By: Todd “DG” Davis
Rapindustry.com

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Before PA. Dre ever made a beat, music was already in his blood. 

Born in Memphis, raised in Northwest Pennsylvania, and now based in Sacramento, his journey runs from family musical roots to the heart of hip-hop’s underground. His father, a percussionist, played on Anita Ward’s “Ring My Bell,” while his grandfather played percussion on the original Shaft theme. For PA. Dre, though, that history wasn’t some grand introduction to the business—it was simply the soundtrack of home. 

At eight years old, he got his first keyboard, and listening became creating. That curiosity eventually grew into Mydus Tuch, his early work with the Underground Family, where he wasn’t just making music—he was producing, rapping, directing creatively, selling albums, performing, making MTV commercials, and even landing on the cover of the Meadville Tribune. Young, hungry, and figuring it out as he went, he learned early that waiting for an opportunity wasn’t the move. You created one. 

The road wasn’t always smooth. Groups dissolved, life happened, and hard lessons came with it. Wyldboiz Ent. with Stephon Streets and Vise Versa with his cousin Pree became important chapters, teaching him about chemistry, loyalty, relationships, and knowing that sometimes the music stops without the brotherhood having to. 

Then came RJ Payne. Their 2015 connection was immediate, eventually leading to Beautiful Payne ENT, Max Payne, and The Ghost Of tribute series honoring Big L, Prodigy, Big Pun, and Sean Price. It was a partnership built on instinct—PA. Dre creating the canvas, RJ knowing exactly how to attack it. 

That same ear has continued putting him in rooms with serious lyricists: Inspectah Deck, Mickey Factz, Ras Kass, Kxng Crooked, Queen Herawin, CZARFACE and others. 

But the latest chapter deserves its own spotlight. 

PA. Dre recently brought his production to Ice-T’s Criminal Migraine, a dope-ass LP that feels like a return to form for one of hip-hop’s true originals. Working with Ice-T isn’t about chasing nostalgia—it’s about helping an icon sound like himself while giving the music enough muscle to live in the present. PA. Dre’s production helps provide that foundation across standout cuts including “It’s All About…,” “You Can Get It,” and “Lost My Mind” featuring Treach. 

That’s a pretty damn good place to be after all these years. From the keyboard he received at eight to the Underground Family, from Mydus Tuch to PA. Dre, from the early crews to Beautiful Payne ENT and now sharing production space with one of hip-hop’s foundational voices, the journey has covered some serious ground. 

And through it all, the influences remain—RZA, Pete Rock, Havoc, J Dilla, Q-Tip, Large Professor, DJ Premier, Dr. Dre, Timbaland—but PA. Dre isn’t trying to sound like any of them. 

He took the lessons, found his own pocket, and kept moving. 

The geography changed. The industry changed. The equipment changed. The hunger didn’t.  PA. Dre is still listening for that feeling—and judging by the records, he’s still finding it.

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Q. PA. Dre, your story starts in Memphis, moves through northwest Pennsylvania, and now lands in Sacramento, but music was already in your blood. Your father played percussion on Anita Ward’s “Ring My Bell,” and your grandfather played percussion on the original Shaft theme. What did growing up around that kind of musical history teach you before you even realized you were learning? 

Honestly, music was just normal to me. I didn’t grow up looking at it like, “Oh, I’m from a musical family.” That was just my life. 

My father was a percussionist, and my grandfather played percussion on the original Shaft theme. My dad also played on Anita Ward’s “Ring My Bell.” So I was around people who actually made records, not just people who listened to records. 

My father was probably my first real music critic. He was very honest with me. He wasn’t going to tell me something sounded good just because I made it. If something wasn’t right, he was going to tell me. At the time, you might not always appreciate that, but looking back, that was probably one of the best things he could have given me. It taught me to listen. Really listen. 

I think that’s where a lot of my producer mentality came from. I learned that music is about feeling, but it’s also about knowing when something works and when it doesn’t. 

Q. You got your first keyboard at eight years old, and that eventually turned into production. Do you remember the first time you realized you could actually create something from scratch—not just listen to music, but build it?

I remember getting my first keyboard when I was eight. That was a big moment for me because I wasn’t just listening to music anymore. I had something in front of me that I could actually make sounds with. 

At that age, you’re just experimenting. You’re pressing keys, trying different sounds, and figuring out what sounds good together. But somewhere along the way, I realized, “I can actually make something.” And once I got that feeling, I never really stopped. 

Eventually, I got into equipment like my Yamaha 4-track, the SP-202, the Boss DR-550, keyboards, and different pieces of gear. I was always trying to figure out how to put things together. I think that’s still the part of production I love the most. You start with nothing, or maybe you find one sound that catches your ear, and then you build an entire world around it. 

Q. You’ve talked about hearing N.W.A.’s “Fuck Tha Police” and then being inspired by Dr. Dre and Snoop Dogg’s “Nuthin’ but a ‘G’ Thang.” Those are two very different records, but both were powerful introductions to what hip-hop could sound like. What did those records unlock in you? 

Those records showed me that hip-hop could make you feel something in completely different ways. When I heard “Fuck Tha Police,” that was powerful because it wasn’t just somebody rapping. There was anger, frustration, and reality in it. It made you pay attention. 

Then you hear “Nuthin’ but a ‘G’ Thang,” and it’s a completely different feeling. The production was smooth, the groove was crazy, and everything had space. That really made me start paying attention to the producer. 

I wasn’t just hearing the rapper anymore. I was hearing the drums. I was hearing the bass. I was hearing the samples. I was hearing how the whole record was put together. That’s when I started realizing that production could actually change the way somebody feels. And I think that’s what I chased from that point forward—the feeling. 

Q. By 1996, you were Mydus Tuch with the Underground Family, wearing multiple hats as producer, artist, and creative director. You were making MTV commercials, selling albums, performing, and even landing on the cover of the Meadville Tribune. What do you remember most about that early chapter when you were simply young and hungry enough to believe anything was possible? 

I remember being young and not being afraid of anything. We really believed we could do this. We weren’t sitting around waiting for somebody from the industry to come save us. We were making our own music, selling our own albums, performing, doing whatever we had to do. 

I was Mydus Tuch at that time, and I was doing a little bit of everything—producing, rapping, directing creatively. We even ended up doing MTV commercials and getting on the cover of the Meadville Tribune. When you’re young, you don’t necessarily understand how special some of those moments are. You’re just thinking, “We’re doing it.” 

Looking back now, that hunger was important. We didn’t have all the resources. We didn’t know everything about the business. But we had the belief. And honestly, I’ve carried that same mentality with me ever since. If I believe in something, I’m going to figure out how to make it happen. 

Q. Life took you through some hard turns, the group eventually dissolved, and you came out the other side as PA. Dre. Without romanticizing the struggle, how did those experiences change the man, producer, and artist you became? 

I don’t want to make the struggle sound glamorous because it wasn’t. There were things that happened in my life that I had to take responsibility for. There were consequences. There were people I disappointed. There were times when I had to really look at myself. But those experiences changed me. When you’re younger, you can think everything is about right now. As you get older, you start understanding that your decisions have a bigger impact. I became more patient. I became more serious about my life. And I learned that talent isn’t going to save you if you don’t have discipline behind it. Music also became different for me. I had more life to pull from. 

PA. Dre wasn’t just another name. It represented a new chapter. 

I had already been through things, and now I had to decide what I was going to do with the rest of my story. 

Q. You later formed Wyldboiz Ent. with Stephon Streets, then Vise Versa with your cousin Pree in the early 2000s. Looking back at those different crews and eras, what did you learn about chemistry, loyalty, and knowing when it’s time to take music more seriously? 

Those different groups were all important chapters in my life. But one thing I definitely want people to understand is that just because you stop making music with somebody doesn’t mean you stop loving that person or that the relationship is over. 

Me and Stephon Streets are still close like brothers to this day. We just haven’t made music together in years. 

When you’re younger, you can sometimes think that everybody has to stay on the same path forever. As you get older, you realize that’s not how life works. People grow, responsibilities change, life happens, and sometimes the music takes you in different directions. But the bond can still be there. 

Wyldboiz Ent. was an important part of my development, and Stephon was an important part of that chapter. Vise Versa with my cousin Pree was another chapter that taught me different things. I learned a lot about chemistry, loyalty, and relationships. I also learned that being loyal to somebody doesn’t necessarily mean you have to keep doing the same thing together forever. 

Sometimes the music stops, but the brotherhood doesn’t. And those experiences helped me understand that relationships are bigger than a song, a group, or a company. 

Q. In 2012, you finished in the Top 10 out of roughly 40,000 producers in the PRhyme Producer Remix Challenge with Royce Da 5’9″ and DJ Premier. What did that moment mean to you as a producer, and did it validate some of the work you had been putting in when nobody outside your circle was necessarily watching? 

That was a big one for me because you’re talking about roughly 40,000 producers. To make that Top 10, you know somebody outside of your immediate circle heard what you were doing and thought it was good enough to stand out. And the fact that it was connected to Royce Da 5’9″ and DJ Premier made it even more meaningful. 

Premier is one of those producers I’ve always respected. So to be involved in something connected to that world and make it that far was validation. Not validation like, “I’ve made it.” More like, “Okay, I’m not crazy. The work I’ve been putting in actually means something.” 

Because a lot of producing happens in the dark. You’re making beats when nobody’s calling you. You’re experimenting when nobody is listening. So moments like that remind you that somebody is hearing it. And then you go right back to work. 

Q. Then comes RJ Payne. You two connected in 2015, the chemistry was immediate, and that relationship helped build what became Beautiful Payne ENT. You produced the majority of Max Payne and went on to create The Ghost Of series honoring Big L, Prodigy, Big Pun, and Sean Price. What made that partnership click, and what happens when two people understand the music without having to over-explain it? 

RJ and I started working together in 2015, and when we connected, the chemistry was pretty immediate. There wasn’t a lot of explaining that needed to happen. I’d send something, he’d hear it, and he understood what I was trying to create. And when he started putting his vocals on it, he could take the music somewhere I didn’t necessarily expect. That’s rare. 

A lot of times, an artist and producer can be talking about the same record but hearing two completely different things. With RJ, there was an understanding. That’s what allowed us to build what became Beautiful Payne ENT and create projects like Max Payne and The Ghost Of series. And those Ghost Of projects were special because we weren’t just making records. We were paying homage to people who meant something to us—Big L, Prodigy, Big Pun, and Sean Price. RJ understood how to take those concepts and make them his own, and I understood how to create the musical environment for him to do that. 

When the chemistry is right, you don’t have to force it. You don’t have to sit there and explain every little thing. Sometimes you make the beat, the artist hears it, and you already know where it’s going. That’s what happened with me and RJ. 

Q. Your production résumé has grown into some serious company—from Ice-T, Inspectah Deck, and Mickey Factz to Benny the Butcher, Method Man, Raekwon, Havoc, Ransom, Skyzoo, Ras Kass, and a long list of respected underground heavyweights. What are you listening for when an MC gets in front of one of your beats? 

I’m listening for personality. I want to hear who you are. I don’t care if you’re technically the best rapper in the world if I can’t feel anything when you’re saying it. I’m listening to your voice, your delivery, your pocket, your writing, and how you respond to the beat. Because the beat is supposed to give you something. 

Sometimes I’ll make a beat and think I know exactly what it is, then an artist gets on it and completely changes my perspective. That’s one of my favorite things about producing. 

The best producer-artist relationships aren’t about one person controlling everything. It’s about both people bringing something to the record. I give you the canvas. Now show me what you’re going to paint. 

Q. You come from a musical family, but you also pull from producers across generations—RZA, Pete Rock, Havoc, J Dilla, Q-Tip, Large Professor, DJ Premier, Dr. Dre, Timbaland, and others. How do you honor that lineage without becoming trapped by it, and what makes a PA. Dre beat a PA. Dre beat? 

I think you have to respect where you came from without being afraid to move forward. I grew up listening to RZA, Pete Rock, Havoc, J Dilla, Q-Tip, Large Professor, DJ Premier, Dr. Dre, Timbaland, and a lot of other producers. You can hear those influences in me because that’s part of my musical DNA. But I’m not trying to make a RZA beat or a Premier beat. I’m trying to make a PA. Dre beat. 

For me, it usually starts with the sample. I don’t like forcing samples just because they’re supposed to be good. I want something that gives me a feeling. Something that catches me in the chest. Once I find that feeling, then I start chopping it, putting drums around it, finding the bass, adding keys if necessary, and building the record. 

That’s where my identity comes in. The influences are there, but the final product has to sound like me. 

Q. You’re now based in Sacramento and running First Letter Enterprises while continuing your work as a producer, artist, and director. What does this chapter look like for you? Are you focused more on building records, developing artists, directing visuals, or bringing all those pieces together? 

This chapter is bigger than just making beats. I’m still a producer. That’s never going away. I’m still an artist. I’m still creative. But I’m also thinking more about the bigger picture now. 

With First Letter Enterprises, I’m interested in building something that can exist beyond one song or one project. That could mean producing records. It could mean developing artists. It could mean directing visuals. It could mean putting different creative pieces together. 

I’ve spent decades learning how music works, learning people, learning the business, and learning from my own mistakes. Now I want to use all of that. I’m not interested in putting myself in one box anymore. If I can produce, I’m going to produce. If I can help develop something, I’m going to develop it. If I can direct it, I’m going to direct it. I’m trying to build the whole picture. 

Q. When you strip away the credits, the names, the projects, and the production résumé, what do you want people to understand about PA. Dre? From that first keyboard at eight years old to the Underground Family, the setbacks, RJ Payne, The Ghost Of, and everything still ahead—what’s the legacy you’re building? 

I want people to understand that I’m still here. That’s probably the simplest way I can put it. 

I got my first keyboard when I was eight years old. I went through the Underground Family. I was Mydus Tuch. I built with different people and different crews. I made mistakes. I went through some very difficult things. I had to rebuild myself. Then came PA. Dre. 

Then, in 2015, I connected with RJ Payne, and we built another important chapter together—Max Payne, The Ghost Of series, and everything that came from that relationship. 

And then there’s all the other artists, records, and experiences that have become part of my journey. But I don’t look at any of that as the end of the story. It’s all part of it. 

I’ve learned that longevity isn’t about always being the biggest name in the room. Sometimes longevity is simply continuing to create when the room changes. I’ve been doing this for a long time, and I still get excited when I hear a sample that gives me that feeling. I still get excited when I hear an MC take one of my beats somewhere I didn’t expect. 

So what am I building? I’m building a legacy of somebody who never stopped. I want people to look back and see the whole journey—not just the credits. 

See where I started. See the people I came up with. See the relationships that lasted even when the music stopped. See the setbacks. See the rebuilding. See the records. And then understand that through all of it, I kept creating. 

I’m not finished yet. That’s probably the most important part of the story.

The post PA. DRE: Remember The Name. Respect The Work. (Interview) first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Following the release of his new album rappers suck. via Tan Cressida Records earlier this summer, Los Angeles rapper Cletus Strap officially announces his debut headline LA show taking place at The Echo on Saturday, November 28th with support from Denyah, Rockitneedspace, and 12k Gotti. The performance leads his run of fall shows ahead of joining the “Home on the Range tour” with MIKE, Earl Sweatshirt, SURF GANG, and more across North America in October. Alongside the announcement, Cletus also shares a new music video directed by Bayo for the collaborative track “High” with Omari Lyseight from the South London producer’s new album Digital, out now via Surf Gang.

Blending satire with cultural critique and taking inspiration from the skate brand Droors’ iconic 1993 “Ravers Suck” t-shirt, rappers suck. captures the most transformative period of Cletus Strap’s career yet. Executive produced by Earl Sweatshirt and Cletus’ first official release signing to the label’s roster, the album offers a direct response to rap music’s current timeline often dominated by clout, algorithms, and snippet culture, poking fun at commonalities without standing outside of them. Across eight tracks it includes guest features from Earl Sweatshirt & VIP SKYLARK, alongside production from Laron, Omari Lyseight, madmax4800 and Cam The Chef. Cletus’ experiences with evolving friendships and relationships amidst learning what it means to build a sustainable music career have informed his new journey in moving away from glorifying negativity and towards music that still feels gritty but carries a different, more positive perspective. The attitude hasn’t disappeared, priorities have simply changed.

Speaking on the project’s title and overarching themes, Cletus says, “There’s a divide in hip hop between creativity and technical skill. It’s highly commercialized but somehow culturally niche and sacred while globally influential. Because of the accessibility and illusion of effortlessness, there’s a lack of respect for rap as an art form. Rappers distancing themselves from the title, calling themselves “artists” instead, is contradicting the plight.”

He’s clear that the point is more about respect and collective contribution to the effort of a release, as opposed to an all out diss. “I really wanted to poke fun at the superficiality of these narratives. This is me owning the title and taking the heat that comes with it. On this project I didn’t make any beats, shoot or edit the videos. I’m just the rapper.”

Hailing from Inglewood, California, Cletus Strap has been active in the underground hip hop scene for years as a rapper and producer having dropped a series of previous releases on his own Chill As Fuck imprint, and is also a drummer in the hip hop influenced jazz ensemble Sparker. His association with Earl Sweatshirt has evolved over time, starting with studio collaborations and leading up to this release on Tan Cressida after Earl first reached out to Cletus inviting him on 2025’s “3LWorld Tour” based on one of his recent EPs and the early impressions it garnered resonating with Earl and many others. The connection has naturally led to a string of potent musical and creative collaboration between the two with rappers suck. serving as proof that collaboration doesn’t have to dilute an artist’s vision, but can rather sharpen it. Cletus will also be joining the “Home on the Range tour” for select dates with MIKE, Earl Sweatshirt, SURF GANG, and more across North America towards the end of the year.

November 28, 2026 – The Echo – Los Angeles, CA
w/ Denyah, Rockitneedspace, 12k Gotti

Upcoming Live Dates

w/ Earl Sweatshirt, MIKE, SURF GANG

10/07 – Kansas City, MO @ The Truman
10/08 – St. Louis, MO @ The Hawthorn
10/09 – Omaha, NE @ The Admiral Theatre
10/11 – Madison, WI @ The Sylvee
10/12 – Milwaukee, WI @ The Rave

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Produced by DJ Rhettmatic
Video produced & directed by Ahren Anthony

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Off The Album “Double Trouble”

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Directed by: Whipalo
Produced by: Rich Son

Following the momentum of “Chasin,” Fivio continues his powerful new chapter with an anthem rooted in faith, strength, purpose and perseverance.

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CBS and MTV announced today that Snoop Dogg will host the 2026 MTV VIDEO MUSIC AWARDS (“VMAs”) as the show returns to the West Coast for the first time since 2017. Live from Los Angeles, the “VMAs” will air on Sunday, Sept. 27 (7:30-9:30 PM, ET/4:30-6:30 PM, PT).

Snoop Dogg is a 13-time “VMAs” nominee, having won three awards. His previous milestone moments on the “VMAs” stage include a first-of-its-kind performance with Eminem inspired by the world of the Otherside metaverse (2022), a tribute to the Notorious B.I.G. (2005), closing the show with Dr. Dre and Eminem (1999) and his main stage debut in 1994.

“MTV and the VMAs have been part of my story since the beginning,” said Snoop Dogg. “Some of the biggest moments of my career happened on that stage and on MTV – they gave hip hop a place to be loud, fearless and seen by the whole world. So to come back now and host the VMAs, all these years later, that’s a full-circle moment for me. And doing it with my brother Van Toffler makes it even more special. Van was there during those early MTV days when we were changing the culture in real time, and we’ve got a whole lot of history together. Now we get to make some new history. The VMAs have always been about those moments you don’t forget – and trust me, we’re gonna give y’all a few more. See you at the VMAs.”

Performers, presenters and special guests to be revealed in the coming weeks.

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Universal Music Group (UMG), the world leader in music-based entertainment, and ElevenLabs, the leading AI audio research and product company, today announced a multi-year licensing agreement and wider strategic collaboration to launch a new AI-powered music platform for fans as well as to jointly develop AI audio products for artists and songwriters.

The groundbreaking agreement – ElevenLabs’ first with a major label – encompasses licensing and product development. It reflects the companies’ shared commitment to the principles that AI-enabled music innovation should be built responsibly, respect human artistry, and enable artists and songwriters to share in the value created.

The ElevenLabs-UMG relationship will begin with a new AI-powered music creation platform built on licensed music and artist participation. Now in development, the platform will give fans new ways to co-create with music from participating artists and songwriters, including through remixes and mashups, new track interpretations, and personalized vocal experiences. The agreement also includes the development of additional products and fan experiences in the months and years to come.

“The most exciting possibilities for AI and music are those that put artists, songwriters, and fans at the center,” said Sir Lucian Grainge, Chairman & CEO, Universal Music Group. “UMG and ElevenLabs are aligned that responsible AI can inspire discovery, deepen engagement between artists and fans, and unlock new revenue opportunities for the creative community. ElevenLabs’ leadership in AI audio brings a new dimension to our growing ecosystem of partners committed to expanding what’s creatively and commercially possible for human artistry.”

“AI opens up incredible possibilities for interacting with our favorite music and artists,” said ElevenLabs cofounder and CEO Mati Staniszewski. “By combining UMG’s global community and rights management expertise, with our AI models and products, we’ll enable artists and songwriters to create powerful new experiences for their fans, and ensure they are fairly compensated.”

The new platform will be distinct and offered separately from ElevenLabs’ existing music products, which include: 

• Music API – ElevenLabs’ studio-grade music models available via API, used by music technology, media & entertainment, social media, and other leading businesses and developers globally. 

• ElevenMusic – ElevenLabs’ music creation app for generating and editing original songs, with granular control over vocals, instrumentation, style, arrangement and other elements of a track. 

The post UMG and ElevenLabs Announce Multi-Year Licensing Agreement. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Two weeks before Authentic Brands Group and Vince Holding Corp. (Nasdaq: VNCE) publicly announced the purchase of the intellectual property and operating business associated with Drake’s October’s Very Own (“OVO”), a lender to OVO—A.R.I. OVO Growth Capital I, LLC (“A.R.I.”), which provided financing through the purchase of convertible promissory notes (the “Notes”)—filed a 391-page Motion Record in the Ontario Superior Court of Justice (Commercial List) in Toronto.

( SEE HERE Motion Record dated August 10, 2026, and accepted for filing on August 13, 2026, in October’s Very Own ULC v. A.R.I. OVO Growth Capital I, LLC, Ontario Superior Court of Justice (Commercial List), Court File No. CL-26-00000256-0000. )

The Motion Record, dated August 10 and accepted for filing on August 13, states that A.R.I. calculated C$5,037,977 in unpaid contractual obligations owing by OVO as of July 31, 2026, with additional amounts continuing to accrue.

On August 27, Authentic Brands Group, led by Canadian businessman and reported billionaire Jamie Salter, its Founder and Executive Chairman, announced that it had acquired a 51% interest in the entity holding OVO’s intellectual property. Canadian entertainer and OVO co-founder Aubrey “Drake” Graham owns 44%, and Vince owns the remaining 5%.

Authentic Brands Group is a privately held company backed by prominent institutional investors. In a previous public announcement, the company identified General Atlantic, BlackRock, CVC Capital Partners, HPS Investment Partners, Leonard Green & Partners, Simon Property Group, and Brookfield among its significant shareholders. The company also reported that General Atlantic’s latest US$500 million investment brought that firm’s total investment in Authentic Brands Group to nearly US$2 billion at the time.

Vince, led by CEO Brendan Hoffman, separately announced that it had acquired OVO’s existing operating companies, assets and liabilities, 12 retail stores and e-commerce platform.

The Asset and Equity Purchase Agreement, dated August 24 and filed with the Securities and Exchange Commission (SEC), assigned a stated purchase price of US$117,647,058.82 to OVO’s intellectual-property assets and separate aggregate consideration of US$3.00 for the purchased equity of OVO’s three operating companies in Canada, the United States and the United Kingdom.

A.R.I.’s Claim Was Already in Litigation Before OVO’s Transaction

By the time OVO’s transaction closed on August 24, A.R.I.’s claim for millions of dollars in unpaid contractual obligations had been the subject of litigation for more than two months and was documented in court records filed in both British Columbia and Ontario.

On June 11, A.R.I. commenced a lawsuit against OVO in the Supreme Court of British Columbia. A.R.I.’s claim calculated that at least C$4,609,455.72 remained unpaid, with additional amounts continuing to accrue. (British Columbia Notice of Civil Claim, paragraphs 9 and 73–75)

A.R.I.’s Ontario Motion Record (available as an accompanying supplement) was subsequently accepted for filing on August 13—two weeks before the OVO transaction was announced. The Motion Record states that A.R.I. calculated C$5,037,977 in outstanding obligations as of July 31, including amounts claimed for the Make Whole Fee, interest, default interest, legal and professional fees, and lender expenses. (Ontario Affidavit, paragraphs 142–145; Exhibit Z)

A.R.I. Says OVO Never Disclosed the Transaction with Authentic Brands Group and Vince

A.R.I. states that OVO did not inform it about the negotiations with Authentic Brands Group and Vince. According to A.R.I., it learned of the completed transaction through the August 27 public announcement—three days after it had reportedly closed.

Under the terms of their financing agreements, A.R.I. held strict information rights requiring OVO to disclose details regarding its financial condition, business, prospects and corporate affairs.

A.R.I.’s February 27 Default Notice also identified earlier alleged failures by OVO to provide required financial statements, compliance certificates and other information. (Ontario Affidavit, paragraphs 79, 81 and 102–107; Exhibits L, Q and R)

A.R.I.’s Rights in the Event of OVO’s Acquisition

The filed agreements also outline A.R.I.’s specific protections in the event that OVO was acquired before the Notes were converted or repaid.

Under the applicable Change-of-Control provision, A.R.I. could elect either to convert its investment into OVO equity at a 20% discount or receive a cash payment equal to 1.4 times its original principal—representing a 40% premium—during the relevant period. (Ontario Affidavit, paragraphs 75–81; Exhibit L)

The Make Whole Was Negotiated Before A.R.I. Invested—Not Imposed as a Default Penalty

A.R.I.’s Ontario filing (available as an accompanying supplement) explains that A.R.I. and OVO negotiated a Make Whole Fee before A.R.I. invested. A Make Whole is a contractual provision used in many financing agreements that is designed to provide an investor with a specified minimum return under defined circumstances. In this instance, it was part of the original economic bargain between A.R.I. and OVO—not added later as a fine or penalty for OVO’s defaults. (Ontario Affidavit, paragraphs 85–100)

Before A.R.I. advanced the funds to OVO, the final Term Sheet executed by OVO CEO Derek “Drex” Jancar provided:

• “Success Fee / Make Whole: If the notes do not convert into equity prior to maturity, investors will receive a make-whole payment ensuring a minimum 15% internal rate of return (IRR) over the life of the investment.” (Ontario Affidavit, paragraph 89; Exhibit L)

The definitive Convertible Note Agreements subsequently defined the Make Whole Fee as the additional amount required to produce an aggregate internal rate of return of at least 15%. (Ontario Affidavit, paragraphs 90–100)

The five-year Convertible Notes paid 10% interest and were unsecured. By comparison, A.R.I.’s separate senior secured loan paid 12.5% interest and was collateralized by OVO intellectual property, including rights relating to the October’s Very Own name and owl logo.

A.R.I.’s affidavit states that it accepted the Convertible Notes’ lower interest rate and unsecured position because the investment also included conversion rights to equity, a conversion discount of 20%, Change-of-Control payments (including a 40% premium during the applicable period), information rights and the Make Whole Fee. A.R.I. states that it would not have provided the financing without those negotiated rights. (Ontario Affidavit, paragraphs 81–84)

Public Purchase Documents Do Not Explain How A.R.I.’s Claim Was Treated

The Asset and Equity Purchase Agreement filed with the SEC in connection with the OVO transaction contains several provisions addressing OVO’s debt, convertible noteholders and payments required in connection with the transaction.

The Purchase Agreement states that:

• OVO Debt was to be repaid. The transaction contemplated the “repayment and satisfaction in full of the OVO Debt” before Vince acquired the equity of OVO’s operating companies. (Purchase Agreement, recitals; Sections 2.1–2.3)
• Covered debt included more than principal. The definition of “Funded Debt” includes principal, accrued interest, penalties, fees, expenses, premiums, breakage costs and make-whole payments associated with covered obligations. (Purchase Agreement, definitions of “Funded Debt” and “OVO Debt”)
• Covered convertible noteholders were to be paid. Persons defined as “Outstanding Convertible Noteholders” were to be paid directly from the IP purchase-price payments “in full satisfaction of all amounts owing” under their notes. The amount payable to each covered noteholder and the corresponding payment instructions appeared in Exhibit G, which was omitted from the publicly filed agreement. (Purchase Agreement, Section 2.7(b)(iii); Exhibit G)
• The public filing does not identify an excluded “Specified Person.” The Purchase Agreement defines “Outstanding Convertible Noteholders” as holders of OVO’s Convertible Notes other than a confidentially identified “Specified Person.” The identity of the “Specified Person” is not disclosed in the public filing. (Purchase Agreement, definition of “Outstanding Convertible Noteholders”)
• Payoff letters were required for applicable OVO Debt being repaid. The Purchase Agreement required executed payoff letters and, where applicable, lien-release documentation with respect to the OVO Debt being repaid as part of the transaction. The applicable financial institutions or other lenders were to confirm the amount to be paid and provide payoff instructions. (Purchase Agreement, Section 2.11(d))

The public documents do not explain how A.R.I.’s already-litigated claim was classified or treated in the transaction, whether A.R.I. was treated as the confidentially identified “Specified Person,” or how the transaction was completed without A.R.I. providing a payoff letter or releasing its claims.

In a separate SEC filing, Vince disclosed that its subsidiary amended an existing asset-based credit agreement under which Bank of America, N.A. serves as administrative and collateral agent. Vince stated that the amendment permitted completion of the OVO transaction and designated the acquired OVO operating companies as unrestricted subsidiaries under the credit facility.

A.R.I. Says Its Claim Remains Unpaid Following the OVO Transaction

The publicly filed transaction documents do not identify A.R.I. or explain how its disputed claim was classified or addressed. A.R.I. states that:

• A.R.I. issued no payoff letter related to the transaction.
• A.R.I. did not authorize the release of any of its claims or contractual rights.
• A.R.I. received none of the transaction proceeds.
• A.R.I. has not been paid the C$5,037,977 it calculated as outstanding as of July 31, 2026.

The C$5,037,977 pre-transaction calculation of OVO obligations includes amounts claimed for the Make Whole Fee, interest, default interest, lender expenses and legal expenses.

Statement from A.R.I.

A.R.I. provides growth capital to companies across the United States and Canada. The majority of the companies we finance perform as agreed and value our partnership. When a dispute does arise, however, our fiduciary responsibilities require us to protect our investors’ capital and all of the contractual rights negotiated on their behalf.

In this case, A.R.I. provided growth capital to OVO and, after defaults occurred, agreed to refrain temporarily from exercising certain enforcement rights. This forbearance period gave OVO additional time and flexibility to address its obligations outside of court. When those efforts did not produce a resolution, A.R.I. pursued the remedies available under the contractual agreements.

A.R.I.’s claim was already in litigation when the OVO transaction closed. We were not informed of the transaction negotiations, asked to provide a payoff amount or payoff letter, or asked to authorize the release of our claims. We received no portion of the transaction proceeds. Important information concerning the transaction and the treatment of our rights has still not been provided, and we will seek to obtain that information through the court process since OVO has not provided it despite multiple requests.

We believe in integrity, transparency, accountability and honoring contractual commitments. We also believe in the strength of the Canadian and United States legal systems to resolve commercial disputes based on the agreements and the facts. A.R.I. will continue pursuing its contractual rights until this matter is resolved through payment in full, a court judgment or a negotiated settlement.

Court Proceedings and Counsel

Ontario Proceeding:

• October’s Very Own ULC v. A.R.I. OVO Growth Capital I, LLC, Ontario Superior Court of Justice (Commercial List), Court File No. CL-26-00000256-0000. Motion Record is dated August 10, 2026 and was accepted for filing August 13, 2026.
• Counsel for A.R.I.: Kyle Plunkett, Brian Chung, Sara Romeih, Aird & Berlis LLP
• Counsel for October’s Very Own ULC: Larry Ellis, David Ward, Armando Ranjbar, Miller Thomson LLP

British Columbia Proceeding:

• A.R.I. OVO Growth Capital I, LLC v. October’s Very Own ULC, Supreme Court of British Columbia, Vancouver Registry, Court File No. 264397. A.R.I.’s Notice of Civil Claim was filed on June 11, 2026.
• Counsel for A.R.I.: Arden Beddoes of McEwan Partners.

The post Drake’s OVO Faces Unpaid C$5 Million Claim Detailed by A.R.I. Before Sale to Authentic Brands Group and Vince. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..

Global Citizen today announced Alicia Keys & friends, Victoria Monét, YEONJUN, and YOSHIKI have joined the lineup for this year’s Global Citizen Festival. Taking place on September 26th in Central Park, they join previously announced performers Ms. Lauryn Hill & Wyclef Jean, Lenny Kravitz, John Legend, Lainey Wilson, Shaboozey and TOMORROW X TOGETHER. Additionally, Bill Nye, IZA, Jordan Fisher, Katie Couric, Lais Ribeiro, Marcus Samuelsson, Naomi Watanabe, Nomzamo Mbatha, PJ Sin Suela, and Vladimir Duthiers will make appearances, joining Rachel Brosnahan and Gayle King, and 2026 Global Citizen Festival host Hugh Jackman.

The music festival from Global Citizen, the world’s largest movement to end extreme poverty, is driving action to help solve three core issues perpetuating cycles of extreme poverty across the world: creating opportunities for 2 million children to go to school, supporting 1.5 million smallholder farmers, and providing electricity for 2.5 million homes. Tickets to the 2026 Global Citizen Festival are free.

This year, New Yorkers can earn free tickets to the Global Citizen Festival by taking action and volunteering in the local community throughout September, including urban planting, beach clean ups, food donation and more. Partner organizations include Bowery Mission, Jamaica Bay-Rockaway Parks Conservancy, Pollinator Pathways, Support and Feed and 9.11 Day.

Additionally, the 2026 Global Citizen Festival merchandise line has been released, and features exclusive artist collaborations with Lenny Kravitz, Lainey Wilson, TOMORROW X TOGETHER, and Shaboozey, and apparel collaborations with Aviator Nation and Brooklyn Industries.

“There’s nothing like standing on that Global Citizen stage in the middle of Central Park, in my city, with people who love the world enough to show up for it. Every time we come together something shifts,” said Alicia Keys. “That’s exactly what the People’s Bill of Rights 250 is about. Passing the mic. Making sure every voice gets heard, and giving people the power to shape what comes next. I’m coming back with some incredible friends, and we’re bringing all that love and all that passion to the park.”

“We’re thrilled to welcome this amazing lineup of artists from around the world who are generously donating their time to perform on the Global Citizen Festival stage,” said Katie Hill, Chief Music and Entertainment Officer, Global Citizen. “Some are joining us for the first time, others have supported our movement from the very beginning. What unites them is the belief that music has the power to move people to action, and they’ll take the stage in Central Park to help drive progress toward a world without extreme poverty.”

“Lasting progress happens when people, partners, and innovators come together to turn shared purpose into meaningful change,” said Fran Katsoudas, Chief People, Policy & Purpose Officer at Cisco and Global Citizen Board Chair. “Cisco’s partnership with Global Citizen brings that spirit of collective action to life on a global stage.”

Global Citizen Festival will stream live on the Amazon Music app, Amazon Music channels on Fire TV and Twitch, Prime Video, Apple Music, iHeartRadio, TikTok, Veeps and YouTube.

The 2026 Global Citizen Festival is presented by Cisco. Major Partners are Authentic Brands Group, Bridgewater Associates, Delta Air Lines, MetLife, PayPal, and P&G; Production Partner Live Nation; Exclusive U.S. Audio Partner iHeartMedia; and Location Partner NYC Parks. Global Citizen Festival is produced by Emmy Award winning production companies Done+Dusted and Diversified Production Services.

This year, global citizens have a new way to take action and secure tickets to the Global Citizen Festival. After completing their action journeys on the Global Citizen app and earning enough points, users can now choose between two ways to redeem them: enter the free ticket lottery, or make a $25 charitable donation to instantly secure their ticket.

All donations will give back to New York City. Funds raised will go to City Parks Foundation to support their free programming and community engagement initiatives in parks across all five boroughs, as well as to organizations helping those experiencing homelessness across the city. Tickets available through this option are limited, and the majority of Festival tickets will continue to be available for free by taking action through the Global Citizen app.

The post Alicia Keys & Friends to Join Global Citizen Festival. first appeared on Rap Industry: New Hip Hop, Rap Videos, Music, News, & more..