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The R Report - Music

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The R Report

12.07.2025

Fatman Scoop Being Honored With Street Naming Ceremony In Harlem – The R Report

Isaac “Fatman Scoop” Freeman III will be celebrated with a Harlem street co-naming in honor of his musical legacy and unwavering community impact. The corner of 109th Street and 5th Avenue will soon carry the name of a hometown hero when it’s officially named “Isaac ‘Fatman Scoop’ Freeman III Place” in a public ceremony. The affair takes place Saturday, August 9 at 2 p.m. in Harlem, New York. Grammy Award-winning artist Isaac “Fatman Scoop” Freeman III will be honored by his family, New York City Council Member Dr. Yusef Salaam and the Forever Fatman Scoop Foundation. Scoop was a native of Harlem and a beloved member of the Hip-Hop community. Known worldwide for his booming voice, Scoop’s contributions to music, entertainment and community empowerment go back decades. Still, his heart has never strayed far from the block that raised him. “Scoop has always represented Harlem with pride,” said Kendell “Sav” Freeman, his brother. “This co-naming is a tribute not just to his artistry, but to his ongoing commitment to uplifting the community that raised him.” The ceremony is expected to draw friends, family, civic leaders and community members. All of them to convene to recognize a figure who has carried Harlem’s energy across the globe. With hits like “Be Faithful” and multiple Grammy wins under his belt, Freeman has collaborated with some of the most prominent names in music. Scoop’s relentless loyalty for giving back made him a figure worthy of this rare municipal honor. Dr. Salaam’s support of the initiative also adds profound symbolism. Dr. Salaam is a member of the Exonerated Five and now a public servant. Other attendees at the co-naming will bring the same raw energy as Scoop rocking the stage. Fatman Scoop unfortunately passed away after collapsing during a performance in Hamden, Connecticut, on August 30, 2024. Medical reports later confirmed his death was due to hypertensive and atherosclerotic cardiovascular disease. There were no signs of foul play. The event is open to the public. EVENT DETAILSDate: Saturday, August 9, 2025Time: 2:00 PMLocation: Corner of 109th Street & 5th Avenue, New York, NY 10029

The R Report

11.07.2025

@Grea8Gawd Drops New Visual Entitled “Sins of a Father” – The R Report

In the heart of Syracuse, a city known for its cold winters and vibrant arts scene, a hip-hop artist emerged who would soon take the industry by storm. Grea8 Gawd, a name that resonates with reverence and power, has been crafting his legacy for 15 years. His journey began with a track titled Snow Day, an ode to the snowy streets of his hometown that not only marked the beginning of his career but also established his distinctive boom bap sound. Grea8 Gawd isn't just another artist in the hip-hop world; he’s a visionary. His inspirations are deeply rooted in his own experiences and reflections, making his music a personal testament to his life's journey. His artistry extends beyond music; he’s also a film director, seamlessly blending his visual storytelling with his lyrical prowess. This dual talent has allowed him to create music videos that are not just visual accompaniments but integral parts of his storytelling. Over the years, Grea8 Gawd has collaborated with some of the biggest names in the industry. Featuring artists like French Montana, Jadakiss, Benny The Butcher, and the legendary Mobb Deep, his tracks are a testament to his ability to hold his own alongside hip-hop royalty. His dream collaboration, however, remains with Jay Z, a testament to his ambition and respect for the giants of the genre. Currently signed to Pimpire/Rocnation/Eqdistro, Grea8 Gawd is looking to expand his reach with a distribution deal, aiming to spread his unique sound even further. His family and team stand as his biggest supporters, a backbone that has kept him grounded and driven throughout his career. Writing his own material and conceptualizing his music videos, Grea8 Gawd ensures that every piece of his work is a true reflection of his vision. When he’s not creating, Grea8 Gawd is listening to the likes of Nas, drawing inspiration from the legendary lyricist. His latest project, the Power EP, is set to release on June 27, 2024, and promises to deliver more of the gritty, authentic sound that his fans have come to love. He dreams of taking his music to the international stage, with the UK being a prime destination for a future performance. Reflecting on his career, one of the highlights has been touring with Roc Marciano, performing for massive crowds and sharing his passion with thousands. Looking ahead, he sees himself touring with Wu-Tang Clan, a fitting aspiration for an artist of his caliber. His production team, featuring talents like Roc Marciano, Alchemist, Lord Jamar, Havoc, and Merc beats, ensures that his music remains top-notch and true to his roots. In five years, Grea8 Gawd envisions himself not just as a performer but as a mentor and mogul, signing artists to his own label, Gawd Sqwad Records. With a solid foundation, an unwavering vision, and an unrelenting drive, Grea8 Gawd is poised to leave an indelible mark on the hip-hop industry. His journey is a testament to the power of self-belief, creativity, and relentless dedication. https://youtu.be/AYXe-dFt9jA?si=Xtran8RSPmTCUoZ3

The R Report

08.07.2025

Drake Drop’s New Single “What Did I Miss?” – The R Report

While the celebration of America's birthday was underway in the sizzling summer heat on Friday evening (July 4), Drake came through with a new song that finds him addressing fake friends who switched up on him. What Did I Miss? produced by London Cyr, O Lil Angel, DJ Lewis, Tay Keith, OZ, FNZ, Elyas, Gyz and Patron, arrived as part of a livestream, an avenue the Toronto MC prefers these days. The song will likely be the first single for his upcoming album, potentially titled Iceman. In a video titled Iceman Episode 1, put out on YouTube, Drake showed up at the Iceman warehouse—an actual ice supplier in his city of Toronto—playing the role (no Wheelchair Jimmy) of an employee who checks the ice and takes a lunch break in a break room. He ends up watching his own video for What Did Miss? on TV and starts rhyming along while serving rap hands. Part of the music video shows him standing outside a home surrounded by guns seemingly in a reference to The Ameriguns 2020 photo series by National Geographic photographer Gabriele Galimberti. Drake lets the bars fly on What Did I Miss? a sign that the next album he drops will have more hard-hitting raps and less of the singing heard on $ome $exy $ongs 4 U, the joint project he released with PartyNextDoor this past February. People may have expected Drake to come out firing with shots at Kendrick Lamar or other foes, but there are only subliminals to decode. Drake makes a clear statement with the title What Did I Miss?: unexpected changes were happening behind is back and he apparently was none the wiser until certain information came out publicly. If his lyrics are to be taken as hard truths, he was blindsided. Some of the standout lines on the new track include Drizzy confronting loyalty issues and broken bonds: I don't give a f**k if you love me, I don't give a f**k if you like me/Askin' me, 'How did it feel?'/Can't say it didn't surprise me/Last time I looked to my right, you ni**as was standing beside me/How can some people I love hang around p**sies who try me? Let's go/What did I miss? You switched on the guys and supported a hater, let's go/What's the get-back for ni**as? It's TBD/I look at this sh*t like a BTC/Could be down this week, then I'm up next week. Could this be Drake taking a jab at Future supporting Kendrick Lamar by letting him on Like That last year? Yeah, ni**as get punched in the face on some TLC sh*t, on the dead guys/Some TLC sh*t ’cause, my ni**a, you gon' need a chilly ice pack for your left eye. If you let social media tell it, some people think Drake is referring to Rick Ross getting punched in the face at a show in Canada last July. The video footage showed a brawl going on, but Ross denied he was ever touched. I saw bro went to Pop Out with them, but been d**k riding gang since 'Headlines.' While Drake doesn't mention who bro refers to, he may be calling out NBA stars LeBron James or DeMar DeRozan. They both attended Kendrick Lamar's Pop Out show last year. LeBron and Drake were longtime friends and DeRozan once played for Drake's Toronto Raptors. What did I miss?/When I was looking at y'all and cooking with y'all/And giving out verses and bookings to y'all?/Making sure wires were hit, man, what did I miss?/When you was all in my crib lookin' at h*es/Word for word at all of the shows/You always felt like this, man, what did I miss? He ends the livestream driving around Toronto in the company van and played some music, which could be on his upcoming album, and connected with fans (and had a rude run-in with someone along the way). The video closes out with the words Iceman Coming Soon. https://youtu.be/Lx4gPURH35g?si=YX9PQ3WhhkTrOT1_

The R Report

03.07.2025

Diddy Denied Bail After Being Acquitted Of Several Major Charges – The R Report

Diddy was denied bail today, and must stay in jail as he awaits sentencing after being convicted of prostitution-related charges earlier in the day.Immediately after he was acquitted of the major charges of sex trafficking and racketeering conspiracy and found guilty of two counts of transportation for prostitution on Wednesday (July 2), Diddy's attorney, Marc Agnifilo, pressed for bond. According to Associated Press, Diddy was convicted of flying men and women around the country, including his ex-girlfriends Cassie and the anonymous witness known as Jane, and male sex workers, to engage in sexual encounters, a felony violation of the federal Mann Act. The government opposed the bond motion. After hearing both sides out, Judge Arun Subramanian decided to deny bail late this afternoon. I've read the parties submissions and others, Judge Subramanian said during today's bond hearing, according to Inner City Press. The jury convicted the defendant of Counts 3 and 5. For the following reasons, bail is denied. The judge cited Puff's history of violence and disregard for the law as reasons to keep him locked up. Even if the defendant was solely required to show that he is not a danger to the community, he could not meet that burden, the judge continued. There was violence after the searches in this case, he added. As to Jane, there was June 2024 - after the searches of Combs' residences. This evidences a disregard for the law and a propensity for violence. The defense proposed the following bail package, according to a court document obtained and shared by legal reporter Meghann Cuniff: a. A $1,000,000 bond b. Co-signed by Sean Combs, his mother, his sister, and the mother of his oldest daughter c. Mr. Combs’s travel will be restricted to the Southern District of Florida, Central District of California and the Southern District of New York (to attend Court and meet with his counsel) as well as the Eastern District of New York or the District of New Jersey (only to the extent that his travel to and from New York involves an airport in those Districts) d. Mr. Combs’s passport surrendered to Pretrial Services e. Drug testing as ordered by Pretrial Services f. All other standard conditions of pretrial supervision Two counts of transportation for purposes of prostitution carry a maximum sentence of 20 years in prison. However, according to sentencing guidelines set forth by the prosecution, the range is at least 51 to 63 months (four to five years) in prison. Diddy's legal team is arguing 21 months (more than a year, but less than two) should be the minimum.He has spent the last nine months locked up at Brooklyn's Metropolitan Detention Center after being arrested last September. A pardon from President Trump also might not be out of the realm of possibility.Diddy's sentencing date has been scheduled for Oct. 3.

The R Report

01.07.2025

@TheRReport1 July Producer of the Month: @AmadeusBeatKing – The R Report

Amadeus360 is a Hip-Hop producer from Brooklyn, New York. His given name comes from the famous Classical composer Wolfgang Amadeus Mozart. As a part of the Five Percent Nation, “360” is inspired by Amadeus’ belief in the Gods and Earths, and full knowledge of self. Known for his unique vocal and scratch arrangements, and his use and manipulation of obscure samples, Amadeus pushes the boundaries of the traditional Boom Bap subgenre of Hip-Hop made famous in the ‘90s by legends DJ Premier and Pete Rock. Coming up under the tutelage of the legendary Kid Capri, Amadeus was able to better hone his craft through the ‘90s and finally pivot to producing beats for other artists. His first big break came in 2008 when one of Amadeus’ beats was used by a pioneering British Hip-Hop group called The Brotherhood for their record “U.K Connect NYC”. From there, Amadeus went on to produce songs for the likes of Kool G Rap, Busta Rhymes, Paul Wall, Sheek Louch of The LOX, C.L Smooth, Buckshot, Shyhiem Tha Rugged, M.O.P, Sticky Fingaz of Onyx, Nems, Masta Ace, Skyzoo, Chris Rivers, Ras Kass, and many more. In 2020, Amadeus produced “VSOP”, a tribute song to the late great Sean Price by Ruste Juxx and Rockness Monsta. The song sampled Pete Rock’s “TROY”. Pete Rock eventually cosigned the remake of his classic record and made a guest appearance in the song’s music video.   With two collaborative albums– one with Termanology (360) and another with Rustee Juxx (James Brown of The Underground) –and various mixtapes under his belt, Amadeus360 set out to further cement his legacy among the pantheon of Boom Bap Hip-Hop producers with his 2023 magnum opus The MPC Jedi.

The R Report

19.06.2025

Pusha T Unloads On Travis Scott In New Clipse Song “So Be It” – The R Report

Pusha T has unloaded on Travis Scott, labelling his former GOOD Music cohort a “whore”. On new Clipse song “So Be It”, many thought that Pusha was aiming a few lines at Kanye West but sitting down with GQ, the Virginia rapper confirmed he was declaring war on Travis Scott. Pusha explained why he has venom for Scott with the impetus being Drake dissing Pharrell Williams on “Meltdown”: “The true context of that is we were in Paris, literally working, and he was calling to play P his new album. He came to [Pharrell’s] studio. He interrupted a session,” “He sees me and Malice there. He’s like, ‘Oh, man, everybody’s here,’ he’s smiling, laughing, jumping around, doing his fucking monkey dance. We weren’t into the music, but he wanted to play it, wanted to film [us and Pharrell listening to it]. And then a week later you hear Meltdown, which he didn’t play. He played the song, but not [Drake’s verse].” He added: “He’s done this a lot. He has no picks. He’ll do this with anybody. He did it with Sicko Mode,” referencing Drake dissing Kanye West on the mammoth Travis hit. Push continued: “I personally have been removed from that crew and those people for a minute. So, that’s where my issue comes in—like, dawg, don’t even come over here with that, because at the end of the day, I don’t play how y’all play. To me, that really was just like…he’s a whore. He’s a whore.” https://youtu.be/URlPXepBZdo?si=YLAKP8ngRXbNQgZT

The R Report

17.06.2025

From Silence to Sound: Preserving and Remembering Johnny J’s Beats Through The Voice of @CoppeCantrell By Anaya Balkcom – The R Report

When thinking of the genres that vary within the music industry, I think it’s undeniable to say that Hip-hop is the inspiration for a number of these genres. Ranging from pop to R&B, even electronic and alternative sounds, elements of Hip-Hop, whether it’s rhythm, lyricism, production style, or cultural influence, have deeply impacted the way other genres are created and received. While the spotlight often falls on the performers we know and love, the pioneers behind the beats often go unrecognized.  To highlight the unsung heroes of the music industry, particularly the producers working behind the scenes, I had the honor of speaking with Coppe Cantrell, an artist, mother, businesswoman, and the widow of multi-platinum producer Johnny J. Known for his work with Tupac, Bizzy Bone, and many others, Johnny J helped create the sound of an era. Coppe Cantrell worked alongside him for 17 years, witnessing the world of Death Row Records through the eyes of a partner and professional.  Today, Coppe Cantrell focuses her music career within the Christian genre, she has also decided to develop a documentary titled LEGEND. The film will highlight unreleased collaborations between Johnny J and Tupac alongside other iconic artists.  Perspective is key to understanding the world around us. In this interview, I was able to receive not only the perspective from someone who has witnessed the world of hip-hop and production, but who has now come into the music industry to act as a vessel for God’s word. Join us in this journey of perspective, reflection, and understanding the path God had for Coppe Cantrell. Anaya: What was it like being the wife and business partner of a multi-platinum producer? Coppe Cantrell:  I mean, we were looking at TVs on a crate together.  So, it was a grind together, to say what it was like to be married to a multi-patent producer, I just looked at him like he was my best friend. I didn’t look at it like that. So it was a wonderful thing because, you know, you got to experience things in life, you know, material things, and stuff like that, but beyond that, the relationship we already had was solid on the ground of nothing. I was his biggest fan, though, I would always be cheering for him, and I always wanted so much more for him. I didn't look at it like, oh, he's this multi-platinum producer, even though I was his fan of his work, because I could hear every kick, every drum, every snare, everything he created, I was right there in the creative process. Anaya:  I love that! I think that speaking to someone for such a long time, it's different from how the outside receives and perceives them, because we know who they really are. That sounds like such an amazing experience, and I know it had a lot that came with it. Which brings us to my next question. What was experiencing Death Row Records firsthand like? You weren't experiencing it from the tabloids or from what you saw on TV, you were living it. Coppe Cantrell: In the beginning, it was like, you thought it was a great thing, you know? It's just one family. Everybody is sitting there doing their music. They had a room called the Wack Room. You had them doing their music, you had studio A, B, and there's, you know, other people doing stuff in that other little room, and then the kitchen area and two kitchen areas, actually.  It was like a family, but in a family, you can kind of experience a little bit of like, hmm, what are they doing in there? Then you'd hear people, you know, speak of little jealousies and stuff like that; but for the most part, at the beginning, everything was good. Now I'm like, oh, my God, I think about all the things that I did see. I'm like, oh, my God.. Now that I think about that stuff, oh, we're talking about some other stuff now, you know, people getting beat down and stuff like that. Seeing the aftereffects of a beat down. That's a whole other thing, like, oh, my God, I thought they were so nice, and which, you know, I'll say that this, you know, dealing with Suge and everything was good, you know what I'm saying? It was nice, he was cool. Even Johnny was like, hey, if it doesn't go like this, because Johnny was boisterous about his own, you know what I'm saying? If it doesn't go like this, I'm not coming back. So he was straight up, and he didn't have a problem with telling anybody how he felt either. It felt like a family, but you know how families are. You have your little cliques, and every clique is like, look at them over there. Like, what are they doing? You can say it's a little jealousy in the room, but I think it was a cool jealousy.  At the time, everybody said, Oh, what are they doing? Okay, we have to come correct, we have to come better. We have to come stronger; we have to come faster. So, I think that it was cool to analyze that. Everybody was cool by joining on, like, on All Eyez On Me, on the project. Everybody did their part, they played their role, they came in and did what they were supposed to do, so that was a wonderful experience. I don't even know if you know that I’m on that.  Anaya: Really? I never knew this! Coppe Cantrell: The world didn’t know until I started telling it because they thought Faith Evans did Hit Em Up. That's me doing “Take Money.” That is actually me on that part. I said, now, how did that sound, how would Faith Evans sound doing her own diss record?  That's the silliest thing I’ve heard. That's actually me, it was a little hidden thing. I didn't even tell anybody, and I was the one who did the credits on the album. Like, I told someone in an interview, if I  wanted a credit, I would have put the credit on. You know, but I’m telling people now because they’re like, who did this?  Who did this? And I’m about to tell this story. So, I have to let it be known. That is me on Take Money, on Hit ‘Em Up doing the take money, because it was supposed to be, from their Get Money, right? So, Tupac was like, Hey, go in there and do this part, have her do this part, Take Money. So, I heard the little Get Money, so I said let me try to be as close as I can to that little melody. I went in there and they sampled my voice, my husband did, and flew my vocals in. Because I was tone deaf, I couldn’t sing on beat!   Anaya: Oh, I am, I am the exact way I'm tone deaf. I have no rhythm, so you are preaching to the choir, but this is mind-blowing. I never knew this!  Coppe Cantrell: I did the intro to Death Around the Corner. That’s me doing that part. That's me on, How Do You Want It, the radio version doing the ouu's and the ah’s. There are some songs that never got released. At least our version of it, Me, Johnny, and Tupac were like, that is so wack. There's a song with K-Ci and JoJo, I did that part. There are a bunch of other records that I did with small parts. I called myself the ou ah, girl, because I'm doing these ouus, and ahhs, I wasn't a singer, but God changed that later, right? God changed that later. Anaya: This connects to some questions I had later on. Before I got to those, we were just talking about how you were there to witness it all.  I would like to know, How Do You Feel Witnessing the Seeds Death Row Planted, Sprouting Today? Coppe Cantrell: Ooh, they're everywhere. I mean, we have all of these independent record companies that have sprouted up. So, I think they planted a huge seed, all over the nation, with these independent record labels. It's a blessing that it could be spread, but, you know, we just pray that it's spread not in a negative way, but so many young artists have died. So, there has been a great, great seed that you hear that black people and, you know, even if they're not black, Latinos or whoever they are, they're eating, you know, off of the music. But the saddest thing is, there are so many more who have died since. (see full response in online version) Anaya: I agree, the seeds of Death Row are truly everywhere. Speaking of seeds planted, I was just thinking about what you mentioned earlier, about how God is working through you. Especially with your song “My Daddy.” I loved it because it had such an impactful message, and I wanted to know what the creative process looked like for creating the song. Coppe Cantrell:  What inspired it? I was missing my father. He passed away 20 years ago and some change. Then I had the real thought about it, like, hey, my daughter and my son, they're missing their daddy. Then I said, hey, wait a minute. Johnny didn't have a father at some point in his life. I thought about everybody else who didn't have a father, and our Heavenly Father spoke to me and said No, they all have a father, it’s me. So, I just started saying for my daddy in the sky wave em high, for my daddy in the air, wave em like your care. It wasn't like I just started saying that. I was just so joyous to know that I still had a daddy that was here. Heavenly Father, and then as a parable, like comparing, like what he gave us our hips, our lips. Everybody part, I was like, you know what? I don't even care if people are hating me for saying my hip to my lips, and I would dip. I said, 'I don't care 'cause my daddy gave it to me now. I started being like a little whiny little brat. He's like, Yeah, you see, I hear it. And that's what you’re gonna sing on it. My daddy gave it to me now. It was so fun and funny, just like a little kid, like a little girl, and knowing that my daddy gave me all these things and knowing that you have a father too. He's right up there. My heavenly father, he gave me the lyrics to this. The anointing of the holy spirit along with my experience of missing my daddy and other people not having a daddy. Our heavenly father is our daddy. So it was a joyous moment for me, and I thought for a lot of people who don't have a father, I thought maybe this would bring them joy, too.  Anaya: How do you feel knowing that God is using you as a vessel for His Word? Coppe Cantrell: It is an amazing thing. I think about it, like, you chose me. I mean, literally, it happened six months after Johnny died. I was prophesied that I was going to be singing. In April of 2009,  and I laughed at the prophet. I said, Me?” I said. He said, No, you're going to be singing your own music.I'm like no, I'm not. A few months later, July 1st, 2009, at 3:00 a.m., God woke me up out of a sound sleep, like I felt like, I dunked in some water, just started singing. I started singing and singing and crying, singing and crying. I started writing lyrics, and it's crazy because I told the prophet later. The prophet was my school teacher. I went back to school when Johnny was incarcerated.  After he passed when I was getting all these revelations and I went to read the Bible. I read the Bible for those six months, and then, you know, the Holy Spirit came upon me by reading the Bible. After that, he's like, well, you know what? You’ve got to put those lyrics to your husband's music. I'm crying more now. I'm sitting there bawling like, how am I going to do that? I came up with all these songs. I had like 10 songs without any music. I wrote the melodies and wrote, like, about 10 songs at this point. I'm like, how am I gonna do that?  I had to match Johnny's tracks. The prophet told me God wants you to utilize Johnny's music, and your lyrics to glorify God. They belong to God now. So, it's amazing to know that God gave me the gift to write and to sing. Johnny always wanted me to sing, and I always wanted to sing. I never knew that it was going to be to glorify God. He didn't want me to have the voice for the secular world, and he said he wanted him for the saved world. It's such a blessing to be able to glorify him. I work directly for him. I’m having my breakthrough moments like the prophet told me my third album would be the breakthrough album, and it’s breaking through. I'm just grateful to be able to do what I can do for our king, the Holy Trinity, just every aspect of our Heavenly Father through Christ Jesus and the Holy Spirit. I have a few songs where I'm acting as if I'm a child. I did it like a spoiled little brat. I did all that I could on every aspect of the song. Like, I didn't hire a background singer, that's me doing all those parts. It’s not children playing those parts, that’s me. Anaya: That is pure talent. Having the ability to say every piece of this song is my voice. For my last question, I would just like to know, what is something you want people to take away from the LEGEND documentary? Coppe Cantrell: Well, I want them to realize this, because even though Johnny and Tupac knew this at the time in the '90s, you know, people look at the album credits. Now, everything is digital, and people aren't looking at album credits. They need to know that when you look at Tupac and Johnny's music, it's hand in hand. There was a partnership. There was a marriage that was meant to be. It's not to take away anything from my little brother, Tupac, because Tupac is who he is, but in a day, of people honoring other people with their tracks and beats, and they're praising them for that, Johnny deserves his just, because I get this in the community—of the Latin community. Like, well, because they're trying to wipe him out. Johnny, you know, he felt like he was being blackballed. I think part of that was that he was being blackballed. So, they erased his name, sort of from the scene. Once he passed away, his name was erased, but even prior to passing away. So, I think the world needs to understand who Johnny was and his music lives on. One thing you have to understand is there is no radio station that plays a capellas. It's the whole track. It's the whole song, and the two become one. Like a marriage. It becomes one thing. It's joint authorship, joint, teamwork together. It’s the artist performing and the track. So people need to understand who Johnny J was and what he contributed to hip hop, not just for Tupac, of course, hundreds of songs with Tupac, Bizzy Bone, just so many other things, and so many other aspects of how he started it, and different parts of hip-hop. People need to understand who he was, and what he did for hip-hop himself and not take away from him. He deserves his flowers like anybody else. Don't take it away because of jealousy, and these two loved each other so much, so Pac wouldn't be happy to know that they're not giving him his credit. They were friends, they were brothers, they were musical, genius partners together, all of those things. Tupac loved giving back to people and helping other people and he gave them their credit. He gave people their chance. I think everybody needs to show some love and respect for Johnny J. This documentary  that I'm gonna bring out is gonna show you all the areas that he said started in and how he ended his life, you know, because of the nuances of things and life that happens and just taking people's credit and taking away their identity. I want his identity back. I'll say that I want his identity back. He deserves that, and that's what I'm about to give him his identity back. I was told there are a lot of hip-hop Latinos who are coming up in the world right now. They deserve their shine too, because people are saying they didn't do anything in hip hop, but here it is. They're happy to know that Johnny J is their hero. He is their hero, and so that's driving them to say, “Hey, we want to be a part of this documentary. We want to be a part of this biopic film that you got.” So they want to be a part of it with me. Johnny, you know, he thought he was black, right? I mean, he was adopted by a black father and a Latin mother, so he didn't know anything but that was me, until he found out later on it wasn't, but that was part of his soul. And he deserves to have his identity. To silence a story is to narrow our vision of the world around us. Every unheard perspective, or untold truth, is a piece of the human experience left hidden. The life and legacy of Johnny J isn’t just a chapter in Hip Hop. It’s a bridge to understanding its soul. To truly grasp the depth and diversity of Hip Hop culture, we must listen. We must remember. We must tell his story. https://youtu.be/hlb4HVGyIUs?si=6lmCDkWUDCOpYoW_

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