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The Game (rapper)
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Jayceon Terrell Taylor (born November 29, 1979), better known by his stage name the Game or simply Game, is an American rapper and actor. Born in Compton, California, he initially released a series of mixtapes under the wing of fellow West Coast rapper JT the Bigga Figga. After releasing his debut album Untold Story independently in 2004, he was discovered by record producer Dr. Dre and signed to his Aftermath Records label imprint. The Game rose to prominence following the release of his major-label debut album The Documentary (2005), which peaked the Billboard 200 along with its sequel, Doctor's Advocate (2006). The former album received double platinum certification by the Recording Industry Association of America (RIAA) and two Grammy Award nominations—Best Rap Song and Best Rap Performance by a Duo or Group for its single, "Hate It or Love It" (featuring 50 Cent).

A rising artist in the 2000s, the Game was considered to be a driving force in the resurgence of West Coast hip-hop into the mainstream, and competing with many of his East Coast counterparts.[1][2][3] The Game was placed into G-Unit by Dr. Dre and Interscope Records co-founder Jimmy Iovine. As a result of his disputes with group leader 50 Cent, Game left Aftermath and signed with Geffen, another label under Universal's Interscope Geffen A&M corporate unit to terminate his contractual obligations with G-Unit in 2006. This foresaw the release of Doctor's Advocate, which was met with continued success and spawned the singles "It's Okay (One Blood)" (featuring Junior Reid), "Let's Ride," and "Wouldn't Get Far" (featuring Kanye West).[4]

The Game found similar critical and commercial success with his third and fourth albums, LAX (2008) and The R.E.D. Album (2010), which peaked at numbers two and one on the Billboard 200, respectively. His fifth album, Jesus Piece (2012), served as his final release with Interscope and peaked within the chart's top ten, along with his next self-released albums: The Documentary 2, The Documentary 2.5 (2015), and 1992 (2016). His ninth album, Born 2 Rap (2019) was announced as his final; however, his career continued with the release of his tenth album Drillmatic – Heart vs. Mind (2022), which was met with mixed critical reception.[5]

Early life

[edit]

The Game was born Jayceon Terrell Taylor[6][7] on November 29, 1979,[8] in Compton, California,[9] to parents George Taylor[10] and Lynette Baker,[11] who both were members of the Crips street gang. He grew up in a primarily Crip-controlled neighborhood known as Santana Blocc,[9] although Taylor himself grew up to become a member of the Cedar Block Piru Bloods through his brother.[12][13] In an October 2006 interview with MTV News correspondent Sway Calloway, the Game described his family as "dysfunctional". His older half-brother, George Taylor III, a.k.a. the rapper Big Fase 100, was a Cedar Block Piru Bloods leader in West Compton, California.[14]

Taylor and his sibling spent six years in foster care.[11] Taylor attended Compton High School.[15] He went on to attend the community colleges Antelope Valley College, Harbor Community College and Cerritos College each for a time before leaving school.[14]

By the early 2000s, Taylor had become heavily involved in selling drugs and participating in gang activities.[16]

Music career

[edit]

Early career (2002–2003)

[edit]

While recovering in the hospital from gunshot wounds he incurred in late 2001, Game told his brother to go out and buy all of the classic hip-hop albums. Over the course of five months, he studied all of the various influential rap albums and developed a strategy to turn himself into a rapper. With the help of his older brother Big Fase, they founded the label. It originally featured such artists as Glasses Malone, Vita, and Nu Jerzey Devil, along with Game himself.[17] His stage name was coined by his grandmother, who was a huge fan of the 1997 blockbuster, The Game.[17]

At the start of his career, Game attended a hip-hop summit hosted by Russell Simmons and Louis Farrakhan where he met Bay Area producer JT the Bigga Figga.[18] The two agreed to record music and JT packaged some of these songs with Nas verses, releasing them as the mixtape Q.B. 2 Compton (He would later release the rest of these recordings on 2004's Untold Story and 2005's West Coast Resurrection).[19] This mixtape reached the hands of Sean Combs, founder of Bad Boy Records, who originally was on the verge of signing him to his label.[20] Five months later, he was discovered by Dr. Dre who listened to the same mixtape. Dr. Dre signed Game to his Aftermath Entertainment label in 2002 and he released the mixtape You Know What It Is Vol. 1.[21][22]

In late 2003, Interscope Records CEO Jimmy Iovine and Dr. Dre decided to have Game work with 50 Cent and G-Unit in order to help build a growing buzz around Game which would also fuel interest in G-Unit. Game made his first cameo appearance in the music video for 50 Cent's "In da Club", where he is seen dancing with a girl. Since then, he has made numerous cameo appearances in music videos by 50 Cent, Lloyd Banks, Young Buck, and Fabolous. Game spent the next two and a half years working on his major label debut album and being mentored by Dr. Dre.[17][23]

The Documentary (2003–2005)

[edit]
Game (right) with Kool G Rap (left) in New York City, November 2004

Not having dropped an album despite being signed onto Aftermath Entertainment and Interscope Records for a while, Game was still able to create hype around his image alone. He appeared in ads for Sean Combs's Sean John clothing company and had an endorsement deal with Boost Mobile, appearing in a commercial alongside Kanye West and Ludacris. Game also appeared heavily on the mixtape circuit and guest starred on mixtapes for DJ Green Lantern, The Diplomats, and G-Unit. The first single released with Game on it was "Certified Gangstas", which also featured Jim Jones and Cam'ron. Though the single wasn't considered to be mainstream, the buzz increased around the West Coast rapper.

On September 28, 2004, Game released his first promo single, "Westside Story", from his major label debut album. He had originally chosen to title the album Nigga Wit' An Attitude Volume 1 (as heard in the lyrics to "Dreams"), changed the album title to The Documentary, which featured Dr. Dre and 50 Cent as executive producers. The album spawned the hit singles "How We Do" and "Hate It or Love It", the latter receiving two Grammy nominations.[24] The album debuted at number one on the Billboard 200 and was the sixteenth best selling album of 2005 in the United States.[25] It also debuted at number seven in the United Kingdom and sold over five million copies worldwide.[26] In October 2004, he released Untold Story through Get Low Recordz, which sold over 82,000 copies within its first three months.[27] The album featured artists like Sean T, Young Noble (of the Outlawz), and JT the Bigga Figga.[28] Game also appeared on various mixtapes hosted by DJ's such as DJ Kayslay, DJ Whoo Kid, and DJ Clue. Game also released a second mixtape You Know What It Is Vol. 2 through his own record label and appeared on the video game NBA Live 2004 on a song produced by Fredwreck called "Can't Stop Me".[29]

Later that year, the young rapper Lil Eazy-E, son of rapper the late Eazy-E, entered a feud with Game. The two used to be close associates and recorded music together. Lil' Eazy-E has since directed numerous diss songs targeting the rapper and has expressed his anger over what he felt was Game's misuse of his father's name. Game responded by claiming that Lil' Eazy-E was trying to establish himself off the success he had made since releasing The Documentary.[30] He released a song titled "120 Bars" where he claimed that Lil' Eazy-E does not write his own lyrics.[31] However, on the same track, Game stated that he would rather not feud with Lil' Eazy-E due to the deep respect he has for Lil' Eazy-E's father. Lil' Eazy-E later responded with "They Know Me". On October 30, 2006, Game went on KDAY and said that he and Lil' Eazy-E had ended their feud.

Dr. Dre's nemesis, Suge Knight, also had an ongoing feud with Game that stemmed from Yukmouth's claim that Game had been slapped by Suge Knight. Game responded on his website, saying that if Suge Knight had ever touched him, he would be "six feet under".[citation needed] After the 2005 BET Awards show, associates of Death Row Records had their invitations to a party hosted by Ciara rescinded. Supposedly, a member of Death Row Records tried to steal Game's chain. Game stated on his website that he disliked Suge Knight because of "the lives he has endangered". In Miami for the 2005 MTV Video Music Awards, Suge Knight was shot and wounded at Kanye West's party by an unknown gunman.[32] Game vigorously denied involvement in the shooting, but the incident renewed efforts to pacify hip-hop feuds and Game has consequently been discouraged from attending certain events in hopes of averting retaliation.[33] Later, Game and various representatives of California's rap cliques formed a West Coast "peace treaty" to end many rivalries between West Coast rappers.[34] Although Suge Knight did not attend, he and Game declared their feud over.[citation needed]

Doctor's Advocate and feud with G-Unit (2005–2007)

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Game performing at Supafest 2011

In early 2005, Game entered a feud with G-Unit. Even before Game's major label debut was released and their feud became public, there was tension between Game and 50 Cent.[35] Soon after The Documentary's release, 50 Cent talked about an accident that occurred in the strip club by stating that he felt that the rapper's actions of not partnering with 50 Cent to react to Fat Joe and Jadakiss after the New York song written by Ja Rule were wrong and then booted Game out of G-Unit. 50 Cent also claimed that he was not getting his proper credit for the creation of the album, as he had written six of the songs, all of which Game denied. During that dispute, a member of Game's entourage was shot during a confrontation that occurred at the Hot 97 studio in New York City.[36] After the situation between them escalated, 50 Cent and Game held a press conference to announce their reconciliation.[37] Fans had mixed feelings as to whether the rappers created a publicity stunt to boost the sales of the two albums the pair had just released.[36] Nevertheless, even after the situation had apparently deflated,[38] G-Unit continued to feud with Game, denouncing his street credibility in the media and claimed that, without their support, he would not score a hit if he made a second album. Game responded during a performance at Summer Jam and launched a boycott of G-Unit called "G-Unot".[39]

After the performance at Summer Jam, Game responded with a song titled "300 Barz and Running'", an extended "diss" aimed at G-Unit as well as members of Roc-A-Fella Records on the mixtape You Know What It Is Vol. 3. The track is unique in that it is nearly 14 minutes long, in which Game criticizes all members of G-Unit, amongst many others. 50 Cent responded through his "Piggy Bank" music video, which features Game as a Mr. Potato Head doll and also parodies other rivals.[40] Since then, both groups continued to attack each other. Game released two more mixtapes, Ghost Unit and a mixtape/DVD called Stop Snitchin, Stop Lyin. 50 Cent's rebuttal was "Not Rich, Still Lyin'" where he mocks Game.[41] In addition, G-Unit started to respond on numerous mixtapes and then-new G-Unit member Spider Loc began dissing Game. Game responded with "240 Bars (Spider Joke)",[41] a song mainly aimed at Spider Loc, but also addressing Tony Yayo and rap group M.O.P.,[41] and on the song "The Funeral 100 Bars".

The feud between Game and Roc-A-Fella Records grew out of an earlier rivalry with Memphis Bleek over the name of his label (Get Low Records), which was similar to the one Game was previously signed to (Get Low Recordz). On the single "Westside Story", Game raps that "I don't do button-up shirts or drive Maybachs", which was perceived as being directed towards Jay-Z, though Game stated it was directed toward Ja Rule. Later Jay-Z performed a freestyle on Funkmaster Flex's radio show on Hot 97 and in it, he repeatedly used the word game, which some hip-hop fans[who?] believed was directed towards Game. Game responded with "My Bitch" in which the first verse is directed at G-Unit, the second verse is directed at Jay-Z and the third verse at Suge Knight.[42]

Game performing at the 2007 Hip Hop Jam festival in the Czech Republic

Due to his disputes with 50 Cent, Game left Aftermath Entertainment and signed with Geffen Records, another label under Universal Music Group's Interscope-Geffen-A&M division to terminate his contractual obligations with G-Unit in the summer of 2006. The rapper's second major-label album Doctor's Advocate was released on November 14, 2006. This album was set out by Game to prove his success as an artist without the help of Dre or 50 Cent. While Game originally claimed Dr. Dre would still do production on the album in the November issue of XXL magazine,[43] he admitted in September after the XXL interview was conducted during an interview on radio station Power 105 that Dr. Dre would not be producing any tracks;[44] although four previously unreleased tracks produced by Dr. Dre were released on the Internet, no exact reason was given as to why they were not included on the album. The album debuted at number one on the Billboard 200, selling over 358,000 copies its first week.[45]

In October 2006, Game extended a peace treaty to 50 Cent, which was not immediately replied to.[46] However, a couple days later on Power 106, he stated that the treaty was only offered for one day. On Game's album Doctor's Advocate, he says the feud is over on a few of the songs. The feud seemed to have gained steam after Tony Yayo allegedly slapped the fourteen-year-old son of Czar Entertainment CEO Jimmy Rosemond. Game responded with "Body Bags" on You Know What It Is Vol. 4.[47] Since Young Buck was dismissed from G-Unit by 50 Cent, there have been interviews from both Game and Young Buck stating they never had a problem with each other. In an interview Young Buck said he was aware of Game's support and that Lloyd Banks and Tony Yayo did not reach out to him.[48]

LAX and The R.E.D. Album (2007–2012)

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Game appeared on 106 & Park on May 16, where he confirmed LAX would be the last studio album he records. He had originally announced that Dr. Dre would be producing for the album, but neither Dr. Dre nor Aftermath Entertainment had confirmed. The album went head to head with heavy metal band Slipknot's All Hope Is Gone on the Billboard 200 albums chart, seeing that both albums were released on August 22, 2008, therefore both albums were competing for the number one spot on the Billboard 200. LAX ended up debuting at number two on the Billboard 200, at first, it looked like LAX had debuted ahead of All Hope Is Gone by 13 copies. Initially, Billboard published an article stating that the Game had secured the top spot with a margin of 13 units, in what was described as the "closest race for number one since Nielsen SoundScan began tracking Data in 1991".[49] Slipknot's labels Warner Music Group and Roadrunner Records asked for a SoundScan recount, a historic first. Nielsen proceeded to the recount, which placed LAX at number two with 238,382 copies, and Slipknot in the first position with 239,516 copies scanned, a margin of 1,134 copies. After the recount 12 hours later, the article was rewritten and Slipknot was awarded the number one spot.[49] LAX spawned four singles: "Game's Pain" with R&B singer Keyshia Cole, "Dope Boys" with Blink-182 drummer Travis Barker, "My Life" with rapper Lil Wayne and "Camera Phone" with R&B singer Ne-Yo. In the United States, the album has sold over 660,100 copies.[50]

It was confirmed in May 2009, that Game began working on a new album, titled The R.E.D. Album[51][52] On June 26, 2009, Game released a song titled "Better on the Other Side" a Michael Jackson tribute, the day after Jackson's death. It features Diddy, Mario Winans, Chris Brown, Usher & Boyz II Men.[53] On October 3, 2009, Snoop Dogg posted a picture on his Twitter of himself, Dr. Dre and Game in the studio working together,[54][55] The picture was taken a day earlier and it marked the first time Game had worked with Dr. Dre for some years since the beef with former fellow G-Unit labelmate 50 Cent caused him to release his two following albums on Geffen Records. Later in early January 2010 Game posted a twitpic of him wearing a lot of Aftermath chains with a caption saying "It's funny how things come Full Circle". Later he confirmed that he had returned to Aftermath Entertainment.[56] He traveled to Pristina, Kosovo for a concert, that according to him would be the greatest of his life. In an interview there, Game stated: "I love Albanians, If I could be reborn, I'd be reborn Albanian".[57] On June 3, 2011, Pitchfork Media announced that Game was working with Odd Future leader Tyler, The Creator on a track called "Martians vs. Goblins".[58] Finally released on August 23, 2011, The R.E.D. Album reached number one on the Billboard 200 with first-week sales of 98,000 units.[59]

Jesus Piece and OKE (2012–2013)

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Main articles: Jesus Piece (album) and Operation Kill Everything

Shortly after the release of the long-delayed eighth studio album, Game announced he had begun work on his ninth album. At the time titled Soundtrack to Chaos, he said the album would not feature him "name-dropping" or feature any artists as guests for vocals.[60] In March 2012, Game announced the album name had been changed to F.I.V.E.: Fear Is Victory's Evolution and that it could be his last album released under Interscope,[60] but on August 28 the rapper published a new title: Jesus Piece.

In an interview with MTV on November 8, Game revealed that as Jesus Piece is his last album before his deal with Interscope comes to a close, he has had talks with both Maybach Music Group and Cash Money Records for a possible new record deal. He also stated that he would consider releasing music independently.[61]

The Game performing in 2011

The album was released on December 11, 2012, with features from Lil Wayne, Big Sean, J. Cole, Jamie Foxx, Wiz Khalifa, Tyga and Chris Brown among others. In promotion for the album Game started a free weekly music giveaway titled "Sunday Service". All the tracks are leftovers from Jesus Piece. Game also showed interest in making a future collaboration LP with Chris Brown.[62] Game explained the concept of Jesus Piece does not have a spiritual theme, but it would have a "Gangster" theme of enjoying life while also having faith in God.[63][64] Jesus Piece became Game's first album since the multi-platinum selling and critically acclaimed The Documentary, to feature production from Dr. Dre. Game announced on social media that every Sunday leading up to the album that he would be dropping new music, which failed to make the album's final cut. Game compared the album's quality of production and high number of guests to his mentor Dr. Dre's The Chronic 2001.[65] Upon release the album received generally positive reviews by music critics. Most reviewers have praised the production and guests and the album.[66] Jesus Piece debuted at number six on the Billboard 200 with first-week sales of 86,000 copies in the United States.[67] As of July 26, 2013, it has sold 281,000 copies according to Nielsen SoundScan.[68]

On November 30, 2012, Game announced that he and fellow rapper Stat Quo were starting a new record label titled Rolex Records. Both artists would use the label to release new music and sign other artists.[69] On October 1, 2013, Game announced he was officially leaving Interscope Records, and that he was now a free agent.[70] The following day he told Artistdirect that him signing to Cash Money Records was likely, and that a final announcement of a signing would probably come in January 2014. He also stated he had talked to Kendrick Lamar, Nipsey Hussle, and Snoop Dogg about possibly doing collaboration albums in the future.[71]

On October 8, the Game released his first project since leaving Interscope, a mixtape titled Operation Kill Everything.[72] The mixtape featured guest appearances by Too Short, Schoolboy Q, Chris Brown, Lil Wayne, Problem, Nipsey Hussle, Juicy J, Young Jeezy, Stat Quo, and Ty$ among others.[73] The day after the mixtape's release, the Game spoke to XXL where he said, he had begun working on his ninth studio album, which will be executive produced by Cool & Dre. He mentioned he had also talked to Warner Bros. Records about a record deal, and was still possible that he would re-sign with Interscope.[74] Then the following day, the Game released a deluxe edition of OKE to iTunes, featuring two bonus tracks, including "Hollywood" a song with Scarface.[75]

The Documentary 2, 1992 and feud with Meek Mill (2013–2018)

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On October 12, 2013, Birdman announced that he had signed the Game to Cash Money Records, which Game later seemingly confirmed that same day.[76] On December 11, 2013, Game stated that he was not officially signed to Cash Money Records stating "It's just trying to figure out what's the best for Cash Money, what's the best for Game at this point in his career. That's pretty much family and that's where I'm at, at this point", he said. "Nothing's written in stone, but that's where I'm leaning."[77][78]

On June 16, 2014, the Game released the compilation album, Blood Moon: Year of the Wolf's first single "Bigger than Me".[79][80] The song heavily samples rock group Poliça's 2013 single "Warrior Lord". The following day, the Game announced that his sixth studio album, a sequel to his debut album The Documentary, would be arriving in January 2015, with Dr. Dre returning as producer along with Just Blaze and Scott Storch.[81] He also expressed interest in getting Nicki Minaj featured on the album.[82] The second single from Year of the Wolf, titled "Or Nah" was released on July 1, 2014.[83][84]

On March 18, 2015, the Game announced that The Documentary 2 would be released June 30, 2015.[85] The album was pushed back to August 7.[86] On June 23, Game released the first single, titled "100" featuring Drake. Target began displaying the original artwork for The Documentary 2 July 13, 2015. However, the release date was pushed back again, to August 28, then eventually to October 9.[87][88]

A week later on October 16, Game released The Documentary 2.5 the second half of The Documentary 2.

The Game and Skrillex collaborated on a song named "El Chapo", which was released on October 9, 2015.[89]

On August 1, 2016, the Game ended his twelve-year feud with 50 Cent when the two were in the Ace of Diamonds Strip Club and he said "What happened, that shit was 12 years ago."[90]

On September 16, 2016, the Game released "92 Bars", a five-minute freestyle, used to promote his upcoming seventh studio album, but was also rumored to have been a diss towards rapper Meek Mill.[91][92] Previously, Mill and Game collaborated on 2015's "The Soundtrack".[93] Hours after the release of "92 Bars", Game admitted that the freestyle was specifically a diss towards Mill. The next day, the two rappers ended up in an Instagram exchange, with the Game cyber-flirting with Meek Mill's girlfriend, Nicki Minaj, as well as accusing him of calling the police, informing the authorities about a robbery involving Sean Kingston.[94] On September 18, Meek Mill released a diss track towards Game, a remix to Young M.A.'s "Ooouuu" with Omelly and Beanie Sigel. Two days later, the Game responded with "Pest Control", using the same beat and sending shots at Meek Mill, Omelly, Beanie Sigel and Sean Kingston.[95][96] In 2018 the two reconciled after Mill's incarceration and subsequent release from prison. On October 27, 2017, the Game released the single "Oh I" featuring Jeremih, Young Thug and Sevyn Streeter.

From his 1992 album, he released "True Colors/It's On", "All Eyez", "What Your Life Like", and "Baby You" featuring Jason Derulo.

Born 2 Rap (2019-21)

[edit]

In December 2016, the Game announced that he is working on his next and final album.[97] On June 21, 2019, he released the first single of the album titled "West Side". On November 1, 2019, the Game released the second single, "Stainless", featuring Anderson .Paak. His ninth studio album Born 2 Rap was released on November 29, 2019, his fifiteth birthday.[98] It debuted at number nineteen on the Billboard 200.

Drillmatic – Heart vs. Mind and feud with Eminem (2021–22)

[edit]

In November 2020, The Game returned with the Lil Wayne-assisted "A.I. with the Braids", his first single since Born 2 Rap.[99] In January 2021, The Game's manager, Wack 100, said to AllHipHop that although Game called Born 2 Rap his final album and showed interest in managing and signing artists during retirement, he is however is back in the studio working on a new project, tentatively titled 30 for 30. No further details have been announced.[99]

In January 2022, the Game's feud with 50 Cent reignited after the latter critiqued Game's Drink Champs interview with N.O.R.E., where he claimed that 50's former record sale competitor Kanye West did "more for me in two weeks than [Dr.] Dre did for me throughout my entire career".[100] The Game responded, commenting that he enclosed the entirety of G-Unit as a group and clothing brand "in a casket", also expressing his likeliness in the Power television trilogy (which 50 Cent co-produces), but warning him to "leave [the past] alone or else... I'm outside #Numinati".[101] Then, two months later, in March, 50 Cent published a video via Instagram of Game being shunned by former Interscope Records CEO Jimmy Iovine at a basketball game, poking fun of it while also commenting "50 wrote ya hits". The Game once again flamed 50 after the claims were brought back up and also bragged to "get [50's] girlfriend out of my DM's".[102][103] This was believed to have been a consequential result of Game claiming on Drink Champs to be "the best and a better rapper" than former Aftermath labelmate Eminem, with whom 50 still remains close friends.[104][105] Additionally, Game's manager, Wack 100, has subliminally called out or questioned 50 Cent's credibility, over the rapper's surprise appearance at the Super Bowl LVI halftime show and ghostwriting allegations.[106][107][108][109]

On July 15, the Game announced his eleventh album, Drillmatic – Heart vs. Mind, revealing the cover art and the release date. The album was released on August 12, 2022. The album is executive produced by Hit-Boy, Kanye West, Wack 100 and others.[110] The album included guest appearances from Chloe Bailey, Rick Ross, ASAP Rocky, former rival Meek Mill, YoungBoy Never Broke Again, Big Sean, YG and twenty-two others throughout its 30-track listing; it also includes the Kanye West duet, "Eazy", which samples the Eazy-E 1988 title track, "Eazy-Duz-It", as well as "The Black Slim Shady", which is a ten-minute diss towards Eminem.[111] YoungBoy Never Broke Again was originally featured on the album through a track titled "O.P.P.", but was later omitted from the track, due to a feature clearance issue regarding a $150,000 fee, according to Game's manager, Wack 100.[112][113] Selling 25,000 equivalent units in the first week, it debuted at number twelve on the Billboard 200, becoming Game's lowest-selling album in his career.[114][115]

Other ventures

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In 2000, the Game appeared on the dating television show Change of Heart;[116] in the segment his partner criticized him for "acting macho when in reality is said to be sensitive." The episode came to an end where a mutual friend of the Game and his partner suggested in them staying together, the Game decided to stay together but was rebuffed by the offer when his partner agreed to a change of heart and the Game was subsequently dumped on TV.[117]

The Game also ventured into acting. In 2004, he had a minor role voicing the character "B-Dup" in the video game Grand Theft Auto: San Andreas. He also voiced himself in the video game Def Jam: Icon. In 2006, he made his film debut in Waist Deep as a character named "Big Meat".[118]

The Game was chosen to play and bought a large amount of shares for the Inglewood Cobras, established in 2005 and playing in the American Basketball Association basketball franchise team.[119] The team folded after playing fewer than five games in the ABA in the league's 2005–2006 season. The team was coached by former NBA player Sean Higgins.[120]

The Game is a fan of the Los Angeles Rams of the NFL, occasionally being spotted at the team's home games in Inglewood.[121][122]

The Game has also partnered with 310 Motoring to create his own shoe, The Hurricanes.[123] A portion of the proceeds of the shoe were donated to the victims of Hurricane Katrina.[124] 310 Motoring ceased operations in 2008, thus ending production of the Hurricane shoe brand.[125][126]

In 2012–2013, he promoted his 60 Days of Fitness challenge, a rigorous fitness and nutrition regime with his brother and trainer Byrd.[127]

The Game has, on several occasions, honored the memory of those who died during the Armenian genocide and has expressed his sympathy towards the events.[128] The Game is also an avid supporter of Black Lives Matter.

Record labels

[edit]

The Black Wall Street Records was an American independent record label founded in 2002, by the Game. The name "The Black Wall Street" is adopted from what was the racially segregated Greenwood neighborhood of Tulsa, Oklahoma. During the oil boom of the 1920s, Greenwood was home to several successful and prominent African-American entrepreneurs.

Before The Documentary, Game dropped a series of mixtapes on his own label, The Black Wall Street. After leaving G-Unit Records, Game hoped to push The Black Wall Street to the mainstream to compete with his former label and labelmates. Though the label didn't released an official retail album, it did released several mixtapes including the "Black Wall Street Journal" and "BWS Radio" series. Former artists who have been on the label include: Vita, Ya Boy, and Charli Baltimore.

Blood Money Entertainment was an American independent record label. In December 2012, the Game founded a new record label, Rolex Records, alongside fellow rapper Stat Quo.[129] Following its founding, he bought his entire team at the record label Rolex watches. After a six-month legal battle with Rolex, he changed the name and logo of the record label to The Firm,[130] which then became Blood Money Entertainment.[82] The label has signed West Coast rappers Skeme, King Marie, Pharaoh Jackson and Dubb.[131]

Prolific Records was an American independent record label founded by the Game in the autumn of 2019. According to court documents obtained by AllHipHop, Priscilla Rainey was granted ownership of the Game's vanity label, as well as royalties from his tenth studio album, Born 2 Rap (2019). This means Rainey now has full control over any salary the Game was receiving through his imprint.[132]

100 Entertainment is an American independent record label founded in 2021 by the Game and his manager, Wack 100.[133]

Personal life

[edit]

Taylor is the father of three sons and one daughter.

Taylor became a father for the first time in 2003 with the birth of his eldest child, Harlem Caron Taylor, just before the launch of his debut album, The Documentary. He later welcomed his son, King Justice, and daughter, Cali Dream, in 2007 and 2010, respectively. His fourth child, Blaze Taylor, arrived in 2024.[134]

Taylor announced that he was engaged to actress and model Valeisha Butterfield, the daughter of U.S. Congressman G. K. Butterfield. The couple were set to marry in March 2007, but the engagement was called off in June 2006.[135]

After the couple broke off their engagement, Taylor became involved in a relationship with Tiffney Cambridge, a sixth-grade teacher. VH1 broadcast two seasons of Marrying the Game, a reality television series about the Game and Cambridge, as they prepared to walk down the aisle. The relationship was "love at first sight" when Cambridge met Jayceon. Despite reservations regarding Taylor's career, the relationship lasted eight years, but no marriage plans materialized despite the series.[136] Cambridge accused Taylor of physical abuse throughout the relationship, which he denied.[137]

Taylor announced during the episode of the "Tacos & Shawarma" podcast that aired on Sunday, August 4, 2024, that he and Shaniece Hairston, the daughter of TV personality and model Evelyn Lozada, are expecting their first child.[138] On Friday, December 6, 2024, Taylor shared a photo of his child on Instagram, disclosing that the child's name is Blaze Taylor.[139]

[edit]

2005

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Assault lawsuit

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Game, Snoop Dogg, and Tha Dogg Pound, were sued for assaulting a fan on stage at a May 2005 concert at the White River Amphitheatre in Auburn, Washington. The accuser, Richard Monroe Jr., claimed he was beaten by the artists' entourage while mounting the stage.[140] He alleged that he reacted to an "open invite" to come on stage. Before he could, Snoop's bodyguards grabbed him and he was beaten unconscious by crew members, including the rapper and producer Soopafly; Snoop and Game were included in the suit for not intervening. The lawsuit focuses on a pecuniary claim of $22 million in punitive and compensatory damages, battery, negligence, and intentional infliction of emotional distress.[141] The concerned parties appeared in court in April 2009.[needs update]

Criminal disorderly conduct

[edit]

On October 28, 2005, Game was charged with disorderly conduct and resisting arrest in Greensboro, North Carolina. At one point, police said his companions were pepper sprayed when they surrounded officers in a threatening manner.[142] Mall security officers said the rapper was wearing a full-face Halloween mask, filming shoppers, cursed loudly, and refused to leave when asked. Game continued to act up and was arrested, a police statement said. Game claimed that officers overreacted and that he did nothing wrong when he was pepper-sprayed by the mall security.[142] The five officers involved in the incident ended up suing Game for defamation.[143] The officers were awarded $5 million in compensatory damages, which was upheld on appeal by the North Carolina Court of Appeals in February 2012.[144]

2007: Criminal assault and weapon possession charges

[edit]

On May 11, 2007, Game was arrested at his home, reportedly in connection with an incident at a basketball game in South Los Angeles in February 2007. He is alleged to have threatened a person with a gun. The arrest took place after his home was searched for three hours. Game was released early the next day after posting $50,000 bail.[145] On January 9, 2008, a Los Angeles judge scheduled February 4 as the beginning date for Game's trial on assault and weapons charges.[146] After pleading no contest to a felony weapons charge on February 11, Game was sentenced to 60 days in jail, 150 hours of community service, and three years of probation.[147]

2011

[edit]

Banishment from Canada

[edit]

In 2011, Game was refused entry to Canada for alleged gang ties in Los Angeles; concert organisers said he was associated with the Bloods.[148]

Obstruction of justice via social media

[edit]

On August 12, 2011, the Game decided to tweet his search for a supposed internship opening. In the message sent to his over 580,000 followers, he posted the number to call as the emergency line for the Los Angeles Sheriff's Department. The Game's fans jammed the line for hours. Initially, the Game denied any wrongdoing, saying the tweet was "a mistake". The Game then posted a message saying the sheriff's department can "track a tweet down but you can't solve murders!" A criminal investigation was launched stating that the Game could be charged for obstruction of justice. Despite all of this, the Los Angeles Sheriff's Department issued this statement: "Based upon our investigation, as well as consultation with the Los Angeles County District Attorney's Office, the LASD considers the criminal investigation into this matter closed. The Los Angeles County Sheriff's Department will not be seeking criminal charges." The Game issued an apology on CNN saying, "My sincerest apologies to the Sheriff's Department, it was a joke gone wrong."

2012: 40 Glocc assault and lawsuit

[edit]

On July 8, 2012, 40 Glocc got into an altercation with the Game. In a video clip, allegedly shot by the Game via Game's iPhone during the fight, 40 Glocc is seen running into a bush after being beaten up by the fellow West Coast rapper.[149][150] Game defended what he did by saying he was retaliating for Glocc going up to rappers Lil Wayne and Plies in the past with large entourages.[151] In October 2012, 40 Glocc filed a lawsuit for $4.54 million for assault and battery, as well as damaging his reputation. This included $500,000 in pain and suffering; $500,000 in emotional distress; $750,000 in lost earnings; $2 million for punitive damages; $25,000 in medical expenses; and various other reasons. Since then, Glocc has gone on a smear campaign against the Game, releasing his diss "The Full Edit" in December 2012. Game has similarly addressed the situation in several interviews, claiming that filing a lawsuit of this nature "disintegrates your street cred".[152] In December 2012, 40 Glocc assaulted Game's manager Dontay "Taydoe" Kidd in Las Vegas, Nevada.[153] Glocc won the lawsuit and was awarded $3,000.

2014: Standoff with Los Angeles police officers

[edit]

On April 30, 2014, Game and Atlanta rapper T.I. were involved in a verbally confrontational standoff with officers of the Los Angeles Police Department. According to Billboard, it was believed to have been disconcerted as a response to officers misconducting a group of bystanders afar from a nightclub the two artists were attending. In a video leaked by TMZ, T.I. and Game were forced out of the club which they nicknamed the "Supercut Club" (or "Supperclub") by LAPD officials, due to an investigation of a drug and gambling ring. The club's security guards were also present at the scene and refused the rappers' re-entries into the property to avoid more legal troubles. T.I. and Game were forced to stand back with the former yelling "Y'all got a lot of people beat up. We got good lawyers." One of the bystanders was forced to lay down with his hands over his head without warning and security kicked him repeatedly to try to get him back up in opposition. Another guard yelled, "He goes to jail tonight!". T.I. and Game were rumored to have been arrested for simple assault on a police officer and disturbing the peace, but were later released and with charges being dropped, but this was later denied by LAPD team members.[154][155][156][157]

2015-23: Priscilla Rainey sexual assault lawsuit and liability

[edit]

In 2015, Priscilla Rainey filed a lawsuit seeking out $10,000,000 for sexual assault.[158] Rainey claimed she had agreed to go on a date with the Game, believing it would be on camera; however, when she met the rapper at a Chicago restaurant, there was allegedly no production crew. The lawsuit further alleged the Game showed up to the date "highly intoxicated on alcohol and drugs (which was typical), and sexually assaulted the plaintiff [Rainey] on several occasions that night. This included him forcefully reaching his hand inside her dress to rub her bare vagina and buttocks".[159] In 2016, a judge ruled that the Game was liable for sexually assaulting Priscilla Rainey, then a contestant on She Got Game, a VH1 reality show starring the Game.[160]

In 2019, an appellate court affirmed the entire $7.1 million judgment.[161] However, according to Rainey, the rapper failed to pay her any money in the years since she received the judgement. Rainey subsequently filed a motion, requesting the seizure of the Game's income, and in April 2020, she was granted ownership of the Game's independent record label Prolific Records, as well as royalties from his 2019 album, Born 2 Rap. This resulted in Rainey gaining full control over any salary the Game would receive through his imprint label, which was launched in late 2019.[159] In November 2019, the Game had addressed his legal battle with Rainey during an appearance on Complex's Everyday Struggle, calling Rainey a liar, and insisted he was never going to pay her.[159]

Rainey filed a lawsuit claiming the Game transferred many of his assets to shell companies, such as transferring assets, including his home, to his manager Wack100 in the form of a shell company. She claimed this was done to avoid payments. This was denied by the Game. The Game and Wack100 claimed the house was transferred to satisfy a debt. She claimed she was only able to get $500,000 of the $7,130,100.00 judgement rewarded. On December 30, 2023, Rainey won the lawsuit; allowing her to be able to put a lien against the house to satisfy the $7 million judgment, or even move to have it sold off to pay down what is owed by the Game.[162][163]

2017: Misdemeanor battery of an off-duty police officer

[edit]

In 2017, Game pleaded no contest to assaulting an off-duty police officer on March 29, 2015, during a basketball game at a Hollywood high school. Game, then 37, entered a no contest plea to one misdemeanor count each of criminal threats and battery, and also pleaded no contest to one felony count of grand theft, according to the Los Angeles County District Attorney's Office. He was immediately sentenced to three years of formal probation, 120 hours of community service and 26 anger management counseling sessions, and a 6-month suspended sentence.

Game and an off-duty Los Angeles police officer were on opposing teams in a basketball game when the defendant intentionally fouled, then sucker-punched the victim who had just stolen the ball from the defendant and scored a basket. Game threatened to kill the victim once the defendant was ejected as a result of the punch, and on April 11, 2015, Game grabbed and threatened a man filming him being served with legal papers outside of his house and kept the victim's camera, according to the prosecutor.[164][165]

Discography

[edit]
Main article: The Game discography

Studio albums

Filmography

[edit]

Film

[edit]
Year Title Role Notes
2006 Waist Deep Big Meat
2007 Tournament of Dreams Troy
2008 Street Kings Grill
The Adventures of tha Blue Carpet Treatment Himself (voice)
Belly 2: Millionaire Boyz Club G
2012 House Arrest DeAndre
TBA All-Star Weekend † Tanner [166][167]

Television

[edit]
Year Title Role Notes
2000 Change of Heart Himself Episode: "Change of Heart"
2005 Punk'd Himself Episode: "Episode 5.1"
Made Himself Episode: "Nile Is Made Into a Rapper"
2006 In the Mix Himself Episode: "Word Cup, And-1, ASCAP and Superman Returns..."
2010 Brandy & Ray J: A Family Business Himself Episode: "House of Blues"
The Greatest Himself Episode: "100 Greatest Artists of All Time"
Rob Dyrdek's Fantasy Factory Himself Episode: "Jingle Z"
2011 The DUB Magazine Project Himself/Host Main Host
America's Next Top Model Himself/Guest Judge Episode: "Game"
2012–14 Marrying the Game Himself Main Cast
2015 She's Got Game Himself Main Cast
2016 Hell's Kitchen Himself Episode: "17 Chefs Complete"
Dana White: Lookin' for a Fight Himself Episode: "Los Angeles"
Love & Hip Hop: Hollywood Himself Episode: "Matrimony"

Video games

[edit]
Year Title Role Notes
2004 Grand Theft Auto: San Andreas Mark "B-Dup" Wayne Voice role
2007 Def Jam: Icon Himself Voice role and likeness
2021 NBA 2K22 Himself Voice role and likeness

Documentaries

[edit]
Year Film Role Notes
2005 Beef III Himself Supporting role
2006 Stop Snitchin', Stop Lyin' Himself Main role
Death Before Dishonor Himself Supporting role
Black and Blue: Legends of the Hip Hop Cop Himself Supporting role
2007 Life After the Math Himself Main role
Beef IV Himself Supporting role
Rap Sheet: Hip Hop and the Cops Himself[168] Supporting role
2008 Bridging the Gap Himself Supporting role

Awards and nominations

[edit]
Year Nominee / work Award Result
2005 The Game BET Awards – Best New Artist[169] Nominated
Billboard Music Awards – Rap Artist of the Year[170] Nominated
Billboard Music Awards – New Artist of the Year[170] Nominated
MTV Video Music Award – Best New Artist in a Video – "Dreams"[171] Nominated
"How We Do" (feat. 50 Cent) Billboard Music Awards – Rap Song of the Year[170] Nominated
"Hate It or Love It" (feat. 50 Cent) BET Awards – Best Collaboration[169] Nominated
MTV Video Music Award – Best Rap Video[171] Nominated
2006 Grammy Awards – Best Rap Song[24] Nominated
Grammy Awards – Best Rap Performance By a Duo or Group[24] Nominated
2007 Doctor's Advocate Ozone Awards – Best West Coast Rap Album[172] Won
2008 The Game Ozone Awards – Best West Coast Rap Artist[173] Won

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Game (rapper)

View on Grokipedia
from Grokipedia
Jayceon Terrell Taylor (born November 29, 1979), known professionally as The Game, is an American rapper and songwriter born and raised in . He emerged in the mid-2000s as a key figure in West Coast , blending street narratives with commercial appeal through affiliations with producers like and initial ties to 's G-Unit collective. His debut album, (2005), debuted at number one on the , certified double platinum, and produced top-five Hot 100 singles "How We Do" and "," establishing him as a commercial force amid the post-N.W.A. Compton rap tradition. Subsequent releases like (2006) also topped the , though his career has been marked by inconsistent critical reception and internal industry conflicts, including a prolonged public feud with former mentor that escalated to diss tracks, a reported shootout involving security, and eventual reconciliation in 2016. The Game's discography spans over a dozen projects, emphasizing raw lyricism rooted in personal experiences of gang life and survival, yet his longevity reflects resilience despite commercial peaks and valleys in hip-hop's evolving landscape.

Early life

Childhood and influences

Jayceon Terrell Taylor, known professionally as The Game, was born on November 29, 1979, in , to parents George Taylor and Lynette Baker, both of whom were members of the during its active years. His father, a member, struggled with heroin addiction and was frequently absent due to involvement in street activities, including drug use that permeated the household environment where cocaine and guns were commonplace. Taylor's mother raised him amid these conditions, contributing to an early exposure to instability that fostered a survival-oriented mindset shaped by familial gang ties and economic pressures in Compton's under-resourced neighborhoods. Taylor grew up primarily in the Santana Blocc area, a Crips-dominated section of Compton, though he later affiliated with the Bloods alongside his half-brother George "Big Fase 100" Taylor during his teenage years. This environment, marked by territorial rivalries and routine violence, directly influenced his worldview, as family members on both sides participated in gang activities that normalized through aggression. By adolescence, Taylor engaged in street life, including drug sales starting around age 18, and experienced multiple incarcerations as a teenager, including stints in juvenile facilities that reinforced the cycle of Compton's gang ecosystem without providing viable alternatives. These formative exposures prioritized hyper-vigilance and loyalty over formal education or stability, with graduation in 1999 serving as a nominal milestone amid ongoing hustling. From a young age, Taylor immersed himself in West Coast gangsta rap, idolizing pioneers like N.W.A.—whose album Straight Outta Compton (1988) chronicled similar local realities—as a cultural mirror to his surroundings, alongside figures such as Eazy-E, Dr. Dre, and Tupac Shakur whose narratives of street adversity resonated causally with his lived constraints. Non-musical pursuits included basketball, where he played competitively at Compton High alongside future USC standout Jeff Trepagnier, briefly aspiring to professional athletics as an escape from gang entanglements, though injuries and street priorities derailed this path. These interests, juxtaposed against pervasive drug trade and violence, underscored a childhood bifurcated between aspirational distractions and inexorable pulls toward Compton's causal undercurrents of affiliation and survival.

Musical career

Mixtape beginnings (2001–2003)

In 2001, Jayceon Terrell Taylor, known professionally as The Game, began pursuing rap music amid the gang culture of , initially as a means of street-level expression rather than commercial ambition. He self-released his debut , You Know What It Is Vol. 1, in 2002, featuring freestyles over popular instrumentals from artists like and to cultivate a grassroots following in local circles. This project emphasized raw narratives of Compton life, drawing from his experiences in the , and circulated primarily through independent distribution channels without major label support. Following the initial release, The Game secured a deal with the independent label Get Low Recordz, owned by Bay Area rapper , which facilitated further production and regional promotion. He continued the series with You Know What It Is Vol. 2 and subsequent volumes up to Vol. 4 by 2003, honing a style that blended West Coast authenticity with aggressive freestyles, gaining traction among underground listeners via bootleg tapes and early sharing. These efforts highlighted his independent grind, relying on personal networks and street credibility rather than industry connections, as he distributed copies from his car and local spots to build hype without formal marketing. By mid-2003, the mixtapes caught the attention of Interscope executives, leading to his signing with Dr. Dre's after Dre reviewed the tapes and recognized potential in his Compton-rooted lyricism. This discovery, facilitated through mixtape circulation rather than auditions, positioned him for affiliation with 50 Cent's G-Unit imprint under Aftermath, marking the end of his unsigned phase and a pivot from local hustling to structured label backing.

The Documentary breakthrough (2003–2005)

The Game's debut studio album, , benefited from 50 Cent's mentorship, as the latter vouched for him to and following the success of mixtapes like and Untold Story, facilitating a with and Interscope. Recording sessions, held primarily in 2004, featured production from alongside contributions from and , emphasizing raw Compton street narratives, gang affiliations, and West Coast aesthetics to differentiate from dominant East Coast styles. Released on January 18, 2005, via Aftermath, G-Unit, and Interscope, debuted at number one on the , moving 587,000 units in its first week amid high anticipation built through prior buzz and 's promotional muscle. Lead singles "How We Do" (featuring ) and "" (also featuring ) propelled its momentum, peaking at number 4 and number 2 on the , respectively, with the latter holding the runner-up spot for five weeks and blending introspective lyrics over soulful samples. These tracks, rooted in Dr. Dre's polished production, showcased The Game's storytelling on survival and aspiration, resonating commercially and signaling a West Coast resurgence overshadowed since the mid-1990s. The album's sales trajectory reflected its breakthrough impact, reaching 2.5 million units in the U.S. by November 2005 and earning double platinum from the RIAA on March 23, 2005, for two million shipped—a certification tied directly to verifiable shipment data rather than pure retail scans. This performance, bolstered by 50 Cent's cross-promotion via G-Unit's network, positioned as a catalyst for renewed West Coast dominance in hip-hop sales charts, where regional output had lagged behind Southern and Eastern acts empirically measured by first-week figures and multi-platinum thresholds. Subtle frictions with G-Unit surfaced during production and promotion, notably when refused to film a front-seat car scene with The Game for the "Hate It or Love It" video, reflecting early disagreements over creative input and group dynamics that strained the mentorship without immediate rupture. These undercurrents, centered on The Game's push for independent artistic control amid G-Unit's hierarchical structure, foreshadowed broader conflicts but did not derail the album's unified rollout or its role in elevating The Game as Aftermath's West Coast standard-bearer.

Doctor's Advocate and G-Unit fallout (2005–2007)

Following his ousting from G-Unit on February 28, 2005, during 50 Cent's appearance on Hot 97's Funkmaster Flex show, where 50 Cent cited The Game's refusal to participate in his feuds with artists like Fat Joe and Nas as disloyalty, The Game launched a campaign against the group dubbed "G-Unot." Immediately after the announcement, The Game arrived at the Hot 97 studios with associates, leading to a shootout in the lobby that wounded one of his entourage members in the leg; no arrests were made, but police linked it to the escalating tensions between the two rappers. The feud intensified through diss tracks, with The Game releasing "300 Bars N Runnin'" in June 2005 as a freestyle-heavy attack on and G-Unit affiliates, accusing them of industry manipulation and personal betrayals amid mutual ego clashes over creative control and loyalty. In response, The Game followed with "100 Bars (The Funeral)," a pointed framing the split as the end of G-Unit's dominance while highlighting disputes over artistic direction rather than verified royalty splits, though both sides traded unsubstantiated claims of financial opportunism. Despite the rift, The Game independently released his second album, Doctor's Advocate, on November 14, 2006, via Black Wall Street Records and Geffen, debuting at number one on the and earning platinum certification for over one million units sold without G-Unit or primary Aftermath support. The project featured collaborations with on "Wouldn't Get Far" and on the title track, signaling a partial with Dre while thematically addressing the fallout through narratives of independence and West Coast revival, though it sold fewer copies than his debut amid the ongoing publicity from the beef. The conflict persisted into 2007 with sporadic disses, including 50 Cent's taunts during G-Unit promotions and The Game's retorts in interviews, rooted in egos amplified by and track exchanges but without resolution until later attempts; both parties provoked escalations, with The Game emphasizing artistic autonomy and 50 Cent prioritizing group allegiance.

Mid-career albums: LAX to The R.E.D. Album (2007–2012)

The Game's third studio album, LAX, arrived on August 26, 2008, via under the Interscope umbrella, marking a shift from his prior G-Unit affiliation. The project debuted at number 2 on the Billboard 200 chart, moving 238,000 units in its opening week, a decline from the 296,000 first-week sales of his previous effort, . A deluxe edition featured the bonus disc "LAX Files," containing tracks like "" and "Bulletproof Diaries." While the album showcased guest appearances from artists such as and , reviewers highlighted inconsistencies, including filler material that diluted its impact amid a saturated West Coast rap market. This commercial softening reflected broader challenges, including distractions from interpersonal conflicts in the industry that diverted focus from cohesive output. Between LAX and his next major release, The Game pursued visibility through guest features on tracks by peers and sporadic mixtapes, such as the 2008 compilation Blood Dreams and efforts like regional remixes of singles to engage regional audiences. These moves aimed to sustain momentum amid label negotiations and production hurdles at Interscope, where executives reportedly demanded commercially viable hits, contributing to inconsistent album pacing. The R.E.D. Album, intended as a return to form with high-profile production, endured over two years of delays stemming from creative disputes and Interscope's release scheduling constraints, finally dropping on , 2011, via and Interscope. It entered the at number 1 but with just 98,000 first-week copies sold, underscoring diminished solo draw in an era of fragmented hip-hop consumption and rising digital piracy. Featuring collaborations with , , and , the album prioritized star power over narrative depth, yet its underwhelming sales—totaling around 660,000 units in the —highlighted causal factors like prolonged label bottlenecks and market oversaturation, eroding the breakout urgency of his earlier work. This period encapsulated a trajectory of erratic productivity, where external pressures and strategic missteps hampered sustained commercial viability.

Jesus Piece and independent releases (2012–2013)

Jesus Piece, The Game's fifth studio album, was released on December 11, 2012, marking his final project under . The album incorporated religious imagery intertwined with motifs, exemplified by its title track featuring and Common, which referenced diamond-encrusted "Jesus piece" pendants symbolizing faith amid Compton street life. Other notable collaborations included "" with and , and "Pray" addressing personal redemption, though The Game clarified the overarching concept emphasized enjoying life with belief in rather than overt spirituality. The record debuted at number six on the , selling 86,000 copies in its first week, a decline from the 98,000 first-week units of his prior album, , reflecting diminishing commercial momentum amid critical ambivalence toward its introspective detours from harder-edged West Coast narratives. Following his Interscope exit, The Game pivoted to independent output with the free mixtape , hosted by and dropped on October 9, 2013. Spanning 19 tracks, it tested fan engagement without major-label backing, boasting features from artists like , , and Diddy, while reverting to aggressive, club-oriented beats over Jesus Piece's contemplative tone. Reviews were divided: some lauded its production and lyrical return to form as a solid post-label statement, but others critiqued uneven experimentation and lack of cohesion, underscoring risks in gauging loyalty via unmonetized releases amid eroding sales industry-wide. This period highlighted The Game's artistic gamble on thematic depth versus proven street anthems, with OKE's digital streams—though not yet dominant in metrics—serving as informal barometers against Jesus Piece's physical and early digital underperformance relative to his mid-2000s peaks.

The Documentary 2, 1992, and shifting alliances (2013–2018)

In 2015, The Game released The Documentary 2, the sequel to his 2005 debut album, on October 9 through Blood Money Entertainment and eOne Music, positioning it as a return to West Coast gangsta rap roots with executive production oversight from Dr. Dre. The project featured contributions from artists including Kendrick Lamar, Drake, Kanye West, and Snoop Dogg, emphasizing Compton's historical rap legacy through tracks reflecting street narratives and personal reflection. This album formed a conceptual pair with its follow-up, 1992, released on October 14, 2016, which drew its title from the year marking pivotal Compton rap developments, such as the influence of N.W.A. and emerging gang culture, further tying into Dr. Dre's production lineage and the region's causal role in shaping the genre. Both albums leaned heavily on nostalgic callbacks to The Game's breakthrough era and Compton's foundational sound, with earning praise for lyrical depth amid ensemble beats, though critics noted its reliance on past formulas risked audience fatigue from repeated thematic retreads. Commercially, debuted at number two on the , selling 96,000 album-equivalent units in its first week, a solid but diminished showing compared to the original's dominance. 1992 followed with a number four debut and 32,000 units, topping the Top R&B/Hip-Hop Albums chart but underscoring declining mainstream traction, as streaming-era metrics highlighted shorter listener retention for nostalgia-driven releases. During this period, The Game engaged in a public feud with , ignited in 2016 when The Game perceived disses in Meek's lyrics and responded via onstage callouts, Instagram posts, and the diss track "92 Bars," escalating rap's competitive dynamics rooted in perceived slights and territorial posturing. Meek retaliated with tracks like "OOOUUU (Remix)," trading bars over authenticity and street credibility, a clash emblematic of hip-hop's underbelly where alliances shift rapidly based on perceived threats to status. The dispute resolved by late 2018, with The Game issuing a public tribute to Meek on , acknowledging mutual growth and , reflecting how such beefs often serve promotional utility before fading into reconciliation amid career .

Born 2 Rap era (2019–2021)

The Game released , his ninth studio , on November 29, 2019, aligning the drop with his 40th birthday and framing it as a potential career capstone amid declarations of . The 25-track effort, spanning approximately 90 minutes via eOne Music, incorporates guest appearances from established figures including , , the late , , , and , blending West Coast aesthetics with soulful samples and production. Lyrically, the album prioritizes autobiographical introspection over prevailing trends like drill's minimalist flows and trap's melodic dominance, instead revisiting The Game's Compton origins, impoverished youth, legal battles, and hip-hop longevity through dense and metaphors. Tracks like the opener "No Smoke" exemplify this with clear, aggressive bars reflecting personal endurance, while avoiding concessions to industry shifts toward younger, soundbite-driven acts. This approach underscores a commitment to substantive content rooted in rather than algorithmic virality. Commercially, debuted at number 19 on the , selling 22,979 album-equivalent units in its first week—comprising 4,848 pure sales and the balance from streaming—signaling sustained but modest relevance for a veteran artist in a market favoring progenitors and playlist curation. Critical reception highlighted its exhaustive length as a flaw, with some deeming the marathon runtime diluting , yet praised standout lyrical passages for symbolism, clarity, and value in bars relative to commercial output. Interviews during promotion emphasized this authenticity, positioning the project as a testament to resilience without mainstream pandering.

Drillmatic and final major feuds (2021–2022)

, The Game's tenth studio album, was released independently on August 12, 2022, and executive produced by with co-production contributions from . The project spans 31 tracks over 112 minutes, incorporating foundations with drill-inspired elements through beats and features like on "Burnin' Checks." Guests include on "One Time," on "Eazy," and others such as and , emphasizing The Game's established network rather than novel drill fusions. The album debuted at No. 12 on the , selling 18,000 album-equivalent units in its first week, marking The Game's lowest chart entry for a studio album to date. Critics highlighted strong individual verses from The Game amid inconsistent cohesion and excessive length, with calling it a "bloated attempt" that flits between styles without depth, while noted solid production and energy despite skips. RapReviews critiqued the marketing hype against lukewarm execution, attributing mixed reception to overreliance on features over focused songwriting. Tied to the album's rollout, The Game reignited a feud with via the 10-minute track "The Black Slim Shady," produced by , Big Duke, and Brian King Joseph, which leveled personal barbs at Eminem's family, sobriety, and associations with and . The diss referenced perceived industry slights, including Eminem's past support for Dre amid The Game's frustrations with Aftermath Records dynamics. Eminem opted not to respond publicly in 2022, leaving the track as a one-sided escalation in their intermittent rivalry. This confrontation, alongside album tracks nodding to ongoing tensions with , represented The Game's final major beefs of the period, prioritizing lyrical provocations over physical or prolonged exchanges. No new significant rivalries emerged in 2021–early 2022 beyond these, with prior disputes like referenced but not freshly intensified.

Post-album pursuits (2023–present)

Following the release of in 2022, The Game's musical output has been limited, with no new solo album announced as of October 2025. In January 2024, he collaborated with on the nine-track EP Paisley Dreams, produced primarily by and released independently as a nod to their shared Compton roots and gang affiliations. The project, recorded in a single day, featured tracks like "P Fiction" and emphasized raw West Coast lyricism but did not signal a return to major-label solo efforts. Additional appearances included a 2024 collaboration with WC and on "On The West," reflecting sporadic features rather than sustained album production. The Game has remained active on , voicing critiques of contemporary hip-hop. On May 2, 2024, via , he described rap feuds as "watered down," attributing further dilution to J. Cole's public apology to amid the Drake-Kendrick beef, likening it to turning diluted "" into a version "with no sugar." He emphasized his own unyielding approach to diss tracks, stating his "level of disrespect has no limit," in contrast to what he perceives as softened industry norms. Non-musical endeavors included humanitarian efforts during the January 2025 wildfires, where The Game aided in reuniting evacuated pet owners with displaced animals and offered to affected families. These actions highlighted community involvement amid the disaster, which displaced thousands and strained local resources. Public reports also note financial pressures from lawsuits, including a May 2025 to sell his Calabasas home to satisfy a $7.13 million judgment related to a prior allegation, reportedly diverting focus from creative pursuits.

Feuds and rivalries

50 Cent and G-Unit conflict

The conflict between The Game and , central to the rapper's departure from G-Unit, originated amid tensions over royalty splits and artistic independence following the commercial success of The Game's debut album in early 2005. Public escalation occurred on October 21, 2005, during The Game's interview on New York radio station Hot 97, where he announced plans for a solo and criticized G-Unit affiliates, prompting to call in and declare The Game's immediate expulsion from the group. This fallout, initially denied by as non-existent beef prior to the radio confrontation, stemmed from The Game's dissatisfaction with G-Unit's profit distribution, where reportedly retained a significant share as the label's founder. The feud intensified through a series of diss tracks, with The Game launching the "G-Unot" campaign in mid-2005 and releasing "300 Bars and Runnin'" in November 2005, a lengthy track accusing of snitching to authorities and exploiting West Coast rap for personal gain. retaliated with tracks like "" and "This Is 50," mocking The Game's loyalty and commercial viability without G-Unit backing, while G-Unit members such as and contributed additional responses. These exchanges, peaking in late 2005 and continuing into 2006, exemplified rap rivalries' dual nature: generating that amplified media coverage and streaming numbers, yet fracturing alliances and diverting focus from collaborative projects. Sales data underscored the feud's mixed outcomes, with 50 Cent predicting The Game could not achieve platinum status independently, a claim tested by Doctor's Advocate's release on November 14, 2006, which debuted at number one on the with 358,000 first-week units and eventually certified by the RIAA. This performance highlighted The Game's self-sufficiency outside G-Unit's structure, contrasting 50 Cent's empire-building approach reliant on group cohesion and cross-promotion, though the beef's hype arguably boosted both artists' visibility amid declining physical sales in mid-2000s hip-hop. Intermittent hostilities persisted for over a decade, but reconciliation materialized in August 2016, when The Game publicly declared the beef over during a strip club appearance, followed by confirming the truce and reflecting on its role in sustaining career through controversy. Both parties later acknowledged the rivalry's promotional value, with noting in interviews that such conflicts extended their cultural longevity without permanent career derailment.

Eminem diss tracks and reconciliation attempts

In August 2022, The Game escalated tensions with by releasing "The Black Slim Shady," a roughly 10-minute diss track featured on his album DRILLMATIC Heart vs. Mind. Produced by , Big Duke, and Brian King, the song mimics Eminem's rapid-fire flow and Slim Shady persona while launching attacks on his rap legacy, history of , limited club play in Black spaces, and perceived cultural appropriation as a white artist in hip-hop. The track's personal barbs, including references to Eminem's daughter Hailie Jade, echoed the boundary-pushing family-targeted disses Eminem employed in tracks like his 2018 "Killshot" against Machine Gun Kelly, where he questioned opponents' parental fitness and invoked their children. The Game framed the release as a preemptive or retaliatory strike amid prior provocations, claiming Eminem's influence and Interscope ties stifled his career opportunities, such as exclusion from Dr. Dre's halftime show earlier that year. However, Eminem had not directly dissed The Game in years, positioning the move as largely unprovoked aggression from The Game's side, consistent with his pattern of extended, provocative feuds. Eminem opted not to respond immediately to "The Black Slim Shady," avoiding engagement with what he later implied were clout-chasing tactics in broader critiques of diss culture. The Game subsequently downplayed the feud's intensity, attributing it to indirect frustration with Dr. Dre rather than personal hatred for Eminem, whom he described as a "rap god" worthy of respect despite their clash. By late 2023, Eminem referenced The Game dismissively in new material, labeling him irrelevant and reinforcing a stance of preemptive dismissal over prolonged battle. No formal materialized, though The Game's post-diss interviews conveyed lingering admiration for Eminem's technical prowess, suggesting underlying mutual respect amid the unresolved barbs. The exchange highlighted The Game's tendency for marathon-length disses as a stylistic choice, contrasting Eminem's preference for concise, lethal rebuttals when engaging at all.

Other disputes: Meek Mill, Rick Ross, and industry critics

In September 2016, The Game escalated tensions with by releasing the diss track "92 Bars," targeting Meek's lyrical credibility, associations with Drake amid the latter's ghostwriting scandals, and perceived industry favoritism. countered on September 18 with a remix of Goyka's "" alongside Omelly and , accusing The Game of employing ghostwriters for his follow-up "" and questioning his authenticity in beefs. The Game refuted the claims via freestyles and additional bars, but the rapid exchange—spanning allegations of fabrication on both sides—faded without physical confrontations or prolonged tracks, resolving amicably by December 2018 when The Game publicly endorsed Meek's album Championships as a sign of mutual respect post-incarceration. This pattern underscored reciprocal jabs rooted in hip-hop's authenticity debates rather than sustained vendettas. The Game's 2024 clash with originated on July 9 when Ross taunted The Game on over a $7.06 million from a 2015 sexual battery filed by adult actress Priscilla Rainey, which prompted efforts to seize The Game's Calabasas mansion to enforce payment. The Game responded by dissecting Ross's self-proclaimed "biggest boss" persona, citing discrepancies such as Ross's 2018 hospitalization initially spun as a heart attack but later revealed as severe , and broader critiques of Music Group's overhyped luxury narrative amid rap's culture of exaggerated financial flexing. Both traded memes and posts highlighting selective outrage—Ross amplifying The Game's vulnerabilities while ignoring his own history of legal settlements and repossessions—demonstrating tit-for-tat escalation typical of social media-driven spats that prioritize exposing hypocrisies over irreversible damage. The Game has recurrently critiqued modern hip-hop's shift toward what he terms "soft" or "watered-down" elements, particularly in May 2024 when he condemned J. Cole's apology for a diss track against on Might Delete Later, arguing it exemplified rappers' aversion to genuine beefs essential to the genre's combative roots. He framed such retreats as concessions to commercial sensitivity and peer pressure, contrasting them with West Coast gangsta rap's unyielding authenticity forged in street realism and unapologetic rivalries. These pronouncements position The Game as a self-appointed guardian of hardcore traditions, often via and interviews decrying melody-heavy trap dominance and reluctance to "go hard" as diluting hip-hop's causal edge from raw confrontation to performative restraint.

Business ventures

Record labels and imprints

The Game launched his initial independent imprint, The Black Wall Street Records, in the mid-2000s, focusing on West Coast and Compton-affiliated artists to cultivate local talent amid his rising solo career. The label released compilation projects such as The Black Wallstreet Volume One in 2008, featuring emerging acts from the region, though it achieved limited commercial penetration beyond mixtape circuits. Signings included Rich Rocka, who gained MySpace-era visibility but transitioned to other ventures like Akon's Konvict Music without major breakthroughs under the imprint. In November 2012, The Game co-founded Rolex Records with , intending it as a joint platform for their releases, but the venture produced negligible output and faded amid distribution hurdles typical of artist-led independents. Blood Money Entertainment followed as his primary imprint, established around 2014 and co-managed with , partnering with eOne Music for wider reach on projects like the 2016 album 1992. It signed Compton and West Coast rappers including , Dubb, King Marie, and Pharaoh Jackson, emphasizing street-oriented tied to community roots, yet artist development stalled, yielding regional mixtapes over sustained chart success due to inconsistent promotion and major-label disinterest in niche imprints. Prolific Records emerged in 2019 as Blood Money's successor, handling The Game's amid a shift to self-releases, but drew criticism for appropriating "prolific" terminology associated with the late , prompting accusations from his affiliates of legacy exploitation in a competitive indie landscape. Overall, these efforts highlighted ambitions for Compton uplift through artist mentorship and , contrasting street-label critiques of prioritizing quick regional gains over viable long-term , with no signees securing top-tier deals or exceeding Game's own output.

Additional entrepreneurial activities

In 2016, Jayceon Terrell Taylor, known professionally as The Game, acquired a co-ownership stake in The Reserve, one of the few legally operating medical marijuana dispensaries in Santa Ana, California, marking him as one of the first rappers to invest directly in cannabis infrastructure amid the state's emerging regulatory framework. This move aligned with his Compton origins, where street-level cannabis distribution has long intersected with hip-hop culture, allowing him to leverage personal branding for premium product curation rather than informal markets. Building on this, The Game launched Trees by Game in 2017, a line of high-end indoor-grown flower, pre-rolls, and mylar-packaged products personally selected and tested by him for potency and quality, distributed through partnered retailers like The Reserve. The brand emphasized West Coast sourcing and strain-specific experiences, such as a LeBron James-inspired hybrid, reflecting his emphasis on authenticity over . Public sales data from markets positioned Trees by Game among celebrity-backed lines generating measurable , though exact figures remain , with no of widespread national expansion or financial disclosures indicating outsized returns. Ongoing legal battles, including multimillion-dollar judgments, have strained his broader assets but show no direct causation to cannabis operations stalling, as products continued retail availability into the early 2020s.

Personal life

Family background and children

Jayceon Terrell Taylor was born on November 29, 1979, in , to parents George Taylor, a member of the Nutty Block , and Lynette Baker, affiliated with the Hoover . This gang-involved family background immersed him early in Compton's street culture of violence, drugs, and firearms, fostering a resilience shaped by survival in high-risk environments. Taylor is father to four children born across two decades: eldest son Harlem Caron Taylor (born 2003), son King Justice Taylor (born April 2007), daughter "Cali" Dream Taylor (born August 2010), and youngest son Blaze Taylor (born December 2024). He has maintained active parental involvement, publicly marking milestones like Harlem's 21st birthday in July 2024 with shared photos and messages, and announcing Blaze's arrival with a family image on shortly after birth. Amid his music career's demands, Taylor has emphasized fatherhood as a core responsibility, crediting his Compton-rooted upbringing for instilling discipline in raising his children while navigating fame's challenges.

Romantic relationships and fatherhood

The Game was engaged to Tiffney Cambridge for several years, a relationship documented in the reality series Marrying the Game, which aired from 2014 to 2015 and chronicled their engagement and family life with their two children. The couple's on-again, off-again dynamic, marked by public arguments and reconciliations, ultimately ended in 2015, with The Game attributing the breakup to his own shortcomings in interviews. The rapper has four children: sons Caron Taylor (born 2003, from a prior relationship), King Justice Taylor (born April 25, 2007, with ), daughter Lynn Dream Taylor (born 2008, with ), and son Blaze Taylor (born November 2024, with Shaniece Hairston). In a December 2024 , The Game described fatherhood as his primary focus and purpose, emphasizing his commitment to remaining present for his children amid career shifts. Following the end of his engagement to , The Game began a relationship with Shaniece Hairston, daughter of reality television personality , resulting in the birth of their son Blaze on November 19, 2024. By May 2025, Hairston publicly identified as a single mother while praising their co-parenting arrangement as effective, with confirming in June 2025 that the pair maintained a positive dynamic for their child's sake despite not being romantically involved. In August 2024, rumors surfaced of a potential romance with model and actress Karrueche Tran after The Game changed his Instagram profile picture to her image, but he promptly denied any dating involvement, clarifying it as non-romantic admiration.

Assault and weapons charges (2005–2007)

In January 2005, Jayceon Terrell Taylor, known professionally as The Game, was charged with second-degree assault following an altercation on January 21 at a WKYS radio studio in Lanham, Maryland, involving Taylor and associate Jim Rosemond. The charges arose from a physical confrontation during a recording session, leading to a court appearance scheduled for April 2005. Specific outcomes of the assault charge remain undocumented in primary reports, though it contributed to early patterns of violence-linked legal scrutiny amid Taylor's rising profile in hip-hop disputes. On October 28, 2005, Taylor was arrested in , for and after reportedly causing a disturbance at a , including refusing to comply with security and police directives. He was released on following the incident, which police attributed to disruptive behavior by Taylor and his entourage. Subsequent civil claims referenced this event alongside allegations of fan assault, though criminal proceedings focused on the conduct charges without escalation to higher assault counts. Shifting to weapons-related issues, Taylor faced felony charges on June 4, 2007, for making a criminal threat and possessing a in a zone, stemming from a May 11 incident at a Compton recreational center where he allegedly drew a loaded during a pickup game and threatened another participant. Authorities recovered the from his , parked within 1,000 feet of the school grounds, violating provisions. On September 25, 2007, he entered a not guilty plea in to these counts plus exhibiting a . The charges were ordered to trial in early September after preliminary hearings confirmed based on witness statements and ballistic evidence. Resolution came on February 11, 2008, when Taylor pleaded no contest to the firearm possession charge; the criminal threat and exhibition counts were dismissed as part of the plea agreement. He received a 60-day jail sentence, three years , 150 hours of , and ownership restrictions, with credit for reducing effective incarceration. These outcomes underscore the direct causal link between impulsive armed confrontations—rooted in interpersonal codes of dominance prevalent in Taylor's Compton background and rap feuds—and enforceable legal penalties, including loss of liberty and ongoing supervision, as evidenced by police affidavits and records prioritizing public safety over persona-driven escalations.

Border and social media incidents (2011–2012)

In April 2011, The Game was denied entry into by customs officials while attempting to cross the border for a scheduled performance in . He was detained for up to 14 days before being deported, with the rapper attributing the denial to assurances from promoters that entry would be permitted despite potential barriers related to his criminal history. The incident resulted in a temporary ban, linked by reports to alleged affiliations and prior convictions inadmissible under Canadian rules. On August 12, 2011, The Game tweeted the phone number of the County Sheriff's Department's Compton station to his then-580,000 followers, framing it as an inquiry into a nonexistent opportunity and encouraging mass calls. The overwhelmed the station's lines, leading to an investigation by authorities for possible obstruction of justice through misuse, likened by critics to false alarm tactics. No formal charges were filed, illustrating tensions between online expression and response to viral actions. In October 2012, rapper (real name Lawrence White) sued The Game for , battery, and over a recorded street fight earlier that year in , during which The Game allegedly beat White while filming the encounter. The lawsuit sought unspecified damages exceeding millions, citing physical injuries, emotional distress, and reputational harm amplified by The Game's posting of the video online, which White claimed portrayed him falsely as weak and invited public ridicule. The case highlighted disputes over consent to filming and sharing violent content on social platforms, though initial claims of gun involvement by White were not substantiated in court proceedings.

High-profile confrontations and lawsuits (2014–2017)

On April 30, 2014, The Game, whose real name is Jayceon Terrell Taylor, and rapper engaged in a tense verbal standoff with officers outside the Supperclub nightclub in Hollywood following a brawl involving their entourage. The incident stemmed from a mistaken belief that officers had beaten their friends during the altercation, prompting Taylor and T.I. to approach over a dozen armed police while demanding information and refusing to de-escalate despite commands to back away. Video footage captured Taylor yelling questions like "Is this a ?" amid drawn weapons, highlighting a failure in where initial aggression from the rappers' side, rooted in perceived threats to associates, escalated mutual rather than compliance yielding quicker resolution. No arrests resulted, but the event underscored patterns of defiance in Taylor's interactions with law enforcement, potentially traceable to longstanding distrust fostered by his Compton upbringing amid high-profile police controversies in the region. In January 2017, Taylor faced charges for misdemeanor battery after punching off-duty LAPD officer Onyebuchi Awaji during a pick-up game at . The altercation occurred when Awaji intercepted the ball from Taylor and scored, leading Taylor to strike him in the face and threaten further violence, as testified by the officer. Taylor initially pleaded not guilty but entered a no-contest plea on February 6, 2017, receiving a sentence of 120 hours of without jail time. This case exemplified breakdowns where personal frustration over a competitive play triggered physical response against authority, even off-duty, reflecting a causal chain from impulsive defiance—possibly amplified by prior animus toward police—to avoidable legal jeopardy, absent immediate restraint. These episodes, spanning to 2017, reveal recurring confrontational dynamics in Taylor's encounters with , where initial non-compliance or aggression precluded peaceful outcomes, often linked to a broader of resistance against perceived institutional overreach in hip-hop circles from . Unlike cooperative engagement, such patterns prioritized immediate assertion, yielding heightened risks without advancing underlying grievances against police conduct.

Priscilla Rainey sexual battery case (2015–2025)

In August 2015, Priscilla Rainey, a contestant on the reality show She's Got Game hosted by rapper The Game (real name Jayceon Terrell Taylor), filed a accusing him of sexual battery during filming in October 2014. Rainey alleged that Taylor groped her buttocks without consent after she rejected his advances, causing emotional and psychological harm, and sought $10 million in damages. Taylor publicly denied the allegations, describing Rainey's claims as fabricated and responding via with dismissive and taunting posts toward her. Taylor's failure to properly engage in the litigation, including evading and not appearing for deposition, resulted in a entered against him. In 2016, a federal jury in awarded Rainey $1.13 million in compensatory damages and $6 million in , totaling $7.13 million, after Taylor did not participate in despite being represented by counsel earlier. Taylor appealed the verdict, arguing ineffective assistance from prior counsel and seeking a , but the Seventh of Appeals upheld the judgment in October 2019, criticizing his lack of seriousness in the proceedings. Enforcement efforts continued for years, with Rainey receiving only partial payments totaling approximately $500,000 by late 2023, prompting further court actions including seizure of assets like Taylor's interests and royalties from his 2019 album . In May 2025, a judge ordered the sale of Taylor's Calabasas mansion—valued around $4 million—to satisfy the outstanding debt, marking a significant financial consequence of the unresolved judgment. Taylor maintained his innocence throughout, framing the outcome as an unjust rather than validation of the assault claim.

Media appearances

Film and television roles

The Game debuted in feature films with the role of Big Meat, a menacing gang enforcer, in the 2006 crime thriller , directed by and centered on a father's desperate efforts to rescue his kidnapped son amid street crime. His portrayal emphasized raw aggression and loyalty in criminal hierarchies, reflecting Compton's gang dynamics without extensive preparation, which lent an unpolished authenticity to depictions of urban survival. In 2008, he appeared as Reggie "G" Bailey in the direct-to-video sequel Belly 2: Millionaire Boyz Club, playing a key player in a narcotics operation navigating betrayal and wealth accumulation in a hip-hop infused narrative of ambition and violence. That same year, The Game took a supporting part in , a police drama starring , where he contributed to ensemble scenes portraying inner-city tensions and moral ambiguity. These early roles, often typecast in street-level antagonists, prioritized visceral realism over nuanced character development, aligning with his lived experiences but yielding mixed reception for dramatic range. On television, The Game headlined the VH1 reality dating series She's Got Game in 2015, enlisting associates to screen ten women as potential partners following his engagement's end, framing episodes around compatibility challenges and eliminations. Premiering August 10, 2015, the show shifted focus from scripted acting to unscripted personal exposure, bolstering his brand as a candid figure in hip-hop culture while exposing relational dynamics tied to fame and past traumas. Though critiqued for formulaic reality tropes, it amplified his visibility in portrayals of modern urban masculinity, prioritizing entertainment value over substantive narrative depth. Overall, these endeavors offered platforms for authentic urban life renderings but garnered limited acclaim, serving more as extensions of his rap persona than standalone thespian achievements.

Video games and documentaries

The Game provided voice work and appeared as a playable character in the 2007 video game Def Jam Icon, part of ' hip-hop themed fighting series, where he portrayed an artist navigating the music industry underground. He also contributed voice-over roles in (2004), voicing characters amid the game's open-world depiction of gang life in Los Santos, a fictionalized . These appearances leveraged his Compton roots to enhance the authenticity of street-rap personas in gaming, though his roles were limited to licensed celebrity integrations rather than custom narrative contributions. In documentaries, The Game featured prominently in The Game: Documentary (2005), a companion release to his debut album that chronicled his early life, shooting survival, and rise via , blending behind-the-scenes footage with Compton street scenes. He later executive produced and starred in the A&E series (2016), a six-episode exploration of systemic , , and community decay in his hometown, drawing on personal anecdotes of his upbringing amid Bloods-affiliated neighborhoods. These projects emphasized unfiltered portrayals of West Coast culture over polished narratives, with facing criticism for sensationalizing urban strife despite its empirical focus on local data like homicide rates exceeding 40 annually in the area during the early . The Game has supplemented traditional documentaries with self-distributed content on , uploading segments of his 2005 Documentary DVD and raw vlogs depicting studio sessions and Compton visits to bypass media gatekeepers, enabling direct fan access to unedited career reflections since around 2010. This approach prioritizes causal accounts of his influences—like Dr. Dre's production role in his —over institutionalized editing, though viewer metrics show variable engagement compared to mainstream releases.

Discography

Studio albums

The Documentary, The Game's debut studio album, was released on January 18, 2005, debuting at number one on the US and certified 5× platinum by the RIAA. Doctor's Advocate, his second studio album, followed on November 14, 2006, also topping the . LAX, released August 26, 2008, peaked at number two on the and received certification from the RIAA. The R.E.D. Album, the fourth studio release, came out on August 23, 2011, debuting at number one on the 200. Jesus Piece arrived on December 11, 2012. The Documentary 2 was issued October 9, 2015, reaching number two on the 200. 1992, released October 14, 2016, marked his eighth studio album. followed on November 29, 2019. , his tenth studio album, was released August 12, 2022, peaking at number 11 on the 200.

Mixtapes and compilations

The Game utilized mixtapes extensively in the early 2000s to cultivate underground hype prior to his major-label debut, leveraging freestyles, remixes, and G-Unit affiliations to demonstrate street credibility and lyrical prowess. The You Know What It Is series, initiated with Volume 1 in December 2003 and hosted by DJ Ray, included tracks like "100 Bars and Runnin'," which highlighted his rapid-fire delivery over West Coast beats and helped position him as a Compton successor to predecessors like . Volumes 2 through 4, released between 2004 and 2007 and often hosted by or Nu Jerzey Devil, incorporated diss tracks amid intra-G-Unit tensions, such as responses in the feud with , sustaining fan engagement through exclusive content unavailable on commercial albums. These tapes exemplified the pre-streaming mixtape economy, where physical CDs and early file-sharing drove grassroots distribution and metrics like bootleg sales in urban markets. In the digital era, The Game's later mixtapes emphasized free online releases to bypass label delays and maintain visibility between studio projects. OKE: Operation Kill Everything, dropped on October 9, 2013, and hosted by , featured 18 tracks with guests like Diddy and , amassing millions of downloads via platforms like and reinforcing his relevance post-Jesus Piece amid shifting industry dynamics toward and independent drops. Such efforts capitalized on the mixtape's low-barrier model, enabling direct fan interaction and viral metrics—OKE alone garnered over 1 million streams in its first week through organic shares—while avoiding the commercial pressures of albums. Compilations linked to The Game's Black Wall Street imprint included The West Coast Blokk Monster in 2008, aggregating regional collaborations to promote label affiliates and extend his influence beyond solo output. These projects, often feud-adjacent like G-Unit radio episodes featuring his verses, served as promotional vehicles, blending his material with crew tracks to amplify collective buzz without diluting individual brand focus.
Mixtape/CompilationRelease YearKey Details
You Know What It Is Vol. 12003Hosted by DJ Ray; 20+ tracks including freestyles over classics like N.W.A.'s "."
You Know What It Is Vol. 32005Featured "300 Bars N Runnin'"; response to industry skeptics during G-Unit rise.
You Know What It Is Vol. 42007Hosted by ; included "Where I'm From" amid label disputes.
OKE: Operation Kill Everything201318 tracks; collaborations with Diddy; over 1M initial downloads.
The West Coast Blokk Monster2008Compilation with label artists; focused on regional unity.

Awards and nominations

The Game received two nominations at the 48th in 2006 for the single "" featuring : Best Rap Song and Best Rap Performance by a Duo or Group. These were tied to his debut album , which featured the track and achieved commercial success but no Grammy wins. At the 2005 , he was nominated for Best New Artist in a Video for "Dreams". Other nominations include Rap Artist of the Year and Rap Song of the Year for "How We Do" (featuring ) at the 2005 , though details on the awarding body vary across reports. The Game has no recorded wins in major award categories such as the , , or based on available records.

Cultural impact and reception

Achievements in West Coast rap

The Game's debut studio album The Documentary, released January 18, 2005, played a pivotal role in revitalizing West Coast gangsta rap after the genre's commercial eclipse in the post-Death Row era, when East Coast styles dominated mainstream hip-hop. Featuring production from Dr. Dre and Nate Dogg, the album debuted at number one on the Billboard 200 with first-week sales of 296,000 copies and was certified double platinum by the RIAA for exceeding 2 million units shipped in the United States. Its emphasis on Compton-specific gang culture, G-funk beats, and raw lyricism about street life echoed N.W.A. and early Dr. Dre influences, restoring regional prominence to West Coast rap amid a mid-2000s landscape favoring Southern and East Coast sounds. Commercially, anchored The Game's output, which has cumulatively sold over 5.2 million albums worldwide, including approximately 4.4 million in the U.S., bolstering the economic framework for gangsta rap's resurgence on the West Coast. Follow-up efforts like (2006), which debuted at number one with 165,000 first-week units, sustained this momentum by prioritizing uncompromised narratives of affiliation and intra-regional rivalries, differentiating from polished crossover acts. These metrics underscored a causal link between his authenticated Compton authenticity and renewed label investments in West Coast talent, as evidenced by Aftermath/Interscope's backing. The Game's contributions extended to sustaining gangsta rap's lineage, providing a template for lyrical rooted in verifiable local experiences that informed successors' approaches to regional identity. By maintaining high sales thresholds—such as The Documentary 2 (2015) achieving gold status—his catalog demonstrated enduring viability for West Coast subgenres, influencing production styles and thematic density in bars focused on verifiable socio-economic realities over abstraction. This bridged pre-2000s icons like with post-2010 emergent Compton voices, preserving causal continuity in hip-hop's regional evolution without dilution.

Criticisms and controversies in legacy

The Game's post-debut commercial trajectory marked a stark inconsistency, with (2005) selling over 2 million copies in the United States alone and debuting at number one on the with 586,000 first-week units, while subsequent major-label efforts like (2006) and LAX (2008) achieved platinum status but failed to match that peak, and independent releases from Jesus Piece (2012) onward averaged under 50,000 first-week sales—such as DRILLMATIC (2022) at 25,000 units. Analysts attribute this erosion partly to his prioritization of high-profile feuds—most notably the 2005–2007 rift with , which led to his G-Unit exit and disrupted promotional cohesion—over consistent artistic evolution, resulting in fragmented fan retention as mainstream appeal dissipated amid repetitive conflict-driven narratives. Debates surrounding The Game's authenticity pit his Compton background against perceptions of commercial exaggeration, with detractors citing instances of alleged in and interviews as evidence of prioritizing marketability over unvarnished truth, a echoed in declining sales data that signal eroded trust among broader audiences despite steadfast regional loyalty. This tension manifests in overlong projects like DRILLMATIC, his eleventh album, which reviewers lambasted for excessive length, contradictory themes, and negligible addition to his , underscoring a legacy hampered by unfocused output rather than refined craftsmanship. The Game's enduring emphasis on —rooted in tracks depicting rivalries, shootings, and street retribution—has drawn fire within hip-hop discourse for normalizing aggression as both entertainment and , with proponents of feuds arguing they drive visibility and sales akin to recent high-stakes rivalries, yet opponents highlighting their role in sustaining real interpersonal and communal harm, as evidenced by his own admissions of near-fatal escalations during the beef. Such patterns, while commercially viable short-term, contribute to critiques of his legacy as one that amplifies rap's cycle of hostility over constructive innovation, potentially alienating ethical listeners and perpetuating genre-wide stereotypes of glorification over reflection.

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  60. https://hiphop-n-more.com/2015/10/the-game-the-documentary-2-track-list/
  61. https://www.xxlmag.com/the-game-1992-release-date-tracklist/
  62. http://soulinstereo.com/2016/10/album-review-the-game-1992.html
  63. https://www.billboard.com/music/music-news/the-game-the-documentary-sequels-album-review-6730793/
  64. https://www.vibe.com/music/music-news/the-games-documentary-2-no-2-billboard-382054/
  65. https://www.complex.com/music/a/cmplxjoshua-espinoza/game-1992-album-debuts-billboard-200
  66. https://www.billboard.com/pro/the-game-eighth-number-1-top-rb-hip-hop-albums-chart/
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  68. https://www.xxlmag.com/the-game-meek-mill-beef-timeline/
  69. https://www.revolt.tv/article/2018-12-03/95221/the-game-pens-tribute-to-meek-mill-reflecting-on-their-past-beef-and-reconciliation
  70. https://www.forbes.com/sites/laurenalvarez/2019/11/30/the-game-releases-new-album-born-2-rap/
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  72. https://music.apple.com/us/album/born-2-rap/1488562496
  73. https://www.lavistamchs.com/the-game-retires-with-a-masterpiece-in-born-2-rap/
  74. https://www.nme.com/reviews/game-born-2-rap-review-2580259
  75. https://beats-rhymes-lists.com/sales/ranking-the-game-first-week-album-sales/
  76. http://onsmash.com/music/the-game-born-2-rap-first-week-album-sales/
  77. https://hiphopdx.com/reviews/review-the-game-jogs-through-a-marathon-on-born-2-rap/
  78. https://spillmagazine.com/spill-album-review-the-game-born-2-rap/
  79. https://www.rapreviews.com/2020/02/the-game-born-2-rap/
  80. https://www.xxlmag.com/the-game-drillmatic-tracklist/
  81. https://genius.com/albums/The-game/Drillmatic-heart-vs-mind
  82. https://www.hotnewhiphop.com/429622-the-game-drillmatic-heart-vs-mind-album-review-news
  83. https://acharts.co/us_albums_top_100/2022/34
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  85. https://hiphopdx.com/reviews/the-game-drillmatic-album-review/
  86. https://www.billboard.com/music/rb-hip-hop/the-game-diss-track-eminem-dr-dre-black-slim-shady-1235126000/
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  88. https://www.rapreviews.com/2022/08/the-game-drillmatic-heart-vs-mind/
  89. https://www.rap-up.com/article/2022/09/17/the-game-reveals-why-he-dissed-eminem
  90. https://music.apple.com/us/album/paisley-dreams/1723718320
  91. https://genius.com/albums/The-game-and-big-hit/Paisley-dreams
  92. https://www.youtube.com/watch?v=k_5DhTjXfy8
  93. https://www.billboard.com/music/rb-hip-hop/the-game-j-cole-rap-beef-watered-down-1235671885/
  94. https://hiphopdx.com/news/the-game-j-cole-rap-beef/
  95. https://www.xxlmag.com/the-game-j-cole-apology-water-down-rap/
  96. https://wild104.iheart.com/content/2025-01-15-the-game-helps-reunite-owners-with-their-lost-animals-during-la-fires/
  97. https://eurweb.com/the-game-offers-shelter-to-families-displaced-by-la-wildfires/
  98. https://www.xxlmag.com/the-game-sell-mansion-7-million-debt/
  99. https://blueprintmiami.com/the-games-calabasas-home-sold-to-cover-7-13-million-lawsuit/
  100. https://www.hotnewhiphop.com/26970-a-history-of-50-cent-beefs-news
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  105. https://www.rap-up.com/article/2022/08/11/the-game-eminem-diss-track-black-slim-shady
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  111. https://hiphopdx.com/news/game-rick-ross-mocks-legal-woes/
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  114. https://www.youtube.com/watch?v=UUV8CGqdYhQ
  115. https://www.discogs.com/label/760165-Blood-Money-Entertainment
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  117. https://www.bizjournals.com/losangeles/news/2016/08/31/rapper-the-game-takes-stake-in-marijuana.html
  118. https://hiphopdx.com/news/the-game-is-getting-into-marijuana-business/
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  120. https://uproxx.com/life/trees-by-game-review/
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  143. http://news.bbc.co.uk/2/hi/entertainment/4393278.stm
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  153. http://news.bbc.co.uk/2/hi/entertainment/7240428.stm
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  156. https://consequence.net/2011/04/game-detained-in-canada-after-being-denied-entry/
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  161. https://www.courthousenews.com/rappers-take-fight-to-court/
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  167. https://www.hotnewhiphop.com/42779-the-game-pleads-not-guilty-to-assault-of-off-duty-cop-news
  168. https://ottawa.citynews.ca/2017/02/06/rapper-the-game-sentenced-for-punching-los-angeles-policeman/
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  171. https://www.courthousenews.com/rapper-the-game-accused-of-sexual-assault/
  172. https://law.justia.com/cases/federal/appellate-courts/ca7/16-4153/16-4153-2019-10-17.html
  173. https://www.hollywoodreporter.com/business/business-news/game-pay-7m-damages-losing-bid-new-sexual-assault-trial-1248745/
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  185. https://www.xxlmag.com/rappers-in-video-games/
  186. https://www.facebook.com/groups/7973148649384711/posts/8416475401718698/
  187. https://www.imdb.com/title/tt0471178/
  188. https://www.youtube.com/watch?v=6QqyrHZlbWc
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  194. https://uproxx.com/hiphop/the-games-documentary-2-debuts-number-2-on-the-charts/
  195. https://www.revolt.tv/article/2022-05-30/171480/the-game-announces-release-date-for-drillmatic
  196. https://genius.com/albums/The-game/You-know-what-it-is-volume-1
  197. https://www.discogs.com/release/12295302-The-Game-You-Know-What-It-Is-Volume-3
  198. https://genius.com/albums/The-game-and-dj-skee/Oke-operation-kill-everything
  199. https://hiphopwired.com/259402/game-oke-mixtape-listendownload/
  200. https://genius.com/albums/The-game/You-know-what-it-is-volume-3
  201. https://www.dubcnn.com/mixtapes/thegame-uknowwhatitis4/
  202. https://www.grammy.com/artists/jayceon-taylor/8861
  203. https://www.imdb.com/name/nm1667139/awards/
  204. https://www.aceshowbiz.com/celebrity/the_game/awards.html
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  206. https://bestsellingalbums.org/artist/13008
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  209. https://www.revolt.tv/article/los-angeles-rappers-who-put-the-city-on-the-hip-hop-map
  210. https://www.hotnewhiphop.com/735951-the-game-best-selling-album-the-documentary
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  212. https://x.com/HipHopNumbers/status/1557257065575649280
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  214. https://www.hotnewhiphop.com/35638-the-game-dont-change-the-making-of-the-documentary-2-news
  215. https://www.youtube.com/watch?v=woZBBD0KTjw
  216. https://www.youtube.com/watch?v=wzXakVgEqD8
  217. https://www.youtube.com/watch?v=2HIYwOqtWhM
  218. https://www.cbc.ca/music/drake-kendrick-lamar-j-cole-rap-beef-profits-1.7172600
  219. https://www.nme.com/big-reads/the-game-interview-2020-eminem-6ix9ine-xxxtentacion-juicewrld-50-cent-beef-wiley-stormzy-born-2-rap-2600475
  220. https://www.youtube.com/watch?v=KNT9kmkmuxI
  221. https://www.reddit.com/r/BlackPeopleTwitter/comments/yj7xbe/the_glorification_of_violence_has_to_stop/
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