By: Todd “DG” Davis
Rapindustry.com
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Every great record has a story. Sometimes, the most important part of that story belongs to the person whose name never makes it into the conversation. In hip-hop, where beats become anthems, movements become history and the people behind the music can sometimes get lost in the credits, Charlemagne has a story that deserves to be heard—not just remembered.  

Born in St. Lucia and raised in the Bronx, Henri Charlemagne’s relationship with music began long before the industry came calling. It started with records brought home by his uncle, a young mind fascinated by the names in the liner notes, the musicians behind the instruments and the creative process that turned an idea into a song. That curiosity never left him. It became the foundation of a career built on instinct, experimentation, ambition and an undeniable love for the craft.  

By 1993, that passion had grown into Fortress Records, an independent operation that helped cultivate talent, develop artists and give rise to Natural Elements. What followed was more than making beats. Charlemagne helped shape a signature sound, encouraged individuality and introduced a three-man lyrical weave that became part of the group’s identity. From New York’s underground circuit to records connected to some of hip-hop and R&B’s biggest names, his fingerprints reached well beyond the neighborhood and the studio.  

His journey has crossed paths with The Notorious B.I.G., JAY-Z, Mary J. Blige, Talib Kweli, The Diplomats, Cam’ron and Ice-T, among others. Yet, for all the names, records and chapters, Charlemagne’s story isn’t simply about who he worked with. It’s about what he contributed, the artists he helped develop, the creative risks he took and the independent foundation he helped build when there was no guarantee of where it would lead.  

And there’s another side to this story: the business of being recognized for your work. Charlemagne speaks candidly about the lessons, missed opportunities, relationships and frustrations that come with a career spanning more than three decades. He isn’t asking for a ceremonial tribute years from now. He’s asking for the people who know the history to speak on it while he’s here to hear it.  

This is not a trip down memory lane for nostalgia’s sake. It’s a conversation about the making of a producer, the building of a movement, the people behind the records and the importance of giving credit where it’s due. From St. Lucia to the Bronx, from Fortress to the present day, Charlemagne has put his time, talent and fingerprints into hip-hop’s story.  

The discography speaks. The history is there. Now it’s time to hear from the man who helped make it.

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You were born in St. Lucia and raised in the Bronx. How did that journey shape your ear, your perspective, and ultimately the producer who became Charlemagne?  

In St. Lucia, I was always surrounded by music, and my uncle used to bring American records into the house. The first record I remember was an Elton John album, Captain Fantastic and the Brown Dirt Cowboy. I was fascinated by the credits and wanted to know who played the drums, how they got into the studio, and everything behind the music. When I emigrated to the Bronx in 1976, that curiosity continued. I started playing a toy organ, making up my own songs and discovering even more records. That curiosity helped shape my journey.  

You came up in New York’s underground during the early ’90s, when hip-hop was still built heavily on relationships, reputation, and being in the room. What was that scene really like from the inside, and what made you know you belonged in it?  

I didn’t know I belonged. I just knew I wanted to make music. My friend, now business partner, Vidal Goring, believed in me and helped me pursue that musical journey. The MCs came later, but we were the ones learning early on through trial and error.  

In 1993, you co-founded Fortress Records and became instrumental in developing Natural Elements. What did you see in those young MCs that made you believe they could become something special?  

Some, like L-Swift and Dante, I had known for years. Others, like Tim, Mr. Voo, Smallz, G-Blass and KA (yes, that KA), I heard and helped develop their styles. They would tell you that themselves.  

You helped develop Natural Elements’ signature three-man weave, which became one of their defining trademarks. Where did that concept come from, and how did you teach three individual voices to function almost like one?  

We experimented with different styles. I think I just thought, “What if one person said four bars, then another said four bars, and then another said four bars?” That’s how it was born. We just wanted to be different. It had perhaps been done as a double, but a triple team was different. I also had a guy named Shakespeare (Franklin Rossman), who used to rhyme whole sentences. We were ahead of our time.  

You’ve worked with everyone from The Notorious B.I.G., Jay-Z and Mary J. Blige to Talib Kweli and Jermaine Dupri. What did working with artists at that level teach you about the difference between simply making a beat and actually producing a record?  

I was producing without even knowing it, going back to my time at Fortress. I made hooks, coached R&B singers, and advised rappers on cadences and styles. I had fewer connections with the major artists. The bigger “producers” were afraid of my ambition and my ability to do it all, and they knew I had heat. I wish I had taken a page from Kanye’s approach and hadn’t been so agreeable to all their demands. I also sometimes think maybe I was blackballed because of it. I was always professional: just do the music and bounce. No smoking, drinking or partying afterward.  

Your credits also connect you to The Diplomats’ Diplomatic Immunity and Cam’ron’s Killa Season. What do you remember about that particular New York era and the energy surrounding those sessions that people on the outside probably never saw?  

I saw their hunger and determination to make it. They were putting out mixtapes, releasing a tremendous volume of music and freestyles, and taking advantage of their access to Roc-A-Fella. That era was great. Dipset was a dope movement.  

Then there’s Ice-T and Criminal Migraine. What made that project and your creative relationship with Ice-T different, and what did he bring into the studio that challenged or inspired you as a producer?  

I’ve known Ice for a while now, and he’s one of the most real and genuine people. My brother met him at a supermarket and gave him my beat CD years ago, and we’ve been cool ever since. I stayed in touch, and he eventually reached out and said he wanted to do an album, then fell back. I insisted that he still had it and did a remix of a previous song we had worked on that was catching fire with the Twitch DJs. When he saw that, along with his peers in his age bracket making comebacks, he became convinced to do this new album.  

Looking across your catalog, you’ve moved comfortably between underground hip-hop and major artists. How have you managed to keep your own identity while adapting your sound to different artists, eras and expectations?  

I think it’s my passion for music that helps me navigate through it. I like creating and seeing people’s reactions to a piece of art that was in my head and came to life. I don’t look at the artists I work with as one being better than another. It’s simply about what’s good for the project.  

You’ve been around long enough to experience hip-hop before the internet changed the game, through the CD era, digital revolution, streaming and today’s social-media-driven culture. What’s one thing about the old-school way of creating records that you wish today’s generation could experience firsthand?  

Just the overall experience: creating something from scratch, the slow-baking process, hearing it when it’s done, having reservations but releasing it anyway, then hearing it on the radio for the first time and seeing the reactions from fans, friends and family.  

After all the artists, records, studios and different chapters, what’s a moment in your career that still makes you stop and say, “Damn, I was really there for that”?  

First, being part of one of the first independent labels on the underground scene: Fortress Records. I kept my crew out of trouble and helped them channel their experiences and talent into songs. Natural Elements was the crown jewel, and it’s amazing and makes me proud to see them advance. KA was a student, and he taught me about the independent grind, so I’m always learning.  

Another moment was being around other producers early in their careers. I knew Kanye and Just Blaze during the Blueprint / “Bassline” era.  

And now, it’s the long-standing relationships I’ve maintained, like the one with Ice-T.  

Longevity is something a lot of producers talk about, but very few actually achieve. What has kept you creating, evolving and staying connected to the culture for more than three decades?  

Again, I’ll go back to my passion for music. If I didn’t love it, I would’ve quit long ago. I love creating. Unfortunately, there have been—and still are—blind spots on the business side that I’ve missed because of my heavy concentration on the creative side.  

When you look back from St. Lucia to the Bronx, from Fortress Records and Natural Elements to Ice-T, The Diplomats and the many artists you’ve worked alongside, what do you want your contribution to hip-hop to ultimately mean—and what chapter of the Charlemagne story are you still writing?  

My contribution so far has been being that guy you can go to for some dope music, and my discography will speak to that. As for my legacy, it’s still being written because it seems some folks are trying to erase me, my name and my contributions to their careers. I have to fight for my “flowers” every day. I want the people who know what I did and what I’m still doing to speak loudly and not wait until I’m gone to give me my props. In fact, I don’t want them if that’s what it takes for you to give them to me.

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Produced By: Nic Nac
Distributed By: Create Music Group

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Produced by Harry Fraud

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MJBizCon, the world’s largest and most influential B2B cannabis Conference and Expo, has announced Grammy-nominated artist and Khalifa Kush Co-Founder, Wiz Khalifa, as keynote speaker and concert headliner on Wednesday, December 2, at the Las Vegas Convention Center.

Long before legalization went mainstream, Wiz Khalifa made cannabis part of his identity, his music, and his message. Since the 2010s, he’s turned that passion into a premium cannabis business, Khalifa Kush, built on the culture he helped shape.

Khalifa will share his journey from artist to cannabis entrepreneur during From Mixtapes to Market Share: Wiz Khalifa’s Cannabis Playbook, a 30-minute fireside chat taking place Wednesday, December 2, at 1:00 p.m. on the General Session Stage (N109). The keynote is open to all MJBizCon attendees, regardless of badge type.

The conversation will explore how Khalifa transformed a personal strain into a recognized consumer brand while maintaining the cultural authenticity that helped establish it. He’ll discuss the importance of choosing the right partners across cultivation, distribution, and retail, the challenges of scaling a cannabis business, and his perspective on where the global cannabis market is headed.

Later that day, Khalifa will trade the keynote stage for the music stage, delivering a live performance at 5:00 p.m. at The Gas Station, MJBizCon’s all-new live music stage powered by Weedmaps.

Debuting at MJBizCon 2026, The Gas Station brings live music and entertainment directly to the Expo Floor, giving attendees a new way to close out the show day before heading into the Las Vegas nightlife. Khalifa will headline Wednesday’s performances alongside an opening act to be announced. Live music will continue Thursday, December 3, with additional artists and performances to be revealed.

MJBizCon 2026 takes place December 1–4 at the Las Vegas Convention Center, beginning with Pre-Conference Certifications and special programming on Tuesday, December 1.

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Main Artist: Tone Stith
Main Artist: Muni Long
Producer: Kenneth “KP” Paige
Producer: Christopher “Brody” Brown
Producer: B HAM

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Out today on all digital stores and limited CD edition, “38th & Garfield” by Chicago rapper Von off North Ave (before Dyzzi from DivSel). The lead single “Pull Up”, where Von shows off his sharp flow over a heavy, trunk-rattling beat produced by Juno Adonis. You can hear this boom bap, jazzy and mellow sound throughout the whole EP.

The only feature is on the track “Trippin’ ” by PayZay, one of Von’s closest friends. Next to Juno Adonis on “Pull Up”, the production is done by Ghowste on “Marques Said” and “3rd Day In”, In The Mix by 3am, and “Trippin’ ” by Kulture..

Von adds: ” “38th & Garfield” feels like the proper step I didn’t take before. I felt I’ve always been honest in my music but when it came to output, I felt what both helped and hurt me, was giving so much of it away in abundance. I was so focused on being labeled a “project artist” that certain songs I feel are some of my best, never got their proper time to shine and/or marinate with my listeners. This tape is a collection of songs that I maybe had ready for planned/cancelled projects but I still have a place in my heart for. And all this re-routing takes me back to the feeling of where this all started, my block on 38th & Garfield. Where the main focus was just/strictly the music. And this EP even just being 5 tracks, has something for everyone to enjoy. From raps of being out of the loop and focused on my personal life, to wordplay, crumbs of my love life, even a song I wrote completely in jail and on jail/inmate request sheets.”

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Atlanta rapper, singer, producer and podcaster Sy Ari Da Kid releases his song “Clothes Off,” an intimate, late-night R&B slow jam with a sensual, bedroom-ready feel. It’s the lead single from his upcoming project The Ex I Never Had available on January 8.

“I created ‘Clothes Off’ to be the ultimate cuddle anthem,” Sy Ari explains. “Everybody loves being close to someone they care about, but we don’t talk enough about craving that person’s presence, warmth, and intimacy when you miss them. I wanted to capture that feeling with a playful, flirty vibe that sets the mood and reminds people that sometimes all you want is to get comfortable, pull your person close, and leave the clothes off. After all, they say it’s disrespectful to get in somebody’s bed with your clothes on!”

The track follows the purpose-driven single “Do Black Men Need Therapy (Remix)” released last month. For that release, Sy Ari partnered with non-profit mental health resource center Black Men Heal to launch “Beyond the Question: Real Talk. Real Healing“ campaign. Through the campaign, he raised awareness for the organization, sparking necessary conversation to move dialogue and towards driving solutions and co-hosted “King’s Corner,” their weekly peer group that provides a safe space dedicated to mental health as well as created a charity merch capsule designed to directly fund free mental health treatment for men of color.

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Detroit rapper Zelooperz releases his new album Pin Breakers, out now on digital platforms and limited-edition grey vinyl via Earl Sweatshirt’s Tan Cressida Records imprint. Nearly a decade in the making and produced entirely by Black Noi$e, the project includes the previously shared singles “Masons Dispatch” and “Beautician,” alongside a sole guest appearance from fellow Detroit native and Bruiser Brigade co-founder Danny Brown.

The origins of Pin Breakers stretch back to 2017, when Zelooperz and Black Noi$e were living together at Detroit’s Bruiser House, a creative hub for members of the Bruiser Brigade collective. Zelooperz would regularly knock on Black Noi$e’s door looking for new beats, recording almost daily in the house’s home studio. What emerged from those sessions was an album rooted in years of friendship and a shared musical language. Completed in 2019, the record spent years sitting dormant on a discarded hard drive before Black Noi$e rediscovered it, giving the collaborators an opportunity to finally bring the music to a wider audience.

Across Pin Breakers, Zelooperz revisits formative experiences spanning childhood, adolescence and adulthood, with stories reaching as far back as his early teenage years. Drawing inspiration from the vivid storytelling of artists like Scarface, E-40 and Devin the Dude, he moves between personal recollections and the irreverent, unpredictable lyricism that has made him one of Detroit’s most singular voices. Black Noi$e provides the musical foundation throughout, bringing the inventive production sensibility that has made him a sought-after collaborator for artists including Earl Sweatshirt, Armand Hammer, Danny Brown, LUCKI, Pink Siifu, Paris Texas, and Lexa Gates.

During a bowling trip in Glendale, Zelooperz threw a ball with enough force to dislocate his shoulder, an injury that would affect him for six months. The incident became the inspiration for Pin Breakers, a title that plays on both the physical act of breaking pins and the freedom of breaking the pen –– allowing ideas to flow without restriction. As Zelooperz puts it, “You can’t appreciate the good days without the pain from the bad ones.”

Though recorded years ago, Pin Breakers is more than a recovered artifact. It’s a portrait of an artist coming into his own, shaped by the friendships, influences and experiences that continue to inform his work today. The album also marks Zelooperz’s first release on Tan Cressida, following his time on the road with Earl Sweatshirt for the Live Laugh Love tour in 2025.

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Following the release of her final early single “Warmest Shade of Blue” earlier this week, Iranian Swedish-born singer, songwriter and producer Snoh Aalegra releases her new album Legendary Love via Stem. Alongside the album’s release, Snoh is also sharing a new music video for the standout album track “Supernova”, directed by Alfred Marroquín, that finds Snoh dashing through London.

Her first full-length release in five years, the new album immortalizes a karmic relationship that never fully materialized and cements the impact it had on her own life through documenting her own personal growth in her most introspective and incisive songwriting of her career to-date. Writing through the emotional journey of the relationship in real time over a two-and-a-half year period, Snoh channeled the veracity of those emotions into the lyrics and equally, the recording process that followed.

She demanded absolute authenticity in the music to do her soul-bearing words justice, reuniting Joel Compass and building a new creative partnership with Josh Grant to forge the true-to-life sound that captured her experiences with her unnamed muse, informed by the warm nostalgia of ‘80s R&B. Every synthesizer, drum machine and guitar line was captured using authentic vintage gear that paid reverence to the influences she was drawing from. She also enlisted some of her musical heroes from that era to capture those sounds and revitalized the experience of making music for her, co-writing with Babyface, and working with the likes of Jimmy Jam & Terry Lewis, Raphael Saadiq, and Nile Rodgers. Contemporary collaborators like Mustafa, Dahi, Daniel Caesar and more also contributed to Legendary Love.

In a message to her listeners shared alongside the release of the album, Snoh wrote:

“To a love that felt written long before we met, even if it only lived in a moment. A karmic, ancient memory I recognized before I understood it. This album is my dedication to what never arrived in my hands, but still took root in my chest like something sacred. For the magic I didn’t get to keep, I immortalized it in these songs, as proof it was real.”

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Award-winning singer, songwriter, producer, and multi-instrumentalist Leon Thomas unveils his first new single since earning six GRAMMY nominations and two wins at the 2026 GRAMMY Awards, “TROPHY.” A slow-burning R&B record, “TROPHY” marries soulful melodies with lush, funk-inflected production and the timeless sensibility of classic soul. Warm instrumentation and Leon’s smooth vocals lend the track a sensual pull, letting the romance unfold with every note. Produced by Freaky Rob and D. Phelps, “TROPHY” finds Thomas exploring a more intimate kind of victory, where the pursuit is just as rewarding as the prize. 

“TROPHY” arrives following the announcement of Thomas’ upcoming performance at Coachella in April 2027 and ahead of his appearance at Camp Flog Gnaw Carnival in Los Angeles on November 14. The release comes amid a standout year of live performances and collaborations for Thomas, who has continued to lend his vocals to an impressive roster of artists, including Victoria Monét, Kehlani, GIVEON, Davido, Lucky Daye, and more. On the live front, he joined Bruno Mars on The Romantic Tour and supported Lenny Kravitz at Gunnersbury Park in London. Thomas also took his MUTTS DON’T HEEL tour overseas following a sold-out North American run, with dates across Europe in the spring and Australia and New Zealand over the summer. He also performed at Lollapalooza and Austin City Limits Music Festival.

The single follows the remarkable commercial and chart success of MUTT, which has amassed more than 3.1 billion streams worldwide. The album’s impact extended beyond the charts, earning features in The New York Times, GQ, Variety, and more, while Thomas’ NPR Tiny Desk performance became one of the platform’s highest-performing performances of 2025. He went on to grace the cover of Billboard’s R&B/Hip-Hop Power Players issue, where he was also named Breakthrough Artist of the Year and received the Creative Visionary Award. Onstage, Thomas joined Stevie Wonder, Questlove, and an all-star lineup to honor Sly Stone at the Rock & Roll Hall of Fame Induction Ceremony, before joining Ms. Lauryn Hill and other acclaimed artists in a tribute to the late D’Angelo at the 2026 GRAMMY Awards. His continued recognition throughout 2026 includes Breakthrough R&B Artist at the American Music Awards, Best R&B/Pop Artist at the BET Awards, two wins at the iHeartMusic Awards, the ASCAP Vanguard Award, and a No. 2 ranking on Billboard’s Hottest R&B Artists of 2026 list.

With “TROPHY,” Leon Thomas opens the next chapter of his artistry, offering a first glimpse of the music to come as he continues to shape the sound and direction of contemporary R&B.

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BMI’s Atlanta office was excited to host an intimate listening celebration for R&B singer/songwriter Eric Bellinger’s latest, self-titled album. Born and raised in Los Angeles, Bellinger is an accomplished songwriter, having penned singles for names like Usher, Chris Brown, Justin Bieber, Wale, Big Time Rush, and others, as well as being a performing artist in his own right.

Guests of this private event, sponsored by I Best Wines, got to hear the full album, which dropped in August, as well as some thoughts from the singer/songwriter himself, who was in Atlanta as part of The R&B Tour, a North American stadium run co-headlined by Usher and Chris Brown.

David Robinson, BMI’s Wardell Malloy and Catherine Brewton and Krisean Wood attend BMI’s Eric Bellinger Celebration at BMI Atlanta on November 4, 2026. Photo Credit: Alfonzo Mendoza for BMI.

Eric Bellinger, Keyz, and guest attends BMI’s Eric Bellinger Celebration at BMI Atlanta on November 4, 2026. Photo Credit: Alfonzo Mendoza for BMI.

Eric Bellinger and guests toast at BMI’s Eric Bellinger Celebration at BMI Atlanta on November 4, 2026. Photo Credit: Alfonzo Mendoza for BMI.

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