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A year ago, I told everyone I know – plus anyone strolling by my little Internet corner – to give Teyana Taylor a chance and listen to her debut album, VII. Based on the majority of online videos of her most recent performances, gay Black men heeded the call best. Thanks a lot for your efforts, gentleman. Now it’s time for the rest of y’all to play catch up.

Fortunately, the very good but incredibly underlooked album is still available. Even better: Teyana Taylor has released a new EP, VII #thecassettetape 1994. Like VII, the songs are heavily influenced by ’90s R&B and features producers like Da Internz, JR Rotem, J Hill, among others. The references are far more direct as Taylor pulls from the following classic songs from that era and reimagines them: BBD’s “Poison,” Tony! Toni! Toné!’s “Anniversary,” and K.P. and Envyi’s “Swing My Way.”

There is also my favorite track from the EP, “Your Wish Is My Command,” produced by Domo and Kanye West. It reminds me most of what I’ve come to appreciate about Teyana Taylor: tangible growth in her vocal ability and a clearer direction on what to do with it.

Some have expressed that such direction is a little too nostalgic and referential. I tend not to agree with that (at least, not yet), but it does not counter that Teyana Taylor is making some of the most interesting R&B out there. It’s sensual, it’s flirty, and it all sounds like it’s coming from someone who naturally got to that stage in her personal life as opposed to it being forced upon her in her professional work.

The only thing is that more people need to be paying attention to what Teyana Taylor is offering. It’s understandable why audiences may have be initially skeptical of her music— she was introduced via a reality show centered around extravagant teen parties, and whatever music she released was far and between. But at this point, she has a solid mixtape, an impressive debut album, and now a very good EP under her belt.

Read the rest at VH1.

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There is an ever-increasing debate about the importance of the album in the digital era, which places far greater significance on the singular than the cohesive. For lovers of both the album and R&B – another sect of music facing its own questions of relevance – very few examples of why both still are very much important come better than Teedra Moses. The singer songwriter released her first album, Complex Simplicity, in 2004 and only now has given fans her sophomore offering, Cognac and Conversation.

For those unfamiliar, Moses was originally signed to TVT records, at the time more known for acts like Lil’ Jon and the Eastside Boyz and the Ying Yang Twins than then her wavy brand of R&B. A brand that might not have come out booming at the time, but had meaningful impact to fans stateside and broad. The same goes for her varying co-signers, notably Raphael Saadiq and Rick Ross, the latter of which appears on the new album and has offered Moses spaces to lend her vocal talent on Maybach Music-related releases.

Moses’ label may not have handled her remarkable debut well, but that never stopped those who heard it to spread it as gospel. And pine for another album. Moses has actually released plenty of other music since then – mixtapes, singles here and there, and more recently, an EP. Yet, there is nothing like an album.

Now that we have Cognac, the obvious question becomes whether or not it was worth the decade-long wait. The answer is just as obvious. If you have traveled with Moses on this lengthy journey to release a sophomore project, you know by now her main collaborator from the debut, Paul Poli, is gone. There is an obvious shift sonically and has been for some time now. Moses’ voice, ever soothing but nonetheless strong in its simple delivery, was always the guiding force, but Paul facilitated through different channels.

For this album, she explained in a previous interview, “Some people who made a record on my album have never published a record in their life. But it’s good stuff and that’s what matters to me.” Indeed, what matters most – the voice and words that drive them – remain intact.

It’s love. It’s sex. It’s romance. It’s remorse. It’s all the intricacies of intimacy. It’s moving words that reel you in back into a more uplifted reality. And all of it is gorgeously sang.

And for me, Cognac and Conversation instills certain nostalgia. It takes me back to being a college junior writing his first album review and doing his first interview for Howard University’s The Hilltop, both centered on Teedra Moses. I remember hearing her first album and being blown away, feeling like I discovered something amazing and wanting to tell as many as possible.

Read more at EBONY.

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I would like to begin my recap of last night’s Love & Hip Hop: Atlanta with a very important public service announcement: Husbands, do your wives a solid and never tell people they are tempted to slap on national television that they may suffer from postpartum depression.

You would think this would go without saying, but evidently, Kaleena’s husband Tony needed the memo. In his mind, he, along with Kirk, thought they were doing a good thing when they decided to surprisingly put their wives in front of each other, but it ended with Kaleena needing to be pulled away after tossing a drink in Rasheeda’s direction. Rasheeda sat there and laughed after Tony openly expressed fear that his wife may have mental health issues—essentially proving that she is an awful person inside with a beautiful person’s exterior.

Later on, Kaleena did confide in Karlie Redd that she may very well need to reach out to someone in order to figure out what exactly is going on with her. At that moment, Karlie Redd revealed that she suffered from postpartum depression after her daughter was born. Karlie Redd is the wood glue holding this show together. She is the stand-in friend for any cast member who either doesn’t know anyone yet or has alienated the majority of her co-workers. She may be messy as hell (which also makes her an essential figure of this show), but I do believe she is a nice person.

That said, Kaleena did coyly acknowledge that she did indeed talk shit about Rasheeda to Tammy during this Patti Labelle “You Are My Friend” moment. That does Rasheeda’s resentment, but the laughing at someone possibly suffering from a form of depression is still a pretty shitty thing to do.

For our second order of beef, I bring you Erica versus The Bam. Surprisingly, Erica and Momma Dee have made peace—so much so that Momma Dee wants Erica to sit upon her wedding throne as a “bridemaid.” Yes, taking a cue from NeNe Leakes, Momma Dee said “bridemaid” instead pronouncing it the way those of us who speak like we have all of our teeth. I worry that if I keep hearing it, it’s going to make me one day forget the “S,” too.

In any event, Momma Dee also invited Erica to help her shop for a wedding dress. That’s where The Bam comes in. Bambi offered the girls some weave for the special occasion, only Erica quickly rejected the offer. Erica probably has good reason to despise Bambi, but I do think she could’ve kept the comment to herself.

For those wondering why Bambi still even matters after last week, Bambi apologized to Scrappy. I’m not surprised at all by this. I mean, I wouldn’t want to give up that VH1 check, either. Scrappy said he would do better about supporting her goals—whatever those are—and went on to tell her, “I love you like Italians love…pasta.”

I’m suddenly in the mood for Tex-Mex.

The Bam and Scrappy may be back to being of one accord, but Joseline and Stevie J continue to have problems.

Because she’s clearly watched the show and taken notes, Tiffany Foxx reached out to Joseline to settle any potential fears that she wants Stevie J. She’ll never admit this, but Joseline’s fears seem rooted in the reality that you typically lose them how you get them. You know, your producer is booed up, but you show up to your sessions with your ass hanging out and can’t stop yourself from body rolling like you just had a large cup of cold brew mixed with half a bottle of cognac.

Read the rest at Complex.

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I like when Love and Hip Hop: Atlanta launches into a new episode without pretense. Last night, we went straight to the drink throwing—in this case, Karlie Redd aiming her presumably mango Myx moscato chased with Diddy-flavored vodka at Khadiyah—and security stepping in before a full-fledged brawl erupted. Khadiyah says it was water, but I like my version better. Anyhow, as Sina and Karlie Redd chuckled about playing with Khadiyah’s emotions, Karlie Redd’s new boo thang, Lyfe Jennings, was not as amused. He pulled her to the side to remind her “I got legal situations,” thus if she were to get into altercation and he would have to jump in, that places him in a precarious position.

Love is your man letting you know that he’s on papers. So it’s probably not a great idea to intentionally put him at risk of needing to throw hands and subsequently get his ass tossed back in prison. Are you as touched as I am right now?

As far Khadiyah, she met Yung Joc at the studio to deliver the same damn speech we’ve been hearing far too many times in a single season. I swear Khadiyah is the first and second Keyshia Cole albums on loop. Fed up with her speeches, Joc told Khadiyah, “Fuck you.” Yo, if a man you already feel mistreats you tells you that, you’ve really got to move the hell on.

May the Lord be with Khadiyah and all her future endeavors, but I’m tired of this relationship and I’m not even in it.

Later on, Joc stopped by Karlie Redd’s store (which she once again noted was featured on “CNN News”) and told her to leave Khadiyah alone. Oh, and his baby mama Sina, who Karlie said is a new friend. Joc then tried to look at Karlie’s ass, which just goes to show he’s content living his life as a southern rap version of HBO’s Big Love.

Keeping with the theme of doing the most, Joseline popped off on Margeaux for not appreciating Stevie J’s offer to appear on the cover of his magazine (although it came at the expense of Margeaux’s estranged husband Nikko’s ego). As Margeaux walked away—thinking she was cute—Joseline had one final request: “Take the wedgie out of your ass.” Joseline is so good at this and only improves with time.

By the way, Margeaux dresses like Smurfette at the strip club or Judy Jetson’s Black friend from the projects with style and dreams of rap stardom. I needed to get that out. I feel better now.

Another thing about Margeaux is she’s also not as shrewd a businesswoman as she fancies herself to be. Margeaux, if you do a photo shoot, shouldn’t you have already agreed to a rate and other terms? Like, you want to position yourself as the reasonable one on this great mess of a TV show, but you’re married to Nikko. Case dismissed.

Although I’d rather not, we have to discuss the Rasheeda portions of the show. For starters, she met with Tammy, who apparently is just going to be here for a while, at the viewing party for the video Bambi made a cameo in. Before they pretended to support The Bam, they gossiped about Kaleena. Tammy tells Rasheeda that she wanted to know the “snake bitch” she was dealing with, meaning Kaleena. You see, Tammy’s had this intel about Kaleena for so many years, but only decided to tell Rasheeda once she had a problem with Kaleena. Friendship is beautiful, isn’t it?

Read the rest at Complex.

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To a superficial bird, there is no greater insult than telling someone that they’re broke. So, I was not surprised that Tammy leveled that accusation at Kaleena after finding out how bad the former Diddette’s meeting with her mother-in-law, Deb Antney went. That’s exactly what she told Joseline as she proceeded to blast her Mercedes-Benz of choice.

I know what some of you are thinking: “I’ve seen your tweets, Mike. Ain’t you a member of the avian nation, too?” Yes, but I don’t have Tammy’s strain of bird flu, so there. In any event, as Tammy was escorted from the club, she told Rasheeda about Kaleena, “I already knew she was a snake bitch they day she called me and dogged you out on the phone.”

This woman is messy boots. You see, if you truly felt Kaleena was not a good friend to your friend Rasheeda, Tammy, you would’ve long told her to watch her back. This is fake. Speaking of, on calling Kaleena broke, Tammy said in her confessional, “It’s not a big deal. We all hit our rough patches.”

If it were not a big deal and you truly understood, Tammy, you wouldn’t constantly choose this brand of read to aim at folks. But okay, girl.

On the after show, Tammy claimed that we didn’t see just how disrespectful Kaleena was being towards Deb Antney. That may be the case, but I also think she was motivated by securing airtime. Either way, this was not any of her business. Also, Tammy repeatedly referred to Joseline as a man on the after show. That’s transphobic in tone and overall lazy in wit. Tammy, you’re pretty and all, but you can fall down a well all the same.

As for Rasheeda, she’s the one who apparently told Tammy about the state of Kaleena’s finances, and yet, is so-so-so mad at Kaleena for violating her trust. Rasheeda didn’t exactly deny any of this when she invited Kaleena to her studio session to discuss what went down at the club. In fact, she was absolutely obnoxious in doubling down on her hypocrisy.

This isn’t surprising, though, because as far as this show goes, Rasheeda is the worst kind of friend. She was not good to K. Michelle. She was not supportive of Karlie Redd. Now she is known to be telling Kaleena’s financial secrets but then finds herself pissed when she finds out Kaleena repeated some of her past behavior.

Rasheeda is a beautiful woman—looking like a female bae version of Superfly Jimmy Snucka. However, she has Lil’ Kim’s attitude with Rasheeda’s talent and catalog. Yeah, I heard that new Rasheeda song she played with her husband, Kirk. If this is indeed Rasheeda’s final album: Bon voyage, girl.

Read the rest at Complex.

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VH1 decided to air Love & Hip Hop: Atlanta a day earlier than usual for no other reason than to goad the show’s millions of viewers into watching the season premiere of its fledgling franchise, Basketball Wives: L.A. It worked, but it’s still disrespectful. Oh well.

The episode kicked off with Rasheeda once again making an ass out of herself. With Erica playing the Robin to her Batman, Rasheeda banged on the hotel door expecting to catch Ashley in bed with her husband, Kirk. What actually happened was Ashley opened the door, Rasheeda proceeded to talk a bunch of shit only to realize that Ashley was in the room with her girlfriend. Yes, Ashley Nicole is a lesbian and Rasheeda is a woman who really needs to assess her marriage and her purpose in life.

Even when she was in the wrong, Rasheeda wouldn’t immediately apologize, opting instead to focus on Ashley Nicole’s past bad behavior. As in, telling her she assumed the worst “because you act like a THOT.” Girl, your husband acts like a THOT.

Rasheeda is gorgeous, but she’s got to get the fuck on. Ultimately, she did acknowledge to Ashley Nicole that maybe, just maybe, she should not have stormed in her room and caused a scene. In turn, Ashley Nicole apologized for being disrespectful in past settings and then revealed that her mother committed suicide years ago—partially why she has a distrust of women. After that sharing that, told Rasheeda, “I’d like to look up to you.”

Yeah, just like that. I don’t get the phrasing either, but bless her heart. She’s trying. I don’t see that newfound respect showing up at the reunion, but let’s see how it rides out in the meantime.

Keeping with the theme of getting yourself together before it’s too late, let’s talk Kaleena. Now, I’ve been stressing how talented Kaleena is since last season. So, I was happy to see that she reached out to Deb Antney for management. Well, that won’t be a thing because Kaleena showed every inch of her ass at the meeting.

Kaleena is well within her right to believe in her talent and to want to know what her manager has accomplished recently. That said, Kaleena walked into Deb Antney’s offices as if she were Beyoncé with Rihanna’s long list of No. 1 singles, Ciara’s limberness, and Nicki Minaj’s everything. You can’t go to a manager, boohooing about your husband not believing in your talent right now only to then say that same husband doesn’t believe the person you came to can do anything. Kaleena was disrespectful, so I don’t blame Deb for directing her to the exit while wishing the best in her future endeavors.

However, Deb did get her together with one quick note: “My bills are paid.”

By the way, Deb played an integral part in the careers of Gucci Mane, Waka Flocka Flame, Nicki Minaj, and French Montana. She doesn’t need to be checked like that from a member of Diddy and the Diddettes.

Read the rest at Complex.

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It’s easy to understand why Syd tha Kid, front woman of the increasingly impressive duo turned collective The Internet, has been reluctant to embrace the tag of “gay icon.” For many a gay creative, there is an urge to be exactly who you are but weariness over letting that define you in totality. Recalling a past profile that focused on her sexuality than the band’s debut album, Purple Naked Ladies, Syd expressed her frustration to Time, explaining, “I’m totally supportive of the movement, obviously. But I want people to love me for my music.”

However, while much of The Internet’s excellent third album, Ego Death, spans varying influences – soul, funk, jazz, rock, and hip hop – there is one constant: Syd’s syrupy albeit noticeably stronger vocals singing about love and lust for another woman. Ego Death kicks off with, “Now she wanna f**k me” as Syd goes on to lament on being at the crossroads of newfound success and the lingering problems that came before its arrival. The album is so much more than that line, though.

This is a woman singing about love and sex in all its variances – about another woman.

It is not her Odd Future cohort Frank Ocean singing about love for another man only to later deflect in interviews about how he chooses to identify himself. Ocean’s revelation still matters, but to a point given there is a lingering obscurity. And while Azealia Banks has also unabashedly professed about her desires for other women, she told the New York Times in 2012, “I’m not trying to be, like, the bisexual, lesbian rapper. I don’t live on other people’s terms.”

Fair point, though one could argue when only expressing bisexuality solely within context of sex, it’s easier to be embraced – especially when it’s coming from a more “feminine” in appearance woman as it’s imagery that plays right into pop culture’s longstanding obsession with female bisexuality. We have seen this repeatedly through the years, though the most famous recent incarnation of this was Nicki Minaj, the fake bisexual years. Nicki knew the lyrics would be considered titillating and attention grabbing. She was never truly about that girl-on-girl life, though.

Syd tha Kid is a lesbian who is more tomboyish in her appearance and delivery and sings gorgeously about her love of women. In a band full of men and an album featuring other male rappers. It should not be a big deal, but just because something should not be a big deal doesn’t diminish that it is.

Marriage equality is now a reality nationwide, but that is an image of gay that is heteronormative, and ultimately, family-based. It’s lovely and romantic, but not necessarily sexual. Here, we see gay life depicted as complex and messy as straight people – on relatively soulful body of work.

I’ve seen others call this “unremarkable” or try to play down its importance – perhaps because it shouldn’t be. But again, it is. I am old enough to remember whispers about Black male R&B singers and Black female rappers who were thought to be gay, but performed straightness (often poorly). I can recall artists like Janet Jackson singing lyrics that called on gay people to be treated with basic human decency. Me’shell Ndegeocello had a pop hit with “If That’s Your Boyfriend (He Wasn’t Last Night)” in the early 1990s and hit urban radio again with “Fool of Me” from Love and Basketball, but she never had a major mainstream presence. The majority of the musical expressions same-gender love and lust from women that I’ve heard in my life up until very, very recently played to the male ego and fantasy.

Ego Death is different, and yes, worthy of recognition.

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There are two kinds of drinking games you could’ve played while watching last night’s episode of Love & Hip Hop Atlanta. The first one is taking a shot each time you saw a bad weave and a bad decision. Problem with that game, though, is that death by way of alcohol poisoning was imminent by the third commercial break. The other game is having a sip of water whenever you saw a thirsty new cast member or regular guest do the absolute most to secure additional screen time. If nothing else, that one would’ve gotten a gallon of water in your system. Love your skin, people.

Now, if you played both games simultaneously in the first 10 minutes, you would have had the perfect balance. Bless her heart and her hot pink wigs, but Dimepiece needs to seriously chill. On one end, I can see why she would be annoyed with Joseline acting so brand new with her. No one likes to spread wide eagle for a person only to see them later treat you like a complete stranger. However, if you met someone under the pretense of you busting it wide open for money, you can’t exactly expect them to be like, “Hey, girl. Loved that lasagna you made after the orgy!”

If nothing else, Joseline seems consistent, and while I love her like I love Crystal’s Hot Sauce, we all know the Puerto Rican Princess is not the perfect homegirl. I can see Joseline and Dimepiece being cordial co-workers, but until Joseline gets the kind of music career she wants, she’s not going to play nice with someone who clearly wants to emulate her success thus far. I mean, at one point we heard Dimepiece tell Mimi that she’s not going back to the strip club.

C’mon nah, Dimepiece. Be an original. Speaking of Mimi, though, we’re still pretending to care about her management company with only one client. That one client is Dimepiece, and she’s already being courted by Dawn. You know, Joseline’s former booking agent turned Mimi’s booking agent turned woman who won’t leave the set despite repeated inquiries as to why her ass was here. Dawn told Dimepiece to drop that zero and get with a hero. No, I’m not kidding. She really said that. Yes, I know what decade it is. You tell Dawn that, not me.

Anyway, that ended up in Mimi confronting Dawn, which led to Dawn diving into ad hominem attacks in a purported business meeting. Based on what we’ve seen from her in the past couple of episodes, Dawn just wants to be a regular cast member. I don’t see it for her, and she’s free to leave forever. That said, I will acknowledge the laughter that erupted after Mimi questioned how Dawn the booking agent suddenly decided she could manage someone’s career. I don’t know, Mimi, the same way how you went from Florence from The Jeffersons to Mathew Knowles, the good years.

Read the rest at Complex.

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Earlier in the year, Mark Pitts, the president of urban music at RCA and CEO of ByStorm Entertainment (a joint venture with RCA) made me somewhat worried about Miguel’s third album. In an interview with Billboard, Pitts spoke of Miguel’s vision of the album, and part of that vision seem centered on correcting suspicions about the Los Angeles native’s sexuality. Pitts explained, “He wants people to understand who he is. He’s tired of people asking ‘who are you, what’s that, do you like girls?’ He tells me, ‘I want everyone to know I am wild, funny, edgy and love women. I need this album to connect.’”

It sparked my concern because based on Miguel’s solid debut, All I Want Is You, the excellent follow up, Kaleidoscope Dreams, or any of the mixtapes that have been released before or after these works, I believed fans (and he has plenty of those now) already had a pretty good idea of who Miguel was as an artist, and more or less, a person. To those who were unfamiliar with him prior to his breakout hit, “Adorn,” maybe there was a sense of pause (the outfits, I guess), but that’s more about their own stupidity and their limited idea of what a man – particularly a Black one in R&B – looks like. Why cater to that?

Besides, how much more convincing of one’s heterosexuality can a man who recorded a song called “Pussy Is Mine” do before he says “f**k it” and stop trying? Particularly a man who takes many cues from Prince, a guy who has worn stilettos, exposed his butt cheeks to the world, and yet, whose sexuality is as clear as the coos of the lead singer of Vanity 6. How are you going to channel Prince and worry like Mariah Carey, 2015?

If there’s any criticism to have of Miguel, it is that he is prone to overcompensation.

When you listen to Wildheart, you do get the sense that Miguel desperately wants you to know he’s straight. There seems to be a bit of an emphasis on proper pronoun usage on select tracks. Perhaps the intent to is to cement his sexual preference as previously advertised, but it can make doubters align with doth protest too much indeed. Thankfully, though, it is not as distracting as I feared.

The album is very much themed around libido, as evident in songs like “The Valley,” where the 29-year-old sings about his desire to “f**k you like I hate you.” The song is also a shout out to the Los Angeles metropolitan area that is home to much of the state’s porn industry. There’s also the modestly titled “FLESH,” which features Miguel seductively moan, “Woman, put me right where I belong.” And Wildheart’s lead single, “Coffee,” a playful ode to the morning after a sexual encounter.

Although the singer’s interest in sex (HETEROSEX WITH WOMEN) is the dominant theme of the album, it does not come across as obnoxious – which distinctly separates Miguel from his contemporaries.

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If you measured last night’s episode of Love and Hip Hop: Atlanta by sex, based on the teaser, you thought you were going to be treated to a full-fledged orgy. Instead, you got fingered with a pinky. Foreplay can be great, but not when I’m being teased with a confrontation between Joseline and this woman who won’t stop saying her name every damn week, Jessica Dime. That’s a climax, bitch. Way to overhype the confrontation, production team.

Those two didn’t engage until the very last scene, but before that took place, the show’s resident messy ass friend, Karlie Redd, set up the tension. Karlie doesn’t seem to sing anymore, and she’s not dating a rapper, so as far as her point on this show goes, she’s essentially a middleman and greeter to new cast members with no friends. Enter Jessica Dime, who while in a pool with Karlie, revealed that she and Joseline used to fool around—to the delight of their VIP guest, Stevie J. Jessica described Joseline as her “trick” and said she was all up in her kutty kat. She also added that she could’ve taken Joseline’s man as Stevie J offered to knock her up.

So, a man with noted substance abuse issues and multiple baby mamas (and the child support cases to prove it) offers to knock you up during a ho shit session where he was likely inebriated and you fix your face to say, “I could’ve had your man.” Yeah, probably for a couple of hours, but as MoKenStef let us know, “You may have had him once, but I got him all the time.”

Go ahead, sing, “YOU CAN’T SLEEP AT NIGHT.”

Jessica sounded like a cross between Safaree (bitter) and Ronnie from the Players Club (bitter and trying to get popped).

Later, Karlie linked with Joseline who, to the surprise of no one, had no issue admitting anything. Joseline “Yeah, I ate her box, but she’s my bitch. She do what I say. She ate my ass and my pussy all night when I tell her to do it.” She then advised her to live off her own name, but noted, “but you don’t have one because everybody know you as a playgirl.”

I could seriously quote this woman all day. To wit, Joseline explained when it came to tricking off Dimepenny, “I didn’t have to give you money. I just give money because you broke and you need it.”

And in the confessional there some other gems: “Bitch you could never drop a bomb on me because I am the bomb” and “There is nothing I have to tell Dimepenny unless the bitch is on her knees.”

How does this woman not have an Emmy already? Joseline ended the conversation by telling Karlie to pass word that Dimepenny can come see her in the studio. So she did while Joseline was in a session. Stevie escorted himself out of the studio and once Jessica entered the booth, Joseline told her, “I heard you been looking for me.”

We have to wait until next week to see Joseline throw a drink at Dimepenny’s head. I know, I know. We can wait together.

While we didn’t get the full Joseline and Dimepenny confrontation, we were treated to three other ones—two of which we’ve seen too many damn times already.

Read the rest at Complex.

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