Adrien Broner and DeenTheGreat have turned an online dispute involving Kai Cenat into a music release. The former four-division boxing champion and DeenTheGreat appear on “Purple App Killa,” a diss track and accompanying music video released with Hitmaka.

DeenTheGreat made the intended target explicit when promoting the song on October 15, describing it as a Kai Cenat diss track and directing viewers to the video. The official upload credits Broner and DeenTheGreat as collaborators and runs for just under three minutes.

The release follows a disagreement centered on DeenTheGreat’s visit to Cenat’s Vivet clothing stand at ComplexCon. DeenTheGreat said he had arrived intending to support the brand and spend money, but felt he had been treated as though he were simply another fan rather than someone receiving personal acknowledgement.

That grievance had already played out publicly before the song arrived. Behind-the-scenes clips had also shown Broner and DeenTheGreat working on the record and video, making “Purple App Killa” the polished musical extension of a dispute that had first circulated in early October.

What led to the record

The core disagreement is less about whether people should buy from an independent clothing business than about what support and respect look like when public figures meet at a branded event.

In a discussion involving Ray J and Zeus Network founder Lemuel Plummer, DeenTheGreat continued to argue that Cenat should have given Plummer clothing without charge. Plummer presented a different view of the interaction. He said he purchased six Vivet outfits by choice because he wanted to support the venture, and said Cenat had thanked him for attending.

“I bought it. I wanted to support it,” Plummer said.

Plummer also described his reception at the stand as respectful, directly countering DeenTheGreat’s characterization of the situation. He offered to phone Cenat during the conversation, but DeenTheGreat told him not to. The exchange did not establish a shared interpretation of the encounter; instead, it highlighted two expectations that can clash around celebrity-owned businesses.

Related coverage includes Adrien Broner and DeenTheGreat Release Kai Cenat Diss Track.

One expectation is that influential visitors, collaborators, or peers should receive a more personal welcome, perhaps including complimentary products. The other is that voluntarily paying is itself the clearest form of support, particularly for a business built and financed by its owner. Plummer emphatically aligned with the latter position.

What a diss track changes—and what it does not

A diss track is a song designed to criticize, mock, or challenge a named person or opponent. It can be an unusually efficient way to extend a dispute: the argument becomes a shareable piece of entertainment with a title, a visual component, and an audience beyond the people who saw the original conversation.

In this case, the available details establish the target, the collaborators, and the context behind the release, but they do not provide a full accounting of the song’s lyrics. That distinction matters. “Purple App Killa” should not be treated as proof that the clothing-stand disagreement has been resolved, or that every claim made by the participants has been independently confirmed. It is a creative response built from DeenTheGreat’s public dissatisfaction and his stated view of what happened.

Broner’s participation adds another recognizable figure to the release. Rather than remaining a disagreement among streamers and people connected to the event, the video brings a former multi-division boxing champion into the presentation. Hitmaka’s involvement likewise gives the track a producer connection beyond a simple spoken social-media exchange.

The video format is important, too. A short song can travel through clips and reposts, but a music video supplies a second layer of staging and identity. The participants had previewed that process through behind-the-scenes material before the final upload was available. The finished release therefore functions as both a song and a deliberately packaged chapter in the wider public back-and-forth.

Why the Vivet dispute has competing readings

DeenTheGreat’s stated complaint was fundamentally personal: he felt his effort to support Cenat’s brand was not met with the recognition he expected. Plummer’s account was fundamentally commercial: he chose to spend money, viewed that payment as meaningful support, and said he was treated well.

Neither position requires the other person to have had the same experience. A booth can feel welcoming to one visitor while another comes away frustrated by the absence of a direct greeting, special treatment, or a public show of appreciation. The public argument grew because the participants were not debating only a transaction. They were debating status, relationships, and the social rules surrounding an appearance at a high-profile pop-up.

That helps explain why the specific issue of free clothing became so prominent. Complimentary apparel can be read as a friendly gesture, an endorsement tool, or a recognition of a guest’s profile. Paying for apparel can also be read as a concrete vote of confidence in the brand. DeenTheGreat pressed the first interpretation; Plummer defended the second and credited Cenat for building Vivet with his own money.

There is no evidence here that Cenat personally responded to the finished diss track. The known public accounts are DeenTheGreat’s complaint, Plummer’s contrasting account, and the release itself. Keeping those boundaries clear is particularly useful when a disagreement is amplified through short clips, reaction posts, and music-video promotion.

A release paired with a live-platform appearance

“Purple App Killa” arrived alongside another DeenTheGreat and Hitmaka event. KICK promoted Hitmaka as DJ for the COB Halloween Bash, a Miami party presented with KICK and DeenTheGreat. The event was billed as KICK-exclusive, and DeenTheGreat posted that the bash was live shortly after announcing the song.

Pairing a music release with a live event is a notable part of the rollout, even without assuming anything about the pair’s wider plans. A recorded track offers a permanent linkable item; a live-platform event creates an immediate moment for viewers who are following the conflict in real time. Together, they keep the focus on DeenTheGreat, Broner, and Hitmaka’s collaboration rather than solely on the original clothing-stand disagreement.

Music releases connected to personalities who already command online attention increasingly occupy a space between traditional songs, social posts, and event promotion. The format does not require a lengthy public statement to make its point: naming a target and publishing a visual can become the statement. That is distinct from proving the underlying dispute, but it is highly effective at making the dispute legible to an audience.

The music angle also lands in a broader pop-culture moment where recordings can carry meaning well beyond standard distribution. For a very different example of an album’s public story becoming inseparable from its ownership and access, see the renewed public attention around Wu-Tang Clan’s one-of-one album.

What is confirmed

  • Broner and DeenTheGreat released “Purple App Killa” with Hitmaka.
  • DeenTheGreat identified Kai Cenat as the target while promoting the October 15 release.
  • The official music-video upload is just under three minutes and lists Broner and DeenTheGreat as collaborators.
  • The track followed DeenTheGreat’s public criticism of his experience at Cenat’s Vivet stand at ComplexCon.
  • Lemuel Plummer said he paid for six Vivet outfits willingly, received thanks from Cenat, and considered his interaction respectful.
  • DeenTheGreat and Hitmaka were also connected to KICK’s COB Halloween Bash in Miami.

For now, “Purple App Killa” stands as the clearest output of the dispute: a brief, named diss record with a video, released after competing public accounts of a brand-event encounter. The disagreement over what happened at the Vivet stand remains just that—a disagreement, with DeenTheGreat and Plummer publicly describing the experience in sharply different terms.