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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.”

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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François Marius and Bérénice creates a tender acoustic pop confession with “Billie Jean”

François Marius

François Marius’ latest release, “Billie Jean (Acoustic Version),” cuts to the quick and lets raw emotion take over. What you get, ultimately, is a personal pop experience that feels closer to a secret than to either a spoken-word show or a performance. The initial soft strum of an acoustic guitar creates a mood that is soft, sweet, and quietly interesting. It’s a full-throated, backbones-out piece, and every note is screaming its potential. It’s simple but riveting, and it proves that sometimes less is more.

François Marius and Bérénice’s voices sound right together, their voicings intermingle so naturally that they seem accidental or spontaneous, harmonies that emerge from nowhere. The way they speak to one another is very, I mean, they really love each other. That even makes the track seem like a conversation about feelings.

The two artists are clearly close. Romance and Eros are not just ideas, and they inhabit every note that lingers and every minuscule shift in tonality. The harmonies soar effortlessly over the acoustic foundation, a blend of sweetness and strength. It’s a sign of strength and also of a willingness to be hurt.

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“Billie Jean (Acoustic Version)” is stripped of any fancy production or theatrical effects, it wins you over with its frankness and forthrightness. Sandy François Marius’s impersonation is fresh and real, endowed with depth and softness thanks to Bérénice’s presence, which definitely makes everything more perfect. This acoustic performance serves as a stark reminder of the elements that do connect people: the singer, his guitar, and a story from the heart.

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

Morpheus von Dobenhausen

RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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