Fortunately for us, MIXTAPE PLUTO‘s title does most of the talking when discussing Future’s new project. Occasionally sharp street odes, brazenly warped and sleek flows, and drowsily self-confident vocal tones? Check. Psychedelic pads, brutal bass, and insistently intoxicating instrumentals? Check. Classic cuts that define the Atlanta legend’s discography? We’ll see a few years down the road… All in all, this is probably the most straightforward, simple, and easily definable hip-hop record to drop in 2024, which also makes it a bit of a tough cookie to review.
After all, much of the new and notable discussion around MIXTAPE PLUTO revolves around comparisons to Future’s two 2024 studio collabs with Metro Boomin. This actually benefits this new tape’s place in his discography, as the raw, woozy, yet still grounded trap here earns its worth when contrasted with the high-budget presentation and melodic compromises of those LPs. Pluto instead focuses on what most of his hardcore fanbase loves from him. He sounds like the coolest and highest man on the planet over the sonic equivalent of sitting in the middle of a club, a smoke session, or both and not being able to fully make out what you’re listening to.
Let’s start strong first: Future’s a bullet train on “SKI,” he switches between melodic accents on “OATH,” and he stretches himself out on “SOUTH OF FRANCE” without losing control of the wheel. However, sleepy deliveries and stagnant schemes on “MJ” force the production to carry the weight on occasion, whereas the opposite is true on “BRAZZIER.” On the other hand, “TEFLON DON” stuns with its in-and-out operatic samples (plus a dynamic vocal delivery), and the woodwinds on “PRESS THE BUTTON” make magic with a fantastic Fewtch onslaught.
As such, there are many caveats to consider. MIXTAPE PLUTO‘s biggest flaw is definitely its sequencing, as the first five tracks sound so similar that so-so records like “LIL DEMON” and “READY TO COOK UP” lose their value when stacked up against better cuts in that same section. It’s not until “TOO FAST” and its admittedly basic presentation that we get a change. As cringe as many find Future’s chorus on “PLUTOSKI,” and as much as that instrumental deserved better, it’s actually one of the most fun parts of the mixtape, thanks to ditching the self-serious attitude. On the topic of ditches…
It’s called MIXTAPE PLUTO: no one really cares about subpar mixing on occasion here. But, for example, “OCEAN” could’ve been a more outstanding highlight if it wasn’t for the overwhelming bass tone. Elsewhere on this tape, Future does shift sub-genres to break up the vibe, even if the results are mixed. “MADE MY H*E FAINT” is almost rage-like but doesn’t land too hard, whereas “SURFING A TSUNAMI” has a surprising synth swell bolstered by a strong chorus. “TOLD MY” contains two welcome Koopsta Knicca samples produced by DJ Paul, calling back to his Southern roots, which are also referenced in the project’s cover art. It depicts his late and legendary cousin Rico Wade’s Dungeon bathed in pink light.
Many have speculated on whether the disappointingly messy “LOST MY DOG” tributes Rico, but it’s actually about a friend that Future lost to fentanyl. It’s probably the most overt exploration of the pain on the other side of his hedonistic exploits. Otherwise, his lines are up to standard, but they’ll only stand out when they’re particularly funny or, frankly, petty. “No, I didn’t birth you, but I designed you” and “Counting up so much dog s**t, it look like cow s**t” are right out of this catalog’s playbook.
Speaking of the catalog, where does MIXTAPE PLUTO fall within it? Is it really reminiscent of Future’s early 2010s dominance, or does it feel like a step back from his global superstardom? For our money, it’s firmly on the former. A confident carelessness here resulted in plenty of bangers like the nasty closer “AYE SAY GANG.” The 40-year-old also feels right at home with Southside, Wheezy, and more of his iconic producers, plus new names like BROCKHAMPTON’s Romil Hemnani. But it mostly fits among the Monsters and Beast Modes by checking off a list, not for being a front-to-back thrill ride.
Most cuts here would sound much better in isolation, not in quick succession. Isn’t that a betrayal of the mixtape and long-form album format? If so, why are we willing to give MIXTAPE PLUTO the benefit of the doubt? As we alluded to, part of it is precedent, another part of it is the context of 2024, and, honestly, it’s just a really easy project to enjoy. Future might be missing some of the more formal and sophisticated draws of his later career highs, yet we haven’t felt this intoxicated by his roots in a tracklist of his in a while. So, our rating is contingent on this: play this on shuffle, listen to it with a friend or two or fifty at a house party, and let it compliment another, more engaging experience to worm itself into your brain.
Hispanic Heritage Month is a time to honor and celebrate the rich culture, history, and contributions of the Hispanic community. In the world of sneakers, several brands have created designs that pay tribute to this vibrant heritage. From bold colors to intricate patterns, these sneakers not only make a style statement but also carry meaningful cultural significance. Here’s a roundup of some of the best sneakers to celebrate Hispanic Heritage Month in style.
Bad Bunny, the Puerto Rican superstar, has made a significant mark on both music and fashion, and his collaboration with Adidas reflects his cultural influence. As part of celebrating Hispanic Heritage Month, the Bad Bunny x Adidas Gazelle Indoor “Core White” stands out as a tribute to his roots and the broader Hispanic community. Featuring a clean white leather upper with gum rubber soles and subtle sail and black accents, the sneaker combines modern streetwear with traditional elements.
The Jordan 1 “SiEMPRE Familia” is a perfect addition to Hispanic Heritage Month celebrations, with its design paying homage to Mexican culture. Released in 2021, this sneaker showcases intricate details like ornamental Swoosh embroidery, symbolizing the rich heritage of the Hispanic community. The black and red colorway, paired with bold elements, captures the vibrancy of traditional Mexican art. The “Familia” branding on the tongues further emphasizes the importance of family and unity, key values in Hispanic culture.
Adidas Samba “Día de Muertos Pack Black”
Image via Adidas
The Adidas Samba “Día de Muertos Pack Black” pays tribute to the deeply rooted traditions of Día de Los Muertos, a significant cultural celebration in Mexico. Featuring floral embroidery and intricate stitching, this design honors the vibrant marigolds often seen on altars during the holiday. The classic black base of the Samba contrasts beautifully with these bold details, making the sneaker a stylish yet meaningful nod to the tradition.
J. Balvin x Jordan 3 “Rio”
Image via Nike
The J. Balvin x Jordan 3 “Rio” brings vibrant energy to Hispanic Heritage Month, reflecting the colorful essence of the Colombian artist and his cultural roots. J. Balvin brings his dynamic style to the classic Air Jordan 3 with vibrant shades of blue, green, and pink. These lively colors pay tribute to the energy of his hometown, Rio. His signature smiley face logo on the heel adds a playful and personal touch. This collaboration perfectly blends fashion with cultural heritage.
Jarritos x Dunk Low SB
Image via Nike
The Jarritos x Dunk Low SB is a perfect blend of tradition and streetwear, celebrating the rich culture of Mexico. This collaboration between the iconic Mexican soda brand Jarritos and Nike Skateboarding honors the brand’s heritage and craftsmanship. Bold colors and unique materials bring the design to life on these Jarritos Dunk SBs.
Diddy is facing a wide-reaching federal indictment that details an array of disturbing allegations. The indictment, filed in the Southern District of New York, accuses Combs of orchestrating and participating in a criminal enterprise that engaged in racketeering, sex trafficking, kidnapping, and various other illegal activities over a period stretching from 2008 to 2024, per NBC. Combs is accused of using his influence and resources to exploit vulnerable individuals. Prosecutors believe that he used a combination of violence, manipulation, and coercion to achieve his aims. He has been charged with sex trafficking by force, racketeering, and transportation to engage in prostitution.
According to an unsealed federal indictment, the mogul allegedly orchestrated a complex system of abuse, forcing women into drug-fueled sexual performances, often for days on end. Prosecutors claim he employed intimidation tactics, bribery, and violence to maintain control over his victims and obstruct justice. Here are the most significant details emerging from the indictment.
Combs Alleged To Have Orchestrated Disturbing Days-Long “Freak Offs”
According to federal prosecutors, Combs regularly forced women into disturbing sex acts known as “Freak Offs.” These acts, which often lasted for days, were reportedly fueled by a cocktail of drugs, including ketamine, ecstasy, and GHB. Victims were allegedly drugged to keep them compliant, and Combs reportedly recorded many of these encounters for his own viewing. Damian Williams, U.S. Attorney for the Southern District of New York, explained, “Combs used force to cause victims to engage in extended sex acts with male commercial sex workers,” emphasizing that these so-called ‘Freak Offs’ were a central part of the indictment.
The indictment claims that the victims often needed IV fluids to recover from extreme physical exertion and drug use. When federal authorities raided Combs’ homes in Miami and Los Angeles, they seized various supplies reportedly used in these sessions, including over 1,000 bottles of baby oil and other lubricants.
Feds: Coercion & Threats Were A Method of Control
NEW YORK, NY – SEPTEMBER 20: Sean “Diddy” Combs attends TimesTalks Presents: An Evening with Sean “Diddy” Combs at The New School on September 20, 2017 in New York City. (Photo by Dia Dipasupil/Getty Images)
The indictment paints a chilling picture of Combs’ alleged control over his victims. Prosecutors accuse the mogul of using sensitive recordings of the “Freak Offs” as blackmail to ensure his victims’ continued silence and obedience. This manipulation extended beyond the recordings. According to court documents, Combs wielded his power and influence to coerce women into his orbit under false pretenses of romantic relationships or career opportunities. Prosecutors assert that those who resisted would face threats to their livelihood or be subjected to physical abuse. Staff members within Combs’ inner circle reportedly helped facilitate and conceal the abuse, from securing hotel rooms to cleaning up after the violent encounters. One particularly graphic allegation involves Combs throwing a vase at a woman as she tried to leave a room, later dragging her by her hair.
NEW YORK, NY – JANUARY 27: Cassie (L) and recording artist Sean “Diddy” Combs attend the Clive Davis and Recording Academy Pre-GRAMMY Gala and GRAMMY Salute to Industry Icons Honoring Jay-Z on January 27, 2018 in New York City. (Photo by Jeff Kravitz/FilmMagic)
A notable incident from the indictment involves Combs’ former girlfriend, singer Cassie. Prosecutors allege that an assault on her was captured on video. While details of this particular incident remain limited, it has further intensified the public scrutiny surrounding Combs. Cassie, who dated Combs for over a decade, previously settled a lawsuit with the mogul, alleging abuse throughout their relationship. The video is reportedly critical evidence in the government’s case.
Molotov Cocktail Attack Adds To The Charges
In a startling twist, Diddy is also accused of orchestrating an arson attack as part of the racketeering conspiracy. Prosecutors allege that on December 22, 2011, Diddy and a co-conspirator kidnapped an individual and, two weeks later, set fire to their vehicle using a Molotov cocktail. The fire, which was determined to be deliberately set, involved slicing open the car’s convertible top and tossing the explosive device inside.
“Approximately two weeks later, the defendant’s co-conspirators set fire to Individual-1’s vehicle by slicing open the car’s convertible top and dropping a Molotov cocktail inside the interior,” prosecutors said, per NBC. “Police and fire department reports extensively document the arson and conclude that the fire was intentionally set. Multiple witnesses would also testify to the defendant bragging about his role in destroying Individual-1’s car.”
LOS ANGELES, CA – MARCH 25: In an aerial view, the home of Sean “Diddy” Combs is seen during a raid by federal law enforcement agents on March 25, 2024 in Los Angeles, California. (Photo by MEGA/GC Images)
Federal agents seized several high-capacity firearms from Combs’ Miami residence, including AR-15 rifles with defaced serial numbers. Moreover, these weapons were reportedly found in his bedroom closet, broken down into parts along with loaded ammunition. Prosecutors allege that Combs used these firearms to intimidate both victims and witnesses, ensuring their silence or cooperation with his demands.
Assaults Allegedly Date Back Over A Decade
The indictment stretches back to 2008, with allegations of verbal, emotional, physical, and sexual abuse spanning decades. Combs is accused of systematically targeting women, subjecting them to violent assaults that would take days or even weeks to heal. Prosecutors describe a pattern of behavior where Combs not only exploited women for sex but also physically attacked them if they resisted his demands. Additionally, reports describe him dragging women by their hair and threatening them with guns if they tried to leave.
Combs’ Legal Team Denies Allegations, Fights for His Release
NEW YORK, NEW YORK – SEPTEMBER 17: Lawyer for Sean Combs, Marc Agnifilo, speaks to members of the media outside U.S. District Court on September 17, 2024 in New York City. Music mogul Sean “Diddy” Combs was arrested in Manhattan on September 16 in a sex trafficking probe following a federal indictment. (Photo by James Devaney/GC Images)
Despite the overwhelming evidence presented, Combs has pleaded not guilty to the charges. His attorney, Marc Agnifilo, insists that Combs is innocent and vows to fight the allegations in court. “His spirits are good. He’s confident,” Agnifilo told reporters, explaining that Combs came to New York City voluntarily to engage with the legal process.
Agnifilo acknowledged that Combs has had his share of personal issues, including drug use and tumultuous relationships. However, he maintained that these challenges are unrelated to the criminal allegations. Furthermore, he emphasized that Combs is currently receiving treatment and therapy for personal matters.
The Investigation Is Far From Over
While the current charges are severe, authorities believe that more allegations may come to light as their investigation continues. U.S. Attorney Damian Williams stressed that the investigation into Combs’ activities is “far from over,” revealing that more than 50 witnesses and victims have already come forward, a number that could rise as the case progresses.
Diddy’s Bail Hearing
ATLANTA, GEORGIA – AUGUST 26: Sean “Diddy” Combs attends Day 1 of 2023 Invest Fest at Georgia World Congress Center on August 26, 2023 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)
Following his arraignment, U.S. Magistrate Judge Robyn Tarnofsky denied Combs bail, expressing concerns over his substance abuse issues and alleged anger management problems. The presence of weapons during the raid, coupled with the alleged criminal activity he’s accused of participating in, contributed to the government’s push to deny Combs bail. As a result, the music mogul remains in custody at Brooklyn’s Metropolitan Detention Center. He’s reportedly held in isolation within the Special Housing Unit.
Combs’ Proposed $50 Million Bail Package
In response to his continued detention, Combs’ legal team submitted a revised bail proposal of $50 million, according to TMZ. The bond is set to be secured by the equity from Combs’ Miami mansion, which he recently paid off, along with his mother’s home. The updated package includes several strict conditions. This includes house arrest with GPS monitoring, restricted travel between New York and Florida, weekly drug testing, and limits on female visitors to his home. Additionally, his lawyers argue that these measures would mitigate any risk to the community and ensure his return to court. However, according to the late report from TMZ, U.S. District Judge Andrew Carter denied his request for bail because “the government has proven the defendant is a danger. The bail package is insufficient even on risk of flight.”
What’s Next For Diddy?
If convicted, Sean “Diddy” Combs faces 15 years to life in prison. The charges against him represent one of the most high-profile cases in recent memory involving a music industry giant. Thus far, he’s maintained his innocence while his attorney expresses confidence in proving that he’s not guilty. However, a case of this magnitude will certainly lead to a lengthy legal battle. It remains unseen how this will play out. We will keep you posted on anymore updates regarding Diddy’s case.
PeeWee Longway has reportedly been arrested following drug raids conducted in Georgie. In a massive operation dubbed “Sweet Silence,” Muscogee County law enforcement, alongside federal agencies, executed a series of drug raids that have rocked Columbus, Georgia, according to WRBL. The bust, which involved the FBI, DEA, and local agencies, resulted in the arrest of over 100 suspects. Moreover, the police revealed the seizure of drugs, firearms, and cash worth millions. PeeWee Longway was reportedly among those arrested and accused of being involved in the operation. The scope of the investigation targets local street gangs and the drug networks operating in the region. Here’s a breakdown of the key details surrounding this massive drug bust.
ATLANTA, GA – SEPTEMBER 27: Peewee Longway performs during Rich Homie Quan 10 Year Anniversary Concert at Tabernacle on September 27, 2022 in Atlanta, Georgia.(Photo by Prince Williams/Wireimage)
Complex and other publications reported that rapper PeeWee Longway , real Quincy Williams, was among those arrested in connection with the operation. However, Vice notes that his name doesn’t appear on the press release of the indictment. So far, information about his charges and alleged involvement remains scarce.
A Two-Year Investigation Unveiled
The drug raid was part of a long-standing investigation that began two years ago under the Muscogee County Sheriff’s Office, they explained in a press conference. The operation, “Sweet Silence,” sought to dismantle criminal street gangs and further disrupt large-scale drug trafficking in the Columbus area. According to Sheriff Greg Countryman, the Zohannons and Crips gangs were the primary focus of the bust, with authorities determined to cut off their control over local drug markets. Furthermore, Countryman emphasized that this is just the beginning, stating, “Our work is not done,” as the investigation is expected to result in more arrests.
Massive Law Enforcement Presence
Early Thursday morning, over 250 agents, including seven FBI SWAT teams, descended on Columbus in a coordinated effort to take down high-profile targets. The sheer scale of the operation highlights the severity of the drug problem plaguing the city. However, suspects considered armed and dangerous were apprehended. Authorities believed this marked a major victory in the fight against violent crime in the area. Moreover, local law enforcement worked alongside federal partners to ensure that the operation was properly executed.
The bust led to the seizure of a staggering $280 million worth of drugs, firearms, and cash. Authorities revealed the extensive haul during a press conference, providing a detailed breakdown of the items seized:
155 firearms
$273,433 in U.S. currency
496 pounds of methamphetamine (valued at $22.4 million)
57.21 kilos of cocaine (valued at $5.7 million)
7.1 kilos of fentanyl (valued at $707,273)
55,248 pounds of marijuana (valued at $250 million)
1.3 kilos of heroin (valued at $130,859)
5.9 pounds of GHB (valued at $267,152)
755.8 grams of mushrooms (valued at $15,116)
A significant portion of the marijuana was reportedly sourced from illegal grow operations in California, which authorities believe illustrates the broad reach of the drug network.
Interestingly, just days before his arrest, rumors circulated online that Longway was hospitalized due to a drug overdose, following the death of fellow rapper Rich Homie Quan from a suspected overdose. The false reports were quickly debunked when Longway took to Instagram to confirm he was in good health. However, these events coincided with his involvement in the drug bust, further complicating the narrative around his recent activities. “I’m great and very prayed up and [too] healthy to be in the hospital,” he wrote on his Instagram Story, per AllHipHop.
Hip-hop has been in a frenzy this week ever since Jay-Z and Roc Nation announced Kendrick Lamar as the Super Bowl Halftime show headliner in New Orleans next year – a slot that many suspected would’ve been handed to Lil Wayne. Weezy, an unequivocal legend, has been the flagbearer for NOLA for the entirety of his career. However, he hasn’t had the same motion as Kendrick Lamar in the past few months in terms of mainstream attention. On the heels of defeating Drake in their back-and-forth, Dot confirmed that he would be headlining the Super Bowl in an announcement video that seemingly stepped on the idea of a second round, something that Drake has hinted at since early August, at least. However, even though the Pop Out was deemed a victory lap, Kendrick’s mission statement appears to be much larger than simply toppling one of the most commercially successful artists of all time.
On Wednesday night, Kendrick Lamar surprised the masses by releasing his new untitled single on Instagram, tentatively titled “Watch The Party Die.” It’s a 180 from “Not Like Us,” the upbeat West Coast anthem carried throughout the summer. This one is much more somber in tone with its drumless soul sample and deadpan delivery, where Kendrick addresses the culture, similar to other installments in the “The Heart” series. He seemingly steps on Drake’s grave one last time, shuts down the media and influencers whose bias is reflected in their reporting and agenda, and expresses not just disdain but a vitriolic hatred towards the hip-hop industry as a whole. In some senses, he’s envisioning what hip-hop and humanity look like after a destroy-and-rebuild process. Clearly, there are others in hip-hop who he acknowledges as those who could similarly help lead this movement, specifically LeCrae and Dee-1.
Released on September 11 when the VMAs began, Kendrick Lamar’s latest single marked his first song since dropping “Not Like Us” earlier this year. The record finds Kendrick reflecting on the feud (“This shit done got too wicked to apologize/ It’s different, get him whacked and disqualified” and “Just walked that man down, that’ll do everyone a solid.”) He also reflects on the state of the media, targeting unnamed individuals that people believe to be Akademiks, Gillie Da Kid, Cam’ron and Gillie (“Influencers talked down ’cause I’m not with the basic shit/ But they don’t hate me, they hate the man that I represent/ The type of man that never dickride ’cause I want a favor” and “I think it’s time to watch the party die/ Street niggas and the corporate guys, the rappers that report the lies/ I need they families mortified.”)
The song tackles the music industry at large, retreading and expanding on concepts mentioned in songs like “Euphoria” and “Not Like Us” (“It’s time to get these devils out the way, heavy metals on my sword… Say hello to your future fate, the culture bred with carnivores” and “They wonder why I’m not enthused to drop/ The more visible you get, the more your spiritual is tried”). Considering that “Euphoria” marked the first release post-TDE from Kendrick Lamar where he explicitly states, “F*ck the industry,” “Watch The Party Die” is less of a nail-in-the-coffin of his feud with Drake and more of a new beginning to this new chapter in his career, one that appears rooted in his frustrations with the exploitation and commodification of the culture.
“I Wonder What Lecrae Would Do?“
The song’s third verse contains two shout-outs to Lecrae, a Christian rapper who often doesn’t get his flowers due to the content of his music. “I wonder what LeCrae would do? F*ck these n***as up or show ‘em just what prayer do?” Kendrick asks at the top of the verse, repeating the first part towards the end of the verse. This particular shout-out isn’t a coincidence in this chapter of Kendrick’s career, especially considering the lyrical themes on Dot’s new single.
In a 2023 interview, Lecrae revealed that his relationship with Kendrick dates back to The Kendrick Lamar EP. On the project, the rapper has a song titled “The Faith,” where he opens up about his issues with his belief in God. Kendrick Lamar was hardly a name back then, but when Lecrae heard the song, he reached out.
“I had more Twitter followers than him at the time, so I DM’d him, and I was like, ‘Bro, I heard this song. What are you wrestling with?’ I said, ‘Cause maybe I can send you some stuff,’” LeCrae recounted on the YTH Nation Podcast. Kendrick explained that he had several questions about his faith. “And we started going back and forth, and we just developed a relationship. From there, it just became a dope relationship where I never wanted to abuse it or be like ‘Yeah, let’s do music together’ but it was more like, let’s be friends.’”
Even more interesting about this podcast segment is that Lecrae said he turned down a feature from Kendrick before. “He actually asked to do music with me first and I was like, ‘Nah, let’s chill because I don’t want you to ever feel like I’m only in this for what you have going on,’” he said.
A more minor component to consider in Kendrick’s shout-out is how Lecrae framed the Compton native’s place in the culture compared to Drake. In an interview clip from Mr. Jay Hill Network that has circulated recently, Lecrae explained, “Ghostwriters aside, [Drake]’s a great rapper…but Drake is a fan of the culture. Kendrick is a product of the culture. It’s a difference.”
“I Wanna Be Empathetic, My Heart Like Dee-1”
Similar to Lecrae, Dee-1’s Christian values have often been at the fore of his artistic output. The New Orleans-based rapper, interestingly enough, gained fame with the release of his single, “Jay, 50, and Weezy,” a song calling out three of the biggest rappers of the time for the messages they put out in his music. Ultimately, the song led to a deal with RCA Inspiration.
While the Super Bowl announcement has turned into a nonsensical Kendrick vs. Lil Wayne debate, it’s important to note that Dee-1’s had his issues with Cash Money and Weezy in the past. A project he was supposed to be put out titled Separated At Birth was heavily inspired by Lil Wayne and Cash Money but the NOLA-based label blocked it from dropping, as explained on Sway’s Universe.
His issues with the music industry made headlines earlier this year after criticizing rappers like Rick Ross, Meek Mill, and Jim Jones for the content in their music. Urging each of them to “do better,” he took particular issue with the content in Meek and Ross’s Too Good To Be True project. Dee-1 suggested that it was hypocritical of Meek to rap about murder and violence while simultaneously being a the face of prison reform. “But this man glorifying getting people killed as of a week ago!’ Like, what are you doing, bro? Lil’ Snoop really got killed, that broke your heart. You wear him around your neck,” he said. “Why are you glorifying the same thing? The rap game, the hip-hop industry is great at cooking up some delicious poison. I don’t call you out because I got a problem with you, man.”
Ultimately, it turned into a back-and-forth between himself and the aforementioned artists including vague alleged threats from the Dipset member. Still, Dee-1 made it clear that he never had any personal issues with any of the parties he called out. That became especially clear when he refused to make light of Rick Ross’s altercation in Canada and praised Meek for his unfiltered take on the reality of the streets when he wrote, “Being gangsta will get you hurt put in jail or killed… Being smart will get you out of poverty and your family and friends living better.”
The brief shout-out captured hip-hop fans attention, especially as an anticipation for a new wave of Christian rap makes a path for itself. Both LeCrae and Dee-1 kept their responses brief at first. The former wrote, “Love you Dot….Always here,” along with a prayer hand emoji. Dee-1 offered a more extensive response over the past few days since the song was released.
“i appreciate the shoutout brother. @kendricklamar More than you’ll ever know. A shift is happening. The time is now!” Dee-1 wrote on Twitter after the song was released. However, he went on to address some of the backlash he faced over siding with Kendrick over Wayne in the Super Bowl debacle, particularly because he’s a New Orleans native. But in an interview with TMZ, Dee-1 recalled a conversation he was having at the time the song dropped. “I’m not afraid to go against the whole culture. I love New Orleans, but I love God more than I love New Orleans. What I stand on has nothing to do with loyalty to my city, loyalty to the hip-hop industry. All this stuff is fickle, and it comes underneath my loyalty to my creator.”
i appreciate the shoutout brother. @kendricklamar More than you’ll ever know.
If you’ve followed Kendrick’s career, these flashes of his spirituality have been scattered across his discography. good kid, m.A.A.d city opens up with his childhood friends reciting a prayer and repenting for their sins, and comes first circle by the end of “Sing About Me/Dying Of Thirst” when a woman (voiced by Maya Angelou, per BET) helps lead “Sinner’s Prayer.” The religious allusions and imagery continued throughout projects like To Pimp A Butterfly, DAMN., and Mr. Morale & The Big Steppers. However, Kendrick appears to be more outward with his faith and using it as a guide to spark change. So when Kendrick rapped, “I wanna be empathetic, my like Dee-1 but I will–,” it demonstrates the Pulitzer Prize winner’s quandary: gear up for another aggression or use spirituality and faith to rise above the conflict for a bigger purpose.
A plethora of performers nowadays ventures into multiple territories: singing, dancing, acting and the like. A noted majority of those entertainers do so with genuine intention and vigor. That said, execution is what creates the incalculably vast chasm between “good” and “great.”
Donald Glover, just as recognizable by his musical alias Childish Gambino, floats over the previously alluded-to canyon with his eyes closed. Whether it’s rapping on projects such as Because The Internet or belting his soul out over live instrumentation on Awaken, My Love, he executes with an accuracy that puts automation to shame. Throw in a small film role here and there (nothing crazy of course, just playing the iconic Lando Calrissian in Solo: A Star Wars Story), and being one of the masterminds behind the hit television series Atlanta, it’s blatantly obvious that his creativity knows no bounds.
Donald Glover’s propensity for worldbuilding is absolutely extraordinary on the Bando Stone & The New World Tour. After WILLOW’s rousing opening showcase, rather than treating the audience to silence between the two acts—as is standard (and not necessarily frowned upon)—Gambino began building the futuristic soundscape with auditory mechanical warfare. Glaring lights, intentionally abrasive and jarring, flooded the arena as the seconds ticked closer to his first track. Fitting the ambience that was being cultivated, Gambino appeared in a leather jacket and cybernetically enhanced mask. Ultimately, this was to perform “hearts were meant to fly,” the opening track from Bando Stone And The New World. The lasers, visuals, and environment took on a Daft Punk-esque texture and displayed a near unquestionable fact: Childish Gambino’s last tour will be one to remember.
Gambino’s stacked discography in tow, it was almost impossible to know the direction the setlist would veer into. Tracks like “I. The Worst Guys” were strategically placed between cuts from the recent album, such as “Survive” and “Talk My Shit,” developing early onset audience intensity with a blend of the old and the new. To cap off this introductory segment, Bino exclaimed, “I know that the DMV can really bounce!” while rattling off the menacingly infectious dance track “Got To Be.” With the crowd rowdy and raring to go, Donald Glover had absolutely no intention of pumping the brakes.
Forward-Thinking Futurism Was The Selection for the Evening
Image Credit: Shanyah Williams Francis
The aforementioned futuristic soundscape was accompanied by an equally advanced visual display. “Please keep your hands away from any lights and lasers, as we’re using a lot of new technology” expressed Glover, leading into a stellar performance of the recently released cut “In The Night.” Chromatic lights and beams flared in tandem with vocal runs, bassline walks, descending drum patterns, and the like. These all-encompassing setpieces were excellently offset with simpler, stripped-down sections—such as when “rapping Gambino” made an appearance for the brash and boastful “Yoshinoya.” As expected of a farewell tour of sorts, tracks from multiple Childish Gambino projects and features paid a visit. Energy-abundant tracks like “To Be Hunted” (from Atavista) and “Witchy” (a feature from KAYTRANADA’s TIMELESS) were paired with hypnotic syncopated flashes, before winding down to reveal a mesmerizing performance of “Steps Beach.”
In a showing as omnidirectional as his illustrious career, Gambino rang off a segment of multi-genre heavy hitters. Understandably, it threw the crowd into a frenzy. “I. Crawl” and “A Place Where Love Goes” served as bookends to this chapter of the show. Consequently, one can imagine the palpable energy in the venue. The Yeat feature on “Cruisin’” was spotlighted by his appearance on the mega-screens. “Feels Like Summer” engendered the lofty and hazy atmosphere expected from the sonics and title. While “Human Sacrifice” felt like the audience was surrendering their inhibitions to the music before the previously noted “A Place Where Love Goes” took things home. The fan-favorite “No Excuses”—a 7-minute, 23-second long expedition through lush vistas and lavish valleys—played as a stellar (and much-needed) intermission.
Fresh out of the brief reprieve, Donald Glover dove into the track that solidified him as a dynamic powerhouse. The intro track from the critically acclaimed Awaken, My Love album: “Me and Your Mama.” The performance was just as much of a shock to the system as the first listen. Gambino poured every ounce of his musical ability into a masterful showcase of range, mood and passion, before excitedly taking the audience back to some of the simpler Childish Gambino classics.
“Are y’all real fans, though?” started Gambino, before rattling off hit after hit from his extensive discography. The nature of this segment makes it incredibly fun to list what tracks he presented to the audience. It truly displays how much enjoyment one can get from this section of music alone. He performed, in succession: “Do Ya Like,” “This Is America,” “IV. Sweatpants,” “Sober,” “L.E.S.,” “Heartbeat,” “Bonfire,” “Freaks And Geeks,” “III. Telegraph Ave. (“Oakland” by Lloyd),” and “V. 3005.” By this point, the audience was just as vibrant and beaming as the year 3000 luminescence adorning the venue from all directions.
For His Final Act, Donald Glover Sets Childish Gambino Ablaze
Image Credit: Shanyah Williams Francis
Then, the stage took on a silky, fire-orange hue. The lasers and lights dwindled and dimmed, and the buzz from “3005” quieted slowly in anticipation of what’s next. Based on the mood being set, and the tracks the audience was yet to hear, whispers of the track to come were becoming increasingly abundant. In each section, one could hear “Is this…?” or “Is he gonna do…?”
Those inquiries and assumptions were met with the unmistakable sound of 7 kick drum hits. “Redbone” was the next course on the menu, and it more than lived up to expectations. Flames sprouted from the stage as Gambino serenaded the audience with his biggest hit to date—and possibly, ever. The band was captivating in their own right. They had been for the night in its entirety, transporting the audience to spaces only the imagination can reach with the technology we currently have available. Rather than ending the track at its usual stopping point, Gambino gave the song a secondary outro. This came with more swells, more layers, more intention. His falsetto hit its zenith, making for a closing act that will live in the minds and hearts of the audience long after the name Childish Gambino fades happily into retirement.
End Credits
After a brief end credits scene played on the screens, Gambino had only one more question to ask: “Lithonia?” The crowd roared at the word appearing before them, urging on an encore. In what was possibly the most stunning visual of the entire show, Gambino’s shadow sauntered onto the screen, seemingly displaced in an alternate dimension. He returned to the stage to inform the audience all about Cody LeRae’s newfound awareness and discoveries—the most poignant and enlightening of them all being that “Nobody Gives A F**k.”
Though this tour is the end of an incredible career under the moniker Childish Gambino, there is a New World awaiting Donald Glover. One that he’ll terraform as he sees fit. His ability to redefine himself over and over again will now be represented in name. However, there is no telling where Donald Glover will go from here. One thing is for sure, though: Cody LaRae believes nobody gives a f**k, but that couldn’t be less true. We do.
The North American leg of Childish Gambino’s Bando Stone and The New World Tour will continue after a brief health break.
“The road to hell is paved with good intentions,” reads the first sentence of Wallo 267’s, born Wallace Peeples, new book, Armed With Good Intentions, an exploration of his life, the decisions he made, and finding his purpose to inspire others after his release from prison. He’s used his platform, Million Dollaz Worth Of Game, the podcast he co-hosts with his cousin, Gillie Da Kid, to not only share his story but also provide others with the opportunity to share theirs. Artists like Lil Durk, Pooh Shiesty, and countless others have sat down to absorb their knowledge as elder statesmen and share their own gems.
“Like you have these good intentions, but you still get caught up sometimes being the environment we have. I had to share my story – not just the book – but before the book, online, because I wanted these young people to learn from my story, but don’t live my story, you know?” he explained to Hot New Hip Hop over Zoom. “Because a lot of them live in the story in real life. They live in the street game. They try to figure it out, and it’s like, yo, it ain’t even worth it, you know?”
The honesty and rawness of Wallo and Gillie’s approach to Million Dollaz Worth Of Game is hyperfocused in Armed With Good Intentions. Released through 13A Gallery, Wallo deconstructs the cause-and-effect of his decisions that shaped his trajectory and turned him into a guiding light for the youth and a proponent of change, one who now serves as the CMO of REFORM Alliance, a Cultural Advisor to YouTube, and the founder of YouTube Avenues. We recently caught up with the Philadelphia native to discuss his new book, guiding the youth with honesty, Pooh Shiesty, and more.
This interview has been edited and condensed for clarity.
Courtesy of 13 A
HotNewHipHop: How long was this book in the works?
Wallo: You know what’s crazy? It wasn’t that long. Last year it came about, [and I] just went in. You know, knocked it out, got straight to it. The opportunity came to get with Simon & Schuster 13A Gallery Books, and went right at it, you know. And it just came out smooth, you know?
How long was the process of writing it?
Not that long. I’d say less than a year.
What was the feeling like once your reached the end of the editing process and seeing the final copy?
I think not just the copy. I think it was when I finished the audiobook before the copy. Seeing the final copy was just like ‘wow,’ you know? Because it was just like talking, feeling the emotions, and all that stuff through the audiobook. It was like, “Yo, this thing is really real. Like, it’s game time.”
Would you have ever imagined writing your own book 20 years ago?
No, no, no. You don’t – no. Being in prison, naw, you don’t. I remember, I did read one book when I was in prison, and it was written by somebody when they was in prison. I don’t know if you remember Monster [by Sanyika Shakur]. I was like, damn. You know, he wrote that when he was in prison. So it was like you think but you never know that your story would be that interesting, being somebody in jail. So you just be like, “ahh.” This dude was talking about something totally different, like the gang-banging stuff so it was just different. But never, never did I think that.
The first line of the book, “The road to hell is paved with good intentions,” embodies the title of the book. What’s the significance of that proverb to you and how has it shaped your outlook these days as a mentor and a community leader?
You know, that’s how it be, man. Like you have these good intentions, but you still get caught up sometimes being the environment we have. I had to share my story – not just the book – but before the book, online, because I wanted these young people to learn from my story, but don’t live my story, you know? Because a lot of them live in the story in real life. They live in the street game. They try to figure it out, and it’s like, yo, it ain’t even worth it, you know? And that’s what some of the messaging was over the years on social media, was like, “Yo, that sh*t ain’t worth it, man. Go another route.”
LOS ANGELES, CALIFORNIA – JUNE 29: Wallo267 (L) attends the BET Experience Celebrity Basketball Game on June 29, 2024 in Los Angeles, California. (Photo by Randy Shropshire/Getty Images for BET)
In the book, you mention how you realized that a lot of the old heads in your community lied to you or led you astray in certain ways. In the position you’re in now and with the network of people that you reach, how do you impart this type of wisdom that you have to the youth in a way that strays them away from the inevitable outcome of the streets?
Being raw with them, sharing my story, being straight up, and not trying to be cool. I think a lot of times, a lot of old heads or OGs try to maintain that cool thing. And sometimes, [when] you try to maintain that, you won’t tell a person what the real is, that “Yo, you should be doing this dumb sh*t.” That’s the difference [with] me. Me, I’m an elder to these young cats, so I’m always going to tell them. I’m not trying to be no young person. I embrace my age, I embrace that I’m older. I love where I’m at, and I’m gonna tell them what it is because I already know where they going.
Do you feel like that’s the key to the success of Million Dollaz Worth Of Game? The first person that comes to mind is Pooh Shiesty and a lot of the younger artists that have appeared on the platform. Do you think it’s more effective and the words land better because you’re not sugarcoating anything?
See, one thing I know is that a lot of times, though, Aron, some people really gotta go through it. No matter who you talkin’ [to]. But I always feel good knowing that I told people exactly what it is. I ain’t bullshit. I ain’t bullshit Pooh Shiesty. I ain’t bullshit none of these young cats. I tell them exactly what’s going on, how it’s going on, and why it’s going on, you know what I mean? So I always feel good. I don’t want the outcome to be sometimes the wrong way [of] what it is but it’s like, as long as I feel like I know I’ve done my job because I felt the energy and I felt that I needed to say certain things based on what was going on. You know, I feel good about that.
What part of this book was most difficult to see on paper?
You know, talking about my brother, Steve. Because Steve is always a soft spot for me. You know, ‘cause anytime he’s mentioned, I get emotional because I’m thinking about just our upbringing, our journey. You know, that’s something, you know, that’s just something personal.
The book also recollects a lot of the decisions that led to your incarceration. How do the lessons you learned from those moments weigh against the regrets you might have?
You know, it’s deep. It’s real oxymoronic. It goes both ways because it’s like, I don’t regret nothing then it’s like yeah, I needed to go. So it’s wild. It’s unexplainable because you’d be like ‘I learned a lot,’ but then it be like, ‘You know, I had to go through this.’ And even with the regrets, you’d be like, ‘damn, I regret doing this.’ And you’d be like, ‘Damn, if I didn’t do this, I probably wouldn’t have made it here,’ to be able to learn through and grow through the shit. So it’s a lot, you know?
What’s the most rewarding aspect of growing Million Dollaz Worth Of Game for you?
Being able to see how it impacts culture. How you see people in real life and they was like, “Yo, man, I needed that.” That was like seeing them at the airport, seeing them in the market. It’s like, “okay, this works,” like a lot of people are listening.
Is there a particular instance that sticks out to you in terms of realizing and understanding your own impact on culture?
You know what, it’s so crazy. There have been so many, it’s hard to pick one. It’s hard to pick one.
What about the first time?
The impact? I think the first time was when my grandma basically understood what I was doing, and she was proud of me, that I was finally doing [something]. I was like, “Yo, sh*t, this sh*t is real.” She really respected it so, like I think it was different from then.
What was that conversation with her like?
You know, I was on the front page of The Daily News, and somebody called to tell her. She was like – she thought I did something wrong, or something. Like, “he on the news. What did he do?” My life had changed, for real. It wasn’t even about me doing nothing wrong so it wasn’t even about that. So it was just… it just was different, man. It was amazing, though.
NEW YORK, NY – SEPTEMBER 23: Wallo267 speaks onstage during Global Citizen Week: At What Cost? at The Apollo Theater on September 23, 2018 in New York City. (Photo by Noam Galai/Getty Images for Global Citizen)
At the beginning of Armed With Good Intentions, you mention how you’re on parole until 2048. It reminded me heavily of Meek Mill’s situation and I know the two of you have a good relationship. With your role at REFORM, what is change for you and what are your goals?
So the whole thing is, like, I think it already happened. You know, I’m saying it already happened on the aspect of just seeing all the changes that already came in a short period of time. Just being a part of that in any type of way, that’s everything.
What are you most proud to accomplish so far with them?
I think it’s just the connection and giving people hope. I think that’s the accomplishment, even before I went there. Giving people hope that they have something, somebody there to fight for them.
You’ve taken the role of the cultural advisor of YouTube and the founder of YouTube Avenues. As someone who is in touch with the youth and has seen how a lot of kids have gone from aspiring to be a rapper to wanting to become streamers and YouTubers, what similarities do you see between the hustles of trying to come up as a rapper and trying to become a YouTuber from the ground up?
It’s similar because everybody trying to grind, but I think [becoming a] YouTuber is way easier because you don’t have to – [being a] rapper is a lot. You gotta be entertainment, you gotta be believable, you gotta be energetic. It’s like YouTube, you can sit in your crib and do content based on something totally different and blow up. Or you could be playing games.
It feels like a lot of YouTubers can expand outside of just content creation and YouTube provides them with a platform to do so. Based on your interactions with the community, how do you feel about these YouTubers expanding their platforms into other avenues?
They not playing, I love it. I love seeing Kai. Like, I know Kai, we had him on the show and just talking to him and seeing how this thing is like, it’s opening up the game for a whole new outlet, a whole new revenue stream for young kids to go after.
What’s the main objective of this role? What is your long-term goal for, not only yourself but the community at large?
I just want to let people know that they got a shot. Coming from where I come from, the ghetto, it’ll have you believing that it’s over. It’s just beginning. So if I could get out there and let our people know, “Listen, you got a shot, no matter the circumstances.” No matter if you was a drug abuser, no matter if you went to jail, no matter – you got a shot. That’s my main thing, letting people know it’s never over until you stop breathing.
Final question: what do you have planned after this book? What can we expect from you in the foreseeable future?
A lot. Documentaries, you know, a lot of new stuff coming down the pike. Sometimes I don’t even speak on it, I just let it happen.
Is there anything in particular you’d be willing to tell us about?
Wallo267 Foundation. I’ll be helping you juvenile offenders get back, reintegrate back into society and stuff like that.
Pulitzer Prize winner Kendrick Lamar is embarking on yet another milestone as the first solo rapper to headline the Super Bowl LIX Halftime show for Apple Music. The announcement arrived last weekend in a commanding video showing Lamar in front of a large American flag. Of course, this isn’t the first time K.Dot has taken to the Halftime stage, as he previously joined the ranks of Dr. Dre, Eminem, Mary J. Blige, and Snoop Dogg back in 2022. For fans, the powers that be made the perfect pick for the February 9, Black History Month performance. However, with the big game being hosted in New Orleans, the report of Lamar being chosen over hometown hero Lil Wayne ruffled a few feathers.
“Rap music is still the most impactful genre to date,” Lamar stated in a press release. “And I’ll be there to remind the world why. They got the right one.” It’s a confident statement coming from an artist whose career only continues to rise. The rapper has had a monumental 2024 with the “Not Like Us” Drake diss takeover that rocked the boat of Drizzy’s career. The Pop-Out concert in Lamar’s L.A. stomping grounds broke records and became the talk of the internet for weeks. Additionally, with 17 Grammys under his belt and respect as a culturally conscious rapper who sold out his The Big Steppers Tour, one would think that choosing him for the Super Bowl would make sense. Yet, Young Money came out on social media swinging with allegations that Weezy F. Baby was snubbed.
Do Hometown Artists Deserve Priority?
A quick look at the list of Super Bowl Halftime performances will show you that, more often than not, the artist isn’t from the hosted city. Sure, Dr. Dre was able to coordinate a tribute to his career at Super Bowl LVI in L.A., but that isn’t consistent in its history. It is true that Lil Wayne helped put Lousiana Rap on the map, carving out one of the most successful Hip Hop careers to date. His Tha Carter series have been hailed as untouchable classics, with millions of units moved, and one can’t forget his 27 Grammy nominations and five wins. However, there didn’t seem to be the same uproar in 2019, when Maroon 5 headlined Super Bowl LIII in Atlanta, leaving local Hip Hop artists in the dust.
Can we wrap this Jay-Z Lil Wayne, Kendrick Lamar Debate up by midnight.
It’s been 58 mf Super Bowl performances and like 2 of them were in their home towns.
“Kendrick Lamar is truly a once-in-a-generation artist and performer,” said Jay-Z. Five years ago, Roc Nation and Hov partnered with the NFL to enhance their social justice efforts and live experiences. For many, this means that Jay-Z has been calling the Halftime shots. “His deep love for hip-hop and culture informs his artistic vision. He has an unparalleled ability to define and influence culture globally. Kendrick’s work transcends music, and his impact will be felt for years to come.” It may be a sentiment that New Orleans Mayor LaToya Cantrell aggrees with, considering she was born and raised in Los Angeles, herself.
The Young Money Meltdown
Denying a young black man what he rightfully put into this game for no other reason but your ego. Your hatred for BIRDMAN, Drake & Nicki got you punishing Lil Wayne?!?!!! LIL WAYNE!!!!!!!!!! THE GOAT?!!!!!!!!!!! Nola what’s good?!!!!!! Eminem stood firm on having 50Cent come out.…
It didn’t take long after Kendrick Lamar’s news was shared that Hip Hop fans stormed social media with hot takes. Lil Wayne’s admirers swiftly defended the rapper and accused Jay-Z and Roc Nation of foiling his Nola Halftime opportunity. Then, Birdman chimed in with a message on X. “These n-ggaz Pussi @NICKIMINAJ @Drake @LilTunechi YMCMB. I’m make these n-ggaz respek us on Gladys.” He followed up with, “Hatin sh*t 4real.” It’s clear that he believes Wayne was pushed out of the running by nefarious higher-ups, and Nicki Minaj echoed those points of view in a lengthy rant of her own.
“Denying a young black man what he rightfully put into this game for no other reason but your ego,” The Pink Friday icon wrote. “Your hatred for BIRDMAN, Drake & Nicki got you punishing Lil Wayne?!?!!! LIL WAYNE!!!!!!!!!! THE GOAT?!!!!!!!!!!! Nola what’s good?!!!!!! Eminem stood firm on having 50Cent come out.” Amplifying her position, Minaj also referenced Colin Kaepernick, stating, “One n*gga took a knee The other n*gga took the bag. He gon get you ‘n*ggers’ in line every fkng time.” She also seemed to target Hov or Roc Nation by calling them “spiteful and evil.” It was a tirade that was shared near and far.
Amid fans pointing out Weezy’s Rap GOAT status, his peers surfaced with support, as well. Master P is an icon from The Big Easy, and while he gave Lamar a “salute,” he suggested that Lil Wayne be a part of the Halftime show, too. “Well deserved, he’s one of the hottest music artists in the world and has one of the biggest songs right now,” Percy Miller said of Kendrick. “As Ambassador of Entertainment in the City of New Orleans I have to agree with the fans that @liltunechi #LilWayne should be a part of this celebration as well.” He added, “He’s one of the greatest Hop Hop artists alive, still relevant and he’s a New Orleans native. Let’s not miss this cultural moment in the South. Life is too short! We have to give our legends their flowers while they are here.” Social media users have debated the concept of Wayne’s recent relevance as opposed to his overall status in Hip Hop. The arguments have become heated as Hip Hop heads go toe-to-toe.
P wasn’t the only Louisiana artist to speak up. Boosie Badazz worked his caps lock button overtime when expressing his disdain for Lamar’s choosing. He used the hashtag “#idontrespectit” and pointed out that the Los Angeles Super Bowl’s Halftime show featured prominent artists from the city. “ALL YALL ACTING LIKE YALL COOL WITH HOW THEY PLAYING IT FOR THE SUPERBOWL SMH THE MOST CULTURAL CITY N THE USA( NEW ORLÉANS)ITS A SMACK N THE FACE TO EVERY HIP HOP LEGEND FROM LOUISIANA @MasterPMiller @BIRDMAN5STAR.” Juvenile also has a thing or two to say, even calling out NFL executives for exploiting the city without including the artists.
“I don’t see how the f*ck y’all don’t have Lil Wayne doing the halftime show,” the “Back That Azz Up” hitmaker said in a video. “Somebody that has a whole bunch of f*cking hits and somebody that really deserves it and somebody that can bring out multiple artists of all genres. Think about it.” Others like Cam’ron and Hurricane Chris have also expressed the necessity of Wayne’s inclusion.
Kendrick Vs. Wayne’s Live Performances Questioned
It’s unclear at this stage what Kendrick Lamar and Co. have in store for what is shaping to be another epoch-making moment for Hip Hop. Lamar’s live performances have been artistic, cultural staples with symbolism that causes millions to dissect the historical significances. We watched this unfold for months as every lyric of “Not Like Us” was analyzed, from podcasts to tweets to TikToks and more mainstream media. When we received the accompanying music video, it further pushed those discussions.
This point is currently being debated as people share comparisons of Kendrick’s live shows to what Wayne has to offer. The latter is dynamic as he brings favorites to the stage, hyping the crowd from beginning to end with songs imprinted in our minds and Hip Hop culture. Still, some have argued that as a headliner at the Halftime show, it wouldn’t have the same impact. While the call for some sort of Young Money reunion at the next Super Bowl rages, attendees of this year’s Essence Festival pointed out that something of the kind has already taken place. Essence Fest was hosted in New Orleans and featured a Hot Boys reunion involving Wayne, Birdman, Juvenile, B.G., and Mannie Fresh. It went off with a bang, but Kendrick Lamar’s defenders contest that Dot would highlight more of a conscious, cultural space that is needed in today’s climate. Fans also surfaced online with allegations that Wayne forgets his lyrics while performing; some saw that as a risk.
Kendrick is definitely bringing out Wayne, but why do you think wayne could do a 15 min high energy performance ?!?!?!? He’s on heavy drugs and can barely remember his words to songs
For the most part, Lil Wayne keeps himself away from the hustle and bustle of internet shenanigans. It hasn’t kept his name off of trending topics lists, obviously, but there was a moment during a 2016 interview with ABC News’ Nightline, he made eyebrow-raising statements about the Black Lives Matter movement. He was asked his thoughts on the topic, and Weezy questioned what it even was. He said the concept of BLM “just sounds weird,” and became increasingly agitated as the line of questioning continued. Even T.I. came forward to speak out against Wayne’s remarks.
“I don’t know, that you put a name on such a — that’s what it was. It’s not a name; it’s not whatever, whatever,” Lil Wayne said. “It’s somebody got shot by a policeman for a f*cked up reason. I am a young, Black, rich n*gga. If that don’t let you know that America understand Black n*ggas matter these days, I don’t what it is.” He added, “I don’t know what you mean. Now, don’t come at me with that.” Elsewhere, “I don’t think I got to express this, but it’s who you are. You get treated accordingly. I don’t know nothing about that, what they’re talking about. I’m rich ass n*gga. Man, don’t get mad ’cause I’m rich and I don’t see none of that.” He then called himself a “gangbanger” as he continued to dismiss and distance himself from the movement.
This alone wouldn’t cut someone off from being a Halftime performer. However, with Roc Nation at the helm wanting to highlight social justice efforts in the NFL to recover from the league’s ongoing allegations of racism and lack of BLM support, one can only imagine if comments such as these may thwart those efforts. Further, Lil Wayne’s pardon from former President Donald Trump and his rumored support for the 2024 candidate has also made Wayne a target. Yet, being a Hip Hop MAGA supporter in and of itself also wouldn’t keep him from the Halftime stage. Who knows, we could get a Wayne or Young Money appearance in some way at next year’s Super Bowl. Whether or not that materializes remains to be seen, but Drake is probably somewhere bracing himself for the next “Not Like Us” season, this time, with an estimated 20 million people tuned in. It’ll be a doozy, no matter who Kendrick Lamar decides to share his spotlight with—but the BeyHive is hoping for a performance of “Freedom” with Beyoncé.
Sean “Diddy” Combs is facing the worst chapter of his existence as a mogul. Just a few days after a Michigan man won a $100M default judgment against Diddy, he’s now facing the wrath of former Danity Kane member Dawn Richard, who has come forward with disturbing allegations. Richard, according to court documents obtained by TMZ, detailed a pattern of emotional manipulation, abuse, and violent behavior at the hands of Diddy, not only against herself but his ex-girlfriend, Cassie, as well.
Sean “Diddy” Combs (3rd from Left) and the “Making the Band 3” Girls – Dawn, Aundrea, Aubrey O’Day, Tiffany and Shannon (Photo by Michael Loccisano/FilmMagic)
According to TMZ, Dawn Richard claims her ordeal began in 2004 when she appeared on Diddy’s MTV show Making The Band. She alleges that Diddy manipulated her by promising to advance her music career in exchange for compliance with his erratic and demeaning demands. Richard recounts how Diddy regularly humiliated female contestants, calling them derogatory names like “fat,” “ugly,” “bitches,” and “hoes.” Turning a dream into a nightmare, she claims Diddy targeted her specifically due to her excitement at working with him. The alleged manipulation extended beyond just verbal abuse. Richard’s lawsuit suggests that Diddy used his power and influence to keep her in line, creating an uneven dynamic that held her future in the industry dependent on her willingness to endure his behavior.
Witnessing The Abuse Of Cassie
NEW YORK, NY – JANUARY 27: Cassie (L) and recording artist Sean “Diddy” Combs attend the Clive Davis and Recording Academy Pre-GRAMMY Gala and GRAMMY Salute to Industry Icons Honoring Jay-Z on January 27, 2018 in New York City. (Photo by Jeff Kravitz/FilmMagic)
One of the most shocking aspects of Dawn Richard’s lawsuit involves her eyewitness accounts of Diddy’s alleged physical abuse of his ex-girlfriend, Cassie. According to TMZ, Richard says that in 2005, she saw another of Diddy’s former partners, Kim Porter, leaving a music studio with visible injuries. This incident, she claims, was the first red flag indicating that Diddy would leverage physical violence if needed.
Things escalated when, in 2009, Richard claims she personally witnessed Diddy violently assault Cassie at his Los Angeles home. Allegedly high on drugs, Diddy reportedly hurled Cassie against a wall, choked her, and dragged her up a flight of stairs. Similarly, she claims that in another situation, Diddy allegedly punched Cassie in the face and attempted to strangle her. Richard also recounts a separate incident where Diddy hurled a hot pan of eggs at Cassie in a fit of rage while shouting, “I’ve been asking you for my s**t; I can’t stand you bitch, you never do it right!”
NEW YORK – JUNE 14: (U.S. TABS OUT) (L-R) Andrea Fimbres, Dawn Richard, Wanita “D’Woods” Woodgett Aubrey O’Day and Shannon Bex of the group Danity Kane pose backstage during MTV’s Total Request Live at the MTV Times Square Studios on June 14, 2006 in New York City. (Photo by Peter Kramer/Getty Images)
In addition to witnessing the abuse, Richard claims that Diddy took extreme measures to keep those around him silent. TMZ reports that Richard and other associates, including Kalenna Harper, her Diddy-Dirty Money bandmate, tried to convince Cassie to leave Diddy. However, once he found out about the conversation, it allegedly prompted an intense response. Richard alleges that Diddy threatened them, saying, “Y’all bitches don’t get in my relationship” and “Don’t tell my bitch [Cassie] what she need to be doing … Just make money and shut the f**k up … I end artists … I shelve careers … You could be missing … You bitches want to die today.”
This climate of fear, which has been a common theme among the lawsuits filed against him recently by former associates and employees, allegedly extended to Richard herself. Diddy reportedly manipulated those closest to him into submission by using his power and threats to derail their careers if they spoke out against him.
Richard’s Personal Experiences Of Abuse
NEW ORLEANS, LOUISIANA – JULY 07: Dawn Richard speaks during an interview for Day 3 of the 2024 ESSENCE Festival of Culture presented by Coca-Cola at Caesars Superdome on July 07, 2024 in New Orleans, Louisiana. (Photo by Josh Brasted/Getty Images for ESSENCE)
Though much of the lawsuit surrounds the alleged heinous acts that Richard witnessed, she also details her own experience of abuse at Diddy’s hands. The TMZ report says she claims that Diddy subjected her to grueling work conditions. She alleged that he forced her to rehearse for up to 48 hours without rest. The constant strain led to severe physical issues, including dehydration, fatigue, and extreme weight loss. She also recalls a disturbing encounter at Diddy’s Miami home, where he allegedly demanded that she come over while he wore nothing but his underwear. “This is my f**king house!” he allegedly responded after she requested that he clothe himself.
PARIS, FRANCE – JANUARY 22: Dawn Richards (L) and P Diddy attend the Dior Homme fashion show as part of Paris Menswear Fashion Week Fall/Winter 2011-2012 on January 22, 2011 in Paris, France. (Photo by Julien M. Hekimian/Getty Images)
The abuse escalated further between 2009 and 2011, according to the suit. Richard alleges that, while naked, Diddy entered her dressing room and inappropriately touched her breasts and butt. Another alarming incident detailed in the lawsuit claims that Diddy locked her inside of a car with heavily tinted windows for two hours. She claims that she screamed for help and at one point, even tried calling her father. Richard alleges that her dad traveled to New York from Baltimore to confront Diddy and try to free her but the mogul allegedly issued not-so-subtle threats to him. Once he threatened to take the matters to the authorities, Diddy reportedly responded, “Think about your daughter” and “think about your daughter’s career.”
Conclusion
We’re nearly reaching the one-year mark since Cassie dropped her own bombshell lawsuit, causing a domino effect in the industry. Over the past 10 months, Diddy has been hit with more heinous allegations from former colleagues and associates. Shortly after, his homes were raided by federal agents, reportedly as part of a much bigger investigation. Thusfar, Diddy has not faced any criminal charges, though it feels like this lawsuit from Richard is far from the last.
Opium is all the rage these days, and Destroy Lonely is one of the reasons why this movement became much more than a passing fad. He’s defined a corner of the contemporary rap world for better or worse thanks to his obvious inspirations from Playboi Carti’s artistry and how he fuses those creatively with the melodic and woozy aesthetics of a Lil Uzi Vert. But much like the rest of the label’s output, the Atlanta native faces a lot of criticism for the perceived staleness and lack of substance around the sound of rage. To give credit where it’s due, LOVE LASTS FOREVER is his best work yet that displays more unique tones, dynamic vocal performances, and distinguishable stylistic influences than what many give him credit for. But sadly, it’s not enough of a forward push to fully break it out of its repetitive spell.
Furthermore, there’s a strong percussive formula for most of LOVE LASTS FOREVER: shuttering and crisp hi-hats, reverb-heavy snares or claps, and buzzing bass and kicks. It works well sometimes – the dreamy “LOVE HURTS” with Uzi (who does their thing quite well), the frantic psychedelia on “BABY MONEY,” or the welcome timbre changes on “SYRUP SIPPIN” that sound more laser-y than murderous. The problem arises when you’ve heard your fourth or fifth Destroy Lonely track in a row where the trap drums take up most of the mix instrumentally. There are some legitimately cool alternative melodic influences here such as “WISH YOU WELL” and sung samples on “AMERIKA,” but from the very beginning of the album, generic vocal melodies plus washed-out mixing and synth layering taint them alongside unfulfilling structures.
For example, “FOREVER” kicks LOVE LASTS FOREVER off oddly with dramatic opening vocals from Melanie Blatt and All Saints that give more EDM drop than psych-trap. Still, it’s one of the few modular tracks here that goes through significant changes, so we have to give props for how its stark and icy snares eventually transition into a trap rhythm pretty effectively. The other structural features of Destroy Lonely’s latest album rest mostly on spacey outros with various interchangeable synth layers, which are a bare minimum at this point within the mainstream trap lane. Throughout its runtime, it mostly depends on tempo changes and switching up distinct and distorted melodic tones to provide variety. It certainly succeeds at this more than If Looks Could Kill, but not by much. Vocally, Lone still has a long way to go.
That’s not to say that he hasn’t separated himself further from his Opium counterparts, who previously exhibited much more performance crossover with each other. “THRILL” with Ken Carson sees Destroy Lonely contrast Ken’s nasal growl with a more high-pitched and airy tone. But without many direct vocal contrasts even with himself, he ends up sounding the same over a lot of these instrumentals. D.L. uses his entire arsenal on every single song, switching from more aggressive triplet flows to stretched-out crooning, lower-register embellishments, and soaring vocal leads… Sometimes all within a minute. It makes for a compellingly dynamic performance if you’re listening to any one song individually. But when you’re spinning 20+ tracks consecutively, that variety really loses its luster fast, especially when you don’t have the crutch of lyricism to fall back on.
Of course, no one wants LOVE LASTS FOREVER to get in its Nas bag. What matters to Destroy Lonely is the energy and the atmosphere, but even then, this only works up to a certain point. While some funny or ridiculous lines stand out here and there (“These n***as keep dropping trash, boy, stop littering” on “SHIP HER OFF” or “She trying to skate all on my ice, she think she Frozone” on “LOCK IN,” for example), there’s also a good chance you’ve heard them before or that you literally don’t care. The vibe is what matters. It contributes to this album’s biggest misstep: there’s very little to take away from it once it ends. No matter what version you listen to, the lack of standout hooks, memorable verses, tightly defined melodies, and interesting song structures leaves you feeling quite vapid by the end.
To reiterate, this is more of a numbing effect than the straight-up boring effort on If Looks Could Kill. Destroy Lonely does define himself more as an artist here, making rage-adjacent trap that is uniquely atmospheric and layered without depending on exaggerated aggression to do so. There’s also nothing wrong with a more amorphous, vibe-centric, and repetitive album experience, except that’s what we’ve already gotten in the past to a tee. Long story short, LOVE LASTS FOREVER is the kind of album that isn’t very nice to new people it meets on the street. Those who love this style will find much more quality and catharsis within it than we did, and they are probably more correct in their assessment as a result. But if you’re not content with reheated leftovers of your drunk-at-3AM go-to, this album will not convince you otherwise.
More than you’ll ever know. A shift is happening. The time is now!” Dee-1 wrote on Twitter after the song was released. However, he went on to address 
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