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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.

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.  

If you’re curious about Dimepiece the rapper—you’re not, but bear with me—she comes across as a fake ass Diamond from Crime Mob. Dimepiece along with Karlie Redd and Margeaux were at some party where Dimepiece performed. Dimepiece has a song called “Disrespectful.” The song is old as hell, but in her defense, her gripe with Mimi is that she has yet to get the woman in the studio. She’s trying, world.

After Dimepiece performed that old ass song, Margeaux took the stage and played some song she recorded from her phone. Margeaux’s performance was very Saint Heron compilation, which was surprisingly refreshing giving how tired she and her husband come across on this show. I’m not saying I’ll buy the single, but I didn’t mute her so that’s something. After both performed, Karlie Redd announced that she has a record label and that Dimepiece and Margeaux should not only be on her label, but collaborate.

Let’s pause right here.

Karlie Redd says she has a record label. As much as I liked Karlie Redd’s “Louis, Prada, Gucci,” what does she know about the music business? I guess we’ll see. Actually, fuck it. Karlie Redd is just trying to do something on this show beside be its version of Pearl from 227, so I won’t completely knock the hustle even if it confuses me. Even so, Dimepiece and Margeaux on one track sounds like scrapple fried rice with a fatback salad on the side. I don’t see it, but best of luck to them all in their future endeavors.

And though I’d rather pretend it didn’t happen, there was another performance last night. Yes, Kirk’s artist Ashley Nicole took a few minutes to poorly lip sync her already heavily digitized song. Rasheeda and Erica, who doesn’t get nearly enough screen time these days, watched on in horror. In sum, she better hit rehearsal more often instead of Rasheeda’s last nerve.

By the way, Rasheeda is realizing that it’s about time she stops excusing Kirk’s nonsense and makes some decisions about the state of her marriage. She mentioned the word divorce, but I’ll believe it when the production crew plays Adele in the background as Rasheeda shimmies on out of the courthouse after finalizing the dissolution of her marriage. I won’t hold my breath, though.

In closing, less of these wack newbies and more screen time for the classics like Erica. We’ve got to hook her up with Future or some member of Goodie Mob. We are missing out, and it’s not OK. Now, next week Kaleena comes for Deb Antney’s next. Lift her in prayer. She’ll need it. Oh, and Tammy is back because apparently, she wasn’t done with having Love & Hip Hop Atlanta co-stars going upside her head.

Until then.

Michael Arceneaux hails from Houston, lives in Harlem, and praises Beyoncé’s name wherever he goes. Follow him @youngsinick.