In a recent revelation, Shawn Cotton has shed light on the complex fallout involving Dallas rap artists Mo3, Yella Beezy, and Trapboy Freddy, touching upon the tragic events that have intertwined their careers and personal lives. The discussion, stemming from a podcast appearance on Boss Talk 101, highlights the escalating tensions in the Dallas rap scene, ignited by the death of comedian Roy Lee, which Cotton suggests was a pivotal moment.
The narrative begins with Cotton recalling how Roy Lee’s death, attributed to a blood clot after being set up, propelled Mo3 into a spiral of turmoil. “Roy got jumped at a club,” Cotton explained, marking the start of a series of conflicts that would engulf the artists. This backdrop of violence was further complicated by the public’s curiosity regarding the exclusion of Mo3 from the highly-publicized “Pig Six” song, a collaboration featuring several prominent figures in the industry. Cotton emphasizes that fans were eager for answers, making his inquiry into Mo3’s absence a necessary one, despite the backlash it would later incur.
As tensions mounted, the relationships between the artists began to fray. Cotton recounted an incident at a barbershop where Trapboy Freddy attempted to shake Mo3’s hand, only to be met with rejection. This moment, described by Mo3’s cousin, underscored the palpable animosity brewing between the two men. The cousin also recalled that following this encounter, Mo3 appeared on Cotton’s show and laughed off questions regarding the “Pig Six” song, revealing an underlying tension that was difficult to ignore.
The interview dynamic has often placed Cotton at the center of controversy. He acknowledges that while he posed challenging questions, the desire for transparency and narrative control from all parties involved played a significant role in escalating tensions. “If I’m wrong, we’re all wrong,” he stated, highlighting the collective responsibility of the artists and the media in shaping the narrative.
The situation intensified further when Yella Beezy found himself embroiled in a murder-for-hire case, adding another layer of complexity to the already strained relationships. Cotton noted that all three artists were eager for interviews, wanting to share their perspectives amidst the unfolding drama. Yet, with each interview, the potential for misunderstandings and escalating conflicts grew, leading to an environment where blame could easily be directed towards the media.
The tragic loss of Mo3 in 2020 has left a significant mark on the Dallas rap scene, with Cotton suggesting that the blame often falls on media figures like himself when tensions boil over. “When somebody dies, you have to blame somebody,” he remarked, reflecting on the inevitable fallout from such incidents.
As the conversation unfolded, Cotton reiterated that the desire for interviews and the quest for the last word are common threads that run through the relationships of these artists. “Everybody just wants to be the last to say their part,” he explained, encapsulating the competitive nature of the industry and the pressures that come with it.
In the end, Cotton’s insights provide a revealing glimpse into the complexities of the Dallas rap scene, illustrating how personal relationships can intertwine with public personas, leading to tragic outcomes. As fans continue to seek clarity on these intricate dynamics, the narrative serves as a poignant reminder of the fragility of life and the consequences of unresolved conflicts in the world of hip-hop.