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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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Mister Motivation is making waves with his new single “For The Love of Women”

The new single from Mister Motivation, ”For The Love of Women”, isn’t just a song; it’s an anthem that combines lyrical, soulful hip-hop with heartfelt, raw content! This newest release puts the woman at the center, an ode to her strength, grace, and contribution to the world. But it’s also a call to action, challenging listeners to think about how we all can show up better in relationships and society.

You can hear it from the first beat, ”For the Love of Women” is a rollercoaster of rhythm and meaning. Mister Motivation sings the chorus with his smooth and convincing vocals, while his verses touch on the relevancy of love, give-and-take, and spiritual synergy in relationships. A lot of thought and love went into making this track as a tribute to the women we love and support daily. ”For the Love of Women” message is clear: love is not only fulfilled love but respectful; it goes beyond, it is about equality and the two of us growing together. ”For The Love of Women” seamless blend of music fulfilling its purpose. The song does not simply bemoan women generally but encourages men and women to think about the way they conduct themselves in relationships and how they can present a specific, transforming love. It’s a soulful nudge that in any relationship, the giving and receiving of love should be balanced and mutual.

Besides packing a punch wherever it’s played, the track also promotes something near Mister Motivation’s heart. ”For the Love of Women” is in partnership with F.L.O.W. (For the Love of Women), a non-profit organization committed to bringing awareness to period poverty. This effort focuses on a health issue impacting millions of women worldwide and underscores a basic need and dignity that should be accessible to all women.

With that release, Mister Motivation not only gifted the world with an infectious anthem of positivity but also used his platform to amplify the message of those fighting to make a change. ”For the Love of Women” is a tribute to both uplifting women and fighting period poverty. ”For the Love of Women” is essential whether you are interested in hearing some music from the soul or looking to do good. It finds its music in the stars. It’s purposed music, and Mister Motivation has again crafted something that features a voice that means something and cannot be shaken loose from memory.

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Imaginary Voices of Alex Day delivers a haunting protest anthem ‘’The Highway’’

Imaginary Voices of Alex Day’s newest release, “The Highway,” is a gut punch. It is raw, self-reflective, and unapologetically human in a world of fabricated creators. Rage-fueled and visceral, Day pours all its disillusionment and fear into the track (recorded on election night in the U.S.), which doubles as personal catharsis and political protest. The feelings are not abstruse; they’re strewn across practically every lyric and layered beat.

The timing of “The Highway,” creation is no accident, it was penned when a nation made the choice, once more, to crown a leader the songwriter couldn’t bear. The result? A sonic snapshot of anxiety, resistance, and that yearning desire to bolt. But this is not just another protest song. What is particularly provocative about “The Highway” is who’s playing it. Or, more accurately, what? Imaginary Voices of Alex Day, the band that created the track, is entirely AI-powered, and that might be unsettling for some people, and that’s fine. Day welcomes it.

“The Highway” juxtaposes haunting synths with echoing guitar licks and a pulse that pounds like a racing heart. The vocals born of code have a surprising level of pathos as if the machines have learned to mourn. Lyrically, the song strays back and forth between hopelessness and resolve, teetering between yearning to flee and the necessity of taking a stand. This is not just a single; it’s a statement. It raises an eerie question: Can you protest if your sound is a meld of man and machine? And more to the point, does that mean your cry for help is any less valid?

“The Highway” isn’t for everyone. But for the invested, who continue to come to terms with the soul-splitting chaos of modern politics and the increasing prevalence of AI in art, it’s a fascinating, emotional listen. Alex Day doesn’t provide simple solutions, though he’s certainly asking the right questions.

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