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Ross has a ton of songs that tell exactly who he is: A boss. He paused for a bit to collect himself before 2 Chainz politely said, “Your turn bro,” which broke the room into laughter. A moment for the books, Ross was stunned.
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Immediately following this moment, 2 Chainz played “Bands A Make Her Dance” and as the women got to dancing, and he began throwing bands across the room. After playing his next choice, Ross gave a shoutout to all the strippers, in which 2 Chainz chimed in by calling them “essential workers.” Giving love to all the girls who work in clubs out there. A classic for 2 Chainz, among many others, it was the most necessary throwback pick for the battle.īoth Ross and 2 Chainz are known widely not only for their boss mentality and lyricism, but also their ability to make the club rain with money. The hit song gave them an anthem that has stood the test of time, which proved true in tonight’s live.
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Must be nice.īefore 2 Chainz, it was Tity Boi and at the time, he and Dolla Boy teamed up to build Playaz Circle and dropped their first single, “Duffle Bag Boy” featuring Lil’ Wayne. Ross matched his energy with designer tops and multiple diamond chains, bracelets, and a watch to match. 2 Chainz decked his neck out with a large emblem diamond chain and with both wrists iced out. Mid-verse, he switched it up, putting a “Blow the Whistle” sample on the track, a version that might be necessary once outside officially opens.īoth rappers are known for having the finest clothes and expensive jewelry, and his battle was no different. But, in good sportsmanship, he followed up with “Riot” and the battle officially began.įor his second song, 2 Chainz hit us with “I’m Different” and it truly was. In a comical moment, 2 Chainz, however, let everyone know he had the first song and that Ross swiped it. He made sure to let everyone know, regardless of your location, he was taking you to his hometown of Miami tonight. As goes one to-the-point line on Port of Miami 2’s “Gold Roses”, “I know it seem odd/But money amazin’.Rick Ross dropped the first song with “BMF” coming in strong. Even as he made room to reflect on mortality (2019’s “I Still Pray”), race (2015’s “We Gon Make It”) and politics (2017’s “Santorini Greece”), you always knew where his heart was. Ross worked steadily throughout the 2010s, easing into a more reflective version of his persona-in 2018, he’d ended up on life support after collapsing in his home-without sacrificing any of his outsized grandeur. By 2009, he’d started the Maybach Music Group, following the rapper-to-boardroom path paved by artists like JAY-Z and Birdman by 2010’s Teflon Don, his skills as had caught up to his vision. In 2008, his brief past as a corrections officer-18 months, starting at age 19-surfaced, loading new coals on the ever-ongoing conversation about biography and authenticity in rap.
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But it’s good TV nevertheless.īorn William Roberts in 1976, Ross started rapping in his early twenties, with “Hustlin’”-then self-released-sparking a bidding war that landed him on Def Jam. “Am I really just a narcissist/’Cause I wake up to a bowl of lobster bisque?” he asked on 2011’s “I Love My Bi***es”. Even as he toned down the supervillainy, Ross remained larger than life, luxury incarnate. Few artists were as perceptive in capturing the genre’s turn towards new-money excess, the move from the streets-in Ross’ case, Carol City, Florida-to the exurbs, to cars that outprice helicopters and houses the size of airplane terminals.
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When Rick Ross’ “Hustlin’” came out in early 2006, it almost seemed like a joke: How could you make something so gonzo and still keep a straight face? This wasn’t rap as lyricism or verbal documentary, it was rap as pro wrestling, summer blockbuster.