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Lil Durk, Alicia Keys – Therapy Session / Pelle Coat (Official Video)

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Stream “Pelle Coat” off Lil Durk’s New Album, Almost Healed. Out Now: https://lilDurk.lnk.to/AlmostHealed Tour On Sale: http://almost-healed.com/ Follow Lil Durk: https://LilDurk.lnk.to/instagram https://LilDurk.lnk.to/twitter https://LilDurk.lnk.to/TikTok https://LilDurk.lnk.to/Facebook Listen To Lil Durk: https://LilDurk.lnk.to/spotify https://LilDurk.lnk.to/applemusic https://LilDurk.lnk.to/soundcloud Shop: https://otfgear.com/ Subscribe: http://bit.ly/Subscribe-to-Durk Director : Steve Cannon Executive Producer : Nolan Riddle Executive producer :Peter Jideonwo “unnecessaryballing” Producer : Tashi Bhutia DP: Liam Reardon & BBTHDP Editor : Keats Sound Design : Ayo Douson Titles : Damien O DeAnda

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Hip Hop News

Dee-1’s Perspective on Joe Budden’s Critique: A Discussion for SNLVIFE

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In the world of hip-hop and podcasting, debates and disagreements are not uncommon. One such instance that has caught our attention at SNLVIFE involves Joe Budden and Christian rapper Dee-1. Budden, a well-known figure in the industry, has openly criticized Dee-1’s approach in the rap scene. According to Budden, Dee-1, at 34, might be stepping out of line by calling out various individuals without establishing his own credibility first. Budden’s advice, albeit delivered in his characteristic blunt manner, raises an important question: Is Joe Budden right in his assessment, or does Dee-1 have a valid point in his approach?

Budden’s stance is clear. He believes that Dee-1 should first establish himself more firmly in the industry before taking the liberty to call out others. “I’m telling you as somebody that knows the history of the people you’re speaking about. Leave them alone — especially those who might not take kindly to your words,” Budden stated in a recent podcast.

Dee-1, on the other hand, responded to Budden’s criticism with a message of his own. He suggested that Budden is not fulfilling his higher purpose, a purpose that Dee-1 believes is ordained by God. “God doesn’t call the qualified, God qualifies the called,” Dee-1 remarked, indicating his belief that his mission transcends conventional industry norms. He even mentioned preparing a diss track about Budden but chose not to release it, fearing it would detract from his overarching goal of unity and improvement.

This exchange between Dee-1 and Joe Budden opens up several intriguing questions for our readers at SNLVIFE:

  1. Is Joe Budden’s Critique Justified? – Do you think Budden’s advice about establishing credibility before calling out others is valid in the rap industry?
  2. Dee-1’s Approach: Bold or Reckless? – Is Dee-1’s method of addressing issues in the industry a sign of boldness or a reckless disregard for industry norms?
  3. The Role of Purpose in Artistry – Dee-1 speaks of a higher purpose in his music. How important do you think it is for artists to have a sense of purpose beyond fame and recognition?
  4. Impact of Public Disagreements – What impact do public disagreements like this have on the hip-hop community and its audience?

We at SNLVIFE are keen to hear your thoughts on these questions. Your insights and opinions are valuable to us, and we plan to feature some of the top ideas in an upcoming podcast. This is your chance to be part of a larger conversation about artistry, purpose, and the dynamics of the hip-hop industry. Share your views in the comments section below, and stay tuned for more updates and discussions on this topic.

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Diddy, City Girls, and Fabolous get freaky in new “Act Bad” video

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Diddy, City Girls, and Fabolous get freaky in new “Act Bad” video

“If you look good, act bad” might be the platonic ideal of a summer slogan — a simple mantra that can be used to write off bad behavior as the weather gets steamy. With this emphatic statement of intent, Diddy, City Girls, and Fabolous are laying it all on the line in an attempt to do for summer 2023 what Meg, Nicki, and Ty did for summer 2019: provide an unimpeachable summer anthem for rash decisions and guilt-free entanglements.

 

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Artists

Kaytraminé is a 7.7

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In 2014, the 20-year-old Aminé was just another college dropout with a mixtape, trawling for beats on SoundCloud. But rapping over Kaytranada’s single “At All,” his nimble flow served as the perfect foil to the Montreal producer’s funky, uptempo take on neo-soul. Kaytra—in the process of assembling his debut EP for XL—heard his remix “Not at All” and reached out to offer the beats that would go on to highlight Aminé’s 2015 mixtape Calling Brio. Despite their clear chemistry, their only other collaboration would come on Rejjie Snow’s 2018 single “Egyptian Luvr.” Then, in 2021, the pair rented a luxe beach house in Malibu and got to work. After two weeks of recording, they debuted the results to a party full of friends.

Enter Kaytraminé, the duo’s self-titled collaborative album. The 11-track LP—featuring heavy hitters like PharrellSnoop Dogg, and the ascendant Ghanaian singer Amaarae—is a buoyant summer jaunt that artfully meshes the two artists’ styles and sensibilities. As a producer, Kaytranada is a svengali of samples, stacking tracks like building blocks to craft fresh beats with a vintage feel. Aminé—not unlike Anderson .Paak, another Kaytra collaborator—is a goofy yet technically proficient MC with singing chops who doesn’t shy away from a twerk-friendly dance record or a crude joke.

Kaytranada’s first two albums flowed like seamless mixes, his house-adjacent style bending and shifting to suit the personalities of the guest vocalists. But his production discography is evidence of his innate ability to adapt to other artists’ styles, whether it’s KelelaCadence Weapon, or Freddie Gibbs. The funk-influenced tropical house of Kaytraminé wouldn’t feel out of place on Bubba or 99.9%. But there are tonal shifts that seem designed to showcase Aminé’s range as a singer and a rapper, like the strings swirling around his stop-and-go flow on “Westside” or the sparse arrangement of the latest entry in his series of “STFU” tracks.

Aminé’s two most recent solo albums balanced wistful optimism with sneering swagger, presenting him as a party boy who occasionally paused for self-reflection or a critique of consumer capitalism. That Aminé appears long gone, giving way to a hedonist whose favorite boast is his Delta Medallion status. As a party record, Kaytraminé has no skips—provided that party is loud enough to camouflage some of the cornier lyrics. Aminé’s oral (sex) fixation gets old fast, and a few lines are groan-worthy enough to distract from the fun (“Just popped an X bitch I feel like I’m Malcolm,” he raps on “Who He Iz”).

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