GRAMMY Award-winning, multi-platinum hip-hop icon Lil’ Kim will return to the stage for Hard Core Symphony, an extraordinary one-night-only concert experience to celebrate the legacy of her groundbreaking double-platinum debut album, Hard Core. The Queen of Rap will bring the iconic album to life in a reimagined way, joined by Thee Phantom & The Illharmonic Orchestra for a live orchestral performance at the legendary Kings Theatre in her hometown of Brooklyn, New York on November 19.

The landmark album, originally released in 1996 marked her solo introduction into the industry, crystallizing her as a fearless artist and cultural icon. Executive produced by The Notorious B.I.G, the groundbreaking multi-platinum album known for its raw lyrics, bold themes, and boundary pushing style is what cemented Lil’ Kim’s place in history earning her the title of The Queen of Rap.

For one unforgettable night, Lil’ Kim will bring her iconic flow and legendary presence to a powerful sophisticated live orchestra. Thee Phantom & The Illharmonic Orchestra is an all-Black orchestral ensemble renowned for its blend of hip-hop and R&B coupled with their sophisticated live instrumentations. This unique performance will bridge hip-hop and R&B music, transforming some of Lil’ Kim’s most celebrated songs for a symphonic experience.

Fans can expect an evening of orchestral renditions of some of the album’s most iconic anthems including “Not Tonight (Ladies Night Remix),” “Big Momma Thang,” “Crush On You,” and “No Time” alongside her signature stage presence, captivating energy and her fearless fashion.

Guests are encouraged to embrace the elegance of the historic evening in formal black-tie attire to celebrate hip-hip royalty.

Produced by GPK Entertainment, Hard Core Symphony will be an elevated immersive experience celebrating one of hip-hop’s defining albums and the female pioneer who helped change the culture.

ABOUT LIL KIM
Born Kimberly Denise Jones, Lil’ Kim is a Grammy Award-winning, multi-platinum rapper, singer, actress, and fashion icon. Her debut studio album Hard Core was certified Double Platinum by the Recording Industry Association of America (RIAA) and spawned three consecutive No. 1 rap hits: “No Time,” “Not Tonight (Ladies Night remix),” and “Crush on You,” making Kim the first female rapper with three consecutive number one singles on Billboard’s Rap songs chart. Her following albums, The Notorious K.I.M. (2000) and La Bella Mafia (2003), were certified Platinum, making her one of the only female rappers to have at least three consecutive Platinum albums. She also scored a #1 Billboard Hot 100 hit with 2001’s “Lady Marmalade,” featuring Christina Aguilera, Pink, & Mýa. As an actress, Lil’ Kim has appeared on television shows such as Moesha, The Game, and her own reality series Countdown to Lockdown, which, at the time, had the highest-rated premiere in BET’s. She appeared in her first major film, She’s All That, starring Freddie Prinze Jr. and the late Paul Walker, which reached #1 at the box office during its first week of release. She then went on to appear in Zoolander, Juwanna Man, Gang of Roses and You Got Served. Additionally, in 2009, Lil’ Kim danced her way into the hearts of millions on ABC’s Dancing with the Stars. She was undoubtedly a fan favorite on the eighth season of the hit show. In 2015, Lil’ Kim shut down the BET Awards along with Puff Daddy and The Bad Boy Family for the Bad Boy reunion performance. The crowd stood to their feet in a thunderous applause as she annihilated the stage, stealing the show with her performance of “It’s All About the Benjamins.” In 2016, she released her mixtape entitled #LILKIMSEASON which included the first single “#MINES,” featuring hip hop recording artist Kevin Gates. That record caught fire, earning Lil’ Kim a nomination for best female rap artist at the BET Awards that year. In May 2016, she performed two nights in a row at the Barclays Center in her hometown Brooklyn, NY for the Bad Boy Reunion Tour, and was credited by influential station HOT97 as one of the best performers both nights. She continued to travel around the country on that tour, and was also honored in 2016 at VH1 Hip Hop Honors. As celebrities like Rihanna, Kim Kardashian, Solange Knowles, Kylie Jenner and many others continue to pay homage to the one and only Queen Bee, Kim has continued to create music. In 2017, Kim began working on her highly-anticipated 5th album, due out in late 2018. She thrilled fans by releasing the promotional singles “Took Us A Break,” in November 2017 and “Spicy” feat. Fabolous in March 2018. In June 2018 Lil’ Kim received a proclamation to New York City. The legendary artist was honored by the New York City Council’s Black, Latino, and Asian Caucus (BLAC) as part of the annualAfrican-American Music Appreciation Month that began June 2018 for her contribution to hip hop. She released the official single, “Nasty One” in July 2018, followed by “Go Awff,’ in April 2019. Her album “9” was released in October 2019. With this flurry of new music and reverence from her peers and fans alike, Lil Kim continues to REIGN!

The post Lil Kim Joins Forces With Thee Phantom & The Illharmonic Orchestra for Upcoming One-Night Only Orchestral Performance. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Denzel Curry and producer Kenneth Blume officially release their new album ii, out now via Loma Vista Recordings. Earlier this week, Denzel and Kenneth shared “(RE)CONNECT,” an intimate 1-on-1 conversation piece in which the pair of visionary artists discuss their respective careers, reflect on their artistic and personal evolution, delve into what makes their collaborative chemistry special, unpack their outlook on the future, and more.

The project also arrives alongside a music video for album opener “GONE FISHING,” following the previously shared single and video “DIFFERENCE,” featuring Yebba, the tone-setter for their new chapter and the long-anticipated follow-up to their acclaimed 2020 joint project UNLOCKED. Across nine tracks, ii finds the pair of visionary artists refreshed and at their most focused, including features from JPEGMAFIA, Westside Gunn and Yebba. While the new project demonstrates the clear-eyed focus they’ve developed in their time apart, the unbridled energy of their chemistry remains present. In the years following UNLOCKED, Denzel and Kenneth have solidified themselves in veteran roles as trusted authorities and generational groundbreakers running point on the lively creative worlds around them.

Speaking on the duo’s collaborative evolution, Kenneth shares, “The work Denzel and I do has never been easy, which is why it’s so rewarding. We’ve started every project on opposite sides of a coin and fought our way to the center. When I hear this album, I hear the growth and the fight in equal parts.”

The follow-up to their acclaimed collaborative UNLOCKED project is the product of two artists who have both grown substantially in their careers since its release. Describing their dynamic and creative process, the duo circles a relative working romanticism not void of its own clashes. Despite their longstanding friendship outside the studio, the pair faced new challenges amid the highs and tense moments of making the record. Both driven and strong-willed, they often disagreed, nearing the point of blows before settling back into productivity and care for each track. Their trust in one another’s greatness is tried and true, ultimately leading the push to a singular body of work that harkens back to the basics – no mixed beats, just an SP-404 beat machine and a cheap mic as tools of the trade.

Hard-fought lessons over years of experience bring a mutually fortified knowledge together in their new work and the duo’s passionate collisions have resulted in bringing the music to new heights for an instant classic record. Mutual admiration beyond any familiar caricatures of themselves helped the duo to push their pen further than ever. While sometimes boisterous yet constantly dynamic, ii marks Denzel’s most personally lyrical and cumulative songwriting thus far. As such, Curry and Blume present their latest with a refreshing honesty and thoughtfulness that’s rare to find on the surface.

The post Denzel Curry & Kenneth Blume Drop New Album ‘ii’ + “(RE)CONNECT” Film + “GONE FISHING” Video. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Today is day five of the trial of Duane ‘Keffe D’ Davis, accused of orchestrating the murder of rapper Tupac Shakur in Las Vegas in 1996.

On Thursday, Jurors heard audio of Duane “Keffe D” Davis telling LAPD detectives in 2008 that his nephew Orlando “Baby Lane” Anderson fired the shots that killed Tupac Shakur. In the audio, Davis could be heard telling LAPD he had conversations with Sean “Puffy” Combs about killing Shakur.

One person called to testify on Thursday, Devonta Lee, told the jury many times that he did not want to be there but was forced under a court order. He was a friend of Anderson who joined the South Side Crips.

LIVE UPDATES

Dorsey says he contacted LVMPD and told the detective about the interviews with Davis.

Says Zip Martin was a mentor to Puffy, may have been dating Puffy’s mom at some point.

Dorsey says he was a consultant on Death Row Chronicles. And has continued to follow the multiple interviews Davis did.

Dorsey: concerned about his safety & concerned about Puffy since he’d be implicated in the documentary. Says he was not sued, but was threatened.

Universal Music re: using Tupac’s song, ‘Hit em up’ Puffy’s attorney sent Apple a letter saying it was defamatory. Never sued though

WITNESS Mike Dorsey, film producer & documentary producer. Expertise is true crime.

2012: refers to Greg Kading’s ‘Murder Rap’ book. Took over 2 years to make the film.

Prosecutor: Goal of documentary?

Dorsey: Sounds like we know what happened (about the unsolved murder).

Police: What do you think should happen now? Has anyone promised you anything regarding the murder of Tupac?

Davis eventually says no, but then says he was told that anything he talks about is confidential.

Note: there is obvious confusion here.

Police: I wanna close the Tupac case. We’re looking for somebody you told the story to is the same story that you told us.

Davis says he didn’t tell his wife, son, or anybody.

Lawyer: I may have suspected something, but he’s never told me. Says Davis wanted to get it off his chest

Police ask if there was backlash from Suge, he expressed concern because he says Suge had police killing for him. Then says Suge had $100K on his head.

Police: What were your thoughts when Baby Lane started shooting?

Davis: fu**!

Says he was surprised.

Police: When did you hear Tupac was dead?

Davis: On the 7th.

Police point out Tupac didn’t die then

Davis: By the 14th.

Davis says Zip said he’d make sure Puffy would send them money for what they did. He says he thinks Zip got paid by Puffy.

Police: You’re a real gangster & he’s a rapper.

Davis: I’m a grandpa. My son is trying to go to the NFL. He admits he’d lived the life.

Davis says Puffy said, “I would do anything for that boy’s head.” Re: Suge Knight.

Says Puffy was real scared of him. Says Puffy said it out loud with about five people in the room.

Police: Did Puffy come up that night (9/7/96)?

Davis says: We’re like damn, we can get paid now!

His lawyer says Davis has a way of boasting.

Police: Did Puffy play a role in this?

Davis: Yeah, I think he did.

Davis says he didn’t get paid though, then says Zip got paid. Word on the street.

Police: Did you have personal contact with Puffy?

Davis: all the time.

Agrees that there was a “full-on war.” Says he never went anywhere near the Cadillac after the shooting.

Note: Police said they knew about a white Cadillac later that night. While Davis is saying in this interview it was parked in Las Vegas, not far from crime scene that night

Back from lunch break. 2009 interview w/ LAPD & LVMPD continues.

Davis says he made eye contact with Suge Knight during the shooting.

Search warrants in Compton. Says he doesn’t know location of gun. Says they left Las Vegas the next morning. “Wanted to get the F out of there.”

Lunch break. Davis tells the judge prosecutors are endangering family’s life by giving info like addresses.

Prosecutor says he’s mad he’s prosecuting him for murder.

Davis mentions Foxy Brown. Says he had gotten into the Mercedes with Zip & Foxy Brown. Says Foxy Brown was asked to step out of the car and then Zip gave him .40 Glock.

Says Zip gave Orlando a gun. Long leaves the room. We hear another conversation between LAPD Detective Dupree, Davis & his attorney. They are going over how he should speak to a Las Vegas Metro police detective.

The question: Why is Dupree part of this conversation between a client & attorney?

Claims a car of girls followed them, and Orlando fired a round. Claims they parked the car in rear of The Carriage House, put the gun by the car tire, front passenger side.

Says Orlando left to get gunpowder off his hands with pee.

Describes shooting.

“Got to shooting.” Says Orlando shot five or six rounds in three or four seconds.

Says gun was 40-Glock..after asking about newspaper reports.

Says they jumped in the Cadillac, headed up Flamingo.

“Tupac hanging out the window, all the girls going crazy…” Says they were in a BMW. About 18 cars in a line with them. Says four of them in the Cadillac. He’s in the front passenger seat.

Says they beat Orlando pretty good and “knocked his arm out of the socket.”

Recalls the night of the Tyson fight. Talking about different people rolling up in luxury cars. Entourage. Girls everywhere.

Detective: “Las Vegas circus.” Says he went to fight. Short fight. Went to a restaurant after. Doesn’t remember which one. “It’s on video though.”

Says everyone at restaurant after fight except Orlando ‘Baby Lane’ Anderson. Describes him wearing Dan Marino jersey.

Says Marcus was scared, saw people coming, punched out Trevon Lane; everybody jumped in. Says Lane was wearing a Death Row Records chain, acknowledges it was missing, but says they didn’t take it.

Problem between Bad Boy & Death Row: Talks about ‘Big Jake’ with Pirus killed in Atlant in 95. Says Puffy was scared of Suge Knight: “Real scared of him.”

Discuss Lakewood Mall incident: “our little homeboy going to college to play football.” Needed college stuff.

Davis describing visit to Las Vegas: Says he stayed at the Monte Carlo. Drove a white Cadillac. Rented a big four-door. Doesn’t remember exact rental car company… (I believe he’s saying a lady from Compton rented cars out)

Details about renting Cadillac very vague…

Davis tells them he’s affiliated with South Side Crips. Davis tells them he was “the boss.” Says Death Row Records was hooked up with Mob Piru. Bad Boy Records affiliated with Crips, Biggie Smalls, Puffy.

They told him: “I’m not here to arrest you.” “You’re free to leave.”

Juror questions: did you hand him $10 to 20K check before interview?

A: No.

Q: How did you get proffer interview?

A: It was given to me… Clarifies decision was his to use proffer interview audio.

Sanft asks how much $ the series made. Diaz says he doesn’t know.

Diaz says residuals not common in documentary world.

Sanft asks about difference between Shark Week documentary & this one.

Diaz: it’s apples & oranges.

Diaz he tried to corroborate w/ books also.

Sanft points out Diaz had artistic license. Interview subject signs release form.

Davis hands Sanft paper.

Sanft: did you ever see the actual contract?

Diaz: No

Sanft: any residuals given to Davis?

Diaz: not that I know, unlikely

Sanft: Was the interview done in a way where he promised to tell the truth?

Diaz. No… Assumed he was telling the truth.

Sanft points out it wasn’t under oath. Davis provided details in interview. Says he corroborated with Mike Dorsey & Greg Kading..also Mob James & others.

Diaz says Davis was not dressed appropriately the first time, and he was concerned he would not show up the second time (might back out) so he interviewed him anyway.

Davis came back dressed up and they did second interview.

Sanft continues questions…Davis smirks.

Sanft: What contract was set up between Duane Davis and the company?

Diaz says he doesn’t know. Diaz says he handed him a check at some point and doesn’t remember the installments. Diaz reiterates he’s not sure what was agreed upon.

Cross examination from defense attorney Michael Sanft: Discussing ‘Murder Rap,’ Greg Kading’s book.

Diaz says he is in the business of creating compelling television or films. Diaz says he doesn’t necessarily do reality TV shows, somewhat manufactured. Says he makes documentaries, which are traditionally based in journalism, and that truth is compelling enough to draw an audience.

Says Davis brought his attorney, Wayne Higgins, during his interviews. Davis was seen on video saying 9/7/96 is the night that changed his life.

Prosecutor: Was your show scripted at all?

Diaz: I pride myself that my work meets…standards…never provided questions ahead of time.

Important note: Diaz says he abided by strict standards… However, he also testified that Davis was paid for these interviews.

Says BET only provided what aired.

Playing part of Death Row Chronicles.

Davis discussing Anderson at Suge Knight’s probation hearing.

Another clip shows Davis showing them where shooting occurred.

Kading says in 2008 proffer: “what is said here cannot be used against you”

Ran on BET. Six episodes. Roughly an hour each.

Says he also had access to 2008 proffer recording. Alternated between his interview with Davis and 2008 proffer audio.

Prosecutor wants to play part of this.

Sanft asks to approach. Lawyers at bench.

Questions continue.

He identifies Davis.

Says Davis was compensated from $10 to 20K.

Did two interviews with Davis in summer 2017. Weeks apart. Around 2 hours + each.

Show sizzle reel.

Davis says he’s telling story because he has cancer and has nothing else to lose. Ends with “Death Row Chronicles.”

WITNESS Mario Diaz: filmmaker. Director of documentaries. Showrunner for documentaries & documentary series. Agent called him about job for 6-part series about Death Row Records. Two consultants: Greg Kading & documentarian. Says “defendant was on board,” along with Suge Knight.

Juror question: Can you recall the name of the detective…?

Jefferson: Kevin Manning.

This is not the first question from this juror.

Cross-examination defense attorney Michael Sanft:

Jefferson says he took the pic at Harmon & Las Vegas Blvd.

Wheels on the BMW caught his attention.

Says he did NOT hear people screaming Tupac’s name.

He was then following Suge & Tupac to go to club with them.

Officer from scene then finds him again and says, “we f’ed up…” Meaning they shouldn’t have released him because they still wanted to talk to him.

He gave police film, they return it, & he develops the photo.

Says pic spurred conspiracy theories about him “staging the scene.”

Heard gunshots shortly after.

Talks about the chaos after the shooting.

Sees Suge get out of the car: “My man Pac is shot! We need help! Pac is shot!”

Jefferson explains that an officer then treated him like a suspect. Pic of him sitting on sidewalk at scene. Then released.

Drive toward Las Vegas strip. Saw Tupac and Suge Knight.

“Hey waddup, Pac?!”

Took pic of Shakur.

TUPAC MURDER TRIAL DAY FIVE:

Witness: Leonard Jefferson, visiting Las Vegas for Mike Tyson fight on 9/7/96. In lobby of MGM to “people watch.” Sold fight tix. Saw Tupac Shakur & entourage before fight. Staying at Monte Carlo. Walked out to valet to get truck. Drove out.

S: 8 NEWS VEGAS

The post Tupac Murder Trial – Day 5 (Live Updates) first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Compton rap icon The Game returns with The Documentary 3, the highly-anticipated third installment of his landmark The Documentary album series. Twenty years after The Documentary helped reignite Los Angeles in the hip-hop conversation, The Game is back with an expansive new album featuring Drake, Kanye West, Snoop Dogg, Lil Wayne, E-40, YG, Black Thought, Larry June, Drakeo The Ruler, Kalan.FrFr, PARTYNEXTDOOR, Leon Thomas, Marsha Ambrosious, Tyga, RJmrLA, Almighty Joey, Lit Papi, ArmonieJAY, Lefty Gunplay and AZ Chike.

With The Documentary 3, The Game is once again stepping forward to reclaim Los Angeles’ place at the forefront of hip-hop while reminding the world why he helped put the city back on the map in 2005.

“Everybody wanna debate who the greatest rapper out of LA is. I’m here to remind y’all what the standard was. 20 years ago I was the one who put LA back where it belonged. And I’m back to do it again.” – The Game

Coinciding with the album, The Game will debut a new music video for The Documentary 3 track “Sticks” at 12PM PST today. Directed by Benny Boom, the visual finds Game delivering bars alongside a bevy of women and rapping in front of Pueblo Del Rio, better known as “The Pueblos,” one of LA’s most historic housing communities, while bringing the energy back to the streets with friends and longtime collaborators from the block.

Photo Credit: Jonathan Mannion

The Documentary 3 follows Every Movie Needs A Trailer and End Credits, The Game’s acclaimed Gangsta Grillz mixtapes with DJ Drama, which served as an appetizer to the LP. Recorded in just 48 hours with GRAMMY-nominated production duo Mike N Keys, the 18-track project gave fans a fresh dose of The Game’s signature West Coast storytelling and lyrical intensity while building anticipation for the forthcoming album.

This momentum also comes on the heels of The Game’s highly discussed appearance on Apple Music’s Verzuz with fellow Compton rapper YG, a landmark celebration of West Coast hip-hop that generated 3 million live streams and more than 4 billion online impressions, fueling a new conversation around LA’s place in the modern hip-hop landscape.

The Documentary 3 marks a defining chapter in The Game’s legacy. Over the past two decades, the Compton native has established himself as one of hip-hop’s most influential and enduring artists, with eight albums debuting at No. 1 on Billboard’s Rap Albums and R&B/Hip-Hop Albums charts, including three No. 1 debuts on the Billboard 200. His catalog includes landmark albums such as The Documentary, Doctor’s Advocate, The R.E.D. Album, Jesus Piece, The Documentary 2 and Born 2 Rap.

TRACKLIST

1. Geezus
2. Love It or Hate It ft. Snoop Dogg
3. Steppers ft. Lil Wayne
4. The Life
5. Scary Times ft. RJmrLA, Lit Papi
6. 20 Deep
7. No Brakes ft. Drake
8. Sticks
9. Geekin ft. Drakeo The Ruler
10. 40 Nights ft. Kanye West
11. Do You Love Me
12. Run It Up ft. Leon Thomas
13. Party at Games ft. PARTYNEXTDOOR
14. Baby ft. Kalan fr fr, ArmonieJAY
15. In The Way ft. RJmrLA, Tyga
16. The Part ft. YG, Lefty Gunplay, AZ Chike
17. Hella ft. RJmrLA, E-40, Serrin Joy
18. Nothing 2 Hide
19. LA Monster ft. Lit Papi
20. Meet The Parents
21. The Pen
22. The Cookout ft. Larry June
23. I Won’t Be Afraid ft. Black Thought
24. Game Recognize Game ft. Marsha Ambrosius, Sela V

About:

Born Jayceon Terrell Taylor in Compton, CA, The Game is a multi-platinum rapper, songwriter, producer, and entrepreneur whose impact on hip-hop spans more than two decades.

Rising from a challenging upbringing in gang-active Compton—and surviving a near-fatal 2001 home invasion—The Game studied the greats, honed his craft, and in 2003 was signed by Dr. Dre to Aftermath Entertainment. His debut album, The Documentary, hit #1 in 2005, selling over five million copies worldwide and redefining West Coast rap for a new generation

Since then, The Game has released genre-defining albums including Doctor’s Advocate, The R.E.D. Album, 1992, and DRILLMATIC: Heart vs. Mind. He has collaborated with music icons such as 50 Cent, Kanye West, Lil Wayne, and Ed Sheeran, and continues to expand his influence beyond music through entrepreneurship and philanthropy.

In 2026, The Game remains a dominant voice in music and culture, releasing new music, embarking on global tours—including the 20th-anniversary Documentary world trek—and solidifying his position as one of hip-hop’s most enduring and versatile artists.

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Global multiplatinum producer and artist Young Chop turns up the heat with the release of his new video for “Do It To You” featuring Chop Squad Records artist Nikko Baby. The R&B-leaning record offers a different side of the Chicago hitmaker as he gears up for the release of his forthcoming project, 50 Million, arriving later this month.

On “Do It To You,” Chop trades the hard-hitting drill production he helped make synonymous with Chicago for a smoother, more seductive sound. Joined by Nikko Baby, the pair lean into the record’s late-night energy with an equally sultry visual, directed by Ogun Pleas, showcasing the wider musical range and versatility fans can expect to hear from Chop on 50 Million.

One of the architects of Chicago drill, Young Chop played an integral role in shaping the sound of a generation. His production on Chief Keef’s breakout records “I Don’t Like” and “Love Sosa” helped propel Chicago’s drill movement onto a global stage. Chop quickly expanded beyond the city, building a production catalog that includes Big Sean and French Montana’s “Mula” and Pusha T’s “Blocka” featuring Travis Scott and Popcaan, among countless other mega-hit records.

More than a decade after helping introduce a new Chicago sound to the world, Chop is now entering a new chapter both personally and creatively. His forthcoming project, 50 Million, finds him expanding his sound and showing a much wider range as an artist. The project’s title also represents the mentality driving his next era: his goal of generating $50 million in profit.

At the same time, Chop is putting renewed energy into the city that started it all. Through Chop Squad Records and Chop Squad Studios, he is focused on developing the next generation of Chicago talent and creating an infrastructure for emerging artists to grow. His expanding roster includes Sherrionn, Nikko Baby, and Chop Squad Lil Law, continuing the same commitment to identifying and developing talent that has defined his career.

With “Do It To You” setting the stage for 50Million, Young Chop is looking ahead while building on a legacy that helped permanently reshape Chicago music. The forthcoming project marks another evolution for the multiplatinum producer as he steps further into the spotlight as an artist, entrepreneur, and mentor while continuing to invest in what comes next for his hometown.

ABOUT YOUNG CHOP:

Young Chop has established himself as one of Chicago’s most influential producers, building a career that extends far beyond the drill movement he helped pioneer. A producer from an early age, Chop turned his signature sound into a wide-ranging catalog that includes work with Chief Keef, Kanye West, Pusha T, Big Sean, Rick Ross, Ty Dolla $ign, Juicy J, Soulja Boy and more. Alongside his extensive production credits, Chop has carved out his own path as an artist, beginning with his 2013 debut album Precious and continuing through a steady run of albums and mixtapes. More than a decade into his career, he continues to evolve as an artist, producer, and entrepreneur while using his platform to cultivate emerging talent and contribute to the next era of Chicago music.

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Ahead of the 10th anniversary of Mac Miller’s landmark album The Divine Feminine in September, The Mac Miller Estate announces a 10th anniversary edition of the album that will be available digitally and physically on October 2nd. Upon its release in 2016, The Divine Feminine marked one of the most stark turning points in a career punctuated by creative reinvention. After doubling down on his rap prowess on 2015’s GO:OD AM, Mac Miller stunned fans with an audacious pivot to create a concept album that explored his views on the power of love and the sacred energy of women.

The 10th anniversary edition of The Divine Feminine features three previously-unreleased songs from the album’s recording sessions and will be available on deluxe and standard 3LP anniversary vinyl editions.

“Butterflies,” produced by Taylor Graves and featuring bass by longtime Mac Miller collaborator Thundercat is available to hear now.

Mac Miller | The Divine Feminine (10th Anniversary)
(Warner Records) October 2, 2026

1. Congratulations feat. Bilal
2. Dang! feat. Anderson. Paak
3. Stay
4. Skin
5. Cinderella feat. Ty Dolla $ign
6. Planet God Damn feat. Njomza
7. Soulmate
8. We feat. CeeLo Green
9. My Favorite Part feat. Ariana Grande
10. God Is Fair, Sexy, Nasty feat. Kendrick Lamar
11. Track 11
12. Track 12
13. Butterflies

The post The Mac Miller Estate Announces ‘The Divine Feminine (10th Anniversary)’ Ft Three New Songs. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Rapsody’s much anticipated fifth studio album, God Gotta Afro & Gold Hoops, features her powerful new single, “God Gotta Afro,” and further solidifies her place as one of hip hop’s greatest storytellers.

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By: Todd “DG” Davis
Rapindustry.com

___

Long before hip-hop history was divided into eras and movements, Mikey D was earning his name the old-fashioned way: rhyme-for-rhyme in Queens.

Born Michael Anthony Deering, the Laurelton MC came from a time when reputations were built in battles, not algorithms. His victory at the 1988 New Music Seminar Battle for World Supremacy confirmed what his neighborhood already knew—Mikey could rhyme with anybody.

But battling was only the beginning.

With Mikey D & The L.A. Posse, alongside DJ Johnnie Quest and the late, legendary Paul C McKasty, that raw talent became records like “I Get Rough,” “Dawn” and “My Telephone.” Rahzel, years before becoming The Roots’ “Godfather of Noise,” was part of those early sessions as well.

They weren’t recreating the Golden Era. They were living it.

Mikey’s road later led to Main Source, where he followed Large Professor and fronted 1994’s Fuck What You Think. Decades later, he remains active through new music and Pass The Torch Distribution, preserving the foundation while continuing to build upon it.

Now Mikey D & The L.A. Posse — Paul C Sessions brings everything full circle. The limited-edition vinyl puts Mikey’s rhymes, Johnnie Quest’s cuts, Rahzel’s vocal percussion and Paul C’s production back where they belong—together.

Mikey calls it “Newstalgic”: honoring yesterday without living in it. Because these aren’t simply old recordings pulled from a vault. They’re the sound of history before anybody in the room knew they were making it.

_____

Q. Before the accolades, the records, and everything that followed, take us back to Queens when this music was actually being made. What do you remember most about the environment that created Mikey D & The L.A. Posse?

Mikey D: I remember everything being innocent. Hip-hop was fresh to us. All the young cats around the way wanted to do it, and it was very competitive. Some of us took it seriously, some didn’t. Some did it as a hobby, but I was one of the guys who did it for real.

We didn’t even look at it as creating history. We looked at it as creating memories. Everything we did was natural. We were just living in the moment.

Q. People today talk about that period as the “Golden Era,” but you weren’t trying to make vintage hip-hop—you were simply making hip-hop. What did that time feel like from inside the culture before anybody knew it would become history?

Mikey D: It just felt new. It felt exciting and competitive. It was like a burst of brand-new energy.

It’s hard to even explain that feeling if you weren’t there, but it was definitely something special. It was a wonderful feeling that I still cherish and hold on to today.

Q. Paul C has become almost mythical to serious students of hip-hop, but you actually created with the man. Beyond his technical brilliance, what was Paul like in the room, and what did he hear in an MC that made his production different?

Mikey D: Paul C was a great engineer and producer with a great ear. Before becoming an engineer and producer, he also played live instruments in a band, so he had that musical background.

When we initially met Paul, he was making music out of his garage. The Clientele Brothers told us about him and introduced us. When I first heard Paul’s beats, I couldn’t believe this white guy was making them. Before he came out of that garage, just from hearing the music, I thought he was Black. That’s how much soul he had in his sound.

Once me and Johnnie Quest met him, it was a no-brainer for us to make music together. Paul was very quiet and unassuming. Upon initially meeting him, you wouldn’t necessarily expect him to be as great as he was. But once you heard what he could do, you understood.

Q. These recordings survived for decades before finally receiving this physical release. When you hear the Paul C Sessions today, what comes rushing back that somebody discovering them in 2026 could never hear between the grooves?

Mikey D: When I hear these joints now, it brings back memories of the very beginning, when everything was innocent. We weren’t planning on making records. We weren’t planning on making careers out of this. We were having fun, and everything was natural.

I remember those late-night sessions with Paul at 1212 Studios. This was right after he left his garage and got the job at 1212. He would call me and Johnnie Quest after midnight, when everybody else was finished recording. We’d go in there when there was spare studio time and just create, create, create.

Back then, I used to do most of my vocals in one take because punching in and editing weren’t as easy as they are today. The best thing you could be was a one-take wonder. Working with Paul definitely polished my skills and helped me become a recording artist.

Q. Paul’s life was tragically cut short before the world could fully understand his impact, yet his fingerprints run through generations of hip-hop production. How important is this release to giving Paul C his flowers and preserving another piece of what he contributed?

Mikey D: Paul has gotten his flowers over and over again, and rightfully so. With this album, because it had never come out on vinyl, me and Pritt Kalsi of King of the Beats Records in London thought it would be a great idea to finally do a limited-edition vinyl release.

But this isn’t only about giving Paul C his flowers. It’s giving Johnnie Quest his flowers. It’s giving me my flowers. It’s giving Rahzel his flowers. We were all in those rooms together.

People don’t always realize that Paul C was part of a group—the original L.A. Posse—and that’s us. A lot of times when Paul’s story gets told, we get cut out of the picture. That’s okay, because this album is here now to give all of us our flowers and preserve what we created together.

Q. There’s something fitting about these sessions finally being pressed on vinyl—the same format that helped build the culture itself. In an era of streaming and disposable releases, what does physically preserving this music mean to you?

Mikey D: It’s an absolute vinyl collector’s dream come true. These recordings come from a time when vinyl was a major part of how hip-hop was experienced, so to finally have these sessions preserved in that format means a lot.

We knew there were collectors and fans of our music who really wanted this on vinyl. That’s why we made it happen as a limited edition of 300 copies. Now they can actually hold this piece of our history in their hands.

Q. Rahzel appears here long before much of the world would come to know him as “The Godfather of Noise.” What do you remember about Rahzel during that period, and could you already tell that what he was doing with his voice was something different?

Mikey D: On these records, this was Rahzel’s first time doing the human beatbox on record. This was prior to The Roots. This was prior to all of that.

A lot of people also don’t know that Paul C used Rahzel’s voice on the bass line of “I Get Rough.” That’s part of the history, too. With this release, we want to make sure Rahzel gets his flowers and receives credit for everything he brought to the L.A. Posse.

Q. DJ Johnnie Quest’s scratches are another reminder that these records come from a time when the DJ wasn’t decoration—the DJ was fundamental. What did Johnnie bring to the chemistry and identity of The L.A. Posse?

Mikey D: Johnnie Quest was the greatest DJ that I knew. Me and Johnnie started out at the same time. My goal was to become the best rapper I could possibly be, and his goal was to become the best DJ he could possibly be.

For the time we were doing our thing together, I think we exceeded our own expectations. The DJ was fundamental to what we were doing, and Johnnie Quest was fundamental to the sound and identity of the L.A. Posse.

Q. Your own history stretches far beyond these sessions—from battling and earning your reputation in Queens to eventually becoming part of Main Source. Where do the Paul C recordings sit in the larger story of Mikey D becoming the MC people came to know?

Mikey D: These sessions represent the beginning of me becoming a recording artist. They took me one step beyond creating tapes and building my reputation in the streets.

Now people in the music industry were opening their eyes and ears to who I was. It took me outside of my comfort zone and into new territory. I wasn’t only a battle MC anymore. I was learning how to take what I could do as an MC and turn it into records.

Q. There’s a difference between celebrating hip-hop history and rewriting it after the fact. As somebody who actually lived through this foundational period, what do you think gets misunderstood, overlooked, or simply left out when people tell the story of early Queens hip-hop today?

Mikey D: They miss the who’s who. There are a lot of us who inspired a lot of what you hear today, but unfortunately, many of us get overlooked when the history gets told.

That’s another reason I look at this release as a time capsule. I want people to hear it today and know what we’ve done and where some of this came from. At the same time, I’m still active and continuing to create. That’s what I call “Newstalgic”—respecting where we came from while still creating something new.

Q. A project like this inevitably brings up the people, places, and moments that are no longer here. Has revisiting these recordings felt more like nostalgia, celebration, unfinished business—or a little bit of all three?

Mikey D: To me, it feels like a celebration of the life we had together and an opportunity to share that with a new audience.

It’s also for the collectors who wanted this vinyl so badly. We knew there were people who were really fans of our music and wanted to own these recordings physically, so we made it happen. We did 300 limited-edition copies for those collectors and for the people who have supported this music.

Q. Younger generations can now hear these sessions without nostalgia attached—they can judge the rhymes, beats, scratches, and rawness on their own merit. What do you hope a young MC or producer hears in this record about the craftsmanship hip-hop was built upon?

Mikey D: I want them to hear the organic authenticity. I want them to feel what it was like back then, when you couldn’t rely on punching in all the time. You had to be able to go straight through and deliver.

I also want them to hear the camaraderie between the four of us and how we came together and made it sound like one.

And I want younger people to understand that we’ve been around for decades, but it doesn’t matter how old you are. If you love it, keep going. We wanted to give the youth something they can listen to, learn from, and understand about the craftsmanship this culture was built on.

Q. After sitting in the vault all these years, Mikey D & The L.A. Posse — Paul C Sessions is finally becoming something people can hold in their hands. When that vinyl lands on the turntable and Paul’s production comes through the speakers again, what does it mean knowing that the music—and his name—will keep spinning long after all of you first made it?

Mikey D: It’s a sound that can’t be recreated or duplicated. That’s why we were the L.A. Posse. L.A. stood for Laurelton. Me and Johnnie Quest were from Laurelton, and although Paul was from Rosedale, we were the L.A. Posse.

When you put that record on and hear Paul’s production, the rhymes, the scratches, and everything we created together, you’re hearing the sound of the L.A. Posse.

That’s us. That’s our history. And now it keeps spinning.

The post BEFORE IT WAS THE GOLDEN ERA: Mikey D & The L.A. Posse Were Already Making History (Interview) first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Today is day four of the trial of Duane ‘Keffe D’ Davis, accused of orchestrating the murder of rapper Tupac Shakur in Las Vegas in 1996.

Prosecutors on Wednesday said that they have a five-hour video to present as evidence in the trial of Duane “Keffe D” Davis. Testimony is expected to resume at 1 p.m. today.

On Wednesday, former FBI Special Agent Wade Lee said that in an interview, Davis denied knowing who killed Shakur. Davis told investigators that he was angry about a brawl involving his nephew, Orlando Anderson, but that he wanted to retaliate in Compton, not Las Vegas, Lee testified.

The second witness, former Los Angeles Police Detective Daryn Dupree, said that he was assigned to the task force investigating the 1997 murder of rapper Christopher Wallace, also known Biggie Smalls and the Notorious B.I.G.

LIVE UPDATES

Revisiting conversation Davis said he had with Puffy.

Says Puffy had Navy Seals as security. Discussion over which is better: Navy Seals or security.

Says Puffy used his car for Usher’s music video.

Davis telling LAPD he had conversations with Sean Puffy Combs about killing Tupac Shakur.

Davis saying he’s through with Compton, through with the neighborhood. Refers to “MySpace gang bangers.”

Prosecutors now playing audio of Davis talking with LAPD. This may take the rest of the afternoon. Davis telling them he’s up on everything. Davis telling them he’s violent without smoking weed. Long convo about not being able to trust people. Saying people did him dirty.

July 11, 2023: Interview with Detective Mogg in Las Vegas.

Juror question: What did you receive payments for re: DEA? Says it’s to help your situation…things like that.

2006: started doing work for DEA, after he got caught trafficking. Cross examination from defense attorney Michael Sanft. Admits they were targeting Davis as a drug dealer & he was helping feds. Sanft shows him documents from 7/10/08, 9/10/07, 4/3/08 re: communication with feds.

Words exchanged. Physical fight broke out. Trevon Lane was there. Trevon Lane had Death Row Records chain, taking that considered disrespectful. Police came to get situation under control. Separated them.

They went to concerts. Bad Boy Records about Death Row Records. Prosecutor asking about Lakewood Mall incident. There to get stuff for someone going to college. Lakewood not in Compton. Orlando Anderson was there. They ran into people from Mob Piru, Death Row Records.

Called them a prominent family in the neighborhood. He was initiated. Mob Piru was rival gang. Mid 90s: war going on between South Side & Mob Piru. Mob Piru associating with Death Row Records, Suge Knight, Tupac Shakur. He hung out with Bad Boy Records run by Sean Puffy Combs.

Anderson to make sure it went smooth. Anderson was “looking out for all of us.” Duane ‘Keffe D’ Davis known as a hustler. Grew up around there. Getting money on a higher level. “He was on a bigger level.” Narcotics. Not a 9-5pm job. Orlando Anderson was nephew of Davis.

TUPAC MURDER TRIAL DAY FOUR: Devonta Lee: Not voluntarily here: under court order. Expressed many times he does not want to participate. No choice. Orlando Anderson was friend. Joined South Side Crips or couldn’t come around anymore. Would face repercussions if he didn’t.

S: 8 NEWS VEGAS

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Music IP Holdings (MIH) today unveiled a broad patent framework for generative AI, designed to drive responsible innovation while providing additional ways to protect artists, songwriters and their music.

Udio and GRAI are the first technology companies to license the MIH patents, supporting the development of licensed AI services including covers, remixes and a wide range of interactive music experiences. The licenses also provide additional protections designed to address the unauthorized redistribution of AI-generated content beyond their services. The patents extend beyond music to a broad range of content, including audio, video, film, animation, images and text, as well as applications involving name and likeness.

MIH holds and manages a portfolio of more than 24 patents, both issued and allowed, with a further 50+ patents pending. The portfolio spans the full process of creating, licensing and commercializing AI-generated content: from the moment a prompt is entered through moderation, watermarking, identifier tagging, authorization, licensed distribution and payment across both open and closed ecosystems.

Barefoot Media, led by CEO Bill Campbell, is supporting MIH in bringing the portfolio to market and developing licensing opportunities across the technology and creative industries.

The patent framework will provide additional protections for rightsholders. As part of its previously announced collaboration with MIH, Universal Music Group (UMG), its affiliates, artists and songwriters and other participating rightsholders will be able to utilize the portfolio to further protect their works against unlicensed and unauthorized generative AI uses.

Daniel Drolet, CEO of Music IP Holdings (MIH) said, “Artists and songwriters shouldn’t have to choose between embracing AI and protecting their life’s work. And responsible AI companies should have a clear path to innovate. This portfolio is designed to do both: creating new opportunities for responsible innovation while giving artists, songwriters and rightsholders stronger protections and the ability to share in the value their work creates. The portfolio was developed to enable a standard that provides creators of all types the ability to generate, track and ensure new AI revenue streams while simultaneously providing strong options to manage unauthorized AI outputs.”

Andrew Sanchez, Founder and CEO of Udio said, “This is a genuine inflection point for AI and music. With MIH, we’re partnering to implement the infrastructure that protects artists and establish the guardrails that ensure AI amplifies human creativity. That work — the technology, the licensing, the partnerships — is what makes the next chapter one artists can actually build on.”

Ilya Liasun, CEO and co-founder of GRAI said, “Nobody has ever been just a listener. We drum a song on the steering wheel, cry to it in a parked car, send it to a friend at one in the morning. GRAI is building a social streaming service where music moves between people. And when someone puts something of their own into a song they love, the artist is asked, credited and paid, every time. These patents are what make that possible.”

Bill Campbell, CEO of Barefoot Media said, “Throughout every major shift in digital music, the most successful models have been built by bringing technology companies and rightsholders together around clear, practical licensing frameworks. MIH’s portfolio creates that bridge for generative AI—giving responsible innovators a path to market while helping protect artists, songwriters and the value of their work. Barefoot Media is proud to help bring this framework to the global creative and technology communities.”

Chris Horton, EVP, Strategic Technology at Universal Music Group said, “These patents are an important way to reinforce the strategy we believe will play a critical role in the next era of music: embracing ethical innovation that puts artists and songwriters at the center, with greater agency, influence and value-chain participation for the creative community. We are thrilled to join MIH, music companies, and responsible technology enterprises in building an AI music ecosystem that works for everyone, especially the creative forces that makes it all possible.”

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Chance the Rapper has earned 11 new RIAA certifications from his landmark mixtape Coloring Book, including 4x Platinum for “No Problem,” 2x Platinum for “Juke Jam,” and Platinum certifications for “Same Drugs,” “Smoke Break,” “Summer Friends,” “Angels,” “All We Got,” and “All Night.” “Mixtape,” “How Great,” and “Finish Line / Drown” have each been certified Gold.

The new certifications come as Coloring Book has officially been certified Platinum by the Recording Industry Association of America (RIAA) during the project’s 10th anniversary year. Last night, during Chance’s sold-out Coloring Book 10 Year Anniversary Tour stop at New York City’s SummerStage in Central Park, Joey Bada$$ surprised Chance onstage to present him with three of the 11 new certifications, including his Coloring Book Platinum plaque, 4x Platinum plaque for “No Problem,” and Platinum plaque for “Summer Friends.”

The full list of Chance’s 11 new certifications includes:

4x Platinum – “No Problem”
2x Platinum – “Juke Jam”
Platinum – “Same Drugs”
Platinum – “Smoke Break”
Platinum – “Summer Friends”
Platinum – “Angels”
Platinum – “All We Got”
Platinum – “All Night”
Gold – “Mixtape”
Gold – “How Great”
Gold – “Finish Line / Drown”

The Platinum certification adds to a list of milestones that continue to define Coloring Book. The mixtape earned Chance three Grammy Awards, including Best New Artist, Best Rap Album, and Best Rap Performance for “No Problem” featuring Lil Wayne and 2 Chainz.

Photo Credit: NYC Photography – Anaya Ford

Released in May 2016, Coloring Book marked a defining moment in Chance the Rapper’s career and a breakthrough for independent music at large. With Coloring Book, Chance became the first independent artist to win a GRAMMY. The critically acclaimed mixtape reshaped perceptions around streaming, artist independence, and the evolving music landscape. Blending gospel, hip-hop, and soulful live instrumentation, Coloring Book delivered an uplifting, community-driven sound that resonated across audiences and featured standout collaborations with Kanye West, Justin Bieber, Kirk Franklin, Lil Wayne, 2 Chainz, T-Pain, and Saba. Created alongside longtime collaborators Nico Segal, Peter Cottontale, and The Social Experiment, with additional production from Kaytranada, Brasstracks, and Francis and the Lights, the project received widespread acclaim from critics and fans alike. Rolling Stone hailed it a “gospel-rap masterpiece,” while The New York Times recognized Chance as “a crusader and a pop savant.” Complex called it “a defining moment for independent artists,” cementing its place as one of the most influential releases of its era.

The anniversary tour also comes as Chance approaches another milestone. Saturday, August 15 marks one year since the release of Star Line, his first full-length project since 2019. Across 17 tracks, Star Line blends Chicago’s soul-rooted traditions with global influences as Chance explores growth, faith, fatherhood, identity, and community. The album debuted in the Top 10 on Billboard’s Top Album Sales Chart and reached No. 2 on Spotify’s Top Albums Debut USA Chart. The project was met with critical acclaim, with Billboard calling it “some of the best songwriting of Chance’s career,” The New Yorker noting that “Chance is as lively as ever,” and Hypebeast highlighting the album’s blend of “hip-hop, soul and experimental music” with lyricism centered on identity, resilience, and legacy.

The Coloring Book 10 Year Anniversary Tour continues Friday, August 14 in Waterloo, New York, followed by stops in Montreal, Toronto, New York City, Boston, Philadelphia, Atlanta, Nashville, Dallas, Houston, Los Angeles, San Francisco, Seattle, Denver, and more before wrapping October 11 in Pittsburgh.

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Today is day three of the trial of Duane ‘Keffe D’ Davis, accused of orchestrating the murder of rapper Tupac Shakur in Las Vegas in 1996.

Today is a half-day of testimony that is set to begin at 1 p.m. While it’s unclear who exactly will testify or what the order of witnesses will be, the testimony on Tuesday referred to Marion ‘Suge’ Knight and Death Row Records. Knight was on the prosecution’s witness list, but has said he would not be cooperative if forced onto the stand.

Through two days of testimony, prosecutors have called over a dozen witnesses to describe the fatal shooting of Shakur in 1996 and the gang tensions that preceded it.

Eight witnesses were called on Tuesday, including a forensic pathologist who testified about the autopsy and a retired police sergeant who secured the crime scene’s shell casings.

William Heidmyer, a former security guard at Maxim Hotel, talked about hearing shots while in the parking garage.

LIVE UPDATES

Juror question: Were the feds more worried about bigger fish rather than Keffe? 2006…smaller investigations already on the ground. Feds were brought in to help to try to solve both cases once we found out what Davis said.

Prosecutor: When you were talking to Davis, did you have reason to doubt his version of events? Dupree says he didn’t have reason to believe Davis was lying. Says Orlando Anderson was loved & he doesn’t think Davis was place blame on him if it didn’t happen that way.

Again discussing proffer in 2008. Davis said Sean Puffy Combs solicited murder in LA. Prosecutor: pointing out LAPD would have no jurisdiction for a Las Vegas murder. Could not confirm info about Zip.

Talking about Greg Kading’s book. Had to make sure everyone was okay if they were outed in the book. He was still in charge of the murder investigation re: Biggie Smalls. Dupree: “I stick to the code.” Says you’ll never see him on a podcast, doing interviews (in comparison to Kading)

Dupree: “Everybody was a suspect.” At some point, focused on Duane Davis. Identifies him in court. Vehicle used in Christopher Wallace was Impala. Davis had an impala. “We knew Mr. Davis was the man with all the money, in the hood, neighborhood.”

WITNESS Daryn Dupree was an LAPD detective, started in 1990. Task force related to Christopher Wallace, aka Biggie Smalls, murder. His mother filed lawsuit, claiming there was officer involvement in his death. 2006 task force to uncover whether cops involved & to solve it.

Proffer was an opportunity to help himself during sentencing.

Question: What info was followed up on by FBI given in Davis’ proffer? Lee: notes it was a long time ago. Recordings played or photos of individuals identified. Was there a check list after? That’s not the way we operate. Files have hundreds of files over course of the investigation.

Sanft: you are not aware of any agreements w/ other agencies…right? Lee: w/ regard to interview on July 14, 1998, agreement with Davis & Feds. Juror question: if info was not followed up on, what was motivation of interview? Lee: we were following up on gang activity in area.

Prosecutor touches on the difference between proffer and immunity. At no point did the state of Nevada, Clark County DA’s office…make agreement with Davis…

Prosecutor: points out info was not be disclosed to police departments. Info was for FBI only. Proffer agreement includes confidentiality. Prosecutor points out Lee was talking to Davis for a federal drug case. Not the murder of Tupac Shakur. Kept promise to keep it confidential.

Sanft asking about claim by Davis that Reggie Wright Jr. was dealing drugs out of auto shop. Why was it included in the report? Lee: All the info is important.

Sanft: What facts did you have to support Lakewood mall incident even happened? Lee: Several witnesses. Sanft: Did you ever go to mall to verify? Lee: no. Sanft: did you reach out to PD there? Lee: info provided by Davis. Sanft: State presented this, But you can’t verify this?

Lee: Background on gang organization…not like they have a membership card. Says they concluded Davis had status, was a leader in South Side Crips… Talks about high level drug crime. “It was the totality of the information”

Sanft: How much did you actually arrest Davis with? Davis: intercepted convos between him & an individual discussing transaction, price, quantity, delivery. But Davis did not get caught with the actual cocaine. Sanft: Davis put a hit on anyone with wiretaps? Lee: No.

Sanft: Did you ever call LVMPD or Compton PD to say we have info about Davis being in Las Vegas at the time of the Tupac Shakur murder? Lee: No. Sanft: in terms of Reggie Wright Jr., did you pass that long to those covering Compton area? Lee: yes

Sanft: Any phone calls on wiretap indicate Duane Davis talking about the murder of Tupac Shakur? Lee: believes not about involvement, but maybe about Davis being in Las Vegas at the time.

Sanft taking parts of the interview, asking Lee if he verified the info. “No, I did not.” Who in the FBI was responsible for following up on info about murder of Tupac Shakur? “I was not specifically tasked to follow up & track that down.”

Sanft: Was there an actual proffer signed…do you have a copy? Lee says agreement is between Davis & federal prosecutors…not him. Lee: if an individual comes in & they’re not truthful…we would report that to the U.S. Attorney’s office…federal prosecutors could use it for sentencing

Sanft points out that recorders were available during the interview with Davis. The documentation is from a report. Not a recording. Proffer: July 14, 1998. Proffer agreement: whatever you tell us, we won’t prosecute you for. Report: July 16, 1998.

Davis said they would have waited to strike back in Compton. Cross-examination from defense attorney Michael Sanft: Did you ever visit Compton PD to see how they do their work? No.

Davis talked about gang war after the murder of Tupac Shakur. Claims the reason people believe that Orlando Anderson is killer because Compton PD members were telling people that. Davis said he & Anderson were upset about MGM incident but wouldn’t do it with so many police around…

Davis said original supplier left the country, then worked with new supplier. Denied he was leader of South Side Crips. Davis entered a guilty plea. Sentenced to prison. They talk with him in prison. Davis said he was not aware of any motive for Death Row members to kill Anderson.

Davis told FBI he was at the museum where Biggie Smalls was killed, but denied involvement. Davis said a sketch of possible suspect in that murder looked just like Reggie Wright Jr. Talked about how Orlando Anderson died. Denied distribution initially, then discussed locations.

Talked about the MGM incident, which stemmed from the mall incident. Said Orlando Anderson went back to the hotel room after it. Repeatedly denied knowing who killed Tupac. Speculated maybe it was Compton police working for Suge Knight since Tupac was talking about leaving Death Row Records.

Mentioned Omar Bradley, former mayor of Compton, said he was associated with crime. Said Reggie Wright Jr. had drug distribution location at auto body shop & he had MOB James, distributing out of the shop location. Talked about mall incident a few weeks before murder of Tupac Shakur.

Davis said Suge Knight was associated with Mob Piru. When Knight was arrested, Reggie Wright Jr. took over. Davis said he never had issues with Suge Knight & the other individuals prior to the killing of Tupac Shakur. Accused Reggie Wright Sr. of being a corrupt cop.

Also discuss individual, ‘Fats.’ Discuss Wayne Day, large-scale drug trafficker. Davis said they were related. Davis said he had a side handled as far as drugs. He said Reggie Wright, Jr. handled the north side. Talked about the start of Death Row Records.

July 16, 1998. Proffer session. Purpose: info about gang & drug activity. He was not directly investigating the Tupac Shakur murder. They knew Davis was person of interest though & asked questions about it as well. They discuss individual, ‘Zip.’ Referred to as pimp.

Points out it is confidential.

Present: Partner was with him. Assistant US Attorney. Attorney for Davis. Says he and partner maintained confidentiality of it. He is authorized to talk about it today…federal government gave permission after state prosecutors made request.

Davis indicted for trafficking 2 kilos of powder cocaine. He does proffer with Davis, a common practice in the federal justice system, beginning of negotiation for plea agreement. Federal prosecutors & defense agree. In return, feds won’t use info to charge them. Can be violated though.

Investigated ‘Grape Street Crips,’ large gang. Largest Crips group in U.S. Controlled Jordan Downs housing project. Came across Duane ‘Keffe D’ Davis. Obtained info to develop case…re: drug trafficking. Indicted for selling 2 kilos of cocaine. Evidence included wiretaps.

TUPAC MURDER TRIAL DAY THREE: WITNESS: Wade Lee, special agent with FBI in 90s. With FBI for 25 years, started in May of 1996. Retired about 5 years. Assigned to squad working on a major offenders program…federal task force. Several squads in LA assigned to different regions.

S: 8 News Vegas

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