Boosie Badazz Says Long-Standing Beef With Kevin Gates Is Over

Baton Rouge rappers Kevin Gates and Boosie Badazz have had a long-standing beef ever since Gates' friend Nussie was murdered back in 2009, with one man claiming Boosie was responsible for ordering the hit. Michael 'Marlo Mike' Louding, who was allegedly the man responsible for murdering Nussie, was charged with the murder and sentenced to life without parole. Louding said Boosie paid him $2,800 to do it. Boosie was also tried for the same murder, but was found not guilty. The beef, however, persisted, building to an intense alteration in 2016 that saw both of their crews clashing after they were scheduled to perform at a show together in Louisville.

Boosie seemed to confirm the beef has finally been squashed in a video he posted to Instagram. In the video, he said he spoke to Gates about having him perform at the upcoming Boosie Bash Fest event in Baton Rouge. Extending his hopes that Kevin can make it, the caption reads, “Just got off the line with @iamkevingates trying to pull it off so he can perform at the #BoosieBash THE CITY NEEDS THIS!!!! Say a prayer tonight that he's allowed to travel ASAP.”

“Trying to get that boy to come to that Boosie Bash,” he explained in the video. If what Boosie says is true, it looks as if their lengthy beef has finally come to an end for good. Gates has yet to say anything on the matter, but he's currently on mandatory supervision following his release from prison earlier this month.

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Chris Brown Could Get Up to 6 Months in Jail for His Pet Capuchin

Chris Brown may be heading back to jail.

The 28-year-old R&B star posted an adorable video (below) last month of his daughter, Royalty, holding their pet baby monkey, Fiji. However, not everyone thought the scene was cute. Some of Breezy's followers voiced concern about dangers of the three-year-old being next to the exotic Capuchin monkey and called up the California Department of Fish and Wildlife to report the pop star.

While Brown isn't in trouble for bringing his daughter and the exotic animal together, the Fish and Wildlife team discovered that Brown didn't have the proper permits to house the Capuchin monkey. Because of this, he can face up to six months in jail.

TMZ reports that Brown immediately turned Fiji over to the authorities when they turned up at his house with a search warrant. Now, his case sits with L.A.'s City Attorney who will be seeing Brown's lawyer, Mark Geragos, ASAP. Geragos also spoke with TMZ and criticized the city for “using taxpayer money on investigating monkey business.”

“As I leave my office in downtown L.A. and walk past people sleeping on the street on my way to defend people charged by the City Attorney with selling medical marijuana … now spending taxpayer money on investigating monkey business, this completes the circle on his absurdity,” he said.

The Capuchin monkey, which originates from Costa Rica's jungles, is one of the most popular animals in entertainment and is often seen in films like The Hangover 2 and Pirates of the Caribbean as well as on TV shows, like Ross' famous pet on Friends.

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Who is ASAP Twelvyy?

Longevity is the enemy of the internet. We are living in a whirlwind, a news cycle constantly destroying itself in the search for new material. It's as true in music as it is anywhere else, and to stay relevant, you have to bring something new.

ASAP Mob understood this from the beginning. They first started making noise in New York in 2006, welcoming a steady stream of new members who brought their own sauce to the group. ASAP Twelvyy joined shortly thereafter, and by the time ASAP Rocky signed a multimillion dollar deal in 2011, the plan was in motion—year after year, the group has targeted and dominated a new corner of the music market. By 2017, Twelvyy had cemented himself as one of the Mob's most reliable members. But due to some scrapped plans and Yams' untimely death in 2015, he had yet to release a solo project. 

That all changed this past August with the arrival of 12. In 2014, ASAP Yams called it “the best NY rap album in years,” and he wasn't far off. It's a dense, fiery collection of songs that simultaneously embraces the past and future in true ASAP fashion, especially on the Phantogram-sampling “Diamonds” and the murky aggression of “A Glorious Death.” Features from Ferg, Rocky, Joey Badass, Flatbush Zombies, and the rest of the Mob ensure 12 as a decidedly East Coast family affair, but the production is often as modern and forward-thinking as anything else out. 

Through it all, Twelvyy plays the ringmaster—it would be easy to get lost in so many big names, but now Twevlyy is one of them. We caught up with the Harlem-born rapper to take it back to the start, and hear how he plans to give back to the neighborhood that raised him. “There were days I didn't have anything but music to listen to,” Twelvyy says. “Right now, I'm still trying to figure out what success is… I still have a long way to go. I wanna help. I wanna help for real, because a lot of people get, but they don't give… Or they give, but they give in the wrong way.”

Watch our Who Is? with Twelvyy above, and listen to 12 below. 

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Quavo Reveals He’s Working on a Script for Migos Movie

Quavo, who is hopefully quite busy crafting a new and improved national anthem, shared another update regarding his upcoming collaborative project with Travis Scott Monday. During a Migos x Zane Lowe discussion on Beats 1, Quavo also also opened up about the Georgia trio's cinematic ambitions and how the continued success of their crossover supersmash “Bad and Boujee” is affecting their new material.

“The job was not to just chase it, you know?” Quavo told host Zane Lowe of how they reacted, creatively, to “Bad and Boujee” mania. “Try to chase that same feeling, that same creation? You can't, you know what I'm saying? It's like a painting that's already been painted. And like, only way you can do it is create you a whole 'nother masterpiece. And hopefully it'll be bigger, but you will never create that 'Bad & Boujee' moment, because it was a moment, like you said. It's about timing and it's done.”


Though Quavo sadly did not reveal a release date or any other specifics regarding his much-anticipated Travis Scott collab, he did confirm that the two have been working on “figuring out” the project. “We got all that we wanna do,” Quavo said. “We just trying to, like, get all the track listing.​”

As for plans to break into cinema, Quavo revealed he's currently working on a script for a Migos movie inspired by his love of '90s and early '00s films like Menace II Society and Baller Blockin. “I always been watching movies and, like, my favorite musicians do movies and they really used to do that a lot in like the '90s,” Quavo said. “So I'm a '90s baby and all my favorite movies got all the dope artists in them.”

Catch the full Migos x Zane Lowe discussion, during which the trio confirms they've recently been in touch with Atlanta star and creator Donald Glover, below:

For reasons not entirely clear, Zane Lowe failed to ask Quavo about his progress on the new national anthem. Come on, Zane!

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‘Friends’ Co-Creator David Crane Hasn’t Checked Out Jay Z’s “Moonlight” Video Yet

Somebody needs to hit David Crane with the YouTube links ASAP.

Big Sean Previewed a New Travis Scott Collab and It Sounds Like a Banger

Lollapalooza 2017 wrapped up Sunday night in Chicago's Grant Park, capping off a four-day marathon of memorable performances. Ahead of Justice's closing set on the Bud Light stage Sunday night, Big Sean hit his Mike Carson-designed stage for an energetic cruise through his increasingly stacked catalog.


Set design on fleek, @mikecarson not just my brudda, he da best! #92 #Don

A post shared by BIGSEAN (@bigsean) on Aug 6, 2017 at 9:10pm PDT

At one point during his set, Sean gifted the Lolla crowd with a tease of a new collaboration with Travis Scott:

The track is rumored to feature production by Metro Boomin. Sean also referenced the track's possible title—”We Go Legend”—in an Instagram post on Monday:


We go Legend 🔥🔥🔥

A post shared by BIGSEAN (@bigsean) on Aug 7, 2017 at 8:50am PDT

Sean and Scott last appeared together on DJ Khaled's Grateful single “On Everything” alongside Rick Ross.

Sean released his biggest album yet, I Decided, back in February. The album has maintained some serious legs on the charts thanks to a marathon of singles and videos, including “Sacrifices” featuring Migos. The “Sacrifices” video was first released as a gift to fans who made a physical album purchase, with Sean informing them in May that they had been given access to an app that allowed them to get a look at the video before anyone else. Shortly after, the video was made available on YouTube.

This year's Lollapalooza lineup also featured Chance the Rapper, Run the Jewels, Lorde, Blink-182, Lil Yachty, 21 Savage, Majid Jordan, Arcade Fire, Charli XCX, Joey Badass, Rae Sremmurd, and so many more. Catch pro-shot footage of Majid Jordan performing “Her” and Wiz Khalifa running through “Young Wild and Free” below.

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Justin Bieber Is Reportedly Becoming ‘the Tom Cruise’ of His Church

Justin Bieber is figuring out where to go from here. The global pop star canceled the remaining dates of his Purpose World Tour on Monday due to “unforeseen circumstances.” There was immediate speculation about the reason behind the cancelation, including the possibility that he called it a day because of religious reasons. When asked by TMZ if that were true, Bieber denied it, directing the site toward his earlier explanation: “I've been on tour for two years… Just resting and getting some relaxation.”  

While Bieber might not have canceled the tour because of a grand spiritual enlightenment, a new TMZ report indicates he is spending time working on his religious self. In particular, Bieber is being linked to Hillsong Church and its pastor, Carl Lentz. If Lentz's name sounds familiar, it's because he's also connected to Cleveland Cavaliers point guard Kyrie Irving, who shook up the sports world last week by revealing he wants out of the Ohio squad ASAP. According to TMZ, Lentz hasn't directly told either Bieber or Irving what decisions they should make, but he has been acting in an advisory role for both men. Sources told TMZ that Bieber's relationship with Lentz is “intense,” but perhaps more interesting is a statement from one of said sources that claimed Bieber is “becoming the Tom Cruise of that church.”

If you're unfamiliar, Cruise has long been the poster child of the highly controversial Church of Scientology. In a Reddit Ask Me Anything session last year, actress Leah Remini, a former Scientologist, was asked if Cruise was “the Messiah,” to which she replied, “To the 'Church,' yes. Parishioners believe that he is singlehandedly changing the planet because that is what the 'Church' is telling them.” So, it's definitely an interesting status to attribute to Bieber.

According to its website, Hillsong Church is a contemporary pentecostal church and a member of the Australian Christian Churches. Their mission statement is “to reach and influence the world by building a large Christ-centered, Bible-based church, changing mindsets and empowering people to lead and impact in every sphere of life.”

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Watch the Joyful Video for VanJess and Masego’s “Touch The Floor”

Nigerian-American sisters VanJess released “Touch The Floor” at the end of 2016, but the video is here at the perfect time to get the song back in summer rotation. With an assist from Masego, “Touch The Floor” is a sultry house-influenced R&B track and the video is a warm and colorful celebration of life. Find a drink, find someone to dance with, and hit play.

Watch the video, directed by Topshelf Junior above.

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What Makes a Classic Rap Album?

For as long as hip-hop has existed, it's spawned arguments. For decades now, fans of rap have been staking out ground, hills to die on, each concerned with one question: Who is the best? And the debate for the GOAT has a long-running spinoff, one of the primary criteria for being the greatest of all time—has that rapper made a classic?

What a classic actually is, outside of just being a very good album, is up for debate. Which is partly why the argument is so fun to have—everyone is working from a different rubric. Some people are concerned with the quality of the rapping, others the popular response, others still need it to have shifted the culture significantly. On an episode of last week's Everyday Struggle, Joe Budden, DJ Akademiks, and Nadeska Alexis brought up the ever-present debate: What makes a classic?

Complex staffers weighed in below, with their definitions of what makes for a classic and three picks for hip-hop classics made in the last decade. 

  • Ross Scarano

    There’s a lot of baggage around the word classic in the world of hip-hop, something that doesn’t feel analogous to other mediums and genres. (I lurk on film and literary twitter, and there isn’t so much consternation and incredulity around entering the canon. For instance, Magic Mike XXL—just two years old—already earned its spot and there doesn’t seem to be anything wrong with that. Not from my vantage, anyway.)

    Music, by virtue of how it’s consumed, is typically more accessible than a movie or a novel, and because of that we often want the best stuff to reach the widest audience possible; or we insist that, if it is the best, it will reach that audience. There’s evidence for this—see Lemonade and Damn. These battles about quality and audience aren’t monitored so closely in other mediums. If a movie is perfectly realized but doesn’t make noise at the box office, it won’t be held against it by critics and fans. But this can become a demerit in the conversation around the rap canon.

    I didn’t make up these rules, it’s my inheritance and so I won’t rail against it. A classic, then, should be of high quality; must impact the genre in a way where you can read the ripple effects, like rings on a cut tree; and it should dominate. True, some albums take time to find their rightful place, like Reasonable Doubt. And others, though they're dominant in their moment and impactful across the years, don't age so well, like Graduation. But time roots it all out.

    I’m of the opinion that we don’t need to sit and wonder about the status of the three following albums:

    Kanye West, My Beautiful Dark Twisted Fantasy
    Drake, Take Care
    Jay Z and Kanye West, Watch the Throne

  • Brendan Klinkenberg

    Left to my own devices, the term “classic” isn’t part of my listening experience. When I listen to a great album no part of me thinks about in those terms. I don’t think you do either. Rather, I’m thinking about what I like, or don’t like, or love—the word “classic” only comes into play when imagining the coming arguments with friends, whether in person or online, about how good the album is.

    “Classic” is a word that’s used exclusively to talk to other fans; it’s a term for creating consensus, not assigning value. Whether or not something is a classic isn’t really about whether it’s good, and it certainly doesn’t have much to do with a personal favorite. Instead, it’s a way for us to talk about the albums that everyone loves, the ones that genuinely connected people. It’s a decided-upon battlefield that can’t be won by strategy or trickery, only outnumbering the other side.

    Yeezus is a better album than My Beautiful Dark Twisted Fantasy. Damn is better than Good Kid, M.A.A.D. City. Neither are classics (yet). Young Thug may well be the best rapper alive, but he hasn’t made a classic (yet). While I find Yeezus, Damn, and Thugger unimpeachable, their classic status is moot, simply because not enough people agree with me. A classic album is a classic when (almost) everyone decides, together, that it is. Proclaiming a classic on your own is like calling yourself the king of the world—all it will get you is weird looks on the subway.

    If an album means that much to you, don’t worry about declaring it a classic. Just live with the knowledge that it’s your favorite. That means more.

    Kanye West, My Beautiful Dark Twisted Fantasy
    Kendrick Lamar, Good Kid, M.A.A.D. City
    Kendrick Lamar, To Pimp a Butterfly

  • Nora-Grayce Orosz

    When it comes down to it, every interpretation of music is subjective. Even the act of delineating a body of work as a “classic” can have different parameters for each person. Maybe a classic has to do big numbers and chart for a million consecutive weeks. Maybe a classic has to push the boundaries of artistry and floor listeners and take ~edgy~ experimental risks. Maybe a classic just has to have fire production and lyrical mastery. These are all valid factors to consider, and are often what leads to the passionate debates that are at the core of hip-hop culture.

    Personally, I think the two most important factors to ponder when debating a classic are: First,how the album makes you feel, and second, its lasting influence on the landscape of music. If you find yourself coming back to an album year after year, well after the initial novelty has faded, that’s a sure indicator of a classic. If you’re sitting on the train on the way to your 9-5 bumping an album and it transports you to a different setting, era or mood, then to you, it’s a classic. Personal preference is an absolutely valid element in defining a classic.

    Alternatively, if an album comes along and makes waves, and subsequent projects in the genre start mimicking that wave, it’s likely a classic. This breed of classics are the albums new artists cite as their inspiration for the debuts they've been preparing for their entire lives. That kind of classic are the magnum opuses of the genre, they are the pioneers of a unique sound.

    Kendrick Lamar, Good Kid, M.A.A.D City
    Chance the Rapper, Coloring Book

  • Alex Gale

    I'm pretty sure The Source and its once bible-like “mic” rating review system are to blame for embedding the word “classic” so firmly into hip-hop's vocabulary and psyche. Albums were assessed on a scale of zero to five mics—five out of five was labeled a “classic,” and for a while The Source pretty much batted 1.000 when doling that rating out. Back then, hip-hop was a small enough village, so dominated by New York and LA and a handful of labels and acts and tastemakers, that it was pretty easy to figure out what a classic was. Did you all the sudden hear it from every car on Fulton Street or Crenshaw? Classic. There weren't a million different subgenres, scenes, and Soundcloud rabbit-holes to keep track of—when you first heard The Chronic, or Illmatic, you knew rap had never sounded like that before. You knew you were witnessing the culture leap forward in real time right before you. And those golden-era innovations stood the test time—they sounded like classics in the moment, and they still sound that way now.

    Now, it's harder to tell. Rap is splintered, into a million different sounds and social-media feeds. Some of the most impactful albums of recent memory were the most polarizing—Kanye's 808s and Heartbreaks is arguably his most divisive record, but it changed the sound of rap more than any other. Does that make it a certified classic? I say no. I like to think that albums can be both foundational and five-out-of-five-mics flawless.

    I think that there are only two undisputed rap classic albums, ones that are both near perfect and changed the game, from last 10 years:

    Kendrick Lamar, Good Kid, M.A.A.d City
    Kanye West, My Beautiful Dark Twisted Fantasy

    Everything else? Up for debate.

  • Anslem Rocque

    In my book, what makes an album classic is twofold. On one hand, the music has to be able to stand the test of time—to a certain extent, be eternal. Not just a few songs on the project, but the entire body of work. You have to be able to turn the album on today and be moved by the music the same way you were when you first heard it with minimal skipping, if any at all. For the record, skits don't count in this definition. So while I rarely re-listen to Kanye's interludes on his first three releases, those albums still warrant classic ratings in my book.

    On the secondhand, an album can be considered classic based on its overall impact on the culture. Some albums change styles, language and grow the culture to another level. Das Efx's Dead Serious comes to mind, which ushered in the whole iggity synonym to the hip-hop lexicon, but rap moves in trends and sometimes certain album don't age as well as (siggity sorry). There's also a nostalgia factor, as music often plays as the soundtrack to key moments in our lives. The album that you used to play during road trips with a friend who is no longer in your life may hold more classic weight for you than it would for someone else. At the end of the day a classic album can be a personal experience.

    Kanye West, My Beautiful Dark Twisted Fantasy
    Lil Wayne, The Carter III
    Kendrick Lamar, Good Kid, M.A.A.D City

  • Russ Bengtson

    There is a famous quote about pornography that was first uttered by Supreme Court Justice Potter Stewart, dating back to a case in 1964. Justice Stewart was not able to succinctly define obscenity, but said “I know it when I see it.” Change “see” to “hear,” and it’s a fine starting point when talking about classic hip-hop albums.

    I’m not sure whether I could give a short, precise definition of what qualifies as a classic album. Is it an album that has no skippable tracks? If so, that eliminates OutKast’s Aquemini (I haven’t willingly listened to “Mamacita” in years), which is absurd. Is it an album that defines an era? Well, sure, that should be part of it. Is it an album that defines an artist? Yeah, that should be part of it too. But there are so many things to consider, each of which gets weighed differently depending on who you’re talking to, to the point where there can be no easily defined set of standards.

    Then there’s the time factor. It seems—to me, anyway—that the term “instant classic” is an oxymoron. “Classic” is something that by its very definition requires time. Think of cars. A new design can’t be considered a classic. We can predict, but that’s about all. But what’s enough? A year? Two years? Five? Is it like the Hall of Fame, with a mandatory waiting period? Damn. I don’t know. What is a classic rap album? Honestly I’m not sure. But I’ll tell you this much. I know it when I hear it.

    Kanye West, Yeezus
    Kendrick Lamar, Good Kid, M.A.A.d City
    Young Thug, Jeffery

  • Frazier Tharpe

    Masterful execution of theme and vision. A replay value that holds up 1, 2, 5 years later and still evokes awe-inspiring emotions with most, if not all, of the same potency it had on the first listen. And impact. We can bandy on about this being personal opinion all day long, but if your choice didn't resonate throughout both the rap game and the rap culture, then we don't believe you and you know the rest. (It's why I'll refrain from being a hyperbolic and dickhead and listing ASAP Rocky's A.L.L.A., an A+ project it is nonetheless).

    These are rote answers, but the standards for what it takes to be a classic shouldn't leave many options to choose from if we're implementing them correctly—like how we all agree on Jay Z's three objective classics (and I'd argue has 3 more but I digress). So, if we're talking the past decade, I don't see how you couldn't salute Watch the Throne, the gargantuan event album that overcame twin-sized ego and forum fanfic to more than meet expectations —no rapper, not even Jay and Kanye themselves, has articulated the daily glories, anxieties and loneliness of being a Forbes Cash King as beautifully and masterfully since. The gauntlet was thrown down so forcefully it inspired their de facto successor Drake to distill all his weirdo insecurities and sonic influences into his most ambitious project to date, on the waves of which the rap game rode into the new decade, with imitators still surfing.

    And if we're only choosing three here—a fourth pick would've gone to Good Kid, fifth to Live.Love.ASAP or Yeezus—I don't know how anyone claiming sanity doesn't consider My Beautiful Dark Twisted Fantasy as the reigning classic of the last 10 years. Narrative defines classics too. Illmatic got a hard-won 5 mics, Blueprint validated bold claims of kingship after the most savage Summer Jam performance ever seen. And Kanye West returned after an exile (only partly self-imposed) and an album that confused and alienated some of his fanbase with a backhanded apology scored to the most beautiful sounds he's ever curated and the best bars he's ever laid to wax. Yeezy has never been in his bag as thoroughly as he was in 2010, and he might never get there again. Pay respect.

    Kanye West, My Beautiful Dark Twisted Fantasy
    Jay Z and Kanye West, Watch the Throne
    Drake, Take Care

  • Angel Diaz

    What makes a classic to me? If the record either influenced the genre in one way or another, or if said record goes today as if it were released yesterday.

    Some albums need time to ferment, others are instant. Thriller didn’t need time for people to get it like Reasonable Doubt did. Thriller banged the day it came out the same way it still bangs today. I can go with the usual suspects like My Beautiful Twisted Fantasy, Good Kid M.A.A.D. city, or To Pimp a Butterfly, but I considered those classics in my book after a single listen. Aquemini, on the other hand, went over my head. I was in high school running the streets and all me and my friends wanted to hear was Cash Money, Ruff Ryders, Queensbridge shit, or Rocafella music. We were disgusted with the Source’s five mic rating. “They giving out five mics to this weird shit?” We asked each other over blunts and Henny. Years later, it’s one of my favorite Outkast records.

    For me, a classic rap album serves as water to a thirsty game. I base classic rap on whether or not I get chills when I hear it, or a feeling of spirituality. I can hit play and listen all the way through for the most part. The usual suspects I mentioned above do that to me. But I’m gonna go with three records that I feel don’t get the respect they deserve:

    Roc Marciano, Marcberg
    Retch and Thelonious Martin, Polo Sporting Goods
    Bankroll Fresh, Life of A Hot Boy

  • Edwin Ortiz

    I don’t think there will ever be a satisfying explanation for or perfect method in deciding what’s a classic album. There are, though, a handful of core attributes to help define one: quality, impact, replay value, along with other characteristics to balance the decision-making.

    That’s not a cop-out, but a realization that the argument and evidence for (or against) a classic album has shifted over the years. The '90s had the Source’s once-coveted five mics; XXL had its own definitive take for part of the aughts. Now, it’s a combination of critical and fan acclaim. And the process has been accelerated thanks to the internet. I don’t need five years to know Kendrick Lamar’s Damn is a classic album; I knew that two weeks after its release.

    Below are three albums I consider to be classic from the last 10 years.

    Kanye West, My Beautiful Dark Twisted Fantasy
    Kendrick Lamar, Good Kid, M.A.A.D. City
    Kendrick Lamar, Damn

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Pretty Lights To Headline Red Rocks for Fifth Consecutive Year

Listen here: Pretty Lights To Headline Red Rocks for Fifth Consecutive Year

It’s no wonder that Derek Vincent Smith has sold out the most iconic musical venue in the country four consecutive years in a row – Pretty Light’s has serious skill. Its just been announced that he’ll be back at Red Rocks, for the fifth time. Just a day after dropping his new album, these news are sure to spread like wildfire, which means you ought to get your tickets ASAP because it’s guaranteed to sell out yet again.

If your part of PL’s fan club, then you can get them today, April 23 at 10 AM. Otherwise, you’re gonna have to wait till this Friday, April 25th when they go on sale at all Ticketmaster outlets. You can choose between August 8 or August 9, although our personal recommendation is go for both. PL is sue to explore all facets of his sound – new and old – in the two days. “Over the course of both nights all PL styles – new and old – will be explored and evolved,” says Derek. Joining him will be 13 members of the Colorado Symphony and other “special guests.”