New Hip Hop News

T-Pain is well-known for writing and performing his famous song “I’m N Luv (Wit A Stripper)” and this week, he took to Twitter to ask exotic dancers one of the most pressing questions on his mind. Have they ever passed gas while dancing on a customer?

Asking a question that most people would probably be curious to find out the answer to, T-Pain seemingly visited his local strip joint and left with a few important queries, taking to social media for answers.

Frazer Harrison/Getty Images

“Ok so the fact that I am where I am is irrelevant. But. Stripper Twitter, have you guys ever farted on a customer?” asked Teddy Penderazdoun on Twitter before explaining himself. “Women are generally superior at holding farts but I just feel like the amount of movement involved in this profession isn’t super helpful to holding the ass gas.”

Did his stripper love pass gas in the middle of a dance? Maybe… or possibly T-Pain was just coming through with some late-night thoughts for the timeline. 

His replies are filled with shocked responses and not many legitimate answers to the question. One person claimed that strippers have an easy time disguising their toots with the loud music and smoke machines in clubs, but not many actual dancers chimed in on the topic. Hopefully, T-Pain gets the answers he deserves.

Let us know your take on this important matter in the comments. 

First, it was Travis Scott. Next, it was Saweetie. Now, it’s Ye.

After stopping by a McDonald’s location in Sweden to grab a bite to eat, the Swedish branch of the fast food franchise has launched an entire ad campaign based around the Donda rapper’s restaurant appearance. 

Complete with a photo of a chocolate milkshake, fries, a caramel-drizzled McCafe, some sort of chicken or fish sandwich and what look like hot wings, McDonald’s used the slogan “Treat Yeself” to encourage patrons to eat like Yeezy. While Ye, who just legally changed his name to the more simple, Ye, is not getting his own meal a la Scott and Saweetie just yet, it’s clear that McDonald’s is trying to capitalize on the fact that he stopped by one of their Swedish locations. 

But Ye’s Swedish McDonald’s appearance is just another installation in what is becoming a very strange couple of weeks for the 44-year-old.

While in Europe, Ye rocked the new, knee-high Balenciaga x Crocs collab while wearing a bizarre, humanlike mask covering his whole face and also debuted a new, patchy haircut which singer Chris Brown immediately flamed on IG. (Brown is still mad about being taken off Donda.) Upon returning to the states, it was reported that Ye changed his name from Kanye West to the more simple, two-lettered Ye, and later met with Michael Cohen while wearing an even more bizarre, even more humanlike mask. 

What exactly Ye is up to with all of the masks and wild haircuts is yet to be seen but keep it locked to HNHH for any updates on the artist formerly known as Kanye West.

The South had been championing Yung Bleu well before Drake came around and put his stamp of approval on “You’re Mines Still” — the song that propelled Bleu into the top 40 on the Billboard Hot 100, and earned him a #1 song on Rhythmic charts. At that point, a cult following had already developed. His deep, vibrato voice brought grief-induced melodies coated with warmth, underlining the vulnerability in his music. “I always just been as honest as I can,” he explains on the latest episode of On The Come Up.  “Like, it just naturally comes out. I just really just say the real. I would never really sugarcoat anything but I think that’s what makes the music, the music. The real.”

Image provided by the label 

It’s a formula that Bleu developed over the course of the Investment series, both as a vocalist and songwriter. Unlike many of his contemporaries, however, his growth as a musician has been documented publicly from projects like Investments, culminating in the release of his debut album, Moon Boy — setting a new benchmark for the merging of trap and R&B. Where a project like Investment 3 garnered comparisons to Future and Kevin Gates, it was Investment 5 that cemented the regional buzz into a national one. 

In the past year, Bleu’s gone from a staple on mixtape sites to dominating Spotify, Apple, and TIDAL playlists every time a new single drops. Boosie predicted this success long before “You’re Mine Still” ended up on the charts or even landed on Chlöe Bailey’s radar. Though Bleu is no longer signed to Boosie’s Bad Azz Music Syndicate, there’s a familial bond they’ve developed over the years. Earlier this year, footage of Bleu gifting Boosie $100K in cash went viral. Ultimately, it was simply a token of appreciation for taking a chance on him. “He really just motivated me [with] just the type of stuff he’s doing,” Bleu said.

Check out the latest episode of On The Come Up with Yung Bleu where he discusses his career beginnings, the origins of Bleu Vandross, and how Lil Wayne shaped his penmanship.

Read the unabridged editorial version of the interview below, edited for clarity. 

WATCH: Yung Bleu’s episode of On the Come Up

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HNHH: Tell me where you’re from? What were your stomping grounds like growing up?

Yung Bleu: I’m from Mobile, Alabama. 

I mean, that experience was probably like any other childhood. Like, growing up in, I don’t know, a Black neighborhood. A young Black neighborhood. Really no different from any other in any other place.

What were you into, outside of music, as a kid?

Outside of music, I used to play basketball, football. I used to play sports. I used to play a lot of sports, back when I was young and stuff like that.

Was sports your first love before music?

It’d be basketball. Basketball and probably, then football.

I played basketball for my school. Like, I never really pursued it like I was trying to go to the league or nothing. I just used to play for my school. You know, just be athletic because I felt like — I wasn’t rapping then.

Gospel music is prominent within Alabama. Obviously, a lot of R&B and soul influences come out in your music but were you growing up around Gospel and Blues as a child? 

Yeah, I mean, Alabama probably got the most churches on every corner than any other state. But yeah, definitely. I used to listen to everything growing up. I would fuck with old school music. I love that type of music. You know, just the oldies. You know, Lauryn Hill, Luther [Vandross].  Just the oldies that the older people were listening to. 

“Yeah, I mean, Alabama probably got the most churches on every corner than any other state. I used to listen to everything growing up. I would fuck with old school music. I love that type of music. You know, just the oldies. You know, Lauryn Hill, Luther [Vandross].  Just the oldies that the older people were listening to.”

Who are some of the local acts like when you were growing up?

In my city, we had Mr. Bigg. We had C-Nile. We had Rich Boi. That was pretty much it, you know, from my era growing up. Before them — before me, they had Dirty Boyz, stuff like that.

Outside of Alabama, what rappers were you listening to? 

Like I said, I used to listen to all types of music. I used to listen to R. Kelly, Lauryn Hill, DMX. Just all types of —  everything, for real.

Tell me about being able to chop it up with DMX with him as you got older.

Yeah, definitely was exposed. You know, we all grew up on his music, and being able to chop it up with him before he passed was a good experience, for sure.

I know your dad was also into music. What type of music was your dad making?

He says he used to. I don’t even know the genre. Whatever type of music. Old school music that n***as used to make back then [laughs]. I don’t even know the genre. I just know he sings. 

Image provided by the label 

That’s obviously something that he passed on to you, right? 

Yup, yup.

How does your family feel about the type of music you’re making now? Especially as you move from trap to saying that you’re giving the R&B guys a run for their money. 

I mean, my dad loves my music. He listens to my music every day. My mom I really, I really don’t know, like, she don’t — I don’t know for real. She ain’t really, like, into music like that.

I know I read that you used to like, you were so into music that you were bringing your karaoke machine with you to school. Can you just tell me about the first time you ever recorded a song and do you remember any of the bars from that song?

No. All I know is I was rapping some shit about Spongebob shit [laughs]. I was, like, eleven.

Big SpongeBob fan?

Yeah, I was used to rap. Just freestyle about all types of shit [laughs]. I was rapping about all types of shit.

Do you remember going into an actual studio for the first time?

Nah, I already had a home studio. When I went from a karaoke machine, I went from the karaoke machines to a home studio so I always have my own home studio ‘cause I used to record all my music. 

Issa Rae tweeted something the other day that I found was really interesting. She was like listening to Mint Condition’s “Breaking My Heart” and realizing that a lot of the music guys today aren’t dramatic enough. I felt like you’re definitely one of those guys, beyond your penmanship, who brings that emotion that resonates with your fans. How do you feel like you’re filling in that void in songwriting with your vulnerability and honesty in music today?

I feel like I’m in a lane of my own when it comes to, like, things I talk about in songs and types of situations I bring to the table in songs. I mean, I feel like she probably just didn’t heard everybody’s music. It’s not possible to listen to everybody’s music.

I’m pretty sure if she goes down a wormhole, search for more artists, she’ll find what she’s looking for. But a lot of people, sometimes, just listenin’ to what’s mainstream, what’s being pushed into their ear and really not takin’ the time to find what they’re looking for. 

Did you ever find it difficult to kind of tap into that level of honesty? 

Nah, I always just been as honest as I can. Like, it just naturally comes out. I just really just say the real. I would never really sugarcoat anything but I think that’s what makes the music, the music. The real. I never really bit my tongue about anything, as far as the music goes. 

“I would never really sugarcoat anything but I think that’s what makes the music, the music. The real. I never really bit my tongue about anything, as far as the music goes.”

You made headlines because of your comments on the XXL Freshman cover. You did get a nomination at the BET Awards for Best New Artist. For yourself, do these acknowledgments carry weight to you considering the success you’ve had independently?

I mean, they do. I’d be lyin’ if I said it doesn’t. But, I mean, you get past it. You just look at, you know, what you create for yourself. You know, you got personal accolades that are more important than other accolades. I got a lot of personal accolades that I personally did for myself. 

Any personal favorites on the Freshman list this year?

Uh, who is on the list? I mess with Flo Milli.She’s from my city. Yeah, I mess with Flo Milli. You know, Lakeyah’s my homegirl.

What has been a fulfilling moment in your career for you?

Oh, I mean, just like my recent deals like my recent independent deals. You know, buyin’ a house, ownin’ an estate. Just doing everything the right way for real and honest, really. Managing myself the right way.

You’re one of the few guys right now that’s making timeless music that in 5, 10, 15, 20 years from now, we’re going to be revisiting and it’ll still sound as good. Is there a particular song or a particular moment in the past like 5-6 years where you knew that you were onto something special?

It’ll probably just be an album, for real. Probably be like Investments 5. It’s just the love it got and what I was able to do from that project. Then I came back and dropped Bleu Vandross project. Each mixtape I was dropping — I dropped three mixtapes back to back and I got a plaque for working off all them mixtapes. So, I feel like I was doing something right. I was just doing something right in the mixtape world itself. That was even before I was putting music on Apple. I was on Spinrilla with my mixtapes. 

“I dropped three mixtapes back to back and I got a plaque for working off all them mixtapes. So, I feel like I was doing something right.”

Investments 5 and Bleu Vandross projects put eyes on you. Tell me about Bleu Vandross. Who is that persona?

He’s just an aura for when I do R&B. Like, when I just go into my R&B bag. 

I know you mentioned that there was a lot of oldies in the crib growing up so what is it about Luther Vandross that inspires you?

Oh, I feel people was comparin’ us ‘cause of our deep voice, really. The vibrato. You know, he sing and people just started comparin’ us. I kinda just ran with the whole thing. Yeah, I feel like it was just something I ran with it. 

The Investment series showcases your growth but you mentioned it was Investment 5 that caught everyone’s attention. It also helped introduce what’s now your signature sound. What was the process like developing that sound from the early Investment tapes to the fifth installment? 

Oh, I don’t know. I feel like my voice just matured. Maturity is just natural. Like, everytime I go into the studio, I’m tryna mess with a different sound, you know what I’m saying?

A lotta people used to say to me like, back in those days old days, Rich Homie Quan, Fetty Wap, Future. I used to get like everything — Kevin Gates. Everyday, everybody said I sound like Kevin Gates. I feel like that’s what you do with new artists. 

I also know that you mentioned Lil Wayne was somebody you tried to imitate. Tell me about Lil Wayne’s influence on you when you were younger.

Yeah, Lil Wayne is definitely one of my favorite rappers. I feel like he just used to go so hard with the punchlines. Everybody just wanted to say and do them punchlines and see how creative they can get with punchlines. So that was kind of the wave I was on back in the days. Like, I was way more lyrical than I am now.

“Lil Wayne is definitely one of my favorite rappers. I feel like he just used to go so hard with the punchlines.”

Coming from the school of Lil Wayne, how do you think that impacted the way you write songs now?

Yeah, I write songs now more for the feeling than the bars. I feel like, sometimes, bars will constrict you from getting across the truth, you know what I’m saying? ‘Cause, some shit might not rhyme, but the shit that you tryna say that’s really real. So that’s kind of where I just started rapping more about a real-life situation. I kinda get away from the bars and just kind of replacing that with hitting a mothafucka soul. I feel like that has the same effect. 

Let’s jump into the new album Moon Boy. What does the title mean to you and what does this new persona add to who Yung Bleu is?

It’s just all metaphors to just going to the moon. Going past the sky. Going sky’s the limit. It’s just all metaphors, really. There’s no specific meaning to me, towards me. It’s just towards my career. 

How long did it take to just secure all the features for the project?

It didn’t really take that long, for real. I’ve been working on this project for like seven months. Didn’t really take as long as I thought it would take. I probably re-did the album like — well, I added stuff to the album, like three times, before I turned it in. 

Since it’s your technical debut album, did you feel more pressure with this one compared to other projects?

Yeah, I mean. I did a little bit ‘cause I feel like there’s people like, you know, people just want to see you fail and wanna see you tank. It do put a little more pressure but at the end of the day, I can tell people like, I already know before I drop my project that my project’s damn-near gold. My album as a whole. So I really don’t need to care too much about anything as far as first week sales and stuff like that. Just because I know you can’t put your first week sales on a plaque. You can sell 50k in the first week but you would never be able to put a plaque up on the album then it’s like —  you know what I’m saying? So, that’s what I’m more focused on, having Gold or Platinum albums.

How was it like working with Chlöe Bailey and Wale in the studio?

It was good. It was a good vibe. I mess with both of them heavy. I mess with Chlöe and Wale on a real note, fasho. 

What was it like working with Chris Brown for the album?

It was good. It was a good experience. Like I always envisioned it, you know what I’m sayin? Since I was a kid, doing a song with Chris Brown. N***a dancing videos and sh*t. It was surreal, like a surreal moment. These moments being able to come true and sh*t. 

Can you talk to me about the John Legend record as well like how did he reach out to you or how did that connection end up happening?

My people reached out to his people. We sent him the record and he ended up liking it and the message. We just did it. 

What was that conversation like whenever you guys met like?

No, we never met. That was the only one that I didn’t get in the studio. That and Drake one. That’s the only one ‘cause Drake was out the country. And John Legend, I don’t know where he at but he did it quick, though.

You tweeted that you want to be working with more international artists so how did working with Davido come about?

I mean, Davido got like a whole lotta of fans. They very active. It was good just them spreading love to my — it drifted to me, and Davido cool, man. Davido’s like my African brother. I mess with him heavy. He’s just a good person all around. 

Your breakout moment happened in the pandemic. How do you think that helped you shape the new project? If it did at all.

I don’t know, I was still moving around during the pandemic. I was still booked up and stuff like that. I really didn’t hit as much as everybody else did. It definitely let me stay at the house. If you stay at the house a little more, it’s time to work on the album. Spend a little more time on the album. 

I was watching another recent video where you explained how you were signed to the majors but you weren’t getting as paid as you should be. Can you just talk a bit about that experience and how that shaped your hustle now?

I mean, it just made me hustle in other types of ways because I know I wasn’t really gettin’ it from the label. 

Can you elaborate on some of the other ways that you were learning how to monetize off of your craft?

Just shows. I was just doing a lot of shows. Doing shows, features. Stuff like that, basically. 

You had your deal with Boosie but you ended up leaving. He’s had nothing but greatest things to say about you. How do you think that that relationship has developed beyond just business?

Yeah, it has always been more than just business. I never say like — like, the blogs will say that I left Boosie. Boosie’s still — it ain’t no leavin’ Boosie. We still tight, we still tying in. It’s just doing other business deals. 

“It ain’t no leavin’ Boosie. We still tight, we still tying in. It’s just doing other business deals.”

What’s the best advice he ever gave you?

Boosie just taught me how to — he really just motivated me just the type of stuff he’s doing. Like, Boosie does business stuff, too. Just seeing the type stuff he had, he just motivated me to go get it. I used to see his house, see how he live. He’s motivated to just go get it.

I just want to clarify, are you still doing management with Meek?

Not for real.

Would you mind just elaborating on just your connection to Meek Mill?

I mean, bruh cool. His company, some people from his company helped me out with a few things during my come up and stuff like that but it wasn’t really nothing too deep.

Okay, because whenever that happened, a lot of people were saying that you signed a management deal with Meek.

Yeah, I did. I did.

This is my final question for you. But just going back to Boosie he said you were a megastar. So my question for you is, where do you see yourself in 5 to 10 years?

I don’t even know. More platinum plaques. Hopefully, a couple of Grammys. Stuff like that. Just keep making good music. That’s just the things I’m focused on. Just lettin’ play out however it plays out. 

Throughout their careers, 21 Savage and Metro Boomin have linked up to create some incredible projects, from Savage Mode to Without Warning. Now that they‘ve established themselves as an unstoppable force in the industry, fans can’t seem to get enough of them, and from the sounds of things, it won’t be long until we’re fed.

On Sunday night, the Saint Laurent Don took to Twitter to announce that he’s more than ready to drop an album, he’s just in need of the music first. The very next day, his good friend Boomin replied to his message with a GIF of a man smiling ear to ear while giving the camera a knowing look.

“I see you making beats on podcasts can you send me some,” 21 tweeted at the producer, referring to Boomin’s recent sit down with the Million Dollaz Worth of Game podcast, during which he cooked up a fire beat on the spot.

“Let’s run thru a quick 20 then,” the 28-year-old responded, sending fans into an immediate tailspin.

“Stop teasing us and drop WITHOUT WARNING 2,” several people replied. “The duo that never miss,” another follower added.

The last time 21 Savage and Metro dropped was over a year ago, in October of 2020 with the release of SAVAGE MODE II.

The latter has remained heavily booked as of late, and also shared on Twitter that he‘s had four very diverse tracks that he’s worked on – “Stupid/Asking” and “Love You More” from Young Thug’s Punk, the Coldplay and Selena Gomez collab, “Let Somebody Go,” and “Foot Forward” by James Blake, all drop in the last week.

“Never let anyone try to keep u in a box,” the Missouri-born star told his followers.

Which do you think will come first? SAVAGE MODE III, or Without Warning II?

[Via]

R. Kelly was convicted of racketeering charges in New York but his legal issues are far from over. A trial date has officially been set in August 2022 for Kelly’s federal charges in Chicago which include child pornography and obstruction of justice.

U.S. District Judge Harry Leinenweber is said to have wanted to order an earlier trial date but Steven Greenberg, along with another one of Kelly’s attorneys, had cases scheduled throughout July. Kelly and his two co-defendants, Derrell McDavid and Milton “June” Brown, trial are expected to last from three to four weeks, their attorneys said. Kelly was listening in on the conference call, though he didn’t make any comments. 

Jason Kempin/Getty Images

Ahead of his Aug. 1st trial date, Kelly will return in front of a judge for his sentencing in New York on May 4th. The singer is facing a life sentence related to the racketeering charges.

In addition to federal charges in Chicago, Kelly’s facing four indictments accusing him of sexual abuse in a state court in Chicago. He’s also accused of being the leader of a child prostitution ring in Minnesota. 

While Kelly is likely never going to be able to record new music, it was reported that there was a boost in sales in his catalog of up to 500% after his New York conviction. 

We will keep you posted on more information regarding R. Kelly’s trial.

[Via]

Tupac Shakur and The Notorious B.I.G. were not the founding fathers of hip-hop, but they may as well have been. 

Despite the undeniable impacts of rappers and producers who came before Pac and Biggie, those two put the genre on the map in a way that had never been seen before. Taking the East Coast/West Coast rap beef to new levels, which ultimately led to their unfortunate and much-too-early demise, Tupac Shakur and The Notorious B.I.G. laid the groundwork for what hip-hop looks like today. 

From the sound of the music itself, to the idea that rappers must play larger-than-life characters every time they step into the limelight, both artists revolutionized the idea of what it means to be a rapper, despite occupying two different lanes. 

Al Pereira/Michael Ochs Archives/Getty Images

Even though both artists were more than capable of embodying different messages and different sounds, it can be said that 2Pac steered towards more conscious rap, while Biggie accumulated wealth, jewelry, cars and women and made sure to let fans know all about it. And according to another hip-hop icon, RZA, that contrast is what made Shakur more “dangerous” than The Notorious B.I.G. 

Sitting down with The Art of Dialogue, the Wu-Tang Clan’s de-facto leader broke down the difference between the two rappers.

“You go to Pac, once again, immaculate voice, but what Pac had, I think, was a way of touching us in all of our emotions. Like, Pac had the power to infuse your emotional thought, like ‘Brenda Has a Baby,’ ‘Dear Mama,” but then he had the power to arouse the rebel in you. You know?” RZA said, invoking two of 2Pac’s deepest records. “He was probably more dangerous than Big. Notorious B.I.G., we could party with him to this day … but Pac … he was more going into the Malcolm X of things and society fears that.”

RZA continued on to say that, while “B.I.G. communicated love, he wasn’t starting revolutions.”

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RZA’s sentiments sparked some rambunctiousness, with commenters arguing back and forth about which 90s icon had more influence, but what’s more interesting is that these debates continue to rage on. Both artists have been gone for more than two decades at this point and still, the East Coast/West Coast question of who’s better — Biggie or Pac — is still being asked. 

Whether or not you agree with RZA is one thing, but more important is the fact that these two rappers who, in the grand scheme of things, had very short careers, are still looked at and spoken about with such great reverence. Trying to compare Pac to Malcolm or Biggie to anybody else will only lead to 25-year debates with no right answer at the end, but those same comparisons are what keep their legacies alive and keep their place as two of the greatest emcees to ever touch a microphone.

What do you think of RZA’s comments on 2Pac being “more dangerous” than Biggie? Let us know down below. 

[Via]