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Here's What Jhené Aiko Thinks About Exposing The Freak

Jhené Aiko shares her thoughts on self love, eating the booty and the song that closely resembles her sex life

Almost a year after the release of her highly anticipated debut Souled Out, Jhené Aiko is finally where she belongs – on the top of charts and in the ears of everyone that has willingly transported into her harmonious cosmos.

Truth is, the Pisces songstress is unfazed by fame and the stigma of celebrity, keeping self preservation and family at the core of her compassionate inner being. "I'm just happy to show the world my growth," she told VIBE over the phone while promoting Pepsi's "Out of the Blue" campaign.

At 27 years old, the devout hippie emits a vaporous vibe that reads cool, calm and collected. And don't be fooled by Aiko's petite stature, baby face and soft-spoken voice either because the Slauson Hills native keeps it realer than most (see "Comfort Inn Ending (Freestyle)" for a friendly reminder).

Riding the wave of success by her own rules, Jhené resides in a world above the hate and negativity that once consumed her life (ladies, get into "Lyin King"). Amidst her crazy schedule, VIBE had the opportunity to telephonically share good vibes with Jhené.

Scroll down to see what the songbird had to say about self love, eating the booty and the song that closely resembles her sex life.–Ashley Monaé

 

VIBE: After releasing your debut album, how's life been? How are you handling your new-found fame?
Jhené Aiko: It's all a process. I feel like this was my first time creating this album on my own, and now I sort of have that full experience and know more of what I want to do. I'm just always excited to give my audience new material and whatever else I want them to learn. It's about them continuing to grow with me. Since then, it's just been like you said, people starting to see me more as an artist. I'm just happy to show the world my growth.

 

Speaking of growth, you recently celebrated your 27th birthday. On Instagram, you posted a sentimental #TBT photo and spoke on how you lost sight of who you were along your life's journey. I must ask, are you still that wanderer you spoke so passionately about on "Spotless Mind?"
I think that when you do a lot of press and a lot stuff all the time, you're unknowingly putting on a show. Without even knowing it, you're questioning yourself in so many ways. What if this person doesn't like me? Am I doing the right thing? You start to care a lot about what other people are thinking. The photo I posted was a split shot of myself in third grade versus today. When you're in the third grade and you're young, you love everything. I liked my hair. I liked my eyebrows. I liked myself. I liked other people, too, you know. But as you grow up, especially in this type of business, where you're constantly being critiqued, you find yourself caring a lot about things you shouldn't all for them to respect you or be pleased with you. I don't know. After having my own daughter and watching her grow up, that taught me a lot too. Just having that experience of being young and caring too much, it's tough. I just got tired and finally started listening to myself. I decided I had to do what makes me happy, what makes me most comfortable. I am still that wanderlust girl, you know what I mean. That's the way I've always been, but it's more-so about not caring who likes it or doesn't like it.

The "Spotless Mind" video features your ex. What advice would you give to young parents in their 20s on how to "keep the relationship cute" even if they're not together and have kids?
I would say keep the communication, always. You have to be in constant communication because if you're a person that really knows how to communicate then you are able to actively listen and really understand that person. I think when you understand someone you love them, that's just what it is. [My ex and I] are at an advantage because we actually grew up together. We went to elementary school together and grew up like family so it's very easy for us to not be together but still be friends. When you have a child, that person becomes your family so you have to look at it from that point. He's not just my ex, we're family forever. 

Your favorite artist Kid Cudi has no features on his upcoming album, Speedin' Bullet To Heaven. Your boyfriend, Dot Da Genius, is his right-hand producer. Any chance you can try to collab with him for the LP?
You know that's always been my dream collaboration, Cudi and I. Cudi is very exclusive when it comes to his work, and I understand and respect that because music is something very special for him. I definitely can't wait for it to come out.

Million dollar question: Where did that crazy line "eat the booty like groceries" come from?
(Laughs) It came from myself and Micah Powell who wrote "July" [that first song Drake and I did]. He actually wrote ["July"] around the time I was pregnant and wasn't really writing so ever since then, he's been someone that I work closely with. When it came to "Post To Be," Omarion wanted me on the song so we made it happen. They had already written the song except for my part and when we sat down to write it, I was like this reminds me of those Vine videos that were going around of that guy saying, "I eat the booty. I'm supposed to eat the booty." Then I heard "Post To Be" and I was like, oh, I should talk about eating the booty. Get it? It was like "post to" and "supposed to." So yeah, that's really how we came up with the line. I knew that it would be sort of shocking for people and cause a little stir, but I also have a crazy sense of humor and I like to be inappropriate a lot of the times. (Laughs)

So... not a past experience?
Not a personal experience. (Laughs) You know, it's a fun song though. I could see if it was one of my own songs and it was a ballad or something, then it would be weird. But the song is fun, so I went along with it.

How soon is too soon to expose the freak? 
It all depends on how comfortable you feel with someone. You never know, it could take a few months or a few years but definitely the first time, you should probably not expose the freak. You know, you don't know if they are like that, but if you don't care and you're doing it for you then by all means expose the freak.

If your sex life, was a song what would it be?
Wow. "Keep Your Head Up." (Laughs) No, no, that's just a joke. You know what, I think "Cruisin'" [by Smokey Robinson] because it should be a nice steady vibe. It's not about the climax, it's about the journey. You know, cruising together.

SEE ALSO: Interview: Jhene Aiko On Pepsi’s ‘Out Of The Blue’ Campaign And Her Grammy Nomination

"Living Room" is the most recent track you've released. Was it actually written in the living room?
It was not written in the living room, but I love the living room. I wanted it to have that vibe like you know how people are like, "I'm on my such-and-such flow," you know, the slang.

Is it your favorite place in the house?
I think the living room has a lot of great areas and lots of different textures. It makes for a great time.

Heartbreak and relationships are the usual narratives people have grown to expect from you as an artist, but you're proving many people wrong. Do you think there is a Jhené DNA and formula to your song writing method?
Yeah, I think that from "The Worst" and "July" people got only got one side of me. I have a lot of songs that aren't about relationships, but I think the most popular ones are about relationships just because women can relate to the things that I talk about. The formula for me is to just keep it real with whatever I'm going through and express myself. Music is my way [to] get through things I'm going through so relationships with my family, myself, God. The music is relevant and rich in life experiences.

Now that you're happily in a relationship, do you think the dialogue of your songs will be different? 
The dialogue grows with me so there will always be some element of me going through something with a man or whatever I happen to be going through in life – a lesson in learning.

Tell me about your involvement with Pepsi's Out Of The Blue Campaign
I've been working them with them for some months now. With the Pepsi Out Of The Blue Campaign, we're bringing fans closer with their favorite music artists and giving them really cool out of the blue experiences. Throughout the summer, we'll be giving out lots of cool prizes and exclusive access and digital content.

As an artist whose music is so personal, what has been one of the most out of the blue and touching fan experiences you've had?
One that really, really touched me happened to happen when I was having a bad day. I walked to go eat at a restaurant around my house and sat by myself at this big table. It was like one of those tables where someone would be like, "Aw, why are you eating alone?" I didn't really think anyone would notice me where I was, but this girl came up to me and was like, "I didn't really want to say anything to you, but I just really wanted to say thank you and thank you for your music." She was telling me how her Dad passed away from cancer and was crying, but it was so different from any other experience I've witnessed before. I've had this same situation happen before with fans, but usually there are other things happening like a show or a meet-and-greet and there's lots of energy and excitement. The energy and vibe was totally different, more personal. With me going through something that day myself, I was touched. You know, it was one of those days I wasn't really feeling that great about myself so when she came up to me, I was like, "No, thank you because you just made me feel like I am actually doing something good." As an artist, that's the best feeling ever.

Photo Credit: Silja Magg

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Lil Wayne performs at the 2019 Outside Lands music festival at Golden Gate Park on August 09, 2019 in San Francisco, California.
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Lil Wayne Talks ‘Ghost Recon Breakpoint’ Game, ‘Funeral’ Sessions And More

When Lil Wayne released his long-delayed Carter V and resolved his legal differences with Cash Money Records a year ago, he could have walked into the sunset and ended his career as one of the greatest artists ever. He’s put more than 20 years of his life into music, starting his career as a fresh-faced teenager in the mid-90s and going nonstop with more than 30 albums and mixtapes, an all-time great run of guest verses, a relentless touring schedule, and an indelible impact on the other rappers who have come after him. But Tunechi is still staying just as active, both in the booth and outside of it. 2019 alone has seen him launch a collection with American Eagle, continue his annual Lil Weezyana Fest for the fifth year, and tour with Blink 182 while releasing mashups of their previous work.

But today, Wayne is speaking with VIBE about another one of his passions: video games. He’s doing commercials for Ubisoft’s upcoming Ghost Recon Breakpoint, the 11th game in Tom Clancy’s tactical shooter franchise, slated for an Oct. 4 release. The ads see Wayne showcasing his hilarious personality, playing online with a team of other players and throwing jokes while consistently letting them down with phone calls and other distractions.

“That’s happened more than a few times, when you play games a lot, especially with your homies, and everybody’s on some sort of team and everybody’s counting on everybody,” Wayne tells VIBE over the phone. “It doesn’t even have to be a phone call. It can be somebody at the door, it can be your mom screaming at you, anything.”

Artists have historically relied on video games to pass the time during their tours, and Wayne has always been known for his adoration for the Madden NFL series. He’s a die-hard sports fan, as seen from his social media and his appearances on sports talk shows with his friend Skip Bayless. Years ago, T-Pain said he saw Wayne and Cash Money co-founder Birdman bet up to $10,000 on games, while letting the computer battle it out to see who wins – like sports betting, but you get to pick each other’s competition.

“I don’t recall that,” Wayne laughs when asked if T-Pain’s statements were true. “I don’t recall letting the computer play for no $10,000, but we definitely probably played each other for something like that. … I’m sure I didn’t lose that $10,000 bet whenever it happened. I don’t think I’ve lost too much. I’d say about $500 would be the biggest loss I’ve had, if anything. Maybe $1,000. But I’m putting the [cheat] code in on you and everything for that $10,000.”

These days, while Wayne says that Drake and Birdman have made games tough for him in terms of other artists, he admits that his biggest competition is at home.

“If I’m playing an artist, I’m only practicing against you to get better against my kids. You gotta stay superior on stuff like that,” he chuckles. His sons are aged 10, 9 and 9, “but think they’re 21 and 22.” “My sons, they like to play vintage, so I have to go back and get a team that was great in the year of the team that they pick. My middle son’s vintage team is the LA Rams, my youngest son, Meatball, is going to go with the Atlanta Falcons from the year that Deion Sanders was playing, and my oldest son, Tune, is going to go with the Bengals when they had Boomer Esiason.”

Wayne also spoke about the Top 50 rap lists that have been circulating this summer. While he’s cited Jay-Z as his GOAT before, he took time to give credit to Missy Elliott as one of his favorite rappers and described her impact using another sports analogy.

“A lot of people, their eyes widen up when I say that. If I placed her, there may be a question. It shouldn’t be, though,” Wayne says. “When Missy came out, everybody was rapping about the same things, and everybody [in each region] was trying to get better at the same things, one type of style, in my eyes. … Missy came out way from Virginia on some other shit, making sounds. Her and Timbaland were like Tom Brady and Bill Bellichick.”

His rap bonafides are unquestionable, but Wayne has also dabbled in rock: his tour with Blink 182 was paired with a mashup of his song “A Milli” and the band’s “What’s My Age Again,” and he released his own rock album Rebirth in 2010. When asked if he would consider making another rock album, Wayne said he liked the idea.

“I would definitely want some help on it this time. I did that one by myself. The most help I got, I consider her like another mom, is [soul/R&B singer] Ms. Betty Wright. She taught me a few strings, a few chords on the guitar, how to hold a few notes,” Wayne reveals. “I would definitely fuck with Blink, I’d let Travis go crazy on one or two of them bitches. … I would love to go back and do some vintage songs on it this time as well. I would have to get some clearances on one or two songs from a band or an artist we all love, and do it like that. I’m trying to see what’s up with a Nirvana song or something. Try to get my Kurt Cobain on.”

The Young Money Entertainment founder also says that despite a lack of updates, he and Drake still plan to make an album together.

“We’re both doing what we do, but he already know,” Wayne says. “We still text and send songs here and there, change a verse because he killed me or change a verse ‘cuz I killed him. It’s still the same competition.”

While those two projects are good interview fodder, Wayne’s 13th studio album Funeral is further along – he’s said in the weeks after this interview that he plans to release it by the end of the year. It’ll be his first collection of new, timely music in at least four years, and he says his recording process has changed drastically since his prolific mixtape days.

“I love the difficulty of trying to fit in with what’s going on today, making sure I sound likable to the ears today and having to remind myself that it’s not about what it was back then. Going to the studio now, for me, is awesome. I used to go to that mufucka and do 12 songs a night. Cut a beat on, I’m going to go and you let me know when to stop,” Wayne says.

“It’s different now. I can’t wait to get in the studio now every night, just to see what I can come up with. [Before] it was just me going to the studio and saying, let me kill ten more songs and then I’m going to go home or do whatever I was doing. Now, it’s let me see what I come up with. Self-discovery, rebirth – call it whatever you want to call it but it feels awesome, I swear to God.”

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Stanley Nelson Lays Bare The Complicated Cool Of Miles Davis

Miles Davis had it. Whatever it was, Miles Davis was the sole proprietor. The aura, skill, and style that oozed from Davis’ pores helped propel the trumpeter to stardom. His musical accomplishments were only made more striking by the swagger that garnished them. Davis’ cool, projected best on stage, was an unwavering confidence with a dollop of syrupy charisma. Even his voice, a sandpaper-like whisper, which came as a result of yelling after throat surgery, weaved its way into the mythological-like figure Davis became. To be frank, Miles Davis was a cool-ass motherfucker and he knew it.

Yet underneath Davis’ cool was a man equally tormented by the second-class citizenship his country forced on him, as well as his own personal demons. Standing up to the racist government sometimes proved easier than defeating his alcoholism and drug abuse. Those closest to Davis felt his venom whenever he bit, and graciously allowed their love for him to be a balm for the wounds he left. How could the same man who composed and performed Kind of Blue be responsible for the cruelty of those who loved him so?

Well, it’s complicated.

Director Stanley Nelson lays Miles Davis bare—his good, bad, and beautiful—to a new generation while crystalizing the jazz musician’s legend to longtime fans with Miles Davis: The Birth of Cool. Nelson’s latest demonstrates Davis' complexity and all that he endured.

Nelson invited VIBE to his 5,000-square-foot Harlem office to discuss Davis. Before getting into the nitty-gritty of the nearly two-hour film, Nelson offers a firm handshake and an even stronger espresso. He apologizes for not having much sugar but makes up for it with a Wicker basket full of snacks that sits atop his white granite kitchen island. I opt for cookies and sneak the last bag of white cheddar popcorn for the train ride back to the office.

As we walk past the stainless steel appliances and through the dining room, the September sun shines bright through windows striking the white living room walls. Several books about Frederick Douglass are neatly stacked on the dining room table. Nelson reveals the writer and abolitionist will be the subject of his next feature, but for now, the 68-year-old director is entrenched in promotion for Miles Davis, an artist he says “transcends music.”

In between sips of tea, Nelson explains why Davis will always be a figure worth examing,

VIBE: What is your definition of cool? Stanley Nelson: I think the definition of cool changes with the times. I think cool is a certain calmness and being ahead of the times. It’s also a certain sophistication, I think Miles Davis had for so much of his life personified.

What do you think are some of the ingredients that go into making a Miles Davis? I don’t think there are very many people, across all genres, who can compare to Miles Davis. Miles Davis did what he did for five decades and was a leader in so many different movements in music and in jazz. Miles Davis transcends music.

What do you mean when you say "Miles Davis transcends music?" Miles Davis transcended the music because he was a leader in the way he looked, in the way he dressed, in things he demanded as you can see in the film. He demanded that he be treated with an amount of respect. The fact that he had black women on the covers of his albums, all those kinds of things made Miles Davis so different from so many other jazz musicians, who we love and admire for their music. We love and admire Miles Davis for his music, but it wasn’t just the music that made Miles Davis special.

Miles was also undeniably a beautiful looking man, and this was in the 50s and 60s. Miles Davis had very dark skin which was something that was not in the general public how it was thought of, so Miles kind of flipped that on its head.

This is going to sound like a dumb question but I have to ask it anyway. Why did you decide to honor Miles Davis with this film? There are a lot of reasons for making this film. There are a lot of reasons for making any film so whenever filmmakers tell you there’s only one reason they’re probably just lying, or saying whatever their publicist wants them to say. For one, his music is so incredible I would say he is easily one of the most important musicians of the 20th century, maybe the most important, you can argue that in any genre. Two, I’m a jazz lover and three Miles Davis is a very complicated individual so it makes for a better film. It’s not a simple story. I also think as we got into the film that Miles Davis’ story isn’t only about music, but it's about being a black person in the second half of the 20th century in the United States and I think that’s what makes the film work on a different level than a lot of other jazz films.

Veering off from Mr. Davis for a bit, how do you decide which topics or events you want to turn into films? You’ve done the black press, you’ve done a story about The Black Panthers, you did a story about Emmett Till. How do you choose which one to make into a film?

One of the great lessons for me was the first film I made called Two Dollars and A Dream. It was about Madame C.J. Walker and it took me seven years to make the film and I realize at that point films can take a long time to make, to raise the money and actually get the films made, so it's really important that the film be important to me, at least, that’s part of how I think about films when I think about what to do next. I’ve also been afforded the opportunity to paint on a big canvas so I’m trying to make stories that are big. I’m not just making small stories.

Did you always have this mentality of making big stories? I think so. I think part of that was unspoken, not really something I thought of. If you make something you want it to be a success, you want it to be a big success especially if it's going to take seven or 10 years of your life.

Why was Carl Lumbly the one you picked to voice Davis? Carl Lumbly is a great actor and he’s someone that I knew. Carl did the narration for one of our other films a long time ago, so Carl is someone I thought of. We sent him a bunch of tapes of Davis’ actual voice, and he practiced and we got back to him in a week and asked him to give us his Miles Davis voice over the phone and when he did, we were like, that’s good. It wasn’t perfect, but we could make it work.

What I personally loved about the film was that you didn’t glance over Miles Davis’ bitter personality. I loved the interviews with Frances Taylor, but it broke my heart that the creator of Kind of Blue forced his dancer wife to drop out of West Side Story. Miles was not an easy guy.

That’s putting it mildly. I think it was important that we tell that part of the story. I think what makes his story so rich and emotional there’s that dichotomy with Miles. The man that made some of the most beautiful music ever created and then was so rough for so many people. How do those things exist? Miles basically ruined Frances’ career by pulling her out of this show.

Yes! He was abusive to her, and after a few years they broke up. Her career had been ruined. I think one of the things that was so great for us while making the film was that Frances was so resilient and so beautiful and so funny in the film. You realize he tried but he couldn’t break her. I should say that Frances passed away Thanksgiving of last year. It was such a joy to be with Frances and interview her.

What do you hope people who don’t know Miles Davis will take away from the film and what do you hope people who do know Miles Davis will learn? One of the challenges of making any film, especially a film about Miles Davis, some people come in thinking there’s everything to know about Miles Davis. Some people come in and say "Miles who? Why’d you drag me to the theater?" You’ve got to walk that line and tell everybody something new and also be entertaining.

My mission in this film is partly to entertain. I don’t care how much you know about Miles. If you walk into this film and it’s two hours long you’re going to learn something new, or it’s going to be told to you in a different way. Certainly you’ve never been exposed to Frances. Just being exposed to Frances in and of itself is a trip. Part of the job is to entertain and frankly, that’s what we’re trying to do.

Miles Davis: The Birth of Cool is in select theaters. Click here

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Tekashi 6ix9ine attends the Made in America Music Festival on September 1, 2018 in Philadelphia, Pennsylvania.
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Nine Trey Trial: 6 Takeaways From Tekashi 6ix9ine's Testimony

Daniel Hernandez, known widely as Tekashi 6ix9ine, took the stand in a Manhattan federal courtroom against Anthony “Harvey” Ellison and Aljermiah “Nuke” Mack who are facing racketeering and firearms charges. Acting as a cooperating witness, the 23-year-old used part one of his testimony to break down his origins with the Nine Trey Gangsta Bloods and how they've played an instrumental part in keeping up the rapper's gang image.

Pitchfork reports in addition to his testimony on Tuesday (Sept. 17) about "Treyway," the rapper made it known he began cooperating with federal agents on November 19, 2018– just one day after he was arrested on his own racketeering and firearms charges.

Answering questions from attorney Michael Longyear, the rapper "unhesitatingly" replied in full to the prosecutor about his kidnapping, how he learned about the Nine Trey crew, and why he continued to support the gang with guns and other resources.

With the rapper taking the stand again on Wednesday (Sept. 18) for part two of his testimony, here's what you missed from his first testimony.

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Day 1 1. Tekashi Testified Against Fellow Nine Trey Gangsta Blood Members

Anthony “Harv” Ellison and Aljermiah “Nuke” Mack were called out by the rapper as alleged Nine Trey Gangsta Bloods members. Prosecutors claim the men were two high-profile members of the gang who terrorized neighborhoods with gun violence. Mack allegedly sold drugs such as heroin, fentanyl, and ecstasy in Brooklyn. Both are accused of kidnapping the Hernandez last year.

2. Trippie Redd's Gang Affiliation Was Identified By 6ix9ine

Speaking on his come up in the industry, the 23-year-old shared how his hit single "Gummo" was a direct diss to former labelmate, Trippie Redd. “Me and Trippie Redd were signed to the same label,” Hernandez said. “There was a lot of jealousy involved," he revealed while sharing how Trippie's alleged affiliation with Five Nine Brims.

3. Tekashi Provided Gang With Hits In Guns In Exchange For Protection

In 2014, Hernandez worked at Stay Fresh Deli, a vegan bodega in Bushwick where he met Peter “Righteous P” Rodgers. After being told he had the "image" for a rapper, he started making music and touring. He met rapper Seqo Billy who introduced him to members of the Nine Trey to act as supporters in his "Gummo" video. Hernandez purchased three dozen red bandannas for the men in the video. "I told Seqo that I would like for them all to wear red,” he said.

From there, he met his former manager, Kifano “Shottie” Jordan, who taught him the Nine Trey handshake. After creating “Kooda” he “officially became a Nine Trey member” without going through a traditional initiation like slicing a stranger in the face with a blade.

His role in the gang was simple, the rapper divulged. “[I] just keep making hits and be the financial support for the gang... so they could buy guns and stuff like that.” When asked what he got in return he said, “My career. I got the street credibility. The videos, the music, the protection - all of the above."

After seeing the traction from "Gummo" and "Kooda," the rapper realized Treyway could change his life. “I knew I had a formula,” he said. “That’s what people liked.”

4. Tekashi Turned On Gang Members 24 Hours After His 2018 Arrest

Hernadez didn't need much time to ponder a working relationship with the feds. Just 24 hours after he and other Trey Nine affiliates faced racketeering charges, the rapper agreed to work with the feds. Initially facing 47 charges, his current testimony stems from a plea he took with the Manhattan U.S. Attorney’s Office; under the agreement he pled guilty to nine federal counts.

“The defendant’s obligations under this agreement are as follows: That he shall truthfully and completely disclose all information of the activities of himself and others to the U.S. Attorney’s Office and that he cooperate fully with law-enforcement agencies,” Assistant U.S. Attorney Michael Longyear said during the plea proceeding. “It is understood that the defendant’s cooperation is likely to reveal the activities of individuals and that witness protection may be required at a later date.”

5. Ellison Claims The Rapper's Abduction Was A Publicity Stunt

Ellison and Mack have accused the rapper's kidnapping in July 2018. Hernandez spoke to Angie Martinez shortly after the kidnapping and suspected people in his crew were behind the act. But Ellison’s lawyer, Devereaux Cannick, has another theory.

Calling the kidnapping a “hoax,” Cannick compared the incident to Jussie Smollet's Chicago incident. The name drop is a direct reference to the actor's claims of faking a racist and homophobic attack against himself. Cannick also claimed Ellison came up with the kidnapping as a publicity stunt in order to boost Hernandez's image.

Meanwhile, Assistant U.S. Attorney Jonathan Rebold argued that the kidnapping was real. After Ellison was fired from a "protection role" in Hernandez's camp, Rebold said, “This did not sit well with Mr. Ellison,” allowing the kidnapping plan to come to life.

6. Tekashi Nodded To His Music Videos Played In Court

Two music videos, “Gummo” and “Kooda," were played at the courthouse. Hernandez pointed out alleged gang members who appeared in the videos while nodding to his viral hits. While speaking on the creation of the video, Hernandez said he wanted the “aesthetic” of “Gummo” to reflect the "Treyway" vision.

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