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themisinformer · 2 months ago

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Drake Accuses Kendrick Lamar of Botting Streams By Cultivating Dedicated Fanbase

TORONTO, CANADA - In a stunning twist to their nearly year-long rivalry, rap superstar Drake has has accused fellow Hip-Hop titan Kendrick Lamar of “botting” the streams of his diss tracks by cultivating a loyal and dedicated fanbase. “I mean, let’s be real,” Drake said in a statement with his lawyer. “Nobody just organically gets that much love and respect from the masses without some kind of automation. He might not be using actual bots, but the fact that he has millions of people under his influence who are willing to support his every move is just as nefarious.”

Drake has gone on to file a lawsuit against the music publishing conglomerate Universal Music Group (UMG), claiming that they had helped the Compton native bot his streams. “It’s definitely suspicious,” Drake continued. “I drop like five radio ready bangers per album, while Kendrick just drops poems over drumless beats, but all of a sudden he’s this streaming giant? Make it make sense.”

People have been split on the situation. Music analyst Sydney Harper explained that Kendrick’s ability to garner streams might actually stem from what she calls his “intentional artistry,” rather than the nefarious methods that Drake suggests had been used.

“Kendrick releases music more spontaneously compared to Drake,” she explained. “This builds anticipation, while also allowing his music to have more substance and be of higher quality. Things like this can greatly boost an artist’s streams.”

Others aren’t so convinced, however. One of these people include 15 year old Drake fanatic Joshua Greene, who claims that Kendrick couldn’t possibly secure that many streams naturally due to his status as a “mid” artist. “Kendrick ain’t even that good, bro,” Joshua said. “All of his songs are basically just 5 minute lectures with no melodies. Ain’t nobody got time for that.”

No matter where you stand on the debate, there’s no denying that a rap feud ending in a potential lawsuit is a historic first. And further history could be made, as Drake has also hinted at dropping another diss track in which he calls out Kendrick’s alleged stream botting.

“I might call it To Pimp a Bot,” he announced. “Or maybe Bot Boy Freestyle. We’ll see.”

#themisinformer #satire #satirical #satirical news #funny #meme #music #hip hop #hip hop music #rap #rap music #kendrick lamar #Kendrick #Drake #Drizzy #kendrick vs drake #universal music group #umg #universal music

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cleverhottubmiracle · 17 days ago

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Drake files a federal lawsuit against Universal Music Group in New York, Wizkid’s “Made In Lagos” makes African history after re-entering Billboard chart, Gunners confirm Gabriel Jesus requires surgery on ACL injury. Stay in the know with our Rave News Digest, which summarizes five of the hottest global news stories you need to catch up on, saving you time and energy. Consider it your daily news fix. 1. Drake files a federal lawsuit against Universal Music Group in New York Drake’s new lawsuit against UMG over Kendrick Lamar’s “Not Like Us”: “It was just three days after UMG originally published the Recording and Image that Drake was targeted at his Toronto house by armed intruders in the 2024 equivalent of ‘Pizzagate.'” pic.twitter.com/fMwDvoWQLp — Meghann Cuniff (@meghanncuniff) January 15, 2025 On Wednesday, January 15, Drake filed a federal lawsuit against Universal Music Group (UMG) in the Southern District of New York, accusing the label of defamation and harassment. The lawsuit stems from Kendrick Lamar’s diss track, “Not Like Us,” which Drake alleges caused significant damage to his reputation. According to the filing, UMG exploited the track through aggressive marketing, despite knowing its lyrics falsely portrayed Drake as a “criminal pedophile.” The complaint also cited the song’s inflammatory cover art and detailed security breaches at his Toronto residence, which forced him to remove his son, Adonis, from school for safety concerns. Drake further alleged that Universal Music Group’s actions were motivated by ongoing contract negotiations, suggesting the label aimed to leverage his tarnished reputation to secure more favorable terms for Lamar. The lawsuit also implicated Spotify and iHeartMedia in a scheme to amplify “Not Like Us” using bots and manipulative practices. The rapper had initially filed two state lawsuits against UMG in New York and Texas. While the petition in New York was withdrawn, a second hearing is set to take place in Texas later this month, highlighting the strained relationship between Drake and his former label. 2. Wizkid’s “Made In Lagos” makes African history after re-entering Billboard chart Wizkid’s “Made In Lagos” album has re-entered Billboard World Album chart this week at #24. It’s now the first and only African album appear on the chart 6 different years: 202020212022202320242025 pic.twitter.com/t6Zy4mlFh3 — BASITO (@itzbasito) January 14, 2025 Wizkid’s critically acclaimed fourth studio album, “Made In Lagos,” continues to break barriers. The album has made history by re-entering the Billboard World Album chart for the sixth consecutive year, an unprecedented feat for any African artist. This remarkable achievement solidifies the album’s status as a global phenomenon and a testament to the enduring power of Afrobeats music. Since its release in 2020, “Made In Lagos” has consistently charted on the Billboard World Album chart, showcasing its immense commercial success. The album’s impact extends beyond Africa, with significant achievements in the United States, including a debut on the Billboard 200 and an impressive 100-week run on the Billboard World Album chart. The hit single “Essence,” featuring Tems, played a crucial role in the album’s global success, particularly the remix featuring Justin Bieber, which peaked at No. 9 on the Billboard Hot 100, setting a record for the highest-charting Afrobeats song. 3. Britain’s Princess of Wales says her cancer is in remission Kate Middleton, Princess of Wales, announces she is in remission from cancer. pic.twitter.com/QeBsIvP3Zg — Pop Base (@PopBase) January 14, 2025 The Princess of Wales, Kate Middleton, announced Tuesday that her cancer is in remission, sharing the news while visiting the Royal Marsden Hospital where she received treatment. In a statement on social media, she thanked everyone who supported her and Prince William throughout their challenging journey. During the hospital visit, Kate met with other patients, offering words of encouragement and sharing her own experiences with cancer treatment. The Princess of Wales stressed that while in remission, she will continue her gradual return to public duties. This positive news comes after a challenging year for the royal family, marked by health concerns for both King Charles III and the Princess of Wales. 4. South Africa: Kwaito legend Doc Shebeleza has died Legendary kwaito artist Doc Shebeleza has died at age 51 🕊 RIP 🖤 — DJ Mag (@DJmag) January 15, 2025 Renowned Kwaito star Doc Shebeleza, born Victor Bogopane, has died at the age of 51. His manager, Shakes Mavundla, confirmed the news, stating that Shebeleza passed away around 10:30 AM last Thurdsday after being discharged from the hospital earlier in the week. Known for his electrifying hits and significant contributions to the kwaito genre, Doc Shebeleza had been battling a life-threatening illness for several months, which included a recent stay in intensive care. In December, his family sought financial assistance to cover essential medication, underscoring the challenges he faced in his final days. A Soweto native, Doc Shebeleza rose to fame in the 1990s with hits like “Ghets Ghetsa” and “S’kumfete,” becoming a household name and an inspiration to younger artists. Beyond music, he dedicated himself to philanthropic efforts, such as building homes for underprivileged communities. His legacy was immortalized when Cassper Nyovest paid tribute to him in the 2014 hit single “Doc Shebeleza.” His passing follows that of fellow artist Winnie Khumalo earlier this week, marking a somber moment for South Africa’s music industry. 5. Gunners confirm Gabriel Jesus requires surgery on ACL injury Arsenal have confirmed that Gabriel Jesus will have surgery in the coming days 🤕 pic.twitter.com/492ayYJkY8 — CBS Sports Golazo ⚽️ (@CBSSportsGolazo) January 14, 2025 Arsenal have confirmed that Brazilian forward Gabriel Jesus will undergo surgery for an anterior cruciate ligament (ACL) injury sustained during their FA Cup defeat to Manchester United on Sunday. Jesus was forced off the pitch after 41 minutes, and subsequent assessments and scans confirmed the severity of the injury. In a statement, the club said, “Gabby will undergo surgery in the coming days and will soon begin his recovery and rehabilitation programme.” The injury deals a significant blow to Arsenal’s squad as they aim to maintain momentum in their Premier League title challenge. The injury leaves Mikel Arteta with limited options in attack, as Kai Havertz is now the only available striker. Jesus had been in fine form before the setback, scoring six goals in his last seven appearances. With Eddie Nketiah sold to Crystal Palace and Reiss Nelson on loan at Fulham, Arsenal’s attacking depth is severely impacted. The club is reportedly intensifying efforts to sign a striker in the January transfer window to address the void left by Jesus’ absence. Featured Image: @champagnepapi/Instagram Our Weekday News Digest summarizes five of the hottest news topics worldwide–including celebrity news from Hollywood to Nollywood, the latest trending global headlines from American reports to top African news today, and the best sports stories in 2024.For the latest in fashion, lifestyle, and culture, follow us on Instagram @StyleRave_— Read also !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window, document,'script', ' fbq('init', '496558104568102'); fbq('track', 'PageView'); !function(f,b,e,v,n,t,s)if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments);if(!f._fbq)f._fbq=n; n.push=n;n.loaded=!0;n.version='2.0';n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0];s.parentNode.insertBefore(t,s)(window, document,'script',' !function(f,b,e,v,n,t,s)if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments);if(!f._fbq)f._fbq=n; n.push=n;n.loaded=!0;n.version='2.0';n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0];s.parentNode.insertBefore(t,s)(window, document,'script',' fbq('init', '1453079628754066'); fbq('track', "PageView"); Source link

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norajworld · 17 days ago

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ellajme0 · 17 days ago

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chilimili212 · 17 days ago

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oliviajoyice21 · 17 days ago

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cyarsk52-20 · 2 days ago

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It's been Drake's modus operandi. He's a bitch for trying to use women to get at the guys he wants to attack. His bitch-made tendencies are fully in the light with this lawsuit bullshit.

Drake doesn’t respect women because he uses them as lyrical target practice and when he’s beefing with a man in this case Kendrick, he acts like scaredy-cat and he’s filing lawsuits over a diss track against him . That’s why not everybody is respecting him anymore. When is the last time you heard somebody file a lawsuit over a diss track? That’s not real hip-hop.

And ppl wondering why Kendrick went so dark on him. We don’t know how that affected Whitney. Imagine Kendrick seeing her cry over those edits and that corruption around her name after protecting her for years from the media. That’s why I hate Drake more recently than I did before. He thinks that it’s okay to make light of someone being a victim of domestic abuse knowing that his rival long time lover was never abused in any way but he’s accusing someone of defamation?!?

what do you call accusations of your rival being a victim of molestation and a woman beater despite having no proof beyond a reasonable doubt? Defamation of character

She deserves better. I wished that Aubrey would go after my family the way he came after other people’s families, especially my mother. I wish he had the audacity to try to make false accusations and attempt to soil my dad‘s reputation , God help him if he even attempts to do that .

Drake still didnt learn from pusha T washing him. Bringing up ppls families cause you dont have one of your own to appreciate and be grateful for is nasty work. Glad he got what he deserved 😴😴 . If you and I are in a beef, it’s between you and me not you ,me and my kinfolk . Who do you think you are to go after my family, and what did they do to you?

long story short Drake took it there. Kendrick took it further. Drake should only be mad at himself

I know that black folks are done with helping everyone since November of last year for the next four years and the only allies we have are Jewish people, but if was one person who we the black community , the Jewish community and the black and Jewish community do not claim anymore is definitely Aubrey Graham. I know he’s biracial but he’s more like his white mother than his black father (and I’m not saying that all light skin biracial people are like him, just him in general)

I need for Rihanna, Whitney, Esperanza Spalding , Virginia Williams,Meg Thee Stallion, and Serena Williams to have a girls spa weekend and a good ol’ fashioned chat fest 😈 I want this for those queens 👑 why? Cause that Canadian bitch came at them unprovoked in a nasty way also it’s because they deserve it

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nazmulbd00m-blog · 18 days ago

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#IFTTT #Hollywood News - FNNEWZ

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mwplanet · 2 years ago

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Win or His Loss?

Inside the controversies surrounding Drake and 21 Savage’s latest album, “Her Loss”

By Karissa Cruz

Cover of “Her Loss”

Photo via Spotify

Amidst the release of Drake and 21 Savage’s new album, several controversies have arisen between Drake, Vogue Magazine and other artists. Several artists are said to have been disrespected and thrown shade at throughout the chart-topping album, “Her Loss”. Artists like Megan Thee Stallion have fallen victim to the controversies surrounding the Torontonian artist's brand-new release. In addition to Drake receiving backlash for his shots at other artists, Vogue Magazine also filed a lawsuit against him and 21 Savage for their fake Vogue promotion poster. Despite the growing arguments with regards to the integrity of the album occurring on social media platforms, the album’s rapid success has evidently continued to overpower.

November 4, 2022, marked the release of Drake and 21 Savage’s brand new collaboration, “Her Loss”. Streaming on all listening platforms, the love rap album features several themes - women, partying, misogyny, and money. Merely minutes following the release, multiple songs from the album blew up on TikTok, Twitter and Instagram. Over 70k creators from all around the world have recorded themselves lip-synching to songs like “Rich Flex”, comedically mimicking how they think Drake and 21 Savage must’ve looked whilst recording in the studio. However, the success of the album is not solely due to the catchiness of certain songs, in fact, its success is primarily the result of the gossip associated with its lyrics and covert references.

Within minutes of the release of “Her Loss”, Drake and 21 Savage set gossip sites and pop culture news aflame due to references ranging from Serena William’s husband, Alexis Ohanian, to old quarrels within the rap industry, to an insult towards Megan Thee Stallion’s foot injury caused by Tory Lanez.

Back in 2015 before Ohanian and Williams were together, Drake and Williams were exclusively dating. They broke up in 2015, and she later started seeing Ohanian in May of that same year. When she married Ohanian in 2017, Drake began to throw bitter shots at the couple. In “Her Loss”, specifically “Middle of the Ocean” at 3:35, Drake calls out the Reddit founder in the lyrics; "Sidebar, Serena, your husband a groupie; He claim we don't got a problem but; No, boo, it is like you comin' for sushi". Ohanian responds to the subtle diss in his tweet, saying, "The reason I stay winning is because I'm relentless about being the absolute best at whatever I do - including being the best groupie for my wife & daughter." This is not the first time that Drake has made subtly bitter comments towards Williams in his songs. He previously insulted the Olympian’s tennis career, claiming that he could beat her in a match in his 2013 track, “Worst Behavior”.

Despite the disrespectful nature of the rapper’s lyrics, the jab at Ohanian and Williams’ relationship was not the main issue that occupies pop culture websites and gossip columns nowadays. Rather, Drake’s controversial covert remark towards Megan Thee Stallion, whose foot was allegedly shot by Tory Lanez back in 2020, has taken the spotlight. The rapper, Tory Lanez, is currently facing “one count of assault with a semiautomatic firearm and one count of carrying a loaded, concealed firearm in a vehicle”, according to a statement made by the Los Angeles County District Attorney’s Office. According to police reports, Tory was having an argument with a woman - identified as “Megan P” in a criminal complaint - in a SUV on July 12. As the woman exited the car, she was shot multiple times in the foot. Megan Thee Stallion, formally known as Megan Jovon Ruth Pete talked about the car incident during an Instagram Live on her verified account. She later posted a photo of her wound, which was deleted slightly after. In October 2020, legal authorities charged the rapper with felony assault, but he pleaded not guilty the following month. He is currently placed under house arrest as he waits for his trial after allegedly shooting Megan and assaulting the singer August Alsina in August 2022. If convicted, Lanez faces a maximum sentence of roughly 23 years. Amidst the allegations made against Tory Lanez and Megan’s public complaints, Drake threw his own shot at Megan through his lyrics in his new album, specifically in his song “Circo Loco”; “This b---h lie 'bout getting shots, but she still a stallion.” The singer responded to the underhanded insult on Twitter. She called Drake “lame”, and claimed that such conspiracy theories were weak and that they lacked proper facts or receipts. Artists like Sweetest Pie and other listeners shared their distaste for Drake’s biased lyrics against Megan.

Like previous tracks, Drake’s songs have a history of calling out people who he feels have wronged him through his lyrics. Evidently, the success of his collaborative album with 21 Savage is not solely due to its acquired traction and fame on social media platforms like TikTok, but a large part of it is the controversies surrounding the lyrical references themselves. His album is no doubt a fan favourite, but the issues that it set aflame have definitely caused a divide amongst his supporters and supporters of those he covertly mentioned in his music.

#wact #karissa cruz #mary ward planet #mary ward #drake #megan thee stallion #21 savage #her loss controversy

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jonathantaylorthomas · 7 years ago

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Diary entries, as a rule, don’t constitute art. Songs do.

That’s what drew me in to Taylor Swift and her music upon the release of her 2006 debut album, “Taylor Swift,” and that’s what has kept me closely tracking the remarkable arc of her career since then, up to and including today’s release of her sixth album, “Reputation.”

From the beginning, Swift — then a precocious, uncommonly smart, gifted and ambitious teenager — has written deeply personal songs that often sound like they’re ripped directly from the pages of a diary.

That hallmark of her songwriting has nurtured an especially close bond between Swift and her fans, along with her savvy use of social media from the outset. It’s also given her detractors no shortage of ammunition with which to attack her for everything from a new hairdo to her choices of dates to the logistics of selling tickets to her concerts.

The double-edged sword of success — and the fame and fortune that have accompanied it to stratospheric levels for her — inform many of the songs on “Reputation,” possibly the most anticipated album of the always-intensive fall season.

As one of a small handful of music writers offered an early listen to the new collection, I’ll venture to call it her most focused, most cohesive album yet.

In large part that reflects her dramatic narrowing of collaborators compared with her previous two outings: Nine of the 15 new songs written and produced for the most part by Swift with superstar producers Max Martin and Shellback, the other six in tandem with indie rock band Fun front man Jack Antonoff.

They conjure a sense of foreboding to illuminate her songs of betrayal, heartbreak and disappointment. There also are plenty of bright spots celebrating new love and new maturity in her outlook, most framed in dance-floor-conscious beats and employing inventive sonic textures that expand on or outright defy conventions of contemporary pop-R&B music production.

I’d also say that in many ways “Reputation” echoes one of Bob Dylan’s greatest lines of the last two decades: “I used to care…but things have changed.”

'Reputation' echoes one of Bob Dylan’s greatest lines of the last two decades: 'I used to care…but things have changed.' — -- Randy Lewis I say that based on many hours I’ve spent with her since first traveling to Nashville to interview her early in 2007, not long after her debut album put her on the map in country music circles.

Case in point: “Reputation” is the first album for which she’s given no interviews in advance. (I had sat down with her for extended talks about each of her previous four albums, “1989,” “Red,” “Speak Now” and “Fearless.”)

Additionally, only a small handful of music critics were invited to hear this album in advance (The Times’ pop music critic Mikael Wood was not).

She did once again hold several playback sessions for fans in recent months, as she did when “1989” was being readied for release three years ago. But no reporters were allowed to look in on those as a few did for “1989.”

Things have changed, indeed.

What struck me initially about Swift’s music was the refreshing viewpoint she brought to her songs, which sounded, for a change, like what real teenagers might think, feel and say.

That was a big part of what prompted me to single her out at the end of 2006 as one of the artists most worth watching in the year ahead, and to travel to Nashville a few months later to interview her about her ambitions.

So many other young pop and country acts spent most of their time attempting to pass themselves off as preternaturally mature, often singing of experiences well beyond their years.

That initially sparked my respect for her as a young artist—not just a pretty face and perky personality who’d been handed a batch of songs written by others and instructed by her handlers on what to say, how to dress and where to stand.

Clearly that resonated with a lot of listeners as well, and launched her on a meteoric rise: first in country music, and then to her place today as arguably the biggest pop star on the planet.

Along the way she has held tight to the innate understanding of social media platforms she expressed to me in 2008, shortly before her sophomore album, “Fearless,” was released.

“Blogging has been really fun because I like to let people into my life as much as possible,” she said back when MySpace was still the dominant social media outlet for most musicians, well before Twitter, Facebook and Instagram and, her new favorite outlet, Tumblr, took over. "I think it's important for the people who keep you going and support you and have your back out there in the world to know that you're thinking of them all the time.”

She quickly learned, however, that it’s not a big leap from having someone’s back to stabbing it, a harsh reality Swift has faced through intensely public Twitter feuds in recent years with Katy Perry, Nicki Minaj, Kanye West and Kim Kardashian, among others.

Twitter, Instagram, Facebook and other social media platforms magnify vulnerability and hypersensitivity with snarky comments and images, making adolescence and young adulthood seem more perilous than ever.

She acknowledged the vipers in the room directly on her third album, “Speak Now,” with “Mean,” a song in which she transformed one blogger’s nasty comments about her into a hit song. That’s one tool with which she’s avoided the “Don’t get mad; get even” path of revenge, instead drawing illumination and creative inspiration out of the many barbs tossed her way.

Yet the more famous she’s become, and the more followers she’s cultivated, the more the world at large apparently feels entitled to pass judgment not only on her art but on her life, topics she takes on in several of the new songs on “Reputation.”

That’s a fact of contemporary life Swift recognizes in “This Is Why We Can’t Have Nice Things.” In fact, it may well become an anthem for the Twitter generation, for whom every fleeting thought seems worthy of sharing with the world at large: “Did you think I wouldn’t hear all the things you said about me? And here’s to you… ‘cause forgiveness is a nice thing to do/ (laughter) I can’t even say it with straight face!”

I’ll go as far as to suggest that the whole “Reputation” theme of the album isn’t solely about Taylor Swift and her place in the world, but examines the extent to which most of us now live out our lives in public thanks to the omnipresence of social media, and the multiplicity of ways that plays out.

Indeed, in each of two elaborate 72-page magazines she has created for an exclusive deluxe edition of the album (available in the U.S. at Target stores), she includes an open letter noting, “This is the first generation that will be able to look back on their entire life story documented in pictures on the internet, and together we will all discover the after-effects of that.”

Another facet of Swift’s career that’s impressed me is the way she has respected her place as a role model for young women in general, and other female musicians in particular.

Among the many ways that’s manifested are her personal donation of $500,000 to disaster relief efforts when Nashville, and much of Tennessee, was flooded in 2010 — before she reached her 21st birthday. She ponied up an additional $1 million last year for flood victims in Louisiana after launching her “1989” tour there.

She wielded her industry clout to politely but firmly chastise Apple for initially placing some of the financial burden of a free trial period for its new streaming service in 2015 on songwriters with a plan that would have withheld their royalty payments — an idea the tech giant abandoned in response to her open letter.

Even when she briefly succumbed to the temptation to respond to a perceived diss from Nicki Minaj over yet another VMA Awards show in 2015, Swift quickly apologized and held out an olive branch rather than continuing to ratchet up a war of tweets.

As recently as August, she turned the tables on a lawsuit filed against her by a Denver radio host who claimed he was unfairly dismissed from his job after she complained that he had groped her during a post-concert meet-and-greet. She filed a countersuit in which she asked for, and won, a token $1 jury award after she took to the witness stand to speak out not only in her own defense, but on behalf of other sexual harassment victims.

Yet bloggers galore still seem determined to take her down for any number of issues, lately many of them revolving around the way she has set the stage for today’s release of “Reputation.”

A plan to create an incentive that would give priority for buying concert tickets to fans who most enthusiastically click away to watch her latest videos or place advance orders for the album was blasted as exploitative.

She’s also come under fire for not being vocal enough about alt-right demonstrators who have attempted to co-opt her music into endorsements of their positions, reminiscent of Charles Manson’s bizarre misinterpretation nearly 50 years ago of the Beatles’ “Helter Skelter,” which he insisted was a coded message to him to start a race war.

Then there was the much publicized dissing of her last year from Kanye West in his song “Famous” in which he rapped that she owed him sex because he made her famous by snatching the spotlight from her at the infamous MTV Video Music Awards in 2009 — despite the fact she had scored multiple hit singles and sold millions of albums well before that incident.

She kept a relatively low profile last year when West and his wife, Kim Kardashian, spoke and tweeted ad infinitum that she had given him her consent about the way he portrayed her in “Famous,” offering only a terse denial that that had been the case.

When she released “Look What You Made Me Do” as the leadoff single from “Reputation,” she took flak in many quarters for a perceived belated response and for keeping a feud going long past its natural shelf life.

But based on how I’ve watched her process other life events, what I hear in the song is a woman who recognizes the hurt an ugly life situation has thrust upon her, and who owns the consequences of how it that has played out for her, emotionally and psychologically.

“I don’t trust nobody and nobody trusts me,” is how the sadder-but-wiser Swift portrays herself in this scenario. “Look What You Made Me Do” isn’t an exercise in the blame game; it’s an acknowledgment of loss over defenses one has been forced to erect out of self-preservation.

In a broader sense, the payoff I’m after in “Reputation” has nothing to do with any shade she’s throwing at West and Kardashian, or whether in other songs she’s leaving any clues on her breakups with Tom Hiddleston or Calvin Harris.

Many eyes, of course, also will be focused on whether “Reputation” extends her streak of albums that have sold more than 1 million copies in the first week. She’s the only artist to do so with three consecutive releases.

The only thing that matters in the long run is how she’s evolving as a songwriter, a singer and a record producer.

Will anyone care in 10, 20 or 50 years — heck, in five, even — who the “him” is in “Getaway Car,” when she confesses, “I wanted to leave him / I needed a reason”? What’s much more likely to stand the test of time is the whip-smart form the song’s expression of romantic betrayal delivers: “It was the best of times / The worst of crimes / The ties were black / the lies were white / In shades of gray and candlelight.”

Her commitment to growth as an artist is something I sensed more than a decade ago, when we first met in the bunker-like basement of her then-fledgling record company, Big Machine.

And it’s still why I fully expect to be as interested at what Swift writes at 37 and 47 as what she’s delivered at 27. In my book, that’s the only reputation that matters.

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sugarwaterradio · 6 years ago

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How Rick Ross

Well in May forbes said this guy was worth 150 million bucks but now fitty cent doesn't have two quarters to rub together I remember reading headlines about 50 Cent's financial troubles and thinking there was something incredibly tragic about the man that released get rich or die trying' going bankrupt however on last check 50 cent was actually still alive which did make me think that maybe there was slightly more to the bankruptcy story than meets the eye in order to truly understand what happened we need to go way back to 2008 at the start of his feud with everybody's favorite wing slinging fake drug-dealing rapper Rick Ross it was actually Rick Ross that started off the beef by saying that 50 cent and looked at him some kind of way at the Beatty Awards Awards not what little kid made an expression on his face that carries disappointing me what kind of expression 50 responded saying he didn't even see Rick Ross at the awards which i think is hard to believe considering the Rick Ross weighs 350 pounds now Ricky Ross made the beef official when he released the song of mafia music which fired a few shots at 50 cent for allegedly burning down his baby mamas house January 29th 2009 and 50 cent comes out with a response to mafia music his own disc called officer Ricky the next day Rick Ross calls in to Angela Yee show and says that that response is trash and 50 has 48 hours to respond with something Feder 24 hours later well i'ma fuck your life up but fine I paid for the transcripts to your court case and now that I got you address will be on your doorstep Ricky on that same day 50 also releases the first episode of his officer Ricky cartoon series damn because I said your mama look like the Klumps a couple of days later 50 of sticking true to his promise of fucking up Rick Ross's life for fuck 50 starts out the video by saying that what you're about to see is something is a little bit more sophisticated than what we've been offering in the past which I think's a massive disservice to 50 Cent's car work I mean this video is so lowbrow it makes candy shop look like the Beethoven symphony in the video the mother of Rick Ross's child calls out rot for having rented jewelry and leased cars and he takes her first shopping whilst isn't she lovely by Stevie Wonder plays you cannot make this shit up 50 also takes the opportunity to call out Rick Ross's other baby mama for being a cool girl a few days after that Rick Ross releases the diss song kiss my pinky ring curly this song is accompanied by a music video of Rick Ross hanging out in New York with some miscellaneous goons the song also featured what felt like several hundred lyrics accusing 50 cent of being gage an allegation which seemingly becomes a big part of this beef from both sides two days after that it's the 8th of February and 50 cent is dropping more content than Netflix he puts out officer Ricky episode 2 which shows how Rick Ross got a deal from jay-z he then drops the first of a series of new comedy segments featuring a character that he's created called pimping curly curl this is basically just 50 cent wearing a curly wig while shrieking about how much of a pimp ears and threatening Rick Ross on with a knife Oh Livie without you I've got you then along with his crew g-unit 50-cent releases I'll be the shooter which features so many shout outs of different types of guns the song might as well have been recorded in TI's trunk in response to this Rick Ross essentially coffees fifties idea of the animated this video and releases his own version called gay unit workouts which I'm sure even the slowest of viewers can work out what that means this entire video is basically just calling out g-unit members for being gay it also disses 50 cent for allegedly using steroids and also for some reason Rick Ross decided that this video was the perfect place to debut his new single with John Legend magnificent over visuals of a cartoon g-unit having a three-way gangbang that same day Rick Ross dropped the diss track push him over the ledge which is basically a two minute juice freestyle mainly consisting of you guessed it oh hey he mentions one specific rumor of g-unit member Lloyd Banks being in a gay porno dick on Google which I did a lot of digging on I couldn't seem to find any evidence for that but there was one a guy that looks a little bit like Lloyd Banks appeared in a gay porno the next day 50 cent puts out a video that's probably the most menacing thing I've ever seen in a hip hop beef I mean this thing makes the story if added on look like the story of Balamory he releases the video a psychic told me this little poem / dj khaled check this shit out right it's cool I just wanted to tell you what it's like you told me your car tires gonna stare down now you know I know will you be and or will your mama house it and all your mama work it now look at sleep to make this even more spicy we later found out that the person actually filmed this was French Montana he's even seen in one of these videos wearing him this is 50 t-shirt which he can't blame on his stylist over the next month these two trade shots back and forth over disc tracks and animated videos 50 goes on to drop several more cartoons which don't just clown Rick Ross but also go after Ti DMX Suge Knight and Chris Brown but it's on March the 17th that 50 made the ultimate mistake that would eventually wind him up in bankruptcy 50 cent actually leaks a sex tape starring Rick Ross's other baby mama Brooke with an introduction of himself in character as pimp and curly and commentary throughout the entire video I personally don't think it's right or legal to show you any of that tape so what I'm going to do is I'm gonna play you some of 50s commentary over some very innocent six days after the sex tape leaked on March 23rd Rick Ross came out with a very unusual video essentially saying sorry not sorry to the gay community I heard a knife in the homosexual community I apologize I'm offering a record will openly gay artists such as City sing we all know he's gay so now all the gays good later Rick Ross drops his long-awaited album deeper than rap now the album is out and there's very little to be gained from beefing these two kind of lose interest in each other during that time fifty seems to get closer to Rick Ross's baby mama Tia helping her release her own tell-all biography but things get really Savage in November where seemingly out of nowhere fifty decides to take Rick Ross's baby mama and his kids to Floyd Mayweather's house I've got to say it's pretty painful to watch I mean it seems like 50-cent treats Ross's kids better than his own February 25th 2010 and Rick Ross's baby mama Brooke brings a court case against $for Leake in that sex tape this court case takes an entire five years to get resolved during that time the 50 and Ross beef simmers and a few things happen here and there that are quite interesting Ross publicly suffers from some seizures gunplay from Rick Ross's Maybach Music crew gets beaten up by g-unit at an award show and 50 cent is pictured wearing his Maybach music chain er of bowling alley a few days later 50 pounds Rick Ross for getting his car shot up and Rick Ross gets accused of pistol whipping his groundskeeper who is later pictured on Instagram with 50 cent five years go by and it's in July 2015 that that court case finally gets resolved and fifty loses the court order 50 to pay five million dollars to Brooke for the sex tape leaked and two million dollars in punitive damages three days after losing that case fifty Cent files for chapter 11 bankruptcy now it's important to realize that there's a big difference between filing for chapter 11 bankruptcy and filing for chapter 7 bankruptcy chapter 11 is more about reorganizing your assets so that you can then end up making the payments that you owe whereas chapter 7 is a lot more about admitting that there's no way you can pay your payments however this didn't stop Rick Ross and the whole world from clowning on 50 my first album was time Richard and I've bankrupt I guess he's 50 cent even got in on some of the action mocking the idea of him being bankrupt which actually caused him to get hauled back into court to explain himself 50 told the court that the money in the pictures and his whole lavish lifestyle was actually Fae 50 cents money woes didn't last very long by 2017 only two years after losing that court case 50 was actually able to pay off his entire 22 million dollar debt five years herb so if you think 50s broke 50 ain't broke but how the hell did 50 suddenly get all of this money to pay these debts 50 didn't just go bankrupt from losing the sextape case he'd also been in and out court with slick audio based on a dispute around the SMS audio headphones deal that he had going on 50 had originally partnered with sleek to engineer the headphones but he later left them and ended up doing a deal with somebody else slick sued him and won and he ended up owning them 17 million dollars for the development of these headphones and that to the outstanding amount that he had to pay Brooke for the sex tape lawsuit in December 2016 50 actually won a court case against the lawyers who had represented him in the original sleek audio case that he lost by winning that case against his lawyers he got 14 and a half million dollars which he then combined with his own funds of million dollars to basically pay off the entire outstanding debt and get out of bankruptcy put off the hill to that when he decided to sue the lawyers from his sex tape case as well specifically he argues that they failed to interview Rick Ross about leaking the sex tape before 50 did furthermore he claimed that there was actually a conflict of interest between an old lawyer that 50 had in 2004 and Rick Ross's current lawyer as far as I can tell that Court case is currently unresolved but what I could find was that 50 is looking for thirty two million dollars from this case even though 50 beat bankruptcy we can assume that he learned his lesson and he will never leak a sex tape ever again okay I hope you enjoyed that video make sure that you like and scribe below hit that notification bell so you can see every single time I upload and if you've been enjoying my work lately I definitely recommend that you go and check out the patreon account I've started there's some really cool benefits on there that I think you will definitely like and I would really appreciate your support so I can keep making these videos and hopefully I can upload more often thanks very much and peace out Read the full article

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sunwisher-blog · 6 years ago

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Destiny’s Child – Survivor

Call 1-855-637-4055 for our Psychic line as low as 66¢/min About Destiny’s Child: Destiny’s Child was an American R&B girl group whose final, and perhaps most recognizable, line-up comprised Beyoncé Knowles, Kelly Rowland and Michelle Williams. Formed in 1990 in Houston, Texas, Destiny’s Child members began their musical endeavors as Girl’s Tyme comprising, among others, Knowles, Rowland, LaTavia Roberson and LeToya Luckett. After years of limited success, they were signed to Columbia Records as Destiny’s Child. Destiny’s Child was launched into mainstream recognition following the release of their best-selling second album, The Writing’s on the Wall, which contained the number-one singles “Bills, Bills, Bills” and “Say My Name”. Survivor contains themes interpreted by the public as a reference to the group’s internal conflict. The title track, “Survivor“, which set the theme used throughout the album, features the lyrics “I’m not gonna blast you on the radio … I’m not gonna lie on you or your family … I’m not gonna hate you in the magazine” caused LaTavia and LeToya Luckett to file a lawsuit against the group; the lyrics were perceived to be a violation over their agreement following a settlement in court. In an interview, Knowles commented: “The lyrics to the single ‘Survivor‘ are Destiny’s Child‘s story, because we’ve been through a lot, … We went through our drama with the members … Any complications we’ve had in our 10-year period of time have made us closer and tighter and better.” In another song called “Fancy”, which contains the lyrics “You always tried to compete with me, girl … find your own identity”, was interpreted by critic David Browne, in his review of the album for Entertainment Weekly magazine, as a response to the lawsuit. lyrics: Now that you’re out of my life I’m so much better You thought that I’d be weak without you But I’m stronger You thought that I’d be broke without you But I’m richer You thought that I’d be sad without you I laugh harder You thought I wouldn’t grow without you Now I’m wiser Though that I’d be helpless without you But I’m smarter You thought that I’d be stressed without you But I’m chillin’ You thought I wouldn’t sell without you Sold 9 million I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) Thought I couldn’t breathe without I’m inhaling You thought I couldn’t see without you Perfect vision You thought I couldn’t last without you But I’m lastin’ You thought that I would die without you But I’m livin’ Thought that I would fail without you But I’m on top Thought it would be over by now But it won’t stop Thought that I would self destruct But I’m still here Even in my years to come I’m still gon be here I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) I’m wishin’ you the best Pray that you are blessed Bring much success, no stress, and lots of happiness (I’m better than that) I’m not gon blast you on the radio (I’m better than that) I’m not gon lie on you and your family (I’m better than that) I’m not gon hate on you in the magazines (‘m better than that) I’m not gon compromise my Christianity (I’m better than that) You know I’m not gon diss you on the internet Cause my mama taught me better than that I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) (Beyonce) Oh (oh) oh (oh)… After of all of the darkness and sadness Soon comes happiness If I surround my self with positive things I’ll gain prosperity I’m a survivor (What?) I’m not gon give up (What?) I’m not gon stop (What?) I’m gon work harder (What?) I’m a survivor (What?) I’m gonna make it (What?) I will survive (What?) Keep on survivin’ (What?) Click here to return to positive music list Read the full article

#Destiny’sChild #positivemusic #Survivor

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yasbxxgie · 7 years ago

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On January 30th, 1973, only six months after the break-in at the Democratic National Committee headquarters in the Watergate office complex, five men were tried and convicted of conspiracy, burglary and violation of federal wiretapping laws. That, of course, was not the end of the matter, as the trail lead directly to President Nixon himself. That same January, veteran soul and R&B singer Roy C. Hammond released a politically charged 45 called “Impeach The President,” a rock-solid drum workout with a funky guitar riff that perfectly captured the zeitgeist. He might have seen the writing on the wall for Nixon, but little did he know that the first four bars of the song were destined to become an iconic hip-hop drum loop, sampled in over 696 songs.

The slew of ’80s and ’90s hits built upon “Impeach” reads like a list of rap classics – MC Shan’s “The Bridge,” Audio Two’s “Top Billin’,” “Jump” by Kriss Kross, “The Rebirth of Slick (Cool Like That)” by Digable Planets, “I Get Around” by 2Pac and “Unbelievable” by Biggie Smalls, to name just a few. Even dance and pop acts from Soul II Soul to Janet Jackson have utilized that song’s boom-bap, and you know a beat is special when master lyricists like Chuck D. (“Rebel Without A Pause”) and GZA (“As High as Wu Tang Get”) reference it in their rhymes. The making of “Impeach The President” and its enduring influence not only illuminates an important chapter of hip-hop history, but it also provides yet another familiar tale in the perpetual struggle of artists to get fairly compensated for their work.

Known for such hits as “Shotgun Wedding” (Blackhawk Records, 1965) and “Don’t Blame The Man” (Mercury, 1973), Hammond cut “Impeach The President” with a bunch of all–black high school musicians from Jamaica, Queens whom he dubbed The Honey Drippers. He doesn’t even remember the drummer’s name now, but says, “I had to spend many hours with him after school, but he turned out to be pretty good.” Recorded at Broadway Recording Studios in Manhattan – in the same building that currently houses the Ed Sullivan Theater – “Impeach The President” was too controversial for Mercury, to which Hammond was signed at the time, so he released it on his own imprint, Alaga Records. Without the promotional power of a major behind it, it went on to sell only a few thousand copies and was relegated to the stacks of obscure funk 45s.

Flash forward to the T-Connection, a popular hip-hop club on Gunhill Road in the North Bronx. In 1980, Aaron Fuchs, the founder of hip-hop label Tuff City Records and one of the early journalists to write about hip-hop, was the guest of Bronx DJ Afrika Bambaataa. “When you see a guy coming to a gig with a little laptop and you remember what it was like to see Bambaataa and his posse come to a gig with four or five guys carrying crates of records behind him, it was very tribal, man, a whole ’nother experience – very post-gang,” says Fuchs, now 69. “He [Bam] showed me the extraordinary respect of letting me see his records,” he continues, and “even with certain stuff scratched out, I knew enough about music and its history to fill in the blanks.” Among a record collection that Fuchs calls,“the most expansive panoply of the musics that nurtured hip-hop,” he identified a 45 of “Impeach The President,” with Alaga Records’ trademark red and yellow label.

“‘Impeach’ was cultish,” says Fuchs, “It kind of separated record purchasers from crate-diggers.” Always trawling through the lists of distributors’ cutouts, he managed to score a 50-count box of “Impeach The President” for the bargain price of 25 cents a copy. “What I did was, if I’d go to the Roxy and I had a new record for Afrika Islam, I’d throw in a couple copies of ‘Impeach,’” says Fuchs. “I never got into or was able to get into greasing people or paying people off, but I could really live with using that type of stuff as currency.”

Based in Long Island City at the time, Fuchs started working with a young, up-and-coming DJ/producer from the nearby Queensbridge projects named Marlon Williams AKA Marley Marl, one half of the very first commercial rap radio show, Mr. Magic’s Rap Attack, on New York’s WBLS-FM. Also an intern at Unique Studios in Manhattan, Marley was just cutting his teeth on production and had a small set-up in his sister’s apartment in the projects that included a four-track, a Roland TR-808 drum machine and two SDD-2000 sampling digital delays by Korg. In 1984, Marley would produce a track for Tuff City artist Spoonie Gee called “Take It Off.” Interviewed by Dubspot in 2013, he recalls, “Fuchs said, ‘Here, I can’t pay you for this Spoonie Gee session, but you can take this pile of records.’ In that pile was “Impeach The President.”

According to Fuchs, “Marley was voracious, and as soon as I gave him something, it was used one way or another.”

Marley went on to sample the Honey Drippers’ kick and snare (with accompanying ghost notes) to each of his SDD-2000s, adding a hi-hat and a kick from the 808 to bolster the sampled kick. He shaped a hook by sampling a reverbed horn fanfare from The Magic Disco Machine’s 1975 record “Scratchin’,” and reversed it to play backwards so it sounded like a stab of pure noise. Finally, he brought in his cousin Shawn Moltke AKA MC Shan to christen the track with lyrics.

“The track ‘The Bridge’ was made not to be a record. It was made as intermission music for the Queensbridge festival that we had in Queensbridge Park in 1984,” Marley says. “Now the first time the track played everybody’s heads turned. Everybody was like, ‘Wow, it’s a song about Queensbridge.’ Everybody was like, ‘Play it again, play it again.’ It was so popular that day that we played it in the park, one of my nephews took the tape and spread it around Queensbridge. Everybody in Queensbridge had a copy of that song and it wasn’t a record yet. I had to do something about that.”

Though “The Bridge” was made in 1984, it only saw the light of day as a release in 1986 on Bridge Records, becoming an instant classic. Marley, who helmed a crew of now legendary artists known as the Juice Crew – featuring Shan, Biz Markie, Big Daddy Kane, Roxanne Shante, Craig G. and Masta Ace – went on to use the “Impeach” beat on many subsequent productions, including such certified rap hits as 1986’s “Eric B. Is President” by Eric B. & Rakim and 1986’s “Make The Music With Your Mouth, Biz” by Biz Markie. He even accidentally handed the beat over to the competition when BDP made “The Bridge Is Over” the following year.

“The funny story about ‘The Bridge is Over’ is that I had met BDP for the first time at Power Play studios when they was playing their demos for Mr. Magic,” says Marley. “So he went into the room, the music was very loud. He did not like it at all, so it got really, really heated. In the rush to vacate the studio, I forgot my famous drum reel with all my drum sounds on ’em. Fast forward, I’m listening to the radio and I hear this song called “The Bridge Is Over” utilizing my drum sounds. I was like ‘Yo! That sounds like my drum sounds. Who’s that?’ ‘That’s them kids that Magic dissed in the studio the other day.’”

By the time “Impeach The President” appeared on the DJ-friendly Ultimate Breaks & Beats series – Volume 11, released in 1987, to be exact – the cat was out of the bag, and that break was on its way to becoming a standard building block for rap tracks. In that year alone, it was used in “I Got An Attitude” by Antoinette, Dana Dane’s “Dana Dane With The Fame,” Cool C’s “Juice Crew Dis” and Audio Two’s mega-hit “Top Billin’.” Fuchs even took his own stab at a version, getting Spoonie Gee to drop some lyrics on a track called “You Ain’t Just A Fool, You’s An Old Fool.”

Ironically, Fuchs decided to go after his old buddy Marley, who had produced two hits from LL Cool J’s comeback album on Def Jam, Mama Said Knock You Out, in 1990. “Around The Way Girl” and “Six Minutes of Pleasure” both used elements of “Impeach The President,” to which Fuchs claimed to own the rights in a New York Times piece on April 21, 1992. He eventually settled out of court with Def Jam for what he describes as “low to mid-five figures.” Of course, these were not the only songs at the time that sampled “Impeach,” and Fuchs went after other artists and labels as well. “There were some lawsuits that had to be filed,” as he puts it, “but eventually it got to a point where it became business as usual.”

During this time, Roy C. Hammond had moved down to Allendale, South Carolina, where he currently runs a record shop. One day while listening to the radio, he heard the song, “Luv Me, Luv Me” by Shaggy and Janet Jackson, a cut from the How Stella Got Her Groove Back soundtrack that was released in 1998. He immediately recognized his own song in the mix, and after doing some calling around was able to track down Fuchs, who had authorized its use in the movie. It turns out the two had met back in 1968 when Hammond was singing tenor in The Genies, a doo-wop group, and Fuchs was a young reporter for Billboard and Cashbox.

“He said, ‘Look, I’m trying to make you some money.’” recalls Hammond, 77, of their reunion 30 years later. “I said, ‘Hell, you should have got in touch with me.’ He had it listed with ASCAP and I’m a BMI writer, so I went over and questioned them about it, and they took it out of there immediately.” It still means that from 1990 through 1998, Fuchs was profiting off “Impeach” without even trying to track down Hammond.

“And he was tellin’ me how much money I was going to make,” Hammond continues, with Fuchs eventually persuading Hammond to sign a five-year licensing deal for the track. Fuchs sealed the deal with a $500 check that apparently bounced.

But Fuchs tells a different story. “You know what’s crazy?” he says, “I never made a deal specifically for ‘Impeach.’ I do all kinds of reissues if you look at my catalog. I put stuff out from the ’40s to the ’80s, you know? And I actually put out a Roy C. album. He had had two albums on Mercury – one was called Sex and Soul and the second album was called More Sex and Soul. And then he had a bunch of stuff he had done independently. So, you know, I had a few things by him and that was one of them.”

“I didn’t authorize none of that,” Hammond maintains. “After he got a contract to license it [‘Impeach’] for five years to give it out to different people for beats, he was supposed to pay me, and he didn’t pay me.” Ask Fuchs, however, and Hammond profited, “hugely.”

Hammond has since taken Fuchs to court several times but hasn’t been able to receive the compensation he says he deserves, and puts it down to the failings of his lawyers, of which he’s gone through several. “The one in New York asked him [Fuchs] for half a million dollars or something, and we wind up getting $100,000,” he says. “And the most I got was $40,000 after lawyers fees.” That was ten years ago. “Just a few months ago,” Hammond adds, “I talked to this attorney and after that Fuchs sent me $32,500. Now that’s the biggest I ever got from him.”

But he is not bitter in the least. “I feel great that I contributed something [to hip-hop]” says Hammond. “But I’m still going to fight this guy, and I’m going to find a good lawyer that’s going to be honest and bring this thing in front of a jury.”

Editors’ Note: Following the publication of this story, RBMA Daily received an email from Aaron Fuchs, the president of Tuff City Records, contesting Marley Marl and Roy C. Hammond’s claims. Fuchs denies Marley Marl’s claim of nonpayment for the recording session of Spoonie Gee’s “Take It Off.” He also contests Marl’s quote from the Dubspot interview regarding a “pile of records,” stating that “I have never offered any DJ or producer ‘a pile of records,’ but rather specific records that I curated and deemed to be of value either to their production needs or fund of knowledge.”

Fuchs also states that Marley Marl was not named as an individual in his 1992 lawsuit against Def Jam, which was filed in response to the label’s release of songs produced by Marl on LL Cool J’s Mama Said Knock You Out LP. Furthermore, Fuchs states that agreements made with Hammond prior to 1998 were accompanied by advances, and seeks to clarify that “No check I ever wrote to Hammond or any other artist has ever bounced.”

#rbma #red bull music academy daily #the honey drippers #impeach the president #roy c. hammond #roy c hammond #the bridge #the bridge is over #marley marl #boogie down productions #bdp #sampling #ultimate breaks & beats #aaron fuchs #music #black music #richard nixon

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cyarsk52-20 · 17 days ago

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The spreading of the false and malicious narrative in question:

And while we’re on the topic of false and malicious narratives or being loud and wrong about things:

It's very clear which songs on Scorpion were written before and after Pusha T outed him as having and hiding an illegitimate child with a pornstar, with several lines being way more pertinent knowing the context behind it. "I'm Upset" in particular is especially awkward, as many lines are him transparently complaining about having to pay child support to a not-so-hypothetical baby mama "hoe", bragging about still having "seven years of doing what I want" (implying he intended to hide his son for much longer), and proudly comparing himself to his own Disappeared Dad.

The situation around Drake's illegitimate child and his trying to hide it also casts a new light on some of his earlier lyrics, such as "I never get attracted to fans/'Cause the eager beaver could be the collapse of a dam" on "Ignant Shit" and "I could never have a kid, then be out here still kiddin' round" on "Portland".

"Circo Loco" was controversial on release for the line "This bitch lie 'bout gettin' shots, but she still a stallion", which many interpreted as an attack on Megan Thee Stallion, accusing her of lying about being shot by Drake's rival-turned-friend Tory Lanez. What sends it into this territory though is that in December 2022, just under 2 months after its release, Lanez was convicted on three charges stemming from shooting Megan, and ended up sentenced to 10 years in prison.note

In "Push Ups", Drake said he "gets more love in the city that you [Kendrick Lamar] from". Some time after that, Kendrick would release "Not Like Us", a catchy diss that swept the nation, which also led to The Pop Out, a massively successful concert streamed through Amazon Prime where Kendrick brought out a ton of west coast artists to perform and (after a long set of his own) sang Not Like Us five times, with the crowd eating out of his hand each time. By the fourth and fifth time, NBA players (who Drake once heavily associated himself with) and rival gang members were on stage together dancing to a song calling Drake a pedophile.

In "Family Matters", Drake says "I heard that one of 'em little kids might be Dave Freeeeeeeeeeeeeeeeeeeeees." (said exactly like that). While not a direct response to that (and maybe not even inspired by that), the undisputed signature line in Kendrick Lamar's "Not Like Us" is "Why you trolling like a bitch, ain't you tired?/Trying to strike a chord and it's probably A-Minorrrrrrrrrrrrrrrrrrrrrrrrr" (said exactly like that).

Also on the song "Family Matters", Drake said "I'm goin' on vacation now, hope next time y'all plan it right" and "This shit gotta be over by now for anyone out here that's calling it, right?" basically viewing "Family Matters" as the end of the beef. Unfortunately for Drake, less than an hour later after Family Matters was released, Kendrick would drop "Meet the Grahams" and not longer after "Not Like Us" a day after Meet the Grahams.

On "Family Matters", Drake says "A cease and desist is for hoes." as a denial of Kendrick Lamar's allegations in "euphoria" that Drake filed a cease and desist order on Metro Boomin and Future's "Like That" because of Kendrick's now (in)famous feature on the track. Then in late November, months after losing his feud against Kendrick, Drake suddenly filed a "pre-action" petition for a lawsuit accusing both his own label Universal Music Group and Spotify of colluding with one another to artificially boost "Not Like Us".

In both "Push Ups" and "Family Matters", Drake drops the names of around a dozen other artists who he claims surpass Kendrick in success such as SZA, Travis Scott, YG, and Chris Brown, with the heavy implication that they're all on his side of the beef. Not only would Kendrick end up dwarfing the aforementioned artists in streaming numbers while shattering records in the process, a grand majority of them actually sided with Kendrick. SZA and YG showed up to both The Pop Out: Ken and Friends concert and the "Not Like Us" music video to show their support, with YG even performing on stage during The Pop Out. Travis Scott actually begged Future and Metro to debut "Like That" in its entirety at Rolling Loud but could only get Future to do the opening verse. And Chris Brown posted a video of himself grooving to "Not Like Us" in the club.

While the line "Highschool pics, you was even bad then" from "Nice for What" was already hard to listen to, it became even worse after all the pedophile accusations thrown at Drake during his feud with Kendrick.

On Future's song "Tony Montana" Drake says "It's just OVO and XO, and Freebandz the committee"note Future would diss Drake on the song "We Don't Trust You" and The Weeknd would diss Drake on the song "All to Myself"

In "First Person Shooter", Drake boasts in the chorus that both him and J. Cole were "big as the Super Bowl," as part of the track's ongoing theme that they alone were the greatest rappers of their generation. Then Kendrick Lamar entered the ring. Now Drake has become one of the biggest pariahs in the world of mainstream music, his Friendly Rivalry with J. Cole seems to have warped into genuine animositydue to the latter's decision to back out of the beef early and collaborate with Future and Metro Boomin on "We Still Don't Trust You" (an album which was filled with even more disses against Drake), all while Kendrick essentially shattered all of Drake's commercial streaming records while solidifying himself as the most revered and feared rapper alive. Just to add salt into the wound, Kendrick would go on to announce that he would officially be headlining the Super Bowl LIX Halftime Show in 2025. Thus making Kendrick the only rapper of their generation who can genuinely make that flex.

There was a key accusation about Drake in Kendrick Lamar's "Not Like Us": Drake is not really of the "culture" of hip-hop, and is more of a leech on it. This accusation was overshadowed by the pedophile allegations, but was still there. Six months after "Not Like Us" dropped, Drake would file 2 pre-action petitions against UMG (his label's parent company), and in January 2025 would file a full-blown lawsuits accusing them of boosting "Not Like Us" and not stopping it from coming out. This move was seen by almost everyone of significance in hip-hop as something one just doesn't do in a rap beef, bringing a whole new dimension to that "not of the culture" accusation.

In "Forever", a critically lauded single created for the soundtrack of More than a Game (the official documentary of NBA superstar LeBron James), Drake's lyrics set up intentional parallels between himself and LeBron with the boisterous idea that everyone is bearing witness to their greatness. Fast forward to the year 2025, Drake would go onto to fire subliminals at LeBron on "Fighting Irish Freestyle", a track that bitterly takes aim at everyone who he feels switched up on him during the rap beef with Kendrick.

On "What Would Pluto Do", the lines "Droppin' two Cialis in a liquid, okay/I ain't got a strap, I gotta risk it, okay/Baby girl, Adonis need a sister, okay", became this when a few months later, during his feud with Drake, Kendrick Lamar would release "meet the grahams", in which one of the accusations made against him included Drake hiding a 11-year old girl from the world, revealed to be Adonis' sister

Most of Drake's diss tracks during his feud against Kendrick Lamar in 2024 were formidable and scathing, but his final diss, "The Heart Part 6", was widely agreed by critics and fans alike as him having dropped the ball for just how defensive it sounds. Rather than throw any bigger punches towards Kendrick himself, a lot of the song consists of clumsy defenses against the allegations levied towards him, from Drake claiming that Kendrick's alleged mole gaining Drake's private information is "a clown" before immediately claiming that he willingly planted false information for Kendrick to use against himnote , making up a convoluted deductionthat Kendrick was molested as a child by misinterpreting a song where Kendrick outright says he was never molested, denying Kendrick's pedophilia allegations in a way that only came off as even more suspiciousnote , and then awkwardly announcing his intent to pull out from the beef with "I don't wanna fight with a woman beater, it feeds your nature" (indirectly calling himself a woman).

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