Wendy Williams will break her silence nationally on ABC’s “The View” March 14 via phone amid her turbulent guardianship battle and ongoing dementia diagnosis.
After nearly four years away from the spotlight following her abrupt departure from the hit daytime series “The Wendy Williams Show,” Williams is finally speaking out.
ABC confirmed the exclusive interview will feature the embattled TV personality joining Whoopi Goldberg, Joy Behar, Sunny Hostin, Ana Navarro, Sara Haines and Alyssa Farah Griffin for what is expected to be a candid conversation.
The segment will also include special guest Ginalisa Monterroso, the founder and president of Connect Care Advisory Group, according to the show’s official schedule.
Williams’ highly anticipated return to television comes as she continues her intense legal fight to dissolve a court-ordered guardianship that currently controls her finances, healthcare and daily living arrangements.
The arrangement was imposed in 2022 after authorities flagged several significant withdrawals from her bank accounts as potentially suspicious.
Since then, the once-outspoken TV host has been residing in an assisted-living facility, housed in a highly restrictive memory care unit.
Sources close to Williams have described her current living situation as limiting, with minimal freedoms and severely curtailed autonomy.
Recently, however, the guardianship temporarily granted Williams permission to travel briefly to Miami last month, allowing her a rare opportunity to celebrate her father’s 94th birthday with family.
Williams’ upcoming public conversation on “The View” signals her determination to reclaim her voice and share her perspective, even in the face of considerable personal adversity.
Issa Rae called out Hollywood’s erasure of Black television history during a candid keynote about her upcoming HBO docuseries “Seen & Heard” at SXSW 2025.
The “Insecure” creator didn’t hold back, describing how major studios historically “used Black audiences” and then “abandoned them as soon as it was convenient.”
Rae acknowledged the notion might initially sound far-fetched, remarking, “It sounds like a conspiracy” on the surface. Yet her two-part documentary, premiering later this year on HBO and Max, offers firsthand accounts from prominent Black creators, showrunners and writers.
“It’s one thing to say it. You might have heard someone say that in the history of television and the history of particular networks,” Rae said. “But to have the actual creators, showrunners and writers chronicle the history of that is undeniable. We wanted to make a comprehensive history and showcase, with evidence, that this is how they built the success of their networks on our backs, and we almost don’t have anything to show for it as a result. It’s tragic, and history repeats itself.”
“Seen & Heard” highlights interviews with entertainment titans like Oprah Winfrey, Tyler Perry, Shonda Rhimes, Ava DuVernay and Norman Lear. Rae emphasized that these influential figures revealed deeply personal, often unheard aspects of their journeys.
“They have these incredible stories, and they may not have been asked questions about their journey and their vision in this particular way,” she said. “To be able to get Oprah, to be able to give Mara Brock Akil her flowers, to be able to have Tyler Perry talk about his journey in creating a studio that so many of us aspire to — watching it myself and hearing some of these stories for the first time it just inspires me. The end of that documentary inspires me to do more and get my s### together.”
Issa Rae On DEI Initiatives In Hollywood
Discussing diversity initiatives, Rae humorously noted, “I feel like the diversity initiative needs a better publicist.”
She elaborated on the backlash against diversity, equity and inclusion efforts in Hollywood, saying, “The anti-DEI, the immediate retraction of any efforts to level the playing field and focus on our stories, I think it [comes from] a big misunderstanding and a fear.”
Rae’s passion for authentic representation was also recently evident when she canceled her highly anticipated event, “An Evening With Issa Rae,” at Washington D.C.’s Kennedy Center.
Her decision followed President Donald Trump’s takeover of the institution’s board, removing several appointees originally chosen by former President Joe Biden.
Rae explained her decision on Instagram: “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”
Kanye West stirred controversy once again on Twitter Sunday night (March 9), claiming JAY-Z gave him divine status.
“ONLY GODS CAN MAKE GODS JAY Z MADE ME A GOD,” West tweeted.
The outspoken rapper didn’t stop at referencing the Roc Nation mogul. West also publicly posted a private message exchange with rapper Dave Blunts.
Showing concern for Blunts’ health following a recent hospital spell, West reached out with a supportive message offering assistance: “Do you mind if I connect you and my trainer.”
Blunts replied, “let’s do it.”
Dave Blunts quickly seized the moment, referencing the interaction in his latest song preview: “Ye said I’m the chosen one/Ye told me to talk to his personal trainer ’cause he wanna see me alive.”
🚨 New Dave Blunts song mentions Ye –
"Ye said I'm the chosen one Ye told me to talk to his personal trainer 'cause he wanna see me alive" pic.twitter.com/i43rUP5OA4
This recent exchange comes just a week after West referenced Blunts while criticizing the Rolling Loud music festival, accusing organizers of hypocrisy regarding performance censorship.
“Dave Blunts gotta song that say ladyboy on it,” West tweeted. “Rolling Loud told him he can’t perform it But he can perform everything that’s talking about guns.”
Rolling Loud’s social media account promptly responded, clarifying their position: “His team told him that, not us.”
West’s commentary quickly devolved into troubling territory as he lashed out against critics, delivering yet another controversial Twitter statement laced with antisemitism: “N##### WILL MAKE SONGS ABOUT KILLING PEOPLE BUT IF I SAY IM A NAZI THEY BE LIKE WHOOOAH THATS DARK THATS DUUUUMB AS F###.”
The rapper’s latest online tirade also included an unexpected shout-out to fellow rapper Kodak Black.
“WAIT I LOVE KODAK,” West declared. “HE ANOTHER ONE THAT DO WHAT HE FEEL.”
His post came after West previously offered assistance to Kodak Black following a viral video depicting a disheveled Kodak eating chicken in the middle of a busy street.
DDG previewed a controversial track titled “Don’t Take My Son,” accusing actress Halle Bailey of blocking visitation with their son Halo.
After airing his grievances during a livestream over the weekend, the rapper and social media personality took his frustrations to the studio. The song includes emotional lyrics that openly allege Bailey is intentionally keeping him away from their child.
In the song, DDG pleads, “Don’t take my son because he’s all I got,” revealing his distress over their co-parenting difficulties.
Additionally, in a YouTube video titled “She Won’t Let Me See My Son,” DDG claimed he has not seen Halo in “months” and that Bailey restricted his visitation to just 72 hours at a time. Calling the situation “severely limited,” he insisted that making it public was his “last resort” to regain time with his son.
“I feel like I’m getting bullied. I’m constantly being called a secondary parent, not a primary parent,” DDG said. “I get to see him, but it’s very minimal time.”
The rapper detailed an incident where he says he was kicked out of Bailey’s home during a recent visit, claiming such episodes have persisted repeatedly since Halo’s birth.
DDG expressed hesitation about involving the courts, fearing legal action might worsen the situation rather than improve it.
He also alleged Bailey is using their child to “get under my skin,” though he emphasized he has no interest in her romantic relationships.
The Michigan rapper maintained he has refrained from publicly criticizing Bailey in the past out of respect and to protect her “golden image,” but felt he had no choice but to speak up due to the severity of the circumstances.
Without addressing DDG’s remarks, Halle Bailey revealed she was taking a break from social media, citing illness as the reason behind her sudden absence.
“I just wanted to come on here and tell you guys why I’m not posting, she told her Snapchat followers. “Me and Halo are very sick. We do not feel good at all. So, sorry I haven’t been posting snaps, but I’ve just been using all my energy to take care of my baby and myself.”
Social media users quickly responded, with many Halle Bailey fans criticizing DDG for publicly airing their private family matters through music. Check out some reactions below.
ddg doesn’t want to take it to court cause he knows halle is gonna put a social media clause in that custody agreement pic.twitter.com/RBSQ5v3H5R
— mir9🌙ulous PARK JIHYO fans nigeria 🧡 (@jeonghives) March 9, 2025
After the memorable collab, Doechii took to Instagram to give Lauryn Hill her flowers. She wrote about Hill’s lasting impact on her artistic journey alongside a carousel featuring footage from their performance.
“The first full length album I ever listened to was The Miseducation Of Lauryn Hill,” Doechii began. “My mom would play it from top to bottom everyday on my way to school for years. I would sing your songs as if I wrote them, imagining myself on stage. Each song deepened my love for music and my curiosity to write raps.”
She continued, “I carried your principles with me during my coming of age. And I carry them with me now at this current stage of my career.”
Expressing her gratitude, Doechii called the experience “the greatest honor hip hop could give me,” and said, “Thank you Miss Lauryn Hill. Praise God.”
The tribute marked a reflective moment for Doechii following recent controversies surrounding her remarks on dating.
She revealed that her biggest dating red flag is “a straight man” during a recent “Hot Ones Versus” appearance with DJ Miss Milan.
The comments divided fans on social media, with some criticizing her and others defending her right to personal preferences.
Meanwhile, Doechii recently made a striking impression at Paris Fashion Week. She turned heads, showcasing her electic style in a series of bold looks for Chloé, Schiaparelli, Valentino, Acne Studios and others.
Druski found himself thrust into controversy, as new court filings dramatically expanded a lawsuit against Hip-Hop mogul Sean “Diddy” Combs, naming the comedian and NFL superstar Odell Beckham Jr. as defendants in disturbing sexual assault allegations stemming from an alleged incident in 2018.
In court documents filed in the U.S. District Court in Northern California Friday (March 7), Ashley Parham accused both Beckham Jr. and Druski of raping her during a bizarre encounter.
The lawsuit describes the alleged incident, claiming that Diddy instructed Druski to attack Parham.
“Instead of immediately raping Plaintiff, Defendant Druski doused Plaintiff with more oil/lubricant and then jumped on top of Plaintiff’s naked and oiled body treating it like a slip and slide and knocking the wind out of Plaintiff due to his enormous size,” the filing reads. “Defendant Druski then caught himself from sliding over Plaintiff’s oiled body and off the bed, he then began raping Plaintiff vaginally.”
Parham accuses Diddy of “masturbating while recording” Druski’s assault.
Additionally, controversial singer Jaguar Wright has been dragged into the fray, accused in the lawsuit of attempting to sex traffic Parham following an alleged assault.
The allegations sparked controversy across social media, prompting Druski to issue a swift and unequivocal denial, rejecting Parham’s claims outright:
“This allegation is a fabricated lie. I wasn’t a public figure in 2018 – I was broke living with my mom without any connections to the entertainment industry at the time of this allegation, so the inclusion of my name is truly outlandish. My heart breaks for actual victims of abuse, but I’m fully confident that the evidence will expose this falsehood and the individuals who are maliciously trying to game the legal system to peddle false narratives.”
Being an independent musician gives you the freedom to create your own music. However, the problem lies with its quality.
Musical talent isn’t enough when producing new songs. If you’re inexperienced in studio equipment, your music could fail before it reaches the airwaves. That’s why you need a studio engineer.
There are several other reasons why independent artists need studio engineers. Keep reading to learn what they are and how they help your music shine.
Better Sound Quality
Before listeners pick up the melody of a song, they first hear what it sounds like. Much of the music you hear on the radio and streaming platforms is professionally mixed. That includes songs by independent artists. If your songs sound like they’ve come straight out of recording, not everyone will enjoy it.
Even if you plan to release a more raw, acoustic track, studio engineers can help make it ideal for listening. They bring out the best of your performance. People listening to your songs might think you’re already a veteran in the business.
You can find a reliable studio engineer with a quick online search. Some offer their services at an affordable price, which is perfect for independent musicians. One may be all you need. But if you can invest in a team, you could have assistant engineers lending a hand.
Advanced Studio Equipment
Some of the most memorable songs may have been recorded using free or cheap software and equipment. But if you want to elevate your sound, you’ll need better tools. Listeners are smart. They know if music has been made with low-tier equipment or state-of-the-art audio technologies.
Why does using advanced studio equipment matter? Basic tools don’t always provide you with the level of precision and clarity found in publicly released music. High-quality microphones, for example, capture your vocals and instruments with greater detail. Similarly, studio-grade preamps and audio interfaces ensure that the signal remains clean and free of noise.
Partnering with experienced audio engineers gives you access to industry-standard equipment. Professional recording studios also have the gear to mix and master your music properly. These tools allow any artist, signed or independent, to achieve a polished sound that listeners will love.
Technical Expertise
While you may be able to tinker with studio gear, a maestro at the audio equipment will know how to use it best. Studio engineers in the room during your recording sessions offer technical knowledge.
Producing music is more than recording and doing a few edits. It involves a deep understanding of acoustics and signal flow and a knowledge of instruments. These aspects may present a steep learning curve for independent musicians without formal training.
Studio engineers have a better understanding and practical experience of the audio production process. They’re less likely to make a significant mistake and ruin your hard work.
Saved Time and Resources
As an independent musician, you think you need to do everything by yourself. But being a one-person show will only waste your time, energy, and the limited resources you have.
A studio engineer will remove the extra fuss, allowing you to focus on the heart of music-making. They streamline the recording and mixing process while maintaining the excellent quality of your songs.
Some music producers and recording engineers also often have their own studios, removing the need to rent a space. That means you save money but still ensure your music is of top quality.
Creative Collaboration
Creativity is crucial for any kind of artist. So, once those juices stop flowing, you might feel like you’re at a standstill. You’ll need to increase creativity if you want to continue a music career.
One benefit of working with a studio engineer is an extra brain. They bring a fresh perspective to the table. Paired with their expertise and knowledge of music trends, you might encounter new ideas for your songs. Expect recommendations like adding a string section to a ballad or some audio effects for a modern vibe.
The collaborative process with studio engineers could also guide you out of your comfort zone. Successful artists are often those who aren’t afraid to go beyond their limits or try out other genres. As an independent musician, take this opportunity to build bonds with music professionals and grow your career.
Challenges Without a Studio Engineer
While it’s possible for independent artists to produce music on their own, it’s still a road with obstacles. Without professional skills and tools, your recordings may have background noise and uneven mixing. Technical flaws can ruin the impact of your music and limit its appeal to listeners.
Another issue is burnout. Handling every aspect of production solo may detract from the joy of creating music. A studio engineer as your partner in the process can alleviate that burden and help you enjoy your artistry. They may even steer you away from scam indie labels and get you in touch with legitimate ones.
How to Find the Ideal Studio Engineer
When searching for studio engineers to collaborate with, you might encounter several great options. But who’s right for your needs?
The first thing you should do is to check portfolios. A comprehensive portfolio showcases an engineer’s job experience. Most are accessible online, whether it’s in the studio engineer’s social media account or their website.
Give their previous work a listen and identify if what they add to the plate is up to your tastes. It helps if they focus on a particular genre. But their openness to other genres makes them more well-rounded professionally.
Don’t forget to read reviews from previous clients. Aside from only taking note of their expertise, determine how they interact with their clients, if possible. Skills and talents don’t really matter if studio engineers don’t get along well with others.
The right studio engineer could help you refine your sound and prepare your songs for publishing.
Final Thoughts
Make your mark in the music industry with the help of a skilled studio engineer. These professionals have the experience and recording equipment to improve your songs.
Who needs a label when you’ve got someone adept at sound engineering? Even as an independent musician, you can get your songs out there with high-quality help. Studio engineers will bring you to where you want to be. And they’ll do it by molding your music into its best possible form.
On Friday (March 14), family, friends are fans are invited to the first celebration of life at the Word of Faith Family Worship Cathedral in Austell, Georgia. On Saturday (March 15), there’s a public viewing and South Carolina funeral service at First Nazareth Baptist Church in Columbia followed by another celebration of life at the same location.
“Angie is a cherished mother, grandmother and friend,” the announcement reads in part. “Her soulful voice and unwavering spirit touches the hearts of many, and we invite family, friends, and fans to join us in celebrating her remarkable life.”
Stone’s children issued a statement shortly after their mother’s death that read: “It is with heavy hearts that the children of the R&B singer Angie Stone along with her extended family want to thank you all for your love and well wishes during what is an extremely difficult time.
“Angie was an example for black women and girls everywhere. Angie also loved and championed for black men with her Number One Hit entitled ‘Brotha.’ Angie Stone was a pioneer of rap music that began with a female rap trio, ‘The Sequence,’ and ultimately led to her solo career that defined neo soul. Diamond and Michael along with the rest of Angie‘s family want to thank you for reaching out, but also asked that you respect their privacy as they grieve the loss of their beloved mother.”
Her children also revealed Stone was back in school with a focus on her religious beliefs.
“Angie Stone believed in giving back to her fans in the community with her foundation Angel Stripes, the Angie Stone foundation,” it continued. “Recently, Angie was also attending college for ministry. Her love of God and her faith led her to have a deep desire to share her belief in God and bring more people to Christ.”
A source close to AllHipHop who works with Stone’s team confirmed she and nine other band members were involved in the fatal accident while traveling home from Alabama, where they had performed on Friday night (February 28). Stone was 63.
Registration is required to attend her services. Interested parties can sign up here.
Reverend Conrad Tillard Reflects on Hip-Hop Moguls, Harlem’s Legacy and the Fight for Political Power
Back in the day, Hip-Hop was tool for education and knowledge. The next step logically was for the culture to impact the political landscape. Diddy represented initiatives like “VOTE OR DIE” and Russell Simmons presented the rap community with his highly visible Hip-Hop Summits with Dr. Ben Chavis. But there’s more to the story.
Rev. Conrad Tillard, formerly known as Conrad Muhammad of the Nation of Islam, has long been a voice for change in the Black community. Whether as an activist in Harlem or a minister in the pulpit, Tillard has witnessed the highs and lows of the culture, including the rise and fall of some of Hip-Hop’s most powerful figures. Tillard feels his efforts in Hip-Hop have been erased from the annals of history.
In a recent conversation with AllHipHop, Rev. Tillard how his efforts have been erased from history. “A lot of people try to write it out of history, but what we did in Harlem had a great impact,” he said.
The Origins of Hip-Hop Political Power—& the Battle Over It
While most people associate Hip-Hop’s political involvement with modern campaigns and movements like Rock the Vote or Diddy’s Vote or Die, Tillard asserts that he laid the foundation years earlier. In the late ‘90s, while still a member of the Nation of Islam, he became the first NOI minister accepted into Harvard Divinity School. He also took classes at the Kennedy School of Government, where an assignment challenged him to form an organization.
With a vision already in mind, he created A Movement for Change, a group dedicated to leveraging Hip-Hop as a political force. “Hip-Hop was always political, but not in the electoral sense,” Tillard explained. “Nobody was saying, ‘We’re going to vote for so-and-so,’ or ‘We’re going to organize to use our power.’”
He immediately called industry titans like Simmons and Sean “Diddy” Combs to mobilize Hip-Hop as a political demographic. His slogan? “Hands that once scratched turntables would one day pick a president.” He admitted the phrase was inspired by Jesse Jackson’s 1984 campaign line: “Hands that once picked cotton will one day pick a president.” It was effective.
But according to Tillard, his idea—once they all got granular and detailed—was taken.
Did Hip-Hop Moguls Steal Tillard’s Movement For Change?
Rev. Tillard recalls initial support from Russell Simmons, Diddy and others, but tensions arose when it came to political allegiance.
“Russell wanted to deliver the Hip-Hop generation to the Democrats,” he revealed. “There’s always this impulse in our leaders to organize us politically, but the only purpose is to give us over to the Democrats.”
He disagreed.
Tillard insisted that Hip-Hop needed to remain independent, leveraging its influence to get the best deal for the community—regardless of party. “You’re not conformist in any other area of life. Why, in politics, do you suddenly become a ‘good boy’ for the Democrats?” he said, becoming increasingly animated.
The Hip-Hop Summit Action Network (HSAN) was founded in 2001 by Simmons, co-founder of Def Jam Recordings, and Dr. Benjamin Chavis, a longtime civil rights activist and former executive director of the NAACP. HSAN was created as a non-profit, non-partisan organization aimed fostering civic engagement, social responsibility and economic empowerment. Although it seemed to skew towards Liberal politics and policies, it never did formally.
Ultimately, Tillard said, Simmons, Diddy and others “organized against” him in the early 2000s, attempting to take over the movement.
“I was fighting all of them and some of the ministers who had sort of come in with them,” he said, seemingly referring to Dr. Ben Chavis. Chavis worked closely with Simmons. Tillard said, rather than fight, a spiritual transformation led him to step away.
“At one point, I just let it go,” he said. “I think we had made the impact. We had established the template.”
Tillard’s influence is undeniable. To the lay person, he was a strong, sturdy and sensible voice of reason. His “Movement for Change” laid the groundwork for Hip-Hop’s increasing role in politics, inspired by Hip-Hop activism.
“When you see people like AOC (Alexandria Ocasio-Cortez) and others, that’s a direct result,” he said.
On The Current Situations Of Former Rap Moguls
Tillard kept it blunt when addressing the current state of Hip-Hop’s former moguls.
“I don’t see them,” he said. “Obviously, Russell’s in Bali and brother Diddy’s in prison. The last time I saw brother Diddy was at Heavy D’s funeral.”
Drawing from his past interactions with industry figures, Tillard referenced Suge Knight as another cautionary tale.
“I met him in ‘93, and I told Suge, ‘You are an incredible man. I respect you. But if you don’t stop this, you are going to destroy everything you built,'” he said.
Tillard sees a troubling pattern among Hip-Hop’s pioneers—building an empire, only to lose it all through ego, arrogance and hedonism.
“It’s hurting to me that all of these moguls built these tremendous businesses and created a voice for the African-American community. But because we were blinded by arrogance and lost the sense of mission, we squandered it.”
He likened the cycle to Tupac Shakur’s tragic rise and fall.
“Pac came up through a mother that was crack-addicted,” he said. “He became the most celebrated artist in America at that time. And yet, he died like a common gang banger.”
The lesson? Success isn’t enough: “We have to figure out how to win, even when we’ve won.”
On Going To Diddy’s Parties
With ongoing speculation surrounding leaked tapes and past events, Tillard was careful in addressing his experiences.
“Yeah, I went to a few Diddy parties, but I didn’t go to that kind. And I always went with the brothers, so I have witnesses, and I was in and out.”
As someone who has engaged with Hip-Hop while maintaining his moral compass, Tillard sees himself as a bridge between the culture and faith.
“That’s the one thing,” he said. “I always engaged the culture, but I knew my place as a minister.”
While Hip-Hop has made undeniable strides, Tillard warns that the community still has work to do.
“We’re still climbing up,” he concluded. “We still have a lot of work to do. And we’re throwing up, making it rain, when we could be enriching and helping our Black colleges, our institutions and building new ones.”
The Notorious B.I.G. was killed on March 9, 1997, making Sunday (March 9) the 28th anniversary of his death. Lil Cease, a former member of Junior M.A.F.I.A., shared a few photos of his fallen Hip-Hop brethren to Instagram and vowed to continue carrying on his legacy.
“March 9th (1997),” he wrote in the caption. “28 Years Later And Still Repping You. AND I FOREVER WILL!! R.I.P. POPPA We Love You & Miss You Big!!”
The Notorious B.I.G. (real name Christopher Wallace) was tragically murdered in a drive-by shooting in Los Angeles at the age of 24. After attending a party following the Soul Train Music Awards, Biggie was traveling in the front passenger seat of a GMC Suburban with his entourage when their vehicle stopped at a red light near the Petersen Automotive Museum.
A dark Chevrolet Impala pulled up alongside them, and the driver fired multiple shots into Biggie’s vehicle. Four bullets struck him, and despite being rushed to Cedars-Sinai Medical Center, he was pronounced dead at 1:15 a.m. local time.
The murder shocked the music world and intensified the already fraught East Coast–West Coast Hip-Hop rivalry, which had also claimed the life of Tupac Shakur just six months earlier.
The investigation into Biggie’s murder has remained one of the most infamous unsolved cases in modern history. Various theories have emerged over the years, including allegations that Suge Knight, co-founder of Death Row Records, orchestrated the killing as revenge for Shakur’s death.
Some accounts suggest that Knight hired Wardell “Poochie” Fouse to carry out the hit while working through intermediaries from jail. Other theories implicate Amir Muhammad, allegedly working with corrupt LAPD officers. Despite these claims and extensive investigations, no one has ever been formally charged for Biggie’s murder. The case remains open, leaving fans and family members without closure while fueling ongoing speculation about corruption and conspiracy within law enforcement.
The anniversary follows the recent death of Biggie’s mother, Voletta Wallace. The Monroe County Coroner Thomas Yanac confirmed Wallace died February 21 in Stroudsburg, Pennsylvania, where she was in hospice care. Her cause of death is believed to be natural. Wallace was 78.
Bhad Bhabie was reportedly spotted at the Los Angeles International Airport of Friday (March 7) boarding a flight bound for Atlanta.
It marked the first time the former Atlantic Records rapper had been seen publicly since armed gunmen attempted a home invasion—with her in the house.
Bhad Bhabie (real name is Danielle Bregoli) has experienced a series of alarming incidents this month. On Wednesday (March 5), her on-and-off boyfriend/father of her child Le Vaughn was involved in a shooting at Sam’s Hofbrau, a strip club near downtown Los Angeles.
During an altercation between two groups, Le Vaughn was shot in the hand, while another individual suffered a shoulder injury. Both victims were treated at a nearby hospital for non-life-threatening injuries, and Le Vaughn was discharged the same day, assuring fans of his recovery through a short Instagram video showing his bandaged left pinky finger.
Just a day after the strip club incident, Thursday (March 6), Bhad Bhabie’s Los Angeles area home was reportedly targeted by three armed intruders. According to sources, the attempted break-in occurred in the afternoon, with the gunmen trying to enter through a side door of the property.
Either Bhad Bhabie or Le Vaughn, who’d arrived at the house minutes before the incident, spotted the armed suspects. Her quick thinking in immediately dialing 911 led to the gunmen fleeing before authorities arrived at the scene.
The connection between the strip club shooting and attempted home invasion remains unclear, and law enforcement hasn’t made any arrests in either case. These events have raised concerns about the safety of Bhad Bhabie and Le Vaughn, with some suggesting they might need to lay low for a while to ensure their security.
The incidents have also occurred against the backdrop of an ongoing feud between Bhad Bhabie and Alabama Barker, which has resulted in the release of diss tracks and public accusations. Bhad Bhabie’s latest Instagram Stories include some stats on her latest diss track, “Ms. Whitman,” which has more than 12 million YouTube views.
Kanye Westhas turned social media into his own personal demolition derby. We are just watching cars crash, again and again.
On Sunday (March 9), the artist formerly referred to as a “genius” decided to post a picture of a Ku Klux Klan outfit and said something along the lines of, “This is what I’m wearing today.”
Yes, you read that right. There was no added context or clever punchline. Just a full-on, white-hooded domestic terrorist uniform. This isn’t edgy. This isn’t avant-garde. It sure isn’t art.
Kanye doesn’t need music, if we’re being honest. He’s running a masterclass trolling. Call it “Trolling 401: Advanced Antagonism with Professor West.” Syllabus includes: alienating entire communities, repurposing hate symbols and somehow still trending on every platform.
I wonder who taught him this?
Now, I tried to decode what was happening. I really did. I squinted at the comments. But once I dipped my toe into the comment section, I had to tap out fast like that Black fighter in the UFC. It was a waste. Humanity was losing. Logic was on life support. Kanye, what a waste.
The sad part is it’s starting to feel like Kanye has declared war on anyone who isn’t a white European man. And the fact that people still worship this man like he’s some prophet? I’m baffled. I truly don’t understand how so many continue to elevate a guy who seems hell-bent on dragging us all through the mud just to see who’ll still cheer for him on the other side. Maybe he’s really a cult leader.
And let’s talk about that other hurt. Remember that beautiful, haunting track with André 3000—“Life of the Party”? The one that made us all pause and feel something? Well, turns out Kanye didn’t even write his verse. Nope. Rumor has it Pusha T penned those bars. I mean, no shocker, right? But, I had hoped the eulogy was straight from Kanye’s broken heart. That’s the kind of ghostwriting that stings the most. We’re not talking about a club banger or sneaker promo. This was art was faked.
So yeah, if you’re still riding with Kanye, I don’t know what to tell you. But for those of us who once saw brilliance, this ongoing circus is heartbreaking and exhausting.
Master P‘s brother, Corey “C-Murder” Miller, celebrated his 53rd birthday on Sunday (March 9) from behind bars. The incarcerated rapper was sentenced to life in prison on August 14, 2009, for the murder of 16-year-old Steve Thomas.
The No Limit mogul penned a birthday greeting on Instagram for his brother, writing, “Happy Birthday to my Brother Corey Miller @CMurder Wish you many more #FamilyOverEverything #TRU #GodIsGood.” The post quickly blew up with comments, many of which called for Miller’s release.
One person suggested Donald Trump would happily pardon Miller for his own selfish purposes. “Create a petition for the current president to pardon him,” the comment read. “I guarantee he will do it. He thrives on taking credit where he feels he gets leverage from it.” Another person asked, “Free C-Murder. Why he can’t get a pardon?” Several “Free C” remarks followed.
Thomas’ murder occurred on January 12, 2002, at the Platinum Club in Harvey, Louisiana, where Miller allegedly shot Thomas at point-blank range during an argument. Miller was initially convicted in 2003, but a new trial was granted in 2006 after it was discovered that prosecutors had withheld information about witnesses from the defense.
A second trial in 2009 resulted in Miller’s conviction by a 10-2 jury verdict, a practice that has since been declared unconstitutional by the Supreme Court, though this ruling doesn’t apply retroactively to Miller’s case.
The conviction was primarily based on the testimonies of two witnesses, Darnell and Kenneth Jordan, who later recanted their statements, claiming they were coerced by police. Despite these recantations, Miller’s attempts to secure a new trial have been unsuccessful, with judges finding the recanted testimonies “suspect and not reliable.”
Miller’s case has garnered significant attention from celebrities, including Master P, Monica and Kim Kardashian, who’ve advocated for his release. However, Miller’s conviction was recently upheld in federal court, with U.S. District Judge Sarah S. Vance rejecting his habeas petition last November. Miller’s attorney, Jane Hogan, has stated that they plan to appeal this decision and continue to fight for a new trial based on claims of factual innocence.
Hip-Hop may soon be Miami’s hottest ticket for tourism thanks to a new street renaming proposal from County Commissioner Keon Hardmon.
Forget palm trees and pastel-colored buildings—Hardemon envisions Miami-Dade County streets popping with local Hip-Hop flavor, honoring hometown artists like DJ Khaled and Trick Daddy with street signs featuring their iconic lyrics and catchy phrases.
CBS News Miami reports that more than 20 streets could soon carry the names of classic Hip-Hop hits and memorable catchphrases, transforming the cityscape into a rap tribute to the music that put Miami on the map.
The plan suggests turning everyday thoroughfares into instant Instagram-worthy landmarks.
Imagine taking a selfie beneath a street sign proudly declaring “Trick Love the Kids” or “We Da Best,” immortalizing Miami-born musicians who have defined the city’s cultural identity.
Hardemon, who represents Miami’s historic 18th Avenue Corridor, sees this project as more than just clever branding.
In his view, celebrating local artists in such a visible, public way could help revitalize neighborhoods and draw visitors eager to experience Miami’s authentic musical roots.
“I want people to feel good about their place,” Hardemon said. “You don’t have to leave the community to live in a better neighborhood—you can stay right here.”
The proposal has sparked lively debate among residents and community leaders, with some enthusiastically backing the idea as a fresh celebration of Miami’s Hip-Hop heritage, while others question whether the concept is practical or appropriate for public roadways.
No final decision was reached during the Tuesday session and the proposal is scheduled to come back to the commission for further discussion on March 18, giving Miami-Dade County residents time to weigh the potential impact of this lyrical street makeover.
At least the city got a win last week, when Hardemon’s proposal to rename a portion of Northwest 11th Avenue after Liberty City native Luther “Luke” Campbell was approved.
“Something truly special happened—something as big as a Star nomination on the Hollywood Walk of Fame. The street where I grew up is officially being named after me, Luther Campbell!,” Luke wrote on social media.
HISTORIC MOMENT! 🙌🏾
Yesterday, something truly special happened—something as big as a Star nomination on the Hollywood Walk of Fame. The street where I grew up is officially being named after me, Luther Campbell!
Suge Knight revealed Prince masterfully orchestrated a tense encounter with Diddy at a private performance at the Roosevelt Hotel, allegedly to settle an undisclosed grudge, according to his claims made during an interview with The Art of Dialogue.
The Death Row Records co-founder recounted an evening that began pleasantly enough, dining casually with friends at Hollywood’s iconic Roosevelt Hotel, when a messenger interrupted their meal.
The unexpected invitation was intriguing: Prince was performing and specifically requested Knight’s immediate presence, even preparing a special seating arrangement.
“You know, I was at the Roosevelt having dinner, with me with a [ __ ] or two, couple of homies, and a guy came to our table and said, ‘Hey, Prince is doing the show right now. He want you to come in right now and watch his show and he got a table for you.’ So I’m like, I go on there. So I—I left everybody at the table, I went there solo, you know. Prince set me down at a table where Puffy was there, Nas was there, there was a couple of people there,” Suge explained in the interview.
It wasn’t mere happenstance, Knight insisted.
He believes Prince deliberately engineered the seating arrangement to put him directly across from Diddy, fully aware of simmering tensions between the two powerful Hip-Hop moguls.
Knight described the late musical genius as deceptively smooth, disguising a calculating, street-savvy side beneath his legendary purple persona.
“And when I sit at this table, Prince is the coldest gangster in the world. Don’t let the [ __ ] high he fool y’all. He playing a guitar and said, ‘What’s up, Sh,’ and start laughing ’cause he know. He must been mad at Puffy ’cause he planted me at that table,” Knight continued.
The confrontation quickly escalated, according to Knight’s recollection. He claims he uttered only two brief comments to Diddy, provoking an immediate reaction. Without hesitation, Diddy suddenly stood, signaling his entourage.
Knight recalled how Diddy’s security covered their boss using coats, preventing onlookers from catching a glimpse as they hurriedly escorted him out of the room.
Knight stressed the authenticity of his story, swearing on the “right hand of God” that the odd incident indeed happened just as described.
Andrew Schulz cleared the air about his controversial Kendrick Lamar joke during a candid sit-down with Power 106 Los Angeles after social media exploded with criticism.
The outspoken comedian found himself embroiled in controversy after joking on his Flagrant podcast that Lamar would be helpless if they were alone together, saying, “He’s talking a lot of s###, but if it came down to it, I could put him on my lap, feed him a bottle, and make love to him if I wanted to.”
The remark quickly ignited backlash with many accusing Schulz of crossing a line by implying sexual assault.
Schulz, known for his boundary-pushing comedy, insisted the joke was completely misunderstood and taken far too literally.
He explained to Power 106, “People turned it into something it wasn’t. I never said that. I said I would make sweet love—whether he liked it or not—but I also said he could decide. And obviously, I’m joking. I’m married, I’m faithful. I make sweet, disappointing love to one person—my wife.”
However, the comic admitted his real frustration stemmed from the line Lamar rapped on his late 2024 track “Wacced Out Murals,” widely believed to reference Schulz and his circle.
The lyric in question states: “The n##### that coon, the n##### that bein’ groomed, slide on both of them.”
Andrew Schulz questioned the rapper’s intent, suggesting the language seemed aggressive and possibly threatening toward his close friends Charlamagne Tha God and Alex Media.
“The thing that actually bothered me wasn’t even the line about me—it was the next line. He said, ‘And the [N-word] that are being groomed, slide on both of them.’ Now, you know, I’m a white guy, I don’t know all the slang, but what does ‘slide’ mean to you?” Schulz asked, implying the lyric’s ambiguity could be interpreted as a potential threat.
Schulz doubled down on his comedic defense, arguing that once threats or violence enter the conversation, the criticism of comedians’ responses becomes unwarranted.
“Look, once you pull out the death or the assault [stuff], I don’t want to hear anything about a comedian’s response. I’m out here making jokes—I’m not actually going to have sex with Kendrick Lamar. Let’s be real,” Schulz said.
Despite the controversy, Andrew Schulz continues to maintain a high profile in the comedy world.
His latest stand-up special titled “LIFE” premiered March 4, 2025, exclusively on Netflix.
The show, filmed in front of a packed house at New York City’s legendary theater, showcases Schulz’s trademark provocative style and comedic candor.
While Andrew Schulz’s humor remains undeniably provocative, the comedian continues to assert his right to push comedic boundaries, drawing clear distinctions between his jokes and reality.
Too $hort added Hip-Hop swagger to baseball this week by becoming co-owner of the indie Oakland Ballers baseball team.
The Bay Area legend is joining forces with Green Day’s Billie Joe Armstrong to keep sports alive and thriving in their hometown, by investing in the city’s sports future, KRON4 reported.
The Oakland Ballers, who play their home games at Raimondi Park, have made headlines recently as the scrappy independent team determined to remain rooted in Oakland despite the city’s shifting sports landscape.
Too $hort, Armstrong and other high-profile locals are backing the Ballers’ innovative fan-owned model.
The Ballers’ latest funding round allows everyday supporters to buy into the team for as little as $510, a grassroots approach that sold out its previous funding opportunity in a mere nine days.
This time around, they’re aiming to raise $2 million to upgrade their stadium and fund community programs in the neighborhood they proudly represent, according to KRON4.
“This is all for Oakland, by Oakland,” Ballers spokesperson Casey Pratt told KRON4. “The people built this team, and now big names are following their lead.”
Too $hort’s deep connection to Oakland has defined his legendary music career, shaping his lyrics and public image.
Ice Cube coyly dodged rumors of a secret cameo in the upcoming comedic reboot of his 1997 thriller “Anaconda” during an appearance on Australia’s The Project.
The iconic rapper-turned-actor happened to be spotted in Queensland recently, causing speculation he joined the set of the new snake-themed comedy starring Paul Rudd and Jack Black.
When questioned by the hosts about a potential cameo, Ice Cube playfully brushed off the rumor with his trademark sly wit.
“I never saw them. I was just out doing some sightseeing and hanging out before my Sydney show. I haven’t seen Jack Black or Paul Rudd around here. I don’t know what you are talking about!” the “Ride Along” star quipped.
The original 1997 “Anaconda” featured Ice Cube alongside Jennifer Lopez and Jon Voight, chronicling the terrifying misadventures of a documentary film crew in the Amazon jungle, hunted by a massive green serpent.
Cube famously revealed on social media platform X in 2022 that he agreed to star in the original film only under the strict condition his character Danny survived the ordeal.
“When they asked me to do Anaconda, I said I’d do it only if my character lived and help kill the snake. Before then, most Black people in these type of movies are dead within the first 15 minutes (sic),” Ice Cube candidly wrote.
The new comedic spin, slated for a December release, flips the script, following two nostalgic friends—played by Rudd and Black—who trek into the jungle to recreate their favorite childhood flick.
Soon enough, they face a double threat—giant serpents and ruthless criminals.
Black portrays Doug, a wedding videographer, while Rudd takes on the role of Griff, a perpetually overlooked background actor.
The eclectic ensemble cast includes Thandiwe Newton, Daniela Melchior, Steve Zahn, Ione Skye and Brazilian actor Selton Mello. Mello confirmed last week via Instagram that the film had officially wrapped production.
Meanwhile, Ice Cube continues his Australian tour, performing live in Sydney on Friday before heading to Melbourne for a Sunday show.
Whether or not Ice Cube truly slipped into the jungle to revisit his reptilian past remains a mystery.
Stephen A. Smith has addressed his heated courtside confrontation with Lebron James after clips of the exchange made headlines.
The Los Angeles Lakers star was caught on camera confronting Smith following their win over the New York Knicks Thursday night (March 6). James was visibly frustrated as he yelled at the veteran sports analyst.
LeBron James and Stephen A. Smith sharing some words after the game tonight
Looks like Bron’s telling him “keep my son out of this sh**.” 👀
On “First Take Friday” (March 7), Smith confirmed that James’ anger stemmed from his recent criticism of Bronny.
“That was Lebron James coming up to me, unexpectedly, I might add, to confront me about making sure that I mind what I say about his son,” Smith began after the clip of their interaction played. “I can’t repeat the words because they aren’t suited for FCC airwaves.”
He acknowledged that James came to him as a parent rather than a basketball player but maintained that his job requires him to speak on relevant topics.
“That was a father. And I can’t sit here and be angry or feel slighted by LeBron James in any way in that regard,” Smith added. “But it’s my job to talk about the subjects and the subject matters that matter. I work for ESPN.”
Stephen A. Smith Calls Out LeBron James for Not Reaching Out Behind the Scenes
However, Smith took issue with James addressing him so publicly rather than handling the situation privately.
“LeBron James knows how to get in contact with me if he wanted to,” Smith said. “Instead, he elected to confront me while I was sitting courtside… He walked right up to me and he said what he had to say.”
While Smith had recently questioned Bronny James’ place in the NBA, he insisted that he never intended to criticize the rookie himself—only the situation created by LeBron.
“If we had had that [private] conversation,” he continued, “I would have said to LeBron James, ‘I never would speak negatively about your son. I was talking about you.’”
Keke Palmer ditched the Hollywood glamor to bond backstage with chart-topping songstress SZA before cameras rolled on their anticipated buddy-comedy “One of Them Days.”
The “Nope” and “Scream Queens” actress wasn’t just casually hanging out; she put in the extra mile to ensure their chemistry was electric.
They connected at script rehearsals in Atlanta and bonding behind-the-scenes at the 2024 Grammys just moments before SZA took the stage.
Palmer clarified her motivation to The Cut, emphasizing her dual role: “That wasn’t just me, Keke Palmer, the actress, making sure we had time to really connect,” she told the outlet. “That was me, Keke Palmer, the producer.”
“One of Them Days” sees Palmer teaming up with Grammy-winning artist SZA in her first-ever major film role.
The duo portray Dreux and Alyssa, two besties who find themselves scrambling through a wild day of misadventures, hustling to scrape together enough cash to avoid eviction.
Palmer first crossed paths with the “Kill Bill” vocalist when both appeared on “Saturday Night Live” in 2022.
Instantly recognizing SZA’s comedic chops, Palmer was determined to bring the singer onboard for her cinematic debut.
“A lot of people think musicians can’t act, but she’s just naturally hilarious,” Palmer praised. “As vulnerable and excitable and eccentric as SZA is, she also is very serious, very brilliant, and a focused person.”
The buddy flick, though now hitting screens in the U.K., wasn’t exactly an overnight success.
Palmer revealed the project spent nearly five years in development limbo, enduring four complete script rewrites along the way.
Studio execs initially pushed for more zany antics and over-the-top action, but Palmer—serving as executive producer—leveraged her influence to preserve the film’s deeper narrative about community struggles and the harsh realities of gentrification.
“I had to really be specific about what needed to change, what the jokes were going to say, what story we’re telling about where these two characters come from,” Palmer explained. “I was more than just an actor doing the role. I really cared about the project as a whole.”
