The debate around whether record labels should accept some responsibility for the artists they sign, especially when those artists are involved in gang-related crimes, violence, or other criminal activities, is once again a hot topic. This issue touches on the ethics and accountability of corporate America when money and morality collide.
Historically, hip-hop artists have always showcased the harsh realities of street life in their storytelling. However, concerns continue to rise that labels capitalize on these narratives without adequately addressing the real-life implications. Labels sign artists whose music explicitly references gang affiliation, drug dealing, or violence, generating substantial profits. Yet, when tragedy strikes, like the deaths or arrests of the below artist, the labels remain unscathed, financially or legally.
Consider the case of the late rapper King Von, who signed to Lil Durk’s OTF imprint through Empire Distribution. Von, known for vivid lyrical depictions of gang culture, was shot and killed in 2020 during an altercation tied to gang rivalries. Despite his music and brand being intricately linked to gang culture, the label faced minimal scrutiny or accountability post-tragedy.
Similarly, rapper YNW Melly, associated with 300 Entertainment, faces murder charges for allegedly killing two of his close friends. Prosecutors used his lyrics as evidence to highlight the similarities between Melly’s artistic creations and alleged criminal activities. Yet, 300 Entertainment faced no significant corporate backlash or penalties for their continued promotion and profit from Melly’s controversial image.
Young Thug’s case, involving YSL Records under 300 Entertainment, further illustrates this complexity. Thug and several associates are facing charges under Georgia’s RICO Act, citing gang affiliation and violence. Prosecutors explicitly used social media posts, music videos, and lyrics in their arguments. The record label, which profited substantially from Thug’s gang-oriented imagery, has avoided direct responsibility, even amid significant public scrutiny.
Take Tay-K as another example. Tay-K’s track “The Race” went viral, propelling him into instant stardom while he was literally on the run from murder charges. His label, 88 Classic, profited significantly from his fame, yet distanced themselves completely when Tay-K was sentenced to 55 years in prison. They cashed in on his street image but dipped out when reality hit.
Pop Smoke, signed to Victor Victor Worldwide and Republic Records, rose rapidly with a sound deeply rooted in New York’s drill scene, a genre often criticized for glamorizing gang culture. His murder in 2020 was tied to gang-related robbery, a vivid reminder of how intertwined his public persona was with real-life violence. While fans mourned his loss, labels continued monetizing his catalog posthumously.
Drakeo the Ruler’s tragic death in 2021 further highlights this issue. Known for his unapologetic and raw lyrical style, Drakeo often detailed gang beefs in his music. His murder backstage at a music festival shocked the hip-hop community but sparked little to no accountability conversations involving the labels profiting from his gritty portrayals of gang life.
The story of Pooh Shiesty, a prominent rapper signed to Gucci Mane’s 1017 Records, is another case where street credibility fueled rapid commercial success. Currently serving a prison sentence for a gun-related crime, Pooh Shiesty’s rise and fall demonstrate the labels’ trend to capitalize on street music without supporting their artists when facing legal consequences.
Bobby Shmurda’s situation also raises red flags. Signed by Epic Records after his viral hit “Hot N*gga,” Bobby and his GS9 affiliates faced serious criminal charges shortly after signing the deal. Epic Records remained notably silent during his incarceration, profiting from streams and sales while distancing itself from the legal turmoil.
Lil Durk, a hugely successful artist, continues to be embroiled in controversies linked to street affiliations. Despite numerous tragedies surrounding his circle, including the death of his brother DThang, labels continue to leverage Durk’s street image without publicly addressing the broader implications.
Kay Flock (Kevin Perez), another New York drill rapper, was found guilty on March 20, 2025, of attempted murder and racketeering charges stemming from a 2023 RICO case. He was also convicted of assault with a deadly weapon and firearm offenses. Perez is awaiting sentencing while labels continue to profit.
These examples reflect a disturbing pattern. Labels actively invest in and market artists whose identities and popularity are partly built upon real or perceived gang affiliations. Yet when crime becomes explicit and publicly damaging, labels distance themselves, avoiding legal and social consequences. We can argue that this creates a dangerous incentive structure: corporations benefit financially from gang-affiliated branding while shifting all liability to artists, who often come from marginalized communities already impacted by systemic violence and poverty.
Given the prosecution’s increasing use of rap lyrics and social media posts as criminal evidence, it becomes imperative to question why corporate entities escape accountability. Money appears to overshadow moral responsibility in these situations. Is there an urgent need for transparency and ethical standards within the music industry? If lyrics and artist imagery can lead to prosecution, the labels profiting from these narratives should also face scrutiny.
Many community activists argue that labels are exploiting trauma for financial gain, perpetuating cycles of violence in vulnerable neighborhoods. There’s a rising call for industry reform, including stronger ethical guidelines for signing and promoting artists whose music prominently features violent or criminal themes. Advocates stress that accountability doesn’t necessarily mean censorship but rather a conscious responsibility towards the communities from which these artists emerge.
We see the artists, but how often do you see record labels in our communities giving back? Next to never, we presume!
Profits should never eclipse the real-life effects of perpetuating destructive narratives.
