Produced by DJ Hoppa

Lyrics
I hop up on the track
Hoppa on the track so it’s prolly gonna slap
Big Wax in the pocket so it’s prolly got the optimum neck snap factor and chock-full of facts
Uh
Scholar when I rap and a proper one at that, bibliography attached
Uh
On the road we turn anywhere we stop into a lab
Made this one at a Holiday Inn in Vacaville
(Where’s that?)
Eat the free breakfast, exit speedily, then meet up at the next shit
Feet up in the van and proceed to write a verse and a set list
Plus add your moms to the guest list
(All access)
I’m lovin the sound
A lifetime’s too short to be fuckin around
Another beat up in the headphones and I’m bumpin it loud
I levitate ’til I’m touching the clouds

Floatin
Whoa oh oh oh oh
SO HIGH
Floatin
Whoa oh oh oh oh
SO HIGH
Floatin
Up up and away
SO HIGH
I’m just Floatin
We do this every day
SO HIGH

Hoppa on the beat
I got it on repeat, ’bout to drop another heat-filled
Masterpiece like he be droppin every week
On the topic of the dominant elite, my name you got to speak
See me at the top of the peak
Mount Shasta
The earth’s root chakra, mastering the proper techniques and fasting
My connection to nature is flabbergasting
Swinging through your city with a different kind of synergy than anyone you ever knew, ooh
Floatin ’til you poking through the ceiling, it’s a potent type of feeling that we giving you, ooh
Hollar at Hans Zimmer
Me and Hoppa take you higher than a palm tree frond trimmer
That’s the millionth quote from the goat
Put some air in your raft, let’s float

Floatin
Whoa oh oh oh oh
SO HIGH
Floatin
Whoa oh oh oh oh
SO HIGH
Floatin
Up up and away
SO HIGH
I’m just Floatin
We do this every day
SO HIGH

The post Wax, DJ Hoppa, SUMPP – ‘Floatin’ first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

off the album ‘This Thing of Ours’

Produced by Scoop Deville
2025 Serial Killers under exclusive license to Ineffable Records

Lyrics:
Don’t you dare stare, you better move
Cause I might go pow how you like me now
Rockin my peers putin suckers in fear
Recking shop when I drop, these lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops

Let them shots of quick get your whole squad hit
Hold the crowd hostage jump up in the mosh pit
Hardcore hip hop not for your Tik-Tok
4 albums in bout to hit you with the 5th shot
Knock em unconscious fuck around and find out I ain’t fuckin wit the nonsense
Kill em at the concert, came, saw, conquered
Taking out your roster hit like a mossberg bang

So let me show you all how to prosper first ya start it off with bitches seeing rockstars
Spittin hot bars setting fire to a cop car let the motherfucker burn crash like a stockcar
Call an authority more to be spit morbidly
Killing for sport quarterly sorted these bitches orderly
Normally orally I’m killing these bitches mortally
Formerly known formally killer of those boring me

Don’t you dare stare, you better move
Cause I might go pow how you like me now
Rockin my peers putin suckers in fear
Recking shop when I drop, these lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops

Now when the man pull through all the bullshit stoppin locked up in the air like a Chevrolet hoppin
Got a satellite view of the worst I kill you first
Welcome to the turf greatest show on earth
I see you came to a fork in the road I unload buckshot got you looking like a QR code
Hunt down foes they fold
Make them implode billionaire submarine on the ocean floor (now!)

Don’t you dare stare, you better move

I do my own stunts like Tom Cruise
On a strict diet strictly booze and dogfood
The west on my back like my tat from cartoon
Hit em wit a little bit of venom let rhythm hit em
Get em gotta go up in em trigger like a mechanism
I’m educated never regulated staying medicated
Dedicated tatted on my face like its gang related

Don’t you dare stare, you better move
Cause I might go pow how you like me now
Rockin my peers putin suckers in fear
Recking shop when I drop, these lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops
Drop lyrics that’ll make you call the cops

The post Xzibit, B-Real, Demrick – ‘Call the Cops’ first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Vevo, the world’s leading music video network, today announced the findings of “Then is Now,” a comprehensive study exploring how nostalgia is shaping music discovery, cultural connection, and audience engagement across generations. Surveying more than 1,800 Gen Z, Millennial, and Gen X consumers across the US, UK, and Australia, the report finds that shared cultural nostalgia significantly impacts consumer behavior and reveals music as the strongest driver of nostalgic feelings.

Across the generations surveyed, revisiting past content – including music and television – is the leading trigger of nostalgic feelings (76%). Sixty percent identify with “shared nostalgia,” a collective memory shaped by cultural reboots and widely shared content rather than personal experience. This trend is especially prominent among younger audiences: 65% of Gen Z report experiencing “borrowed nostalgia” for cultural moments from before they were born or are too young to remember, and one in three say they feel they were “born in the wrong generation”. For younger audiences, nostalgia is a form of cultural curation and identity-building, while artists are increasingly channeling borrowed nostalgia through retro-inspired visuals, styling, and fashion in new music video releases.

Nostalgia by Genre: Hip-Hop and R&B were in the top 3 with Pop taking #1. To learn more, Download the Full Report Here.

“The ease and accessibility of streaming is accelerating the discovery and use of nostalgic content more than ever before, from fueling catalog engagement with legacy artists to actively shaping the latest premieres. However, it’s not just about revisiting what you loved years ago; people are craving shared moments and experiences, a contrast to the fragmentation driven by personalized algorithms,” said JP Evangelista, EVP, Content, Programming & Marketing at Vevo. “That’s why nostalgia has become a powerful form of cultural currency. The entertainment industry at large – from artists and their teams to production studios – are meeting this desire and have been incorporating nostalgia into music, fashion, TV and beyond.”

The report reveals that music is the strongest driver of nostalgia, with 88% of respondents saying it sparks nostalgic feelings, outperforming movies, television, and gaming. Music videos lead among music formats (68%), ahead of audio tracks (59%) and live performance videos (50%). That emotional connection also drives discovery, with 67% of respondents saying hearing music from the past encourages them to explore other songs from that era, introducing audiences to catalog moments they may have missed the first time around.

“Nostalgia is a timeless, powerful driver of engagement in today’s streaming era. The visual storytelling of music videos transcends the music itself and creates a deep emotional and psychological connection for fans – both new and existing – in a way that few forms of entertainment can. Music videos from the past uniquely provide context to songs and major pop culture moments, making them an iconic source of inspiration,” said Laura Vanison, VP, Research & Measurement at Vevo.

The post New Study Shows Music Videos Are the #1 Driver of Nostalgia. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Reservoir Media, Inc., an award-winning independent music company, today announced a publishing deal with hip-hop icon T.I. Under the agreement, Reservoir will work alongside T.I. across his entire publishing catalog, spanning his back catalog and future works, including his new album, Kill the King, which debuted in the Top 10 on Billboard’s Top R&B/Hip-Hop Albums and Top Rap Albums charts.

Tip “T.I.” Harris, is a multi-Platinum, Grammy Award-winning artist and one of the most influential entertainers of his generation, with a career spanning music, fashion, film, and television. Widely recognized as a pioneer of Atlanta’s trap music movement, T.I. has sold over 14 million albums worldwide and has released 11 studio albums, over 100 singles, and 13 mixtapes. He has received three Grammy wins and over 60 additional industry accolades, and his extensive list of collaborators includes Jay-Z, Rihanna, Justin Timberlake, Timbaland, Eminem, Nelly, and Mariah Carey, to name a few.

T.I.’s hugely successful albums include 2x-Platinum Urban Legend (2004), 2x-Platinum and #1 King (2006), Platinum and #1 T.I. vs. T.I.P. (2007), 4x-Platinum and #1 Paper Trail (2008), and more. His 2x-Platinum single “What You Know” off King won Best Rap Solo Performance at the Grammys in 2007. That same year, T.I. took home the Grammy for Best Rap/Sung Collaboration for “My Love” with Justin Timberlake off Timberlake’s FutureSex/LoveSounds.

His most popular studio album, Paper Trail, featured appearances by Jay-Z, Lil Wayne, Rihanna, Justin Timberlake, and many others, and four of the album’s singles peaked within the Top Five of the Hot 100. The album features enduring rap/pop crossover hits, such as 8x-Platinum “Live Your Life” feat. Rihanna, 5x-Platinum “Dead and Gone” feat. Justin Timberlake, and Platinum “Swagga Like Us” with Jay-Z, Kanye West, and Lil Wayne. “Swagga Like Us” notably took home Best Rap Performance by a Duo or a Group at the 2009 Grammys, earning T.I. his third Grammy win.

In addition to his music career, T.I. owns two successful clothing brands, has appeared in blockbuster films and hit TV shows, and is a passionate philanthropist. He founded the social justice charity “Us or Else,” which led to the release of the acclaimed socially charged compilation album entitled Us or Else: Letter to the System, featuring Reservoir roster-mate Killer Mike, plus Quavo and Meek Mill, among others.

On the deal, T.I. commented, “I’m very excited about building a strong partnership with Reservoir as we work together to diversify the business and expand the reach of my catalog.”

Reservoir Executive Vice President of A&R and Catalog Development Faith Newman said, “T.I. has been dubbed the ‘King of the South’ for putting Atlanta’s rap scene on the map, which helped shape the trajectory of the genre of hip-hop for the past 20 plus years. His crossover successes and enduring popularity have proven time and again how much his music resonates with fans. It’s an honor to partner with him on continuing to carve out the legacy of these cultural touchpoints he has created.”

“T.I. is one of those rare powerhouses whose music has real cultural significance and staying power,” added Rell Lafargue, President and Chief Operating Officer at Reservoir. “Our focus has always been to grow our roster with world-class music, and welcoming one of rap and hip-hop’s most influential artists and bodies of work to Reservoir reinforces that mission. This partnership with T.I. also doubles down on our long-standing commitment to the genre’s storied history and promising future.”

T.I. was represented on this transaction by Steven G. Shapiro and Ed Paparo of the law firm Davis, Shapiro, Lewit & Grabel, LLP.

The post T.I. Inks Publishing Deal With Reservoir. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

A star on the Hollywood Walk of Fame was unveiled Wednesday honoring the legendary hip-hop group Bone Thugs-N-Harmony ||Bizzy Bone (Bryon Anthony McCane II), Flesh-n-Bone (Stanley Howse), Krayzie Bone (Anthony Henderson), Layzie Bone (Howse’s younger brother Steven) and Wish Bone (Charles Scruggs Jr.)|| for a 35-year career that has brought them three chart-topping albums and a Grammy Award.

Rappers Ice-T and Fat Joe were among the people who spoke at the ceremony in Hollywood which was hosted by radio personality Big Boy.

“Usually, you only see people like this, we only get together during bad times,” Ice-T told the crowd. “Let’s just applaud the fact that all Bone Thugs are alive, healthy and here.”

The group’s members — Krayzie Bone (Anthony Henderson), Layzie Bone (Steven Howse), Bizzy Bone (Bryon Anthony McCane II), Wish Bone (Charles C. Scruggs Jr.) and Flesh-n-Bone (Stanley Howse) all made acceptance speeches.

“Receiving a star on the Hollywood Walk of Fame is a blessing beyond words,” the group said in a statement. “Coming from Cleveland, we never imagined that the music we created would touch so many lives around the world.

“This honor belongs not only to Bone Thugs-N-Harmony, but to our families, our city, our fans, and everyone who believed in us from the beginning. More than three decades later, we’re still here, still creating, and still carrying the legacy forward.”

The star is the 2,851st since the completion of the Walk of Fame in 1961 with the initial 1,558 stars.

ABOUT:

The group originally performed under the name B.O.N.E. Enterpri$e before being discovered by legendary rapper Eazy-E. Impressed by their style, Eazy-E signed them to Ruthless Records in 1993 and helped launch their national career.

Their breakthrough came with the 1994 EP Creepin on ah Come Up, featuring hits such as “Thuggish Ruggish Bone” and “Foe tha Love of $.” The project introduced audiences to their fast-paced flows and harmonized vocals.

In 1995, Bone Thugs released E. 1999 Eternal, which debuted at No. 1 on the Billboard 200 and produced the classic singles “Tha Crossroads,” “1st of tha Month,” and “East 1999.”

“Tha Crossroads,” a tribute to Eazy-E after his death in 1995, became a worldwide hit, spending eight weeks at No. 1 on the Billboard Hot 100 and winning a Grammy Award. In 1997, Bone Thugs released The Art of War, which debuted at No. 1 on the Billboard 200 and produced the singles “Look into My Eyes” (also featured on the Batman & Robin Soundtrack) and “If I Could Teach the World.” The double-disc album was a massive commercial success.

Bone Thugs-N-Harmony are considered pioneers of the “chopper” style of rap—fast, rhythmic lyric delivery combined with singing and harmony. Their influence can be heard in artists across hip-hop and R&B, and they helped bring national attention to Midwestern rap. The group has sold more than 60 million records worldwide. They remain one of the most influential and best-selling hip hop groups of all time. Their tour kicks off on July 10th .

Their major albums include Faces of Death (1993), Creepin’ on ah Come Up (1994), E. 1999 Eternal (1995), The Art of War (1997), The Collection Vol. 1 (1998), BTNHResurrection (2000), The Collection Vol. 2 (2000), Thug World Order (2002), Strength & Loyalty (2007), Uni5: The World’s Enemy (2010), The Art of War: World War III (2013), and New Waves (2017).

They won the Grammy Award for Best Rap Performance by a Duo or Group for “Tha Crossroads” in 1997 and “Ridin” in 2007, the American Music Award for Favorite Rap/Hip-Hop Artist in 1998 and 2007, and the Soul Train Award for Best R&B/Soul or Rap Music Video for “Tha Crossroads” in 1997.

“Tha Crossroads” reached No. 1 on the Billboard Hot 100 and became one of the most successful rap singles of the 1990s. Bone Thugs-N-Harmony remain the only rap group to have recorded with all four late rap legends: Eazy-E, Tupac Shakur, The Notorious B.I.G., and Big Pun while they were alive.

They have also received nominations for the Grammy Awards for Best Rap Album (E. 1999 Eternal) and Best Rap Performance by a Duo or Group (“1st of tha Month”), as well as the MTV Video Music Awards for Video of the Year (“Tha Crossroads”), Best Group Video (“Tha Crossroads”), Best Rap Video (“Tha Crossroads”), and Viewer’s Choice (“Tha Crossroads”).

The group is involved with the following charities: Spread the Love Foundation (Krayzie Bone), Beyond the Wishing Well (Wish Bone) and Make-A-Wish Foundation (Bizzy Bone.

The post RECAP: Bone Thugs-N-Harmony Walk of Fame Star. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

redveil, a rapper and producer from Prince George’s County, Md., moved to Los Angeles a couple years ago to further expand his musical ambitions. He comes back to the D.C. area, home of the Desk, with an evolved sound to perform a soulful set, turning his complex beats into jazzy, full-band arrangements.

In late 2025, redveil released sankofa, which means “go back and get it” from the Akan language of Ghana — to bring wisdom from the past into the future to make positive changes. That’s the mindset of this performance. He speaks on his mortality with “time (a dream deferred)” and, on “lone star,” reflects on summers in Texas with his grandparents. There’s a desire to connect with his Caribbean roots on “history,” which jumps right into the breezy love song “brown sugar.”

As he winds down the set, redveil goes back to “campbell,” the first track from his 2020 album niagra, which he released at age 16. To close out, redveil gets on the keys for “glimpse of you,” a personal letter to his brother who lives with schizophrenia — the song crescendos into an emotional climax and on a note of hope.

SET LIST
“time (a dream deferred)”
“lone star (feat. Carolyn Malachi)”
“history”
“brown sugar”
“campbell”
“glimpse of you”

MUSICIANS
redveil: vocals, keys
Carolyn Malachi: vocals
Fred Greene: keys
Emmanuel Oke: guitar
Imran Musa: bass
Keith Butler Jr.: drums
Michael Tumi Murphy: sax
Isaac Burns: trumpet
Jada Postell: background vocals
André Lyn: background vocals
Allayna O’Quinn: background vocals

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

A broad coalition of leading music industry organizations today sent a letter to the United States Trade Representative urging the Administration to oppose a proposal under consideration by the European Commission that could jeopardize nearly $300 million in annual royalties paid to American artists and rights holders.

The letter expresses concern over a potential European Union legislative proposal that would overturn the 2020 Court of Justice of the European Union (CJEU) decision in RAAP (Recorded Artists Actors Performers Ltd.), which extended national treatment protections to American recording artists and labels. According to the coalition, replacing those protections with a “material reciprocity” framework would codify discrimination against U.S. creators and significantly reduce royalty payments American artists currently receive from Europe.

“National treatment has long been a cornerstone of the global copyright system, ensuring American creators—including recording artists, musicians, and performers—are treated no less favorably than domestic rightsholders abroad,” the coalition wrote. “The Commission’s proposed shift to reciprocity would condition these protections on U.S. law, replacing a clear, rules-based system with one that is fragmented, uncertain and would directly disadvantage U.S. creators in foreign markets.”

The organizations noted that 21 of the European Union’s 27 member states currently provide national treatment and pay royalties to American artists and rights holders. They warned that a reciprocity-based system would likely lead to reduced or withheld payments, increased administrative burdens, and politically driven eligibility determinations, creating significant uncertainty for U.S. creators.

The coalition also cautioned that the EU proposal could have consequences far beyond Europe, weakening international copyright protections and encouraging other countries to adopt similar discriminatory measures. The letter argues that such a move would undermine transatlantic cooperation on intellectual property issues and erode long-established principles of nondiscrimination in global copyright systems.

In the letter, the coalition pointed to the American Music Fairness Act (H.R. 861/S. 326) as a constructive path for strengthening artist compensation while maintaining adherence to international trade and copyright principles. The American Music Fairness Act, bipartisan legislation authored by Representative Darrell Issa (R-CA) and Senator Marsha Blackburn (R-TN), requires AM/FM radio corporations to pay artists for the music they play, exactly as Spotify, Apple Music, SiriusXM, Pandora, and every other American platform already does. If enacted, the bill will resolve the reason for Europe’s recent policy shift, protect the royalty payments American artists depend on, and ensure that U.S. performers are finally compensated at home as well.

Signatories to the letter include the American Association of Independent Music, American Federation of Musicians, Artist Rights Alliance, ASCAP, BMI, Christian Music Trade Association, Future of Music Coalition, Music Managers Forum-US, National Independent Talent Organization, SAG-AFTRA, Society of Composers & Lyricists, SoundExchange and The Recording Academy.

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Just two months after the news of Luther Vandross’ induction into the Rock and Roll Hall of Fame, Primary Wave Music and The Luther Vandross Estate are excited to announce their partnership with Alvin Ailey American Dance Theater. The renowned dance company will premiere Power of Love, a musical tribute to Vandross, at their annual gala on December 2, with a show opening confirmed for December 4 at New York City Center. Power of Love will run through January 3, 2027 and will be followed by a North American tour later in 2027.

Of the collaboration David Gottlieb, manager of the Luther Vandross Estate, said, “The Luther Vandross Estate is thrilled to see Alvin Ailey, the country’s pre-eminent modern dance company, create a production built around the music of Luther Vandross. The serendipity is special: both Luther and Alvin Ailey were born in 1950’s New York and grew to be forces in entertainment, respectively transforming R&B music and modern dance for all to experience. This creative partnership is bound to be memorable and unforgettable.”

Primary Wave Music’s Content Development Manager, Christopher Green added “Luther Vandross’ music is the soundtrack for generations of love stories. His legacy – undeniable. His name – woven into the global tapestry. It is a distinct honor to align his work with other cultural titans such as the incomparable Alvin Ailey, whose contributions also redefined creativity and performance. We are excited to create Power of Love as a celebration of love and Luther Vandross.”

Power of Love is a newly commissioned ballet, choreographed by Jamar Roberts who will bring Luther’s romantic, soulful, and eminently danceable music exuberantly to life with his intuitive, emotionally resonant movement. The hour-long performance will certainly be a celebration of Luther’s life and music, featuring a number of Luther’s biggest hits including “Never Too Much,” “Here and Now,” “Dance With My Father,” “A House Is Not A Home” and of course, his classic and the shows namesake – “Power Of Love”. These fan favorites and award-winning songs will sound brand new after being newly arranged by his longtime collaborators Marcus Miller and Ron Gillyard. Marcus and Ron, as well as Reginald Hudlin, are partners in developing this exciting, one-of-a-kind performance.

When asked about his work for the ballet, Marcus Miller said, “Ron and I dove in, and with the help of our dear friend, film director Reginald Hudlin, we took on the task of making this project come to life in a way Luther would be proud of.” He continues, “We chose which songs to include which reflected the breadth of Luther’s career and could also translate well to dance. We did slightly new arrangements of a few songs and added some small touches to tickle the ear with some musical surprises.”

Reginald Hudlin echoed Marcus’ thoughts saying, “When Marcus and I talked about doing a tribute to the Luther, I didn’t want to hear singers trying to sing like him. I wanted to hear his voice, and have dancers express the song.” He continues, “Luther’s dedication to his craft at the highest level is mirrored in the discipline and technique of the Alvin Ailey dancers. It’s a match made in heaven.”

“While working with Luther, we had many conversations about his love of performing on different stages and for different audiences. I have no doubt he would be incredibly excited by this collaboration with Alvin Ailey,” adds Ron Gillyard. “The passion, joy, and beauty of his music, combined with the grace, strength, and emotional power of Ailey’s dancers, create a perfect partnership.”

The post Primary Wave Music and The Luther Vandross Estate Announce Partnership with Alvin Ailey American Dance Theater. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

The post Layzie Bone – ‘D.a.S.H.’ Album first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

By: Todd “DG” Davis
Rapindustry.com

___

Baby Paul aka BpZy has always been one of those names that hip-hop heads know—even if the casual listener doesn’t realize how often they’ve heard his work. Some producers chase the spotlight. Others shape the soundtrack from behind the boards, leaving fingerprints on records that outlive trends. Brooklyn raised him, but his music helped define an era that stretched far beyond the borough. 

From the rugged soul of Da Beatminerz to Grammy recognition alongside Nas and AZ, Paul Anthony Hendricks has quietly built a résumé rooted in longevity, not luck. Whether crafting records for Smif-N-Wessun, Fat Joe, and Nas, or helping elevate artists whose names deserve a second look, his approach has always favored substance over spectacle. His beats don’t simply knock—they tell stories. 

Today, that same creative DNA lives through his evolution as BpZy. Producer. DJ. Executive. Media creator. Label owner. Rather than chasing yesterday, he’s investing in tomorrow—developing artists, producing content, expanding independent platforms, and proving that reinvention doesn’t require abandoning your roots. 

Our conversation isn’t just about classic records or career milestones. It’s about what it takes to stay creative, stay relevant, and stay standing in an industry that’s constantly rewriting its own rules. For Baby Paul, the credits speak for themselves. The story behind them is even better.

Paul, you’ve gone from the basement-era days of Brooklyn hip-hop to streaming television networks and digital distribution. When you look back, what part of the journey makes you smile the most?

Baby Paul: Actually, the journey is still continuing. I’m most proud of my resilience and consistency in creating art while maintaining relevance in this business.

Before the plaques, Grammy nominations, and business ventures, what was young Baby Paul chasing when he first fell in love with music?

Baby Paul: My first interest in music was DJing. At age 16, as a huge Run-D.M.C. fan, I was inspired by the legendary Jam Master Jay and wanted to be the DJ for a rap star if I ever got the opportunity. Fast forward a few decades later, and I’m living my dream.

Joining Da Beatminerz during one of the most important periods in East Coast hip-hop put you in the middle of history. What did that era teach you that still applies today?

Baby Paul: I learned that business and personal friendships often don’t mix. I also learned to separate creativity from smart business. I educated myself on marketing and distributing music after the creative process was complete, while building a strong network in strategic places to execute my agenda in music and media. The right relationships open doors—talent alone is not enough.

Dah Shinin’ by Smif-N-Wessun remains one of the most respected albums in hip-hop. Did you realize at the time those records would become sacred to so many fans and producers?

Baby Paul: Yes, I knew we had created an impactful piece of art that would resonate within the culture. It’s still celebrated every year, which humbles me. This year also marks the 30th anniversary of Heltah Skeltah’s Nocturnal, my coming-out moment as a producer, having produced five songs on that album for Duck Down Records.

You’ve worked with everyone from Nas and AZ to Big Pun, Fat Joe, and Slum Village. What separates artists who leave a permanent mark from those who simply have a moment?

Baby Paul: Consistency in the creative process and integrity in the music. The artists with staying power respect the architects while carrying the tradition forward. They know how to balance their creative vision with navigating a complicated industry, while continuing to release music, perform, and build their brand.

“Destroy & Rebuild” on Stillmatic is part of one of hip-hop’s most talked-about eras. What do you remember about creating during a time when every record felt like it carried weight?

Baby Paul: The opportunity to work with Nas during such a pivotal time in his career, while he was battling Jay-Z, mirrored my own situation. I had just left Da Beatminerz after releasing Brace 4 Impak on Rawkus Records, which was a challenging period because of creative differences and internal business disputes.

Your relationship with AZ spans decades. What has made that creative partnership endure when so many industry relationships come and go?

Baby Paul: AZ and I developed a real camaraderie after my work with Nas on Stillmatic. We went on to create “The Essence” for the Aziatic album, which also featured Nas and earned us a Grammy nomination in 2002.

The Grammy nomination for Aziatic was a major milestone. Did it feel like validation, motivation, or just another chapter in a much bigger story?

Baby Paul: I credit my music industry mentor, Damien “Deo” Blyden, former manager of both Heavy D and AZ, for giving me that opportunity. And yes, it absolutely validated the work I had put in up to that point in my career.

You’ve worn a lot of hats—producer, DJ, executive, entrepreneur, and media owner. Which role has taught you the most about yourself?

Baby Paul: I think each of those roles has contributed to my growth and shaped me in different ways. I’ve maintained my passion for creating music while becoming an astute businessman behind the scenes. I honestly feel I’ve found my niche by balancing both worlds, accomplishing great things, and doing it quietly.

The single “Glitchy” introduces Salih Bey to a wider audience while featuring Cory Gunz and your own contribution to the hook. What excited you most about helping bring that record to life?

Baby Paul: I made this song during a time when the industry was pulling me in different directions. Salih Bey gave me the creative direction to produce the record, and I wrote the hook from a relatable place, sharing a perspective that was both personal and business. Every lyric came straight from the heart and was delivered with full intention.

“Glitchy” feels like more than a song—it feels like a phrase, a personality, and a cultural conversation starter. When did you realize it had that kind of potential?

Baby Paul: Salih and I recognized that potential from the very beginning. Our creative conversations are always intentional when we make music together. The reaction since the song’s release has been immediate and overwhelmingly positive.

Between D.O.E., H-TV, Untouchables DJs, producing records, and developing new talent, what excites you most about this current chapter of your career?

Baby Paul: For clarification, XMG was dissolved in 2025, and I’ve relaunched my label imprint, D.O.E. [Divine Order Entertainment], with a new vision in partnership with Sony Orchard Distribution. With H-TV, I’m expanding my experience as a content producer, beginning with co-producing the HittMobb Podcast series. As for Untouchables DJs, I enjoy playing curated industry events and contributing mix-show sets on radio. Be sure to check out Untouchables Radio every Friday at 8 p.m. on 105.1 FM The Beat.

When people tell the story of Baby Paul fifty years from now, what do you hope they say about your contribution—not just to hip-hop records, but to hip-hop culture itself?

Baby Paul: I hope I’m remembered as a producer who evolved with the times while consistently delivering quality work that transcended genres—from hip-hop to R&B to alternative music. More than anything, I hope I leave behind a legacy that continues to be celebrated and appreciated for generations to come – BpZymusic.com 

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Jermaine Dupri built So So Def into one of the most influential imprints in hip-hop and R&B history — Kris Kross, Da Brat, Xscape, Jagged Edge, Bow Wow, J-Kwon, Bone Crusher, plus his production fingerprints all over Mariah Carey and Usher’s biggest eras. Now JD says the label that helped make him a mogul has been quietly shorting him for decades.

Dupri, along with So So Def Recordings and So So Def Productions, filed suit against Sony Music Entertainment this week in the U.S. District Court for the Southern District of New York, alleging the record company underpaid royalties and breached contracts governing a decades-long business relationship. The complaint seeks more than $18 million in damages, plus prejudgment interest, attorneys’ fees, and other relief, and Dupri’s side is demanding a jury trial. Per Billboard, which obtained the filing directly, Dupri and So-So Def Recordings accuse Sony of a “systemic pattern” of using “contemptuous accounting practices” to underpay royalties for many years.

This isn’t a beef over a bad accounting cycle. “So-So Def had a 32-year contractual and business relationship with SME,” Dupri’s lawyers write. “As it turns out, many of SME’s dealings with So-So Def have not been lawful and have harmed So-So Def in its business.”

The Roots of the Relationship

For readers who need the backstory: Dupri is the son of former Columbia Records executive Michael Mauldin, and he founded So-So Def in 1993 as a joint venture with Columbia and Sony, where he went on to sign Xscape, Bow Wow, Da Brat and others. That joint-venture partnership ended in 2002, and after several more years operating through Sony imprints, So-So Def eventually moved between EMI, UMG and other distributors. Dupri himself, of course, is the writer/producer behind Kris Kross’s 1992 smash “Jump,” and built a decades-long run helming hits for Carey, Usher, Nelly and others — he also released two studio albums of his own, featuring collaborations with Jay-Z and Ludacris.

The Kris Kross Bombshell

The sharpest allegation in the filing centers on Kris Kross. Dupri alleges Sony never reported producer or override royalties tied to the group’s first two albums, Totally Krossed Out and Da Bomb, until 2023.

When Dupri’s team started asking questions, Sony claimed it did not know those royalties had never been reported. The complaint doesn’t let that fly, alleging Sony “deceptively” placed Kris Kross royalties in a separate accounting system — language echoed elsewhere in the filing as an outright concealment claim. The lawsuit says Sony gave Dupri’s side Kris Kross royalty statements in 2023 and 2024 showing more than $30 million in foreign sales, yet still refused to pay at least $2.2 million tied to those records.

Xscape’s “Unfathomable” Balance and Da Brat

The complaint devotes serious real estate to Xscape’s accounting. Dupri accuses Sony of improperly “cross-collateralizing unrecouped account balances” to avoid paying out, claiming the label still insists the girl group has more than $1.5 million in unrecouped advances decades after their albums were released. His lawyers don’t mince words: “It is unfathomable that Xscape’s royalties were insufficient to recoup the entirety of Xscape’s advances on [their early albums] — both albums were certified platinum by the RIAA — let alone to leave such a staggering unrecouped balance 25-30 years later.”

The lawsuit also says that same account generated over $1 million between 2020 and 2024, but So So Def never saw those payments because Sony kept applying the old negative balance against incoming money — a pattern, the suit argues, not a one-off. Separately, the complaint says Sony underreported more than $960,000 in producer royalties from Xscape’s 1993 debut Hummin’ Comin’ At ‘Cha, and withheld more than $1 million in producer royalties from Da Brat’s 1994 album Funkdafied.

Jagged Edge isn’t spared either. Dupri’s suit alleges Sony tried amending royalty statements for Jagged Edge to cover past underpayments only after the fact, and per earlier reporting, those amended statements only corrected figures going back to 2007, leaving earlier money unaccounted for.

Notably, Billboard’s filing review also flags that royalties tied to Mariah Carey, Usher, Bow Wow and others have been “understated” to an unknown extent, suggesting the scope of the alleged shortfall may extend beyond the specific dollar figures broken out in the complaint.

The Audit That Started It All

According to the filing, the case was triggered by a 2025 desk audit conducted by accounting firm Gelfand, Rennert and Feldman, which allegedly surfaced the full scope of the problem. Dupri’s legal team is direct about intent: “SME knew that it was violating the contracts with the Plaintiffs and never attempted to disclose its contemptuous accounting practices to the Plaintiffs.”

The numbers at stake are steep — the $18 million figure includes more than $10 million in interest, underscoring how far back the disputed accounting allegedly stretches. The complaint also frames Dupri’s broader business impact, noting his So So Def work and production deals helped create more than $200 million in gross revenue over three decades.

Where It Stands

As of this writing, Sony has not yet publicly responded to the filing. So So Def’s legal team is pushing for a jury trial, the full $18 million, interest, attorneys’ fees, and any other relief the court sees fit to grant.
For an architect of the So So Def sound, this lawsuit isn’t just about money owed — it’s a public reckoning over how major labels account for decades-old catalogs in an era where old records keep generating new revenue long after their release dates.

RapIndustry.com will continue to track this story as Sony responds and the case moves through the Southern District of New York.

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Ahead of his upcoming sold-out run at Yankee Stadium this week, JAŸ-Z and Roc Nation have announced a London stadium date, expanding the series of performances taking place this year.

Set for Friday, September 4, 2026 at Tottenham Hotspur Stadium, the show marks JAŸ-Z’s only UK stop of the year and continues the celebration of an unparalleled 30-year career that has shaped music and culture around the world.

The London date joins previously announced performances in Paris on September 10 and Los Angeles on October 23. Together, these select shows honor JAŸ-Z’s legacy through music from across his iconic catalog that has influenced generations.

Tickets for the London date will be available starting Thursday, 9th July at 10am local time via presales, including early access to tickets for O2 and Virgin Media customers, on Priority. The general on-sale will begin Friday, 10th July at 10am local time.

SHOW DATES

LONDON – JUST ADDED
Friday, September 4, 2026 – Tottenham Hotspur Stadium

PARIS
Thursday, September 10, 2026 – Stade de France

LOS ANGELES
Friday, October 23, 2026 – SoFi Stadium

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Hip-hop lost one of its founding female voices this week. Doreen C. Broadnax, known to the culture as MC Sparky D (also billed as “Sparky Dee” or “Sparky-D”), has died at age 61. She reportedly died on July 4, 2026.

For RapIndustry.com readers who trace the lineage of battle rap back to its source, Sparky D’s name sits at the very top of that family tree — right alongside the rival who made her famous.

From Brownsville to the Battlefield

Broadnax was born in Brooklyn and raised in the Van Dyke Housing Projects in Brownsville. She began her career around 1983 as a member of the local group The Playgirls, recording “Our Picture of a Man” for Sutra Records. Through the group, she was introduced to rapper-producer Spyder-D, a connection that would shape the defining moment of her career.

That moment arrived in the winter of 1984 into 1985. After 14-year-old Roxanne Shanté released “Roxanne’s Revenge” — her answer to UTFO’s “Roxanne, Roxanne” — Spyder-D heard the record on Mr. Magic’s Rap Attack on New Year’s Eve and decided Broadnax should fire back. Taking Shanté’s shot at a fellow Brooklyn crew personally, she recorded “Sparky’s Turn (Roxanne, You’re Through)” for NIA Records, produced by Spyder-D.

The record didn’t just land — it exploded. “Sparky’s Turn” reportedly sold more than 300,000 copies within days and was later certified gold, helping ignite what became known as the Roxanne Wars — one of hip-hop’s most famous rivalries and the source of what may be the largest string of answer records in the genre’s history.

The Rivalry That Built an Era

What made Sparky D essential wasn’t just the diss record — it was what came after. At the height of the feud, Shanté and Sparky D began doing shows together, often wearing boxing gloves to play up the antagonism, and recreated those battles on wax with 1985’s “Round 1.” Billed on Spin Records as “Round One, Roxanne Shanté vs. Sparky Dee,” the freestyle showdown became a blueprint for the battle-rap format decades before internet cyphers and Verzuz.

Sparky D didn’t stop there. She kept releasing music through the 1980s, including “He’s My DJ”/”She’s So Def” with Kool DJ Red Alert and “Throwdown,” before dropping her debut full-length, This Is Sparky D’s World, on B-Boy Records in 1988. She went on to work with old-school heavyweights including MC Shy D, Roxanne Shanté and K Wiz throughout her career.

Life Beyond the Mic

Sparky D’s story, like much of golden-era hip-hop, wasn’t without hardship. She stated in interviews that she was a victim of domestic abuse, struggled with a crack cocaine addiction, and was involved in prostitution at points after the height of her career.

But her third act was one of redemption. According to Dap City’s report, Broadnax overcame her addiction and dedicated herself to ministry after relocating to Atlanta in 2004, founding Treasure Ministries and transitioning into gospel rap. She won a Gospel Choice Award in 2007 for her song “This Is for the Church.”

In 2017, Broadnax was portrayed by actress Cheryse Dyllan in the Netflix biopic Roxanne, Roxanne, which chronicled the life of her former rival Roxanne Shanté — a full-circle moment that introduced her story to a generation of hip-hop fans who never lived through the Roxanne Wars firsthand.

The Culture Responds

Tributes came fast from across generations of hip-hop royalty. Producer DJ Premier wrote on Instagram: “One of the 1st Female Battle MC’s representing Brownsville Brooklyn, NY. I became an instant fan when she battled @imroxanneshante in the early 80’s and I always bought her records from day 1.” He added that he and Nas were grateful to have honored her on their recent collaboration “Bouquet.”

Hip-hop pioneer MC Sha-Rock also paid tribute, calling Sparky D’s passing a tremendous loss for hip-hop and encouraging artists to appreciate one another while they’re still here.

Why She Matters

Long before women dominated charts and headlines the way they do today, Sparky D proved a female MC could go bar-for-bar with anyone in the room — and sell records doing it. She wasn’t a novelty act inside a men’s genre; she was a commercial force whose gold-certified answer record helped define an entire era of hip-hop’s competitive spirit. Every battle rapper, every diss track, every “Roxanne”-style answer record owes something to the blueprint she and Shanté drew up in 1985.

Rest in power, Sparky D.

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Having amassed more than 88.4 million U.S. streams and 101 million YouTube views, Albany-born, Atlanta-raised rapper Enphamus officially introduces his debut album, No Biggie, available now via ONErpm. Fresh off the release of the album’s latest single, “Secret Indictment” featuring Project Pat, Enphamus delivers his most complete body of work yet.

Drawing from the street knowledge and experiences that shaped him while embracing the artist he has become, No Biggie captures Enphamus at a defining moment in his career. Blending hard-earned perspective with unwavering confidence, the album reflects his evolution as both a lyricist and storyteller while cementing his place among Hip-Hop’s next generation of standout voices.

“Enphamus has always possessed an extraordinary talent that captivates audiences, and with ONErpm, we’re witnessing the emergence of a true superstar,” said ONErpm A&R Glenn Guccio Teague. “His lyrical ability and undeniable swagger set him apart, allowing him to connect with fans on a deeper level. No Biggie marks a pivotal moment in Enphamus’ career, as we harness his unique sound and energy to create an experience that resonates across the globe. We’re excited to help bring his vision to audiences everywhere.”

Enphamus is joined by Project Pat, Young Nudy, and Queen Key across No Biggie, bringing together a diverse lineup of respected voices from across Hip-Hop. Each collaboration expands the album’s range while allowing Enphamus’ lyricism, confidence, and perspective to remain at the forefront.

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Produced by: Baby Paul/ BpZy for D.O.E LLC

Visuals: 7sin Films
Filmed at: PeerSpace Studios, Brooklyn NY

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