it's us yachty

Concrete Boys "It's Us Vol. 1" Review

Lil Yachty 's label and music collective Concrete Boys have finally released their long-awaited debut album, It's Us Vol. 1 . The project is the first major showing of each of the five group members, which include Lil Yachty himself alongside Camo, Karrahbooo, Dc2trill, and the very first Concrete Boys signee Draft Day. The album, which officially released on April 5, runs 16 tracks over 47 minutes and offers a wide array of posse cuts, solo tracks, and all kinds of blends and mixtures along the way. Let's dive into the material on It's Us Vol. 1 without further ado and review the project's best and worst moments.

The Project Does Not Start With A Bang

It's Us Vol. 1 opens with a laid-back intro by Camo, with a brief Lil Yachty appearance creeping into the final moments of the track. While the song "Point Me To It" is a solid track, it doesn't bring the kind of hype or excitement we'd like to see in an album opener. The following Karrahbooo-fronted track, "Where Yo Daddy," is equally sleepy, offering smooth vocal delivery over a low-energy instrumental. Neither of these tracks is a bad showing of Lil Yachty and his Concrete Boys affiliates. However, it seems clear that It's Us Vol. 1 should have opened with a strong, high-energy posse cut, especially since the major appeal of this album is the shared star power of Yachty’s multiple protégés. 

The third track, "Dialed In," brings the banging energy required to invigorate listeners as Camo and Draft Day trade bars back and forth with expert precision, showcasing their excellent lyrical chemistry. All this takes place over a thumping, room-shaking sub bass and cowbell-heavy drums, making the track the project's first real banger. Subsequent titles such as "Playa Walkin," "Not Da 2," and "Hit Diff" offer different Concrete Boys pairings, highlighting the blending sounds and combined charisma of the many budding solo artists alongside Lil Yachty himself.

Yachty Takes Center Stage On The Album

While it should come as no surprise that Lil Yachty is the major superstar of It's Us Vol. 1 , it is shocking that the talented young MC has so many solo placements among this tracklist. The first solo cut from Lil Yachty is "LA Reid," which is sonically great but provides little to no justification for being present on the Concrete Boys project. If the track had been released as a single, perhaps it could have drawn additional eyes to the ensemble project, similar to J. Cole 's placing of "Middle Child" on 2019's Revenge of the Dreamers 3 . Instead, the song serves to grind the album's momentum to a halt, and diverts fans toward other Yachty solo projects instead.

The same cannot be said for the following two Lil Yachty solo tracks, "M.O.B." and "Pimpin Ain't Easy," which each earn their place on the Concrete Boys album by shouting out and name-checking other members of the crew. The former track sees Yachty floating over smooth piano jabs that provide a sparse, soothing melody, making it a perfect song to blast out the windows of your whip on a sunny day. The latter, "Pimpin Ain't Easy," is an R&B style crooner who sees the Quality Control signee reflecting on his blessings, including the important women in his life, and celebrating his ability to hold it down as the de-facto leader of the crew.

The Posse Cuts Are The Biggest High-Points

Unsurprisingly, the best moments on It's Us Vol. 1 are the rare instances of all 5 MC's forming like Voltron to tackle a long-form cypher. The first proper posse cut on the record comes in the form of a double-jointed track titled “2 Hands 2 Eyes 10 Whips/Rent Due." This song features Lil Yachty giving it his all alongside all four of his Concrete Boys collaborators, with multiple stand-out moments. Yachty's chilled-out delivery of the hook in the first leg transitions smoothly into a beat switch, bringing Karrahbooo into the mix with her most energetic showing on the album. Draft Day's raspy vocal tenors provide some much-needed sonic diversity to the track before Dc2trill concludes the two-hander by tying the subject matter of the tracks together with a smooth reprisal of the " two hands, two eyes " refrain.

"On the Radar Concrete Cypher" is another high watermark for the album, as the entire crew locks in with explosive deliveries, including Camo's best verse on the project. His lyrics, " Concrete diamonds, lay our chains on the ground and make a skating rink / My mans will slap a n**** at the award show like I'm Jada Pink ," are as hilarious as they are memorable, and are a real contender for best bars of 2024 thus far. The sparse horn section bolstering the instrumental on this track provides great room for the team to lock in with some of their best work yet. Other highlights on the album include the Dc2trill solo song "My Life," which was released ahead of the project as a single. The track has handily the best beat on the entire project, making it a real shame that the run-time lasts just under two full minutes.

It’s Us Vol. 1 succeeds at its stated goal by showcasing each of the members of Lil Yachty's Concrete Boys crew but doesn’t succeed at much else. The album is a great introduction to these artists for those who may not know them, but it never really provides any long-lasting intrigue. While the album likely won’t be revisited by hip hop historians 5 or 10 years down the line, it serves as a great foundation for flashier installments to come later on. After all, isn’t that what concrete is all about? 

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Miles Parks McCollum (born August 23, 1997), known professionally as Lil Yachty, is an American rapper, singer and songwriter. Yachty first gained recognition in August 2015 for his singles "One Night" and "Minnesota" from his debut EP Summer Songs. He released his debut mixtape Lil Boat in March 2016. On June 10, 2016, Yachty announced that he had signed a joint venture record deal with Quality Control Music, Capitol Records, and Motown Records. His mixtapes Lil Boat and Summer Songs 2 were released in 2016 and his debut studio album, Teenage Emotions in 2017. His second studio album, Lil Boat 2 was released on March 9, 2018. more »

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Concrete Boys' Debut LP 'It’s Us Volume 1' Is Coming Soon

With the compilation album arriving next friday, the gang dropped off “family business” in preparation..

At last, the Concrete Boys are ready to formally introduce themselves. The Lil Yachty -fronted rap group – also stacked with KARRAHBOOO, DC2TRILL, Draft Day , and Camo! – has officially announced the release date for It’s Us Volume 1 and it’s right around the corner…

The group’s highly anticipated debut compilation album is set to drop next Friday, April 5, as revealed in a new music video. The Boys dropped off a new track and visual “Family Business”, which features KARRAHBOOO, Camo! and Yachty each spitting bars for two separate verses.

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IT'S US (feat. Lil Yachty)

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It’s Us Vol. 1

Concrete Rekordz / Quality Control

April 15, 2024

First, Lil Yachty spent a year doing so-so Michigan rapper cosplay. Then he moved on to his Tame Impala wannabe vanity project . Now, his next racket is a rap crew. That group is Concrete Boys , a five-member collective that, with Yachty as their frontman, includes the rappers Camo!, Draft Day, Karrahbooo , and Dc2trill (the latter is from Texas, and the only one of the five without any ties to Atlanta). In the last few months, the clique has formally introduced themselves with a string of pretty music videos, a viral On the Radar freestyle, and color-coordinated photo shoots . All of these efforts have led up to their debut compilation album It’s Us Vol. 1 , where they seem to be presenting themselves as a modern-day version of the kind of rap crews who would have had a spread in a mid-’90s issue of The Source . That homage is loose and mostly sartorial instead of musical: On the album cover, the five are dressed in vintage Polo Sport and Tommy Hilfiger, Timberland boots, and jean shorts—outfits that make them look like they’re extras in Hulu’s Wu-Tang: An American Saga .

It’s Us Vol. 1 has much less of an identity than Concrete Boys’ fit pics. Their thing is that they’re cool, I guess. That wouldn’t be a problem if the music itself oozed cool. The album just doesn’t do that. In fact, the main appeal is that it’s an innocuous, easy-listening collection of songs—perfect to throw on in the background while you chat with your friends or pass time on your commute. Like Drake , Yachty has become an expert at dissecting and shaving the rough edges off regional and internet sounds. Here, he’s streamlined the highly collaborative, shit-talking spirit he picked up in Michigan, giving that style a neater, smoother, and more widely accessible sheen (If you’ve wished for music with the structure of Michigan rap, but with less chaos, then this is for you). For instance, the tape is heavy on punchline-based rhyming, but the bars are fairly tame and only mildly clever. And there are a decent number of beats that bring to mind the chill bounce of Detroit producer Topside ’s instrumentals for Baby Smoove and Babyface Ray , except they’re not as funky (see: “Playa Walkin”). One way or another, it’s hard to get worked up about this music.

Each member of Concrete Boys has their moments. Draft Day has the most memorable voice of the crew, like he’s rapping with strep throat. It’s best in spurts, but when he pops back in on “2 Hands 2 Eyes 10 Whips/Rent Due” for a second verse after a hardened beat switch-up, his strained vocals reach Lil Wop levels, which gives the song an energy boost. Camo! is the most anonymous of the bunch—not sure what’s going on with that Jersey club flip of Pinegrove he sings over on the intro—but he can sometimes drift into a Lil Wayne -influenced zone of wisecracks. “Put my fingers inside her holes, I’m tryna bowl you,” he spits on “Hit Diff.” That’s about as funny as he gets. Dc2trill is the clique’s smooth-talker; he’s decent at it, gliding with a Curren$y -like ease on the jazzy “My Life.” Yachty is pretty much on autopilot, but he seems to have a good time when he raps with Karrahbooo. Surprisingly, her bored, deadpan flow on highlights like “Where Yo Daddy?” and “Not Da 2” has a way of making pretty simple flexes and quips stick.

It’s Us Vol. 1 mostly works as a launchpad for Karrahbooo; she’s the only one of the bunch who will leave you wanting to hear a solo mixtape. The video for their On the Radar cypher—the recording of which is included on the tape—is a solid glimpse at that potential. For four and a half minutes, the boys spit inoffensive and fine-enough verses that eventually blend together over a hypnotic, naked sax sample. It’s all build-up for the final minute, where the song really comes alive. There, Karrahbooo takes the floor, as the skittering Michigan drums kick in and her unbothered, sleepwalking flow elevates a show-offy trip down memory lane: “I was sellin’ lemonade while y’all would double dutch/I used to scam, I used to trap, I never cuddled much.” In that minute, you almost forget anything that came before her verse—aside from the fact that the guys had on nice outfits.

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Lil Yachty's Label Concrete Boyz set to release their first collaboration project 'It's Us Volume 1' this April

A ccording to NFR Podcast, Lil Yachty's record label, Concrete Boys (also known as Concrete Boyz), is set to release their first collaboration project titled It's Us: Volume 1 on all streaming platforms this April.

NFR's official X account posted on March 25, confirming the release date of the Concrete Boyz project as April 5, 2024. The post also revealed the featured artists, including Lil Yachty, Karrahbooo, Draft Day, DC2Trill, and Camo. The tweet read:

"LIL YACHTY, KARRAHBOOO, DRAFT DAY, DC2TRILL, CAMO!"

The tracklist for the upcoming album is yet to be confirmed, but based on the artists involved in this project, it's likely to showcase a fusion of alternative rock, R&B, and rap.

Lil Yachty and Concrete Boys Discography

Yachty (Lil Boat), who is currently signed to Quality Control, incorporated his own Record Label Concrete Boyz, a few years ago in an attempt to bring upcoming artists in his genre to the spotlight.

Over the years, Yachty and his team have been slowly recruiting rappers and artists from across the music industry, from 31 Camo to Karahbooo, all of whose music appears to have been inspired by Boat's discography.

Lil Yachty has also collaborated with his signees on some of his previous work. Below are two songs officially released alongside Artist Draft Day:

• Demon Time (Feat. Draft Day)
• POPOVICH Freestyle (Feat. Draft Day)

On May 29, 2020, Yachty released his fourth studio album, titled Lil Boat 3 , across all DSPs (Digital Streaming Platforms) via Quality Control Music and Motown Records. The 19-track project included a track titled Concrete Boys .

This track acted as the official introduction to the "Concrete Crew" he was building with his record label. The song includes a shout-out to the Concrete Boys in the chorus when Yachty implies that when his "back is against the wall," he can always rely on his crew to come through for him.

Another notable bar from Lil Yachty's song has been listed below:

"I just woke up, dreamin' 'bout the rose (Oh my God) / They had ni**as 'round me who don't stand on toes (Hell nah) / Barely ever do I think about my foes / How much longer will I live? Only God knows."

On December 16, 2023, a song titled Mo Jams was released on the official YouTube channel for Concrete Boys, alongside a music video that featured most of the CB roster, except for 31 Camo. Mo Jams was produced by Rawbone and acts as the first official collaboration between the members of Concrete Boys.

This track, although not being released on DSPs, has garnered significant attention for an upcoming collaboration project by racking up almost 4 million views on YouTube.

As fans await a Concrete Boys collaboration album, Lil Yachty continues to impress fans by following up on his widely acclaimed 2023 project Let's Start Here, which found the rapper delving into a more experimental sound with his music.

Notably, Yachty has been releasing a string of singles, which include his collaboration with Fred Again.. on stayinit. The rapper was also featured on Lyrical Lemonade's debut studio album, All Is Yellow , which dropped two months ago in January 2024.

Meaning of IT’S US by Nemzzz (Ft. Lil Yachty)

Nemzzz (Ft. Lil Yachty)

Listen to the full song on Apple Music

The song "IT’S US" by Nemzzz featuring Lil Yachty explores themes of loyalty, success, and confidence while dismissing detractors and embracing individuality. The key lyrics and their meanings shed light on these themes:

• "Tired of all these hoes, baby, I need your love I just told bro, 'It's us', I hit that one, no fuss"
• The chorus reveals a desire for genuine connection amidst the chaos of superficial relationships. The phrase "It's us" signifies a commitment to a select few, emphasizing loyalty and solidarity.
• "My haters, I wish you well, bae, I don't kiss and tell My opps are broke as hell"
• These lines convey a sense of self-assuredness and indifference towards negativity. By focusing on personal success and disregarding detractors, the speaker maintains a strong sense of self-worth.
• "Left hand a brick and my right hand's done up Woke up in the middle of the night All my opps still broke? Oh my God, what a bummer"
• Lil Yachty's verse portrays a juxtaposition between wealth and struggle, highlighting the speaker's superiority over their competitors. The reference to handling a "brick" suggests involvement in illicit activities, adding a layer of intrigue to the narrative.
• "None of these niggas scare me Walkin’ around with his chest poked out, must be an Aries, huh"
• The mention of zodiac signs like Aries suggests a playful nod to astrology and personality traits associated with courage and assertiveness. The speaker asserts their own fearlessness and dominance in the face of perceived threats.

Symbolism and metaphors play a crucial role in conveying the song's themes. Phrases like "I hit that one, then cut" and "turn them niggas to dust" symbolize a decisive and ruthless approach to dealing with adversaries. The imagery of luxury brands like Chanel and references to "VVs" (diamond clarity) reflect a lavish lifestyle and success in the face of adversity.

In essence, "IT’S US" celebrates self-assurance, camaraderie, and triumph over obstacles. The song champions individuality, loyalty to chosen few, and a relentless pursuit of success while dismissing negativity and embracing personal power. The lyrics and energetic delivery of Nemzzz and Lil Yachty convey a sense of swagger and confidence that resonates with themes of empowerment and resilience.

This meaning interpretation was written by AI. Help improve it with your feedback

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“It’s Us Vol. 1:” Luxury Raps from Emerging Voices

Concrete Boys is a record label founded by Atlanta rapper, Lil Yachty, and includes signees Draft Day, Camo!, Dc2trill and KARRAHBOO. They brand themselves as a locked-in group of dedicated emcees who thrive in their solidity. 

Their debut mixtape, “It’s Us Vol.1,” released on April 5, is a jam-packed ensemble of boastful raps over sample-heavy trap production, with each group member seamlessly weaving in and out of the spotlight. 

Lil Yachty is a well-respected pioneer in the Soundcloud era of modern hip-hop. Draft Day, a longtime collaborator of Lil Yachty, commands attention with his confident and raspy delivery. He simultaneously introduces listeners to a more playful sound on a myriad of tracks across “It’s Us Vol. 1.”

Camo! is Conrete’s shapeshifter, showing promise in both technical and melodic raps, similar to Lil Yachty’s signature chameleonic abilities. Dc2trill admittedly has no stand-out qualities but is by no means a displeasure to hear. His easy-on-the-ears, low-register vibe somewhat compliments the rest of the unique cast. The true chilled-out spot of the group is rightfully taken by KARAHBOO, who takes the laid-back approach to rapping. 

The posse cut style track allows the Concrete Boys to show off their synergy in the strongest fashion. On their “ On The Radar Cypher ,” each member gets a solid verse to shine over a saxophone-based instrumental. 

On the standout, “2 HANDS 2 EYES 10 WHIPS/RENT DUE,” another posse cut, once again the five lyricists are given their respective mic time. The first of two beats for this track provides a cinematic backdrop with noir-style percussion and delicate, lush synths.

Camo! becomes one with the beat, hitting every sleek 808-drum bounce to a tee. Lil Yachty’s brief hook guides us into the “RENT DUE” section. His short contribution to this track allows his Concrete Family to take center stage. KARAHBOO and Draft Day then trade verses over a rough-around-the-edges, guitar-backed instrumental. Finally, Dc2trill earns the last minute to himself, and by the time the track arrives at his verse, it’s run its course. 

Collaborations between the members also thrive in the duo format. There’s a more honed-in production mindset that goes into the songs that only feature two out of the five Concrete Boys. Take the intro track, “POINT ME TO IT,” for example, led by Camo! and Lil Yachty. The acoustic guitar loop is taken from “Need 2” by Pinegrove, which sparked the iconic TikTok movement, the “ Pinegrove Shuffle .” 

“WHERE YO DADDY” sees KARAHBOO making herself comfortable in this pocket she’s created for herself. Over string-heavy, upbeat, bass-heavy production, she defends her style, “talkin’ on the beat, I give a f*ck, they think my iron low.” While a laid-back delivery isn’t always bad, boxing yourself in as someone who doesn’t care about the energy they put into their work isn’t the smartest marketing move, especially on a mixtape dedicated to pushing newer artists. 

Dc2trill helms “MY LIFE,” which unfortunately is a slow-moving and boring track. A saxophone dances around the down-tempo trap instrumental, successfully depicting a solo journey. That’s about the only redeeming quality here outside of the fact that this is his best performance on the mixtape.

Once again, Dc2trill has the most work to do. He isn’t talentless, but he isn’t very intriguing either. 

Draft Day’s “PINK AND BLUE” is a psychedelic trip into the mind of an eccentric flexer. Sporting his shiny new maniacal approach to his raps, he’s laced over an intentionally distorted, twinkly and happy-go-lucky beat from ChildBoy , frequent producer for Lil Yachty and company. 

A classic tale of saving the best for last, it’s Camo! with “UP YO STANDARDS,” the undisputed best track from “It’s Us Vol. 1.” Over a sunny, sprawling, dense beat from OK , a formative producer for the underground wave of hip-hop artists, Camo! unlocks a perfect blend of both melodic and technical rapping. 

“It’s Us Vol. 1” succeeds in furthering Lil Yachty’s lightspeed career trajectory, and personally platforming each of the Concrete Boys signees. All five members, despite some not standing equal to the rest, coincide with each other as if they were lifelong friends. The locked-in mindset is pushed to the forefront of all aspects of “It’s Us Vol 1.”

• It's Us Vol. 1

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Ramon Vargas • May 2, 2024 at 8:57 am

AJ, very in depth and insightful review. This album was not on my radar, but due to your persuasive words, I’m planning on giving it a listen to. Thanks!

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Lil Yachty and Karrahbooo’s Feud Escalates With Bullying Accusations

Lil Yachty and his former artist Karrahbooo 's feud escalates with bullying accusations.

Lil Yachty and Karrahbooo Continue Throwing Shots at Each Other

On Sunday (Aug. 25), Lil Yachty hopped on his Instagram Story to address Karrahbooo's claims about writing her own rhymes and being bullied. Karrahbooo was part of Yachty's Concrete Boys collective. Although Yachty didn't directly address the 27-year-old rhymer, his message suggested that he clapped back at her allegations.

"Don't throw rocks and hide your hands," Boat wrote on his IG Story post below.

After catching wind of the Atlanta rapper's message, Karrahbooo posted a lengthy statement on her Instagram Story about supporting others in times of need and alluded to Yachty picking on her.

"I'll never forget this feeling, this chapter of my life. I'll never be the same," Karrahbooo penned in her IG Story. "I'll never forget who was there for me. I done chopped people out/spent my last/slapped folks 4 ni**as. I ride every time naturally, but that's just how I am. Nobody owe me sh*t tbh I'm just taking a mental note. I can't even look at most people da same way. To know the truth and watch a grown man with 12 million followers overly lie on my name and publicly bully me for literally no reason at all while I silently been conquering all da sh*t ni**as been throwing me this whole time behind closed doors. I'll never ignore the signs again, and I will never stop, no matter how much they hate me."

In her next IG Story post, Karrahbooo responded to Yachty's aforementioned message, insisting that they could discuss their issues on the phone. She also stated that she just wanted to make peace with individuals in the music scene.

"I never threw rocks and u have my number you big grown b**ch. Leave me alone literally @lilyachty," she typed in her IG Story post. "I never said nothing about sh*t and I still ain't say nothing 'bout what's really going on. I don't want no beef wit you industry people. Just move on wit ur life. Stop tryna bring me down when I stay out the way. I'm done talking. You got it. Yo character gone speak for itself."

Read More: Lil Yachty Goes Off After Being Accused of Mistreating Best Friend and Cohost Mitch During Podcast Episode

Why are lil yachty and karrahbooo beefing.

Things went south between Lil Yachty and Karrahbooo after a fan shared a post on social media and claimed that after bumping into Karrahbooo at a restaurant, the rapper told her she was kicked out of Concrete Boys and bullied during her time on the label . On Aug. 22, Lil Yachty went live on Instagram and denied Karrahbooo's bullying allegations . Boat said Karrahbooo was actually the one bullying others.

"Tell people how you talk to people," Yachty said in his heated video below. "How you tell my security guard, 'Oh, you homeless. You work for me. You're poor. We above you.' You talk to people like they nothing...Tell people how you verbally abuse people. How you said you gon' spit on me when you see me."

"I been letting you do this whole thing where you act like you a princess and you sweet," he continued. "Stop the front, bro. We have withheld your actions since the beginning of me giving you this career. What the f**k are we talking about, bro. You don't even do nothing. It's so crazy to me, bro. ’Cause I've given you a career, and from time to time, you just disrespect me.

Boat then mentioned that Karrahbooo has a $900,000 debt to his label. Afterward, the Quality Control rhymer leaked his reference track to Karrahbooo's 2023 On The Radar Freestyle , suggesting that she didn't pen the lyrics.

Karrahbooo Claps Back at Lil Yachty's Claims About Writing Her Lyrics

On Aug. 23, Karrahbooo went on her Instagram Story to clap back at Yachty by sharing three songs she claimed to write and highlighted their streaming counts.

"Running Late," boasted over 7 million streams, "Where Yo Daddy," garnered 3 million streams and the On the Radar Concrete Cypher freestyle hit nearly 3 million streams.

Karrahbooo captioned the image, "put it on yo kid i ain't these songs [M]iles[.] Stop da cap and leave me out ur internet shenanigans [tears of joy emoji]."

She continued: "Stop bullying me big dawg [tears of joy emoji] i never said nothing u letting random fans get in yo head man up."

During her performance at the Dig in Day Festival in Chicago on Aug. 24, Karrahbooo suggested that Yachty's ghostwriting claims were false.

"Who ain't write it, who ain't write it," she rapped during her performance in the video below.

Read More: Lil Yachty Says He’s Done With the Internet and Won’t Be Talking Anymore

Take a look at Lil Yachty and Karrahbooo shading each other online below.

See Lil Yachty and Karrahbooo’s Feud Escalate With Bullying Accusations

Watch lil yachty speak about karrahbooo's bullying allegations, see karahbooo address lil yachty's claims about writing her rhymes, see unnecessary hip-hop beefs that never should've happened, more from xxl.

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Karrahbooo Hits Back At Lil Yachty's Ghostwriting Claim: 'Stop Bullying Me'

Karrahbooo has responded to Lil Yachty ‘s fiery rant in which he claimed that he wrote all of her raps.

The Atlanta rapper, who recently departed Yachty’s Concrete Boys collective, took to her Instagram Stories early on Saturday (August 24) to address Lil Boat’s accusation.

“[P]ut it on yo kid i ain’t write these songs miles,” she wrote, addressing Yachty by his government name while referencing the child he welcomed in 2021 . “[S]top da cap and leave me out ur internet shenanigans [crying face emoji].”

She added: “[S]top bullying me big dawg [crying face emoji] i never said nothing u letting random fans get in yo head man up.”

Karrahbooo also posted a screenshot of her most popular songs on Apple Music and their respective streams, showing her solo track “Running Late” outperforming her contributions to Concrete Boys’ recently released compilation It’s Us Vol. 1 .

Earlier this week, Lil Yachty unloaded on Karrahbooo on Instagram Live  after she allegedly claimed that she was “bullied” by Concrete Boys and ultimately kicked out out of the group.

He made a number of accusations about his former assistant turned artist, including that she was “verbally abusive” towards his bodyguard and that he wrote all of her raps, including her  viral  On the Radar  freestyle .

“I’m so sick and tired of helping people,” he said. “Gon’ ‘head and tell people how you verbally abuse people. How you told my security guard, ‘Oh, you work for me. You’re poor and we above you.’ You talk to people like you nothing! [Tell people] how you told me you gonna spin on me when you see me. Your brain is clinically imbalanced.”

Yachty also denied mistreating the 27-year-old rapper: “Karrah, I have never bullied you. I let you live at my house for free! I ain’t never done nothing but be nice, love you, brought you around every rapper. I brought you around everybody from [Lil] Baby to Drake.”

He added: “You don’t even do nothing! I wrote every fucking verse you’ve done. I dressed you. I gave you that chrome Rolex. You were waiting tables! I changed your muthafucking life! And you on here lying talking about some ‘we bully you’? That shit got me fucked up, bruh!

“I wrote that fucking verse when we went on  On the Radar . I put you last on purpose so everyone would say, ‘Who the fuck is that girl?’ … I got the fucking reference.”

Backing up his claim, Yachty shared an iPhone voice note of his reference for Karrahbooo’s show-stealing verse in the Concrete Boys cypher.

Lil Yachty also denied stealing money from Karrahbooo and in turn accused her of owing almost $1 million to his label, which is apparently how much has been invested into her career.

“You talked to my fucking label crazy. You claim I was stealing money from you. Stealing money from you how, n-gga? You ain’t made no money!” he said.

“You $900,000 in the whole and I got every fucking receipt, n-gga. And I’ma post it. I dare you [to] try me. And I’ll post how much money your fucking streams have made.”

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August 21, 2024

He added: “Don’t go on the internet and act like I’m bullying you, bro. I’ve been nothing but loving and caring and paid your bills and gave you money and took you around the world. Nobody would even know who the fuck Karrahbooo was if it wasn’t for me.”

Yachty’s outburst was seemingly sparked by a social media post claiming that Karrahbooo had been bullied out of the Concrete Boys.

A restaurant employee claimed on X (formerly Twitter) to have been told by Karrah herself that she had been “kicked out” of the collective and that the group members were “bullying her a lot.”

Karrahbooo later made a vague reference to the drama on her own X account, quote tweeting her own post which said: “ion say too much cuz I know shit gone unfold on its own,” with the comment: “this aged well.”

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Maybe We Know a Little Too Much About Lil Yachty

By Andre Gee

Last year, I spoke with Lil Yachty about mystique. Our conversation about his Let’s Start Here album got awkward when he told me he didn’t want to reveal too much about its creation. I asked him about plans to release a documentary he recorded about the project, and he told me, “I doubt I’ll drop it. Just like me not wanting to do any of these interviews. I don’t really care to talk about it, [because] you give it all away [when] you pull the curtain back.”

When I asked him if he put a premium on artists with an allure of mystery when he was younger, he told me, “Coming up, you didn’t have all this social media. Even if [they] did an interview, you didn’t get every element of something. It’s the simple things you knew, but they left a lot of room for ‘Wow, how did he make this?’… Which is the beauty in art.” 

“I think Chapter One of my career is extremely oversaturated,” he told me. “I was thinking … I’m easily accessible. I’m on TikTok. I’m on YouTube. I’m on Twitter. I’m just everywhere. I didn’t like that.” But 18 months after our conversation, it feels like Yachty’s would-be triumphant next chapter is being marred by the same overexposure. 

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Yachty’s rap career is defined by a collage of viral moments. His first single, 2015’s “One Night,” went viral on SoundCloud. He came into public consciousness during the 2016 live stream of Yeezy Season 3. His “Minnesota” hit was the score to the hip-hop generational war being waged on rap Twitter, with his ignorance of Biggie and 2Pac’s catalog not helping things. And his Everyday Struggle admission that he didn’t know the full details of his QC contract made him fodder for anyone seeking to soapbox about naive rappers signing bad deals. Yachty saw all of the criticism, and he pushed back, arguably losing the musical charm that made him a distinct artist by trying to prove he could rap. He told me, that during that period, “I was trying to be the spokesman for the new generation because no one else wanted to talk. I felt, ‘I’m going to stand up. I’m going to speak.’”

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But it never stays strictly about the music with Yachty. During a Let’s Start Here listening event, he told the crowd he “wanted to be taken seriously as an artist and not just a SoundCloud rapper, not just a mumble rapper, not just a guy that made one hit.” Some people felt his comments implied that being “just” a rapper was inferior, but he told me that was “absolutely not” what he was trying to say. Regardless of his clarification, the perception of elitism stuck, and was intensified when he surmised that “hip-hop is in a terrible place” during our November 2023 Musicians on Musicians l ive event . 

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During an emotionally charged Instagram Live session, he claimed that he wrote all of Karrahbooo’s music and threw the remaining Concrete Boys under the bus by claiming he dressed all of them. He and Karrahbooo have since been taking to their stories to clap back at each other, making a bad situation worse. Yachty’s currently being lambasted as the kind of person who can’t wait to tell the world what they did for you — you never wanna be that guy. 

Perhaps people are letting the jokes fly for the moment, and Yachty dropping the right song will shift all the attention away from his mic miscues. Maybe Yachty doesn’t care what the public thinks. But it’s interesting to watch someone who’s repeatedly referenced not wanting to be accessible, and wishing he hadn’t opened his mouth, seemingly be unable to help himself from speaking out — in frequently self-sabotaging ways. It feels like the same digital soil that fertilized Yachty’s career is also his quicksand.

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‘Ice Cold’: From Biggie to Lil Yachty, Getting Your Shine On

Hip-hop jewelry does a lot of heavy lifting in a new exhibition in Manhattan. It signifies elite membership, romantic courtship and ambition for greatness.

By Seph Rodney

Of the New York museums that would create an exhibition on jewelry associated with hip-hop culture, I would not have imagined the American Museum of Natural History to be one. Yet, “ Ice Cold: An Exhibition of Hip-Hop Jewelry ” did open this May in a tiny gallery of their Mignone Halls of Gems and Minerals. With 66 objects, it has an astute premise — that precious stones might attract more attention if regarded through the lens of hip-hop, likely the most widely proliferating music movement that the United States has ever produced.

This show might have been organized to absorb the energy around the 50th anniversary of hip-hop’s inception last year or anticipate the Hip Hop Museum’s opening in the Bronx in 2025. More cynically, some might see “Ice Cold” as an act of penance for the museum’s admitted possession and use of the remains of Indigenous and enslaved people, as the museum faces criticism about the legality and the ethics of these acquisitions. Either way, the venture feels successful. I visited the show twice, on a Thursday evening and on a Monday morning, and each time the gallery was filled with visitors.

The show is beautifully laid out. It’s installed in a small, dark, semicircular gallery, with jewelry in vitrines spotlighted against a black acetate and Plexiglas. The diamonds glint and coruscate as you move across the displays. One could linger, bedazzled and charmed by the bold inventiveness of pieces like ASAP Rocky’s EXO grenade pendant — its “pin” sets the time — displayed on two disks set inside a locket. However, the exhibition offers more, including the concealed and paradoxical implications of wearing these constellations of bling.

The curators, Vikki Tobak, author of “Ice Cold: A Hip-Hop Jewelry History,” Kevin “Coach K” Lee , a founder of the Quality Control music label, and Karam Gill , the director of a documentary on the subject, took the important step of historically situating hip-hop’s ostentatious display of wealth. They refer to an Asante chief in Ghana whose ceremonial dress consisted of copious amounts of gold (though the date of an image referenced turns out to be 2005, which makes the ancestral connection vague).

Shrewdly, the curators also name check each jeweler (when they are known), so they are properly recognized as collaborators and makers alongside the musical stars, such as Ghostface Killah’s eagle bracelet by Jason Arasheben — a massive 14 karat gold wrist cuff with an eagle alighting onto it. The Notorious B.I.G.’s Jesus necklace, made by Tito Caicedo of Manny’s New York, is another icon. It features the head and neck of a figure in gold whose beard, locks, clothing and crown are festooned with diamonds. In terms of the meaning they convey, these chains do a lot of heavy lifting.

For starters, they indicate membership in a very exclusive club, such as Quality Control’s QC necklace for members of its label, including Migos and Lil Yachty. The Roc-A-Fella pendant — which notoriously can’t be bought but has to be bestowed — was made for the eponymous label founded by Jay-Z, Damon Dash and Kareem Burke. And after releasing their 1986 song “My Adidas,” each Run-DMC member received a solid-gold sneaker-shaped pendant by Adidas upon signing an endorsement deal.

Roxanne Shanté of the Juice Crew , and one of the few women rappers to achieve stardom in the early days of hip-hop, has her Juice Crew ring shown here. “Having the Juice Crew ring is like a royalty stance, and you had to represent certain things in the community to wear it,” she says in the show’s text. “It stands for so much: community, loyalty and greatness.”

This jewelry is also used by men in courting rituals. Nelly, who wears a diamond Nefertiti piece in one of the exhibition photos, sings in “Ride Wit Me” (2000): “And if shorty wanna pop, we popping the Crist’ / Shorty wanna see the ice, then I ice the wrist.” Both parties benefit here: The man, bestowing Cristal Champagne, is recognized as a lavish provider; the woman as a valued object deserving of expensive expenditure. What’s unrecognized is just how restrictive these roles can be. (Insightfully, though, queer experience is not ignored in the exhibition, which includes the jeweler David Tamargo’s grill set commissioned by Lil Nas X in 2021 to celebrate the artist’s unabashedly homoerotic single, “Montero (Call Me By Your Name).” )

These pieces also serve as a kind of memorial. On display is the Capital Steez necklace commissioned by Joey Bada ss in honor of his friend Capital Steez, who died in 2012 at 19 years old. Badass became a founding member of the Progressive Era or Pro Era collective along with Steez and other rappers. The necklace features the late rapper’s likeness, in gold, on a diamond-studded Gucci link chain. Pouring one out for a homie who has passed on is a well-known ritual, but imprinting his image on a pendant moves him up into the pantheon of public attention.

But more important, the jewelry also stands for the ambition to be elite, to have the means to spend money extravagantly on personal adornment. And this desire usually outpaces the actual assets that aspirational rappers have at their disposal.

On his 2004 debut album “The College Dropout,” Kanye West, lately Ye, rapped about buying $25,000 jewelry before owning a house, then adding: “I got a couple past-due bills, I won’t get specific/I got a problem with spendin’ before I get it/We all self-conscious, I’m just the first to admit it.” Ye, one of the most emotionally transparent (and most unstable) voices in hip-hop, articulates its fake-it-till-you-make-it ethos.

This is a critique often leveled at hip-hop culture: that lavish self-presentation — not only jewelry but also clothing and cars — says what you buy , as opposed to what you produce, is the measure of your value; that hip-hop glorifies a lifestyle that is fake or irresponsible and, either way, out of reach for most people on this planet. There is some truth to all of this. But this is not hip-hop’s cross to bear alone. The fault lies in American popular culture at large.

Throughout the 1980s, during hip-hop’s commercial rise, the television show “Lifestyles of the Rich and Famous” flogged the clichéd notion that “making it” consisted of having exclusive wristwatches, automobiles, boats and real estate. In hip-hop culture, rappers say it with their chests, out loud, without shame, in the streets. The trappings are worn for public view, rather than obscured by shell companies.

Still, this shamelessness permits callous and spiteful parts of the culture to feel entitled. “Run the Jewels,” released in 2013 by the eponymous rap duo, encouraged violently stealing jewelry from anyone who seems privileged: “So when we say, ‘Run the jewels’/Just run ’em, baby, please don’t delay me/She clutched the pearls, said, ‘What in the world?’/ And, ‘I won’t give up shit!’/I put the pistol on that poodle and I shot that bitch.”

So, while “Ice Cold” sings from the hip-hop songbook in the key of celebration, it avoids the messier bits of the culture: the misogyny, the persistent though lessening homophobia, the endorsement of physical violence.

I wish hip-hop culture as it is presented here was more aware of and willing to acknowledge these contradictions and brave enough to try resolve them. But this show doesn’t aim to do this. It doesn’t feature the weird parts of hip-hop, underground acts, “conscious” or feminist rap, or hip-hop produced outside the United States. Still, Latin artists are present, including Fat Joe and Big Pun. As are some women rappers, including MC Lyte and Queen Latifah.

The show does take seriously the less expensive signs of Black Liberation that act as adornment, such as DJ Kool Herc’s leather medallion on which he drew his self-portrait and graffiti tag. Kool Herc is one of the pioneers of hip-hop from the early 1970s, so his inclusion is a nod to the historical tradition. Within that tradition is Public Enemy, arguably the most overtly political group of the early 1990s. The show offers clock pendants (adopted on a dare) worn by their hype man, Flavor Flav , and the pendant designed by Chuck D, a founder of the group, that features a Black man caught in the cross hairs of a rifle sight — meant to symbolize the plight of all Black men in the U.S.

But there is an internal contradiction in the show and within hip-hop itself: The people whom the culture purports to represent are, to an extent, ignored in favor of the celebrities who hold the mic and whose voices boom loudest. These are the one percent.

Yet, the orientation toward the street and the desire to show the neighborhood that you have arrived financially impels innovation. T Pain’s “Big Ass Chain” necklace weighs more than 10 pounds and has almost 200 carats of diamonds. According to the caption, he commissioned this piece on a dare from a person he does not even remember.

Tyler, the Creator’s bellhop necklace, a bejeweled golden figure carrying a suitcase in each hand, is my favorite piece not because, as the text conveys, it “incorporates 186 carats in diamonds and 60 carats in sapphire, as well as more than 23,000 handset stones.” Rather, it alludes to the history of Black people laboring in service jobs, such as hotel bellhops, because — on the basis of their race alone — they were denied employment commensurate with their skills, abilities and ambitions. It’s a symbol of Tyler’s success and a nod to his ancestors who could not radiate their gifts so publicly.

I know something about the impulse to celebrate one’s achievements with jewelry. I got my first black diamond ring a few years ago and had to overcome significant anxiety to do it. I grew up in a working-class home that convinced me that extravagance was permissible only after achieving a firmly middle-class life. I don’t know that I have. But after the protracted struggle to attain my doctorate, I felt I deserved it. It wasn’t until the third visit to a Midtown jeweler that I noticed pictures on the walls of various hip-hop luminaries. What connects us is the years we spent working in obscurity, and our willingness to invest in an object that pays gleaming tribute to the work we’ve done.

During a recent public forum , Nikole Hannah-Jones, the author of “The 1619 Project,” discussed the importance of Black people presenting themselves in ways that read as authentic. She said, “One of the things I love about Black people is our sense of style and flair.” She argues that in the struggle to achieve success, “What is important is if you make it, make it intact.”

“Ice Cold,” despite its limitations, emphasizes the aspect of hip-hop that genuinely nourishes its audiences: recognizing and acknowledging that we deserve more than simply being intact; we have every right to shine.

Seph Rodney is a curator and art critic in Newburgh, N.Y. He is co-curating a show on sports that should open at SF MoMA in 2024. More about Seph Rodney

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Drake and Kendrick Lamar’s high-profile exchange might have cooled off since the “Not Like Us” video dropped, but it’s still a hot topic among Hip Hop fans and the pair’s frequent collaborators. On Wednesday (July 31), Lil Yachty appeared on Andrew Schulz’s “Flagrant” podcast, during which he was asked about the beef.

“I think people are just hating on Drake because he’s the guy,” the Teenage Emotions rapper said. He then referenced a now-archived episode of the “A Safe Place” podcast in which he gave his detailed thoughts on being named-dropped in Lamar’s “euphoria.”

“I wish I had never [spoken] on it. I wish I hadn’t said any part about it,” Lil Yachty told the hosts. Regarding the incident where he liked a tweet about Lamar allegedly cheating on his wife, the musician claimed, “That really was an accident.”

Schulz circled back to the topic later in the discussion, noting that Drake’s music still dominates at parties and clubs. the Georgia native responded, “Outside of the people who care about Hip Hop, [nobody gives a f**k] at all.”

Lil Yachty also commented on the OVO Sound founder’s attitude during the spat: “He really didn’t give a f**k. He was unfazed . I respect it a lot and I talked to him. That s**t didn’t bother him.” He continued, “I never saw him down ever. I never saw kicking his f**king foot [or] holding his head down. [It got] to a point where I just stopped talking to him about it because I felt like I was the one bringing him the negativity.”

On the “ A Safe Place ” podcast in May, the Quality Control Music signee initially said that Drake was “deemed a loser in this battle before it started,” mainly because he isn’t well-liked by some. He also mentioned that even if Lamar came out ahead in public opinion, the Toronto native come out on top in the long run.

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Honey Deuce, US Open's signature cocktail, owes its origin to honeydew melon balls

Creator of cocktail, a native new yorker, reveals how he came up with a 'cultural icon'.

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The Honey Deuce cocktail, which made its debut at the U.S. Open in 2006, is arguably as popular today as the tennis tournament itself. 

Case in point: An awkward moment occurred during a broadcast this week when a man returning to his seat with two of the cocktails — one of which was presumably for the woman next to him — was beaten to it by another man seated in the row behind him.

But if not for one man's purchase of honeydew melon balls before a weekend in the Hamptons some years ago, the U.S. Open's signature cocktail might not have looked as it does today.

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Fox News Digital spoke with Nick Mautone, a mixologist and hospitality industry consultant who served as brand ambassador for Grey Goose vodka, to discuss the birth of the beverage.

A New York native who lives in Seattle today, Mautone said he was tasked with creating a new cocktail for the U.S. Open when Grey Goose became the official beverage sponsor in 2006.

The Honey Deuce is the signature cocktail of the U.S. Open. It is the brainchild of mixologist Nick Mautone, a New York native, shown at right. (Nathan Congleton/NBC via Getty Images; Nick Mautone)

As Mautone was driving home in the Hamptons, he stopped to pick up some items to create a dessert salad that he intended to make for guests who would be visiting. 

On the grocery list were honeydew melon balls .

"Immediately the thunderbolt went off and I said, 'Holy cow, these look just like tennis balls,'" Mautone recalled to Fox News Digital. 

"Holy cow, these look just like tennis balls."

"So, from that moment on, I knew that that was the garnish, non-negotiable."

Mautone presented it to the brand team at Grey Goose, who "fell in love" with the garnish; he also spoke to the U.S. Open staff.

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"The people doing the food service operations were less than thrilled at the idea of making a gazillion honeydew melon balls," Mautone said.

That is, until they found a company that "makes hundreds of thousands of melon balls every day and ships them fresh to the U.S. Open."

The U.S. Open's Honey Deuce is made of Grey Goose vodka, fresh lemonade and a "drizzle" of Chambord black raspberry liqueur. The honeydew melon balls provide the garnish. (Nathan Congleton/NBC via Getty Images)

Mautone played around with "a couple of iterations" of the cocktail at first, including one version that used blackberry liqueur, before settling on the final recipe.

It includes Grey Goose vodka, fresh lemonade, a "drizzle" of Chambord black raspberry liqueur and, of course, the honeydew melon balls.

The goal, Mautone said, was to avoid making "a very complex drink so that the bartenders can actually serve it without getting frustrated."

"Lo and behold, it's become a cultural icon."

He added, "It's a very simple two- or three-step process for a bartender to make the drink." He said he was "dead set on a tall drink as well."

Since the tournament is played in New York in August, Mautone didn't want "something very spirit-forward because it's too alcoholic and not pleasant to drink in the summer heat."

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Mautone said he believes patrons were "getting bored with beer and other libations" — so the Honey Deuce came along at the right time.

"Lo and behold, it's become a cultural icon," Mautone said.

The inspiration for the Honey Deuce cocktail came from honeydew melon balls, which resemble little tennis balls. (Grey Goose; iStock)

He attributes much of it to "old-school guerrilla marketing," he said.

"It went viral, " he said.

The cocktail was crafted before Instagram existed and while social media was still in its infancy — so the Honey Deuce didn't find fame outside of Queens, New York, until much later.

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"It's become a cultural phenomenon by virtue of social media, specifically the honeydew melon balls, which I think a lot of people just look at as a genius garnish at a tennis match," Mautone said. 

"So it's become an Instagram-worthy drink that's very friendly, very refreshing and inviting."

The Honey Deuce has been the U.S. Open's signature cocktail since Grey Goose took over as beverage sponsor in 2006. (Grey Goose)

The Honey Deuce has been in the news recently after its latest price hike, selling for $23. 

It sold for $22 at last year's tournament.

Mautone said he thinks the beverage, which comes with a souvenir cup, is priced appropriately.

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"If I was in midtown Manhattan or a great craft cocktail bar in Brooklyn and I ordered a craft cocktail, I'd be paying $18," he said. 

"So, when you say $23, it's not that much more for the experience you're getting at, to me, one of the greatest sporting events in the country."

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Mautone said he plans to attend the U.S. Open. 

And when asked if he intended to order a Honey Deuce while he's there, his answer was emphatic: "Absolutely."

Peter Burke is a lifestyle editor with Fox News Digital. 

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Blake Lively wears the same Versace dress Britney Spears did in 2002 to 'It Ends With Us' premiere

Blake Lively is a star in her own right, but she channeled one pop star at the premiere of “It Ends With Us.”

The star of the film glowed on the red carpet in a vintage 2002 Versace dress, previously worn by none other than Britney Spears. Lively said she wanted to wear the Versace dress “for so many reasons.”

“Britney has meant so much to me,” she told  “Entertainment Tonight”  during the Aug. 6 red carpet, adorned with UrbanStems florals, in New York City. “To see a woman who works so hard and again such extraordinary circumstances, and is telling her story and authoring her story, as a Millennial girl, Britney was the ultimate reason you want to sparkle and shine.”

Lively also noted the butterfly design on the dress, comparing it to her character Lily’s story.

“It just felt so appropriate,” she continued, adding, “This dress is, I mean it, should be in the Met.”

According to boutique  Tab Vintage , the couture dress is from the autumn/winter 2002 Gianni Versace couture collection and was purchased by Lively for the premiere. They also confirmed it was the same dress previously worn by Spears.

Lively stars as  Lily Bloom in the big screen adaptation  of Colleen Hoover’s popular 2016 book. Inspired by  the author’s own parents , “It Ends With Us” follows Lily as she grows up in a home with an abusive father and eventually gets herself into an abusive marriage years later.

Ahead of the film’s release, Lively has taken inspiration from her character’s every day job as the owner of a flower shop for her outfits. Florals have been the signature pattern that has taken over Lively’s wardrobe.

On July 31, she wore a bedazzled Dauphinette mini dress from the fall/winter 2024 ready to wear collection. She also had fun with her mushroom purse.

She then stepped out in a hot pink mini dress from New York City-based designer Dauphinette, which she accessorized with a floral matching jacket from Pero.

She continued her floral streak with a mixed pattern ensemble that consisted of bright floral pants and a black and white polka dot top by Christopher John Rogers.

The former “Gossip Girl” opted for another throwback look from Tab Vintage when she wore a Christian Dior blue skirt and blazer suit with daisies from the fall/winter 1997 ready to wear collection.

The floral fun didn’t stop there as she made a statement in another Dauphinette ensemble: a black leather jacket with floral designs and, you guessed it, colorful flowers on her top and leather skirt.

Among her more lighter and fresher looks, Lively donned a vintage white halter dress by Vivienne Westwood, which she paired with blush heels that featured petals on the heel.

As for Lily’s style in the film, fans have had strong opinions about the looks that they saw in paparazzi photos and the trailers. However, Lively told TODAY’s Sheinelle Jones that  she loves “Lily’s style so much.”

“I think when you see the film, her style makes sense, because she’s a woman of multitudes. It’s storytelling. To me, fashion and costume design is storytelling,” she said in an interview that aired Aug. 6.

Lively also revealed that she borrowed clothes from her closet, as well as friend and model Gigi Hadid and her husband, Ryan Reynolds, for the film.

“It’s like a wedding, like, something old, something borrowed, something blue or something new,” the actor said. “A lot of it’s my real-life clothes or my husband’s clothes or my girlfriend Gigi’s clothes.”