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Drake has responded to Kendrick Lamar as some expected with “The Heart Part 6,” adding new fuel to their explosive feud. In the track, the Canadian superstar addresses the accusations of being romantically involved with minors and more and fans on Xitter are wondering if it’s enough.
I want to speak as myself for a minute and express that I have never cared less about a rap beef. I find nothing exciting, interesting, or enthralling about two Black titans of the culture fighting and exposing each other. What is the end goal? It does nothing for the greater good. And, as Vince Stapes said, this is only aiding a particular segment of the industry and certainly not the creators. Anyway, let’s get into this newest salvo from Drake.
Titling the response “The Heart Part 6” is clearly taking a page out of Kendrick Lamar and his “The Heart” series, and directly addresses some of the heinous acts that K-Dot accused Drizzy of.
From “The Heart Part 6”:
The Pulitzer Prize winner is definitely spiralin’I got your fucking lines tapped, I swear that I’m dialed inFirst, I was a rat, so where’s the proof of the trial then?Where’s the paperwork or the cabinet it’s filed in?1090 Jake would’ve took all the walls downThe streets would’ve had me hidin’ out in a small townMy Montreal connects stand up, not fall downThe ones that you’re gettin’ your stories from, they all clownsI am a war gеneral, seasoned in prеparationMy jacket is covered in medals, honor and decorationYou waited for this moment, overcome with the desperationWe plotted for a week and then we fed you the informationA daughter that’s eleven years old, I bet he takes itWe thought about giving a fake name or a destinationBut you so thirsty, you not concerned with investigationInstead you in Advantage Studio, it’s a celebration
Considering that Kendrick Lamar seemingly has a lot of contempt for Drake, most fans are expecting a response from that side very soon. As it stands, fans of the pair of siding with their faves while detractors are taking their positions as expected. We’ve got reactions from X, formerly Twitter, from all sides below along with the track in question.
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Kendrick Lamar and Drake have engaged in an explosive back-and-forth that took a dark turn according to some observers but the onslaught is far from over. Fresh from dropping the blistering “Meet The Grahams” track, Kendrick Lamar took aim Drake and doubled down on some serious allegations with “Not Like Us.”
Produced by DJ Mustard, “Not Like Us” delivers what some are considering the first of the series of Lamar’s diss tracks to take a sonic approach that might end up getting burn outside of content creator streaming channels and the headphones of dedicated fans.
Unlike the sinister “Meet The Grahams,” “Not Like Us” is a far more upbeat affair but still maintains the intensity from the previously released diss tracks with K-Dot not taking his foot up off the gas even in the slightest.
From “Not Like Us”:
Say, Drake, I hear you like ’em youngYou better not ever go to cell block oneTo any b*tch that talk to him and they in loveJust make sure you hide your lil’ sister from himThey tell me Chubbs the only one that get your hand-me-downsAnd Party at the party, playin’ with his nose nowAnd Baka got a weird case, why is he around?Certified Lover Boy? Certified pedophilesWop, wop, wop, wop, wop, Dot, f*ck ’em upWop, wop, wop, wop, wop, I’ma do my stuffWhy you trollin’ like a b*tch? Ain’t you tired?Tryna strike a chord and it’s probably A-Minor
Honing in on the allegations that Drake has targeted younger women, K-Dot delivered the “A-Minor” in an extended sing-song fashion that was designed to cut deep. The bars above also take digs at the Canadian superstar’s head of security, Chubbs, PartyNextDoor, and Baka Not Nice, who reportedly forced a woman into prostitution and later plead guilty to assault and other charges back in 2015.
Although some fans thought Drizzy delivered a valiant effort with “Family Matters,” the pendulum is swinging in the direction of Kendrick Lamar, especially given the fact he took his time in responding to the earlier jabs but has unloaded the full clip.
On X, formerly Twitter, the debate of who is winning the battle rages on and we’ve got comments from all sides below.
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Source: Ollie Millington / Getty
You knew Drake was going to respond to Kendrick Lamar’s “6:16 In LA” track, and he did with a whole video in tow for “Family Matters.” However, no one was expecting K. Dot to return fire with “Meet The Grahams” in less than an hour.
The result is a Hip-Hop civil war with fans bitterly bickering about who is up on social media while intensely dissecting the savage-level bars their rap heroes have aimed at each other.
The latest dust-up started on Friday night (May 3) at 11:23pm, when the 6 God took to social media to drop a YouTube link to “Family Matters.”
There’s no denying that the Boy went in, coming for Kendrick’s family (“You the Black messiah wifing up a mixed queen,” he raps) and sending shots at foes like Rick Ross and Metro Boomin, too.
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But as the Internets debated whether or not Drake’s retort was worthy, K. Dot re-entered that chat at midnight, when he dropped a link to a new tune called “Meet The Grahams.” To say the track is scathing would be the understatement of the decades. Kendrick essentially tells Drake’s family that their son ain’t sh*t, and never will be, while accusing him of having “hidden children” and even pedophiles in his circle.
Drake did quickly refute the hidden daughter claim, though.
Nothing too new here, but damn.
Check out the more outrageous reaction to their rhetorical nukes, and wild conspiracies, in the gallery.
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Kendrick Lamar has clearly had enough for the shots and subliminal messages from Drake, beginning his blitz earlier this week with the blistering “euphoria” track. With Drake still absorbing blows from that salvo, Kendrick Lamar once again fired back with the cleverly titled “6:16 in LA” track and the culture is in a frenzy.
While the issues between Drizzy and K-Dot have long been rumored, nothing to the level of the recent flurry of disses fans have been treated to lately.
Dot took the most measurable shot on Future and Metro Boomin’s “Like That” track earlier this year and it was clear who the target was. The Canadian superstar hit back with “Push Ups” and “Taylor Made Freestyle,” the latter of which has been served with a takedown notice from the estate of Tupac “2Pac” Shakur.
It was just this past Tuesday (April 30) when “euphoria” dropped and it wasn’t expected that another song was coming. Using Drake’s timestamp title formula, “6:16 in LA” (released Friday, May 3) digs even deeper into the persona of his rival.
From “6:16”:
Have you ever thought that OVO is workin’ for me?Fake bully, I hate bullies, you must be a terrible personEveryone inside your team is whispering that you deserve itCan’t toosie slide up outta this one, it’s just gon’ resurfaceEvery dog gotta have his day, now live in your purposeIt was fun until you started to put money in the streetsThen lost money ’cause they came back with no receiptsI’m sorry that I live a boring life, I love peaceBut war-ready if the world is ready to see you bleed
As it stands, most fans are saying the battle is leaning in favor of Kendrick Lamar, definitely since Drake egged him on to respond. Now, the timeline waits to see what the response will be or if the “Red Button” will be pushed.
Check the reactions below and the track below.
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A diss-track battle between two of the world’s biggest hip-hop stars has led to cryptic allegations that Drake directed his heavyweight record label to yank a hit featuring Kendrick Lamar from the airwaves. But would such a move be possible?
Probably not, say legal experts who study broadcast rights and the music business. “As a general law, broadcast stations have a lot of discretion over what they put on the air — almost unlimited discretion,” says Charles Naftalin, a Washington, D.C., attorney for Holland & Knight who specializes in telecommunications law. “A station is virtually free to pick and choose what it wants.”
Lamar’s new song “euphoria,” which he released April 30, alleges Drake and Republic had attempted to “try cease and desist on the ‘Like That’ record” — a reference to the recent Future–Metro Boomin hit containing a Lamar verse that attacks last year’s Drake-J. Cole track “First Person Shooter,” and helped spark the recent back-and-forth between the two rappers. Then a screenshot of an alleged email appeared on social media purporting to be from a Republic business-affairs executive declaring “we are not granting radio rights” for “Like That.” (Reps for Republic and Universal Music Group, the label’s parent company, did not respond to requests for comment, and the screenshot could not be verified.)
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Hypothetically, if Lamar’s lyrical allegation were true, and the Republic exec’s email were legitimate, how could a label, even the home of Taylor Swift, Morgan Wallen, The Weeknd and Post Malone, which has the industry’s largest market share, pull off such a move? One conceivable explanation stems from the fact that “Like That” is an unusual business collaboration — it’s a joint release from competing major labels, Universal-owned Republic and Sony-owned Epic. The former is Metro Boomin’s label; the latter is Future’s label. (Adding confusion to the affair: Lamar records for Interscope, also owned by UMG, so he is, in a very broad sense, Drake’s labelmate.)
Because Republic had a hand in releasing “Like That,” it is conceivable — though extremely unlikely — that the company could demand that radio stations stop playing its own song. “I don’t readily see a legal reason to request takedown from radio solely based on certain lyrics being in the song,” says Matt Buser, an attorney who represents top artists and music companies. “However, there could be a justified legal reason for takedown based on the promotional grant of rights and understanding between the two collaborating labels.”
Like Buser, Larry Kenswil, a retired top business and legal affairs executive for UMG, has no idea what is in the contractual agreement between Republic and Epic for “Like That.” (A rep for Sony, Epic’s parent company, also did not respond to a request for comment.) But he’s certain that Republic has no right to demand a radio takedown. If Lamar’s “euphoria” lyric about a cease-and-desist is true, Kenswil says, “The artist [Drake] complained to the label [Republic] and the label felt like they had to do something to satisfy the artist. But, of course, we probably don’t have the full story.”
He adds: “That happens all the time. Artists tell their lawyers: ‘Send a cease-and-desist.’ The lawyer says, ‘Uh, I don’t think they’re doing anything wrong.’ ‘Send a cease-and-desist or I’ll fire you.’ And they send the cease-and-desist — and don’t follow up.’” Evidence on behalf of Kenswil’s theory: “Like That” not only came out, but radio played the track, it debuted at No. 1 on the Hot 100 and remained there for three weeks. And as of this writing, “Like That” is No. 21 on the all-genre Radio Songs chart.
After two and a half weeks of anticipation following the leaking of Drake’s “Push-Ups” in mid-April, Kendrick Lamar continued what he started two months ago with his pot-stirring “Like That” verse with his new Drake response, “Euphoria.” Lamar’s haters’ anthem has electrified the internet and put all eyes back on the 6 God to see how he will respond. But after one full official diss track each in the beef, who’s leading on our scorecards? Billboard Hip-Hop writers Mark Elibert and Carl Lamarre present both cases.
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Why Drake Won Round One
Drake is a cunning and crafty individual when he’s locked in on a target. He has a way of using his resources in a way that has others come at him with heavy artillery, as one needs to do in the heat of battle. His first diss track in this hip-hop civil war, “Push Ups,” showed how good the 6 God is at taking center stage to rip into his opponents. Kendrick Lamar caught the most heat on a record, and Drake did precisely what people wanted of him in rap beef with his longtime rival: cut the subliminals and go on a direct offense.
K Dot officially started their long-simmering feud with his explosive guest feature on “Like That” off Metro Boomin and Future’s collaborative effort, We Don’t Like You. There were several lines that clearly referenced Drake, such as saying there’s no “big three” in hip-hop when he’s the only GOAT, seemingly a shot at Drizzy’s J. Cole-assisted “First Person Shooter” where the latter nodded to the hip-hop trinity. He also mentioned Prince “outliving” Michael Jackson, another assumed crack at Drake’s line on that same song where he said he was one hit single away from tying Michael Jackson for most No. 1 hits by a male solo artist on the Billboard Hot 100.
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Drake caught wind of the shots Lamar took at him on “Like That” and responded just a few weeks later with “Push Ups.” Most people didn’t expect Drake to respond in this manner, as he and K Dot had a lengthy cold war throughout the 2010s and early ‘20s that never really blew up the rivalry as big as it is now. Still, he used this opportunity to dip into his bag of tricks to put out a worthy diss track – one that has people paying attention.
Drake’s creativity has been essential in several of his rap feuds. On 2018’s “Duppy Freestyle,” Drake rapped, “Tell ‘Ye we got a invoice comin’ to you/ Considerin’ that we just sold another 20 for you” and actually sent an invoice to G.O.O.D. Music in the middle of his quarrel with Pusha T.
For the cover art of his 2015 Meek Mill diss track “Back to Back,” Drake used an image of the Toronto Blue Jays’s Joe Carter hitting a series-clinching home run against the Philadelphia Phillies in the World Series. And he even dropped the song on the same day the Blue Jays and Phillies played against each other. Drake doesn’t do anything by coincidence, and every move he makes is a potential checkmate – with “Push Ups” serving as his latest master chess move.
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For starters, the title shows Drake’s knack for using social media as a tool, as it references a viral 2023 video of Kendrick doing push-ups in a park with The Boy using that to ridicule K Dot, and claim he’s better off doing that workout instead of giving him a lyrical exercise.
When listeners actually start the track, they can hear DJ Who Kid’s iconic DJ tagline, which channels vintage rap beef vibes. That “Whooo Kid” tagline was the first thing listeners heard echoing at the beginning of various G-Unit Radio mixtapes, where 50 Cent and his crew routinely annihilated their competition. By using that tagline, Drake was letting his listeners know he wants all the smoke with the DAMN. rapper and everyone else that dissed him.
Drake’s guile was even extended to the menacing production on “Push Ups.” The beat samples The Notorious B.I.G.’s 1997 track “What’s Beef?,” in which the late rapper showed disgust with his peers for not knowing what real beef is, and instead trying to start a feud on wax. Drake had already made several stinging attacks before he could even rap his first few words on the song, which had listeners anxiously waiting to hear what he was going to say.
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And with the bars, Drake left nothing on the table – firing at Kendrick in a way we’ve never heard him do before. All the subliminals in the past were focused on Drake claiming he was lyrically better and more popular, but “Push Ups” found the 6 God shining a light on things that people haven’t often said about Lamar, such as hilariously making fun of his short stature and questioning his deal with Top Dawg Entertainment.
“You won’t ever take no chain off of us/ How the f–k you big steppin’ with a size-seven men’s on?,” Drake raps before attacking Kendrick’s diminished stature in hip-hop’s hierarchy. “Pipsqueak, pipe down/ You ain’t in no big three, SZA got you wiped down/ Travis got you wiped down, Savage got you wiped down/ Like your label, boy, you in a scope right now/ And you gon’ feel the aftermath of what I write down.”
Drake even went as far as calling Lamar his child in a clever flip where he said, “What’s a Prince to a king? He a son, n—a,,” a direct response to the pgLang rapper comparing their career trajectories to the competitive ‘80s rivalry of Michael Jackson and Prince on “Like That.” To add more fuel to the fire, “Push Ups” is a catchy record thanks to Drake’s masterful hitmaking ability with infectious hooks such as “Ayy, better drop and give me fifty, ayy Drop and give me fifty, drop and give me fifty, ayy.”
It may not be as hit-worthy as “Back to Back,” which was the first diss record to receive a Grammy nomination, but “Push Ups” will most likely get rotations in various clubs and on radio months from now. Seriously, what’s more annoying than continuously hearing a diss song aimed at you no matter where you go?
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Regardless of what people feel about Drake, he defended his throne and stood tall against Lamar and everyone else who called him out over the last few weeks that led up to the commencement of this war. But even though “Push Ups” was a strong response and may have given Drake the W in the first round of this hip-hop war, he needs to keep up this intensity if he wants to come out on top.
Drake received criticism in 2018 for not dropping a response to Pusha’s “The Story of Adidon,” despite rumors claiming he had something nuclear in the chamber. He may have gotten out of that with a slight dent in his armor, but the same won’t happen this time if he doesn’t carry this energy into Round Two. We don’t want to hear that he found new inspiration and redirected that energy into himself, as he said about the Pusha T beef on an episode of Maverick Carter’s interview series The Shop in 2018.
He’s made it clear that he won’t be stopping his onslaught against Kendrick, as he did by dropping the AI-assisted (and since deleted) “Taylor Made Freestyle,” where he tried to bait Kendrick into responding to “Push Ups” with fake verses from Snoop Dogg and the late 2Pac. Many felt the move was clever, while others felt it wasn’t a real response. But regardless, each move that Drake makes now has to be better than the already excellent “Push Ups.” If not, he’ll have another L on his resume, and an even tougher one to come back from. — MARK ELIBERT
Why Kendrick Won Round One
17 days. That’s how long it took for Kung Fu Kenny to strike fear back into the hearts of hapless MCs and have all of Aubrey’s Angels squirming in their shoes. As a Drake fan, I was mortified – because “Euphoria” is only a snippet of Kendrick’s madness. After the release of “Push Ups” and “Taylor Made Freestyle,” this was just Kendrick drawing first blood.
Though Kendrick savors the art of storytelling and engages in dad raps about being an all-world father figure, it doesn’t mean he can’t tap back into the grimy menace he once was when he nuked hip-hop with “Control” in 2013. “Euphoria” is child’s play compared to where Kendrick can still take it, and after the opening bell, I have him up in the scoreboard. And here’s why: “Euphoria” was not just a song, it was a cultural earthquake about finally crowning the King of all Kings in this illustrious Big 3 Era that we’re currently in. Drake baited, Kendrick waited, and delivered the first true haymaker of the battle.
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With a Teddy Pendergrass sample leading the way, Lamar initially lulled listeners with a calm delivery at the start of “Euphoria,” degrading Drake by calling him a “degenerate” and “scam artist.” Once he settled in and adapted to the beat switches, Lamar seared Drake with incendiary bars. Kendrick went on a callous assault on Drake’s character, strategically aiming to question his integrity as a father and his identity as a Black man. These jabs had previously unsettled Drake, particularly when Pusha T questioned his parenting during their 2018 feud. Kendrick’s decision to bring Drake’s n-word usage to light was calculated, referencing Drake’s feud with Push. The Clipse rapper not only found an old photo of Drake in Blackface but used it as the cover art for “The Story of Adidon,” the record that sealed Push’s victory. Drake’s biracial background also remains a point of contention, as Rick Ross similarly mocked him during their brief feud on his song “Champagne Moments,” repeatedly calling him “White Boy.” While the racial callouts may seem harsh, rap purists consider them fair game in the battle of wordplay, making Kendrick’s jabs permissible in battle.
Another bar that probably went over many people’s heads was when Kendrick said: “I make music that electrify ’em, you make music that pacify ’em/ I can double down on that line, but spare you this time, that’s random acts of kindness.” in double-entendre form – also suggesting a baby pacifier — speaks to Drake’s immature music and problematic dating history. Theories have swirled about Drake creeping on underage girls, but while none of those rumors have been proven true, Lamar here opts to “spare” him before escalating things.
What also makes “Euphoria” a more robust reply is the high level of punchlines used by Kendrick in the song in contrast to “Push Ups.” While he isn’t considered a punchline-first MC, Dot had an arsenal of bars scattered in his six-minute demolition of Drake, with some lines even requiring a second glimpse on Genius. “Yeah, my first one like my last one, it’s a classic, you don’t have one/ Let your core audience stomach that, Didn’t tell ’em where you get your abs from,” says Lamar about Drake allegedly getting cosmetic surgery. There’s also a shrewd, but chilling name-drop early in the song: “Yeah, Cole and Aubrey know I’m a selfish n—a / The crown is heavy, huh /I pray they my real friends, if not, I’m YNW Melly.” Melly is currently involved in a double murder retrial, dating back to when he allegedly killed two of his friends in 2018. “Kendrick Lamar is one of my favorite rappers so I feel honored and appalled … I’m a household name — just for the wrong s–t!!!,” he told TMZ following the release of “Euphoria.”
While some may accuse Kendrick of recycling other lyrical attacks on Drake, his performance on “Euphoria” is a testament to his Hall of Fame-caliber. Not only does he deliver a six-minute lyrical tour de force, but he seamlessly transitions between three different flows over three different beat switches, including a nod to Drake’s signature delivery. This performance solidifies his status as a rap virtuoso on the battlefield, especially when seemingly on the brink of elimination. According to the Compton MC, his fiery raid was only friendly fire, which makes his assault that much more devastating. He admits to liking Drake’s “Back to Back” and being a fan of Drake when he’s at his most melodic (as opposed to his most tough-talking). To show even this minimal amount of respect amid lyrical warfare means K. Dot isn’t worried about his adversary.
Lamar’s rebuttal also strengthened his comeback because he treated Drake as if they were back in the playground. Anointing himself “the biggest hater,” Lamar was curt in his response, rapping: “I hate the way that you walk, the way that you talk/ I hate the way that you dress/ I hate the way you sneak diss, if I catch flight, it’s gon’ be direct.” For a feud spanning ten years, it’s refreshing to finally have some actual namedrops and unabashed shots taken, with no physical repercussions. With an electrifying performance that found three different versions of Kendrick eager to seek and destroy, he made sure those 17 days between “Push Ups” and “Euphoria” were worth the wait. The cherry on top? Dropping it at 8:24 a.m. on West Coast time. The significance? The L.A. legend Kobe Bryant donned the numbers 8 and 24. Coincidence? I think not.
Remember, Drake asked for this version of Kendrick to come out. On “Taylor Made Freestyle,” he punked him for allegedly pushing his diss back to allow Taylor Swift’s new blockbuster album, The Tormented Poets Department, to have all the shine. Drake’s baiting hip-hop’s Boogeyman backfired and has given Lamar ample time to whip up a formidable diss that puts the pressure back on him. If Drake’s next track isn’t an atomic bomb, “Euphoria” could be the song to win Lamar the overall war. — CARL LAMARRE
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Quavo and Chris Brown are embroiled in a beef that appears to be over their past dalliances with former lovers in common. Quavo, who took a shot from Chris Brown over the “Weakest Link” track fired back with a diss of his own, “Over Hoes & B*tches.”
The Migos rapper used an infamous image of Brown putting his hands around a woman’s neck, an incident that the singer claimed was friendly and not at all violent. Quavo superimposed his face over Brown’s face while placing the singer’s face on the woman who was choked.
“Over Hoes & B*tches” adds to the growing war of words that was ignited notably on Brown’s track “Freak” from his 11:11 (Deluxe) album. Huncho fired back with “Tender” which then sparked Breezy to respond with “Weakest Link” and now we arrive at “Over Hoes & B*tches.”
A common theme across the songs is references to Brown’s ex, Karrueche Tran, who was linked with his current rival although Tran denied that the pair dated after breaking up with Brown in 2015. The two also mentioned each other’s domestic violence allegations, including an incident involving Saweetie, whom Brown claims he slept with while she dated the “Workin Me” rapper.
From “Over Hoes & B*tches”:
Lil’ boy wanna die ’bout some coochie? (Baow) You still f*cked up ’bout Karrueche? (Damn)
You tried to beat up Teyana (No cap), but Usher wouldn’t let you do it (Usher)
The cocaine got him, your honor (White), bipolar disorder, no wonder
You was the greatest, n*gga, you fumbled, goin’ out sad, I’m watchin’ you crumble (Uh)
Why they got Quavo out here goin’ back and forth with a singer that turned to a junkie?
Now we got light skin versus brown skin, n*gga finna divide the country (Go)
N*gga, you ain’t been in the trenches (Trenches)
We stompin’ the yard, you know how that ended (Stomp)
Brown responded to the diss, referring to the lyrics as “Google Raps” before dismissing the attempt. No word yet if Brown will deliver a proper response.
Check out the full song below.
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Chris Brown and Quavo have a history of not being the best of friends and it appears that the pair are still on the path to war after this weekend. Chris Brown dropped a new track titled “Weakest Link” aimed at Quavo, with the late Takeoff having his name added to this feud.
From what we gathered, “Weakest Link” is a response to the track “Tender” and adds to the growing rift between the pair that has been ongoing for years according to reports.
On “Tender” Quavo rapped:
Wipin’ your nose with the tissue, not wipin’ no snot (Snot, whoo)Tell me, lil’ bro, what’s your issue? It’s over a thot (Thot)You said that it’s bigger than that (It’s big), but no, it is not (No, it is not)It’s ’cause I be diggin’ in that (Ya dig?), it got ’em hot (They got ’em hot)I’m givin’ respect (Sh*t), but I know you not (I know you not)Your b*tch on my neck (Your b*tch), your b*tch at the spot (Spot)
The streets are saying that the Migos artist is speaking about Brown’s ex, Karrueche Tran.
Brown, digging deep into his petty bag, fired back by suggesting he got familiar with Huncho’s ex, Saweetie:
Okay, let’s get down to the facts, p*ssy, I’m dripped in red (Okay)Don’t let this R&B sh*t fool you, n*ggas get ripped to shreds (Get back)Quavo talkin’ like he a thug, n*gga, you a bitch with dreads (You a b*tch)Can’t wait to see the day that you back up all of that sh*t you said (You on)What’s all that boss sh*t you talkin’? You ain’t no huncho, n*gga (You ain’t no huncho)You the weakest link out of your clique, let’s keep it a hundo, n*gga (One hundred)You f*cked my ex-ho, that’s cool, I don’t give no f*ck, lil’ n*gga (Still a b*tch)‘Cause I f*cked your ex when you were still with her, b*tch, I’m up, lil’ n*gga (I’m up)
We’ve got no opinion on who is winning this particular beef but fans observing are naturally calling out Brown’s violent past with women, while also adding that Quavo has similar stories of the same acts on his jacket.
Check out the reactions from X and the songs in question below.
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City Girls fans thought they were witnessing the end of an era after members JT and Yung Miami went at each other’s weaves on X, formerly known as Twitter. In the end, the City Girls remained united after squashing the beef which was due to a misunderstanding.
Monday (April 8) was a wild day for many reasons. A large portion of the United States was witness to a solar eclipse, J. Cole walked back his diss of Kendrick Lamar, and the tensions spread to large factions of fans online.
From what we can determine, Saucy Santana wrote on X that he had some issues to address regarding Diddy via an upcoming television series to which JT responded by saying that she better not be mentioned. This sparked a light back and forth between the pair. Yung Miami, who is best friends with Santana, then suggested JT has been “sneak dissing” her.
All hell broke out from that point on with JT writing, “It’ll be too much for me to tweet! I will like a sit down…. Caresha please! And this time leave Santana home! I know I come off crazy but never in my life did no wack sh*t to this girl she literally enjoys seeing me being dragged when ppl show me love she goes crazy & call it a hate train! But like I said we can sit & talk about it!”
JT also wrote that she was “for sure there” for Yung Miami and added that “y’all will see this in time that I’m not, never was & never will be the problem!”
There were a lot more exchanges, including Yung Miami saying that fans online have caused the rift which put JT and her at odds and if you saw what was said before it was all deleted, that part seems to be true.
The beef ended after Yung Miami, using JT’s first name, wrote, “Jatavia I love you. I’m moving on!”
In a quote tweet, JT added, “I love you more [heart emoji] I actually love you the most!”
While the City Girls look to be poised to talk their sh*t together on stage again soon, fans online had plenty to say about their beef and how they made up. We’ve got replies below.
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11. Same. Same.
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Meek Mill and his frequent outbursts on Twitter usually come with a side helping of entertaining misspellings, passionate thoughts delivered without care, and brain blurts from beyond. Right now, Meek Mill is trending on Xitter after hard launching a beef with Wale, which is getting a lot of traction online now.
Meek Mill, 36, shared a tweet on Monday (April 7) that has since been deleted and it explains his issue with Wale although it was delivered in that same punctuation-free fashion we’ve come to expect.
“Wale never liked me,” the tweet began. “Now ima treat him like the streets everytime I see him. I gave him 1000 chances these guys be thinking they linking with the enemy clown ass n*gga I wish I woulda knew the other day I woulda stretched you!”
Some online are noting that Meek is wilfully talking about catching a body as a very popular figure which involves someone else who is known to the public.
From there, the coffee kicked in or something because Meek has been on a Xitter tweeting spree, speaking on the recent tussle between Kendrick Lamar and J. Cole. He’s also addressing fans who checked the Philadelphia rapper for talking reckless online considering he has been imprisoned before and is supposed to be an advocate for prison reform.
“I was raised in jail and in kiladelphia how did yall forget so fast …. Yall not listening to my raps I been this way! I never been normal tf I have boundaries like every other American but shit not sweet out here why yall acting like it,” read one tweet from this morning.
Check out the reactions to Meek Mill proudly announcing a beef we didn’t know about with Wale below.
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Photo: Getty
1. Someone go check on Meek.