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6ix9ine’s RICO Rap: How Tekashi’s Federal Case Compares To Others, Past And Present

6ix9ine follows a lineage of ballsy rappers toeing the line with their federal crimes.

By now, you’re already aware of 6ix9ine’s arrest and so is just about everyone else. Few stories in rap this year have garnered the kind of wall-to-wall coverage that this one has in a matter of days. As revealed on Monday, the New York rapper born Daniel Hernandez faces federal charges related to racketeering and weapons for his alleged role in the Nine Trey Gangsta Bloods, as do a number of other apparent members and associates, including some recently fired members of his music management team. If found guilty of even some of the six counts against him, he stands to spend a significant number of years behind bars.

According to the U.S. Attorney’s Office, just two of the firearms charges amount to 32 total years worth of mandatory minimums, with maximum penalties of life imprisonment on the table for either. The remaining four run between three to 20 years apiece max. Apart from some key tabloids and even less scrupulous rap blogs, most of 6ix9ine’s prior antics and legal woes have rarely warranted much attention in reputable publications. Save for the exceptionally fine reporting done at Jezebel, several music and non-music outlets have seemingly shied away from positive or even neutral coverage since his 2017 come up with the viral single “Gummo.” Some of that reluctance has to do with the revelations surrounding a 2015 conviction and plea agreement in which he, a legal adult, admitted to three felony counts related to the sexual exploitation of a 13-year-old girl. During a long-delayed sentencing last month— which against the prosecution’s wishes ended with probation for 6ix9ine rather than imprisonment and sex offender registration—even more unsettling facts came to light about his participation in these crimes, which he’d shared video of the statutory rape of this minor to social media.

Conversely, new details about 6ix9ine’s emerging RICO case appear to come every few hours, with major national news outlets that previously wouldn’t deign to cover him now sharing every morsel of information to a wider audience. From official actions like U.S. Magistrate Judge Henry Pitman denying him bail on Tuesday to juicier speculation about his current general population status in a Brooklyn jail, the stories keep coming. Some of this, assuredly, comes from 6ix9ine’s lawyer Lance Lazzaro advocating on behalf of his client, no doubt well aware of the attention his arrest continues to generate, while further particulars stem from law enforcement. No matter the source, the reportage at least marks a step up from a rap music industry that regularly treats DJ Akademiks and other such news-adjacent personalities’ glorified gossip as gospel.

For those who kept up with his often social media-centered beefs, 6ix9ine insisted repeatedly that he was about that life. Despite his lawyer’s assertions at last month’s sentencing that the rapper was putting on an act for entertainment’s sake, real-life violence has been an incontrovertible constant in the stories surrounding him this year, with gunfire ringing out at video shoots and outside restaurants. We still lack clarity as to what really happened this past July, when he claimed he was assaulted, kidnapped, and robbed in Brooklyn, though the feds could very well know. As such, no one ought to express anything remotely resembling shock that he caught a case like this.

From convicted tax dodgers DMX and Fat Joe to currently pending organized crime drug charges against Atlanta’s Ralo and Philadelphia’s AR-Ab, rappers running afoul of federal law enforcement is the stuff of hip-hop legend and lore. Distinct from criminal cases on the state level, of which scores of artists in this genre have intimate experience with, the ones stemming from branches of the U.S. Attorney’s Office carry relatively more heft. While rappers such as Beanie Sigel have successfully fought in court for their freedom, over the years the feds have secured sentences against some notable names in hip-hop history, including B.G., Gucci Mane, Lil Kim, and, well, Beanie Sigel.

In 2007, while enjoying a high point in his career, T.I. found himself arrested on federal weapons charges, mere hours before a scheduled BET Awards performance. Roughly a year and a half later, much of that time spent on house arrest while facing down some serious prison time, he was sentenced to one year and one day based on a plea agreement that also included a six-figure fine. A big factor in the leniency shown had to do with community service performed prior to the sentencing, no small amount of which involved the rapper speaking and mentoring at schools, boys and girls clubs, and hospitals, among other such locations.

Tip’s demonstrated desire to be a positive force undeniably aided the outcome of his case. Though the following years had some rocky moments like his 2010 probation violating drug arrest, he’s since found success both inside and outside of music. That said, 6ix9ine likely won’t have the same opportunity. His social media presence in the lead-up to his New York sentencing last month in the child sex case was peppered with apparent good deeds, a rather unsubtle attempt to soften his image ahead of that court appearance. Yet if his legal representation continues to fail to secure his bail ahead of trial, that simply won’t be repeatable. And given the severity of the charges against him compared to those levied against T.I. over a decade ago, it stands to reason that he’ll remain locked up until his proverbial day in court.

Simply put, 6ix9ine’s case isn’t enough like T.I.’s but more akin to Bobby Shmurda’s, albeit while currently incarcerated under New York state law rather than federal bears more of a semblance to the circumstances facing his fellow Brooklynite. (Ironically, the two rappers also appear on a track together, “Stoopid,” which peaked at No. 25 on the Billboard Hot 100.) In the wake of 2014’s breakout hit “Hot Ni**a,” he signed with Epic Records and appeared poised to represent his renowned city in a big way, bringing affiliates like Rowdy Rebel and his infectious street single “Computers” into the spotlight as well. By mid-December, both rappers were under arrest, as well as roughly a dozen others in their circle, with police accusing their GS9 Entertainment of being a front for an assortment of criminal activities. Among the charges faced by then-20-year-old Shmurda and his alleged G Stone Crips associates were murder, attempted murder, drug dealing, and firearms possession. In 2016, he pleaded guilty to two weapons charges and accepted a seven-year sentence.

While Shmurda may have been the highest profile member of GS9, the case wasn’t solely about him. It took down multiple men, much like the federal charges against 6ix9ine. Though legal wrangling and a certain amount of back-and-forth can be expected, there are too many people involved for the feds not to be cutting deals eventually, perhaps in exchange for further information or intel to use against Nine Trey members. 6ix9ine seems a likely target for both scenarios, given reports that some of his simultaneously indicted and now estranged co-conspirators sought to “super violate” him, an unseemly metaphor that leaves little to the imagination. Indeed, even if he remains mum, there’s no guarantee others won’t snitch on him both as revenge and to lessen their sentences.

The circumstances facing 6ix9ine and Nine Trey also mirrors other ongoing RICO cases related to rap. Unsealed a month ago, indictments against AR-Ab and another eight of his purported gang members show federal charges of drug trafficking and conspiracy. A joint investigation between the FBI and the Philadelphia Police Department purports that since at least March of last year these men, led by the Meek Mill rival and erstwhile Cash Money Records signee, dealt considerable weight in cocaine, crack, heroin, and methamphetamine. Elsewhere in Pennsylvania, three members of the Jimmy Wopo associated 11 Hunnit gang were indicted in August by a federal grand jury in Pittsburgh for conspiracy to commit murder, robbery, and drug trafficking over a three year period. Had it not been for his drive-by shooting death two months prior, the rising rapper would definitely have been charged alongside these men.

All three pending RICO cases share a common trait, alleged criminal enterprises with rappers in positions of prominence. By now, there’s little doubt that the FBI and law enforcement have closely monitored this overlap, exploiting weaknesses and errors revealed by often young participants, parsing interviews, music videos, and even lyrics for evidence. Building RICO cases like these is no small feat, but rappers like 6ix9ine seem to make it easier with every social media post.


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Pretty much any coverage of 6ix9ine regrettably fuels his notoriety, again a problematic consequence when considering his prior status as an admitted felon with regard to sexual activity involving a barely teenaged girl. Of course, morality within hip-hop has never been as cut and dry as outside of it. A reflection of the longstanding issues facing people of color in this country that are systematically exacerbated by law enforcement, criminality is something regularly celebrated and admired in rap lyrics and, in turn, in rapper lifestyles. Disproportionate policing and abuses of power both directly and indirectly impact black and Latinx communities across America in negative ways, which has led to the lionization of countless artists in the genre who dare to speak on the realities of urban life while hustling to thrive or even just survive.

Nonetheless, there’s scarcely been much leeway in hip-hop afforded to those who do harm to children, something assuredly verifiable by those who’ve served time alongside convicted sex offenders. While these federal charges bear no obvious relation to 6ix9ine’s aforementioned prior felonies in New York, his character remains forever defined by them, no matter how many times Kanye or Nicki hop on a track with him or otherwise attempt to normalize him. Even if he cops a plea that keeps him from life in prison, that doesn’t change much even if it makes him another hip-hop hashtag hero. This explains why, despite his unfortunate and frustrating popularity, so many people seem to be taking such joy this week in his potential downfall. And given the feds’ track record in taking down rappers, particularly via RICO indictments, 6ix9ine’s undoing seems likely.

READ MORE: Rise To Fame: A Timeline Of Tekashi 6ix9ine’s Controversial Moments

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Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

Rodriquez Jacquees Broadnax doesn’t want to be the bad guy of R&B. He says this with a sinister, yet warm smile. With year-end debates taking over social circles, Jacquees wants all the flowers for his glowing debut, 4275. “I ain't never had a year like this, I got one of those careers and lives that keep going like this,” he says, as he raises his iced out wrist to draw his progression. “It keeps going up, my sh*t just keeps going up.”

At 24 years old, the singer knows a thing or two about the ever-changing genre. Nearly half of his life has been dedicated to music, specifically to quiet storm-like sounds that now take on new meaning in our adult love lives. He’s hibernated under the radar for some time with his 2014 debut EP 19 and released gentle falsettos and big name features with Chris Brown, Ty Dolla $ign and Trey Songz along the way.

But between his accolades, he’s been condemned for his favorable “Quemix” of Ella Mai’s “Trip” and now, his self-proclaimed status of “The King of R&B” for his generation.

"I just wanna let everybody know that I'm the king of R&B right now," Jacquees said in an Instagram post on Sunday (Dec. 9). "For this generation, I understand who done came and who done did that and that and that, but now it's my time. Jacquees, the king of R&B.”

R&B artists like J. Holiday and Pleasure P shared their two cents on the matter while the game’s most elite like Tank, Tyrese and Eric Bellinger dropping stacks of knowledge on the gift of consistency, respect, and talent. But Jacquees has these things and then some with legends like Jon B., Donell Jones and Jermaine Dupri in his corner. Despite quick reactions from his peers, Jacquees is confident in nature and proud of his space in the game.

“I think I'm the leader though, as far as males go, I think I'm the number one,” he tells VIBE, just days before his “King of R&B” comments went viral. “You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees.”

Jacquees’ music is just a branch of what R&B has evolved into. Over the years, artists like SZA, H.E.R., Daniel Caesar, The Internet, Miguel and many more have flipped the genre on its head by churning out music that not only speaks to the soul, but to their vocal abilities. Successful R&B records aren’t confined to rap guest verses and traditional instruments now take center stage. But Jacquees sits in an interesting space seeing as his style caters to a grey area of folks who just heard their first Monica album yesterday and now appreciate a good nayhoo like the rest of us.

With hopes to release his sophomore album in February 2019, Jacquees chats with VIBE about his confidence, making 7275 and why he’s the perfect leader for R&B today.


What have you learned about yourself as a human and an artist in 2018?

Jaquees: This was my biggest year. I made the most money I’ve ever made. I dropped my album and was able to take care of my family. I ain’t never had a year like this and I thank God for that. I got one of those careers and lives that keep going like this, (slowly raises a hand to the ceiling) It keeps going up, my sh*t just keeps going up.

I think I learned about my whole self in 2018. Being that it was my biggest year, I went through a lot of stuff personally, but I think the biggest thing for me was listening to other people but also trusting myself. I have a strong mind so more of listening to myself helped.

Do you think you're the good guy or the bad guy in R&B?

Who do you think I am?

I think you’re a sweetie.

I don’t wanna be the bad guy, I’m a good guy. I’m easy to deal with. I’m a sweetie, but ain’t sh*t sweet though. (Laughs)

You have a lot of ‘90s and 2000s influence in your music. Do you ever feel you might sound dated, or do you think you’re bringing new sounds into the genre?

I just think I'm bringing a whole new sound. When I was younger, someone told me if you switch up what you’re doing, someone else is going to do it and you’re going to be pissed off. Just stick with it. When I was 14, everyone was telling me I needed to make club records but I didn’t want to do it. I remember CEOs saying, “Just let Jacquees do that [what he wants,]” because it’s a clock.

I figured out how to get my records at the club without changing who I was. I remember making “B.E.D.” and finding my flow on my project 19, you know? That’s when I got my swag.

What does love look like to you right now?

I think about a family. I think about me, a girl, a kid or something, like a whole family. One day I’m going to have it. I’ll still be in the game but I’ll say, “Yeah, that’s my wife over there with our son and daughter.” I'm getting older, too. I’ve been in the game for 10 years for real, but I’ll be 25 next year and soon they’ll be a little Jacquees.

There are a lot of layers in today’s R&B, especially in the mainstream resurgence it’s had. In that, there aren’t as many young male black vocalists being pushed to the forefront. I want to know your thoughts on where you exist in the genre today.

I think there's a big wave coming back right now because even if R&B didn't die down they weren’t promoting it that heavy. Artists were making songs, they just weren’t being acknowledged on a mainstream level. I think the game is really putting R&B back on top. You know, you’ve got artists like me, Tory [Lanez], Ella Mai, H.E.R., so many people, you know what I’m saying? Of course, you had Chris [Brown], Trey [Songz], all of them but that’s when we were in school. It’s a new time, ain’t no big male R&B singers.

I think I'm the leader though, as far as males go, I think I'm the number one. You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees. They’re not rugged like me. You’ve got Jodeci and Boyz II Men. I’m Jodeci, they’re all Boyz II Men. I’m street, they’re not street like me. You can hear it in their voice. There’s a difference.

It’s no disrespect to nobody because they’re all my friends, but I still wanna be number one. If we’re playing the game and I lose, I’ll be mad as hell but I’m still a good person. I just want to win.

As you should. Everyone wants to make the best music they can–

But I ain’t no hater either. The game is like a sport. The game is like high school. I remember being at this year’s BET Awards and seeing certain singers and thinking, ‘Oh, they’re seniors.’ I knew I was a freshman, but I saw Meek and all of them thought, “He’s a senior.’ You know how it is when you walk through school in the first year. Then the second you’re like, “I’m the ni**a now.”

When I did the Soul Train Awards in November, I felt like a sophomore that everybody knew. They knew me from my freshman year, but this time I’m playing varsity.

You’ve said before you want to do this for a long time–

Yeah, I want to make music forever and it’s my choice. I want to make enough money for me to turn down shows because now, I have to take everything I get. I always tell artists, you got this much time to make this much money. Because after that, sh*t’s closed. I've seen it happen.

For me, I know I got longevity in this game because I'm an R&B singer and a lot of R&B singers have longevity if you take care of yourself, you know what I'm saying? Even rappers, you know what I'm saying? You keep that flow going, don't do no lame sh*t, you know you’re stick around.

How do you take care of yourself?

You gotta take care of your health. That's number one. Your mind and your health is your biggest thing. Keeping good people around you...stay in good spirits with me. I like to keep good people around me. I like people around me [who] make me laugh. Smile, I don't really like people around me that I got to be like, “What's going on?” I just like people who are themselves.

Stream 4275 below.

READ MORE: Tyrese, Usher And Others Reacts To Jacquees' Claim That He's The King Of R&B

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Music Sermon: The Groundbreaking Sprite and St. Ides Hip-Hop Campaigns

Today, rap music is used to sell everything from electronics to tax filing services to nut butter grinding machines at Whole Foods. We understand that hip-hop culture is essentially the root of everything cool and hip in culture, period, and it’s been commodified and appropriated within an inch of its life. But in the early ‘90s, the genre was far from Madison Avenue-friendly. Aside from the groundbreaking deal between Adidas and RUN DMC, brands didn’t yet see full value and impact of hip-hop…except in the food and beverage industry.

Beverage companies centering campaigns for the urban demo around black music was nothing new; Coca-Cola had ads featuring artists such as New Edition and Anita Baker singing their hearts out for the cola in the ‘80s, and Schlitz Malt Liquor had a legendary – and hilarious - run of spots featuring The Commodores, The Four Tops, Teddy Pendergrass and more through the ‘70s and early ‘80s. However, in the early ‘90s two brands put their entire business on hip-hop’s back, by not only building their brands but spring-boarding the recognition of the music and artists as a marketing and advertising tool: Sprite soda and St. Ides malt liquor.

In the ‘80s, Sprite was languishing behind competitor 7Up when parent company Coca-Cola decided to focus on the youth market, and the quickly growing hip-hop culture was part of the strategy. African-American ad agency Burrell Communications tagged hip-hop acts for a series of spots that began a long-standing marriage between the brand and the culture, starting with Kurtis Blow in 1986. It was one of the first national TV ads to feature a rapper.


In 1990, the brand kicked off the “I Like the Sprite in You” campaign, using rap acts that matched the soft drink’s bubbly energy, starting with Heavy D & the Boyz before partnering with Kid ’n Play the following year. The ads featured the artists clad in lemon-lime fare, rhymin’ about lymon.

HEAVY D - 1990 KID’N PLAY – 1991

With Kris Kross, they turned it up a notch and had us crunk inside the Sprite can. Edgy. Also, this was catchy as hell.


Then in 1994, a young brand manager from Clark Atlanta University named Darryl Cobbin had an idea for a new direction: Gen X was about authenticity and independence of thought, not following the hype. Sprite ditched the pop-friendly crossover acts and identified more “authentic” rap artists – lyricists with street and cultural cred – to rep the brand. “Lymon” was also out of the window, as they moved away from marketing taste and towards marketing attitude. (Cobbin later spearheaded the iconic, yet grammatically questionable, Boost Mobile “Where You At?” campaign.)

Gone were the bright yellow and green sets, because while the new slogan said, “Image is nothing,” it was all about image. Bright and shiny was traded for dark and gritty. Now we were in the studio; a fly on the wall for freestyle sessions. In the first spot of the series with Grand Puba and Large Professor, Puba closes with “First thing’s first, obey your thirst.” It’s legend even within Coca-Cola that Puba ad-libbed the phrase that then became the brand’s tagline that remains to this day.


The “Obey Your Thirst” spots also took us the street corner, the club, and inside the ring when Sprite resurrected the legendary KRS One vs. MC Shan battle.

KRS ONE & MC SHAN - 1996 NAS & AZ – 1997 THE LOST BOYS – 1997

By the late ‘90s Sprite had spent roughly $70M on the “Obey Your Thirst” campaign, tripled sales, and commanded a majority market share of the citrus category (which also included 7Up, Sierra Mist, and Mountain Dew).

Sprite had also succeeded in becoming an official and established part of the culture. They were family. The brand further expanded into urban youth culture through a partnership with the NBA, while continuing to evolve the creative of the rap campaigns.


Near the end of the decade, Sprite explored the overlap between hip-hop culture, comics and martial arts with a series of posse spots based on Voltron (representing all hip-hop regions) and the 5 Deadly Venoms (with all female emcees).


Over the years, Sprite has continued to be one of the most consistent brands in hip-hop. We’ve grown accustomed to spotting the logo everywhere from music festivals and shows to the background of BET’s hip-hop cyphers. They revitalized the “Obey Your Thirst” campaign with Drake in 2010 and paid homage to the greatest lyricists in rap with the “Obey Your Verse” campaign featuring iconic rappers and cans with classic lyrics in 2015.

SPRITE "Obey Your Verse - Cooler" (starring Rakim) from SHOUT IT OUT LOUD MUSIC on Vimeo.

St. Ides’ run with hip-hop doesn’t have the same happy ending as Sprite’s. The brand’s usage of rap petered out in the mid-90s after wide backlash and a series of lawsuits.

For St. Ides, hip-hop was the brand campaign. It’s how they built their business. The brand was introduced in 1987 and their rap campaigns launched in 1988. The malt liquor 40 oz., with significantly higher alcohol content than beer at around a $2 price point, was already a staple in lower-income neighborhoods and hip-hop culture. The “Crooked I” capitalized on that.

Parent company McKenzie River secured Ice Cube as their anchor spokesperson and tapped West Coast producer DJ Pooh to spearhead advertising creative. Pooh lined up a veritable who’s who of additional West Coast rappers over the years, including Geto Boys, Cypress Hill, Warren G, Snoop and Tupac; plus the thorough-est from the East, including Eric B and Rakim, Wu-Tang Clan, Biggie and EPMD.

EPMD & ICE CUBE - 1991 GETO BOYS & ICE CUBE – 1992 ERIC B & RAKIM - 1992

Unlike Sprite’s campaigns which were first jingles and still felt like commercials, even when elevated to trading hot bars for Obey Your Thirst. St. Ides spots, however, looked and felt like straight up music videos with album-worthy production and flow.

ICE CUBE – 1993 MC EIHT – 1994 NOTORIOUS B.I.G. – 1995

Complex even named Wu-Tang’s St. Ides spot “Shaolin Brew” as one of the collective’s 100 best songs! (But at least it’s ranked near the bottom; #97.)


In fact, in 1994, the brand did turn the hottest of the joints into an album, with the St. Ides promotional mixtape dropping at your neighborhood liquor store. It featured full-length songs about getting twisted off the malt liquor from Ice Cube, Wu-Tang Clan, Scarface, MC Eiht, Snoop Doggy Dogg, and Nate Dogg.

The Snoop and Nate track is low key a jam, still. Homegirl in the background starting at the 10-second mark is a whole mood.

This blatant marketing of malt liquor directly to black and brown youth wasn’t going to go unchecked indefinitely. It was all irresponsible, even while being genius for the demo. In 1991, the Wall Street Journal listed the St. Ides ad campaign among one of the worst of the year, which probably didn’t matter at the time since WSJ readers weren’t St. Ides’ base.

In 1991, Public Enemy released Apocalypse ’91: The Empire Strikes Back. The album featured “100 Bottle Bags,” a direct criticism against malt liquor companies marketing specifically to urban communities “…but they don’t sell that sh*t in the white neighborhoods.” Shortly after the release, St. Ides found itself in Chuck D’s crosshairs, and he fired the first in a series of big shots against the brand, marking the beginning of the end of their love affair with hip-hop. An 80-second radio spot featuring Cube used a sample of Chuck’s voice without his permission. The ad had already aired over 500 times on rap radio shows when Chuck sued St. Ides parent company McKenzie River for five million dollars (they settled out of court).

Then, St. Ides and McKenzie River fell under legal scrutiny from the New York State Attorney General in 1992 for using verbiage like Cube’s lyric “Get your girl in the mood quicker, make your jimmy thicker…St. Ides.” to suggest the malt liquor increased sexual prowess. Can you imagine the think pieces if that spot ran today?

They were later in hot water with the New York AG’s office again, along with the Bureau of Alcohol, Firearms and Tobacco (the ATF) for advertising perceived to the be targeted towards minors, with complaints that it glamorized gang affiliation and promoted sex. After having production completely shut down for a short while and getting hit with heavy fines, St. Ides tried to clean up its act, adding “drink responsibly” messaging into the spots.

By ’96 the run was over. Hip-hop was growing up, getting money and moving towards more sophisticated alcoholic beverage choices. Alizé and Hennessy, anyone?

The relationship between hip-hop and alcohol never ended, of course, but has continued to evolve to match the evolution of the lifestyle. We don’t go to the corner store no more, homie (save a brief return in the early aughts of Four Loko). We’re toasting to the good life with premium brands, some of which are now owned by the artists.

We can look back now with the wizened, woke eyes of maturity and possibly scrutinize our artists selling out at the expense of the community, but for the young and burgeoning hip-hop culture, both the St. Ides campaigns and the Sprite campaigns opened the door for the power and commodification of hip-hop and consumer brands. For better or for worse.

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J.Cole, Teyana Taylor And Other Snubs Of The 2019 Grammy Nominations

It's that time of year again when inner circles and strangers on the Internet debate who's up for a gramophone.

On Friday (Dec. 7), the nominees for 2019's Grammy Awards (Feb. 10) were announced to a span of hot takes, early but informed predictions, and a wall of confusion as to why certain artists were overlooked. While some entertainers excitedly received the good news (Cardi B discovered her nods while leaving a courthouse), others were left scratching their heads.

Here's a look at why those who were snubbed by the Recording Academy deserved to be nominated.

READ MORE: Drake, Kendrick Lamar, And Cardi B Lead 2019 Grammys Nominations


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