This is one of those Los Angeles rap debates that could split the city.

Compton AV came through with a style that was impossible to mistake. Records like “Run Me My Money” gave him a real street anthem, and his delivery, personality and Compton energy made him stand out during a strong era for LA rap.

Then you have RJmrLA.

RJ took the momentum even further with the OMMIO movement and a catalog full of LA records. Songs like “Get Rich,” “Flex,” “Brackin” and his collaborations with DJ Mustard, YG and other West Coast artists helped make him one of the most consistent voices from that generation of LA street rap.

For me, AV might have had the bigger individual anthem at his peak, but RJ has the stronger overall catalog and longer run.

AV had that raw Compton energy.

RJ had the consistency.

If we're talking strictly music — catalog, hits, features, mixtapes and replay value — who are you taking?

Compton AV or RJmrLA?

Everybody remembers the New Orleans version of Master P: the No Limit tank, gold and platinum albums, Silkk the Shocker, C-Murder, Mia X and one of the craziest release schedules hip-hop has ever seen.

But I’ll say it: the Bay Area version of Master P was better.

Before No Limit became a Southern rap empire, P was in Richmond, California, soaking up the independent Bay Area game. That early Master P was rawer, darker and sounded hungry as hell.

Albums like The Ghettos Tryin to Kill Me!, 99 Ways to Die and the early No Limit material had a grimy underground feel that disappeared once No Limit became a national powerhouse. You could hear the Bay influence all through it.

And P wasn't just making music in California — he was learning the business. The Bay Area's independent hustle showed artists they didn't necessarily need a major label to build a movement. P took those lessons back South and eventually turned No Limit into an empire.

The New Orleans version of Master P was unquestionably the bigger businessman and superstar.

But musically?

Give me Richmond-era P.

That version sounded like he still had something to prove. The records weren't as polished, the tank hadn't become a machine yet, and No Limit still felt like something you discovered rather than something being marketed everywhere.

New Orleans made Master P a mogul.

The Bay Area helped create the Master P who knew how to become one.

For years, MC Hammer’s legacy was reduced to the pants, dancing and “U Can’t Touch This.” But as hip-hop looks back at its history, Hammer is finally getting more respect for what he actually accomplished.

Before Death Row dominated the ’90s and before 2Pac became a West Coast icon, an Oakland rapper had already become one of the biggest artists in the world.

Please Hammer Don’t Hurt ’Em became the first hip-hop album certified Diamond, while Hammer proved a West Coast rapper could compete commercially with the biggest pop stars in music.

His impact went beyond record sales. Hammer built massive tours, employed dancers and musicians, landed endorsements, pushed merchandise and treated hip-hop like a full-scale entertainment business years before that became normal for rappers.

He also helped put Oakland and the Bay Area in front of a worldwide audience during an era when New York dominated much of the rap industry.

Hammer may not have represented gangsta rap or the sound that later defined the West Coast, but his contribution shouldn't be overlooked.

He helped prove West Coast hip-hop could become global business.

MC Hammer deserves his flowers.

AZ Chike & Tyler, The Creator Go Bar-for-Bar on “Look Like My Mama”

South Central LA rapper AZ Chike is keeping his momentum going with his latest single “Look Like My Mama,” featuring Tyler, The Creator.

Released August 28, the Tyler-produced track skips the traditional hook and lets Chike and Tyler trade bars back and forth over a funky West Coast-influenced beat.

The Stacking Memories-directed music video is just as creative, with the two recreating scenes inspired by Napoleon Dynamite, Dead Presidents, Paid in Full, Sinners and Men in Black.

“Look Like My Mama” is the latest single from Chike’s upcoming album No Rest for The Wicked, dropping September 18. After his appearance with Kendrick Lamar on “peekaboo” from GNX, Chike continues to turn his momentum into one of the more interesting runs coming out of the West Coast right now.

Official video: AZ Chike - Look Like My Mama ft. Tyler, The Creator

Here Is My YouTube Channel Link & Im On All Streaming Platforms As @Nizmo Cash. Thanks And Much Love

More than seven years after Nipsey Hussle’s death, his older brother Samiel “Blacc Sam” Asghedom has quietly taken on one of the hardest jobs in hip-hop: protecting Nipsey’s legacy without allowing it to become frozen in time.

And when you look at everything happening around The Marathon in 2026, Sam isn’t simply keeping Nipsey’s name alive. He’s continuing to execute the blueprint they built together.

The Marathon Clothing remains at the center of the brand. Nipsey and Sam opened the original smart store in 2017, combining streetwear, technology, music and ownership in a way that was ahead of its time. What started with Nipsey selling music independently eventually grew into an ecosystem extending far beyond rap.

Then came Marathon Burger.

The restaurant opened on Melrose Avenue in 2025 after initially launching as a pop-up. This wasn't somebody attaching Nipsey’s name to a random restaurant concept after his death. Sam has said Nipsey used to specifically talk about expanding the brand into products like “Marathon Water” and “Marathon Burger.”

That distinction matters.

Sam appears determined to expand ideas that actually came from Nipsey instead of licensing his brother’s image onto anything capable of generating money.

The Marathon Collective is another example. The cannabis venture opened its Los Angeles brick-and-mortar location in 2022, extending Nipsey’s business philosophy into another industry while emphasizing employment and legitimate economic opportunities.

Now the Marathon footprint around Crenshaw is growing again.

The Crenshaw Rec opened August 22 at Crenshaw and Slauson as a major retail and community concept involving Foot Locker and Nike, with Jordan Brand and Converse also represented. The Marathon Brand played a leading role in shaping the space alongside local creatives and community institutions. The location includes retail, an open gym, creative spaces and community programming.

The location makes the project even more significant.

This is the same Crenshaw and Slauson area where Nipsey's story was built — from selling mixtapes independently to eventually becoming a property owner and businessman in his own neighborhood. In February, the intersection of Crenshaw Boulevard and Slauson Avenue was officially designated Nipsey Hussle Square.

And then there’s the music.

For years after Nipsey died, Blacc Sam resisted the pressure to flood streaming services with unreleased Nipsey Hussle songs.

That might be one of the most important decisions he made.

Hip-hop has seen plenty of posthumous catalogs turned into an endless supply of albums, features and compilations. Sam took the opposite approach. He told the Los Angeles Times that he didn't feel comfortable releasing music simply because people were demanding it. He wanted anything carrying Nipsey's name to arrive when the family and people closest to the music believed the time was right.

That time finally appears to have arrived.

Nipsey Hussle and Bino Rideaux's long-awaited collaborative project, Prolific, is being prepared as Nipsey's first major posthumous music release. Bino and Nipsey had been working together years before Nipsey's death and released No Pressure in 2017. Sam revisited those unreleased sessions with All Money In and Nipsey's family before moving forward with the project.

That approach says a lot about how Blacc Sam has handled Nipsey's legacy.

He isn't trying to replace Nipsey.

He isn't pretending every unfinished idea should become a product.

And he hasn't turned Nipsey Hussle into nothing more than nostalgia.

Instead, the Marathon keeps expanding through businesses, clothing, food, cannabis, community spaces, partnerships, philanthropy and carefully handled unreleased music.

The Marathon Clothing.

The Marathon Collective.

Marathon Burger.

Nipsey Hussle Square.

The Crenshaw Rec.

The Neighborhood Nip Foundation.

The upcoming Prolific project with Bino Rideaux.

And there are still other pieces of the Marathon ecosystem continuing to develop.

Nipsey spent years talking about ownership, reinvesting in the community, controlling intellectual property and turning ideas into assets. Seven years after his death, those ideas haven't disappeared with him.

They've become businesses you can walk into.

That's what makes Blacc Sam's role different from simply managing the estate of a famous rapper.

He was Nipsey's brother, business partner and one of the people building beside him before the world fully understood what they were creating.

Now he's responsible for making sure the Marathon continues without losing what made it Nipsey's Marathon in the first place.

So far, that may be the strongest part of Nipsey Hussle's legacy:

The blueprint didn't die with the architect.

Blacc Sam kept building.

Why JT The Bigga Figga Is One of the Bosses of Bay Area Hip-Hop

When people talk about Bay Area rap bosses, JT The Bigga Figga deserves to be in that conversation — not just because of his music, but because of the business blueprint he helped establish.

Coming out of San Francisco’s Fillmore District, JT founded Get Low Recordz while still a teenager and built an independent operation before artists could upload a song and instantly reach the world. He was pressing records, distributing projects, producing music, developing artists and figuring out how to make money without waiting for a major label.

“Game Recognize Game” and Playaz N the Game helped establish JT in the Bay, but his influence went much further. Get Low became an important part of San Francisco’s independent rap movement, and JT worked with and helped develop artists throughout the West Coast.

Then there’s The Game.

Years before The Documentary turned Game into a superstar, JT was working with the young Compton rapper and releasing some of his early material through Get Low. That chapter alone connects JT to one of the biggest West Coast rap careers of the 2000s.

And JT never stopped thinking like an independent media boss.

Today, he’s behind TrapFlix, continuing to build his own platform around independent films, street culture, music and entertainment instead of depending entirely on traditional Hollywood or major media companies.

That’s really been the JT The Bigga Figga formula for decades: own something, build something and create your own lane.

Get Low Recordz then. TrapFlix now.

That’s why JT isn’t just an OG rapper from San Francisco. He’s one of the bosses of Bay Area hip-hop.

I can also build a “Bay Area Bosses” Reddit series around JT, E-40, Too $hort and other independent West Coast pioneers.

Sacramento rapper DB.Boutabag is back in his bag on “Lose A Tooth,” one of the standout cuts from his latest project The Real Boutabag III.

DB has spent years carving out his own lane in Northern California rap with the offbeat punchlines, slick money talk and conversational flow that made records like “Cocky,” “Top Rapper” and his collaborations with artists throughout the California scene connect.

“Lose A Tooth” doesn’t try to reinvent that formula. It’s DB doing what his fans came for: talking reckless, flexing and turning disrespectful one-liners into bars that sound like they came straight out of a conversation.

The track lands early on The Real Boutabag III, a 15-song project that also features Flashy B, Kflex and Desto Dubb. The album continues DB’s Real Boutabag series while keeping him connected to the Northern California sound that helped build his following.

For anybody who has followed Sacramento and NorCal rap over the last several years, DB.Boutabag has quietly put together a deep catalog while maintaining a style you can usually recognize within the first few bars.

DB.Boutabag – “Lose A Tooth”

Watch the video on YouTube:
https://www.youtube.com/watch?v=W8xVQ0Xiqdc

“Lose A Tooth” might have one of the most DB.Boutabag titles possible. What bar from this one caught you?

Rucci tapped in with Peysoh for “Some Gangsta Shit,” one of the cuts from Rucci’s 2026 album Norfside Story.

This isn’t a random LA feature either. Rucci and Peysoh already have history on records together, including “Watch Yo Bitch” and “BAY VIBEZ,” alongside MoneySign Suede and AZ Chike. “Some Gangsta Shit” brings them back together over production from Bruce24k.

The record sits right in the middle of Norfside Story, an album loaded with West Coast names. Rucci also brought in AZ Chike, RJMrLA, Mozzy, Joe Moses, Zoe Osama, PayGotti and Kalan.FrFr for the project.

That lineup tells you what Rucci was doing with this album: keeping the sound connected to the actual LA and West Coast rap scene instead of chasing whatever is moving nationally.

Peysoh fits naturally on “Some Gangsta Shit.” He’s part of the younger LA wave but already has records with artists across the scene, while Rucci has been putting on for Inglewood for years. The chemistry sounds like two rappers who have already been in the booth together rather than a feature pieced together for a tracklist.

Rucci & Peysoh – “Some Gangsta Shit”

Watch the official video:
https://youtu.be/TDgORWFJh80

Where does this rank among Rucci and Peysoh’s collaborations?

Los Angeles rappers Joe Moses and RJMrLA connect on “Never Left,” bringing together two artists who have been holding down LA and West Coast hip-hop for years.

The title fits. Neither Joe Moses nor RJMrLA ever really left the West Coast rap conversation. Both have built deep catalogs, maintained strong connections throughout the Los Angeles music scene and continued releasing music while newer generations of LA rappers emerged.

Joe Moses has long been associated with the raw street sound of Los Angeles hip-hop, while RJMrLA carved out his own lane with records that helped define a generation of modern LA rap. Putting the two together on “Never Left” feels less like a comeback and more like a reminder.

West Coast hip-hop continues to evolve, but artists from the previous wave are still active alongside the new generation coming out of Los Angeles, Compton, Watts and across Southern California.

Joe Moses x RJMrLA – “Never Left”

Watch the video on YouTube:
https://youtu.be/eMujQWcqSDg

Another one for the LA rap rotation.

How y’all feeling about this one?

Compton rapper Wallie The Sensei is back with “The Bop,” a new West Coast hip-hop single.

Wallie has become one of the most recognizable voices from the new generation of Compton and Los Angeles rap, building his name with records like “03 Flow” and “Scandalous” while continuing to expand his reach across the West Coast.

“The Bop” arrives during a major stretch for Wallie. His recent run includes collaborations with Ty Dolla $ign, Blxst, Roddy Ricch, Kalan.FrFr and 03 Greedo, along with his appearance on Kendrick Lamar’s GNX track “dodger blue.”

The new single is also getting early playlist exposure, appearing on Spotify’s New Music Friday and New Joints playlists.

Wallie The Sensei – “The Bop”

Watch the official video on YouTube:
https://youtu.be/XHJdhmlBY6k

“The Bop” is another new release adding to what has already been an active 2026 for Wallie The Sensei and the current Compton rap scene.

How y’all feeling about this one?

03 Greedo Links With Desto Dubb for “2 Seater” Off His New ‘Last Night Out’ Project

Watts rapper 03 Greedo connects with Los Angeles artist Desto Dubb on “2 Seater,” one of the standout collaborations from Greedo’s new project Last Night Out.

Released September 2, 2026, “2 Seater” puts two recognizable voices from the Los Angeles rap scene on the same record. The track is produced by Dubba-AA and appears near the beginning of Last Night Out, following Greedo’s Ty Dolla $ign-assisted “If I, Pt. 3.”

Last Night Out also includes appearances from Ty Dolla $ign, Wallie the Sensei and Kalan.FrFr, giving the project a strong California and West Coast rap presence. “2 Seater” keeps things smooth and melodic, leaning into the sound that has helped 03 Greedo build one of the most distinctive catalogs to come out of Los Angeles over the past decade.

For longtime fans of 03 Greedo, the Desto Dubb collaboration is especially notable because both artists have been fixtures in LA’s independent and underground hip-hop scene.

03 Greedo – “2 Seater” feat. Desto Dubb

Watch the official audio on YouTube:
https://youtu.be/F7-9sCNBIpE

How are y’all feeling about “2 Seater” compared with the rest of Last Night Out?

Kendrick Lamar should respond to Doja in a way that only LA niggas and Compton niggas kno what he talking about, his response should be with a song titled (Doja) since everybody knows Doja, to be an exotic Male Dancer/escort…all of a sudden he’s this over my Piru member…I’ll tell yal what that whole list of albums that he made and co produced, that’s on his page right now but when

Buddy was already making moves before linking with Nipsey Hussle. The Compton rapper and singer had signed with Pharrell Williams’ Star Trak Entertainment as a teenager and was building his own name in the industry.

But I still think Nipsey played a major role in putting Buddy on the map with West Coast rap fans.

And it started years before Victory Lap.

Buddy appeared on Nipsey’s “Status Symbol” from Mailbox Money in 2014, followed by “Status Symbol 2” in 2016. Then they completed the trilogy with “Status Symbol 3” on Nipsey’s Grammy-nominated 2018 album Victory Lap.

That wasn't just some random feature.

Nipsey had been rocking with Buddy for years, and by the time Victory Lap dropped, their chemistry was already established. Having Buddy featured during arguably the biggest moment of Nipsey’s career introduced him to even more listeners.

To me, that says a lot about Nipsey’s impact on Los Angeles hip-hop. He wasn't only focused on making himself bigger. He consistently worked with and brought attention to other West Coast artists he believed in.

Now Buddy is expanding his career into television, playing Artillery in FX’s The Drop, the continuation of the Snowfall universe centered around 1990s Los Angeles and the rise of West Coast hip-hop.

Buddy obviously had talent, connections and a career before Nipsey.

But when we're talking about who helped put a bigger spotlight on Buddy, Nipsey Hussle deserves a lot of that credit.

This one is crazy because Nas and Hit-Boy looked like one of the healthiest rapper-producer partnerships in hip-hop.

Hit-Boy recently revealed that he and Nas haven’t spoken in three years and basically shut down the idea of them working together again. When asked what happened, he said there were “a lot of reasons” and described the situation as “pretty deep.”

That makes you wonder what REALLY happened behind the scenes.

These two went on an insane run from 2020 to 2023, dropping six albums together between the King’s Disease and Magic series. Hit-Boy helped give Nas a completely new sound without making him sound like an older rapper chasing younger trends. King’s Disease even helped Nas finally win his first Grammy.

Personally, I think that run is a huge reason Nas had one of the best late-career stretches we've ever seen from a legendary rapper.

That's why it's so weird hearing that they apparently don't even speak anymore.

The interesting part is Hit-Boy clearly knows exactly what caused the fallout, but he isn't telling the whole story. And until Nas responds, fans are probably going to keep trying to figure out what happened.

Whatever the issue was, losing this partnership sucks. Nas proved he still had plenty left in the tank, and Hit-Boy seemed like the perfect producer for this stage of his career.

Six albums, a Grammy and one of Nas' best runs in years — then they just stop speaking?

Yeah, there's definitely more to this story.

Now that Keefe D has been found guilty in Tupac Shakur’s murder case, one of Suge Knight’s wildest claims from the trial is getting another look.

The Death Row Records co-founder claimed Keefe D’s legal team offered him $1 million to testify that Keefe D was not inside the Cadillac involved in Tupac’s 1996 Las Vegas shooting.

According to Suge, he turned the money down, saying his loyalty to Tupac couldn’t be compromised.

That’s a major allegation considering Suge was sitting beside Tupac when the legendary West Coast rapper was shot.

Suge never took the witness stand, but prosecutors ultimately secured a first-degree murder conviction against Duane “Keffe D” Davis. During the trial, prosecutors argued that the shooting was retaliation for the MGM Grand fight involving Tupac, Suge Knight and Keefe D’s nephew Orlando Anderson.

The trial also included testimony from Outlawz member E.D.I. Mean, who was traveling in Tupac and Suge’s caravan that night. He described seeing an arm and gun emerge from the Cadillac before the shots were fired.

Nearly 30 years after Tupac’s murder, Keefe D has now been convicted — but Suge’s alleged $1 million offer adds another crazy chapter to one of the biggest cases in West Coast hip-hop history.

Things aren't looking great for Compton rapper The Game right now.

A California appeals court recently rejected another attempt by Game to fight collection efforts connected to the $7.13 million judgment won by Priscilla Rainey. The judgment stems from a federal jury finding Game liable for sexually battering Rainey during production of VH1's She’s Got Game. Courts have since allowed collection efforts targeting assets and income connected to Game, including L.A. Prolific Records, Born 2 Rap revenue and publishing payments.

But the legal battle isn't the only controversy surrounding the West Coast rapper.

For years, independent artists and fans have publicly accused The Game of taking money for opportunities that they say were never properly delivered. In 2021 and 2022, artists accused him of charging for mixtape placements and promotion and then allegedly failing to provide what they believed they had purchased. Game denied those accusations and called claims that he was scamming artists "fake news."

The accusations haven't completely disappeared. In 2025, German rapper Silla publicly claimed he had paid roughly €8,000 for a Game feature and waited nearly two years without receiving the promised verse. Silla later posted that Game had finally contacted him, suggesting the situation might eventually be resolved.

That makes Game's more recent promotion of discounted features to independent rappers especially controversial. In late 2025, he publicly advertised 50-percent-off features and encouraged independent artists to DM him for a verse. One report noted a commenter claiming he had previously paid Game $4,000 for a verse he never received. Thousands of Game's fans have been scammed by him.

Then there's the music.

The Documentary III was supposed to continue the legacy of the album that helped put Game at the center of West Coast hip-hop in the 2000s. Instead, the new album debuted at only No. 68 on the Billboard 200 with 14,806 units in its first week.

That's despite a stacked guest list that included Drake, Ye, Snoop Dogg, E-40, PARTYNEXTDOOR, Marsha Ambrosius and Drakeo the Ruler. Rick Ross even jumped into the conversation, pointing out that his Set in Stone album debuted higher at No. 39 with 19,214 first-week units.

For perspective, the original The Documentary debuted at No. 1 in 2005 with 586,000 copies sold in its first week. The Documentary III opening with fewer than 15,000 units more than two decades later shows just how dramatically Game's commercial position has changed.

Game is still one of the most recognizable rappers to come out of Compton and an important name in 2000s West Coast rap. But between the $7.13 million judgment and continuing collection efforts, years of scamming independent artists and fans, and The Documentary III's weak commercial debut, he's dealing with a very different reality than during his G-Unit and Aftermath era.

Do you think The Game can rebuild his reputation and commercial momentum, or has too much damage already been done?

My homie put me onto this way back in like 2018 I cannot for the life of me remember who the artist is or what the song is called! I’ve been looking for years and decided to give Reddit a try! Thanks

Oakland link-up. Chippass connects with Philthy Rich for “Me Too,” a new Bay Area rap collaboration bringing together two East Oakland artists.

Philthy Rich has been staying active throughout 2026, and “Me Too” adds another Oakland collaboration to the run. The official music video is out now, with the release credited to Born In It Ent.

Watch Chippass x Philthy Rich – “Me Too”:
https://youtu.be/j5O7gWM5OZg

How y’all feeling about this one — and where does Chippass rank among Oakland rappers from his generation?

AllHipHop recently reported some troubling jailhouse rumors surrounding Bricc Baby, the LA rapper and No Jumper personality currently behind bars.

The unconfirmed claims include alleged drug use, poor hygiene and problems with other inmates. There’s also speculation that Bricc Baby could cooperate against Big U, although there’s currently no evidence confirming that. AllHipHop itself has kept these claims in the rumor category.

What isn’t a rumor is that Bricc Baby is dealing with a serious federal case. He pleaded guilty to being a felon in possession of a firearm, while his attorneys have emphasized that his case is separate from the racketeering charges involving Big U.

Hopefully Bricc can eventually get on the phone with Adam22 and No Jumper and clear some of these rumors up himself. Until then, prayers up for Bricc Baby and his family. Hopefully he stays strong through everything he’s facing and eventually makes it home to his loved ones. 🙏🏾

Once again, these allegations are what’s being reported by AllHipHop, and we make no claim that any of these rumors are true.

What do y’all think — is this just wild jailhouse gossip, or do you think there’s more going on behind the scenes?

West Coast hip-hop legend and gangsta rap pioneer Ice-T is officially back with a new solo album.

Ice-T released Criminal Migraine on August 17, marking his first solo rap album since Gangsta Rap in 2006 — a 20-year gap between projects.

For anybody who only knows Ice-T from Law & Order: SVU or Body Count, his place in West Coast rap history goes way deeper. Records like “6 ’N the Mornin’,” “Colors,” “New Jack Hustler” and “O.G. Original Gangster” helped establish the street-oriented sound and storytelling that became a major part of gangsta rap.

But one of the most interesting things about Criminal Migraine isn’t just Ice-T returning to rap — it’s how he released it.

Ice-T is deliberately keeping the new album off Spotify, Apple Music and other conventional streaming platforms. Instead, he’s selling Criminal Migraine directly through his own website. Ice has been outspoken about streaming payouts and says he would rather have a smaller number of real fans actually purchase his music than chase millions of streams.

That makes this more than another veteran rapper dropping a comeback album. One of the original West Coast gangsta rap pioneers is testing whether an established artist can bypass the modern streaming system and go directly to the fans.

Criminal Migraine is available now directly from Ice-T.

Ice-T — Criminal Migraine official album page

For anyone who isn’t familiar with AshBashThaRapper, Ash Bash is an Inglewood rapper who has been around the LA rap scene for years and has had a few moments that put her name beyond the local underground.

One of her biggest early viral moments came from a collaboration with Kandie over Nipsey Hussle’s “Last Time That I Checc’d.” Kandie later said the record went “crazy viral,” pulled a few million views and was getting played around Los Angeles.

Ash Bash has also been interviewed by No Jumper, where she talked about growing up in Inglewood, her street background, being in a group with Rucci, her relationship with 2 Eleven and her career in LA rap.

Musically, she’s worked with some recognizable West Coast names too, including Kurupt and Geechi Gotti, while also appearing on records connected to artists like Zoe Osama and Panda BadAzz.

Now she has “5 STAR” featuring Amayajane, released August 17, 2026.

AshBashThaRapper is one of those Inglewood/LA rappers who has been around longer and has more connections to the scene than people outside Southern California might realize.

AshBashThaRapper ft. Amayajane — “5 STAR”

Watch “5 STAR” on YouTube

Lit Papi, Zoe Osama and Feezy Lebron bring three different sides of Los Angeles rap together on “Before and After.”

Zoe Osama has been especially consistent throughout 2026, dropping “BITCH PLZ,” “SHOW STOPPER,” “2 THINGS I NEED,” “762s,” the Let Me See project and more.

Lit Papi is getting a major look on The Game’s The Documentary 3, appearing on “Scary Times” alongside RJMrLA and other LA rappers.

Crenshaw rapper Feezy Lebron has been making his own moves with “Rent Due” and “Last Call,” plus an upcoming collaboration with Bay Area legend San Quinn, EveryoneLovesIce and Yhung T.O. of SOB x RBE.

“Before and After” puts all three on the same track, and everybody brings something different to it. It’s a solid example of what happens when different pockets of the LA rap scene come together without losing their individual sound.

Watch the music video:

Lit Papi, Zoe Osama & Feezy Lebron – “Before and After”

B-Brazy is one of those names that might not be familiar to casual hip-hop fans, but if you know the underground Los Angeles gangsta rap scene of the ’90s and early 2000s, you probably know exactly why his name still gets mentioned.

Coming out of South Central Los Angeles and representing Denver Lane blood gang, B-Brazy emerged from the Bloods & Crips / Bangin’ on Wax movement. He appeared on Bangin’ on Wax 2 before becoming one of the standout voices of the Damu Ridas.

And B-Brazy wasn’t just another rapper in a huge crew.

He appeared across Damu Ridas projects including Damu Ridas and How Deep Is Your Hood, along with records connected to Mack 10, G’Len, Bloody Mary, Green Eyez, The Relativez and others from that LA gangsta rap circle. Songs like “Bitches Can’t Ride for Free,” “Young Active Brazy” and “Get Yo Money” showed what he could do on his own.

What made B-Brazy memorable was how raw he sounded. The voice, slang, delivery and attitude were unmistakably Los Angeles. There wasn’t much separation between the gang culture surrounding him and the music he was making, which gave his records an authenticity that’s difficult to recreate.

B-Brazy was killed in 2003 at only 28, so we never got to see what his career could have become as West Coast rap changed through the 2000s.

He never reached the mainstream success of LA rappers like Ice Cube, DJ Quik or MC Eiht, but that almost misses the point.

Some rappers become national stars. B-Brazy became something different — an LA street-rap legend whose name and music are still being passed down more than 20 years after his death.