Childish Gambino certainly has gone out with a bang on his final album, Bando Stone and The New World. The fifth LP is essentially a mixture of what has made him into the multi-hyphenate we know him to be. It seems that listeners are enjoying the record, regardless of what the sales projections are telling you. For context, the soundtrack-to-be is currently looking at top 15-20 debut on the charts. That will roughly translate to 35,000 copies sold. Overall, people cannot stop theorizing about the possibility that Childish Gambino did in fact diss Drake. “Yoshinoya” is the track in question and fans have been breaking down its lyrics since it dropped last Friday (July 19).
They feel there a lot of connections to the Kendrick Lamar battle, such as, “N****s don’t know where I’m at, I found your house on a app / People around you ain’t slatt, they plottin’ hard when you slack“. The first could be a callback to the cover of the “Not Like Us” single, while the second is a possible reference to “6:16 in LA” where Lamar says Drake’s people are secretly plotting on him. With fans running around like chickens with their heads cut off, one of Gambino’s producers felt the need to weigh in. However, he’s more so just enjoying the show for now.
Michael Uzowuru, who had several credits on this album (not “Yoshinoya”), shared a screenshot of a TDE Punch tweet that reads, “lol”. So, yeah, not much to work with there. But hopefully, all of this chatter around Gambino’s farewell LP will drive up sales in the subsequent weeks. HipHopDX brought to light that his first week numbers have never been amazing. Like most of his releases, they tend to be an acquired taste and we predict that more and more people will come to appreciate what this LP is.
What are your thoughts on Childish Gambino’s “Yoshinoya” producer reacting to the Drake diss theories? Do you think it is a pretty obvious diss record? Where does this song rank in terms of the rest of the Bando Stone and The New World tracklist? We would like to hear what you have to say, so leave your thoughts in the comments. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Childish Gambino and Drake. Finally, stay with us for everything else going on in the music world.
This year has been one of the wildest for hip-hop in quite some time. Most of that can be attributed the thrilling battle between Kendrick Lamar and Drake. Those first few days of May where they went tit for tat with diss records was an unforgettable moment. Of course, that brief stretch included “Not Like Us”, which is seen as Kendrick’s dagger and the West Coast’s as well. The record became an instant hit, partially because of Mustard’s incredible beat. The latter has been one of the top-flight producers for a while now, notching collaborations with so many superstars. However, this Kendrick Lamar collaboration did not come as easy as the others.
The critically acclaimed beat crafter sat down with Big Boy to talk about the song, as well as The Pop Out and much more. During their hour-long sit-down, Mustard explained that he was sending Lamar beat after beat during the back-and-forth with Drake. In fact, he says it was around five a day and probably hit almost 100 in total. Ultimately though, he was not sure what would happen. Then, he received a text while driving to a baby shower, saying that the Compton rapper dropped another diss track. Shortly after, Mustard said he got another message that read one of the best quotables from the song, “‘Mustard on the beat ho’”.
He told Big Boy he was all sorts of confused, “I’m like ‘Wtf did I miss?’ And that’s how I heard the song on the 405 freeway, driving, and I start spazzing…listening to it over and over. I couldn’t believe it”, Mustard explained. Even though, he is a fantastic producer, the Los Angeles, California native can now say he is a part of a historical moment in the genre’s history. Mustard is doing a great job of capitalizing on this, as he is dropping his new album, Faith Of A Mustard Seed, on July 26.
What are your thoughts on how Mustard heard “Not Like Us” for the first time? Is this one of the best diss tracks of all time, why or why not? Where does this beat rank for Mustard’s discography? Will this become the most iconic diss record ever? We would like to hear what you have to say, so leave your thoughts in the comments. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Mustard and Kendrick Lamar. Finally, stay with us for everything else going on in the music world.
Ice Cube and Common have become two of the most revered elder-statesmen in hip-hop. They went from critical darlings to crossover stars who landed major roles in film and television. They also hated each other during the 1990s. Cube and Com went at each other’s throats during the most dangerous period in the genre’s history, and it took the urging of Minister Louis Farrakhan for them to settle their differences. They weren’t the only two people involved in the beef, however. Pete Rock told his side of the story during a recent episode of Drink Champs.
Pete Rock recounted his legendary career during the podcast. He spoke on his falling out with former partner, CL Smooth, and his upcoming album with Common (the other guest). What listeners didn’t see coming, though, was Rock’s recollection of how much Ice Cube hated him. The producer laced the track for Common’s diss, “The B*tch In Yoo,” so Cube evidently felt as though Soul Brother No. 1 had chosen sides. To be fair, he kind of did. “Of course Ice Cube was a little upset with me,” Pete Rock told the hosts. “That man had me feeling bad, man. He’s like, ‘Yo, he was angry, he was upset.’”
Pete Rock Eventually Smoothed Things Over With Ice Cube
The producer felt bad about the situation. Fortunately, things blew over when Cube and Common agreed to end the beef in 1997. Pete Rock said that he was thrilled to discover that Cube had let his anger go the next time he encountered him. “‘Aww Pete, come on,’” the producer recalled him saying. “‘You good, bro, you good.’” Rock and Cube have remained on good terms, but it’s worth noting that the producer was all for Common firing shots off back in 1996.
During a 2011 interview with Complex, Pete Rock claimed that he encouraged the Chicago rapper to respond to Ice Cube. “I remember getting a call from Common saying how upset he was about getting disrespected by Ice Cube,” Rock told the outlet. “I told him, ‘If you need my help, I’m here.’” He went on to commend both rappers for the way they handled the beef. “That’s how real men are supposed to get down,” he posited. “But this was a wax thing. I think Common stood up as a man and told him how he really felt. It was memorable, man. Very classic moment.”
Eminem is back in Slim Shady mode. There are lots of different ways to tell. For one, the rapper’s new album will be called The Death of Slim Shady. The music video for his lead single, “Houdini,” features the classic, bleach blond Slim in action. The most telling side effect of a Slim Shady sighting, however, is the lyrical insult. Eminem’s alter ego loves to take shots at his peers, his predecessors, and pretty much any other person he can think of. He targets multiple people in “Houdini,” but the most notable is far and away Megan Thee Stallion.
Eminem turned the zaniness up to ten on the new single. He tells Dr. Dre to “f*ck off,” and does to the same to his children (one of whom just got married). Both Dre and his family are been topics of scorn and adoration over the years, however. Megan Thee Stallion is someone new. The rapper flipped a line about scoring a guest verse from Megan into a double entendre about Tory Lanez shooting her in the foot. “If I was to ask for Megan Thee (What?) Stallion if she would collab with me,” he raps. “Would I really have a shot at a feat? (Haha). I don’t know, but I’m glad to be back like.”
It’s a clever turn of phrase, but a topic that has not been received by the hip-hop community. Rappers who have poked fun at Megan Thee Stallion have either been scored by fans or Megan herself, in the form of a diss. Megan managed to win her battle with Nicki Minaj while dropping a number one single, “HISS,” in the process. The diss song, which dropped in January, is actually relevant to the current Em situation. Megan Thee Stallion made an oblique reference to Slim Shady on “HISS.” “I feel like Mariah Carey (Mariah Carey),” she rapped. “Got these n**has so obsessed (Damn).”
The line is meant to address Megan’s haters, but it’s also a reference to the 2008 Mariah Carey diss song “Obsessed.” The target of Mimi’s diss was, infamously, Eminem. The tension between the pop superstar and the rapper ran throughout the 2000s, and many feel like the former won out with a hit single. Eminem dissing Megan Thee Stallion over a subliminal actually makes a lot of sense. Eminem knows how to hold a grudge against rappers who slight him. He waited years to respond to MGK on record, and when he did, he demolished the pop-punk artist. It’ll be interesting to see if Megan Thee Stallion decides to respond.
Megan Thee Stallion may be one of the most popular rappers in the world, but she’s had a difficult path to success. Her rise to fame coincided with a lengthy legal battle against Torey Lanez. The battle ended with Lanez receiving jail time, but a lot was said about Megan’s character that affected her self esteem. The rapper admitted that she felt ganged up on by the rest of the music industry as a result. She talked about this difficult period during a recent profile with L’OFFICIEL, and how the single “HISS” helped her get out of it.
Megan Thee Stallion told the outlet that she fell into a depression during the Lanez trial. “I felt so awful every day,” she admitted. “It was such a hard place to get out of. I don’t even want to care who hates me, really. What I should be focusing on is the love that I do receive.” The rapper said that this period helped her develop a thick skin. “That’s what I’m trying to get better about now,” she asserted. “Everything is not going to be great all the time. If I’m going to be here for the cheers, I got to be here for the boos.”
Megan Thee Stallion Felt Validated By The Song’s Success
It’s fitting that music was the thing that revived Megan’s spirit. The rapper was being attacked from all sides, including from Nicki Minaj. The two had thrown shots at each other previously, but it turned up a notch at the top of 2024. It was, in many ways, a precursor to the year of rap battles that we’ve had so far. Megan Thee Stallion put out the Nicki Minaj diss “HISS,” and it went straight to number one on the Billboard Hot 100. “Hiss” marked the rapper’s third number one single and first as a solo artist. It also was a shot of confidence at a much-needed time in her life.
“It felt good to finally be able to just talk my talk because I was in a place where I was so down, and I didn’t want to do anything to disrupt any kind of peace,” she opined. “I felt like, ‘Oh, Megan Thee Stallion, everybody hates you right now. Don’t you say a word. Just be quiet.’” “HISS” was also an opportunity to prove that she had what it took to go at the queen of hip-hop, Nicki Minaj, and come out the victor. This came as a surprise to even Megan herself. “I absolutely did not know it was going to do all of that,” she told the outlet. “I had no clue that was going to happen. It felt like everybody was kicking me when I was down.” If that’s not a remedy for depression, we don’t know what is.
The rap battle continues. Charlamagne tha God recently claimed that Drake vs. Kendrick Lamar is the current generation’s answer to Jay-Z vs. Nas. The comparison makes sense, given the stakes and the high-profile both artists have. The thing that really clinches the comparison, though, is the hype that’s been surrounding each new diss song. Jay and Nas had radio to build up, but Drizzy and Kenny have a new level of buzz thanks to social media. DJHed hopped on X (formerly Twitter) to claim that the former will be dropping a song on May 3.
DJHed has chronicled the Drake vs. Kendrick Lamar battle ad nauseam on X. He drew praise and some criticism for pointing out that Drake took a while to upload “Push Ups” to streaming platforms. The radio personality really ramped up the hype cycle, however, when he claimed that the 6 God plans to kick off the second round of the battle tonight. “I HEAR the boy IS DROPPING A ‘HIT’ RECORD TONIGHT,” he wrote on X. “I HOPE IT’S AMAZING.” A few hours after this was posted, DJHed quote tweeted his own message with a confirmation. “Confirmed,” he wrote. “Best of luck to you.”
DJHed has made it clear that he’s team K. Dot. In the aforementioned criticism of Drake, he likened the rapper’s music to microwave food. He dismissed the notion of cooking up a response quickly in favor of taking time to craft something quality. “If you enjoy microwave meals that’s on you,” he tweeted at Drake fans. “We prefer cooked food on this side.” The radio personality decided to double down on his analogy by posting a gif on a microwave.
To DJHed’s credit, speed does seem to be a vital part of the Drake playbook. The rapper dropped two diss songs in the span of two weeks, “Push Ups” and “Taylor Made Freestyle,” then taunted Lamar for taking too long. The rapper also reacted to Lamar’s “Euphoria” diss the same night it dropped. He took to Instagram to troll Lamar with a film clip, and then told concertgoers at a Nicki Minaj show that he had business to take of. “You know what I gotta do,” he announced as he walked offstage. All eyes are going to be on the Boy, let’s see if he delivers.
While it seems rap has returned to a place where feuds are dealt with on wax rather than in person, Quavo and Chris Brown’s ongoing beef is treading into personal territory. Over the weekend, Breezy unloaded his latest release, “Weakest Link,” targeting Quavo and bringing up the late Takeoff. Among other claims, he also claimed to have slept with Saweetie while she was still dating Quavo, and spared the Migos rapper the humiliation of a public ass-beating at Paris Fashion Week when they were seated next to each other. Moreover, Chris Brown, out of all people, attempted to level the playing field with domestic assault allegations against Quavo.
The feud is ultimately a low-stakes battle between an R&B singer and a rapper over a woman who already moved on from both of them. Though Chris may have initially denied that this doesn’t have to do with shared partners – a commonality in the entertainment industry as a whole – that, along with the death of Takeoff, became what Breezy believed to be the sore spots. But, similar to how Quavo swiftly responded to Chris Brown’s 11:11 diss with the release of “Tender,” the Migos rapper proved that his competitive nature isn’t limited to athletics. On his latest release, “Over Hoes & B*tches” — a play on Breezy’s OHB clique — Quavo fired back at the R&B singer with the posthumous assistance of Takeoff. Here’s everything you need to know about the song.
Initially debuted on Akademiks Live Stream on April 22nd, Quavo dug into the vault to directly jab back at Chris Brown’s dig toward the late Migos member on “Weakest Link,” Breezy raps, “R.I.P. Takeoff, he the only real one that got true respect/ Crazy how when he died, everybody really wished it was you instead (Oh shit, brrah).” Though Brown immediately acknowledged how he might be “trippin’,” the inclusion of Takeoff’s performance on “Over Hoes & Bitches” illustrates the ride-or-die nobility between the uncle-and-nephew duo.
“This bullet got your name/ Don’t ever bring up Take, pussy,” Huncho raps on the intro, just before Takeoff’s posthumous hook becomes the song’s glue. Though we can’t confirm when Takeoff’s contributions were recorded, it certainly sounds like something that may have came out of the back catalog. However, considering that this feud pre-dates Takeoff’s death, it wouldn’t be difficult to imagine that it would released in the thick of the initial stages of Quavo and Chris Brown’s feud. Even if the bars sound like they could be talking about anyone, it’s an effective hook for Quavo’s diss track toward Breezy.
Of course, one of the biggest bombshells from Chris Brown’s “Weakest Link” surrounded Saweetie. Though Karreuche remains at the center of the beef – or atleast we thought – Chris Brown revealed that he slept with Quavo’s ex while they were together. “Who gassed you up to put that out?/ Yeah, that was shitty, n***a/ I can take a model bitch and make a Saweetie, n***a,” he raps. Of course, this line ultimately caught the attention of Saweetie who exposed text messages from Quavo back in January. Whether a coincidence or not, fans also pointed out that on the same day Quavo messaged her, she was spotted next to Chris Brown at an NBA game.
NEW YORK, NY – FEBRUARY 17: Karrueche Tran (L) and Chris Brown attends the Michael Costello fashion show during Mercedes-Benz Fashion Week Fall 2015 at The Salon at Lincoln Center on February 17, 2015 in New York City. (Photo by Noam Galai/Getty Images for Mercedes-Benz Fashion Week)
Tran has maintained her silence amid the Chris Brown/Quavo saga. However, Breezy and Quavo ensured they addressed the core of their issues. On “Over Hoes & Bitches, Quavo questions Breezy’s commitment to pushing this feud further. “Lil’ boy wanna die ’bout some coochie? (Bow) You still fucked up ’bout Karrueche?” he raps. While Chris Brown previously shrugged off his former fling with Tran, Quavo suggests that Brown’s ego continues to fuel the fury behind their feud.
LOS ANGELES, CA – DECEMBER 25: Recording artists Chris Brown and Rihanna attend the NBA game at Staples Center on December 25, 2012 in Los Angeles, California. The Lakers defeated the Knicks 100-94. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. (Photo by Victor Decolongon/Getty Images)
Since the 2009 Grammys, things have not been the same for Chris Brown. Allegations of abuse have followed him over the years, including other reported incidents, some of which have resulted in lawsuits. However, Breezy’ violent past has continued to haunt his existence and it became the focal point of Quavo’s latest releases.
On “Weakest Link,” Chris Brown calls out Quavo for facing similar accusations following the infamous video of himself and Saweetie in the elevator. In response, Quavo pulled up several examples of Chris Brown exhibited signs of abuse, including the evening he attacked Rihanna, the supposed rift he had with Teyana Taylor, and his infamous beef with Frank Ocean, of all people. Quavo uses the Ocean incident, specifically, to question whether Chris Brown is actually willing to fight. “Talking about fashion week, you sparing who?/ Come punch me in my face/ It ain’t nun’ but a fade, you know you lost to Frank (Frank Ocean?),” Quavo raps.
LONDON – NOVEMBER 15: Singer Chris Brown performs Michael Jackson hit “Thriller” on stage during the 2006 World Music Awards at Earls Court on November 15, 2006 in London. (Photo by Dave Hogan/Getty Images)
Chris Brown has faced several accusations surrounding his alleged relationship with substances. A 2017 report from Billboard detailed his reported issue following a lawsuit filed by his former manager. Although Breezy has denied using any drugs outside of marijuana, many have speculated that his aggressive behavior stems from the alleged use of cocaine.
Across “Over B*tches & H*es,” Quavo makes several mentions of these supposed rumors. “The cocaine got ’em, your honor (White), bipolar disorder, no wonder,” he raps, which delves deeper into the allegations from the aforementioned 2017 report where a source claimed that Chris Brown leaned further into substances as he abandoned his prescription medication for his bipolar disorder. “You was the greatest, n***a, you fumbled, going out sad, I’m watching you crumble/ Why they got Quavo out here going back and forth with a singer that turned to a junkie?” Elsewhere in the verse, he calls Chris Brown a “Crackhead Michael Jackson.” Pretty self-explanatory.
Street Ties
Though Chris Brown emerged as a child star, the latter half of his career found him assuming a more bad boy image. This largely relates to Brown’s alleged ties to the Pirus. During the intro, Quavo brings up the reports that home invaders held Chris Brown’s aunt at gunpoint. However, he suggests that the robbery was the result of Chris failing to pay his debts. “N***as ran in your house, tied up your aunt ’cause you ain’t pay,” he raps.
Furthermore, Quavo, specifically, calls out Breezy for putting on a tough guy image. Once again, he questions Breezy’s authenticity. “N***a, you ain’t been in the trenches/ We stomping the yard, you know how that ended,” he raps, referencing Breezy’s character in the film, Stomp The Yard, who dies relatively early. “Want smoke with me? OHB mean fighting over hoes and bitches (OHB),” he adds, flipping the name of Chris Brown’s crew Original Hood Bosses.
The numbers game could only work among a certain crowd of rappers, specifically those who rely on popularity to disguise their wealth or lack thereof. However, when it comes to the core of rap’s competitive side, the underdog never has as much to lose in the first place. But there’s an equal battleground between Drake and Kendrick Lamar who’ve both achieved great commercial success while asserting their dominance in the field for a decade-plus. Sure, for Drake, it’s more of an anomaly when he decides to really rap his ass off but as Complex’s Jordan Rose once pointed out, the Canadian star needs formidable opponents for his bars to stick. Fortunately, the tentatively titled “Push Ups (Drop & Give Me 50)” sounds exactly like the “old Drake” we’ve longed for.
What first began surfacing as a speculative “AI response” was later confirmed to be a reference track by Akademiks. It was muddied, and distorted and the production sounded flat. But its rawness added a sense of urgency and nostalgia for those who recall digging for music in the prehistoric days before streaming services and social media’s accessibility. The supposed official version landed on Akademiks’ desk before circulating through the DJ circuit on Saturday. Fans unpacked the lyrics – some more nuanced than others – before deliberating the winner of round one.
In terms of the main card event between Drake and Kendrick, “Push Ups” tied things up. “Like That” undoubtedly packed enough punch to ripple across the airwaves for weeks and affirm its position at #1 for a third week in a row now. The fact that a diss track toward Drake debuted at the top spot must have struck a nerve with Billboard’s Artist of the Decade recipient. It proved that he couldn’t just craft a hit song to win this beef nor would the court of public opinion simply lean in his favor with the help of some memeworthy responses. The stakes were high and the Boy needed to roll up his sleeves. Unlike J. Cole’s “7 Minute Drill,” Drake knew that he couldn’t just deliver a one-size-fits-all diss track to put his detractors on notice. If calling Kendrick short began weighing on J. Cole’s soul so heavily, imagine how the escalation of this feud would’ve made him feel in the long run. That said, “Push Ups” was a measured response to feed into a beef of this magnitude.
So, years after “The Story Of Adidon” cemented itself in the pantheon of hip-hop diss records, it became clear that it would take much more than lyrical warfare to take Drake down. Unfortunately, when ranking Drake’s current list of opponents, only a few of them have the potential to cause damage. Kendrick, of course, became target numero uno on “Push Ups,” though Drake admittedly kept his response PG. He pointed out their comparative feature streaks; Kendrick having worked alongside Maroon 5 and Taylor Swift at the early stages of his career in an attempt for more commercial success that, in some sense, slightly dilutes an otherwise flawless catalog. The short jokes, though expected, were hilarious. The possible mention of Kendrick’s wife (“I be with some bodyguards like Whitney”) might warrant a response akin to Pusha’s (the Clipse rapper stated that this was what triggered his infamous response to “Duppy Freestyle) but perhaps the most shocking aspect of the feud surrounded Kendrick and Top Dawg’s relationship and the allusion to publishing splits. Many have speculated that there had been a strain between TDE’s flagship artist and its founder over the years, causing Kendrick and Dave Free to launch pgLang, but for Drake to suggest that it may have been a result of bad business sheds an interesting light on the overarching narrative surrounding the California-based label, in which some have believed they’ve been holding back their artists from releasing music. The fact that SZA even got a shout-out on the record might indicate something is brewing behind the scenes at TDE that we might only find out about down the line. Still, these aspects of “Push Ups,” paired with “They make excuses for you ’cause they hate to see me lit,” feel mildly contradictory, considering that similar claims could be leveled against him in both the speculations surrounding his contractual obligations to Cash Money and the fact that his rabid fanbase has been jumping through hoops and moving the goal post over the past few weeks to defend his spot.
But beyond the speculation of Drake’s claims towards his main target, “Push Ups” sufficiently mentioned every one of his foes who have aligned themselves with Future and Metro Boomin, safe for ASAP Rocky. Though the former faces Drake’s wrath within the first bars of the song, it’s Metro Boomin who will now be the victim of Drizzy’s infectious songwriting. As the producer urged everyone to “pick a side” in the past few months, Drake shuts him down immediately with one bar: “Metro, shut yo hoe ass up and make some drums.” It’s unclear why a producer who has never released a song as a rapper decided to pick up a rap feud but Drake’s energy toward Metro was on par with the petty Twitter/X jabs.
While the issues with Rick Ross ultimately surround French Montana (though it might be a little bit more deep-rooted, considering Tia Kemp previously detailed animosity between Ross and Drake), it’s the tension between Drake and The Weeknd’s XO camp that could be the centerpiece of this feud. The Weeknd’s co-managers, Salxco founder Wassim Slaiby and XO co-founder Amir “Cash” Esmailian, have reportedly been at odds with Drake since the After Hours singer turned down a deal with OVO. However, Drake’s shot at his fellow Torontonian paints a broader picture of the feud that potentially traces back to Slaiby and Esmailian.
“Claim the 6ix, and you boys ain’t even come from it/ And when you boys got rich, you had to run from it,” Drake raps before he accuses Cash of “spendin’ Abel’s bread, out here trickin’” on rappers such as Future. If you didn’t know, Slaiby and Esmailian got their start in Ottawa, ON where they established CP – the label that initially propelled the careers of Belly and Massari. The two later relocated to Toronto where they met The Weeknd and built an empire rooted in the local scene. Unlike OVO, which has spent the better part of the 2010s developing Toronto talent, Salxco has garnered a wide roster of artists outside of Canada including Metro Boomin. Meanwhile, Cash’s alliance with Future became more noticeable in recent years. After Drake’s song dropped, Cash shared a photo of himself with Future on Instagram in what seemed to be a reaction. It appears that The Weeknd and Metro Boomin inherited a feud that has little to do with them in the grand scheme of things. They might have personal vendettas against Drake but it’s the ones that Metro and The Weeknd answer to in the metaphorical food chain who seemingly share some responsibility in the fallout.
In the immediate aftermath of the song’s leak, the showdown that we’re all waiting on is Drake vs. Kendrick. As of now, the ball is in Kendrick’s court. While Metro Boomin and Future will likely continue to leverage this feud to push the sales behind their second studio album, We Still Don’t Trust You, the two rappers, along with The Weeknd, do not have the credentials to engage in a rap beef. As for Rick Ross, his feud with Drake will likely be forgotten by the end of the week. “Champagne Moments” largely relied on salacious rumors to rattle the Internet. The online taunts, though entertaining, won’t be enough to keep up the momentum, especially as the beef between Drake and Kendrick Lamar heats up. Everyone else inserting themselves into this situation will fade into background noise.
Ultimately, “Push Ups” is an adequate response for the moment but surely, it doesn’t have enough “bark with the bite,” as Drake stated, to make Kendrick Lamar stand down in any capacity. Though a snippet of a rumored response track to “Push Ups” surfaced this morning, which Daylyt (along with other sources) stated was AI, the brief preview sounded underwhelming compared to the bomb Drake dropped on “Push Ups.” Sure, the snippet addressed the J Cole situation as suitably as Drake did. However, Drizzy isn’t J. Cole – he’s a whole other beast in this particular realm. After all, Drake told everyone they needed to cut his head off if they wanted the crown.
Latto’s latest single “Sunday Service” has a lot involved with it. Mainly, audiences viewed it as her response track to Ice Spice’s “Think U The Sh*t (Fart).” The two artists have been throwing shade at each other in a variety of ways for the past few months. Listeners have mostly been drawing their own conclusions about what triggered this feud, especially since it appeared to bubble from nowhere. However, on the day the music video dropped, Latto cleared the air on Instagram Live, claiming the song was not a diss. Still, many feel as though this supposed beef is worth tuning into if the ladies keep it in the booth.
In 2024, virality is the name of the game when it comes to promotion and both artists took advantage of this in different ways. Ice Spice’s initial meme-based promo, unfortunately, only brought more scrutiny to her career. However, it’s clear that the song still has 2024 in a chokehold, thanks to platforms like TikTok. Meanwhile, Latto’s already had listeners in high anticipation from what many thought was the cover art alone. It featured her in a room with pictures from other women in the rap game from all generations, including a few ladies whom she supposedly has issues with. However, their eyes had black bars over them and Latto’s did too.
When an artist pays homage to another artist, audiences see it as a sign of respect. Latto’s “Sunday Service” music video has references to other artists and the media world overall. The hook of Latto’s “Sunday Service” features the lines “I don’t sing R&B but, b*tch, I’m really her” in a creative reference to the R&B singer H.E.R. In the music video, there’s a scene where Latto’s hair is styled like hers and she’s also sporting some circular shades. This is H.E.R’s signature look, especially with the sunglasses that she once wore to conceal her identity and make people focus on her music. Now, the shades have become a part of her identity. Latto’s homage shows that she has love for artists that aren’t in her genre of music but she admires them still. This quick but effective visual reference helped enhance the creativity of Latto’s lyrics.
One of the most prominent artists Latto references in her music video for “Sunday Service” is Missy Elliott and Busta Rhymes. In one scene, she wears a yellow leather jacket while holding a flip phone. Many artists in the early 2000s wore jackets like this from a brand called Avirex. During this moment, she raps to a fisheye camera lens, a perspective viewers have seen many times in videos from those iconic rappers. Longtime fans know this is a tried-and-true technique from director Hype Williams. He used this effect in several of his music videos, including Missy Elliott’s classic “The Rain (Supa Dupa Fly).”
During the fisheye lens scene, Latto was in front of an obvious green screen. This choice doubled down on the nostalgic aspects. Many videos from that era look dated in comparison to today’s technology but it shows how far we have come. Viewers also noticed that Latto’s name and the name of the song were in the bottom left corner of the screen during this scene. This was common for music videos throughout the early 2000s, especially ones that played on music video countdown shows.
Latto also paid homage to the iconic opening scene from the Hype Williams directed film Belly. The deep rich blue lighting and glowing eyes are unmistakable. Latto recreates the exact look in her music video and even replicates the slow-motion camera movement. Multiple artists have referenced this scene across the years since the film’s release in 1998. Hype Williams is an all-time legend in directing music videos. It’s a full-circle moment for his star-studded film to be referenced in music videos too. Once again, Latto has referenced the greats that paved the way for her.
Latto Stands Out
Listeners have praised Latto’s “Sunday Service” for its bars and music video. In terms of her beef with Ice Spice, they have concluded this track was miles above the one from the “Deli” rapper. Latto and her team seem committed to showcasing her at the highest level possible and the intentionality with the promo and music video for this track are a testament to that. Knowing where you come from is the only way to know where you’re going and the homage that was shown in this video shows that Latto fully understands that.
What did you think of the video for “Sunday Service?” Let us know in the comments section.
In 1993, Eazy-E dropped what is arguably one of Hip Hop’s most notable EPs. After all, it’s not very often artists release an entire project dissing another artist. The EP was a ballsy move from Eazy-E, who had major beef with Dr. Dre. Without a doubt, the project marks one of the most iconic diss moments in Hip Hop history. It’s On (Dr. Dre) 187um Killa turned 30 this year. Even after all that time, the project still commands much respect and reverence. It most likely always will, as it was truly a moment to remember in Hip Hop history.
Setting The Stage
Eazy-E and Dr. Dre were embroiled in a highly publicized and bitter feud at the time of the EP’s release. The beef between the two rappers escalated after Dr. Dre left N.W.A. and Ruthless Records over financial disagreements. Subsequently, Dr. Dre founded Death Row Records with Suge Knight, the D.O.C., and Duck Griffey. Consequently, the tension surrounding Dre’s departure led to a series of diss tracks from both parties. Notably, Eazy-E released It’s On (Dr. Dre) 187um Killa on October 19, 1993, as a response to Dr. Dre’s album iconic, The Chronic.
Eazy-E and Dr. Dre Fire With Words
On Dr. Dre’s The Chronic, the MC takes straightforward shots at Eazy-E. On “F**k Wit Dre Day,” he even employed the assistance of his friend, Snoop Dogg. Evidently, Eazy-E didn’t take it lying down. It’s On (Dr. Dre) 187um Killa was the late MC’s way of defending his reputation and asserting his dominance in the West Coast rap scene. The EP contained explicit and confrontational lyrics aimed at Snoop Dogg, Death Row Records, and especially Dr. Dre.
In fact, only three songs of the 8-track EP are free of any lyrical jabs against Dr. Dre. These three songs are “Any Last Werdz,” which was released as a single, “Gimmie That Nutt,” and a G-Mix of the Ice Cube-penned “Boyz N tha Hood.” Eazy-E used this EP to express his anger at Dr. Dre, as well as his frustration and defiance. After he dropped “Real Muthaphuckkin G’s” as a single, not many people expected an entire project dedicated to Dre to follow. It’s On (Dr. Dre) 187um Killa is widely regarded as one of the most badass responses to a diss in rap’s history.
Contributors On It’s On (Dr. Dre) 187um Killa
Between the producers and featured artists on the EP, it took a small village to put it all together. The entire EP was produced by Rhythm D, DJ Yella, Cold 187um, Dr. Jam, Madness 4 Real, and Eazy-E. Furthermore, the guest appearances include B.G. Knocc Out and Dresta on “Real Muthaphuckkin G’s,” Cold 187um and Kokane on “Any Last Werdz,” and Dirty Red, who features on “Down 2 tha Last Roach” alongside B.G. Knocc Out.
In addition, the EP heavily employs the use of samples. In detail, only the first track, “Exxtra Special Thankz,” is rid of samples. Every other song on the project contains selections from one or more songs, mainly by Eazy-E or N.W.A. Notably, the track “It’s On” contains a sample from Dr. Dre’s diss track “F**k Wit Dre Day.” Consequently, one could say Dr. Dre contributed to the making and success of this diss project by Eazy-E.
Easy-E’s Diss Project, A Cultural Artifact
Over the last 30 years, the legacy of It’s On has steadily grown stronger. It was Eazy-E’s last project in his lifetime and peaked at No. 5 on the Billboard charts. Although other works have been released posthumously, none of them compare to the impact this one has had. Despite receiving mixed reviews upon its release, the EP is now considered historically significant to Hip Hop. Fans are almost grateful for the beef between Dr. Dre and Eazy-E because of the classic projects their feud birthed. Sadly, Eazy-E passed away in 1995, but this EP is one of the ways through which his name will live on forever.
(@Saweetie) 
