Joe Budden and Cyn Santana got engaged just four months ago and signs are pointing to the possibility that their union is no more. Although neither party has officially announced the split, the removal of photos and footage from their respective social media pages suggest otherwise.
Whoa, Love and Hip Hop fans probably didn’t see this one coming, as Joe Budden, 38, and Cyn Santana, 26, are done. He got down on one knee and proposed to her onstage during a live podcast on Dec. 18, 2018, but they just got in a huge fight and have split up. “Cyn is no longer wearing her engagement ring and she has wiped Joe from her page, they have split. It just happened, he’s gone on tour right now and they had a blowout fight. It’s very fresh,” a Love and Hip Hop insider tells HollywoodLife.com EXCLUSIVELY. The two also stopped following each other on social media.
“Hopefully they can work it out, they have their son and they have a lot of love. They are both very passionate, so hopefully this is a case of fighting hard and loving hard and the hope among their friends is that they will work this out. But as of now she is saying it is over. She seems very upset, hurt and angry,” the source continues..
A scan of their Twitter accounts doesn’t reveal much in the way of clues into what truly happened, and there is some speculation that this is part of a Love & Hip Hop: New York plotline. Hopefully, the parents of toddler Lexington Budden can work things out.
Swae Lee and Marliesia Ortiz have called it quits. Shocking.
Ortiz, who previously accused Swae Lee of cheating on her with none other than Blac Chyna, has accused her on-again-off-again boyfriend of stepping out… again. She says Swae Lee smashed her friend and, for the second time that we know of, has leaked his number online.
“Everyone ask him why did he f*ck my friend. Who was f*ckin his brother,” Ortiz wrote, according to a screenshot posted by The Shade Room.
See that below, plus the Facetime convo that allegedly followed.
At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.
Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”
Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.
“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”
As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”
Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”
Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”
The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.’” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”
Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.’” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others. The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.
At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”
Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.
At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.
Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”
Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.
“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”
As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”
Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”
Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”
The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.’” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”
Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.’” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others. The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.
At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”
Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.
Michelle Williams announced on December 7 that she is no longer engaged to Chad Johnson. But apparently, their separation comes at no surprise to fans who speculate Johnson was just around for a check.
The former Destiny’s Child singer hit social media last week to inform everyone that it just “didn’t work out.”
“I still remain fearless. I guess I still remain single!” she wrote. “Things didn’t work out. The healing that needs to take place is a must!,” she wrote. “I don’t wanna destroy another relationship. Blessings to him, his family and ministry. #FEARLESS.”
After meeting in March of last year, the two got engaged one year later in April of 2018. Williams has been forthcoming about struggling with depression, which seems to have played a part in their decision to end things, and Johnson also faced criticism after fans felt he belittled her on their reality show, Chad Loves Michelle. “The two made a phone call to their therapist after Johnson was dismissive of the racial differences plaguing their communication,” Vibe reports. So, it’s possible mental health issues and racial tensions both led to their split.
Chad was a gaslighter and an opportunist. Michelle doesn’t need to blame herself for the demise of their relationship. Best thing that happened was them not getting married
Last month Adam “Ad-Rock” Horovitz and Michael “Mike D” Diamond published The Beastie Boys Book. The memoir of the band chronicles 35 years of music-making, friendship, and being part of multiple cultural melting pots in Downtown New York City, Los Angeles, and places and spaces in between. A highlight in the text deals with the Beasties’ exit from Def Jam Records. The group released Licensed To Ill on Russell Simmons and Rick Rubin’s label in 1986. It has since been certified diamond, selling more than 10 million copies. While the Beasties artistically evolved out of that release’s imagery of beer-swilling, cat-calling disruptions, little has been said about the reason for the departure. The Beastie Boys Book addresses that specifically. Chapter 49, “The Fallout” gets to the crux of what happened in the mid-1980s that would ultimately send the group to become an act at Capitol Records for the next 15 years. The Beastie Boys Explain Why They Were Nearly Done After Licensed To Ill “When we started, we were just a band—friends in a band. We never thought of having a producer, or manager, or record label. [We] never really thought about the future of things in general. Then Rick [Rubin] and Russell [Simmons] came along, and they had big ideas,” says Adam “Ad-Rock” Horovitz in the audio book companion to the chapter he penned. “Things seemed to be going great, so we just rolled with it all. Going on tour, opening for Madonna, and then Run-D.M.C., it was like a dream that we didn’t even know existed for us that had come true. We’d become a big group of friends having ridiculous fun, making music, playing shows, traveling, and getting paid money to not actually have a job. But at a certain point, Rick and Russell started coming up with ideas and making decisions for us.” Ad-Rock discusses the trio’s biggest hit, “(You Gotta) Fight For Your Right (To Party!).” The song began as a trio made by the Punk Rock band, mocking the Hair Metal anthems of the mid-1980s. It was among the demo recordings that the act made while stacking tracks in late 1985. Rick Rubin, who had signed the group, DJ’d for them during early appearances, and more, re-produced the song unbeknownst to the trio. Ad-Rock describes the new version, which later made the album, as “clean and full.” Rubin re-played MCA’s guitar line from the original. “That sort of thing happened a lot on that record,” says Horovitz. He says that Rubin also decided the LP’s artwork (recently re-purposed for Eminem’s Kamikaze). “We were too busy living the high life to pay attention. Big mistake. Kids, when someone’s making decisions for you, you can also bet that they’ve decided to take what’s yours,” cautions Adam Horovitz. 20 Years Ago, The Beastie Boys Reminded Rap Fans That 3 MCs & 1 DJ Is A Winning Formula Like Run-D.M.C. and LL Cool J in Krush Groove, a film was in development for the Beasties following their success. That also played a large role in the eventual parting of wats. Ad-Rock details, “[MCA] and our friend Tom Cushman wrote a script. Rick was going to direct and Russell was going to produce. The movie was called Scared Stupid.” Ad-Rock calls the premise a drunken haunted house party. “In retrospect I am so happy that we didn’t end up making it. But that’s besides the point. One night a few weeks later, Rick and I were outside Blanche’s [Tavern], a bar on Avenue A that all us kids used to hang out at. We were talking about the movie. Rick made a quick comment about splits; he was saying that Beastie Boys would get 10%, and him and Russell would get 90%. This for real happened.” That business proposition escalated tensions. “For me that was the point at which things really started to unravel. [Adam] Yauch was already really kind of pissed and disillusioned with Rick ’cause of the studio stuff. Yauch was into engineering and learning about how to get certain sounds through amps and speakers and microphones and stuff. So Rick taking over as ‘producer’ and not including him was not cool with him. Neither was the notion that Rick was the video/movie director, and ideas guy, ’cause Yauch was also into film and making videos. At some point Yauch quit the band, sorta.” Ad-Rock says that he and Mike D were not aware of MCA’s short-lived 1987 exit from the group. “He told me about this conversation he had with Russell in ’87. It was after like 12 straight months of touring. He was sick of it, done, sh*t got old fast. He felt disconnected from his family, his friends, and himself. He was sick of being the drunk guy at the party.” Reportedly, Russell Simmons urged MCA to keep the party going, and act like his brand, even if he was not intoxicated or enjoying the party. “That was enough for Yauch. So he told Russell that he quit. He never actually told me or Mike [D], so neither of us had any idea that we weren’t a band anymore.” Beastie Boys’ Ad-Rock Takes The Side Of The Women Accusing His Father Of Sexual Assault Ad-Rock says that following the band’s extensive ’87 touring, he went to Los Angeles, California to be with a girlfriend. Meanwhile, MCA focused on another band, Brooklyn (also featuring his script co-author Tom Cushman). Mike D did the same with his Flophouse Society Orchestra collective. Despite the hiatus—one that nearly led them to call it quits, the band alleges that Def Jam continued to withhold earnings. “During all of this madness we stopped being paid royalties on [Licensed To Ill]. We made money from paying shows—big shows, Madison Square Garden shows, but zero dollars for the multi-platinum smash hit Licensed To Ill, the f*cking record that a group of friends made together, had intense and real fun making together. And now, for whatever reason, one of the friends—the one who is half-owner of the record label, decides that the other three should not receive their earnings for the sales of that record. They did not f*cking pay us—Rick and Russell, our friends, Def Jam.” Mike D Weighs In On Best Beastie Boys MC & Overcoming “Brass Monkey” Hate (Audio) Ad-Rock opens up about his personal history with Def Jam. “We’d been there with them from the beginning. I was there in the studio with Rick when T La Rock recorded ‘It’s Yours.’ I was there in the studio with Rick when The Junkyard Band recorded ‘Sardines.’ I made the beat for LL Cool J’s first single for Def Jam, ‘I Need A Beat.'”
Ad-Rock got a credit on the song, while the track is “reduced by Rick Rubin.” A remixed version appeared on LL’s 1985 full-length debut, Radio. LL Cool J Remembers Knocking Out MC Hammer With A Diss & Explains Why (Video) In a 1985 Video Music Box interview, available at AFH TV, LL Cool J describes his earliest days on Def Jam. “I been rhyming since I was nine years old. When I was 11, my grandfather bought me a whole lot of [musical] equipment, about $2,000 worth. So what I did was, I evolved slowly. It was like a process—evolution. I started off as a young rapper, not doing anything. I went and wrote lyrics—a lot of lyrics. Then I started sending tapes in to every record company. I went to a record store, and I got all the Rap records. I took the addresses off of the Rap records and sent a tape to every record company that was [making] Rap at that time. Finally, [Def Jam Records’] Rick Rubin called me back; here I am [talking to] Video Music Box.” During the recent promotion of the book, Ad-Rock told LL’s Rock The Bells Radio show (and its superstar host) that he was in fact the plug. “[After T-La Rock’s ‘It’s Yours’], Some kids started sending demos in. There was just an address on the record itself. And it was actually — I’m sure nobody knew that he lived in a college dorm room. And so he would get all these tapes [mailed to the NYU dorm room], and there was a box of tapes. And instead of being at [high] school, I would cut school and go to Rick’s dorm, and I’d hang out…I would listen to the tapes, and I heard this one from this kid named LL Cool J…and it was really good. You were rapping. I was like ‘This guy’s really — this kid’s really good. You should meet this kid,’” Ad-Rock reportedly told Rick Rubin, who reached back to the teenager from Queens, New York. “And so, Rick listened to it, and then somehow contacted you.” Thus, Ad-Rock was a critical cog in Def Jam’s first album-maker. Hear How Warren G Saved Def Jam Records (Audio) In the band memoir, Ad-Rock continues, “We felt that Def Jam’s success was success for us, and vice versa. ‘Cause we were all friends. So what happened? Allegedly Rick and/or Russell said that we were in breach of our contract ’cause we hadn’t started recording our second album for Def Jam yet. I mean, Russell was our manager as well as the owner of the record label. If he wanted us to record a new record by a certain date, he shouldn’t have had us on tour during said date, right? Why not just have a conversation about it? Or an argument? Or whatever friends are supposed to do with each other to figure things out. But basically, money was what it was all about. How sad is that? We were all making a sh*t-load of money, but for whatever reason, it wasn’t good enough. We never even got the chance to have creative differences; things just spun out of control. ” According to the biography, Russell Simmons was not above age-old record industry tactics. “Allegedly, Russell threatened to put a record of unreleased songs of ours [and] call it White House and have somebody remix them to theme of this hot new sound called House music. For reals? The whole thing was just a real big bummer ’cause we were friends and things could’ve gone a different way—not that I regret what all happened next. I don’t. ‘Cause walking away from those dudes was actually the best thing to happen to us as a band and as friends, it’s just—I don’t know—sad.” He continues, “We really didn’t run into them much during the next few years. When we did, it was in a crowd of people in a party or something—not the time or place to have a serious conversation. So time passed, and in the way that it does, it eased tensions, and after a while, the fallout didn’t really matter; we’d moved on.” The Beastie Boys Open Up Their Oscilloscope Studio To NYU Students Rick Rubin participates in the audio readings of The Beastie Boys Book, which also feature LL Cool J, MC Serch, Rosie Perez, John C. Reilly, Jon Stewart, Steve Buscemi, and others. Other highlights in the book include a section on MC Serch’s beef with the Beasties, Q-Tip’s recording of “Get It Together,” as well as the band’s unique friendship and collaborative history with Biz Markie.
Pete Davidson made his first stage appearance on Saturday (Oct. 20) following the news broke that him and Ariana Grande split after a Summer romance.
The 24-year-old Saturday Night Live star co-hosted the comedy show, Judd & Pete for America, benefiting Swing Left at Largo at the Coronet in West Hollywood, with Judd Apatow. “Well, as you could tell, I don’t want to be here. There’s a lot going on,” Davidson told the crowd. “Does anybody have any open rooms? Looking for a roommate?”
During their relationship, the singer purchased a $16 million New York City apartment for her and Davidson. Pete is “staying with family” and was “doing fine” after they broke up and called off the engagement. “He has a strong support system of family and friends around him that are keeping him laughing.”
During his set at the comedy show, Davidson also joked about covering the tattoo he got in honor of his ex-girlfriend.
“Um, I’ve been covering a bunch of tattoos, that’s fun,” Davidson told the crowd. “I’m f–king 0 for 2 in the tattoo [department]. Yeah, I’m afraid to get my mom tattooed on me, that’s how bad it is.”
The couple had gotten a few matching tattoos while they were together. Grande recently made her post-split appearance at a taping of NBC’s A Very Wicked Halloween, and was seen wearing a Band-Aid over one of her tats.
“So, obviously you know I, we [Ariana and I] broke up or whatever but when me and her first got engaged we got tattoos,” he later continued. “And it was like in a magazine like, ‘Was Pete Davidson stupid?’ And 93% of it said yes,” Davidson told the audience. “So my boy, he was like, ‘Don’t listen to that s–t man. They’re literally f–king haters.’ And I’m like, yeah, f–k that. I’m not stupid. And the other day we were in my kitchen and he was like, ‘Yo bro. Turns out you were stupid.’”
(Check the hashtags because sis is putting ALL his business out there 
)
NaijaGal