Following the drama from K. Michelle’s birthday party, this episode of “Love and Hip Hop: Atlanta” opened with Mimi talking to her good friend, Ariane, who was trying to convince her to leave her cheating boo, Stevie J. Ariane tells Mimi like it is, just as a friend should, “I don’t care how good that d— is, how big it is, whatever”. Mimi should be thankful to have a friend like Ariane who’ll tell her the truth instead of what she wants to hear. Only problem is, will Mimi actually listen?
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Meanwhile on the other side of town, we’re re-introduced to Rasheeda, who although is an independent rapper, still holds the titles of wife and mother. She’s been married to her husband, Kirk, who also happens to be her manager for twelve years, and they seem to have the only semi-stable relationship on this show.
Conflicts arise between the two when Rasheeda wants to release a song called, “Legs To The Moon” while Kirk wants her to release the single, “Marry Me”. Oh, the irony in this situation. Kirk and Rasheeda seem to have trouble keeping their business and personal lives separate, and Kirk tells her, “If I kick my leg up on you while we laying in the bed, after business, don’t kick it back off because you’re mad about some business crap.” Rasheeda tells him that she’ll agree to follow his lead on this one. At least for the time being.
Now, its time to get to business, and the woman who started all the drama, Karlie, is still looking to work with Stevie J, despite the fact that he thinks she’s a rat. She heads to the studio to meet with Stevie and speak with him face to face but when she arrives, who else but Joseline is there to greet her. Joseline isn’t too thrilled about the idea of Karlie and Stevie working together, and isn’t too happy about the whole idea of Karlie’s existence either for that matter. They have a small confrontation, and Joseline warns Karlie that she won’t allow Stevie to work with her.
Karlie, head for the hills while you still can!
Stevie J doesn’t have time to worry about Karlie and Joseline’s problems because he’s got his own home to worry about. He’s got to make good with Mimi, who isn’t answering or returning any of his phone calls. “I think I really f—ked up this time,” Stevie tells the cameras. Uh, ya think!?
When Stevie has had enough of being ignored, he pops up at Mimi’s job and confronts her face to face. He feeds her his normal apology, “You, my family are my number one priority. At the end of the day you got to understand I love you, but working is how I get my money,” and although at first it looks promising that Mimi may not accept his apology this time, we all know that she would take him back in the end. But this time, she’s not taking him back without some money. She’s taken maters into her own hands and drafted up a contract between her and Stevie that makes them business partners. So now, Stevie’s money is now Stevie and Mimi’s money and Joseline is now Mimi’s artist. Interesting..
When Joseline gets the news that Mimi is now partly her manager, she isn’t the happiest camper, but Mimi makes it very clear that Joseline’s opinion is a non factor, and that she will now have to answer to her. Ouch. Joseline doesn’t let that phase her as she tells cameras, “Mimi don’t run nothing over here, and she don’t run nothing over there either” and sadly I’d have to say that I totally agree with her.
Mimi’s new management role isn’t the only thing that Joseline has to worry about. She found out she was pregnant, and took the pregnancy test to Stevie J to tell him the news. As she cried on his shoulder, Stevie J seemed kind of confused as to why she was bringing that information to him- which seemed to me like she was implying that the child was his. “You’re supposed to handle this off rip,” Stevie tells Joseline before asking her who’s child it was. “I haven’t been f— nobody for the last six months but you,” Joseline tells him. And at that point, ladies and gentleman, things just got real.