Spears has been seeing this press coverage and she’s not a fan. In a social media post shared today (October 20), she wrote:
“My book’s purpose was not to offend anyone by any means !!! That was me then … that is in the past!!! I don’t like the headlines I am reading … that’s exactly why I quit the business 4 years ago !!! Most of the book is from 20 years ago … I have moved on and it’s a beautiful clean slate from here !!! I am here to establish it that way for the rest of my entire life !!! Either way, that is the last of it and shit happens !!! This is actually a book I didn’t know needed to be written … although some might be offended, it has given me closure on all things for a better future !!! Hopefully I can enlighten people who feel particularly alone in most cases or hurt or misunderstood !!! Again, my motive for this book was not to harp on my past experiences which is what the press is doing and it’s dumb and silly !!! I have moved on since then !!!”
Yes, Jon Stewart is suddenly in need of a platform, and The Daily Show has yet to land on a permanent host. But while those circumstances –- born from The Problem With… Jon Stewart getting cancelled reportedly after he refused to bend on creative control with Apple over stories on AI and China –- line up nice, I can’t imagine Stewart returning to the chair he held for 16 years… with one possible exception.
Let’s remember a few things about Stewart’s previous exit and his moves since. First and foremost, a daily show is a very different animal than a bi-weekly or weekly one. Notice all the Daily Show-esque shows that sprung up since Stewart left and how they have all gone toward the weekly model (most have also died, but that’s not the point, though it is a point). It’s not just about the endurance required to put on a show night after night. It’s about being able to do it in a way that stands out in the very crowded media and political comedy space and being able to sustain that.
The reason The Daily Show has been able to do that is because they have an amazing team of writers and a legendary crew of correspondents. Ronny Chieng, Desi Lydic, Jordan Klepper, Roy Wood Jr. (before his recent departure), Dulce Sloan, Michael Kosta. Each could reasonably carry their own show. Some really need to. But to do the kind of show Stewart pivoted to, with deeper cuts and a harder news focus, it’s just not possible on a nightly basis no matter the talent. You’d run out of money, angles, and energy pretty quickly.
“So why doesn’t Stewart just do the show he used to do?” First, while attitudes shift and nostalgia blooms, it’s been a very long time since Stewart’s exit and he didn’t seem like he was getting the same level of fulfillment from the job that he had previously. From a 2015 interview with The Guardian:
“It’s not like I thought the show wasn’t working any more, or that I didn’t know how to do it. It was more, ‘Yup, it’s working. But I’m not getting the same satisfaction. […] These things are cyclical. You have moments of dissatisfaction, and then you come out of it and it’s OK. But the cycles become longer and maybe more entrenched, and that’s when you realize, ‘OK, I’m on the back side of it now.’”
Second, Stewart had every opportunity to do any show he wanted to (just ask HBO) and he chose the style and format of The Problem With. If he didn’t want to keep doing The Daily Show back in 2015 or even a direct copy in 2021, why would he want to now? The fun atmosphere of the world at large?
Listen, I know it’s instinctual to say everything is worse and more complicated now vs the halcyon days of yore. But shit is objectively worse right now than when Stewart left.
We’re literally living in the scene from John Carpenter’s The Thing where Kurt Russell’s muses into a tape deck that nobody trusts anybody and that they’re all tired after a series of events where dogs and friends get taken over by some kind of parasitic creature that’s trying to learn us so it can replac… oh shit, I just described AI! Don’t tell Apple.
Universal
Why would Jon Stewart want to take a nightly tour of the depressing cycles of poverty, injustice, and hate in this country and all over the globe? Why would he want to cover daily Trump indictment updates, the DNC Presents: Weekend At Biden’s, outrage theater, conspiracies conspiracies everywhere, and two complex and brutal wars? That’s not even counting the “civil” one going on in the U.S. over guns and the real societal danger: books and drag performers. While there’s value in illuminating the crushing boulders that fall off bullshit mountain and in guiding us through the news, it’s not absolute or lasting value. Not when our attention spans are…
The Exception With Jon Stewart
I don’t think this will happen for the reasons stated above and because it’s just too clean and storybook. But… This whole speaker of the house thing has me thinking. No Daily Show guest host has been able to secure the votes to get elected perma-host. What if Jon Stewart became a temporary babysitter?
Maybe an instant, short(er) term fit where he slides back into his old gig holds appeal; some kind of hybridized cross between what The Problem With was and what The Daily Show is (because, The Daily Show is still really good, even sans host, which is a credit to showrunner Jen Flanz and the existing staff). Maybe he can even take us through the election… and whatever immediately follows (he said with fear and utter exhaustion).
Returning to The Daily Show could be exceptionally lucrative for Stewart immediately and in the future (though, it’s not like he’s going to begging for pennies after leaving Apple). It would also cut through the competition and put The Daily Show at the center of what may be (and stop me if you’ve heard this one but also it’s really true) the most consequential election in the history of this wacky country. Especially since Jon missed out on all the fun in 2016 and 2020. And what fun there was (he said with even more exhaustion).
Seriously, I don’t subscribe to this thinking, but some people feel like Stewart left business unfinished at the start of the Trump era. This is ludicrous because as much as we love and appreciate these shows, it’s not like having Jon Stewart in that chair would have had a substantial effect on those elections or on the way the country was run. The days of The Daily Show scaring powerful people are long gone, not because of a deficiency with the show but because of a shellshocked audience and news cycle that only knows maximum speed. Also, irony and satire died a few years ago, and the consequences of hypocrisy haven’t been seen more than a slap on the wrist in a long time.
With all that said, Stewart does have an unmistakeable value. He’s the security blanket of political comics, making us feel a little better, a little smarter, and a little safer when he was adding context to the issues of the moment. I bet a lot of people would celebrate the chance to feel that way again, even if it was probably a product of less chaotic times.
For Stewart, I suppose going back might represent some kind of Groundhog Day scenario of a repeating nightmare absent Andie McDowell and all you can eat breakfast food. Or maybe it’s the greatest challenge of his career and a totally thankless task (aside from the money)! It would be one of those things, definitely… maybe.
On second thought, maybe he should just run for President. Might be easier.
Community offered the definitive answer to the question to the question, “Who was the titular boss on Who’s the Boss?” It’s Angela. But for one night in the 1980s, it was Tony Danza.
In his memoir, If You Would Have Told Me, actor John Stamos wrote about finding his then-girlfriend, model and actress Teri Copley, in bed with Danza. They were dating for about a year (“I’m dumbstruck and goofy in love”) when Stamos noticed she was growing distant. “We’ve gone from talking on the phone every few hours to silence,” the Full House star wrote in excerpts provided by Entertainment Weekly. Things changed forever when Stamos drove to Copley’s home.
“A black 1957 Porsche 356 Speedster, vintage convertible. Strange. I shuffle to the car with my stomach sinking and take a quick look inside,” Stamos wrote. “There’s a hairbrush, keys, boxing gloves, and a half-unrolled poster of my girlfriend, naked, barely covered by a white sheet. Half of her butt is showing. I’ve never seen this poster before.” What happened next was what Stamos called his “worst nightmare.”
“The blinds are closed, but the door is slightly open. I take a peek inside and see four feet protruding from the shabby-chic, floral-print duvet that once kept me warm. My Tiny Dancer is in bed with Mr. Porsche Speedster. They are sleeping. I can’t tell who he is, but I recognize Teri’s ass barely covered by the sheets. It looks like her new poster.”
Stamos, who couldn’t tell who the guy in bed was, went back to the car and grabbed the poster. “I stare at the two-dimensional, half-dressed woman that I thought I knew. She’s signed the poster, with little hearts, ‘My Dear Tony, I’ll love you forever. XO, Teri.’ Tony? Who the hell is Tony?” he recalled. Then it clicked: “Hold me closer, Tony Danza.”
Stamos holds no ill will against Danza, however: “If you would have told me the day I walked into that room and caught my true love in bed with another guy that his show Who’s the Boss? would launch Full House into a bona fide hit, making me a household name… Well, what can I say? Thanks, Tony Danza.”
If You Would Have Told Me comes out on October 24th.
2023 music festival season may be mostly over, so now it’s time to start looking forward to 2024. For folks in the Phoenix, Arizona area (or adventurers looking to make a trip out there), today (October 20) brings great news: M3F Fest just announced its 2024 lineup, which is led by artists like Arlo Parks, Dominic Fike, and Bakar.
Also on the bill are Barrett, Bennett Coast, BUNT., Coco & Breezy, Dayglow, DRAMA, Duke Dumont, Edapollo, Elderbrook, Fiji Blue, GORDO, Gorgon City, Hippo Campus, It’s Murph, Jules Duke, KOL, Lane 8, Poolside, Roosevelt, SG Lewis, Shifty, Tim Atlas, Tommy Newport, Valley, Vandelux, WhoMadeWho, and Young Franco.
The event is set to go down on March 1 and 2 next year, at Phoenix’s Steele Indian School Park, a new venue for the fest. M3F is a non-profit event, so 100 percent of proceeds will be donated to charity. $2 million has been donated since 2022, while $5.2 million has been raised in total since the festival’s 2004 inception.
Uproxx’s Carolyn Droke went to this year’s fest and wrote, “Throughout the weekend, it was clear that everyone from friendly festival workers to excited attendees showed up with a chilled mindset. During the day, laid-back festival goers basked in the Southwest sun and spotted the grass with colorful picnic blankets and inflatable couches. Friendly strangers respectfully danced with each other during groovy DJ sets. Even during the most packed and popular sets people in the crowd made sure to be considerate of everyone else’s personal space. Overall, organizers achieved their goal of creating an environment for music fans to let loose and have a good time, all while giving back to their community.”
Lola Brooke and French Montana turn up at the “Pit Stop” in the pint-sized Brooklyn MC’s latest video. The titular spot is called “Lola’s Pit Stop” in the video, and while souped-up race cars burn rubber outside, inside, Lola, French, and friends party with some energetic strippers who show off some impressive pole skills. The track finds Lola Brooke goading a male addressee to spend big money at the strip club to prove he’s got it. Meanwhile, French’s verse contains the memorable missive, “Feelin’ like Jerry Jones, man, I hate you n****s.” Topical!
“Pit Stop” is the first official single from Brooke’s upcoming project Dennis Daughter, which is set for release on November 10. In addition to French Montana, the mixtape will feature Bryson Tiller, Coi Leray, Latto, Nija, and Yung Miami. A press release calls Dennis Daughter “a formal introduction of Lola’s origin story to the world” after her big break with the 2021 single “Don’t Play With It,” which went viral on TikTok in 2022, spawning a remix with Latto and Yung Miami of City Girls.
Sexyy Red’s love for the first life, cars, and money isn’t going to slow down now that she’s reportedly pregnant. In fact, the “No Panties” rapper has shifted gears in her career to speed things up. After joining several other acts on the road as opening support, including Drake, Lil Durk, and Moneybagg Yo, Sexyy Red kicked off her first headlining run on the road.
The Hood Hottest Princess Tour launched this past Monday, October 16, in Boston and will end in San Francisco at the end of November. Continue below to view the setlist, according to setlist.fm, and her remaining headlining tour dates. Find more information here.
1. “I’m The Sh*t”
2. “Sexyy”
3. “Female Gucci Mane”
4. “Chicken Chicken”
5. “Sticky Icky”
6. “I Love My Nickel”
7. “Throwin’ It”
8. “Mad at Me”
9. “Slob on My Ckat”
10. “Hood Rats”
11. “Slut Me Out” (NLE Choppa cover)
12. “MMM HMM”
13. “Shake Yo Dreads”
14. “Born By the River”
15. “Face Down”
16. “SHAKE SUMN” (DaBaby cover)
17. “Rich Baby Daddy”
18. “Peaches N Eggplants”
19. “Hellcats SRTs”
20. “Looking For The Hoes (Ain’t My Fault)”
21. “SkeeYee”
22. “Pound Town”
23. “Sexyy Walk”
10/24 – Detroit, MI @ St. Andrew’s Hall
10/26 – Cincinnati, OH @ Bogart’s
10/30 – St. Louis, MO @ The Pageant
10/31 – Chicago, IL @ House of Blues
11/01 – Minneapolis, MN @ Varsity Theater
11/04 – Nashville, TN @ Brooklyn Bowl
11/05 – Birmingham, AL @ Iron City
11/09 – Orlando, FL @ The Beacham
11/10 – Fort Lauderdale, FL @ Revolution
11/14 – Atlanta, GA @ Buckhead Theatre
11/15 – Charlotte, NC @ The Underground
11/20 – Houston, TX @ House of Blues
11/21 – Dallas, TX @ Echo Lounge & Music Hall
11/24 – Phoenix, AZ @ The Van Buren
11/25 – Los Angeles, CA @ The Wiltern
11/29 – San Francisco, CA @ The Fillmore
Jonathan Majors‘ voice has only been heard during the first two episodes of Loki Season 2, but the actor made his presence known as he (awkwardly) dominated the third episode. After previously appearing in the Loki Season 1 finale as the ominously named He Who Remains, Majors embodied a different character this time around: Victor Timely. But what does it all mean?
Die-hard Marvel fans first saw Victor Timely in the post-credits scene for Ant-Man and the Wasp: Quantumania, which featured Loki stating that Timely is a variant of He Who Remains. (That film also featured Kang the Conqueror, who is also variant of He Who Remains. — We think.) Variants are basically alternate reality versions of characters whose lives diverge in sometimes subtle or major ways on their respective timelines. The latest Loki episode also heavily implies that Victor Timely is a variant of He Who Remains, but there is a possibility that he may be the actual He Who Remains.
Like all things Marvel, Victor Timely can be tied back to the comics where he was an alias for Kang the Conqueror when he was lying low in Wisconsin, as time-traveling supervillains do. For the Loki series, Marvel decided to go a slightly different route, but the character has been a part of the show since the “30-page” pitch that producer Kevin Wright sent Tom Hiddleston.
“Once you set the stakes — and season 1 was so much setting of stakes: The multiverse is out there; war is coming. This really awful bad guy is going to be coming that Loki is afraid of, and if Loki is afraid we’ve got to take that threat seriously — it’s very fun as a storyteller to then go in the opposite direction. You’re expecting the worst; some sci-fi villain from the future. And the next version of this guy to pop up in our story is coming from the past, and he’s just sort of a eccentric, quiet inventor that maybe is, like, a bit out of time and out of place.”
If you’re suspicious of Victor’s motivations or if he’s really as bumbling as he seems, well, you’re supposed to be.
“Can Loki trust this guy?” Wright told Polygon. “It pushes a lot of buttons for Sylvie; if she will be able to trust him, knowing what she knows. It gave us a lot of cool character drama to play with.”
Loki Season 2 streams new episodes Thursday on Disney+.
When looking back on your 4th-grade education, you probably won’t remember the math problems you did or even basic division (calculators are our friends for a reason). But you do remember that one time when your substitute teacher showed E.T. on the last day before winter break and you are still traumatized. And that’s what childhood is all about! A teacher recently showed the campy horror movie Winnie The Pooh: Blood and Honey instead of say, the actual beloved cartoon, but the director doesn’t seem to mind.
“It’s mad, isn’t it? I think it’s crazy. Because when you watch the film there is no way you can mistake it for a child’s film, literally in the first 10 minutes, crazy stuff’s happening,” Rhys Waterfield recently told Variety, adding that he hopes they “haven’t ruined these kids’ childhoods.” Even if he did, he’s back at it again with a sequel that’s heading to theaters next year, and this time, Winnie’s best friend Tigger is joining the gang.
Winnie the Pooh: Blood and Honey follows the iconic children’s characters as they go on a bloody rampage against Christopher Robin. Waterfield was able to use the characters because they entered the public domain this year. And next year, thanks to the public domain, Tigger is on board.
Waterfield explained. “You couldn’t use Tigger before because he wasn’t in the public domain then. But Tigger is in the public domain on Jan. 1, 2024 and the film is coming out a month later.” This means we might see Tigger using his tail to strangle someone or something. Who knows!
It seems like Disney will probably try to stay quiet on this topic as they can’t do much when it comes to the public domain, and they certainly don’t want to draw even more attention to it or else more teachers will “accidentally” show it to their 10-year-old students.
The Winnie The Pooh: Blood and Honey sequel is expected to hit theaters on Valentine’s Day. Romance is not dead.
Buffalo Trace is one of my most beloved distilleries in America. Blanton’s, Pappy Van Winkle, E.H. Taylor, Weller, Stagg, and the Buffalo Trace Antique Collection are just a few of the prized labels the brand drops throughout any given year. Well, Buffalo Trace just added a new collection of whiskeys to that list — the Prohibition Collection. Below, I’m going to give you my professional tasting notes on all five bottles in this very exclusive tasting set.
Before I dive in, let’s have a little background. Each of these bottles represents a brand that the Buffalo Trace Distillery — which was once called the O.F.C. Distillery and George T. Stagg Distillery, depending on the era — either distilled or was the source of for other bottlers back in the Prohibition era. Each of the bottles has a label that shows the bottle as it would have looked when the old George T. Stagg Distillery was operating as a “medicinal” whiskey distiller during the dark days of Prohibition.
It’s so well done that the boxes for each of these bottles even have the space for a “prescription” label. I know, I know — get the to the chorus!
The overall point to take away — besides the throwback branding — is that these are new Buffalo Trace whiskeys batched in new ways that we haven’t necessarily seen before. Master Distiller Harlen Wheatley was able to make something unique and interesting out of whiskey that most of the whiskey-drinking world already adores. That’s exciting.
The Three Feathers band goes back to 1812 and The O.F.C. Distillery days of Buffalo Trace. The whiskey started as a rye before slowly transitioning to a bonded and then eventually a blended whiskey before it was lost to history. Today, the whiskey is a blend of straight whiskeys from Buffalo Trace’s stocks and not a blend of whiskeys and neutral grain spirits like other “blended whiskeys”.
Tasting Notes:
Nose: Leathery cherry and baking spices pop on the nose with a good vanilla foundation next to old oak and a hint of light-smoldering orchard bark.
Palate: Peach skins and pear are present on the palate with a sense of sour cherry dipped in root beer next to a creamy vanilla sauce just kissed with salt.
Finish: Rich and buttery salted caramel arrives late on the finish as dark winter spices and a light sense of old oak round things out.
Bottom Line:
This is a nice whiskey overall, but a tad thin in the end. It feels like a good standard whiskey that’s meant for whiskey-forward cocktails.
A new Stagg bourbon is always an exciting prospect. This version is a throwback to the label from back in the days of Prohibition when Stagg was the George T. Stagg Distillery’s flagship brand. The actual juice in the bottle is a batch of classic Stagg bourbon bottled as-is at cask strength.
Tasting Notes:
Nose: A deep sense of Buffalo Trace sour mash comes through on the nose like a batch of sourdough cinnamon rolls just out of the oven next to rich vanilla icing, leathery dark fruits, and old and musty oak staves.
Palate: The ABVs create a light buzz on the tip of the tongue as soft leather slowly turns into brandy-soaked cherries dipped in dark chocolate rolled in winter spices and just kissed with orange zest and salt.
Finish: The vanilla gets buttery and creamy on the finish as the ABVs warm your throat and chest with sharp winter spices, dried orange, dried red berries, leathery prunes and dates, and a sense of chili-chocolate tobacco rolled with fallen orchard leaves.
Bottom Line:
This is a classic pour of Stagg. Given how vehemently people clamor for every Stagg release, I can see people buying this set for just this bottle. And it loves up to the Stagg hype, this is really good bourbon.
That all said, you might want to pour this over a single big ice cube to calm it down a tad on the senses. It’s warm to me, which might be HOT to you.
Spiritus Frumenti is the Latin name that doctors and pharmacists use when prescribing booze to patients. It simply means “Spirit of the Grain” in case you’re wondering, and it’s what whiskey was “prescribed” as during Prohibition. The actual whiskey in the bottle is a batch of Buffalo Trace straight bourbon.
Tasting Notes:
Nose: Heavy nostalgia notes of summer in the backyard — warm fir sap, old porch furniture, blooming orchard tree, dry grass — mingles with dark and salted caramel, cherry cola, raw sugar rock candy, and a whisper of pear brandy marzipan.
Palate: Apple blossom and orange oils drive the palate toward a deep vanilla buttercream next to toffee rolled in roasted almond and just dusted with dark chocolate before a hint of dry sweetgrass arrives.
Finish: That sweetgrass braids with cedar bark, smudging sage, and chocolate-orange tobacco on the finish as the rich vanilla buttercream creates a lush ending.
Bottom Line:
This is pretty delicious whiskey — and feels like the quintessential Buffalo Trace bourbon taken up to a notch. This is a must-try from the bunch (but more on that below).
Walnut Hill is an outlier in this collection as it was only produced at George T. Stagg Distiller and bottled for another brand (contract distilling has been around for as long as the industry has). Today, the whiskey in the bottle is a batch of Buffalo Trace straight bourbons.
Tasting Notes:
Nose: The nose opens with a bright fruity sense that leads to minor keys of cornbread and dried chili pepper next to orange oils and old oak staves.
Palate: The cornbread takes on a molasses sweetness as peaches and cream drive the taste toward a rich and creamy vanilla cut with cinnamon and nutmeg, which almost leans the flavor toward eggnog.
Finish: The end takes on a dry barrel stave vibe with a hint of cinnamon tobacco and smudging sage over a soft vanilla foundation.
Bottom Line:
This is a very good standard Buffalo Trace bourbon. It feels like it’s subtle enough to sip over rocks or make into a solid whiskey-forward cocktail.
This brand goes beyond even the old George T. Stagg Distillery to the time Shenley Distilling owned the property and split the brand’s production between the campuses in Pennsylvania and Kentucky. Eventually, Shenley moved the brand to Canada and turned it into a Canadian whisky before it was killed off in the late 20th century. Buffalo Trace decided to resurrect this brand with a signature batch of their straight rye whiskey to honor that long and varied history on and in the bottle.
Tasting Notes:
Nose: The nose opens with a deep sense of rye bread crust bespeckled with caraway next to dry smudging sage, roasting herbs, and cedar bark that gives way to a soft sense of dark fruity leather, soft vanilla creaminess, and a hint of mulled wine in an oak barrel.
Palate: Those roasting herbs drive the palate back toward the rye and caraway with a fleeting whisper of dried dill before circling the palate back around to dark dried berries, old vanilla pods, and a mild sense of eggnog.
Finish: The woody spice barks spike on the finish with a sense of smoldering smudging sage and old tobacco leaves stacked in an old cedar box and wrapped in worn leather before a sense of an old apple orchard on a rainy and cold fall day sets in.
Bottom Line:
Buffalo Trace knows how to make a great rye whiskey and this is a stellar example of that. It’s complex, funky, and deeply flavored in all the right ways.
This is a great sipper neat, on the rocks, or in a killer Manhattan. Dealer’s choice!
Final Thoughts on the Buffalo Trace Prohibition Collection Whiskeys:
Sazerac Company
As you can see, I didn’t rank these whiskeys. They’re just so different and unique that it felt a bit trite. Moreover, you can only buy them together. So you’re getting all of them if you’re getting one of them (more on that in a moment). Still, I had two clear favorites. The Golden Wedding Rye and Spiritus Frumenti were iconic Buffalo Trace products that felt fresh and original while still delivering a wonderful experience.
I also really dig the Stagg. It’s a Stagg, what can I say? It’s great whiskey that people love for a very good reason. It is the warmest of the bunch and I still highly recommend pouring it over ice to maximize the experience.
Lastly, the Walnut Hill and Three Feathers felt like the standard pours of the pack. They were both perfectly fine sippers but felt more suited to mixing up a solid cocktail with a little pizzaz than as true-blue sippers.
So how do you get this set of whiskeys? Well, you can score a box for $1,000 if you’re lucky (assuming your local liquor store even got one). Otherwise, you’re going to be looking at a secondary market with greatly inflated prices — this is a Buffalo Trace release after all. Still, if you do come across this one and you are an avid fan of Buffalo Trace or even just Stagg, this is a no-brainer buy to add to your collection.
After months of teasing their long-awaited collaboration, Drake and Nicki Minaj’s unreleased track did not make For All The Dogs. However, the Queen Radio host’s new freestyle track, “All The Barbz,” is the ultimate response for the notable album cameo snub. On the record, Minaj reclaimed her Young Money Record comrade’s “All The Parties” to hold fans over before the release of her forthcoming album, Pink Friday 2.
She kept Drake and Chief Keef’s contributions to demonstrate how sorely her bars were missed in the body of work. For Minaj’s verse, she took a moment to address the subtle jabs she sent seemingly and received during the 2023 VMAs (where she served as a host and featured performer).
“VMAs was a family reunion / First time in a while I seen all of my sons / Keep it a hundred, keep it in a trust / If I lose ninety-nine, I still keep it a buck / I don’t hear you hoes / I make the movies, I give you bitches cameos / Here we go, he tryna make honey nut like Cheerios,” spit Minaj seeming to refer to foes Cardi B, Megan Thee Stallion, and Latto some would include Doja Cat in the mix as well.
That would seem to be supported by another fairly topical line: “I get these b*tches scramblin’ when I throw the bait / One sub kill five b*tches, OceanGate.”
Listen to Nicki Minaj’s “For All The Barbz” above.
Pink Friday 2 is due on 11/17 via Republic Records. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
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