Hit-Boy Hit-Boy
Nicholas Maggio/Interscope Records

Hit-Boy Discusses What Got The People Going With 'Watch The Throne''s Biggest Hit

Get the story on Watch The Throne's standout track “N***as In Paris" from the song's producer, including who was the mastermind behind the 'Blades Of Glory' sample. 

It’s hard to believe that five years have passed since the Aug. 8, 2011 release of Watch The Throne, the first collaborative effort from Kanye West and Jay Z. The undeniable virality of WTT’s monster tracks still resonate with listeners to this day. We get chills when the haunting bass-heavy “No Church in the Wild” opens up the 12-song collection. When we listen to “Otis,” we’re reminded of an old-school flavor not heard too often in the rap game today. Not to mention, “Murder To Excellence” is relevant now more than ever. However, no other track on the Grammy-winning opus gets the people going quite like “N***as In Paris.”

The Hit-Boy/Mike Dean/Yeezy-produced track is still heavily rotated in the handful of years after its initial release. In the hit, the dynamic duo are on their braggadocio flow, spitting fiery rhymes and puns over a thumping bass, which is coupled with a hilarious Blades Of Glory interpolation, putting the cherry on top of the timelessly “provocative” track. The song was made into a children’s book from The Interns entitled “Friends In Paris,” and the current French president, François Hollande, used the track in a campaign video while running for office in 2012, proving that it has grown from a rap song into a cultural and global phenomenon.

VIBE spoke to the song’s producer Hit-Boy regarding the success of the track, the impact its had on his production career and how being thrust into the music spotlight relatively early helped him grow as a person. At the time, he was a new signee to G.O.O.D Music, and this was one of the first songs to catapult his production prowess into public consciousness. Since then, he’s gone on to produce for will.i.am (“Scream And Shout (Remix)”), Kendrick Lamar (“Backseat Freestyle”) and Beyonce (“Bow Down/Flawless”). He also owns his own label, Hits Since ’87, and is in the process of releasing his own music as a burgeoning rapper.

VIBE: Tell me about your initial meeting with Jay Z and Kanye. How did they get in touch with you?
Hit-Boy: I originally met Kanye back in 2007, just from working out here in Hollywood Studios. I was working at this studio called Record Plant, and I had a room that was across from where Pharrell was working. He was working on an N.E.R.D. project, this is way back in 2007. So, he introduced me to Kanye originally, and I played a beat for Kanye, but we never collaborated until two years later.

Kanye introduced me to Hov. From the time we met, we just was cool, I was just choppin' it with him on some regular stuff, and I kept building with them. I did three weeks worth of sessions in the Mercer Hotel [and] worked on all this music. I had made a few beats that I thought they'd cut for Watch The Throne... none of those records made it! Not one time did I hear the "N***as In Paris" beat. The whole time we were working, the "N***as In Paris" beat was never brought up, never talked about, never anything.

Months go by, I was thinking I've got some other records on the album, then out of nowhere, I got a call. I did the "N***as in Paris" beat and gave it to one of my homies, my homeboy Chilly Chill, and basically he was about to drop it on a mixtape, put it on YouTube, upload it. But I had got an e-mail from Don C asking for this particular beat, and it was the beat we were about to drop. It ended up being "N***as in Paris," and I didn't have a clue, I thought that beat was... I cooked that up so fast that it was nothing to me! [laughs] So, to have Jay Z and Kanye tell me to my face "that's our biggest record" overall, and being such a big fan of them over the years, that was a major accomplishment for me. That was one of my more simpler pieces of music ever in my life, and that cut through the most. That was a life-changing experience for me.

It seems like it all came really fast at you, so was it overwhelming at all? How did you soak it all in [the success of the song]?
Man, it was honestly just happening, and I thought I was way more prepared for the game than I really was [laughs], but it really made me grow up. That really became a hit, so trying to even follow up on that and try to make people react that same way, that really put another level of, I don't wanna say pressure, but put another level of fire under me just to go harder.

What do you think sets that particular beat apart from the other beats that you made at the time that made them go, "oh, yeah, that's definitely the one that we're gonna use"?   
Well, it was one of my more simpler beats. I never thought that beat would have became a real hit. I just create, and that was one of my more simpler beats. I always computed that I'd be working on sh** for hours, and you know, it would end up being better than other things. But sometimes, you can whip up something in five minutes and it ends up being a cultural phenomenon, you know [laughs], to where they want to perform it 12, 13 times in a concert. That's ridiculous!

That's actually something I was going to ask you. To hear that they're performing it multiple times, like 10, 11 times in a row, it must feel awesome to have a hand in creating something that's transcended so many other songs in the way it did.    
That really grew me up and changed a lot about the way I think. That sh** changed my music. It was an eye-opening experience. You never know what's gonna touch people, so you just have to continue to create. Things that are supposed to line up will line up, 'cause I would have never called it.

I read that the song was originally sent to Pusha T, but he turned it down. How do you think the song would have taken form if he had taken it instead?
I can't even call that honestly, but I'm so blessed and happy that it came together! I actually sent that beat to multiple people, a lot of people. Nobody used it, so it just worked out for the better.

It definitely was tailor-made for the two of them. Life has a funny way of working out.
Exactly. That’s my perspective on the way I make music from there, never to really expect, just create genuinely, and things will be just what they're supposed to be. That album really helped me a lot, production-wise, and the way I thought about the industry and sh**, just music in general.

What are the other songs do you like from the album? Obviously there's some other great ones.
I really like "Lift Off." I actually did additional production on that, not too many people know that. That was the first beat that me and Kanye ever sat down and worked on together, and they kept some of the parts I put. I like "No Church in the Wild," I like damn near all of it.

The whole album is really great. Fire beats all around and the songs still get used in trailers, commercials. From a cultural standpoint, it's still so relevant.
I was just playing the album! We’re coming up on the five-year anniversary? That's crazy, insane in itself.

Moving onto your own career, what is it like to focus on your own music and develop your own personal sound and style?
It's been a development process. I'm learning a lot as a producer, so that helps me with my artistry and just, you know, the more I lock in and learn about different pockets and flows and melodies, I grow as a producer as well, so it kind of goes hand-in-hand. I'm letting things come organically and just keeping it genuine. Just creating. I'm gonna be releasing music soon.

What do you think is more of a challenge for you, rapping or producing, and for what reason?
I mean, it's two different kind of ball games, you know? I really was locked in on the production for so long, and I've always made songs on my own, but I really got into discovering sound and just expanding on that, and I'm happy about it because that keeps me relevant. If I had purely focused on rap, who knows where I'd be. But to balance them both out, it helps each other out. I wouldn't say one is harder, but they help each other to stay creative and to let things move you genuinely.

Aside from that, you own your own label, Hits Since '87. What's it like to be a jack-of-all-trades in that respect, you know, owning your own business and making music for yourself and others?
It's been a process of development on all fronts. Mentally, musically, all that. This sh** really helped me grow up and helped me balance out the things I wanna get across, and if there's an artist, they can come to me for production or advice. Whatever the case may be, just trying to balance that whole world, it's been an interesting time. But it's been good, I got to grow up real fast in the game and got to do a lot fast. I started when I was 19 and now I'm 29, been doing this 10 years. I'm just now scratching the surface on where I wanna be musically. I feel like people haven't seen anything from me yet!

You ain't seen nothing yet!
Not yet!

Do you still keep in touch with Kanye, and if you have, does he give you any advice for your own career?
We've talked on and off, that guy's got a lot going on. When we can connect, we connect, but I talk to Hov a lot. We do business, we've got a couple of things going. But, yeah, I talk to both of them.

I wanted to save this question for the end because it's my burning question: whose choice was it to put in the ‘Blades of Glory’ sample in "N***as In Paris"?
Oh, that was Kanye's idea!

You know, that doesn’t surprise me, because I know he's a huge fan of movies.
He chose a great part to go in there. It's perfect for where the energy is about to go with the song.

Absolutely. A perfect sample.
You know, when you're working with a genius, you get those types of luxuries. My name is attached to something that great. It's been a blessing.

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Stacy-Ann Ellis

NEXT: Intent On Impact, Kiana Lede Is Ready To Leave Her Mark

After learning The Alphabet Song as a little girl, Kiana Lede would always “get in trouble” for singing during class. “My mom was like, ‘why can't you focus?’” she laughs while reminiscing on her career’s formative years. “I was like, ‘I don’t know! Songs are just playing in my head all the time!’”

Whilst sitting in a shoebox-sized room at Midtown Manhattan’s Moxy Hotel on a humid September day, the now- 21-year-old Arizona-bred R&B songbird, actress and pianist speculates that she “may have had ADD.” However, she settles down after taking off her white cowboy boots and flops down on the ivory-clothed bed, demonstrating that her fiery Aries energy can be contained. Cool as a cucumber, Lede shuffles between chewing on banana candies and blowing smoke rings after taking drags from a pen, all while musing about her journey to becoming a Republic Records signee.

“I just grew up singing and doing musical theater, and reading a lot of books, and playing piano way too much in my room by myself,” she says, pushing her big, curly brown hair out of her face. Her expressive green eyes widen as she grins. “It was my thing. Nobody in my family does music, just me.”

After winning Kidz Bop’s 2011 KIDZ Star USA talent contest at 14 (which her mother secretly entered her into), Lede was signed to RCA Records. She was released from her contract and dropped from the label three years later. However, thanks to guidance and friendship from the Grammy-winning production duo Rice N’ Peas, (who’ve worked with G-Eazy, Trevor Jackson, and Bazzi), she released covers of songs such as Drake’s “Hotline Bling” while working to get her groove back. The latter rendition resulted in Republic Record’s Chairman and CEO Monte Lipman flying her out and signing her to his label.

“I got a second chance, which a lot of people don't get,” she reveals. “So I'm really happy that that all happened. I wouldn't be here right now in this room if that didn't happen.”

Thanks to the new opportunity she was given, Lede’s sound has evolved into something she’s proud of—equal parts soul, R&B and bohemian. As evidenced by the aforementioned ensemble, glimmers of each aesthetic can be found when observing her personal style as well. She released her seven-song EP Selfless in July, which features the bedroom-ready “Show Love” and “Fairplay,” which manages to fit in the mainstream R&B vein while also showcasing her goosebump-inducing vocals. The remix of the latter features MC A$AP Ferg. What pleases her most is that it not only garnered a favorable response from fans, but that those listeners found it so relatable.

“As an artist, it's really nerve-wracking for someone who writes about such personal things all the time,” she says. “Just the fact that it is my story… It's good to know that other people know that there's somebody on their side, and they're not the only ones going through it. A lot of people obviously feel this way, and have been through this same thing that I've been through. So I think that's cool.”

Although she moved to various places as a Navy serviceman’s daughter, Lede claims Phoenix as home. This means she hails from the same stomping grounds as rockers Alice Cooper, Stevie Nicks and the late Chester Bennington of Linkin Park. However, growing up in a mixed race household gave way to tons of sonic exploration outside of the rock-heavy scene.

“My dad's black, and both of my parents are from the East Coast,” she says of her musical and ethnic upbringing (she’s black, Latina and Native American). “[My parents] listened to a lot of R&B. My mom listened to a lot of SWV, TLC, Boyz II Men. I didn't realize I knew the songs until I got older. I played a charity show with T-Boz, and I was like 'why do I know these songs?'” Lede also says her father was a fan of neo-soul and gangsta rap, but she personally believes the early-2000s was the best time for music.

“[That era] influences a lot of my music subconsciously, and also, singer-songwriter stuff,” she continues. “I listen to a lot of early-2000s music because I played piano most of my life. I listened to Sara Bareilles, John Mayer.”

An open book, Lede details some of her struggles with anxiety and depression with the utmost candor. After being dropped from RCA, her trust in people diminished, and she experienced long bouts of depression after being sexually assaulted by someone in the industry. The track that she feels most deeply about is “One Of Them Days,” which tackles these issues head-on.

“When I'm anxious and depressed, it's really hard to be happy,” Lede says. “Most of the time, I can do it, but there are just some days where I literally can't separate the anxiety, and I can't tell anybody why, because I don't really know why myself… I was feeling very odd that day, didn't even know if I could write a song. Hue [Strother], the guy who I wrote the song with, he was like 'I totally get you. Lots of people go through this.’’’

As we’ve observed in headlines recently, mental health and being honest about life’s trickier situations can help someone going through the same thing, and Lede hopes her music provides encouragement to those who are struggling. As for how she’s learning to push through her mental health roadblocks, she meditates, runs, and is an advocate for therapy, especially in Trump’s America, where harrowing news reports dominate the cycle.

Another hallmark of Kiana Lede’s personality is her bleeding heart for others. She cites women of color, sexual assault victims and the homeless youth specifically as individuals she feels most responsible to help, since she is personally connected to all three. While she’s aiming to create a project that helps homeless youth specifically, she’s working hard this holiday season to ensure that they have a place to stay “at least for the night” after horrific wildfires displaced many individuals in California.

“My passion is really people. Music is just a way that I can get to helping people,” she says with a grin. “Helping people emotionally and physically are both very important. I never want to stop helping people. I feel if other people can respect me, and I can respect myself, then I'll be happy. Happiness is all that we strive for.”

Recently, Lede played her first headlining solo show, a one-night event at The Mint in Los Angeles. While she was thrilled to see that the show sold-out, she was even happier to see the faces of her audience members, who she said ‘looked like [her].’ “Mixed girls, brown girls, black girls, gay boys,” she explains over-the-phone. Even though she wasn’t in person to discuss her latest huge accomplishment, you could hear the pride and joy through her voice.

As for the future of her career, she’s looking forward to more acting roles. You may recognize her from the first season of MTV’s Scream, and after her recent Netflix series All About The Washingtons with legendary MC Rev Run was cancelled, she has been “reading for auditions” and is “negotiating” for a role in a film set to shoot in NYC. While her time with the Run-DMC frontman was brief, she says he taught her about the importance of “not compromising your art for money.”

What Kiana Lede is most excited about, of course, is making music. She hopes to work on a new EP and then release an album after that. The ultimate goal is to fully realize the dreams in her personal and professional life, and she assures she’s just getting started.

“I want to be able to look back on my career and think 'man, I really poured my heart into this music, and made music that mattered, and made music that made people feel a certain way, whether it's bad, good, sad, anxious, whatever it may be.’”

READ MORE: NEXT: H.E.R. Is The Future Of R&B (And Then Some) In Plain Sight

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Lloyd Pursall

THEY. Break Down The Creation Of 'Fireside' EP And Their Unique Group Dynamic

Dante Jones and Drew Love–equally important, yet separate entities THEY.–arrive comfortably late to the listening of their newly released EP, Fireside. Drew, the more personable member of the group, swaggers into the room in a silk button-down. Failing to fasten the first three of the light brown buttons, his soft mocha chest peeks through. Closely following, Jones saunters in physically present but distant from the world around him, in his Friday's best casual fit. Quickly dividing to greet the crowded room of New York City journalists the pair fan out, taking the east and west wings of Esther & Carroll’s Soho eatery by storm.

Tracks from Fireside flow through the speakers like the honest "Broken," a conversational duet with Jessie Reyez and "18 Months," with Ty Dolla $ign. Both songs go further than love at first sight as THEY. speak on the rough parts of an evolving relationship. Overall, the six-track project takes on the progressive side of R&B with a little help from friends like Reyez, Jeremih, and Wiz Khalifa. Inviting outside forces into their world, the musicians are stretching their creative muscles while providing lessons as ear candy to fans.

THEY. is the culmination of a four-year relationship that has left a beast bigger than the fame in its wake. Standing on the precipice of a new subgenre of hip-hop and R&B, the duo has centered their sound around the eclectic flare of rhythm and blues while crashing into a new lane of its own. The members drive down the same road, they ride in two different cars. Fireside’s inspiration stems from the movie The Grey. "[Fireside is] this really interesting scene where all these different people from different walks of life are coming together,” Jones admits.

Much like the exploits of Agents J and K in Men In Black, their collaboration rings true to the futuristic movie series starring Tommie Lee Jones and Will Smith. Easily distinguished by the eager rookie paired with the grumpy veteran, the roles commandeered by Love and Jones can be heard through the cell phone. Cycling through evolution, the self-proclaimed yin and yang constantly battle the forces of dark and light to bring forth harmony in their ever-changing relationship.

At times unable to see eye-to-eye, the East Coast natives have adapted their rocky partnership, fine-tuning the kinks between them, learning to compromise, and most of all made subtle changes to the ways in which they interact with each other. Never expanding on the nature of their true relationship, the past tensions never seep into the conversation. Throwing subtle brotherly love moments during our interview, the artists toss admirable compliments back and forth.

“He understands where I come from because I am very rough around the edges and very abrasive at times,” Love says of his fellow creative. "Dante can be very hard to read at times, but I think it is an ongoing understanding and continual effort to learn to understand the other person and what triggers them and what doesn't trigger them, what their strengths are and what their weakness are. And how to motivate them and how to work together toward the common goal. I think both the work relationship and friendship have continued to evolve in a good way.”

Following the uprising of their movement through the states, their transcendent sound carried them across the pond to New Zealand and Australia, where they were opened for 6LACK earlier this year. receiving a more welcome reception from their overseas counterparts. The good vibes transferred throughout the show brought them one step closer to the aspirations that bond them together.

“The people are beautiful and you know, are not so pretentious and high strung,” Love explained of the best and worst moments in Australia. “The fans are very receptive to any type of music it seems. They just like to go to concerts and have a good time, as opposed to coming to the United States, you'll get someplace that sit there and fold their arms like you are supposed to impress them.”

 

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Melbourne was a movie 🎥 Round 2 this Wednesday at @theoxfordartfactory. Limited tickets still available. 🐺x🇦🇺

A post shared by THEY. (@they) on Oct 15, 2018 at 6:00pm PDT

Just a few months prior, the duo made their first appearance at Billboard’s Hot 100 Festival. The group caught the short end of the festival stick when their set time clashed with hip-hop acts like Rae Sremmurd and Lil Xan. THEY. was subjected to a crowd cross-armed and unwilling to catch the vibes. Pushing forth a strong performance, the group shattered the hard shells of concert goers, changing their crossed arms and intimidating stares to body rolls and kinder eyes.

As momentum continues for the duo, they've avoided the type of burnout establishing acts normally face. From smaller venues to sold-out arenas, the boys have set their sights on performance meccas like Madison Square Garden. But beyond the surface level goals, THEY. seeks to give the outcasts a place to call home. Leaving their mark on all the generations to come after, former victims of bullying illustrate that life has the opportunity to get better.

“At the end of the day, I want to change the world,” Jones explained. “That's really the goal to change the world and change music and really it only takes one moment. It's like the butterfly effect. We were the first few people to put out the idea of 808's, guitars and pop vocals. Now it's out in the atmosphere and we see a lot more people taking that approach. I feel like ultimately it's circling back our way."

Uncertain about the next trends in R&B, THEY. find themselves ahead of the curve. A few years removed from their first album Nü Religion: Hyena, the two have made strides to perfect their music making formula. Naturally, Dante and Drew are striving to leave a lasting impact on as many people as possible.

Stream THEY.’s Fireside EP below

READ MORE: NEXT: R&B Is Taking Many Directions And Music Duo THEY. Is Creating Their Own

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Ebro Darden caught the Internet's wrath after calling out Kodak Black for sexual assault during an interview.
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We're Looking At Y'all: Hip-Hop Won't Have A 'Me Too' Moment Because Of Apologists

Ebro Darden — the host of Hot 97 FM’s radio show Ebro In The Morning — caught the ire of the Internet Wednesday evening (Dec. 12) after a clip from an interview with 21-year-old rapper Kodak Black made the rounds. The longtime radio personality merely admonished and acknowledged the rapper’s recent sexual assault cases, including one that he is currently awaiting trial for. While Ebro noted he wouldn’t be able to go into details since the case is ongoing, he did take a moment to acknowledge that sexual assault is serious, and the discussion will not be ignored in the future.

“Respect to everybody involved in that case, we can’t get into details today… We take sexual assault here serious,” “El Viejo Ebro” exclaimed. “We can’t get into details, but we hope to have you back so that we can have a deeper conversation about that. It’s a serious topic, we’re hearing these stories a lot.” No more than two minutes later, the interview was over, as a visibly uncomfortable Kodak, legal name Bill K. Kapri, stated that the media is “entertained” by “bullsh*t” before leaving.

For some asinine reason, Ebro — a man whose job it is to interview musicians about life and their craft — was the one getting the heat for bringing up the allegations. The uproar was not given to the alleged sexual offender, but to the host acknowledging the wrongdoing by the alleged sexual offender.

Label booked him. I didn’t force anything. I was attenpting to make sure a huge issue was not ignored. https://t.co/vnl0JqeLfi

— El Viejo Ebro (@oldmanebro) December 13, 2018

Earlier this year, Buzzfeed posed the question: “Will Time Ever Be Up For Abusive Men In Hip-Hop?” Due to the fans, some media personalities and the higher powers continuing to insulate these artists and avoiding discussion of the elephants in the room, it won’t — at least for the time being.

Fans of the Florida MC ignorantly tweeted that Ebro is likely working “with the Feds” for bringing up the sexual assault allegation, which proves that time will not be up anytime soon for men who allegedly abuse women in the game.

Due to many fans’ beliefs that hosts and journalists should “stick to asking artists about music” — and not the controversial lives often documented and discussed more than the careers that provide them bread and butter on the table — time will not be up. A similar “demand” came up earlier this year, when Laura Ingraham said LeBron James should just “shut up and dribble” instead of using his platform to discuss politics.

Then, there are media personalities like Peter Rosenberg, who during the Kodak interview aimed to deflect from the situation at hand by asking about the moon landing of 1969, in order to make Kodak feel a bit more comfortable (although his status in the hip-hop game despite his documented wrongdoing certainly makes some uncomfortable as well).

We also can’t ignore the woman on the panel, Laura Stylez, who chose to stay silent instead of using her platform and her voice to stand up for the women allegedly affected by Kodak’s behavior, or women in general. As a woman, her silence rubbed me the wrong way entirely.

These two, however, are not the only problematic personalities. DJ Akademiks, YouTuber turned host of Complex’s Everyday Struggle, often discusses his relationship with embattled musician Tekashi 6ix9ine.

“I’m a little sad… but these are the decisions that got here,” Ak, real name Livingston Allen, said in a recent episode of the YouTube series regarding Tekashi’s recent high-profile racketeering arrest and possibility of life in jail. However, he continued to acknowledge that the young man is his n***a, and has not appeared to call out Tekashi for the allegations against him in terms of sexual misconduct.

It doesn’t appear he’s discussed his homie’s sexual misconduct charges head-on since 2014. Even in this particular interview, it appears that the 27-year-old was being more of an apologist for his friend, stating that “[he] could tell [Tekashi] was young, and obviously not thinking straight.”

Is this insulation of musicians who lead perilous lives a way to hold on to the clout these personalities have obtained? Or, is it realizing that if they stop defending these artists as a way to defend those who are hurt, they’ll lose a legion of equally as troublesome fans and followers in the process? Why not attempt to discuss the difficult topic at hand with as much discretion as possible, instead of getting a biased view of the story for clicks?

I know that as a woman in hip-hop, hip-hop doesn’t always love me back, but if this isn’t a slap in the face? To have this conversation occur in the same week that Cyntoia Brown was told she had to serve 51 years in prison for defending herself against a potential rapist, it’s infuriating to have to write about the blatant disregard and disrespect for the well-being of women in society in a field that I hold dear to my heart.

Due to the “separating artists from art” thought-process, especially in such a male-dominated industry and genre, it’s unsurprising that this is the response Ebro received for calling out wrongdoing.

This is the same thought process that allows R. Kelly to continue to tour despite well-documented instances of sexual misconduct for 25 years.

This is the same thought-process that causes music fans to lash out at Vic Mensa for “vehemently rejecting the trend in hip-hop of championing abusers”; although many would argue that he wasn’t the proper messenger to convey such a statement, the intentionality in the statement was appreciated by many.

On a grander scale, this is the same apologist thought-process that placed Brett Kavanaugh on the Supreme Court and Donald Trump in the White House… and look at how well that’s going.

If we continue this trend of protecting the men in the game and not putting the well-being of the minority consumers of the genre into consideration (such as women and members of the LGBTQ community), hip-hop could be headed to a very murky place. While I don’t always agree with Ebro Darden, I applaud his effort in attempting to start a conversation that can’t continue to be ignored any longer, especially as a man with a platform in the hip-hop media space.

As hip-hop fans, we should aim to hold these artists accountable for their lyrics, comments and behavior. We can’t argue that they’re not hurting anyone through these things just because you don’t feel threatened, because best believe, someone does.

Whatever side of the fence you’re on, Ebro, Vic and other men attempting to hold these artists accountable is a small step on a long journey. While it’s clear that consumers are more interested in the music these people put out than the lives they lead, it would behoove all of us to take a long look at the state of the game beyond the bars and beats.

READ MORE: Ebro Calls Out Kodak Black For Sexual Assault During Interview

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