GRUNGECAKE

Author: grungecake

  • Watch Compton artist Buddy long for mental freedom in ‘Free My Mind’

    If you’re wondering why we’re covering Buddy’s ‘Free My Mind’ now, it was uploaded to his official YouTube account seven days ago.

    With his bare chest in frame, Compton’s famed singer Buddy has returned with the official music video to his relatable single, ‘Free My Mind’ from his latest album ‘Don’t Forget to Breathe’ released on March 29, 2024. He believes that as soon as he frees his mind, things will work out and he will be just fine. By the looks of it, the artist runs through a list of activities that may help him cope, like running on the beach, sitting on a roof, dipping himself into the ocean, and getting his hair cut, to probably achieve some form of freedom.

    On the track, he raps about being lost and alone (see ‘Find Me’ released in 2017), looking at pictures of slain friends to remind himself that life is short, and questioning if he would make it rich from his music, or if he would rot in Hell. He also mentioned redefining himself, leaving RCA Records to release independently, almost losing his father, his health, healing, asking God for forgiveness, bullshitting and still not living up to his potential and more. Before it closes out, he reveals he lost a Presidential Rolex (a very expensive wristwatch), being stuck, and hiding his feelings.

    [youtube=https://www.youtube.com/watch?v=l3wwu5uvyIo&h=315]

    The well-made music video ends with Reverend Simmie Sims’ sermon on December 17, 2021, where he explains why he praises God. Mr Sims boldly states that he could only be alive in that moment after all of the things he’s been through, only by the grace of God. If you believe in God and Jesus Christ, this one might hit different.


    Since Buddy is an independent artist, we ask that you stream his latest EP, ‘Marmalade’, released on September 12. It’s a four-track project with features from Indigo Boys, Guapdad 4000, Huey Briss, and Kalan.FrFr. It’s worth the fuss if you enjoy non-interruptive music like me.


  • Coi Leray and Shoreline Mafia team up for West Coast banger ‘Act Like You Know’: Watch the video

    Coi Leray and Shoreline Mafia’s collaboration is currently #17 on YouTube Music’s Trending Chart.

    [media-credit name=”Courtesy of the label” width=1080 align=”center”][/media-credit]

    A week ago, a day after her daughter’s father, fellow artist Trippie Redd, released his surprise single ‘Sketchy’, Coi Leray and Shoreline Mafia shared the official music video for their new collaboration, ‘Act Like You Know’. The visual starts off with the Boston-born star, known for her multi-platinum-selling record, ‘Players’, going through what appears to be TSA security, or security at a local club. With no visible stress in sight, the ‘Blick Blick’ rapper struts in a pair of hot pink six-inch high-heels as she cradles her daughter in her arms. She took no time to make it clear that she wouldn’t get intimate with a financially challenged man, reminding listeners that she’s paid, that her girl squad are baddies, and likens herself to a “bird bitch” because she wants “bread only”, which was a clever way to convey that message.

    OhGeesy, one-half of Shoreline Mafia, who is of Mexican descent and a Trump supporter, opens his verse with a line about still walking in “with a toy” with metal detectors on sight, and his bandmate Fenix Flexin (also of Mexican descent, Polish and Black) calls out a woman who desires to own a Hermès Birkin bag, but according to him, she’s more of the “Coach type”, flying a lady out from Cleveland, Ohio, and him liking that she likes the finer things in life like him.

    Check out the music video below to see her pleasing glow up.

    [youtube=https://www.youtube.com/watch?v=3C2WlJaOihU&h=315]


  • Andra Day, ex-manager locked in high-stakes legal war over royalties

    [media-credit name=”Warner Records” link=”http://www.warnerbrosrecords.com/artists” width=1392 align=”center”]Andra Day[/media-credit]

    GRAMMY Award-winning performer Andra Day and her former manager, Jeffrey Evans, are now suing each other for what looks like six-figure (and possibly million-dollar) sums, centered on alleged missing royalties, contract breaches, and accounting disputes.

    In court documents obtained by TMZ, Day accuses Evans and his companies—Buskin LLC and BassLine Management—of “misappropriating her funds” and treating her career finances as their own. Included in her claims: $600,000 withheld from her Warner Bros debut album funds in 2015; failure to segregate her publishing income into a separate account; and extravagant spending covered by her resources.

    This alleged mismanagement, she says, spans a fourteen-year relationship: She signed with Evans in 2011 (introduced via Stevie Wonder’s wife) and only formally terminated the agreement in March 2025.

    On terminating the deal, Day filed notice she intended to sue for breach of contract and is seeking roughly $1,599,903.98.

    Evans, for his part, claims he acted above board. In his filing, he says his companies provided annual financial statements and have already paid Day more than required under the contract. He counters that he is owed around $850,000.

    This legal duel pits two narratives: One of a rising artist allegedly deprived of revenue she’s due, and another of a manager asserting his own right to compensation. Neither side seems ready to back down. Stay tuned—this could get messy (and public).


  • Watch Houston rapper Monaleo’s cookout-themed video for ‘Sexy Soulaan’

    Monaleo isn’t just rapping over beats; she’s rewriting the guest list.

    About a week back, Houston rapper Monaleowho married longtime partner and fellow emcee Stunna 4 Vegas last month—dropped the official video for her latest single, ‘Sexy Soulaan’. It’s the boldest record of her career, a cut that doesn’t just take up space but redraws the borders of who’s allowed in the room.

    But that’s the surface heat. What gives ‘Sexy Soulaan’ its real charge—and what might leave non-Black listeners squirming in their seats—are the harder truths braided through her verses. These aren’t tidy punchlines for the algorithm; they’re cultural flare guns, a refusal to dilute rage, pride, or sexuality to fit anyone’s comfort zone.

    The visual looks like a Summer cookout: Smoke rising from the grill, a circle of women moving like they own the block. But the vibe is sharper than it seems. For Monaleo, who first made her mark with ‘We Not Humping’, this isn’t a party. It’s a statement of ownership.

    She sets the tone early: “I ain’t beefing with bitches/They’re throwing salt on me ‘cause they can’t get in the room.” That could have been the headline, a tidy clapback at rivals. But it’s not the line that lingers. What makes ‘Sexy Soulaan’ hit different—and what might rattle non-Black listeners—are the bars that refuse to dilute.

    “All the non-Blacks to the back”, she demands, then raises the stakes: “I ain’t shaking white hands, I watch them dig in they hole.” The dismissal is blunt, but it’s also history speaking. She remembers the exclusions, the erasures, and she refuses to play nice.

    She presses harder, enforcing cultural boundaries that outsiders often test: “If you ain’t Black, then you can’t say ‘nigga’, I enforce that.” Even the cookout—a metaphor that’s been meme-ified beyond recognition—gets pulled back into sharper focus.

    “You’re not invited to the cook out/But you can watch from the middle of the streets, be the look out”, she raps, before landing the gut punch: “‘Cause I remember we was pushed out/So if you can’t say the word, then your ass getting put out.”

    The strength of ‘Sexy Soulaan’ lies in this refusal to soothe. Monaleo isn’t angling for crossover approval or playlist safety. She’s speaking to her people, her culture, and her history, daring everyone else to keep up. The production pounds, her delivery cuts, and the visuals double down: Joy and defiance mingling in the open air, women hyping each other in ways rarely centred in mainstream Rap imagery.

    In a moment where women in Hip-Hop are often pushed toward marketable archetypes—the party girl, the sex symbol, the crossover darling–Monaleo isn’t budging. ‘Sexy Soulaan’ is radical precisely because it doesn’t care about palatability. It’s dauntless, not for its shock value, but for its honesty.

    Monaleo isn’t just rapping over beats; She’s rewriting the guest list.

    Monaleo has always had a knack for cutting through noise with scalpel-sharp honesty. Here, though, she’s louder, riskier, and utterly uninterested in compromise. ‘Sexy Soulaan’ doesn’t just plant a flag—it waves it in your face and dares you to look away.

    [youtube=https://www.youtube.com/watch?v=-wwSNzPotho&h=315]

    ‘Sexy Soulaan’ sits at #30 on YouTube’s Trending Chart.


  • Skepta faces court over drug‑driving allegations and speeding charges

    [media-credit name=”Instagram” link=”https://www.instagram.com/p/Ca0QjR4gud0/?img_index=1″ width=1440 align=”center”][/media-credit]

    British Grime artist Skepta, whose legal name is Joseph Adenuga, has appeared in court to face charges of drug‑driving and speeding. The forty-three‑year‑old musician stood before High Wycombe Magistrates’ Court in Buckinghamshire, where his case was formally opened and adjourned.

    According to the prosecution, on May 14, 2024, Skepta was driving a Mercedes‑Maybach in High Wycombe whilst having tetrahydrocannabinol (THC), the psychoactive component of cannabis, detected in his system. In addition, he faces a speeding allegation from November 20, 2023, when he is said to have driven 37 MPH in a 30 MPH zone on Amersham Road in his Rolls‑Royce Phantom. He is also charged with failing to provide information to Thames Valley Police concerning the driver of that Rolls‑Royce.

    At the hearing, Skepta confirmed his name, address, and date of birth but made no other statements. He dressed casually in a white T‑shirt and light blue trousers. Due to constraints on court time, the magistrates adjourned the case, and a trial is expected to take place in the new year.

    The charges have drawn significant attention, given Skepta’s prominence in United Kingdom music—he has released multiple charting albums and singles. Whilst charged, he retains the legal presumption of innocence. The coming months will see prosecutors and defence teams debate the evidence—particularly the relevance of THC presence, speed measurements, and procedural compliance.

    The case is likely to be closely watched—not only for its legal outcome, but also for its implications regarding celebrity accountability and the enforcement of drug-driving laws in the United Kingdom.


  • TiaCorine enlists Atlanta’s JID for high-energy song ‘Backyard’: Watch

    “Ain’t crying over niggas with no black card”

    [media-credit name=”Instagram” link=”https://www.instagram.com/p/DM_e6YSM4Tc/?hl=en&img_index=1″ width=1440 align=”center”][/media-credit]

    Three weeks ago, North Carolina rapper TiaCorine released the high-energy song ‘Backyard’ with Atlanta’s JID. On the Hit-Boy-produced track, the gifted Winston-Salem songwriter tells us she’s not a one-woman man (“Mix match the nigga, you is not my one and only”), being that girl (“Bitch, I’m the shit like some dawgs up in the backyard”), how men of a certain tax bracket warrants her atttention (“Ain’t cryin’ over niggas with no black card”) and her beliefs on why her body’s so thick.

    Her rapping counterpart, JID, likens himself to the governor of Atlanta, his need to be in control (“If I ain’t out here steerin’ shit, might as well abandon ship”), and excellently closes his verse by speeding up his delivery. Without further ado, watch the official music video below.

    [youtube=https://www.youtube.com/watch?v=ZLdB8mNOLzM&h=315]


    Four weeks prior, the ‘We Not Humping’ rapper released the official video for ‘Fall In Love’, where she displays love and affection for her partner, who matches her vibe—melanated, tatted up, and stylishly edgy.

    [youtube=https://www.youtube.com/watch?v=XiL51gFDo2w&h=315]


  • Maxwell House coffee rebrands for first time in 133 years

    Maxwell House, the iconic coffee brand that has been a staple in American households for over 130 years, is undergoing a historic change. For the first time in its long history, the company is changing its name. This shift marks a significant moment for the beloved brand, which has been associated with coffee for generations.

    [media-credit name=”Kraft Heinz” width=1170 align=”center”][/media-credit]

    The decision to rebrand is part of a larger strategy to modernise the company and appeal to younger, more diverse consumers. In a statement, Maxwell House explained that the new name will better reflect the company’s evolving identity whilst still honouring its rich legacy. The brand has long been known for its slogan “Good to the Last Drop”, a phrase that resonated with coffee lovers for decades, cementing Maxwell House as a trusted, go-to coffee.

    The rebranding also coincides with an increasing interest in specialty coffees and new brewing methods. Whilst Maxwell House has historically dominated the mass-market coffee segment, the rise of artisanal coffee, sustainability concerns, and changing consumer tastes have prompted the brand to rethink its identity. The name change is seen as a way to refresh the brand, ensuring it remains relevant in a competitive coffee market.

    The specifics of the new name have yet to be fully disclosed, but it’s clear that Maxwell House is aiming to capture the attention of today’s coffee enthusiasts. As part of the relaunch, the company is also planning updates to its packaging and product offerings to align with the evolving preferences of coffee drinkers.

    This bold move represents a significant shift for a brand that has stood the test of time. Whether the name change will resonate with loyal fans or alienate them remains to be seen, but it’s clear that Maxwell House is ready to embrace the future.


  • Buckeyes superstar rapper Trippie Redd courts two women in official video for surprise single ‘Sketchy’: Watch

    “I’m filled up with too much pain/I don’t have no room for you”

    Two days ago, Canton, Ohio-born and raised superstar Trippie Redd reemerged onto the scene with what’s been referred to as a “surprise single” by his publicist for his new single, ‘Sketchy’. In the two-minute music video, the controversial musician sings about his choice to disengage with some people because of their dishonest behaviour and courts his two girlfriends at an amusement park. Later in the video, during the studio scene, he continues about popping pills and his nihilistic views, unrealistic expectations people put on him, and acknowledges cheating with a former girlfriend. Check out the official music video for the Nick Mira-produced track, ‘Sketchy’.

    [youtube=https://www.youtube.com/watch?v=S3edLt0E3Sk&h=315]


    The single ‘Sketchy’ is taken from the recording artist’s forthcoming sixth album ‘NDA’, set to release through his longtime record labels, 10K Projects and Atlantic Records. According to his page on Wikipedia, the forthcoming album will also have a track featuring a guest appearance from Kanye West.


  • Watch Cory Gunz’s sidewalk visual for ‘Fish Fry’ featuring Nems and Whispers

    It’s giving early 00s G-Unit.

    Last month, Cory Gunz, the famed American rapper who collaborated on Lil Wayne’s classic fan-favourite collaboration ‘6 Foot 7 Foot’, returned with a new single for the streets called ‘Fish Fry’, featuring fellow New York rapper Nems and his Militia labelmate Whispers. On the gritty track, the multi-platinum selling legend uses the Asethic-produced beat to report on personal missions, escaping conditions, and how his parents influenced his mindset (“Mama made me suspicious/Papa made me this vicious”).

    For Coney Island’s own NEMS, frankly, displays utter rudeness towards his opponents by using upsetting words to detail the characteristics, physique, and gender (”Your whole team is dickheads and fat bitches”). Further into his snide lyric, he reports how dangerous things could get (“Over here, we’re giving out shit bags and (urinary) catheters”).

    It is an intense song with dark storytelling, but if you ever wanted to know what it’s like for some people from the streets in the 21st century, this is a great introduction.

    Watch the official music video below to see the testosterone-fuelled song in action and the hook singer eat a fried fish sandwich.

    [youtube=https://www.youtube.com/watch?v=nuHbyvbgseo&h=315]


  • Apple removes ICE-tracking app after US government pressure

    [media-credit name=”Reuters” link=”https://www.reuters.com/sustainability/society-equity/apple-removes-ice-tracking-apps-after-pressure-by-trump-administration-2025-10-03″ width=1536 align=”center”][/media-credit]

    In early October 2025, Apple quietly removed ICEBlock—an iOS app that allowed users to crowdsource sightings of US Immigration and Customs Enforcement (ICE) agents—from its App Store, citing “safety risks” flagged by law enforcement. The takedown came after direct pressure from the US Department of Justice and Attorney General Pamela Bondi, who argued that the app posed a danger to agents performing their duties.

    Launched in April by developer Joshua Aaron, ICEBlock functioned like a reverse radar: Users could anonymously alert others within a five-mile radius when ICE officers appeared in public spaces. Reports would disappear after four hours to limit persistent tracking.

    Within months, it had amassed over a million users and become a flashpoint in the broader debate surrounding immigration enforcement, civil liberties, and technological surveillance.

    Apple says it acted after receiving law enforcement information about the risks associated with ICEBlock’s design and usage. Critics counter that the removal amounts to censorship under political duress, noting that other apps—like Waze or Google Maps—allow users to flag police or speed traps but remain untouched. Legal experts note that the act of observing or reporting government agents in public is often shielded under the First Amendment, so long as no interference occurs.

    Supporters of ICEBlock view it as a civic tool: A way for communities to respond to surprise immigration raids, monitor enforcement patterns, and protect vulnerable populations.

    Opponents argue it could escalate risk, incite violence, or facilitate obstruction. The debate raises a tougher question: When tech becomes a medium for political resistance, how should platforms navigate state pressure, civil liberties, and safety claims?