It’s no secret that Moneybagg Yo likes money, but evidently, the rapper doesn’t appreciate having it thrown at him onstage. During a recent show, an audience member decided to make it rain on the “Bussin” performer, prompting him to fire back. In a clip making its rounds online, he tells the overzealous clubgoer off, making it clear that he took it as a sign of disrespect.
“Aye, throw the money at your b*tch, man,” he told the fan. “I ain’t the b*tch. F*ck wrong with you? Let’s get this sh*t right, n***a.” Based on his reaction, he took offense to being treated like a stripper and wasn’t about to let it slide. Fortunately, things didn’t escalate any further from there, and Moneybagg Yo simply proceeded with his show. The same can’t be said for every rapper who’s been showered with cash in recent months, however.
Last month, for example, Offset was performing at a club when someone in the front row threw a stack of money at him. Instead of brushing it off, he turned around and headed towards the person to confront them. It appeared as though security was able to intervene before things got too out of hand, though the two of them continued throwing cash at each other for some time. Rick Ross also dealt with a similar situation in January, when he appeared at a nightclub and had a fan throw a small stack of money right in his face. Looking irritated, he returned the favor, hitting the man in the face with some bills from close range.
What do you think of Moneybagg Yo getting upset after a fan threw cash at him onstage? Do you think he had a right to be angry, or was he overreacting? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
It’s been a back-and-forth week of news for Cardi B fans. After teasing her new album repeatedly last year, she eventually had to level with fans and confirm that it wasn’t dropping in 2023. The teasing continued into 2024 and even elevated to dropping new singles. Cardi has shared both “Like What (Freestyle)” and “Enough (Miami)” so far this year. While the former was met with mostly underwhelmed shrugs the latter has performed far better both with fans and on the charts.
But as fans felt the momentum towards a new album building, Cardi shared some surprising news in a tweet a few days ago. While responding to a fan claiming she’s earned a break from social media, Cardi seemed to imply that she’s earned a break from everything. She claimed in the now-deleted tweet that her album was no longer dropping in 2024 so she could relax instead. But in the wake of a her newly revealed Rolling Stone Cover Story, her label tweeted something different. “Cardi B’s upcoming album is one of the most anticipated this year. We can’t wait put it out, even if we have to sneak into her studio and take it!” Atlantic Records said in a recent tweet. The claim that it will be one of the best albums of “this year” seems to contradict what Cardi claimed. Check out Atlantic’s newest post about Cardi’s album below.
Cardi B’s upcoming album is one of the most anticipated this year. We can’t wait put it out, even if we have to sneak into her studio and take it! https://t.co/VQXTut0OWM
— Atlantic Records (@AtlanticRecords) May 16, 2024
What do you think of Cardi B’s label contradicting her claims that a new record isn’t dropping this year? Do you think we will ultimately get her long-awaited second studio album in 2024? Let us know in the comment section below.
Earlier this year, two of Diddy’s mansions in Miami and LA were raided by Homeland Security. Shortly after, feds stopped the mogul and his crew at the Miami-Opa Locka Executive Airport, where 25-year-old Brendan Paul was placed under arrest. Reportedly, authorities charged him with possession of suspected cocaine and possession of suspected marijuana candy, which are both felonies in the state of Florida. Paul was also named in Rodney “Lil Rod” Jones’ lawsuit against Diddy, in which he’s accused of handling the Bad Boy Records founder’s drugs and guns.
Now, Paul has reportedly avoided jail time by enrolling in a drug diversion program. “Brendan accepted the prosecutor’s offer to permit his entry into the diversion program which, after completion, the case against him will be dismissed in its entirety,” his attorney Brian Bieber told TMZ.
A rep for the Miami-Dade State Attorney has also confirmed that this is a standard offer for non-violent first-time offenders. Reportedly, the drug diversion program should take Paul around six months to complete. If he’s able to finish it without any problems, he won’t have to serve time behind bars or on probation. It remains unclear exactly how Paul was first linked to Diddy, though it’s been reported that he started making beats on his laptop in 2020, and ended up working on The Love Album. It’s also been reported that Paul has worked as Diddy’s main assistant.
Things may be looking up for Paul, but Diddy is still in hot water. He’s facing various civil lawsuits that contain allegations of sexual assault, abuse, human trafficking, and more. He’s maintained his innocence and appears to be spending his time focused on his family as of late. What do you think of Diddy’s alleged drug mule Brendan Paul avoiding jail time? Are you surprised or not? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
We’re back to the good news portion of the cycle, as Cudi posted two videos on X (formerly Twitter) to update his fans on his recovery and Insano World Tour before sneaking in mention of imminent new music.
“I’m all good,” he said in the first video. “I’m feeling fantastic. Healing is going great. Therapy has been great. No pain. I think I’m gonna bounce back from this stronger than ever, so there’s that. We have rescheduled about 80 percent of the tour. […] We just have to lock in some dates, but I’ll give you guys a heads up on when that will be.”
Cudi explained that his Insano World Tour was “gonna be physically demanding, so I might have to change some things, depending on how my recovery goes,” but overall, he’s optimistic.
And then, Cudi spent five minutes hyping up his next batch of music.
“I started something toward the end of the year last year that I really think is something special,” he said. “I want to give you a taste of it soon. Hopefully, before summer is up, you’ll hear something — something tasty, something new. Every album is a reinvention, yeah? You’ve known me. You know I always like to switch it up, try something new, [and] challenge myself. I think this is gonna remind people of the days where I was really trying to explore and try to feel something in the music.”
Cudi referenced his past classics like “Up Up & Away,” “Erase Me,” and “Heart Of A Lion” as the sort of “anthems” he’s aiming to reproduce with his forthcoming album, except “elevated” to represent “me now, happy, in a new place.”
Billie Eilish’s new album HIT ME HARD AND SOFT is due out tonight. It’s expected to be one of the biggest pop releases of the year and could become a big deal when next year’s award season strikes. Unsurprisingly, she’s been teasing the album quite extensively in the past few weeks despite not releasing any singles from the project in advance. One of those promotional events was a listening party she hosted for fans at Barclays Center earlier this week. But the listening party reminded fans of someone else in particular.
Variety shared a video from Billie’s newest listening party where she and her brother Finneas dance around stage as her new music plays to the crowd. In the comments, there’s one name that keeps coming up, Kanye West. West has been fond of the listening party format for years now dating back to a high-profile trio of shows in the lead up to the release of DONDA. Even before that he once famously combined a debut of his newest fashion line with a listening event for The Life Of Pablo in 2016. It’s worth noting that Kanye certainly didn’t invent the listening party format but his increased use of it has causes fans to associate it with him. That’s why multiple replies to the video accuses Eilish of ripping off West’s format. Check out the video and fan reactions to it below.
West’s listening parties haven’t always gone over well with fans. Earlier this year he performed during Rolling Loud Los Angeles for a special Thursday show. Despite the festival hinting on social media that it would be an actual performance, the event was simply a listening party for the recently released VULTURES 1. Though it was an event packed with guests many fans still bemoaned the lack of an actual performance.
What do you think of Billie Eilish’s recent listening party for her new album being compared to West’s listening parties? Do you think her event was too similar to some of the VULTURES listening parties West has thrown this year? Let us know in the comment section below.
Baby Keem has rapidly emerged as one of hip-hop’s most exciting new voices, bursting onto the scene with a lyrical skill well beyond his years. Despite still being early in his career, the Las Vegas-bred rapper, born Hykeem Jamaal Carter Jr., has already amassed an impressive catalog highlighted by adventurous rhyme schemes, genre-blurring production, and sharp wordplay that belies his age of 23. His critically acclaimed debut album The Melodic Blue has secured Keem’s place in modern rap, and the following essential Baby Keem songs provide an immersive look at his artistry and a lyrical wizard poised for greatness.
Baby Keem’s breakout smash “ORANGE SODA” arrived on July 16, 2019 as the lead single from his mixtape Die For My Bitch. The self-produced track, co-crafted with Keanu Beats, depicts Keem rhyming about his romantic interest, metaphorically dubbed his “orange soda.” It explores the complexities of their tumultuous relationship, addressing her demands and meddling friends. Despite being a sleeper hit initially, “ORANGE SODA” became Keem’s first Billboard Hot 100 entry in January 2020 at #98. Subsequently, its widespread popularity led to a music video dropping four months after the Baby Keem song’s unveiling. Certified platinum within a year, the fan-favorite cut established Keem’s budding stardom.
“Honest“
The candid song “HONEST” arrived as the second track off Baby Keem’s 2019 mixtape Die for My Bitch. In his verses, Keem deals with authenticity amidst feelings of isolation and the façade of transactional relationships. Despite confessing infidelity, he questions whether his partner reflects his honesty. Keem’s lyrics hint at his desire for genuine connections. Produced by Sounwave, Keem, and Bēkon, “HONEST” has undoubtedly solidified as one of the rapper’s most-streamed offerings to date. Racking up over 300 million Spotify plays by August 2023, the July 19, 2019 release resonated deeply with fans drawn to its raw vulnerability.
On The Melodic Blue’s laid-back track “lost souls,” Baby Keem paints a poignant portrait of individuals seduced by celebrity’s allure, disconnected from their authentic selves. His lyrics metaphorically depict these “lost souls” surrounding the narrator. They explicitly prompt Keem’s desire for a genuine connection with someone removed from fame’s trappings. Released September 10, 2021, the Baby Keem song samples Che Ecru’s “Sex A Pill” and went on to receive a remix featuring Brent Faiyaz for the album’s deluxe edition. Ultimately, “lost souls” achieved RIAA gold certification on June 7, 2022.
The highly-anticipated collaboration “Family Ties” marked a seminal moment for real-life cousins Baby Keem and Kendrick Lamar. Released in August 2021, the anthem served as the fourth single from Keem’s debut album. It was also Lamar’s first offering under his pgLang imprint after a hiatus. With its nostalgic cover art paying homage to Lamar’s good kid, m.A.A.d city, clever lyrics showcasing Lamar’s newly-unveiled “Oklama” persona, and an award-winning music video, “Family Ties” celebrated their unbreakable brotherhood. The Baby Keem song’s widespread acclaim, including Grammy and BET triumphs, cemented its lasting impact.
Baby Keem revealed the lead single “durag activity” from his debut album The Melodic Blue on April 30, 2021. He recruited Travis Scott for his first featured collaboration. The hard-hitting track, produced by Brick!, finds the rappers exuding self-assured bravado. They trade bars about their lavish lifestyles, wealth, and romantic pursuits over a snapping, distorted beat. The song’s title nods to the durag representing their cultural swagger.
Upon release, it sparked a playful Twitter exchange when Madonna evidently donned a bandana printed with the song’s name. Keem was prompted to cheekily offer to send her an actual durag. Preceded by teasers in March, the song made waves with an accompanying music video. By merging raw charisma into slick lyricism, “durag activity” announced Keem’s arrival as rap’s latest prominent voice, strengthened further by Scott’s star power.
“Trademark USA“
Kicking off The Melodic Blue, the opening track “trademark usa” (originally titled “llc the dead” in early album tracklists) immediately immerses listeners into Baby Keem’s distinctive soundscape. With hype building after being teased during his “ORANGE SODA” video, the song’s production basically flips a reversed gospel sample over sparse instrumentation, allowing Keem’s introspective bars to shine. His candid lyrics delve into his meteoric rise, family sacrifices, and naysayers-turned-supporters. It’s all wrapped in an enigmatic title that hints at Keem’s artistic identity and American roots. Moreover, as an album opener, “trademark usa” highlights the depth of Baby Keem’s songs. It establishes him as a bold new voice not afraid to reveal a vulnerable side amid his unconventional sonic capabilities.
16
The poignant closing track “16” on Baby Keem’s debut album The Melodic Blue explores issues of self-worth and upbringing while poetically exploring the dynamics of a relationship. Teased months prior through merch and early tracklists, the song’s titular number reflects its sequential placement. Keem’s introspective lyrics read like an open dialogue, further empathizing with a lover’s hidden struggles stemming from an impoverished background. He urges this unidentified partner to appreciate their inherent value above materialistic concerns. The refrain “Just appreciate yourself” emphasizes self-acceptance over external validation. “16” provides a nuanced look at how one’s origins can influence identity and emotions. He concludes his acclaimed debut with a piece that highlights its rich themes.
Throughout the week, social media users have seen countless heartwarming posts from their favorite artists celebrating their moms in honor of Mother’s Day. While Future decided not to join in on the fun with a post of his own, the rapper’s sister Tia Wilburn did, and he later shared it on his story. She posted various sweet photos of their mother Stephanie Jester on a yacht. In one of the photos, Jester posed with her arms wrapped around Future, who gazed off into the distance.
Jester herself also shared a photo of the two of them on her Instagram Story along with a sweet message to her son. “You was born for this King. @future [heart emoji] mommy,” she wrote. The photos have since gone viral, with countless fans sharing their reactions to them on social media.
While most commenters are simply blown away by Jester’s beauty, others are shocked by the fact that Future has a relationship with his mother, given his playboy persona. “Future having a mom that’s alive and well is REALLY throwing me for a loop,” one X user writes. “The way he acts I thought he was raised by wolves,” another jokes.
Though many of the reactions online allude to his rocky past with relationships, others are praising the performer for showing love to his mom and praising her for raising someone who’s managed to find so much success. “This lady gave us Future,” one supporter writes. “Show some respect.”
Social Media Reacts To Future’s Mother’s Day Post
What do you think of Future’s new photo with his mother, Stephanie Jester? What about fans’ response to it? Share your thoughts in the comments section, and keep an eye on HNHH for more updates. Check out some social media users’ reactions to the rapper’s Mother’s Day post down below.
Future having a mom that’s alive and well is REALLY throwing me for a loop. https://t.co/oXpKcStj1k
Cardi B has already dropped two new singles this year and fans are hoping that isn’t it for the rapper. She’s taken an extended absence from new studio albums since her 2018 debut Invasion Of Privacy. While she’s released a number of singles in that time like “WAP” and “Up” fans have continued to call for a long-awaited sophomore effort. Cardi has discussed the album quite a bit and even teased it repeatedly to her fans. But she also continues to pop up all over the place even as fans call for her to hone in on a new record.
The most recent place is the cover of Rolling Stone where she did a new photoshoot and cover story. Fans didn’t exactly take kindly to the title “The Nonstop Hustle Of Cardi B” given how long its been since her last studio album. In the pictures she shared rom the photoshoot she sports a trio of looks showing off her range of style. In the interview itself, she discusses everything from her surprisingly large workload behind-the-scenes and even how she plans to vote in the upcoming American election. Much to the dismay of fans though, she doesn’t reveal any information about a new studio album. Check out the cover of her upcoming issue below.
Cardi made and then deleted a tweet earlier this week that may have implied fans will need to wait even longer than originally anticipated for new music. In a response to a tweet about her deserving a break from social media, Cardi claimed that there wouldn’t be a new album in 2024 so she can take the time to relax. Fans are hoping that her deleting the tweet means there could be a new record after all.
What do you think of Cardi B discussing her workload in a new interview with Rolling Stone? Which of the three outfits she shows off in her newest post is your favorite? Let us know in the comment section below.
The Hangout Music Festival returns for its 14th year this weekend with headliners Lana Del Rey, Odesza, and Zach Bryan. The festival runs from Friday, May 17, to Sunday, May 19, at Alabama’s Gulf Shores. You can see the set times for this year’s festival below.
The Hangout Music Festival was launched in November 2009, with the first festival in 2010. It has run every year since, except for 2020 and 2021 due to COVID-19, and also provides a full size roller rink, beach volleyball, and an in-ground pool at the main stage.
Friday, May 17
Hangout Stage: The Stews (1:30-2:15), David Kushner (3:00-4:00), A Day To Remember(5:00-6:00), Dominic Fike (7:15-8:15), Lana Del Rey (9:30) Shoreline Stage: Brenn! (2:15-3:00), The Beaches (4:15-5:00), Del Water Gap (6:15-7:15), NLE Choppa (8:30-9:15) Mermaid Stage: Linka Moja (1:15-2:00), Laci Kaye Booth (3:30-4:15), G Flip (5:45-6:30), Matt Maeson (8:00-9:00) Monster Beach Club: Madds (1:00-2:00), Coco & Breezy (3:00-4:00), LF System (5:00-6:15), Eliza Rose (7:15-8:15) Boom On The Beach: Bunt (2:00-3:00), Daily Bread (4:00-5:00), Troyboi (6:15-7:15), The Chainsmokers (8:15-9:30)
Saturday, May 18
Hangout Stage: Knox (1:30-2:15), Chappel Roan (3:00-4:00), Jessie Murph (5:00-6:00), Cage The Elephant (7:15-8:15), Odesza (9:30) Shoreline Stage: Dasha (2:15-3:00), Dylan Gossett (4:00-5:00), Qveen Herbie (6:00-7:00), Koe Wetzel (8:15-9:15) Mermaid Stage: Willow Avalon (1:15-2:00), The Taylor Party (3:30-4:30), Alana Springsteen (5:45-6:30), Flyana Boss (8:00-8:45) Monster Beach Club: Darius (12:30-1:15), Sommer Ray (1:15-2:00), Brandi Cyrus (3:00-4:00), Vnssa B2B Nala (5:00-6:15), Le Youth (7:15-8:30) Boom On The Beach: Westend (2:00-3:00), Disco Lines (4:00-5:00), Sexyy Red (6:30-7:15), Alison Wonderland (8:30-9:30)
Sunday, May 19
Hangout Stage: Little Stranger (1:30-2:15), All Time Low (3:00-4:00), Nelly (5:00-6:00), Renée Rapp (7:15-8:15), Zach Bryan (9:15) Shoreline Stage: Hemlocke Spring (2:15-3:00), Dexter And The Moon Rocks (4:15-5:00), Megan Moroney (6:00-7:00), Doechii (8:25-9:10) Mermaid Stage: Jaime Wyatt (1:15-2:00), Tanner Adell (3:30-4:15), Paul Russell (5:45-6:30), Wyatt Flores (8:00-9:00) Monster Beach Club: Absnth (1:00-2:00), Inji (3:00-4:00), Austin Millz (5:00-6:15), Chromeo (DJ Set) (7:15-8:15) Boom On The Beach: Odd Mob X Omnom Hyperbeam (2:00-3:00), Kasbo (4:00-5:00), Dom Dolla (6:15-7:15), Subtronics (8:15-9:15)
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Please Don’t Cry isn’t just Rapsody’s most personal and vulnerable album – it’s also her best. It’s often been said that music is therapy, but sometimes, going to therapy leads to making better music. For as much has been made of authenticity in rap over the past several weeks, just what that means has become increasingly debatable. Thankfully, Rapsody’s latest, in addition to being one of those timeless projects that will stick to listeners’ ribs long after the last song has played, is a refreshing palate cleanser for a month of vitriol – as self-love tends to be.
Self-love is also the centerpiece of the conversation Rapsody and I had about the new album and the positive growth she’s experienced since we last spoke. The album had been in the works since then, but Rapsody withheld it all this time to ensure that it would be perfect – or at least, as close to that ideal as any art can ever get. The time was well spent; while a prototype version of this project could have been a top release in anyone else’s catalog, the four years Rap spent tweaking the sound and evolving as a person resulted in an album that stands alongside all-time classics like The Miseducation Of Lauryn Hill and Mac Miller’s Swimming, albums that have also sparked the sort of emotional reaction and introspection Please Don’t Cry does.
Please Don’t Cry, what a title.
That’s what it is, you should. You should allow yourself to feel. Whatever that feeling is — and it may not be sad — allow yourself to be human. That’s the core and the root of what that statement means. It’s ironic because no, but please do. Laugh when you cry. Laugh when you’re in love so much, your eyes drool. Rinse your soul of the pain. Don’t hold it. Release it so you can feel lighter.
And I did a lot of releasing in that way, during my healing. I cried a lot. I allowed myself to feel a lot. I got angry a lot. I allowed myself to feel all the things, but I also found my joy again. And that’s why the title meant so much to me. I was on Pinterest and I found the title within a quote, and it said, “No, please don’t cry. You won’t always feel so broken.” And that’s what it is. It’s all temporary. It doesn’t last forever. But the grace is, allow yourself to feel it, but don’t sit in it. That’s all.
Interestingly enough, this was one of those albums that brought me to the point of tears. Most recently, Tierra Whack’s “Two Night” did that for me; before that, it was Rexx Life Raj. What are the albums in hip-hop that have done that for you?
Definitely, The Miseducation Of Lauryn Hill — “Tell Him” [and] “Zion.” Mac Miller’s “2009.” The whole album because of his situation, but particularly, “2009” brings it out. Jay-Z’s “Lost Ones.” Ghostface [Killah], “2nd Childhood.” I want to throw [Erykah] Badu in there because she’s hip-hop to me, so “Time’s A Wastin.” I know it’s not rap. It’s not rapping, it’s hip-hop.
Tell me about working with Erykah on “3:AM.”
I knew, in the beginning, I didn’t want to have a lot of rap verses because it was so personal. I wanted to have a lot of singers on it to evoke that emotion in what soul music does, and I can’t sing. So every song, I would do the song first, and we would sit and really live with the record and say, “Whose instrument, as far as voice, do we hear to complete the story and what we’re trying to say?” So Badu was the first name that came to mind. I listened to it, and that’s who I heard. And I’m thankful that she was so graceful and said, “Yes.”
We worked on “3:AM” for about 10 months. And I appreciated the process of watching how she crafts her records, and that’s how I grew in that way.
Why did you want to use this group of people, especially Baby Tate, who was one of Uproxx’s first cover artists?
I love Baby Tate as a rapper, but even more as a singer. But I originally wanted “A Ballad For Homegirls” to feel like a conversation amongst several women. I told her how much I appreciate her singing voice, and I just thought it would be dope. But I love that she gave us a little rap and a little singing. She’s so gifted and talented. She knocked it out the park.
Lil Wayne, I’ve been wanting to work with Wayne. I’ve been listening to him since I was 13. So he’s been on my list for a very, very long time, but I’ve never ever sent him a record because I’ve never had one. I never want to force it. So when we did, “Raw,” it felt good. And I was like, “I know he would kill it. I would love to hear his perspective on this particular topic. He’s who I hear.”
“Whose tone fits it? Whose frequency?” That was how I approached this cast. Badu taught me how to slow down.
I don’t want to bring up beef while we’re talking about love, but we’re in this place where the narrative of always seems to be, “He’s got 24 hours to respond.” Everything is very right now, now, now, now, now, now, now, now. And you’re like, “Mmm, let me wait. Let me chill.” Why was now the perfect time for this album?
I first started this project in March of 2020. And the first weekend I started, me and Eric G did 12 songs in two days. And I told him, I said, “We only need three more records, and we’re done.” I remember going to 9th Wonder and playing it for him at that time, and he was like, “This is your best work. It’s heavy. It’s really heavy, but your best work.” And I went back, and it was good, but I said, “I don’t know if I want a record so heavy, that is good, but people don’t want to revisit it because all it is heavy.”
So, I just kept recording. And it’s the best thing that I did because I got to really go through the healing process and not just start it, do some songs, and this is it. No, go through the whole process of healing. And I learned so much more about myself, why I do the things I do. I got to reintroduce myself to me. And I just started pouring out, pouring out, pouring out. Having a conversation with friends, they were like, “Just show everything about you; the good, the bad, the ugly, the emotional, the anger.” And so that’s what I did.
I poured out until I was like, “I’ve covered everything. I’ve covered everything.” Sometimes, four or five times over again on different beats, right. And I said, “I have nothing else to say.” And then it was about getting the right records and telling the story.
Speaking of that pouring out, when you’ve done that, what comes after that? Because now, it feels like you’ve raised the bar so high. How do you top yourself?
I really think, for the most part, projects are somewhat a snapshot of your life and where you are. So right now, I’m just kind of living. I’ve started to live by this Andy Warhol quote, which says, in a nutshell, “Just do the art. Put it out and let the people decide if it’s good or bad. And while they’re deciding, you’re onto the next thing.” My goal with every project I’ve done is to grow in some way. One might be like, “Get your cadence.” One might be, “Get your voice and inflection right.” This one was to be vulnerable, fearless, to have a deeper connection with people. I have three or four ideas of albums I want to do.
I started 2020, working on three. So I have so many ideas in my head. If I could drop four in a year, I’d be like, “Yes.” There’s so much more of me that I want to tell and give. So it’ll come together the same way this one came together. I just got to let it happen and see where I’m guided.
Please Don’t Cry is out now via We Each Other/Jamla Records/Roc Nation/Universal Music Group. Find more information here.
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