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Rb Hip Hop

Drake Drops Second Round of 100 Gigs Content Featuring Ye, Mustard & The Weeknd

The leaked songs from his burner Instagram have also been uploaded.

Drake

Drake

Courtesy OVO/Republic Records

Drake is back for round two with another drop for his 100 Gigs content website. Drizzy went back into the archives and dug through the Nothing Was The Same-era archives circa 2013 to give fans a peek into his creative genius at the time.

100 Gigs received an update on Sunday (Aug. 25), which also includes the three-pack of tracks he leaked on his burner Instagram on Friday (Aug. 23).


There are highlights scattered throughout the content dump, with one featuring Drizzy talking to YG and Mustard following their “Who Do You Love” collaboration in 2014, which peaked at No. 54 on the Billboard Hot 100.

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“I’m bout to send you a verse I did on this beat that Mustard sent me for you … I’m just about to record the s–t and I’ma send it to you,” Drake told YG and Mustard on the phone. “Just get Future to email it and I’ll send you the verse in 30 minutes … I’ma send you the s–t and let’s turn up the summer, I’m ready.”

It’s an interesting chess move by Drake to showcase his once fruitful relationship with YG and Mustard, considering the pair of West Coast natives aligned themselves with Kendrick Lamar during Drizzy’s feud. YG danced on stage with Kendrick at the Pop Out concert and Mustard produced “Not Like Us.”

Mustard also recently took things a step further regarding his relationship with Drake when he nixed the idea of ever doing another song with the 6 God and referred to him as a “strange guy” in an interview with The Los Angeles Times published Aug. 21.

“I don’t think I want to make a song with that dude,” he told the paper. “He’s a strange guy.”

There were also some run-ins with his on-and-off-again enemy Ye — formerly known as Kanye West — as they shared the OVO Fest stage while Yeezy gave Drake his flowers. West even admitted that Drake’s explosion entering the rap game inspired him and Hov to make Watch the Throne.

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“Me and Hov wouldn’t have made Watch the Throne if this n—a wasn’t putting pressure on us like that,” he said before performing “Can’t Tell Me Nothin.” “So I just want to pay my respect.”

The love fest continued backstage when Drake gushed about being a Ye fan and hearing West show his appreciation for his artistry since he grew up idolizing him.

“I’m the biggest Ye fan, period. Sometimes I feel like I can’t like it because I gotta go against it,” Drake admitted. “But that s–t tonight was almost therapeutic.”

There was plenty of other footage in the latest drop, including a time when Drake and The Weeknd were on good terms, as well as footage recording NWTS tracks such as the Jay-Z-assisted “Pound Cake” and “Furthest Thing.”

Nothing Was the Same arrived in September 2013 and debuted atop the Billboard 200 with 658,000 copies sold in the first week.

This article was first published by Billboard U.S.

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SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.
Michael Buckner/Billboard

SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.

Rb Hip Hop

SZA Feels Like She’s ‘At War Because of AI,’ Slams ‘Weird, Stereotypical Struggle Music’ Being Generated By Artificial Intelligence

The singer tackled the topic on "Ghost in the Machine" from her 2022 chart-topping "SOS" album.

SZA has been raging against what she dubbed the “Ghost in the Machine” on her Billboard 200 No. 1 album SOS for years. In her case the “ghost” she was referring to on that song from her 2022 breakthrough LP was artificial intelligence, which she took on by singing, “Let’s talk about AI, robot got more heart than I/ Robot got future, I don’t/ Robot got sleep but I don’t power down.”

Now, in an interview with i.d., the Grammy-winning singer is sharpening her knives to a high sheen in what she tagged as a potentially existential crisis for Black artists in the face of the rapidly expanding use of artificial intelligence in music.

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