Caught by Hip Hop N More, the 32-year-old hitmaker unveiled both details on his Instagram. Swae Lee and Rae Sreummurd are known for working with high profile guests and the set for Same Difference is no exception.

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As you’ll see there are a lot of familiar faces amongst the 16 cuts here. Jhene Aiko, Post Malone, French Montana, and of course, his groupmate, Slim Jxmmi are here.

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What Was Swae Lee’s Last Album?

Nav and Rich The Kid round things out, and overall, it’s a feature list that definitely has potential to help Swae Lee add more hits to his discography.

It seems that was partly the intent, especially with Post Malone. Caught by Complex, Swae was quoted saying just how much he respects the multi-genre talent and how excited he was to grab him for Same Difference.

“Me and Post made history together,” he said referring to their smash hit “Sunflower.” “That’s my brother… We just want to keep creating big stadium songs together.”

They will certainly have the chance to do so when April 3 rolls around.

When that day comes, it will end just about a three-year drought to the day since Lee’s last album. Technically, his last was Sremm 4 Life, a Rae Sremmurd tape. As a result, Same Difference is his first solo effort. Prior to this, he flirted with going solo by having his own disc called Swaecation off of SR3MM.

Same Difference Tracklist:

1. Tomato Tomato (Same Difference)
2. No Call No Show (feat. Nav)
3. Everyone Wants
4. The Gospel
5. Mural (feat. Jhene Aiko)
6. Side Eye
7. E Off Emotion
8. Suitcase (feat. French Montana)
9. Don’t Even Call (feat. Rich The Kid)
10. Flammable
11. Fav/Anna
12. Sneaker
13. Raising Awareness
14. Working Remote (feat. Slim Jxmmi)
15. Violet
16. Take My Heart (feat. Post Malone)

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The post Swae Lee Unveils Tracklist And Features For “Same Difference” Album appeared first on HotNewHipHop.

Epstein’s name has been floating around hip-hop as of late, namely due to LaRussell’s cringe-inducing bars about him and other controversial figures being “heaven-sent.” But this is a more direct accusation. The woman in question insinuated that the Island Boys were related to the child sex offender in a clip caught by No Jumper on Instagram.

At first, Flyysoulja and the woman argued back and forth about fake chains, height, physical appearance, and more. But later on, she took the roasting to a new level and mentioned the late financier and child trafficker.

“You’re my height, you’re scrawny, you’re skinnier than me, you wear a size small, you made out with your brother, everyone thinks you’re Jeffrey Epstein’s son… Like, good job. You’re looking for your third baby mother ’cause the first two, you couldn’t keep?” the woman expressed.

Read More: Does Future Really Have More Classics Than Kendrick Lamar?

Are The Island Boys Related To Jeffrey Epstein?

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Believe it or not, the Island Boys have addressed Jeffrey Epstein allegations before. Back in 2023, they responded to rumors that they were in a picture with Epstein as young boys, with Flyysoulja himself denying the claims to TMZ. He said they are Cuban and the kids in the picture look white, the photo doesn’t seem to be in Florida, they didn’t leave the state until they were 18, and the brothers look much more like each other than the kids in the picture do.

In addition, they denied rumors that Jeffrey Epstein is their father. They called these completely false, clarifying that their father died of a heart attack and denying any affiliation with the late financier or his infamous island.

As for the woman referencing the Island Boys kissing each other, they have addressed this multiple times in the past as well. They claimed that they made a lot of money by selling content of them kissing, and that this wasn’t sexual in nature.

Read More: Five Takeaways From Jay-Z’s New Interview With GQ

The post Woman Claims The Island Boys Are Jeffrey Epstein’s Sons In 20v1 appeared first on HotNewHipHop.

Shane Battier already spoke on J. Cole’s apology to him in person, which happened during the summer of 2024. But The Fall-Off‘s architect spoke further on his line during his appearance on the 7PM In Brooklyn podcast alongside Carmelo Anthony and others. The pod shared a clip of this reflection on Twitter.

First off, Cole gave the aforementioned bar a zero out of ten, reflecting on happily apologizing to the two-time Miami Heat champion in person. He also reminisced on being a fan of his native North Carolina’s Tar Heels NCAA basketball team and how Battier playing for their rival college Duke made him “judgmental.” The Dreamville artist spoke on Shane coming from a nice family, being a great player, and Cole feeling surprised at how much his fans like that line. This made him cringe as the years went on, saying to himself that he should apologize to him.

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J. Cole’s Apology To Shane Battier

“I went to a restaurant in Miami, and he was sitting over there,” the North Carolina MC continued. “Matter of fact, somebody that was with him, I knew. He was like, ‘Yo, you got to come over here, bro.’ They wanted me to go there and rap the bar to him or something. I’m like, ‘Ask him to come over here. I’m serious, bro. Ask him to meet me over here in the hallway.’ I didn’t even want to do it at the table with other people. He got up, he met me around the corner, and he was so cool and gracious.

“In that moment, he didn’t give a f**k. He was like, ‘It’s funny,'” he concluded. “I’m like, ‘No, bro. You don’t understand. Ain’t nothing about that cool.‘ I had to double apologize and let him know: ‘I f**k with you and I respect you so much. Now that I got kids, I respect your parents.’ I know he got great parents, bro, a great family. That’s a beautiful thing. We need more Shane Battiers in the world.”

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Ye was in attendance for the event in Los Angeles, playing several tracks from the solo project along with some other random cuts. You can see below which songs the Chicago native decided to spin.

A lot of them were collaborations, a smart move to keep fans talking afterwards. Nine Vicious’ multiple inclusions have been a topic of discussion today, and many aren’t too ecstatic about him featuring on it.

Others included joint efforts with Travis Scott, who’s on the previously teased “FATHER,” as well as some with Ty Dolla $ign, CeeLo Green, and Andre Trautman.

In addition, Kanye spun some of the songs that were already released as of last year. “PREACHER MAN” and “BEAUTY AND THE BEAST headlined efforts in this department.

But overall, after this listening party concluded, it seems the consensus is that there is no consensus.

Folks seem pretty split on how to feel about the album based on what they were able to digest. The reactions have ranged from pure eagerness to uncertainty. That’s especially true in regard to the album’s release date.

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When Is Kanye West Dropping Bully?

Others are expressing that feeling with the features. One fan writes, “Only Ye would have nine vicious and ceelo green on the same album [laughing emoji].” “That sh*t say nine vicious [peace sign emoji],” another adds.

Some are going as far as to predict that this tape has no chance to succeed in the near future. “Lmao flopped.” Another echoes, “This boutta be so a*s.”

Hopefully, the album exceeds a lot of fans’ expectations when it does drop. That is the big question, though, as Ye hasn’t provided an updated release date at the time of writing.

It appears the biggest reason for it not coming out was mastering and mixing issues and some last minute tracklist adjustments.

Read More: Young Thug Started To Give Enough Of A F*ck On “Slime Season 3”

The post Kanye West’s “Bully” Listening Party Is Causing Uncertainty Amongst Fans appeared first on HotNewHipHop.

Terrance “T.A.” Dixon’s original accusations against Joey Crack emerged last year. Dixon, Joe’s former hypeman, accused him of sex trafficking, racketeering, and fraud, alleging that he “personally witnessed” him partake in “sexual relations” with a 15-year-old girl and a 16-year-old girl.

However, in the amended complaint, the plaintiff and his legal team removed the pedophilia and RICO allegations. Still, this new filing continues to accuse Joe of violating the Trafficking Victims Protection Act. Dixon claims the New York MC manipulated him into working for him and participating in non-consensual sexual activity.

The other claims in this new lawsuit relate more to business matters, as Dixon accused Fat Joe of withholding due wages and failing to properly credit him as a co-writer on various tracks.

Dixon’s attorney Tyrone Blackburn reportedly did not immediately respond to a request from Billboard to address these dropped allegations. Elsewhere, Joe’s lawyer Jordan Siev issued the following statement to the publication.

“Their decision to now voluntarily amend Mr. Dixon’s complaint — removing all allegations involving transporting of minors, statutory rape and RICO — and recast this matter primarily as a financial dispute about royalties and wages allegedly owed only reinforces that the allegations were baseless and that Mr. Cartagena is the one being targeted.”

Read More: Does Future Really Have More Classics Than Kendrick Lamar?

Fat Joe’s Defamation Lawsuit

Fat Joe sued Terrance “T.A.” Dixon and Tyrone Blackburn for defamation, alleging that their accusations are related to an extortion tactic. This defamation lawsuit claimed that Dixon had threatened to sue him over “grotesque” fake allegations, demanding a payout. The Terror Squad boss’ lawyer had previously alleged that the accusations against his client were “nothing more than an elaborate shakedown to extract money from him.”

Now, that defamation lawsuit will move forward in court with a federal judge’s support. Meanwhile, Fat Joe’s accuser and his legal team is trying to appeal this judge’s ruling and secure a dismissal.

Read More: Five Takeaways From Jay-Z’s New Interview With GQ

The post Fat Joe’s Accuser Rescinds Sex With Minors Allegations appeared first on HotNewHipHop.

Listeners keyed in on one line in particular towards the end of the conceptual track. “One of the so-called kings of this rap thing that I swear to usurp.” Prior to that line he references being “signed to my hero,” Jay-Z.

People seemed to pinpoint the word “so-called,” and theorize that J. Cole didn’t really respect Hov. Also, with the song paying homage to Nas’ “Rewind” and him being a huge fan of Jay-Z’s biggest enemy added some extra layers to this belief.

However, while that line on its own does provide some credence to this argument, the line before it kind of nullifies things.

That’s why J. Cole informed the 7PM In Brooklyn podcast, per Gothamhiphop, that it “absolutely wasn’t” a dig at the New York icon.

He reiterates that he’s also an “unabashed Jay-Z fan” and viewed him as a god of rap as well. But after hearing the chatter online about how they viewed the line, Cole admits he could see the vision. However, as he explains further in the clip, he was rapping from the perspective a young and hungry teenager.

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Are Jay-Z And J. Cole Still Friends?

That makes sense as the song does narrate his life backwards. All in all, this can finally be put to bed.

In fact, J. Cole expressed that he’s upset his missing out on the Yankee Stadium concerts Jay-Z is putting on. They just so happen to fall on the days that he’s opening his world tour for The Fall-Off. But he says he does plan on attending his performance at the upcoming Roots Picnic.

Overall, it sounds like these two gentlemen are still friends, even if Cole and Hov both haven’t spoken to each other in a while. During the latter’s big interview with GQ and Frazier Tharpe, he revealed that him and his former signee are on good terms.

“I don’t have any negative feelings for him. I’m actually super proud of him and what he’s done.”

Read More: Young Thug Started To Give Enough Of A F*ck On “Slime Season 3”

The post J. Cole Reveals If He Dissed Jay-Z Or Not On “The Fall-Off” appeared first on HotNewHipHop.

The Royal sample is the centerpiece of this discovery. Royal blue hits the toe box, Swoosh, and collar against a glossy black base. A white midsole and blue outsole complete the look cleanly underneath. The wings logo is debossed directly into the patent leather on the ankle.

The fact that the Bred patent released publicly makes this sample even more interesting. Jordan Brand clearly had the “Royal” colorway ready in the same construction. Something along the way prevented it from reaching store shelves. That decision has left collectors wondering what might have been.

Patent leather on a Jordan 1 High OG carries a certain premium energy. The glossy finish transforms a familiar silhouette into something noticeably more elevated. The “Royal” colorway in standard leather is already one of the most iconic Jordan 1s ever. Seeing it in patent leather adds a dimension that feels both surprising and completely natural.

Overall, the “Royal” Patent Air Jordan 1 sample is a rare window into a release that came very close to happening.

Read More: A F&F Exclusive Fragment x Nike Air Force 1 Has Surfaced

Air Jordan 1 High OG “Royal Patent” Sample

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The Air Jordan 1 High OG “Royal Patent” sample takes one of the most beloved colorways ever and completely reimagines it. Full patent leather construction gives the shoe a glossy, almost mirror-like finish throughout.

Royal blue covers the toe cap, Swoosh, and collar panel against a deep black patent base. A white midsole with a matching blue outsole sits cleanly underneath. The Air Jordan wings logo is debossed subtly into the ankle panel material.

The Bred version in the same patent construction did eventually release to the public. That makes the Royal’s absence from shelves all the more puzzling and significant.

The glossy finish elevates the silhouette beyond its standard leather counterpart entirely. This sample feels like a piece of Jordan Brand history that deserved a proper release.

Read More: Roman Reigns Laced Up One Of The Rarest Air Jordan 1s Ever

The post These Unreleased Air Jordan 1 Samples Are Turning Heads appeared first on HotNewHipHop.

In a clip caught by Whooping feet on Twitter, the Dreamville artist spoke on his bravado and confidence in his music. While he doesn’t feel like the greatest to ever do it in his private life, he did stand on his ability to convince people of such praise.

“I say I’m the best on songs. Ask me in real life: Do I think I’m the best rapper alive? Bro, it’s a n***a named Black Thought that exists,” Cole remarked. “It’s a n***a named Lupe Fiasco that exists. It’s n***as that, on any given day, even my peers. A Drake or a Kendrick [Lamar]. I know on any given day, I can show up to the studio and give these n***as 80. But I know they can show up on any day in the studio and give me 80. And I might only have 30. If I’m taking on a rap persona when I’m rapping, that’s how I like to rap. And guess what? Sometimes I hit the mark and I’ll spit a verse that really might have you believing that s**t.

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J. Cole’s Thoughts On The GOAT Debate

“But if you ask me in real life, do I walk around like I’m the best rapper alive? No, n***a,” J. Cole continued regarding his artistry. “Like I’m the best ever? No. But when I put on that motherf***ing cape, that’s how I try to attack s**t. Have there been things and moments and verses where I’m writing this s**t and I’m like, ‘I know n***as not f***ing with this’? Absolutely.

“But in reality, do I walk around this Earth like there’s no n***a better than me?” Cole continued. “In real life? Like I can’t get in the studio with Black Thought and he just gives me 90. And I’m sitting there like, ‘I got 25 for you.’ Any one of these amazing rappers. People, ’cause they don’t know me for real, they hear me say it in a verse so much when I have on the cape. It sounds convincing because I’m really doing that s**t that’s gon’ have a n***a like, ‘Man, he think…’ No, you think!”

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The post J. Cole Admits He Lies About Feeling Like The GOAT In His Music appeared first on HotNewHipHop.

Because for those who actually witnessed Kendrick’s ascent—from his days of K.Dot to Section.80 to good kid, m.A.A.d city to projects like To Pimp a Butterfly, and DAMN.—the revisionism will always feel a little hollow. Cultural memory doesn’t evaporate that easily, especially when the work itself continues to hold up.

Of course, the recent feud between Kendrick and Drake has only intensified the urge to re-litigate both artists’ legacies in real time. The two will probably remain tethered to that moment for years, whether through songs like “Not Like Us” echoing through arenas or fans weaponizing the beef in comment sections and concert crowds alike. 

And then there are Ebro’s recent comments about Drake’s catalog and how many classics he really has under his belt. If a rap beef didn’t effectively rewrite his narrative, then maybe we wouldn’t be looking at a triumphant run throughout the 2010s as harshly. But that entire saga between Kendrick and Drake, as entertaining as it may be, ultimately has very little to do with the question of catalog. Because when we talk about bodies of work, Kendrick has long operated in rarefied air.

Outside of the Drake and Kendrick beef, a recent conversation across social media comparing Future’s catalog to Kendrick’s makes this all the more bizarre: who has more classics?

Read More: Kendrick Lamar’s “Untitled Unmastered” Quietly Grounded “To Pimp A Butterfly’s” Genius

Watch The Latest HotNewHipHop Video Essay Below

On the surface, these conversations are random and, oftentimes, nonsensical. At the height of Verzuz, Twitter began debating a hypothetical battle between NBA Youngboy and Jay-Z. It makes for great conversation at the end of the day, but it also urges us to think a bit deeper about what a catalog actually looks like.  But in the case of Future and Kendrick Lamar, the comparison of catalogs ultimately doesn’t boil down to preference but approach.

At face value, it might come across as blasphemous. Future is the king of toxicity, a mainstay in strip clubs and on the radio, while Kendrick Lamar is the enigmatic rapper who puts intention behind each word and every appearance. They both play their roles in the landscape of rap differently, yet not entirely in separate universes. We can’t look back at the 2010s—or even the 2020s at this point—without recognizing how important they are, especially since rap fans are the furthest thing from monolithic.

The conversation gets less ridiculous when you start breaking down their respective catalogs and what are considered unanimous classics within them. Let’s examine these more closely: the three-peat mixtape run of Monster, Beast Mode, and 56 Nights led to the release of DS2—that’s four in less than a year. And then let’s throw in both self-titled and HNDRXX, which were released a week apart. In total, that’s six classic projects in Future’s repertoire.

Kendrick, however, never moved at the same pace as Future, and it has resulted in significantly different outcomes. Section.80 is a mainstay for his core audience and a definitive project of the blog era, but whether it’s a classic—as in a quintessential listen for hip-hop heads—is debatable. What isn’t debatable are albums like good kid, m.A.A.d city, To Pimp a Butterfly, and DAMN. It’s too early to include any project either artist has released this decade, but outside of GNX, neither Future nor Kendrick has created projects that have lived up to their respective 2010s runs in quite the same way. Kendrick has four classics, if we’re being generous, but three albums are unanimously revered.

Trying to put either artist against the other will ultimately boil down to a quality-versus-quantity debate, which is the wrong way to frame it. Because at their core, these careers are about quantity versus curation. Future captured lightning in a bottle throughout his career. Even his worst projects contain incredibly strong moments. On the other hand, Kendrick practically vanishes after an album cycle is over—perhaps even more so these days. Yet every album he puts out, even recent ones like Mr. Morale & The Big Steppers, remains in conversation in one way or another.

Read More: “The Life Of Pablo” Marked The Old Kanye In His Final Form

A Case For Future

But that’s what’s most interesting. It’s not that Future’s success hinged on his celebrity, but that his relationship with Ciara—especially in its aftermath—turned him into a whole different breed of artist, one who reinvented himself emotionally and sonically. Between 2014 and 2017, Future turned trap into the emotional language of mainstream rap, transforming toxicity and nihilism into a pop-level aesthetic. His influence has been pervasive in that sense, from the music that bred countless artists who followed his blueprint to the memes and attitudes that have shaped the modern landscape of dating. He taught detachment on songs like “Real Sisters.” He masked heartbreak through deflection on “Throw Away,” and “Codeine Crazy” is the type of self-medicating that saw him unravel in his own isolation. Alongside producers like Metro Boomin, Zaytoven, and Southside, Future added the emotional depth that made this era particularly inspiring. 

The creative avalanche only cemented him as an omnipresent force. If people were surprised that he penned “Drunk in Love,” reuniting with Jay-Z on DJ Khaled’s “I Got the Keys” in 2016 only reinforced that his emotive delivery had become the heartbeat of the moment. It’s the same reason he and Drake locked in together on What A Time To Be Alive in 2015, months after the release of DS2, and If You’re Reading This It’s Too Late. As much as Drake had the rap game under his thumb at that point, Future was setting the emotional temperature in a way that influenced the streets as much as the mainstream—he was shaping the sound of the moment in real time. An album like DS2 only showcased that he couldn’t miss.

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A Case For Kendrick Lamar

The same year Future punctuated the mainstream with DS2 and What A Time To Be Alive, Kendrick Lamar delivered what can easily be considered a definitive body of work in his catalog—To Pimp a Butterfly. Coming off a classic debut that can be viewed in the same vein as Illmatic, we could’ve easily witnessed a rising star succumb to the pressures of a sophomore major-label release. And yet To Pimp a Butterfly underlined Kendrick Lamar as an album artist more than anything else—he could disappear from the public eye and return with something that takes time to digest. In many ways, it fell victim to the same “instant classic” narrative that plagues many albums, but over a decade later, it’s a project that still stands on its own two feet—sonically, lyrically, and thematically.

But that’s the thing about Kendrick’s catalog and the “classics” attached to his name—they simultaneously function as narrative arcs, social commentary, and layered musical compositions. Kendrick operates under an almost entirely different philosophy, where each song isn’t necessarily a standalone but part of a broader concept. good kid, m.A.A.d city brought us through the streets of Compton through his eyes. To Pimp A Butterfly grappled with survivor’s remorse with a politically sharp edge, and DAMN. explored the duality of virtue and vice—faith and doubt, pride and humility. With each of these albums, Kendrick delivered bodies of work that demand time and front-to-back listens. To Pimp A Butterfly often faces flak because it doesn’t necessarily have an obvious “hit record,” even though songs like “King Kunta” and “Alright” remain algorithmic and political mainstays to this day. But a song like “i” truly didn’t receive the credit it deserved until it was contextualized within the album’s tracklist.

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Are We Counting Classics The Same Way For Both Artists?

Kendrick’s songs often gain power in sequence, compared to someone like Future, whose model emphasizes individual songs dominating the cultural bloodstream. Where Future’s greatness might be atmospheric, Kendrick’s greatness is architectural. So when we start comparing who has more classics, it gets ridiculous because the models we use to determine them are apples and oranges. Future’s strength was volume—he churned out classics one after another in a way that honestly felt reminiscent of Lil Wayne’s mixtape run in its impact. Quality matched quantity, and the replay value within those bodies of work can’t be contested over a decade later. That era was Future’s era, and those projects—whether mixtapes like Monster or albums like HNDRXX—feel just as fresh in 2026 as they did when they were first released. What makes the “classics” conversation even more muddied is the technicality of mixtape versus album distinctions. But let’s be real—the mixtapes Future dropped functioned like albums.

Frankly, we’re not looking for the same type of instant gratification from Kendrick Lamar. It’s always been a slow burn. Picking bars apart, analyzing samples, spotting Easter eggs that connect back to earlier albums—essentially turning the experience into a puzzle. Each album felt as ambitious as the last without necessarily circling back to old ideas, sounds, or approaches. He pushed his pen as much as he pushed production. Not everyone could close out an album with a makeshift Tupac interview without it feeling completely corny. There was always risk—and reward—in every single one of them.

But ultimately, the question remains: are we counting classics the same way for both artists? We could spend the next decade analyzing every single moment of Kendrick Lamar’s career and elevating them to a point of genius, but Future’s catalog can’t be denied of its genius either—even if it isn’t in the same metrics.

The reality is that Future probably won’t win a Pulitzer Prize or have his work acknowledged by the National Recording Registry. That’s largely because the system that determines artistic greatness often prioritizes intentional artistry over instinctual brilliance. Kendrick’s artistic intentions are partially why he’s been a critical darling for as long as he has—after a Grammy snub for his major-label debut, the Recording Academy has practically overcompensated to the point where he’s now the most-decorated rapper in Grammy history. That isn’t to say Kendrick doesn’t possess instinctual brilliance, but how many reference songs have leaked that show us the evolution of a beloved final product? Sure, the same could be said about Future. But institutions like the Grammys might not fully recognize his level of cultural significance. Future’s relentless output helped define the moods of an era. Through his understanding of melodies and textures, he mastered the art of making music that people live inside of. That’s another form of greatness—one just as rare as Kendrick’s penmanship.

It’s not that there isn’t merit to the Future vs. Kendrick debate, but the more important conversation is what actually determines a classic. Kendrick and Future represent two distinct paths to building both a legacy and a catalog. Future became the architect of sound and emotion, adding a breath of masculinity to a “sad-boy” rap era. In a sense, he approached it with a formula he knew would work—but it never felt formulaic. On the other hand, Kendrick Lamar became the mastermind behind some of rap’s most ambitious albums, and the rewards of that ambition transcended hip-hop entirely. The number of classics, ultimately, doesn’t matter as much as the impact. The debate falls apart the moment you realize they were never playing the same game. Kendrick Lamar documents the psyche of a generation. Future defines its mood. And both forms of greatness are the reason the 2010s sounded the way they did.

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

The post Does Future Really Have More Classics Than Kendrick Lamar? appeared first on HotNewHipHop.

During a recent stop on Cardi’s “Little Miss Drama” tour, she had a bit of a mishap while performing the “Bartier Cardi” track with 21 Savage (sans Savage). Here’s the part she rapped: “Cardi took your man, you upset / Cardi got rich, they upset / Cardi put the p***y on Offset / Cartier, Cardi B brain on Offset.”

As caught by No Jumper on Instagram, the Bronx superstar looked visibly disgusted when she accidentally name-dropped the former Migo in the chorus. It was for the third line in the aforementioned post-chorus. Still, she kept the show going after putting on a cringed face, and it serves as the latest example of Cardi B throwing shade at Offset onstage.

The last time was when she changed some lyrics while performing her Megan Thee Stallion collab “Bongos.” “My BD is a Migo / B***h, your BD is a zero,” the original goes. But during a tour stop, Cardi changed the lyric to “My BD is a b***h” instead.

Read More: Young Thug Started To Give Enough Of A F*ck On “Slime Season 3”

What Happened To Cardi B And Offset?

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For those unaware, Cardi B and Offset’s tumultuous breakup presumably occurred due to rampant cheating allegations against him and just growing apart as a couple. While they coparent Kulture, Wave, and Blossom, they have dragged each other through the mud on social media amid a nasty divorce process.

However, it’s possible that the cheating allegations did not motivate the split. Rather, both sides have spoken about moving on from the relationship and discussing it over time. Nevertheless, it’s clear that there’s still bad blood between them and that irreconcilable differences now plague their dynamic.

Cardi B’s Offset relationship influenced Stefon Diggs gossip as well, as folks allegedly spotted Diggs with the Georgia rapper’s ex amid rumors of the football player’s now-confirmed breakup with Cardi. Whether or not more onstage antics go down, it’s clear that their bond will not heal up anytime soon.

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