Russ shelled out $850,000 after failing to clear a two-chord sample on his breakout track “Losin Control,” a costly oversight he didn’t catch until the song had already gone multi-platinum.
The Hip-Hop artist opened up about the blunder during an appearance on the And The Writer Is… podcast, revealing that he never cleared the sample when he first uploaded the song to SoundCloud in 2015 as an independent artist, Mens Journalfirst reported.
The track later appeared on his 2017 debut album There’s Really a Wolf, released under Columbia Records.
“I forgot to clear a sample on ‘Losin Control,’” Russ said. “It was like a two-chord thing. And I just forgot. I was independent, I put it out on SoundCloud, whatever. Then it goes on the album, and it goes four or five times platinum.”
The issue came to light between 2018 and 2020, after the song’s commercial success triggered attention from the original sample’s rights holders.
Once they reached out, Russ had no choice but to pay up. “They came back and were like, ‘Yo, you didn’t clear this,’” he said. “I paid $850,000 because I didn’t clear a two-chord sample.”
Despite the steep price tag, Russ was able to cover the expense thanks to his major-label deal. “Luckily, I had just signed my deal, so I had money,” he added.
The incident serves as a reminder of the legal risks artists face when using unlicensed samples, especially in an era where viral success can turn a bedroom recording into a chart-topping hit.
Sample clearance remains one of the most overlooked but critical steps in music production.
Houston, we have a problem, and this is a true sign “THE WORLD IS COMING TO AN END.”
Bhad Bhabie just added a new accolade to her résumé—an official city citation from Providence, Rhode Island. The viral sensation-turned-alleged rapper, Danielle Bregoli, was formally recognized by Councilman John Goncalves for her “contributions to Hip-Hop artistry and cultural influence.” What is going on in the world? Looking at him crazy and her, too.
How did a now-21-year-old who became famous in 2016 after saying “Cash me outside, how ’bout dat?” on Dr. Phil became worthy of a rap honor? Well, rather than fade into the internet obscurity, Bhad Bhabie flipped the moment into becoming a rapper. Right. She could have done anything, but she accepted a deal from Atlantic Records to rap.
Let us look into this just a bit before we go off. Her breakout single, “These Heaux,” made her the youngest female rapper ever to chart on Billboard’s Hot 100. How? OK. She followed that with Gen Zero hits like “Hi Bich” and “Gucci Flip Flops” featuring Lil Yachty. OK, we’re getting warmer. This supposedly established her as an “artist.” To me, she was still a meme, but I live in outer space.
Councilman Goncalves is feeling her. His citation praised her for redefining how young people engage with culture and music. OK. “Bhad Bhabie has leveraged her platform in a way that’s undeniably impactful, from music and business to raising awareness about social issues,” he noted during the presentation.
Beyond music, Bhad Bhabie has carved out a lucrative digital empire. OK, we are now cooking. She famously claimed to have earned over $50 million on OnlyFans, capitalizing social media following. She’s also got a Snapchat show. She’s reportedly helping teens, who are abused by sharing her story.
In March, she welcomed her first child—well, OK.
For a girl once dismissed as a viral joke, Bhad Bhabie should be heralded. But she should not be regarded as anything honorable in Hip-Hop. Just say she’s entertainment and music, because we do not know this person outside of drama, and troll behavior. Once upon a time, her label used to check me because she was under 18. Welp! She’s grown now!
I will say one thing, she had DMX in a video and that was clutch. RIP, X!
Cardi B turned heads and lit up social media after making an unexpected appearance at the Diggs Day Football Camp in College Park, Maryland.
The NFL standout Stefon Diggs hosted his annual youth-focused community event on Saturday (June 7).
Held at the University of Maryland—Diggs’ alma mater—the camp brought together local kids, coaches and community leaders, but it was the arrival of the Grammy-winning rapper that sent the event into viral territory.
Michael Locksley, head coach of the Maryland Terrapins, shared a photo of himself with Cardi B on Instagram, captioning it, “Welcome to #Terpsville @iamcardib.”
The pop-in from Cardi B came just months after she filed for divorce from Offset and the confirmation of her relationship with Diggs.
Though she didn’t speak publicly at the event, her presence was enough to ignite a wave of online buzz, with photos and clips from the camp quickly spreading across platforms.
The Diggs Day Football Camp, which Diggs hosts annually, focuses on giving back to the community and mentoring young athletes through football drills and motivational sessions.
Diggs, a Maryland native and current NFL wide receiver for the New England Patriots, has long used the event to stay connected to his roots.
Flau’jae, the rapper and basketball star, delivers raw emotion with the release of “Remember When,” her most vulnerable track yet. The song is a tribute to her father, the late Savannah rapper Camoflauge.
Flau’jae’s father was gunned down just before she was born. The powerful single arrives with a black-and-white visual that articulates her pain.
The track pulls listeners deep into Flau’jae’s personal story. “I came in a family it was already torn/My mama couldn’t smile when she had me, she had to mourn…” she raps.
In the video, Flau’jae performs seated at a piano, surrounded by flickering scenes from her life and lineage. Archival footage of Camoflauge rapping and holding vinyl, shots of his headstone and flashes of Savannah streets fill the screen.
Then there are clips from Flau’jae’s own path. The video offers her America’s Got Talent moment, music video with Lil Wayne and game-time highlights from her LSU basketball career. It all ends with the frame: “Jason Johnson aka Camoflauge (1981–2005).”
Flau’jae has been touring with BossMan Dlow’s DLOW CURRY Tour in cities like Boston, Toronto and Denver. Her athletic career is not languishing either. ESPN’s Full Court Press is a docu-series that spotlights three standout women’s college basketball stars navigating the season, including her.
Ray J has threatened to bounce—and not just from social media. The “One Wish” singer-turned-streamer lit up the internet after posting a video declaring he’s leaving the United States as the Diddy legal saga heats up.
In a clip shared on his Twitch, which I refuse to link to, Ray J said, “If they on my Twitch they better come get me now, ’cause I’m gone. And when I’m gone, ain’t no turning back. I’m going to Antigua.”
Seriously, he said it. Antigua. Why not Bali? Seems like a better place, but let us walk this down.
As Diddy faces mounting legal issues, there’s been a noticeable silence from many celebs. Who has said ANYTHING? Some of these stars have even quietly disappeared. Some have bought homes overseas. Others bounced before the trial.
If you’ve been watching closely, Ray J has been all over the place lately. He’s streaming, he’s doing content on TikTok and— like many other celebs—he’s apparently trying to figure out his next hustle. Everybody is broke. Let’s be honest here.
Is this a real “get outta Dodge” moment or just more of a Twitch moment? Some are raising eyebrows at his longtime involvement in the entertainment scene though and saying he’s got more out there than a tape with Kim Kardashian.
There are those resurfacing old stories. Homeboy was allegedly around Whitney Houston in her final days. Some say he sold drugs. (He denies selling drugs to Whitney, Cassie and others.) Then there is his on-and-off BS with Princess Love. Some have charged that he knows about all those industry parties. Is Ray J feeling the heat? Is this just another Ray J silly antic or something more?
I will say he looks serious. In that video, you can see it in his face: he’s not joking. Paranoia, preparation or performance? You tell me.
The pressure is making a lot of people unravel in real time. This is getting to people. Heck, it is getting to ME. I hate this. Go back to the old days when evil was hidden in plain sight like Elvis dating a 14 year old. Anyway, that was then and this is now.
Ray J, do your thing (your “thing” is leaving America) and do not twitch.
New Orleans rapper Rob49‘s latest single, “WTHelly,” has taken the music world by storm, gaining traction not only on social media platforms but also among high-profile celebrities. The song’s catchy hook and energetic delivery continues to rise in popularity.
One of the most notable endorsements came from pop icon Madonna, a pop pillar. The veteran singer showcased her appreciation for “WTHelly” by posting a video on TikTok. The unexpected nod from the pop queen has further propelled the song’s reach, introducing it to a broader audience.
Rob49 was surprised at the recognition, telling AllHipHop it was unexpected. “Not at all, I didn’t see that coming. Madonna was rapping it on video. That blew my mind.”
The song’s virality isn’t limited to Madonna’s endorsement. NBA star Tyrese Haliburton was also mentioned in the track, leading to increased attention from sports fans. Rob49 is well aware that he’s on his way.
With “WTHelly” climbing the charts and receiving co-signs from major figures in both the music and sports industries, Rob49 is solidifying his place as a rising star in the Hip-Hop scene.
Beyond the viral success of “WTHelly,” Rob49’s album Let Me Fly has also been making waves in the music industry. The album features collaborations with major artists like Cardi B, Lil Wayne and Meek Mill, showcasing Rob49’s versatility and appeal. His unique blend of Southern grit and modern rap elements positions him as a standout artist to watch in the coming years.
Rapman marked his birthday with a major announcement on Friday (June 6), revealing that he will direct The Council, a Netflix biopic centered on Harlem drug lord Nicky Barnes and the criminal empire he built in the 1970s.
The film, penned by Concussion screenwriter Peter Landesman, will chronicle the rise and fall of The Council—an organized crime syndicate of seven Black men who dominated the heroin trade in Harlem, Deadline reports.
At the center of the story is Barnes, the flashy and elusive figure once dubbed “Mr. Untouchable” by the New York Times in 1977.
“It’s my Birthday and I finally get to talk about this!” Rapman wrote on Instagram. “Before Frank Lucas there was Nicky Barnes. His story gripped me from the start and I honestly can’t wait to share it with you all. #TheCouncil.”
The British rapper-turned-director, born Andrew Onwubolu, is riding high off the success of his Netflix superhero series Supacell, which debuted in 2024 and quickly became a global hit.
The show’s popularity led to a swift renewal for a second season, which Rapman confirmed is still in the works. “P.S. Supacell season 2 is still on the way,” he added.
Rapman’s career has been on a steady rise since his 2018 YouTube series, Shiro’s Story, caught the attention of Jay-Z, leading to a deal with Roc Nation.
He later earned a BAFTA nomination for his feature debut, Blue Story and was appointed MBE in 2022 for his contributions to drama and music.
The upcoming film will dive into the real-life saga of Nicky Barnes, who founded The Council in 1972.
Modeled after the Mafia, the group controlled a large portion of Harlem’s heroin market. It partnered with the Italian-American mob to expand its reach across the Northeast and into Canada.
At his peak, Barnes was worth over $50 million and known for his designer suits, luxury cars and ability to dodge law enforcement.
But his reign unraveled after his 1978 conviction. While serving a life sentence, Barnes turned informant after learning his crew had betrayed him. His testimony helped convict 16 people, including former Council members.
He admitted to involvement in eight murders and entered the Witness Protection Program in 1998. He died in 2012, though his death wasn’t publicly revealed until years later.
Diddy has once again petitioned the court for a mistrial, alleging that prosecutors knowingly presented false testimony during the proceedings. At minimum, he believes they should have known.
The rapper and entrepreneur’s legal team submitted their motion on Saturday morning (June 7), centering their argument on testimony regarding the alleged incident in which Bryana Bongolan, a friend of Cassie Ventura’s and a fashion designer, claims Diddy held her precariously over the edge of a 17-story balcony.
Diddy’s attorneys contend that the prosecution’s case was compromised by Ventura’s testimony, in which she asserted that she personally witnessed Diddy holding Bongolan over the balcony’s edge. However, text messages exchanged between Ventura and Kristina Khorram—Diddy’s employee often described as his chief of staff—suggest otherwise. In one message, Ventura states, “I just found out some crazy s###,” implying she didn’t actually observe the event firsthand.
Further, Diddy’s defense highlights discrepancies concerning photographic evidence of Bongolan’s alleged injuries. Bongolan testified that after being dangled over the balcony, Diddy pulled her back and threw her into furniture, resulting in bruises and neck injuries.
Prosecutors introduced photos purportedly documenting these injuries, with metadata indicating they were taken on September 26, 2016. However, Diddy’s team presented alibi evidence placing him on the East Coast on that date, asserting he couldn’t have committed the acts alleged. Prosecutors later suggested the incident likely occurred later, around September 29 or 30, based on Cassie Ventura’s texts.
This marks the second mistrial request filed by Diddy’s legal team. Last month, they sought a mistrial over the alleged destruction of fingerprints on a Molotov cocktail bottle purportedly used in the vandalism of Kid Cudi’s vehicle. Diddy argued that the destruction of evidence was intended to prejudice the jury, but the judge denied that motion.
Diddy has been behind bars since his September 2024 arrest. He’s pleaded not guilty to all charges.
Moby (real name Richard Melville) was born in New York City and witnessed Hip-Hop’s evolution firsthand. In a recent interview with AllHipHop, the pioneering electronic DJ/producer touched on his respect for classic Hip-Hop artists, including Big Daddy Kane.
Kane, who rose to prominence with albums like Long Live the Kane (1988) and It’s a Big Daddy Thing (1989), dominated the scene throughout the 1980s and early ’90s. Combined with his impeccable style and undeniable swagger, Kane always made an entrance.
Looking back, Moby remembered DJing at Club Mars in New York City’s Meatpacking District around the late ’80s, when Kane strolled in.
“Big Daddy Kane, 3rd Bass—the only good white Hip-Hop that’s ever been made—and Run-DMC are some of my favorites,” he said. “One time I was DJing on the second floor of Mars and all these rappers would come in. But the first time Kane came in, it was like seeing royalty. There was no one bigger than him. When he walked in with his fade, his phenomenal suit and everything else, it was like the Pope had just entered the building.
“I remember him standing by the bar. I can see it so clearly, like from the DJ booth, trying not to look too much because like, that’s Big Daddy Kane standing by the bar, drinking champagne and surrounded by security or whatever. Ultra Magnetic MCs, Run-DMC, Rakim, De La Soul—they were all amazing—but no one was more royal at that time than Kane.”
Moby’s ambitions as a DJ forced him to dive into every genre. As he explained, “When I was DJing in the ‘80s, to be to be a working DJ back then, you essentially had to play everything. If someone said, ‘Hey, can you play dancehall reggae?’ You’d be like, ‘Yep, I can do that.’ Or, “Can you play old soul?” Sure, I can do that. Can you play house music, Hip-Hop?’
“So you had to love everything. Also, it was a really exciting time because all these genres had just been invented. When you’re playing house records in 1989, house music was invented two years before.”
Moby went on to release dozens of albums, including his commercial breakthrough, Play. Released in 1999, the project—now celebrating its 25th anniversary—spawned the crossover hits “South Side” and “Porcelain.” But he often cites Hip-Hop acts like Eric B. & Rakim and Public Enemy as some of his early influences. In fact, he and Public Enemy did a song together called “Make Love F### War” in 2004.
“I hadn’t heard it in ages, but it’s really good,” he recalled. “I love the message, and I love when he put it out. It was f###### awesome. I hadn’t heard it in forever and I was like, ‘Wow, this is actually really good.'”
Moby recently re-launched his mobygratis website, which he originally put up in 2005. It allows users to reimagine roughly 2,000 tracks Moby has made throughout the course of his career, one that has continually reinvented itself along with the way Hip-Hop beats are made. He noticed a shift in the 1980s.
“There was a change in Hip-Hop when all the producers started using samplers,” he added. “Early Hip-Hop was cute, but it was kind of a little goofy because it was like the Fat Boys and Whodini. It was fun but a little goofy. Then all of a sudden, The Bomb Squad, Rakim and Prince Paul got their hands on samplers, and that’s when the world really changed.”
Featured image: Moby with Vince Staples (Photo credit: Sorrell Scrutton)
JD Vance watched the Twitter (X) feud between Elon Musk and Donald Trump unfold on Thursday (June 5) with a mix of concern and disbelief. As vice president, Vance had witnessed plenty of political spats, but this one—pitting the world’s richest man against the President of the United States—was different, a public spectacle with potentially real consequences.
When Musk unleashed a barrage of posts attacking Trump, calling his flagship spending bill a “disgusting abomination” and even suggesting impeachment, Vance felt compelled to respond. In an interview released Friday (June 6), he called Musk’s attacks a “huge mistake,” warning that such public infighting would only deepen divisions and harm the country.
Yet Vance didn’t just scold Musk; he tried to downplay the tech mogul’s outburst, describing him as an “emotional guy” frustrated by the political process and the intense scrutiny his businesses faced.
“I hope that eventually Elon comes back into the fold,” Vance admitted. “Maybe that’s not possible now because he’s gone so nuclear,” hinting at the difficulty of mending fences after such a dramatic fallout. Despite his loyalty to Trump, Vance acknowledged Musk’s business acumen and the challenges that come with being thrust into the political spotlight.
As other Republicans urged reconciliation, Vance’s message was clear: high-profile feuds like this were a distraction and a mistake, especially when the stakes for the party—and the country—were so high.
In the end, Vance’s attempt to broker peace may have been as much about protecting the GOP’s future as it was about defending Trump. But as the dust settled, one thing was certain: calling the Musk-Trump fight a “huge mistake” was Vance’s way of urging both men to remember what was truly at stake.
In a since-deleted tweet, Elon Musk proclaimed it was “time to drop the really big bomb” and proceeded to write, “@realDonaldTrump is in the Epstein files. That is the real reason they have not been made public. Have a nice day, DJT!” He added, “Mark this post for the future. The truth will come out,” which Vance denied.
It was international news and, depending on political affiliations, people were either celebrating the implosion or scoffing at Musk’s allegations. The feud between the two was primarily triggered by Musk’s vocal criticism of Trump’s flagship legislative initiative, the so-called “big, beautiful bill.”
The bill, which includes massive tax cuts, reductions in Medicaid and other social programs as well as increased funding for Trump’s priorities like border security, is projected by the Congressional Budget Office to significantly increase the national deficit.
Renowned producer Timbaland sparked fury online earlier this week, when he announced his new AI entertainment company and its first artist, an “A-Pop” artist named Ta-Ta.
The backlash was swift, with hundreds of people expressing their disappointment over Timbo’s latest move. The longtime beatmaker initially addressed the uproar with an AI video essentially telling his critics to “get over it.” But since then, he’s changed his tune. On Friday (June 6), he posted another Instagram message, this time with a bit more sincerity.
“I know I’m trolling but let’s have a real conversation,” he said. “I love my independent artists. This doesn’t mean I’m not working with real artists anymore. And nah I don’t train ai off y’all music. This just means more creativity for creators. Going Live tomorrow.” He also included a clip of Ray Daniels talking about how “artists are never satisfied,” leading producers to cease working with them.
Despite his best intentions, people weren’t so forgiving. As one person wrote, “You call it trolling, but the moves you are making are not jokes. They are choices, and they come at the cost of real artists who are already fighting to be seen and heard. You showed your colours when you attempted to make a song using Biggie’s AI generated voice. You made it even clearer by partnering with Suno, whose founder has been very vocal about wanting to replace musicians, not support them. And now this? This isn’t disruption. It’s a cash-in.
“Saying you love independent artists means nothing when your actions actively undermine them. This isn’t creativity. It’s convenience. And for someone who once shaped the future of music, this isn’t pushing boundaries. You’re crossing them. Loudly. I’m sure the cheque was good. And by now, you’re too far gone to care. Signing off with “Let’s talk about it” sounds cute, but that’s not an invitation to a conversation. It’s a cover.”
Daniels’ claim that “Mickey Mouse is an AI character” also sparked a debate between engineer/producer Young Guru and Timbo in the comment section of his post. Young Guru wrote, ” You are completely wrong. I love you though. Mickey Mouse, bugs bunny are not AI. They are someone’s imagination come to life and put on the highest level. Someone had to sit and create.”
Timbo fired back, “naa you wrong these tools don’t work it self you have to learn how use and create your vision that’s yours it’s call IP that’s what bugs buuny and Mickey Mouse are the reason you say the high level because the tools where different.”
Young Guru, clearly not satisfied with Timbo’s response, replied, “you are absolutely wrong. Bob Hardaway had to sit down and create something from scratch in his mind. And you are missing the ping of human creativity. It’s way beyond music. So it’s ok for you to steal every person’s art that sits down with a blank piece of paper and draws a master piece with their own style?
“You just going to let AI copy that and say you are using a tool. No way. You are skipping all the other incredible things that happens to a child that learns to play an instrument. This ain’t about the music business. This is about human existence. If that’s the case we don’t need your genius. I can just copy you with AI. The train you are who you are is because of your talent and your taste. You don’t see the bigger picture.”
As expressed on social media, AI in music introduces a range of dangers that threaten both the creative and economic foundations of the industry. One major concern is the loss of originality and emotional depth, as AI-generated music often lacks the personal perspective and lived experience that human artists bring, resulting in compositions that can feel predictable, formulaic and emotionally flat.
The use of AI risks turning music into a product optimized for efficiency and commercial gain, rather than a form of authentic artistic expression. Economically, the widespread adoption of AI tools could displace musicians, composers, and producers, undermining livelihoods and reducing opportunities for human creators.
Ethically, AI’s ability to mimic the styles and even the voices of established artists without consent raises serious issues around copyright infringement, ownership, and the unauthorized use of personal likenesses, particularly as current legal frameworks struggle to keep pace with technological advances.
Additionally, the reliance on AI-driven recommendation algorithms by streaming platforms can narrow musical diversity, exposing listeners to a homogenized selection of tracks and stifling the discovery of new or experimental artists.
Timbaland is doubling down after facing intense backlash over his latest AI-powered music project, dropping a surreal video on Friday (June 6) that featured animated animals mocking critics and defending his controversial new virtual artist.
Just one day after launching his AI music venture Stage Zero and unveiling its first digital performer, TaTa, the legendary producer fired off a bizarre, AI-generated response video.
In it, a giraffe-like character at a mic scoffs, “AI is ruining music. Whatever. Go ahead and cry me a river since Timbo’s stamp is on that, too.”
Another creature took aim at the quality of human-made music, saying, “Y’all cry about AI taking your spot, but your song’s barely mixed. Why would we train it on that?”
The video continued with more animated jabs, including one character saying, “Timbaland ain’t the villain, he just ain’t babysitting y’all no more,” and another adding, “You worried about AI stealing your sound? Bro, you ain’t got one.”
The message was loud, weird and clear—but it didn’t land the way Timbaland may have hoped.
The comment section on his social media lit up with criticism, with many accusing him of disrespecting real artists and dismissing concerns about AI’s impact on creativity.
“You’re a legend man but this isn’t it, listen to the people,” one user wrote. “Art is human expression, doesn’t matter if the ‘songs’ are good, it’s not art, it’s vapid. there are surely better uses for AI.”
Another added, “This was an extremely bad move – telling your fans they have no talent that would be worthy of AI stealing and to stop crying about it. Mad.”
A third chimed in, “Lmao why u gotta diss real artists to promote your AI, just do your AI.”
Timbaland Introduces AI Artist TaTa
The backlash began Thursday (June 5), when Timbaland introduced Stage Zero, a platform focused on AI-generated music, and its first act, TaTa. The announcement drew immediate pushback from artists and listeners alike, many accusing the producer of abandoning the essence of Hip-Hop and diminishing human creativity.
Veteran producer Young Guru publicly urged him to rethink the move, writing, “Your voice is powerful and way too important to do anything like this… Human expression can never be reduced to this!!! This is way bigger than music!!! I say this in all love.”
Adding fuel to the controversy, the AI platform used for Stage Zero—Suno—is currently being sued by the RIAA for alleged copyright infringement.
Despite the criticism, Timbaland has shown no signs of backing down from his AI ambitions.
Fani Willis pushed back hard Thursday (June 5) when pressed about the lack of murder convictions in the sprawling YSL trial, calling the prosecution a success and defending her use of Georgia’s RICO law.
The Fulton County District Attorney clashed with a reporter during a press conference after being asked whether the years-long case was worth the taxpayer expense, given that no one was convicted of murder.
“My message to taxpayers is: it was an amazing outcome,” Fani Willis said. “We had 19 convictions, and the community is safer.”
The YSL case, which began with a sweeping 56-count indictment in 2022, initially named 28 defendants including rapper Young Thug. Prosecutors alleged the collective operated as a criminal street gang responsible for violent crimes across Atlanta.
Over time, most of the defendants accepted plea deals. Seven cases were dropped, and only one defendant remains on trial.
Young Thug received time served and 15 years probation after pleading guilty to gang and drug charges. Gunna took an Alford plea and got time served plus 500 hours of community service.
The final murder charge was dismissed earlier this week after a plea agreement, meaning the case will end without a single murder conviction.
Critics, including defense attorneys, have questioned whether the prosecution’s heavy reliance on Georgia’s Racketeer Influenced and Corrupt Organizations Act was justified given the outcome. But Willis stood firm.
“I’m going to continue to rely on it—because it works, it’s effective, and it tells jurors the full story,” she said.
When 11Alive’s Chase Houle asked whether the lack of murder convictions meant the case fell short, Willis fired back, accusing defense lawyers of being disconnected from the communities most affected by gang violence.
“You keep going to defense attorneys who put their children in private schools and communities that are not our communities,” she said. “What you need to understand is that there were 19 convictions.”
Willis also pointed to recent coverage of a YSL-linked killing of a 21-year-old mother in front of her toddler, saying it showed why her office’s focus on gang prosecutions mattered.
“Stop glorifying violence and stop acting like some victims don’t matter,” she said. “Victims of all races and all socioeconomic statuses matter.”
When Houle repeated his question about the absence of murder convictions, Willis doubled down.
“We made sure that we got the resolutions we wanted,” she said. “And if people are unhappy with the sentencing, they should elect other judges.”
Willis, who was re-elected with 68% of the vote, said her constituents supported her approach and pointed to falling crime rates in Fulton County as proof of progress.
“Crime here is lower than in most places in the United States,” she said. “I think we’re like number three, and it’s because of the efforts I’ve led against gangs.”
Beats and ballots are colliding this Sunday as some of Hip-Hop’s most influential voices unite for the Ras for Governor DJ Marathon. The event is a five-hour livestream bonanza designed to energize voters and build support for Ras Baraka’s run for New Jersey governor.
Kicking off at 7 p.m. sharp on Sunday, June 8, the virtual marathon will stream live via @AllHipHop’s Instagram and the official AllHipHop.com website. The event was curated by Channel Live’s Hakim Green, Roc Nation engineer Young Guru and AllHipHop co-founder Chuck “Jigsaw” Creekmur. There will be music, movement and political momentum into one powerful night.
The lineup reads like a Hip-Hop hall of fame. DJ D-Nice, Chuck D, Eric B and Young Guru will be among the turntable generals spinning exclusive sets. Appearances include Marlon Wayans, Mysonne Linen, Vinnie Brown of Naughty by Nature, journalist Touré and a mix of cultural icons.
The mission is to mobilize the masses ahead of the June 10 primary and uplift a candidate many believe stands at the intersection of culture, community and real political change.
“When we talk about what we want—leaders that represent us properly, that come from where we come from, that have the same core values—he is the epitome of that,” activist and rapper Mysonne Linen said. “He stands on business, he’s fair, he’s honest, he’s culturally relevant, and he identifies with what’s going on in the streets.”
Vinnie Brown echoed the urgency: “We need politicians like Ras, who are on the front lines, who know how the system works and can interpret and articulate it back to our community in a way that we can understand.”
Baraka, currently serving as mayor of Newark, has earned widespread respect for blending progressive politics with communal authenticity. For many in Hip-Hop, his background as a poet, educator and son of revolutionary writer Amiri Baraka makes him more relatable and also qualified for higher office.
“Ras Baraka is not just a typical politician who seeks to hold power, but someone who seeks to empower others,” Creekmur said. “He doesn’t just tow the line—he holds the line.”
Hakim Green laid it plain: “As we see powers in high places openly oppressing the little guy, the people of New Jersey need an openly progressive governor with a history of fighting back.”
Baraka’s gubernatorial platform reflects his commitment to economic justice, healthcare access, and housing equity. His key initiatives include:
Housing for All: 200,000 new affordable homes created through modern zoning reforms and direct subsidies for first-time homeowners.
Transportation Upgrades: Transit-focused development and infrastructure improvements, with a promise of no new fees for working families.
Economic Empowerment: Raising the minimum wage, launching a state-backed public bank, and expanding grants and loan relief for New Jersey’s student population.
Healthcare as a Right: Expanding state insurance programs, capping hospital costs, and driving down medical expenses for everyday residents.
Whether you’re on the block or behind a screen, Sunday night offers a clear signal—Hip-Hop is stepping up and showing out for Ras Baraka.
Primary Election Day in New Jersey is Tuesday (June 10). The DJ Marathon goes live Sunday (June 8) from 7 p.m. to midnight on Instagram (@AllHipHop) and AllHipHop.com.
Jadakiss just hit the half-century mark and rang in the milestone with Hip-Hop royalty. The Yonkers legend celebrated his 50th birthday with a gathering that included the one and only Big Daddy Kane. And his own son, Jaewon. You all know the son is nice on the mic, too.
A now-circulating video shows Jadakiss giving his son a real time Hip-Hop history lesson about Big Daddy Kane’s impact. In the clip, Jada can be heard praising the Brooklyn rap legend as “one of the greatest rappers of all time.” Facts only.
The celebration was filled with good vibes, but I’m mostly concerned with culture, not cake. Kane and ‘Kiss might be cooking. According to whispers, there’s talk—unconfirmed but not unbelievable—that Jadakiss and Big Daddy Kane could be working on some music together. For me, even more interesting is the possibility of his son jumping on the same track. Tres generaciones!
Nothing is official just yet, but the mere idea of a cross-generational collaboration between Kane, Kiss and Kiss Jr. is giving me life.
In the meantime, The LOX have announced a new group project on the way. And if you recall, when AllHipHop chopped it up with Jadakiss last year, he made it clear: “I got new music coming.” Looks like he wasn’t bluffing.
Hip-Hop has already seen some solid releases this year, but if this rumored collaboration actually sees the light of day, it could be the jolt of energy the game’s been waiting for. How long can we live off crime, martial spats, Diddy and Kanye West?
Jadakiss, Big Daddy Kane and Jaewon is lyrical legacy.
Jake Paul stepped into the political ring this week, weighing in on the escalating feud between President Donald Trump and Elon Musk by calling their online bickering immature and embarrassing for the country.
The YouTuber-turned-boxer posted on X that while he respects both men, their public spat is doing more harm than good.
“We unfortunately have these Alpha male egos and leaders who aren’t mature enough sometimes. They’re 50+ years old and diss-tweeting each other,” Jake Paul wrote. “They need to work together and not make America look bad.”
One of the problems with the Republican Party is on display today
(As a current Republican) We unfortunately have these Alpha male egos and leaders who aren’t mature enough sometimes. They’re 50+ years old and diss tweeting each other
The clash between President Trump, 78, and Musk, 53, has intensified in recent days, with both men trading barbs online.
The feud has also drawn commentary from President Trump loyalist Steve Bannon, who took aim at Musk in an interview with The New York Times.
“They should initiate a formal investigation of his immigration status because I am of the strong belief that he is an illegal alien, and he should be deported from the country immediately,” Bannon said.
Paul’s remarks come as tensions between the former president and the Tesla CEO continue to dominate headlines, raising questions about the future of conservative alliances ahead of the 2026 midterms.
Paul, a registered Republican, didn’t hold back in his criticism of the behavior despite previously endorsing Trump ahead of the 2024 election.
“Do the right thing, vote for Donald Trump,” Paul told his 20 million YouTube subscribers last fall. “Not because I said so, not because Beyoncé said so, but because it’s what’s right.”
Shad Reed goes back down the rabbit hole with seven more albums that changed Hip-Hop.
In part deux of my Seven Wonders of the Hip-Hop World, I name seven more albums—this time spanning from the mid-90s to the 2010s. (Longevity is one of the factors I considered. So, while more modern, anything newer still has to stand the test of time before being placed in any “all-time” conversation.)
As indicated in Part I of this write-up, there was a “winning” list of the Seven Wonders of the Modern World, but it was very controversial. In a nutshell, it was 22 finalists voted down to seven.
That said, here are a few albums that didn’t make my picks for the modern seven but would still receive no objection to being placed there: The Infamous, The Miseducation of Lauryn Hill, Capital Punishment, Trap Muzik, Get Rich or Die Tryin’, and Tha Carter III, to name a few.
Me Against the World – 2Pac (1995)
This album perfectly balances Tupac’s complex personality. His ability to present strength in vulnerability (“Dear Mama”), as well as his “just don’t give a f###” attitude (“F### the World”) is astonishing. Me Against the World is Pac’s most well-rounded collection of music. His follow-up, All Eyez On Me, was of course a gargantuan success. Still, I interpret that (despite all the controversy surrounding his move to Death Row Records) as more of a victory lap stemming from the credibility and connections he made with the public through this release. Right from the jump, the way the album starts with the intro and flows into “If I Die 2Nite” with “A coward dies a thousand deaths, a soldier dies but once”—damn!
Reasonable Doubt – Jay-Z (1996)
Despite taking 10 years to sell 1.5 million copies, Jay-Z’s debut, in the eyes of many, remains his magnum opus. While the hustling themes were nothing new, this album delved into the emotional toll such activity took on a person. That, coupled with the temptations of such a lifestyle (which also get addressed), makes for a captivating listening experience. “Can I Live,” with its Isaac Hayes sample, is a standout, as well as the DJ Premier-produced “D’Evils.”
Life After Death – The Notorious B.I.G. (1997)
In Unbelievable: The Life, Death, and Afterlife of the Notorious B.I.G., author Cheo Hodari Coker perfectly compares Biggie’s debut and this second album to the first two Terminator films. Both are equally significant, but the latter is grander in scale and scope. And at a time when Hip-Hop was mourning (2Pac died in September ’96, and Biggie died just two weeks before this album’s release in March ’97), Life After Death served as an olive branch for the rap community too, featuring collaborations with a wide range of artists such as Bone Thugs-n-Harmony, Too Short, and D.M.C., among others.
Aquemini – Outkast (1998)
This is the best—right in the center of a perfect four-album run by Big Boi and André 3000. AllHipHop.com co-founder Grouchy Greg Watkins summed the album up perfectly in a 2013 article: “Aquemini is a Hip-Hop classic that pushes the limits of what we normally consider Hip-Hop, yet is decidedly true to its roots.” When Three Stacks famously stated, “The South got something to say. That’s all I got to say,” they let the music do the talking. And it all led up to this just a few short years later: a flawless musical statement that remains unrivaled and continues to inspire fans and artists alike.
The Marshall Mathers LP – Eminem (2000)
This album transcended Hip-Hop and became a fixture in mainstream culture. Fortunately, it also lived up to the hype. The masterful bait-and-switch of “The Real Slim Shady” dominating radio and MTV got millions to purchase the album—and in return, listeners got a commercial song and seventeen more tracks filled with personal and uncensored insight into Eminem’s emotions, struggles, and the pressures of newfound fame. He also reconciled with issues in his personal life. The album is funny, brutal, entertaining, and honest all at once.
My Beautiful Dark Twisted Fantasy – Kanye West (2010)
After damaging his reputation by interrupting Taylor Swift at the MTV VMAs (which pales compared to Ye’s more recent controversies), Mr. West retreated to Hawaii to begin work on his fifth album. The result was an unexpected masterpiece that exceeded all expectations. Building on stadium sounds first explored with Graduation’s “Stronger,” he upped the ante with songs like “Power.” The epic “All of the Lights” reportedly took two years to create. He even responded to being mocked on South Park by threatening to choke the show’s writers with a fish stick on “Gorgeous.” And the guests? They all got time to shine—Nicki Minaj’s “Monster” verse, Jay-Z’s bar on “So Appalled,” and even Chris Rock’s ad-libs on “Blame Game” add to an already astonishing blockbuster. Sadly, MBDTF didn’t even receive a nomination for Album of the Year at the 54th Annual Grammys.
To Pimp a Butterfly – Kendrick Lamar (2015)
To Pimp a Butterfly solidified Kendrick Lamar as the voice of his generation. Influenced by a trip to Africa, infused with vast musical input, and filled with socially conscious lyrics—no stone was left unturned. Highlights include “Alright,” which became a protest anthem for the Black Lives Matter movement, and “King Kunta,” where Kendrick addresses ghostwriting with lines like: “I swore I wouldn’t tell / But most of y’all sharing bars like you got the bottom bunk in a two-man cell.” Then there’s the closer, “Mortal Man”—one of the most powerful conclusions to any LP. Clocking in at just over 12 minutes and closing with a faux interview with 2Pac, it brings the album full circle. Despite subverting traditional song structures, it remains one of the most respected tracks in Kendrick’s already outstanding catalog.
BigXthaPlug took center stage Tuesday (June 5) in Nashville as he accepted Billboard’s 2025 Country Innovator of the Year award at the Country Power Players event.
Hosted at Luke Combs’ Category 10 venue, the event marked a major moment in his genre-bending rise from Dallas Hip-Hop to country crossover.
Presented by Grammy-nominated country artist and frequent collaborator Shaboozey, the award recognized BigXthaPlug’s growing influence in country music, just as he teased his upcoming project, I Hope You’re Happy, a country-inspired release due later this year.
The announcement came in front of a packed room of industry leaders and tastemakers.
The celebration didn’t stop there. BigX capped the night with a packed afterparty at Losers Bar & Grill, dubbed the “Losers Back Porch Kick Back,” where Sam Hunt, Ella Langley, Chris Comstock, and others joined in to toast the milestone.
The event also served as an unofficial kickoff to CMA Fest weekend.
The award follows a string of high-profile performances by BigX, including Coachella, Stagecoach, and Jimmy Kimmel Live, where he has continued to blend the grit of Southern Hip-Hop with the storytelling of country music.
He’s also been spotlighted on the covers of GQ Hype and Billboard’s Genre Now issue.
Beyond music, BigX has used his platform to support the Autism Society of America, honoring his son during Autism Acceptance Month.
(NEW YORK) May 16, 2025. Music executive and personal manager Chelsea Donini ended a three-year ordeal against Detroit rapper Phillip Peaks p/k/a Peezy on May 9 when a Manhattan jury in the U.S. District court unanimously ruled in her favor. They found the EMPIRE recording artist Peezy had improperly repudiated their personal management agreement by failing to pay
management commissions and had defamed her in his song “Nipsey Blue” as a part of his salacious campaign to destroy her professional reputation.
The jury awarded the full amount Donini sought for Peezy’s breach of contract as well as additional damages on the defamation claim, finding that Peezy acted with malice in an effort to destroy Donini’s reputation. The jury awarded Donini over $1.4M dollars total.
Ms. Donini’s attorney, Robert Meloni of Meloni & McCaffrey stated, “This victory was well deserved by Chelsea. It was particularly gratifying since it fully vindicated her name and reputation after being maliciously targeted by Peezy’s false statements.”
Donini started her career in digital marketing at Island Def Jam Music Group, moving up the ranks at RCA Records, Def Jam Recordings and EMPIRE, where she began her work with Peezy. Today, Donini runs her own management and marketing company La Rubia Promotions where she leads strategy and execution of campaigns for A list artists.
(Donini V Peaks Case No. 1:22-cv-09706-RA).
All content herein is provided for news and informational purposes only. The views and claims expressed in legal filings or courtroom proceedings are those of the parties involved and do not necessarily reflect the views of AllHipHop. This article is based on publicly available court records and statements.
Elon Musk ignited a bizarre political firestorm by accusing President Trump of being replaced by a body double, escalating a public feud over a controversial government spending bill that has fractured their once-tight alliance.
The Tesla CEO took to X, formerly Twitter, to slam the bill as a “disgusting abomination” and questioned whether the man defending it was even President Trump at all.
“Where is the man who wrote these words?” Musk posted, retweeting a thread of Trump’s past praise for electric vehicles and fiscal restraint. “Was he replaced by a body double?”
President Trump, speaking from the Oval Office, brushed off the accusation but didn’t hold back. “I’m very disappointed in Elon,” he said, defending the bill as “the biggest spending cut in U.S. history.”
He also claimed that Musk turned against him only after learning that the legislation would slash electric vehicle tax credits. Trump himself has circulated similar claims.
The post added, “Democrats don’t know the difference.” President Trump offered no comment on the post and no evidence to support the claim.
Still, it echoed a broader narrative pushed by some of his supporters, who argue Biden is a puppet controlled by handlers. Despite the absurdity, the rhetoric reflects a deeper mistrust in political institutions and a willingness by high-profile figures to traffic in fringe ideas.
The Musk-Trump fallout is just the latest example of how conspiracy theories have become political weapons.
