For those unaware, Corcoran launched a lawsuit against The Rapper in November of 2020 that accused him of withholding due pay. The artist filed a countersuit that sought $1 million in damages.

A Cook County court combined both lawsuits for this jury trial, which lasted about two weeks. The jury in the case found that Corcoran did not adequately prove that his former client owed him $3.8 million. However, regarding the Chicago MC’s countersuit, the court only awarded him $35 as a judgement. In addition, though, jurors reportedly recommended that Corcoran give up the ChanceRaps.com domain, on which he sold merchandise.

“I claim victory in the name of the Lord,” the Secret Santa lyricist told the Sun-Times after the jury’s verdict came through. “We respect the jury’s decision, but the message to music managers is clear: Get it in writing,” Pat Corcoran’s attorney Jay Scharkey reportedly stated. “The jury award of $35 speaks to how seriously the jury viewed Chance’s case.”

Read More: Afroman Beat The Case—So Where Are Free Speech Warriors When Hip-Hop’s On Trial?

Who Is Pat Corcoran?

For those unaware, Pat Corcoran worked with Chance The Rapper from 2012 until 2020, shortly after the release of Chance’s 2019 album The Big Day. He claimed he had a “sunset clause” with The Rapper that entitled him to payment for three years after termination.

The two apparently never had a written contract, and Chance’s legal team accused Corcoran of business mismanagement, seeking personal gain, and lying about the existence of a “sunset clause.” The manager’s lawyers fired back by claiming he was not sufficiently paid for all the work he did.

We will see where the “Touch The Ground” artist’s career goes next as he can finally put this legal battle behind him. He’s already moved on from that management, and so has Corcoran. But now, they can truly call this a sunset to their debacle.

Read More: Jack Harlow’s “Monica” Problem Isn’t Just The Music

The post Chance The Rapper Wins Small Award In Victorious Case Against Ex-Manager appeared first on HotNewHipHop.

Livebitez caught Tasha’s reaction to the alleged payment on Twitter. “For real? Nicki just gave me a thousand dollars?” she remarked during a TikTok livestream, which Nicki allegedly sent the money through. “Seriously? […] Thank you, Nicki! It was $3,000?! No way. No way! […] We’re transferring that to the GoFundMe. We planning on being out of this bankruptcy in one year, baby. […] Nicki, you got to hit the GoFundMe, baby.” The blogger reacted to the alleged news that TikTok takes a chunk of donations on the app.

Then, she took to Twitter to thank the Queen of the Barbz. “Thank you to the Queen @NICKIMINAJ for the GENEROUS donation on Tik Tok today!” Tasha K wrote last night (Friday, March 20). “God is Good! All the time! Now we about to start some good old Phuckery Friday on YouTube!! Search UnwinewithTashaK everywhere.”

“Shout out to the Queen, Nicki Minaj, for giving me a generous donation on TikTok!” she said on her Unwine With Tasha K program, as caught by Red Media on Twitter. “Thank you so much, Queen! Yeah, she popped in my TikTok live, throwing money. Just throwing money like I was a stripper. Lady, give me that money, I need that. We got bills to pay. I had a 15-year plan, and I can keep it. But my freedom of speech is being affected, and I don’t like that. I got a big mouth and I got to use it.”

Read More: Jack Harlow’s “Monica” Problem Isn’t Just The Music

Why Do Nicki Minaj & Cardi B Have Beef?

From there, Tasha thanked fans for convincing her to launch donation platforms for the Cardi B debt. We will see if this chime-in from the Trinidadian superstar leads to more conflict with her Bronx counterpart.

Nicki Minaj and Cardi B’s beef stretches back to the mid-to-late 2010s, when the latter was blowing up and the former felt like she deserved more gratitude. Since then, alleged personal confrontations and a whole lot of social media shade followed. Most recently, their feud directly re-escalated following the release of Cardi’s AM I THE DRAMA? album last year.

Read More: Afroman Beat The Case—So Where Are Free Speech Warriors When Hip-Hop’s On Trial?

The post Tasha K Thanks Nicki Minaj For Donating To Her Fund For Cardi B Debt appeared first on HotNewHipHop.

By now, you’ve likely witnessed the many viral moments of the Adams County Sheriff’s Department’s defamation case against Afroman. If you’ve been living under a rock, here’s a brief breakdown: seven Adams County, Ohio, sheriff’s deputies sued Afroman following a 2022 police raid on his home. The raid was based on tips about drug trafficking and kidnapping, yet the deputies came up empty-handed. Ultimately, Afroman capitalized on the situation, turning “bad times into a good time.” He used his home security camera footage of the deputies—showing them breaking in, searching, and one eyeing his mother’s lemon pound cake—to create satirical music videos, including the viral “Lemon Pound Cake,” along with social media posts and merchandise.

Footage of the trial has since gone viral, with one of the deputies claiming on the stand that he wasn’t sure if Afroman had sex with his wife. The musician brought another deputy’s ex-wife as a key defense witness. Needless to say, the crocodile tears shed on the stand didn’t amount to anything for them except further ridicule. 

But perhaps what’s more noteworthy than this is that Afroman arrived in court donning an American flag-patterned suit, something that would feel novel anywhere else, but felt particularly fitting in this moment. After the trial, he shared a video of himself celebrating with his supporters outside the courthouse, expressing his love for America and for free speech—something the deputies who sued him are supposed to protect in the first place. 

But when you dig a bit deeper into some of the allegations made, they sound similar to another defamation lawsuit. When Drake tried to sue UMG over Kendrick Lamar’s “Not Like Us,” he aimed to hold someone accountable for the public humiliation he faced, even though he actively participated in the spectacle. The two rappers threw allegations at each other without concrete evidence to back them up, but only one of them ended up with a handful of Grammys because of it. Even within hip-hop, artists have begun mirroring these tactics: weaponizing defamation claims when the court of public opinion doesn’t go their way. Though a judge dismissed the case, which he has since tried to appeal, it’s something that would set a scary precedent for hip-hop moving forward if successful.

With that said, it’s pretty ironic when Drake has previously signed petitions aimed to protect Black art and restrict the use of rap lyrics in court. Hip-hop has long been under surveillance, but that scrutiny extends beyond rap to Black music as a whole. Throughout history, whether jazz, funk, or blues, the art that oppressed groups create has often been marked as a threat by the system. And yet, that’s how these genres have gained global influence. The FBI reportedly monitored Nina Simone because of her activism. Wu-Tang Clan was under federal investigation because the FBI viewed the group as a criminal organization. Surveillance of Black artists has never been about public safety. It’s been about controlling narratives

Unfortunately, this pattern has only increased over the years. There’s been an uptick in artists who’ve had their lyrics presented as evidence in court. Young Thug’s RICO case in Georgia, for as ridiculous as it was, had prosecutors dissecting his music and translating it in ways they argued confirmed his role as the ringleader of a street gang. Lil Durk’s also facing trial for an alleged murder-for-hire plot, where his music could be put under the microscope as potential incriminating evidence. Their high-profile status has garnered industry-wide support and awareness. That momentum has led to increased pressure on legislators against criminalizing artistic expression. Because in some cases, free expression turns into a death sentence.

Earlier this month, Travis Scott, Young Thug, and Killer Mike signed a petition to halt the capital punishment for James Broadnax, a Texas man who is currently facing the death penalty for a murder conviction. During Broadnax’s trial, prosecutors presented lyrics as evidence, which a recent appeal argues was misrepresented to secure the conviction. Scott echoed a similar sentiment in the amicus he filed in defense of Broadnax. As the execution date looms, the urgency to stay the death penalty is palpable. And if not for high-profile support, then maybe Broadnax’s case would fall on deaf ears while the courts penalize hip-hop as criminality.

That’s what makes the Afroman case so compelling. Over the years, we’ve seen how the court system has been weaponized to suppress free expression by many musical artists. In some cases, it happens within the genre itself. In others, it’s an attempt to create legal shortcuts instead of building concrete evidence. The deputies who sued Afroman believed they were above the law. The raid on his home ultimately turned into a nationally televised loss that deepened their humiliation. For many, it felt cathartic, especially for those who’ve watched art be villainized time and time again. Who free speech is actually afforded to remains an open question, but for now, hip-hop sits at the forefront of the fight to preserve it.

The post Afroman Beat The Case—So Where Are Free Speech Warriors When Hip-Hop’s On Trial? appeared first on HotNewHipHop.

Sneaker Bar Detroit reports that the Undefeated x Nike Air Max 95 “Sail” is going to restock on March 24th, 2026.

Undefeated and Nike have a long history together and this pair honors both that bond and the silhouette’s legacy. The restock is giving everyone who missed the first drop a second chance.

The shoe arrives in a predominantly sail and white colorway that keeps things clean and classic. A red and green stripe detail runs along the midsole area, adding a subtle but distinctive pop of color.

That stripe is one of the most talked-about details on the entire shoe. It gives the pair a vintage Italian luxury feel that sits perfectly alongside the AM95’s already iconic aesthetic.

The restock will be available through Undefeated both online and in-store. Locations include LA Brea, Las Vegas, San Francisco, Phoenix, and New York. An online raffle and direct release will both be part of the drop structure.

Read More: The Outfit Moneybagg Yo Just Dropped Has The Internet Talking

Undefeated Nike Air Max 95 “Sail”

The Undefeated x Nike Air Max 95 “Sail” is one of the cleanest collaborations to come out of the Air Max 95’s 30th anniversary celebrations. The base is a soft sail white that gives the shoe a slightly aged, premium feel straight out of the box.

A thin red and green stripe wraps the midsole, referencing Undefeated’s Italian sportswear influences and adding just enough color to keep things interesting. High-gloss patent leather panels contrast against the mesh and nylon layers on the upper, creating a rich mix of textures.

A metallic mini Swoosh and silver lace lock tie the reflective details together. The overall look is refined, subtle, and deeply considered from every angle.

Also, the retail price of these shoes when they restock will be $200.

Read More: The Virgil Abloh Store Canary Yellow Is Dropping The V.A.A. Air Jordan 1 “Alaska”

The post The Undefeated x Nike Air Max 95 “Sail” Restock Is Almost Here appeared first on HotNewHipHop.

In a Popcast interview, Harlow said that while some white rappers move toward Country, Pop-Punk, or other “traditionally white” lanes, making Monica meant that he “got Blacker.” He went on to say, “I love Black music,” and described the album’s sound as “soft, intimate, melodic music.”

Read More: TDE’s Punch Weighs In On Jack Harlow’s “Got Blacker” Debate

That sentence landed with a thud because it framed Blackness as something a white artist could move closer to through aesthetic choice. The backlash that followed was immediate, and it had less to do with whether Harlow was allowed to sing over Soul production than with the familiarity of his framing. Online discourse quickly centered on how much Monica seemed to borrow from late-1990s and early-2000s Black music and culture, especially the Soulquarians era, while critics and listeners mocked both the album’s styling and the quote itself.

Monica is being judged as music, yes, but the sharper conversation is about what Harlow seemed to believe he was stepping into, and what he assumed that access allowed him to say. The album raised questions about taste and whether admiration had tipped into imitation.

“I Got Blacker” & The Problem With That Sentence

Harlow’s career has been built inside Black spaces. From the beginning, his success has relied on proximity to Hip Hop as a culture and not just an art form, collaborations with Black artists, and a visual language that consistently places him alongside Black peers, Black women, and Black cultural references. Now, that proximity is not unusual in Hip Hop. The genre has always included artists from outside the culture who participate with respect and awareness, as well as a clear understanding of where they stand within it.

When Jack Harlow said he “got Blacker” making this album, the reaction was immediate because the phrasing carried a long history, whether he intended it to or not. Blackness, in American culture, has never been something people could step in and out of without consequence. It has been policed, punished, commodified, and repackaged for consumption, often by the very industries that profit from Black art while distancing themselves from Black people.

Read More: Jack Harlow’s “Monica” Sales Take A Serious Nosedive Following “Got Blacker” Comments

That is the context Harlow stepped into when he chose those words. It was the suggestion that moving deeper into R&B and Soul aesthetics brought him closer to Blackness itself. That framing is where the disconnect lives.

Black music is not interchangeable with Black identity. The sound and textures Harlow leans into on Monica come from a specific cultural lineage shaped by artists who were not simply making “soft, intimate, melodic” records. They were working through questions of spirituality, intimacy, masculinity, femininity, history, vulnerability, and Black interior life at a time when those expressions were not widely rewarded by the industry.

To describe that shift as “getting Blacker” flattens all of that into an aesthetic. It also exposes a deeper assumption, that immersion equals access. That being surrounded by Black music, Black collaborators, and Black audiences creates a kind of cultural closeness that can be named in personal terms. For many listeners, that assumption felt less like admiration and more like overfamiliarity.

The Monica Title And Why People Side-Eyed It

If the “I got Blacker” comment opened the door to criticism, the album’s title kept it there. Harlow told Popcast, when asked why he named his album “Monica,” that he has “always loved” that name. On its surface, the title reads simple, even nostalgic. Monica is a familiar name in R&B history, and some believed he was honoring the legendary singer. Yet, online reactions made it clear that many listeners were not reading the title at face value.

Across social media, some users questioned whether Monica was being used in a way that played too closely to “my n*gga,” a phrase deeply embedded in Black vernacular but historically off-limits to non-Black people. For the record, no report has confirmed this was Harlow’s intent. He has not suggested it himself. Still, the interpretation spread, not because of proof, but because of the context surrounding the album.

Read More: Charlamagne Tha God Unleashes On Jack Harlow’s Neo-Soul Album

What might have once read as harmless started to feel loaded. This is where trust, or the lack of it, becomes part of the story. When listeners already feel that an artist is moving too comfortably within a culture that is not theirs, smaller details begin to carry more weight than they otherwise would.

Borrowing A Sound That Was Never Meant To Be A Costume

Further, part of the reaction to Monica comes from what the album is trying to sonically reference. The project leans heavily on textures associated with a particular time in R&B. It was a period often grouped under the label “Neo-Soul.” That era produced some of the most distinctive and introspective Black music of its time, shaped by artists such as Erykah Badu, D’Angelo, Musiq Soulchild, Lauryn Hill, and Maxwell.

However, even the term “Neo-Soul” has always been complicated. The label itself was coined in the late 1990s by music executive Kedar Massenburg as a way to market a wave of artists who were blending Classic Soul influences with Contemporary R&B. It gave the industry a clean category and audiences a way to identify the sound. What it did not do was reflect how many of those artists saw themselves.

Several of the very artists now being referenced rejected the term outright.

Read More: Jack Harlow Says He Was In The “School Of Drake” Before Finding His Own Voice

Erykah Badu, one of the most visible faces of that movement, has repeatedly pushed back against “Neo-Soul,” describing it as something imposed from the outside rather than something that came from the artists themselves. For her and others, the label felt like a limitation, a way of signaling that their music existed in a niche lane rather than within the broader lineage of Soul music. Raphael Saadiq echoed a similar sentiment, arguing that there was nothing “new” about what they were doing. It was simply Soul, continuing a tradition that had always existed.

That matters when looking at Monica, because what Harlow is drawing from is not just a sound. It is a moment in Black music history, with artists pushing back against being underestimated by the industry. The music coming out of that era was deeply rooted in Black life, often created in spaces like Electric Lady Studios that carried their own cultural weight.

What does it mean to borrow from a sound that was never meant to be boxed in to begin with?

That is part of what listeners are responding to. Monica does not just reference that era. It recreates its surface. The visuals, the stripped-down intimacy, all point back to a specific time in Black music. Yet, without the lived context that gave that work its meaning, those elements can start to feel detached from what made them resonate in the first place.

Read More: Jack Harlow’s “Monica” Gets Torn Apart By Pitchfork & Anthony Fantano

Monica was supposed to mark a transformation of sorts for Jack Harlow. Instead, it exposed how far he drifted from the audience that helped build his career, because the issue was never just one comment. It was the combination of choices. Harlow stepped away, returned with a full pivot into R&B and Soul, named the album Monica without grounding it in the legacy of artists who defined that name, and then framed the entire process by saying he “got Blacker.” He introduced that idea in a room with non-Black interviewers, attempting to explain a culture that was never his to define in the first place.

At the same time, the music itself leaned heavily on a lineage he did not meaningfully connect back to. The artists who shaped that sound, the ones who carried it through an industry that often tried to box them in, are largely absent from the album’s orbit. There are no clear bridges, no visible lineage, just aesthetic. A Musiq Soulchild and Common-inspired wardrobe without the sounds to support it.

Read More: Jack Harlow Declares Himself The Best Of His Generation Ahead Of New Single

Moving into R&B is not the problem. Artists evolve, and sounds shift. Yet, when that evolution is presented without a clear understanding of the culture it draws from, it starts to feel less like growth and more like assumption. That is what people are reacting to: the sense that Jack Harlow mistook access for ownership and familiarity for belonging.

The post Jack Harlow’s “Monica” Problem Isn’t Just The Music appeared first on HotNewHipHop.

In a series of leaked alleged text messages, Adin told the manager that they “should just kiss and make up” to resolve the Blue debacle. The West Coast executive demanded his money, whereas Ross called him a “antisemite homophobe” for not taking his trolls seriously.

That is what they are: just trolls. Adin Ross confirmed this during a phone call with Wack 100 alongside DJ Akademiks. A clip from Ak’s livestream caught by No Jumper on Instagram shows the interaction.

In the clip, Ross jokes with Wack about wanting to go back to Compton, referring to Adin’s West Coast issues in the past. Wack 100 wants to fix this business with Blueface, but Ross maintained that Blue should retract his claims that Adin rigged the Chibu fight.

But when the streamer joked about calling Wack when he’s out of the shower, Wack demanded that he have some clothes on for it. This led Ross to further troll and taunt the manager with his gay claims, and Adin laughed at how Wack tried to respond to the troll. He said he only messaged Wack in that way because he knew he would post them online.

Read More: What Went Wrong Between 50 Cent & Maino?

Is Adin Ross Gay?

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Just in case fans weren’t clear that this is a troll, Adin Ross clarified to Wack 100 that he isn’t gay and is just trolling him. Wack didn’t make a big deal out of it, but he continually tried to center the conversation back to the Blueface boxing controversy.

Basically, Ross claimed that the West Coast MC breached his contract by not wearing a sponsor stamp and talking about financial details. Blueface clapped back by accusing Adin of not paying him his due money, claiming that he never spoke about earnings or payment agreements and that they never agreed to the sponsor stamp. A whole lot of drama has emerged from a loss, which is unsurprising to see.

Read More: Dwight Howard’s Latest Scandal Reignites Years Of Controversy

The post Adin Ross Pokes Fun At Wack 100’s Sexual Advance Allegations appeared first on HotNewHipHop.

A white Mercedes coupe with custom multi-spoke wheels sat beneath him. A white Mercedes-Maybach GLS can be seen in the background creating the full luxury picture.

The outfit itself was immaculate from top to bottom. A traditional white thobe with gold buttons and a straight collar finished off the entire look.

Baggy white cargo pants and a crisp white kufi cap kept the cultural roots of the occasion front and center. White leather sneakers with a buckle strap over the laces finished the fit perfectly.

The accessories took everything to another level entirely. A rose gold Patek Philippe with a blue dial sat on his left wrist. Cartier Love bracelets covered both arms in diamonds and rose gold. An oversized heart-shaped diamond ring and diamond studs completed one of the most loaded accessory stacks of the year.

A separate close-up showed four Audemars Piguet Royal Oaks lined up in his hand. Rose gold skeleton, two-tone skeleton, and steel versions were all present. Moneybagg Yo showed up for Eid and reminded everyone exactly where he sits in the culture.

Read More: The Virgil Abloh Store Canary Yellow Is Dropping The V.A.A. Air Jordan 1 “Alaska”

Moneybagg Yo’s Eid Outfit

The white leather shoes Moneybagg Yo wore were a standout detail in an already incredible fit. The shoes feature a clean all-white leather upper with a structured, high-top silhouette.

A buckle-style strap sits across the lace area, adding a fashion-forward touch to the otherwise minimal design. The all-white colorway matched his thobe and cargo pants seamlessly, creating a head-to-toe simple look.

Wearing white for Eid is a deeply meaningful tradition, and Moneybagg combined that cultural practice with luxury streetwear instincts flawlessly. The gas station setting made the contrast between everyday surroundings and extreme wealth even more striking. It is the kind of fit that lives on the internet forever.

Read More: Takeoff’s Murder Suspect Enlists High-Profile Lawyers Ahead Of Trial

The post The Outfit Moneybagg Yo Just Dropped Has The Internet Talking appeared first on HotNewHipHop.

The Dreamville rapper explained how his stepfather introduced him to Tupac when he was six or seven years old. While he appreciates this early exposure, the content matter of his favorite rap music is what makes him hold back.

“Once I had kids, it’s like, I’m not personally comfortable,” Cole remarked, as caught by Ahmed/The Ears on Twitter. “I’m very grateful I grew up in this house with my mom and eventually my stepfather who had no regard for what the f**k I heard or watched. I got a stepfather who put me on to ‘Pac at six, seven years old. Thank God. I can’t do that. I can’t play that for my kids. By the way, ‘Pac was maybe one of the best he played. He had Ice-T albums, [Ice] Cube albums. It was straight gangster rap.

“And I’m grateful, though. ‘Cause I’m riding to school with ‘Pour Out A Little Liquor’ [by Thug Life, Tupac’s group] playing, like, every day,” the North Carolina lyricist continued. “I’m ten years old… I had that experience. I’m not comfortable yet, and I don’t know if it’s right or wrong. I’m not judging myself or anybody else for what they do. But I’m not comfortable playing my favorite songs around my kids yet. ‘Cause the content. It’s sexual, it’s violent.”

Read More: Lil Pump’s Attempt To Ragebait J. Cole Is As Embarrassing As His Career Trajectory

J. Cole’s Wife Reacts To Kendrick Lamar Apology

Elsewhere during the interview, J. Cole revealed his wife Melissa Heholt’s reaction when she learned he planned to apologize after responding to Kendrick Lamar back in 2024.

“I told my wife. She’s the only one I told, I ain’t tell anybody else,” he remarked. “She started crying. ‘Cause she knows how I feel about him… And she knows. She saw how it was weighing on me two, three days before that. She could see my whole energy… So when I go and do it, I felt even better.”

Read More: J. Cole “The Fall-Off” Review

The post J. Cole Doesn’t Want To Play His Favorite Hip-Hop Around His Children appeared first on HotNewHipHop.

This gives collectors another path to secure a pair before the wider SNKRS launch. The Canary Yellow drop is one of the more exclusive ways to get this shoe early.

The V.A.A. x Air Jordan 1 will be available in-person at World’s Fair activations. It will also be online via Canary Yellow, and later at Nike SNKRS and select retailers.

World’s Fair events are taking place in major cities including Los Angeles, Chicago, New York, London, Paris, Hong Kong, and Tokyo, throughout March. Each stop features exhibitions and programming celebrating Abloh’s creative legacy. The Canary Yellow online drop sits right alongside all of that energy.

The shoe is limited to roughly 20,000 pairs globally. That number is significant but will not stop competition from being fierce across every channel. The Canary Yellow drop will likely be one of the most watched online releases of the entire month.

Read More: Nike x Beats Powerbeats Pro 2 Just Dropped And Sold Out Immediately

Virgil Abloh’s Store Canary Yellow

The V.A.A. x Air Jordan 1 “Alaska” revisits the same all-white deconstructed design from 2018 with exposed foam collar, floating Swoosh, zig-zag stitching, blue accents, and the signature “AIR” midsole text.

The most significant update is the “V.A.A. for Nike” branding replacing the original “Off-White for Nike” text on the medial panel. An orange tab sits on the Swoosh while blue stitching runs along the panels.

The packaging features a side-opening box with circular cutouts, a transparent inner case, and a sketch booklet stamped “MODERNISM IS NOT NEW.” It is a complete package that treats the sneaker as an art object from every angle.

Read More: Nike Just Made An Air Force 1 You Can Wear With A Suit

The post The Virgil Abloh Store Canary Yellow Is Dropping The V.A.A. Air Jordan 1 “Alaska” appeared first on HotNewHipHop.

“Latto just announced she’s pregnant by a married man with 3 kids and made it part of her ALBUM ROLL OUT .. and that’s who today’s women look up to? we’re doomed,” he tweeted earlier this week. This resulted in many fans calling Bell out for this critique and accusing him of tearing the couple down.

As caught by The Neighborhood Talk on Instagram, he reacted to the controversy and doubled down on his perspective in a new video message. “Bro, can somebody tell me what I said [that] was wrong?” the Ohio native expressed. “What did I say that was wrong? All I said was facts. I only said facts. I’m not saying I’m perfect. I’m not saying nobody has to be perfect. We’re all human beings. Nobody’s perfect. But I want to know, in this situation here, what did I say to get everybody all riled up? Like, what did I do? I only said facts.”

Read More: What Went Wrong Between 50 Cent & Maino?

Who Is 21 Savage Married To?

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We will see if either Atlanta artists responds to this shade. Still, it seems like Le’Veon Bell doesn’t care about the backlash, and will maintain his position. Also, the couple has plenty of congratulations to react to, not just the negative commentary.

However, this did make many folks look back on 21 Savage’s alleged marriage. He reportedly married Keyanna Joseph in 2020 after his visa-related case, which reportedly secured him permanent legal residence in the United States.

As such, many fans assume there may be some drama here for the coparents, who share two sons. After all, rumors of a relationship with Big Mama herself have followed 21 for years now. Upon its apparent confirmation, fans wonder about these relationship dynamics.

But considering that Keyanna Joseph allegedly liked Latto’s Instagram announcement post, it seems like they are doing just fine. We’ll see if Bell has anything to say about that in the near future.

Read More: Dwight Howard’s Latest Scandal Reignites Years Of Controversy

The post Le’Veon Bell Doesn’t Understand Backlash To Latto & 21 Savage Shade appeared first on HotNewHipHop.