Kanye West has unveiled the intense cover art for “Carnival”, one of the standout tracks from the recently released Vultures 1. Designed by noted Canadian artist Jon Rafman, the cover art for “Carnival” depicts a close-up of a screaming and bloodied skinhead. Rafman also created the AI-generated music video for Vultures (Havoc Version) that was released alongside the album.
“Carnival” features Playboi Carti and Rich the Kid. As mentioned, it is widely considered one of the best tracks on Vultures 1. Many people have already called it the best song of 2024. However, the song proved controversial even before it was released. A version heard at a listening party in Chicago earned the ire of Ozzy Osbourne due to an uncleared sample of Black Sabbath. A later version at a Long Island listening party used a sample of Kanye’s “Hell of a life”, which interpolates the same Black Sabbath song.
Meanwhile, late last Saturday, Kanye dropped a new version of the cover art for his album, Vultures 1. The Jason Vorhees-esque hockey mask won by a figure on the album cover has been changed from white to black. However, the change was not the one that more modest fans were hoping for. Many fans still had issues with the scantily clad Bianca Censori who also appears on the cover. “How am I supposed to play this in my car and my mom sees this album cover,” one fan asked. “Wasn’t he complaining about his baby momma being too sexual to raise his kids,” noted another. “Salam brother Kanye, can we please get a Halal version of the cover. Thank you,” requested a third.
The week before the album dropped, Kanye posted an image to his Instagram story of himself and Censori showing off their respective phone backgrounds. West’s was a picture of Censori wearing a leather bikini. Meanwhile, Censori’s was a picture of someone dressed as Jason Vorhees. While Censori appears to be topless on the cover of Vultures 1, it is now relatively evident that the innocuous photo was a backdoor teaser for the cover art.
It’s never easy witnessing the downfall of a cultural phenomenon, especially in the way that Kanye went from a beacon of hope to an artistic pariah who became more engulfed in controversy the further he was platformed. Unfortunately, the backlash wasn’t detached from his artistic output, and Ye has frequently failed to deliver an album without allowing his antics to overshadow it. In the case of Vultures 1, the first of three supposed collaborative albums between Ye and Ty Dolla $ign, that was almost the case. From listening events to hotel parties, the two artists delivered the album in different iterations as they tinkered with the final product and presumably, attempted to clear up some of the admin work attached with sample clearance.
At this point, Kanye West has gained notoriety for failing to release albums on schedule and the circus that surrounds these projects heavily contributes to the rollout. Unfortunately, that often means that, despite the wait, the music still sounds unfinished by the time it’s on DSPs and remains that way.
That’s the biggest difference between projects like Donda and Ye and Vultures 1. Though unveiled similarly, Kanye and Ty Dolla $ign’s collaborative effort sounds like a labor of love rather than a byproduct of a new Yeezy campaign. For the first time in a while, there’s a common ground between Ye’s ideas and the execution, largely carried by Ty Dolla $ign’s stellar performances across the album and an attention to detail that was sorely missing in recent albums. However, where Ye lacks from a lyrical standpoint – and there are plenty of those moments – he makes up for tenfold through his production.
Vultures Lands
Without a fresh bout of controversy to go up against, Vultures 1 remains a rather smooth listen from front to back. Since 2015, the chemistry between Kanye West and Ty Dolla $ign has delivered on all fronts with each collaboration. On Vultures 1, the two artists complement each other’s styles through plenty of contrast yet without losing a sense of cohesion. The two could weave through wholesome moments like “Talking/Once Again,” where North West makes an adorably assertive rap debut and Ty Dolla $ign leads the gospel to heavenly glory, then leap into a hypnotizingly muddy banger with “Hoodrat,” where Ye and Ty Dolla $ign capture the haziness of hotel afterparties and bathroom sex.
As a producer, Kanye’s ability to lead Ty Dolla $ign – and vice versa – allows the two of them to pull from each other’s respective strengths. Ty’s versatility made him a multi-faceted voice who could easily transition between touching ballads, ratchet bangers for the strip club, and soulful R&B with little effort. Through that, Ty becomes a vessel for Kanye’s ear, executing airy falsettos that elevate the orchestral production on “Stars” or his passionate earworm of a hook on “Burn” that allows Kanye to sound like he’s back in 2005. However, the familiarity that comes with both of these records feels like it lends itself to the formula that Kanye’s utilized since The Life Of Pablo, where he’s pulling ideas from his old catalog.
The Good & Bad Of “Carnival”
Yet he finds new ways to innovate sonic motifs. Kanye often used choirs to bring a sense of spirituality and soul to his music, whether on The College Dropout or Jesus Is King. However, the way he utilizes it on “Carnival” is unlike anything he’s delivered recently. “Carnival” stands as the crown jewel of the 16-song collection, if only because of the rambunctious and drunken collection of European Ultras yelling “head so good, she honor roll” in unison. The blistering chants and grinding synthesizers fuel the high-octane energy, reminiscent of UK punk and sweaty mosh pits.
Despite this, Ye delivers one of his worst lyrical performances of the album, likening himself to R. Kelly and Bill Cosby before landing on Jesus but by that point, you’re startled by Kanye stating that he’s “#MeToo me rich.” No matter how you look at it, it’s a weak attempt to troll, whether he’s crusading against cancel culture or actually advocating for the innocence of sexual predators.
With a wide range of collaborators at their disposal, Kanye and Ty Dolla $ign brought through some unexpected features on the project. Playboi Carti’s appearance on “Carnival” marks one of two stellar performances on the album, alongside the hypnotic ode to Memphis, “F*CKSUMN.” Evolving his delivery from a deeper register adds a level of curiosity to his flow. It’s almost whimsically inquisitive when he emerges on “Carnival” and pays homage to SahBabii or when he asks, “Shawty wanna fuck?” on the latter.
Meanwhile, Freddie Gibbs delivers the verse of the album, if not the year so far on “Back To Me.” He swiftly turns Ye’s cheeky interpolation of Jay’s “beautiful big t*tty women just don’t fall out the sky you know” into a katana-sharp verse that’s equally playful and gruff with bars like, “Turn a bird bitch to my X like I was Elon.” Other standout moments on the project come from Chris Brown who delivers a haunting gospel on “Beg Forgiveness,” and Quavo means business on “Paperwork.” There’s a lot of heavy lifting from collaborators across the project, to the point where this album likely wouldn’t be as digestible without them.
In its totality, Vultures 1 is the first album from Kanye West in a long time that feels like it isn’t trying to harness some bigger picture or push some sort of agenda outside of music. His vulnerability feels sincere on songs like the Timbaland-produced “Keys To My Life,” where he reflects on his dilapidated marriage to Kim Kardashian over sorrowfully pitched-up vocal samples of India Love. Fortunately, these moments are few and far between, which allows them to pack an even more potent punch on the tracklist.
Overall, Kanye sounds like he’s having a blast and it’s refreshing to hear. Ty’s penchant for smooth, sexually charged pen and Kanye’s flagrantly grotesque bars that often lean into the TMI territory fuel the self-indulgent tones. This level of playfulness yields solid results on songs like “Do It” ft. YG and Nipsey Hussle. It’s a return to the form of ratchet raps that both YG and Ty Dolla $ign helped establish in the West Coast alongside Mustard.
Meanwhile, Nipsey’s posthumous contributions, originally appearing on an unreleased Cardi B song titled “Wanna Know,” find an even better home over an eerily mesmerizing vocal loop. Unlike most posthumous features from Nipsey, “Do It” is a firm reminder of how adept he was at delivering stripper-friendly bops as much as lyrically-dense entrepreneurial gems. The addition of YG’s verse at the end, over a sample of Juvenile’s “Back That Azz Up,” is the icing top.
Perhaps the only thing that warranted an ounce of excitement surrounding the initial announcement of Vultures was Ty Dolla $ign’s involvement. He and Kanye are polar opposites in many ways, primarily because Ty is as unproblematic as they come while the same can’t be said for Ye. However, they’ve established such a strong rapport over the years that it’s clear Ty Dolla $ign has put some sort of battery in Kanye’s back, one that allowed him to challenge himself beyond what his ego (and his yes men) tells him is genius.
Most importantly, Kanye sounds like there’s a sense of joy in making music on Vultures 1. The past few albums became vessels of communication for larger grievances; an unrelenting wielding of influence in the face of the most influential institutes, whether Adidas, Nike, Disney & Hulu, or the Kardashian clan at large. While that remains prevalent, like in “Burn” when he declares that he “burned 8 billion to take off my chains,” there’s a sense of vindication that comes with no restrictions or major label contracts to adhere to.
Vultures 1 pales in comparison to a discography built on pushing boundaries and shifting the culture. That even extends to the collaborative projects in Ye’s arsenal. However, while Jay-Z and Kid Cudi unlocked new levels out of Kanye on Watch The Throne and Kids See Ghosts, Ty Dolla $ign helped Kanye find a place of comfort amid the chaos that has trailed behind him over the past six years. It’s a new era in Kanye’s career, one that doesn’t veer too far from where he was in 2022. But with Ty Dolla $ign’s companionship, Kanye’s able to hone his focus to deliver an album that’s more worthy of listening to than debating.
Kanye West and Ty Dolla Sign’s new album, Vultures 1, is finally here featuring a number of star-studded collaborations across its 16 tracks. One of the early standouts is “Carnival” featuring contributions from Rich The Kid and Playboi Carti. The song is getting plenty of attention for more than just its merits alone, with a headline-grabbing reference to Taylor Swift, a behind-the-scenes feud with Ozzy Osbourne, and more.
As for Swift, Ye raps in the third verse: “I made six Taylor Swift (Ha) since I had the Rollie on the wrist (Ha) / I’m the new Jesus, b*tch (Ha), I turn water to crist (Ha).” It’s not the first time he’s mentioned Swift. He made endless headlines in 2016 with the song, “Famous,” for similarly remarking that he’s the reason for her success.
As for his back-and-forth with Osbourne, the singer was unhappy with West’s performance of “Carnival,” earlier this week, which featured a sample of a live cover of Black Sabbath’s “Iron Man” that the lead singer performed with his solo band in 1983. Osbourne took to social media to complain that he never gave permission for its usage. “.@KANYEWEST ASKED PERMISSION TO SAMPLE A SECTION OF A 1983 LIVE PERFORMANCE OF ‘IRON MAN’ FROM THE US FESTIVAL WITHOUT VOCALS & WAS REFUSED PERMISSION BECAUSE HE IS AN ANTISEMITE AND HAS CAUSED UNTOLD HEARTACHE TO MANY,” he wrote. “HE WENT AHEAD AND USED THE SAMPLE ANYWAY AT HIS ALBUM LISTENING PARTY LAST NIGHT. I WANT NO ASSOCIATION WITH THIS MAN.”
Ye previously sampled Black Sabbath on his song, “Hell of a Life.” It’s not the only sample clearance drama West has dealt with this week, as the estate of Donna Summer also called him out. Be on the lookout for further updates on Kanye West and Ty Dolla Sign on HotNewHipHop.
Quotable Lyrics:
Go, go, go, go Head so good, she a honor roll She’ll ride the dick like a carnival I done did the impossible
Camp Flog Gnaw Carnival 2023 is exactly as its father, Tyler, The Creator, explained during his set over this past weekend: the spirit of Los Angeles in two days. Dodger Stadium became a playground of approximately 56,000 music nerds’ on November 11 and 12, and was the Odd Future creative’s first edition of the concert and ride extravaganza since 2019, following a couple of years off due to COVID.
Now that it’s over, in all of its sun-drenched, expensive, passionate, grueling, talented, chaotic, diverse, and above all, fun glory, what was the best from CFG? And, is it worth attending next year? Tyler’s brainchild is up there with the best in the world when it comes to its hits and misses. The lines were eternal (especially for merch), pricing was quite steep, and there could’ve been fewer “fake fans” in attendance. Still, these definitely weren’t as bad as every other major fest. These issues haunt everything from the biggest of stages to the most humble multi-artist lineup. However, if you’re like me and you wouldn’t rather do anything else on a weekend, then you’re in luck.
I obviously didn’t get to see even close to the amount of acts I would’ve wanted. Some I caught the whole way, and others I saw from afar, making a line for some pork buns or on my way from one stage to another. I’m sure that Balming Tiger, d4vd, Liv.e, Domo Genesis, beabadoobee, Fuerza Regida, SPINALL, Khamari, DAISY WORLD, Toro y Moi, and many, many others put on amazing shows which I, unfortunately, couldn’t make it to. Below, we’ve ranked the top five sets we got to see, along with some honorable mentions.
Might as well start with the big dogs, right? There were plenty of huge names on the lineup this year in addition to those already mentioned. Lil Yachty brought out Offset, WILLOW performed with her brother Jaden Smith during her excellent sunset show, and The Hillbillies tapped Tyler, The Creator to join them onstage for their self-titled track’s performance. It’s fitting that we start here because the music video for Kendrick Lamar and Baby Keem’s 2023 single launched this year’s Camp Flog Gnaw Carnival back in June. Now that we finally made it, it’s no surprise that they closed off Saturday expertly across 24 tracks and alternating sets with spoken-word interludes. It was another masterclass in crowd control, mood shifts, lyrical performance, and dedication. As such, The Hillbillies is this year’s standout experience from CFG’s top-tier mainstream performers. Kendrick Lamar and Baby Keem showed everyone how it’s done.
For every few bangers, like their opener “family ties,” there was a cool-down moment like Kendrick’s “A.D.H.D.” and Keem’s “HONEST.” Their chemistry was evident, too, as they hyped each other up for their collaborative cuts and knew exactly how to play off of each other’s energy when they switched out onstage. Furthermore, this is what separated this performance from The Big Steppers tour, and showed another dimension to their already legendary reputation.
Next up is Kevin Abstract, the former BROCKHAMPTON main brain who was one of many genre blenders this weekend. The ARIZONA BABY artist was also one of a few with brand-new projects to unveil in a concert setting. Sure, it wasn’t the sharpest or most fine-tuned, but it crystallized something more important beneath those fluorescent lights.
Kevin Abstract clearly cared a lot about his first solo performance in about six years. His performance, vocally and demeanor-wise, was very raw, grateful, unfiltered, and fully sunken into the vibes that he and his band created onstage. He played killer tracks like “Madonna” and “What Should I Do?” off of his new album Blanket and revisited fan favorites like “Baby Boy” and “Empty.” The cherry on top was that he revamped these tracks to fit his new, shoegaze-like style. While many artists played their hits or stuck to their most popular sounds, the 27-year-old fearlessly dove into a new era, and crafted a gear-shifting and deeply personal moment in his career for old and new listeners.
Kali Uchis is one of many artists on Camp Flog Gnaw’s lineup whose work with Tyler, The Creator is very beloved. You’d be hard-pressed to find someone on the bill who isn’t at least good friends with the Hawthorne native, and the Colombian-Virginian singer goes way back with T. With a great backing band, dancers, and impeccable stage design, she crafted one of the most visually stimulating sets of the weekend. Her blends of soul, R&B, and other genres were just as wavy as those from PinkPantheress, Syd, and of course, SZA.
Moreover, she performed many old and new hits: the dembow anthem “Muñekita,” “See You Again,” “telepatía,” “Blue,” etc. What’s more, is that the 29-year-old even brought out Omar Apollo for their collab “Worth The Wait,” and they seemed to really enjoy their time onstage, especially Omar. If there’s one thing that this set represents from this festival, it’s the confident and fitting stage presence that many of these artists embodied. No one did a better job of creating that illusion and grandeur than Kali Uchis. As you’ve probably already noticed, Camp Flog Gnaw is full of superstars with underground sensibilities and sounds. Part of their charm is how they stay down-to-earth within their styles, but Kali knows that she’s larger than life. Among massive fame and acclaimed artistry, she’s right at home.
Don’t let that name fool you: if you live under a dozen rocks and have never heard of this jazz group, they are anything but. Among a cavalcade of indie, R&B, hip-hop, and rock-adjacent artists, plus some Afrobeat and Latine representation, BBNG still stands as the most unique set of the weekend. Not many artists can pull off opening their set with “War Pigs” by Black Sabbath, going into ambient saxophone passages, and then coming through with a killer remix of their KAYTRANADA collab “Lavender” while still sounding cohesive as a unit. But BADBADNOTGOOD has been doing this for too long. They had perfect crowd control and a varied collection of jazz improvisation, psychedelic rock, Latin percussion, spacey soundscapes, amped and groovy drum solos, and some of their best compositions across their impeccable discography.
For day one fans, we didn’t get to hear their famous rap covers from back then, but we did get a gorgeous rendition of “Confessions.” On the other hand, we’d be remiss not to mention their incredible performance of “The Chocolate Conquistadors,” their MF DOOM collab. Drummer Alexander Sowinski and the rest of the band dedicated that cut to the late masked villain, and they also made sure that the crowd was having the best time of their lives. There were moments to gaze in awe at a solo, dance the night away, sing along to a melody, or take a moment to appreciate your place in the world right then and there. Music festivals can be overwhelming, especially CFG, but artists like BADBADNOTGOOD remind you of why it’s all worth it. No other set this weekend had me as completely immersed in the present as theirs.
Finally, we have the leader from Prince George’s County: redveil. He represents the amazing hip-hop on Camp Flog Gnaw’s bill: from Yachty to Earl, Domo to Ice Spice, Maxo to Maxo (Kream), The Hillbillies to Clipse to Paris Texas to AG Club… easily making up the most vocal and numerous fanbase here (although every other group felt just as welcome). Regardless of subgenre and labels, this festival had a lot of verses and moshpits, incredible crowd dynamics, and hungry MCs learning from the previous generation’s greatest. So why write this whole reflective and nostalgic intro for a 19-year-old, the freshest and youngest face here? Well, it’s because he’s the best proof that this weekend is not just Odd Future or Tyler’s festival: it’s thefuture’s festival.
Vibrant energy and fun moshpits from the crowd? Check. Unbridled hype, control, and stage presence from the learn 2 swim artist? Check. Sing-alongs, hardcore fans’ satisfaction, and new listeners falling in love with each song? Check, check, check. He ripped through all of his verses like “2daside,” thanked everyone who helped him along the way, kept his will, determination, and performance ethic at 100%, and put a spotlight on the world outside of CFG. He called for Palestinian freedom, powerfully closing out his set by speaking on their decades-long fight for justice. To put it bluntly, it was the most important moment of the whole endeavor. It’s that passion, awareness, talent, and love that redveil and every other artist on the bill will surely bring to Camp Flog Gnaw in 2024. After an incredible festival like this, all that’s left to say is, “We’ll see you again.”
Ice Spice performs at the Camp Flog Gnaw Carnival – Day 1 at Dodger Stadium on November 11, 2023 in Los Angeles, California (Photo by Christopher Polk/Variety via Getty Images)
Ice Spice continued to prove why she’s one of the most beloved artists right now despite a short set time, and Pusha T and No Malice reunited as the Clipse in the most legendary and triumphant set of the weekend… that I only got to see footage of. At the end of the day, everyone on the lineup deserves a mention. This festival really focused on consistency, quality, and a no-frills attitude throughout its 48 hours. It’s all a matter of your personal taste. SPINALL and Fuerza Regida gave global spotlights, while new names joined a lineup of veterans. Baby Keem even took some time to unveil the trailer for his Amazon Prime short film, The Melodic Blue, which will be released on December 5!
Alas, there’s still so much to say, and such little time. For example, Earl Sweatshirt’s discography-spanning set, plus some new unreleased gems, could warrant a breakdown of its own for how he hypnotized the crowd alongside special guests The Alchemist, Domo, and Zelooperz. No other festival has this level of intangible closeness between fan and performer, and its atmosphere invigorated the Dodger Stadium grounds in ways hard to explain.
Well, after four years since its last iteration in 2019, Tyler, The Creator’s Camp Flog Gnaw Carnival is back on November 11 and 12 this year at Dodger Stadium in Los Angeles. Moreover, if you were online just a few hours ago, you know that the festival live-streamed people painting each and every artist on the lineup on a mural. Now, we have the full list of performers, and it’s an eclectic, exciting, and often surprising collection of amazing talent. Of course, the Hawthorne native’s reputation as a creative and curator precedes him, but this was still no less joyous to see unfold. Unfortunately, tickets for it sold out almost immediately, but if you’re looking for one, best of luck to you on your resale cop journey.
Furthermore, let’s talk about this lineup. Camp Flog Gnaw will host the first joint set from The Hillbillies, better known as Kendrick Lamar and Baby Keem. Keeping up with TDE connections, SZA will also perform, as well as Tyler himself, obviously. Other massive names on the lineup include Ice Spice, Kali Uchis, Lil Yachty, Rex Orange County, Dominic Fike, PinkPantheress, and former BROCKHAMPTON mastermind Kevin Abstract. In addition, the festival also brought on Fuerza Regida, the regional Mexican collective that’s making huge waves in the Latin American market, which is the most special and surprising addition here.
However, let’s not forget about some Odd Future era mainstays at Camp Flog Gnaw: Syd, Earl Sweatshirt, Mike G, Domo Genesis, and Left Brain. Also, many of Tyler’s past collaborators have a spot on the bill, like Teezo Touchdown, Maxo Kream, Fana Hues, and DAISY WORLD. One of the most exciting placements for hip-hop fans, though, has to be a set from Clipse, as well as other great MCs and rising groups like Maxo (not the Kream variety), redveil, Paris Texas, AG Club, and many more. BADBADNOTGOOD, Ravyn Lenae, WILLOW, Toro Y Moi, Khamari, julie, Liv.e, beabadoobee, and d4vd are among other exciting acts.
Meanwhile, it feels like it was ages ago that the CALL ME IF YOU GET LOST pioneer teased the festival’s return in Keem and Kendrick’s “The Hillbillies” music video. Now, fans can finally start to think about who they want to see, and who’s going to steal the show. Let us know who you are most excited to see (whether live or streamed) in the comments down below. As always, log back into HNHH for the latest news and updates on Tyler, The Creator and Camp Flog Gnaw.
Jayda Cheaves’ name most often comes up in conversation in tandem with her co-parent, Lil Baby, or her various business endeavours. Recently, though, she found herself dragged into Summer Walker and Lil Meech’s breakup announcement after the R&B singer name-dropped her. “Can’t do that cheatin’ stuff,” the mother of three wrote at the time. “Tried my best to be Jayda Wayda but I couldn’t.”
The reality star made it clear that she wasn’t a fan of Walker’s apparent joke, but thankfully, all the attention that came her way as a result has mostly been to Cheaves’ benefit. Those who happened to follow the entrepreneur to keep up with the tea also happened to see her Carnival photo dump today (August 8), which finds the 25-year-old flaunting her cheeks in beautiful Antigua and Barbuda. “It should cost a billion to look this good ,” she wrote in the caption of this afternoon’s upload, quoting Beyonce’s RENAISSANCE album.
Cheaves’ red and gold bodysuit boasts plenty of beautiful beads, and she wore her hair in ultra-long, black braids. She completed her look with a regal headpiece and brought the Barbie energy to the tropics with her bright pink feathers. It appears she and her friends all wore matching looks for their Carnival adventure, and she made sure to sneak in a few snaps that showcase her famously sculpted backside. Some in the comments have been bashing the starlet for her sneakers, but just as many have rushed to her defense, reminding haters just how much walking is done at the event.
Before Jayda Cheaves delivered her stunning Carnival photos today, the last socialite we saw taking over the tropics was Chloe Bailey. She attended the festivities in St. Lucia for the first time this year, and from the looks of her Instagram feed, the “Treat Me” singer had a great time. See her glamorous outfit at the link below, and check back later for more hip-hop/pop culture news updates.
Carnival is a worldwide tradition going back hundreds of years involving music, parades, and revealing costumes, called mas (short for masquerade). And if there’s one star who loves revealing costumes, it’s Chloe Bailey. The In Pieces singer recently attended the celebration in St. Lucia (her godmother’s home country) and shared her cheeky mas costume online. Like many costumes, it’s an elaborate display of feathers, beads, and jewelry — in this case, the feathers are orange, violet, and magenta — arranged on a skimpy swimsuit with a huge headdress to match. I think Chlöe’s swimsuit here is technically a one piece, although that piece leaves very little to the imagination.
Chlöe is currently between legs of the North American tour for debut album In Pieces. The first leg of the tour wrapped up in May and she’s apparently taking a little break before the second leg of the tour begins in August with her performance at Sol Blume Festival. During the tour, she reunited with her sister Halle Bailey to perform songs from their album Ungodly Hour for the first time since Halle began filming The Little Mermaid. Halle recently teased that the sisters were “not finished making music together,” suggesting that now that the press for The Little Mermaid is winding down, they might reunite for a follow-up to Ungodly Hour.
Boosie Badazz has gotten right back to his usual antics since his recent release from prison. He’s been quite active on social media, going Live on Instagram this week to make lasagna. The artist confused some viewers with his recipe, however, which included some unexpected ingredients. “Is that slice cheese he puttin there?,” one commenter asked, “That’s a setup not lasagna.”
Another funny clip was recently shared to social media, showing Boosie pouting because he wasn’t allowed to board a carnival ride. The ride only seemed to cater to small children, but Boosie still seemed pretty disappointed. Fans joked that the rapper simply “wasn’t tall enough” to be included.
Recently, Boosie also clarified on social media that despite his ankle monitor, he’s still going to be working. “They’re letting me do all my shows,” he says, “I just can’t go across the country.” He went on to explain that his probation isn’t going to “mess up [his] money,” in a video posted on Twitter. Earlier this week, Boosie also took to the social media platform to ask the CEO of Meta, Mark Zuckerberg, to give him his Instagram account back. The rapper was reportedly banned for featuring nudity on his profile, however, he says he’s been “doing good” lately. “I’m tryin to get my motion back,” he told Zuckerberg.
He also recently went off on Empire Records and Universal, multiple times, for allegedly failing to pay him for their deal with Yung Bleu. Boosie went on to claim that his name was even forged in the documents. “YALL THOUGHT I WAS TOO GANGSTER TO LAWYER UP,” he wrote on Twitter, “IM GO FIGHT YALL TILL DEATH FOR MY KIDS MONEY.” Boosie Badazz continued, “THIS HAS CAUSED FRICTION WITH ME N MY OWN MOTHER N YALL THINKING ITS A GAME. YALL TRYIN ME ITS UP.”
As we entered into the month of July, Chloe Bailey also began a new chapter of life – her 25th trip around the sun. 24 was a huge year for the Praise This actress, from her debut solo album, In Pieces, finally arriving to her work alongside Damson Idris in Donald Glover’s Swarm. The latter found Bailey filming her first-ever sex scene, which she seemed to handle like a total pro, even with her nerves.
After sharing her long-awaited LP, Bailey headed out on a short and sweet tour, during which plenty of thirst traps landed on her Instagram feed. She’s continued this trend now that she’s back at home, not only sharing a stunning poolside photoshoot with us for her birthday but also donning a bright pink bikini to give fans an update on her upcoming travel plans today (July 3). “Who’s coming to Carnival with me? ” Bailey asked in the caption.
The “Treat Me” singer then went on to explain that she’ll be travelling to Saint Lucia for the event. However, instead of saving all the fun for herself, she’s teaming up with various brands to give a four-night stay away to a lucky winner and their friend. “Prize includes 4-night hotel accommodations for two, 2 round-trip flights from USA or Canada, round-trip airport transportation, and VIP Carnival party tickets,” Bailey noted before explaining how to enter. The contest will run for the next three days, and already over 15K have left comments in hopes of taking home the coveted prize.
Saint Lucia isn’t the only tropical destination Chloe Bailey is crossing off her bucket list this year. After wrapping her In Pieces tour in the spring, she put her phone on Do Not Disturb to enjoy some serious fun in the sun. Check out the R&B songbird’s flirtatious vacation vlog at the link below, and check back later for more hip-hop/pop culture news updates.
(@ancomspike) 
,” she wrote in the caption of this afternoon’s upload, quoting 
(@nojumper)
” Bailey asked in the caption.