Kanye West’s upcoming Los Angeles concert at SoFi Stadium on April 3 has ignited serious backlash from the Jewish community.
Sam Yebri, a politician and Jewish advocate, expressed outrage over the venue’s decision to host the rapper’s first LA show in five years.
Yebri told the California Post that “Sofi hosting a Ye concert after his years of hate-filled vitriol and Nazi-inspired music spits in the face of every Jewish person in Los Angeles.”
The controversy centers on West’s long history of antisemitic statements and actions.
In October 2022, he posted that he was “going death con 3 on Jewish people” and repeatedly claimed Jewish executives controlled him.
He was named StopAntisemitism’s 2022 Antisemite of the Year.
West also created an antisemitic song praising Hitler, sold merchandise featuring swastikas, and made hundreds of hateful tweets targeting Jewish people.
In January 2026, West ran a full-page advertisement in The Wall Street Journal, attempting to address his past behavior.
He stated, “I am not a Nazi or an antisemite. I love Jewish people.” The ad claimed his bipolar disorder caused his destructive actions.
West also met with Rabbi Yoshiyahu Yosef Pinto in November 2025 to apologize directly. During that meeting, he blamed his bipolar disorder for his antisemitic behavior.
Despite these efforts, many in the Jewish community remain unconvinced.
Yebri stated, “Unless Ye is planning to use his concert to apologize, heal wounds, and disavow antisemitism, everyone who attends is supporting and normalizing anti-Jewish racism.”
The SoFi Stadium show demonstrates West’s continued drawing power despite the controversy. Nearly a million people queued for tickets on March 10, 2026, with prices starting at $343.
West has booked an extensive international tour including stops in Istanbul on May 30, Arnhem, Netherlands, on June 6, South Korea from April 9 to 12, and Tokyo on April 17 and 18, 2026.
First of all, I am glad she is ok. Safe and encouraged.
Egypt Criss is not hiding after that tough knockout loss, she is stepping right back into the spotlight with something to prove. The daughter of Hip-Hop royalty from Naughty By Nature and Salt-N-Pepa took to social media to address fans, critics and anyone questioning her decision to step into the boxing ring after her difficult debut.
If you saw the fight, you already know it ended in dramatic fashion. The second-round stoppage against Olympic-level striker Jade Jones had people talking, debating and in some cases pointing fingers. But Egypt made it clear she is not here for excuses or blame games.
She seemed to address her father, Treach, who blasted her husband. He and some other critics suggested she was improperly guided in the fight. Egypt shut that down quickly and took full ownership of the outcome.
“First of all, I’m a grown woman that makes my own decisions. No one no one directs me. No one brainwashes me. No one does anything that makes me no one makes me do anything I don’t want to do.”
She also defended her team and even praised the sportsmanship between her and Jones after the fight. I am not sure what role her man took in the fight, but he was there in the video training for something himself
“So regardless, I’m happy that I did. I’m so proud of myself and no one’s going to take nothing away from me cuz I’m just going to come in even hotter and ready.”
Instead, she spoke directly to supporters.
“That’s right. That’s right. I just wanted to let y’all know, thank you to all my true supporters out there that really, you know, checked on me, wanted to make sure I was good. Your girl’s always great. This just fueled me 15 times more to come back even harder cuz you already know this ain’t it for me.”
She made it clear that simply stepping into the ring was a personal victory.
“I got in there, got my feet wet, I went out on my shield, and that’s all that really matters. Y’all can’t say I don’t got heart.”
Perhaps the biggest takeaway is that Egypt is not walking away from boxing. If anything, she sounds more motivated.
“Nothing got me discouraged. It just got me fueled.”
Whether she returns to the ring soon or takes more time to develop remains to be seen. One thing is clear though. Egypt Criss is not letting one loss define her story.
Here is the whole fight since she said nobody saw what happened before or after.
Lil’ Kim locked down headline slots at two major Australian festivals this year, proving that over three decades into her career, the pioneering rapper remains in serious demand.
The 51-year-old will perform at Sydney’s Carriageworks for Vivid and Melbourne’s Festival Hall for Rising, marking her first Australian shows in fifteen years.
Both festivals announced their 2026 lineups on Wednesday, with the Brooklyn legend celebrating her landmark albums Hard Core and The Notorious KIM. Hard Core turns thirty this year, a milestone that underscores her lasting influence on generations of female rappers who followed her path.
Rising’s artistic director, Hannah Fox, praised Kim’s impact on the Hip-Hop landscape.
“Hard Core and Notorious KIM really did carve a path – there are so many women rappers and femcees now who absolutely followed in her tiny footsteps, her funked-up, sex-positive vibe,” Fox said.
She continued, “No one was calling her a feminist icon in the 90s. I don’t know if we’d have got [tracks like WAP] without her. She really is a trailblazer.”
The performances represent a significant moment for Kim, who broke out as a member of Junior MAFIA under the mentorship of the Notorious B.I.G.
Her solo career launched with Hard Core in 1996, an album that fundamentally reshaped how women operated within Hip-Hop.
The record’s success established her as a force who refused to play by industry rules, instead creating her own lane with confidence and artistry.
According to The Guardian, these Australian dates come as part of a broader recognition of her enduring relevance in music.
Festival organizers specifically selected her to headline because her work continues resonating with audiences worldwide, proving that authentic artistry transcends time and geography.
The Rising festival runs from May 27 through June 8, while Vivid Sydney operates during the same period, giving Australian audiences a rare opportunity to witness the Queen Bee perform live.
Ronda Rousey has always been synonymous with the UFC, but as she gears up for a long-awaited matchup with fellow MMA trailblazer Gina Carano on May 16, she’s making it clear — the organization she once called home isn’t the same one she left.
At a press event Tuesday promoting the Netflix fight, the former bantamweight champion recounted how she tried to hold the bout under the UFC banner. She approached Dana White with the idea first, out of loyalty as much as business sense.
“I told him I could promote the fight myself, but I’d rather fight for him than against him,” Rousey said. “At first, we thought we’d wrap it into the UFC’s last pay-per-view show around New Year’s, but when Gina needed extra time to get ready, everything shifted — and honestly, it worked out for the better.”
Rousey said the UFC’s new direction under its multibillion-dollar streaming deal with Paramount has changed the company’s priorities. “It’s not about putting on the best fights anymore,” she said. “It’s about shareholders and quarterly profits. The UFC I knew doesn’t really exist.”
The deal, valued at $7.7 billion, moved the promotion away from its traditional pay-per-view model — and sparked debate over how fighters are compensated. Rousey, 39, said she doesn’t blame White for the shift, crediting him as one of the few still looking out for fighters’ interests.
“When they couldn’t pay me a fair deal under the new model, Dana told me to go do my own thing,” she said. “He wanted me to win — even if that meant doing it somewhere else. That’s what real mentorship looks like.”
According to Rousey, even White has grown frustrated with some of the UFC’s recent moves — like June’s much-hyped “White House” card. “He knows that one didn’t live up to expectations,” she said. “He’s not shy about saying so either.”
Rousey believes those missteps point to a deeper problem: a business model that’s squeezing fighters while chasing short-term corporate gains. She argued that some of today’s athletes are paid so little they can’t sustain their careers.
“This is a company worth billions,” she said. “There’s no reason fighters should be struggling to pay their bills while executives cash out. That’s not how you grow a sport — that’s how you kill one.”
Her comments echo a growing sentiment among top fighters, including Jon Jones, who recently asked to be released from his UFC contract after missing out on a high-profile spot on the White House card.
Once seen as the sport’s ultimate destination, Rousey now sees the UFC as a place forcing its best talent to look elsewhere — whether to boxing, streaming promotions, or independent ventures.
“For me, this fight with Gina isn’t just about coming back,” she said. “It’s about proving there are other ways to build this sport — and that fighters don’t have to wait for permission to do it.”
Tekashi 6ix9ine saw another suspect land behind bars months after masked gunmen invaded his Wellington home and held his mother hostage during a robbery.
Miguel Candelario Garcia, 19, got arrested after deputies connected him to the November 16, 2025 home invasion that targeted the rapper’s residence in South Florida.
The original crew included 18-year-old Sergio Andrade and 20-year-old Pedro Rodriguez, who planned the whole operation.
Garcia came into the picture later when they recruited him to join the heist.
According to CBS12 reporting, investigators found text messages between Andrade and Rodriguez discussing the plan and whether Garcia could handle his role in the robbery.
When detectives searched Rodriguez’s apartment, they recovered a bin loaded with stolen luxury items.
The haul included a pink Chanel purse, a black Dolce and Gabbana purse, and a Louis Vuitton multi-Pochette that belonged to Hernandez’s girlfriend.
Investigators also found a Glock 19 9mm pistol with an extended magazine that was stolen from West Palm Beach back in 2022. That same gun appeared in surveillance footage from the robbery.
Ring camera footage and witness interviews helped deputies identify all three suspects involved in the invasion.
On December 30, a detective met with Rodriguez’s mother, who confirmed she recognized all three men from the video evidence.
An acquaintance also identified the suspects after being interviewed by authorities.
Garcia now faces charges including home invasion robbery with a firearm, false imprisonment, and grand theft of between $20,000 and $100,000 dollars.
The charges reflect the serious nature of the crime and the violence involved when the suspects ambushed Hernandez’s mother as she entered through the garage.
Tekashi 6ix9ine turned himself in to Brooklyn’s Metropolitan Detention Center on January 6, 2026, to serve a 90-day sentence for violating his supervised release terms.
He is expected to be sprung from the pokey in April 2026 with one year of supervised release remaining after his discharge.
Hip-Hop’s earliest days were documented on cardboard, Xerox paper and magic-marker ink long before anyone imagined the culture would grow into a global billion-dollar industry. The colorful flyers that once promoted Bronx park jams, block parties and DJ battles are now considered foundational artifacts of the culture. That history is now stepping into the spotlight through a new auction centered on the personal archive of pioneering MC Easy A.D., a founding member of the legendary Cold Crush Brothers.
The auction is being presented through the HipHopGrails platform, an initiative created by figures deeply rooted in the culture, including Pete Niceof 3rd Bass fame and media/tech veteran Ed Young, a longtime executive associated with The Source magazine and an advocate for Hip-Hop preservation through museum initiatives and archival projects. Together, they are helping bring rare artifacts to collectors and institutions while highlighting the historical importance of Hip-Hop memorabilia.
At the center of the auction is Easy A.D.’s decades-long effort to preserve the culture’s earliest physical history. Beginning in the South Bronx during Hip-Hop’s formative years, he collected flyers, handwritten rhyme sheets, posters, photographs and recordings that documented the rise of DJ and MC culture. Now, many of those pieces are being offered publicly for the first time, giving fans, collectors and cultural institutions the unique opportunity to own authentic pieces of Hip-Hop history.
AllHipHop: General thoughts on this auction with Easy A.D.?
Ed Young: Our first auction was the 50 Years of Hip Hop Flyers auction in 2023, which we did to coincide with the 50 Years of Hip Hop celebrations that took place throughout that year. This Easy A.D. auction marks our launch into a regular cycle of auctions that will bring storied collections and artwork that people have heard about over the years but haven’t actually seen come to market until now.
AllHipHop: Explain the idea of “archiving.”
Pete Nice: The process of archiving Hip Hop artifacts was first brought to fruition by A.D. at the Schomburg Center in 1999.
He preserved and organized the documentary evidence of Hip-Hop culture while protecting it at the same time. By utilizing museum standards for protecting fragile historical materials, he ensured the collection would be preserved and protected from further deterioration.
AllHipHop: What made you start this with Easy A.D.?
Ed Young: Easy A.D. is a colossus in the culture. He first emerged as a co-founder MC in The Legendary Cold Crush Brothers in 1979, and then became one of the defining forces of the scene alongside lyrical maestros like Tony Tone, Grandmaster Caz, Jerry D. Lewis, Almighty Kay Gee and Charlie Chase.
From the seed form of Hip Hop on Sedgwick Avenue in the Boogie Down Bronx to stages across the world, the Easy A.D. collection traces the evolution of the genre into a global phenomenon.
Beyond the stage and the battle, A.D. has devoted decades to education and preservation. Beginning as a student in the South Bronx, he started collecting and safeguarding the artifacts of a culture in formation. Flyers, manuscripts, tickets, photographs, posters, stage wear, recordings and cassette tapes were all preserved long before “archiving” became commonplace in Hip Hop.
A.D. describes this work as part of his long-running preservation effort called “Archiving Hip Hop History.” Under that banner, he has presented talks and exhibitions at institutions including the Schomburg Center for Research in Black Culture, the GRAMMY Museum, and major museum industry gatherings like the American Alliance of Museums and Expo 2025. He’s also taken the message to colleges and universities across the United States.
As the co-author of the I Am Hip-Hop book series, Easy A.D. writes coming-of-age stories from across Hip Hop’s elements for the next generation. The books connect the culture’s past to its future.
AllHipHop: Why launch this through the HipHopGrails platform?
Ed Young: The Hip Hop Grails team came together to elevate the value of Hip-Hop art, memorabilia and artifacts to the levels these pieces deserve.
The only proper way to do that is to have a platform owned by individuals from the culture itself. The team includes Paradise Gray of X-Clan, Pete Nice of 3rd Bass, myself from The Source, and others from the worlds of business who were raised in the culture.
People talk all the time about how unfair the Hip-Hop business has been to artists and creatives over the years. This platform gives them a chance to get real value for the things they created.
AllHipHop: What’s the value of these flyers and what is their significance?
Pete Nice: In one sense, the flyers are priceless. They represent the foundational documents of the culture.
Because of DJs and MCs doing their thing every weekend from the late ’70s through the early ’80s, Hip Hop grew into the billion-dollar industry it is today. These flyers represent a more authentic time in Hip Hop before it was exploited by the record industry and the media.
Easy A.D. understood that what he and the Cold Crush were doing was historically important, so he held on to these relics to preserve those memories.
The flyers are rare and very valuable in the collectibles market. Sales at Sotheby’s and Christie’s have already proven that. Individual flyers can sell for a few hundred dollars to a few thousand dollars depending on the significance of the performance and the artist who created it.
AllHipHop: Do buyers receive information about the collection? Do they get to meet Easy A.D.?
Pete Nice: Each winning bidder will receive a letter of authenticity from A.D. himself. The provenance of these relics is unmatched because they come directly from the archives of one of Hip Hop’s true scholars and pioneers.
AllHipHop: What is the most cherished item in the auction?
Pete Nice: The most awe-inspiring and historically significant items in the auction are several manuscript lots of A.D.’s handwritten rhymes and Cold Crush routines dating from 1979 to 1982.
These are some of the rarest and most significant artifacts ever offered to the Hip Hop collecting community and to institutions as well.
The whole thing started when Jim Jones, Maino, Fabolous, and Dave East went on their “Let’s Rap About It” podcast and started taking shots at 50’s Netflix documentary about Diddy.
They weren’t feeling his involvement in the project, and they made that crystal clear on air. 50 heard it, and he wasn’t about to let that slide.
But here’s where it gets interesting. 50 didn’t just respond with bars. He’s been systematically attacking Jim Jones on Instagram for weeks.
He posted surveillance footage of Jim allegedly trying to break into his own studio after supposedly getting evicted.
The trolling was relentless, and it set the stage for this musical retaliation.
When 50 dropped the video for the track on Instagram, he added a caption that seemed innocent on the surface: “Yall thought I was talking about the Cosby’s. deal with Bill later.”
But that line carries serious weight. It’s a calculated diss aimed at T.I. and Tiny Harris, who’ve faced multiple sexual assault allegations over the years.
By connecting them to Bill Cosby and his well-documented predatory behavior, 50 was essentially equating their accusations with Cosby’s crimes.
It’s a layered insult that works on multiple levels. Max B’s involvement in the track adds another dimension to this conflict.
He’s got history with Jim Jones through their Dipset connection, so his collaboration with 50 signals a strategic alliance against the podcast personalities.
The music video reinforces the lyrical content with AI-generated visuals that drive home the message of disrespect toward Maino, Fabolous, and Dave East.
Domani addressed his involvement in the 50 Cent beef while discussing his emergence as a rising artist with new music projects during an AllHipHop interview.
T.I.’s son explained his perspective on the family drama that erupted when 50 Cent posted an unflattering photo of his stepmother, Tiny Harris, with the caption “Keep my name out ya mouth.”
When asked about the situation, Domani said, “I’m just focused, man. I haven’t stepped out of it to really look at it from that perspective.”
He emphasized that his energy remains on his craft and building his world as an artist.
“I’m always putting 110% into what I’m doing painting the picture as detailed vividly as possible building the world for my fans to live in,” he explained.
The conflict between T.I. and 50 Cent originated from a failed VERZUZ battle agreement. T.I. claimed the two had discussed doing a VERZUZ matchup, with T.I. supposed to announce it and 50 Cent to confirm.
When T.I. made the announcement, 50 Cent played dumb and refused to acknowledge their supposed deal.
This sparked years of tension that finally boiled over in February 2026 when T.I. appeared on the podcast Million Dollaz Worth of Game and called out 50 for backing out.
King’s track featured him wearing a shirt with 50’s late mother’s face, while Domani dropped “Ms. Jackson,” which sampled OutKast’s 2000 hit of the same name and addressed 50’s mother directly.
“It really just started flowing, man. The word started falling into place. I think that just comes from just like exercising that muscle because it is a muscle,” he said about his songwriting.
He revealed that he doesn’t physically write on paper but instead records voice memos on his phone to capture melodies and feelings. When it comes to criticism and negativity surrounding his recent music, Domani remains unbothered.
“I mean people people believe what they want to believe. I’m not going to waste time trying to change someone’s opinion. The quality and being genuine and the love for music has always worked for me as you’ve seen,” he stated.
Domani credited his entire family for shaping his artistic approach.
“Yeah, definitely watching watching my father, but just watching my whole family for real,” he said when asked about his influences.
On his recent project releases, Domani explained the concept behind his latest work.
“It’s called the Forever Lasting Take. It’s really just an extension of the song Forever Lasting. I’ve been getting a lot of people telling me they wanted to extend that song, get a remix, and then get a whole project of that song,” he shared.
The project also features collaborations with DC Young Fly, Si Hendris, Jquis, and K Camp on the second installment.
Dr. Dre finally sold off his Malibu beach house after four years sitting on the market and at the same time has officially become Hip-Hop’s latest billionaire.
The 6-bedroom, 7-bathroom contemporary mansion on Carbon Beach sold for $16.5 million, per TMZ.
The deal went down quietly off-market. Real estate agent Kurt Rappaport of Westside Estate Agency handled the transaction. The place sits on roughly 7,000 square feet of beachfront property and was built in 1993.
It’s got panoramic ocean views from multiple levels, a gym, fireplaces, walk-in closets, spa-style bathrooms, and a recording studio. Basically, everything you’d expect from a mogul’s coastal retreat.
But here’s the thing. Dre’s not hurting for cash.
When Apple bought Beats Electronics for $3 billion back in 2014, he walked away with somewhere between $640 million and $800 million before taxes.
That deal made him Hip-Hop’s richest man in just 12 months. He was literally on pace to become Hip-Hop’s first billionaire, but Jay-Z beat him to it.
Now, 12 years later, Dre has officially joined the billionaire club according to Forbes latest list, built through decades of production work, Death Row Records, signing artists like Eminem and Snoop Dogg, and smart real estate moves.
That French chateau-style compound sits on 4 hilltop acres with 8 bedrooms and 9 bathrooms.
And he sold a Calabasas estate for $6.1 million in 2023 after dropping over $1 million on renovations.
He also listed a Pacific Palisades home for $2.65 million in December 2025, which he’d bought in 2019 for $2.25 million.
The Malibu sale marks another chapter in Dre’s real estate portfolio shuffle, but with his Beats money still flowing and his production legacy intact, he’s not exactly worried about the market.
Based in the DFW metroplex and raised in Fort Worth, Tony Coles has spent the past several years establishing himself as a producer and creative force behind the 600 label. With the upcoming release of 6WA, he enters a pivotal chapter signaling growth for both his career and the collective around him.
Coles has described 6WA as “the best tape in the world,” a bold claim grounded in perspective rather than hype. In his view, mainstream rap production has leaned on familiar formulas for more than a decade. Drill and trap have dominated label signings and radio rotations, creating a landscape where experimentation often takes a back seat. Coles approached this project with a different objective: restore unpredictability and craftsmanship to the forefront.
From start to finish, the tape emphasizes originality while honoring the foundational sound of West Coast hip-hop. To prepare, Tony Coles immersed himself in albums such as Straight Outta Compton by N.W.A., Death Certificate by Ice Cube, and The Chronic by Dr. Dre. Rather than copy their formulas, he studied their structure, bounce, and sonic layering. The result blends classic textures with a modern Southern identity rooted in DFW.
At the center of 6WA stands the 600 label. Designed as a full compilation, the project spotlights X and the artists developing under Coles’ banner. After completing a country-focused release, the team shifted back into hip-hop with renewed intensity. “There’s unfinished business in the rap scene,” Coles explains, framing the tape as a reassertion of presence and purpose.
The title track, “6WA,” functions as a declaration. The production carries weight, the verses sharpen the message, and the overall energy establishes the tone for what follows.
Legendary voices add further dimension. A feature from Snoop Dogg and a spoken contribution from The D.O.C. tie the project to the architects of gangsta rap. Coles credits Bootleg Kev for helping secure Snoop’s involvement, describing the collaboration as rooted in mutual respect for the direction the 600 camp is taking. For a producer who grew up on Texas church pews and in high school band rooms, working alongside artists from that era feels more like alignment than validation.
Beyond production credits, Coles also steps into a new creative space as a featured singer. The opportunity emerged organically when Ro$ama encouraged him to try delivering a hook that had originally lived only as a concept. “When I started singing, we both just eased into the same groove,” he recalls. The experience opened doors he plans to revisit in future releases.
One of the most demanding records on the tape, “Life of A Gangsta,” pushed Tony Coles creatively. Determined to build a 90s-inspired sample from scratch, he focused on authenticity down to the smallest details. Writing his own opening bars proved challenging, but the final version captures the era-specific tone he set out to achieve.
In March, when 6WA reaches listeners, Tony Coles hopes the reaction centers on freshness and groove. The objective remains clear: deliver a body of work grounded in authenticity, shaped by legacy, and confident in its own identity.
For the 600 label, the release marks the beginning of a larger vision built on unity, experimentation, and long-term success.
Jay-Z loaned Uncle Nearest $20 million through his venture capital firm MarcyPen, but the whiskey brand allegedly hid the transaction from its Kentucky lender, Farm Credit Mid-America.
Court filings from March 2026 reveal that founder Fawn Weaver told the bank the money came from Grant Sidney, a company she controls, when it actually originated from Jay-Z’s investment group.
“Ms. Weaver, who exercises complete control over Uncle Nearest and Grant Sidney, moved the proceeds from Uncle Nearest to Grant Sidney to make sure that $20 million coming in could not be snatched by FCMA,” the bank stated in court documents.
The venture capital firm MarcyPen was formed in late 2024 and is owned by Jay-Z, Jay Brown, Larry Marcus, Robbie Robinson, and D’Rita Robinson. MarcyPen has since declared Uncle Nearest in default on the loan, according to the bank’s filing.
This dispute sits at the center of a larger financial crisis. Farm Credit sued Uncle Nearest in July 2025, alleging the brand owed over $108 million across multiple loans.
The bank claims the Weavers provided inaccurate barrel inventory reports that overstated values by $21 million and sold whiskey barrels to cover other obligations.
A federal judge appointed a receiver for Uncle Nearest in August 2025 after the Weavers defaulted on the loans 20 times.
The receiver and Farm Credit estimate Uncle Nearest owes nearly $200 million total and is insolvent. The Weavers dispute this assessment and want to regain control of the company.
Uncle Nearest denies the fraud allegations regarding the MarcyPen transaction.
The brand argues that all loan money went to Uncle Nearest or related vendors and that the source of the funds is irrelevant.
“No fraud by Grant Sidney has been alleged with the particularity required for a federal pleading,” the Weavers’ legal team stated.
Kanye West launched YeBully.com to showcase vinyl editions and merchandise ahead of his March 27 album release.
The storefront displays multiple pressing options, including red, clear, chrome, and black vinyl. Each record features identical cover art depicting a person smiling widely, with metallic grillz covering their teeth.
The website’s landing page reads “BULLY” in bold lettering above the album artwork with Japanese text and “MUSIC TOUR STORE” displayed beneath.
The Japanese characters ブリー translate phonetically to “Bully” using Katakana, a writing system for foreign words and titles.
West shared a minimal teaser on his Instagram Story featuring a black background with Japanese text centered on the screen, a video of Japanese men wrestling in a ring, and a link directing viewers to YeBully.com.
The rollout connects the new website with merchandise and music tied to Bully, which West has scheduled for release March 27.
According to the official tracklist, Bully features 13 songs, including “Preacher Man” with Quentin Miller, “Beauty and the Beast” featuring Consequence and Young Moose, and “White Lines” with Don Toliver and Ant Clemons.
Producer Mike Dean confirmed that West began working on “Beauty and the Beast” during sessions for his album Donda in 2021. The project marks West’s twelfth studio album and represents his most ambitious rollout in recent years.
West’s team confirmed that Bully will not feature any AI-generated vocals, with Mike Dean co-producing all songs on the album.
The artist has taken full creative control of the project, acting as the primary producer for the first time in years. This approach differs significantly from his previous releases, which relied on collaborative production teams.
Dr. Dre Officially Joins Billionaire Ranks On Forbes 2026 List As Hip-Hop Wealth Gap Comes Into Focus
Dr. Dre billionaire Forbes finally intersected in 2026 when the legendary producer and entrepreneur appeared on the magazine’s annual Billionaires List after years of speculation about his financial status.
Nearly a dozen years after Andre “Dr. Dre” Young famously declared himself Hip-Hop’s first billionaire, the numbers have finally caught up. Forbes’ newly released 2026 list confirms the Compton-born mogul has crossed the coveted three-comma threshold.
The milestone arrives more than a decade after Dre and music executive Jimmy Iovine sold their Beats by Dre headphone empire to Apple in 2014 for $3 billion. At the time Dre celebrated publicly, declaring, “They need to update the Forbes list, s### just changed.”
The declaration turned into a long-running debate across business and Hip-Hop circles as analysts questioned whether the deal truly pushed Dre’s personal fortune past the billion-dollar mark after taxes and partner splits.
Now Forbes says the math has settled.
Still, Dre’s position on the list offers perspective on the staggering scale of global wealth. The producer lands in a tie for the No. 3332 spot worldwide, sharing the ranking with figures including Jared Kushner, Rihanna and steel industry executive Richard T#### Jr.
The placement highlights the dramatic financial gap between the world’s ultra-rich elite and everyone else.
Dre also did not appear in Forbes’ widely circulated illustration depicting some of the world’s wealthiest individuals socializing aboard a luxury super-yacht. The image includes President Donald Trump, Elon Musk, Jeff Bezos, Rupert Murdoch and Mark Zuckerberg.
Three Black figures are included in the artwork: Jay-Z and Beyoncé standing off to the side and Oprah Winfrey positioned on a balcony.
According to Forbes, Dre now joins a small circle of billionaire entertainers. Of the 22 entertainment figures on the billionaire list, nearly half reached that status within the past three years.
Within music specifically, Dre becomes the sixth artist to achieve the milestone. He joins Jay-Z, Beyoncé, Rihanna, Taylor Swift and Bruce Springsteen.
At the top of the overall rankings sits Elon Musk for the second consecutive year. Forbes estimates Musk’s net worth at $839 billion, driven largely by the rising valuations of Tesla and SpaceX. The publication notes that Musk’s fortune increased by roughly half a trillion dollars in the past year alone as SpaceX moves toward a potential public offering.
Google cofounder Larry Page holds the No. 2 position with an estimated $257 billion, followed by Sergey Brin at No. 3 with $237 billion. Amazon founder Jeff Bezos ranks No. 4 with $224 billion while Meta CEO Mark Zuckerberg rounds out the top five with $222 billion.
Forbes Senior Editor Chase Peterson-Withorn described the broader trend in stark terms.
“It’s the year of the billionaire,” Peterson-Withorn said. “The planet added more than one billionaire per day over the past twelve months as the AI-powered stock market boom boosted fortunes to previously unimaginable heights.”
Terrence Howard’s recent conversation with Patrick Bet-David showed the lasting consequences of childhood neglect and unsupervised environments for adult behavior patterns.
The actor, known for roles in “Iron Man” and “Crash,” traces his complicated relationship with sexuality back to his formative years in Cleveland, Ohio, where neighborhood dynamics and parental absence created conditions for early sexual exploration among children.
“I was four. It was the older girls that were watching me, they were like six and seven. We did that every day until I was like 13. I had more sex then than I’ve had in my adult life,” Howard revealed.
Growing up on 30th and Central in Cleveland during the 1970s, Howard experienced circumstances that fundamentally altered his psychological development.
He describes a neighborhood culture where children engaged in sexual play without adult supervision or intervention.
His father had recently been released from prison and worked constantly to rebuild his life, while his mother pursued educational opportunities. This combination left Howard and other neighborhood children largely unsupervised during critical developmental years.
“It gave me an eschewed view of interaction. I kept thinking that, you know, everybody was promiscuous like that. So by the time I get 16, 17, you know, I’ve done enough to where I’m starting, now the spiritual side of me is starting to show up, you know,” Howard continued. “But then I slipped back into it at 25, you know, and for 25 to 30-something, you know, we’re still trying to be a Jehovah’s Witness, but still having this urge taking place and, you know, the bad things I learned from my uncles and all of that influencing me.”
By his teenage years, Howard had developed a pattern of viewing sexual interaction as a normal part of childhood play rather than recognizing it as inappropriate.
Howard describes his spiritual awakening around age 15 when he encountered a girl he genuinely cared about.
He states, “I just started studying the Bible and really coming around to who I was who I would ultimately become.”
This moment marked a turning point where he began questioning the patterns he’d internalized. The consequences of his childhood experiences lingered into his 30s before he experienced a transformation.
“It takes you a long time to try and get back to who and what you really, really are. But yeah, that really messed me up,” Howard admitted.
He now approaches fatherhood with extreme vigilance, ensuring his own children never experience similar circumstances.
Donald Glover is stepping into the Mushroom Kingdom as the voice of Yoshi in the upcoming The Super Mario Galaxy Movie, bringing his talents to the Nintendo and Illumination collaboration hitting theaters April 1.
The Emmy-winning actor joins a returning cast that includes Chris Pratt voicing Mario, Charlie Day as Luigi, and Jack Black returning as Bowser, alongside fresh additions like Brie Larson as Princess Rosalina and Issa Rae as Honey Queen.
The film is the sequel to 2023’s blockbuster The Super Mario Bros. Movie, continuing the adventure as Mario and his crew face off against the Koopa King while exploring new planets across the galaxy.
Directors Aaron Horvath and Michael Jelenic helm the project, which Universal Pictures will distribute worldwide.
According to the official trailer, the story expands the universe significantly with new characters and locations fans haven’t seen before.
The trailer showcases intense action sequences with characters declaring “My Koopas, your king has returned” and “Long live the king,” establishing the stakes for this galactic adventure.
Glover’s casting represents another major voice acting role for the entertainer, who’s built a diverse career spanning television, film, and music production.
His work on Atlanta earned him Emmy recognition, while his directorial efforts on Swarm demonstrated his creative range behind the camera.
Glover’s recent years have been marked by significant personal challenges and professional transitions.
He released Bando Stone and the New World as Childish Gambino in July 2024, marking his final album under that moniker.
Quentin Tarantino responded to actress Rosanna Arquette’s recent criticism of his repeated use of the N-word in his films with a pointed statement questioning her motives and integrity.
Arquette, who appeared in “Pulp Fiction,” told The Times U.K. that she’s “over the use of the N-word” and called Tarantino’s approach “racist and creepy.”
She claims he’s been given a “hall pass” that other filmmakers don’t receive.
Tarantino fired back, saying Arquette “took the money” to star in the film and now appears to be seeking publicity through cynical attacks on his artistic choices.
“I hope the publicity you’re getting from 132 different media outlets writing your name and printing your picture was worth disrespecting me and a film I remember quite clearly you were thrilled to be a part of?” wrote Tarantino in a statement obtained by Deadline. “But after I gave you a job, and you took the money, to trash it for what I suspect is very cynical reasons, shows a decided lack of class, no less honor.”
Not exactly remorse.
The director’s use of racial slurs has remained a persistent point of contention throughout his career.
“Pulp Fiction” contains approximately 20 instances of the N-word. “Jackie Brown” (1997) was used more than 30 times. “Django Unchained” (2012) reached over 100 instances.
The “Hateful Eight” included roughly 65 uses of the slur. In films like “Kill Bill Vol. 1” and “Kill Bill Vol. 2,” the word appears sparingly, while “Inglourious Basterds” contains minimal usage compared to his other work.
Tarantino has defended his choices by arguing that the language reflects historical accuracy and character authenticity.
In past interviews, he’s maintained that his scripts demand linguistic realism, particularly in period pieces set during slavery or the Civil War era.
He’s suggested that sanitizing dialogue would compromise artistic integrity and historical truthfulness.
Jackson stated that it would be “impossible for a racist” to create the work Tarantino has produced, particularly given his collaborations with Black actors and filmmakers.
Jackson emphasized that context matters when evaluating the use of offensive language in cinema, distinguishing between exploitation and artistic purpose.
Rihanna left Los Angeles on Monday (March 10) after a woman fired multiple shots at her Beverly Hills mansion while she was inside the home.
The 38-year-old singer drove to Van Nuys Airport with a convoy of SUVs and boarded a small twin-engine private jet to escape the area.
Ivanna Lisette Ortiz, 35, from Florida, was arrested and charged with attempted murder. She’s being held on a $10.2 million bail after allegedly opening fire at the property on Sunday afternoon.
According to dispatch audio obtained by multiple outlets, approximately 10 rounds were fired from an AR-15-style weapon during the attack out of a white Tesla with temporary paper plates.
Police tracked Ortiz to a parking lot in Sherman Oaks, where she was taken into custody.
The LAPD Robbery-Homicide Division is investigating the incident, with detectives working to determine her motive.
What makes this case particularly disturbing is Ortiz’s background. She’s a Christian influencer who reportedly made threats toward Rihanna just days before the shooting.
Court records show she has previous arrests for domestic violence, careless driving, and violating pretrial release conditions in Florida. In December, she filed an appeal to overturn a custody decision involving her child.
A source close to the couple told the New York Post that Rihanna and A$AP Rocky “don’t know much” about what happened and were “left in the dark” regarding the shooter’s identity and motivations.
Rocky wasn’t home during the attack, though it remains unclear whether their three children were present. The couple shares sons RZA, 3, and Riot Rose, 2, plus daughter Rocki, born in September.
Rihanna purchased the five-bedroom, seven-bathroom mansion in 2021.
The property sits on a sprawling 21,958-square-foot lot in the tony Post Office neighborhood, originally built in the 1930s.
Her neighbors include Madonna and Mariah Carey, who have been leasing a property nearby for years. The home features an open-air courtyard and pool, positioned directly across the street from Paul McCartney’s residence.
The incident marks a serious security breach for one of music’s biggest stars.
No injuries were reported, and authorities continue investigating the circumstances surrounding the attack.
Travis Scott joined more than 30 artists and scholars backing a Texas death row inmate whose execution date approaches next month.
James Broadnax, 37, faces lethal injection in Huntsville after prosecutors used his handwritten rap lyrics to secure his death sentence in 2009.
Dallas appellate attorney Chad Baruch filed an amicus brief to the U.S. Supreme Court on Monday, arguing that prosecutors weaponized Broadnax’s artistic expression to paint him as a threat.
The filing, supported by Killer Mike, Young Thug, T.I., Anthony Anderson, and Kevin Liles, contends that using rap as evidence violated his constitutional rights.
“Rap lyrics are creative expression,” Baruch said in a statement. “When prosecutors treat them as literal evidence of future violence, they invite jurors to decide a death-penalty case based on fear and stereotypes instead of the law.”
Broadnax was condemned for the 2009 deaths of Stephen Swan and Matthew Butler outside a Garland music studio. He was 19 at the time.
According to court records, he and an accomplice planned to rob the men but left with only $2 and a 1995 Ford.
The prosecution introduced more than 40 pages of Broadnax’s lyrics during the punishment phase of his trial. Jurors reviewed the material twice, including hours before voting to sentence him to death instead of life without parole.
Among the verses prosecutors read aloud were lines about violence and threats that they claimed showed he posed a continuing danger to society.
During closing arguments, a prosecutor told jurors that Broadnax’s freestyle written from jail proved he was a “psychopathic killer.” The brief argues this interpretation ignored the metaphorical nature of rap music and relied on racial stereotypes about Black artists.
Broadnax previously argued that prosecutors used race to strike jurors, leaving him with a nearly all-white jury. He also contested the admission of his lyrics as evidence, claiming they lacked any connection to the actual crimes.
According to reporting by The Dallas Morning News, the brief represents the latest chapter in a national debate over the use of rap music in courtrooms.
The Supreme Court has not yet decided whether to hear Broadnax’s case, but the filing marks a significant moment in efforts to prevent rap lyrics from being used as evidence in capital proceedings.
Broadnax’s execution is scheduled for April 30, 2026.
Intuition became the compass that steered 2 Chainz through decades of uncertainty, struggle, and ultimately toward the success that defines his career today.
The Grammy-winning rapper sat down with CBS Saturday Morning to discuss his debut memoir, The Voice in My Head Is God, a deeply personal exploration of how listening to his conscience transformed his trajectory from street life to international prominence.
Rather than relying on external validation or industry pressure, 2 Chainz credits an internal navigation system for every major decision that propelled him forward.
The rapper’s success in music, business, and now literature stems from a consistent practice of listening to what he describes as divine direction.
“When I listen to the voice and it’s out of love, it’s been great outcomes,” he reflected.
This principle applies whether he’s evaluating a collaboration opportunity, making investment decisions, or determining which creative direction to pursue.
The common thread connecting these choices is alignment with his core values and intuitive sense of what serves his highest good.
The concept behind his book centers on something most people experience but rarely acknowledge.
“The voice in my head is God is a book based on intuition. I feel like intuition is a six sense,” 2 Chainz explained during the interview.
This sixth sense, he argues, operates as divine guidance that extends far beyond career moves. It encompasses relationships, creative choices, and the moral compass that kept him grounded when circumstances threatened to pull him under.
Growing up as an only child in a single-parent household presented obstacles that could have derailed his trajectory entirely.
His mother, Epps, emerged as a foundational influence whose strength and wisdom shaped how he now approaches fatherhood with his own three children.
Rather than viewing his childhood challenges as limitations, 2 Chainz reframed them as lessons that taught him resilience and self-reliance.
The rapper reflects on how loneliness during his formative years became a catalyst for introspection, forcing him to develop the internal voice that would later guide his professional decisions.
Now, as a father of teenagers and younger children, 2 Chainz employs a teaching method rooted in experience rather than lectures.
He doesn’t impose rigid rules or preach abstract concepts about listening to one’s instincts.
Instead, he engages his kids through questions and observation.
“I’m showing them through example. I’m asking my kid a question. I’m saying what’s the first thing that comes to your mind?”
This approach mirrors how he learned to trust his own intuition, allowing his children to develop their internal compass organically rather than through forced instruction.
By surrounding his children with positive influences and modeling thoughtful decision-making, he creates conditions where they can cultivate their own sense of inner guidance.
Here we go…ain’t no rumors. Just Gunplay speaking his truth.
Former Maybach Music Group rapper Gunplay is pulling back the curtain on his relationship with Rick Ross, which is not a good thing. He expresses deep resentment about how his career was handled during the height of MMG’s dominance and beyond.
In a candid interview with M3S3 TV, the Miami rapper spoke openly about feeling abandoned by the people he once considered close allies. Gunplay was once one of the most visible soldiers for Ross’ Maybach Music Group, alongside artists like Meek Mill and Wale. He said the support he gave the label was never returned when it came time to invest in his own music.
“Everybody was a group effort,” Gunplay said. “But when it was Gunplay’s turn, it was crickets.”
The rapper explained that while he was delivering records and features, he struggled to get a proper budget or label backing. According to him, that lack of support pushed him toward desperation and, at times, back toward the streets.
“I got hit records. Nobody’s giving me a budget. Nobody’s doing nothing,” he said. “So what you want me to f**king do?”
Friendship With Rick Ross Appears Over
Gunplay also confirmed that his once-tight relationship with Ross has effectively dissolved.
When asked whether they still speak, the rapper answered bluntly: “No.”
At one time, Gunplay was known as one of Ross’ most loyal affiliates, often defending the MMG boss publicly and fighting 50 Cent’s G-Unit. But he now says that loyalty was never reciprocated when it mattered most.
“If you f**k with Ross, you f**k with Gunplay—that’s how it was,” he said. “But when it came time for me to get the push, it just felt like a slap in the face.”
Industry Rule 4080
Beyond Ross, Gunplay also aimed criticism at other industry figures, claiming business decisions derailed his career.
The rapper alleged that he was pressured into selling his publishing rights for $50,000—receiving only $25,000 upfront—while still being required to pay back the full amount later.
“They had me selling my publishing basically,” he said, referring to the deal involving Sony ATV. “That’s facts.”
Gunplay also blasted former associates and managers whom he believes sabotaged his momentum.
“F**k Matt Middleton and everybody who put potholes in my road to success,” he said, warning that karma would eventually catch up with them.
Gunplay insists he repeatedly delivered songs that could have elevated his career, citing tracks like “Straight Yams,” “Rollin,” and “Bible on the Dash.” However, he claims label politics and internal decisions prevented those songs from receiving the full promotional push they deserved.
At one point, he said even a record titled “Nobody’s Favorite” began generating strong attention, yet the official video took months to materialize.
“The label was asking when we were shooting the video,” he said. “It took five months.”
WELL?
You think Gunplay and Ross can be cool again? Can Don Logan get his career back on track? This feels crazy.
