In this episode of the 021WDYK podcast, host Shah Zare discusses the recent release of rapper Young Thug, who pled guilty to various gang, drug, and gun charges after spending about two years in custody. Young Thug’s case was a high-profile example of the Racketeer Influenced and Corrupt Organizations (RICO) Act being applied in the music world. RICO, initially introduced in 1970, allows prosecutors to charge individuals involved in organized crime, including conspiracy to commit crimes, even if no act was completed. Young Thug and others were accused of founding a street gang called Young Slime Life (YSL), with allegations based on conspiracy, a charge that frustrated many fans who saw it as harsh since no crimes were carried out.

Young Thug’s legal journey included a unique blind plea—meaning no deal was in place—resulting in a 40-year sentence with only five initially meant to be served in prison. This was later commuted to time served, and he will instead be on probation for 15 years, contingent on good behavior; otherwise, he faces up to 20 years in prison. The episode, which is opinion-based yet research-driven, also touches on legal principles.

Grime, a genre that originated in the early 2000s from East London, reflects the multicultural essence of the city, blending Jamaican reggae, American hip-hop, and British cockney accents. Known for its strong ties to the working-class, Grime artists reject negative stereotypes of violence and crime, using their platform to address issues of classism and racism in the UK. The genre gained political momentum when fans, especially young black men and those aged 18-24, supported Jeremy Corbyn’s Labour Party under the “Grime4Corbyn” movement, believing his policies aligned with their struggles.

Grime’s inclusivity unites people by class rather than race, challenging perceptions that associate it solely with black culture. Forms like “Form 696,” used to profile black artists unfairly, were protested by Grime musicians and discontinued in 2017. Media outlets have tried to link Grime with drug use, but artists like Stormzy have called out the racial bias of these accusations. Despite facing discrimination, Grime artists like Dave and Skepta amplify working-class voices, rejecting harmful stereotypes. Grime has become a global outlet for marginalized youth, addressing systemic issues and offering a path out of poverty, proving its cultural and social significance beyond London.

P Diddy is a renowned music mogul, credited with discovering artists like The Notorious B.I.G. and Usher. Despite his success, he has faced allegations. In September 2024, Diddy was charged with sex trafficking, racketeering conspiracy, and transportation for prostitution. He pleaded not guilty and remains in custody without bail, pending trial. This podcast episode aims to explore the legal implications as well as social ones.

The charges stem from federal investigations and civil lawsuits from 2023, some involving accusations of sexual assault. Diddy's homes in LA and Miami were raided in early 2024 as part of the federal inquiry. Legally, these charges are severe, with potential long sentences. The sex trafficking charge carries up to 25 years in prison under New York law, while racketeering is linked to RICO laws, commonly used to prosecute organized crime.

In addition to criminal charges, Diddy also faces civil lawsuits. Civil cases, like OJ Simpson’s wrongful death lawsuit, differ from criminal ones, as they require a lower burden of proof and result in fines rather than prison time. Currently, Diddy is under suicide watch, drawing public speculation about his mental state. His trial's outcome could have widespread implications for the legal and entertainment industries.

This episode examines why some rappers, like Ice Cube and Kanye West, are now more noticeably identified as leaning towards conservative politics. Ice Cube's interview with Tucker Carlson and Kanye’s open support for Donald Trump are key examples. Most people think money and capitalism are big reasons for this change. Even though hip-hop usually stands for social justice, the champions of the lower and middle class, some say it’s more conservative than people realize. There’s a long-awaited comparison between Kanye and a controversial figure in Iranian rap, pointing to a bigger, global trend, leading us to believe capitalism surrounds us all. 

Feel free to message us on Instagram for the sources we used or comment on the podcast. Now available on the Telegram Channel listed below.

Instagram: @021wdyk

Telegram Channel: ⁠https://t.me/wdyk021

PART I. Can you tell Shah was excited to film this episode? A fun and relaxed conversation about Gdaal with Oscar, a non-Iranian STEM professional and not-so-avid Iranian rap fan. An exploration of Shah's favorite rapper Gdaal and his romantic poetry and a discussion of Iranian music. All opinions are our own and are not fact.

Follow the instagram: @021wdyk

Telegram Channel: https://t.me/wdyk021

In Mohammad Iqbal’s poem, he critiques the West for its charm and success, lamenting the devastation caused by Europeans and calling for divine intervention to mend the world. This historical context of protest against Western influence parallels contemporary Iranian rap and hip-hop issues. Much of this music is created outside Iran, leading to disconnection among some listeners, especially older generations. This raises questions about the authenticity of cultural products and the scrutiny of Iranians enjoying music not produced within their own country.

The podcast episode discusses the song “Iroonie LA” by Zedbazi, which, despite its limited popularity, offers intriguing insights. It starts with an interview featuring Siavash Ghomeishi, who criticizes Iranian rap, setting a nostalgic tone with old Iranian music before transitioning to Zedbazi’s song. The track features upbeat music with controversial lyrics, including misogynistic and homophobic remarks.

The chorus, praised for its high-quality vocals reminiscent of classic Hollywood songs, showcases Mehrad Hidden's talent. The song ends with a provocative line about “Tehrangeles,” suggesting a rivalry between Los Angeles and Tehran. This line invites interpretation—whether it reflects jealousy or simply highlights the cultural divide between Iranians abroad and those in Iran.

The podcast also reflects on the irony of Zedbazi’s criticism of Iranian culture abroad despite their own international experiences, questioning the broader discourse on immigration and cultural authenticity. The episode invites listeners to explore these themes further, acknowledging the complexity and hypocrisy surrounding Iranian cultural products made outside Iran.

Instagram: @021wdyk

Telegram Channel: https://t.me/wdyk021

Welcome to the first episode of What Do You Know? 021, where Shah Zare, a legal professional and self-proclaimed expert in Iranian rap and hip hop, discusses the nuances of the history of Iranian rap and hip hop. In the early 2000s, Iranian pop music faced stagnation, with legal pop production in Iran still emerging and diaspora music from Los Angeles lacking innovation. A pivotal moment came in 2002 when teenage Saman Wilson translated Eminem’s lyrics and formed the Persian rap group ‘Zedbazi,’ establishing a new rap movement in Iran.

This is a social commentary that is for fun and not meant for political purposes or copyright purposes in any way.

Instagram: @021wdyk

Telegram Channel: https://t.me/wdyk021