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“Jerk” Diddy Demanded Full Studio Shutdown At “SNL” Cast Member Says

Ana Gasteyer says Sean “Diddy” Combs insisted on a full studio lockdown during his guest appearance on Saturday Night Live in 1998, sparking memorable moments behind the scenes. 

Speaking on the Las Culturistas podcast, the comedian described how the Hip-Hop mogul, who was then performing under the name Puff Daddy, requested the entire SNL set be closed off while he rehearsed his music.

The shutdown occurred during Diddy’s May 1998 guest spot on the long-running comedy show, where he performed “Come With Me,” a single featuring a well-known Led Zeppelin sample from “Kashmir.” 

“You can spot the five jerks in my six years there (from 1996 to 2002). They’d come in, and suddenly it’d be, ‘So-and-so is in the building, everyone stay in your dressing rooms,’” Gasteyer said. “It makes sense for a president, but otherwise? No. This is our house. For P. Diddy, he demanded a totally closed set.” 

Gasteyer said fellow cast member Will Ferrell brought his trademark humor into the high-pressure atmosphere.

Days before the episode aired, Ferrell crashed Diddy’s rehearsal dressed as an eccentric character named Ron. 

“I have video from the control room,” Gasteyer recalled. “Sean Combs is rapping, with that ‘da-na-na, da-na-na’ Kashmir riff, and here comes Ron wandering around looking totally lost. It’s the best thing ever because, honestly, imagine interrupting Combs—a guy whose whole image was built on exaggerated importance—with Ron. (Combs) was absolutely uncomfortable, but it was so perfect. It exposed how overblown all of the seriousness was.” 

Ferrell confirmed the story during a 2020 Vulture interview, describing how he sprinted onstage before anyone tried to stop him, fully committing to the bit. 

The story of Diddy’s SNL set has resurfaced amid his recent legal troubles.

In September, the music producer, known for his influence in the Hip-Hop industry, was arrested on charges including sex trafficking, racketeering, and transportation for prostitution.

Diddy, who pleaded not guilty, remains in federal custody, awaiting trial. 

Representatives for both SNL and Diddy have yet to comment on Gasteyer’s podcast claims. 

Blueface’s Mother Snaps After Seeing Her Son’s New Jail Face Tattoos

Blueface is still behind bars for a probation violation linked to a 2021 assault charge. His prison sentence is expected to end in January 2026. But that’s clearly not stopping him from getting new ink.

Over the weekend, a video of the “Thotiana” rapper started making the rounds, showing him with multiple new tattoos on his face. Jokes began to fly immediately, with comments like “bro turned himself into a school desk,” “who scribbled on bro’s face? and “looks like a walking coloring book.”

While it’s difficult to discern exactly what he tattooed on his face, it’s extremely obvious he has a lot more ink now than he did when he first started serving his time in September.

But Blueface’s mother, Karlissa, is not amused. Shortly after seeing her son’s face, she sent a text to him that read, “Your kids are suffering. Javaughn’s confidence has fallen and you play arts and crafts on your face is diabolical. Your half a father wasn’t as sad as you are right now. You better star praying and pull yourself together! You are more than a lame ass jail ninja. You a child of God and father of three.

“You about to p### me all the f##### way off because you wasn’t supposed to turn out like the rest of them fatherless weak ass cry baby ass losers. You have to feed these kids until they graduate college!!! Get yo s### together lil boy! And that’s on MF period.”

Blueface is currently serving a four-year prison sentence for violating his probation, is which stems from a 2021 assault case involving a security guard and a separate incident tied to a 2023 Las Vegas strip club shooting. He was required to abstain from alcohol, drugs and weapons, and adhere to strict conditions like curfew and impulse control counseling.

The violation occurred after drug paraphernalia was discovered in his possession, which led to the judge to enforcing the maximum sentence previously suspended under his probation​. His sentence could be reduced based on time already served and credit for good behavior, potentially allowing him to be released ahead of schedule.

USHER Reveals Secret To His Youthful Appearance

USHER credits roller skating as his secret to staying fit and maintaining youthful energy.

The Grammy-winning R&B; artist revealed in an interview with People that the activity has played a significant role in his physical health and creativity.

“Skating has always kept me young,” the 46-year-old shared. “And it’s something that I feel is a necessity for youth nowadays. Everybody spends so much time scrolling.”

This month, the “DJ Got Us Fallin’ in Love” singer took his passion for skating a step further by teaming up with model Liberty Ross to open Flipper’s Roller Boogie Palace at The Venetian Resort on the Las Vegas Strip.

The full-service roller skating venue aims to reignite the love for skating while offering fans a space to gather, exercise, and express themselves.

More than just a workout, USHER highlighted that roller skating doubles as an art form deeply rooted in expression.

“It’s a form of self-care,” USHER explained. “The freedom and expression, I really feel like it’s a language when you get deeper into the cultures of skating for rhythm, period. And people need to understand how fun this really is.”

The superstar, who grew up in the era when roller rinks were integral to Hip-Hop culture, also encouraged fellow musicians to embrace skating.

Reflecting on its historical connection to the music industry, he said, “(Dr.) Dre, Snoop (Dogg), and Pharrell (Williams) getting out here would be crazy. (Hip-Hop group) NWA came up through skaters. A lot of those early Hip-Hop bands could only get space to perform in the roller rinks. I can still remember as a kid performing in rinks. It’s always been the grounds for culture.”

Though he has mastered the art of hitting the rink, USHER joked that his role in holiday celebrations would probably be lighter on cooking.

“I wouldn’t bank on me for your Thanksgiving dinner,” he quipped. “No, no. I might be able to do some mac and cheese and a little banana pudding, but that’s about it.”

Kid ‘N Play Get Major Props For Hip-Hop History Month

Hip-Hop icons Kid ‘n Play have been inducted into Berklee College of Music’s Hip-Hop Hall of Fame, an honor coinciding with Hip-Hop History Month.

The rap duo, known for their chart-topping hits, energetic performances, and groundbreaking contributions to music and film, reflected on their journey and impact during the ceremony in Boston.

Christopher Reid (“Kid”) and Christopher Martin (“Play”) rose to prominence in the late 1980s and early 1990s with hits like “Funhouse” and “Ain’t Gonna Hurt Nobody.”

Their music and style became a cornerstone of hip-hop culture, further solidified by their roles in cult classic films such as *House Party* and *Class Act.*

Speaking with CBS Boston’s Courtney Cole, the pair recalled their origins, from being members of rival neighborhood crews to forming a lifelong partnership based on their mutual love of hip-hop.

“We were just kids with a love for hip-hop,” Play said, reflecting on their early days.

Their induction into the Hip-Hop Hall of Fame marks a career milestone.

The duo took the stage to perform, showcasing the same charisma that captivated fans decades ago.

“It’s humbling,” Play said. “It’s about still being thought about, celebrated; they call it nowadays ‘getting your flowers,'” Play said.

In addition to their music and films, Kid ‘n Play are remembered for their iconic high-top fade hairstyles, dynamic dance routines and a commitment to spreading positivity through their lyrics.

Kid emphasized the importance of perseverance to Berklee students, encouraging them to “enjoy the journey” despite challenges.

And the duo continues to remain active.

Kid is exploring stand-up comedy, while Play pursues philanthropic efforts and youth mentorship programs.

Kendrick Lamar Gets Love From Strangest Places

This is kind of weird. Lately, we’ve seen a bit of a corporate love affair with Kendrick Lamar.The Pulitzer Prize-winning MC recently dropped his new album, GNX, and it’s taken the world by storm. Clearly, Kendrick Lamar is the undisputed king of 2024 Hip-Hop, and he’s closing out the year in a big way.

READ ALSO: Kendrick Lamar’s Sneak Attack: A Detailed Walk Through “GNX”

In particular, the song “tv off” has everyone talking. In the track, he belts out “Mustarrrrrrrrrrrrdddd!”—and that moment has caught fire like nothing else. What’s even crazier is how corporate brands have jumped on the bandwagon. A few of the companies getting in on the action include McDonald’s, Shrek (yes, the Shrek brand), the Despicable Me minions, NFL, DreamWorks Animation, the Detroit Lions, Las Vegas Raiders, Amazon Music and AXE Body Spray.

And that’s just the tip of the iceberg. honestly can’t wrap my head around why these brands are so obsessed with this phrase. Maybe you can help me out here. Some insiders I’ve spoken to briefly have joked about it being some kind of conspiracy. While they’re not serious, it’s still weird to everyone. Others say it’s just a classic monkey-see, monkey-do situation, with brands scrambling to connect with younger audiences.

READ ALSO: Kendrick Lamar’s ‘GNX’ Is The Talk of Hip-Hop Twitter

Whatever the case, this love affair doesn’t seem to be ending anytime soon. I’ve seen so many memes, videos, and people using it to troll Drake—it’s absolutely hilarious.

From the Booth to the Bar: Hip-Hop Artists’ Influence on Karaoke Trends

Hip-hop now dominates over 35% of karaoke selections in urban venues, a striking rise from just 8% a decade ago. This shift goes beyond numbers—it’s reshaping how people perform and interact during karaoke. The once-simple act of singing along has evolved into dynamic experiences like group rap battles and synchronized crowd participation. Hip-hop artists have revolutionized the karaoke scene, turning it into a vibrant, interactive cultural event.

The Rise of Rap Karaoke

Rap karaoke has grown from a rare novelty into a global phenomenon. Modern karaoke systems now include extensive hip-hop catalogs, offering both censored and uncensored lyrics to suit various audiences and settings.

This evolution owes much to genre fusion, with venues offering tracks that blend R&B hooks and rap verses. The backing tracks, meticulously crafted to retain original production quality, provide clear vocal cues for performers.

Artist collaborations have also expanded the appeal, with mainstream hits featuring rappers opening the door for casual participants. Performers tackling iconic rap verses often spark call-and-response moments, enhancing audience engagement. Whether at a neighborhood bar or a dedicated competition, hip-hop has redefined karaoke, making it more inclusive and energetic.

Some hip-hop tracks have become karaoke essentials. Eminem’s “Lose Yourself” and Run-DMC’s “Walk This Way” top playlists globally, alongside crowd-pleasers like Salt-N-Pepa’s “Push It” and Vanilla Ice’s “Ice Ice Baby,” each offering unique challenges for performers.

Genre fusion tracks like Puff Daddy’s “I’ll Be Missing You” and Coolio’s “Gangsta’s Paradise” resonate deeply, combining hip-hop with familiar melodies. Duets like Jay-Z and Alicia Keys’ “Empire State of Mind” or group-friendly anthems like Black Eyed Peas’ “Where Is the Love?” amplify the communal spirit of karaoke.

Contemporary hits like Drake’s “Hotline Bling” and Post Malone’s “Circles” further showcase hip-hop’s melodic evolution, balancing rap and singable choruses. These tracks are accessible to performers of varying skill levels, making them modern favorites.

Breaking Traditional Karaoke Barriers

Hip-hop has shattered old conventions in karaoke, encouraging performers to improvise and reinterpret tracks rather than rigidly following the original lyrics. This freedom boosts confidence, drawing in participants who might have felt constrained by traditional singing.

Genre blending is now the norm, with karaoke performers mixing hip-hop with pop, rock, or R&B to create unique renditions. The rise of karaoke online has further amplified this evolution, allowing performers to explore vast libraries of tracks and experiment with new styles from the comfort of their homes. Virtual platforms also enable global audiences to connect, fostering the same collaborative energy seen in live settings.

  • Freestyle sections allow performers to add personal verses to familiar tracks.
  • Audiences actively engage as backup vocals or hype crews, moving from passive listeners to participants.
  • Scoring systems now factor in rhythm and flow, adapting to the complexity of rap performances.
  • Cross-genre mashups continue to rise, reimagining karaoke’s creative potential.

These changes highlight how hip-hop has expanded the boundaries of karaoke culture.

Freestyle Elements During Karaoke Sessions

Freestyle elements have become a hallmark of hip-hop karaoke, turning traditional performances into lively, interactive events. Performers often add their bars or switch up flows during instrumental breaks, blending originality with classic tracks.

This trend fosters a more immersive experience, as audiences respond enthusiastically to improvised verses and collaborative energy. Many participants draw inspiration from their favorite rappers, adopting signature cadences and patterns. These impromptu moments often lead to spontaneous ciphers or mini rap battles, elevating karaoke nights to new heights.

Changing Performance Dynamics

Karaoke performance styles have transformed, incorporating the stage presence and physicality of hip-hop artists. Singers no longer simply stand at a mic—they adopt dynamic gestures and even dance moves, mirroring professional performances.

Call-and-response elements are now a standard feature, with personalized verses and localized references adding a unique touch to each show.

  • Performers integrate dance breaks, turning karaoke into a full-body experience.
  • Crowds evolve into active participants, providing vocal and physical support.
  • Timing displays adapt to accommodate rapid rap flows and shifting tempos.
  • Stages now make room for hype crews, reflecting hip-hop’s communal spirit.

This evolution underscores how deeply hip-hop has influenced modern karaoke.

Cultural Impact Beyond Music

Hip-hop’s impact on karaoke extends far beyond the music itself. Lyrical storytelling has become a platform for social commentary, with performers using tracks to express views on current issues.

Karaoke events have also grown into cultural hubs, fostering connections between diverse groups through shared musical experiences. The genre’s integration has led to unprecedented blending of styles, as performers mix hip-hop with pop, rock, and R&B to create vibrant, genre-defying performances. This cross-pollination has enriched karaoke culture, bridging generational and community divides.

Conclusion

Hip-hop has transformed karaoke into a dynamic, inclusive, and interactive art form. What was once a straightforward night of singing pop ballads has become a celebration of rhythm, creativity, and connection. The beats and rhymes of hip-hop have redefined karaoke culture, empowering individuals and communities to share their voices in ways that feel fresh and meaningful.

Compton Blood Snoopy Badazz Claims They’re Rockin’ With Drake—Not Kendrick Lamar

Snoopy Badazz, a Bloods gang member from Compton, caught people’s attention over the weekend, when he claimed Compton was rocking with Drake—not hometown hero Kendrick Lamar. Snoopy hopped on Instagram with a message for people on Saturday (November 23).

“I just got off the phone with some top dudes at OVO right now,” he began. “I let them know to let Drake know that he good in Bompton. He good in L.A. Feel me? Whenever Drake wanna hit Bompton, whenever Drake wanna hit L.A., he can tap in with me. When you hit L.A., y’all good homie. I get him through here. Ain’t nobody worried about what these dudes talking about.

“It’s just Hip-Hop. It’s just Hip-Hop. Drake clearly the better artist. He clearly the big artist. We ain’t gonna let these haters turn this into something that it ain’t.”

The video made it to Ice Cube’s son, O’shea Jackson Jr., who re-shared one of Snoopy Badazz’s posts that read, “I’m team Lil Wayne and Drake. I’m cool on them other dudes.” Jackson sarcastically replied, in the caption “Oh well this changes everything.” Some of his followers didn’t quite get the joke and one person even told him to “shutcho b#### ass up,” to which he replied, “It was sarcasm n####.” The comment section blew up with allegations that Snoopy Badazz is a snitch and that he was paid to make the video.

Kendrick Lamar blew up the internet on Friday (November 22) with the release of GNX, his sixth studio album. The opening track, “wacced out murals,” addressed his highly publicized beef with Drake earlier this year and the Lil Wayne 2025 Apple Music Super Bowl LIX Halftime Show controversy.

.”Used to bump Tha Carter III, I held my Rollie chain proud,” Lamar raps. “Irony, I think my hard work let Lil Wayne down/Whatever, though, call me crazy, everybody questionable.”

He then maneuvered to airing out his grievances with Snoop for posting the “Taylor Made” diss track Drake released on his Instagram account.

“Turn me to an eskimo, I drew the line and decimals/Snoop posted ‘Taylor Made,’ I prayed it was the edibles/I couldn’t believe it, it was only right for me to let it go,” he raps. “Won the Super Bowl and Nas the only one congratulate me.”

The lines got both Lil Wayne and Snoop Dogg’s attention. The former warned, “Man wtf I do?! I just be chillin & dey still kome 4 my head. Let’s not take kindness for weakness. Let this giant sleep. I beg u all. No one really wants destruction, not even me but I shall destroy if disturbed. On me. Love.”

Snoop Dogg’s reply was much more light-hearted, with the gangsta rap legend joking it was indeed the “edibles” that made him re-share “Taylor Made Freestyle.”

EXCLUSIVE: Diddy’s Army Of Escorts To Descend Upon Trial

Sean “Diddy” Combs is planning to offer up what could be his strongest evidence to prove his innocence in his sex trafficking trial – the escorts who attended his infamous “freak-off parties.”

The rapper and record executive was arrested in September in Manhattan, New York, six months after federal authorities launched a sex trafficking investigation against him.

Diddy, 55, has been charged with sex trafficking, racketeering and transportation to engage in prostitution.

Part of the indictment claims Diddy manipulated men and women into “highly orchestrated” performances of sexual activity with male commercial sex workers.

Diddy supposedly “arranged and directed” the freak-offs while he pleasured himself and often recorded the videos – allegedly without the participant’s consent.

They claim Diddy ensured their participation in the freak-offs by providing narcotics, controlling their careers and using intimidation and violence to get them to participate in the performances – which sometimes lasted for days.

The Feds say Diddy used his various businesses and his employees to carry out, facilitate and cover up his abuse.

In addition to the prostitution charges, Diddy is charged with kidnapping, arson, bribery, narcotics offenses and obstruction of justice.

AllHipHop has confirmed that the jailed rap mogul plans to call at least half a dozen escorts to dispute the government’s account of what happened during the freak-offs.

According to prosecutors, Diddy may have a deep well of escorts to testify on his behalf.

“Our investigation is ongoing, and so I can’t say too much about this, but I will note that half a dozen escorts is just the tip of the iceberg of the number of escorts who have participated in freak-offs,” a lawyer on the prosecution team said.

Diddy is charged with one count of racketeering conspiracy, which carries a maximum sentence of life in prison.

He was also hit with one count of sex trafficking by force, fraud, or coercion, where he could get life in prison and at least 15 years.

The business mogul also faces one count of transportation for purposes of prostitution, which carries a maximum sentence of 10 years in prison.

Next week, a judge will continue to hear arguments about whether Diddy broke jail rules when he attempted to communicate with witnesses to determine if he will grant Diddy bond.

For now, Diddy remains locked up in the MDC jail in Brooklyn.

Kendrick Lamar’s Sneak Attack: A Detailed Walk Through “GNX”

Kendrick Lamar has never been just a rapper—he’s a storyteller, a critic, and a cultural architect. With his latest album, GNX, he caught just about everybody off guard. The MC, chock-full of aggressive overtones, ventures deeper into personal reflection, critiques, and outright call outs. Kendrick uses his goat-level lyricism and more sparse production to further ride the “Not Like Us” theme of the year.

From the rawness of “wacced out murals” to the spiritual of “gloria,” GNX is a journey that balances vulnerability with with bold disrespect. As he wrestles with betrayal, fake industry friends and fame, the search for realness is a reoccurring theme. This overview gives a bird’s eye view of the album’s key song, themes, and how a visionary takes it to the streets.

1. “wacced out murals (feat. Deyra Barrera)

Kendrick Lamar kicks off GNX with “wacced out murals,” a track steeped in self-reflection and sharp critique. It’s a vivid narrative exploring betrayal, disillusionment, and the weight of legacy. Kendrick paints his frustrations with striking detail, touching on his career-defining rivalry with Drake and perceived slights from icons like Lil Wayne and Snoop Dogg. Lil Wayne seemed to take exception while Snoop blamed the edibles. The track’s imagery is rooted in a Compton mural of Dot that was vandalized. The song is a big metaphor for how quickly love can turn into hate.

In the second verse, Kendrick zeroes in on the personal, particularly his strained love for Lil Wayne. Once an idol, Wayne’s public disappointment over being passed up for the 2025 Super Bowl halftime slot (a gig Kendrick got instead) becomes emblematic of the complexities of success. Beneath the surface, there is commentary of industry politics.

2. squabble up

This track brings an intense energy to the album, showcasing Kendrick’s rapid-fire delivery and lyrical acrobatics. “Squabble up” is all about conflict and resolution, a thematic exploration of the struggles that shape us. Fans are already gravitating toward its punchy rhythm and intricate wordplay. This is one of my favorite songs on the album.

3. Luther (feat. SZA, Sam Dew & Ink)

“Luther” is arguably the emotional centerpiece of GNX. With SZA’s soulful voice and Kendrick’s melodic experimentation, the song pays tribute to crooner Luther Vandross while delving into themes of love and vulnerability. It’s an infectious blend of R&B and introspection, that will likely result in hit status.

4. man at the garden

Kendrick takes a step back with “man at the garden,” reflecting on fame and the pressures that come with it. The mellow production matches the introspective tone, offering a contemplative pause in the album’s overall narrative.

5. hey now (feat. Dody6)

“Hey now” is a laid-back gem with a menacing vibe. Kendrick muses on life’s highs and lows, pairing a smooth groove with introspective lyrics. It’s a moment of calm that could double as a horror movie theme. “You crash out, then you better break the backboard,” Kendrick spits. “The Black Noah / I just strangled me a goat.” “Who did he ‘strangle’,” one might ask.

6. reincarnated (feat. Deyra Barrera)

In “reincarnated,” Dot does with his voice what Drake attempted with AI. This is pure Pac—flow, beat, everything. He’s fully embracing the West Coast vibe with this album. While he’s always used West Coast beats, this is the first time I’m hearing that influence so deeply ingrained in every track’s production. I love that he’s leaning all the way into it. Deyra Barrera’s vocals add a unique flavor. It feels like 1996 again.

7. tv off (feat. Lefty Gunplay)

“tv off” critiques our obsession with screens and the shallow validation of media culture. It almost sounds like “Not Like Us” sonically. Then, the beat changes. MUSTARRRRRD!

8. dodger blue (feat. Sam Dew, Siete & Wallie the Sensei)

This short slow jam is an ode to Los Angeles. It celebrates Kendrick’s roots while touching on the city’s history and culture. Its catchy hooks and celebratory energy make it a standout moment on GNX.

9. peekaboo (feat. AzChike)

”Bing bop boom, boom boom bop bam”

“Peekaboo” shifts gears with playful production and clever wordplay. The track explores deception and revelation, but it offers a lighter tone. If you are not still yelling “Mustarrrrrd,” you’ll be bopping like a Bay OG to this.

10. heart pt. 6

Continuing his iconic Heart series, Kendrick’s “Heart Pt. 6” delivers a raw look at of his journey, industry dynamics, and personal struggles. He uses layered metaphors, expands on personal growth, relationships, and even TDE’s role in shaping him. The “S.W.V.” sample anchors this song in the past and present. There’s nothing but good vibe here.

11. GNX (feat. Hitta J3, Peysoh & Young Threat)

The title track serves as the thematic core of the album. While not as flashy as other songs, it ties together Kendrick’s reflections on identity, artistry, and the rap game’s shifting landscape.

12. gloria (feat. SZA, Deyra Barrera & Ink)

“Gloria,” the final track on Kendrick Lamar’s GNX, brings his album to a powerful ending. It features his long-time collaborator and friend. This marks their sixth collaboration, and the synergy between them shines once again.

The song dives deep into the complexities of love, with Kendrick reflecting on a relationship that profoundly shaped his life but also hindered his growth. While many listeners may interpret this as a nod to his relationship with Whitney Alford, his wife and the mother of his children, it’s clear that the connection he describes is both intoxicating and deeply challenging. SZA’s vocals perfectly complement the narrative, capturing the vulnerability and fear that often accompany emotional intimacy.

But as the track unfolds, its meaning broadens. In the closing lines, it becomes apparent that the woman Kendrick speaks of might also be a metaphor for his relationship with his craft. The name “Gloria,” which translates to “glory” in Spanish, serves as a symbol for the artistic glory that Kendrick has both pursued and wrestled with throughout his career. His bond with rap mirrors the same duality: it elevates and defines him, but it also consumes and challenges him.

Together, Kendrick and SZA paint a complicated picture of love. It’s a fitting, emotional finale to an album that has a multitude of layers.


GNX is not just a collection of songs—it’s a big statement. Put your thoughts in the comments.

Best Rap Songs About Money: Hip-Hop Anthems By Lil Wayne, Kendrick Lamar, Biggie & More

“Rap is a competitive sport, and the biggest prize is the money. A lot of rappers focus on that, and that’s what the fans gravitate towards.”

Those were the words of popular rapper Kendrick Lamar as he explained why a lot of rap songs seem to focus more on bucks.

From the ’90s until now, wealth is a dominant theme in Hip-Hop music and the way artists present themselves. Rappers often love flaunting their wealth and fans love hearing about it because it’s a status symbol.

To be honest, money and success are what most people strive for. Hip-Hop doesn’t shy away from that. For the artists, it’s not just about producing great music. It’s also about getting that No. 1 hit, being on top and living large.

Here, we explore all fans need to know about why wealth is so important in rap and music culture.

Is Hip-Hop’s Obsession with Wealth Really Important to an Artist’s Image?

Wealth is a big deal in Hip-Hop because a lot of fans come from backgrounds where money is tight. Beyond just the middle-class suburbia, the genre focuses on the struggles and aspirations of those who have less. 

Interestingly, artists and fans believe that money means power and freedom. It means taking care of loved ones and living a better life. That’s why it’s so prominent in music. In fact, the pursuit of financial freedom can be an exciting adventure, and in most cases, it feels like playing a game of chance such as poker.

If you’re learning how to play Caribbean Stud Poker, for instance, some will find out that the game is just about strategy and skill. And once you understand the rules, they can go ahead to make informed decisions that will increase your winnings. With financial literacy, anyone can find their way up to financial freedom.

Besides, wealth is also a motivator because most people want to live a life of luxury and having money seems to solve a lot of problems. Plus, imagining yourself in the rapper’s shoes gives one a glimmer of hope to get through the tough times. 

Free Concert Scene photo and picture

Wealth in Hip-Hop: From Rags to Riches

Hip-Hop’s massive appeal lies in its ability to connect with people from all walks of life. It provides real music that’s both relatable and uplifting. It also shows us that we don’t have to be defined by our circumstances–that we can rise above our struggles and achieve something more.

Hip-hHp is all about transformation and growth. For the most part, it’s a kind of music that proves that our current situation doesn’t have to be our final destination. And as Jay-Z puts it, “Hip-hop is about taking your experiences and turning them into something new, something better.”

Sure, Hip-Hop can sometimes go overboard with the wealth thing, and some of that criticism is totally valid. But for some young people in the United States, music has created opportunities that wouldn’t have existed otherwise. It has turned folks like JAY-Z into billionaires, and that’s a complete game-changer.

As much as music is fun, and money seems to be a huge part of it, flaunting wealth in Hip-Hop has a deeper meaning. Many think it’s just about showing off, but there’s a lot more to it than that. In fact, it’s sometimes about showing what’s possible.

 So far, people are desperate to achieve success and curious about what wealth can do for them; Hip-Hop will keep talking about it. And that in itself is not out of place.

The Best Rap Songs About Money

Below are some of the best rap songs about money you’ll find on the playlist of most hip-hop lovers:

Bands A Make Her Dance” by Juicy J f. Lil Wayne and 2 Chainz 

This popular club anthem is all about the power of money and how it can get you noticed. The beat is infectious and the bass is heavy. It’s what you can call the perfect combo for a wild night out.

“C.R.E.A.M. (Cash Rules Everything Around Me)” by Wu-Tang Clan

The main idea in this cash-centric song is the struggles that come with being poor and how much people desire financial freedom.

BMF Blowin’ Money Fast” by Rick Ross f. Styles P

This high-energy track focuses on living that luxurious life, and Styles P’s standout verse is straight fire. It’s more or less a celebration of all the excess that comes with being a successful rapper: the money, the fame, the whole nine yards. 

Bank Account” by 21 Savage

“Bank Account” is a great song to listen to if you’re feeling good about your finances. It’s all about success and the almighty dollar, and the hook is really sticky. Plus, the beat is relaxed and easy-going, so it’s a great choice for a chill celebration.

Money On My Mind” by Lil Wayne

This song is primarily about hustle and determination. Weezy’s got his eyes on the prize, and he won’t let anything get in his way. The beat is gritty, the lyrics are rea and it’s just like he’s daring anyone to stand in his way. 

Gold Digger” by Kanye West f. Jamie Foxx

Kanye West’s#### song “Gold Digger” is a warning about getting too close to someone who’s only interested in your money. With Jamie Foxx’s catchy hook, this track is still a fan favorite and a great reminder to keep an eye out for people with ulterior motives.

Money Maker” by Ludacris f. Pharrell 

This is arguably the ultimate feel-good anthem for anyone chasing financial freedom. Thanks to its infectious beat and motivational lyrics, fans will be singing along and hustling for that paper in no time.

I Get Money” by 50 Cent

From the title of this song, you can already tell that it’s about 50 Cent’s ability to make money.

A Milli” by Lil Wayne

This particular song showcases Lil Wayne’s unparalleled flow in an interesting way. Among other things, the wordplay is something that can help anybody step up their financial game.

Money” by Cardi B

Cardi B’s “Money” is a fun song about her unapologetic love for the high life. She’s got a great beat and her own style that makes the song really work. 

Money in the Grave” by Drake f. Rick Ross

Drake and Rick Ross came together for a killer song about getting money. The beat is intense and the lyrics are all about stacking up that wealth. 

Money Trees” by Kendrick Lamar f. Jay Rock

Here’s a powerful song that takes you back to Kendrick’s childhood in Compton, California. The beat is smooth and Jay Rock’s verse is incredible. 

Mo Money Mo Problems” by The Notorious B.I.G. f. Diddy and Ma$e

In this song, The Notorious B.I.G. is rapping with Diddy and Ma$e about the downsides of being famous and rich. 

Man Who Helped Young Dolph’s Killer Gets Sweetheart Deal

Jermarcus Johnson, who helped in the high-profile killing of Memphis rapper Young Dolph, has been sentenced to six years of probation after pleading guilty to three counts of accessory after the fact to murder.

A judge handed down the verdict on Friday, November 22.

Prosecutors said Jermarcus cooperated in the case against his half-brother, Justin Johnson, by providing critical testimony.

As part of the probation agreement, Johnson is required to complete 20 hours of community service annually.

If he fulfills all conditions during the probation period and avoids further legal trouble, he may be eligible to have his record expunged under diversion guidelines.

Young Dolph’s life was tragically cut short on November 17, 2021, when he was gunned down at Makeda’s Homemade Butter Cookies, a bakery he frequently visited.

An autopsy revealed that Thornton had sustained 22 gunshot wounds.

Justin Johnson and Cornelius Smith, the two identified shooters, reportedly carried out the attack after being promised $40,000 each, according to testimony revealed during Justin Johnson’s trial.

While on the run, Jemarcus helped them communicate to avoid the cops.

Justin Johnson is serving a life sentence plus an additional 50 years for charges including first-degree murder.

Prosecutors linked the killing to a longstanding feud between Young Dolph’s Paper Route Empire label and Yo Gotti’s Collective Music Group (CMG).

The feud allegedly began over a decade ago when Young Dolph declined an offer to join Yo Gotti’s CMG roster.

Since then, tensions between the labels reportedly escalated, culminating in Dolph’s murder.

Smith testified that “Big Jook,” Yo Gotti’s brother, coordinated the murder, claiming there had been a hit placed on Young Dolph’s life.

Smith said, “We knew they had a hit on Dolph’s head or whatever. Big Jook had a hit on Dolph’s head or whatnot. [Hernandez] Govan had told me about it.”

Meanwhile, Hernandez Govan is accused of ordering the hit and faces charges of first-degree murder, attempted first-degree murder, and conspiracy to commit first-degree murder.

Another suspect, Shundale Barnett, has been charged with being an accessory after the fact, though further details of Barnett’s involvement remain murky.

Big Jook was shot and killed in January 2024 under circumstances that remain under investigation.

No arrests have been made in connection with his murder.

Artists First, Suits Second: How Music Engineer Antonio Esguerra Ensures a Supportive Environment for Artists in the Studio

Antonio Esguerra is a music engineer whose approach to sound and creativity goes far beyond just technical skills. As a highly respected figure in the music industry, Esguerra has gained a reputation not only for his mastery of engineering but also for his deeply artist-centered philosophy. 

While the traditional image of a music producer and engineer often involves high-powered business deals and a focus on commercial success, Esguerra stands out by placing artistry and emotional connection at the forefront of his work.

“Making music is often frustrating for artists because production is its own unique skill,” says Esguerra. “When they feel the process become effortless and hear something incredible emerge from the speakers—it’s magic. It’s the goosebumps you get from hitting play for the first time. That’s what makes my work so rewarding.” 

His technical expertise in music engineering enables him to transform this magic into reality, allowing the artist’s vision to be fully realized while maintaining the integrity of the sound.

Esguerra’s approach is rooted in understanding both the technical and emotional sides of music creation. He believes that the key to great music engineering lies in creating a supportive, judgment-free space where artists feel safe to experiment and push their boundaries: “The studio is like a microscope,” he says. 

“Live music is ephemeral, but once recorded, minutiae and details emerge that can be aggravating or liberating. The space needs to be safe for the artist to explore that,” he explains.

For Esguerra, building trust with the artists he works with is essential. Rather than immediately diving into technical processes, he takes the time to understand the artist’s background, influences, and personal challenges. “What I focus on is empathy and familiarity. I try to ask questions about their musical upbringing, taste, and favorite records, and I put together a playlist of songs they think might relate to what they want to do. 

“The idea is to gather a common musical language, and comfort in the studio,” he says. This deep connection allows him to tailor his technical skills to the specific needs of each artist, creating a customized environment that fosters creativity.

“I aim to create a laid-back, judgment-free space for my clients and artists because making art is tough,” Esguerra says. 

“You’re exposing yourself, making mistakes, and sometimes hitting wrong notes. The studio is the place where you can mess up, try new things, and not feel judged for it. Once an artist trusts you, they’re willing to go deeper, be more experimental, and really push the boundaries of their own work.”

Highy experienced in mixing and engineering in a number of styles, including R&B, Hip-hop and Soul. Esguerra has worked with a variety of music artists, including Bollywood artists Shankar Mahadevan and Javed Ali. 

Ali has 15 million monthly listeners, and one of the tracks he has worked on has had over 2 million plays. Esguerra has also worked with WWE Champion Jinder Mahal.

The flexibility he provides in his workflow allows artists to find their creative flow without the pressure of deadlines: “Sometimes, you have to take a step back from the technical side and let the creativity unfold naturally,” he explains. 

“The best moments often come when you least expect them.” This adaptability is one of the key elements that sets Esguerra apart as a music engineer—he knows when to push and when to step back, ensuring the artist has the space they need to create their best work.

Beyond the technical aspects of his work, Esguerra also serves as an emotional pillar for the artists he works with: “The real challenge is finding each person’s unique vibe and groove,” he says. 

“With every new project, there’s this brief, tense moment where you’re feeling out the dynamic, trying to understand what makes someone tick—and what doesn’t. It can be scary, but that’s what I love about it. When I succeed, it’s satisfying. It’s taught me to be more socially intelligent, more connected.”

Artist L!nwood, who has worked with Esguerra, praises him for his intuitive understanding of music engineering: “He has an incredible ear. When he listened to my song, he understood the nuances right away,” says L!nwood. 

“He didn’t just follow the basics; he placed the vocals, bass, and drums exactly where they needed to be without me even giving direction. His musical intuition is impressive.”

His commitment to artistic integrity makes Antonio Esguerra stand out in the competitive world of music engineering. 

In an industry where commercial success often trumps the artist’s vision, Esguerra advocates for the latter: “For many artists, recording can be the most frustrating part—it requires a whole different skill set. A lot of brilliant songwriters and performers struggle with it. But when they suddenly feel the process become effortless, when they hear something incredible coming through the speakers, it’s magic. That’s the most rewarding part of my work,” he says. 

“His belief that music should serve the artist’s vision, rather than conforming to market trends or record label demands, has earned him the trust of both independent and mainstream artists.

Patricio Notholt, a fellow Berklee College of Music graduate and longtime collaborator, speaks highly of Esguerra’s technical prowess: “His technical expertise is incredible—I reached out with all kinds of questions on studio setup, cable management, and engineering details. With his experience managing a studio in Chicago, he’s my go-to whenever I need help with anything technical. I trust his input completely,” says Notholt.

Esguerra’s approach to music engineering is rooted in his dedication to supporting artists in every way possible—creatively, emotionally, and technically: “Do it, because it’s worth it,” he says. 

“Making music can be tough—life’s tough enough already—so don’t make it harder than it needs to be. Sometimes, you pull something raw and difficult out of yourself for the world to see, which can feel messy. But if you have someone on your team holding your hand through it, it changes everything.”

Esguerra’s ability to blend technical expertise with emotional support and creative freedom has set him apart as one of the most respected music engineers in the industry today. 

His artist-first approach ensures that the creative process remains at the heart of every project, making him not just a technician but a true partner in the artistic journey.

Xzibit Collaborator Conor McGregor Tweets & Deletes Assault Case Jab At Jake Paul

In the latest chapter of their long-running feud, Conor McGregor and Jake Paul have reignited their war of words—but this time, the backdrop is a far more graver matter.

Following McGregor’s loss in a civil sexual assault case, where he was ordered to pay €250,000 to accuser Nikita Hand, Paul wasted no time throwing verbal jabs at the UFC star and UFC president Dana White.

“Dan hits his wife. Conor’s convicted of rape. But I’m the bad guy?” Paul, known for his provocative social media antics, wrote in a tweet.

McGregor, who has vowed to appeal the verdict, didn’t take the insult lying down.

In a now-deleted post on X, he lashed out at Paul, writing, “No you’re a gay little nerd,” punctuated by a laughing emoji.

While crude, McGregor’s rebuttal encapsulates the deep disdain between the two. This isn’t their first clash. McGregor has repeatedly belittled Paul in the past, branding him a “p***bag” and dismissing his boxing career as a farce. Paul, in turn, has baited McGregor with challenges, most recently proposing a weight-class-free MMA fight.

But their most recent social media taunting match is anything but a laughing matter and may hold multiple repercussions for people connected to McGregor’s inner network. The verdict in McGregor’s case stems from an incident in 2018, where Hand accused him of a violent assault in a Dublin hotel room.

McGregor has maintained the encounter was consensual and expressed disappointment in the ruling, stating, “I am with my family now, focused on my future.”

While McGregor is no stranger to controversy, the case marks a significant stain on his public image and legal record. Beyond the Octagon, McGregor’s ambitions have stretched into the music industry. In July, he launched Greenback Records, signing hip-hop heavyweight Xzibit and legendary group Bone Thugs-N-Harmony to the label.

The gamble seemed poised to pay off, with Xzibit recently dropping “Play This At My Funeral,” the first single from his upcoming album King Maker. The gritty track has already garnered buzz, promising to put Greenback Records on the map. But now, industry insiders are questioning whether the fallout from McGregor’s legal troubles could jeopardize the label’s success.

Others argue that controversy could bolster the label’s visibility, especially with Xzibit’s penchant for raw, unflinching storytelling aligning with McGregor’s larger-than-life persona.

For now, Greenback Records presses forward, with Xzibit’s album slated for early next year. Still, the storm surrounding its founder raises questions about the sustainability of McGregor’s crossover aspirations. Can the brash fighter keep his focus on building a music empire, or will his legal and personal battles undermine his efforts?

As McGregor and Paul continue their public sparring, one thing is clear—this saga is far from over. Whether it’s in the ring, the courtroom, or the recording studio, McGregor’s next moves will undoubtedly be scrutinized.

See the photo of the hostile interaction between the pair of fighters above.

EXCLUSIVE: The Game Suffers Another Legal Blow In Sexual Assault Case

The Game vowed he would never pay sexual assault accuser Priscilla Rainey when she won a 7.1 million judgement by default in 2016. Years later, the fight continues and the Los Angeles-bred rapper just lost another round.

According to court documents obtained by AllHipHop, United States District Judge Mark C. Scarsi denied Game’s request to dismiss the Order for Sale of Dwelling and order the Marshal to release the levy on his Calabasas home. He also tossed out an upcoming court date that was supposed to happen at the top of January 2025.

“An order to show cause why an order for sale of a dwelling should not be made is pending,” the judge wrote. “Judgment debtor Jayceon Terrell Taylor [The Game] filed a motion to dismiss the order tho show cause. The Court deems the motion appropriate for decision without oral argument. The Court takes off calendar the hearing on the motion set for January 6, 2025.”

Rainey served The Game and manager Wack 100 in August, hoping to seize his Calabasas property.

A process server allegedly sent a notice of levy, writ of execution and more to The Game and Wack 100 on Rainey’s behalf in June. Both men were listed at the same address. Rainey accused The Game of transferring his home’s deed to Wack 100 to prevent her from seizing it. But The Game insists he was never personally served.

“No individual delivered any court papers to me on August 22, 2024 at any location,” The Game says. “No individual approached me on August 22, 2024 at any location and stated anything that would suggest to me they were attempting to serve me with court papers. I ultimately became aware of the Order to Show Cause Why Order for Sale of Dwelling Should Not Be Made from media reports about it.”

The docs The Game’s attorney filed on November 20 contested the process serve’s claims.

“According to the declarant, Robert Sedillo, Jr., he personally served Defendant at 10:17 A.M,” they read. “The absence of a unit number in the description of Defendant’s alleged service suggests Mr. Sedillo does not claim to have served Defendant at any particular unit. According to the POS Mr. Sedillo then waited around for almost half an hour (24 minutes) before going to Unit B318 and leaving ‘the documents’ with an unnamed adult. But why?

“If Mr. Sedillo had in fact personally served Defendant at 10:17 A.M., service was complete and there was nothing left to be done. Delivering the documents to someone else, not Defendant, was an idle act; it was neither personal service, service by mail, or—standing alone—any kind of substitute service. The only reason for Mr. Sedillo to make the 10:41 A.M. delivery was because he did not actually personally serve Defendant at 10:17 A.M. as he claims.”

Rainey initially sued The Game in 2015 for an alleged sexual assault that took place during the filming of his VH1 reality show, She’s Got Game. Since the jury’s decision to award Rainey the exorbitant sum, The Game has resisted paying the judgment, leading Rainey to take further legal actions to collect the money.

Gunna’s Lawyer Denies Wack 100’s Allegations That His Client Snitched On Young Thug

Gunna’s legal counsel is speaking out after Wack 100 called the Atlanta rapper out over his claims that he has possesion of the “Him” rapper incriminating Young Thug.

Gunna, who accepted an Alford plea deal in 2022 connection to the YSL trial, is represented by Steve Sadow. He issued his own response to the allegation after popular fan page ThuggerDaily shared a string of tweets covering Wack 100’s Instagram Live session on Thursday (November 21).

Sadow addressed Wack 100’s claim that he possessed video of Gunna talking to authorities for two hours. Sadow built on to the argument the platform laid out to debunk Wack 100’s allegations in a reply to a tweet confirming Gunna was never interrogated.

“Never met with the prosecution and never spoke to investigators,” Sadow wrote in his rebuttal.

Prior to Sadow’s remarks, Wack 100 pressured Gunna to speak on the matter, essentially holding the video of the rapper’s alleged cooperation hostage in a blackmail attempt.

“Listen, I’m putting it together,” Wack 100 began, addressing Gunna directly. “I’ma give you some time though, Gunna, for you to go ahead on and confess. Confess to the world about all the telling you did.”

Wack 100’s claims follows a recent uptick in shade Gunna has been receiving from his fellow rap peers. Earlier this month, Young Thug himself took to Twitter to publicly distance himself from his former close collaborator in a post that was quickly deleted.

“Stop acting like we’re friends on the internet. I don’t know you,” Thug wrote in the tweet.

Additionally, Thugger petitioned Lil Baby, who also previously alluded to Gunna being a rat, to release a collab “on these rats” causing a frenzy on Twitter and social media at large. Even with all that said, it’s still hard to believe that Gunna could truly be at odds with Thug, considering his lawyers petitioned the court to allow the two to maintain limited contact for business purposes.

Watch the video of Wack 100’s rant targeting Gunna below.

Kanye West Strangled Model, Called It “Art”

Kanye West is being sued by Jennifer An—a former contestant from season 13 of *America’s Next Top Model*—who has accused the rapper of assaulting her during the production of a music video in New York City.

The federal lawsuit, which was recently filed, alleges that West choked her until she lost consciousness and forcibly shoved his fingers down her throat, calling the act “art.”

According to the complaint, the incident took place during the filming of a music video for La Roux’s song “In For the Kill.”

An said she had been chosen from a lineup of women after West reportedly stated, “Give me the Asian girl.”

The suit claims the scene was shot at a New York City hotel, where An alleged the rapper strangled her while yelling, “This is art. This is f**king art. I am like Picasso.”

The federal filing also names Universal Music Group as a defendant, accusing the company of facilitating gender-motivated violence and then attempting to cover up the alleged assault.

An asserts that the label took intentional steps to “bury” the incident.

Neither West nor An appear in the version of the music video currently available online.

This legal action against West comes in the wake of an updated lawsuit from his former assistant, Lauren Pisciotta, who in October accused the rapper of sexual misconduct.

Snoop Dogg Blames Drake’s Kendrick Lamar Diss Re-Share On “Edibles”

Snoop Dogg was called out on Kendrick Lamar’s new single “wacced out murals” from his surprise album, GNX, rapping, “Snoop posted ‘Taylor Made.’ I prayed it was the edibles/I couldn’t believe it, it was only right for me to let it go.” Kendrick was referring to his highly publicized beef with Drake that included a K. Dot diss called “Taylor Made Freestyle.”

Hours after GNX arrived on Friday (November 22), Snoop conceded it was indeed the marijuana. He wrote, “K Dot new album GNX. It was the edibles. West West King.”

Snoop Dogg, of course, wasn’t the only one who caught a stray. Kendrick Lamar also name-checked Lil Wayne over the 2025 Apple Music Super Bowl Halftime show controversy.

“Used to bump Tha Carter III/I held my Rollie chain proud,” Lamar raps. “Irony, I think my hard work let Lil Wayne down/Whatever, though, call me crazy, everybody questionable […] Won the Super Bowl and Nas the only one congratulate me.”

The line, which caused a stir on Twitter (X), prompted Lil Wayne to respond. In the wee hours of Saturday morning (November 23), the Young Money rapper headed to the social media platform with a message for those trying to bait him into a lyrical joust.

“Man wtf I do?!” he wrote. “I just be chillin & dey still kome 4 my head. Let’s not take kindness for weakness. Let this giant sleep. I beg u all. No one really wants destruction, not even me but I shall destroy if disturbed. On me. Love.”

Drake’s “Taylor Made Freestyle” arrived in April amid his highly publicized beef with Kendrick Lamar. The track featured artificial intelligence-generated voices of West Coast legends Snoop Dogg and the late 2Pac. Lamar had previously cited ‘Pac as one of his biggest musical influences.

“They told me the spirit of Makaveli is alive in the n#### under five-foot-five, so it’s gotta be you,” the A.I. 2Pac rapped. “I would beef the whole f###### game/It was me and Snoop Dogg, have my f###### shirt off in the House of Blues.”

Drake was eventually forced to remove the song at the behest of Tupac Shakur’s estate, which threatened to sue him in a cease-and-desist letter and condemned “the dismaying use” of his voice.

“The Estate is deeply dismayed and disappointed by your unauthorized use of Tupac’s voice and personality,” the estate’s attorney Howard King wrote. “Not only is the record a flagrant violation of Tupac’s publicity and the estate’s legal rights, it is also a blatant abuse of the legacy of one of the greatest Hip-Hop artists of all time. The Estate would never have given its approval for this use.”

Lil Wayne Warns Kendrick Lamar Over “GNX” Bar: “Let This Giant Sleep” 

Lil Wayne is urging Kendrick Lamar to proceed with caution after the Pulitzer Prize winner addressed the 2025 Super Bowl Halftime show controversy on his surprise new album, GNX

On “wacced out murals,” Lamar reacts to Wayne admitting to being hurt he was passed over for the coveted slot.    

“I used to bump Tha Carter III, I held my Rollie chain proud/The irony I think my hard work let Lil Wayne down,” he raps on the song. “Whatever though, call me crazy, everybody questionable/Turn em to an Eskimo/I drew the line and decimal.”  

Lamar also reacted to his peer’s complaints that Lil Wayne was snubbed, noting Nas was the only rapper to show love.  

He continues: “Won the Super Bowl and Nas the only one congratulate me, all these n##### agitated/I’m just glad they showing they faces.” 

In the early hours of Saturday morning (November 23), Wayne hopped on Twitter (X) with a message for those trying to draw him into lyrical warfare.  

“Man wtf I do?!” he began. “I just be chillin & dey still kome 4 my head. Let’s not take kindness for weakness.” 

He warned, “Let this giant sleep. I beg u all. No one really wants destruction, not even me but I shall destroy if disturbed. On me. Love.” 

Fans Debate Lil Wayne Vs Kendrick Lamar

Fans in the replies were divided, with some telling Lil Wayne to chill, arguing that Kendrick Lamar didn’t diss him, while others hyped up a battle. 

“LET THAT LIGHTER FLICK WEEZY,” one exited user shared. 

“It wasn’t even a diss lol don’t let mfs gas you up,” another added. 

A third called out Weezy, pointing to his video reacting to Lamar getting the Super Bowl show, writing, “You said the superbowl was taken from you when it wasn’t promised in the first place and never congratulated the artist who looked up to you and worked hard himself to get it, but now it’s ‘wtf I do?’ Lol.” 

In September, Lil Wayne said he was broken after hearing Kendrick Lamar was selected as the Super Bowl headliner. However, he accepted responsibility for not preparing himself for the announcement.  

“I blame myself for not being mentally prepared for a letdown and for just automatically mentally putting myself in that position; like somebody told me that was my position,” he said in a candid video. “But I thought there was nothing better than that. That stage and that platform in my city. So that hurt. It hurt a whole lot.” 

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Kendrick Lamar Name-Checks Lil Wayne & Snoop Dogg On “GNX” Album, Setting Rap Twitter Ablaze

Kendrick Lamar has his fellow rap peers and fans alike clamoring on social media amid the release of his new album GNX.

Hip-Hop Twitter hit the ground running after quickly latching on to the opening track, “wacced out murals,” in which where Kendrick addresses both Lil Wayne and Snoop Dogg and references Nas.

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A post shared by AllHipHop (@allhiphopcom)

In one bar, Kendrick Lamar appears to go at Weezy over the backlash he faced after announcing his performance at the upcoming 2025 Apple Music Super Bowl Halftime show and Wayne’s reaction video.

“Used to bump Tha Carter III, I held my Rollie chain proud,” Lamar raps. “Irony, I think my hard work let Lil Wayne down/Whatever, though, call me crazy, everybody questionable.”

He then maneuvered to airing out his grievances with Snoop for posting the “Taylor Made” diss track Drake released on his Instagram account.

“Turn me to an eskimo, I drew the line and decimals/Snoop posted ‘Taylor Made,’ I prayed it was the edibles/I couldn’t believe it, it was only right for me to let it go,” he raps. “Won the Super Bowl and Nas the only one congratulate me.”

The potent lyrics struck a chord among several artists, including Chief Keef’s close collaborator Lil Gnar, who tweeted “no lil wayne disrespect allowed.”

https://twitter.com/lilgnar/status/1860030556676981240

Elsewhere on the timeline, TDE artist Ray Vaughn caused a stir of his own after sharing a post in which he stated “Kendrick is the best rapper alive period.” Weezy fans were seemingly triggered, as the New Orlean’s-bred MC was notorious for proclaiming during his unparalleled run in the 2010s. Vaughn even told off a user in the thread of angry replies, suggesting man perform an oral sex act on his mother rather than express his opinion on his declaration.

https://twitter.com/rayvaughn/status/1860012091878572528

Aside from the conversation about the Wayne bar, other artists such as Jason Martin, aka Problem, and Vince Staples brought their reactions to Lamar’s potent lyricism throughout the album straight to their Twitter follower’s screens, as well.

“Cut granny off today,” Staples wrote in reaction to “tv off” featuring up-and-coming West Coast rapper Lefty Gunplay. In another separate tweet, Martin remarked on Lamar’s apparent nod to Atlanta rapper Fabo over his bar on “hey now” in which he raps, “starting to see spaceships on Rosecrans.”

https://twitter.com/PROBLEM354/status/1860017016343855136

Check out the post below to see additional reactions from artists such as Doechii, Hit-Boy, Reason, Sonny Digital and more.

https://www.instagram.com/p/DCr6_FOT2z1/?img_index=1

Khalid Confesses He Was “Outed” As He Confirms Sexuality On Twitter

Khalid was forced into addressing his sexuality on Twitter (X) after someone tweeted, “Wait hope Mr Khalid isn’t GEHHH,” to which he replied, “I am! And that’s okay.” The Grammy Award-nominated singer quickly followed up with, “there yall go. next topic please lol.” He went on to say it was nothing he was trying to hide, he just didn’t feel obligated to tell everyone.

“I got outed and the world still continues to turn,” he said. “Let’s get this straight (lmao) I am not ashamed of my sexuality! In reality it ain’t nobodies business! But I am okay with me. love yall..” He then re-tweeted another comment from a fan, who said, “the closet was glass baby. but we accept you. it’s not about who you love it’s about your artistry.” He fired back, “I wasn’t hiding anything! It’s just none of your business.”

Khalid has other reasons to celebrate. Earlier this month, he earned his third diamond-certified single from the Recording Industry Association of America (RIAA) after “lovely” crossed the 10 million mark. It joins his other two diamond-certified tracks, “Location” and “Young Dumb & Broke.” Initially, he seemed elated by the news, tweeting, “BRO WHAT THE FUCKKK” but then claimed, “actually I don’t even care that much fr.”

Khalid’s latest album, Sincere, arrived in August via RCA and peaked at No. 11 on the Billboard Top R&B/Hip-Hop Albums chart. Its one sole feature was Arlo Parks, who appeared on the single “Breathe.”

The album served as the follow-up to Free Spirit and the mixtape Scenic Drive (2021). He later explained during his time between projects, he needed to figure out who he was. As he said at the time, “I wasn’t even writing based on my experiences. I took it back to the roots and approached it as if I were debuting as an artist again. It’s like going back to the beginning of my journey, but this time with more awareness and knowledge.”