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KXNG Crooked Says Eminem & Nick Cannon’s Beef Is Over

With Eminem having recently closed the chapter of his Lord Jamar feud thanks to the diplomatic measures of Royce Da 5’9″, it appeared as if Slim was looking to give his sh*t-list an annual clean-up. And while he has previously exchanged shots with Machine Gun Kelly, Joe Budden, and Nick Cannon, those beefs appeared to have died down entirely, save for the expected lingering animosity that tends to follow hurled insults.

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At 47, it’s entirely possible that Em has grown weary of conflict, tough as it may be for some of his fans to stomach. Case in point, Royce was hit with backlash upon connecting with Nick Cannon, with many (including Bizarre of D12) seeming to feel that it was a betrayal to his Bad Meets Evil partner. It swiftly began to spread like wildfire, and before long there were a handful of incensed Stans calling for Royce’s head. It got so bad that KXNG Crooked found himself stepping forward to clear the air, addressing one Twitter user who inquired about Royce seemingly fraternizing with “the enemy.”

“They’re not enemies,” declares Crook, speaking on Cannon and Em. “It’s over.” While he doesn’t elaborate any further than that, it seems entirely possible that Royce helped facilitate a peace treaty between Eminem and Cannon behind the scenes — not unlike the work he did in mediating the situation with Lord Jamar. Perhaps, rather than questioning Royce’s judgment in meeting with Cannon, the wiser course is to look at the facts.

Throughout the past few years, Royce has never failed to come to Eminem’s defense, even if it meant putting him in an awkward position with a Slaughterhouse group mate. Perhaps he and Cannon will address the Eminem situation when their conversation surfaces in full — in the meantime, perhaps it’s time to consider the Eminem and Nick Cannon beef officially squashed.

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Artist Spotlight

Billy Chuck Da Goat finds his flow on new release “Vibez”

Billy Chuck Da Goat’s latest release, “Vibez,” has a laid-back, hypnotic bounce that makes it easy to listen to without ever feeling empty. It makes a place where calmness and quiet confidence come together.

“Vibez” was made on purpose, but it also sounds simple. Billy Chuck’s smooth delivery flows through the production without rushing or pushing anything. Instead, he lets the rhythm breathe, allowing people to get into the song at their own pace. This laid-back energy is the best part of the song, nothing feels forced, which is exactly what it’s trying to do.

The track changes to fit whatever you need it for, like a late-night drive, a focused workout, or a way to unwind after a long day. It has a quiet edge of confidence, it’s not loud or bragging, but it’s steady and sure of itself.

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

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.

“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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