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J. Cole removes “lame, goofy” Kendrick Lamar diss track ‘7 Minute Drill’ from streaming services

It featured as the closing song on his surprise-release new album, 'Might Delete Later'

J. Cole has removed his Kendrick Lamar diss track ‘7 Minute Drill’ from all streaming services.

It featured as the closing song on his surprise-release new album, ‘Might Delete Later’, which dropped earlier this month .

The track came after Lamar fired verbal shots at Cole and Drake on the track ‘Like That’ , which was shared as part of  Future  and  Metro Boomin ’s recent collaborative album ‘We Don’t Trust You’. Lamar appears as an uncredited guest on the song and raps: “Fuck sneak dissin’ / ‘First Person Shooter’ / I hope they came with three switches” . The mention of ‘First Person Shooter’ is a direct call out to the Cole and Drake collaboration track from the latter’s 2023 album ‘For All The Dogs’.

Cole then responded to Lamar on the track, starting with “ I got a phone call, they say that somebody dissing / You want some attention, it come with extensions .”

He continued: “I’m hesitant, I love my brother, but I’m not gonna lie / I’m powered up for real, that shit would feel like swattin’ a fly / Four albums in twelve years, n****, I can divide / Shit, if this is what you want, I’m indulgin’ in violence” .

But earlier this month, Cole expressed regret for responding to Lamar’s diss when he was performing a headlining slot at Dreamville Festival 2024 –  saying onstage that he thinks his response on ‘7 Minute Drill’ was the “lamest, goofiest shit”.

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He said during a three-minute speech: “I just dropped a new album right? I’m so proud of that project, except for one part. It’s one part of that shit that makes me feel like ‘Man, that’s the lamest shit I ever did in my fucking life, right?'”

Now, Cole has removed the track from a number of streaming service including Spotify , Apple Music, and Tidal.

Last week, 50 Cent reacted to Cole’s public apology for creating a diss track against Lamar, urging the rapper to call him .

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L.A. County budget unlikely to be squeezed this year by deluge of sex abuse claims

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Good morning, and welcome to L.A. on the Record. It’s Rebecca Ellis, offering brewing budgets tidbits from L.A. County, and my colleagues David Zahniser, Jenna Peterson and Dakota Smith with updates from City Hall.

It’s been a year since L.A. County’s top budget official warned her bosses about a day when they would have to scrounge around for an extra few billion dollars.

That money wasn’t meant for state-of-the-art hospitals or affordable housing complexes. It would be going to thousands of people who, thanks to a change in state law , could for the first time sue for sexual abuse they say they experienced as minors in the county’s custody.

The deluge of claims, Chief Executive Officer Fesia Davenport said, amounted to the “most serious fiscal challenge in recent history.” She warned that the county could have to pay anywhere between $1.6 billion and $3 billion — the latter figure equivalent to the yearly budget of all but a handful of county agencies .

“These cases could have a profound impact on the county budget for decades to come,” she told supervisors as part of her yearly budget briefing.

But the day for belt-tightening isn’t here yet.

Davenport is expected to make her annual budget presentation to the supervisors April 23. Unlike last year, however, the massive liability is not expected to be the topic du jour.

The county’ said in a statement that “anticipation of these potentially devastating costs continues to inform our conservative approach to budgeting.” However, “there are no immediate budget impacts.”

Since the 2019 passage of the Child Victims Act , a state law that gave victims of sexual abuse a new window to sue , the county has been flooded with claims involving its network of foster homes, children’s shelters and probation camps and halls, some dating back to the 1950s.

Attorneys for the plaintiffs have argued that officials need to start thinking about how the county, responsible for the social safety net for 10 million residents, is going to find the money to resolve these cases.

“Now would be that time. This is not going away,” said Doug Rochen , who said he has brought new staff to his law firm to deal with the roughly 1,200 people it is representing in cases against the county. “They should set aside a pool of money — call it the sexual abuse survivors fund — specifically for being able to resolve these cases.”

This week, a judge set the first trial date for a handful of cases filed against the county under the new law: May 15, 2025.

Acknowledging that the county will someday have to spend serious money to resolve these cases is, as one official put it, “like saying the sky is blue” — obvious to all parties. Some have expressed fear over potential slashed budgets and skeleton programs down the road.

But officials say it’s likely too early, and there are too many unknowns, for the county to start budgeting for payments in the cases. Davenport previously said officials would consider cutting department budgets or dipping into the county’s rainy-day fund.

One of the biggest questions is how many cases there will be.

Last year, county officials said they expected about 3,000 plaintiffs. They underestimated. There are nearly 5,000 so far, according to a county source.

About 2,300 allege sexual abuse in juvenile camps and halls. Nearly all the rest involve MacLaren Children’s Center, a since-shuttered shelter for foster kids in El Monte.

The numbers continue to grow. In just the first week of April, the county was slapped with at least three new lawsuits by people who say they were abused as teens.

“The reality has got to set in, and they will have to figure out how to pay for it,” said Adam Slater , whose firm Slater Slater Schulman has filed 1,500 child sex abuse cases against the county.

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State of play

— STREET SETTLEMENT: The City Council voted this week to pay up to $9.5 million to settle a lawsuit by a motorist who suffered injuries during a traffic collision in the Hollywood Hills. An attorney for the plaintiff faulted the city for putting a temporary traffic light in a location that was difficult for drivers to see. The council also approved a settlement of up to $21 million for a man who said he suffered brain damage after being struck by a falling street lamp part.

— GIMME SHELTER: Faced with major overcrowding in its animal shelters, the City Council voted to temporarily stop issuing new dog breeding licenses . The city’s six shelters are more than 200% over capacity, which has caused dogs to be tripled up in kennels or forced to live in crates in hallways for months on end.

— WHERE DID THE MONEY GO? A state auditor found that California agencies have failed to properly monitor the outcomes of their own spending on homelessness initiatives. The report, issued by the California State Auditor’s Office, raises questions about the effectiveness of programs that have received billions of dollars in government funding.

— MOVING ON: Los Angeles Department of Water and Power General Manager Marty Adams has been picked by President Biden to serve on the National Infrastructure Advisory Council. Adams will retire from the DWP in the coming months.

— SUPES SHUTDOWN: Advocates protesting conditions in L.A. County’s two juvenile halls temporarily stopped the Board of Supervisors meeting Tuesday, sending the five supervisors scurrying into closed session. The coalition of groups said they want the supervisors to shut down the troubled halls.

— DEJA VU: Days later, L.A. County once again managed to avoid a shutdown of its two juvenile halls. A majority of the state oversight board believed the county had made enough 11th-hour fixes to bring the halls into compliance with state standards, allowing them to keep the roughly 350 youths who are in custody where they are.

— NO GOOD NEWS DAY: Hours before the state vote, a video was shown in open court of staff in Los Padrinos Juvenile Hall, one of the halls under scrutiny by the state, standing by as a 17-year-old was assaulted by at least six youths. Some officers appear to laugh and shake hands with an assailant.

— FIREWORK FUNDS: Residents of South L.A. who were displaced from their homes by a bungled detonation of fireworks by the Los Angeles Police Department in 2021 will be allowed to stay in city-funded hotels for a few more months, thanks to a vote by the City Council on Friday. The displaced residents will remain in their rooms until the end of June.

— MUTILATED MONUMENT: Copper thieves are suspected of carting off part of a monument to Harrison Gray Otis in MacArthur Park. Last month, they took a saw to the statue of a newsboy standing next to Otis, who owned a newspaper that would become the Los Angeles Times.

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Where is Inside Safe? Mayor Karen Bass’ signature initiative to bring homeless people indoors went to two locations this week: near a stretch of Pacific Coast Highway in L.A.’s Wilmington neighborhood and the Gilbert Lindsay Recreation Center in South-Central. The Wilmington operation focused heavily on RVs, according to the mayor’s office.

On the docket for next week: Bass will deliver her State of the City address Monday inside the City Council chamber. It will be her second such address since taking office in 2022.

Stay in touch

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Rebecca Ellis covers Los Angeles County government for the Los Angeles Times. Previously, she covered Portland city government for Oregon Public Broadcasting. Before OPB, Ellis wrote for the Miami Herald, freelanced for the Providence Journal and reported as a Kroc fellow at NPR in Washington, D.C. She graduated from Brown University in 2018. She was named a finalist for the 2022 Livingston Awards for her investigation into abuses within Portland’s private security industry.

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Kelsea Ballerini on Hosting the CMT Music Awards One Final Time, and Balancing ‘Goofy’ and Serious Sides: ‘Two Things Can Live in the Same Space’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Kelsea Ballerini has been the hostess with the mostest, as far as the CMT Music Awards , but it will soon be time to slap an “emeritus” on that. She hosts the awards show, now seen on CBS, tonight for a fourth and last time. Ballerini is revealing she will be relinquishing the role after handling emcee duties since 2021; Kane Brown was her partner in co-hosting previous telecasts, leading up to her solo reign over the ceremony this time.

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It’s not any secret that Ballerini has her eyes set on other media; she discussed it in a previous interview with Variety … for an article otherwise focused on her renewing her Black River record deal, indicating that she’s definitely not dropping everything to explore new avenues. So when it comes to what else might be ahead, for now, she says, “I’m really creatively fulfilled by the idea of finding a way to get involved with newer artists and find a way to creatively collaborate. And I’m really excited about the idea of doing some stuff in film and TV and just pushing myself outside of my comfort zone. Music is always gonna be my baby and my focus and the thing that I protect the most, but in the space around it, I want to keep growing and I want to keep challenging myself.”

Ballerini has a new album-in-progress, to follow up her Grammy-nominated “Rolling Up the Welcome Mat” project. But before she starts teasing that, the singer has just released a between-albums one-off — a newly rearranged version of her breakout hit “Love Me Like You Mean It,” which she considers “just a little thank-you” to the fans who’ve been with her for 10 years. That’s the song she’ll be seen doing on the CMTs, pre-taped in front of a crowd at the tower at UT Austin.

“I stand by the song and the sentiment so much, still,” she avows. “The heart of ‘Love Me Like You Mean It’ is that we accept the love that we think we deserve, and encouraging each other to hold ourselves accountable to accept good love. And me as a 30-year-old feels the same way, but has a lot of life since I wrote that song at 19. So I was like, how would 30-year-old me sing this? And that was a really fun discovery. To me it was like the ending of a decade of music together, and and then a continuation of ‘Welcome Mat’ and sonically kind of a hint as to what’s next.”

Her role in the show aside, Ballerini has picks for what she thinks telecast highlights might be.

“In my opinion, the performance of the night’s gonna be Little Big Town and Sugarland, that they already have such a synergy and a history together,” she says. Although the identity of the song the two acts are doing together isn’t being revealed prior to showtime, “I’ve heard the song, because Karen (Fairchild) is just a dear sister to me,” she says. “And I remember when I heard ‘Life in a Northern Town when they did it together years ago” — on the CMT Awards in 2008, the last time those two groups collaborated on a performance — “and it just brings me right back to that, and I think it’s gonna be a moment.”

She’s also high on a brand new artist, Dasha, who’ll be making the transition from TikTok star to prime time television for the first time with a performance of “Austin.”

“I mean, we have Trisha (Yearwood) and we have Keith (Urban) holding it down, as pillar, household-name country artists that people have tuned into these shows for years and years to see. And then the range goes all the way to Dasha, who is blowing up on TikTok. I called Jason (Owen), my manager, about a month ago, and I was like, ‘I don’t know if all the performance spots are booked or not, but if not, can we get her on the show’ She has the song called ‘Austin’” — as in, perfectly coincidentally, the host city — “and it’s perfect. I think we need her, and I’m so happy she’s on the show now. And it’s her first awards show performance and her first performance in an arena, so it’s a big deal.”

“That makes me smile,” she says, when told how many young women with debut albums mention her as an influence or someone they hope to meet. “I’m always in conversation with myself on finding the right line of still thinking I’m a new artist, and then also honoring the decade that I’ve had and not discrediting the success I’ve had. I feel like I’ve spent a lot of my career kind of with my shoulders a little bit hunched in, and I’m really trying to stand tall in this last decade of work and be proud of myself and show up for that, while also knowing that I still have a long way to go and I always wanna push myself and keep growing. So it’s really fun to be able to be friends with and in the same room and situations as my heroes, but then also being meeting the newer artists that I still really identify with, a lot of the time.”

Of her previous three stints hosting or co-hosting the CMTs, last year was her favorite. “I was proud of the show as a whole, and I was proud of what I was able to bring to the show,” she says of 2023’s show— including a musical performance from her that included a phalanx of drag queens, right as Tennessee legislators were enacting anti-drag legislation, plus an opening statement addressing gun violence in the wake of a Nashville mass school shooting. “As far as my opening statement, my performance hosting with Kane, being in a new city, I feel like we really did bring a new breath of life to the show that was really fun to watch happen in real time. So I think that, for me, is the bar.”

Definitely not the high point, but something she is able to look back on with some affection, was the year 2022, when she was scheduled to co-host in person with Anthony Mackie but shifted to virtual co-host when she tested positive for COVID, despite feeling fine. Brown stepped in to assume some of the duties she would have had at the host arena in Nashville, while Ballerini did live remotes from the socially distanced comfort of home.

“I laugh at it now, and I’m really proud of the pivot that we ended up being able to do,” Ballerini says. “It would’ve been really easy for them to be like, ‘OK, we’re gonna just fill your spot,’ and they didn’t. They put a satellite truck outside of my house with all the equipment that it was easy for me to figure out and to still be a part of it. It was very much a bookmark of that time, which was pivoting and figuring things out as it was happening to us. It definitely wasn’t ideal, but we pulled it off, and I got to end the night in my sweatpants, so it was a win.”

This year, “I do know going into these moments that I love having fun with the fashion and the looks and all that stuff, and I really pride myself on not taking myself too damn seriously. And I think especially with this show, and really with the script this year in particular, I get to lean into that more and just kind of be who I am.” Which is… “Really, I’m a goofy girl, and I like being able to be that alongside being a credible artist. Two things can live in the same space.”

Some have wondered about the tone of her next album, since she pivoted from making the mostly upbeat — and, yes, sometimes goofy — “Subject to Change” in 2022 right into “Rolling Up the Welcome Mat” in 2023. That EP (later expanded to album lengthin a deluxe edition) was her “divorce record,” completely holistic as a thematic look into dark developments in her personal life. If anyone following the country world had failed to give her credit as a cred artist in the past, “Welcome Mat” disabused them of those doubts, and racked up the kind of album of the year nominations at awards shows (including the Grammys) that had sometimes eluded her when she was producing more effusive material. But speaking of Team Evolve, will the next album project be a pivot back to more obviously mainstream fare, or…?

“Well, I think that’s kind of like what I was saying earlier: two things can be true. Like, I am a deeply emotional and committed songwriter. That is my absolute truth. It is the love of my life; it is my craft. And even in this new season of life, I’m really being diligent about making a record that has that same level of songwriting and honesty and intention as ‘Welcome Mat’ in depth. In the same breath, I’m a 30-year-old girl that really is enjoying my life, and I’m in a different phase of my life now that is filled with a lot more light and joy. And I love being able to celebrate that, and there’s space for both.”

But you won’t see much of the “Welcome Mat” side of her on the CMTs. For the bigger audience that now watches the show live on CBS and Paramount+ (and, after a few days, its namesake, CMT, too), she will be rolling out a true welcome mat, one that’s closer to comedic in tone.

“You know, I’m gonna be doing a little ‘Barbie’ bit. I’m gonna be doing a little impromptu collab. And I’m gonna be making fun of myself at the top of the show. Because I just like to beat people to the punch, and I am going to be probably losing (as a nominee)… but looking good and doing it well.”

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