BTS
Frazer Harrison

12 Hip-Hop And R&B Collaborations With BTS We Need ASAP

K-pop music has steadily grown into a cultural phenomenon that has spread from Korea and attracted a massive, diverse audience across the globe, with a few of Korea’s hottest exports like EXO, Pentagon, NCT-127, Blackpink, and Monsta X gaining momentum in the United States. However, South Korea’s own BTS are global musical juggernauts that stand far above everyone else.

BTS, also known as Beyond The Scene or Bangtan (Bulletproof) Boys, have made the biggest splash of all groups from Korea since their debut EP, 2 Cool 4 Skool (2013). The seven-man union, formed by Big Hit Entertainment in 2010, are three rappers and four vocalists: RM (the leader), Suga, J-Hope, Jimin, V, Jungkook, and Jin, respectively. With their homegrown, in-house writing and production, they developed a familiar but unique style that combines hip hop roots with the best of Korean and American pop music, and a splash of R&B. It’s presented with pastel colors and an alluring brand of soft, non-conforming masculinity, precise choreography, and deep layers of musical talent. They’ve also earned a staggering amount of accolades, including being named one of the “25 Most Influential People On The Internet” and “Next Generation Leaders” by TIME, the first Korean group to hold an RIAA certification and the first to have been nominated for a GRAMMY, along with four Billboard Music Awards and more honors.

Their hip-hop roots run deep as they started as a teenage rap group, with RM, Suga and J-Hope initially being battle rappers. A trip to Los Angeles, however, as documented on the reality series American Hustle Life, proved they had a very long way to go with understanding of the culture among other skills. Thankfully, after a boot camp style schooling from west coast legends Coolio and Warren G with choreographer Jenny Kita, they’ve grown tremendously as evident on their debut LP Dark And Wild (2014).

Since then, BTS has collaborated with hip-hop stars like Wale, Desigiiner, Krizz Kaliko, Nicki Minaj, and recently, JuiceWRLD on “All Night,” an exclusive from the soundtrack to their new mobile game, BTS World. The boys are riding high after their Gold-selling album Map Of The Soul: Persona, their new film Bring The Soul, and news of a collaboration with R&B/pop singer Khaled on the way. The BTS A.R.M.Y. (Adorable Representative M.C. for Youth) is excited for the possibilities of fresh new collaborations with other hip-hop and R&B artists. Read below for VIBE’s list of the 12 hip-hop and R&B collaborations with BTS we need ASAP!

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Drake

Toronto’s own megastar may be a controversial, polarizing pick because of the criticism of him (allegedly) riding on newer artists’ popularity to bolster his own career and “wave riding” international genres and artists without giving the proper credit. Regardless, based on Drizzy’s Billboard chart-topping history, a BTS and Drake collaboration would be nearly guaranteed to be a home run.

Musically, Drake is versatile enough to match elegant harmonies with Jin, V, Jungkook, and Jimin (imagine a remix to the steamy “Singularity”) and go bar for bar with ease next to RM, J-Hope, and Suga over  production from 40. His tracks with artists like Bad Bunny, popcaan, Wizkid, Romeo Santos, Black Coffee, and Giggs have all been solid, but BTS pairs the best with October’s Very Own because they both excel at creating bubbly, up-tempo and mainstream-friendly pop records, late night, vibey and confessional R&B songs, and explosive rap jams for the crowd who craves pure lyricism. And after the two had a warm meeting at the VMAs, fans shouldn’t be surprised if we see something on the horizon very soon.

Lil Uzi Vert

The tone and direction of BTS and Lil Uzi Vert’s most electrifying hits are the difference between night and day. On the flipside, they share much more common ground than you’d think with their high energy songs and performances, and an eye-catching penchant for their colorful, eccentric fashion looks and charismatic, light-androgynous swagger with the dance moves to match.

BTS’s recent effort with Juice WRLD, “All Night,” has already shown how well the group can pair with the hip-hop superstars from America’s Soundcloud generation, especially with the right producer in tow (Pro Era’s Powers Pleasant). With Lil Uzi Vert, we can expect a hit that carries the same pop and crossover appeal with that glittery sheen Uzi displays on “That’s A Rack.” However, if they really want to blow our collective minds, it would be a fresher look for BTS to see how the Bangtan spitters RM, Suga, and J-Hope would fare on the aggressive, high-octane end of Uzi’s versatile playground. They obviously can be as explosive on wax as evident on their first full length album, Dark and Wild, and in a more recent context, “IDOL” and “Mic Drop.”

BTS could fit with a respectable number of Uzi’s contemporaries as their cadences, flows, and gender fluid style are the products of its time. The Philly rapper stands above the pack however because of his smooth versatility to rock out, no matter the genre or direction of the song. If these two forces of nature got together, this could be an unprecedented crossover song for both of them.

Black Hippy

Kendrick Lamar and BTS have been tied together through a combination of minor controversies, and frequent collaborator, producer Teddy Walton attended a show and declared on Twitter that he wanted to work with the group. Obviously a Kendrick Lamar and BTS collaboration would turn heads, but who said he’s got to be the only one who gets to have all the fun?

If we live long enough to get a whole collaboration between BTS and Kendrick, Jay Rock, Schoolboy Q, and Ab-Soul, it would be the greatest gift that a hip-hop fan never knew they needed. RM, Suga, and J-Hope all are very nimble and clever lyricists who can go bar for bar with Black Hippy while the other four vocalists are no stranger to blending in on a pure hip-hop song. Also, their collective versatility ensures we wouldn’t get the same song twice.

When it comes to content, the catalogs of both groups contain plenty of songs that go into a wide range of topics, be it personal or social commentary, braggadocios raps, and just strictly for the turn up. Musically, BTS’s flows and vocals are versatile enough to ride over either a beat by Terrace Martin, Sounwave, or DJ Dahi.

Missy Elliott

For over 20 years, Missy Elliot has been a maestro of the clubs, the streets, the bedrooms and the Billboard charts for herself and a long list of some the greatest solo acts and groups who have ever done it. Her and BTS would be a very strong tandem because of her own experience in working with R&B and pop groups like Playa, 702, Destiny’s Child, and The Pussycat Dolls.

Missy’s no stranger to working with top artists from across the globe as she has created with Little Mix, Lady Sovereign, and MC Solaar. A BTS collaboration would not be so far out of her comfort zone because they both share a connection with their colorful, vibrant, eclectic music and imagery with their versatility with rapping, singing, and dancing.

Their effort could create a unique moment because both are great creating danceable hits using a wide variety of sounds from different genres (“Get Ya Freak On”/”hip-hop Phile”). We could also get some very sultry standouts as both are known for having sensually sweet voices and have great chemistry with partners. (“The Truth Untold”/”Crazy Feelings”). And if that doesn’t entice you, imagine the insane possibilities for their video treatments and their choreography at their live shows.

Tech N9ne

On the group leader RM’s solo mixtape Rap Monster, he tapped Strange Music’s resident crooner Krizz Kaliko for the soulful tune “Rush” back in 2015. Considering how far BTS as come along since then, it’s about time that fans got to hear one of rap’s most wicked lyricists, Tech N9ne, create a monster masterpiece with the group.

Albums such as Dark And Wild (2014) offer the group at their most aggressive while recent tunes like 2018’s “MIC Drop” and the Steve Aoki remix with Desiigner feature their most explosive lyrical performances, proving doubters why they’d make such a strong pairing. With Tech N9ne being one of the greatest rapid-fire spitters of all time and BTS, collectively, being able to switch flows and spit just as fast, we'd be likely to get a raging, lyrical barnburner. Possibly with Tech N9ne’s frequent collaborator Krizz Kaliko back on board as well.

On the flipside, Tech N9ne has shown tremendous versatility in his content and beat selection over the past 20+ years with thought-provoking deep cuts like “Show Me A God” and fun, loose bangers like “Caribou Lou.” And the soundscape on BTS songs like “Boy Meets Evil” and “Am I Wrong” from their 2016 album Wings are the kind that demonstrates not-too-bubblegum, yet not-too-hardcore sound where Tech can shine. If we can get a “BTS Cypher 5” on their next full-length album with Tech N9ne, we should all lose our collective minds.

Bad Bunny

Beyond Korea, K-pop has extended its reach into Latin America, Puerto Rico, Mexico, and brown folk in the United States. Coincidently (or not), we’re also witnessing the ongoing reign of Urbano and Latin Trap music, including one of the brightest, most eclectic stars of them all, Bad Bunny. That said, a Bad Bunny and BTS collaboration would be the international answer to the 1980s classic Run-DMC and Aerosmith tune “Walk This Way”, that music needs right now.

Despite the language barrier, it wouldn’t be impossible for them to create an international smash as BTS are known to enjoy various genres of Latin music. Working with Bad Bunny would be a fun match because they are both known for their flamboyant, colorful styles that defy gender norms, and electrifying flows. Bad Bunny’s talents would add a unique flavor that would bring more attitude, flair, and exciting, bouncier flows if paired with BTS. And while K-pop and Latin music collaborations aren’t anything new (Super Junior and Leslie Grace already beat them to the punch with “Lo Siento”), the impact could possibly be greater if done for a worldwide audience in the Western music world.

Beyoncé

It doesn’t take a music industry genius to know that if some wise guys or gals came up with a world tour with Beyoncé and BTS together, there would be no stadium big enough to hold both the Beyhive and the A.R.M.Y.

Beyonce’s voice is powerful enough to add an extra compelling layer of emotion to a song like “Listen,” and dynamic enough to get the party rocking like she’s done with “Get Me Bodied.” BTS already has the range, depth, versatility, and work ethic as a group to meet Beyoncé’s high level of singing and performing and it would be interesting to see what the band would look like with choreographer JaQuel Knight or how Beyonce’s moves would look under the guidance of J-Hope and Jimin. Hearing and seeing these two together for the first time would be a matchup of the century.

Boyz II Men

One of BTS’s biggest co-signs they’ve unexpectedly earned this year was from Boyz II Men’s Shawn Stockman, when he covered Jimin’s solo cut “Serendipity” while playing his guitar on a video he posted on Instagram. And that’s a high honor considering how BTS are the same fruit off The Jackson 5’s R&B/pop tree as the Philly trio.

Out of the many iconic groups that precede them, Boyz II Men is the best choice for a collaboration because the four vocalists and the trio’s voices can work cohesively together as they have a balanced range of pitches. And if need be, Boyz II Men are no stranger to singing in different languages as they covered k-pop songs on 2005’s Winter/Reflections and 2011’s COVERED -Winter. The only disappointing part is knowing that Michael McCray’s deep, sultry bass won’t be present after he revealed his battle with multiple sclerosis in 2016. Still, both groups have the musical range to appeal to both Asian and black audiences at the same time, so seeing them work together would be an amazing passing-of-the-torch moment.

H.E.R.

Love Yourself, ‘Tear’ (2018) from their Love Yourself trilogy is a prime example of how the group's collective vocal ability isn’t limited to pop music. They’ve proven with songs like “Singularity,” “The Truth Untold,” and “Magic Shop” that they’re just a proficient in contemporary R&B and neo-soul as they are at everything else. And while many contemporary American acts could sound great with BTS, perhaps the one that would be the most refreshing is H.E.R., whose deep, sensual, and gripping style will grab you by the ears and hold you by the heart. Both have the vocal range and deeply layered content to create an emotionally rich affair that could wind up either in the form of duets with either one of the singers or full group collaboration. We might not get a strong pop song from them, but considering how strong their emotional appeal and relatability is with their music if brought together, we don’t need them to make one at all.

Chris Brown

BTS’s lead dancer and singer Jimin has mentioned on a few occasions that he is a Chris Brown fan and he’d like for him to work with the group one day. In fact, three members once danced on stage to Breezy’s “Take You Down” and the crowd couldn’t get enough. Imagine how insane that same crowd would be if he were with the group on stage.

Aesthetically and musically, BTS has the most similarities to Chris Brown when it comes to their intense work ethic, creativity, natural dancing skills, and their knack for seamlessly weaving through hip-hop, pop and R&B on their albums. The obvious difference is that Brown is highly skilled at all those things, where some of the individual members are weaker in at least one of those aspects. It can be argued that J-Hope, Jimin, and RM are literally Chris Brown if you were to separate him into three people because those members, individually, carry all the things fans love about Brown’s music and performances.

Based on all of this, a BTS and Chris Brown collaboration would be insane because their styles would perfectly gel, which could create real chemistry that we could see and feel on stage.

J. Cole

It’s been documented that BTS, especially the leader RM, are fans of J. Cole as they once sampled his James Fauntleroy-assisted “Born Sinner” for their song “Born Singer.” If you were to listen to some of RM, J-Hope, and BTS’s earlier work, you can even see how they were inspired by Cole through their content and flows. Since the group is far more of a polished act nowadays and has cultivated their own style, a J. Cole and BTS collaboration would be something special.

Just as J. Cole garnered a cult-like following through his music and the way he addresses social and mental health issues, BTS has done the same thing for the past several years on wax, interviews, and more famously, in their speech in front of UNICEF in 2018. A joint record between the two could be a powerful track that cuts through like a hot knife on butter. Or we could even get a chance to hear Cole, Suga, RM, and J-Hope perform lyrical surgery on a “BTS Cypher” or on a J. Cole album where really gets in his bag like “MIDDLE CHILD” or on the Dreamville posse cut “Down Bad”. BTS has the language and versatility to match with J.Cole, so this would be an exciting effort from both acts.

Janelle Monae

This may look unorthodox on paper as BTS and Janelle Monae’s respective approaches to music and performing come from different, but related musical influences from black music. A closer look at the two however shows that they still share a parallel space. They often defy gender norms with their outfits and soft color schemes, giving some of the most vibrant, creative visuals you’ll see in this generation with videos like “Boy With Love” and “Pynk.” Also, both are vocal allies of the LGBTQ community and people of color.

Musically, Monae is an multi-faceted artist who can sing, dance, and even trade bars with the best of them as heard on “Django Jane.” And the way she uses her vocals and bars to create \ soul-stirring moments on socio-political songs like “Cold World” and “Americans” as BTS has done on “21st Century Girl” and “Am I Wrong.” Together, Monae and BTS could be a freedom fighting force on wax and create a groundbreaking moment that will cross racial and gender barriers across the world.

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Jon Ragel

Martin Lawrence And Will Smith's May 1995 Cover Story: 'Flippin' The Script'

Editor's Note: This article originally appeared in the May 1995 issue of VIBE Magazine.

One big summer movie - Bad Boys. Two prime-time funnymen - Will Smith and Martin Lawrence. Teaming up to bust caps as well as guts, Smith and Lawrence are an odd couple on the screen and off. Scott Poulson-Bryant talks with both of them about Blowing Up and Growing Up.

Written By: Scott Poulson-Bryant Photographs By: Jon Ragel

When you think about it, it's downright unprecedented. Prime-time television's biggest black stars—Will Smith of The Fresh of Bel-Air and Martin Lawrence of Martin—are starring in Bad Boys, a big-budget Hollywood action comedy full of stunts and explosions and big, crowd-pleasing laughs. Two for the price of one. Call it Beverly Hills Cop 2 meets Miami Twice.

It's easy to think these entertainers, who hold sway over their own hit network sitcoms, would have been at each other's throats, throwing prima donna shade over the slightest of perceived slights. But according to both actors, things were smooth. "We basically ad-libbed every scene," Will says. "It was two and a half months of two of the silliest guys in comedy doing exactly what they wanted to."

In Bad Boys, they play two Miami detectives in the special narcotics division whose temperaments are 180 degrees apart: Will is Mike Lowrey, a flashy playboy; Martin is Marcus Burnett, a homebody family man with a mortgage to pay. After making the biggest arrest in the department's history, the duo have to find the thief who stole $100 million worth of heroin from the station house, or they'll lose their jobs.

Smith and Lawrence weren't necessarily playing their roles from experience—offscreen they're different, but not in the way the Bad Boys are. At the time of filming, Will was the married-with-child brother who wanted to focus on family values, and Martin was the recently dis-engaged rascal, doing his thing on the singles scene. Now, on the eve of the film's release, it seems they've done another role reversal. Will Smith is grappling with an impending divorce from Sheree, his wife for more than two years, and with how it will affect their two-year-old son, Willard C. "Trey" Smith III. He says he's not yet ready to talk about the situation, though he does note that the sudden death of his infant half brother, Sterling, took him back to Philly, where he now intends to spend more time. On the flip side, Martin Lawerence got married in January to ex beauty queen Patricia Southall. He and his wife are planning for children, and Lawrence, after a year of professional ups and downs, looks at the future with great expectations.

Everything's happening so fast for these two transplanted twentysomething East Coast guys who found fame and fortune out West by doing their versions of black-boy cool for the masses. So fast and furious, in fact, that crammed schedules never allowed all three of us to meet at the same time. I had to wait endlessly for Martin. First he was just back from his Caymans honeymoon, then he said he had injured his back, then he was busy finishing his show's "Player's Ball" episode, featuring an array of blaxploitation stars. All that waiting, however, left plenty of time to chill with the very accommodating Will Smith.

We spent one day cruising around L.A., pumping Teddy Riley's BLACKstreet tape in Will's white Ford Bronco. I had been there last June when the media began its all-out assault on OJ, so driving along the freeway in this particular ride with a black male superstar at my side took on an almost surreal quality. "I had mine before all that started," Will noted. But the irony didn't escape him. When the ringing car phone signaled Will's booming system to automatically pause, one thing raced through my mind: The rich really are different. But the price of livin' large is steep out in this bright-lights, big-titty world, where dream seekers flock and where black boys, in particular, come to Blow Up, if not to Grow Up. Will Smith and Martin Lawrence are trying their best to do both.

Caverting around the low-key set of The Fresh Prince of Bel-Air wearing oatmeal colored linen and boots, Will Smith seems thinner in person, wiry almost, even though he had to follow an extensive workout regimen for his movie role. His face does its trademark dance between seriousness and just buggin', the balancing act between sophistication and boyishness that has kept this 26-year-old in the public eye for the past eight years.

Smith's office conveys the same sense of his multi-layered self. A big-screen TV is in one corner, the tangled joystick cords of a Sega video game in front of it. A mini-stereo rests on a low table, surrounded by cassettes. A plethora of gold and platinum DJ JazzyJeff and the Fresh Prince records line the far wall, a reminder of the up-and-down road that led to Will Smith's current state of Blowing Up affairs. And adjacent to that wall hangs a huge painting—by a fan from Miami—of Will uncharacteristically in repose. It doesn't seem vain for Will Smith to have a massive painting of himself in his dressing room. One gets the impression he needs his, more serious side to look down upon him, to bestow the necessary intensity to reach his goal: to be the reigning funnyman in the prime-time wars—which is as serious a job as any, as Martin Lawrence also well knows.

"What makes you an effective superhero is that you don't want to be," says Bad Boys costar Will Smith. "Like Bruce Willis in Die Hard--- the last thing he wanted to do was run over that glass barefoot."

With five years of The Fresh Prince of Bel-Air under his belt, Will Smith has the hip teen thing down. I ask him if he thinks he's a natural clown—considering the comedic video persona of his early rap days and raucous appearances on late-night talk shows—and he laughs. "I'm just outgoing," he says, then pauses, as if that doesn't quite sum it up. Then he jumps right back in to answer, appearing to try out responses in his mind as he goes along. "I'm comfortable enough to impose myself on my surroundings," he continues. "That's the best way to describe it, really. It's a gift. It's the ability to impose myself on my surroundings without making people feel imposed upon."

Good answer, I'm thinking, as he continues on, knowing innately that a good answer isn't enough. Only a great answer will suffice. "But it's always been like that. When I was younger, it was more about being different when everyone else wanted to fit in. I always wanted how I talked or my clothes to be different. Peer pressure never meant anything to me. If something was done one way, something in me resisted it."

He pauses again and laughs. "It was the same way in my music. Something in me enjoyed coming to New York from Philly and people not liking us at first. When everyone else was trying to act tough and grab their dicks, the first thing anyone heard me say on record was, 'Oh man, my eye! This guy just punched me in my eye for nothing.' I enjoyed that. I strove for that. Oris is it strived? Or striven?" He throws his hands in the air, deferring to the writer in the room. "Whatever, just put it right in the article."

Will Smith can make that kind of demand. In fact, you want him to make demands of you because he's so demonstrative, acting out scenes from his life when words won't suffice, rapping entire verses of "The Message" to make his point about rap's changing style, reciting complete Tony Montana monologues from Scarface to illustrate a point you just made, challenging your taste in movies ("You haven't seen Pulp Fiction yet?"), challenging you to one-up him ("Don't you wanna ask me some more questions?"). But it's almost more interesting just to observe Will Smith. He's a perpetual performer, always doing his job, always giving his all.

Six years ago, though, the Fresh Prince nearly gave it all away, nearly lost the crown off his head. He blew up too big too fast, and it all came crashing down. He suddenly went broke. His first album, 1987's Rock the House, went gold the following year. Then 1988's He's the DJ, I'm the Rapper eventually sold 3 million copies, spurred by the single "Parents Just Don't Understand." Next, And in This Corner merely went gold, before 1991's Homebase, the return to Philly roots featuring "Summertime," went platinum. His most recent album, 1993's Code Red, went gold. The DJ. Jazzy Jeff and the Fresh Prince phone line, the first celebrity 900 number, minted money—in its day it was the second-highest-grossing line behind Dial-A-Joke. "In '87-'88 I was rich," he says. "In '89 I was broke."

Broke like, rich-folks broke? I ask. No dollars in your pocket, but a couple hundred thou tied up in investments and CDs? He laughs and shakes his head vigorously. "Nah, man. I was broke. Like, can't-buy-gas, sell-the-car broke. Actually, you know what? Sell everythingbroke. I was a moron. I had the suburban mansion, a motorcycle, I was traveling the world. I was 18 and the world was open, and when the world is open like that it makes you crazy, you want everything. I wasn't any happier with money, and I wasn't any less happy when I went broke. It hurt, and mentally it was tough dealing with, but inside it didn't change. I still had my family, and I could still have a good time. I could still laugh."

He rebounded in a new arena-prime-time TV as the star of The Fresh Prince of Bel-Air, post-Cosby sitcom with a nod to The Jeffersons: movin' on up with a hip hop twist. Then, through sheer force of will, Smith made it to the big screen in 1992, debuting in Where the Day Takes You as a wheelchair-bound street kid. His role in the Whoopi Goldberg comedy Made in America (and the screams of teenage girls on the set) led to his landing the plum role of Paul, the sad, confused con man in the critically acclaimed film version of the Broadway hit Six Degrees of Separation. In the process, Will Smith's screen persona grew exponentially, acquiring layers of resonance devoid of the street corner histrionics usually demanded of young black male actors.

As Smith copes privately with the dissolution of his marriage to a woman who shunned the amusement park of the klieg lights, his public persona enters the high-stakes world of shoot-'em-up, make-'em-laugh, big-bank movies. And he may have just found his Axel Foley—the role that will give him a defining big-screen image. Produced by the Don Simpson/Jerry Bruckheimer team behind Eddie Murphy's Beverly Hills Cop series, Bad Boys stretched Smith in ways he's never been stretched before.

"With all that jumping and shooting when you're making an action movie, you realize that it's a stunt, not a trick," he says. "And it brings out all that testosterone. I saw how the situation brings that stuff out in people. Everybody has an action hero in them; everyone wants to kick in a door and shoot somebody." On the other hand, he says, "I knew it had to be as real as possible, because what makes you an effective superhero is that you don't want to be. Like Bruce Willis in Die Hard the last thing he wanted to do was run over that glass barefoot. People can't relate to a guy who just jumps in front of bullets."

Martin Lawrence knows that too, considering the potshots he's taken in public over the past year. Coming on the sitcom scene more than two years ago as Martin Payne, Lawrence instantly became the quotable cock of the walk with a bop in his step. He was the leading man in Martin (the funniest post-hip hop black show on the air) and did double duty as the host of the successful Def Comedy jam.

But somewhere along the line, Martin lost its stride. Year No. 2—the 1993-94 TV season—was supposed to be the one in which its star, Martin Lawrence, Blew Up, bringing his candid ghetto realness to the moviegoing, record-buying masses with his first concert film, You So Crazy, and comedy album, Talkin' Shit. Things didn't quite work out that way. The endearing wannabe who played Bilal (a.lea. Dragon Breath) in the House Party movies seemed to morph into a larger-than-life, self-made superstar from the 'hood, whose comeuppance was—like Tony Montana's—just around the corner.

First, there was his battle with the Motion Picture Association of America over the NC-17 rating they slapped on his concert film, You So Crazy. Of course there was race issues here (why a brotha gotta get the NC-17?) and censorship issues (why a brotha gotta get told what to say?), but what got lost in all the hoopla was that this comedic performance didn't meet the high standards he had already set for himself. Neither did his next notorious public moment.

Last winter, on his first Saturday Night Live hosting gig, Lawrence brought Def Comedy Jam to Lorne Michaels's crib. It was a debacle. Spraying the small stage with the scent of his insecurity and nervousness, Lawrence littered his opening monologue with scatological references that play fine on cable but shocked NBC's brass. He subsequently found himself at the center of a media storm regarding his not-ready-for-network language and subject matter, which ultimately led to his being de-scheduled from an appearance on Jay Leno.

Looking back at the whole situation, Lawrence believes he was "set up" by the SNL people ("They kept telling me, 'Do what you do.' And I did.") and admits to a certain nervous energy that informed his antics. He also says that after so many black folks came out to see him at Radio City Music Hall in New York earlier that year, he anticipated playing to a more racially mixed studio audience. Yet ultimately he chalks the disaster up to youth, to being intimidated by the history and mythology of the once-cutting-edge late-night dinosaur. But for a minute there, it looked like Martin Lawrence was about to be taken out like just another sucker MC.

Lawrence wasn't going to let that happen. He laid low after enduring those storms, held back on public appearances, broke up with his then girlfriend, actress Lark Voorhies, and concentrated on Martin—which was still being talked about, although two years into its run the funniest thing people were saying about the show was that it wasn't funny anymore. (And exactly where was Sheneneh, anyway?) Lawrence also started looking for a movie script that would have a "buddy-buddy feel to it, but something that was real, that would be good for my audience and work for other audiences as well." Which was probably a good move for him: That way he wouldn't have to carry the burden, or the risk, alone—as he did in his concert film and on SNL. 

He found Bad Boys, a movie that was, ironically, originally slated to star former Saturday Night Live clowns Dana Carvey and Jon Lovitz. In the box-office-friendly blend of action and comedy, perhaps Martin saw the opportunity in his first starring role on the big-screen to follow that other foulmouthed black funnyman who found fame on TV. Eddie Murphy, the post-Pryor model of black comic as household name, has already primed the box office for Lawrence and his generation's brand of raw good humor. Maybe Martin Lawrence too had found his Axel Foley—a role that could establish him as a cinematic franchise with Badder Boys and Even Badder Boys to follow. As creative and fluid as his work can be, Martin's savvy very much includes keeping the business plan in full focus.

"I called him Martin Lawrence King," says Smith of his costar. "It's really important to him to be real, and present himself and his work to his audience with integrity."

Sitting in his small office in the Martin bungalow on the Universal lot, with fake African masks adorning the end tables—"I don't know where they're from," he says casually—Martin Lawrence, dressed in a black turtleneck and gray plaid slacks, comes off less like a creative dynamo than as the Hollywood hyphenate he is: sitcom star, executive producer, sometime writer, and soon-to-be feature film director. He's very wary, even difficult, toward the press these days. Like other stand-up-to-sitcom stars, Martin fought through the usual creative control issues, in part by firing longtime manager and show cocreator Topper Carew, reportedly before a live studio audience. When asked about that incident, his reply is, "I have the utmost respect for him, but I don't wanna go there."

Ask Lawrence if he likes having more power on the set, and he looks at you with a blank stare and asks, "What do you mean by power?" Then he adds, "I have more say, so if I don't like something, we won't do it. If I do like something, we do." Does it make work more difficult with more responsibilities behind the camera? "You have to be the judge of that," he replies tersely. "If people are saying the show's suffering because of it, maybe I'm too much involved in the business."

While making Bad Boys, it wasn't hard for Will Smith and Martin Lawrence to find a working rhythm, even though both guys are more accustomed to having straight men than being them. "You never see two brothers from different networks getting together to do something like this," Lawrence gushes. "But we had a lot of fun. We worked hard together. Since both of us have comic timing on the sitcoms, we knew it was just a matter of getting together and finding out how we complemented each other."

"That's the beauty of working with another comic," agrees Smith. "You go in in the morning and you have no clue what's about to happen. I'm used to changing lines on my show, and he does the same thing. It was like a tennis match. He would say something, then I'd toss a line right back."

Smith was also taken with Lawrence's devotion to the social and cultural impact of their collaboration. "He has a lot of interesting insights," Smith says. "I called him Martin Lawrence King. It's really important to him to be real, and present himself and his work to his audience with integrity. We'd talk for hours about whether our coming together would mean anything to young black kids. Would it mean anything that we were being strong enough for it to work with no problems?"

Which begs the ego question. Compared with Will's accessible playfulness, Martin is guarded and defensive in person. Yet on-camera, he invariably thrusts himself centerstage, as if demanding his costars catch up to his manic energy. His mercurial reputation precedes him. When I mention that he's regarded as a taskmaster, Lawrence replies, "I feel everyone should come to the project as I do. If you don't care as much for it as I do, why are you there?"

When I ask Will Smith, "Do you have a big ego?" he replies, "Yeah, I have a huge ego, but I don't impose it on people. You have to have a big ego to be an actor. But I have control over that, because I don't like how it feels when other people throw their weight around. That experience makes me struggle really hard not impose myself on people for selfish reasons. Ego drives you. I think it's really important. But you have to control your ego; you can't let your ego control you."

When I ask Lawrence the same question, he looks at me for about 20 seconds before responding. After a bit of verbal jousting and nonanswers ("Do you think I have one? What defines a big ego?"), I ask him how he's changed as a result of having a hit TV show, a wedding that was covered by the tabloids, and a big summer movie about to drop.

"I've grown up a little more," he says, "though I don't know if I'll ever be fully grown-up, 'cause I ain't trying to lose the kiddish things in me, 'cause that's what I love. I love to bug out and be spontaneous and talk some shit. I changed for the better, and I'm steady trying to get better at what I do. But by the same token, I talk shit. We all do. "Spoken like a true bad boy.

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Tekashi 6ix9ine Identifies Cardi B And Jim Jones As Nine Trey Members And More Takeaways (Day 3)

Daniel "Tekashi 6ix9ine" Hernandez's witness testimony continues to shock the masses. On Thursday (Sept. 19), the rapper took the stand again to elaborate on his kidnapping as well as interviews he gave about his broken relationship with members of the Nine Trey gang.

Interviews by Angie Martinez and Power 105.1's The Breakfast Club were analyzed due to the rapper's subtle jabs towards his former manager Shotti and defendant Anthony "Harv" Ellison. 6ix9ine's social media personality was also broken down as he explained the definitions of trolling and dry snitching.

But perhaps the most questionable part of his testimony arrived when he name-dropped Cardi B and Jim Jones as members of the Nine Trey Gangster Bloods.

Below are some of the biggest takeaways from today.

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Day 3 1. Tekashi Claims Cardi B And Jim Jones Are Members Of Nine Trey Gang

Hernandez provided context to a wiretapped conversation between alleged Nine Trey godfather Jamel "Mel Murda" Jones and rapper Jim Jones. Complex notes a leaked 'individual-1' transcription revealed who appeared to be Jim Jones. During Mel Murder and Jim Jones conversation, the two discussed Hernandez's status as a Nine Trey member.

"He not a gang member no more," Jones reportedly said. "He was never a gang member. They going to have to violate shorty because shorty is on some bullshit." Hernandez went on to identify Jones as a "retired" rapper and a member of the Nine Trey.

Prosecutors play phone call between Nine Trey godfather Mel Murda and rapper Jim Jones. Tekashi says Jones is in Nine Trey.Jones: "He not a gang member no more. He was never a gang member. They going to have to violate shorty because shorty is on some bull--it."

— Stephen Brown (@PPVSRB) September 19, 2019

When it comes to Cardi B, the rapper named the Bronx native as a Nine Trey member. He was also strangely asked if he copies Cardi's alleged blueprint of aligning herself with gang members in her early music videos. "I knew who she was. I didn’t pay attention,” he said. In a statement to Billboard, Atlantic Records denied 6ix9ine's claims that she was a member of the Nine Trey Gangsta Bloods. 

In a now-deleted tweet on her official Twitter account, Cardi B responded to the allegation writing clarifying her affiliation, “You just said it yourself…Brim not 9 Trey. I never been 9 trey or associated with them.”

2. Tekashi Defines The Term "Dry Snitching"

In a quick back and forth with AUSA Micheal Longyear, the rapper gave an odd definition of dry snitching. He also made it clear that he was open to becoming a witness to reduce his prison sentence.

Q: Who is Jim Jones?#6ix9ine: He's a retired rapper.Q: Is he a member of Nine Trey?A: Yes.

— Inner City Press (@innercitypress) September 19, 2019

3. Tekashi Was Willing To Pay Hitmen $50,000 To Take Out Friend Who Kidnapped Him

Shortly after he was kidnapped by Harv, the rapper went on Angie Martinez to slam those in his camp. Without saying names, Hernandez promised he would seek revenge on those behind the kidnapping. The court was then showed footage of the incident which was recorded in the car of Jorge Rivera who was already a cooperating witness in the case. Hernandez reportedly confirmed he wanted to pay a hitman $50,000 on Harv after the kidnapping.

4. He Believed He Was "Too Famous" To Hold Gun Used In Assault Against Rap-A-Lot Artist"

The alleged robbery of Rap-A-Lot artist was brought up once again when Hernandez confirmed that he recorded the incident. A weapon allegedly used in the incident was tossed to Hernandez by his former manager Shotti. When asked why he refused to hold the gun the rapper said, "I'm too famous to get out the car with a gun." As previously reported, the rapper was kicked out of the car after the incident in Times Square and was forced to take the subway back to Brooklyn with the gun.

5. Tekashi May Be Released As Early As 2020

Cross-exam Q: If you get time served you'd get out at the beginning of next year, correct?#6ix9ine: Correct.

— Inner City Press (@innercitypress) September 19, 2019

There's that.

6. Footage Exists Of Tekashi Pretending He Was Dead

Harv's lawyer Deveraux: Do you recall publishing a video pretending you were dead?#6ix9ine: Can you show me? For now, a private viewing.

— Inner City Press (@innercitypress) September 19, 2019

Before wrapping up, the court briefly touched on his trolling ways. From setting up beefs to strange notions like faking his death, the videos were viewed privately.

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Tekashi is seen in Los Angeles, CA on November 8, 2018.
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Nine Trey Trial: 4 Takeaways From Tekashi 6ix9ine's Testimony (Day 2)

The second day of Daniel "Tekashi 6ix9ine" Hernandez's witness testimony provided insight into the handlings of several incidents surrounding the rapper including the attempted shootings of rappers Casanova, Chief Keef and former labelmate, Trippie Redd.

As Complex reported Wednesday (Sept. 18), Judge Paul Engelmayer noted the leak of the rapper's testimony that hit YouTube by way of VladTV. Shortly after, Hernandez explained how the Trey Nine gang began to fall apart–or split into four groups–leaving him to take sides. In the end, Hernandez was robbed and kidnapped by his own manager as video footage revealed. The rapper explained how his initial deal turned into extortion as he provided over $80,000 to the gang.

See more details from the trial below. Hernandez will take the stand again Thursday (Sept. 21).

Day 2 1. Tekashi Arranged A Hit On Chief Keef For $20,000

The hit against Keef was widely reported last year but Hernandez provided clarity to the incident. The rapper admitted to arranging a hit on the Chicago rapper after a dispute over "my friend Cuban," a reference to rapper Cuban Doll. Although Hernandez planned to provide the gunman with $20,000 he paid him $10,000 since the hitman fired one shot and subsequently missed.

2. 6ix9ine Credits Anthony “Harv” Ellison For Barclays Center Shooting 

 

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A post shared by Tr3y (@tr3yway_ent) on Sep 6, 2019 at 3:11pm PDT

Hernandez's brief beef with fellow Brooklyn rapper Casanova sprouted from Cas' diss song, "Set Trippin.'" After hearing it, Hernandez said he was ready to "run down" on the rapper. Seqo Billy tipped him off about Cas' alliance to the Bloods set, the Apes and how they would more than likely retaliate if Cas is harmed.

“There’s a kite out saying if any apes happen to cross ya path to fire on you or anybody around you… smarten up,” Seqo wrote in a group chat presented in court. Ellison allegedly replied, “Apes can fire on this dick… They don’t want to war with Billy’s [Nine Trey]." From there, several shootings took place in Brooklyn with one inside the Barclays Center.

3. Tekashi's Beef With Rap-A-Lot Crew Caused Bigger Fallout With Trey Nine 

Hernandez went on to detail the very complicated story behind his beef with Rap-A-Lot records. The debacle started when Tekashi and the Treyway crew didn't "check-in" with Jas Prince before taking the stage at Texas' South by Southwest in March 2018. The incident was further muffled since Trey Nine members like Ellison and Billy Ato were beefing with Hernandez and Shotti at the time. In the end, Hernadez never performed. His crew would later go on to rob and attack an artist from Rap-A-Lot in New York a month later.

4. Footage of the Robbery/Fight Was Filmed By Hernandez aka 6ix9ine

As he and Shotti fled the scene, Shotti kicked the rapper out the car forcing him to take the train to Brooklyn with a gun in his possession. All of the incidents led up to the kidnapping scenario which Herdanaez claimed was in no way staged.

“I’m pleading with Harv,” Hernandez said. “I’m telling him, ‘Don’t shoot. I gave you everything. I put money in your pocket.’ I told him that I was tired of being extorted.” The robbery/kidnapping was filmed by Ellison but also recorded by Hernadez's driver Jorge Rivera who was already a cooperating witness in the case.

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