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J. Cole Freestyles in Vidoe From Dreamville Documentary

In celebration of the one-year anniversary of Dreamville Records’ Revenge of the Dreamers III album, the label has dropped some unreleased footage, which contains a freestyle from J. Cole.

On Sunday (July 5), Cole’s manager and President of Dreamville, Ibrahim Hamad, tweeted that in honor of ROTD3, footage from unseen studio sessions were compiled for fans in one video. “One year ago today we released Revenge of the Dreamers III. Today in honor of that we put together some unreleased footage from those legendary sessions. Love to everyone who was apart of this album, and to the fans that always support @dreamville. Enjoy,” Ibrahim wrote.

In one of the scenes, the former 2010 XXL Freshman makes a statement about his fellow rappers while referencing Tupac Shakur’s 1991 record “Brenda’s Got a Baby.”

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“Past and you was past tense/You lookin’ at the raw assassin/Was a fan and now I’m the man/Go ’head and get your last glimpse of the prince/Soon as the bell ring, I’ll be the king (ding)/Young Simba here/Turn the temperature/Feels like December here/You niggas in the rearview mirrors, the end is near/I don’t follow trends, dawg I pretend to stare/Look, all these rap niggas my sons/And I get mad ’cause they trash/So I’m turning into Brenda here,” Cole spits in the freestyle.

Cole is referring to ’Pac’s record, which is about a 12-year-old girl named Brenda, who faces a variety of trials and tribulations. Brenda, who was impregnated by her cousin, didn’t have a great relationship with her mother and her father was a drug addict.

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Tupac’s record, which was detailed in journalist Sal Manna’s 2Pacalypse Now 1991 Biography Part 3, is based on the true story of a 12-year old girl from New York City, whose parents passed away and she went to live with an aunt and cousin. The 21-year-old cousin molested, raped and impregnated the young girl. The girl later gave birth in her school bathroom, wrapped the baby up and dropped him in a trash chute. “Brenda’s Got a Baby” appears on Tupac’s album, 2Pacalypse Now.

The process of making ROTD3 included a 10-day rap camp hosted at an Atlanta studio featuring Dreamville’s Cole, Omen, J.I.D, Bas, Lute, Ari Lennox and EarthGang. The camp also included over 100 artists, who offered up their bars and pen game to help create the third installment of the Revenge of the Dreamers series.

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In addition to Cole’s verse, there are also skits and songs that didn’t make it on the Revenge of the Dreamers III album. The 10-minute anniversary video can be found below.

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Carmen Bryan’s Cryptic Post Stirs the Pot in Jay-Z Controversy

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The hip-hop industry currently faces substantial controversy as Jay-Z finds himself in the eye of a storm. Allegations of sexual assault stemming from a 2000 afterparty involving the illustrious rap mogul and disgraced music executive Diddy have ignited fierce public debate. While Jay-Z categorically denies the accusations and expresses his intent to contest the lawsuit, the court of public sentiment appears to have already rendered its verdict. Further complicating this turmoil is the involvement of Carmen Bryan, a name from Jay’s contentious history, which has added a chilling layer to the evolving situation.

Carmen Bryan, recognized for her decade-long affair with the Brooklyn rapper, recently took to Instagram with a cryptic yet pointed post. Although she refrained from naming anyone directly, Bryan suggested that loyalty often supersedes ethical morality in cases involving influential individuals. “These days, people don’t defend what is right; they defend who they like,” she wrote. Her parting shot, “And that’s why we call you a groupie,” felt like a verbal mic drop, leaving little doubt about who her words targeted.

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The intrigue didn’t stop there. Bryan shared a snapshot of Jay-Z’s lyrics from his 2010 track “Monster,” honing in on a particularly unsettling line: “Kill a block, I murder the avenues, I rape and pillage your village, women and children.” Though these lyrics were part of a more extensive metaphorical verse showcasing a “monster” persona, their resurfacing in this context feels calculated and ominous.

Bryan is no stranger to controversy, having previously aired her grievances toward Jay-Z. In her 2006 memoir, It’s No Secret: From Nas to Jay-Z, Seduction to Scandal, she detailed their affair and its tumultuous fallout. Additionally, she revealed in a 2017 interview that she had been pregnant with Jay-Z’s child, only to suffer a miscarriage. The relationship, fraught with personal and public conflict, remains a blemish on Jay-Z’s meticulously crafted, otherwise carefully curated narrative. Carmen Bryan’s multifaceted approach raises pertinent questions: Is she simply sharing her perspective on morality in the industry, or does she possess additional undisclosed knowledge?

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While the allegations against Jay-Z are still under legal evaluation, Bryan’s Instagram post has reignited another dimension to the complex and polarizing discussions about power dynamics, accountability, and the ethical responsibilities of those influential individuals in the spotlight. Her courageous decision to use Jay-Z’s lyrics against him paints a stark picture that forces fans and critics alike to reckon with the blurred lines between art and reality.

As the legal proceedings involving Jay-Z progress, the public remains split amid this developing saga. While Jay-Z’s peers have predominantly expressed skepticism toward the allegations, the enduring legacy of this iconic figure hangs in precarious balance, with shadows from the past casting long and potentially damning silhouettes.

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Jay-Z Engrossed in Fresh Allegations as Tony Buzbee Claims More Victims

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In a stunning twist to an already high-stakes legal dispute unfolding with the intensity of a Hollywood thriller, Jay-Z, one of music’s most preeminent figures, finds himself at the center of an explosive allegation involving minors. This drama stems from accusations brought forth by attorney Tony Buzbee and has escalated a conflict that began with a lawsuit over alleged extortion. Buzbee, who represents a woman accusing the music mogul of sexually assaulting her at the 2000 MTV VMAs afterparty, claims there are additional alleged victims, involving both male and female minors.

Jay-Z and his attorney, Alex Spiro, aren’t backing down. They have initiated a countersuit against Buzbee, vehemently denying the allegations and characterizing them as “entirely fabricated and malicious.” Spiro’s filing asserts that Buzbee’s accusations are part of a calculated scheme to tarnish the rapper’s reputation and coerce a settlement. “These baseless accusations are nothing more than a weapon in a calculated plot,” Spiro stated, doubling down on their stance that the allegations are devoid of any factual basis.

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The case took another dramatic turn when the woman Buzbee represents amended her lawsuit against Diddy to include Jay-Z. The timing of the amendment and the salacious nature of the claims have fueled a media frenzy, leaving the hip-hop icon fighting a battle both in the courtroom and in the court of public opinion.

Late Sunday, Jay-Z fired back with a defiant statement on X (formerly Twitter). “What he had calculated was the nature of these allegations and the public scrutiny would make me want to settle,” he wrote. “No sir, it had the opposite effect! It made me want to expose you for the fraud you are in a VERY public fashion. So no, I will not give you ONE RED PENNY!!”

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This case is now racing against the clock, with Jay-Z’s legal representatives seeking an emergency hearing to address the allegations. Their urgency stems from the relentless media coverage, which poses a substantial risk to the Roc Nation founder’s reputation. This matter extends beyond a mere legal confrontation; it encompasses significant implications beyond the courtroom, a fight for his legacy.

The stakes are exceptionally high. Legal counsel Buzbee hints at the potential existence of additional alleged victims, thereby intensifying the spotlight scrutiny placed on both parties involved. With careers, reputations, and justice on the line, this legal showdown is poised to become a critical juncture within the music and entertainment industry. For fans and observers alike, the unfolding circumstances prompt inquiries regarding the veracity of the claims and the tactical weaponization of reputation in the court of public discourse.

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