Chicago-Ty Money, better known as Fat Money, returns with new music: 13 tracks in his signature style for this year’s CincoDeMoney installment, Wolf, Part 1.
This project is one I anticipate annually. Not just out of loyalty , but because the series consistently reflects authenticity and growth. Each year feels like a continuation, not a repetition.
Money still slaps the same way he did the first time I pressed play years ago. And I still spin the older records too. That consistency matters.
Beyond affiliation, because yes, this is family, the work stands on its own. The quality is there. The storytelling is structured. The themes are grounded in everyday Chicagoland life. There’s intention in the sequencing and delivery that many artists today struggle to maintain.
It’s narrative and a vibe.
The project was mixed by Rio Mac and Fat Money, with features from Rio Mac and Kris Lofton, adding texture without disrupting the tone.
A personal highlight for me is the recurring nod to my family’s restaurant legacy.
My uncle, Chuck “Woo Woo’s” Higgins, built something lasting from Washington Heights (99th & Halsted) to Lynwood, Calumet City, Dolton, Chicago Heights, and now:
CHICAGO — Actress and recording artist Ta’Rhonda Jones is expanding her creative work into music with Breaking Character, a project centered on identity, perception and personal transformation.
The project includes tracks such as “Favor on My Soul” and “Villain,” which explore contrasting emotional perspectives, one rooted in alignment and affirmation, the other in perception and misunderstanding.
“Breaking character is really about stepping outside of what people expect from you,” Jones said. “It’s personal.”
Jones, known for her role as Porsha Taylor on the television series Empire, is using music to expand her storytelling beyond the screen.
“I choose to be present. I choose to be 100% me,” she said. “No more performing. No more people pleasing. I’m no longer who society wants me to be.”
The duality presented in “Favor on My Soul” and “Villain” reflects a broader theme of balance within the project.
“I wanted to show that balance is necessary,” Jones said. “I can be both soft and firm. Soft says I understand you, and firm says I still choose what’s best for me.”
Production for “Favor on My Soul” is underway, with visuals emphasizing tone, reflection and transformation. The project’s visual direction aligns with its themes, focusing on mood-driven storytelling and emotional depth.
“There are moments where you’re misunderstood for growing,” Jones said. “That’s where ‘Villain’ comes from.”
Jones also described the creative process as liberating, noting that each phase of development has expanded her perspective.
“Every time I create, I discover new freedom,” she said. “It feels like a phoenix rising, like I’ve unlocked a new level of consciousness.”
A release date for Breaking Character has been confirmed for June 6. The project marks Jones’ continued expansion into music and visual storytelling, positioning it as a personal and creative evolution.
Known for her unapologetic voice, bold personality, and cultural influence rooted in Chicago, Queen Key is stepping beyond music and into something more tangible;retail, ownership, and curated lifestyle. Just like a big stepper should.
With the announcement of her boutique, Kolors, grand opening, Sunday, April 19, at 2144 W. 95th Street from 5 PM-9 PM, she’s not just inviting people to an event…she’s inviting them to her next chapter of evolution and introducing them to a special space in her life.
Queen Key, born Ke’Asha McClure, has never followed a traditional blueprint, at all. I love 🥰 that for those of us looking 👀 to be inspired by originality.
From viral tracks to building a loyal audience, her career has been defined by authenticity and independence. But this latest move signals something deeper:
Ownership of experience.
A boutique isn’t just a store.
It’s:
A reflection of personal style
A direct-to-consumer brand channel
A physical extension of {brand} identity
And for an artist like Queen Key, whose image and presence have always been just as impactful as her music, this move feels less like a pivot and more like a natural progression.
This isn’t just about racks of clothing or a new address on a flyer.
Her Grand Opening represents:
A new level of entrepreneurship
A claim to a bigger physical space in the culture
A deeper connection between artist and audience, in marketing and advertising.
This is where supporters become customers. Where followers become community.
And where brand becomes infrastructure.
The Power of Physical Space in Communications
In a digital-first world, creating a physical location is a power move.
It says: “I’m not just visible, I’m established.”
For Chicago especially spaces like this matter because we’re an international city and market.
We are a hub for:
Local fashion influence
Cultural expression
Community engagement
And when someone like Queen Key opens that door, it doesn’t just create opportunity for herself, it creates a ripple effect and opportunities for others.
What to Expect
While details are still unfolding, one thing is clear:
This won’t be a passive shopping experience.
Expect:
Energy
Personality
A crowd that reflects her audience
And a space that feels like an extension of her brand, and for the fly & danty ladies.
Because if there’s one thing Queen Key understands, it’s how to make people feel something.
Why This Moment Matters
Her boutique launch 🚀 is a signal.
A signal that artists, especially women in hip-hop, are continuing to expand beyond industry limitations and step fully into ownership, business, and legacy-building.
CHICAGO — Two Illinois political candidates are challenging federal and state laws that ban people with felony records from owning firearms, arguing the policies are unconstitutional and deny due process.
Andy Williams Jr. and Tyrone Muhammad filed suit in the U.S. District Court for the Northern District of Illinois, with an amended complaint submitted March 7, 2024. In a Sept. 11, 2025, press release, the candidates reaffirmed their stance that blanket firearm bans for people with felony convictions violate fundamental rights.
Official Press Release
The men say the laws treat all people with felony records as permanent threats to public safety, regardless of their rehabilitation or time since release.
Background
Williams served time for a robbery conviction and has remained law abiding since his release in 1991. He is currently running for Illinois attorney general; he’s a member of For The People, LLC, AWJ Ministries , a Painter, and a married family man.
Muhammad, who served time for murder, went on to found ECCSC (Ex-Cons for Community and Social Change) a nonprofit focused on community advocacy. He is now a candidate for the U.S. Senate.
Both men argue that their lived experiences make them uniquely positioned to highlight how existing laws disproportionately affect people who have rebuilt their lives.
Constitutional Questions
On Feb. 7, 2025, former President Donald Trump signed Executive Order 14206, directing the U.S. attorney general to protect the right to bear arms. Trump called the Second Amendment “an indispensable safeguard of security and liberty.”
Williams and Muhammad argue those protections must also apply to people who have served their sentences. They note that many formerly incarcerated people cannot afford private security and rely on their constitutional rights for protection.
Courts have also ruled that police have no constitutional duty to protect individuals:
In DeShaney v. Winnebago County Department of Social Services, 489 U.S. 189 (1989), the U.S. Supreme Court held that the state was not required to protect a child from an abusive father despite prior warnings. Read the case.
In Town of Castle Rock v. Gonzales, 545 U.S. 748 (2005), the Court found that police could not be sued for failing to enforce a restraining order that may have prevented the deaths of three children. Read the case.
“These rulings show that the government cannot guarantee personal safety,” the candidates said. “If police don’t have to protect us, then we must have the right to protect ourselves.”
Williams and Muhammad contend the laws are unconstitutional, overly broad and discriminatory. They are calling for legislative changes or constitutional amendments that would replace categorical bans with standards based on individual circumstances.
Call to Action
“I’m calling on others to join this fight,” Williams said. “Support the lawsuit by filing a motion to intervene. Watch for upcoming town halls where we’ll talk about your rights. I’m running for attorney general. I’ll protect the rights of the people, including the formerly and currently incarcerated people and their families.”
The shooting unfolded around 1:30 a.m. on July 2 outside Artis Restaurant & Lounge, located on the 300 block of West Chicago Avenue, as crowds exited an event hosted by Mello Buckzz. According to Chicago police, a dark-colored vehicle drove past the crowd and opened fire before fleeing the scene (ABC7 Chicago).
Watch full interview to hear my media associate & I discuss the situation.
Four people were fatally shot:
Taylor Walker, 26, a hairstylist from the South Side who was attending the event with friends
Aviance “Avi” Drexler, 27, a healthcare worker and close friend of the rapper
Leon Andrew Henry, 25, of Chicago
Devonte Terrell Williamson, 23, a truck driver and young father who was also Mello Buckzz’s boyfriend
At least 14 other individuals sustained injuries and were transported to area hospitals including Northwestern Memorial, Stroger, Mount Sinai, and Illinois Masonic. Three remained in critical condition as of Wednesday morning.
Chicago Police Superintendent Larry Snelling condemned the incident, calling it “senseless and devastating,” adding that the shooters “fired into a crowd without any regard for human life” (CBS Chicago). The venue, Artis Lounge, has since been temporarily closed by city officials. The same location previously operated as Hush Chicago, which was also shuttered following a 2022 fatal shooting.
As the community grapples with the violence, new legal developments have further complicated the narrative.
According to CWB Chicago, Melvin Doyle, the father of Mello Buckzz, was arrested and charged with being a felon in possession of a firearm and ammunition. The federal complaint, filed by the Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF), states that Doyle was found with multiple handguns and over 100 rounds of ammunition during a February search of his home (CWB Chicago). Authorities confirmed the weapons were not used in the July 2 shooting, and no direct connection between Doyle’s charges and the River North attack has been established.
Still, the proximity of these events invites a broader reflection on the roots of violence in our communities.
While music, particularly in Chicago’s drill and rap scenes, offers a creative outlet and a reflection of lived experience, it also holds power to influence, to provoke, and in some cases, to escalate. The intersection of lyrics, online posts, and real world conflict has been well documented. Law enforcement and community advocates alike warn that violent rhetoric, whether artistic or interpersonal, can spill beyond the studio or screen and into the streets.
In honoring the lives of Taylor, Avi, Leon, and Devonte, we are also forced to confront a culture where grief is cyclical and trauma is generational. We must ask: what are we normalizing? What are we amplifying? And who is paying the price?
As federal and local investigations continue, authorities urge anyone with information about the shooting to contact the Chicago Police Department.
Chicago – On the notoriously eerie date of Friday the 13th, Easy O’Hare fused horror and hip-hop in a way only he could, with the release of his latest album, Nightmare O’Hare. Held at The New Jo’s Bar and Grill in Merrillville, Indiana, the release event transported fans and peers into an immersive experience where sound collided with storytelling in a night full of adrenaline, ambiance, and authenticity.
For centuries, the number 13 has carried a reputation for bad luck, and when it lands on a Friday, that superstitious energy hits different. The fear is so widespread it has its own name: paraskevidekatriaphobia. Pop culture took it even further in 1980 with the horror classic Friday the 13th, introducing Jason Voorhees; the silent, masked killer who haunted Camp Crystal Lake and slashed his way into horror history. Since then, the date has come to symbolize fear, suspense, and rebellion; making it the perfect backdrop for Easy O’Hare’s latest creative strike.
His statement? It’s giving serial killer energy.
And he’s killing these other rappers especially when it comes to the way he curates his musical projects.
Nightmare O’Hare captures that chaotic yet calculated vibe. It’s raw, cinematic, and deeply unsettling in the best way. The album rides moody production and vivid lyricism, exploring the gritty realities of urban life, survival, and the kind of darkness you face when you’re moving a certain way.
When I rap it gets scary for the competition and we chose a beat selection that fit the mood of how scary it can actually get. With this project I was showing I can pop up outta nowhere with new music at any given time after my listeners hear Nightmare O’Hare they’ll definitely go download the past projects to get all the way tapped in with me.
The theme originated from a past rap beef where I had to switch forms from Easy O’Hare to nightmare
-Easy O’Hare
The Performance
Easy’s stage presence brought the music to life with gritty emotion and undeniable power. And the supporting acts? Just as heavy. The room was charged with energy, filled with people who came to show love and stayed to be moved. It was a whole vibe and yes, the chicken was fire too.
The Artist
Rico Moneyy
Kdoug Jr
Aboog
D’kno Mr.KNOITALL
ESC Deez
Fly cool club
Big Nastee
Easy O’Hare
Coldhard
The Bigger Picture
With Nightmare O’Hare, Easy doesn’t just drop music, he curates experiences and releases projects with precision. He proves that there’s room for 40-year-old rappers who trap 🏚️🪤 with strategy, successfully. This isn’t a moment; it’s a method.
Nightmare O’Hare is now streaming on all major platforms.
Stay tuned for visuals, BTS moments, and more drops by following him on Instagram: @easyohare_
The short answer? No. But hedid commuteLarry Hoover’s federal life sentence, which is a big deal, but not the same as a full pardon.
On May 28, 2025, President Donald Trump used his executive powers to commute the federal sentence of Larry Hoover, the co-founder of Chicago’s Gangster Disciples (GDs). That means his federal time was reduced, but his state sentence in Illinois remains in full effect.
🚫 A pardon erases a conviction. ✅ A commutation shortens the sentence but leaves the conviction intact.
👉🏽 Hoover is still incarcerated, just no longer serving time under his federal sentence.
⚖️ Federal vs. State: Why Hoover Isn’t Free Yet
While the federal government no longer requires Hoover to serve life in a supermax prison, the State of Illinois still holds a separate life sentence against him. That stems from a 1973 murder conviction.
Credit: Larry Hoover Jr./Instagram
So even though Trump intervened federally, Hoover remains in prison under state custody.
Larry Hoover’s name carries legacy and controversy in Chicago. For decades, he’s been labeled a criminal mastermind. But in recent years, there’s been a push by his legal team and public figures to recognize the transformative work he’s done behind bars, including efforts to promote peace and redirect youth from gang life.
Even Kanye West and Drake brought global attention to Hoover’s case during their 2021 Free Larry Hoover Benefit Concert, adding cultural weight to the conversation about his potential release.
Let’s be real: Trump’s use of presidential clemency powers has always been controversial. Many of his commutations and pardons have benefited high profile or politically connected individuals. Which is still publicity for him and his administration. Still, for communities dealing with over policing and mass incarceration, among other violations of civil and human rights, any shift in how justice is served becomes a moment of reflection and dialogue. So I claim this as a win for us in the hood.
This decision is layered. Larry Hoover’s sentence was reduced because of his pardon of federal charges but he’s not free. Still, it opens the door to wider conversations about:
Sentencing reform
Community rehabilitation
The politics of who gets clemency
And the ongoing impact of legacy gang leaders in modern movements
Whether you’re from Englewood, the West Side, Auburn-Gresham like me or just someone trying to understand what’s real vs. what’s headlines; stay sharp, stay informed, and keep asking deeper questions because as a solid and native representation of urban culture, in the words of the Honorable Fred Hampton, Leader of the Illinois Chapter of the Black Panthers and a Chicago Native:
Hip Hop was never just a soundtrack, it was a survival guide, a protest language, and a cultural archive passed through boom bap beats and breath. Today, as the world watches the Hip Hop generation step into political arenas, from local elections to the United Nations, we are forced to ask: Who controls the culture now? And what does it mean to be Black, American, and powerful in a world that still tries to erase the blueprint?
In my new interview series The Cipher & The System I’m going to discussing the state of the culture, the importance of solving our identity crisis and setting a standard for the stewards, creatives, and other associates of Hip Hop that benefit from our Black American culture.
Full video is going through post production, bare with me.
It’s time to set the bar, revolutionize the voice of the culture and if not me then who? Seriously 😒 tho.
From Party to Power: The Political Birth of Hip Hop
What began in the Bronx as a celebration of rhythm, rhyme, and resistance has evolved into a global political force. Hip hop was never just about beats and bars, it was a cry from the margins, a cultural blueprint for survival in the face of systemic neglect.
As pioneers like Afrika Bambaataa and Grandmaster Flash turned block parties into platforms for protest, the culture began to birth its own consciousness. From the raw social critiques of Public Enemy to the electoral mobilizations led by artists and organizers today, hip hop continues to shift and our goal is to go back to our roots to use it as a tool to party for power, reminding the world that the mic is mightier than many know.
The Crisis of Identity in the Age of Influence
In a time where virality is often mistaken for value, the Black identity is being reshaped by algorithms and aesthetics more than lived experience and ancestral knowledge.
Hip hop, once a vehicle for self-definition, is now caught between commercialization and cultural reclamation. Who are we beyond the brand deals, trending sounds, and curated lifestyles? This crisis of identity isn’t just a cultural issue, it’s political. It determines who tells our stories, who profits from our pain, and how we define ourselves in the face of erasure and exploitation.
Dr. Daniel Davis on Education, Legacy & Liberation
Dr. Daniel Davis doesn’t just teach African American history, he embodies its living legacy. A leading voice on culturally relevant pedagogy, Dr. Davis believes education is the first site of liberation. In this exclusive interview, he shares why hip hop is not only a genre but a pedagogy, and how understanding our past is key to shaping our political and cultural future. His work centers the value of legacy, not as nostalgia, but as fuel for the fight for equity, self determination, and generational power.
Can We Build Cultural Institutions That Don’t Exploit Us?
Too many institutions built on Black creativity have failed Black communities. Whether in academia, music, media, or the nonprofit sector, the pattern is familiar: our genius is extracted, repackaged, and sold back to us, often without ownership, authorship, or autonomy.
It’s time to ask the hard questions: Can we build spaces where cultural integrity outweighs commercial interest? Where our narratives are protected, not commodified? Where cultural stewards are supported, not silenced? The answer requires both imagination and infrastructure, and a refusal to trade authenticity for access.
The Next Generation Needs Standards, Not Gatekeepers
There’s a difference between preserving culture and policing it. As hip hop enters its fifth decade, we owe the next generation more than nostalgia or elitism.
We owe them standards anchored in ethics, excellence, and historical context. These standards aren’t meant to stifle creativity but to safeguard legacy. Instead of gatekeepers, we need mentors, archivists, and architects, those who understand that true cultural preservation happens not by exclusion, but by elevation.
The youth are watching. Let’s give them more than permission, we must give them principles.
If we don’t teach the history of Hip Hop, we leave its future in the hands of people who never lived it.
There’s something undeniable about Chicago. The rhythm of our streets, the depth of our history, and the influence we hold in shaping urban culture across the nation and internationally, it runs deep. From house music and footwork to conscious rap and drill, Chicago has been a cultural cornerstone, birthing movements and voices that echo far beyond city limits.
That’s why moments like GloRilla giving Queen Key her flowers 💐 hit different. It’s more than just a viral moment, it’s recognition of legacy, talent, and the resilience of a city that has long been under credited and over influential.
Queen Key has always represented raw, unapologetic energy, the essence of what it means to be from the Chi and its surrounding communities. For another artist to publicly uplift her on tour is a powerful testament to sisterhood and respect in hip hop, especially amongst women at that young women, in an era where the city’s women are claiming space louder than ever.
Chicago isn’t just on the map, we are the map. The artists, the culture, the style, the stories, we influence the world, and it’s about time that legacy is consistently honored.
Chicago-Easy O’Hare, a standout voice in Chicago’s hip hop scene, teamed up with producer Uncle JoNH III to release Cabin Pressure, a tightly crafted 9 track album that dropped in 2024. Known for its gritty sound, sharp lyricism, and unapologetically Chicago feel, the project showcased Easy’s ability to turn personal stories and city life into immersive music. From soulful samples to streetwise bars, Cabin Pressure solidified his rep as an artist with staying power.
Single from Cabin Pressure
One of the album’s highlights, “KeepItTall,” featuring ESC Deez, has received new attention with a freshly released visual that captures the raw chemistry between the two. Watch the new video below 👇🏽. It’s a reminder that real art doesn’t fade, it grows with the artist.
Adding to the momentum, Easy O’Hare and ESC Deez recently joined forces again for “Bs,” the official theme song for the upcoming TV series Young Bulls. Promoted globally by Milwaukee’s own KB The Playmaker, and executive produced by industry veterans Stan Sheppard and Glasses Malone, Young Bulls shines a spotlight on Midwest talent, and Easy’s voice leads the charge. Check out the “Bs” video here, and you’ll see why this duo continues to demand attention.
From the Cabin Pressure cockpit to television soundtracks, Easy O’Hare is flying on his own frequency and the culture is catching up.
Communications Generalist | Cultural Strategist | Data & Business Analyst 