It was also apparent that McGregor wasn’t actually interested in leaving the sport, but entering a labor dispute with his employers at the UFC, whom he believes, owe him an ownership stake for his contributions to the brand – none which is any concern to Justin Gaethje, the UFC’s #5 ranked Lightweight, as this writing.
“Of course I want to f**k him up. I see him punch an old man, do I want to punch him for that? F**k yeah, I want to f**k that dude up for s**t like that,” Gaethje said McGregor and his latest transgression, a PR-nightmare a bar fight in Ireland. “He looks like a crackhead on your video.”
Gaethje reiterated his desire to fight McGregor while partaking in an episode TMZ Sports on FS1. Although his mid-term projections are now fully-evident, if Gaethje doesn’t get past a tough Donald Cerrone at UFC Fight Night 158, he will likely miss out on the McGregor sweepstakes, as the Irishman looks set to fight on the biggest spotlight possible, commensurate with his selling power within the sport.
“Hey I got f**king business in front me, I got ‘Cowboy.’ And then I’m your huckleberry,” Gaethje says … “I’m right here, this s**t has to go forward, has to move on. He’s either in or out.”
Perhaps the photo is just taken at a weird angle but everyone is going crazy over YBN Cordae’s looks in this picture. As Wayno put it in the comments, he looks a little like a “goth waiter,” rocking an all-black uniform and spiking up his hair. These days, Cordae rocks beaded braids. Atlanta rapper Trouble respects his authenticity and courage to show the world what he was doing before the fame, writing: “I respect you not hiding nun your truth youngin! Keep goin BIG on em.”
YBN Cordae is definitely one the breakout stars the year. Take a look at his throwback photo below.
You can hear a song countless times on countless occasions without ever reflecting on the emotional weight or context behind it. We sing along at parties and on crowded dancehall floors without so much as a second thought, breathlessly buying into the surface level euphoria whatever the DJ throws into the mix.
But closer inspection inevitably peels back the rhythmic cheer to reveal a synchrony that captures the essential nature catharsis. When given a moment to spell out what’s being said by our go-to mood maestros, it becomes abundantly clear that tracks like Lil Uzi Vert’s “XO TOUR Llif3,” with its unforgettable emo refrain, should be accompanied by an advisory sticker warning listeners the power ballad death-courting. For the song’s now ubiquitous creator, “Push me to the edge/All my friends are dead” isn’t just operatic posturing or a figure speech: Uzi openly acknowledges the loved ones that he’s lost (Ninety, Chico, Wee, Doo Dot) and the toll that it’s had on him throughout much Luv Is Rage 1.5. It seems almost grotesque when considered from an outsider’s perspective: how could such a potent funeral drone, haunted by repetitive chants about our ever-taboo mortality, become an international phenomenon, and in the sacred embrace the club at that?
It’s no surprise that sad music is self-medicating, but the manner in which some artists are capable secretly disguising their intentions has a funny way making for the most exhilarating, party-ready bops. Uzi’s sky-scraping elegy has resonated with millions, as if the exquisite electronics he utilizes somehow cover up the unnerving realities summoned forth from the nether realm. In truth, they aid in bringing his demons to life: “XO TOUR Llif3” now stands as a definitive millennial record, its maelstrom emotions driven by a paired sense intimacy and misery that is at the very heart the hip hop zeitgeist.
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The song’s cartoonish exuberance and clockwork quotable aren’t singular: a great number music’s most popular contemporary hits are heavy forays into love and loss, and the ever-lurking fear never attaining true fulfillment or happiness. SoundCloud rap’s rise and fall in particular has brought with it a bountiful harvest tragic whomp whomps full rousing hooks and lyrical content structured around anxiety and despair. XXXTentacion’s biggest hit finds him dredging up suicidal ideation and (controversially) threatening to end his life if his one-and-only doesn’t heed his wishes. Roddy Ricch’s “Die Young” wrestles with the paranoia that nips at the heels hip hop’s young, rich, and famous. Lil Peep, who was on the cusp full-blown superstardom before his life was cut short by a drug overdose, nurtured the fraught minor keys and dulled senses that are ideal for dimly lit dive bars on tracks like “Awful Things” and “The Brightside.” Post Malone’s disgruntled moping and fixation on spurned love (“Better Now” and “I Fall Apart”) earned him the title one the most-streamed artists 2018. And Juice WRLD, whose entire musical existence is based on weaving heartbreak into trap tapestries, has watched the formula pay f in dividends with smash records “Lucid Dreams” and “All Girls Are The Same.”
“Sad bangers,” for lack a better descriptor, have been in business for as long as humanity has had reason to drown its sorrows in music. Although sonic emotion ten gets scrubbed clean through years widespread commercialization, few genres are as well-suited for complex expression as hip hop. For artists like trap renaissance man Future, the embrace hip hop’s sadder side beyond the threshold velvet entry ropes and brawny bouncers is colored by an underlying hurt. His twisted dispatches reek hedonism and self mutilation, his vocals always on the verge cascading into emotional overload, as if he’s the surrogate for every departed soul adrift at the bottom the bottle. On “Thought It Was Drought,” crisp 808s and Gucci flip flop flexes mask the fact that Atlanta’s answer to Phil Collins is more scared to lose the dirty swirling in his styroam than the possibility human connection. Magnum opus “Codeine Crazy” unleashes his best songwriting to date over distortion leaks that amplify the listless arousal and sexual frustration within. It’s an existential crisis counting down to zero in big digitized drips and moans.
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Beyond the woozy synths and pounding percussion that animate people to pursue their most primal instincts, what makes such songs so sticky is the way that the yearning for closure quivers against the silence, the embodiment words unspoken in writhing throngs partygoers. It’s as if doubling down on the melancholy while under the influence the beat helps “drag us out the mire.” Indeed, club music takes on added meaning when fueled by something deeper than material pinings, expanding its range expression to encapsulate the torment that underlines the need for an escape. Isolation and the insecurities it breeds are shown to be a universal struggle, celebrated through a clarity that is deeply affecting when wielded properly.
Pop culture’s proliferation the sad banger isn’t just a frivolous trend, but instead the realization refuge amidst colorful strobes and the churning bodies strangers. When Future and Chief Keef croon about finding release through illicit means, or perennial favorite Kid Cudi details how childhood trauma and the throes addiction have pierced every facet his existence, they capture what it feels like to be the last one leaving Folly’s on a Thursday, ears ringing, shirt splattered with gin and sweat stains, head spinning with loneliness. Even in this abstract combination sadness and ecstasy, seeming emptiness is replaced by a joy that both distracts from and pinpoints the reality the moment. It’s music that acts as a portal to a world nostalgia, transcendence, and wonder where negative emotions are mercifully capable consolation, and Lil Uzi Vert’s bipolar antics suddenly don’t feel so out place.
If you missed it, Fabolous was spotted back with his longtime girlfriend Emily B last week at the strip club, sparking rumors that the two were back together. While there hasn’t been an update since, things looks to be all good though as Fab is talking about wanting more babies. The Brooklyn rapper shared a sweet message the other day saying he wants a baby girl to call his own.
Fab expressed his want in an Instagram story post, saying he always wanted boys, but now wants a daughter. “Always only wanted boys, but recently talked about having a girl. Now I can’t get it f my mind. All my friends who have daughter tell me that daughter LOVE is different,” he captioned. The adorable photo he attached to the writing is a a child that resembles his two red-haired sons too.
For what its worth, Fab does have a step-daughter, 21-year old Taina Williams, who’s mother is Emily B. While she’s technically not “his kid,” Fab did have a big role in her upbringing as he dated her mother for years. However, Fab now wants the real thing apparently.
In other related news, Fab spent time with his boys last week at the NBA2K event, which he’s going to be featured in too (see below).
Tee Grizzley’s car was shot at and his manager was killed during a shooting in Detroit on Tuesday night.
Law enforcement sources tell TMZ that a gunman opened fire on the rapper’s Cadillac Escalade. Jobina Brown, Tee Grizzley’s manager and aunt, was sitting in the back seat.
Tee was getting out of the front passenger seat after the car stopped when the shooter approached on foot and pulled the trigger, hitting Jobina on her left side. The driver of the SUV told cops he heard Jobina scream right before three to four shots were fired.
It’s unclear if Tee Grizzley was targeted in the attack, but neither he nor the driver were hit.
A post shared by A.M.T (@affluent.management.team) on
Tee stayed behind at the scene while the driver called police, and an ambulance rushed his manager to a hospital, where she died from her injuries. She was 41.
The two had a close relationship. Tee paid tribute to Jobina in a 2017 Facebook post, writing, “My manager My Aunty My Big Homie if you die I can’t tell the story cause I’m dying wit u.”
Tee Grizzley’s peers took to social media with their thoughts and prayers. “They place the heaviest loads on the strongest backs… Our prayers & condolences lil bro… Stay strong… I’m here if you need me King,” wrote T.I., who used the hashtag “#RIPJB.”
Lil Yachty added, “Praying for my bro. One of my real friends. In my thoughts till I hear from you. Love you broski.”
Oh, what a tangled web we weave when we speak up on someone else’s behalf. Over the last few days, Jermaine Dupri has remained silent as his name has been brought up in regards to Jay Z‘s recent Roc Nation partnership with the NFL. It was alleged that at some point last year, Dupri was involved with inking a deal with the league but decided not to because Jay, his longtime friend, advised him against it.
Funk Flex tweeted confirmation the news by writing, “I JUST GOT OFF THE PHONE WITH JERMAINE DUPRI. HE CONFIRMED THAT WHEN HE WAS WORKING WITH THE NFL LAST YEAR HE DID GET A CALL FROM JAYZ ASKING HIM ‘HOW DEEP ARE U IN WITH THE NFL?’ EXPRESSING… ‘THAT MIGHT NOT BE A GOOD IDEA.'”
Producer Brian Michael Cox seemed to co-sign Flex. “I’m not saying that it can’t turn into some good sh*t,” Cox said Jay’s deal. “We’re also talking about a guy who single-handedly picked up the phone and called Jermaine to tell him not to do it …] When we all had that meeting with the NFL, all that sh*t was part the same sh*t.”
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However, during a visit to Atlanta radio station V-103, Dupri wanted to clarify a few things. “I want to make sure that everybody understands that,” he said. “And today, on the Big Tigger Show, I’m speaking and letting people know. He and I never had a conversation where he told me don’t do what you’re doing. What our conversation was was that, you know what side I’m on. I understand what you’re doing. That’s what the conversation was.”
“Like I said, even when I was doing my press, I kept having to reiterate the fact that, guys, I’m not doing Super Bowl,” Dupri added, saying that the he was looking into putting on event in the park, not producing a Super Bowl show. “I’m doing shows in Centennial Olympic Park. And people just kept like, ‘No, you’re involved with the NFL,’ ’cause it’s an NFL sanctioned thing.” Check out the full interview below.
It appears there’s another Matrix movie on the way. Warner Bros. announced yesterday that Keanu Reeves will be returning to play his role as Neo in the 4th installment in the Matrix series. In addition, Carrie-Anne Moss will also reprise her role as Trinity too.
“We could not be more excited to be re-entering The Matrix with Lana,” said Toby Emmerich, the chairman Warner Bros. Pictures Group. “Lana Wachowski] is a true visionary — a singular and original creative filmmaker — and we are thrilled that she is writing, directing and producing this new chapter in The Matrix universe.”
“Many the ideas Lilly and I explored 20 years ago about our reality are even more relevant now,” Wachowski said in a statement. “I’m very happy to have these characters back in my life and grateful for another chance to work with my brilliant friends.”
Reeves is already balancing several franchises, with John Wick 4 getting the green light in May and Bill and Ted 3 in production, but reports say Matrix 4 will begin production after those two in early 2020.
We’ll continue to keep you posted on the film moving forward. Who’s excited for another Matrix franchise?
Former Pandora investors, angered and frustrated by the details surrounding Sirius XM’s acquisition of Pandora, have filed a lawsuit.
The lawsuit alleges that the was “invalid and void” because of earlier agreements made between Sirius XM and Pandora, as well as below-board tactics used by Sirius XM-backed Pandora board members.
After buying into Pandora 2017, Sirius XM execs voiced an interest in purchasing the company outright. The deal came to fruition in February of this year, when Pandora shareholders voted to accept the $3.5 billion offer submitted by Sirius XM.
The lawsuit claims that Sirius XM violated the terms of the 2017 deal, which required Sirius XM to wait one year before purchasing a larger portion of Pandora. While the actual buyout came after the one-year mark, the investors’ lawyers say that the planning itself came within the prohibited window, and therefore violated the agreement.
This legal argument’s basis is rooted in a Delaware law that imposes a three-year delay on buyouts from individuals and companies that own 15 percent or more of businesses.
Additionally, the investors’ lawyers, led by Richard J. Tornetta, allege that Sirius XM used the board seats it gained from the 2017 investment to pressure stockholders and Pandora execs into accepting an underwhelming deal.
At the time of writing, Sirius XM hadn’t publicly commented on the lawsuit.
Owing to aggressive business strategies and an emphasis on proprietary content, Sirius XM has grown substantially over the last five years.
The company, which is publicly traded under symbol SIRI, has seen its per-share price nearly double since 2015.
Prior to that, in 2009, Sirius and XM were having trouble competing in the marketplace; many considered their much-debated merger to be the only means of staying in business. While it’s almost impossible to prove or disprove this stance, there can be no denying that the last decade has been important — and fruitful — for Sirius XM.
Looks like Chris Brown is getting ready to turn the “heat” up soon. The R&B superstar recently teamed up with ATL artist Gunna to shoot the music video for their new Indigo collab “Heat.”
While on set at the Indigo clothing store, the two show f their drip & strike a pose next to their dancers. Meanwhile a video clip shows Gunna getting freaky with his sexy co-star in a dressing room, and Breezy doubles his pleasure with two women.
The photos were first teased by production company Riveting Entertainment, who shared the photos from set, writing, “COMING SOON.”
When it does arrive, “Heat” will follow up Chris’ latest video for his Drake-assisted hit “No Guidance,” which has over 57 million views on YouTube.
Lizzo clearly holds herself in high esteem as a rapper, and now we’ll get a chance to see her square f with a formidable emcee. Following a recent PSA that she’s more than ready to hold her own in the rap department, Lizzo has unveiled a new single with DaBaby, arriving at an unknown time. The track, a remix her single “Truth Hurts,” appears to be in a state completion, as evidenced by a new IG post from the “Baby Sitter” slayer himself.
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In her own accompanying caption, Lizzo teases DaBaby’s performance, writing “Why u come fa me like that lmaoooooo.” Of course, it’s difficult to discern exactly what she’s referring to, but all signs point to a strong fering from the North Carolina rapper. After all, a single with Lizzo may be exactly what DaBaby needs to crossover into a brand new market, one in which a versatile Young CEO can likely thrive.
We’re certainly curious as to what this one might sound like when all is said and done. It’s a curious combination, but one that has plenty potential given both artists penchant for holding nothing back. Expect something lewd, crude, and larger than life – are you excited?
It’s unlikely that Young Thug is the first name that comes to mind when the topic “bars” is raised. With a delivery far removed from formal tradition, Thugger’s approach to writing relies on mild alterations the English Language. Syllables bend at his whim, slant rhymes slam forcefully into onomatopoeias. His eclectic toolkit cadences allows him to embody a variety different characters, each which delivers rhymes in a distinct fashion. It’s never clear which variant will come to bat, though certain producers tend to elicit specific transformations; like a full moon to a werewolf.
There are some who prefer Thugger in his melodic bag, a style he has perfected at this juncture his career. But with one hip-hop’s most impressive vernaculars, complete with an original lexicon “Slime Language” and a surprisingly vast depth referential knowledge, Thug’s bars stand among the game’s most delightfully unique. Though he may never sit alongside Funkmaster Flex and elicit a wide-eyed response, Big Jeffery has solidified himself as a respectable lyricist in the eyes his fans. And perhaps, with So Much Fun garnering acclaim across the board, the game at large is beginning to take notice.
Should you remain unconvinced about Thugger’s (dare I say) underrated pen game, look no further than the following starter-pack. Now, this isn’t a cumulative list Young Thug’s top ten best raps all time – nothing as conclusive as that. Consider this simple reminder some his finest, craziest, and slime-heavy rhyming to date.
Slime Season 3 proved that the third time was indeed the charm. The Allen Ritter-produced “Drippin” summons an unhinged Thug to the table, who takes to the instrumental with a magnetic ear. At this point, is it not fair to put him in contention for top-five flows in the game’s current state? The way he structures a verse is second to none, and “Drippin’” allows him space to sift through voices like unlockable video-game skins. The combination raw energy, charisma, and simple braggadocio make “Drippin’” a highlight track from an arguable-best mixtape.
HOMIE ft MEEK MILL
Every so ten, Young Thug exudes the slightest hint Victorian flair. His Dandy-esque aesthetic only enhances his persona on wax; he may adorn himself inexpensive fabrics, but he’s got the weapon tucked within his fringe sleeve. On the Young Martha lead-single “Homie,” Thug allows himself space to weave his own legend, taking to a blistering baroque banger with his mouth damn near frothing. “If a pussy n*** play with me, swear to god Kirk Franklin can’t save him,” spits Thug, sliding into a new cadence to emphasize the severity his threat. “I can get you whacked real easy, you are not a Power Ranger, you a stranger.” Going head-to-head with Meek Mill is not always easy, but Thugger is more than up to the task – a testament to his position in the game’s hierarchy talent.
OFFSHORE w/ SWAE LEE
A personal favorite, and one 2018’s strongest verses, “Offshore” might very well have featured the alternate title “Young Thug Snaps.” What makes the understated Swae Lee track so memorable is the manner with which Thugger makes his approach. He willingly loses himself in Mike WiLL’s aquatic ambiance, using his voice as an additional piece instrumentation. Structurally, Thugger’s triumphant monologue reveals his mastery pace, which flows naturally evolving into one another as the intensity ascends. From threatening to slap the shit out Donald Trump to playfully poking fun at his feminine perception, Thugger’s turn on “Offshore” may very stand among his best.
SACRIFICES w/ DRAKE & 2 CHAINZ
To fully establish oneself as an elite, one must stand alongside fellow elite and emerge in standout fashion. That’s exactly what happened on More Life’s “Sacrifices,” a posse cut featuring verses from Drake, 2 Chainz, and Jeffery. Handed the honor slash responsibility closing things out, Thugger absolutely goes in, to the point where a healthy bulk YouTube comments single out his performance. Thug displays a wicked cleverness throughout, playful enough to elicit grins, all while serving up more punchlines than usual. And what’s not to love about a sharp reference to the woodland Clown epidemic 2017? Though Drizzy and 2 Chainz both put in work, it’s safe to say that Young Thug ran laps around the competition – healthy though it may have been.
There are some who still consider Jeffery to be Thug’s defining hour, and for good reason. Concise, musically varied, and adventurous, the project felt like a turning point for the Slime Boss – especially where his critical standing was concerned. And while it featured a variety different Thugs, the album’s wildest moment had to be “Harambe,” which appropriately channels the energy its beloved namesake. The track is an interesting one to examine, as lyrically Thugger skirts on the surface, arguably lacking in the “bars” department. But the sheer conviction with which he speaks, a rapid hellspawn Kermit The Frog, imbues “Harambe” with such presence it’s impossible to ignore.
JUST HOW IT IS
We had to show some love to So Much Fun, and the introductory track feels like the most worthwhile showcase Thugger’s lyrical prowess. For one, there’s a clear significance behind what he’s putting forward. Gone are the trappings materialism so ten seen in his discography. Instead, he’s speaking from the heart, a welcome burst characterization for an otherwise enigmatic figure. “No time for gibberish, all the critics hearin’ this,” he raps, acutely self-aware his own magnitude. By the time the second verse concludes, Thugger has served to humanize himself, addressing his recent arrest and overall influence with a refreshing self-awareness.
RIDIN ft. LIL DURK
A standout on Thug’s contemporary street tape I’m Up, the Lil Durk assisted “Ridin” deserves a spot for a variety reasons. For one, the integration his melodies again reveals an unparalleled ear, yet Thugger has no qualms with waving the stick on this go-around. Two, the effortless nature with which Thug segues from stanza to stanza, moving in tandem to the beat. Taking to an eerie, Gothic banger from Wheezy, Thug drops f dexterous bars lined with strong imagery. “Yeah you all gone, but the dog home,” he raps, all but bouncing on the beat. “And the panties that your daughter don’t have on, She gon’ get what she wants, temper tantrum.”
Though the narrative surrounding “Wyclef Jean” was seized by the infamous video for a brief spell, Jeffery’s opening track may very well feature his most swagged-out performance to date. Damn near every cylinder is fired, as Thug seems to become one with the infectious reggae beat. As per usual, the hooks slide brilliantly into Thugger’s verses, and he proceeds to float with ease most rappers would struggle to exude. By the time he lands upon the “Don’t play with him, boys!” rhyme scheme, there’s simply no stopping him. It’s almost like what would happen were snakes to play with their food.
Barter 6 felt like a transitional period for Thugger, still shaking f some his more notable influences in a metamorphosis-like state. For many, the project marked the dawn a new era, in which Thug’s more experimental energy seemed to coalesce with his traditionalist side. The marriage was never better than on “Halftime,” a hard-hitting banger lined with nonstop bars, perfect ammunition for those doubting his acumen. “Every time I dress myself, it go motherfuckin’ viral,” he raps, his confidence contagious. “Pussy n***s stealin’ swag, bring my shit back like recycles.”
2 B’S (DANNY GLOVER)
One Thug’s earliest cuts here, the magnetic “2 B’s” makes for a compelling chapter in his pre-Barter 6 catalogue. Already setting himself apart through his expanding repertoire “Slime Language,” Thug’s lack refinement is made up for in pure, unharnessed energy. Consider the fashion in which he attacks the instrumental, firing f threats and hypersexual boasts one after another, a duality he’d come to carry to this day. It’s likely that many found themselves intrigued by “Danny Glover,” and one has to wonder if this track helped pave the way for some his more aggressive ferings.
Last week Jorja Smith came through with her new single “Be Honest” featuring the likes Burna Boy. While the song is a good one that begs to be repeated, the visual was just as much appreciated since the U.K. bred singer is looking all kinds gorgeous throughout. Set on a hot summer’s day that can only be quenched with numerous fans and a dip in a pool, Jorja showed f her sexy frame and numerous hot bikinis.
In yet another behind the scenes shot from the video, we see Jorja in a two-piece Dior bikini killing us with a glare in white contacts. “Brand new,” she captioned the post.
“We wanted to invite the world in, to experience a different side Jorja. Free and full light, and some ‘Hot Girl Summer’ energy.’ While writing in my AC-filled apartment in Brooklyn, I thought about how there’s nothing quite like summers in the city. You’re caught between concrete high rises, sweating from heat delirium, with our makeshift fire hydrant beaches. Yet despite it all, there’s a contagious air that floods the city, and your imagination becomes infinite.”
The biggest crime for which 21-year-old, Jermaine Taylor, has been accused may not be selling cocaine but instead, going out in public with this hairline.
Gwent Police published a routine post on social media asking for help locating Taylor who has “breached his license conditions after being released from prison on 10th December 2018,” when the account was bombarded by trolls. “I don’t know who’s the biggest joke here Gwent police or his hairline” one user wrote replied. Many others replied with photoshopped images Taylor’s mugshot.
The response was so emphatically critical Taylor’s hairline, Gwent Police issued a statement saying “Please remember that harassing, threatening and abusing people on social media can be against the law.” as well as “be as careful on social media as you would in any other form communication.” Replies that weren’t directed at the hairline, or lack there, were aimed at the Gwent Police themselves with one user writing, “I won’t say anything about his hair. I wouldn’t want to upset the little babies who run the Gwent police.”
Taylor’s recall comes after receiving a three-year sentence in 2017. Gwent Police are still searching for Jermaine Taylor but at this point, he might be safer in a cell than in front the twitter trolls.
It was days following the news that Nipsey Hussle was gunned down in the Crenshaw district Los Angeles, and the world was still reeling from the tragedy. Rapper Dave East was devastated after hearing that his good friend lost his life, so he took it upon himself to host a candlelight vigil in New York City. East shared multiple video clips from the event, writing, “Have One Rolled When I See U Cuz. Till Next Time NAYBAHOOD NIP” and “Nip Woulda Did The Same Sh* For Me. Love U Cuzzy on ROLLIN.”
The East Harlem native has continued to honor his late friend over these last few months, and he didn’t hesitate to share his memories Nipsey and his grief over the rapper’s death in a recent freestyle. During his stop in London, his first time in the city, East dropped by Time Westwood’s show to display his lyrical skills. He delivered two freestyles in the four-minute session, the first which was dedicated to Nipsey.
East rapped, “You just told ‘Congrats East I heard you actin’ n*gga / They killin’ kings and no longer wanna chat with n*ggas / If I could ask God for something, just give me back my n*ggas / Neighborhood Nip.” Watch it all goo down below.
Twista is known for being one the fastest rappers in the game, which you already know is hard enough to understand & keep up with to begin with, but for one master sign-language interpreter it’s just part her job.
Twista had a show this past Friday in Springfield, IL when fans started noticing the sign language interpreter on stage with him not skipping a beat to his super fire flow. Impressed by her work, Twista himself shared the footage on his social media, writing, “she’s the real MVP for keeping up wit me #summer96#signlanguagequeen.”
The video shows the two them rapping and signing in complete unison, and it’s the interpreter who stole the show that night. According to Yahoo, the woman’s name is Amber Galloway Gallego, and she is a well-known ASL interpreter who specializes in music and festivals. She reportedly wanted to become a rapper herself, but “turned this passion and gift into a specialization in music interpreting, especially hip hop and rap.”
Check out the footage her at work (below).
In other news, Twista is coming f the release a new mixtape called Summer 96, which dropped back at the end June. Stream that right here if you haven’t done so already. Features on it include Do or Die, Berner, DJ Pharris, and more.