and to maximize family visitation and rehabilitative efforts, we request that the court strongly recommend to the Bureau of Prisons that Mr. Combs be placed at FCI Fort Dix,” attorney Teny Geragos wrote in an October 2025 court filing.

The revised release date comes as Combs continues to challenge the conviction that sent him to prison.

The post Did Diddy’s Prison Release Date Move Up Again? first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Built around futuristic trap production and Gotit’s signature melodic delivery, “Goin Solo” finds the Atlanta native operating with renewed focus and confidence. The record serves as one of the first major statements from Gotit’s forthcoming project, EON, and reflects a period of growth both personally and creatively.

The cinematic visual follows Gotit through Malibu as he handles unfinished business tied to unpaid money before the situation quickly spirals out of control. As the police begin closing in and tensions escalate throughout the night, the video builds toward a cliffhanger ending that leaves viewers waiting to see what comes next.

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Since relocating to London over a decade ago and starting a family, Eve hasn’t put out much music. In 2024, she published a memoir chronicling her life and experiences navigating the music industry during the late ‘90s and early 2000s. Not only did she survive one of hip-hop’s most fiercely competitive eras, but she also emerged as one of its dominant figures — selling millions of records as the First Lady of Ruff Ryders Entertainment, and building a career in television and film.

For her Tiny Desk, Eve enlisted the music director Mare — who you may recognize from Tierra Whack’s Tiny Desk — making this a Philly affair. In celebration of the 25th anniversary of her second album, Scorpion, the set features standout tracks such as “Let Me Blow Ya Mind” and “Who’s That Girl,” alongside fan favorites from Let There Be Eve… and Eve-Olution.

SET LIST
“Satisfaction”
“What Ya Want”
“Gotta Man”
“Gangsta Lovin’ ”
“Let Me Blow Ya Mind”
“Tambourine”
“Who’s That Girl”

MUSICIANS
Eve: vocals
Mare: keys, music director, background vocals
Anthony DeCarlo: guitar
Ali Bervine: bass
Mark Thomas: drums
Sheldon “Spazz” Robinson: percussion
Martin 2 Smoove: DJ
Brandon Pain: background vocals
Mimi: background vocals

The post Eve: Tiny Desk Concert first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

BIG3 HoldCo LLC (“BIG3”), recognized as the world’s premier professional 3-on-3 basketball league, founded by O’Shea Jackson (Ice Cube) and Jeff Kwatinetz, and Graf Global Corp., a publicly traded special purpose acquisition company, jointly announced that they have entered into a definitive agreement for a business combination. When the transaction closes, the publicly traded company will be named Big3 Basketball Holdings, Inc. and is expected to be listed on the New York Stock Exchange, NYSE American, or Nasdaq under the ticker symbol “TONT” (3-on-3). The transaction is expected to close in the fourth quarter of 2026.

“We are excited for BIG3 to be the first publicly traded professional sports league in the US,” said O’Shea Jackson, Sr. co-founder and chief executive officer of BIG3. “Leading a new generation of emerging sports, BIG3 connects basketball to culture, fans and our team communities. Going public is our next step. This lifts us to a bigger stage, accelerates our international potential and gives our fans a way to grow with us, support us and participate in our success.”

Co-founder and Chairman Jeff Kwatinetz added, “Cube and I are proud of what BIG3 has done over the last eight seasons and are excited to begin our ninth season on June 20 in Los Angeles. Everything is coming together this year. With some of the world’s most respected coaches and players, more than 550,000 average viewers on CBS and more than a billion social media impressions last season, teams now located in eight cities, worldwide distribution of our games, including on Migu (the go-to streaming platform for sports in China) and recognized as the premier 3-on-3 league in the world, we are at an inflection point. The public listing will provide capital and acquisition currency to take best advantage of our highly scalable platform, dominant brand, experience, leadership and opportunities in 3-on-3 basketball and the emerging sports market generally.”

The combined company will be led by the BIG3 management team, including co-founder and chief executive officer O’Shea Jackson (Ice Cube), co-founder and chairman Jeff Kwatinetz, President Sean Bannon, and commissioner Clyde “the Glide” Drexler. Acknowledging Cube’s positive impact on communities through basketball, the Naismith Basketball Hall of Fame awarded him the inaugural Ice Cube Impact Award, now given annually at the Hall of Fame ceremony.

The transaction values BIG3 at $290 million on a pre-money basis, before potential earnouts based on share price performance, with 100% of the existing equity and equity-linked interests expected to convert to the common stock of the combined company at closing.

Closing is subject to delivery of $50 million minimum net cash proceeds from GRAF’s trust account and other transaction-related funding and after payments to satisfy redemptions and payment of cash transaction and other expenses. GRAF’s trust account currently holds approximately $249 million cash deposits as of June 10, 2026.

The transaction is also subject to GRAF’s shareholders approving an extension of the time allowed to complete a business combination, with such approval to occur by June 27, 2026. GRAF’s public shareholders have the right to redeem up to all of their ordinary shares in connection with the extension vote, and again just before the final shareholder vote to approve the proposed business combination.

“We are excited to partner with Cube, Jeff and their team to bring BIG3 to the public markets,” said James Graf, chief executive officer of GRAF. “There are few, if any opportunities for public markets investors to own equity directly in professional sports leagues or teams. We believe such investments may deliver uncorrelated returns over time, especially seeing the appreciation of team values and the growth of sports advertising across media. As a cultural icon, Cube transcends boundaries. He and Jeff have been visionaries on what audiences want and we believe in their ability to deliver the ‘next big thing’ again as they have done repeatedly over the years. We have high hopes for where they can take BIG3 in the future as a well-capitalized public company.”

BIG3 Season Nine Highlights

• Season tips off June 20, 2026 at the Intuit Dome in Los Angeles (home of the LA Clippers), with the championship game scheduled on August 22, 2026 at the Spectrum Center in Charlotte (home of the Charlotte Hornets)
• Eight city-based teams, with four teams owned by BIG3 (Boston, Chicago, Dallas, DMV) and four sold to independent owners (Detroit, Houston, LA, Miami)
• Multiple fast paced games of BIG3’s FIREBALL3 brand of half court 3-on-3 played at every event; first to 50 points wins; entertainment between games for an exciting overall experience
• 7^th season with CBS, Re-airs of games on BET, International broadcast partners like Migu (China) and TV Globo (Brazil)
• Legendary coaches include Julius (Dr. J) Erving (Chicago), Nancy Lieberman (Dallas) and Gary Payton (Boston)
• Team captains include former NBA stars Michael Beasley (Miami), Corey Brewer (Detroit), Dwight Howard (LA) and Joe Johnson (Detroit)

Key Transaction Terms

The respective boards of managers or directors, as applicable, of BIG3 and GRAF have unanimously approved the proposed business combination. Completion of the proposed business combination is expected in the fourth quarter of 2026, pursuant to the terms and conditions of the Business Combination Agreement (“BCA”) entered into by BIG3 and GRAF and other parties thereto. The BCA contains customary closing conditions, including without limitation a registration statement being declared effective by the Securities and Exchange Commission (“SEC”), consent of certain noteholders of BIG3 to convert their notes, approval by the shareholders of GRAF, delivery of $50 million in minimum net cash proceeds, and certain regulatory approvals, as well as the listing of the shares of the combined company on the New York Stock Exchange, NYSE American or Nasdaq Stock Market (the “National Securities Exchange”), as mutually determined by BIG3 and GRAF.

In addition to the $290 million in stock consideration to be issued to existing Big3 equityholders, at the closing, Big3 equityholders are entitled to an additional 2 million earnout shares which will vest over a five-year period if the closing price of the Pubco Class A common stock is greater than or equal to $15.00 for a period of at least 20 days (which need not be consecutive) out of 30 consecutive trading days, or in the event of a sale of the combined company if the combined company stockholders receive a sale price that is greater than or equal to $15.00.

Advisors

MC Strategic Advisors LLC is acting as financial advisor to BIG3. White & Case LLP is acting as legal advisor to GRAF. Ellenoff Grossman & Schole LLP is acting as legal advisor to BIG3.

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Drake’s ICEMAN chills for a fourth week at No. 1 on the Billboard 200 albums chart (dated June 20), earning 133,000 equivalent album units in the United States in the week ending June 11 (down 22%), according to Luminate.

ICEMAN is the first album to spend its first four weeks at No. 1 since Taylor Swift’s The Life of a Showgirl spend its first seven weeks atop the list (Oct. 18-Nov. 29, 2025-dated charts) of its total 12 weeks at No. 1. Before ICEMAN, the last R&B/hip-hop album to spend its first four weeks at No. 1 was Travis Scott’s Utopia, which also logged its first four weeks (of four total) at No. 1 (Aug. 12-Sept. 2, 2023).

Of Drake’s 15 No. 1 albums, only three have spent more weeks at No. 1 than ICEMAN. The Drake album with the most weeks at No. 1 is Views, with 13 weeks in 2016, while Scorpion (2018) and Certified Lover Boy (2021) each had five weeks at No. 1.

Of ICEMAN’s 133,000 equivalent album units earned in the latest tracking week, SEA units comprise 132,000 (down 22%, equaling 135.82 million on-demand official streams of the set’s tracks; it spends a fourth week at No. 1 on Top Streaming Albums), album sales comprise nearly 500 (down 43%) and TEA units comprise the remainder (down 27%).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. S: Billboard

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By: Todd “DG” Davis
Rapindustry.com

___

Some producers don’t just make beats—they preserve a language. Amadeus360, also known as Amadeus 360 the Beat King, has built his entire career around that idea, treating boom bap not as a style from the past, but as a living code still being written in real time.

Cutting his teeth under the guidance of Kid Capri and later earning the respect of a lineage that includes M.O.P., Kool G Rap, Smif-N-Wessun, Masta Ace, and many more, his name has become synonymous with raw, uncompromised production. Every drum, every sample, every loop feels less like construction and more like continuation.

Now working alongside Devine Carama under the banner of Guardians of the Boom Bap, Amadeus360 stands in a rare space—part historian, part craftsman, part gatekeeper of a sound that refuses to disappear.

This conversation traces the path behind that identity: where it started, what shaped it, and why boom bap still matters when everything else keeps changing.

________

What first drew you into DJing and production, and how did those early experiences shape your approach to hip-hop?

I grew up on those early producer pioneers—Hitman Howie T, Larry Smith [Whodini’s producer], Marley Marl, and Rick Rubin. My actual middle name is Amadeus, after Wolfgang Amadeus Mozart, which fits my lifelong obsession with music. I was fascinated by what I was hearing and spent countless hours immersed in DJing and production. I wanted to understand how those sounds were being created.

But once 1989, 1990, and 1991 rolled around, and I heard “Words I Manifest” by Gang Starr and “The Creator” by Pete Rock & C.L. Smooth, that’s when I knew this was what I wanted to do someday.

What did learning under Kid Capri teach you about discipline, timing, and understanding a crowd?

Kid Capri is a very passionate and disciplined individual. He has broken records for some of the most iconic groups and MCs on the planet. Being able to sit with him in his studio, present my music, and have him critique my beats meant the world to me. He’s brutally honest—if something is wack, he’ll tell you.

I also got to witness him command a crowd firsthand, and the respect and admiration people have for him is unmatched.

At what point did boom bap evolve from simply being a style of music into becoming your identity as a producer?

As a kid in the ’80s, I was a student of the culture, doing whatever I could to involve myself. Making mixtapes was the first way. As someone obsessed with sound and samples, I learned early that I had a keen ability to hear things in beats that most people did not. As hip-hop evolved, I could detect even the slightest changes in style and sound.

Pete Rock, DJ Premier, Large Professor, and Diamond D became the sound I identified with most, and that sound literally became part of my identity. Eventually, I worked with Pete Rock, became cool with Premo, and Diamond D knows me and follows me. It’s a very surreal life I live.

How did your early work with artists like M.O.P., Kool G Rap, and Smif-N-Wessun help establish your name within hip-hop culture?

These are considered bona fide co-signs from both fans and industry peers. Once you cross that line from working with local, unknown MCs to artists like M.O.P., Kool G Rap, and Smif-N-Wessun, there’s no more begging artists to listen to your beats. There’s an automatic assumption that whatever you make is going to be fire.

I actually had Method Man say to me backstage at Radio City Music Hall, referring to M.O.P., “If Bill and Fame mess with you, I know you got some heat. Here, take my number.”

Mind blown.

What did those early studio sessions with lyricists of that caliber teach you about crafting complete records rather than simply making beats?

Once you have these types of legendary MCs in the lab with you, you quickly see why they are who they are. The talent and professionalism are through the roof, and you realize you’re not in the minor leagues anymore. Whatever you do from that point on has to be top-notch.

I did a record with Paul Wall and C.L. Smooth on the same track. Watching two artists from completely different worlds rap over my beat in their own distinct styles and make it work was incredible. Those are lessons you have to experience firsthand to truly learn from.

How have you seen the sound of hip-hop evolve from when you first started to where it is today, and how have you remained rooted in your approach throughout those changes?

I’ve watched the evolution of styles and beats, for better and for worse. The raw, gritty sound I grew up on gradually turned into something far more commercial, less complex, and often created with less care and craftsmanship.

The beauty of what I do is that my sound has remained authentic, representing a style that continues to command respect worldwide. When whatever is popular at the moment fades away, boom bap always seems to find a way to hold its head high.

How did projects like The MPC Jedi and 360 reflect your artistic growth as you carved out your own lane as a producer?

The MPC Jedi was both fun and a challenge. I had always wanted to do what Pete Rock did with his Soul Survivor album series—one producer bringing together a roster of dope MCs on a single project.

I had Sticky Fingaz, M.O.P., Tragedy Khadafi, Buckshot, Evil Dee, Ras Kass, Masta Ace, Gorilla Nems, and many others all under one roof on that project. After it was finished, I found myself wondering, “What’s next?”

What was the original vision behind Guardians of the Boom Bap with Devine Carama, and how did that collaboration first come together?

As a producer and sound creator, I’m the leader, and the MCs follow my lead because I make the type of beats that establish the subject matter and set the pace.

I had never heard of Devine until he sent me a DM on Instagram. I checked out his music and was blown away. Devine is exactly what producers hear in their heads when they create beats. He’s everything a producer could want in an MC—flow, creativity, style, and aggressiveness.

He came up with the name Guardians of the Boom Bap because that’s exactly what we are. We’re protectors of an ever-changing landscape in this thing we call hip-hop.

What defines the sound and creative direction of Guardians of the Boom Bap 2 compared to the first installment?

As a follow-up to the success of the first version, I decided I wanted to execute a concept I had never fully achieved with other MCs. This time, I chose to truly become the ‘Guardian of the Boom Bap’ and pay homage to all the producers and MCs who originally inspired me.

A Tribe Called Quest, De La Soul, Gang Starr, Pete Rock & C.L. Smooth, and Main Source all played a role in shaping the vision. I used elements reminiscent of Midnight Marauders, Group Home, and Stakes Is High, among others, to create a sound that is both recognizable and creatively outside the box.

Devine knocked it out of the park, and only he could have delivered it lyrically the way he did. His imagination and wordplay are incredible, and I don’t think I could have pulled this off without him.

What does the latest single “Masters of the Universe” represent in terms of setting the tone for this next chapter and upcoming project?

I’ve had three deals—first with Duck Down Records with Rustee Juxx, then S.D. Dot Records/Roc Nation with Termanology, and finally Soulspazm, my current home. Most of my work is rooted in that gritty, grimy New York street sound, and I wanted to do something very different.

I kept seeing the He-Man and the Masters of the Universe trailers, which made me nostalgic enough to go back and watch the original cartoons. As a producer who’s always hearing things, I caught a sample in one of the episodes and immediately ran to the studio to start cooking, lol. Devine took it to another level with his flow and creativity.

(Video dropped) June 5th, the same day the Masters of the Universe movie came out. This was meant to show that I have an open mind and I’m not a one-trick pony.

In what ways does ‘Guardians of the Boom Bap 2‘ connect your earlier work to where you are creatively today?

Fans are well aware of my sound by now, and those who already know me understand exactly where I’m coming from. My sound is the embodiment of what hip-hop was built on, and that becomes very clear once you listen to my production over the years.

This album reflects where I am mentally, as well as the passion and dedication I have for the purity of the sound and the style—hence being a true ‘Guardian of the Boom Bap.’

Looking at your full journey—from your beginnings as a DJ to the release of this new single and project—what do you feel your legacy in boom bap is becoming?

I look back on this journey and feel grateful for the music and sound that brought me into the world of the very people I once admired, now acknowledging me in return. Hearing Chuck D say my name still sends chills down my spine.

From the days of making mixtapes and DJing small venues around New York to where I am now, the journey feels surreal and humbling.

When I see comments on my YouTube videos like, “This is what real hip-hop sounds like,” it reinforces the reason I started doing this—to keep hip-hop alive and true to its roots, and to watch the world come together through it.

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G Herbo releases Lil Herb: Lil Heroin Edition today, the latest chapter in the sonic memoir that began with Lil Herb. Alongside the project, Herbo unveils the visual for “Mad People,” a standout record that finds him reflecting on loyalty, success, and everything it took to reach this point while staying true to himself. The vlog-style GotMrkd-directed visual gives fans an inside look at a side of Herbo they haven’t seen much of lately.

With the line, “I don’t owe shit to niggas, and nobody can say I switched on niggas,” Herbo takes stock of the road that brought him here. The record is rooted in loyalty, accountability, and the reality of carrying people with you as your life changes. Looking back on the relationships, sacrifices, and responsibilities that came with his rise, Herbo makes it clear that even during his lowest moments, he continued showing up for those around him, rapping, “Even when I was on my last, I still took care of mad people.” The result is one of the project’s most honest moments, balancing gratitude, frustration, and perspective in equal measure.

Shot between the Dominican Republic and Chicago, the video follows him during a recent getaway with his fiancée, Taina Williams, a moment of rest and celebration following one of the biggest runs of his career with the release of Lil Herb in November. From riding four-wheelers through the countryside to pool days with friends and sharing meals, the visual captures Herbo embracing a slower pace after years spent in constant motion. Performance scenes filmed throughout Chicago’s Chinatown reconnect the visual to the city that shaped his story.

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