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It would probably be easier if we told you what Hopsin doesn’t do, but Hop is an MC, producer, director, actor, and editor. And his journey has been anything but painless.
Stuck in special education classes, Hopsin did not see much of a future in high school. His teachers did nothing but reinforce the feelings that he wouldn’t amount to anything; especially if he continued to waste his time attending classes where nothing was actually being taught. So with no money and only a few real friends, Hopsin dropped out of school in 2004.
Determined to be one of Southern Cali’s premier MCs Hopsin bought an $8 microphone from Wal-Mart, installed Fruity Loops on his computer, and locked himself in the basement. As time went by he knew that his lyrics and production had surpassed what he was hearing on the radio. He combined his skills with a new image [often seen wearing white contacts] and emerged from the basement.
In 2007, Hopsin signed a major record deal with Ruthless Records, and released his freshman album, “Gazing at the Moonlight” in October 2009. Unfortunately Hopsin was never able to get on the same page as Ruthless, so in 2010 he decided to cut ties, and join his own label, Funk Volume.
In November 2010, he released his sophomore album, RAW, and has not looked backed.  Since then Hopsin has headlined over 200+ shows around the world, grew his Facebook page to over 2 Million fans, and racked up millions of YouTube views.
Hopsin released the highly anticipated album, “Knock Madness” in November 2013 and spent 2014 touring in over 100 cities around the globe. He's preparing to take over once again in 2015.

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In the more than 15 years since the last Clipse album hit the shelves of record stores, the music world has been upended several times over. “You see great rappers all the time,” Pusha-T says, before contrasting he and his older brother Malice with those who are not truly of the culture. “But there's something a little off about it.” Let God Sort ‘Em Out has no such problems. Over 13 taut, kinetic beats from longtime collaborator Pharrell, Pusha and Malice exorcise demons and catalog areas of personal growth—without ever sacrificing the menace and minimalism that made them legends of the genre. It is a master class in maturing without abandoning one’s core identity, but rather deepening it, making it more three-dimensional. “The fact that it has remained viable for so long has allowed me to say, ‘Hey, this must be meant to be,’” Malice says. Let God Sort ‘Em Out is an instantly unforgettable contribution to the duo’s catalog, and to hip-hop writ large, filled with the type of razor-toothed exercises that made Clipse icons in the first place. Take the taunting “Inglorious Bastards” or “Marie Kondo,” which scoffs at “60-day stars and 20-year thousandaires.” The beats, which Pusha describes as “polarizing,” are urgent, technicolor, and hold plenty of space for the vocal to become the track’s most important instrument. The need to be authentic is paramount, but it’s also natural to these two. Perhaps Malice puts it most clearly: “Nothing else works for us.”

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