Chauncey Billups landed in the middle of a sprawling FBI investigation into mafia-run poker games in New York and his legal team is punching back hard against the accusations.
The Portland Trail Blazers head coach was arrested Thursday in Portland as part of a federal crackdown on illegal gambling operations allegedly tied to four notorious crime families.
Attorney Chris Heywood wasted no time defending his client’s reputation.
“Anyone who knows Chauncey Billups knows he is a man of integrity; men of integrity do not cheat and defraud others,” Heywood said in a statement to ESPN. “To believe that Chauncey Billups did what the federal government is accusing him of is to believe that he would risk his hall-of-fame legacy, his reputation, and his freedom. He would not jeopardize those things for anything, let alone a card game.”
The arrest is not tied to any NBA games or coaching decisions.
Instead, federal agents allege Billups took part in high-stakes poker games that were rigged using high-tech cheating devices, including X-ray tables and contact lenses.
The operation was reportedly backed by the Bonanno, Gambino, Genovese and Lucchese families. Heywood emphasized that Billups never compromised the sport he dedicated his life to.
“Furthermore, Chauncey Billups has never and would never gamble on basketball games, provide insider information, or sacrifice the trust of his team and the League, as it would tarnish the game he has devoted his entire life to,” he said.
After his arraignment, Billups was released and seen leaving a federal courthouse in Portland.
The NBA placed him on immediate leave, and assistant coach Tiago Splitter was named interim head coach of the Trail Blazers.
In total, 34 individuals were indicted — 28 for the mafia-linked poker ring and six for alleged manipulation of NBA games and insider betting.
Heywood closed his statement with a clear message that Billups intended to challenge the charges.
“Chauncey Billups has never backed down. He does not plan to do so now. He will fight these allegations with the same tenacity that marked his 28-year career. We look forward to our day in court.”
Drake celebrated his 39th birthday on October 24 with a career milestone that extends his dominance in Hip-Hop history.
The Toronto superstar received 16 new RIAA certifications, including six coveted diamond plaques, bringing his total to a record-breaking 15.
The most significant achievement came with his 2011 album “Take Care,” which earned diamond status, making Drake the first artist to have a diamond-certified album after selling over 10 million units.
The project joins diamond singles “Nice for What,” “The Motto” featuring Lil Wayne, “Headlines,” “Passionfruit,” and “Nonstop” in the latest wave of certifications.
Drake now holds an unprecedented 16 total diamond certifications, cementing his position as the most diamond-certified artist in RIAA history.
The achievement comes as other albums received significant upgrades, with “Views” reaching 9x platinum, “If You’re Reading This It’s Too Late” hitting 5x platinum, and “For All the Dogs” earning 3x platinum status.
Several tracks climbed certification levels, including “Chicago Freestyle” (5x platinum), “Rich Baby Daddy” (3x platinum), and “Rich Flex” with 21 Savage (5x platinum). The certifications reflect Drake’s sustained commercial power across different eras of his career.
Drake’s father, Dennis Graham, shared Instagram photos from what appeared to be an OVO birthday trip to the Bahamas, writing, “Happy Birthday to my baby boy, what a time to celebrate with the ones you love.”
Former NFL quarterback Johnny Manziel, who spent time with Drake this week, teased the rapper’s upcoming “Iceman” album in a social media post.
“Caught a flight to the Bahamas cause it’s Iceman time and the baccarat tables were calling my name,” Manziel wrote, hinting at new music on the horizon.
The milestone arrives during a pivotal period for Drake, who recently saw his defamation lawsuit against Universal Music Group over Kendrick Lamar’s “Not Like Us” dismissed by a federal judge.
Despite legal setbacks, the RIAA’s achievements demonstrate Drake’s enduring commercial appeal and chart dominance.
Industry observers note the significance of “Take Care” reaching diamond status, as the album helped establish Drake’s signature sound, blending rap and R&B.
The project featured collaborations with Rihanna, Lil Wayne, and The Weeknd, producing multiple chart-toppers that continue generating streams over a decade later.
With 16 diamond certifications now in his collection, Drake will need more space in his trophy room to accommodate the growing hardware. The achievement reinforces his status as one of Hip-Hop’s most commercially successful artists, with no signs of slowing down as “Iceman” approaches.
The University of Delaware alum and author of 11 books sat with AllHipHop’s Chuck “Jigsaw” Creekmur at WoWorld Studios to unpack how a suburban kid who loved Public Enemy and Big Daddy Kane became the author who spent three years and hundreds of interviews chasing the full story of Tupac Shakur.
Pearlman speaks openly about askingfor guidance, getting checked by Pac’s sister and learning that curiosity without humility can get you burned. He talks openly about Afeni Shakur as a bold, brilliant American revolutionary who also battled addiction. Lastly, and perhaps most significantly, the New York Times best-seller made the choice between crafting a fan-pleasing biography or a historic record. The truth is elusive in Hip-Hop, but Pearlman’s penchant for digging has unearthed some shocking revelations.
Watch the interview below or read part of a Q&A with Creekmur.
Jeff Pearlman: Am I your first non Hip-Hop white guest?
Chuck “Jigsaw” Creekmur (AllHipHop): Yes.
Jeff: I will take it. I am Jewish. Am I your first Jewish guest?
AllHipHop: No, we have had plenty of Jewish guests. Nah, seriously Jeff, thanks for coming through.
Jeff: Of course. We go way back. We both went to the University of Delaware.
AllHipHop:About three or so years ago when you started kicking it around, we talked and it almost felt like you were asking permission, because Kevin Powell was on your mind.
Jeff: I was looking for guidance, for someone to say this is not a horrible idea. I have a lot of respect for Kevin Powell as a journalist. I have read him for years. I did something dumb. He had on his website for years that he was working on a Tupac book. I had wanted to write about Tupac for a long time. I got his number and texted him, because no one answers phones anymore. I introduced myself. He was not happy to hear from me. I wrote clumsily that he had it on his site for a long time and I assumed he was not doing it, so I decided to do it. Looking back, that was not cool.
Jeff (cont.): He wrote back about white privilege and whatever, and I cannot argue with what he said. I have had a very privileged career. I wanted to write this book for a long time and he was not doing it. Did he tell me he was not doing it? I do not think so. He emphasized he is a poet now. He might still do it, but I wanted to do the book, and by that point I was into it. Even if he had said he was working on it, I probably would have kept going.
AllHipHop: Shout out to Kevin Powell.
Jeff: One hundred percent. Kevin Powell wrote some of the best stuff about Tupac ever.
AllHipHop: Let me ask you this because you are a white guy and you see things differently than someone like me or other Hip-Hop aficionados. What is your perspective on Tupac overall, from when you started to now?
Jeff: Over the years I really got into Tupac. I loved the music and was fascinated by the story. I wanted to read the great Tupac book and did not feel it was out there. I went in as a curious guy, acknowledging I do not have your background in Hip-Hop. I tried to be a blank slate and told people, this is who I am. I am a white guy from rural New York, and you will never find anyone more interested to listen. That is a superpower. I will listen to everything you say.
Jeff (cont.): After six hundred fifty interviews in three years, when I talk about Tupac I get profoundly sad. His life was full of trauma and pain. When I sat with his sister, Sekyiwa, she told me two things. In therapy, the first thing she told her therapist was about rats running through their Baltimore row house. The sound still haunts her. There was also a moment that was important for me as a white journalist. I asked, “What was it like when you moved from Baltimore to Marin City.” She said, “That is your white privilege. We did not move. We were relocated.” There is a huge difference. That hit me. It is one thing to say someone was poor, but hearing “we were relocated” changes your understanding.
AllHipHop: When I read the book cover to cover, I could not put it down, which is rare in our distraction world. I was moved by the first half where the trauma plays out. I had no clue. I was almost speechless. What did you learn from those beginnings?
Jeff: The trauma is unbelievable. Tupac had something unique happen to him that most of us do not experience. My hero was my dad. He was my role model. He was not perfect, but he was great. Tupac’s hero, his mother Afeni Shakur, became a crack addict before his eyes. Afeni should be taught in American history. Panther 21, representing herself in court as a twenty one year old pregnant woman without a high school degree, turning down an attorney, winning her case. It is insane. Everywhere Tupac went, he bragged about his mom.
At Dunbar High School and later at the Baltimore School for the Arts, he talked about his mom, the Black Panther. At the same time, he watched her plummet into addiction. She was not home. She was chasing the high. At one point she tried aborting a pregnancy by taking even more crack. Imagine your hero also being the person whose decline you witness. That was his being. It fueled his art and his pain.
AllHipHop: I have no comment because it is mind blowing and sad. You interviewed so many people. There are a few notable things. We will get into some of them.
Jeff: The thing about a biography like this is important. You have a decision to make. Am I writing a definitive look at the full life, or a book for fans that reinforces everything they want to believe. Or am I writing a book that might be hard to read but aims to be the true historic record. I am not saying I succeed or fail, but you try to do right. You have to make choices as a journalist.
AllHipHop: In Hip-Hop we walk a very tight rope. It is tough to tell the absolute truth. Truth is murky.
Jeff: I have gotten some death threats. It is new to me. I did something stupid. A couple months before the book came out I was on a podcast. It was not about Tupac. They asked me about him. You get used to talking sports. In sports you can BS and toss off takes about the Jets or Justin Fields. I answered flippantly. I do not remember my exact words. Something like a lot of it was an act, he was not great with a gun, and he was not a great fighter. On one hand, there is research behind parts of that, but it was flippant. The recognition for me was that this is not a subject a white outsider sports writer can be flip about. Period. I was not thinking. I got blowback. You do not get that in sports the same way. In Hip-Hop it happens. When I was on Fox News I got similar negativity. It hurts. People say do not read it. It is not that easy. Hopefully no more death threats.
AllHipHop: That said, in the book there is the Parker Meridian case which led to prison. There is also another sexual assault allegation you surfaced. Tell that story.
Jeff: People will say you just want to sell books. If my goal were only to sell books I would not include this. It is painful and it sucks. I found a redacted police report about a woman who, four months before the Parker Meridian situation in New York City, accused Tupac and some guys he rolled with of rape. She filed a full report. I later found the unredacted version and reached out. It was her twenty first birthday. She was with friends at a club. Tupac and four other guys were there. She danced with Tupac. She thought it was cool to dance with him. She had a boyfriend, a USC football player, not at the club. Her friends were ready to leave. She said, give it a few minutes. She went outside and they left.
These guys saw her upset. This was pre cellphone and pre rideshare. They asked if she needed a ride. She said yes. She told me she thought she would be safe because he was famous. Instead of driving her home, Tupac said they needed to stop by his place near the club. She said she would wait in the car. He said come in. He said come into the bedroom. According to her and the report, he sexually assaulted her. According to her he invited a friend into the situation. She started screaming. He told his friend to take her home. The friend started driving, then said he would only drive her home if she performed a sexual act. She did. She got home to her boyfriend, screaming and crying. He wanted to round up teammates and handle it. She said no, I want to file a police report. She filed. The documents say she was bleeding from the rectum, had blood in her. The authorities decided not to pursue it. The report says she had a chance to run away at 71st Street and did not, therefore they would not pursue it.
Jeff (cont.): I found her. She did not want to talk at first. I tried twice. She asked if I had the report. I showed it to her. She was angry, because it reminded her that they did not pursue it and after everything she put into it. She read it. She told me she could not tell me everything, but she believes the other woman, because he did the exact same thing to her. Do I like recording that? No. Will people hate me for recording it? Maybe. But what are you supposed to do when you write biography and the Parker Meridian is a huge piece, the reason he went to Clinton. You check, you call, you have the redacted and unredacted reports. You know what allegedly happened. I interviewed the woman. She said, I am 52, do not use my name. I did not use it. She is an alleged rape victim, married with kids. Why would she make this up all these years later?
AllHipHop: Here is a question for Hip-Hop. Is there any possibility that some of the things you unearthed are wrong or incorrect?
Jeff: In biography you rely on memory often. In this case I had documentation, but in general you rely on people. I talked to Jim Belushi because of Gang Related, and to Lela Rochon who was awesome. She told me a great story. There was a delay on set. Tupac said, let’s go to a movie, not as a date, just a movie next door. She said, “I am not going with you.” He asked why. She said, “I do not want to get shot.” Is it possible she said something else, or made up a headache? It is possible. It was 30 years ago. As a biographer you rely on memories and hope they are accurate. You double and triple check the important details. For smaller set anecdotes, you are more willing to rely on memory.
AllHipHop: What was your favorite part of the book to report? What did you enjoy?
Jeff: Marin City. I love his time there. It was painful for him. This is the best job in the world even when it is painful. Tupac spent his senior year of high school in Marin City. He was devastated because he loved the Baltimore schools. He met Jada (Pinkett) and learned how to act there. He moved to Marin City. His mom was addicted to crack. Someone told me to talk to a crack dealer in Marin City who is still there. I called him, told him who I was, and drove nine hours to talk. We sat in the front seat of his car and he explained what it was like dealing crack in Marin City and what a young Tupac was like. The fish out of water part of this job is the best. I can sit next to a former crack dealer and ask exactly what it was like.
AllHipHop: Would you consider Tupac a chameleon? He seemed to shape shift at every stage.
Jeff: Exactly. Wherever he was, he learned to adapt.
Kim Kardashian credited one of her family’s most public transformations—Caitlyn Jenner‘s transition—as a pivotal moment that fueled more seasons of Keeping Up with the Kardashians, joking that it practically wrote the next chapter of their reality empire.
While appearing on The Graham Norton Show to promote her new acting project All’s Fair, Kardashian reflected on the longevity of her family’s reality TV dominance and how real-life events have kept the cameras rolling.
“We shot the pilot and had no idea what it would turn into, but 20 years on, it is still going. The shows write themselves,” Kardashian said. “Once, when we wondered what might happen next, my stepdad turned into a woman and there were two more seasons right there!”
The Kardashian-Jenner family has remained a fixture on television since 2007, first with Keeping Up with the Kardashians on E!, which wrapped in 2021, and then with The Kardashians on Hulu, which launched in 2022.
Jenner’s 2015 public transition was widely covered and marked a significant moment in both pop culture and the family’s storyline.
Kardashian, 45, appeared on the talk show alongside Sarah Paulson to discuss All’s Fair, a legal drama that marks Kardashian’s first significant acting role. The series also stars Glenn Close and Naomi Watts.
“Working with a cast like this, I wanted to make sure I was completely prepared. What I could control was absolutely knowing my lines, being on time and being super professional. These women are the greatest at what they do, and I just watched and learned every day,” Kardashian said.
Balancing her businesses, reality show obligations and raising four children, Kardashian admitted the experience stretched her limits.
“I’ve learned you can. It was mentally challenging having to do it all, but I loved it,” she said.
Kardashian also shared that her long-term goal may take her away from the spotlight altogether. After six years of studying law, she’s awaiting her bar exam results and considering a full-time legal career.
“I will be qualified in two weeks,” she said. “I hope to practice law. Maybe in 10 years, I think I’ll give up being Kim K and be a trial lawyer. That’s what I really want.”
All’s Fair is currently in production, and Kardashian expects to receive her bar exam results in two weeks.
Hit-Boy x N3on x AllHipHop: Inside the Wild Two-Day Music Camp That Crashed the Internet
People always like to consider Hip-Hop street music, but the culture has thrived most when it collides with technology and innovation. From park jams and producers to the internet to Twitch dominance, the innovators move the goal posts.
Producer Hit-Boy has helped define a whole modern wave with his ability to bridge the gap between eras, worlds and even egos. Streamer N3on built a massive audience by turning the camera into an arena where fans make things happen in real time. Now the worlds collide in one creative event.
A two-day recording camp blended a carnival atmosphere with a recording studio. Six studios ran at once. Seventeen records in a single day. A seven hour stream that let viewers act like A&Rs. Empire Records. Alchemist, Hit-Boy and an album called Goldfish. This was more like a playground than a studio with all the trappings. Devon Jefferson sat down with Hit-Boy and N3on to unpack how they pulled it off.
AllHipHop: Day two of the camp and you already knocked out 17 songs on day one. How did that even happen?
Hit-Boy: We had six studios going. I was moving room to room putting collaborations together on the spot. Dave Blunts in one room. 03 Greedo on the other side. Dave cut a joint. We walked it right over to Greedo. He knocked it out. It was crazy and organic.
N3on: The stream went seven hours and it was fire. Outside felt like a festival. Inside felt like a playoff run. People flew in for part two. Today might be even more intense.
AllHipHop: Whose idea was the carnival vibe with a live stream and full studio production at the same time?
N3on: Our teams came together with a wild idea and we built it out. He is producing the music. I am producing the stream. That is the formula.
Hit-Boy: Everything is production. You produce a fit. You produce the couch. You layer each piece until it locks into place. This camp is layers done right.
AllHipHop: Talk about the EMPIRE connection and how it powers this run.
Hit-Boy: EMPIRE has been catching independent heat for a minute. Platinum and even diamond moments. They empower creators and stay out the way. On Goldfish with Alchemist they let us take the creative lead. That is real fuel.
N3on: I am doing my debut project with Empire and Hit-Boy is executive producing. The infrastructure lets the creativity go full speed.
AllHipHop: N3on, you went viral in January with that tunnel snippet. Now you are cutting an album with a Grammy giant. Was that always the vision or did the moment force the plan?
N3on: It is bigger than me. I built a network of clip pages and community from the days when I had a few hundred viewers. They helped push the music. Streaming lets us test things in real time. If it is good the people run with it. I want it natural. No forcing. Working with a legend makes sense. We are making it big and organic at the same time.
AllHipHop: Give us the on the ground snapshot. Day one had big names in the building and seventeen cuts finished. What was the workflow?
Hit-Boy: It felt like a party and a factory at once. I have been in label set ups that were not half as productive. This is a new frontier. People thought folks would waste time on the mechanical bull. Instead they worked and fed off the energy. Unlimited creativity.
AllHipHop: How do you two decide what sticks and what gets scrapped when the volume is that high?
N3on: The chat is a focus group with real power. If they flood W’s and fire emojis we know it is a keeper. If they are not feeling it we pivot. We will run streams where we play records and let the people help us pick.
Hit-Boy: Yesterday we walked into a room with Pressa. The energy was right. N3on threw ad libs on the spot. The room went up. That is a yes in real time.
AllHipHop: Are we going to hear a full N3on record out of this or only features and ad libs?
Hit-Boy: We are going to build records that live on their own and records that connect the camp. The goal is a complete statement, not only moments.
AllHipHop: Are you grabbing songs from the stash or building from scratch with a theme?
Hit-Boy: Day one was pure feel. Play beats and see who catches a vibe. Now that we have a batch we will get strategic. Place the right features on the right records. Make the most collaborative version of each idea.
AllHipHop: We heard about more talent flying in. Any surprises you can tease?
N3on: We have people coming through today. Iggy is flying in. I want to cook up something special for the ladies if the vibe is right.
AllHipHop: The industry keeps blending genres. Country leans into bounce and slap. Pop pulls drums straight from rap kits. Where do you see the sound going?
Hit-Boy: Boundaries are wide open. You hear Hip-Hop patterns in every lane. That means you go create with no box. If the record is undeniable people rock with it.
AllHipHop: Advice for small creators who want to build what you are building at scale?
N3on: It is harder than ever because everyone streams. I used to believe quantity over quality. Now I say focus on the product. Do not copy the biggest people. Study what works and make it better in your own voice. Streaming daily to two viewers with mid content does not move the needle. Be different. Be precise. Build community that believes in your product.
AllHipHop: Appreciate greatness while it is right in your face.
Misty Copeland dazzled Lincoln Center with grace and grit Wednesday night (October 22) as she delivered her final performance for American Ballet Theatre, closing a 24-year chapter that reshaped the face of classical dance.
The Copeland farewell unfolded during ABT’s Fall Gala at the David H. Koch Theater, where the 43-year-old icon took her last bow in her decade-long stint as the company’s first Black female principal dancer.
The evening was filled with tributes, ovations and a crowd that spanned generations and backgrounds—proof of her far-reaching influence.
Oprah Winfrey and Debbie Allen honored Copeland with emotional speeches, with Winfrey declaring she “didn’t just perform ballet” but “changed it.”
The program featured three performances that showcased Copeland’s range. She opened with the balcony pas de deux from “Romeo and Juliet” alongside Calvin Royal III, ABT’s first Black male principal in over 20 years.
They followed with Kyle Abraham’s “Wrecka Stow,” a contemporary duet, before she closed the night with Twyla Tharp’s “Sinatra Suite” alongside longtime partner Herman Cornejo.
The most personal moment came after the final curtain, when Copeland’s 3-year-old son Jackson walked onstage in a tuxedo and hugged her as gold confetti fell from the rafters.
The gesture spotlighted the five-year break she took from ABT to raise him with husband Olu Evans.
What a beautiful cap off to a historic tenure with the American Ballet Theater. Misty. Copeland !!! Deserving of every flower.
Her son coming out to give her a bouquet is so damn precious 😭 how beautiful ! pic.twitter.com/ou7PX0PHch
Born in Kansas City and raised in San Pedro, California, Copeland’s road to ballet stardom was anything but traditional. She began dancing at 13 while living in a motel with her mother and siblings.
Despite the late start, she earned scholarships to the San Francisco Ballet School and later joined ABT’s corps de ballet in 2001.
When Misty Copeland was a teen, she, her five siblings, and their mother were living in two rooms at a motel in Gardena, California. Copeland would practice ballet on the railing outside their rooms, imagining it as her private studio. She hadn’t been back in nearly two decades —… pic.twitter.com/o4V76735J1
It followed her acclaimed debut in “Swan Lake” at the Metropolitan Opera House, which drew a more diverse audience than the company had ever seen.
Since launching the Misty Copeland Foundation in 2022, she has focused on expanding access to dance education for children of color through her “Be Bold” afterschool program.
The initiative aims to remove barriers that have long kept ballet out of reach for many underserved communities.
Copeland’s publishing work also continues. Her second installment of the “Bunheads” children’s book series dropped in September, and her memoir “The Wind at My Back” remains a staple in conversations about inclusion in the arts.
Her retirement leaves ABT without a Black female principal dancer for the first time since 2015. Copeland called the situation “concerning” but expressed hope that her foundation will fuel long-term change.
“There’s only so much that visual representation can do,” she told The Associated Press in June. “I feel like it’s the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture.”
The night ended with the traditional ballet send-off—bouquets from colleagues, mentors and loved ones. Copeland curated much of the gala herself, ensuring her final performance reflected her vision and legacy.
NBA YoungBoy found himself at the center of controversy after the New Orleans Police Department was forced to address swirling rumors about the Baton Rouge rapper being banned from future performances in the Crescent City.
The drama unfolded following NBA YoungBoy’s two-day concert series at the Smoothie King Center on October 20-21, 2025, which had city officials on edge about potential safety concerns.
While Live Nation footed the bill for additional police security during the shows, the concerts wrapped without major incidents—though reports surfaced of overzealous fans forcing their way into the venue.
The real problem came after the concerts when online chatter exploded with claims that NOPD Superintendent Anne Kirkpatrick had personally banned the “Outside Today” hitmaker from performing in New Orleans again.
The allegations centered around NBA YoungBoy allegedly violating a key condition in his contract with Live Nation and the Smoothie King Center – he was supposed to leave town immediately after each show.
Instead, the 25-year-old rapper was spotted getting mobbed by fans on Bourbon Street following his Monday night performance, clearly still in the city when he should have been long gone.
NOPD moved quickly to shut down the speculation, releasing an official statement that read: “Whether or not NBA YoungBoy performs future concerts in Louisiana is a matter solely between his promoters and the management of the Smoothie King Center, who negotiate and execute those agreements. The New Orleans Police Department has no authority or involvement in determining which artists are permitted to perform in the city.”
The statement continued with a telling confirmation: “On Monday, October 20, 2025, Superintendent Anne Kirkpatrick confirmed to Smoothie King Center management that NBA YoungBoy did not leave town following either of his two concerts — in accordance with the agreement established between Smoothie King Center management and Live Nation, the artist’s promoter.”
The contractual violation adds another layer to NBA YoungBoy’s already complicated relationship with live performances.
The rapper has faced venue cancellations in other major cities, including Atlanta, where his shows were scrapped after reported issues with his entourage at VIP entrances.
While NOPD maintains they have no say in future booking decisions, the confirmation that NBA YoungBoy breached his contractual obligations could complicate future negotiations with venues and promoters who may view him as a liability.
Dave dropped his third studio album, The Boy Who Played the Harp and revealed a 2026 tour across the UK and Europe, ending a four-year solo hiatus with a project packed with heavyweight features and personal reflection.
The South London rapper’s 10-track release includes appearances from Nigerian vocalist Tems, genre-blending producer James Blake, UK rap legend Kano and rising talent Jim Legxacy.
Announced in October 2025, the album marks Dave’s first full-length solo project since 2021’s We’re All Alone In This Together.
In an emotional Instagram post announcing the project, Dave reflected on the journey that led to its creation, writing, “After a few years of soul searching to arrive at this point I want to say thank you to everyone who made this possible… my mum who raised me and gave me my name and destiny.”
He also thanked his fans for their unwavering loyalty during his time away from music, saying, “Over this time I have been away you have genuinely saved my life… I wake up and think about you and I write and I pray for you and I speak life into your lives every day I walk this earth.”
The 27-year-old rapper described the project as deeply spiritual and purpose-driven, adding, “I want to thank God for taking a scared little boy trying to navigate the world and giving him the chance to help others and for protecting us all.”
Dave’s past releases have earned critical acclaim and commercial dominance.
His 2019 debut, Psychodrama, won the Mercury Prize and topped the UK Albums Chart. His sophomore album also hit No. 1 and went platinum. In 2023, his joint single “Sprinter” with Central Cee broke multiple records and became the longest-running No. 1 UK rap single.
Away from music, the 27-year-old artist stayed active in philanthropy. In December 2023, he helped raise more than $633,000 for children impacted by conflict in Palestine, Sudan and Congo.
He also supported his mother’s Juliet O Foundation, which provides care for elderly patients in London and Surrey hospitals.
Dave Announces UK & Europe Tour
Dave is set to return to the stage in February 2026 with multiple shows across the UK and Europe as part of his upcoming tour.
The performances will be his first major concerts since shifting focus to acting and charity work during his extended break from releasing solo music.
Jack Schlossberg blasted Donald Trump for gutting the White House Rose Garden planted by his grandmother, Jackie Kennedy, accusing the former president of replacing her legacy with concrete in a scathing Instagram post.
The grandson of the former First Lady posted side-by-side images of the garden before and during construction, slamming Trump for stripping away the floral design Jackie helped create during her time in the White House from 1961 to 1963.
“My grandmother saw America in full color – Trump sees black and white,” Schlossberg wrote. “Where she planted flowers, he poured concrete. She brought life to the White House, because our landmarks should inspire and grow with our country.”
In July, Trump announced plans to expand the White House grounds to accommodate a new venue for formal events, such as state dinners.
Though the Washington Post previously reported the renovation would include a ballroom addition, it remains unclear whether the original Rose Garden will be restored once the project is complete.
Despite the removal of the flowers, Schlossberg, Caroline Kennedy’s son, emphasized that his grandmother’s influence endures.
“Her Rose Garden is gone, but the spirit of the Kennedy White House lives on – in the young at heart, the strong in spirit, and in a new generation answering the call to service,” he added. “A year from now, we’ll get our last chance to stop Trump. History is watching. We need leaders with courage, conviction and who actually care.”
Neither Donald Trump nor the White House has issued a public response to Schlossberg’s remarks.
Rick Ross is parting ways with his sprawling South Florida estate, listing the luxury property in Landmark Ranch Estates for $6.5 million as he continues expanding his business portfolio.
The 14,000-square-foot mansion, located in the gated community of Southwest Ranches, features six bedrooms, seven bathrooms and a long list of high-end amenities.
Kimberly Knausz, who is handling the sale, describes the property as “Grandeur. Sophistication. THE BIGGEST kind of luxury. Because big dreams deserve an even bigger address.”
Built for both comfort and showmanship, the home includes marble flooring, a custom bar, a soundproof movie theater and a resort-style pool complete with a waterslide.
The primary suite offers a spa-style bathroom, a custom walk-in closet and a private sitting area.
A nine-car garage adds to the appeal, built to accommodate Ross’s extensive car collection. The estate sits on 2.3 acres in a private equestrian neighborhood known for attracting celebrities.
Ross originally bought the home from former NBA star Amar’e Stoudemire for $3.5 million. Since then, he’s added a new roof and stamped his signature double-R logo into the driveway.
This Florida property is separate from Ross’s massive Georgia estate, dubbed the “Promise Land,” which includes 109 rooms and has served as a backdrop for major productions like “Coming 2 America” and his annual car show.
The sale comes as Ross continues to diversify his business ventures.
In 2025, he became a co-owner of BitFortune, a digital currency platform launched in partnership with Gamma.
He has also grown his Wingstop franchise portfolio to over 30 locations across the United States, generating millions in annual revenue.
In the health and beauty space, Ross launched “Smiles by Mario Montoya,” a dental brand focused on porcelain veneers. He also remains active in the cannabis industry through his Collins Avenue brand, with investments in both California and Michigan.
Ross’s decision to sell the Florida property is part of a broader strategy to streamline his real estate holdings while continuing to scale his business empire.
Megan Thee Stallion is back with another dose of heat and a surprising touch of softness. Following April’s “Whenever,” the Houston rapper dropped her second solo single of the year, “Lover Girl,” which flips the 1996 R&B classic “Kissin’ You” by Total into a modern bounce-infused anthem. Produced by newcomer Jacobdior, the track layers Megan’s signature confidence over a blend of New Orleans bounce and Jersey club energy, anchored by the nostalgic Bad Boy sample.
The song arrives as Megan enjoys her high-profile romance with Golden State Warriors star Klay Thompson. The couple went public in July, sharing affectionate photos on Instagram and stepping out together at Megan’s Pete & Thomas Foundation Gala, fueling plenty of buzz about Hip-Hop’s newest power pair.
Musically, “Lover Girl” finds Megan exploring romantic territory without abandoning her trademark boldness. The hook, featuring her chanting “my man, my baby,” has already caught listeners’ attention for its infectious rhythm and smooth delivery. Also, there is Klay.
Still, reactions are mixed. Some fans praise the song’s nostalgic feel and smart use of the Total sample, while others feel the lyrics lean too heavily into explicit territory, missing an opportunity for more clever wordplay.
“I actually really like the hook, the sample throughout the song is utilized well and production is decent,” one listener wrote online. “But the middle of the song after the first verse is where it starts to go downhill for me…I just feel the song could’ve used less vulgar sex references and leaned more toward witty double entendre or innuendo punchlines, especially on a song called ‘Lover Girl.’”
Still, there’s no denying the track’s cultural spark — particularly for its producer. Jacobdior, a DJ and TikToker who only began his music career two months ago, created the beat and posted it online with the caption, “Someone call Megan.” The clip went viral, eventually catching Megan’s eye. “Friend I’m late but if you send me this beat I will record it TONIGHTTT,” she replied.
That online moment led to a full-circle success story, culminating in one of the most talked-about releases of Megan’s current era.
Kehlani brought together R&B royalty and longtime musical inspirations on October 24 with the release of her “Folded Homage Pack,” a six-track remix collection spotlighting Toni Braxton, Brandy, Ne-Yo, Mario, Tank and JoJo.
The tribute EP, released through Atlantic Records, reimagines her hit single “Folded” with a lineup of vocal heavyweights who defined 2000s R&B.
Ne-Yo’s appearance, kept under wraps until the full tracklist dropped, capped off the rollout as a surprise addition.
Originally released on June 11, “Folded” has become Kehlani’s most commercially successful song.
The track climbed to No. 18 on the Billboard Hot 100, her highest solo chart position, and reached No. 1 on both Billboard’s Rhythmic Airplay chart and urban radio.
Produced by Andre Harris, D.K. the Punisher, Don Mills and Khris Riddick-Tynes, the song blends nostalgic melodies with modern production.
The record will follow her 2024 Grammy-nominated project, “Crash,” and its swift follow-up, “While We Wait 2.”
Kehlani opened up about the creation of “Folded” in a heartwarming Billboard interview alongside her five-year-old daughter, Adeya.
“I was in Miami on a work trip with my friends when I first heard the beat,” she recalled. “I loved it immediately, so I took it into the studio—me, Uncle Kamal, Uncle Dixon, Aunt Jenna—and we all sat together, vibed out, and made the song. We were really excited about it and thought, maybe we should put this one out.”
When Adeya asked why she wanted to release “Folded,” Kehlani smiled and replied, “I just thought it was a really cool way to come back into music after taking a little break. I felt confident about it—it felt like the right song. Do you think it’s a good song? Because as long as you like it, I love it.”
Summer Walker is closing the chapter on heartbreak and tapping into self-worth with help from Sexyy Red, GloRilla and Latto, all featured on her upcoming album Finally Over It, dropping November 14.
The Atlanta singer confirmed the trio of rap heavyweights during a sit-down with Speedy Morman for his “360 with Speedy” series, where she opened up about the album’s direction and her mindset behind it.
“I’m moving into a little bit of a different genre as I talk about new things that I’m usually not talking about ’cause I’m usually just like, ‘Oh, he broke my heart;’ put it on an 808 trap beat,” Walker said. “And so now, we’re just trying different things. The other songs are kind of just more so like, ‘Oh, I choose me’ type s###.”
The project marks the third and final entry in her Over It trilogy, following 2019’s Over It and 2021’s Still Over It, the latter of which debuted at No. 1 on the Billboard 200 and solidified her status in R&B’s top tier.
This time around, Walker is stepping away from familiar collaborators. Notably absent is London on Da Track, her ex and the father of her daughter, who produced much of her earlier work.
“It’s the trilogy, it’s the end of it,” she explained, adding,” It’s a different sound. It’s more polished a little bit. I did it by myself. No baby daddy.”
The guest lineup reflects the current pulse of female Hip-Hop. GloRilla, who recently made waves with her album Glorious, landed a top-five debut on the Billboard 200 in October. Her collaboration with Sexyy Red, “Whatchu Kno About Me,” also gained traction throughout the year.
Latto, meanwhile, continued building momentum with high-profile features and consistent chart presence.
Walker’s shift from emotional ballads to empowerment anthems mirrors her personal growth. She’s been vocal about prioritizing herself over romantic drama and leaning into self-love.
“I think it’s gonna be really good,” she said of the upcoming release.
Bad Bunny claimed the spotlight in Miami Thursday night as he was crowned Top Latin Artist of the 21st Century at the 2025 Latin Billboard Music Awards and walked away with 11 trophies, including Artist of the Year and Top Latin Album for Debí Tirar Más Fotos.
The Puerto Rican megastar accepted the career-defining award from none other than Rita Moreno, the 91-year-old Hollywood legend who received a standing ovation before delivering a powerful speech in Spanish.
“When I started my career, being Latino in the United States meant facing barriers. Opportunities were few, almost non-existent, and every small step forward was a victory,” Moreno said. “I see an artist who brings the world to Latin culture with the same strength and passion that kept me going and allowed me to never give up.”
Bad Bunny, 31, danced his way to the stage as the crowd erupted, then embraced Moreno before delivering an emotional acceptance speech.
“For me, it’s an honour to receive this award from your hands. I respect you and admire you so much. Every time I hear other artists speak as you did of me, it tells me that doing things from a good place and with your heart, it’s always the best decision,” he said. “I know how much I have worked, and not just me, but my whole team. At the same time, I’m 100 per cent aware that any one of my colleagues could have been given this award.”
The ceremony, held at the James L. Knight Center, also saw Karol G take home six awards, including Hot Latin Songs Artist of the Year, Female. Shakira earned Latin Pop Artist of the Year, Solo.
The event marked a major milestone for Bad Bunny, whose influence on Latin music continues to grow.
Montreal, Canada — After nearly two decades of dedication to the craft, Jon Moniz is stepping back into the spotlight with a brand-new release that bridges cultures and languages. His latest single, “Vivre de Paix” featuring WhyUS and French artist Timal Garnier, marks not only a musical comeback but a celebration of artistry, collaboration, and longevity in the game.
Jon Moniz, a veteran of the early mixtape era, came up during a time when artists were grinding in the streets—literally selling CDs out the trunk. His career embodies the essence of that authentic hustle and grassroots work ethic that built the foundation of independent music as we know it today. After years of creating and producing for other artists, Moniz is now reclaiming his own space in front of the mic with a renewed sense of purpose.
“Vivre de Paix” (translated as “Live in Peace”) reflects that evolution—melding soulful lyricism with modern production, driven by the sonic expertise of Yanis Kacem of WhyUS. The track, featured on Timal Garnier’s album “TURQUOISE” (TGT Tome 7), is available on all platforms and stands as a testament to the power of cross-continental collaboration.
The single was produced, recorded, arranged, mixed, and mastered by Yanis Kacem (WhyUS), whose meticulous touch can be felt throughout the record. The accompanying music video, filmed and edited by Mac Drip, captures the energy and creative chemistry that fuels this Montreal–France connection.
Together, Jon Moniz, WhyUS, and Timal Garnier deliver a track that embodies both experience and innovation—a blend of Montreal grit and European finesse that underscores Jon’s timeless artistry.
Stream “Vivre de Paix” on all platforms
Album:TURQUOISE (TGT Tome 7) Artists: Timal Garnier ft. WhyUS
Jay-Z emerged victorious in a California courtroom on Friday (October 24) after a federal judge denied an emergency restraining order request filed by Lillie Coley, the godmother of the man who claims to be his son, clearing the way for the rapper to pursue sanctions in a long-running legal feud.
U.S. District Judge Sherilyn Peace Garnett rejected Coley’s attempt to block what she described as a “retaliatory” sanctions hearing, marking another legal win for Jay-Z in a case that has dragged on for years.
Coley had asked the court to freeze proceedings, claiming she was being targeted for her advocacy on behalf of Rymir Satterthwaite, who alleges Jay-Z is his biological father.
The judge found no legal basis for emergency relief.
The ruling allows Jay-Z’s legal team to move forward with efforts to penalize Coley over what he has called “decades-long harassment,” according to court filings.
The case has seen repeated filings, procedural disputes and a failed attempt by Coley to win a default judgment earlier this year.
She has accused Jay-Z of using his wealth and legal firepower to avoid DNA testing and accountability.
In her latest filing, Coley sought a temporary restraining order and an order to show cause, hoping to stop the sanctions hearing. But Judge Garnett declined to intervene, a common outcome when plaintiffs cannot meet the high threshold for immediate court action.
The failed restraining order comes months after Satterthwaite dropped a separate paternity suit. Jay-Z responded by formally entering the California case and asserting that the legal campaign against him is baseless and abusive.
Court records show that in 2022, a New Jersey judge barred Coley and Satterthwaite from filing new lawsuits in that state without prior approval, citing repeated failed attempts to litigate the paternity issue.
Coley’s filings have also drawn attention from Nicki Minaj, who publicly backed Satterthwaite and accused Jay-Z of trying to silence him.
Nicki Minaj also claimed that Beyoncé is preventing Jay-Z from acknowledging Satterthwaite, calling it Jay-Z’s “biggest secret.” She has also alleged that the rapper has interfered with her music career and legal matters.
Despite Minaj’s public support, Coley’s legal maneuver failed to convince the court.
A$AP Rocky’s high-powered attorney Joe Tacopina suffered a crushing legal blow Thursday when a Los Angeles Superior Court judge denied his motion to dismiss a defamation lawsuit filed by the rapper’s former friend, A$AP Relli.
Superior Court Judge Randolph Hammock rejected Tacopina’s anti-SLAPP motion, which would have quickly killed the case and forced A$AP Relli to pay the defense’s attorney fees.
The ruling keeps alive explosive claims that Tacopina defamed Relli by calling him a “liar” and “gold digger” during media interviews.
The defamation case stems from a 2021 Hollywood shooting incident where A$AP Rocky allegedly fired shots at A$AP Relli. The former friends were part of the same Hip-Hop collective before their relationship exploded into violence.
“Those would be protected by the litigation privilege,” Judge Hammock said during Thursday’s hearing according to Court House News. “But the statements that Mr. Ephron is making were not made in that context. Is the word spin? This was spin — a lawyer spinning for his client.”
Tacopina, who has defended high-profile clients like Donald Trump, Meek Mill, Wendy Williams and Michael Jackson, had argued his inflammatory statements to various media outlets were protected speech.
The Brooklyn-born attorney told the media that Relli’s shooting claims were “an extortion attempt by a former associate” and accused him of fabricating the story in a “get-rich-quick scheme.”
“He’s a failed associate–ex–associate of Rocky’s and he’s jealous. He was trying to get money from Rocky. He wanted Rocky to support him. He made it clear. There were repeated attempts where he tried to ask for money in lieu of not causing problems for Rocky. That’s what he said. We have all this memorialized in text messages and otherwise, so it’s an extortion,” Joe Tacopina told Rolling Stone.
The judge found those statements crossed the line from protected litigation privilege into public relations spin designed to damage Relli’s reputation.
Relli’s lawsuit claims the defamatory statements resulted in death threats on social media, public ridicule and “extreme emotional distress.”
The struggling music producer told the court he’s already invested $500,000 in legal fees fighting both the defamation case and a separate civil assault lawsuit against Rocky.
The legal drama began after Rocky was acquitted of felony assault charges in February 2025 following a three-week criminal trial. Despite the not-guilty verdict, Relli’s civil lawsuits continue, with a jury trial tentatively scheduled for January 2026.
Chris Brown sent shockwaves through London’s Southwark Crown Court on Friday when he made an unscheduled appearance for a pre-trial hearing, just days after wrapping his massive “Breezy Bowl XX” stadium tour across the United States.
The 36-year-old R&B superstar was not required to attend the hearing but chose to appear alongside co-defendant Omololu Akinlolu, 38, as both men face charges stemming from what prosecutors describe as an “unprovoked attack” at London’s exclusive Tape nightclub in February 2023.
Prosecutors allege Brown and Akinlolu brutally assaulted music producer Abraham “Abe” Diaw at the upscale Mayfair venue, with Brown allegedly striking Diaw multiple times with a tequila bottle before punching and kicking him.
The “Run It” hitmaker was arrested at a Manchester hotel in May after returning to Britain for the first time since the alleged incident, forcing him to post a staggering $6.71 million bail to secure his release and continue his world tour.
Brown spoke only to confirm his name during Friday’s brief hearing, maintaining the same composed demeanor that has carried him through decades of legal battles. The Grammy winner has pleaded not guilty to charges of grievous bodily harm and assault causing actual bodily harm.
Brown’s surprise courtroom cameo stands in stark contrast to his recent triumphant tour performances across America, where he commanded sold-out stadiums from Miami to Las Vegas.
The “Breezy Bowl XX” tour, which featured special guests Summer Walker, Bryson Tiller and Jhené Aiko, concluded this week after a months-long run that generated millions in revenue.
The timing of Brown’s court appearance highlights the dramatic shift from his recent tour success to the serious legal consequences he now faces. The trial is scheduled to begin in October 2026, giving the embattled star more than a year to prepare his defense.
The case represents another chapter in Brown’s troubled legal history, which has included multiple assault charges, restraining orders and civil lawsuits throughout his career. Despite his legal woes, the Virginia native continues to command massive audiences and generate substantial touring revenue.
Diaw has also filed a separate $16 million civil lawsuit against Brown, seeking damages for the alleged attack that left him unconscious at the London hotspot.
Brown’s legal team has not commented on Friday’s court appearance, but the singer’s decision to attend voluntarily suggests a strategic approach to the high-stakes case that could impact his ability to tour internationally.
Shaquille O’Neal lost a $180,000 custom Range Rover during a transport from Georgia to Louisiana after authorities say someone may have hijacked the delivery using fake credentials.
The NBA Hall of Famer had the luxury SUV picked up on a Monday, but it never reached its destination. The vehicle, tailored to fit O’Neal’s towering 7-foot-1 frame, was reported missing later that day.
The Lumpkin County Sheriff’s Office confirmed the incident, stating, “Preliminary information suggests that an unauthorised individual or company may have taken possession of the vehicle under false pretences.”
Investigators believe the theft may have stemmed from a digital intrusion into the car transport company’s system. The company is now offering a $10,000 reward for any information that leads to the recovery of the SUV.
A tow truck tied to Griffin Wrecker Service was used to move the vehicle to an address in Atlanta.
“Further inquiries revealed that a tow truck registered to Griffin Wrecker Service was involved in transporting the vehicle to an address in Atlanta. The person believed to have coordinated the tow has not yet been fully identified,” the sheriff’s office said.
Despite the loss, O’Neal’s garage remains well-stocked. On a previous episode of The Big Podcast with Shaq, the former Laker casually admitted, “I have 40 cars and I don’t know why.”
The investigation remains active as of this week, with the vehicle still unrecovered.
Summer Walker didn’t mince words when revisiting the viral incident that ended her relationship with Lil Meech, calling the actor’s life “terrible” and mocking his now-infamous excuse.
During her appearance on “360 With Speedy,” the R&B singer addressed the 2023 surveillance footage that showed the BMF star escorting a woman into her apartment with groceries in hand.
The clip ignited widespread cheating rumors and ultimately led to the couple’s breakup.
“It was. That was really ignorant,” Walker said when asked if the moment upset her. “But, hey, I was like, ‘That’s trifling as f###.’ I literally don’t even have to say anything on that because his life is terrible now, so yeah.”
Summer Walker speaks on the time when her ex Lil Meech was caught with a woman he said to be his cousin, he was helping with groceries
“I literally don’t even have to say anything on that because his life is terrible now, so”
Meech claimed the woman was his cousin, but Walker has consistently dismissed that explanation. The “cousin” defense quickly became internet fodder, spawning memes and jokes that refused to die.
Summer Walker Addresses Lil Meech Excuse On Spoof Polygraph
Now promoting her new album Finally Over It, set to release November 14, Walker leaned into the drama by taking a polygraph test as part of her rollout.
When asked if the groceries belonged to Meech’s cousin, she burst out laughing before responding.
“Hell nah, it was not his cousin’s groceries,” she said. A polygraph examiner confirmed her answer was truthful.
The upcoming project will feature more than a dozen tracks and include a collaboration with Latto. It also marks the final installment in her Over It trilogy, following 2019’s Over It and 2021’s Still Over It.
Walker and Meech dated for about nine months before the relationship unraveled. She has since moved on, recently showing up to the 2025 MTV Video Music Awards with a mystery man who stirred online chatter over his age and appearance.
Meech, meanwhile, has been dealing with off-screen issues. 50 Cent—executive producer of BMF—has publicly criticized the actor’s behavior and revealed he sent him to rehab earlier this year.
