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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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Illustration by Alvaro

Revisit Aaliyah's August 2001 Cover Story: 'WHAT LIES BENEATH?'

With a new album and the romantic lead in the upcoming Anne Rice-adapted flick Queen of the Damned, Aaliyah is ready for superstardom. But don’t think you can get too close to her. Hyun Kim tried and found out that some things are best left alone. Illustration by Alvaro. Styling by Angela Arambulo

Aaliyah lives the perfect life. To hear her tell it, she wouldn’t change a thing. “This is what I always wanted,” she says of her career. “I breathe to perform, to entertain, I can’t imagine myself doing anything else. I’m just a really happy girl right now. I honestly love every aspect of this business. I really do. I feel very fulfilled and complete.”

It’s true that a young woman with a burgeoning career in music and film might as well be ecstatic about her life. In fact, there’s nothing more annoying than hearing some spoiled star whine about the pitfalls of success. So, while Aaliyah’s comments are refreshing, you can’t help but wonder if things sound, well, too good to be true. She speaks like a veteran politician – well prepared and press savvy, like she’s reading from an unseen teleprompter.

Of course, 22-year-old Aaliyah has been preparing for stardom since childhood. And now that she’s made it this far, it’s impossible to determine when she’s in performance mode, or just honestly being herself. A trained actress who is quickly becoming a hot property in Hollywood, Aaliyah has mastered the art of hiding herself from the public. It started back in the day, when she always rocked dark sunglasses. Because her eyes were rarely seen, a rumor quickly spread that she had a lazy or glass eye. She soon took to covering just her left eye with her long, straight, black hair. She hid again when, at 15, reports of her marriage to 25-year-old mentor and producer R. Kelly – the story broke in the December ‘94/January ’95 VIBE – scandalized the R&B world.

"IT'S IMPOSSIBLE TO DETERMINE WHEN SHE'S IN PERFORMANCE MODE OR BEING HERSELF. A TRAINED ACTRESS, AALIYAH HAS MASTERED THE ART OF HIDING HERSELF FROM THE PUBLIC."

If you bring up the marriage with her, she sort of changes the subject. And we’re left searching dying for a glimpse inside this intriguing, mysterious woman.

It’s a bustling Thursday evening in May, and Aaliyah is lacing up her clunky bowling shoes at the AMF Chelsea Piers Lanes in New York City. She goes unnoticed by the rowdy, drunken group of Wall Street types in the next lane. Her tight, red sleeveless top and slightly faded blue jeans give more of a girl-riding-the-subway look than girl-on-MTV. She playfully tiptoes to the line and stomps her feet when her ball ends up in the gutter. But somehow you get the feeling that she isn’t particularly interested in rolling strikes either. She barely pays attention to her score, listed under the name Baby Girl. Aaliyah’s entourage – her stylist, makeup artist, and hairstylist – are more engaged than she is. The entire scene feels very staged, starring Aaliyah as the around-the-way superstar who’s kicking it with her peoples. “I like the simple things in life,” she insists. “When I have time, I stay home a lot, do things like this or play laser tag. I’ve always been a homebody.” It couldn’t have been scripted any better.

Brooklyn-born, Detroit-raised Aaliyah Dana Haughton has been playing her roles well for as long as anyone can remember. All it took was a one-line speaking part as an orphan in her first grade’s production of Annie to convince Aaliyah that performing was her… From ages 8 to 9, she would sing Stevie Wonder and Whitney Houston songs at weddings around Michigan. A faithful watcher of Star Search, Aaliyah was dying to compete on the show. At 11 years old, she got her shot. She sang “My Funny Valentine,” lost, and cried. Ed McMahon, the host of Star Search, who introduced the world to Justin Timberlake, Destiny’s Child, Britney Spears, Christina Aguilera, and countless others, recalls Aaliyah’s performance. “There’s a thing that you see when somebody walks out on the stage,” he says. “I call it the fire. They got that inner fire, which has nothing to do with the schooling, nothing to do with the teacher, nothing to do with the parents. There is a desire in that person to please the audience. You see enough of it to recognize it. And that’s what I saw with Aaliyah.”

It wasn’t long before she recovered from her Star Search loss and hit up the stage again. Her uncle, Barry Hankerson, was married to Gladys Knight when he took his then 11-year-old niece on stage to perform with the R&B legend for five nights at Bally’s Las Vegas casino. Knight would call Aaliyah out to perform “Home” and then duet with her on “Believe In Yourself.” Soon after, Hankerson introduced his niece to R. Kelly, whom he was managing. Kelly ended up writing and producing 15-year-old Aaliyah’s 1994 debut Age Ain’t Nothing But A Number. Her life as a shy schoolgirl from an upper-middle-class neighborhood was officially over.

Not that she cared. Aaliyah is not one of those former child stars who complains of missing out on the innocence of adolescence. So what if she had a full-time bodyguard attending classes with her at Detroit High School for the Fine and Performing Arts? She was living her dream, right? Well, sort of. While she enjoys performing and being a celebrity, she doesn’t want the extra strings – like reporters probing her deepest fears and desires – that come with the package. She makes sure to give only the “right” answers, because she wants to hold onto whatever is left of her private life. So she only alludes to her relationship with R. Kelly when she says, “Of course, everybody’s had hard times. I’ve had hard times. I don’t really think I will go into detail as to what it was. But when you go through something so painful, it just helps you become a stronger person.” When asked if she’s ever been in love, she says with a bright smile, “Private life! I don’t want to share that.”

She’s like the Teflon diva, nothing ever sticks to her. After Kelly, rumors linked her romantically to Ginuwine, Jay-Z, and, most recently, the co-CEO of Roc-A-Fella Records, Damon Dash. In May, Aaliyah hosted a bash for Dash’s 30th birthday at a New York City club where they were spotted together; one person said they were “inseparable” – he even walked her to the bathroom. “I think rumors are hilarious,” she says. “I don’t pay any attention. It goes in one ear and out the other. When you’re in the business, you hang out with people, and people are like, ‘I wonder, are they seeing each other?’ I never dated Jay. I never dated Ginuwine. Damon and I are very good friends. I’ll keep it at that right now.” It’s hard to believe her when she’s wearing a small platinum and diamond Roc-A-Fella pendant on her neck. She claims that it’s hers and that it’s “just a little symbol of a record” and changes the subject, insisting that she’s briefly dated just two men in her whole life.

Over the course of her career, the only thing Aaliyah has seemed willing to reveal about herself has been her highly touted body. Her slim frame has become a favorite from fashion figures to frat boys. “She made that hip hop look sexy for women wearing men’s clothes,” says Andy Hilfiger, who cast Aaliyah in the 1996 Tommy Jeans ad campaign also featuring Mark Ronson and Kidada Jones (daughter of VIBE founder Quincy Jones). The ads showed Aaliyah sporting men’s boxers under baggy jeans with a tight tube top. “It created a whole new look,” says Hilfiger. “It was sexy but classic.” By the time the sultry One in A Million hit in 1996, Aaliyah’s sound and look became a lot more mature and darker. Searching for a new style, Aaliyah’s mom suggested her daughter cover her left eye with her hair just like her mom’s favorite classic film actress Veronica Lake. It gave the 18-year-old an enigmatic touch. “She’s got an incredible sense of style, maybe the best of anybody I can think of,” says MTV’s Carson Daly. “She’s really cutting edge, always on step ahead of the curve. [The TRL audience] looks to Aaliyah to figure out what’s hot and what’s new.”

"MY MOTHER ALWAYS SAID I HAD SEX APPEAL," AALIYAH SAYS. "EVEN WHEN I WAS VERY YOUNG, WHEN I WOULD TAKE PICTURES, THERE WAS SOMETHING SEXUAL ABOUT ME. I DO FEEL SEXY FOR SURE. I ENJOY IT."

She doesn’t have the best figure or best voice, but it’s the way she uses what she has that makes her so alluring. “When we dance together, it’s like synchronized swimming,” says Fatima, Aaliyah’s choreographer. “She is naturally sexy without effort.” Aaliyah’s singing voice, while not all that powerful, sounds like she’s whispering in your ear from the pillow next to yours, slowly seducing you over Timbaland’s simmering beats. “My mother always said that she feels like I always had sex appeal,” Aaliyah says. “Even when I was very young, when I would take pictures, there was something sexual about me. I do feel sexy for sure. I embrace it, and I’m comfortable with it. I enjoy it.”

This confidence, her mastery of her assets, is what landed Aaliyah, who had no previous film experience, a costarring role with Jet Li in last year’s Romeo Must Die. Combining hip hop (the movie also featured DMX) and kung fu, Romeo had the perfect formula for box office success. But the critics tore up the highly remixed Shakespearean plot for both its simplicity and lack of any romantic chemistry between Li and Aaliyah. “This movie needs a screenplay,” critic Roger Ebert wrote.

Still, any were impressed by Aaliyah’s depth. The New York Post heralded her performance, which ranges from crying to killing, as a “revelation.” And as for the absence of sex scenes, Warner Bros. decided to edit them out. “We did a [scene with] Jet and I kissing, and we ended up going with a hug,” Aaliyah says. “I guess they thought it was a little sweeter and left more to the imagination.” Maybe audiences weren’t ready to see one of hip hop’s prized young kittens getting it on with an Asian kung-fu master 16 years her senior.

If moviegoers weren’t ready for interracial heat then, they’d better brace themselves now. In the upcoming Queen of the Damned, Aaliyah plays Akasha, an ancient-Egyptian vampire. Based on a combination of Anne Rice’s The Vampire Lestat and The Queen of the Damned, the movie is slated to show Aaliyah in intimate scenes with her Irish costar, Stuart Townsend. Perhaps what’s more striking than the eroticism of her role is that Aaliyah is the biggest star in the movie. The blockbuster Anne Rice movie Interview With the Vampire: The Vampire Chronicles boasted Tom Cruise, Brad Pitt, Antonio Banderas and a big Hollywood budget. Queen costs $35 million and has no marquee actors. This doesn’t concern Michael Rymer. “There were two factors for casting Aaliyah. I was very keen that Akasha, an Egyptian queen, not look like Elizabeth Taylor,” he says, referring to 1963’s Cleopatra. “And not only did [Aaliyah] do a good job on Romero Must Die, but people went to see her. This is a really difficult role, and she took on a huge challenge. She worked her ass off for this film."

Aaliyah trained hard for her role, working closely with her acting coach for a month and then another month with a speech coach in New York. While filming in Australia, she worked with a personal trainer because she wore revealing outfits and a stunt coordinator for her flying scenes. “I have to exude power and be regal,” she says of her role as the mother of all vampires. “I love Egypt. I love vampires. It was the dream role, so I worked very hard.”

During her four-month shoot, Aaliyah somehow found the time to finish her new self-titled album. She began recording it in 1998 before Romeo. She stopped, wrapped the film, and released the super-catchy number-one single “Try Again” off the soundtrack. She traveled to Australia, shot Queen during the day, and hit the studio at night. The new album focuses more on her voice, bringing it to the forefront as opposed to hiding it behind the layered production. It was never her plan to take five years to follow up the double-platinum success of One In A Million. In between, her infectious 1998 hit “Are You That Somebody?” off the Dr. Dolittle soundtrack not only reminded her old fans that she still had it, but introduced her to new fans as well. At the time, “Somebody” was the biggest hit in Aaliyah’s career. She gave us just enough of the tasty appetizer to keep our palates whetted. “When it comes to overexposure, that’s something that I will always be aware of,” she says. “Because I never want that. This is my life, I love it, but it’s important for me to take breaks. Don’t want to overload anybody.”

Aaliyah’s career, like her personal life, is observed in lashes. She comes and goes when she wants. Unlike Mary J. Blige, Lauryn Hill, and Madonna, who pull the public across the fine line between their private and public lives, Aaliyah puts a velvet rope between hers. While most artists scream for creative control of their songwriting and production, Aaliyah–who modestly refers to herself as an “interpreter”–is primarily interested in performing.

“I’m not one to give everything and pour my heart out in one of my songs,” she says. With Hankerson, her uncle, as the CEO of the label she signed to, her mother, Diane Haughton, as her manager, and her cousin Jomo Hankerson as executive producer of her albums, it’s obvious that the marketing, promotion, and sale of Aaliyah is the family’s business. And her father, Michael Haughton, used to comanage her until he fell ill (her family won’t reveal with what). Aaliyah runs every decision by her older brother, Rashad. Her entire world is a tight, closed network, open only to those close to her.

When the people who know her best describe Aaliyah, you would think they were speaking of an angel. Fatima says, “Aaliyah is the sweetest artist I know.” Her best friend of five years, Kidada Jones, uses the words “grounded,” “emotionally balanced,” and “unaffected.” And according to Jones and Aaliyah’s mom, she has a great sense of humor. She’s good at imitations, especially of her mother’s deep voice. Aaliyah likes to make prank phone calls with Jones to what she calls “public establishments.” When asked to go into more detail, Aaliyah chooses not to–for personal reasons, of course.

Even when Aaliyah was young, she was private. “She was a very quiet child,” remembers Dr. Denise Davis-Cotton, whom Aaliyah says guided her education in high school. “Very polite, personable, conscientious. She knew her goals in life at a very young age.” Her mother attributes it to her daughter’s creativity. “She’s quite a complex young lady,” Haughton says. “She’s always been like that. It’s just a part of the genius of herself.”

As a child, it was apparent that Aaliyah was ahead of her peers. During her audition for acceptance to her high school, Aaliyah sang the aria “Ave Maria” in Italian. She was only 14. With the help of private tutors and independent-study programs, Aaliyah graduated high school with a 4.0 GPA. Her home life was pet-packed, with ducks, dogs, and iguanas running around her suburban Detroit home. Her exposure to varied cultures has influenced her approach to music. Aaliyah encourages Timbaland to get as creative as he wants when making up her beats. “She always likes to go to the left,” he says. “She’s the only one who’s willing to use those tracks. It wouldn’t be right if she didn’t.”

"I'VE ALWAYS BEEN MYSTERIOUS. THERE ARE TIMES WHEN I DON'T KNOW MYSELF...I THINK I'M A BIT OF A VAMPIRE IN REAL LIFE, AND THERE ARE TIMES WHEN I JUST WANT TO BE MYSELF."

After bowling a low 73, Aaliyah decides that she wants to play video games before heading to her Upper West Side apartment to read Harry Potter books. She wants to get as much rest as she can. In a month, she’ll head back to Australia to play Zee in Matrix 2 and 3. After that, she’ll play the lead in the Whitney Houston-produced remake of the '70s film Sparkle, which is still in its embryonic stage. But for tonight, Aaliyah just wants to be a regular girl. She blasts away would-be killers with her pink gun in the hyper-violent Time Crisis II.

When Aaliyah eventually gets shot to death in the game, she decides she’s had enough. “I’ve always been mysterious,” says Aaliyah. “My mother and father always used to ask me, ‘What are you thinking, what’s going on?’ There are times when I don’t understand myself, you know what I mean?” You do understand, and you can’t help but believe every word she says as she continues, “I have black-out shades in my apartment, I push a button, it’s totally dark. I think I’m a bit of a vampire in real life, and there are times when I just want to be myself. I wanna be alone.”

So instead of hiding from the world, maybe all the secrecy is Aaliyah’s way of discovering herself; her way of holding on to what’s true in a hazy world of glitz and imagery. “People feel like they own you in this business, and, to a certain degree, they do,” she says. “But there’s a part of me that will always be just for me.”

-

This article originally appeared in the August 2001 issue of VIBE Magazine | Written by Hyun Kim | Cover illustration by Alvaro.

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(L-R) Phillipa Soo as Eliza Hamilton, Renee Elise Goldsberry as Angelica Schuyler and Jasmin Cephas Jones as Peggy Schuyler in the filmed musical, ‘Hamilton.’
Courtesy of Disney

Watch: Lin-Manuel Miranda & The ‘Hamilton’ Cast Speak On The Musical’s Significance In Today’s Fight For Social Justice

Independence Day is about to hit different. As America takes part in another 3-day holiday weekend filled with socially distanced cookouts and quarantined binge-watching sessions, family and friends can finally see Hamilton, Lin-Manuel Miranda's groundbreaking musical, on the small screen. Alas, that subtle, 5-year feeling of envy felt by those of us who missed the opportunity to see the original cast at a sold-out showing can finally be let go. Thanks to streaming platform Disney Plus, musical theatre enthusiasts and followers of the Broadway production will now be able to relive the cultural phenomenon that debuted on January 20, 2015, after it went on to win nearly a dozen Tony Awards, a Pulitzer Prize of Drama, and a Grammy.

With the ongoing protests around the murderous killing of George Floyd, the unwavering #BlackLivesMatter movement, and the exposing spotlight on the systemic racism that has plagued America for centuries, Hamilton's film premiere couldn't arrive at a better time. There's a melting pot of actors, rappers, and singers of color telling the stories of figures in American history through the lens of hip-hop, R&B, and popular music. But what brings all of this full circle is the irony of how monuments dedicated to many of America's forefathers (and slave owners) are now being torn down in protest.

"Listen, I didn't care about these people either. I was not a history fan prior to reading Hamilton's book," shared Miranda—the filmed musical's protagonist Alexander Hamilton and producer behind its book, music, and lyrics—in an interview with VIBE during an on-camera interview. "All I knew about him was he was the white guy on the 10 and he died in a duel. And then I picked up this history book and my way in was that he grew up in the Caribbean and he came from somewhere else. And so, that was my way into the story. And I think that if you tell it that way, you see it through a kind of different lens. It's not an accident that we have Black and brown bodies playing these founders."

"And clearly, in this moment where we exist, it feels like if this show can give energy and momentum to the movement, then the show is serving the moment. And that's all that we can do..." adds Hamilton's director and producer, Thomas Kail. "Our hope is," he continues, "by putting it on Disney Plus where tens of millions of people can see it in one day, that maybe we're doing some kind of service towards that and just trying to participate and contribute."

Ahead of the Broadway play's cinematic debut, VIBE correspondent Jazzie Belle not only sat Miranda and Kali, but also members of the illustrious cast: Daveed Diggs (who plays Marquis de Lafayette and Thomas Jefferson), Renée Elise Goldsberry (Angelica Schuyler), Christopher Jackson (George Washington), Jasmine Cephas Jones (Peggy Schuyler/Maria Reynolds), and Leslie Odom, Jr. (Aaron Burr). They talked hip-hop, today's climate around civil rights, and who they'd create a musical around if given the opportunity.

Lin-Manuel Miranda  and Thomas Kail

On the decision to have the musical's characters inspired by hip-hop/R&B artists of past and present:

Miranda: My goal with it was I wanted to have as big a tent in terms of the casting as possible. I wanted people who had never auditioned for a musical to audition. I wanted musical folks who loved hip hop but had never been able to bring that, to come in. So, every character description was a half a musical theatre reference and half a hip hop reference. I think George Washington was a Mufasa meets ...

Kail: John Legend.

Miranda: Oh, John legend. Yeah. And Angelica's character was Desiree Armfeldt, who's the smartest character in Little Light Music meets Nicki Minaj because she's just got the fastest raps in the show and the hardest raps in the show. And it was the intelligence. That's the secret about Angelica. She's smarter than Alexander, she's smarter than Jefferson, but because she is a woman in this time, she only gets to exercise it in a few ways. And so, that was the thinking behind each of the characters. I'm trying to think of some of the other ones. King George was like Rufus Wainwright meets King Herod from Jesus Christ Superstar. I can't remember, but the fun of it was this mashup of a musical theatre character and a hip hop artist. And in contradiction, figuring out what actors would do with that.

It's Mobb Deep, it's [Big] Pun, it's Biggie, it's very East Coast '90s. There's even a little sneaky Brand Nubian in there. It's just sort of—

Kail: Wait, and Hercules Mulligan was Busta Rhymes. So, when Busta Rhymes raps or Hercules Mulligan raps in the mixtape, it was beyond anything you could comprehend.

Renée Elise Goldsberry, Jasmine Cephas Jones and Leslie Odom, Jr.

On the "Dear White American Theater" open letter and the tough conversations around systemic racism within the musical theatre industry:

Odom, Jr.: There are two important talks that are happening. There's the talk that we're having with our white brothers and sisters, our white colleagues and peers, and then there's the talk that we're having amongst each other that sometimes we have never spoken about, about trauma. What everybody's asking themselves right now, what I think the most important questions are...white supremacy is upheld by systems. And so, it's like am I actively upholding the system? Do I have hiring power? Am I actively upholding the system, or am I being used to actively uphold this system?

And that's what that letter is about. It was crafted to this industry that we love so much, and we're saying to them, "Are you being used?" It's going to take work to dismantle this thing. I'll say this. Don't wait. If you love and care for Black people, don't wait for us to get murdered by the police to care about our Black lives. Don't wait for me to get murdered by the cops. Care about my Black life right now. That's what we talking about.

On the women rappers/singers they pulled inspiration from when preparing for their roles:

Goldsberry: I actually studied female rappers my whole life...It's one of those things you never know, when you're kind of feeding your soul with things, what you're preparing yourself for. We [Jasmine and I] almost had the opportunity to do a big tribute to Salt-N-Pepa. We were going to do "Shoop."

What we love... It also mirrors Hamilton. This is a show about a group of men fighting for something, and what our hip-hop queens represent is, in this seemingly very male world, the power of women. They're standing there saying, "I'm here, and I own this, too." They [Salt N Pepa, MC Lyte, etc] were my model way before anybody asked me to play Angelica Schuyler.

Jones: For me, I didn't rap that much at all in this, but what I loved about my number in "Say No to This," it was a huge ode to an R&B ballad. The fact that even Jill Scott sang "Say No to This" on the mixtape was like...I've seen Jill Scott like five times. You know what I mean? I love Jill Scott so much, so it's just full circle for me, even the fact that she was able to do that on the mixtape. And that's who also influenced me as an R&B singer.

On the significance of seeing Hamilton today as Black and brown people fighting for racial equality in America:

Jones: It's about inspiring, and it's about seeing diversity on stage. It's about going out, getting people to vote to make a change. If you can't feel like you can't do it yourself, then go out and reach out to your friends and come together. There are layers to this show. And as Leslie said, it's the beginning of a conversation. Have it open the conversation, and let's continue to talk about it.

Odom, Jr: The premiere on Disney Plus, we hope—in the same way that I felt before the show opened off-Broadway—was the beginning of a conversation. It's the beginning of critique. There can be an honest critique of the work. There's a lot of love and hard work that went into it, but it can be looked at with new eyes and picked apart if somebody wanted to. Again, I hope it's the beginning of a conversation. I leave it to other people to sell stuff, but I think that the show is about them, but it is also so clearly about us, and you feel that when you watch it. It's about Thomas Jefferson, but it's about Daveed. It's about Alexander Hamilton, but it's about Lin, and so that's worthy of your time.

Goldsberry: This is a show about this ragtag group of people that were the voices of a revolution, and they won. We won, we won, we won, we won, right? We are in a revolution right now, and we need to win it. The risk that these people took is an example and actually reflects the risks that people are taking right now. Not to mention, don't get it twisted. This is not a country that was made by others. This was a country that was made by our people, too. And seeing people that look like you play it is the first step in acknowledging that. I think that's really hugely important.

Don't write off your history because of the pictures that they put up and showed you to tell... It's the same thing like, how do you deal with your spirituality? Because of the picture somebody showed you of Jesus? No, you claim that. You claim that, and you should claim this country. You should claim that, too. We would hope that the work that's been done in the show breaks down some of those barriers and that people look with new eyes.

Daveed Diggs and Christopher Jackson

On how he wasn't initially sold on the idea of Hamilton:

Diggs: It was Tommy [Kali] who told me what Lin was cooking up, and I told him it was a terrible idea. I stand by that, by the way. (Smizes) It was a terrible idea...The second that he sent me the sort of demos, which are not great. They're nothing like what we have now, but it was so clear that it was going to be amazing. The fact that it is a terrible idea has nothing to do with it being a great show. And as soon as he sent me the music, I was like, "This is a great show and I really, really want to be a part of it." It's still a bad idea. If you pitched me that idea today, I would tell you it's a bad idea.

On how his love for hip-hop began in his entertainment career:

Jackson: I grew up in Southern Illinois, right? My family, we didn't have cable and we didn't have what would be known as urban radio. We didn't have Black radio back there. Any of my friends, anytime they would go visit family in Chicago or St. Louis, we would all rush over to their house with blank tapes so that they could then record the mix shows on a loop and bring back whatever we could get. I remember running through the house singing Run DMC and "Roxanne, Roxanne" just had my mind. I had no idea what this was, but I was like, "Ahhh." I used to get in trouble for rapping at the dinner table because back then, you didn't sing or do anything at the dinner table. But I'm 44 years old. Hip-hop has been a presence in my entire life. Just as pop music has and just as Michael Jackson and any country artist because I'm from the South. It's just the amalgamation of all of these different musical things, which is why Lin and I get down so well because he's constantly mining for that kind of stuff in his work. I found that I have a little reservoir that I always get to pull from when we do stuff together.

On how Hamilton should be interpreted in light of America's forefathers' monuments being torn down today:

Diggs: I think we have to accept the fact that there are sides of the people that we have considered heroes for a long time that don't deserve to have monuments about them, that those monuments don't serve us. I don't think that is a reason to not learn about them. I think it's actually an argument to learn about them in their totality and struggle with the idea of what is useful about the things that a dude like Thomas Jefferson came up with or penned what is instructive about them. And what about him do we disagree with? He was a human being. You know what I'm saying? I think the same argument is true of watching the show.

Jackson: Hamilton shouldn't be confused with hero-worship. It shouldn't be confused with the type of veneration that historically, we viewed a history through that lens and that's not what we're doing. I think that one of the many statements that are made happen to be about the fact that we're bringing these men and women down off of pedestals, we're looking at them in their most trifling states. The founding of this country was always aspirational and was always meant to not live up to it because the men that were actually in charge at that point were not capable of being their greatest selves in regard to the way that we view this now. But slaves back then, sure enough, didn't see any greatness in them.

Interview's music bed provided by Gus.

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Jadakiss and Fabolous perform at The Rich and Famous All Star Weekend Grand Finale at The Metropolitan on February 20, 2017 in New Orleans, Louisiana.
Prince Williams/Wireimage

A Look At Fabolous And Jadakiss' 'Verzuz' Battle

After pairing two of the most acclaimed stars in contemporary R&B on Juneteenth, Verzuz returned to its rap roots, as Jadakiss and Fabolous went heads up to see whose catalog reigns supreme. While the event between the two — who joined forces for the highly-anticipated and critically acclaimed joint-album, Friday on Elm Street, in 2017 — was undoubtedly friendly and laced with compliments throughout the battle, there was no question that each came with the intent to outlast the other and walk away the victor.

With both having released their debut solo albums in 2001, Jadakiss and Fabolous' trajectories within the rap game have been eerily similar. While Jadakiss spent the latter half of the '90s as a key cog in the Bad Boy Records machine as a member of The LOX, Fabolous bided his time dominating the mixtape circuit under the guiding hand of DJ Clue, who helped him secure a record deal through his imprint, Desert Storm. Throughout the aughts, both artists matched their commercial success with standout showings alongside other rap and R&B artists and on the mixtape circuit, building reputations as elite wordsmiths. Today, both continue to churn out material and are regarded as OG's in the game, with resumes that place them on the list of the greatest rappers of all-time.

As two of the greatest rappers out of New York to ever pick up a mic, and with their willingness to perform and compete out of love for the culture, it was a given that Freddy and Jason face off in a Verzuz matchup to see whose lyrical sword cuts the deepest, once and for all. Aside from minor technical difficulties during the tail-end of the battle, this edition of the Instagram Live event continued the seamlessness of previous battles, with Jada and Fab proving that R&B and gospel artists aren't the only ones who know how to put on a show in an effective fashion.

In this matchup, Jadakiss went first for the first ten rounds, with Fabolous responding with his own selection, before switching the rotation for the final ten rounds, with Jadakiss answering with a song of his own. The evening, which included backstories behind each artist’s most popular records, friendly, albeit competitive banter, and countless trips down memory lane for the viewers and those commenting in the chat, is one that rap fans will remember for quite some time and is a testament to Fab and Jada’s staying power and music contributions to the culture. Here’s a round-by-round breakdown and recap of the Verzuz battle between Jadakiss and Fabolous, along with who we felt walked away as the victor when all was said and done.

ROUND 1: DMX feat. The LOX & Jay-Z's "Blackout" vs. Lil Wayne feat. Fabolous & Juelz Santana's "You Ain't Got Nuthin'"

Jadakiss wastes no time throwing down the gauntlet, as he lets off his verse from "Blackout," his collaborative effort with his LOX brethren, JAY-Z, and DMX, from the latter's 1998 LP, Flesh of My Flesh, Blood of My Blood. In return, Fabolous contests Kiss' opening pitch with a freestyle, which ultimately pales in comparison to Kiss' memorable posse-cut

Winner: Jadakiss

ROUND 2: The LOX's "Recognize" vs. Cassidy feat. Lil Wayne & Fabolous' "6 Minutes" DMX feat. The LOX & Jay-Z's "Blackout" vs. Lil Wayne feat. Fabolous & Juelz Santana's "You Ain't Got Nuthin'"

Sticking to the Ruff Ryders era of his career, the raspy one comes through with "Recognize," the standout, DJ Premier-produced cut off The LOX's sophomore LP, We Are the Streets. From there, Loso draws another lyrical miracle out the deck via "6 Minutes of Death," his scorching showing alongside Lil Wayne and Cassidy from Cass' I'm A Hustla album, which lands with impact, but falls short of a deafening blow in this matchup.

Winner: Jadakiss

ROUND 3: Nas feat. Jadakiss & Ludacris' "Made You Look (Remix)" vs. Lloyd Banks feat. Fabolous, Kanye West, Swizz Beatz & Ryan Leslie's "Start It Up"

Having captured the momentum early on, Jada continues to run up the score by tossing Nas' "Made You Look (Remix)" out on the table. Fabolous makes a valiant attempt to put some numbers on the board with Lloyd Banks' 2010 single "Start It Up," and although the track itself is a certified street banger, it's no challenge for one of the most memorable remixes of the early aughts.

WINNER: Jadakiss

ROUND 4: Jadakiss' "By Your Side" vs. Fabolous feat. P. Diddy & Jagged Edge's "Trade It All Pt. 2"

Having secured the first few rounds in convincing fashion, Al Qaeda Jada lets his foot off the gas, throwing out one of his more beloved deep cuts, "By Your Side," from his sophomore LP, Kiss of Death. His back against the ropes, the captain of the Street Family resorts to his grab-bag of hits, pulling out the Jagged Edge and Diddy-assisted summer smash, "Trade It All Pt. 2," giving the Brooklyn Don his first round of the bout.

WINNER: Fabolous

ROUND 5: The LOX's "All For the Love" vs. Fabolous feat. Kobe's "Imma Do It"

Faltering a bit in the previous round, Jadakiss returns fire with his solo selection from The LOX's '98 debut, Money, Power, & Respect, which Fabolous ironically jacked for his Friday Night Freestyles series, five years ago. In turn, Fabolous fails to regroup, misfiring with "Imma Do It," an underwhelming offering from his Loso's Way album, accounting for one of the more lopsided rounds in this edition of #Verzuz

WINNER: Jadakiss

ROUND 6: The LOX's "Chest 2 Chest Freestyle" vs. Fabolous' "Keepin' It Gangsta"

Jadakiss goes out of the confines of the rules a bit by unleashing a vintage freestyle over Showbiz & A.G.'s "Next Level (Nyte Tyme Mix)," which pairs his bars with DJ Premier's sonic craftsmanship. While a strong selection in its own right, it gets outgunned by Fabolous' early street anthem, "Keepin' it Gangsta," adding another point to the Brooklynite's scorecard.

WINNER: Fabolous

ROUND 7: Ruff Ryders "WW III" vs. Fabolous feat. Junior Reid's "Gangsta Don't Play"

When in doubt, Jada seems to mine material from his Ruff Ryder catalog to gain an edge against his opponent, this time drawing "WW III," the star-studded battle royal featuring Scarface, Snoop Dogg, and Yung Wun, out the deck. In turn, Loso misplays his hand, deciding to strike back with the Junior Reid-assisted "Gangsta Don't Play," a solid composition on its own merit, but no threat to the Ryde or Die Vol. 2 compilation.

WINNER: Jadakiss

ROUND 8: Noreaga feat. Big Pun, Nature, Cam'Ron, Jadakiss & Styles P's "Banned From TV" vs. Fabolous feat. Jay-Z & Uncle Murda's "Brooklyn"

Looking to further increase the distance between himself and his opponent, Jadakiss goes for the jugular with "Banned From T.V.," Noreaga's epic posse-cut featuring New York's prized rookie class of 1998. Fabolous, who continues to struggle to find his footing, mails it in with "Brooklyn," which is an admirable display of his pride for the thoroughest borough, but does little to move the crowd, in this scenario.

WINNER: Jadakiss

ROUND 9: The LOX's "Blood Pressure" vs. Fabolous' "Young OG"

Sticking to the script, Jadakiss caters to his core base once again with "Blood Pressure," his murderous solo outing from The LOX's We Are the Streets album. Fabolous, who has yet to play off of his versatility or track record as a hitmaker, goes with "Young OG," a favorite from his Soul Tape series, again failing to answer the bell.

WINNER: Jadakiss

ROUND 10: Black Rob feat. The LOX's "Can I Live" vs. Jeezy feat. Fabolous & Jadakiss' "OJ"

For the last round of the first half of the #Verzuz proceedings, Jadakiss picks "Can I Live," as his last shot before skipping to the showers for half-time. An opportunity to grab an easy basket before retaining the rock after the half is squandered by Fab, who again misfires with a lackluster counter, in the form of "OJ," a record that actually includes an appearance from Jadakiss himself.

WINNER: Jadakiss

ROUND 11: Fabolous feat. French Montana's "Ball Drop" vs. Puff Daddy feat. The Notorious B.I.G. & Busta Rhymes' "Victory"

For the second half of this #Verzuz battle, Fabolous gets the first possession and rises to the occasion with "Ball Drop," his festive, French Montana-assisted NYE anthem. However, Jada, who's history as the pen behind some of Diddy's biggest hits is well-documented, goes left-field, playing Diddy's verse from "Victory," effectively snatching this round from the jaws of defeat.

WINNER: Jadakiss

ROUND 12: Meek Mill feat. Fabolous & Anuel AA's "Uptown Vibes" vs. Sheek Louch feat. Jadakiss, Styles P & J-Hood's "Mighty D-Block"

After spending the first half of the battle attempting to steal rounds with sleepers, Fabolous finally decides to lean on his strengths, which is delivering high-octane radio hits and club banger. However, being that he's now on the offensive, his appearance on Meek Mill's "Uptown Vibes" gets quelled by "D Block Anthem," giving Jadakiss an overwhelming advantage over his Freddy vs. Jason costar on the scoreboard.

WINNER: Jadakiss

ROUND 13: Fabolous feat. Nate Dogg's "Can't Deny It" vs. The LOX's "F--k You"

For Round 13, Fabolous lands a haymaker, using 2Pac's "Ambitionz Az a Ridah" instrumental to incorporate his breakout, 2001 hit, "Can't Deny It," into his playlist. While Jadakiss claps back with the incendiary We Are the Streets cut, "Fuck You," the Nate Dogg-assisted "Can't Deny It" is too strong of a record to be denied.

WINNER: Fabolous

ROUND 14: Fabolous feat. The-Dream's "Throw It in the Bag" (Remix) vs. Jadakiss' "Knock Yourself Out"

With the majority of his winning rounds coming off the strength of his high-charting singles, Fabolous looks to rely on that formula, coming through with the Drake-assisted remix to his 2009 single, "Throw It In The Bag." Unphased, Jadakiss brings out "Knock Yourself Out," the equivalent of his big joker, for neutralization, stealing yet another round.

WINNER: Jadakiss

ROUND 15: Fabolous' "Young'n" vs. Ghostface Killah feat. Jadakiss' "Run"

Fabolous takes it back to his throwback jersey and tilted brim days with "Young'n," one of the biggest singles of the rap star's career. Not to be outmatched, Jadakiss goes with "Run," his collaborative effort with Ghostface Killah, for this round, but falls short of landing the knockout punch.

WINNER: Fabolous

ROUND 16: Fabolous' "You Be Killin Em" vs. Puff Daddy feat. The Notorious B.I.G., Lil' Kim & The Lox's "It's All About the Benjamins" (Remix)

Just when Fabolous looks to have cracked the code to victory, Jadakiss comes through with a record that's simply too seismic and timeless to overcome. This occurs yet again in Round 16, when Jadakiss counters Loso's 2010 smash, "You Be Killin Em," with "All About the Benjamins," one of the definitive rap records of not only the Bad Boy era, but the '90s as a whole.

WINNER: Jadakiss

ROUND 17: Fabolous feat. Ne-Yo's "Make Me Better" vs. DJ Clue feat. Jadakiss & Mary J. Blige's "Back 2 Life 2001"

Despite finding himself in a deficit, Fabolous remains vigilant, keeping Jadakiss honest with formidable salvos like his Ne-Yo-assisted chart-topper, "You Make Me Better," which he pulls out in Round 16. Jadakiss shows love to his Yonkers comrade Mary J. Blige by spinning "Back 2 Life 2001," their collaboration from DJ Clue's The Professional 2 album, but it's not enough to overcome one of Fab's smartest chess moves of the night.

WINNER: Fabolous

ROUND 18: Fabolous feat. Mike Shorey & Lil Mo's "Can't Let You Go" vs. The LOX feat. Timbaland & Eve's "Ryde or Die, B---h"

In one of the more stylistically intriguing rounds of the night, Fabolous deploys "Can't Let You Go," his syrupy, 2003 hit, "Can't Let You Go," featuring Mike Shorey and Lil Mo, while Jadakiss goes with The LOX's 2000 single, "Ryde or Die, B---h" featuring his LOX brethren, Timbaland and Eve. While "Can't Let You Go" was the bigger Billboard hit, reading the room is an invaluable skill when participating in a #Verzuz battle, and according to the demographic and expectations of those tuning in to see these particular artists face-off, "Ryde or Die, B---h" is the more enticing offering, all things considered.

WINNER: Jadakiss

ROUND 19: Fabolous feat. Tamia's "Into You" vs. Jaheim feat. Jadakiss' "Diamond in da Ruff" (Remix)

As the battle winds down, and with Jadakiss having all but secured his bragging rights, both artists choose to play off of one another's selections, with Jadakiss answering Fabolous' "Into You" with "Diamond in da Ruff (Remix)," a sleeper of a gem in his catalog. However, "Into You, which is universally regarded as one of Fabolous' signature records, nabs him a latter round

WINNER: Fabolous

ROUND 20: Fabolous' "Breathe" vs. Jadakiss feat. Styles P's "We Gonna Make It"

For the final round in the battle between Freddy and Jason, Fabolous unleashes what may be his biggest trump card with "Breathe," one of the most impactful street anthems to come out of New York City in the past twenty years. Luckily, for Jadakiss, he still has one more trick up his sleeve, which turns out to be "We Gonna Make It," his beloved duet alongside Styles. P from his 2001 solo debut, Kiss Tha Game Goodbye. Two of the biggest rap records to hit the streets of New York. "Breathe" and "We Gonna Make It" are seemingly impossible to choose from, resulting in the lone draw of the night.

WINNER: Draw

 

Devoid of any bad blood or shade, Jadakiss and Fabolous were content playing to the Verzuz crowd and enjoying the moment, particularly Jadakiss, whose level of intoxication visibly rises throughout the proceedings, giving the battle an even more light-hearted feel. While Fabolous, whose laundry list of Billboard charting lead-singles and guest appearances, didn't play his best hand this go-round, there were a few moments during the battle that reminded the viewers of his versatility as a songwriter with a catalog of unsung gems. For his part, Jadakiss, the winner of this Verzuz edition, by all accounts, played to his strengths, relying on the sheer amount of blockbuster posse-cuts and guest verses on his resume. Following the battle, each artist's DJ let off a brief medley of each artists' biggest records and fan favorites that didn't make the cut of their playlists, ending the night on a respectful and celebratory note.

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