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Cupcakke Repurposes 50 Cent’s Breakout Hit To Call Out Her Contemporaries On ‘How To Rob (Remix)’

Cupcakke goes after Cardi B, Lizzo, Doja Cat, Lil Baby, DaBaby, and just about everybody else in hip-hop. …

On 50 Cent’s 1999 single “How To Rob,” the rapper called out a bunch of his hip-hop contemporaries. Now, over two decades later, Cupcakke has done the same thing on her own version of the track, the appropriately titled “How To Rob (Remix).” The full list of people Cupcakke mentions on the song by name includes Sada Baby, Lady Gaga, Migos, Offset, Wiz Khalifa, Tory Lanez, Too Short, Young M.A., Lizzo, Lil Baby, Cardi B, Doja Cat, Sukihana, Lil Durk, City Girls, Megan Thee Stallion, Tekashi 69, DaBaby, Lil Kim, Chief Keef, G Herbo, Mulatto, Flo Milli, and DreamDoll.

She doesn’t pull punches on any of them either. She says of Cardi, “Runnin’ through your party just so I can find Cardi, like, ‘B*tch, I’m finna give you your old teeth back!’” Of Megan Thee Stallion, she raps, “Run up on Megan like, ‘Give me your funds,’ and you can’t even run ’cause you just got shot.” She also says of Lizzo, “Catch Lizzo, drag her out the food court,” and notes of DaBaby, “Pull up on DaBaby, I change his Pampers.”

It doesn’t look like she’s trying to start any feuds, though, as she says at the top of the track, “Gang, gang, gang / If you hear your name, it’s all muhf*ckin’ love, don’t take sh*t personal / But you know how I’m finna slap this b*tch.”

Listen to “How To Rob (Remix)” above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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Artist Spotlight

Loris Tils brings funk energy to life with “IKKI”

Loris

Loris Tils comes out swinging with “IKKI,” a single that comes with energy and musicianship right from the opening note. Borne on the unmistakable thump of Minneapolis Funk, the song surges forward with a groove that feels impressively designed and still wildly alive.

“IKKI” is a naughty conversation between slap bass and guitar, and the two instruments impressively craft around each other with both precision and flair, building a high-octane rhythm section that feels as tight as it is explosive.

The magic of “IKKI” is this tension, relentless discipline balanced by acrobats of daring improvisation. The energy never overwhelms the groove. Instead, it expands on it, making this song a celebration of rhythm, creativity, and instrumental chemistry.

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Artist Spotlight

Glass Mansions turn a possible goodbye into “SUNSETTING”

Glass

Glass Mansions return with “SUNSETTING,” a new single that came together during some uncertain times for the project. What began as a mini farewell to music turned out to be among the band’s most authentic and openhearted efforts yet.

The back story of the song’s creation feels almost cinematic. The day the decision was made to quit music altogether, a message came through from some big-time music executive who had heard about the band’s first Ep and wanted to collaborate. The band had agreed to share unreleased demos on request, though they hadn’t prepared any. That urgency caused a combustion of creativity that would shape the song’s trajectory.

“SUNSETTING” was written, tracked, and recorded in a home studio with scratch vocals in roughly two hours. What could have been a thrown-together demo became a surprise breakthrough. Confronted with the prospect of delivering just one last song, the writing became rather reflective, what would you say if it were your final creative curtain call.

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“SUNSETTING,” produced by Zack Odom and Kenneth Mount alongside Orb Studios’ Taylor Webb, captures the urgency of its origin story but colors it with a new reflective emotional depth. The upshot is a song that feels at once improvisational and profound, an affirmation that, sometimes, when we think we’re reaching the end of something, it’s actually only setting in motion the most powerful of new starts.

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