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Sada Baby Apologizes For Old Homophobic, Colorist, & Rape Tweets

Those old tweets can get an artist caught up in the drama, and Sada Baby is the latest to learn that lesson the hard way. As he has been celebrating the release of the Nicki Minaj-assisted remix to his viral hit “Whole Lotta Choppas,” those internet sleuths were hard at work. In tweets that go back as far as 2011, Sada Baby is quoted as writing that he doesn’t like dark-skinned people, was tired of Beyoncé, wanted homosexuality to become illegal, and wanted to roofie one of his followers before raping them.

Initially, Sada Baby was unapologetic in his response to the resurfaced tweets. “FYI @asylumrecords runs my Twitter so y’all tweetin them n not me I don’t have the twitter app on my phone,” the rapper stated. “You gotta understand everybody ain’t removed from who they is. I’m f*cked up in the head kuz that’s how I was raised. God n my grandmas the only judges I care for.”

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He later returned to offer an apology in a video he uploaded to Instagram. “Couple tweets and old tweets came out earlier, you feel me, from 2011 when the n*gga was like 17, 18 all that type of sh*t,” Sada said. “My first initial response to the tweets on my story may give people the idea that I don’t sympathize with females that have been raped or situations. I’m almost 30-years-old and I don’t f*ckin’ tweet, don’t got the password to my Twitter, none of that… That’s old sh*t that you can’t judge me on. As far as the homophobic tweets, I got homosexuals that work at my label, you feel me, that’s personally worked with me. I deal with him twice, two, three times out the month.”

He went on to address the colorism accusation. “My baby brother is blacker than Lil Yachty,” said Sada. “You can’t think I’m a colorist. All that sh*t is just some old sh*t from when a n*gga was young and just wildin’ out.” He compared his previous behavior to what would be considered trolling today. He emphasized that he doesn’t align his current views with those tweets and has matured since that time in his life. “That sh*t is not acceptable.” Watch his explanation below.

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This ain’t a written statement, this all from the whoop sincerely 🤞🏽🙏🏽

A post shared by Sada Baby The Red Whoop🧨💔 (@sadababy) on Oct 20, 2020 at 7:00pm PDT

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Music

Tiri The Seed Breathes New Life into Nostalgia with ‘Back In The Room’

Tiri The Seed

Tiri The Seed expertly blends vintage musical elements with contemporary production techniques in “Back In The Room.” This track pulsates with a retro vibe, yet maintains a fresh sonic identity, largely due to Tiri’s charismatic vocal delivery, which infuses the mix with an effortlessly cool energy. Thematically, “Back In The Room” explores the nuances of reconnection, encapsulating that poignant emotional experience of revisiting spaces or moments previously perceived as lost.

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Musically, Tiri’s signature vocal timbre overlays an infectious rhythmic foundation paired with lush, sweeping synths, evoking the ambiance of a late-night drive down memory lane. The lyrics are crafted to provoke introspection while the production invites physical movement, striking a harmonious balance between nostalgia and celebration. Tiri’s warm delivery creates an intimate listening experience, drawing the audience into a shared reminiscence of formative moments. The track encapsulates a dichotomy of nostalgia and optimism, making it essential for those who appreciate a classic aesthetic imbued with modern sensibilities.

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Janet Noh Takes a Deep Dive into Vulnerability with ‘One Breath’

One Breath

Janet Noh’s latest single, “One Breath,” presents a poignant exploration of emotional depth through a minimalistic sonic arrangement. The track harnesses dynamics and silence, allowing Noh’s nuanced vocal delivery to take center stage.

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The single “One Breath” engages in introspective self-examination, showcasing Noh’s adeptness at lyrical composition that balances vulnerability with strength. Her phrasing and tonal choices exhibit a masterclass in expressive restraint, allowing listeners to engage with the subtle emotional undercurrents present in the music.

The listening experience is intimate, akin to sharing a personal revelation, which enhances the profound quality of the piece. As the final notes fade, the lingering resonance of the song invites reflection, echoing themes of hope and resilience that are striking in their simplicity. Janet Noh successfully cultivates an atmosphere of comfort and contemplation, which speaks to the listener on a personal and universal level.

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