Story
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.
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.
Connect with Billy Chuck Da Goat on Spotify || Instagram || Facebook || Youtube
Story
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.
Connect with François Marius on Spotify || Instagram || Facebook || Youtube || Twitter || Soundcloud
-
Artist Spotlight7 days agoCaptain Iron/Windrift Band turns love into a fun game of chase on new release “PInk Bunny Song””
-
Artist Spotlight6 days agoJodi DiPiazza takes listeners to a late-night jazz club with new release “The Rhapsody of Swing”
-
Artist Spotlight6 days agoD. Edge brings a modern twist with new release “TVLK THVT TVLK”
-
Artist Spotlight5 days agoLusinate turns viral energy into dancefloor gold with “Bounce for Me”
-
Artist Spotlight2 days agoOuroboric explores the dark side of love with “Sin Eater”
-
Artist Spotlight2 days agoEileen Carey finds strength in letting go on reflective track “This Is Where”
-
Artist Spotlight2 days agoKENTON journeys through family, identity and healing in “Sweetmouth (Sugar Free)” (EP)
-
Artist Spotlight2 days agoTerrell Journey rewinds emotion and identity in cinematic EP “Retrograde”