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Destroy Lonely “LOVE LASTS FOREVER” Album Review

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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.

Read More: Destroy Lonely Drops Five New “LOVE LASTS FOREVER” Songs On His Website

Destroy Lonely’s Hits & Misses

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.

Read More: LUCKI & KanKan Respond Harshly To Destroy Lonely’s Latest Diss Track

Does LOVE Really LAST FOREVER?

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.

Read More: Destroy Lonely Shoots Down Domestic Abuse Allegations In Since-Deleted Rant

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Tyreek Hill Traffic Stop Footage Released By Police: What We Know So Far

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Tyreek Hill, star wide receiver for the Miami Dolphins, found himself in an unexpected situation during a traffic stop with Miami-Dade Police just hours before his team’s first game of the season. The incident led to Hill being detained briefly by the authorities. However, the altercation between Hill and the police quickly gained attention, especially after body-camera footage of the event was released, showing the aggressive nature of the officers at the scene. Both the Miami Dolphins organization and the local police have made public statements, though the body cam footage ultimately speaks volumes.

Read More: Young Thug Tweets Out Support For Tyreek Hill After Police Detainment

The Traffic Stop Incident

According to CNN, Miami-Dade Police pulled over Tyreek Hill as he drove to the stadium before the Dolphins’ game. Per police reports, the traffic stop was initiated due to Hill’s failure to wear a seatbelt and for allegedly speeding. Things escalated when Hill, visibly frustrated, expressed dissatisfaction with how the officer approached his car and knocked on the window.

In the body-camera footage released by the police department, Hill can be heard telling the officer, “Don’t knock on my window like that.” As the interaction continued, Hill grew more agitated, repeatedly asking for his ticket so he could leave. The officer then ordered Hill to lower his window fully, but when Hill hesitated, the situation quickly intensified. Within moments, Hill was pulled from his vehicle, restrained, and placed in handcuffs.

Body-Camera Footage Released

The MDPD released nearly two hours of body-worn camera footage of the incident just a day after it happened. Police Director Stephanie V. Daniels explained that although it is not common practice to release footage before the conclusion of an internal review, they chose to do so to ensure transparency with the public.

The footage shows Hill growing increasingly frustrated as the officers continued to instruct him to lower his window. After several verbal exchanges, Hill was physically removed from his vehicle, handcuffed, and briefly detained. Hill repeatedly expressed confusion and frustration, telling CNN, “I’m still kind of shell-shocked from it.”

Read More: Tyreek Hill Net Worth 2023: What Is The NFL Star Worth?

Statements From The Dolphins & Hill’s Agent

Following the release of the body-camera footage, the Miami Dolphins organization publicly criticized the behavior of the officers involved. The team expressed disappointment in the “unnecessary force” directed towards Hill and his teammates, who later arrived at the scene. “​​It is both maddening and heartbreaking to watch the very people we trust to protect our community use such unnecessary force and hostility towards these players, yet it is also a reminder that not every situation like this ends in peace, as we are grateful this one did,” the team said in a statement. The Dolphins emphasized they have a positive relationship with the local police. Still, they believe this incident demonstrated an abuse of power by the officers involved.

Hill’s agent, Drew Rosenhaus, also condemned the actions of the police, calling for the officers to be fired. Rosenhaus described the situation as “heartbreaking” and expressed disbelief at how things unfolded. He insisted that Hill was trying to get to work and should not have been treated with such hostility.

Calais Campbell’s Involvement

During the incident, Dolphins defensive lineman Calais Campbell arrived at the scene and attempted to deescalate the situation. Campbell recounted the situation in an interview with ESPN. He explained how he approached the officers with his hands up, and hoped to speak with them about Hill’s detainment. However, his efforts were quickly shut down. Campbell was told to leave the scene, and when he refused, he was handcuffed as well. He expressed concern over how quickly things escalated. Campbell stated that the situation could have taken a much darker turn had they not been there to support one another. 

Police Union Defends Officers

In response to the backlash from Hill’s detention, the local police union defended the actions of the officers involved. According to Steadman Stahl, president of the South Florida Police Benevolent Association, Hill was uncooperative from the moment the officers approached his vehicle, which led to them placing him in handcuffs for their own safety.

“Upon being stopped, Mr. Hill was not immediately cooperative with the officers on scene who, pursuant to policy and for their immediate safety, placed Mr. Hill in handcuffs,” Stahl told CNN. “Mr. Hill, still uncooperative, refused to sit on the ground and was therefore redirected to the ground. Once the situation was sorted out within a few minutes, Mr. Hill was issued two traffic citations and was free to leave. In this case, while we will wait for the investigation to run its course, based on what we know, we stand with the actions of our officers but look forward to further open communication moving forward.”

Investigation & Officer Reassignment

One officer involved in the incident has been placed on administrative duties pending the outcome of the internal review. The officer, identified as Danny Torres, is a veteran with 27 years of service. While the investigation is ongoing, Torres’ attorneys have spoken out in defense of their client. They stated that they support the review but believe the officer should be reinstated.

Director Daniels of the Miami-Dade Police Department emphasized her commitment to transparency and accountability in all matters involving her officers. However, she stopped short of making any specific predictions about the outcome of the investigation.

Hill’s Reflection On The Incident

In an interview with CNN, Tyreek Hill reflected on the altercation, expressing a mix of confusion and embarrassment. “I was following rules. I wasn’t moving fast because you know I got injuries, I got things that I go through, I play a physical sport, I’ve been doing this for a moment now man so I’m dealing with some stuff, so I guess the officers, they felt like I wasn’t doing it on their timing.” Hill also speculated on how differently the situation could have unfolded if he weren’t a high-profile athlete, suggesting that it could have ended much worse.

Hill admitted that he was trying to avoid causing a scene by keeping his window up, as he didn’t want to attract attention from passersby. “I’m not trying to cause a scene because … if I let my window down, people walking by, driving by, they’re going to notice that it’s me and they’re going to start taking pictures. I didn’t want to create a scene at all, I just really wanted to get the ticket and then just go out about my way and have a great Sunday.”

[Via]

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Diddy Lawyer Responds After He Loses $100M Default Judgment To Michigan Inmate: Everything To Know

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Things couldn’t be going any worse for Diddy, especially now that a Michigan man who is currently incarcerated, Derrick Lee Cardello-Smith, secured a $100M judgment against the music mogul, as first reported by the Detroit Metro-Times. Cardello-Smith accused Combs of drugging and sexually assaulting him at a party in Detroit back in 1997. The judgment came after Combs failed to appear at a court hearing. This ultimately led the judge to hand down a default ruling in favor of Cardello-Smith. Unfortunately for Diddy, this is the tip of the iceberg regarding his legal issues. Over the past few months, lawsuits have piled on as he faces allegations of sexual assault.

Read More: All About “Tusi”: The New Dangerous Drug Connected To Diddy’s Lawsuit

The Origins Of The Lawsuit

LAS VEGAS, NEVADA – SEPTEMBER 24: (FOR EDITORIAL USE ONLY) Sean “Diddy” Combs performs onstage during the 2022 iHeartRadio Music Festival at T-Mobile Arena on September 24, 2022 in Las Vegas, Nevada. (Photo by Kevin Winter/Getty Images for iHeartRadio)

Cardello-Smith, now 51, claims he crossed paths with Combs in the late 1990s while working in Detroit’s hospitality industry. According to Cardello-Smith’s claims, Combs drugged and assaulted him at a party around this time. Despite the incident happening over two decades ago, Cardello-Smith took legal action in 2024. Representing himself in court, Cardello-Smith, who is serving a 75-year-sentence for criminal sexual conduct and kidnapping, per USA Today, has a history of filing civil lawsuits, gaining notoriety as a self-taught student of law while serving time in the Michigan prison system.

The case gained momentum when Lenawee County Circuit Court Judge Anna Marie Anzalone granted Cardello-Smith a temporary restraining order against Combs in August. Judge Anzalone issued this order to prevent Combs from liquidating his assets before the court could rule on potential damages.

Combs’ Alleged Attempts To Settle

According to court documents, Combs allegedly tried to settle the case out of court. He reportedly offered Cardello-Smith $2.3 million to drop the lawsuit. Cardello-Smith also provided the courts with prison facility information, including alleged proof of Diddy’s name logged into the visitation records. However, Cardello-Smith rejected the offer and indicated that he wanted to proceed with the case. In a virtual court hearing, Cardello-Smith recounted a conversation with Combs where the music producer reportedly said, “You know how we get down.” Cardello-Smith told the judge that he responded to Diddy, saying, “I disagree with how you get down.”

Read More: Keefe D Recalls Years Of Trying To Collect $1 Million From Diddy For Alleged Role In 2Pac Killing

A Landmark Judgment

On September 9th, 2024, the court awarded Cardello-Smith a default judgment of $100M after Combs failed to appear for the virtual hearing. The court grants a default judgment when a defendant does not respond or fails to attend a legally required court proceeding. This could potentially be one of the largest judgments ever awarded to an inmate or a self-represented litigant in history.

Diddy’s Lawyer Responds 

Keith Ranieres lawyer, Marc Agnifilo, speaks to the press as he arrives at Brooklyn Federal Court on May 7, 2019, in New York. – The trial of Keith Raniere, a “self-help” guru who ran a secretive society of women sex slaves branded with his initials, begins Tuesday in New York, where his former female supporters may be called to testify against him. (Photo by TIMOTHY A. CLARY / AFP) (Photo credit should read TIMOTHY A. CLARY/AFP via Getty Images)

Regardless of the judgment, it appears that Diddy and his legal team are ready to file an appeal. In a statement provided to the media, Diddy’s attorney, Marc Agnifilo, strongly denied the allegations. “This man is a convicted felon and sexual predator, who has been sentenced on 14 counts of sexual assault and kidnapping over the last 26 years,” the statement reads. “His resume now includes committing a fraud on the court from prison, as Mr. Combs has never heard of him let alone been served with any lawsuit. Mr. Combs looks forward to having this judgment swiftly dismissed.”

Cardello-Smith’s lawsuit is just one in a series of legal issues facing Sean Combs in 2024. Over the past year, Combs has become the target of multiple lawsuits, many involving allegations of sexual assault or violence. These accusations have increasingly tarnished his once untouchable image as a music mogul, and the $100 million judgment only adds to the growing list of legal challenges he faces.
Earlier this year, a video leaked of Diddy assaulting his ex-girlfriend, Cassie, after the two reached a settlement in her lawsuit against him, where she accused him of physical and sexual abuse. Another bombshell lawsuit filed by producer Lil Rod similarly accused Diddy of abuse while claiming that the mogul did not pay him for the work on The Love Album. Furthermore, there have been rumors that Diddy could be subject to a federal investigation.

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LL COOL J “THE FORCE” Album Review

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LL COOL J’s new album THE FORCE closes a 40-year loop with Def Jam Recordings, through which he released his and the label’s first song “I Need A Beat” in 1984. While this isn’t the end of his career, it does feel like a last hurrah of sorts. After all, hip-hop recently turned half a century old, it’s LL’s first album in 11 years, and the rap game definitely looks unrecognizable compared to when he first entered. But even with all this in mind, what makes this new project particularly compelling is that it still sounds fresh, hungry, grounded, and above all, passionate. With Q-Tip at the production helm and so much perspective to reflect on through his pen, Mr. “Ladies Love Cool James” successfully translates his dominance of fundamental skills into the contemporary era.

Rather than sticking to a traditionally conservative idea of boom-bap, Q-Tip mixes in many different styles and sonic moods through his instrumentals as THE FORCE‘s main beatsmith. The opening track “Spirit Of Cyrus” featuring Snoop Dogg is an immediate example: ambient sounds of nature at night add vivid atmosphere to LL’s condemnation of police brutality, contrasted by a crisp drum pattern, warm wah guitars, eerie synthesizers, and haunting vocal samples. In addition, the modern mixes on these songs make them fully come alive more so than his typical material. The modular progression on “Black Code Suite” with Sona Jobarteh is a captivating mix of timbres, “Proclivities” with Saweetie is one of the Queens MC’s most dreamy and woozy beats to date, and “30 Decembers” dazzles with a surprisingly psychedelic guitar line.

Read More: LL COOL J Gets Real About Joe Budden Finally Going Gold In 2024

LL COOL J’s Pen Is Still Sharp

As for lyricism, it’s very simple: LL COOL J’s still got it. He delivers single-issue odes, paralleling religion and culture, like “For the sake of equality, I’m fathering the song/ Spirit of God, bring he and her along” on “Praise Him” featuring Nas. LL sharpens his rhyme schemes and double entendres for more aggressive onslaughts, such as “This Halloween: them candy bars’ll get you killed in the forest” off of “Murdergram Deux” with Eminem. James Todd Smith doesn’t stray far from his typical wheelhouse, exploring generational changes, decades-long luxurious success, Black empowerment and solidarity, youthful memories, and fulfilling his family’s lifelong goals. For the most part, he also frames his bars within a focused linear structure that nurtures his streams of consciousness. One example is “Saturday Night Special” with Rick Ross and Fat Joe thanks to its piece-by-piece character portrait of an insecure gangster.

On that note, LL Cool J’s decades of lived experience make these topics much more nuanced than his past material. However, they are still retreads at the end of the day. One of THE FORCE‘s biggest flaws is its sense of repetition to varying degrees, whether it’s a relatively mid-tempo journey for most of the LP or its recycled themes or flows. Even though the production is always quality and does bring some variety to the table (see the resuscitated and warped ’80s drum machine worship on “Post Modern”), tracks like “Runnit Back” don’t revisit the themes of wealth and competition in notably fresh ways. But all in all, these are minimal missteps across this album’s runtime. The quality standard is consistent, even if the ceiling isn’t the highest among “old-school” hip-hop releases this year.

Read More: LL COOL J Clarifies Why He Excluded Jay-Z & DMX From His Def Jam Mount Rushmore

How Will THE FORCE Live On?

That ceiling is lower because, well, LL COOL J is a legend. You can’t hear a classically funky cut like “Basquiat Energy” or the title track and act particularly surprised; he’s always made these gems. The deliciously jazzy keys and bass on “Passion” are beloved Q-Tip-style production, of which there are a hundred other stunning examples. But throughout THE FORCE, there are amazing and cathartic instrumental moments, killer features, and standout bars such as “King of the Jungle, but still humble at the Panther Party” on “Huey In The Chair” with Busta Rhymes. Finally, the closer “The Vow” is a very fitting end to this story. LL narrates his birth as the first GOAT MC with revolutionary rhetoric and then hands the mic over to younger MCs: Mad Squablz, J-S.A.N.D., and Don Pablito.

Furthermore, LL COOL J knows his place in the game. He has the power and knowledge to follow his own intuition and ideology regarding hip-hop and is excited about tomorrow’s rap music. It’s part of what comprises the “Frequencies of Real Creative Energy”: you have your message, you honor your traditions, and you find a way to preserve and adapt them to a new dawn. LL doesn’t come across as an old-head pining for his prime, or that of the art form. He’s leading by example, joining forces with Q-Tip to present a distilled, cohesive, and refined image of classic hip-hop that appeals to and connects with current musical standards. In that way, THE FORCE is the perfect palate cleanser for rap music in 2024. If you ever get lost while exploring the culture’s ecosystem, just come back to these roots and you’ll feel that spark again.

Read More: LL COOL J Says Kendrick Lamar’s Beef Tactics Against Drake Were “The Funniest S**t In The World”

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As Big As The Super Bowl? Lil Wayne’s Snub Was Expected

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“Is there a more important city traditionally in American culinary history, a more vibrant, diverse, and influential? Probably not,” the late Anthony Bourdain once described the city of New Orleans, home of the Saints, jazz music, and the birthplace of Dwayne Michael Carter II, the rapper we’ve grown to love as Lil Wayne. For about three decades, Weezy F. Baby has been an anchor in hip-hop’s 51-year history, an artist with deep roots in his city’s contributions to music as a whole. There isn’t another artist alive who could replicate his creativity, quirkiness, thought, or flow patterns, but many have tried. Even those who attempted to keep up found themselves getting outrapped on their own song or outperformed on their own beat. As he said in a Super Bowl interview in 2002: “I been went platinum, just not off records.” For an artist to be as revered lyrically as he is commercially (Tha Carter III is among a handful of hip-hop albums to ever move one million units in the first week), and with the longevity he has, Wayne’s impact across the world can be felt, even when it’s not always acknowledged.

Hence why Kendrick Lamar’s announcement as the Super Bowl Halftime Show headliner in New Orleans is less shocking than it is disappointing. Wayne has expressed a desire to perform at the Super Bowl throughout the past year, and it only made sense considering how Jay-Z and Roc Nation have not only uplifted hip-hop but emphasized the importance of regional culture, as we’ve seen with Snoop Dogg and Dr. Dre. Wayne is NOLA’s flagship artist, one of the most celebrated musical talents of all time whose reflected his hometown through the damage of Katrina and uplifted its talents through his Lil Weezyana Festival. His absence from the Super Bowl stage is a missed opportunity, but, frankly, it should’ve been expected since Usher took the stage. 

For anyone who has expressed their grievances over the situation, we must ask a critical question: what has Lil Wayne done in the past year to warrant a Super Bowl Halftime Show? If we take a glance at each artist who performed during the Halftime Show under Jay-Z’s tutelage, there was a build-up of momentum to that performance. Usher became the star of Las Vegas, thanks to his world-class residency; The Weeknd emerged triumphant post-pandemic. Snoop Dogg and Dr. Dre brought hometown pride to Los Angeles in the same year that they celebrated the 30th anniversary of The Chronic while curating an intergenerational performance that included Eminem, 50 Cent, Mary J. Blige, and Kendrick Lamar. 

All of that to say: Lil Wayne simply hasn’t done enough in the past year. According to Brian Zisook, the co-founder of Audiomack, it’s the Super Bowl, Apple Music, and its sponsors who look at eight categories when selecting the Halftime Show performer: availability, superstar status, popularity, global impact, reach, live performance, a catalog of hits to fill 12-15 minutes, and new music on the horizon. 

It’s been over two years since Lil Wayne launched a countdown for Tha Carter VI and, as of now, we haven’t received a promising single that indicates that it’s officially on the way. Not to mention, Lil Wayne hasn’t really toured any major stadiums or arenas as of late with the exception of his brief stint with Drake earlier this year. In 2023, he embarked on the Welcome To The Carter Tour, where he played in smaller, more intimate venues. And if we look at sales, the last three projects he was involved in, Trust Fund Babies with Rich The Kid, Tha Fix Before Tha VI, and Welcome 2 Collegrove with 2 Chainz all failed to move more than 34,000 in their first week. Let me be clear: first week sales do not mean anything but Lil Wayne’s Tha Carter III remains one of five albums to have ever moved one million units in the first week. Wayne’s best work recently has been the features run he’s been on. Simply based on statistics, which presumably is the only aspect that the NFL’s corporate office is interested in, Wayne’s pull in 2024 isn’t as strong as it once was before his issues with Birdman put his career on ice for a few years. 

Lil Wayne encompasses most of the qualities that Zisook laid out, just not all of them. His superstar status is undeniable, but is the global appreciation for him on par with his legacy in America? His performances are often subpar. Let’s not forget that this is the same guy who needs a teleprompter while on stage because he’s recorded more music than he’s capable of remembering. And perhaps, there also needs to be some sort of reckoning of who Lil Wayne is and his appeal. The controversies that have riddled the recent years of his career, from his stance on BLM to endorsing Donald Trump in 2020, could have opened a can of worms that would overshadow the prestige of the Halftime show right before one of the most important presidential elections in history that could very well result in the first Woman of Color being elected into the Oval Office. Part of Roc Nation’s partnership with the NFL is to “amplify the league’s social justice efforts.” Plus, do we really think that Wayne will be able to get through a 12-15 minute setlist of his greatest hits without mentioning cunnilingus… on the biggest stage in America? None of this is to downplay why Lil Wayne deserved the spot as a legend and an ambassador of New Orleans but rather, food for thought as to the possible reasons he may have been overlooked in the eyes of the NFL. Wayne’s lack of filter and awareness of his surroundings has been a gift and a curse to his public persona. 

Lil Wayne
PHILADELPHIA, PENNSYLVANIA – JUNE 01: Lil Wayne performs at 2024 Roots Picnic at Fairmount Park on June 01, 2024 in Philadelphia, Pennsylvania. (Photo by Kayla Oaddams/Getty Images)

On the surface, the optics of Kendrick Lamar headlining the Super Bowl in New Orleans seem just plain petty. However, it makes sense within the criteria of what the NFL expects. Kendrick Lamar made the most out of a few months. “Not Like Us” remains in the Top 10 of the Billboard Hot 100 and basically held down the third spot on the chart for the majority of the summer. Then, there’s the Pop Out, which, in retrospect, feels like the predecessor to his Super Bowl announcement. Tickets sold out almost immediately; Dot brought out the entirety of Los Angeles and has the most minutes watched of any Amazon Music production on Twitch and Prime platforms. On the heels of a historic beef, Kendrick Lamar emerged triumphant in numbers and content, and this Super Bowl performance is the paper bag of dog sh*t burning on Drake’s porch. There’s no way Drake could stomp it out without stepping in sh*t himself.

“Not Like Us” is ultimately rooted in Patriotism, and there’s nothing more American than football. While it served as a nail-in-the-coffin offering during a heated week-long battle between Drake and Kendrick Lamar that turned into a U.S. vs. Canada debate, it clearly forced everyone within hip-hop (and outside of it) to pick a side. At this point, the internet has run with the theory that Jay-Z’s alleged issues with Drake, Lil Wayne, Birdman, and Nicki Minaj helped Kendrick Lamar make history as the first rapper to headline the Super Bow, but we can’t really be certain if that’s the case. We could unpack the web of connections between these artists for days and likely wouldn’t land on a concrete theory as to why Weezy was snubbed this year. However, the situation, as a whole, could be a predicament for Lil Wayne, whose loyalty to Drake has been in question recently after Wayne wore an XO chain​​ in the music video for Jon Baptiste’s “Uneasy.” Considering that Kendrick Lamar will probably bring out a guest on stage, would he extend an invite to the GOAT? And if so, would Lil Wayne sacrifice his allegiance to Drake for hometown pride?  Regardless of the outcome, the Super Bowl already kicked off the type of discourse they would’ve wanted in the first place.

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RIP Rich Homie Quan: 9 Essential Songs That Defined His Career

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The hip-hop world tragically lost Atlanta rapper Rich Homie Quan on September 5, at just 34 years old. His death sent shockwaves through the hip-hop community. His peers, such as Quavo and Playboi Carti, took to social media to remember the good times they had with him. College football coach Mark Dantonio posted a picture of him and Quan after Michigan State University won the Rose Bowl in 2014 (the team’s hype song was “Type of Way”). Of course, fans recalled the period when Quan, along with Young Thug, Migos, Future, producers like Metro Boomin, 808 Mafia, and others from their city, captured the ears of young hip-hop listeners with a forward-thinking approach to hip-hop unlike anything that was popular before their arrival.

Rich Homie Quan was a pioneer of 2010s Atlanta hip-hop, an artist who broke out of a densely populated trap music scene and rose to the forefront of the New Atlanta sound at the beginning of the decade. He helped usher in a style of party-ready music that produced some of the most memorable rap songs of the 2010s. He bragged and boasted on tracks in his trademark drawl, with a laid-back vocal delivery that sometimes walked a thin line between creative and new and completely unintelligible. Quan’s hooks, which became a selling point of his own music and his appearances on other people’s music, were catchy and always ready for crowds. His verses always felt authentic to him. He never abandoned what drew audiences to his music, even when he was at his most commercially successful. These nine tracks illustrate the type of artist Rich Homie Quan was, and why fans continue to fondly remember his contributions to the era he came up in.

Read More: Offset Pays Tribute To Rich Homie Quan And Explains How Fatherhood Impacted His Music

1. “Type of Way” (2013)

“Type Of Way” was Rich Homie Quan’s breakout single as a solo act. When this track was released in 2013, he helped bring feeling “some type of way” into the general lexicon. It also became a song used at sporting events, most prominently by that Rose Bowl-winning Michigan State University team. It was a star-making release, with its big hook and equally big beat, by someone who was virtually unknown at the time.

2. YG – “My N***a” Ft. Rich Homie Quan & Jeezy (2013)

“My N***a,” produced by DJ Mustard for YG’s My Krazy Life, is one of the album’s most enduring songs, thanks in no small part to Rich Homie Quan’s appearance. It’s another California link-up for Quan, as he delivers the memorable hook. Mustard’s production is catchy and minimalist, and the verses all sound great. The track was YG’s first radio hit, and has since been certified platinum five times over.

3. “Cash Money” Ft. Birdman (2013)

Though Rich Homie Quan was never signed to him, being part of Birdman’s Rich Gang gave Quan several opportunities to work with the executive/rapper. “Cash Money,” co-produced by Metro Boomin and 808 Mafia, is a great track. Quan reminisces about wanting to be a member of Hot Boys in his youth before pivoting into braggadocio very quickly. Quan didn’t get to be a Hot Boy, but he did get to make some music with the former head of their label.

Read More: Rich Homie Quan’s Father Breaks His Silence On Rapper’s Death

4. Man Of The Year (2013)

Over a Trauma Tone beat that uses a sped-up sample of “Keep It Real” by Miilkbone, Rich Homie Quan does some heavy flexing to explain why he’s the “Man of the Year.” He reflects on remaining true to himself, while flexing his success, from his “robotic car” and the women he’s been with. “Them n***as lame, I’m the man over here,” he concludes. Considering his rising stardom, who’s to say he was wrong? 

5. “Get TF Out My Face” Ft. Young Thug (2013)

Rich Homie Quan and Young Thug’s “Get TF Out My Face” is one of the most impressive collaborations between the two. Over a downtempo beat produced by FKi, Quan and Thug trade bars telling their rivals to get out of their way, unless they’re talking about money. Quan’s flow sounds effortless on the track, while Thug likens himself to Tony Montana. The two of them sound like they’ve made a hundred songs together before this. Their natural chemistry on the early Quan, Thug, and Rich Gang tracks should have eventually led to a joint album.

6. “Walk Thru” Ft. Problem (2014)

“Walk Thru” is one of Quan’s many collaborations with California rappers. He and Compton-based rapper Problem brag about the attention they command when they enter any room over a beat co-produced by Problem himself. The song has a very clear West Coast vibe. Quan always sounded at home over those beats, despite being from Atlanta. It’s a banger of a track with an in-your-face hook that still sounds good today, and an example of Quan’s musical versatility.

Read More: Rich Homie Quan Spoke On Young Thug Reconciliation Days Before Death

7. Rich Gang – “Lifestyle” Ft. Rich Homie Quan & Young Thug (2014)

“Lifestyle” is one of the most iconic hip-hop tracks of the 2010s and the peak of Rich Gang’s run in 2013 and 2014. Initially recorded for the unreleased second Rich Gang mixtape and produced by London on da Track, Rich Homie Quan and Young Thug talk about the grind they’ve been on to find success, emphasizing that the previous couple of years was only the beginning. To say they called their shot would be an understatement.

8. Travis Scott – “Mamacita” [feat. Rich Homie Quan & Young Thug] (2014)

“Mamacita” is one of the standout tracks from Travis Scott’s second mixtape, Days Before Rodeo. The track features appearances from Rich Homie Quan and Young Thug, who rap over a beat produced by Metro Boomin, DJ Dahi, and Mike Dean. It’s a song about women, but it’s not quite a love song. Quan’s hook will stay in your head. He also has the final verse, which is a catchy one with some witty lines. “Mamacita” is another great song, where Quan’s contributions help take it to that level.

Read More: Rich Homie Quan’s Peers Pay Tribute After His Unexpected Death

9. Flex [Ooh, Ooh, Ooh] (2015)

“Flex (Ooh, Ooh, Ooh),” initially released in February 2015, ended up being a summer anthem that year. The DJ Spinz-produced track is more mid-tempo with some bounce to it, one that celebrates success and his lavish lifestyle. The “ooh ooh ooh” ad-libs are a memorable feature of the song, and Quan does some trademark flexing in the verses as well. Going 3x platinum, it became the biggest solo hit of his career. Almost a decade later, it’s still an easygoing, fun time.

The post RIP Rich Homie Quan: 9 Essential Songs That Defined His Career appeared first on HotNewHipHop.

50 Cent x “Million Dollaz Worth Of Game”: Key Takeaways

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50 Cent continues to reach new heights in his career with or without releasing new music. Beyond a catalog of timeless hits, he’s proven to be one of the most business savvy individuals in hip-hop. His foray into film and television has been fruitful, to say the least: several TV shows, movies, and most recently, the opening of his production studio in Shreveport, LA, where he hosted the Humor & Harmony festival.

The rapper recently joined Gillie and Wallo on Million Dollaz Worth Of Game during his festival and they surely lived up to the title. For nearly an hour, 50 Cent dropped gems that reflected his rise in hip-hop and his transition into the entertainment world as an executive. His journey into entering the rap game officially under Eminem and Dr. Dre’s tutelage to the inner workings of the television industry. 

Fat Joe Beef Does 180

While the two have a shared history of animosity, things couldn’t be going any better between Fat Joe and 50 Cent. During his appearance on Million Dollaz Worth Of Game, Fif explained that he and Fat Joe are practically best friends these days. It’s a 180 to when Fif and Joe went at it on wax and the effects rippled through the streets of New York and beyond. Ultimately, it was Joe’s allegiance to Murder Inc that caused their issues. “I didn’t f*ck with people because they had already dealt with them,” 50 explained. “The entire beginning of my career I was up against the leverage of Murder Inc. So, my whole beef with Fat Joe was really his loyalty.” He added, “Later we become the best friends, like I really f*ck with him,” 50 Cent admitted. “He’s loyal to a default, because he worked with him.”

What’s $1M To Dame Dash?

By now, we’ve seen the headlines surrounding Dame Dash and the debt he’s accumulated, upwards of $10 million. His financial situation comes as a shock, especially considering his contributions to hip-hop through Roc-A-Fella and other ventures. Always the business-minded hustler, he apparently didn’t have great things to say after 50 Cent inked a deal with Shady Records for $1M. In fact, the Roc-A-Fella co-founder apparently didn’t think that $1M was any money to begin with.

“The only person that pointed out a million dollars was no money was Damon Dash, and he has no money now,” 50 said. “How you gonna say that’s no money?” He recalled Dame telling him, “’After you get you a watch, chain, look out for the homies and then do this, then it’s nothing.” Naturally, this conversation resonated with 50 in ways that Dame Dash probably didn’t realize. “I’m from 134th Street. A million dollars is a lot of money. I think I hit the lotto. How are you gonna say that it’s no money? I just never forgot that because of how it felt.”

Since then, Dame has responded to Fif, claiming that they should have a “CEO War” between their respective networks. “Let’s do CEO war. You drop your television network today — you should be able to do that because you have power, you have the resources and you know, you’re getting money. And because I’m ‘broke,’ this should be easy work,” he said.

Nearly Signing Desiigner

An insightful moment in the interview that apparently warranted a response came as 50 Cent divulged how he nearly inked a deal with Desiigner prior to Kanye. At the time, Desiigner barely had a hit record to his name with “Panda” only beginning the bubble. However, 50 Cent comes from a time where record deals didn’t happen with the success of a single song, and apparently, Desiigner failed to have anything else to show for his talents. “I had him at the office. I was like, ‘Yo, let me hear the other records you got.’ And he’s like… ‘That’s it,’” he continued. “And the shit was so hot that he had, I was struggling. But I was like, ‘Nah, I can’t give that n***a that money. Let them give him whatever the f**k they gonna give him.’”

Desiigner later responded in the form of a diss track. In the snippet he previewed, he raps, “N***as talkin’ that 50 Cent, I be talking 50 mill/ N***as talkin’ that Timmy Turner, glad the n***a got killed / I got signed to Kanye, lil n***a, you was never worth a deal.” If we’re being honest, it’s hardly a diss nor is it something that someone like 50 Cent should even acknowledge.

Meeting Eminem

After years of grinding and getting blackballed from the industry, his deal with Eminem undoubtedly became what took him to astronomical heights. He explained that he felt like he was getting Punk’d by Ashton Kutcher because how unbelievable that experience was. 

“He flew me to LA, right? I came out. I was so bugged out from the experience that I came through the airport with the vest and s**t on. I’m lucky I took the shock plate out the front of the joint. Because when I came through it didn’t. But the lawyer that I had with me that took me to him, I get there he’s like ‘Yo’ he felt the vest and s**t and was like,’” Fif said before mimicking Em’s reaction. “‘Yo this is going to be the biggest s**t right?’ He was so excited that it made me question whether what was happening was right ’cause I just wasn’t so used to it. It felt so good that it couldn’t be like right. I’m like ‘Yo, nah.’”

Ghost Was Supposed To Die In Power Season 4

Apparently, the way Power panned out wasn’t as initially planned. According to 50, Ghost was actually supposed to die at the same time as his character in season 4. “At the end of the day, Ghost was supposed to die when I died. I extended it… The problem with working with 50 Cent is, it’s 50 Cent’s show,” he said. This came after Omari Hardwick’s complaints of being underpaid, which many believed to be a dig at 50 Cent. However, Fif clarified that Hardwick messaged him later on and stated that it wasn’t the case. Ultimately, it was an issue with Starz. 

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Best Rap Albums And Songs Of August 2024

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When it comes to the best rap albums and songs of the entire year, there is no denying that some of them came from the month of August. Overall, we got some truly dope projects, as well as some singles that helped make the summer one to remember. The biggest artists in the game came through, while underground darlings were also able to do their thing. While some say rap is in a bad place, the releases we’ve gotten in 2024 say otherwise. Below, you can find our picks for the best albums and songs of the last month.

JPEFMAFIA – I Lay Down My Life For You

Doechii – Alligator Bites Never Heal

Latto – Sugar Honey Iced Tea

Chance The Rapper – “3333”

Big Sean – “Break The Cycle”

Cordae & Anderson .Paak – “Summer Drop”

Cash Cobain & Laila! – “Problem”

ASAP Rocky – “Tailor Swif”

Let us know which of these songs and albums were your favorite, in the comments section below and stay tuned to HNHH for the latest news and updates from around the music world.

The post Best Rap Albums And Songs Of August 2024 appeared first on HotNewHipHop.

Why Did Drake Remove “Blue Green Red” From Streaming Services?

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Drake is in the midst of a comeback following his devastating defeat to Kendrick Lamar but unfortunately, his attempt has led to new hurdles. The single, “Blue Green Red,” part of the first 100 Gigs drop, was quietly pulled from streaming services this week. The 100 Gigs 3-pack on DSPs has replaced the song with “Circadian Rhythm.” 

Per Dancehall Mag, the song was pulled due to allegations of copyright infringement of Tiger’s 1991 “When.” Producer Cleveland “Clevie” Brown spearheaded the claim against the Canadian rapper, claiming that the song illegally interpolates elements of the dancehall single. Below, we dove into the details surrounding why the single was removed from streaming services. 

Read More: Drake Catches A Second Wind On The Latest “100 Gigs” Drop But Is It Enough?

The Controversial Interpolation

Drake at a nightclub.
(Photo by Gabe Ginsberg/Getty Images)

The trouble began when “Blue Green Red” was shared last month as part of Drake’s dump of unreleased content. The track was officially released on August 10, 2024, through OVO/Republic Records, a division of UMG Recordings. However, just days later, Clevie, who produced “When” as part of the iconic duo Steely & Clevie, claimed that Drake’s song used the melody and lyrics from Tiger’s hit without proper clearance. Clevie spoke with DancehallMag, revealing that his publishers, SONY/EMI, had reached out to discuss clearance. The problem is they did not provide the track for review. Despite the lack of approval, Drake’s label went ahead and released the song.

“SONY/EMI [his publishers] called on Friday and said they were seeking clearance for When but they did not send the song. We can’t clear a song without hearing it. But Drake went ahead and leaked it before. The record company [UMG] blocked Drake’s release and then went ahead and released the song over the weekend without us giving any clearance. Because they did this before the fact, that can mean problems,” he said. “They used the melody just in a section, and it was repeated twice. So this is a clear infringement.” The line in question on Drake’s song comes in the post-chorus when he raps, “What the clock inna London? Yeah, Big Ben.” Tiger’s original lyrics are “Weh di clock inna London name? (Big Ben).”

Ongoing Legal Battles

Drake speaking to an audience.
(Photo by Amy Sussman/Getty Images)

What’s perhaps worse about this situation is that Drake has previously faced similar accusations by Steely & Clevie Productions. In the past, the duo has filed lawsuits against 160 artists and record labels, including Drake and UMG. Specifically, they claim the parties infringed on their 1989 riddim, “Fish Market,” which they allege was used on songs like “One Dance” and Bad Bunny’s “Mia,” which are part of 1,800 songs listed in the lawsuit. 

Clevie explained that last-minute clearance requests are common in the music industry. “They often wait till the last minute to seek clearance. But we need to know the frequency of how the work is used so that we can evaluate what is reasonable in terms of copyright share,” he said. 

Read More: Drake Teases Unreleased Kendrick Lamar Collab In New “100 Gigs” Clip

Past Infringements & Industry Practices

Interestingly, Clevie also discovered that another popular song had used “When” without his knowledge. Usher and Nicki Minaj’s 2014 track “She Came II Give It II You” featured elements of the song. Still, no clearance had been obtained at the time. Clevie pointed out that there is a three-year statute of limitations on songs. However, there is also a non-discovery rule that allows legal action if it can be proven that the infringement was not known within that time frame.

This situation highlights the complexities of clearing samples and publishing splits – a prevalent issue in the music industry. Clevie elaborated on how copyright infringement affects not just the author of the lyrics but also the composition and authorship of the music itself. “When they infringe on a song, it affects the composition and authorship of the song as it relates to the share of the publishing rights,” he explained.

The Legacy Of Tiger’s “When”

Tiger is a legendary dancehall figure whose distinctive growl and energetic delivery helped him dominate the 1980s. Songs like “Wanga Gut,” “Puppy Love,” and “Ram Dancehall.” His collaboration with Steely & Clevie on “When” in 1991 marked a significant comeback that subsequently led leading to his first album on a major American label. Claws Of The Cat, was released through Sony Music’s Chaos subsidiary.

The single undoubtedly has had an understated impact globally but according to Clevie, the song was born from a casual conversation that he had with Tiger. “We wrote ‘When’ in half an hour, we did the riddim, and Tiger was searching songs when someone called him about a show, and he kept asking them ‘when?’,” Clevie recalled. The producer explained that the organic process behind the song has provided an enduring appeal. Evidently, they created a timeless record that has clearly influenced some of the biggest musicians. 

Read More: Drake Accused Of Stealing “No Face” Bars From Indie Artist Sixpathsss

The Future Of “Blue Green Red”

As the legal drama unfolds, the future of “Blue Green Red” remains uncertain. It seems likely that it wasn’t intended to hit streaming services ever, considering it was released for free on 100gigs.org. Unfortunately, “Blue Green Red” is facing similar restrictions to “S.O.D.,” a collaboration with Lil Yachty that debuted on Kai Cenat’s stream. The problem with the latter is that the artist they sampled, Mr_Hotspot, wanted them to create a clean version of the record for an official release, Billboard reports. Though Drake later re-released the song sans Yachty through the 100gigs.org website, it still hasn’t hit streamers yet. DJ Akademiks, however, stated that there is a music video for the song.

For now, it appears that only a select few records from the content dump will make their way onto DSPs. At least, the ones that have gone through the proper channels to gain clearance. However, we could imagine that something could be worked out in the future. Hopefully, it will allow these records to return to platforms like Apple Music and Spotify. 

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Ice Spice Uproar: 5 Controversies Cranking Up Drama For The Rapper

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It has been a rocky week for Ice Spice, whose latest scandal has her once again going back and forth online with a former friend. The New York rapper has embarked on her Y2K World Tour, where she will perform her viral hits until its conclusion in January 2025. Ice Spice has made considerable strides in her career, although she is still climbing the femcee Rap ranks. Hip Hop isn’t for the weak, and the orange-haired artist is learning that the court of public opinion can be unforgiving.

Days ago, the internet was set abuzz after rapper Cleotrapa released a series of videos to social media detailing a harrowing experience with her fairweather friend. This has garnered reactions from fans and critics, causing Spice’s behavior on the road and online to be scrutinized. As those conversations don’t seem to be slowing down anytime soon, we thought we’d revisit some controversies plaguing Ice Spice throughout her short mainstream career. It only makes sense to begin with her most recent clash with Cleotrapa.

1. The Feud With Cleotrapa

According to Cleotrapa, Ice Spice asked her friend to join her on the Y2K World Tour. However, Cleo claims Spice only gave her one day to get things together before setting out. Further, Ice Spice is accused of treating Cleotrapa poorly and refusing to allow her team to help her friend with anything, including simple tasks like carrying a suitcase. Cleo alleged she also had to pay for her own hotel rooms, was told she couldn’t eat with the tour budget, didn’t receive adequate compensation, and sometimes didn’t have a dressing room to change in at the concert. “She don’t want nobody to say nothing to her,” said Cleo. “She tried to lowkey torture me.”

Cleotrapa’s comments quickly went viral, forcing Ice Spice to come forward with a scathing reaction. She said Cleotrapa was “crashing out” and defended herself against the allegations. “The scary part of fame, honestly, is the moment that somebody feels like they can no longer use your platform or they’re not getting exactly what they want out of a situation the way that they want it. That’s when they decide to crash out every single time. I’m noticing a pattern.” Spice added, “You got less than 10,000 listeners and I’m sharing my stage with you, and you feeling so entitled. Like, you thinking that my peoples that are working for me are supposed to work for you too? That’s so crazy to me.” As far as Ice Spice is concerned, she was “only trying to help.”

The year started off shaky for Ice Spice after an artist named D.Chamberz took her and her producer and rumored boyfriend, Riot, to court. Spice’s “In Ha Mood” gained traction and ushered in new visibility for the rapper; however, D.Chamberz accused her of stealing his sound. He claimed he released his track, “In That Mood,” in January 2022 on DSPs. TMZ reported findings from the copyright infringement lawsuit, in which D.Chamberz also speculated that Riot may have heard the song in New York City clubs and radio stations.

“In Ha Mood” has accumulated tens of millions of views online, earning Ice Spice’s labels a pretty penny. D.Chamberz wants what he says to be his piece of that pie, including the song’s publishing, revenue streams generated from the track, and damages. However, a specific number was not shared. Meanwhile, Ice Spice’s attorney denied any wrongdoing. “The claim is baseless,” they told TMZ. “We will vigorously defend this case and look forward to our day in court when we will be fully vindicated.”

3. Matty Healy’s Racist Jokes

Last year, Ice Spice was at the center of controversy after The 1975 singer Matt Healy appeared on a podcast and disparaged the rapper. Ice Spice made friends with Healy’s ex, Taylor Swift, and even collaborated on a song, “Karma.” However, that wasn’t up for discussion while Healy visited The Adam Friedland Show. Instead, he spoke about DMing Spice, calling her “dumb,” a “chubby Chinese lady,” and an “Inuit Spice Girl.” Ice Spice has claimed she is Dominican and Nigerian. Still, Healy went on to mock Chinese and Hawaiian accents as everyone laughed.

Ice Spice would later say she was perplexed when she learned of the remarks. “When I had heard that little podcast or whatever, I was so confused,” she told Variety. “Because I heard ‘chubby Chinese lady’ or some sh*t like that, and I’m like, ‘Huh? What does that even mean?’ First of all, I’m thick. What do you mean Chinese? But then they apologized or whatever. And the whole time, I didn’t really care. But that’s funny because I saw him at the Jean Paul Gaultier party a couple days ago. He was like, ‘Hey, you OK?’ and I’m like, ‘Of course.’ He apologized to me a bunch of times. We’re good.”

4. Accused Of Not Paying For Wigs

When it was time for Ice Spice to get her looks together for her Y2K World Tour, a woman named Gia told the internet that the rapper’s team reached out to have custom wigs made. The owner of The Bella Brand stated she had worked with Ice Spice before, so gathering two dozen wigs didn’t seem to be a problem. However, things took a turn when Gia came knocking for her payment. She alleged that the team didn’t fork over the money, and just 24 hours prior to the delivery date of the items, the entire order was canceled. Still, she wanted some fee for her time, effort, and resources. Gia claimed that Ice Spice’s team promised to send her a service fee at least, but she hadn’t received any further contact about the cash.

“Things happen, but that is not how you handle someone that respects your business. AND ALWAYS comes through for you at the very last minute LITERALLY!!!!!!” Gia wrote. “Also, you still owe me my wig back because it’s not paid for what’s going on with that??” She added, “Thank you for making us make all of these Nicki Minaj wigs. I’m going to go ahead and not upload the rest of the screenshots since this is supposed to be ‘Princess Diana’ but it’s really always Queen Onika”.

5. The Drama With Baby Storme

Cleotrapa isn’t the only one of Ice Spice’s friends to have a fallout with the “Munch” hitmaker. Earlier this year, Spice’s “good friend” Baby Storme emerged online with some harsh criticisms. The friendship had dissipated, and Storme was ready to expose Ice Spice’s secrets. “She forced everyone in her life to sign an NDA, including me,” Baby Storme penned on Xitter. “But the only person I’m signed to is God. So I will speak the truth.”

Storme then brought receipts through screenshots of conversations showing Ice Spice making disparaging remarks. In them, they show a purported Spice speaking ill of Nicki Minaj, making racist statements, exhibiting fatphobia, and making fun of Cleotrapa. Baby Storme was accused of having a meltdown at the time, but amid this ongoing rift with Cleo, Spice’s foes have united. “I tried to warn you & you just threatened to beat me up,” Storme said to Cleotrapa. “Nevertheless, I’m sorry that happened to you.”

Cleotrapa responded, “Oh I threatened to beat you up cause you was doing all that cause was mad at ice. It didn’t give you had any respect for me boo. You really could’ve dm’d me from the jump with that whole situation if you was on some real b*tch sh*t word but thank you.”

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