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4/20: A VIBE-Era Timeline Of Hip-Hop's Relationship With Cigars And Rolling Papers

Hip-hop's appreciation for rolling papers goes way back.  

Hip-hop's relationship with Mary Jane has always been a beloved one. From song from artists like Styles P, Curren$y and Snoop Dogg, laying back and enjoying nature's herbs is a coveted pastime in the game.

But we wouldn't be able to enjoy it all without the inclusion of cigars and rolling papers. Sure, we have vapes and other creative ways to reach aerial heights, but the OG accessories bring a different element to the table. The herb holiday might be a perfect time for enthusiasts to light one in the air, but VIBE was inspired to pay homage to hip-hop's love for the preroll.

Only keeping the VIBE-era in mind (starting from 1992), we analyzed companies like Swisher Sweets, Phillies and more, along with its ambassadors throughout the game like Snoop Dogg, Cypress Hill and Wiz Khalifa.

Enjoy the brief timeline of Hip-Hop's relationship with cigars and rolling papers below.

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1. Zig Zag

 

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Established Since 1855

Peak Years of Popularity (In Hip Hop): 1992-1996 / 2009-2013

Most Popular in California

Top Ambassadors: Snoop Dogg, Wiz Khalifa, Curren$y, Juicy J

In 1988, N.W.A. founder Eazy-E established Zig Zag as the official rolling paper for west-coasters after referencing the brand on a song from his solo debut, Eazy-Duz-It. In subsequent years, Zig Zag would appear on songs from legends like Dr. Dre, Snoop Dogg, 2Pac, and B-Real, resulting in the brand becoming synonymous with the west coast.

The decline in west coast rap's popularity during the latter half of the '90s would result in a decreased amount of nods to Zig Zag within hip-hop, as other brands continued to dominate the conversation. In 2009, Zig Zag's standing among rap fans would receive a jolt when Wiz Khalifa and Curren$y teamed up for their collaborative mixtape How Fly, which included numerous references to the brand. However, as other brands of rolling papers began to dominate the market, Zig Zag's approval rating faltered slightly, but continues to transcend generations and will forever be remembered as the O.G. smokers utensil.

2. E-Z Wider

Established Since 1972

Peak Years of Popularity (In Hip Hop): 1992-1996 / 2008-2011

Most Popular in New York

Top Ambassadors: Wiz Khalifa, Chris Webby

The east coast's affinity for blunts is well-documented, but for a brief period during the '90s, EZ-Wider became the alternative for a select group of rappers out of New York City. Introduced into to hip-hop lexicon by A Tribe Called Quest member Phife Dawg on "Scenario (Demo 2)," EZ-Wider enjoyed a short run among smokers in the hip-hop community before losing its luster by the mid-'90s.

After more than a decade of sporadic mentions in rap songs, EZ-Wider made a comeback. This was largely on the strength of rappers like Wiz Khalifa, who brought the brand back to prominence in the late aughts during his transition from rolling cigars to smoking using paper. Over the past decade, EZ-Wider's popularity has been eclipsed by competing brands in the market, but its place within hip-hop history is secure.

3. Phillies Cigars (Known as Phillie Blunts)

 

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Established Since 1910

Peak Years of Popularity (In Hip Hop): 1992-1999

Most Popular in New York, New Jersey, Philadelphia, Atlanta

Top Ambassadors: Nas, The Notorious B.I.G., Redman, Big Pun, Big Boi, N.O.R.E., Big L

The first cigar to truly reign supreme in hip-hop is the Phillie blunt with a history that runs deep. Referenced as early as 1989, the Phillie came to prominence during the early '90s, with rappers like Redman, Nas, and The Notorious B.I.G. becoming unofficial ambassadors of the brand.

Found in some of the most memorable rap songs of all-time, the Phillie blunt was the cigar of choice on the east coast but began to spread to regions like the south and midwest, with artists like Big Boi of Outkast, and Twista singing its praises. By the end of the '90s, the popularity of the Phillie blunt began to wane, and while it still receives the occasional mention for nostalgic purposes, has never regained its stature as the go-to cigar in hip-hop.

4. Swisher Sweets

Established Since 1959

Peak Years of Popularity (In Hip Hop): 1993-Present

Most Popular in California, Texas, Tennessee, Illinois, Louisiana

Top Ambassadors: Three 6 Mafia, UGK, 8Ball & MJG, Scarface, Kid Ink, Lil Wayne, Freddie Gibbs, Gucci Mane, Wiz Khalifa, The Game, Lil Durk, Fat Trel, Ab-Soul, YG, Danny Brown, Fredo Santana, Machine Gun Kelly, Wale, Mac Miller, G-Eazy, G Herbo, Kevin Gates, Jeezy, 21 Savage

During the early '90s, Swisher Sweets emerged as the cigar brand of choice among marijuana enthusiasts in the south and western regions of the country. Since as early as 1993, when rap group Souls of Mischief helped put the brand on the map, Swisher Sweets cigars have become a staple in hip-hop, maintaining their popularity for the better part of a quarter century.

Over the years, Swisher Sweets has been name-dropped in songs by rappers from all corners of the country, but rap legends UGK and Three 6 Mafia were among the brand's most fervent supporters. Today, artists like Gucci Mane and Lil Yachty continue to keep Swisher Sweet in the public consciousness and recognized as one of the legacy smoking utensils in hip-hop culture

5. White Owl Cigarillos

 

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Established Since 1887

Peak Years of Popularity (In Hip Hop): 1993-1997

Most Popular in New York

Top Ambassadors: Wu-Tang Clan

One cigar that caught traction among marijuana aficionados during the early-mid '90s was the White Owl, which became one of the leading brands on the east coast at its peak. Initially popping up on the rap radar via a mention by Gang Starr member Guru in 1992, White Owl would be championed by a number of rap artists out of New York. One act that helped solidify White Owl's standing within hip-hop culture was the Wu-Tang Clan, as numerous members of the Staten Island-based collective paid homage to the brand until its sudden decrease in popularity during the latter half of the decade.

6. Optimo

 

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Established Since 1898

Peak Years of Popularity (In Hip Hop): 1997-2001

Most Popular in Texas, Louisiana, Tennessee

Top Ambassador: Juicy J

The Notorious B.I.G. may have immortalized the brand after referencing their cigars on his hit single "Big Poppa," but Optimo's lineage in hip-hop can be actually traced back to the southern region of the country. As rap acts out of the south began to reach a national audience during the latter half of the '90s, Optimo's approval rating skyrocketed as well, quickly becoming the cigar of choice for many of the region's star talent.

This particularly proved true in states like Texas, Louisiana, and Tennessee, where Optimo was considered king among blunt smokers and mentioned at a seemingly constant clip. Optimo cigars are not as prominent in rap lyrics as they once were, but remain a legacy brand in the south and have earned their rightful place in the annals of hip-hop history.

7. Garcia Y Vega

 

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GO GET #1882 BACKWOODS AT YOUR NEAREST SMOKE SHOP!!! #1882s

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Established Since 1882

Peak Years of Popularity (In Hip Hop):1995-2001

Most Popular in New York, California

Top Ambassador: JT tha Bigga Figga

One cigar brand that had a brief, but noteworthy run within hip-hop was Garcia Y Vega, which was touted by various rap artists on the east coast in beyond. Finding its way into a rap song as early as 1994, the popularity of the Garcia Y Vega cigar was largely relegated to the east coast during its peak years in the latter half of the '90s.

The brand's popularity reached all the way to California, where rappers like JT the Bigga Figga helped give Garcia Y Vega its cultural clout. Today, a Garcia Y Vega cigar is largely considered a relic, but its recognition within the hip-hop community as one of the defining brands for blunt-gut spillers is well-deserved.

8. Dutch Masters Cigars

 

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Established Since 1911

Peak Years of Popularity (In Hip Hop): 1996-2008

Most Popular in New York, New Jersey, Philadelphia

Top Ambassadors: Wu-Tang Clan, Mobb Deep, The Lox

In terms of sheer dominance of the market, Dutch Masters was once at the top of the list of cigars among marijuana smokers. Introduced by members of the Wu-Tang Clan during the group's rise to power, Dutch Masters would quickly catch on with fellow New Yorkers, including like-minded rap acts Mobb Deep and The LOX.

By the time the smoke from the cigar wars of the '90s cleared, Dutch Masters was the clear victor, as the brand extended its dominance into the next decade. While Dutch Masters' stronghold on the lungs of rap artists and fans alike began to dissipate by the end of the aughts, the brand still receives nods til this day and remains the go-to cigar within the hip-hop community.

9. Backwoods Smokes

 

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Rate these 1-10 and why? #exoticbackwoods

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Established Since 1973

Peak Years of Popularity (In Hip Hop): 1998-2005, 2013-Present

Most Popular in New York, Philadelphia, California, Texas, Atlanta

Top Ambassadors: Beanie Sigel, Freeway, Mac Dre, Travis Scott, Lil Yachty,

One cigar that has transcended regions and managed to sustain its standing among marijuana smokers is the Backwood, which has a history that is as rich as any brand in hip-hop. Referenced in a rap lyric as far back as 1994, by the turn of the century, Backwoods saw a spike in popularity, with rappers from the east coast and west coasts singing its praises.

After finding equal footing with the competing cigar brands at the time, Backwoods' visibility within rap dipped during the latter half of the aughts, before returning to prominence the next decade. This was due in large part to the influx of a new generation of rap stars gravitating to the brand, resulting in it regaining its reputation as the unofficial cigar of hip-hop as of 2019 and moving forward.

10. RAW Rolling Papers

 

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A few cones a day.. : @ganjawitness #rawlife #natural #rollingpapers #alcoyspain #rawpapersovereverything

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Established Since 2005

Peak Years of Popularity (In Hip Hop): 2012-Present

Most Popular in North America

Top Ambassadors: Wiz Khalifa, Curren$y, 2 Chainz, Mick Jenkins, Chris Webby, Z-Ro, Futuristic

As the new kid on the block, RAW Rolling Papers may lack the rich history of other brands in the market, however, its place as the current smoking utensil of choice in hip-hop cannot be denied.

Establishing itself right in time for the cultural gravitation to rolling papers during the late aughts, RAW Rolling Papers capitalized on early cosigns from marijuana mavens like Wiz Khalifa and Curren$y to infiltrate the culture. With about a decade since its first mention in a rap song, RAW Papers have become a cultural institution in their own right, partnering with various rap artists and connecting the dots between hip-hop, culture, and marijuana.

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Melyssa Ford

Melyssa Ford: 'My Mother Died During This Pandemic And I Have Nowhere To Put My Grief'

Editor's Note: In a heartwarming tribute, former model now TV/radio host, Melyssa Ford details the final days she shared with her beloved mother, Oksana Barbara Raisa Ford (10/12/1950 - 5/19/2020). Understanding that we have all been connected to COVID-19's tragic reach, this essay explains the plight of one person's experience that represents the pain so many are dealing with in these times around the world.

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COVID-effing-19. This pandemic has been a moment of reckoning for a great many of us. How many of you have been confronted with the hard truth that we took EVERYTHING about our lives and freedoms for granted? The freedom to call up a few friends and go for Happy Hour drinks after a long day at work? The freedom to start our day by going to the gym; the freedom to temporarily vacate our lives by getting on a plane and heading off to some tropical destination? Or the freedom to gather at a burial or memorial service to pay love and respect to a loved one who has passed, as a means of helping to process our own grief? 

My mother died last week. Not from COVID-19, but from colon cancer. But COVID-19 and its endless complications directly affected my family’s lives and, ultimately, my mother's death. 

It was less than a year from diagnosis to her last days. She lived in Toronto (my hometown) and I currently live in Los Angeles. Traveling during this pandemic presented some incredible challenges. Quarantine and shelter in place rules. Closed international borders. Fear and uncertainty. I was terrified that I wouldn’t get to her side in time, since Canada mandates that anyone getting off a plane has to self-quarantine for 14 days (threats of fines and jail time were there to incentivize you to adhere to the new rules). And I knew my mother had very little precious time. 

Months before, when there was still some hope that surgery and chemo would prolong her life, she decided to sell the house I grew up in. I was furious. I looked at this as her giving up; resigning herself to the control of this insidious disease called cancer. But my mother, the truest form of a pragmatist, was preparing for the inevitable and getting her affairs in order. She wanted to leave me with nothing to do except mourn her without the burden of packing up a home with all of her belongings in it after her death. She knows me so well, she knew I’d NEVER pack it up, that I’d have left everything the way it was as a shrine to her and, therefore, never really moving through my grief in a purposeful and healthy manner. 

Cancer ravaged my mother's body but left her brain fully intact. And it was with full cognition, pragmatism and a whole lot of gumption, that she decided to end things on her terms by scheduling her passing with a doctor's assistance via MAID (Medical Assistance in Dying) — a legal policy in Canada that allows a terminally ill patient in palliative care to choose the days or weeks remaining in their lives. 

She didn’t want to spend her last months laying confined to a bed, immobile, unable to even take herself to the bathroom. The most basic form of human dignity had been stolen from her and replaced with a catheter and a colostomy bag that my aunt had to drain several times a day. I watched as her skin turned yellow from jaundice, signaling her liver was failing. I watched as her urine went from a dark yellow to crimson, a signal that her kidneys were no longer functional. My mother, the strongest person I had ever known, both physically and mentally, was now frail and seemingly melting into the bed, her skin sagging from her skeletal arms and legs. Her face was gaunt, her head bald, her breastplate visible and bony...in her last days, she was an empty shell of the 5’10” beautiful Viking she had been. With her long blond hair, green eyes, and imposing physical stature, I used to joke that if you gave her a hat with horns, a shield, and a sword, you could send her out to battle. 

The day I arrived in Toronto from L.A., I approached my mother’s bedside after going through a rigorous disinfectant routine. My mother had been discharged from the hospital as there was nothing left to do for her medically except keep her as comfortable as possible. She was sent home to my aunt’s house for the remainder of her days. My aunt’s home was a place of comfort and joy for me, as I’ve spent a great many holidays and family occasions here; this was the best place for my mother to be. With a mask and gloves on, I sat down next to her bedside and tried with all my might not to cry. My Mom had passed on that British “stiff upper lip” mentality to me; it’s rare you will see me expose my emotions. But as of late, I’ve been pretty transparent about it, in an attempt to sort through my competing feelings of grief and guilt. Guilt of not having been the perfect daughter. Grief of being her only child with no one to share the burden of immeasurable sadness with. Guilt of not working on our relationship or attempting to understand her as a person until it was close to the end. Guilt and grief kept coming in waves, threatening to drown me. 

On that first evening, I sat with her for a few hours and we talked more frankly than we ever had about things I had always been scared to ask. Topics such as her tumultuous marriage to my father and why she stayed in such misery. What was HER mother like, who died when my mother was only 15 years old? Was she proud of me and the choices I had made in my life, one of them being never having children?

Eventually, I had to let her sleep. I went upstairs to her bedroom (she was now in a bedroom on the main floor of my aunt’s house since she could no longer walk). Once in her room, I found a journal titled 2019 and began to read. What I read, in between all of the activities she enjoyed such as Aquafit and her book club, was her documenting her disease before she even knew she had it, describing the symptoms that began as uncomfortable that would soon become excruciatingly painful. 

It broke my heart to read this, being on the other side of understanding where this story would end. I found myself wanting to move through the dimension of time and yell, “Go to the hospital!” Reading this only made me wonder if she had caught it during the early days of symptoms, would the outcome be different? Excuse me as I add more guilt and more grief to the already unbearable weight upon my shoulders. 

Our final day was spent much like the last six days I had with my mother, laying beside each other in bed, massaging her, and either watching movies or talking. We would go from walking down memory lane as I showed her old pictures to discussing last-minute details about the Business of Death: the transfer of everything into my name, where certain sentimental pieces of jewelry could be found, who she wanted to receive small tokens of remembrance of her. As sad as I was for myself, my heart broke for my mother. She’s losing EVERYTHING AND EVERYONE. She expressed to me that she was shocked at how quickly her cancer spread throughout her body. It didn’t give her a chance. No amount of holistic remedies or prayers would have changed this (thanks to all my friends who suggested a plant-based diet with sea moss, soursop, and bladderwrack but her colon, GI tract, and bowels had been decimated). 

The few days leading up to her doctor-assisted euthanasia, I found my heart racing in a panic as the end was creeping closer and closer. I don’t know what’s worse, a loved one's death being a surprise or knowing when it’s going to happen with the hours counting down. I know both intimately. My father went the first way, my mother the second. I still can’t tell you the answer.

With plans in place for the funeral home to come and take my mother's body in order to cremate her, I’m left with a feeling of such remorse and sadness. Because of COVID-19, my mother’s friends and I are being robbed of the opportunity to congregate at a memorial service to properly mourn and pay homage and respect to the woman we all loved and admired. My mother deserved that.

I’m so angry. I’m angry at cancer. I’m angry at, as a society, our collective circumstances. I’m angry at the thought that this pandemic could have been controlled if our government officials had reacted swiftly. I’m angry that there are so many people who are experiencing the same thing I am—the death of loved ones, and the inability to gather together for a ceremony that celebrates their lives and sends them off properly.

Trauma changes you. Less than two years ago, I almost died when a truck hit my jeep on a California highway. I spent almost a year recovering. I’m a different person than I was moments before the impact of that crash. And now I’ve got to sort out who I am without my mother on this earth. People report a feeling of disconnectedness after the death of their parent(s); like what kept you tethered to the earth is gone and you are now hurtling through time and space, searching for something to grab onto.

I lost my father many years ago and now my mom is gone. I’m praying that I find something soon to ground me; but for the time being, the search to make sense and meaning of my mother's life and, ultimately her death, shall continue for me, like a room with endless doors or a road that disappears into the horizon. 

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A native of Toronto, Canada and now residing in Beverly Hills, California, Melyssa Ford is a syndicated radio show host on Hollywood Unlocked via iHeart Media's stations nationwide and also hosts her own podcast, I'm Here For The Food (available on all streaming platforms).

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Beenie Man (L) and Bounty Killer (R) in 1995.
David Corio/Redferns

A Look At Beenie Man And Bounty Killer's 'Verzuz' Battle Scorecard

Why was this night different from all other Verzuz battles? Streamed live from Kingston, Jamaica, the Memorial Day “Soundclash Edition” of Swizz Beatz and Timbaland’s flagship IG Live series was easily the most exciting and entertaining yet, as well as the first to delve into dancehall reggae.

Considering the fact that Jamaican sound systems pioneered the sort of “beat battles” have made Verzuz a social media sensation well over half a century ago, the creative decision was more than fitting. By pitting two icons of the genre, Bounty Killer and Beenie Man, in head-to-head competition, this Verzuz battle did not just showcase two of its most respected lyricists ever to hold a microphone, it also tapped into an epic rivalry that stretches back more than a quarter of a century.

At that time the youth born Moses Davis in the Waterhouse section of downtown Kingston was already on the second leg of his career -- having released his first album a decade earlier at the age of ten. Young Rodney Price, formerly known as Bounty Hunter, had just started to make noise under his new artist name Bounty Killer, recording hardcore hits for the legendary Waterhouse-based producer Lloyd “King Jammy” James.

Like all young aspiring artists, Killer had looked up to Beenie as an inspirational figure -- until he felt that the artist had borrowed his style. Beenie and Bounty’s face-to-face clashes, especially their Boxing Day battles at the storied Jamaican stage show Sting in 1993 and 1995, are the stuff of dancehall legend. Despite whatever differences may have existed between them, both artists channeled all that energy into great records -- many of which were played in the heat of the Verzuz battle.

Arguably the most exciting and spontaneous edition of Verzuz yet, the Beenie and Bounty battle was not a “clash” in the traditional Jamaican sense, but it was hardly a conventional beat battle either. Predictions that the island’s WiFi might not be able to handle the strain were soon dismissed -- in keeping with Jamaica’s long tradition of raising the bar when it comes to using technology to create next-level musical entertainment, this was the best-produced beat battle of them all. On the other hand, this was also the first time a Verzuz competitor has had to take a break in the action to negotiate with police officers.

This was surely also the first Verzuz battle to be live-tweeted by a prime minister: PM Andrew Holness took to his official Twitter to declare “Jamaica’s culture is global” and share a screenshot of the action. In keeping with the national pride, the battle opened with a rousing rendition of the Jamaican National Anthem.

When Beenie and Bounty came through VIBE’s IG Live one day before performance, they both declared that they would not be preparing for the battle as the art of war should be spontaneous. This has had people on tender hooks as no one really knows what would happen on the night. But of course all celebrities were out in full force for this highly anticipated battle, as everyone from Diddy to Swizz to Rihanna came through to catch the vibes. It was the only place to be if you were on IG, with more than 400K people checking in at the event's peak.

Here’s Billboard's tune-for-tune breakdown from the top to the very last drop.

ROUND 1: Beenie Man's “Matie” vs. Special Ed feat. Bounty Killer's “Just a Killa”

Beenie kicked things off with his first No. 1 hit (on the Jamaican charts) in honor of the late great Bobby Digital, the legendary producer of this song and countless more, who passed away May 21. Bounty opted to open on an international note, leading with his first hip hop collaboration, a 1995 single by Brooklyn rapper Special Ed featuring a guest verse from young Bounty.

WINNER: Beenie

ROUND 2: Beenie Man's “Memories” vs. Bounty Killer's “Suspense”

Sticking with the hardcore dancehall, Beenie reached for one of his fan favorites, a mid-’90s banger on the “Hot Wax” riddim that was recorded during the height of his great lyrical war with Bounty Killer (and sampled by Drake on the album version of “Controlla”). Killer responded in kind with a track on the same hard-hitting riddim, making this round feel like a flashback mid-'90s dancehall session.

WINNER: Beenie

ROUND 3: Beenie Man's “Slam” vs. Bounty Killer's “Living Dangerously”

Shifting into another gear, Beenie drew for his first Billboard hit, a tribute to the sexual prowess of “ghetto girls” recorded on Dave Kelly’s irresistible “Arab Attack” riddim. Bounty responded with one of his most popular songs for the ladies, a collaboration with reggae vocalist par excellence Barrington Levy. Counteracting a classic with another classic, this round was too close to call.

WINNER: Tie

ROUND 4: Beenie Man feat. Chevelle Franklin's “Dancehall Queen” vs. Diana King feat. Bounty Killer's “Summer Breezin’”

Keeping the energy high, Beenie unleashed this soundtrack cut from the movie Dancehall Queen (in which he also appeared). Bounty responded with a relatively obscure guest verse on a record by Jamaican pop hitmaker Diana King.

WINNER: Beenie

ROUND 5: Beenie Man feat. Lil Kim's “Fresh From Yard” vs. Bounty Killer ft. Jeru the Damaja's “Suicide or Murder”

For his first international selection, Beenie chose a DJ Clue production featuring the Queen Bee in her best Brooklyn Jamaican patois mode. Killer kept it BK with a grimy Jeru collab produced by New York’s own Massive B productions.

WINNER: Beenie

ROUND 6: T.I. feat. Beenie Man's “I’m Serious” vs. Bounty Killer ft. Mobb Deep's “Deadly Zone”

Sticking with the hip hop collabs, Beenie dropped T.I.’s first major-label single featuring a hard-as-nails Neptunes beat and a street-certified Beenie Man hook. But he should have known that badman business is the Killer’s wheelhouse. Bounty clapped back with a grimy Mobb Deep collab off his My Xperience album and took the round.

WINNER: Bounty

ROUND 7: Guerilla Black feat. Beenie Man's “Compton” vs. Bounty Killer feat. The Fugees' "Hip-Hopera”

Beenie dropped his third straight hip hop crossover track, this one a guest verse for Biggie soundalike Guerilla Black over a bouncy Stalag Riddim. Bounty brought out the big guns, returning fire with a Fugees collab. As the Warlord would say, “People dead!”

WINNER: Bounty

ROUND 8: Beenie Man's “Romie” vs. Bounty Killer's “Worthless Bwoy”

Returning to straight-up dancehall, Beenie served up one of his worldwide club classics, a song about a girl named “Romie” set to Shocking Vibes’s hard-driving version of the Punany Riddim. Killer replied with a Dave Kelly banger burning out the guys who lack the stamina to satisfy their significant others.

WINNER: Beenie

ROUND 9: Beenie Man “Old Dog” vs. Bounty Killer “Stucky”

Beenie Man has plenty of classic dancehall joints, and this Dave Kelly sure shot is one of the most ubiquitous. “Old Dog” recounts his exploits with the opposite sex, shouting out female dancehall stars Patra and Lady Saw along the way. Bounty replied in kind with his own kind of “gyal tune,” more rough than sweet, just the way Killer likes it.

WINNER: Beenie

ROUND 10: Beenie Man feat. Mya “Girls Them Sugar” vs. Bounty Killer ft. Nona Hendryx & Cocoa Brovaz “It’s a Party”

Beenie closed out the first half of the battle on a strong note with one of his most beautiful records, a Neptunes remake of one of his immortal dancehall classics adorned with a sweet hook sung by Mya. Bounty’s response was strong, but the Wyclef-produced party joint (with a hook by the former member of Labelle and bars from Boot Camp MCs) fell just short of Beenie’s selection.

WINNER: Beenie

ROUND 11: Beenie Man feat. Wyclef Jean's “Love Me Now” vs. Bounty Killer feat. Swizz Beatz' “Guilty”

Flipping catchy lyrics over Naughty By Nature's classic “O.P.P.” beat, Beenie sounded strong on this Wyclef collab, but Bounty countered with a hard-hitting Swizz Beatz track featuring a blazing guest verse from the Killer.

WINNER: Bounty

ROUND 12: Beenie Man feat. Barrington Levy's “Murderation” vs. Bounty Killer's “Look”

The vibes were sweet right up until the moment when officers of the Jamaican Constabulary Force interrupted the action. Beenie took care of the situation, informing the police that there were hundreds of thousands of people watching internationally. He then asked his DJ to run one of the hardest tracks in his catalog, a song about the abuse of authority in the ghetto streets. It was such a perfect segue the whole thing almost seemed planned. Killer had no choice but to counter with one of the most powerful songs in his catalogue, another Dave Kelly masterpiece, just barely winning what was arguably the strongest round of the entire battle.

WINNER: Bounty

ROUND 13: Beenie Man's [Showtime Juggling] vs. Bounty Killer's “Fed Up”

Still charged up by the unexpected visit from the police, Beenie felt a vibe and decided to perform his next song live. Starting out with “Hypocrite,” a blistering broadside against haters on Dave Kelly’s “Showtime” riddim, Beenie’s performance inspired Bounty to join in for what became a multi-song medley that included snippets of Killer’s “Eagle & The Hawk” and “Bullet Proof Skin” as well as Beenie Man’s “Done Have We Things,” “Badman Medley,” “Bury Yuh Dead,” and “Fire Burn.”

After they wrapped up their explosive tag-team performance, Beenie calmly stated “My song dat,” indicating that he wanted the whole extended set to count as one song. Bounty retaliated with “Fed Up,” one of his signature reality tunes that cemented his reputation as Jamaica’s “Poor People Governor.” Another close round, and highly unorthodox. Advantage Killa.

WINNER: Bounty

ROUND 14: Beenie Man's “World Dance” vs. Bounty Killer's “Gal” 

Beenie Man took it back with one of his biggest early hits, a “buss the dance” selection on Shocking Vibes’ Cordy Roy Riddim. Killer’s response was another hardcore tune for the girls, explosively energetic and lyrically intricate.

WINNER: Beenie

ROUND 15: Beenie Man's “Modeling” vs. Bounty Killer's “Model”

Taking it back to the early days of his career, Beenie served up a song designed to inspire all the “bashment girls” in the dance to show off their freshest outfits and dance moves. Killer responded in kind with a similar type of song, every bit as lyrically precise as Beenie’s was melodic, making this round a dead heat.

WINNER: Tie

ROUND 16: Beenie Man's “Oyster & Conch” vs. Bounty Killer's “Benz & Bimma”

Sticking with the “gyal” segment, dancehall’s “Doctor” prescribed a musical aphrodisiac, stressing the importance of seafood in your diet. Killer responded with a dancehall smash likening his appreciation of the female physique to his fondness for expensive European automobiles.

WINNER: Bounty

ROUND 17: Beenie Man's “Dude” vs. Bounty Killer's “Greatest”

Beenie delivered yet another Dave Kelly sureshot, this time on the festive Fiesta Riddim. Killer responded with a little-known 2003 track on the “Hydro” radio, basically conceding this round.

WINNER: Beenie

ROUND 18: Beenie Man's “Mm-Hmm” vs. Bounty Killer feat. Cham's “Another Level”

As the battle neared its final rounds, Beenie played this hard-hitting Tony Kelly production and grabbed the mic to chat his lyrics live and direct, showing that dancehall artists of a certain age are still in top form lyrically. Bounty replied with a musical killshot on Dave Kelly’s Clone Riddim, joining forces with Cham to take things to “Another Level.” Feeling the spirit, Beenie grabbed the mic and spit a verse over Bounty’s record.

WINNER: Bounty

ROUND 19: Beenie Man “Nuff Gal” vs. Bounty Killer “Cry For Die For”

Beenie changed up the pace with a jazzy tune for the ladies featuring a swinging horn section. This 1996 Jamaican single could have been a bigger hit for Beenie if it had the right promotion, and still sounds great all these years later. Bounty Killer responded in similarly eclectic mode with a jaunty track on a Riddim based on The Champs' 1950s rock chart-topper “Tequila.”

WINNER: Beenie

ROUND 20: Beenie Man's “I’m Drinkin’ (Rum and Red Bull)” vs. Bounty Killer's “Smoke the Herb”

Beenie closed out his regulation 20 rounds with one of his biggest crossover hits, a collaboration with Fambo that somebody at Red Bull should probably sign up for an endorsement deal. Bounty Killer responded with perhaps his greatest ganja anthems. This one was too close to call. Pick your poison.

WINNER: Tie

EXTRA TUNES

After running a couple of exclusive dubplate specials -- “War Uno Want” by Bounty Killer and a Buju Banton and Beenie Man collab on the M.P.L.A Riddim -- Beenie and Bounty served one final tune. ”Why Beenie saved one of his signature songs, 2004's "King of the Dancehall," for the 21st round is anybody’s guess. Bounty’s response ("Nuh Fren Fish") was something for the hardcore fans only.

Winner: Beenie

BONUS ROUNDS

Wider Catalogue: Beenie Man

While both artists did a good job displaying the breadth of their respective repertoires, blending hardcore dancehall hits with international collaborations, Beenie Man showed off his versatility with a mixture of old and new dancehall hits as well as mixing moods and tempos.

Biggest Snub: Beenie Man (Point to Bounty Killer)

Beenie Man opted not to play “Who Am I” (aka “Sim Simma,”) perhaps his best known international hit. Not to be outdone, Bounty Killer also neglected to play “Hey Baby,” his high-profile collaboration with No Doubt from their Grammy-winning 2001 album Rock Steady. Still Beenie’s oversight was the more inexplicable of the two.

Best Banter: Beenie Man

When police stopped by in the middle of the session and Beenie Man somehow kept his cool telling them “Officer, the whole world is watching… do we have to do this right now? Do you really wanna be that guy?”

Biggest KO: Bounty Killer

Not long after the police stopped by, Beenie and Bounty joined in on an eight song freestyle, venting their frustration at the police. But Bounty’s response, “Poor People Fed Up,” trumped an extended live performance, demonstrating just how much of a punch that song still packs.

People's Champ: Bounty Killer

While Beenie proved the more strategic selector, Bounty Killer’s off-the-cuff adlibs an manic energy -- especially when he noticed Rihanna in the IG audience -- kept the mood up. Even when he played unexpected selections, the Warlord’s respect levels were on 11.

FINAL SCORE: 13-10-3, Beenie Man

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This article originally appeared on Billboard.

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Jonathan Mannion

Iconic Photographer, Jonathan Mannion, Details Shooting Eminem's 'Marshall Mathers LP' 20 Years Later

This story, in its entirety, is posted on Billboard.com and is written by Carl Lamarre.

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Saturday (May 23) marks the 20th anniversary of Eminem's third album, The Marshall Mathers LP. His magnum opus not only shattered records on the Billboard 200 (debuted at No. 1 with a whopping 1.78 million copies its opening week) but highlighted his abilities as a raw and gifted storyteller. With Em looking to shed light on his real-life persona of Marshall Mathers, he hired famed photographer Jonathan Mannion to help capture his vision.

Mannion, who previously shot legendary album covers such as Jay-Z's 1996 Reasonable Doubt and DMX's 1998 Flesh of My Flesh, Blood of My Blood, relished the task of teaming up with one of rap's polarizing acts because of their commonalities. Like Eminem, Mannion was a young, hungry creative from the Midwest, whose affinity for hip-hop ran deep, dating back to DJ Quik's debut single, "Born and Raised in Compton." 

Em and Mannion's tag-team expanded to over two continents. Not only did they shoot photos for MMLP in Amsterdam but also Detroit. From the pizza shop that Eminem used to work at to even his old childhood home where he sat on the steps for the album's classic cover art, nothing was off-limits.

READ MORE 20 Years of 'The Marshall Mathers LP': Ranking Every Song From Eminem's Third Album"

It was great," recalls Mannion of the shoot in from of Em's old house. "It was him in his element and delivering his journey. You know, the humble nature of him and his process of getting to be this megastar, which is rooted so clearly in talent. His talent and his relentless drive was it.

"Mannion spoke to Billboard about the 20th anniversary of The Marshall Mathers LP, where the album cover ranks in his collection and Em's dedication to delivering the best shots. 

What does the number 20 mean for you having been involved in the Marshall Mathers LP?

It's really hard to put into words how important this album is for the world, for Eminem (and) for me. There's an endless amount of stories. We shot in Amsterdam and Detroit. Originally, this album was meant to be called Amsterdam. I was like, "We have to go to Amsterdam. We have to all get on a plane and go there. That's the only way we're doing this album." He happened to be performing out there and said, "This is going to sync up perfectly.

"We did a phenomenal session out there -- really poured out hearts into it. Then, I think there was a realization that he wanted to present this trifecta of who he was: Slim Shady, Marshall Mathers and Eminem. This is how genius this guy is. He's thinking farther down the road to be able to craft these versions of himself. Slim Shady was the gimmick to get everyone's attention, which was still rooted in something phenomenal.

Then, he was like, "Let me tell you about my journey. Let me allow myself to be vulnerable within the space and deliver 'me' and how I really got here [with] my struggles, my pain," and I think that's when everybody really connected with him on a different level. It wasn't just this pop phenomenon that he was rooted in reverence for the culture. He obviously felt like he had to prove himself probably more than the next MC just because he was from Detroit and a white boy. He had something to prove and he was clinical on the album, delivering masterpiece after masterpiece.

READ MORE20 Years of 'Stan': How Eminem’s Epic 2000 Hit Relates to the Fan Culture It Inspired

When it was time to dig into who Marshall Mathers was, we had to do another session in Detroit. So we flew to Detroit to kind of continue [the shoot]. It kind of became this nice balance of Amsterdam and all of these lax drugs laws and all of these experimental moments that he was pursuing at that time to kind of ground himself. We shot outside the pizza shop that he used to work at with people that he still knew from there.

I remember you said in a past interview that you shot him in his boxers and trench coat in the freezing cold towards the end of the shoot.

It's dedication. I was with him entirely, pushing and wanting more, but he one-upped me in this session. We did that and I was like, "OK. He's going to be tired." He's in boxer shorts, combat boots and a trench coat being the fullness of the character that he was presenting as this Amsterdam version of Em. He pushed it and I was like, "Man, this is incredible. What we achieved out here was beyond comprehension. I can't wait for when we get back to see the session and go through it."He was like, "Man, I was thinking I want to do one more shot. Can we go back to the hotel? I want to be in my hotel room writing to my daughter." Usually, I'm the one begging rappers to go a little bit farther because I want to give them the world, but it flipped on me. It wasn't begrudgingly that I went there to that place. I was like, "I'm with this. Thank you." It made another really phenomenal image that we got to share with the world because of that effort.

Continue reading the original article by Carl Lamarre at Billboard here.

 

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THE MARSHALL MATHERS LP. Congratulations to @eminem on an absolutely brilliant project that celebrates 20 YEARS today. There were 2 sessions that yielded the campaign around this album, one in Detroit and the other in Amsterdam. It is one of my top 3 covers of all time. Art direction & Photography, @jonathanmannion. Designed with the masterful @morningbreathinc’s own Jason Noto.

A post shared by Jonathan Mannion (@jonathanmannion) on May 23, 2020 at 11:20am PDT

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To get a feel of Mannion's deep love of hip-hop, check out his Spotify playlist of the many legendary artists and their music from the album covers he's shot. "I did a playlist on Spotify based on a random sampling of 65 of my favorite album covers. Pulled 90 tunes that were bonafide bangers and complied a little vibe," Mannion details. Enjoy the vibes!

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