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How did it go wrong between Pusha T and Kanye West ⁉️ Are you asking that as well⁉️ I gat you‼️💯 Pusha T and Kanye/Ye had a long creative run: features on "My Beautiful Dark Twisted Fantasy" (“Runaway,” “So Appalled”), Cruel Summer (“Mercy,” “New God Flow”), full production on...

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14,277 次观看 • 1 个月前 •via X (Twitter)

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French Montana (born Karim Kharbouch) has told this story in multiple interviews, including a 2018 Billboard cover story, his 2024 VladTV life-story interview, and a 2026 Earn Your Leisure conversation‼️. The core is consistent‼️. He arrived in the South Bronx from Morocco at 13 in 1996 speaking Arabic and French, not English. His father left after a couple of years and went back to Morocco; his mother stayed, went on welfare, and raised him and his younger brothers‼️. His visa expired, so he had no papers‼️. That blocked college and scholarships even though he was a decent basketball player, and it blocked normal jobs‼️. He started selling drugs in his late teens‼️. He got locked up twice‼️. After that, authorities told him another arrest would mean deportation‼️. He has described the situation as being “locked up without being locked up.”‼️ Another charge would have sent him back to Africa and, in his words, slapped his mother in the face after everything she sacrificed‼️. One specific incident he has recounted: he was caught on the block with 15–20 pounds of weed‼️. A friend offered to take the case so French wouldn’t get deported, saying it was just weed and he’d get a slap on the wrist‼️. In court the friend learned it was 30 days and backed out‼️. French took the case himself and received what he called a “one pass” — ICE enforcement was less aggressive then, and weed wasn’t treated like cocaine or a violent charge‼️. That was the turning point‼️. He decided he needed something that wouldn’t land him in jail‼️. He had always liked music, bought CDs, and dabbled in beats. He went to a friend’s apartment that had a small studio setup in a room or living room, recorded a freestyle, played it for people on his block, and they liked it‼️. Someone from the neighborhood signed him‼️. He has said this happened when he was already around 20‼️. From there he did battle rap, the Cocaine City DVDs, linked with Max B, and built the career that followed‼️. He has repeatedly framed rap as the legal lane that let him stay in the U.S. and provide for his family instead of risking being sent back‼️. He became a U.S. citizen years later after a long legal process‼️.
2:32

French Montana (born Karim Kharbouch) has told this story in multiple interviews, including a 2018 Billboard cover story, his 2024 VladTV life-story interview, and a 2026 Earn Your Leisure conversation‼️. The core is consistent‼️. He arrived in the South Bronx from Morocco at 13 in 1996 speaking Arabic and French, not English. His father left after a couple of years and went back to Morocco; his mother stayed, went on welfare, and raised him and his younger brothers‼️. His visa expired, so he had no papers‼️. That blocked college and scholarships even though he was a decent basketball player, and it blocked normal jobs‼️. He started selling drugs in his late teens‼️. He got locked up twice‼️. After that, authorities told him another arrest would mean deportation‼️. He has described the situation as being “locked up without being locked up.”‼️ Another charge would have sent him back to Africa and, in his words, slapped his mother in the face after everything she sacrificed‼️. One specific incident he has recounted: he was caught on the block with 15–20 pounds of weed‼️. A friend offered to take the case so French wouldn’t get deported, saying it was just weed and he’d get a slap on the wrist‼️. In court the friend learned it was 30 days and backed out‼️. French took the case himself and received what he called a “one pass” — ICE enforcement was less aggressive then, and weed wasn’t treated like cocaine or a violent charge‼️. That was the turning point‼️. He decided he needed something that wouldn’t land him in jail‼️. He had always liked music, bought CDs, and dabbled in beats. He went to a friend’s apartment that had a small studio setup in a room or living room, recorded a freestyle, played it for people on his block, and they liked it‼️. Someone from the neighborhood signed him‼️. He has said this happened when he was already around 20‼️. From there he did battle rap, the Cocaine City DVDs, linked with Max B, and built the career that followed‼️. He has repeatedly framed rap as the legal lane that let him stay in the U.S. and provide for his family instead of risking being sent back‼️. He became a U.S. citizen years later after a long legal process‼️.

(st_ides)

37,775 次观看 • 1 个月前

Vlad didn’t argue culture. He argued a bill‼️. Fuck Nore‼️. Fuck the show‼️. Fuck the circle around him‼️. That was the opening and the ending‼️. Everything in the middle was him stacking why‼️. He sat down on Drink Champs. The episode hit. The deal, in his head, was simple: I did yours, you do mine‼️. Dates got talked‼️. Dates got moved‼️. Then Nore said it out loud — he fronted‼️. Not because the calendar broke. Because he decided to‼️. He wrapped it in the line that stuck: he did to Vlad what Vlad does to the culture‼️. Bent him over‼️. Called him a vulture‼️. Called him a rat‼️. Called the whole operation a circus that eats Black drama and never pays the room back‼️. Vlad’s reply wasn’t a speech about belonging. It was a payroll‼️. He said he has put over a million and a half dollars into appearance fees‼️. Not charity language‼️. Checks. People who needed the chair and the money at the same time — after prison, after the rooms closed, after a career had gone quiet‼️. Names he has been repeating for years: the ones who say the interview changed the run. Comedians he floated when touring died‼️. Artists he paid more than once. Nore included‼️. That was the contrast he wanted in the air‼️. I write checks. You keep the whole pot‼️. I put people on and they say it‼️. You sell the couch, the bottle, and the clip, and the talent walks with a story and nothing on the backend‼️. One platform owned‼️. One platform rented‼️. One man talking like a journalist who happens to pay. One man talking like the culture already paid him enough‼️. You can reject the halo. Plenty of people do. The clip doesn’t need you to love Vlad‼️. It only needs the two pictures sitting next to each other: a man saying fuck you, I helped, I paid — and a man saying I don’t owe you a seat, and the culture doesn’t either‼️. That’s the whole thing, tightened to the bone. Fuck Nore‼️. I paid people‼️. You didn’t‼️💯.
1:22

Vlad didn’t argue culture. He argued a bill‼️. Fuck Nore‼️. Fuck the show‼️. Fuck the circle around him‼️. That was the opening and the ending‼️. Everything in the middle was him stacking why‼️. He sat down on Drink Champs. The episode hit. The deal, in his head, was simple: I did yours, you do mine‼️. Dates got talked‼️. Dates got moved‼️. Then Nore said it out loud — he fronted‼️. Not because the calendar broke. Because he decided to‼️. He wrapped it in the line that stuck: he did to Vlad what Vlad does to the culture‼️. Bent him over‼️. Called him a vulture‼️. Called him a rat‼️. Called the whole operation a circus that eats Black drama and never pays the room back‼️. Vlad’s reply wasn’t a speech about belonging. It was a payroll‼️. He said he has put over a million and a half dollars into appearance fees‼️. Not charity language‼️. Checks. People who needed the chair and the money at the same time — after prison, after the rooms closed, after a career had gone quiet‼️. Names he has been repeating for years: the ones who say the interview changed the run. Comedians he floated when touring died‼️. Artists he paid more than once. Nore included‼️. That was the contrast he wanted in the air‼️. I write checks. You keep the whole pot‼️. I put people on and they say it‼️. You sell the couch, the bottle, and the clip, and the talent walks with a story and nothing on the backend‼️. One platform owned‼️. One platform rented‼️. One man talking like a journalist who happens to pay. One man talking like the culture already paid him enough‼️. You can reject the halo. Plenty of people do. The clip doesn’t need you to love Vlad‼️. It only needs the two pictures sitting next to each other: a man saying fuck you, I helped, I paid — and a man saying I don’t owe you a seat, and the culture doesn’t either‼️. That’s the whole thing, tightened to the bone. Fuck Nore‼️. I paid people‼️. You didn’t‼️💯.

(st_ides)

53,762 次观看 • 23 天前

🚨There is tension brewing in the westcoast‼️ And the reason is one name "Drake"‼️ If you don't know⁉️ I gat you‼️💯 It’s been simmering for years. Top Dawg just clarified the root this week on Stat Quo’s podcast‼️. The flashpoint was Game’s 2015 “100” collab with Drake‼️. He brought Drake to Compton and shot the video there while Drake-West Coast/Kendrick tension already existed‼️. Top said the optics of that video in the city is what made Kendrick’s side pull back‼️ it wasn’t just the song‼️. Game’s stance⁉️: he didn’t know Kendrick took it that deep, and he never held a grudge when Kendrick appeared on Power with 50 Cent (his actual long-running rival)‼️💯. On top of that, Game has always been open about his loyalty to Drake‼️ calls him a brother, says Drake shows up for him and his kids, and refused to flip during the 2024 beef‼️. That alone keeps Kendrick’s camp cold‼️. There’s also the older history. Game had Kendrick around early, took him on tour as Jay Rock’s hype man, and has said he tried to get him signed‼️. From Game’s side, the lack of reciprocity and the quiet distance feel personal‼️. He’s left recent cryptic Instagram comments about people not being who fans think and eventually “pulling the curtain down.”‼️ Drake affiliation is the public face‼️. The deeper issue is respect, perceived disloyalty in Compton‼️, and two different codes about old relationships once politics and loyalty get involved‼️. This is quiet West Coast beef that is gaining momentum as the day goes by‼️ it might be exploding soon‼️
1:54

🚨There is tension brewing in the westcoast‼️ And the reason is one name "Drake"‼️ If you don't know⁉️ I gat you‼️💯 It’s been simmering for years. Top Dawg just clarified the root this week on Stat Quo’s podcast‼️. The flashpoint was Game’s 2015 “100” collab with Drake‼️. He brought Drake to Compton and shot the video there while Drake-West Coast/Kendrick tension already existed‼️. Top said the optics of that video in the city is what made Kendrick’s side pull back‼️ it wasn’t just the song‼️. Game’s stance⁉️: he didn’t know Kendrick took it that deep, and he never held a grudge when Kendrick appeared on Power with 50 Cent (his actual long-running rival)‼️💯. On top of that, Game has always been open about his loyalty to Drake‼️ calls him a brother, says Drake shows up for him and his kids, and refused to flip during the 2024 beef‼️. That alone keeps Kendrick’s camp cold‼️. There’s also the older history. Game had Kendrick around early, took him on tour as Jay Rock’s hype man, and has said he tried to get him signed‼️. From Game’s side, the lack of reciprocity and the quiet distance feel personal‼️. He’s left recent cryptic Instagram comments about people not being who fans think and eventually “pulling the curtain down.”‼️ Drake affiliation is the public face‼️. The deeper issue is respect, perceived disloyalty in Compton‼️, and two different codes about old relationships once politics and loyalty get involved‼️. This is quiet West Coast beef that is gaining momentum as the day goes by‼️ it might be exploding soon‼️

(st_ides)

22,992 次观看 • 1 个月前

The Ice Cube–Mack 10 fallout is a personal/family issue from around 2005 that ended Westside Connection‼️ Westside Connection (Ice Cube, Mack 10, and WC) was formed in the mid-1990s‼️. They first appeared together on tracks like “Westside Slaughterhouse” (Mack 10’s 1995 album) and “West Up!” before dropping the platinum *Bow Down* in 1996 and *Terrorist Threats* in 2003‼️. The group ended shortly after the second album‼️. What started it⁉️ Mack 10 has given the most detail (2010 AllHipHop interview that was later deleted, plus a 2020 VladTV sit-down)‼️. The conflict centered on Ice Cube’s brother-in-law (his wife Kim’s brother)‼️. Mack said the man was disrespectful and “fucked my money up.”‼️ He went to Cube four or five times asking him to handle it internally before it escalated‼️. It eventually did: reports say Mack’s people beat the brother-in-law‼️. There was also an argument that happened in front of Cube’s wife, which Mack believes made the situation worse‼️. Mack’s consistent line: “Basically, I didn’t do anything to him and he didn’t do anything to me.”‼️ He has said if Cube’s wife hadn’t been present during the argument, they might still be making records‼️. Cube has never given a detailed public version‼️. He has only called it “a violation that can’t be overlooked.”‼️ A secondary rumor (never confirmed by either) is that Mack was also upset Cube didn’t want a second tour behind *Terrorist Threats*‼️. Mack owns the Westside Connection trademark because the second album came out on his Hoo-Bangin’ label‼️. Why it has lasted this long⁉️ This is family business, not just two rappers falling out‼️. Cube treats it as something that crossed a line he won’t ignore‼️. Mack has said he tried to resolve it diplomatically multiple times before it blew up‼️. Neither side has made a public move that the other accepted‼️. Cube still works and performs with WC (they grew up around the corner from each other), but not with Mack‼️. Mack has said for years that he “fucks with who fucks with me” and hadn’t spoken to Cube in nearly 20 years as of 2023‼️. That’s now over two decades‼️. In a July 2023 Breakfast Club interview, Charlamagne asked Ice Cube about a Westside Connection reunion after seeing photos of him with WC‼️. Cube’s answer was direct: “Probably not.” “I don’t wanna do another Westside Connection.”‼️ When Charlamagne brought up Mack 10 having told his side of the story, Cube replied, “Of course he do… I don’t wanna talk about it to be honest, because he know what it is.”‼️ Reactions from both sides⁉️ **Mack 10** has talked about it more‼️. In 2023 he told Bootleg Kev he hadn’t seen or spoken to Cube in almost 20 years and wasn’t chasing a reunion‼️. In August 2026 at the Cali Love 3 festival he went further and more positive: he stopped his set to say he still has love for both Ice Cube and WC, calling himself “too blessed to be mad at anybody” and adding “fuck being mad about some 25-year-old shit.”‼️ He was responding to WC having addressed the situation at an earlier Cali Love show‼️. He even played Westside Connection material and invited the crowd to treat it like the group was there‼️. Ice Cube stays reserved‼️. He confirmed in 2023 (Breakfast Club and Cam’ron’s *It Is What It Is*) that there is a real problem with Mack that he considers a violation he cannot overlook, while emphasizing he has no issues with WC‼️. He has shown no public interest in a reunion and has moved on to other projects (Mount Westmore with Snoop, E-40, and Too $hort; Big3 basketball; films)‼️. *WC* has stayed with Cube‼️. He has described it as “real life behind the music” being different from the records‼️. Fans still want the group back and often call the situation petty after this many years, but Cube has not budged and Mack’s recent comments, while warmer, have not produced any joint appearance or statement from Cube’s side‼️. As of now there is no reconciliation‼️💯.
1:04

The Ice Cube–Mack 10 fallout is a personal/family issue from around 2005 that ended Westside Connection‼️ Westside Connection (Ice Cube, Mack 10, and WC) was formed in the mid-1990s‼️. They first appeared together on tracks like “Westside Slaughterhouse” (Mack 10’s 1995 album) and “West Up!” before dropping the platinum *Bow Down* in 1996 and *Terrorist Threats* in 2003‼️. The group ended shortly after the second album‼️. What started it⁉️ Mack 10 has given the most detail (2010 AllHipHop interview that was later deleted, plus a 2020 VladTV sit-down)‼️. The conflict centered on Ice Cube’s brother-in-law (his wife Kim’s brother)‼️. Mack said the man was disrespectful and “fucked my money up.”‼️ He went to Cube four or five times asking him to handle it internally before it escalated‼️. It eventually did: reports say Mack’s people beat the brother-in-law‼️. There was also an argument that happened in front of Cube’s wife, which Mack believes made the situation worse‼️. Mack’s consistent line: “Basically, I didn’t do anything to him and he didn’t do anything to me.”‼️ He has said if Cube’s wife hadn’t been present during the argument, they might still be making records‼️. Cube has never given a detailed public version‼️. He has only called it “a violation that can’t be overlooked.”‼️ A secondary rumor (never confirmed by either) is that Mack was also upset Cube didn’t want a second tour behind *Terrorist Threats*‼️. Mack owns the Westside Connection trademark because the second album came out on his Hoo-Bangin’ label‼️. Why it has lasted this long⁉️ This is family business, not just two rappers falling out‼️. Cube treats it as something that crossed a line he won’t ignore‼️. Mack has said he tried to resolve it diplomatically multiple times before it blew up‼️. Neither side has made a public move that the other accepted‼️. Cube still works and performs with WC (they grew up around the corner from each other), but not with Mack‼️. Mack has said for years that he “fucks with who fucks with me” and hadn’t spoken to Cube in nearly 20 years as of 2023‼️. That’s now over two decades‼️. In a July 2023 Breakfast Club interview, Charlamagne asked Ice Cube about a Westside Connection reunion after seeing photos of him with WC‼️. Cube’s answer was direct: “Probably not.” “I don’t wanna do another Westside Connection.”‼️ When Charlamagne brought up Mack 10 having told his side of the story, Cube replied, “Of course he do… I don’t wanna talk about it to be honest, because he know what it is.”‼️ Reactions from both sides⁉️ **Mack 10** has talked about it more‼️. In 2023 he told Bootleg Kev he hadn’t seen or spoken to Cube in almost 20 years and wasn’t chasing a reunion‼️. In August 2026 at the Cali Love 3 festival he went further and more positive: he stopped his set to say he still has love for both Ice Cube and WC, calling himself “too blessed to be mad at anybody” and adding “fuck being mad about some 25-year-old shit.”‼️ He was responding to WC having addressed the situation at an earlier Cali Love show‼️. He even played Westside Connection material and invited the crowd to treat it like the group was there‼️. Ice Cube stays reserved‼️. He confirmed in 2023 (Breakfast Club and Cam’ron’s *It Is What It Is*) that there is a real problem with Mack that he considers a violation he cannot overlook, while emphasizing he has no issues with WC‼️. He has shown no public interest in a reunion and has moved on to other projects (Mount Westmore with Snoop, E-40, and Too $hort; Big3 basketball; films)‼️. *WC* has stayed with Cube‼️. He has described it as “real life behind the music” being different from the records‼️. Fans still want the group back and often call the situation petty after this many years, but Cube has not budged and Mack’s recent comments, while warmer, have not produced any joint appearance or statement from Cube’s side‼️. As of now there is no reconciliation‼️💯.

(st_ides)

89,219 次观看 • 1 个月前

Game being hurt about that Super Bowl still makes sense if you sit with how the night was built‼️. Dr. Dre puts on the biggest hip-hop halftime in Super Bowl history: Snoop, Mary J. Blige, Eminem, Kendrick, and then 50 Cent swinging in upside down for “In Da Club.” It was sold as an L.A. homecoming‼️. The city was on the field‼️. Compton was on the field‼️. Aftermath’s whole lineage was on the field‼️. Except one of Dre’s actual Compton products wasn’t⁉️. Game said it out loud a few months later on *I Am Athlete*‼️. He was hurt‼️. Not “the culture won” Instagram caption he posted right after the show‼️. Hurt‼️. He pointed at the obvious: Eminem is not from L.A. 50 is not from L.A. If it had been a Detroit Super Bowl or a New York Super Bowl, L.A. niggas would not have been invited just because they were legends‼️. The Rams were playing‼️. The stadium was in Inglewood‼️. Dre produced it‼️. And the call never came‼️. He even said YG should have been there too‼️. He called himself not a “safe” artist‼️. That part tracks with how Game has always moved‼️. The 50 Cent piece is the part that stings extra‼️. Eminem made sure 50 was on that stage‼️. That’s not rumor — 50 and people around the camp have said it for years‼️. Em wasn’t going to let his guy get left off Dre’s night‼️. Fair‼️. Loyalty‼️. Same energy Game has always claimed he gives people‼️. The difference is nobody in that circle fought to put Game on the bill‼️. Twelve minutes, Snoop later said‼️. Politics, Game said. Either way, the Compton artist who actually came up under Dre on *The Documentary* watched two outsiders and the younger Compton guy who inherited the “voice of the city” slot get the moment‼️. That’s where the Kendrick part lives‼️. It’s not that Game and Kendrick ever had a public war in 2022‼️. It’s that Kendrick was the other Compton name Dre and the NFL were comfortable putting next to Dre and Snoop‼️. Game has said he put Kendrick on early mixtapes, took him on tour, showed love when it was still a come-up‼️. Then years later he can’t get him on the phone, but he can get Drake‼️. That’s the current documentary-era complaint‼️. The Super Bowl snub sits underneath it like old scar tissue‼️. Same city, same Dre orbit, same “who gets to represent L.A. on the biggest stage” question — and Game wasn’t the answer they picked‼️. He has spent 2026 saying he doesn’t have a problem with the Boogeyman and the Boogeyman doesn’t have a problem with him‼️. He also put Drake on *The Documentary III*, rapped about not having to pick sides, and still couldn’t resist the “they say I’m beefing with Kendrick, how the fuck do that sound⁉️” line. That’s Game‼️. He will deny the beef while listing every reason the distance exists‼️. Resentment doesn’t always come out as a diss record the next week‼️. Sometimes it sits for four years until the next album cycle, the next Drake feature, and the next time somebody asks why the original Compton Aftermath artist wasn’t standing on that white house set while Em made sure 50 got his “In Da Club” moment‼️. Game watched it happen in his city‼️. He said he was hurt‼️. The rest is just whether he ever stopped being hurt‼️. The future will tell‼️
1:54

Game being hurt about that Super Bowl still makes sense if you sit with how the night was built‼️. Dr. Dre puts on the biggest hip-hop halftime in Super Bowl history: Snoop, Mary J. Blige, Eminem, Kendrick, and then 50 Cent swinging in upside down for “In Da Club.” It was sold as an L.A. homecoming‼️. The city was on the field‼️. Compton was on the field‼️. Aftermath’s whole lineage was on the field‼️. Except one of Dre’s actual Compton products wasn’t⁉️. Game said it out loud a few months later on *I Am Athlete*‼️. He was hurt‼️. Not “the culture won” Instagram caption he posted right after the show‼️. Hurt‼️. He pointed at the obvious: Eminem is not from L.A. 50 is not from L.A. If it had been a Detroit Super Bowl or a New York Super Bowl, L.A. niggas would not have been invited just because they were legends‼️. The Rams were playing‼️. The stadium was in Inglewood‼️. Dre produced it‼️. And the call never came‼️. He even said YG should have been there too‼️. He called himself not a “safe” artist‼️. That part tracks with how Game has always moved‼️. The 50 Cent piece is the part that stings extra‼️. Eminem made sure 50 was on that stage‼️. That’s not rumor — 50 and people around the camp have said it for years‼️. Em wasn’t going to let his guy get left off Dre’s night‼️. Fair‼️. Loyalty‼️. Same energy Game has always claimed he gives people‼️. The difference is nobody in that circle fought to put Game on the bill‼️. Twelve minutes, Snoop later said‼️. Politics, Game said. Either way, the Compton artist who actually came up under Dre on *The Documentary* watched two outsiders and the younger Compton guy who inherited the “voice of the city” slot get the moment‼️. That’s where the Kendrick part lives‼️. It’s not that Game and Kendrick ever had a public war in 2022‼️. It’s that Kendrick was the other Compton name Dre and the NFL were comfortable putting next to Dre and Snoop‼️. Game has said he put Kendrick on early mixtapes, took him on tour, showed love when it was still a come-up‼️. Then years later he can’t get him on the phone, but he can get Drake‼️. That’s the current documentary-era complaint‼️. The Super Bowl snub sits underneath it like old scar tissue‼️. Same city, same Dre orbit, same “who gets to represent L.A. on the biggest stage” question — and Game wasn’t the answer they picked‼️. He has spent 2026 saying he doesn’t have a problem with the Boogeyman and the Boogeyman doesn’t have a problem with him‼️. He also put Drake on *The Documentary III*, rapped about not having to pick sides, and still couldn’t resist the “they say I’m beefing with Kendrick, how the fuck do that sound⁉️” line. That’s Game‼️. He will deny the beef while listing every reason the distance exists‼️. Resentment doesn’t always come out as a diss record the next week‼️. Sometimes it sits for four years until the next album cycle, the next Drake feature, and the next time somebody asks why the original Compton Aftermath artist wasn’t standing on that white house set while Em made sure 50 got his “In Da Club” moment‼️. Game watched it happen in his city‼️. He said he was hurt‼️. The rest is just whether he ever stopped being hurt‼️. The future will tell‼️

(st_ides)

110,082 次观看 • 28 天前

Did You Know⁉️ One of hip-hop’s most infamous late-’90s beefs—between LL Cool J and Canibus‼️started over a single line on the 1997 posse cut “4, 3, 2, 1” (featuring Method Man, Redman, DMX, and later Master P on the extended version)⁉️. If you dont, I gat you‼️ LL Cool J’s account‼️ LL has said (in interviews including the Joe Budden Podcast, Drink Champs, and others) that Canibus approached him outside the studio and mentioned wanting a tattoo just like the microphone on LL’s arm‼️. At the time, LL was “leading with my ego” and feeling territorial/immature, so he told Canibus to “get your own.”‼️ Then, when LL heard Canibus’s original verse—“Yo L, is that a mic on your arm? Let me borrow that”‼️he took it as a challenge or disrespect tied to that conversation, not a compliment‼️. He told Canibus the line had to go (or he’d be left off the record). Canibus changed it‼️. LL has later reflected that Canibus “really didn’t do nothing wrong,” that it was a compliment/admiration he misread due to his own mindset, and that the beef was more his fault‼️. He kept (or added) responsive lines on the final track that targeted the mic/tattoo reference‼️. Canibus’s account⁉️ Canibus has consistently said the line was pure respect and a term of endearment‼️not a diss‼️. In a recorded conversation with Mos Def, Big Pun, and DMX, he explained that the full original opening (“Yo Method Man, where the gods at? / Yo Redman, where the Squad at? / Yo L, is that a mic on your arm? Let me borrow that”) was him showing love and excitement at being included with veterans‼️. He has described asking about the tattoo idea as a salute (not biting), and stressed he wasn’t stupid enough to diss the host on his own record‼️. When LL called about 48 hours later accusing him of “playing” him, Canibus reportedly replied that he was arrogant and got busy when needed, “but I’m not stupid! I’m not gonna get on another ni**a’s record and [diss him].”‼️ He offered to re-record; LL indicated he’d adjust his own side too‼️. Canibus changed his verse (the released version starts more generally with lines about fighting for mics). He later felt betrayed when the final track dropped with LL’s responsive bars still in place (and Canibus was left out of the main video)‼️. That led him to drop “Second Round K.O.” (with Mike Tyson) in 1998‼️. Both sides agree on the core facts‼️: the original “mic on your arm / let me borrow that” line existed, LL objected and required a rewrite, Canibus complied, and LL’s final verse addressed the reference while Canibus’s did not‼️. The disagreement is intent and follow-through—LL initially heard a challenge (and has since owned his ego/immaturity); Canibus insists it was admiration and felt played when the response stayed in‼️. Redman (who was on the track and mentoring Canibus at the time) has backed Canibus’s view that it wasn’t aimed as disrespect‼️. The leaked original verse, phone call between the two, and later reflections from both have kept the story alive for decades‼️. They eventually appeared to squash it publicly years later, but the “4, 3, 2, 1” incident remains a classic example of how one ambiguous bar + egos + competitive culture can spark a full-blown rap war‼️💯. You're welcome‼️
1:34

Did You Know⁉️ One of hip-hop’s most infamous late-’90s beefs—between LL Cool J and Canibus‼️started over a single line on the 1997 posse cut “4, 3, 2, 1” (featuring Method Man, Redman, DMX, and later Master P on the extended version)⁉️. If you dont, I gat you‼️ LL Cool J’s account‼️ LL has said (in interviews including the Joe Budden Podcast, Drink Champs, and others) that Canibus approached him outside the studio and mentioned wanting a tattoo just like the microphone on LL’s arm‼️. At the time, LL was “leading with my ego” and feeling territorial/immature, so he told Canibus to “get your own.”‼️ Then, when LL heard Canibus’s original verse—“Yo L, is that a mic on your arm? Let me borrow that”‼️he took it as a challenge or disrespect tied to that conversation, not a compliment‼️. He told Canibus the line had to go (or he’d be left off the record). Canibus changed it‼️. LL has later reflected that Canibus “really didn’t do nothing wrong,” that it was a compliment/admiration he misread due to his own mindset, and that the beef was more his fault‼️. He kept (or added) responsive lines on the final track that targeted the mic/tattoo reference‼️. Canibus’s account⁉️ Canibus has consistently said the line was pure respect and a term of endearment‼️not a diss‼️. In a recorded conversation with Mos Def, Big Pun, and DMX, he explained that the full original opening (“Yo Method Man, where the gods at? / Yo Redman, where the Squad at? / Yo L, is that a mic on your arm? Let me borrow that”) was him showing love and excitement at being included with veterans‼️. He has described asking about the tattoo idea as a salute (not biting), and stressed he wasn’t stupid enough to diss the host on his own record‼️. When LL called about 48 hours later accusing him of “playing” him, Canibus reportedly replied that he was arrogant and got busy when needed, “but I’m not stupid! I’m not gonna get on another ni**a’s record and [diss him].”‼️ He offered to re-record; LL indicated he’d adjust his own side too‼️. Canibus changed his verse (the released version starts more generally with lines about fighting for mics). He later felt betrayed when the final track dropped with LL’s responsive bars still in place (and Canibus was left out of the main video)‼️. That led him to drop “Second Round K.O.” (with Mike Tyson) in 1998‼️. Both sides agree on the core facts‼️: the original “mic on your arm / let me borrow that” line existed, LL objected and required a rewrite, Canibus complied, and LL’s final verse addressed the reference while Canibus’s did not‼️. The disagreement is intent and follow-through—LL initially heard a challenge (and has since owned his ego/immaturity); Canibus insists it was admiration and felt played when the response stayed in‼️. Redman (who was on the track and mentoring Canibus at the time) has backed Canibus’s view that it wasn’t aimed as disrespect‼️. The leaked original verse, phone call between the two, and later reflections from both have kept the story alive for decades‼️. They eventually appeared to squash it publicly years later, but the “4, 3, 2, 1” incident remains a classic example of how one ambiguous bar + egos + competitive culture can spark a full-blown rap war‼️💯. You're welcome‼️

(st_ides)

92,064 次观看 • 1 个月前

50 Cent put Charlamagne on notice in real time when the Drake Super Bowl talk came up‼️💯. On "The Breakfast Club", 50 dropped that Drake had turned down the Super Bowl multiple times (he and others have referenced two or three occasions)‼️. Charlamagne’s face and immediate reaction told the story‼️he was caught off guard and started trying to reframe it on the spot‼️. 50 didn’t let the pivot slide‼️. He pointed out the obvious: if Jay-Z (via Roc Nation’s partnership with the NFL) was actually offering Drake the stage and Drake was the one saying no, that undercuts the pure “Jay is just hating Drake” narrative that a lot of people lean on‼️. You can’t run the “he’s blocking him out of spite” story and also claim the offers were real without the logic falling apart‼️. 50 checked that framing right there‼️. Then the conversation shifted to 50’s own situation, and he confirmed what he’d said before: Jay didn’t want him on the 2022 Super Bowl LVI halftime show either‼️. Roc Nation allegedly tried to keep him off the bill‼️. Eminem refused to do it without 50, so they had to bring him in as the “surprise.” 50 has been consistent on this‼️he’s said if it was up to them, he wouldn’t have been there‼️. He frames it as culture being competitive, but notes that when it crosses into blocking business opportunities (especially when the other side isn’t even competing for current chart slots or relevance in the same way), it stops making sense‼️. This isn’t isolated‼️. Jay has a track record of using industry position and leverage for personal or competitive reasons rather than pure merit‼️: - The long-running tension with 50 goes back years and has included business and platform issues beyond just music‼️. - Damon Dash has repeatedly accused Jay of interfering in deals and opportunities that would have paid him, describing a pattern of stepping on things when money was on the table‼️. - Historical examples include the way power dynamics played out around Roc-A-Fella splits, artist placements, and access during peak Roc years. Jay has never been shy about leveraging his position‼️whether through labels, streaming (Tidal), sports, or the NFL partnership‼️. The idea that Jay-Z “didn’t play a part” in the Drake–Kendrick situation is pure nonsense‼️. Roc Nation has shaped Super Bowl halftime selections for years‼️. Kendrick getting the 2025 New Orleans slot right in the middle/aftermath of the biggest beef in years wasn’t some neutral coincidence, especially with the cultural and streaming impact of “Not Like Us.”‼️ Jay later claimed it was simply because Kendrick was having a monster year and insisted it wasn’t about the battle‼️. That defense is convenient‼️. When the person controlling one of the biggest stages in music hands it to one side of an active, highly publicized war while the other side has previously turned the same stage down, pretending there’s zero connection or influence requires willful blindness‼️. The power is real, the history of selective use of that power exists, and the Super Bowl decisions sit right in the middle of both‼️. 50’s point lands because he’s lived both sides of it: the competitive culture "and" the business blocking‼️. When Charlamagne tried to keep the narrative tidy in the moment, 50 simply wouldn’t let the contradiction stand‼️. Watch the pattern‼️💯
3:27

50 Cent put Charlamagne on notice in real time when the Drake Super Bowl talk came up‼️💯. On "The Breakfast Club", 50 dropped that Drake had turned down the Super Bowl multiple times (he and others have referenced two or three occasions)‼️. Charlamagne’s face and immediate reaction told the story‼️he was caught off guard and started trying to reframe it on the spot‼️. 50 didn’t let the pivot slide‼️. He pointed out the obvious: if Jay-Z (via Roc Nation’s partnership with the NFL) was actually offering Drake the stage and Drake was the one saying no, that undercuts the pure “Jay is just hating Drake” narrative that a lot of people lean on‼️. You can’t run the “he’s blocking him out of spite” story and also claim the offers were real without the logic falling apart‼️. 50 checked that framing right there‼️. Then the conversation shifted to 50’s own situation, and he confirmed what he’d said before: Jay didn’t want him on the 2022 Super Bowl LVI halftime show either‼️. Roc Nation allegedly tried to keep him off the bill‼️. Eminem refused to do it without 50, so they had to bring him in as the “surprise.” 50 has been consistent on this‼️he’s said if it was up to them, he wouldn’t have been there‼️. He frames it as culture being competitive, but notes that when it crosses into blocking business opportunities (especially when the other side isn’t even competing for current chart slots or relevance in the same way), it stops making sense‼️. This isn’t isolated‼️. Jay has a track record of using industry position and leverage for personal or competitive reasons rather than pure merit‼️: - The long-running tension with 50 goes back years and has included business and platform issues beyond just music‼️. - Damon Dash has repeatedly accused Jay of interfering in deals and opportunities that would have paid him, describing a pattern of stepping on things when money was on the table‼️. - Historical examples include the way power dynamics played out around Roc-A-Fella splits, artist placements, and access during peak Roc years. Jay has never been shy about leveraging his position‼️whether through labels, streaming (Tidal), sports, or the NFL partnership‼️. The idea that Jay-Z “didn’t play a part” in the Drake–Kendrick situation is pure nonsense‼️. Roc Nation has shaped Super Bowl halftime selections for years‼️. Kendrick getting the 2025 New Orleans slot right in the middle/aftermath of the biggest beef in years wasn’t some neutral coincidence, especially with the cultural and streaming impact of “Not Like Us.”‼️ Jay later claimed it was simply because Kendrick was having a monster year and insisted it wasn’t about the battle‼️. That defense is convenient‼️. When the person controlling one of the biggest stages in music hands it to one side of an active, highly publicized war while the other side has previously turned the same stage down, pretending there’s zero connection or influence requires willful blindness‼️. The power is real, the history of selective use of that power exists, and the Super Bowl decisions sit right in the middle of both‼️. 50’s point lands because he’s lived both sides of it: the competitive culture "and" the business blocking‼️. When Charlamagne tried to keep the narrative tidy in the moment, 50 simply wouldn’t let the contradiction stand‼️. Watch the pattern‼️💯

(st_ides)

136,039 次观看 • 1 个月前

Charlamagne tha God built his name on *The Breakfast Club* by being the guy who says the quiet part out loud‼️. He trolls interviews, hands out “Donkey of the Day,” and regularly goes at rappers whose music, attitude, or relationship to the culture he doesn’t respect‼️. It’s not random shade—it’s a consistent pattern‼️. When he doesn’t like someone, he doesn’t just critique the music. He questions their authenticity, their respect for hip-hop, and sometimes their place in it‼️. Post Malone became one of the clearest, longest-running examples of that style‼️. The first major clash happened in 2015 during Post’s early *Breakfast Club* appearance‼️. Charlamagne came in aggressive‼️. He mocked Post’s look (commenting that white people with cornrows look stupid), asked if he was a culture vulture, tried to bait him into saying the N-word, and hit him with “What are you doing for the Black Lives Matter movement⁉️” Post stayed calm and later called Charlamagne a troll whose job is to get a reaction‼️. The interview became infamous because Post didn’t fold, which only seemed to fuel Charlamagne more‼️. Things escalated in 2017 when Post told *Rolling Stone* that if people want lyrics, emotion, or something to think about, they shouldn’t listen to hip-hop—they should put on Bob Dylan‼️. Charlamagne immediately gave him Donkey of the Day, arguing that Post came up off hip-hop (“White Iverson”) and then dismissed the genre that launched him‼️. In the same *Rolling Stone* profile, Post went further: “He’s not a good person‼️. He hates me because I’m white and I’m different.”‼️ Charlamagne’s response was direct‼️. He said he doesn’t dislike people because they’re white—he disliked Post at the time because he thought he was “wack.”‼️ He added that he actually likes “Rockstar” and told Post to keep winning and give back to the Black community in some form‼️. That was his public defense: it wasn’t race, it was taste and perceived disrespect for the culture‼️. He kept it going‼️. In 2020 he told Wallo that if he could kick one person out of rap, it would be Post Malone, calling him a “fake Future.”‼️ He admitted he might just be hating and later walked it back a bit, saying he didn’t even despise him that much‼️. Then in 2022 on *Impaulsive* with Logan Paul, Charlamagne laid out the fuller version of his issue‼️. Post came from hip-hop, got on *Breakfast Club*, then made comments that treated rap like it had no depth or meaning‼️. Charlamagne saw that as hypocritical‼️. He argued hip-hop is nuanced—you can go from Future to Kendrick—and Post’s take felt like someone who only heard the party/lean side of the genre‼️. He even joked about “mayonnaise records.” That interview was him explaining the dislike without fully walking it back‼️. This is the pattern‼️. Charlamagne has checked plenty of rappers on air (Birdman walked out, Master P shut him down, etc.)‼️. With Post it became personal and prolonged because Post represented something Charlamagne has always been vocal about: artists who profit from the culture then talk about it like it’s lesser or disposable‼️. Whether you see it as gatekeeping, hating, or just him being himself, he rarely hides it‼️. He frames it as honesty and cultural protection‼️. Post framed it as a hater who couldn’t stop his success‼️. Both versions have lived in public for years, and Charlamagne has never really pretended he was just being nice‼️.
3:20

Charlamagne tha God built his name on *The Breakfast Club* by being the guy who says the quiet part out loud‼️. He trolls interviews, hands out “Donkey of the Day,” and regularly goes at rappers whose music, attitude, or relationship to the culture he doesn’t respect‼️. It’s not random shade—it’s a consistent pattern‼️. When he doesn’t like someone, he doesn’t just critique the music. He questions their authenticity, their respect for hip-hop, and sometimes their place in it‼️. Post Malone became one of the clearest, longest-running examples of that style‼️. The first major clash happened in 2015 during Post’s early *Breakfast Club* appearance‼️. Charlamagne came in aggressive‼️. He mocked Post’s look (commenting that white people with cornrows look stupid), asked if he was a culture vulture, tried to bait him into saying the N-word, and hit him with “What are you doing for the Black Lives Matter movement⁉️” Post stayed calm and later called Charlamagne a troll whose job is to get a reaction‼️. The interview became infamous because Post didn’t fold, which only seemed to fuel Charlamagne more‼️. Things escalated in 2017 when Post told *Rolling Stone* that if people want lyrics, emotion, or something to think about, they shouldn’t listen to hip-hop—they should put on Bob Dylan‼️. Charlamagne immediately gave him Donkey of the Day, arguing that Post came up off hip-hop (“White Iverson”) and then dismissed the genre that launched him‼️. In the same *Rolling Stone* profile, Post went further: “He’s not a good person‼️. He hates me because I’m white and I’m different.”‼️ Charlamagne’s response was direct‼️. He said he doesn’t dislike people because they’re white—he disliked Post at the time because he thought he was “wack.”‼️ He added that he actually likes “Rockstar” and told Post to keep winning and give back to the Black community in some form‼️. That was his public defense: it wasn’t race, it was taste and perceived disrespect for the culture‼️. He kept it going‼️. In 2020 he told Wallo that if he could kick one person out of rap, it would be Post Malone, calling him a “fake Future.”‼️ He admitted he might just be hating and later walked it back a bit, saying he didn’t even despise him that much‼️. Then in 2022 on *Impaulsive* with Logan Paul, Charlamagne laid out the fuller version of his issue‼️. Post came from hip-hop, got on *Breakfast Club*, then made comments that treated rap like it had no depth or meaning‼️. Charlamagne saw that as hypocritical‼️. He argued hip-hop is nuanced—you can go from Future to Kendrick—and Post’s take felt like someone who only heard the party/lean side of the genre‼️. He even joked about “mayonnaise records.” That interview was him explaining the dislike without fully walking it back‼️. This is the pattern‼️. Charlamagne has checked plenty of rappers on air (Birdman walked out, Master P shut him down, etc.)‼️. With Post it became personal and prolonged because Post represented something Charlamagne has always been vocal about: artists who profit from the culture then talk about it like it’s lesser or disposable‼️. Whether you see it as gatekeeping, hating, or just him being himself, he rarely hides it‼️. He frames it as honesty and cultural protection‼️. Post framed it as a hater who couldn’t stop his success‼️. Both versions have lived in public for years, and Charlamagne has never really pretended he was just being nice‼️.

(st_ides)

25,225 次观看 • 1 个月前

The 2016 Breakfast Club interview with Lakeith Stanfield set an early tone that later exploded into a years-long back-and-forth‼️. Stanfield, then rising off "Atlanta", *Straight Outta Compton* (as Snoop), and *Get Out*, came on to talk acting‼️. The hosts asked about his rapping (he has a project/group called The Moors and has released music)‼️. He delivered a dense, wordy freestyle‼️. Charlamagne and the crew were visibly unimpressed—the clip they later posted and referenced captures the awkward “that’s it⁉️” energy and some teasing‼️. Charlamagne later framed it as him trying to steer Stanfield: great actor, terrible rapper, don’t waste time on it‼️. In 2018, when Stanfield posted an “offensive freestyle” with homophobic language and a weak apology, Charlamagne replayed the 2016 moment on *Donkey of the Day* and doubled down on the same point‼️. That moment wasn’t the main feud, but it planted the seed‼️. Stanfield is eccentric, artsy, and doesn’t move like a typical rapper or radio guest‼️. Charlamagne’s show thrives on unfiltered grilling, roasts, and “keeping it real.” Asking an actor to rap on the spot and then dismissing it publicly can feel like a gotcha or public diminishment rather than genuine curiosity‼️. How it escalated⁉️ In 2019 Stanfield posted that platforms like The Breakfast Club, The Shade Room, WorldStar, and Lipstick Alley act as “feeding grounds for negative reinforcement toward BLACK ‘nonconformists’” and “slave mentality museums.” Charlamagne took it personally, gave him *Donkey of the Day*, called him a hypocrite for not going after white media (Hollywood handlers wouldn’t allow it), brought up the old freestyle and other interviews, and told him not to call the author of *Black Privilege* anti-Black‼️. Stanfield responded with the diss track “Automatic,” using Sambo-style imagery of Charlamagne and lines like “Insecure, you afraid, you’s a Charlamagne.”‼️ In 2021, during Daniel Kaluuya’s *Judas and the Black Messiah* interview, Charlamagne asked if Kaluuya looked at Stanfield differently because he played the informant “too well”—implying he was born for the snitch role‼️. Kaluuya shut it down immediately‼️. Stanfield called Charlamagne a “hoe” and later posted a video pointing a gun at his picture‼️. Charlamagne said he “owed him that” jab after the earlier shots‼️. This is not isolated‼️. Charlamagne built his brand as “hip-hop’s Howard Stern”‼️provocative, no-filter, willing to ask the uncomfortable question or roast someone on air‼️. He has history with Birdman (“stop playing with my name”)‼️, Drake (ongoing critiques and responses)‼️, Kanye, Nelly, Mo’Nique, and others who’ve checked him or walked out‼️. Some moments age poorly (past transphobic laughter from guests he didn’t shut down hard enough, Lil Mama interview backlash)‼️. Others are defended as necessary pushback in an industry full of yes-men‼️. He positions it as accountability and entertainment‼️. Critics see it as punching down for clips, personal defensiveness when his platform is criticized, or a style that works better on certain guests than others‼️. Stanfield, being more alternative and media-critical, was always going to clash with that energy‼️. Should media “bring a person down” like that⁉️ Media’s job isn’t to protect feelings, but it also isn’t obligated to manufacture humiliation for content‼️. Asking an actor to rap and then publicly declaring him unimpressive is closer to a bit than journalism‼️. Later personalizing it with *Donkey of the Day* segments, old clips, and snitch-role implications turns it into a running narrative‼️. That’s common in personality-driven radio and YouTube-era media‼️it generates conversation and views—but it can feel like the host using the platform to settle scores or enforce a certain vibe‼️. Black media occupies a complicated space: it can hold artists accountable in ways mainstream outlets won’t, but it can also amplify negativity, gatekeep, or prioritize virality‼️
1:30

The 2016 Breakfast Club interview with Lakeith Stanfield set an early tone that later exploded into a years-long back-and-forth‼️. Stanfield, then rising off "Atlanta", *Straight Outta Compton* (as Snoop), and *Get Out*, came on to talk acting‼️. The hosts asked about his rapping (he has a project/group called The Moors and has released music)‼️. He delivered a dense, wordy freestyle‼️. Charlamagne and the crew were visibly unimpressed—the clip they later posted and referenced captures the awkward “that’s it⁉️” energy and some teasing‼️. Charlamagne later framed it as him trying to steer Stanfield: great actor, terrible rapper, don’t waste time on it‼️. In 2018, when Stanfield posted an “offensive freestyle” with homophobic language and a weak apology, Charlamagne replayed the 2016 moment on *Donkey of the Day* and doubled down on the same point‼️. That moment wasn’t the main feud, but it planted the seed‼️. Stanfield is eccentric, artsy, and doesn’t move like a typical rapper or radio guest‼️. Charlamagne’s show thrives on unfiltered grilling, roasts, and “keeping it real.” Asking an actor to rap on the spot and then dismissing it publicly can feel like a gotcha or public diminishment rather than genuine curiosity‼️. How it escalated⁉️ In 2019 Stanfield posted that platforms like The Breakfast Club, The Shade Room, WorldStar, and Lipstick Alley act as “feeding grounds for negative reinforcement toward BLACK ‘nonconformists’” and “slave mentality museums.” Charlamagne took it personally, gave him *Donkey of the Day*, called him a hypocrite for not going after white media (Hollywood handlers wouldn’t allow it), brought up the old freestyle and other interviews, and told him not to call the author of *Black Privilege* anti-Black‼️. Stanfield responded with the diss track “Automatic,” using Sambo-style imagery of Charlamagne and lines like “Insecure, you afraid, you’s a Charlamagne.”‼️ In 2021, during Daniel Kaluuya’s *Judas and the Black Messiah* interview, Charlamagne asked if Kaluuya looked at Stanfield differently because he played the informant “too well”—implying he was born for the snitch role‼️. Kaluuya shut it down immediately‼️. Stanfield called Charlamagne a “hoe” and later posted a video pointing a gun at his picture‼️. Charlamagne said he “owed him that” jab after the earlier shots‼️. This is not isolated‼️. Charlamagne built his brand as “hip-hop’s Howard Stern”‼️provocative, no-filter, willing to ask the uncomfortable question or roast someone on air‼️. He has history with Birdman (“stop playing with my name”)‼️, Drake (ongoing critiques and responses)‼️, Kanye, Nelly, Mo’Nique, and others who’ve checked him or walked out‼️. Some moments age poorly (past transphobic laughter from guests he didn’t shut down hard enough, Lil Mama interview backlash)‼️. Others are defended as necessary pushback in an industry full of yes-men‼️. He positions it as accountability and entertainment‼️. Critics see it as punching down for clips, personal defensiveness when his platform is criticized, or a style that works better on certain guests than others‼️. Stanfield, being more alternative and media-critical, was always going to clash with that energy‼️. Should media “bring a person down” like that⁉️ Media’s job isn’t to protect feelings, but it also isn’t obligated to manufacture humiliation for content‼️. Asking an actor to rap and then publicly declaring him unimpressive is closer to a bit than journalism‼️. Later personalizing it with *Donkey of the Day* segments, old clips, and snitch-role implications turns it into a running narrative‼️. That’s common in personality-driven radio and YouTube-era media‼️it generates conversation and views—but it can feel like the host using the platform to settle scores or enforce a certain vibe‼️. Black media occupies a complicated space: it can hold artists accountable in ways mainstream outlets won’t, but it can also amplify negativity, gatekeep, or prioritize virality‼️

(st_ides)

32,074 次观看 • 1 个月前

I'm of the opinion that Kendrick didn't really think through the aftereffects of this beef‼️. To him it was a straight-up slam dunk‼️he had the whole industry in his corner, so what could possibly go wrong⁉️ But of course, the one thing that shouldn't have gone sideways totally did‼️. His claims were shaky as hell; that whole “secret daughter” angle⁉️ Super questionable‼️. It wasn’t a clean one-on-one either‼️it was a full-on pile-on, with like twenty other artists jumping in alongside him and the industry machine‼️. And Drake⁉️ He didn’t just die in that ring. Nah, he came back evolved into a whole new beast we’ve never seen before‼️. This has gotta be the shortest victory lap any rap-beef winner has ever taken‼️. Instead of riding off into the sunset with the trophy, it just threw him straight under the biggest magnifying glass in the game‼️💯. Now the public’s got their eyes glued on him, and the scrutiny is relentless‼️. Him and his fans⁉️ They ain’t built for that kind of heat, apparently‼️. What they don’t understand is that at this level, criticism isn’t some surprise attack‼️it’s just part of the package that comes with the crown‼️. He’s gotta deliver every time now‼️. His next album is gonna be the real litmus test‼️ will he keep this shiny new spotlight shining, or will it end up dimming his brand for the long haul⁉️ We’ll see how it plays out‼️💯
3:37

I'm of the opinion that Kendrick didn't really think through the aftereffects of this beef‼️. To him it was a straight-up slam dunk‼️he had the whole industry in his corner, so what could possibly go wrong⁉️ But of course, the one thing that shouldn't have gone sideways totally did‼️. His claims were shaky as hell; that whole “secret daughter” angle⁉️ Super questionable‼️. It wasn’t a clean one-on-one either‼️it was a full-on pile-on, with like twenty other artists jumping in alongside him and the industry machine‼️. And Drake⁉️ He didn’t just die in that ring. Nah, he came back evolved into a whole new beast we’ve never seen before‼️. This has gotta be the shortest victory lap any rap-beef winner has ever taken‼️. Instead of riding off into the sunset with the trophy, it just threw him straight under the biggest magnifying glass in the game‼️💯. Now the public’s got their eyes glued on him, and the scrutiny is relentless‼️. Him and his fans⁉️ They ain’t built for that kind of heat, apparently‼️. What they don’t understand is that at this level, criticism isn’t some surprise attack‼️it’s just part of the package that comes with the crown‼️. He’s gotta deliver every time now‼️. His next album is gonna be the real litmus test‼️ will he keep this shiny new spotlight shining, or will it end up dimming his brand for the long haul⁉️ We’ll see how it plays out‼️💯

(st_ides)

12,063 次观看 • 2 个月前

Faith Evans’ consistent narrative is that nothing sexual happened with 2Pac‼️; she has always denied sleeping with him‼️. Her fullest account appears in her 2008 memoir *Keep the Faith* and later interviews (including with VladTV)‼️. According to her⁉️: - She met Tupac at a club in Los Angeles (introduced via Treach of Naughty by Nature) shortly after his prison release‼️. He flattered her about her music and asked her to sing on a track‼️. - She claims she did not know he was signed to Death Row (rival to Bad Boy) until she arrived at the studio (Can-Am) and saw Death Row affiliates‼️. She has said she got Biggie’s okay for the collab and was focused on getting paid‼️. - She recorded the chorus for “Wonda Why They Call U Bitch” (from *All Eyez on Me*)‼️. After the session she was owed money (she has cited figures like $25,000 in some accounts)‼️. Tupac said the payment would come at his hotel (the Peninsula)‼️. - At the hotel, after others left, his demeanor changed‼️. He referenced the Quad Studios shooting (“niggas set me up that night”), said something to the effect of “If I give it to you, then you my bitch,” and propositioned her for oral sex in what she described as a “very surprising and offensive way.”‼️ She viewed it as a setup/plan‼️. She refused, left without the money, and has always maintained they never had sex‼️. In a 1996 Video Music Box interview (around the time of the beef), she also denied any involvement and called Tupac’s stories concocted‼️. She has repeatedly framed herself as used as a pawn in the East-West/Bad Boy–Death Row conflict‼️. 2Pac told a completely different story‼️. He publicly claimed they had sex and used it as a weapon against Biggie‼️. The most famous version is on the 1996 diss track “Hit ’Em Up”: “You claim to be a player, but I fucked your wife…” (and related lines about “that’s why I fucked your bitch, you fat motherfucker”)‼️. In interviews he was more coy but clearly leaned into the claim‼️. In the February 1996 *Vibe* interview with Kevin Powell (the “Live from Death Row” cover story), when asked about rumors of spending time with Faith outside the studio, he responded along the lines of “You mean the rumor that I fucked her⁉️” with laughter, and elsewhere said things like “I don’t kiss and tell” while an anonymous source in the piece described them as “very, very close.”‼️ A *New York Times Magazine* profile of Suge Knight around the same period included Suge teasing Pac about a shirt supposedly from Faith and Pac responding in a salacious tone that he “did enough.”‼️ Multiple people close to Tupac (cousins, associates like Desiree Smith, Dru Down, producers, and others who have spoken over the years) have said he told them privately that he slept with her‼️sometimes framing it as revenge after the Quad shooting, sometimes as something that happened after the studio session or hotel visit‼️. Accounts vary on exact details and timing, and some conflict with Faith’s timeline (e.g., claims she came to the hotel more willingly or in disguise, or that contact continued afterward)‼️. Faith has always rejected these as lies or exaggerations used to escalate the beef‼️. In short: Faith’s version is a professional collab that turned into an unwanted sexual proposition she rejected, with no sex occurring‼️. Tupac’s version (in lyrics, interviews, and private claims relayed by others) is that they did have sex, which he then publicly weaponized against Biggie‼️. The contradiction is direct and has never been reconciled; it remains one of the most contested personal elements of the East-West Coast feud‼️💯.
2:35

Faith Evans’ consistent narrative is that nothing sexual happened with 2Pac‼️; she has always denied sleeping with him‼️. Her fullest account appears in her 2008 memoir *Keep the Faith* and later interviews (including with VladTV)‼️. According to her⁉️: - She met Tupac at a club in Los Angeles (introduced via Treach of Naughty by Nature) shortly after his prison release‼️. He flattered her about her music and asked her to sing on a track‼️. - She claims she did not know he was signed to Death Row (rival to Bad Boy) until she arrived at the studio (Can-Am) and saw Death Row affiliates‼️. She has said she got Biggie’s okay for the collab and was focused on getting paid‼️. - She recorded the chorus for “Wonda Why They Call U Bitch” (from *All Eyez on Me*)‼️. After the session she was owed money (she has cited figures like $25,000 in some accounts)‼️. Tupac said the payment would come at his hotel (the Peninsula)‼️. - At the hotel, after others left, his demeanor changed‼️. He referenced the Quad Studios shooting (“niggas set me up that night”), said something to the effect of “If I give it to you, then you my bitch,” and propositioned her for oral sex in what she described as a “very surprising and offensive way.”‼️ She viewed it as a setup/plan‼️. She refused, left without the money, and has always maintained they never had sex‼️. In a 1996 Video Music Box interview (around the time of the beef), she also denied any involvement and called Tupac’s stories concocted‼️. She has repeatedly framed herself as used as a pawn in the East-West/Bad Boy–Death Row conflict‼️. 2Pac told a completely different story‼️. He publicly claimed they had sex and used it as a weapon against Biggie‼️. The most famous version is on the 1996 diss track “Hit ’Em Up”: “You claim to be a player, but I fucked your wife…” (and related lines about “that’s why I fucked your bitch, you fat motherfucker”)‼️. In interviews he was more coy but clearly leaned into the claim‼️. In the February 1996 *Vibe* interview with Kevin Powell (the “Live from Death Row” cover story), when asked about rumors of spending time with Faith outside the studio, he responded along the lines of “You mean the rumor that I fucked her⁉️” with laughter, and elsewhere said things like “I don’t kiss and tell” while an anonymous source in the piece described them as “very, very close.”‼️ A *New York Times Magazine* profile of Suge Knight around the same period included Suge teasing Pac about a shirt supposedly from Faith and Pac responding in a salacious tone that he “did enough.”‼️ Multiple people close to Tupac (cousins, associates like Desiree Smith, Dru Down, producers, and others who have spoken over the years) have said he told them privately that he slept with her‼️sometimes framing it as revenge after the Quad shooting, sometimes as something that happened after the studio session or hotel visit‼️. Accounts vary on exact details and timing, and some conflict with Faith’s timeline (e.g., claims she came to the hotel more willingly or in disguise, or that contact continued afterward)‼️. Faith has always rejected these as lies or exaggerations used to escalate the beef‼️. In short: Faith’s version is a professional collab that turned into an unwanted sexual proposition she rejected, with no sex occurring‼️. Tupac’s version (in lyrics, interviews, and private claims relayed by others) is that they did have sex, which he then publicly weaponized against Biggie‼️. The contradiction is direct and has never been reconciled; it remains one of the most contested personal elements of the East-West Coast feud‼️💯.

(st_ides)

124,188 次观看 • 1 个月前

Rich Homie Quan talked about this in a 2022 interview on Math Hoffa’s *My Expert Opinion* podcast. He described “checking in” the first time he went to Los Angeles‼️. He said people already knew what time his flight landed and which hotel he was staying at before he even got off the plane‼️. The line was that they had to go pull up on Big U (Eugene “Big U” Henley).‼️ Quan framed it as a respect/community thing rather than a shakedown‼️. He said he never had problems, and the only thing asked of him was taking pictures with local kids‼️. He treated it as an LA tradition of making connections, not paying anyone or getting involved in street politics‼️.
1:02

Rich Homie Quan talked about this in a 2022 interview on Math Hoffa’s *My Expert Opinion* podcast. He described “checking in” the first time he went to Los Angeles‼️. He said people already knew what time his flight landed and which hotel he was staying at before he even got off the plane‼️. The line was that they had to go pull up on Big U (Eugene “Big U” Henley).‼️ Quan framed it as a respect/community thing rather than a shakedown‼️. He said he never had problems, and the only thing asked of him was taking pictures with local kids‼️. He treated it as an LA tradition of making connections, not paying anyone or getting involved in street politics‼️.

(st_ides)

52,706 次观看 • 27 天前

Eminem's comments on Rakim's hiphop with these word; Look — people mix up their favorite rappers with the best rappers all the time‼️. That’s fine‼️. Favorites are personal‼️. But when you talk about who actually moved the needle, who changed what the microphone was even *for*, you keep coming back to the same name‼️. Rakim‼️. Greatness ain’t only how well you do something‼️. It’s if you were the first to do it‼️. He was the first person I ever heard take inside rhyme schemes and treat a bar like it had rooms inside it‼️. He’d start a thought in the middle of the measure, fold a second rhyme underneath it, then come back at the end and *hit* it — like he’d planned the landing from the first syllable‼️. Nobody was thinking in that geometry yet‼️. He just did it‼️. Calm‼️. No yelling‼️. No gimmick‼️. Just a dude from Long Island writing like a saxophone player because that’s how he heard time‼️. That’s the part people still undersell‼️. Before him, a lot of rap was end-rhyme, punch, pose‼️. After *Paid in Full*, the whole craft got denser‼️. Internal rhymes, off-beat placement, ideas that didn’t have to sit on the four‼️. He single-handedly pushed the genre forward to be more complex lyrically — and then Kane and G Rap and the rest of that wave grew out of the space he opened‼️. You can hear the family tree if you listen‼️. I was a sponge for that stuff‼️. Compound syllables, Juice Crew, the guys who treated words like puzzles‼️. Rakim was the one who showed you the puzzle could be three-dimensional‼️. I said it on record: I’m a product of Rakim‼️. That’s not a throwaway line. When I was coming up, every time I thought I’d figured out how far you could stretch a bar, I’d go back to “I Ain’t No Joke” or “Microphone Fiend” or “Follow the Leader” and realize the ceiling was higher than I thought‼️. He made the pen feel like an instrument instead of a weapon you just swing‼️. The confidence was quiet. That’s harder than loud. Anybody can bark‼️. He made you lean in‼️. And the thing is, he never had to chase the moment‼️. The moment chased him‼️. Four albums with Eric B. and the template was already set — how you ride a loop, how you leave space, how you sound like you’re thinking in real time even when every syllable is placed‼️. Later cats interpolated him without even knowing they were doing it‼️. That’s influence that doesn’t need a press cycle‼️. I put him on every list I make because the list without him is incomplete‼️. Not because he sold the most or toured the loudest. Because after him, rappers had to get better or get left‼️. He changed the way people thought about rap. That’s the whole job, if you take the job seriously‼️. The rest of us are still writing in the rooms he built‼️‼️.
2:55

Eminem's comments on Rakim's hiphop with these word; Look — people mix up their favorite rappers with the best rappers all the time‼️. That’s fine‼️. Favorites are personal‼️. But when you talk about who actually moved the needle, who changed what the microphone was even *for*, you keep coming back to the same name‼️. Rakim‼️. Greatness ain’t only how well you do something‼️. It’s if you were the first to do it‼️. He was the first person I ever heard take inside rhyme schemes and treat a bar like it had rooms inside it‼️. He’d start a thought in the middle of the measure, fold a second rhyme underneath it, then come back at the end and *hit* it — like he’d planned the landing from the first syllable‼️. Nobody was thinking in that geometry yet‼️. He just did it‼️. Calm‼️. No yelling‼️. No gimmick‼️. Just a dude from Long Island writing like a saxophone player because that’s how he heard time‼️. That’s the part people still undersell‼️. Before him, a lot of rap was end-rhyme, punch, pose‼️. After *Paid in Full*, the whole craft got denser‼️. Internal rhymes, off-beat placement, ideas that didn’t have to sit on the four‼️. He single-handedly pushed the genre forward to be more complex lyrically — and then Kane and G Rap and the rest of that wave grew out of the space he opened‼️. You can hear the family tree if you listen‼️. I was a sponge for that stuff‼️. Compound syllables, Juice Crew, the guys who treated words like puzzles‼️. Rakim was the one who showed you the puzzle could be three-dimensional‼️. I said it on record: I’m a product of Rakim‼️. That’s not a throwaway line. When I was coming up, every time I thought I’d figured out how far you could stretch a bar, I’d go back to “I Ain’t No Joke” or “Microphone Fiend” or “Follow the Leader” and realize the ceiling was higher than I thought‼️. He made the pen feel like an instrument instead of a weapon you just swing‼️. The confidence was quiet. That’s harder than loud. Anybody can bark‼️. He made you lean in‼️. And the thing is, he never had to chase the moment‼️. The moment chased him‼️. Four albums with Eric B. and the template was already set — how you ride a loop, how you leave space, how you sound like you’re thinking in real time even when every syllable is placed‼️. Later cats interpolated him without even knowing they were doing it‼️. That’s influence that doesn’t need a press cycle‼️. I put him on every list I make because the list without him is incomplete‼️. Not because he sold the most or toured the loudest. Because after him, rappers had to get better or get left‼️. He changed the way people thought about rap. That’s the whole job, if you take the job seriously‼️. The rest of us are still writing in the rooms he built‼️‼️.

(st_ides)

27,522 次观看 • 24 天前

In May 2023, Lil Durk sat down with DJ Akademiks for *Off The Record*. The interview dropped right before *Almost Healed*, and Akademiks did what he always does: he went straight at the subject everybody was whispering about‼️. Gunna had taken an Alford plea in the YSL RICO case that December and walked‼️. The streets and a big chunk of the rap internet immediately stamped him a rat‼️. Durk and Gunna already had history — they had the record “What Happened to Virgil.” After the plea, Durk previewed a line that sounded like a shot: “What happened to Virgil, he probably gone tell.”‼️ Akademiks put it to him directly. Did he believe Gunna told⁉️ Durk didn’t dodge. “Now I don’t sit up here and play games, man. That man told. You should have went in there and kept your mouth closed.”‼️ Then he addressed the Instagram rumor. People had been saying Durk unfollowed Gunna. Durk said he never did‼️. “I never unfollowed him. I just don’t take Instagram and all that type shit serious. If you a rat, you a rat. If you rewind this clip a little bit, I looked into the camera and told you, if you a rat, I fucking hate you. Because I love Thug.”‼️ He explained why the word “rat” hits him personally‼️. A snitch’s testimony took his father when he was a kid‼️. That’s the part that made the clip land heavier than a regular industry shade moment‼️. It wasn’t just label politics or a Twitter unfollow. Durk framed it as principle: you don’t talk, period‼️. A few weeks later Gunna unfollowed Durk and Lil Baby. Then he dropped “Bread & Butter,” which a lot of listeners heard as him addressing both of them and the whole “you switched on me” narrative‼️.
11:29

In May 2023, Lil Durk sat down with DJ Akademiks for *Off The Record*. The interview dropped right before *Almost Healed*, and Akademiks did what he always does: he went straight at the subject everybody was whispering about‼️. Gunna had taken an Alford plea in the YSL RICO case that December and walked‼️. The streets and a big chunk of the rap internet immediately stamped him a rat‼️. Durk and Gunna already had history — they had the record “What Happened to Virgil.” After the plea, Durk previewed a line that sounded like a shot: “What happened to Virgil, he probably gone tell.”‼️ Akademiks put it to him directly. Did he believe Gunna told⁉️ Durk didn’t dodge. “Now I don’t sit up here and play games, man. That man told. You should have went in there and kept your mouth closed.”‼️ Then he addressed the Instagram rumor. People had been saying Durk unfollowed Gunna. Durk said he never did‼️. “I never unfollowed him. I just don’t take Instagram and all that type shit serious. If you a rat, you a rat. If you rewind this clip a little bit, I looked into the camera and told you, if you a rat, I fucking hate you. Because I love Thug.”‼️ He explained why the word “rat” hits him personally‼️. A snitch’s testimony took his father when he was a kid‼️. That’s the part that made the clip land heavier than a regular industry shade moment‼️. It wasn’t just label politics or a Twitter unfollow. Durk framed it as principle: you don’t talk, period‼️. A few weeks later Gunna unfollowed Durk and Lil Baby. Then he dropped “Bread & Butter,” which a lot of listeners heard as him addressing both of them and the whole “you switched on me” narrative‼️.

(st_ides)

69,052 次观看 • 24 天前

In 2001, when MTV’s "Cribs" cameras arrived at Redman’s Staten Island duplex, the world expected the usual parade of marble foyers, infinity pools, and garages stuffed with exotic cars‼️. Instead, they got “De La Casa”—a modest two-bedroom, two-bathroom townhouse that looked lived-in, cluttered, and completely unapologetic‼️. Redman, born Reginald “Reggie” Noble, was already a hip-hop veteran known for his dense, humorous lyricism and Funk Doctor Spock persona‼️. The network approached him like many other artists of the era: they had a couple of nicer houses lined up for him to tour, the kind with grand double doors that would let a star open them theatrically and declare ownership of the good life‼️. Redman declined‼️. He later explained that his mother would have immediately called him out for pretending a rented mansion was his‼️. So he invited the crew to the actual place he called home‼️. The production team showed up early one morning, earlier than expected‼️. Redman was still in bed‼️. His cousin—known as Sugar Bear or Mr. Cream was passed out on the floor in a sleeping bag‼️. The doorbell was two exposed wires hanging from a hole; visitors had to touch them together to make a sound‼️. The screen door had no screen‼️. When the small crew (pared down because the space could not hold more) stepped inside, they found themselves in a real working musician’s apartment rather than a staged showcase‼️. Redman gave the tour with the same deadpan energy he brought to his records‼️. The bedroom became “Exhibit A”: clothes piled in plastic bins and corners, empty food containers, a collection of adult movies he casually described as being for “the freaks,” and hangers that stood in for a proper wardrobe‼️. He ironed clothes on the floor‼️. His “walk-in closet” was barely big enough to step into and back out of‼️. The bathroom held an assortment of body washes‼️Herbal Essences among them‼️that he presented with pride‼️. Downstairs sat a home studio with records scattered across the floor and bare walls. Gold plaques mixed with laundry‼️. In the kitchen, a George Foreman grill waited near frozen fish fillets he liked to cook‼️. On top of the refrigerator sat the famous “dollar box,” a plain shoebox stuffed with crumpled bills‼️. “If I need some money,” he told the camera, “I just run to the dollar box and go get me some bread, or some juice.” He recommended everyone keep one‼️. He never apologized for any of it‼️💯. “This is what an apartment look like when a brother doing his album,” he said, “or he ain’t run off to the hills and buy a big crib away from the hood‼️. This apartment is right in the hood, and it’s nice.”‼️ The episode ends with him in the doorway, inviting the cameras back and yelling for them to bring something to eat next time‼️. Viewers were stunned‼️. In an era when "Cribs" specialized in aspirational excess‼️ and when some guests quietly rented properties or cars to inflate the image‼️Redman’s episode felt like a glitch in the matrix‼️. Some people assumed it was a prank or a hoax‼️. It was neither‼️. The producers later confirmed everything was authentic‼️. The crew had even held a quick outdoor meeting after walking in, processing the unexpected reality of the space‼️. The episode became one of the most talked-about and highest-rated installments of the series, remembered long after the marble and crystal faded from memory‼️. Redman’s decision was deliberate‼️. He wanted fans to see that not every working artist lived like a cartoon of wealth‼️. Many were doing fine without the spectacle‼️. The unfiltered tour cemented his reputation for keeping it real in a culture that often rewarded performance‼️. Years later he still lived in the same Staten Island house (by then nicknamed “De La Castle”), having made only modest upgrades‼️. The dollar box had evolved into a sock in one retelling, the television got bigger, a closet door appeared, but the spirit remained the same‼️💯.
1:45

In 2001, when MTV’s "Cribs" cameras arrived at Redman’s Staten Island duplex, the world expected the usual parade of marble foyers, infinity pools, and garages stuffed with exotic cars‼️. Instead, they got “De La Casa”—a modest two-bedroom, two-bathroom townhouse that looked lived-in, cluttered, and completely unapologetic‼️. Redman, born Reginald “Reggie” Noble, was already a hip-hop veteran known for his dense, humorous lyricism and Funk Doctor Spock persona‼️. The network approached him like many other artists of the era: they had a couple of nicer houses lined up for him to tour, the kind with grand double doors that would let a star open them theatrically and declare ownership of the good life‼️. Redman declined‼️. He later explained that his mother would have immediately called him out for pretending a rented mansion was his‼️. So he invited the crew to the actual place he called home‼️. The production team showed up early one morning, earlier than expected‼️. Redman was still in bed‼️. His cousin—known as Sugar Bear or Mr. Cream was passed out on the floor in a sleeping bag‼️. The doorbell was two exposed wires hanging from a hole; visitors had to touch them together to make a sound‼️. The screen door had no screen‼️. When the small crew (pared down because the space could not hold more) stepped inside, they found themselves in a real working musician’s apartment rather than a staged showcase‼️. Redman gave the tour with the same deadpan energy he brought to his records‼️. The bedroom became “Exhibit A”: clothes piled in plastic bins and corners, empty food containers, a collection of adult movies he casually described as being for “the freaks,” and hangers that stood in for a proper wardrobe‼️. He ironed clothes on the floor‼️. His “walk-in closet” was barely big enough to step into and back out of‼️. The bathroom held an assortment of body washes‼️Herbal Essences among them‼️that he presented with pride‼️. Downstairs sat a home studio with records scattered across the floor and bare walls. Gold plaques mixed with laundry‼️. In the kitchen, a George Foreman grill waited near frozen fish fillets he liked to cook‼️. On top of the refrigerator sat the famous “dollar box,” a plain shoebox stuffed with crumpled bills‼️. “If I need some money,” he told the camera, “I just run to the dollar box and go get me some bread, or some juice.” He recommended everyone keep one‼️. He never apologized for any of it‼️💯. “This is what an apartment look like when a brother doing his album,” he said, “or he ain’t run off to the hills and buy a big crib away from the hood‼️. This apartment is right in the hood, and it’s nice.”‼️ The episode ends with him in the doorway, inviting the cameras back and yelling for them to bring something to eat next time‼️. Viewers were stunned‼️. In an era when "Cribs" specialized in aspirational excess‼️ and when some guests quietly rented properties or cars to inflate the image‼️Redman’s episode felt like a glitch in the matrix‼️. Some people assumed it was a prank or a hoax‼️. It was neither‼️. The producers later confirmed everything was authentic‼️. The crew had even held a quick outdoor meeting after walking in, processing the unexpected reality of the space‼️. The episode became one of the most talked-about and highest-rated installments of the series, remembered long after the marble and crystal faded from memory‼️. Redman’s decision was deliberate‼️. He wanted fans to see that not every working artist lived like a cartoon of wealth‼️. Many were doing fine without the spectacle‼️. The unfiltered tour cemented his reputation for keeping it real in a culture that often rewarded performance‼️. Years later he still lived in the same Staten Island house (by then nicknamed “De La Castle”), having made only modest upgrades‼️. The dollar box had evolved into a sock in one retelling, the television got bigger, a closet door appeared, but the spirit remained the same‼️💯.

(st_ides)

67,042 次观看 • 1 个月前

It flew over alot of people's heads what caused the fallout between Y.G and Drake‼️ I gat ya‼️💯 Picture the LA rap chessboard—YG holding down his corner, Drakeo the Ruler sliding in as the flashy new threat with that wild flow and Stinc Team energy‼️. Their beef was already bubbling with real street tension‼️. Then Drake, hops on Drakeo’s “Talk to Me” in 2021‼️. Giving mainstream shine to Drakeo‼️. For YG⁉️ it was Straight betrayal‼️. “You messing with "my" opp⁉️” The question is why was Y.G offended by that⁉️ Was he right to feel offended by that⁉️
0:38

It flew over alot of people's heads what caused the fallout between Y.G and Drake‼️ I gat ya‼️💯 Picture the LA rap chessboard—YG holding down his corner, Drakeo the Ruler sliding in as the flashy new threat with that wild flow and Stinc Team energy‼️. Their beef was already bubbling with real street tension‼️. Then Drake, hops on Drakeo’s “Talk to Me” in 2021‼️. Giving mainstream shine to Drakeo‼️. For YG⁉️ it was Straight betrayal‼️. “You messing with "my" opp⁉️” The question is why was Y.G offended by that⁉️ Was he right to feel offended by that⁉️

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49,155 次观看 • 2 个月前

Vlad did say he helped Carmen Bryan sue Nore and that he’d make money off it‼️. Then he said the whole thing was made up‼️. On a recent response video covering Carmen Bryan’s civil suit against N.O.R.E., Vlad walked the audience through a story that sounded like a confession‼️. He said he’d interviewed Carmen years ago, stayed in contact, heard she wanted to sue but couldn’t afford lawyers, assembled a “dream team” of high-profile attorneys he’d worked with, paid the retainers himself, and would take 50 percent of whatever came in after expenses. He even added a second rumor-layer: that Jay-Z / Roc Nation were actually funding it. Then he dropped the punchline — all of that was fabricated‼️. He said the words‼️. He also immediately labeled them as fiction‼️. Whether you read it as trolling, a trap for people who don’t watch the full video, or a way to mock the rumor that he orchestrated the lawsuit, the record is: he claimed involvement, then said the claim was invented‼️. The actual lawsuit is separate and real as a filing. Carmen Bryan, Nas’s daughter Destiny’s mother and a former Rush Management finance officer, sued N.O.R.E. (Victor Santiago) in New York on September 9, 2026 under the city’s Victims of Gender-Motivated Violence Protection Act. She alleges that in May 1999, while Nore was promoting *Melvin Flynt – Da Hustler* at a Manhattan club, he was intoxicated, committed nonconsensual digital penetration in front of people, ignored her telling him to stop, and had to be pulled off her‼️. She says he followed her outside, then later recognized her as Nas’s partner and tried to apologize‼️. She also says she told Jay-Z at the time and asked him not to confront Nore‼️. She sent a pre-suit notice in March 2026; she says Nore denied knowing her‼️. The allegations have not been proven in court‼️. Nore has not issued a detailed public response in the reporting so far‼️. Why people immediately tied it to Vlad: timing and history‼️. Carmen has been on VladTV‼️. The beef with Nore was already nuclear. Streets and comment sections treated the suit as possible payback‼️. Outlets like AllHipHop noted the rumor and said they had seen no evidence Vlad caused the filing‼️. Vlad then fed the rumor on purpose and yanked it back‼️. The beef itself did not start with Carmen‼️. It started as a canceled interview that both men turned into a character trial‼️. Vlad’s version⁉️: he sat on *Drink Champs* in 2024 on the understanding Nore would return the favor on VladTV‼️. Nore kept postponing, then backed out‼️. Vlad went on Akademiks and called him selfish and a snake. He treats it as a professionalism and reciprocity issue — you take the booking, you honor the swap. He also says Nore once pressured him to drink on camera and framed it as “giving back” to hip-hop‼️. Nore’s version⁉️: he has the right to change his mind‼️. He said he “fronted” on Vlad on purpose. He framed it as payback for how he thinks Vlad treats the culture: profit off Black conflict, Jerry Springer energy, “Detective Vlad.” He brought up Vlad’s 2008 civil lawsuit against Rick Ross after the Ozone Awards assault (Vlad won $300,000; it was civil, not a criminal case that could jail Ross). He called Vlad a rat for that. Then it went racial — “Vladren,” culture-vulture talk, a challenge for Vlad to take a lie detector about the N-word, shots at Vlad’s marriage to Black culture while Nore’s wife got pulled in after Vlad described her as white. Nore’s wife, Neri Santiago, publicly warned Vlad about defamation. Vlad said he’d address that in the same video as the Carmen suit‼️.
2:59

Vlad did say he helped Carmen Bryan sue Nore and that he’d make money off it‼️. Then he said the whole thing was made up‼️. On a recent response video covering Carmen Bryan’s civil suit against N.O.R.E., Vlad walked the audience through a story that sounded like a confession‼️. He said he’d interviewed Carmen years ago, stayed in contact, heard she wanted to sue but couldn’t afford lawyers, assembled a “dream team” of high-profile attorneys he’d worked with, paid the retainers himself, and would take 50 percent of whatever came in after expenses. He even added a second rumor-layer: that Jay-Z / Roc Nation were actually funding it. Then he dropped the punchline — all of that was fabricated‼️. He said the words‼️. He also immediately labeled them as fiction‼️. Whether you read it as trolling, a trap for people who don’t watch the full video, or a way to mock the rumor that he orchestrated the lawsuit, the record is: he claimed involvement, then said the claim was invented‼️. The actual lawsuit is separate and real as a filing. Carmen Bryan, Nas’s daughter Destiny’s mother and a former Rush Management finance officer, sued N.O.R.E. (Victor Santiago) in New York on September 9, 2026 under the city’s Victims of Gender-Motivated Violence Protection Act. She alleges that in May 1999, while Nore was promoting *Melvin Flynt – Da Hustler* at a Manhattan club, he was intoxicated, committed nonconsensual digital penetration in front of people, ignored her telling him to stop, and had to be pulled off her‼️. She says he followed her outside, then later recognized her as Nas’s partner and tried to apologize‼️. She also says she told Jay-Z at the time and asked him not to confront Nore‼️. She sent a pre-suit notice in March 2026; she says Nore denied knowing her‼️. The allegations have not been proven in court‼️. Nore has not issued a detailed public response in the reporting so far‼️. Why people immediately tied it to Vlad: timing and history‼️. Carmen has been on VladTV‼️. The beef with Nore was already nuclear. Streets and comment sections treated the suit as possible payback‼️. Outlets like AllHipHop noted the rumor and said they had seen no evidence Vlad caused the filing‼️. Vlad then fed the rumor on purpose and yanked it back‼️. The beef itself did not start with Carmen‼️. It started as a canceled interview that both men turned into a character trial‼️. Vlad’s version⁉️: he sat on *Drink Champs* in 2024 on the understanding Nore would return the favor on VladTV‼️. Nore kept postponing, then backed out‼️. Vlad went on Akademiks and called him selfish and a snake. He treats it as a professionalism and reciprocity issue — you take the booking, you honor the swap. He also says Nore once pressured him to drink on camera and framed it as “giving back” to hip-hop‼️. Nore’s version⁉️: he has the right to change his mind‼️. He said he “fronted” on Vlad on purpose. He framed it as payback for how he thinks Vlad treats the culture: profit off Black conflict, Jerry Springer energy, “Detective Vlad.” He brought up Vlad’s 2008 civil lawsuit against Rick Ross after the Ozone Awards assault (Vlad won $300,000; it was civil, not a criminal case that could jail Ross). He called Vlad a rat for that. Then it went racial — “Vladren,” culture-vulture talk, a challenge for Vlad to take a lie detector about the N-word, shots at Vlad’s marriage to Black culture while Nore’s wife got pulled in after Vlad described her as white. Nore’s wife, Neri Santiago, publicly warned Vlad about defamation. Vlad said he’d address that in the same video as the Carmen suit‼️.

(st_ides)

66,241 次观看 • 17 天前

I agree with everything she said‼️ That Kendrick-Drake beef didn’t just drop bars‼️it ripped the mask off hip-hop and showed the raw, messy thoughts Black folks have toward each other‼️ It’s all baked into the culture itself‼️. Drake’s the ultimate consumed artist. He took hip-hop global, blended it with melody and vulnerability, and let the world eat it up‼️. The culture cheered when he was rising, but the second he got too big and too successful on his own terms, the same people turned on him‼️. Suddenly he was “not real enough,” “too polished,” or “for everybody else.”‼️ Kendrick stepped in as the self-appointed judge‼️. His disses felt less like personal shots and more like a verdict from the culture itself: deciding who belongs, who’s authentic, and who’s crossed some invisible line‼️. That entitlement runs deep‼️hip-hop loves to crown gatekeepers who police “realness.”‼️ The ugly part⁉️ The culture doesn’t protect its artists‼️. It builds them up, consumes what it can, then tears them down when it’s convenient or when success breeds envy‼️ Fans who once loved Drake’s hits flipped overnight because the new narrative sold better. It felt righteous to turn on the guy who’d been feeding the culture for years‼️ That’s why Iceman sounds so different‼️. It’s not the old cocky, melodic Drake. You hear the shift‼️he’s colder, more reflective, processing real betrayal from the pile-on and the “not like us” energy‼️. And he has every right to feel that way‼️. The culture showed its hand‼️it’ll cheer for you while you’re useful, then watch you burn‼️. One beef made the whole dynamic painfully clear.‼️
2:53

I agree with everything she said‼️ That Kendrick-Drake beef didn’t just drop bars‼️it ripped the mask off hip-hop and showed the raw, messy thoughts Black folks have toward each other‼️ It’s all baked into the culture itself‼️. Drake’s the ultimate consumed artist. He took hip-hop global, blended it with melody and vulnerability, and let the world eat it up‼️. The culture cheered when he was rising, but the second he got too big and too successful on his own terms, the same people turned on him‼️. Suddenly he was “not real enough,” “too polished,” or “for everybody else.”‼️ Kendrick stepped in as the self-appointed judge‼️. His disses felt less like personal shots and more like a verdict from the culture itself: deciding who belongs, who’s authentic, and who’s crossed some invisible line‼️. That entitlement runs deep‼️hip-hop loves to crown gatekeepers who police “realness.”‼️ The ugly part⁉️ The culture doesn’t protect its artists‼️. It builds them up, consumes what it can, then tears them down when it’s convenient or when success breeds envy‼️ Fans who once loved Drake’s hits flipped overnight because the new narrative sold better. It felt righteous to turn on the guy who’d been feeding the culture for years‼️ That’s why Iceman sounds so different‼️. It’s not the old cocky, melodic Drake. You hear the shift‼️he’s colder, more reflective, processing real betrayal from the pile-on and the “not like us” energy‼️. And he has every right to feel that way‼️. The culture showed its hand‼️it’ll cheer for you while you’re useful, then watch you burn‼️. One beef made the whole dynamic painfully clear.‼️

(st_ides)

20,797 次观看 • 2 个月前

Did you know⁉️ Vlad and Nore had history before this blew up. Nore sat on VladTV more than once in the late 2000s‼️. Around 2019–2020 he asked those interviews taken down, citing disrespect to hip-hop and Farrakhan‼️. That should have closed it‼️. It didn’t‼️. In March 2024 Vlad flew to Miami and did Drink Champs‼️. The episode did huge numbers — Vlad later cited about 1.9 million views‼️. The deal, as Vlad tells it, was simple: he does yours, you do mine‼️. Dates got booked‼️. Dates got canceled‼️. Vlad says he was already in Nore’s city some of those times‼️. After a year of that, he said it on Akademiks: Nore is a snake, his word doesn’t mean anything‼️. Nore answered on Drink Champs. He didn’t deny the runaround‼️. He said he fronted, he’s grown, he can change his mind‼️. Then he made it bigger than a booking. He said he did to Vlad what Vlad does to the culture. He used the “bent you over” line‼️. He called Vlad a rat over the 2008 Rick Ross case — a civil assault suit after the Ozone Awards, not a criminal charge; a jury later awarded Vlad $300,000‼️. He called him Jerry Springer living off Black drama‼️. Culture vulture‼️. Welcome to the party‼️. Vlad came back with a long Charleston White sit-down: texts, view counts, who owns what (Vlad owns his channel; Drink Champs sits on Revolt), civil vs. criminal on Ross, pressure to drink on camera. He flushed a Drink Champs bouquet in a toilet‼️. That’s when it stopped being about an interview‼️. Nore went to X: “Vladren,” old photos of Vlad in hip-hop clothes, dares about the N-word, an offer to pay for a lie detector‼️. Vlad answered with short clips. One of them, posted September 8, 2026, is titled “The Truth About NORE’s Wife…”‼️ Vlad took Nore’s “I’m protecting Black culture from a white extractor” speech and tried to flip it‼️. The point he made: you talk like a gatekeeper for Black people, but look at who you married‼️. He framed Nore’s wife — a lighter-skinned Latina — as the contradiction‼️. Name, look, the implication that the sermon doesn’t match the house‼️. A lot of people said he reached‼️. She’s Latina, not a white woman in the way Vlad was using the word‼️. Nore has been loud about Puerto Rican roots since “Esta Loca.” He’s mixed himself — Puerto Rican father, African-American mother, born Victor Santiago Jr. Dragging the wife was the cheap shot‼️. Whether it was accurate is a different argument than whether it was the point‼️. By then the original beef was almost gone‼️. It started as “you promised a sit-down.” It became who gets to speak for the culture, who is extracting from it, and whether your personal life is fair game once you make “the culture” the weapon‼️. Vlad used Nore’s own authenticity talk against him‼️. That’s how a canceled interview turned into a wife clip‼️. And we are yet to see how far they can go‼️
2:53

Did you know⁉️ Vlad and Nore had history before this blew up. Nore sat on VladTV more than once in the late 2000s‼️. Around 2019–2020 he asked those interviews taken down, citing disrespect to hip-hop and Farrakhan‼️. That should have closed it‼️. It didn’t‼️. In March 2024 Vlad flew to Miami and did Drink Champs‼️. The episode did huge numbers — Vlad later cited about 1.9 million views‼️. The deal, as Vlad tells it, was simple: he does yours, you do mine‼️. Dates got booked‼️. Dates got canceled‼️. Vlad says he was already in Nore’s city some of those times‼️. After a year of that, he said it on Akademiks: Nore is a snake, his word doesn’t mean anything‼️. Nore answered on Drink Champs. He didn’t deny the runaround‼️. He said he fronted, he’s grown, he can change his mind‼️. Then he made it bigger than a booking. He said he did to Vlad what Vlad does to the culture. He used the “bent you over” line‼️. He called Vlad a rat over the 2008 Rick Ross case — a civil assault suit after the Ozone Awards, not a criminal charge; a jury later awarded Vlad $300,000‼️. He called him Jerry Springer living off Black drama‼️. Culture vulture‼️. Welcome to the party‼️. Vlad came back with a long Charleston White sit-down: texts, view counts, who owns what (Vlad owns his channel; Drink Champs sits on Revolt), civil vs. criminal on Ross, pressure to drink on camera. He flushed a Drink Champs bouquet in a toilet‼️. That’s when it stopped being about an interview‼️. Nore went to X: “Vladren,” old photos of Vlad in hip-hop clothes, dares about the N-word, an offer to pay for a lie detector‼️. Vlad answered with short clips. One of them, posted September 8, 2026, is titled “The Truth About NORE’s Wife…”‼️ Vlad took Nore’s “I’m protecting Black culture from a white extractor” speech and tried to flip it‼️. The point he made: you talk like a gatekeeper for Black people, but look at who you married‼️. He framed Nore’s wife — a lighter-skinned Latina — as the contradiction‼️. Name, look, the implication that the sermon doesn’t match the house‼️. A lot of people said he reached‼️. She’s Latina, not a white woman in the way Vlad was using the word‼️. Nore has been loud about Puerto Rican roots since “Esta Loca.” He’s mixed himself — Puerto Rican father, African-American mother, born Victor Santiago Jr. Dragging the wife was the cheap shot‼️. Whether it was accurate is a different argument than whether it was the point‼️. By then the original beef was almost gone‼️. It started as “you promised a sit-down.” It became who gets to speak for the culture, who is extracting from it, and whether your personal life is fair game once you make “the culture” the weapon‼️. Vlad used Nore’s own authenticity talk against him‼️. That’s how a canceled interview turned into a wife clip‼️. And we are yet to see how far they can go‼️

(st_ides)

45,528 次观看 • 18 天前

I love Drake but there is a pattern of lack of accountability in his music especially with the women he had an intimate relationship with‼️ in “Burning Bridges” off ICEMAN right away he starts the song with: “Burning bridges is okay, I’d rather take the long way.” then says Girl wants the LA family life⁉️Too bad, Toronto and the OVO boys need him more⁉️. That was him accepting the Heartbreak that came with losing her‼️ for the price of being the main character‼️ Dude’s basically saying the love is real‼️, the feels are real, but the second it asks for actual sacrifice or settling down⁉️💯, he peels off‼️💯. Loyalty to the crew and the empire becomes the perfect excuse to keep one foot out the door‼️. Classic “I would… but I just can’t” energy‼️💯
2:46

I love Drake but there is a pattern of lack of accountability in his music especially with the women he had an intimate relationship with‼️ in “Burning Bridges” off ICEMAN right away he starts the song with: “Burning bridges is okay, I’d rather take the long way.” then says Girl wants the LA family life⁉️Too bad, Toronto and the OVO boys need him more⁉️. That was him accepting the Heartbreak that came with losing her‼️ for the price of being the main character‼️ Dude’s basically saying the love is real‼️, the feels are real, but the second it asks for actual sacrifice or settling down⁉️💯, he peels off‼️💯. Loyalty to the crew and the empire becomes the perfect excuse to keep one foot out the door‼️. Classic “I would… but I just can’t” energy‼️💯

(st_ides)

14,067 次观看 • 2 个月前