Birdman brought the energy and the emotion to the Cash Money vs. No Limit Verzuz battle over the weekend, then dialed up his wife Toni-Braxton to share the moment—straight from the stage to her living room.
After the performance, the Cash Money Records mogul FaceTimed Toni, who appeared on screen in dark sunglasses and a sleek black turtleneck, lounging in what her sister Tamar Braxton described as “the big beautiful house Birdman bought for her.”
When Tamar praised the event as “the biggest show ever,” Toni didn’t hesitate. “Oh, I would think so, of course it was!” she replied.
Tamar and Baby, Bryan, B, Bubba, you can call him what you feel , aka Birdman, call up his wife Toni Braxton after #VERZUZ at home stuntin like her hubby 😆#TheBraxtonspic.twitter.com/tXOsREGmMH
Tamar Braxton Defends Stage Appearance With Birdman
That moment quickly made the rounds online, prompting one X user to ask, “Now why was you on stage with yo sister man? @tamarbraxtonher.” Tamar fired back with zero hesitation: “Cause she couldn’t be here and she love her husband so ima hold it down for HER AND MY BROTHER!!!! TF!!??”
The Verzuz battle served up a heavy dose of Hip-Hop nostalgia, with both Cash Money and No Limit revisiting their late ’90s and early 2000s catalogs at ComplexCon.
Birdman and Toni Braxton’s relationship has been anything but predictable. They began dating in 2016 after years of friendship. He popped the question in February 2018, and Braxton revealed the engagement in a trailer for her reality series Braxton Family Values.
Their romance has weathered multiple breakup rumors, but despite the drama, the couple quietly tied the knot on August 8, 2024.
However, Braxton filed for divorce weeks after the wedding, describing the marriage as “irretrievably broken” in court documents. Then, in a twist that left followers puzzled, Braxton dismissed the divorce filing in January 2025, and Birdman agreed. Legally, they remain married.
The marriage and near-split remained private until court records surfaced earlier this year.
50 Cent reworked his classics into soulful throwbacks using artificial intelligence and stood firm when critics pushed back on the digital makeover.
The G-Unit mogul recently shared AI-generated versions of his tracks “21 Questions” and “God Gave Me Style” on Instagram, reimagined with a 1960s Motown vibe.
The bold reinterpretations sparked a wave of online responses—some applauding the creativity, others calling the project “tacky and lame.”
Still, 50 Cent made it clear he’s not backing away from the tech. “I really like those songs!” he told Complex. “Look, it will reach someone that I missed. Someone who couldn’t hear what I was trying to say to them in the writing can hear it now that it’s in that format. They’ll go, ‘Oh, yo! Play that again!’”
50 Cent praised the AI-generated vocals, saying, “I don’t know where AI got these voices from, but these are some good voices! If these guys came out in that time period, they would have been competition for the guys that were there.”
As the music industry wrestles with AI’s growing influence, 50 Cent is leaning into it. “I don’t like fighting fights that I can’t win, I don’t think you can beat AI,” he said. “I think we need to look at how do we create business that work well with it and performs faster and progresses as [AI] progresses because it’s not gonna stop progress.”
His stance comes as artists like Kehlani voice concern over AI’s impact on creative integrity, while others, including Gunna, see it as the future. Producer will.i.am has even floated the idea of AI-generated Verzuz-style battles between rap legends like Jay-Z and Black Thought.
Gavin Newsom didn’t dodge the question about his presidential future and instead leaned into the speculation during a national interview, saying he’d be “lying” if he claimed he wasn’t thinking about a 2028 White House bid.
The California governor made the comments during a segment on CBS Sunday Morning, where he confirmed that he plans to evaluate a potential campaign after the 2026 midterm elections.
When asked directly if he was seriously considering a run, Newsom responded without hesitation.
“Yeah, I’d be lying otherwise,” he said. “I’d just be lying. And I’m not – I can’t do that.”
Newsom, 58, is nearing the end of his second term in Sacramento, which concludes in January 2027 due to term limits.
Over the past several years, he’s built a national profile by positioning himself as a vocal opponent of former President Donald Trump and his policies, often using social media and state legislation to draw a sharp contrast.
That combative stance has made him a target for Republicans, including Trump’s former Transportation Secretary Sean Duffy, who recently threatened to yank $160 million in federal funds from California over the state’s trucking regulations. Duffy blamed Newsom for a deadly crash involving an undocumented truck driver.
Newsom’s office fired back, referencing the driver’s federally approved work status and taking a jab at Duffy’s reality TV past.
“Former D-list reality star, now Secretary of Transportation, still doesn’t understand federal law,” the statement read. “In the meantime, unlike this clown, we’ll stick to the facts: California commercial driver’s license holders had a fatal crash rate nearly 40% LOWER than the national average.”
Despite the political back-and-forth, Newsom’s national standing appears to be gaining traction.
A recent CBS News poll showed 72% of Democrats and 48% of all registered voters support the idea of him running for president in 2028.
A large % of Californians in his own Democratic Party say Gov. Newsom should run for president in '28, but among the state’s voters overall, that view is more split.
By comparison, more California Dems say Newsom should run than say that of former VP Kamala Harris.… pic.twitter.com/oXG2fHWjbn
During the interview, Newsom also reflected on his personal journey and the obstacles he’s faced, including dyslexia and academic struggles.
“The idea that a guy who got 960 on his SAT, that still struggles to read scripts, that was always in the back of the classroom, the idea that you would even throw that out is, in and of itself, extraordinary,” he said. “Who the hell knows? I’m looking forward to who presents themselves in 2028 and who meets that moment.”
California Gov. Gavin Newsom says he’s open to a presidential run.
The Democrat and frequent Trump critic said he’ll give serious thought to a White House bid after next year’s midterms. “I’d be lying otherwise,” Newsom said, adding that “fate will determine” his decision and a… pic.twitter.com/uD8OqNrnHE
Newsom has also been pushing Proposition 50, a ballot measure aimed at expanding Democratic representation in Congress as a counter to Republican-led redistricting in other states. The initiative is part of his broader strategy to influence national politics from California.
While he emphasized that his decision is still years away, Newsom acknowledged that the door is wide open.
Teyana Taylor turned heads and claimed the spotlight at Vogue World 2025 in Los Angeles on Saturday night (October 25), stepping onto the Paramount Studios runway in a commanding Black Panther-inspired costume that paid tribute to Marvel’s Wakandan warriors and the artistry of costume designer Ruth E. Carter.
The multihyphenate actress joined Danai Gurira during the show’s sixth act, which spotlighted Afrofuturism and honored Carter’s award-winning work in cinema.
The pair wore matching red Dora Milaje ensembles—originally crafted by Carter for 2018’s Black Panther—complete with silver detailing and structured armor elements that evoked strength and elegance.
The Dora Milaje, known as the elite royal guard in the Marvel universe, symbolized power and loyalty, making the wardrobe choice a meaningful one for both performers.
Gurira portrayed Okoye in the original film, while Taylor embodied the spirit of the warriors through fashion.
Angela Bassett also made an appearance, walking the same runway in the regal purple gown Carter designed for Queen Ramonda in Black Panther: Wakanda Forever.
This was Taylor’s second time participating in Vogue World, following her standout moment in Paris last year, where she performed in a metallic chainmail look by Rabanne.
Her latest appearance comes as she prepares to star in Ryan Murphy’s upcoming series “All’s Fair,” further expanding her already diverse entertainment résumé.
For Gurira, the event marked her Vogue World debut, and she made it count. Critics praised the duo’s appearance as a “blockbuster twist,” blending superhero iconography with high fashion.
Carter’s influence was central to the night. The Oscar winner’s work has shaped visual storytelling in films like School Daze, Malcolm X and Sinners, and her designs continue to resonate far beyond the screen.
As seen at Saturday’s show, her creations remain timeless and culturally impactful.
Vybz Kartel electrified Toronto’s Scotiabank Arena Sunday night (October 26) as he launched his first-ever Canadian concert, and Drake made the moment even bigger by stepping in for a surprise performance that left the crowd roaring.
The Vybz Kartel show marked the first of three sold-out nights at the arena, making him the first Jamaican artist to reach that milestone at the venue.
Dressed in full Toronto Blue Jays gear, Kartel stormed the stage to his remix of Akon’s “Locked Up,” swinging a baseball bat and wearing a powder-blue jersey stitched with “Worl’ Boss” on the back.
“Canada, we’re here!” he shouted. “Yo, big up Blue Jays.”
In another heartfelt moment, Drake told the crowd, “Tonight is not just about music. Tonight is not just about seeing two artists. This is finally a man getting the flowers and love that he deserves. Welcome home.”
The concert was presented by Drake’s OVO label, continuing the partnership between the two artists that began earlier this year when Kartel joined Drake on stage at London’s Wireless Festival.
Kartel’s return to the stage follows a dramatic legal reversal. After serving nearly a decade behind bars for a 2014 murder conviction, his case was overturned in March 2024 due to juror misconduct.
He was released later that year and quickly resumed his career, earning a Grammy nomination and launching a global tour.
The Toronto shows represent a full-circle moment for both artists — one who grew up idolizing the other, and one who finally stepped onto Canadian soil after decades of influence.
Kartel’s next two shows at Scotiabank Arena are scheduled for later this week.
Megan Thee Stallion called out alleged online smear tactics and defended her personal life during a livestream just hours after releasing her new single “Lover Girl.”
In a video posted over the weekend, the Houston rapper addressed the wave of online hostility she says feels too orchestrated to be organic. “When I do peep online and see what y’all doing, I feel like y’all get so easily riled up and easily discouraged when y’all know people get paid to talk crazy about me,” she said. “Like, don’t it seem a little weird like how overwhelming a lot of Megan Thee Stallion hate seem? Like, it don’t seem right, do it?”
The Grammy winner doubled down on her belief that some of the backlash is part of a coordinated effort.
“It’s not, because people are getting paid to do this. These are bots, these are paid people,” she said. “Like, if you scroll through some of these people’s tweets, it be a man that’s been tweeting about sports for eight years. Now all of a sudden, he just hate Megan Thee Stallion. These people are getting paid to do this. Stop listening to them. B####, they time up.”
The livestream came a day after Megan dropped “Lover Girl,” a sultry track that highlights her relationship with NBA star Klay Thompson. The couple has recently been seen together at games, drawing attention for their public chemistry.
Megan Thee Stallion – Lover Girl
Megan also pushed back against critics questioning her lifestyle. “What is there even to hate on? I don’t be doing that. I’ll be in the house with my man, with my dogs, watching anime, at the studio,” she said.
She encouraged her supporters to choose their battles wisely. “When I give y’all something to cry about, cry about it, alright? Then we can start crying. I ain’t gave y’all nothing to cry about yet. Fight back when it’s a reason to fight. We’re chilling right now, Hotties. We’re listening to ‘Lover Girl,’ babe.”
Megan Thee Stallion Tells Her Fans to Stand Down — Says People Getting Paid to Talk Crazy About Her and Tells Fans to Stop Listening Because “Their Time Is Up!” pic.twitter.com/HhkeyS2yVf
Her remarks follow ongoing legal disputes, including a lawsuit against blogger Milagro Gramz. As part of that case, Akademiks was recently deposed and later criticized Megan’s legal team and Roc Nation for what he described as irrelevant questions.
Travis Scott pulled off a colossal feat in India with two sold-out nights at Delhi’s Jawaharlal Nehru Stadium, drawing more than 125,000 people and setting a new benchmark for rap concerts in the country.
The back-to-back shows on October 18 and 19, part of his global CIRCUS MAXIMUS tour, now stand as the largest single-artist performances in Delhi’s history.
The events were organized by Live Nation and BookMyShow and delivered Scott’s signature sensory overload—complete with massive visuals, intense lighting and a stage setup designed to immerse the crowd.
The Houston-born rapper’s India shows are just the latest milestone in a tour that has already rewritten the record books.
Since kicking off in October 2023, the CIRCUS MAXIMUS WORLD TOUR has grossed $209.3 million across 76 sold-out dates, with 1.7 million tickets sold globally, making it the highest-earning solo rap tour to date.
Scott’s run in India isn’t over. He’s scheduled to perform again on November 19 at Mumbai’s Mahalaxmi Racecourse, where another massive crowd is expected.
The tour‘s international leg continues into 2025 with stops planned in Seoul, Sanya, Tokyo and Abu Dhabi.
Looking ahead, Scott is also set to return to the Coachella stage in 2025, marking his first appearance at the festival since 2017.
Earlier this year, he teased a new project, telling fans the upcoming album would be “as crazy as it gets.”
Charles Barkley didn’t mince his words on Inside the NBA when addressing the Mafia-linked sports betting scandal that has rocked the league and implicated several high-profile figures.
With 34 people indicted—including Terry Rozier, Chauncey Billups and Damon Jones—Barkley delivered a blunt message about the alleged corruption.
“These dudes are stupid,” Barkley said. “Why are they stupid? You, under no circumstances can you fix basketball games. Under, under no circumstances.”
The Hall of Famer’s frustration stems from allegations that Rozier, a guard for the Miami Heat, left a February 2023 game early to help associates profit over $200,000 from a prop bet tied to his performance. Rozier reportedly earns $26 million a year.
“I love to gamble,” Barkley continued. “The notion, like, Rozier makes $26 million. Him betting, giving people information, or taking himself out of games. How much is he going to benefit taking himself out of the game to get unders? Like, he’s making $26 million.”
The federal indictment, unsealed October 23, 2025, accuses Rozier of using inside information to manipulate betting outcomes.
Prosecutors say he intentionally exited games to meet betting conditions, while others allegedly used confidential data to place bets on at least seven NBA games between February 2023 and March 2024.
The investigation, led by the FBI and NYPD, started in 2023 and has since expanded to include rigged poker games involving Mafia families like the Gambino, Genovese and Bonanno organizations.
Authorities claim Billups and Jones worked with these groups to fix high-stakes poker games using altered shuffling machines, marked cards and even X-ray tables. The schemes reportedly cheated players out of roughly $7 million.
Both Rozier and Billups were placed on leave following their arrests. All parties have denied wrongdoing.
Shaquille O’Neal, Barkley’s co-host on Inside the NBA, echoed the disappointment, pointing to the mandatory league briefings players receive on gambling rules.
“Every year they would give us forums on what and what not to do,” O’Neal said. “So all these guys knew what was at stake. And I’m just ashamed that they put themselves and put their family and put the NBA in this position.”
He added, “We all know the rules, we all know the letter of the law, and it’s just unfortunate. You know, innocent until proven guilty. But usually when the FBI has something, they have you.”
The indictment also describes how NBA figures were used as “face cards” to attract wealthy poker players to luxury locations in Las Vegas, Miami, Manhattan and the Hamptons.
Once there, victims were allegedly cheated using hidden tech and pressured for debts through threats and intimidation.
The timing of the scandal couldn’t be worse for the NBA, which is finalizing a massive 11-year, $76 billion broadcast deal. The league is now bracing for potential financial fallout and reputational damage.
Congress has since requested a briefing from NBA Commissioner Adam Silver, raising questions about the league’s oversight of gambling activity and its partnerships with betting companies.
“There’s nothing more important to the league and its fans than the integrity of the competition,” Silver said during an interview at halftime of the Boston Celtics-New York Knicks game. “And so I had a pit in my stomach. It was very upsetting.”
Legal experts warn this may only be the beginning. Some former officials believe the scope of the scandal could widen as more evidence surfaces.
DJ Scratch and Planet Asia’s collaborative album, Kings Dominion, arrived October 24 through the EPMD legend’s Albany Park Records imprint. The Hip-Hop vets initially kept their reveal minimal, posting only the nine-track listing as white text over black backgrounds on Instagram without rollout theatrics or promotional campaigns.
The project opens with “Not Allowed” and includes the title track “Kings Dominion,” followed by “Big Guns,” “Knowledge Is Power” and “Coming For The Title.” The album’s second half features “You All Know,” “Produce A Seed Through You,” “St Johns Park” and closes with “Ghetto Gospel,” the only track featuring additional voices from Rome Streetz and Rigz.
“The tracklist for me and @djscratch album ‘KINGS DOMINION’ dropping Oct 24th. My Birthday!!!” Planet Asia wrote on Instagram, revealing the release coincides with his birthday celebration.
The album arrives through DJ Scratch’s Albany Park Records, the label he launched in 2023. The imprint is named after the Albany Houses in Brooklyn where he grew up. The OG producer has maintained his reputation as a Hip-Hop icon throughout his extensive career spanning multiple decades.
Planet Asia’s catalog has remained one of underground rap’s most consistent offerings for over two decades, with the California-based MC earning recognition for his uncompromising lyrical approach. The collaboration promises to deliver substance over style, with both artists representing eras where album sequencing and conceptual frameworks held significant importance.
The cover art maintains the project’s stripped-back aesthetic, featuring a detailed silver crown floating against a black background with both artists’ names. No deluxe versions, bonus tracks or extended promotional campaigns have been announced, suggesting the duo intends to let the music speak for itself.
“We will remind you what a Hip Hop Album is supposed to sound like,” DJ Scratch stated on social media, positioning Kings Dominion as a return to traditional album construction focused on bars rather than commercial branding strategies.
The nine-track runtime suggests a concise listening experience designed around Planet Asia’s vocal delivery over DJ Scratch’s production work. Both artists have built careers on technical precision rather than mainstream appeal, making their partnership a natural fit for Hip-Hop purists seeking authentic content.
Jamie Foxx erupted in anger at his private Halloween party in Southern California after someone in the crowd hurled a bottle toward GloRilla mid-performance, prompting the actor to grab the mic and call out the behavior in front of stunned guests.
The incident unfolded during Foxx’s SKVLK FEST, an invite-only event for teens and young adults, where GloRilla was performing on stage.
As the rapper entertained the crowd, an unidentified attendee threw a bottle at her, halting the show and prompting a sharp reaction from the Oscar-winning actor.
Foxx, visibly frustrated, demanded to know who was responsible and briefly threatened to shut down the gathering altogether.
“Damn, why would you do some s### like that? Goofy-ass n####? Why? G######! Why would you throw something at the stage, man? Why? This is for free! She came to… man, y’all don’t deserve this s###, bro. That’s f##### up, bro,” Foxx shouted into the mic. “You throw some s### in my house?”
The outburst was captured on video and quickly spread across social media platforms.
The crowd of roughly 14- to 22-year-olds stood in silence as Foxx defended GloRilla and condemned the disrespect shown during her set.
Despite the disruption, he encouraged the rapper to continue her performance once order was restored.
The party, which was not open to the public, did not see any further reported altercations or removals following the incident.
D4vd finds himself at the center of a death investigation that continues to raise questions as private investigator Steve Fischer reveals new details about the timeline surrounding Celeste Rivas Hernandez’s death.
The 15-year-old’s decomposing body was discovered in the trunk of the singer’s Tesla at a Hollywood tow yard on September 8, 2025.
Fischer was hired by the owner of a Hollywood Hills home where D4vd had been living. The house was rented by the singer’s manager at Interscope Records, according to Fischer’s investigation.
“He wants to understand exactly what may have happened and if his house played a role in any way,” Fischer told ABC7.
The private investigator established a timeline using neighborhood surveillance footage and digital evidence, all focused on D4vd‘s Tesla. Fischer said the last confirmed date on which Celeste was shown alive was January 2, 2025.
“That car, starting in May, was parked in a few different spots around the neighborhood, and then finally, on July 29th, left in its final spot on Bluebird [Avenue],” Fischer explained. “This happens to be right before, or the same day, they are leaving on a tour bus for D4vd’s tour.”
The remainder of D4vd‘s tour was canceled last month amid the ongoing investigation. The singer, whose real name is David Anthony Burke, changed the ownership of one of his Texas homes following the discovery.
Records show he transferred his Cypress home, located in the Houston area, to his mother’s name on September 23 – about two weeks after the body was found in his Tesla.
Fischer believes toxicology reports will be crucial in determining what happened to Celeste.
“They are probably relying on toxicology to better understand what happened, which means it could be an accidental overdose with a really bad decision made afterwards,” Fischer said.
The investigation took another strange turn when deputies were called to D4vd‘s parents’ Houston-area home on September 17 for what turned out to be a fake swatting call.
A caller claimed there was a shooting with a dead female victim, but the alarm was cleared and no incident report was filed.
Celeste, from Lake Elsinore, had been reported missing by her family at least three times in 2024, according to the Riverside County Sheriff’s Office. Investigators say her body had most likely been in the car for several weeks before being discovered.
The cause of Hernandez’s death remains undetermined. Lab tests and toxicology reports are expected to provide answers about how she died. Until then, it remains a death investigation and not a homicide investigation.
“It’s an ongoing investigation and we have a lot of resources dedicated to bringing it to a conclusion, but to go beyond what has already been made public would be inappropriate,” LAPD Chief Jim McDonnell said.
No suspects have been named in the case, and no arrests have been made.
Nas has always been one of the finest rappers to ever grace the culture of Hip-Hop. At this point, that statement alone isn’t particularly unique, because greatness, in his case, has become expected. What is special is what’s happening now: a swelling transformation that’s redefining what Hip-Hop legends can look like in their 50s and beyond.
This evolution didn’t happen overnight. I personally trace it back to Life Is Good, that reflective 2012 album where Nasir Jones first began to fully merge his wisdom with his artistry. Since then, something’s shifted. Nas has distanced himself from his peers…not through ego. This has happened through elevation.
That distinction became crystal clear at the recent gala for The Hip-Hop Museum — the soon-to-be permanent home for our culture in the Bronx. Held at Cipriani’s in the city, it was a true celebration: a room filled with legends and builders of Hip-Hop — Big Daddy Kane, Slick Rick, Doug E. Fresh, The D.O. C., Mr. Wave from the New York City Breakers, journalists, photographers, executives, philanthropists, educators, business leaders and more.
The energy was electric. This was the kind of night that reminds you just how vast Hip-Hop’s impact really is. I was in the midst of it all, wearing a pink tux just because that’s the sort of pageantry we were in. Then there was Nas. When he took the stage, he didn’t just speak. He delivered a moment. His speech was brief, but a declaration. He made a powerful gesture, a financial reminder of his lifelong dedication to the art form.
“We’re all one Hip-Hop family.” – Nas
But Nas didn’t stop there. He backed up his words with action, donating $1 million to The Hip-Hop Museum, which is helmed by Rocky Bucano. Then, his business partners Resorts World New York matched his donation with another million.
That’s not just generosity. That’s leadership. These are cultural marching orders.
This museum has been a long time coming. I’ve watched its journey from messy debates and early visions to an actual, rising structure in New York City. I’ve given what I could, written about it and supported it along the way. I’ve also seen people complain, criticize, and debate who “deserves” to be part of it. Hell, I think AllHipHop deserves a space in there for our pioneering of new media. Regardless, the people who’ve kept going — the proverbial doers — deserve our salute. Rocky is one of them. And Nas stands among them.
The Power of Simply Doing
We need more people like Nas. People who do. People who give. People who continue to pour into the culture without demanding applause in return. Far too many have held back inclusion because they did not get immediate rewards. How will that workout for future generations?
In a world obsessed with profit and self-promotion, Nas has managed to be both valuable and of value. It’s not just what he’s worth. It’s what he’s doing with his worth that counts. That’s Hip-Hop in its truest form: giving back, building forward and staying rooted in purpose. I continuously sing the praises of Nas and those like him.
Preserving What We Built
Hip-Hop is now 52 years old. We’re past halfway to 100 and most of us OGs won’t be here for that centennial celebration. But if we do this right, that museum will still be standing, filled with the artifacts, the memories and the evidence of what we built while we were here.
If all you did was make music, but never gave anything back…what will your legacy really be? Hip-Hop isn’t one artist, one company or one movement. It’s billions of moments and millions of contributors, each leaving fingerprints on history.
That’s why this museum matters. It’s not just a building; it’s a living archive of who we are.
The Maturity of Nasir Jones
In that same way, Nas himself has become an institution. Watching his growth has been like watching Hip-Hop mature in real time, aging backward while evolving forward. He’s mastered that rare balance of grace and grit, staying youthful in spirit yet grounded in purpose. He’s no slouch in business either. And, for the record, Nas is not the only one. He is simply an amazing ambassador of this ethos.
Hip-Hop has long been a culture of perpetual youth, often allergic to maturity. But Nas defies that norm. He’s showing us that you can age gracefully, look good doing it, give back meaningfully, dominate artistically, and silence your critics — all at once.
That’s not just Nasir Jones, the rapper. That’s Nasir Jones, the blueprint.
Proceeds from the night are going straight toward something monumental — building a 55,000 square-foot home for Hip-Hop itself. The Hip Hop Museum, set to open in the Bronx — the birthplace of this global movement — is officially slated for Fall 2026.
This won’t just be a museum with glass cases and plaques. It’s going to be alive — a living, breathing tribute to the energy that made Hip-Hop what it is. We’re talking rare artifacts, exclusive memorabilia, interactive exhibits, and live performances that let visitors feel the rhythm of the culture.
The goal is simple: to make sure this museum captures Hip-Hop’s heartbeat, its movement, its evolution, its global reach. And lock it into history. When those doors open, it won’t just be an event. It’ll be a milestone. We’ll celebrate, once again, how far we’ve come…and let them them see it for generations.
Here are some of the images from the glorious event.
Big Daddy Kane
Photographer Ernie Paniccioli
Markuann Smith and Father MC
DJ Cassidy
Mr. Cheeks (Lost Boyz), Mr. Wave (New York City Breakers), Kool DJ Red Alert, Spigg Nice (Lost Boyz)
Sammie, the R&B artist best known for his early 2000s single “I Like It,” was arrested in Georgia on October 19 on charges of battery and child cruelty tied to a domestic incident involving his partner and their child.
According to the Henry County Sheriff’s Office, Sammie Lee Bush Jr., 38, was booked into jail on suspicion of first-degree battery as family violence and third-degree cruelty to children.
Authorities allege the singer physically assaulted his girlfriend, Teanna Reid, in the presence of their child. He was released shortly after posting a $1,050 bond.
The arrest came just days before Sammie was scheduled to perform at One Musicfest on October 25, a major festival appearance.
In a message shared with his Instagram followers, Sammie appeared to address the situation without directly naming the incident.
“Happy Sunday, first and foremost. I’m gonna let God have his say, and the courts have their say, and the truth shall set you free. Love. I appreciate y’all. Thank y’all for the concerns. Love,” Sammie said.
The allegations have reignited online conversations about the singer, especially after previous social media claims by Reid accused him of abuse.
On Instagram, Sammie called out The Shade Room for their coverage, writing in their comment section, “SR yall know better. Should’ve hit me & my team first for the facts opposed for click bait, yall know how I rock. Yall brought me back career wise. But I see yall pushing the agenda of negativity and that’s fine. God bless yall. I pray the apologies are as loud as the lies and offenses.”
Sammie has not issued a formal statement beyond his social media comments. As of now, his next court date has not been publicly announced.
Erykah Badu recounted how a Dallas coffee shop and a D’Angelo album unexpectedly launched her music career during a revealing appearance on The New York Times’ Popcast.
While speaking with hosts Jon Caramanica and Joe Coscarelli, the neo-soul singer detailed the moment she first encountered the late D’Angelo’s debut album Brown Sugar while working at Grinders, a coffee shop on Greenville Avenue in Dallas.
“I first met D’Angelo’s music… I was working at a coffee shop in Dallas, Texas, called Grinders,” Badu recalled. “Somebody was playing D’Angelo’s new album, Brown Sugar. It was so refreshing to me, because I was working on music and really wanted to meet him and make something with him.”
Iinspired by his sound, she handed her demo to a contact at SXSW, which ultimately reached D’Angelo’s manager Kedar Massenburg—setting her on the path to her music career.
“At that time, I really thought I was on the right path,” she explained. “I didn’t have anyone to kill the dream. I just believed the things I believed and kept them to myself and they just began to happen, one thing after the other.”
She later opened for D’Angelo at the Caravan of Dreams venue in Fort Worth. By the end of the night, she had secured a record deal with his manager, Kedar Massenburg.
The podcast episode, which was recorded before D’Angelo’s death earlier this month, offered a rare glimpse into Badu’s early years.
Erykah Badu Gives D’Angelo His Flowers
Badu paid tribute to D’Angelo shortly before his passing, writing on Instagram “I had never heard or seen anything like this in this world. He had an old thing that had been hidden , buried for a long time , I recognized it right away.”
The Grammy-winning artist is currently preparing new material under her label Control FREAQ Records. Her long-awaited collaboration with The Alchemist, titled Abi & Alan, was postponed in August 2025 just hours before its expected release.
Badu is currently on a global tour celebrating the 25th anniversary of her 2000 album Mama’s Gun, while working on her first studio LP since 2010’s New Amerykah Part Two: Return of the Ankh.
Turk fired back at Birdman after being publicly mocked during the Cash Money vs. No Limit Verzuz battle in Las Vegas.
During the high-profile Verzuz event, Birdman took a jab at Turk for not showing up, calling him out in front of the crowd.
“Shout out to Turk, you little b####, you ain’t here but f### you, we gonna f### with you and we wanna f### with you, you heard me?” Birdman said. “We gonna f### with that b#### and we wanna f### with him. You leave, we gonna still multiply and Cash Money ain’t gonna never die. Long as I’m alive, Cash Money ain’t gonna never die.”
Turk, who was noticeably absent from the stage, responded online with sharp words of his own. He claimed Cash Money “lost the Verzuz ‘cause they needed Turk” and blamed the group’s lack of preparation and unity for what he said was an underwhelming performance.
In a separate statement, Turk addressed Birdman’s comments directly, saying, “I don’t kiss no ass, bruh. I wish them dudes well. But man, I wish myself more well, man. You know what I’m talking about? That’s just what it is.”
The tension between Turk and the Cash Money camp has been brewing since mid-2025, when Turk was removed from the Cash Money Millionaires’ 30th Anniversary Tour.
According to Turk, he was initially promised $400,000 for the full tour but was later offered a reduced rate for shows in Cleveland, Chicago and Detroit.
After refusing the cut, Turk said he was dropped from the lineup and labeled a “security risk” by the tour’s promoters, Artist by Artist Agency and Dope Shows Inc., allegedly due to his ongoing issues with fellow Hot Boy BG. Turk believes that reason was fabricated and retaliatory.
Turk clarified that Cash Money and Birdman were not responsible for his removal, stating that outside promoters handled his booking. He also issued a cease-and-desist letter to the promoters, accusing them of using his name to sell tickets after cutting him from the tour.
Lil Baby dropped his second surprise single in three days Saturday night with “Plenty,” a collaboration featuring Memphis newcomer YTB Fatt and Atlanta’s own YFN Lucci, as questions continue to swirl around the status of his long-teased album The Leak$.
The track, released without warning on YouTube, follows Friday’s unexpected drop of “All On Me” featuring G Herbo. Both records pair him with artists from different corners of the Hip-Hop map.
“Plenty” links Baby’s polished delivery with YTB Fatt’s raw Memphis energy and YFN Lucci’s smooth Atlanta melodies.
The back-to-back releases arrive amid growing chatter about Baby’s future in music.
In September, Wolf Pack Global Music—an affiliate of his management—posted cryptic messages that hinted at a possible retirement. That buzz intensified when The Leak$ missed its September 5 release date, after already being pushed from its original August 15 target.
Adding to the speculation were canceled European tour dates and a lack of official updates about the album, which was expected to feature high-profile guests like Young Thug, Playboi Carti and Lil Yachty.
Despite those delays, Baby previously said he intended to release multiple projects in 2025.
But his recent activity tells a different story. During a studio session earlier this year with PlaqueBoyMax and Veeze, Baby mentioned plans to drop two albums back-to-back, suggesting his creative engine is still running.
The decision to debut “All On Me” and “Plenty” exclusively on YouTube also marks a shift in strategy. By bypassing traditional streaming platforms, Baby is steering the conversation and building anticipation for what might come next.
So far, there’s no word on whether “Plenty” or “All On Me” will be part of The Leak$ or if they’re standalone singles. The Leak$ still has no confirmed release date as of late October.
D’Angelo’s name still rings through the hearts of those who cherished his sound. I’m hearing the world may get one last chance to honor him properly. The enigmatic singer, songwriter and producer—born Michael Eugene Archer—left fans mourning deeply after his quiet passing earlier this month. Now, I hear plans are underway for a homegoing ceremony worthy of his genius.
While details remain tightly held, sources tell AllHipHop that organizers are crafting something extraordinary for D. I’ve been told they are going to somehow formulate a version of D’Angelo in death. It’ll be something that brings him to life, but I’m not sure if they are talking about AI or some other sort of art.
This has sparked curiosity. We don’t know what it is,but it could be possibly blending music, visuals and spiritual symbolism to break tradition. For some reason, I feel The Roots will be at the center of whatever they do.
The exact location and date haven’t been confirmed, but many expect the event to be public, similar to DMX’s 2021 homegoing at Brooklyn’s Barclays Center. AS a Virginia native, I am thinking it could be in Richmond. It only makes sense to include fans.
D was famously private. He didn’t speak publicly and did not explain his creative process. Over just three albums, Brown Sugar, Voodoo and Black Messiah, he reshaped R&B.
His death stunned the world because few knew he was ill. After word got out, tributes flooded social media from peers, producers and fans.
“D’Angelo gave so much to the world with his music,” one longtime admirer said. “Even when he disappeared from the spotlight, you could still feel his spirit moving through every artist who followed.”
Pharrell Williams and his creative direction at Louis Vuitton have caused a legal dispute with Australian fashion label Coogi, which is accused of lifting the brand’s signature knitwear style for the luxury house’s Fall/Winter 2025 menswear collection.
The lawsuit alleges that Louis Vuitton’s colorful sweaters and jackets closely resemble Coogi’s trademark multicolored, textured patterns—designs famously worn by The Notorious B.I.G. and deeply tied to Hip-Hop culture.
Coogi asserts that the collection “mirrors” its iconic visual identity.
In response, Williams and Louis Vuitton say that Coogi is attempting to “monopolize an aesthetic.” The filing states, “you cannot infringe a style,” and claims that Coogi’s design lacks the specificity required for legal protection under trademark or trade dress law.
The motion also points out that Coogi’s legal argument is based on a single copyrighted design from a 2014 Rag & Bone sweater—an artwork registered only earlier this year.
Louis Vuitton maintains that its designs are original, incorporating the brand’s distinct monogram and damier motifs, and structured layouts that differ from Coogi’s more organic and asymmetrical knit patterns.
The legal confrontation stems from Louis Vuitton’s January 21, 2025, runway show in Paris, where Williams debuted a heavily knit-focused menswear line.
Online commentary quickly labeled the collection “Coogi-flavored,” a description Coogi now cites as evidence of consumer confusion over the designs’ origins.
Louis Vuitton’s legal team dismissed such claims as speculative, calling them “press chatter” that lacks legal weight. They argue that public commentary doesn’t prove deception or misrepresentation.
Louis Vuitton also says Coogi’s description of its knitwear—”colorful threads, intricate textures, and abstract patterns”—is too vague to be protected. “There is no monopoly on multicolored sweaters,” their filing states.
Coogi’s cultural relevance plays a major role in the case. The brand became a staple in Hip-Hop fashion during the 1990s, largely thanks to The Notorious B.I.G., who wore the sweaters in music videos and referenced them in lyrics.
The brand’s aesthetic became synonymous with luxury and street credibility in rap circles.
Williams, who stepped into his role as Louis Vuitton’s men’s creative director in 2023, has made a point of blending Hip-Hop influences with high fashion.
His legal team argues that drawing inspiration from cultural icons is not the same as copying.
The court will now decide whether Coogi’s claims are strong enough to move forward or will be dismissed before trial.
Mercedes didn’t hold back when she took to Instagram Live following the highly anticipated Cash Money vs No Limit Records Verzuz battle on October 25, 2025, in Las Vegas.
The former No Limit Records artist, born Raquel Miller, expressed her frustration after allegedly being denied the opportunity to perform her classic hit “It’s Your Thing” featuring Master P during the ComplexCon showdown.
The track, which peaked at No. 4 on the Hot Rap Singles chart in 1999, was one of the biggest successes from her album Rear End.
“I wasn’t allowed to perform my own song,” Mercedes stated during her Instagram Live. “I am sick and tired of being played. I am supposed to be here, just like everyone else. I don’t know how to f### someone else got to sing my song…This s### is f##### up…I promise I got something for everyone. I swear to God I got something for everyone,” Mercedes fumed.
The controversy has added another layer of drama to what was already being billed as the return of the popular music battle series after a three-year hiatus.
Mercedes made her mark in the late 1990s as one of the few female artists on Master P’s No Limit Records roster.
Her collaboration with the label’s founder on “It’s Your Thing” became a defining moment in her career, showcasing her skills alongside the New Orleans Hip-Hop mogul during the label’s golden era.
But now, she may become better known for suing Master P and Verzuz for not letting her on the stage.
“I got a whole f###### wristband, and these b###### didn’t let me go on. That sound deliberate. It’s cool, though, because y’all can expect a lawsuit, because I did not give permission for anybody else to perform my song,” Mercedes promised.
The Verzuz battle marked the first showdown since June 2022, when Omarion faced off against Mario.
The Cash Money vs. No Limit matchup was highly anticipated by Hip-Hop fans, representing a clash between two of the most influential Southern rap dynasties that shaped the music landscape in the 1990s and early 2000s.
Parliament-Funkadelic’s Chief Architect of Funk, George Clinton, was on deck to receive the foundation’s inaugural Quincy Jones Award. The group’s music was the building blocks for The Chronic, with Dre incorporating samples of “Mothership Connection (Star Child),” “Atomic Dog” and “P. Funk (Wants to Get Funked Up),” among others, into his G-Funk formula.
Speaking to AllHipHop on the black carpet, The Fat Boys’ Kool Rock Ski praised The Chronic for its role in popularizing Hip-Hop with a mainstream audience.
“I gotta be 100 percent honest with you,” he said. “I saw the lack in the sales and the music around ’91 and thought it would just go strictly back to the streets. Nobody was really putting out nothing big. We had a lot of artists putting out big radio hits and stuff like that, but it wasn’t until The Chronic came out and opened up the doors again for Hip-Hop sales, and the popularity came again.”
“When I heard it, a lot of people didn’t know about the Funkadelic music. Of course, we came from a musical background, so everything we heard was like, ‘Oh, that’s from Funkadelic.” But at the same time, it was blended so lovely with Hip-Hop, Snoop Dogg’s voice…I mean, it had an entourage of artists. It was smooth.
He continued, “The Lady of Rage and The D .O .C. was on it. I was stoked when they did that, but it brought back the sales, too. Because remember, by that time, it was Vanilla Ice and Hammer, who was the only ones who were selling that many records, but they weren’t considered street Hip-Hop.”
On the black carpet, former Yo! MTV Raps host Fab 5 Freddy, also caught up with Kool Rock Ski, Geto Boys’ Scarface, Ludacris, Roxanne Shanté and several other Hip-Hop legends, who were in Sin City to honor this year’s Hip Hop Grandmaster Award recipients, Kool G Rap and Brand Nubian’s Grand Puba as well as Kool Rock Ski, one of two recipients of the new Contributor Award. (The other, Whodini’s Jalil, was unable to attend in person.)
Dr. Dre surprised the crowd by joining a panel moderated by Quincy Jones III, who was interviewing Clinton about his indelible contributions to music. Dre went on to praise Clinton for his influence on him and countless others.
“George Clinton is one of my main motivations and what I grew up to,” Dre said. “Forty years this year, I started in 1985. This summer marks 40 years that I’ve been doing this thing. In the beginning of my career and my childhood and everything was based on this man right here. Everything that I’ve done, studied… all the drums and all the instruments that this man did inspired me to do what I’m doing right now, and I’m just so appreciative. It’s all love.”
The evening was marked by several performances, including from Nas, Kool Moe Dee, Clinton, Mobb Deep’s Havoc and more.
And if you haven’t seen George Clinton roll up on a motorized before…you’re welcome.
