50 CENT FLAMES RICK ROSS FOR FLEEING FIGHT WITH DRAKE GOONS: 'THE GREAT ESCAPE!'

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50 Cent has once again taken aim at Rick Ross after he was filmed getting jumped by Drake supporters in Canada.

Footage from Rozay’s performance at Ignite Music Festival in Vancouver on Sunday (June 30) showed the MMG mogul and his entourage being confronted by a group of men backstage for playing Kendrick Lamar‘s Drake diss “Not Like Us” during his set.

After the two camps exchanged words, Ross was sucker punched in the face by one of the men, leading to an all-out brawl that lasted for several minutes.

The Teflon Don’s crew appeared to have come out worst, with multiple members of his team being knocked to the floor and badly beaten.

Ross, meanwhile, seemingly managed to escape unscathed — minus the initial punch — and was seen fleeing the fight with help of the festival’s security.

Never one to pass up an opportunity to troll his longtime rival, 50 Cent reposted footage on Instagram of Rick Ross running away from the scuffle and wrote: “LMAO [crying face emoji] THE GREAT ESCAPE! MEEKA CALL THE CHASERS, THEY ARE CHASING ME. [grinning face emoji] LOL.”

He also shared a video of Rozay’s ex-girlfriend Tia Kemp mocking the rapper for “throwing no blows”, adding in the caption: “my guess is ya, won’t be going back to Canada acting like it ain’t what it is. LOL @tia_kemp2.”

 

In a follow-up video, 50 Cent sarcastically expressed concern and sympathy for Ross and his entourage while discussing the brawl.

“Hey guys. I just saw a very unfortunate situation that took place in Canada, and I want to say to everyone that I hope that that brother made it home safely,” he said. “I hope that he now has a different perspective and a better sense of what to do and what not to do while you’re out in the world.”

“That part where that young guy went like [holds fists up to body] — he did this little move and shit and got knocked the fuck out — that does not reflect him; that reflects his camp. And he might need to go get the, uh, the Dream Chasers? Or [laughs] the 305 Killers?” he added before breaking character and chuckling.

Rick Ross has yet to respond to the fight footage or 50 Cent’s taunts, although he did post a photo on his Instagram Stories of him stood next to his private jet with the caption: “Vancouver it was fun, till next time.”

 

50 and Ross’ long-sizzling beef has flared up over the last year, with the G-Unit general recently rehashing the date rape controversy surrounding the Biggest Bawse’s verse on Rocko’s “U.O.E.N.O.”

In an Instagram post in May, Fif posted an edited clip of R. Kelly, Diddy and Jeffrey Epstein — all of whom have been accused of sex crimes — soundtracked by the 2013 song, which includes the lyrics: “Put Molly all in her champagne, she ain’t even know it/ I took her home and I enjoyed that, she ain’t even know it.”

“You know some times I think people are just stupid, why would you say this in song? I DRUGGED HER ASS, AND I RAP*D HER ASS, AND SHE AINT EVEN KNOW IT !” 50 wrote in his caption.

Rozay hit back by commenting: “This was a Lyric, Daphne joy accused/says you sodomized and raped her as you held her down in front of your son [palm on face emoji] Curtis [spooked face emoji] @50cent,” referring to 50’s ex’s claims that he physically and sexually abused her.

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Tyler, The Creator is getting copyright strikes lifted so fans can react to ‘Chromakopia’ on social media

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Tyler, The Creator has revealed that he’s trying to get copyright strikes lifted so that fans can react to his new album in full on social media.

Following the release of his latest album ‘Chropmakopia’ in late October, fans of Tyler, The Creator have been sharing their reactions to the record on social media. However, many of said fans have begun experiencing copyright strikes and blocked for their content, with either the sound being removed from their videos, or the videos and accounts being taken down completely.

Now, the rapper has assured a fan on Instagram that his team are working on getting the copyright strikes lifted so that complete reactions can be shared on social media without penalty. In response to one fan flagging copyright bans, Tyler commented, per SleepingOnGems: “Gonna make sure the block gets lifted man, hit my squad up early this am”.

The fan later responded saying: “Video is up and all blocks lifted. Appreciate you helping”.

 

Earlier this year, in the midst of their heated feud, both Kendrick Lamar and Drake had waived all copyright stipulations from their diss tracks targeted at each other, resulting in the mass reacting and sharing of their songs on social media.

In May 2023, Grimes criticised the use of copyright in regards to music: “Copyright sucks. Art is a conversation with everyone that’s come before us. Intertwining it with the ego is a modern concept. The music industry has been defined by lawyers, and that strangles creativity.

“I think everything about copyright is problematic,” Grimes added. “There’s too much top down control. In the early days of TikTok there was a lot of weird music going viral, but now the gatekeeping stranglehold means less interesting stuff coming out.”

Tyler, the Creator performs on stage during the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio, California, on April 13, 2024. (Photo by VALERIE MACON / AFP) (Photo by VALERIE MACON/AFP via Getty Images)
Tyler, the Creator performs on stage during the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio, California, on April 13, 2024. (Photo by VALERIE MACON / AFP) (Photo by VALERIE MACON/AFP via Getty Images)

In the wake of the ‘Chromakopia’ release, Tyler has announced more dates for his massive ‘Chromakopia’ world arena tour. He’s added three shows in his hometown of Los Angeles, along with New York, Austin, and Seattle, while adding on to his European leg with another Paris date. Australia has also received three new shows on the tour.

In NME’s three-star review of ‘Chromakopia’, Fred Garratt-Stanley wrote: “Within the chaos [of the album], there’s beauty — the sensitivity of ‘Hey Jane’, the infectious hip-hop bite of ‘Thought I Was Dead’, the rising cacophonies of brass and percussion on ‘I Killed You’. But perhaps a less frantic approach would’ve benefited the listen overall.”

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