Megan Thee Stallion is currently gearing up to release her new single “BOA” at midnight. To prepare, she’s dropped a cryptic new teaser on Instagram, giving fans a taste of what’s to come. In it, a narrator declares that a female boa constrictor is “on the hunt again.” After a graphic description of how the snake will kill its prey, it’s seen attacking an alligator.
For obvious reasons, Meg’s latest post has fans speculating that she might go after someone on the new track, though this is unconfirmed. “Oh you finna have the internet in shambles tonight,” one fan commented on her post. “Is she about to go in for the kill?” another wondered.
It’s to be seen exactly what Meg will serve up on her upcoming single, and fortunately for fans, it’s far from the only thing they have to look forward to. The Houston-born performer is also in the process of readying her new album, already setting the bar high with her tracks “Cobra” and “Hiss” earlier this year. She’s yet to confirm an official release date for the project, though during an interview with Good Morning America in January, she shared plans to unveil it “on time for the summer.”
Meg is also kicking off her eagerly anticipated “Hot Girl Summer” tour next week with a performance in Minneapolis. She’ll be joined by her “Wanna Be” collaborator GloRilla for the tour, which will see them make stops in over 30 cities across North America and Europe. What do you think of Megan Thee Stallion’s eerie new “BOA” teaser? Are you looking forward to hearing the track when it drops at midnight? What do you hope to hear on her upcoming album? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
Shannon Bex is renowned as a former member of the hit-making girl group Danity Kane. She has achieved a net worth of $1 million by 2024, as reported by CelebrityNetWorth. Her vocal talents and dance abilities have marked her journey in the music industry. Later, she transitioned into the business realm, showcasing her multifaceted skills and entrepreneurial drive.
Rise To Fame With Danity Kane
Wanita Woodgette, Aubrey O’Day, Dawn Richard, Aundrea Fimbres and Shannon Bex of “Making the Band 3” (Photo by SGranitz/WireImage)
Shannon Bex first gained national attention as a contestant on MTV’s reality show Making the Band, where she became a founding member of Danity Kane. The group quickly rose to fame with their self-titled debut album hitting number one on the Billboard 200 chart in 2006. Known for their R&B and pop hits like “Show Stopper” and “Damaged,” Danity Kane became a symbol of early 2000s girl group success, largely due to their catchy tunes and dynamic performances, with Bex’s dance background and strong vocals playing a crucial role.
Transition Into Business & Solo Career
LOS ANGELES, CA – NOVEMBER 24: (L-R) Recording artists Andrea Fimbres and Dawn Richards of Danity Kane. Kendrick Lamar and Shannon Bex and Aubrey O’Day of Danity Kane attend the 2013 American Music. Awards at Nokia Theatre L.A. Live on November 24, 2013, also in Los Angeles, California. (Photo by Larry Busacca/AMA2013/Getty Images for DCP)
After Danity Kane, Shannon Bex ventured into a solo career, exploring country music, a genre that reflected her music taste and diverse artistic influences. Her solo endeavors showcased her versatility and commitment to her craft, though her main spotlight turned towards business. Alongside her music, Bex co-founded VEECON, a multi-platform network to empower artists in the digital age. This venture demonstrated her foresight into the evolving music industry and her dedication to supporting fellow artists.
Ongoing Influence & Entrepreneurial Ventures
NEW YORK, NY – JUNE 02: Shannon Bex, Dawn Richard, and Aubrey O’ Day of Danity Kane visit the Empire State Building to celebrate the release of their new single “Lemonade” on June 2, 2014 in New York, United States. (Photo by Mike Pont/FilmMagic)
In addition to her music and business ventures, Shannon Bex continued to engage with her fan base through various media appearances and performances. Her entrepreneurial spirit led her to explore opportunities beyond traditional music paths, including a notable return to the spotlight with DK3, a reformation of Danity Kane with two of the original members. This endeavor allowed her to reconnect with longtime fans and reintroduce her talents to newer audiences.
LL Cool J is a hip-hop legend. He’s been relevant for longer than some rappers have been alive, so he gets to say what he wants during interviews. LL went on The Shop with Lena Waithe recently, but rather than target younger rappers, he had criticism for another legend. The NCIS star took Andre 3000 to task for refusing to put out a rap album, and instead give fans an album of flute instrumentals. He was baffled by Andre’s decision. He’s only confused by the flute album, he’s frustrated thinking about the rap album that Andre could have made.
The whole thing came about when Waite asked LL Cool J about inspiration. The rapper noted that he likes to express himself in different mediums, whether it be acting or music. “Sometimes some things are more fascinating to an artist,” he conceded. The thing he couldn’t understand was abandoning a calling. Which is the very thing he felt Andre 3000 did when the Outkast member gave up rapping. “Andre,” he called out. “Do we want him to make a rap album? Sure. But he’s like, ‘I’m on this flute game.’ This is my jam right now, I’m super into this.’”
The man born James Todd Smith appreciates Andre’s artistry, but he wants bars. “I need him to spit, though,” he asserted. “I need him to spit. Flutes? Man, come on, bro. His bars is all the way up. I’m very clear. Not the flute, B. Not the flute. Don’t do the flute.” Lena Waithe came to the defense of Andre’s flute album, New Blue Sun, by describing it as calming. LL Cool J wasn’t having any of it. He likened the album to the notion of him making a violin album. “You wanna hear me do a violin,” he asked Waite. “You might not wanna hear me do sh*t, but do you wanna hear me do a violin?” The comment won over The Shop co-host, Maverick Carter. He agreed that he wanted to hear Andre 3000 “spit” again.
LL was not just critical of other artists, however. He was willing to be brutally honest about his own work. He wait Waite and Carter that he’s put out some bad albums over the course of his career. “I make bad albums, but I also have some smack, some crazy shit too,” he noted. “But I made bad sh*t, or sh*t that people didn’t respond to because that was where I was at.”
He went on to explain that sometimes he made albums knowing they wouldn’t connect with the public. “Sometimes I make records in a vacuum,” he concluded. “Just because it’s for me and then sometimes I make albums for the culture.” Who knows, maybe fans will get that violin album he joked about one day.
Regional sounds have existed within hip-hop since the birth of the genre. While they were perhaps at their most clearly defined during the West Coast and East Coast battles of the 90s, they haven’t gone anywhere. The rise of southern rap later that decade set in motion a series of dominoes that led to contemporary trap styles. And the internet has allowed even more regional sounds to become identifiable to rap fans. And Ebro recently found himself in hot water when he weighed in on Toronto’s alleged lack of a regional sound while talking about the Drake and Kendrick Lamar beef.
During a radio discussion about the beef he took some time to shift the focus a bit. He made comments about both Drake and the city he comes from not having a definitive regional sound. As you’d expect, that was met with very mixed reactions by fans. In the comments, they continue the debate. “Drake do have a sound though , it’s young money they forgot that” one fan suggests. “Drake is a rapper from TORONTO and nobody was checking for Toronto for rap until Drake showed up. So how is Drake supposed to have a regional identity in a place that no one was checking for rap music?” another fan suggests. Check out Ebro’s full comments and the fan debates below.
Drake currently appears to be licking his wounds following a hostile beef with Kendrick Lamar. The two went back and forth for weeks resulting in some deeply personal disses. At the end of his most recent track “The Heart Part 6” Drake claims that he’s done with the beef. It’s yet to be seen if Kendrick has any response to the accusation that rumors he spread about Drake having a secret child were actually planted by Drake’s team.
What do you think of Ebro’s comments about Drake and Toronto lacking a definitive rap style? Do you agree with him that there isn’t anything recognizable about the cities rap output? Let us know in the comment section below.
Happy 54th birthday to Ghostface Killah, one of the best to ever rap. As a member of the Wu-Tang Clan, he’s been engrained in hip-hop culture for the part 30 years now. In fact, it’s not hard to see the collective as a whole’s influence in the contemporary generation of MCs. Many within the Wu and within the Griselda crew have pointed out the kindred spirit between them, and any gritty lyricist you love today has roots in the Shaolin land. Of course, it’s thanks to revered spitters like Ghost that this cultural and artistic connection exists, but don’t think that history and time have eroded his untouchable qualities as a wordsmith and storyteller.
On albums like Ironman (1996), Supreme Clientele (2000), and 2006’s Fishscale (plus, hopefully, the upcoming Set The ToneLP), you’ll find plenty of vivid imagery, staggering wordplay, and cinematic storytelling, but don’t think that’s where the buck stopped. Tony Starks continued to collaborate prolifically, play with new conceptualizations of tried-and-true ideas, and process more experiences to turn into excellence. You can determine for yourself whether these Ghostface Killah songs (solo material, not feature verses) match up to his most classic work. But you’d be a fool to label him anything less than one of the greatest hip-hop artists alive, or to classify some of his 2010s and 2020s output as undeserving of that praise.
“Love Don’t Live Here No More” Feat. Kandace Springs – 36 Seasons (2014)
In chronological order, we start with Ghostface Killah’s 2014 concept album 36 Seasons, centering around Tony’s return home after nine years behind bars. This is one of the opening cuts, and narrates how much he looked forward to seeing his girl after so long. Through detailed narration, a tender instrumental, and conflicting emotions about loyalty and loneliness from both romantic parties, Ghost creates a very hard-hitting cut. It’s an amazing sample flip to boot, and suggestive lines like “Gone for 9 years like 9 months to a child” give some more depth to what this love’s dynamic actually looks like.
“Six Degrees” Feat. Danny Brown – Sour Soul With BADBADNOTGOOD (2015)
Over one of the oddest instrumentals Ghostface Killah’s tackled over the last decade, he crafts really striking chemistry with none other than Danny Brown. Hearing the vocal contrast between the former’s composed force and the latter’s unleashed yelps is a true treat, especially when the beat switches between stronger boom-bap drums and swings and more jazzy, eerie, and syncopation-focused percussion. It’s no wonder the instrumental can come across so haunting with lines like, “Sixth sense, six pack, six degrees of separation / My evil third eye blinks with no hesitation” sticking in your head. Heavily reverbed and cavernous guitar plucks, woozy tones, and an overall minimal atmosphere really emphasize the hedonistic nature of their boasting.
“Resurrection Morning” Feat. Raekwon & Bilal – Twelve Reasons To Die II With Adriane Young (2015)
Ghostface Killah’s known to be larger than life: overwhelming orchestral instrumentation, energetic verses of life’s realities and mysteries… the whole shebang. But over the past decade, few collaborations or tracks in his catalog are quite as passionate, evocative, or dramatic as this one, which centers around a man sacrificing himself seemingly to exact revenge to achieve atonement or to curse another. Whether it’s choral vocals, ringing organ chords, hard-hitting boom-bap drums, electric guitar strums, or uplifting piano arpeggios, “Resurrection Morning” really gives weight behind gut-punching lyrics like, “Murderer, take lives like mine’s was once taken / Or leave my seed in this cold world, my heart’s aching.” There are also some striking chord changes throughout that not only keep the song dynamic but also illustrate the complexity of emotions within.
“Buckingham Palace” Feat. Benny The Butcher, 38 Spesh & KXNG Crooked – The Lost Tapes With Big Ghost Ltd (2018)
At face value, there’s not much new to say about “Buckingham Palace”: a loud and bombastic horn-led boom-bap beat, equally boisterous bars like, “We kamikazes, microphone aeronautics / We bounce off promoters like West Coast hydraulic,” and fiery verses from the guests. But not only is this a well-balanced and properly electrified throwback, but it also shows off a lot of dynamic blow-trading between all these MCs. Spesh and Benny, in particular, trade bars off quickly, melding their individual verses into one. All in all, this will probably hit especially hard for the old heads out there, and is among the best examples of P Tone retreading old territory.
When they hit, there’s nothing like a Wu-Tang Clan reunion, and this is probably the biggest highlight on the collaborative album between Ghostface Killah and CZARFACE (Inspectah Deck, 7L and Esoteric), although ironically enough, Inspectah isn’t on this one. Instead, Ghost and Esoteric trade between two instrumental tones over the same percussion: the former’s contains menacing horns for his villainous energy (“I got a question for the mirror, ‘The Ballys or the Wallos?’ / ‘The Desert E, or should I do the pound with the hollows?’“), whereas the latter spits more lackadaisically over cold synths and ghostly pianos and pads. The switches between the two are always worthy of a stank face, and it’s more evidence of the now-54-year-old working perfectly with whatever teammate is by his side in the booth.
The closing track on the somewhat self-titled 2019 album from Ghostface Killah is an unconventional reggae flip that nonetheless contains one of the best beats on the project, and a refreshingly laidback atmosphere for him to attack. He’s still able to come through with aggressive deliveries coating more luxurious and nature-tuned lines like, “Sharpened machetes that slice through the trees for berries / Busting coconuts, Selassie legendary” or still bragging threateningly with lines like “Machine gun mask on, looking like a bunch of goalies.” But most impressively, neither contrasting approach dilutes the other. The Staten Island native has missed some fusions before, but this is just as sunny as it is sonning any rapper attempting to match his energy.
Finally, we have a bit of a cop out. But as one of two Wu-Tang MCs on here for the group’s first official single in six years in the year of hip-hop’s 50th anniversary, we wanted to shout out Ghostface Killah’s emotive, powerful, and deeply verse on “Claudine.” Per legendary Wu producer Mathematics, who’s behind the board here, this song is a tribute to his mother and to “all mothers, wives, and young women,” and is a soulful tale of love, perseverance, pain, and togetherness. Method Man goes over a complicated relationship with a partner, whereas Ghost honors his deceased mother. “Her face was cold, she felt my tears in the casket / And every drop that fell on her cheek, I cried acid.” It summarizes much of what makes his work transcendent in a powerful way, and we can’t wait to hear what else he crafts.
Kendrick Lamar and Drake’s lyrical feud continues to have a chokehold on hip-hop fans everywhere, and it looks like K-Dot is coming out on top, at least in terms of streams. According to a new Tweet by Kurrco, the Compton-born performer’s diss track “Not Like Us” got three times the amount of streams on Spotify than Drake’s “Family Matters” yesterday. It earned a whopping 12.2M, while Drizzy’s garnered 4.2M.
“Not Like Us” is what many would consider the most hard-hitting song of the entire beef. On it, Kendrick accuses Drake of being a “pedophile” and more. Kendrick’s other disses, including “Euphoria,” “Like That,” and his Future and Metro Boomin collab “Like That,” were also streamed more than any of Drake’s yesterday.
Kendrick Lamar & Drake Beef Results In Massive Streaming Numbers
Kendrick Lamar’s ‘Not Like Us’ is currently getting ~3x as many daily streams as Drake’s ‘Family Matters’ on Spotify
Spotify daily streams (May 8th): Not Like Us — 12.2M Euphoria — 7.1M Like That — 5.2M Meet the Grahams — 4.2M Family Matters — 4.1M Push Ups —… pic.twitter.com/595auWgF1i
While this is certainly unfortunate for Drake’s camp, it doesn’t necessarily come as a surprise. Ultimately, many have decided that Kendrick Lamar washed Drake, though it’s not exactly clear if the battle is over. Yesterday, DJ Akademiks hopped online to reveal that he’s “waiting on a few records,” which led fans to speculate that new diss tracks are on the way. Whether or not anything could outshine what’s already been released, however, remains to be seen. As for where Drake’s at with all of this, he recently shared a cryptic post on his Instagram Story, highlighting a scene from the series “A Man In Full.”
In the scene, the main character lies dead on the ground, delivering a dramatic posthumous monologue. “I don’t mean this as a criticism,” he begins. “Maybe I do. But when you die, will people notice? When I go, there are gonna a lot of memories of me by a lot of people, many who hate me. Even so, a person needs to live with vigor. Otherwise, what’s the point?” What do you think of Kendrick Lamar continuing to out-stream Drake? Who do you think came out on top amid their feud? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
The rap beef between Kendrick Lamar has been a wild saga. The beef has reached all corners of the culture, including sports. Tennis star Naomi Osaka has just declared that she thinks Kendrick has won the beef and really wants the rapper to put out another song like “Not Like Us.” Naomi really enjoys the song, and though she is a peaceful person, she can’t deny how good it is. The tennis superstar is the latest to pick a winner in what has been weeks of back-and-forths between Drake and Kendrick.
When speaking about the beef, Osaka made sure to clarify that she is a “pacifist” and “neutral party” in the beef. She then ultimately sided with Kendrick. Osaka went on to describe her love for Kendrick Lamar’s “Not Like Us,” which she has been enjoying on repeat and using for her walk-out music. All in all, Naomi is having fun with what has come out of the feud, and she thinks Kendrick’s song is the clear winner and highlight of the whole ordeal.
Naomi Osaka picks Kendrick over Drake, says kendrick Lamar should drop another song.
“Kendrick dropped some heat, that last song,” the four-time Grand Slam title champion said of “Not Like Us.” “That last song is amazing and I played it walking onto the court.” pic.twitter.com/6TlxInuRde
the four-time Grand Slam title champion said of “Not Like Us,” “Kendrick dropped some heat.” She continued, “That last song is amazing, and I played it while walking onto the court.” Osaka was asked by a reporter if she thought the Compton rapper should drop another diss track. Osaka replied, “Yeah. Sorry.” she then explained why it should lowkey happen. She explained, “Technically, Kendrick dropped that song, then Drake dropped “The Heart Part 6,” so technically Kendrick could drop another two if he wanted to,”
Subsequently, Osaka brought up a similar topic that was discussed in “The Heart Part 6,” when Drake discussed the conflict and said he’s “happy I could motivate you” since Kendrick’s fans are actually “getting raps” out of the MC. All signs point to Drake having lost the battle. People are declaring Kendrick the winner, saying Drake’s last diss didn’t go over that well. Overall, Naomi Osaka is happy to have gotten such an entertaining track from Kendrick Lamar. Maybe the beef was worth it just for that.
Drake and Future are undoubtedly two of hip-hop’s biggest names. However, their relationship can only be described as complex, given its equal mix of ups and downs. The pair have collaborated on some of hip-hop’s greatest hits, boosting their popularity and diversity. Drake and Future enjoyed incredible success from working together. However, every stage of their relationship seems to have been plagued by one issue or the other.
Before now, there were faint rumors of issues between Drake and Future. However, those rumors intensified after Future and Metro Boomin released their album, We Don’t Trust You. The album featured a diss verse from Kendrick Lamar on “Like That” targeted at Drake and J. Cole. The hip-hop scene heated up as Drake and Kendrick engaged in a rap feud since the song’s release. Besides the Drake vs. Kendrick beef, We Don’t Trust You made fans and hip-hop enthusiasts pay more attention to ongoing tensions between Drake and Future. Let us explore the history of Drake and Future’s relationship, focusing on their shared successes, controversial moments, and present tensions.
Hip-hop enthusiasts most likely remember Drake and Future more for their impactful collaborations. The rappers collaborated for the first time in 2011. Then, Drake jumped on the remix of Future’s breakout hit, “Tony Montana.” Afterward, they featured in other artists’ songs, These included Lil Wayne’s “Love Me,” Preme’s “DnF,” and DJ Drama’s “We In This Bitch.” Besides “Tony Montana,” Drake also collaborated with Future on some of his other early projects. These included “Fo Real,” the remix of “Sh!t,” and “Never Satisfied.”
With their collaborative chemistry formulated, Drake and Future went ahead and became a winning team. In 2015, Drake appeared on “Where Ya At,” becoming the only guest feature on Future’s DS2, notably primarily produced by Metro Boomin. Afterward, Drake and Future teamed up for the joint mixtape What A Time To Be Alive. Again, Metro Boomin executive produced the successful collaboration. In 2016, Drake and Future combined for more success as the latter appeared on “Grammys” from the former’s Views.
Drake and Future also went on the Summer Sixteen Tour. After the tour’s conclusion, they teamed up for the single “Used To This.” This solidified their partnership and the alliance between their record labels, OVO and FBG. The pair enjoyed more successful collaborations in the 2020s, with the songs “Life Is Good,” “Desires,” and “D4L,” featuring Young Thug. Their final collaboration came in 2022 in Future’s album I Never Liked You. Drake appeared on “I’m On One” and “Wait For U,” which sampled Nigerian singer Tem’s “Higher.” “Wait For You” won a Grammy for Best Melodic Rap Performance.
Initial Tensions Between Drake and Future
The first seeds of discord between Drake and Future were sewn in November 2011. The pair collaborated on the remix of Future’s “Tony Montana.” However, Drake didn’t feature on the music video, which hurt Future’s feelings. During an interview on The Source TV, Future said Drake’s absence from the music video felt like a “slap in the face.” He explained that many Atlanta-based artists wanted to get on the song, but he chose Drake over them. He added, “I really wanted to give Atlanta something different, and it ended up being a slap in my face [because] we didn’t complete the whole thought. Just the thought of [Drake] getting on it deserves a salute, but the thought not being completed, the salute comes back.” Although both rappers settled the issue and worked together again, there was more to come.
In August 2013, Future ignited more chaos during an interview on Power 106. He revealed he inspired the hook on Drake’s hit track “Started From The Bottom.” Future further revealed that Drake appreciated the inspiration but didn’t give him the recognition he deserved. He said, “[Drake] bought me a bottle of Louis XIII [de Remy Martin Grande Champagne Cognac] that I never opened up because of this story. I was like, ‘Man I don’t want a bottle. I need publishing.’ But Drake, that’s the homie.”
Drake and Future had more tensions after the latter got allegedly removed from the OVO boss’s Would You Like a Tour? Future’s exemption from the tour came after his comments about Drake during a Billboard interview. Comparing his Honest album to Drake’s NWTS album, Future said, “Drake made an album that is full of hits but it doesn’t grab you. They’re not possessive; they don’t make you feel the way I do. I want to make you want to fall in love.”
However, Future’s team requested Billboard remove those comments as they claimed they were taken out of context. Future also made a post on X (then called Twitter). He wrote, “Respect to Billboard, disappointed on being misquoted..always love for my fam Drizzy Drake.” Amid these tensions, there were also reports that Drake and Future were embroiled in a $1.5 million lawsuit over the tour’s logistics. The pair seemingly settled the rift as Future rejoined the tour and also participated in Drake’s Summer Sixteen Tour.
Strained Relationship Continues After “Wait For U”
Drake and Future collaborated with great effect on the highly successful “Wait For U.” However, that proved to be their last collaboration as they never actively promoted the song or performed it together. In November 2022, Drake released his joint album with 21 Savage, Her Loss. Two months after the album’s release, rumors emerged that Future wasn’t pleased with Drake’s partnership with 21 Savage on the Her Loss album. After We Don’t Trust You‘s release, investigative fans dug deeper into Her Loss and speculated that “More M’s” had lyrics from Drake that targeted Future. One such line is, “I could really go five hours in the stadium/What happened to that n***a claiming OVO? We traded ‘em.” Theorists believe Drake referred to Future, who previously claimed OVO via social media posts and his outfits.
All This Fuss Over a Woman?
With speculations rife about the cause of Drake and Future’s strained relationship, some theories claimed the rappers feuded over a woman. These theories weren’t without cause. In Drake and 21 Savage’s “More M’s” from their Her Loss album, Drake rapped, “N***as ain’t got love for the boy, so they fake it/Crack a couple jokes to some bitches on some snake sh*t/But if I send a verse to they a*s, then they’ll take it/Shoot a video, arm around me like we aces.” Some fans believe Drake’s lyrics aimed at Future and proof that their feud was because of a woman. One can interpret the lyrics as Drake complaining about Future flirting with a woman he had an interest in and still acting like a bro in their music collaborations.
Drake also rapped, “Or pop out at my shows, jump around with me on stages/Probably why these h*es love to shower me with praises/Might’ve f*cked a rapper, girl, but you ain’t f*cked Drake yet.” The lyrics seemingly show that Drake and Future might have slept with the same woman, leading to issues between them. Unsurprisingly, internet detectives dug further and found that Drake and Future are possibly feuding over a woman named Diana. From the findings, the woman works at a Miami club named Booby Trap.
To lay more credence to these findings, Drake raps in his song “Fear of Heights,” “He might take you on trips/and he might have some hits/But, baby, not more than me/He might be at the trap and ones/But ain’t throwin’ more than me.” The “trap” reference from those bars could be referring to Diana, who works at Booby Trap. This might mean Drake’s ego was probably hurt after Future and Diana started hanging out.
In We Don’t Trust You‘s opening track, Future raps, “You a n***a number one fan, dog/ Sneak dissin’, I don’t understand, dog/ Pillow talkin’, actin’ like a fed, dog/I don’t need another fake friend, dog/Can’t be ’bout a ho, ’cause we sharin’, dog/In yo feelings, n***a, why you playin’, dog?” If Drake and Future are really feuding over a woman, then those bars could be directed at Drake, which makes those assumptions more valid. Also, Future and Metro Boomin have a song in their album titled “Magic Don Juan (Princess Diana),” which some speculated could be about the same woman. Interestingly enough, the song boasts production credits from Boi-1da, who not only is an in-house producer for OVO but produced Drake’s recent string of diss tracks aimed at Kendrick Lamar and the industry as a whole.
Drake Probably Hinted Fans About the Beef Earlier
After rumors of Drake and Future’s beef began circulating, fans went back to Drake’s For All The Dogs album. In the song “What Would Pluto Do,” initially thought to be about Drake hailing Future, Drake raps, “What would Pluto do? He’d f*ck the h*e, so I did it/ What would Pluto do? He definitely f*ckin’ on this h*e, yeah.” Looking at the lines retrospectively, Drake could have been talking about him and Future sleeping with the same woman. If these theories are true, then it all begins to make sense now. Well, Drake warned everyone in “Middle Of The Ocean” from his Her Loss album, where he raps, “The lyrics begin to reveal themselves over time periods.” Okay, 6 God, we get you now.
The Metro Boomin Effect
Yall niggas stop making stuff up for engagement and enjoy the music
With the rumors that Drake and Future were beefing over a woman gaining ground, Metro Boomin took it upon himself to clarify things. The producer tweeted, “Yall n***as stop making stuff up for engagement and enjoy the music.” Having worked extensively with Drake and Future, some, including the Canadian rapper, suggested that Metro might be at the center of their feud. In December 2023, Metro criticized Drake’s Her Loss album despite saying he had no issues with the rapper. However, given Future and Metro’s strong bond, it seems clear that Future took a side between the hit-making producer and his former collaborator from Toronto.
Conclusion
Such a scenario could be playing out now. Metro and Future collaborated on an album, featuring a series of disses targeting Drake including the show-stopping verse from Kendrick Lamar on “Like That.” That diss verse began a full-blown rap war between Drake and Kendrick, and no one knows when it will stop. On both “Push Ups” and “Family Matters,” Drake addresses Future, though he sounds more hurt over their beef than anything on the latter. “Pluto sh*t make me sick to my stomach, we ain’t never really been through it/ Leland Wayne, he a f**kin’ lame, so I know he had to be an influence,” Drake raps on “Family Matters.”
Drake and Future’s complicated relationship is sad to see. The pair have been so great at their musical collaborations. Hence, it won’t make sense if they never do a song together. Hip-hop fans who only care about the music will want to see these two geniuses back at the studio working together again. Meanwhile, those who love drama will want more hate between them. No one knows what will become of the pair, so we can only wait and see.
Hot 97’s annual Summer Jam in New York is less than a month away. This year superstars like Doja Cat, Sexyy Red, Ty Dolla $ign, and more will take the stage. There will also be a special tribute to the recently deceased Mister Cee helmed by Big Daddy Kane. Elsewhere Fivio Foreign, French Montana, Lola Brooke, Redman & Method Man, Eric B & Rakim, and many more will also perform as part of the festival. But as it often goes with music festivals, they weren’t able to fully deliver on the initially announced lineup and fans aren’t happy about it.
The newest version of the line-up poster no longer features former Migos rapper Offset, who was seemingly one of the festival’s biggest draws. There was no official announcement confirming that he was removed from the festival which means there was no explanation for why. Despite the lack of announcement fans took notice quickly that his name had disappeared. In the days since some have even accused them of deleting comments on the post asking about the formerly announced headliner. Check out the post they made that sparked all the controversy below.
Festivals replacing artists in their lineup at the last minute is pretty common. Earlier this year fans of Latin music took issue with Rolling Loud Los Angeles. The festival promised appearances from Junior H, Fuerza Regida, and Nathaniel Cano. But all three dropped out before they were supposed to perform. A similar thing happened last month at J. Cole’s Dreamville fest. Muni Long and Chris Brown were forced to pull out at the last minute. Though they were quickly replaced by 50 Cent and Hxncho.
What do you think of Offset pulling out of Hot 97 Summer Jam without any formal announcement? What do you think could be the reason for his unceremonious departure from the festival less than a month before it takes place? Let us know in the comment section below.
JC Chasez is best known as a member of the globally successful boy band *NSYNC. He has achieved a net worth of $16 million by 2024, according to CelebrityNetWorth. Chasez’s career has been characterized by his talent for songwriting, producing, and performing, which he demonstrated during *NSYNC’s peak and later through his solo and collaborative projects. His dedication to music and knack for reinvention have cemented his lasting influence.
*NSYNC Success & Cultural Impact
LOS ANGELES, CALIFORNIA – FEBRUARY 23: NSYNC members: (L-R) Lance Bass, Joey Fatone, JC Chasez, Chris Kirkpatrick and Justin Timberlake backstage at the 42nd Annual Grammy Awards, February 23, 2000 in Los Angeles, California. (Photo by Bob Riha, Jr./Getty Images)
JC Chasez became a household name in the late 1990s as one of the lead vocalists of *NSYNC, alongside Justin Timberlake. Their harmonies, choreography, and charismatic performances won them legions of fans worldwide. Albums like No Strings Attached and Celebrity featured Chasez’s vocals prominently, propelling the band to sell millions of records and secure their place in pop culture. Songs like “Bye Bye Bye,” “It’s Gonna Be Me,” and “Pop” showcased his vocal range and creative input, helping the group become one of the best-selling acts of their era.
Solo Career & Production Work
HOLLYWOOD, CA – APRIL 30: Carson Daly and Ellen DeGeneres attend the ceremony as Lance Bass. JC Chasez, Joey Fatone, Justin Timberlake and Chris Kirkpatrick of NSYNC are honored with a star on the Hollywood. Walk of Fame on April 30, 2018, also in Hollywood, California. (Photo by Steve Granitz/WireImage)
Following *NSYNC’s hiatus in the early 2000s, JC Chasez embarked on a solo career. He released his debut album Schizophrenic in 2004. The album allowed him to explore various musical styles, from pop to rock to electronic. It further reflected his versatility as an artist. Although his solo work didn’t replicate *NSYNC’s massive commercial success, it showcased his talent for songwriting and production. Additionally, Chasez transitioned into music production and songwriting, working with artists like Basement Jaxx, Girls Aloud, and David Archuleta. His collaborative approach and deep understanding of music production have made him a sought-after figure behind the scenes.
Television Appearances & Industry Contributions
JC Chasez during The Matrix Reloaded Premiere at Mann Village Theater in Westwood, California, United States. (Photo by Jeff Kravitz/FilmMagic)
JC Chasez has also been involved in television, serving as a judge on MTV’s America’s Best Dance Crew. He provided valuable insights into performance and choreography. His involvement in various talent shows and music projects demonstrates his passion for mentoring emerging artists and giving back to the industry that shaped his career. Overall, JC Chasez’s net worth reflects his dynamic career in music and entertainment. From *NSYNC’s heyday to his creative endeavors as a solo artist and producer, Chasez continues to evolve, proving his ability to adapt and thrive in an ever-changing industry.
Not Like Us — 12.2M
