Entertainment
Joe Budden Blasts Sexyy Red & Bruno Mars Collab as “Degenerate Pandering”
Joe Budden has always been someone who thinks out loud, and he certainly showed that on an episode of The Joe Budden Podcast, where he shared what was definitely some unpolished commentary about the new pop meets ratchet fusion track Fat Juicy & Wet, a provocative union of Sexyy Red and Bruno Mars. But don’t be fooled by the Twitter screw-ups. While some chatter online wrongly traced his comments to a fictional track called Hoochie Coochie, Budden’s actual criticism runs a lot deeper than song titles. Fat Juicy & Wet is a symptom of something larger and more insidious. “It feels like they’re just pushing the Black community this cartoon version of itself,” he said, questioning the motivation behind the record itself. “This is not music, this is music in a thong, this is marketing.”
His main point is how much the track relies so hard on tropes and stereotypes, swapping real art for shock value and clickbait. Budden focused his outrage on Bruno Mars’s participation, calling out the pop-soul icon for his old-fashioned charm and slick production. But Mars appears to drop his usual polish on this record, matching Sexyy Red’s raw and risqué style, and it doesn’t feel organic to Budden. “Bruno masquerading around in Sexyy Red’s universe isn’t world building, it’s costuming,” he argued. “This reminds me of seeing politicians pull out hot sauce bottles in Black churches. Familiar. Hollow. Calculated.” It’s not that Budden doesn’t like collaboration or pushing boundaries. But he has a problem when the boundary-pushing feels like more box-checking.
Check out this article: Sexyy Red Stands Tall Amid Criticism, Claiming Title as “Most Hated Female Rapper”
When art becomes a stereotype buffet, neatly packaged for mass consumption, Budden says it’s time to hit the brakes. Regardless of whether you view his take as tough love or straight-up mean, there’s no disputing Budden’s passionate interest in raising culture, not watering it down. His words prompt a larger discussion about when inclusion crosses the line to become a joke. As Sexyy Red swims through headlines and Bruno Mars tries something new sonically, Joe Budden’s watching, and he’s not afraid to call a spade a spade.
Artist Spotlight
Seun Kuti & Egypt 80 makes a stand for afrobeat against corruption on latest release Na Dem feat. Tom Morello.
Seun Kuti & Egypt 80 deliver a powerful afrobeat statement with “Na Dem,” Featuring Tom Morello and produced by Femi Koleoso. The track has been a fan favourite even before its official release, and comes with the unmistakable spirit of protest, truth-telling, and social accountability that have long characterized Afrobeat’s most impactful moments.
The song’s heart is a direct challenge to corruption and the abuse of power. Instead of singling out one profession or institution for its critique, “Na Dem” identifies a larger culture of dishonesty, targeting bad lawyers, bad doctors, bad politicians, and anyone who would sell their integrity for personal gain. The message is sharp and uncompromising and delivered with the urgency that has become a hallmark of Seun Kuti’s artistry.
The inclusion of Tom Morello adds another level of intensity to the record. His presence adds to the song’s rebellious energy, creating a powerful intersection between the rhythmic activism of Afrobeat and the confrontational edge of rock. The result of the collaboration is a track that is both timeless and of the moment.
The song’s dedication to principle is what rings true. The moral center of the record is Seun’s statement that he would never prostitute his conscience for money. It turns “Na Dem” from a critique into a declaration of personal values, responsibility, and resistance.
Connect with Seun Kuti & Egypt 80 on Spotify || Instagram || Facebook || Youtube
Artist Spotlight
Marsha Bartenetti reinvents in her own style “New York Minute”
Marsha Bartenetti’s latest release, “New York Minute,” written by Don Henley, Danny Kortchmar, and Jai Winding, offers emotional depth, turning a timeless look at life’s fragility into a reflective, cinematic journey. Stephan Oberhoff’s arrangement perfectly frames Bartenetti’s voice, and Kevin Bate’s expressive cello adds a warm resonance that makes the track feel like a movie.
The way each instrument sounds makes it feel planned, which lets the listener stay in the fleeting moments the song so beautifully describes. Bartenetti’s singing is the best part of the song. She shows an openness that feels real, as if she has lost something and still fully embraces love and presence with complete honesty. Her choice of words and small changes in tone make the lyrics feel even closer.
“New York Minute,” is a new version that pays tribute to the original while showcasing Bartenetti’s own style. The movie-like instruments and heartfelt vocals make the song feel both personal and universal. It makes us think about how hard it is to let go and hold on.
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