The curtain may have come down for President Donald Trump at the Kennedy Center, but the tarp stays up for now.

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Matt Floca, executive director and chief operating officer of the performing arts venue, told a federal court Saturday (June 13) that the institution had complied with an order to remove Trump’s name from the facade. In a filing, Floca said the board of trustees and the center had removed “all physical signage on the Kennedy Center building and grounds, including the front portico, that purports to rename the Kennedy Center after President Trump.”

But for onlookers who have gathered on the plaza in front of the center over the past day hoping to witness a dramatic moment symbolizing the limits of Trump’s power, it was virtually impossible to see whether the signage was gone. A tarp hung over the scaffolding constructed for workers to perform that task. It was unclear when the tarp might be removed to reveal the original lettering that had endured for decades: “The John F. Kennedy Memorial Center for the Performing Arts.”

A reporter was able to peer through a slight opening in the tarp, which was pulled tightly against the wall, and saw that the letters for Trump’s name were no longer affixed to the building.

By the end, the Kennedy Center’s leadership had dug in against a federal judge’s order to erase Trump’s name from the building. Two courts rejected the institution’s last-minute request to keep retain Trump’s name pending an appeal. After severe thunderstorms raked Washington on Friday evening, the Kennedy Center sought one more extension before complying with a noon Saturday deadline.

Those who pushed for the scrubbing of Trump’s name were in a celebratory mood. Rep. Joyce Beatty, D-Ohio, an ex officio member of the board who sued to remove references to the president from the building and the center’s operations, was spotted in the plaza late Friday and Saturday morning. She posted a video to social media that purported to show her performing the “Trump dance” in one of the Kennedy Center’s great halls.

“Today’s victory is the beginning of returning the Kennedy Center to the American people,” Beatty said in a statement. “The rule of law prevailed, and that is worth celebrating.”

Leo Bartholomaus, a recent graduate of Syracuse University who lives in Virginia, said he was walking by the Kennedy Center on Friday afternoon after visiting the National Mall to see events related to this weekend’s UFC match at the White House. He said he was not happy that Trump added his name to the building.

“My grandmother had a big love of the arts,” he said. “I’ve been here to see The Lion King. I wasn’t a fan of Donald Trump putting his name on it. I thought it was better as the Kennedy Center.”

The removal of Trump’s name closes one of the more unusual chapters in the history of the Kennedy Center, which began construction in 1964 and was dedicated to the memory of the slain president, Democrat John F. Kennedy. At what is typically one of the few relatively nonpartisan spaces in Washington, Trump has wielded tremendous influence over the venue during his second term.

Though he rarely discussed the Kennedy Center during his 2024 campaign, Trump moved quickly to oust the institution’s leadership when he returned to office in January 2025 and replaced it with a board of trustees that named him chairman. His name was quickly added to the building.

While the removal of his name marks a setback for Trump, he is moving forward with plans to reshape the physical landscape of the nation’s capital in ways that have few modern parallels.

He demolished the East Wing of the White House and is building a controversial ballroom in its place. He remodeled the Lincoln Memorial Reflecting Pool and plans extensive renovations of a golf course in East Potomac Park, moves that could significantly reduce the public’s access to running and biking paths. He is also moving forward with a triumphal arch that will sit near Arlington National Cemetery across the Potomac River in Virginia.

Indeed as Trump’s name was being removed from the Kennedy Center, the South Lawn of the White House has been transformed into a venue for a UFC match intended to celebrate the 250th anniversary of American independence but also coinciding with Trump’s birthday on Sunday.

Back at the Kennedy Center, there are many questions about the institution’s future. The same May court decision that ordered Trump’s name to be removed from the building also blocked a planned two-year closure for renovations that was set to begin next month.

The Kennedy Center’s calendar for the weeks ahead include performances of Moulin Rouge! The Musical and Bluey’s Big Play. Comedian Bill Maher is to be awarded the Mark Twain Award for American Humor during a ceremony on June 28.

But little is scheduled for the stages beyond that and, after substantially reducing staff, it is unclear how quickly the Kennedy Center could build out a robust performance list. Trump, angered by the court’s order to remove his name, has said he would turn the Kennedy Center over to Congress and has suggested it might simply shutter because of public safety concerns.

In its unsuccessful appeal on Friday seeking a pause on the order removing Trump’s name, the Kennedy Center’s leadership argued, in terms that seemed similar to the president’s speech patterns, that the lower court was interfering with needed renovations.

“The District Court is not allowing us to close in order to properly fix up and repair the Building, including potentially life threatening structural damage like beams and parking garage ceilings that are rusted, and in serious danger of falling onto people below,” according to the appeal. “Indeed, total collapse!”

The institution also suggested that the president’s name could return to the building if the Kennedy Center later wins its appeal.

If the court denied the venue’s request for a pause, the Kennedy Center argued it would “be forced to squander time and money — by both removing the signage and then potentially returning it after appeal.”


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Summer Smash 2026 kicked off on Friday (June 12) at the grounds surrounding Seatgeek Stadium in Bridgeview, Illinois. The festival, created by SPKRBX and Lyrical Lemonade, has build a reputation as one of the premier rap-heavy fests in the U.S.

50,000 fans filled the festival grounds for day one, which was a picture perfect, sunny, 80-degree day about 15 miles outside of Chicago.

It was an eclectic group on day one, which included vets like Riff Raff along with newcomers like Molly Santana, Nettspend and Pradabagshawty continuing to prove why they could be leaders of the next generation.

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Chief Keef and G Herbo displayed their connection with Chicago as drill pioneers and trailblazers for the 2010s in the city. Sexyy Red made America Sexyy again, and North West hit the stage for her festival debut with a 15-minute set inside the tent.

Lil Uzi Vert delivered as the night one headliner, showcasing a rock star ability many of his peers think they have, but only a few actually hold at the moment. There were plenty of Chicago sports luminaries sprinkled throughout the crowd, with Chicago Bears teammates Caleb Williams and Rome Odunze in attendance.

Night two will find headlining performances from Skrillex, Yung Lean and Baby Keem, while Lil Baby and Playboi Carti will hold down Sunday to bring the festival across the finish line.

With day two well underway, here were our top five moments from day one of Summer Smash 2026.

Connie Orlando, executive vp of specials, music programming and music strategy at BET, has a lot on her plate right now, just two weeks before the annual BET Awards, which she is executive producing. But she still found time to spearhead the second annual Black Women in Music event, which was held on Friday (June 12) at the Audrey Irmas Pavilion in Los Angeles.

The event, executive produced by the Connie Orlando Foundation, is billed as “an evening celebrating the Black women preserving and protecting the music industry.” This year’s honorees were singers Chaka Khan and Kelly Rowland, choreographer Fatima Robinson, music executive Natina Nimene, Billboard’s Gail Mitchell and Gender Amplified’s Ebonie Smith.

Speaking from the podium, Orlando shed light on why the Black Women in Music event is so important to her.

“This gathering is the living answer to a prayer. We are here to support one another, protect our presence, and build a legacy of love that lights the way for the girls coming behind us. … As we celebrate unapologetically and stand in our collective joy, we know the reality of our world. As Black women, we are constantly asked to labor and be the backbone, often while our own well-being is ignored. We live in a climate that tries to minimize our power and rewrite our truth. For me, this evening is profoundly personal. Uplifting women, safeguarding our children is my divine assignment and life calling, and the urgency is real.

“This evening is my personal love letter to the iconic Black women who are the true guardians of the music industry. Having worked alongside many of you for decades, you are my peers, my muses and my friends, and it is my privilege to curate this evening, give you your flowers, and ensure your contributions to global culture are permanently etched in history.

And specifically for this evening, we are fighting a battle against breast cancer, a battle that is disproportionately stealing our mothers, our daughters, our sisters and our friends. Black women face alarming healthcare disparities born from systemic inequalities resulting in delayed diagnosis and inadequate treatment. So, my vision is clear: a world where breast cancer no longer exists. The Orlando Foundation is spiritually committed to education, prevention, and early detection.”

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Singers Chanté Moore and David Michael Wyatt and violinist Yuli performed at the event, which was hosted by comedian Zainab Johnson. The event was brought to life by an all-Black women-led creative and production team, including Perri Camper Rivers (producer), Gabrielle Glore (creative director) and Wright Productions (event design and production).

The event was presented in tandem with founding partner Harbour/View. Additional partners include prestige partner Amazon Music and contributing partners Atlantic, BET Media Group, CMG The Label, Jesse Collins Entertainment, TDE (Top Dawg Entertainment), OWN and Universal Music Group.

Here are five highlights from the 2026 Black Women in Music event.

In the new season of AMC’s cult horror series Interview With the Vampire (now rechristened The Vampire Lestat), the eponymous vamp is setting the record straight — or, at least, attempting to.

After his ex-lover Louis (Jacob Anderson) publishes a best-selling book exposing the ups and downs of their century-long romance, Lestat (Sam Reid) responds in kind by commandeering his neighborhood garage band and hitting the road with a catalog of all-new rock songs erratically chronicling his side of the story.

Composer Daniel Hart, who evocatively scored the first two seasons of the show, was tapped to write 20-plus original songs this go-around — a task that mined his experience touring alongside musicians like David Bowie, Radiohead and more. He also took on an active role in the writers’ room. In fall of 2024, to get everyone on the same page about the character’s musical reference points, Hart curated an inspiration playlist for Reid and showrunner Rolin Jones, a truncated version of which he is exclusively sharing with Billboard.

“The original playlist was longer than this one,” he recalls. “But going back through it now — on the other side of making The Vampire Lestat — provided some clarity as to which songs from the original playlist were most important to our creative process.”

Himself a composer born in the 18th century, Lestat’s witnessed many eras of music come and go — so his influences prove just as motley. “There is a fair amount of genre-jumping at play here,” Hart says. “That was intentional. We needed Lestat’s music to evolve stylistically throughout the season, as he went on his odyssey.” Because while glam rock serves as an aesthetic bedrock for our preening immortal, as chaos begins to unfold, the reopened wounds of his storied life lead Lestat down a rawer and more introspective path.

EPs featuring the songs from new episodes will be rolling out weekly — so, until the complete soundtrack is available to stream, Hart is giving a taste of what’s to come below.

“It’s not necessarily a one-for-one playlist,” he adds. “If you put these songs and Lestat’s songs side by side, you won’t always hear direct correlations. But I tried to pick songs for Rolin and Sam — and now for you — that would show both the breadth of Lestat’s compositional abilities, and songs that were imbued with the kind of structure or showmanship I was chasing after in my own writing.”

In the list that follows, Hart unpacks a few of these inspirations in his own words. Listen to the full playlist here.

As usual, Charles Barkley doesn’t care what anybody thinks.

Barkley appeared on The Dan Patrick Show this week and while talking about this viral Cardi B joke he made during halftime of Game 3 of the NBA Finals earlier this week was asked if management ever tells him to chill out.

“I’m hoping they fire me,” Barkley quipped. “I got six or seven years left on my contract that they know I’ve got no chance of doing. I would love for them to fire me and have to pay me for the next six or seven years. I was talking to my agent. I was like, ‘What can I do to get fired, but they’d have to pay me for the whole six, seven years?’ I would love to get fired, I’m not gon’ lie.”

Adding, “There’s zero chance that I’mma be working the next six, seven years. Zero. So I know if they fired me, they’d have to pay me all of those years. And I heard through the grapevine that I make great money; so thank goodness for that.”

He then continued by saying that people that can’t take a joke can kiss him on the you know what. “C’mon, man. People can’t take a joke. They can kiss my a–,” he said defiantly. I appreciate and love all the support I’ve gotten all these years, but anybody [that] thinks everybody likes them, they a fool. So, if people don’t like me or don’t have a sense of humor, they can kiss my ass. My whole a–, not just one cheek, the whole a–.”

Earlier this week, on Monday (June 8), the broadcast showed a clip of Cardi’s halftime performance at Madison Square Garden during the NBA Finals, Chuck joked about the Bronx rapper’s cleavage saying, “I don’t know if those Bs. Those might be Cardi Ds. I’m pretty sure those aren’t Bs. She’s got the wrong initials,” which prompted laughter and his co-host Ernie Johnson to say “I don’t know who said that, but I know it wasn’t me.”

Fortunately for Chuck, Cardi is one of those people that could take a joke and retweeted a fan account that highlighted that the term “Cardi D” was trending on X.

You can check out the clip below.

During a recent episode of his sports talk YouTube show It Is What It Is, Mase hoped that President Donald Trump doesn’t decide to attend another NBA Finals game at Madison Square Garden after he and the crew were discussing how there were more celebrities than usual sitting courtside during Game 3 earlier this week.

“I’m just so glad that they didn’t have Trump come back,” he said in reference to the hoopla that the president’s attendance caused. “It just messed the vibe up, and having the arena back like it was gonna be before he came was really, really exciting to see, and I hope they keep it that way moving forward.”

Co-host Treasure “Stat Baby” Wilson then brought up that Taylor Swift attended Game 4 at MSG and that’s where Cam’ron went on a quick public service about bandwagon fans. “Nothing turns me off [more] than a follower. I can’t stand it. I hate it. I really, really hate it,” he ranted before saying he blocked multiple people for calling him about the Knicks for the first time after they erased the largest deficit in NBA Finals history on Wednesday (June 10). “Taylor Swift, what are you doing there? You’re not even from New York, and you’re jumping around. I hate people like that.”

Adding, “I smile and give you a handshake and still be your friend, but in the back of my brain, I’m like, ‘I have no respect for you. You’re a follower and me and you, we’re not the same kind. So, be careful trying to act like, ‘Hey, Cam, you seen the Knicks?’ Yeah. Congrats to the real Knicks fans. You’re a follower. You’re a Swifty.”

However, the pop singer has actually been a fan of the team for about 20 years and Knicks radio analyst Monica McNutt was reminded of that when she accidentally got herself in trouble with the Swifties after a hot mic caught her questioning Swift’s fandom as well. “She’s not a Knicks fan. Get out of here, girl,” she scoffed as her co-host Tyler Murray was trying to get a picture of Taylor Swift sitting courtside. To Monica’s credit, she took to social media and admitted that she was wrong.

You can watch the full episode below.

Peso Pluma wasn’t going to let Mexico’s win in its first match of the 2026 World Cup 2026 go uncelebrated.

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On Thursday (June 11) La Doble P joined soccer fans at the Adidas 2026 World Cup Opening Watch Party at BMO Stadium in Los Angeles, where he headlined the massive show. Before taking the stage to perform, the Jalisco native sat down with Billboard to discuss Mexico’s 3-0 victory against South Africa earlier that day, his enthusiasm for the team and his most recent success on the charts.

The artist described himself as euphoric and expressed pride in wearing the jersey while watching the match: “Mexicans are the most bada–, man,” said Pluma. When asked what he wished for the team as it prepares to face South Korea in its next match on June 18, he replied, “May God bless them and may they give it their all, so that this time we’re in that [final] game. And we’re going to be supporting from [the] outside, as it should be.”

The Grammy winner also admitted that he has high hopes for his country’s team during this World Cup. “Well, [I’m] really happy because we debuted on the right foot. Mexico’s going to win. Mexico has to win. Attract it — the law of attraction — Mexico’s going to win,” he said.

The artist also weighed in on the current success of his song “Daño,” from his 2026 album, Dinastía, which peaked at No. 5 on Billboard’s Hot Latin Songs and is currently sitting at No. 9.

“We are very happy, because it’s a song we all really like from the album,” Pluma said. “It’s a song from Dinastía that stood out. The fans in Mexico really liked it and also here in the United States. And it’s a song that throughout the whole tour, [fans] cried and sang and yelled the lyrics to, and that fills our soul.”

Watch Peso Pluma’s interview with Billboard here:

The most influential leaders in Canada’s music industry gathered at the exclusive celebration for Billboard Canada Power Players at Toronto’s Rebel on June 10, as part of NXNE. It was a prestigious night with impactful and emotional remarks, heartfelt tributes and one historic, and strange, surprise honour to close the festivities.

Many of the Power Players honoured on the 2026 list were in attendance, including Gary SlaightWarner Music Canada co-GM Madelaine Napoleone, Universal Music Canada president & CEO Julie Adam, Live Nation Canada’s Erik Hoffman, Wayne Zronik and Melissa Bubb-Clarke, Allan Reid of the Junos/CARAS and many more.

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Following a viral KEXP performance in February, Quebec-based math rock duo Angine de Poitrine have skyrocketed into international fame. The polka-dot-clad pair — who perform under the pseudonyms Khn de Poitrine and Klek de Poitrine — are everywhere. In a surprise moment, they got to accept the Billboard Canada Global Breakthrough Award, presented by FACTOR, in front of the most powerful executives in Canada. When their name was announced, many in the room were questioning if they were really there and what they would do.

True to their artistry, the two members took the stage in full black and white polka dot costumes as their music played, walked up to the microphone, and then didn’t utter a single word. While they lingered on stage it seemed like they might say something, if even in their otherworldly language. Instead, Khn reached up and touched his hat, and a burst of black and white confetti showered the audience. Then, they left. Without saying a word, they had one of the big moments of the night.

Two icons of the live music industry were honoured for their decades-long devotion to the country and its artists. Paquin Artists Agency co-president Vinny Cinquemani and Live Nation Canada chairman Riley O’Connor became the first-ever inductees into the Billboard Canada Hall of Fame.

When Meg Symsyk, president and CEO of FACTOR, stepped onstage to accept the Visionary Leadership award, she revealed that earlier in the day, she was on a flight from Los Angeles where she was with Rush at The Forum on their comeback 50th anniversary tour. Billboard Canada national editor Richard Trapunski personally presented her with the award, and outlined that it’s been a whirlwind month for Symsyk, as news that FACTOR and Scotiabank had settled their lawsuit became public at the beginning of this month. Throughout it all, Symsyk ensured that the music funder has continued — and in many ways, expanded — its support of Canadian artists.

“When you are surrounded by people who share your values and challenge each other to be better, you discover that leadership is less about pursuing your personal achievements and more about helping others find theirs,” she said. “Our work has always been about more than streams and charts and ticket sales and market share.”

Margaret McGuffin, CEO of Music Publishers Canada, received the Impact Award. She was recognized for her advocacy ensuring that Canadian creators are fairly compensated and licensed in the age of AI, as well as her mentorship for the next generation.

“As artificial intelligence becomes increasingly integrated into the creative ecosystem, we must ensure that creators and the companies that invest in them have a voice in shaping the future,” she said during her speech. “These are the people I’ve spent my career working with and advocating for. I have the great privilege of working with music publishers, many who are in this room.”

Read more highlights here.

Daniel Caesar Pays Surprise Tribute to His Managers at Billboard Canada Managers to Watch 2026

The most influential managers from across the globe gathered at SOUNDSTAGE in Toronto on June 11 at NXNE to celebrate Billboard Canada Managers to Watch. The celebration spotlighted the people who put in the behind-the-scenes work to elevate artists across the country following the release of this year’s coveted Managers to Watch list.

“If you want to get something done, call the manager,” said Billboard Canada national editor Richard Trapunski in his opening remarks. “You are the ones who are closest to the artists, the unsung heroes of the music industry. You have the vision and the tools to open doors and build careers, yet you are rarely in the spotlight yourselves.”

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Daniel Caesar is one of the biggest Canadian success stories of the last decade, and he flew straight from Thailand to make a surprise appearance to honour the two powerhouses who have been with him on an adventure from the very beginning: his managers, Matthew Burnett and Jordan Evans.

The R&B star proudly invited both of his managers onstage to crown them Billboard Canada’s 2026 Managers to Watch, greeting each of them with a powerful, lasting hug and leaving Evans teary-eyed.

“We’re in the middle of an adventure and I love it so much. If I could bottle up that feeling, I would pay every cent I have to give that feeling to the people I love,” Caesar said.

Burnett joked about his working relationship with Evans being “each other’s most successful relationship,” with the pair celebrating two decades of working together this year. He gave a special nod to Canadian producer Boi-1da for giving them their start in the industry back when they were producers, and boasted that nobody in the world can captivate a room like Daniel Caesar playing acoustic guitar, be it in a small room, an arena or even a stadium. He was proud to call Evans and Caesar his brothers and his family, and left the audience with words about what he considers to be the utmost principle of management: care.

Sébastien Collin is the man behind the year’s biggest global breakthrough: the polka-dotted, viral math rock band Angine de Poitrine from Saguenay, Quebec. In just four months, Collin and the group have booked an international tour that’s sold over 100,000 tickets worldwide and racked up over 16 million views on the band’s breakthrough KEXP live performance.

Collin is this year’s Manager on the Rise. “I think we can be proud of the music without compromise and I hope that it will help build bridges,” he said. “I hope it will put some spotlight on the Quebec scene. We’ve got really nice bands right now, and I hope it will help us find the good bands everywhere.”

Tommas Arnby, meanwhile, won the International Manager Award, highlighting his work building the global rise of rock star Yungblud.

See all the highlights here.


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Ariana Grande has a major problem with Donald Trump’s White House. The pop star slammed the administration for using 2024’s “Bye” in a TikTok video promoting ICE (U.S. Immigration and Customs Enforcement) agents making arrests.

“Please do not ever use my music in relation to this barbaric, inhumane, heinous nonsense. F— ICE,” Grande commented. Billboard has confirmed with reps for the pop star that the comment on the video was indeed legit, however, the comment is no longer visible “for some reason.”

As of press time, the clip — which was posted on Tuesday — shows a video compilation of ICE agents making arrests and currently doesn’t have any sound.

“We’ll say this one last time: what’s actually barbaric, inhumane, and heinous are the criminal illegal aliens who have injured and murdered innocent American citizens,” White House spokesperson Abigail Jackson told Variety and TMZ in a statement.

“Bye” is from 2024’s Eternal Sunshine album and peaked at No. 25 on the Billboard Hot 100.

Grande has spoken about and supported the anti-ICE movement in the past. She sported an ICE Out pin at the 2026 Golden Globes. Last September, she condemned the Trump administration and asked Trump voters if their opinion had changed in a post to Instagram.

“I want to check in with trump voters. I have one very genuine question,” she wrote. “it’s been 250 days. now that immigrants have been violently torn from their families and communities have been destroyed, now that trans people have been blamed for virtually everything and live in fear, now that free speech is on the brink of collapse for us all — has your life gotten better?”

White House deputy press secretary Kush Desai responded to Grande’s post at the time in a statement to TMZ using her song titles to clap back at the singer.

“Save your tears, Ariana, because President Trump’s actions ended Joe Biden’s inflation crisis and are bringing in trillions in new investments,” Desai claimed. “He even signed an executive order just like magic that paved the way for the FTC to crack down on Ticketmaster for ripping off Ariana Grande’s concert-going fans. Get well soon, Ariana!”

Grande is far from the only pop star to speak out against ICE, as Olivia Rodrigo, Billie Eilish and Sabrina Carpenter have all slammed the Trump administration’s deployment of the U.S. Immigration and Customs Enforcement.

On the music side, Grande’s petal lead single “Hate That I Made You Love Me” debuted at No. 1 on the Billboard Hot 100, which gave her a 10th chart-topper. Petal arrives on July 31.

Cam’ron wasn’t as impressed with Jay-Z‘s Roots Picnic Freestyle as most people.

During a recent episode of Talk With Flee, he talked about how he would’ve had a different strategy in the way he approached the subject matter and how it opens the door for Drake to possibly fire back.

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“I think what he should’ve done was keep that one at the Roots [Picnic] about whoever he want to talk about,” he explained. “And then you got Yankee Stadium, you coulda did one every night and that sh– would’ve went crazy for the rest of the year. ‘Oh, he did this person — pause — at the Roots Picnic.’ Then he dissed this person the first night at Yankee Stadium, then he got at this person the second night at Yankee Stadium. Then the last finale, [perform] all four freestyles. It would’ve looked better.”

He added: “You got three shows coming up. You spread that sh– out like, ‘Yo, he caught this person this day, caught that person, he was shootin’ at n—as.’”

He then talked about how both Jay-Z and Drake are competitive, but thinks Jay’s subs aren’t exactly knockout blows while joking about his former label boss’ God complex. “‘Yo, your words can’t reach God/ I’m too high in the sky to hear what n—as is saying,’” he said of the way Jay likes to talk down on his opponents. “Must’ve came down, ’cause you paying attention to what n—as is saying. But what I will say is this: Drake is competitive too. And I think that by that freestyle not hitting the way that his freestyles usually hit, this is an opportunity if Drake wants to be like, ‘That ain’t it, homeboy.’”

Cam also responded to Jim Jonesrecent Verzuz challenge and acknowledged that his old friend is really good at going viral. “Jomo is really good at riling people up in the Tri-State Area about nonsense and the people he’s talking to don’t really don’t give a f— what he’s talking about,” Killa began. “He said he has more No. 1 hits than Nas and n—as was like, ‘Yo, he might. Jim out here workin’. That n—a workin’.’ Then you go check and be like, ‘What the f— these n—as talkin’ about? N—a don’t got more No. 1 hits than Nas.’ Then the n—a moves the goal post and be like, ‘Oh, nah, I meant the culture. I’m out here doing the culture, I’m shiftin’, I’m still workin’.’ That ain’t what you said, n—a. You said you had more No. 1 hits than Nas; you movin’ the goal post.”

He continued: “So, I think he’s really excellent at getting his algorithm poppin’ and sh– like that. But as far as the Verzuz? No, I’m doing no Verzuz, man.”

You can watch the full episode below.