Last night, diamond-certified global superstar The Weeknd officially brought his historic After Hours Til Dawn Stadium Tour to a close with a final performance at TM Stadium National in Kuala Lumpur, marking the end of an extraordinary four-year global run. The finale followed 16 other sold-out stadium shows across Asia this fall, bringing the tour to the region for the first time. Originally announced with 11 dates, the Asia leg quickly expanded to 17 shows due to overwhelming demand, including three nights in Bangkok, four nights in Hong Kong and multiple performances in every market on the run.

Since kicking off in July 2022, the After Hours Til Dawn Stadium Tour has spanned 176 shows across 67 cities, 30 countries and 5 continents, selling more than 9 million tickets and grossing over $1.3 billion USD. The tour is now the highest-grossing by a male artist in history and one of only a handful of tours ever to surpass the billion-dollar mark.

Over four years, the tour traveled across North America, Europe, the UK, Latin America, Australia and Asia, with The Weeknd returning for additional runs in nearly every territory to meet ongoing fan demand. The tour maintained its record-breaking momentum through its final year, selling more than 3 million tickets and grossing over $500 million in 2026 alone. In July, the tour topped Billboard’s monthly Boxscore chart, grossing more than $120 million and selling nearly 900,000 tickets in a single month.

Beyond its commercial success, the tour has also made an impact on communities around the world. To date, The Weeknd has donated $8.5 million to the XO Humanitarian Fund and Global Citizen, supporting global hunger relief and access to quality education for children worldwide.

In 2026 alone, $3 million has been raised for the United Nations World Food Programme (WFP) and Global Citizen. This year’s contributions to Global Citizen will support a new campaign focused on breaking down barriers facing women and girls in health, education and economic opportunity. The campaign will focus on securing commitments that empower women and girls and help them reach their full potential.

The Weeknd also recently surprised fans with the release of “Hong Kong” featuring Cantopop icon Faye Wong on October 31, following its live debut on October 24 during the opening night of his four-show run at Kai Tak Stadium in Hong Kong. The single has already broken multiple records across China’s major music streaming platforms. On NetEase Cloud Music, it achieved the biggest first-day debut for a non-Mandarin song in the past five years across streams, likes, saves, comments and shares, while making The Weeknd the first international artist in five years to reach No. 1 on all three major charts (Hot Song, Surging and New Music) on release day. On QQ Music, the track earned the biggest debut ever for a Western male artist across streams, saves, comments and shares, and made The Weeknd the first Western artist in 2026 to top all three major charts on release day.

Throughout its four-year run, the After Hours Til Dawn Stadium Tour shattered venue and market records around the world, including:

• Toronto: Set a Rogers Centre record for the most performances by a male solo artist on a single tour, with six shows, also breaking the venue record for a Canadian artist.
• Los Angeles: Set a SoFi Stadium record for the most performances and highest gross by a male artist, with seven shows.
• France: Became the first artist to sell out six nights at Stade de France in Paris on a single tour, drawing more than 500,000 fans across France in summer 2026 alone. Across the full tour, The Weeknd sold out 13 stadium shows in France.
• UK: Drew more than 450,000 fans across seven sold-out stadium shows in 2026, with ticket buyers from nearly 150 countries.
• Hong Kong: Set a new record as the highest-selling international male solo artist in Hong Kong, with four sold-out stadium shows and nearly 200,000 tickets sold.

From its opening night in 2022 to its final performance in Kuala Lumpur, the After Hours Til Dawn Stadium Tour has redefined the scale of global stadium touring, reaching millions of fans across five continents and cementing its place among the most successful tours in live music history.

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DMV-by-way-of-Sacramento rapper Camden Malik releases his new album 40 Acres via 10k Global. Executive produced by MIKE and SURF GANG’s Eliproperr, the album collides the distinctive styles of regional rap from Sacramento and New York City that Camden grew up surrounded by and shapes them into a sharp musical identity of his own. Rooted in a relentless work ethic and stories of survival and personal sacrifice, 40 Acres is a focused personal statement from Camden that cements his place within the larger musical community he’s always been part of.

A mainstay in the 10k orbit since its origins, Camden Malik is a high school friend of MIKE’s that has built his own distinctive sound having spent his upbringing between the two coasts, evident across the breadth of the project and its two early singles “What U On” and “Immediately”. 40 Acres is Camden’s most focused effort to date, drawing out self-reflections on his life and striking a balance between survival and carving out a career as an artist.

The album was recorded across New York, Chicago, Baltimore and Earl Sweatshirt’s Los Angeles studio. Embracing the wider musical community that Camden is part of, 40 acres includes features from Lerado Khalil, Niontay, Cletus Strap, and Rockitneedspace, seamlessly connecting Malik with a new generation of rappers on the rise across MIKE’s 10k Global and Earl’s Tan Cressida labels. Having previously earned praise from Pitchfork “The Ones” spotlight for his track “Wit My Hands,” and collaborated with the likes of MIKE, Vic Spencer and GRIMM Doza, the new project closely follows his collaborative project with Panamera P from September, You Can’t Land A Plane Anywhere.

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Two cultural icons. One microphone. And plenty to talk about. Ice Cube and Mike Epps are bringing their legendary chemistry to Listen & Laugh, a new weekly video and audio podcast premiering Friday, November 6, with a lineup of influential guests and plenty of stories to share. New episodes will be released every Friday at 3 p.m. PT / 6 p.m. ET, with full video episodes on YouTube and audio on major podcast platforms.

What is “Listen & Laugh”?
Ice Cube and Mike Epps don’t just talk about culture. They help drive it, in music, TV, film and sports. On Listen & Laugh, the longtime friends and cultural icons bring their perspectives to the porch for conversations that deserve more room. From the streets to the C-suites, they get into what’s happening, who’s making the decisions and how it all hits home.

Joined by cultural leaders, artists, athletes and people with a story worth hearing, Cube and Epps explore what the community is talking about and ask the questions people want answered. Their shared history and hilarity makes room for honest opinions, personal stories and the kind of insight that comes when people let their guard down.

Cube’s gonna make you listen. Epps is gonna make you laugh. And sometimes, it’s the other way around.

Who will appear on the podcast?

The show will kick off with Dr. Dre as its first guest, setting the stage for a roster of recognizable names whose influence reaches across music, sports, comedy and entertainment. The guest lineup also includes:

• Music: The Game, Lil Dicky and Benny Blanco
• Sports: Stephen A. Smith, Dana White and Michael Strahan
• Comedy and Entertainment: Katt Williams, Bill Burr, Regina King, Luenell, Mojo Brookz, Cedric the Entertainer, Michael Blackson, Funny Marco and O’Shea Jackson Jr.

What makes “Listen & Laugh” different from other celebrity podcasts?
Ice Cube and Mike Epps bring a perspective few others can offer. Their longstanding relationships and credibility across different corners of culture allow them to connect with people on a level that goes beyond the public personas audiences already know. They understand the history, experiences and realities behind the conversations, giving them the credibility to ask questions and challenge perspectives in ways that resonate with the communities they represent.

With Listen & Laugh, Cube and Epps are creating something distinctly their own, drawing on their firsthand experiences to explore conversations that rarely happen in the same room. Their shared cultural history gives them a unique understanding of the people and forces at play, allowing them to uncover perspectives and insights that audiences may not hear anywhere else.

“Mike and I have been making people laugh together for years, but there’s a lot more to our conversations than what people see on screen,” said Ice Cube. “We wanted to create something where we could sit down with people we respect, have real conversations, share some stories and have a good time doing it. You never know where the conversation is gonna go, and that’s what makes it interesting.”

“Cube and I have been making people laugh for a long time, and now we get to sit down, talk some mess and bring some of our friends into it,” said Mike Epps. “We’ve got all these big names coming through, but once they sit down with us, everybody’s just having a real conversation. We’re gonna have some laughs, hear some crazy stories and probably get somebody to tell us something they weren’t planning on telling us. That’s when it gets good!”

The show is produced by Cube Vision and Blue Jay Partners Holdings subsidiary Shark Infested Waters Productions.

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The American Society of Composers, Authors and Publishers (ASCAP) today announced a major expansion of its industry-leading Wellness Program, launched in 2019, with a new mental health member benefit in collaboration with Project Healthy Minds, the leading mental health tech nonprofit dedicated to expanding access to mental health services across the United States. The initiative provides ASCAP songwriter, composer and music publisher members with confidential access to a comprehensive ecosystem of mental health services, therapy options and wellness tools to support creators at every stage of their careers.

Project Healthy Minds developed an intuitive discovery platform that connects individuals with a diverse range of mental health services. Through this new, first-of-its-kind PRO partnership, ASCAP members will have curated access to the platform and can privately connect with mental health service providers.

The announcement coincides with the jump.global Summit in Los Angeles, where Grammy winning artist and Rock & Roll Hall of Fame Inductee Cheryl “Salt” James of multi-platinum hip-hop trio Salt-N-Pepa and Billboard #1 Protest Songwriter and Elle UK’s woman of hope, MILCK, aka Connie K Lim, will take the stage alongside ASCAP Executive Vice President and Chief Strategy & Digital Officer Nick Lehman on Tuesday, November 10, for “The Empathy Bridge: A Creator-to-Executive Conversation.” In the session, Lehman and these two ASCAP members will explore ways for the music business to foster deeper empathy, bridge the divide between the creative and commercial sides of music, and prioritize creator well-being.

Over this weekend, in another intersection of wellness and music, ASCAP will bring members and staff to participate in the Diplo Run Club 5K at Los Angeles State Historic Park on November 8. ASCAP members can receive a 10% discount on the entry fee.

Music creators encounter unique career pressures, from financial volatility and rigorous touring schedules to creative isolation. Because songwriting and composing rarely come with traditional employer benefits, ASCAP made history in 2019 as the first PRO to launch a dedicated wellness initiative. Today’s collaboration with Project Healthy Minds builds on that momentum, following the successful rollout of a telehealth member benefit through MD Live for 24/7 urgent care consultations, plus dermatology and additional health care services.

“Creativity thrives when creators are supported – in mind, body, and spirit,” said Lehman. “Music creators put their everything into the music we love, yet trying to find quality, affordable support shouldn’t feel like everything is stacked against them in an opaque healthcare system. By teaming up with Project Healthy Minds, we are delivering direct access to vetted care – removing friction so our members get meaningful support, whenever and however they need it.”

“Songwriters have helped millions of people feel less alone, and this partnership makes sure they have that same support in return. We are thrilled to give ASCAP’s members a simple way to find care, whether that’s a therapist, a support group or a tool they can use on the road,” said Phillip Schermer, Founder and CEO of Project Healthy Minds.

The partnership expands ASCAP’s wellness benefits, which also include discounts and perks through partners such as Aaptiv, Daily Burn, BetterHelp and Paramount Rx, alongside telemedicine through MD Live.

How to Access the Benefit
All current ASCAP writer and publisher members can immediately take advantage of the new benefit at no additional cost. Members simply log into the ASCAP Member Access portal to access a unique landing page on Project Healthy Minds’ site. From there they can browse available mental health services, take personalized assessments and connect directly with care providers.

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In the five years since his Tiny Desk (home) concert, Joe Cartagena has continued to reinvent himself, leaning into his polarizing takes and storytelling as an internet personality, writing a book and, more recently, co-hosting the popular Joe and Jada podcast with another Tiny Desk alum, Jadakiss. Fat Joe’s music has remained the driving force, with consistent album output and hit records.

For his Tiny Desk, the Bronx emcee flexes the benefits of loyalty and longevity, inviting a laundry list of guest appearances from Remy Ma, Stove God Cooks, Stevie Mackey, Dre (from the production duo Cool & Dre) and Jadakiss, in support of career-spanning set list and songs from his latest album, Organized Rhyme.

SET LIST
“Cocababy (feat. Remy Ma)”
“(Ha Ha) Slow Down”
“I Shot Ya”
“New York (feat. Jadakiss)”
“The Aroma (feat. Jadakiss, Stove God Cooks & Remy Ma)”
“Feelin a Way (with Stevie Mackey)”
“I Won’t Tell (with Stevie Mackey)”
“Lean Back (feat. Remy Ma)”
“All the Way Up (feat. Remy Ma)”

MUSICIANS
Fat Joe: vocals
Jadakiss: vocals
Remy Ma: vocals
Stove God Cooks: vocals
Stevie Mackey: vocals
Zo Harris: keys, music director
Ricky “Strings” Ramos: guitar
Keithan Foster: bass
Antwan “Amadeaus” Thompson: drums
Ted Smooth: DJ
Dre: background vocals

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Zelooperz shares new single, “Masons Dispatch,” featuring the Detroit rapper’s reflections on his unrelenting pursuit of money, love and loyalty over Black Noi$e’s looping production. The track arrives on the heels of his last single “Beautician,” which arrived alongside the announcement of Pin Breakers, an album nearly a decade in the making, arriving November 13 via Earl Sweatshirt’s Tan Cressida imprint. Produced entirely by Black Noi$e, the project features a sole guest appearance from fellow Detroit native and Bruiser Brigade co-founder Danny Brown.

The origins of Pin Breakers stretch back to 2017, when Zelooperz and Black Noi$e were living together, which led to the pair recording almost daily in their home studio. What emerged from those sessions was an album rooted in years of friendship and a shared musical language. Completed in 2019, the record spent years sitting dormant on a discarded hard drive before Black Noi$e rediscovered it, giving the collaborators an opportunity to finally bring the music to a wider audience.

Across Pin Breakers, Zelooperz revisits formative experiences spanning childhood, adolescence and adulthood, with stories reaching as far back as his early teenage years that fuel his irreverent, unpredictable lyricism that has made him one of Detroit’s most singular voices. Black Noi$e provides the musical foundation throughout, bringing the inventive production sensibility that has made him a sought-after collaborator for artists including Earl Sweatshirt, Armand Hammer, Danny Brown, LUCKI, Pink Siifu, Paris Texas, and Lexa Gates.

During a bowling trip in Glendale, Zelooperz threw a ball with enough force to dislocate his shoulder, an injury that would affect him for six months. The incident became the inspiration for Pin Breakers, a title that plays on both the physical act of breaking pins and the freedom of breaking the pen –– allowing ideas to flow without restriction. The album also marks Zelooperz’s first release on Tan Cressida, following his time on the road with Earl Sweatshirt for the Live Laugh Love tour in 2025.

Pin Breakers arrives November 13 on digital platforms

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In case you missed it, the Call of Duty: Warzone Hajin Conflict launch trailer is scored with “Haegeum” by Agust D, the solo project of BTS’s SUGA. The title track from his 2023 album D-DAY, it’s built around the haegeum, a traditional Korean string instrument, making it a fitting soundtrack for Hajin, Call of Duty Warzone’s first map set in South Korea.

Two new battlegrounds in an escalating war. Brace for battle in Hajin Conflict.

Call of Duty: Warzone Season 1.

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Oakland artist and producer John Mackk has teamed up with fellow Bay Area staple Mike Sherm for their high-energy new collaboration, “Belt 2 Ass.” Built on heavy bass lines and signature West Coast bounce, the two artists display their natural chemistry that has consistently delivered past hits from the prominent NorCal artists. “Belt 2 Ass” is the lead single for Mackk’s upcoming project Last Call, set to drop in early December.

The single arrives alongside a playful, larger-than-life music video directed by Mackk and Red Fox Productions. The visual captures the duo taking on a wild, oversized game of Twister alongside a group of vibrant models, delivering a colorful backdrop that matches the energy of the track.

John Mackk and Mike Sherm have built a proven track record of standout collaborations, previously linking up on the breakout hit “Slow It Down (Remix),” which has racked up over 25 million streams to date. Mackk also recently opened for Sherm on his nationwide 2026 Sherm Summer Tour and the pair are currently preparing a joint project slated for release in 2027.

“Belt 2 Ass” arrives on the heels of Mackk’s September 2026 release, the Still Outside EP. Mackk’s steady climb has been propelled by standout records including the recently RIAA Gold-certified “Slow It Down” and the fan-favorite anthem “Pose For Me.” Known for being a dual threat as both an artist and producer, he’s built an impressive catalog featuring collaborations with West Coast notables like Mozzy, 310babii and Kalan.FrFr.

Meanwhile, Antioch-born rapper Mike Sherm continues a 2026 run with the April release of Bang Broz, his joint project with Shoreline Mafia’s Fenix Flexin. Celebrated for his unfiltered delivery, sharp humor, and unmistakable flow, Sherm remains an indispensable voice in Northern California hip-hop with catalog classics like “Asshole” and “Baby.”

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Sneaker and streetwear retailer, SNIPES USA unveiled “The Gift of Fresh,” its 2026 holiday campaign narrated by Harlem-born hip-hop icon Cam’ron, starring LA-based artist, singer and songwriter Samara Cyn and Brooklyn-based musician Perris Howard, and set to an original score by super producer BNYX. The campaign celebrates the people who shape our style and the gifts that show them they were remembered.

“SNIPES has always been about powering the people who move the culture forward, from the ones who built it to the ones shaping what comes next,” said Kelley Walton, CMO, SNIPES USA. “‘The Gift of Fresh’ campaign celebrates that by bringing generations together around the people who put us on. Cam’ron, Samara Cyn, Perris Howard and BNYX each represent a different chapter of that story, and together they remind us that style means the most when you share it. This season, we want SNIPES to be where people are reminded that ‘fresh’ is not only something we wear; it is something we give, share and pass on.”

The campaign film takes viewers inside a holiday house party hosted by Samara Cyn, where family, friends, BNYX’s original score and fresh SNIPES looks fill the room. Cam’ron is the voice of the campaign, narrating with his signature humor as he walks through the holiday shoppers we all know: the planner, the last-minute shopper and the person who isn’t expecting anything. Perris Howard plays the planner, the friend who has every gift handled early and pulls up to the party fresh. Along the way, one guest finds a last-minute gift in the SNIPES Reserve app, and another stops on the way upstairs to surprise the neighborhood OG with a gift in SNIPES’ limited-edition orange holiday gift bag – , a reminder that “The Gift of Fresh” is for the people who have always been there. Cam’ron then closes the film with a holiday message from the set of his podcast, It Is What It Is.

With over 800 stores across Europe and the US, as well as an online shop, SNIPES offers sneakers and streetwear from global brands like adidas, Nike, and New Balance and exclusive collections and limited drops. From unique global partnerships with DJ Khaled and French football club PSG to local collaborations with key figures in the scene – SNIPES is an integral part of the streetwear culture community.

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Produced by iZZNYCE
Directed / Animated by Unjust

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Anderson .Paak and Cordae team up to own Billboard’s Top Rap Albums chart with ‘Heavy Is the Crown.’ For each artist, the project becomes a first leader on the list.

‘Heavy Is the Crown’ launches with 30,000 equivalent album units earned in the United States for the tracking week of Oct. 23-29, according to Luminate. Album sales contributed 19,000 units to the total, streaming activity brought in 11,000 units, and there was a negligible amount of track-equivalent sales activity. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 1,000 paid/subscription tier or 2,500 ad-supported tier of official on-demand audio and video streams for a song on the album.)

Prior, Anderson .Paak reached Top Rap Albums with ‘Yes Lawd!,’ under Nxwrries, his duo with producer Knxwledge, which reached No. 3 in November 2016, and Oxnard, which peaked at No. 5 in December 2018. The performer, whose music spans hip-hop, R&B and other genres, has also been a consistent R&B presence with his own albums, including Malibu and Ventura and via his Silk Sonic collaboration with Bruno Mars, whose An Evening With Silk Sonic album debuted at No. 1 on the Top R&B/Hip-Hop Albums chart.

For Cordae, ‘Heavy Is the Crown’ follows ‘The Lost Boy,’ a No. 6 success in August 2019, and ‘From a Birds Eye View,’ which earned a No. 4 best in January 2022.

Elsewhere, the new collaborative album opens at No. 2 on Top R&B/Hip-Hop Albums and No. 11 on the all-genre Billboard 200.

“Airbender” leads the album’s 11 tracks in terms of songs performance, with a No. 21 debut on Hot Rap Songs. With 2.4 million official U.S. on-demand streams, it was the album’s most-streamed song of the week. The entrance secures Anderson .Paak’s first entry on Hot Rap Songs, while Cordae lands his fourth; he first arrived when he and Jack Harlow featured on Eminem’s “Killer,” a No. 16 hit in August 2021, and followed with a NF collaboration (“Careful,” No. 20 in April 2023) and a teamup with Lyrical Lemonade and Juice WRLD (“Doomsday.,” No. 15 in July 2023). S: Billboard

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By: Todd “DG” Davis
Rapindustry.com
___

There are moments in hip-hop when a city produces an artist who doesn’t just represent where they’re from—they become part of the evidence that their city belongs in the conversation. For St. Louis, Ebony Eyez was one of those moments. Before the headlines, the major-label deal and the records found in record stores and spinning through radio, there was Ebony Williams, a St. Louis woman with a microphone, a personality and something to prove. 

Coming up in a city with its own distinct musical DNA, Ebony Eyez carved out her lane at a time when female MCs were still having to kick the door open and make room for themselves. Her early connection with the TrackBoyz—Mark Williams and Joe Kent—helped put that St. Louis sound into motion, and her appearance on J-Kwon’s Hood Hop in 2004 gave listeners outside the city their first real introduction to what she could do. Then came “Tipsy,” J-Kwon’s undeniable smash, and suddenly the door wasn’t just cracked—it was wide open. 

Ebony walked through it. 

Her Capitol Records signing carried weight beyond a contract. She became the first female rapper from St. Louis to sign with a major label, putting her name into a piece of the city’s music history that can’t be erased. In 2005, she stepped into the spotlight with 7 Day Cycle, bringing a combination of attitude, femininity, street sensibility and St. Louis flavor to a national audience. “In Ya Face” made noise in the clubs, the Trina remix expanded the record’s reach, “Take Me Back” showed another side of her with 112, and “Get XXX’d,” alongside J-Kwon, landed on the XXX: State of the Union soundtrack. 

But sometimes the industry moves faster than the history it creates. 

The major-label chapter didn’t last nearly as long as the talent behind it deserved. Yet Ebony Eyez didn’t disappear—and that may be the part of her story worth revisiting now. Because careers in hip-hop aren’t always measured by how long the machine keeps your name in rotation. Sometimes they’re measured by what you opened up for yourself, what you represented when the opportunity arrived, and whether you still have something to say after the lights change.  And Ebony does.

Still connected to music, still representing St. Louis and still documenting her journey on her own terms, Ebony Eyez has lived through an era that younger artists can only hear about secondhand. She experienced the climb, the major-label machine, the records, the recognition and the inevitable shift that comes when the industry moves on to its next thing. 

Now, it’s time to move the conversation back to the beginning—and let Ebony Eyez tell the story in her own voice. 

Because before there was the deal, there was the dream. Before there was 7 Day Cycle, there was St. Louis. And before history could call her the first, Ebony had to become the woman willing to kick that door open.

____

Q. Before the major-label deal and the records, there was Ebony Williams growing up in St. Louis. What first pulled you toward hip-hop, and when did you realize you had something to say through the mic? 

My connection to hip-hop started pretty naturally. Growing up in St. Louis, I was hanging out with my neighborhood friends, watching music videos and trying to emulate what we saw. At some point, we started saying, “Let’s do our own raps and routines,” and that became our thing. I was performing, dancing and rapping in a girl group (G.G.B. — Girls Get Busy) around nine years old, so I got comfortable with being onstage pretty early. 

One of the girls from that group actually gave me the name Ebony Eyez when we were kids. She got the name from the Rick James song. LOL. So the name I’ve carried throughout my career actually goes all the way back to my childhood. And what’s crazy is that she later ended up doing my hair for my “In Ya Face” video, my “Take Me Back” video and even my 7 Day Cycle album cover. So she’s been part of my story in more ways than she probably ever realized. 

By high school, I was freestyle rapping on the school bus, but I wasn’t necessarily thinking, “This is what I’m going to do for a career.” I went to college at FAMU, where I picked the music back up, and when I came back to St. Louis, that’s when I really decided I was going to pick up the mic and let people see what I could do. 

There were definitely women who inspired me. Salt-N-Pepa, MC Lyte, Lil’ Kim, Foxy Brown and Lauryn Hill were all artists I looked up to. They each brought something different to the mic, and seeing women command that space helped me understand that I could have my own voice in it too. 

Q. St. Louis has always had its own hip-hop identity, but you became the first female rapper from the city to sign with a major label. What did that moment mean to you personally—and what did it mean for the women coming behind you? 

Being one of the first female rappers from St. Louis to sign a major-label deal meant a lot to me because I knew how much history and talent our city had, and I knew I was representing more than just myself. 

At the same time, I was young and taking it all in, so I don’t think I fully understood the weight of what it meant until later. For the women coming behind me, I hope they saw that there was a place for them at the table. You didn’t have to fit somebody else’s idea of what a female rapper from St. Louis was supposed to look or sound like. You could come from here, have your own personality and your own voice, and take that to a national level. 

Opening a door doesn’t mean the work stops, though. You still have to learn the business, protect your work, understand your value and keep evolving. 

Q. Your first major look came on J-Kwon’s “Hood Hop” with “Show Your Ass.” What do you remember about that moment, and how did being around the energy of the St. Louis movement change your trajectory? 

“Show Your Ass” actually started out as my song. I remember being in the studio working on it, and the original plan was to put J-Kwon on the record. At that point, it was supposed to be my second single following “In Ya Face.” Then, at the last minute, the idea came up to give the record to Kwon. The plan was for it to follow “Hood Hop” as his next single and introduce me to an even bigger audience. His label situation changed before that whole plan could really play out, so it didn’t happen the way we originally envisioned it. 

But being a woman in the middle of what was happening in St. Louis at that time was dope. The city had so much energy, and I was rocking stages with some of the best of them, representing St. Louis from a woman’s point of view. And I’m not gonna lie, the boys’ club of the Lou didn’t exactly roll out the red carpet for me. I had to hold my own and make sure people knew I belonged in those spaces too. 

The attention St. Louis was getting nationally definitely helped when I was outside the city. People were starting to pay attention to where we were from, so when I showed up in other markets, I was coming from a city that was having a real moment, and I was part of that movement. 

Q. Then “Tipsy” became a massive record, and suddenly St. Louis was impossible to ignore. What was it like watching your hometown have that national moment while you were preparing to step into your own? 

By the time “Tipsy” took off, I was already signed with the Trackboyz and just starting to work on 7 Day Cycle. St. Louis had already been getting national attention through Nelly and the St. Lunatics and then Chingy, so we knew the city had something special happening. But “Tipsy” really blew the door open even wider. 

That success created a lot of opportunities, and one of those for me was being able to go on tour with J-Kwon and perform “Show Your Ass.” I was the only woman on the road with all these guys, so I definitely had to hold my own. But I knew I was in good hands. We also shared the same management at the time. 

I was also in the “Tipsy” video, which was actually my first time being on a major video set. I remember being there with Da Brat and other celebrities and athletes and just taking it all in. 

And you have to remember what St. Louis was like at that time. The Rams were winning Super Bowls, the Cardinals were doing their thing, the music scene was moving, and there were real movers and shakers all over the city. You couldn’t just say you were from St. Louis and expect people to notice you; you had to put in real work. 

So watching “Tipsy” take that St. Louis energy even further was exciting, especially because I was already preparing to step into my own lane with 7 Day Cycle. 

Q. Signing with Capitol Records in that era was a major accomplishment. What did getting that deal feel like, and what did you learn about the music business once the dream became a real contract? 

Signing with Capitol was a huge deal to me. I had just recently come out of being in a female duo for about five years, so I was really learning how to write whole songs by myself. And back then, we were doing three 16-bar verses, too! I was constantly writing, recording and making noise, and the labels were taking notice. 

Capitol wasn’t the only label we went to, but they were the ones that bit and were ready to rock, so to speak. Getting that deal was a big deal not just for me, but for St. Louis. A female was finally stepping up to the plate and getting her turn. 

I feel like my city showed me love, but at the time I didn’t always feel like they got behind me the way they had gotten behind some of the guys who came before me. Looking back, though, I think I may have been wrong about that. My city loves me; at least it feels like it today!

What I learned from that experience is that getting the opportunity is only the beginning. I was young and focused on making music and building my career, and there was still a lot about the business I had to learn along the way. That experience definitely helped shape the artist and businesswoman I became. 

Q. You reunited with J-Kwon for “Get XXX’d” on XXX: State of the Union. How did that opportunity come together, and what did it mean to see your music crossing from hip-hop into film? 

One of our producers at the time, Trackboyz, had me come to the studio and write a verse for the record. A few days later, I went back and found out Petey Pablo was getting on it, so they took my verse off and put me on the hook instead. I knocked the hook out, and we had another hit on our hands. 

Next thing I know, we’re going to L.A. to shoot the video. That was actually my first video where I got to be in it and have vocals on the record, so you know I was ready! 

I had just cut my hair super short, too, and I was nervous about coming out like that on camera. Looking back, though, it was a good move. It was also my first time getting the full glam treatment. I hated the makeup part, LOL, but I loved the clothes! 

Benny Boom directed the video, and I would end up working with him again later on my “Take Me Back” video. I got to meet a lot of people during that whole experience, and Petey Pablo was hella cool. 

We also got to perform the record on Soul Train. That’s where I found out we had to lip-sync, which was hard as hell for me because I was used to actually performing. Then we performed it live at the Soul Train Awards, and we killed it. 

We did all the St. Louis dances like the Nina Pop, Chicken Head, all of that across that stage. I remember looking over and seeing Usher and Ice Cube looking at me from the audience like, “Who is this chick?” They looked entertained, too. 

The funniest part is, when the performance was over, everybody else was already walking off the stage, and I looked up and realized I was still out there dancing! Can’t take a chick from the hood nowhere! I was just caught up in the moment. 

Q. 7 Day Cycle arrived in 2005 with the Trackboyz heavily involved in the production. What were you trying to capture about Ebony Eyez on that album that listeners might not have understood from the singles alone? 

I feel like 7 Day Cycle did a good job of capturing me as the artist I was at that time. I was still finding myself not just as an artist, but as a woman. But I wasn’t brand new to making music or putting out a project. I had already released an album with my group NAZIR before the Trackboyz/Capitol chapter, so I had experience creating music and being involved in that process. 

I would have loved to have worked with some other producers and included some of the songs I had already created, but my production deal limited some of those choices. I also didn’t get to really spearhead 7 Day Cycle the way I was used to, so that was an adjustment for me creatively. 

Even with those limitations, I still feel like we created something special. There were so many different topics on that album that women were dealing with, and that’s one reason I feel like you can still listen to 7 Day Cycle today and it doesn’t sound dated. I made sure to rap my ass off on every record. 

I do feel like the album didn’t get the push it needed or deserved, and because of that, people never really got the opportunity to fully see who I was or what I was capable of bringing to the table. 

But 7 Day Cycle is my baby. It always will be my first.

Q. “In Ya Face” became your signature statement, and the remix brought Trina into the mix. What was behind the attitude of that record, and what did you want people to know about you when you stepped into that space? 

“In Ya Face” was definitely me saying, “Fuck y’all.” To everybody who had doubted me, underestimated me or thought I couldn’t do it, well, kiss my ass, here I go. And honestly, I think anybody who’s ever felt underestimated can relate to that energy. 

The funny thing is, the record wasn’t even supposed to be my first single. It was originally supposed to create some buzz in the strip clubs before we dropped the official single. But we worked that record so well that it started catching on, and the label decided they wanted to run with it. 

The idea actually came from us joking around in the studio about having a big derrière and how guys always want women to turn around, dance and bend over. Next thing you know, “Would you let me put my ass in your face?” became the hook. My producer was like, “It’s gonna work. Watch. That’s shock value.” And I remember thinking, okay, if I’m going to give them a hook like that, I’m damn sure going to show them I can RAP on the verses. 

And I did. My verses weren’t raunchy at all. I gave bars, lyrics, jokes, wit, humor, sass and that boss energy. 

At the time, though, radio had a harder time with a woman being that direct. Records with men saying things just as explicit were getting played, but my lyrics in the chorus had people clutching their pearls. C’mon. That contrast was frustrating because the record had so much more to it than the shock value. 

Then, when the label wanted a remix, Lil’ Kim and Trina were both names that came up, and we ultimately went with Trina. She absolutely smashed it. Working with her felt like the right collaboration for that record. 

At the end of the day, “In Ya Face” wasn’t just about the hook. It was me announcing that I was here, I could rap, and I wasn’t going to let anybody else’s expectations of what a woman in hip-hop was supposed to be keep me from taking my space. 

Q. Then you showed another side with “Take Me Back” featuring 112. How important was it for you to show that Ebony Eyez could go beyond the hard-edged records and tell a different kind of story? 

Absolutely. I wanted people to see all the sides of Ebony Eyez, or at least the sides I wanted to share. “Take Me Back” was important because I didn’t want people to think I was only the woman from “In Ya Face.” I could give you the hard records, but I could also be vulnerable, emotional and tell a completely different kind of story. 

The whole concept of 7 Day Cycle had layers to it. It’s a seven-day week, but it’s also a woman’s cycle, and women can go through so many different emotions and experiences during that time. 

One of my producers brought me the song with the hook already there, and I loved it. I wrote my verses while I was actually going through some things with my guy at the time, so once I started writing, my pen just went crazy. The emotions and thoughts were flowing out—things that I knew a lot of women could relate to. 

We were considering either Jagged Edge or 112 for the hook, and Q and Slim came in and absolutely laced it. They took the record somewhere else vocally and helped turn it into something special. 

We met in Atlanta for the video shoot, which was directed by Benny Boom. We’d already worked together on the “Get XXX’d” video, so we knew each other by then. Everybody was cool and down to earth, and we had a lot of fun making it. 

Q. You entered the industry during a powerful period for women in hip-hop, but the road to longevity has never been easy. What did that era teach you about being a woman, an artist and a businesswoman in an industry that could change overnight? 

That era taught me that being talented wasn’t always enough, especially as a woman coming out of St. Louis. I watched my fellow rappers who had made it get embraced by each other, and I saw other women in the industry building camaraderie. I didn’t really get the opportunity to build those kinds of relationships in the game, and for a long time I took that personally. 

I also watched other artists from my city who came around that same time get their respect and have people say, “Yeah, you’re here. You made it. You’re one of us.” I don’t always feel like I received that same recognition for being the woman holding it down for our city among the guys. 

There was also a huge focus on album sales back then. Because 7 Day Cycle didn’t go platinum, I felt like some people tried to play me or minimize what I had accomplished. What they didn’t know were all the things happening behind the scenes that affected the project—things that were outside of my control and, honestly, things I didn’t even fully understand at the time. I was young, and I wasn’t protected within the industry in the way I should have been. 

That taught me a hard lesson: you can’t let one number define your value as an artist. You have to understand the business, protect yourself, know what’s happening around your career and not assume that everybody sitting at the table is looking out for you. 

And I’ve learned something else with age: while it was and still is personal because this is my life and my art, it’s also business. I had to learn not to take every business decision or every missed opportunity as a personal rejection. 

Q. Your major-label chapter was brief, but you kept moving independently through Lady Lion Entertainment. Looking back, what did walking away from—or moving beyond—the major-label system teach you about ownership, independence and controlling your own story? 

Moving beyond the major-label system taught me that having a deal and having control aren’t necessarily the same thing. But I’d already experienced independent music before Capitol through NAZIR, so I wasn’t completely new to creating and releasing music outside of a major-label system. 

After 7 Day Cycle, I continued putting music out independently. I released Fuck How Many Mics I Get and Nice Girlz Finish Last mixtapes through Lady Lion Entertainment. That period taught me that there were different ways to keep creating and connecting with people without waiting for somebody else to give you permission. 

That’s a big reason Lady Lion Entertainment became so important to me. I wanted something that belonged to me. Something I could continue building beyond one record, one album or one company. 

I’ve learned a lot since those early days about ownership, publishing, contracts, relationships and protecting the work I’ve created. Some of those lessons came from experience, and some came from learning things I wish I’d known back then. 

But I don’t look at that younger version of myself and blame her. She was doing the best she could with what she knew at the time. 

Today, controlling my own story means more than just owning a company. It means knowing what’s attached to my name, understanding my rights, deciding how I want my music and my brand represented, and being involved in those decisions. I’m still building, but I’m building with a much clearer understanding of what ownership really means. 

Q. From St. Louis to Capitol, 7 Day Cycle, “In Ya Face,” 112 and everything that came after, what do you believe is the real Ebony Eyez legacy—and what do you want the next generation to understand about the woman who helped open that door? 

I think the real Ebony Eyez legacy is bigger than one album, one record deal or one moment in time. I’m proud of what I accomplished coming out of St. Louis, especially as a woman in a male-dominated scene, but I’m even more proud of the fact that I found my way back to the music. 

There was actually a period where I stepped away for years. But I never stopped writing, and I never stopped loving music. Somehow, music found its way back to me. 

Since then, I’ve continued performing and representing St. Louis. I’ve continued creating with artists from different generations, recently appearing on Bates’ “Ring Around The Rose” and KayyLayy’s “Nonsense” SHEmix. I also appeared on Cadillac Chronicles. I’ve also been recognized as part of St. Louis musical history through an art exhibit featuring great artists from the city. 

Life kept happening, too. I became a mother, I lost both of my parents, and I went through things that changed me. But here I am, still creating. I’m putting together a youth organization, preparing new music and figuring out what this next chapter looks like. 

So for me, longevity isn’t about pretending the journey was a straight line. It wasn’t. There were stops, starts, losses, changes and different versions of me along the way. The fact that I found my way back to the music is part of my legacy, too. 

What I want the next generation, especially young women, to understand is that you don’t have to let one chapter define you. A record deal doesn’t define you. Album sales don’t define you. A setback doesn’t define you. And even the mistakes you make while you’re learning don’t have to define you. 

You have to keep learning, keep creating and keep finding your way back to yourself. 

I was one of the women who helped open a door in St. Louis, but I don’t want to just be remembered as somebody who opened the door. I want to be somebody who kept walking through it and eventually helped hold that door open for somebody else.

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