In the hip-hop scene, Drake seems to be public enemy number one. However, the “No Face” rapper just received a public statement of appreciation from one hip-hop legend.
Yesterday (December 21), André 3000 stopped by The New York Times’ Popcast podcast to discuss all things music. During the conversation (viewable here), André 3000’s verse on Kanye West’s Donda song “Life Of The Party” became the topic of conversation. As André talked with hosts Jon Caramanica and Joe Coscarelli, he revealed he should “thank” Drake for leaking it on his OVO Sound Radio show.
Although he expressed disappointment in the verse being used as a tactical move in Drake and Ye’s beef, he is happy to know that fans were still about to enjoy it. “I mean the history of it now, I know Kanye and Drake…were beefing at the time,” he said. “I don’t know how [this is so odd] Drake got a hold of the song before Kanye was able to put it out. And Drake released it on his radio show.”
André went on to say, due to creative differences the likelihood of his verse being released as he recorded it was up in the air. “At that point, Kanye and I weren’t really in agreeance with how the song would be release,” he said. “So, I’m not sure if it was even going to come out. I don’t know if Drake knew that the song wasn’t going to come out and said, ‘I’m going to put it out.’ Because Kanye was at a point in his life that he didn’t want any curse words on the album. And I said, ‘I’m cool with no curse words, but just take me off the song.’”
Unfortunately, the two didn’t come to an understanding before the track was eventually leaked. But André isn’t made about Drake leaking it, saying: “I kind of have to thank Drake for letting that song see the light of day.”
Andre 3000 says that fans have Drake to thank for ever hearing his verse on Kanye West’s “Life of the Party.” He explained how the collaboration came together as well as his reaction to Drake leaking the track during his feud with the controversial rapper while speaking with The New York Times’ Popcast.
“I knew he was working on this album called, ‘Donda,’ and I knew he lost his mom just like I lost my mom so I knew that subject matter better than anyone. And it’s hard to explain to anyone, until you lose a parent, you can’t even explain it to anyone. So, when he said, ‘Hey, I wanna play this album for you.’ He played me the whole ‘Donda’ album. He actually sent it to me and said, ‘Give me your opinions on these songs, give me your comments.’ And I actually listened to the whole album and gave notes on what I felt about the songs. He took them in how he would and he said, ‘Yeah man, I’d like you to contribute to this album. Do you hear anything you’d like to be on?’” Eventually, Andre landed on “Life of the Party.”
Andre 3000 Poses With Kanye West During The BET Awards
HOLLYWOOD – JUNE 28: Musicians Kanye West and Andre 3000 visit the Distinctive Asset Gift & Lounge during the 2004 BET Music Awards at the Kodak Theatre on June 28, 2004 in Hollywood, California. (Photo by Frazer Harrison/Getty Images)
From there, Andre discussed Drake leaking the song on his radio show, revealing that he and Kanye were in a disagreement about whether to drop it at that point. Ye wanted the legendary Outkast rapper to rewrite his verse without explicit words, while Andre said he preferred to just be cut from the song instead. “Finally, Drake puts it out. So, kinda have to thank Drake for letting that song see the light of day. And, I wanna clear something up too. I think a lot of people think that Kanye did the song and put the diss part out without me knowing about it. I’d heard the diss part and me and Kanye had a conversation about it. I had my feelings about it. I was like, ‘Man, do you really wanna do this on this type of song? It’s kinda like going and shooting up your mom’s funeral.’ He felt the way he felt at the time. He put the diss verse on it.”
Andre 3000 Reflects On “Life Of The Party”
While West left the song off of the tracklist for Donda, it eventually dropped as part of the deluxe version of the album several months later. Check out Andre 300’s full comments on “Life of the Party” below.
André 3000 on asking Kanye to remove his verse on ‘Life of the Party’ because Kanye didn’t want cursing on DONDA
Kanye West talked up Donda Academy when it was launched in 2022. The rapper wanted to provide a space for the leaders and innovators to hone their talents without having to adhere to standard models of education. The school never really caught on, however, and allegations made by a former staff member may provide clarity as to why. Cecilia Hailey is currently suing Kanye West for wrongful termination. Her suit alleges she she was fired for pushing back against the rapper’s curriculum. The former teacher also went into detail about said curriculum in a new interview.
Cecilia Hailey spoke with The U.S. Sun about her time working under Kanye West. She alleged that the rapper wanted the students to march, as well as take shooting classes. Hailey claims that she voiced her concern for these practices. “I’m thinking that is not gonna happen if I’m here,” she noted to the outlet. “That’s not acceptable, it’s not necessary, and what does that have to do with education?” Hailey said that she felt Kanye West was “delusional” and likened his practices to Adolf Hitler. Someone who West has openly (and controversially) expressed admiration for in the past.
“Teaching these kids to march,” she claimed. “To be honest with you I kind of got like Hitler vibes around that or real bizarre things.” Cecilia Hailey alleged that Donda Academy teachers were not allowed to step in and prevent bullying among students. She alleged that students regularly got physical, which she felt was an even bigger issue given the wide range of ages. “So you might have a fourth grader hitting on a kindergarten or a first grader,” Hailey said. “We had kids hiding under tables because they were afraid. It was mayhem, really.”
This is not the first time Cecilia Hailey has spoken out against Donda Academy. The teacher had two and a half decades of experience prior to joining the staff. Hailey’s lawsuit, which was filed in August of 2023, alleged that the school failed to provide proper testing or “individualized learnings plans” in accordance with California state regulations. Furthermore she alleged that the students were behind in terms of their counterparts in other schools. She alleged, for example, that they were at least two years behind when it came to mathematics. The lawsuit against Kanye West has a trial date set for April 2025.
Back in November 2022, Kanye West was sued by rights holders over an unauthorized sample of pioneering rap group Boogie Down Productions’ 1987 hit “South Bronx” on Kanye’s album, Donda. The sample allegedly appeared on the song “Life Of The Party” after Kanye first submitted, then retracted, a licensing request the year before.
According to Billboard, that lawsuit has now been settled. Both sides have agreed to dismiss the case, with each paying their own legal fees, although the terms of the settlement and any exchange of rights, royalties, etc. were not revealed.
Phase One Network, the group that owns Boogie Down’s copyrights, had alleged “final clearance for use of ‘South Bronx’ in the infringing track was never authorized,” but that “the infringing track was nevertheless reproduced, sold, distributed, publicly performed and exploited.” Meanwhile, Kanye’s lawyers argued that BDP frontman KRS-One had promised the free use of his catalog to “all MCs” in the 2006 documentary The Art of 16 Bars, in which he publicly stated “you will not get sued” for sampling his music.
Of course, KRS does not own the catalog which he freely offered, so his standing to make such a claim was derided as “bizarre” by Phase One’s attorneys. While Kanye West has since been dismissed from the case, the lawsuit will still continue against the makers of Kanye’s Stem Player, KANO, who were included for their role in distributing the album. A spokesperson for KANO told Rolling Stone in 2022, “The KANO and STEM team were assured by Kanye and Yeezy that they would provide music with ‘all intellectual property rights, licenses and consents.’”
Kanye West is being sued for copyright infringement over his 2021 album Donda again, according to Billboard. This time, the songs at issue are “Hurricane” and “Moon,” which rights management company Artist Revenue Advocates (ARA) claims illegally interpolate samples of a song called “MSD PT2.”
Intriguingly, ARA admits that Kanye credited the original songwriters — Khalil Abdul-Rahman Hazzard, Sam Barsh, Dan Seeff, and Josh Mease — in the liner notes, but only after the creators initially refused to grant him a license to use the song in the first place. While the lawsuit was prompted by ARA’s inability to collect fees for the past three years, lawyers for ARA wrote, “This lawsuit is about more than defendants’ failure to pay a fee. It is about the rights of artists, musicians, and songwriters to determine how their works are published and used. Intellectual property owners have a right to decide how their property is exploited and need to be able to prevent shameless infringers from simply stealing.”
Donda has already been the subject multiple lawsuits for copyright infringement, as Bishop David Paul Moten filed suit in May 2022 over the use of one of his sermons on “Come To Life,” and a few months later, Boogie Down Productions filed suit in November 2022 over the song, “Life Of The Party,” which apparently interpolates “South Bronx” from Criminal Minded. That same year, Kanye was also sued for a song from Donda‘s follow-up, Donda 2, that sampled Marshall Jefferson’s “Move Your Body.”
Kanye West has been wrapped up in his fair share of legal trouble as of late. Now, he’s been hit with yet another lawsuit. This time, he’s being accused of copyright infringement by Artist Revenue Advocates. The suit alleges that Ye used DJ Khalil and three other artists’ work without paying them or getting permission and that he partook in “blatant theft.”
According to AllHipHop, DJ Khalil worked with Sam Barsh, Dan Seeff, and Josh Mease to create a track in 2018. It was later included in a “composer pack” for interested buyers. It was used on Ye’s Donda songs “Hurricane” and “Moon,” though he allegedly didn’t have permission.
Ye attends the Kenzo Fall/Winter 2022/2023 show as part of Paris Fashion Week on January 23, 2022 in Paris, France. (Photo by Victor Boyko/Getty Images For Kenzo)
“The West Defendants did, at various times, seek the Artists’ permission to include the Work in ‘Hurricane.’ No permission was granted,” the lawsuit reads. “In an act of blatant brazenness, Defendants even credited the Artists as songwriters and producers on both ‘Hurricane’ and ‘Moon,’” it continues. “Of course, given that Defendants knew they did not have permission to use the Work. The fact that they credit the Artists as songwriters and producers is effectively an admission of copyright infringement.”
“West’s unlawful use of the Work follows an unfortunate pattern and practice of taking other artists’ music without their permission,” the lawsuit adds. “Other instances of willful infringement by West include unauthorized use of music from Ozzy Osbourne and Donna Summer. West’s history of deliberate use of the music of others stands in stark contrast with his position as a supposed champion of artists’ rights.” The plaintiff is seeking undisclosed damages. What do you think of Kanye West getting hit with yet another lawsuit? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
Kanye West is arguing that his decision to fire Benjamin Deshon Provo was justifiable after the former security guard sued him, earlier this year. Provo claims West let him go for refusing to shave his dreadlocks after the Yeezy mogul and his own manager, John Hicks, demanded he do so. He previously worked at Donda Academy and Sunday Service events as well as at a Yeezy warehouse in 2021.
“Defendants are informed and believe, and based on such information and belief allege that Defendants were justified in doing any and/or all of the acts alleged in the Complaint,” Ye’s lawyers argued in response to the claims, as caught by In Touch Weekly. In turn, they want a California judge to dismiss the case.
LOS ANGELES, CA – MARCH 21: Kanye West on March 21, 2024 in Los Angeles, California. (Photo by Bellocqimages/Bauer-Griffin/GC Images)
As for Provo’s lawsuit, his attorney argued that “Hicks approached Plaintiff and stated, ‘Kanye said, ‘Tell the one with the dreads to shave his head or he is fired.’ Plaintiff refused to shave his head, and as a result thereof, his employment was terminated.” Provo is also accusing West of allegedly discriminating against Black employees and expressing “negative beliefs associated with prominent Black leaders.” For instance, he claims West banned books by Martin Luther King Jr. from the school. Provo and his team further claimed: “Kanye and members of his management team subjected Provo and other Black employees to less favorable treatment than their white counterparts. Specifically, Kanye frequently screamed at and berated Black employees, while in contrast, he never so much as raised his tone of voice toward white staff.”
Provo is just one of several of West’s former employees filing civil cases against him. Others have claimed Donda Academy wouldn’t allow students to go outside, use chairs, and much more. Be on the lookout for further updates on Kanye West on HotNewHipHop.
Kanye West is in legal hot water. The legendary rapper has been accused of sexual harassment by a woman who used to be his assistant, Lauren Pisciotta. The assistant claims that she worked with West on his fashion line, as well as a trio of songs on his 2021 album, Donda. What started out as a working relationship quickly spiraled, however. Pisciotta alleges that West sent her sexually explicit texts and videos of him having sexual relations with other women.
TMZ broke the news of the lawsuit on June 3. Pisciotta was hired by Kanye West in July 2021, and she claimed that she was offered $1 million by the rapper to delete her OnlyFans account. Within a year, she was promoted to Chief of Staff for several of West’s companies, with an annual salary of $4 million. The downside of this promotion that was Pisciotta claims she was frequently subjected to sexual harassment. She said West repeatedly pleasured himself during phone conversations, and asked her to guess what he was doing. Pisciotta also claimed that that rapper was fixated on the sexual habits of her boyfriends. She added that West would repeatedly describe his sexual fantasies to her via text.
TMZ provides example of these alleged texts. One of them reads: “See my problem is I be wanting to f**k. But then after I f**k I want a girl to tell me how hard they been f**ked while I’m f**king them. Then I want her to cheat on me.” Things get more explicit in the subsequent examples. One text, in particular, sees West claim that his genitalia is “racist” due to his sexual preferences. I’m going to stare at pictures of white woman with black a*ses,” he allegedly wrote. “And beat the sh*t out of my racist d**k.” It should be noted that the latter example was a text that Pisciotta recalled from memory. Pisciotta was fired from West’s company in October 2022. The former Chief of Staff claimed that West offered her $3 million as a severence package, but has yet to pay her.
Pisciotta is reportedly suing for breach of contract, sexual harassment, wrongful termination and hostile work environment. This is not the first time Kanye West has been accused of questionable behavior by his ex-employees. In 2022, NBC claimed that West paid a settlement to a former employee who claimed West praised Adolf Hitler during work meetings. Five other employees have attested to the fact that the rapper has brought up Hitler in professional settings. West’s camp has yet to comment on these latest allegations.
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 is nothing if not ambitious. He’s often tried to take on some monumental challenges that very few other artists would even attempt. That can sometimes frustrate fans when projects are announced and never followed up it. West has a notorious history of projects never materializing. Some of the most notable examples being albums he announces that never drop. A recent collaborative project he announced with Ty Dolla $ign was supposed to drop over the weekend but never did. The album is now rumored to drop on New Year’s Eve, but fans aren’t exactly getting their hopes up.
Now, in a new Tweet, the mysterious rapper has made his most ambitious announcement yet, an entire self-sustaining city. He shared a short press release for a city called DROAM which is reportedly still in Phase 1 development. The plans for the city are wildly ambitious with the promise that it will span 100,000 acres, approximately twice the size of New York City. In the post, he’s also asking for collaborators to sign onto the project to help him. He’s looking for project managers, engineers, architects, contractors, and builders to join the team working on the city. Check out the full post below.
The announcement comes just a day after a report that Kanye West’s Los Angeles church has been completely abandoned. West purchased the Church in March of this year for $1.5 million but after he spent the past few months in Europe, the church is now in disarray. Included in the report are pictures of the church with boarded up windows and piling up trash.
Kanye also listed his Malibu home for sale earlier this week. The house was notoriously stripped down almost entirely of its faculties earlier this year and is now basically gutted. That’s why fans were so surprised that the listing price was an astronomical $53 million. What do you think of Kanye West’s idea to build an entire new city in the Middle East? Do you think the project will ever get close to being completed? Let us know in the comment section below.
