The guy accused of kidnapping rapper 6ix9ine has lost another attempt at getting out of his 24-year prison sentence.
The recent ruling dismissed Anthony Ellison’s claims that his legal representation failed to adequately defend him during a trial that featured 6ix9ine testing against the Nine Trey Gangsta Bloods.
Ellison, identified as a key figure within the gang, faced accusations not only of kidnapping Hip-Hop artist Tekashi 6ix9ine but of engaging in racketeering, a violent crime in aid of racketeering, and maiming and assault with a dangerous weapon.
In his argument for a retrial or sentence reduction, Ellison insisted that the evidence presented against him was insufficient and that his actions, particularly in relation to the kidnapping of Tekashi 6ix9ine, were provoked by the rapper’s previous behaviors.
He suggested that his counsel did not effectively challenge the evidence or argue for a lesser sentence considering these provocations.
Ellison’s rationale for seeking a reduced sentence based on alleged provocation by Tekashi 6ix9ine was especially criticized.
The court found no evidence to support the idea that such provocations could justify the crimes committed or warrant a lesser sentence than the 24 years handed down.
The court’s decision clearly portrayed Ellison’s culpability, pointing to “overwhelmingly supported” evidence of his criminal activities and leadership role within the Nine Trey Gangsta Bloods.
The ruling affirms the severity of Ellison’s offenses and his position within a criminal organization that inflicted violence and fear.
Navigating the allure and pitfalls of his father’s legacy, Lil Meech has surprisingly charted a course not through the world of rap. Despite the pulse of rap in his bloodline and the monumental influence of BMF Entertainment within the industry, Lil Meech chose a different spotlight.
The history of BMF Entertainment reads like a gripping tale of ambition, sophistication, and downfall. Initially conceived by Big Meech in the early 2000s, the label was both a formidable presence in the Hip-Hop world and a cover for extensive criminal operations.
While only officially signing one artist, the label rubbed shoulders with the likes of Jeezy and x, solidifying the BMF brand as an illustrious yet controversial fixture in the music scene.
However, with the Flenory brothers’ arrest in 2005, the empire and its record label crumbled, leaving behind a legacy that would be immortalized in the “BMF” TV series crafted by 50 Cent—a story in which Lil Meech would play a pivotal role.
Despite his lineage, Lil Meech discovered that music was not his destined path during a revelatory stint in the studio.
“I was there for like eight hours trying to figure out what to say and I realized this ain’t for me,” Lil Meech disclosed. “I love music, I have an ear for it, but being in front of the mic, that’s not where I shine.”
The epiphany pivoted him toward acting, a field where his passion and talent have unequivocally flourished. On the screen, he embodies the complex character of his own father, Big Meech in the critically acclaimed STARZ series BMF.
While one might assume a transition from the son of a rap and criminal empire figurehead to a leading man in the rap game would be seamless, Lil Meech has candidly revealed why the microphone didn’t become his weapon of choice.
In an exchange with AllHipHop, Lil Meech shared the groundwork of his burgeoning acting career, coupled with the wisdom he has gleaned both on and off the set.
“It’s all about hard work, dedication, and really soaking in everything around you,” Meech reflected on his career choice. “You’ve got to have tough skin in both industries, but for me, acting became the clearer path.”
BMF has since become a monumental success for STARZ, championed by the authentic performances of its cast, including Lil Meech, and riveting narratives drawn from real life.
The series’ third season, embellished with cameos from rap figures such as Lil Baby and Saweetie, shattered viewership records, amassing more than 5.1 million viewers across platforms and securing a prompt renewal for a fourth season.
As production gears up to continue the saga of the Flenory family in Atlanta, the series stands as a testament to the enduring intrigue of the BMF story and Lil Meech’s unparalleled portrayal of his father.
Ice Spice has revealed a tried-and-true method of quality assurance for her highly anticipated debut album, Y2K. During a guest appearance on the YouTube show “Hot Ones,” the artist shared that she has been personally testing her new music by playing it at full volume in her car.
Like many before her, the “car test” is a critical final check for many artists, including Ice Spice, who is ensuring her tracks resonate as intended outside the studio environment.
“Yes, I’ve been playing the album fully through in the car, volume all the way up,” Ice Spice confirmed during the interview, expressing relief and satisfaction that her album had indeed “passed” the test.
Ice Spice dove into her creative process, which typically begins with crafting the hook of a song before working on the verses.
However, Ice Spice highlighted that Y2K will include a track where she deviates from this method, starting directly with the verse.
“There is a track on the album, I just launched straight into the verse and there’s not really a hook so I’m excited to hear what the fans think about that,” she said.
Ice Spice also shared insights into her meticulous approach to songwriting and recording for the album, indicating her commitment to quality.
“Each song that I work on I really try to make it good enough to put out basically,” she stated. “I don’t really skim through it real quick, I really take my time and I’m just like OK. Every time I work on a song basically, I’m like, ‘This is gonna be released.'”
Recording for Y2K wrapped up in early March, without Ice Spice revealing the release date or tracklist.
The ongoing saga of the murder of Hip-Hop icon Jam Master Jay continues to play out as Ronald “Tinard” Washington, one of the convicted individuals, is seeking a reversal of his conviction or a retrial.
The defense team has filed a motion arguing that the government failed to provide sufficient evidence to link Washington to a drug conspiracy at the time of the murder, challenging the integrity of the verdict that found him guilty alongside Karl Jordan Jr.
According to the motion, there was no substantial evidence proving Washington’s involvement in a drug conspiracy or his association with the crime at the time the legendary Run-DMC group member, whose real name was Jason Mizell, was killed.
The defense detailed the lack of evidence regarding any ongoing drug conspiracy or Washington’s participation in it during the time of Jam Master Jay’s murder.
Furthermore, the motion highlighted that witnesses testified against the idea of Jam Master Jay’s involvement in drug dealings, adding complexity to the government’s narrative.
This legal challenge comes after both Washington and Jordan were found guilty of murder while engaged in narcotics trafficking and firearm-related murder.
Prosecutors had painted a narrative that Jam Master Jay was murdered due to a dispute over a lucrative cocaine distribution deal, asserting that Washington and Jordan took lethal action after being ousted from the deal.
The trial revealed chilling details of the murder, including testimonies that Jordan had expressed a willingness to kill JMJ again if he had the chance.
Despite the weight of these accusations, the defense is now questioning the credibility of the evidence of a drug conspiracy and the proper application of legal standards by the jury.
As this legal battle unfolds, there is also an update on Jay Bryant, the third individual charged in connection with Mizell’s murder.
Prosecutors and Bryant’s attorney César de Castro, are reportedly discussing a plea deal, which could potentially result in a different legal outcome for Bryant.
Prosecutors say Bryant “was involved, but he’s not the killer.”
He was charged in 2023 for his alleged role in facilitating the murder by helping Jordan and Washington gain access to the studio through a fire escape.
B.G. has found himself making a plea to a federal judge for leniency following a series of parole violations.
These include performing onstage without prior approval and associating with convicted felons, such as Boosie BadAzz and Gucci Mane.
After serving 12 years of a 14-year sentence for gun possession and witness tampering, B.G., legally named Christopher Dorsey, was released from federal prison only to face the repercussions of new allegations for violating the conditions of his supervised release.
At the heart of the issue is B.G.’s involvement in a Las Vegas concert in February 2024 alongside Boosie BadAzz and subsequent recording activities with Gucci Mane for their project “Choppers & Bricks.”
The terms of B.G.’s probation prohibit him from engaging in self-employment, such as concert performances or associating with other felons without explicit approval, stipulations B.G. is accused of disregarding.
Following his arrest B.G.’s legal team argued for his continued freedom under supervised release.
A new memorandum to a judge outlined a series of defenses and clarifications, emphasizing communication breakdowns that led to the alleged violations.
B.G. asserted that he had secured permission from the leadership of his halfway house and the United States Probation Office before his performance with Boosie.
Additionally, his collaboration with Gucci Mane reportedly received the green light during his stint in a Bureau of Prisons jurisdiction and was approved before his transition to supervised release.
At the core of his plea is B.G.’s portrayal as a changed man, committed both to his rehabilitation and to making a positive impact within his community.
By highlighting his employment with the Emerald Dream Foundation and active involvement in mentorship and empowerment programs, he illustrated a determination to use his influence for good.
To bolster his case, several letters from pillars in both the professional and community spheres were submitted, underlining his role as a valuable mentor and advocate for positive change, especially among at-risk youth and previously incarcerated individuals.
The collective narrative presented in the memorandum paints a picture of a person who, despite recent setbacks, is earnestly striving for redemption and a productive reintegration into society.
Instagram model and influencer Jade Ramey has broken her silence over claims she has a paid sex worker for Sean “Diddy” Combs.
Ramey was one of dozens of celebrities and executives ensnared in a lawsuit filed by producer Rodney “Lil Rod” Jones.
Jones and his controversial lawyer Tyrone Blackburn implicated Diddy in several grave accusations, including sexual assault, sex trafficking, and maintaining a network of women, including Ramey, who was supposedly put on a monthly stipend as a.”sex worker” along with rapper Yung Miami and 50 Cent’s baby’s mom, Daphne Joy.
Ramey, who has millions of Instagram followers, addressed the controversy surrounding allegations made against her in a statement issued to Entertainment Tonight.
Ramey emphasized the personal nature of her relationships, underlining that dating does not equate to the lurid allegations thrown her way.
“Yes, I dated someone. Dating someone doesn’t directly correlate to any of the false allegations made,” Ramey expressed, highlighting the need for societal reflection on how individuals’ personal lives are treated as public amusement.
“How unfortunate we’ve entered a time where caring for someone or falling in love is worthy of scrutiny in the court of public opinion,” she continued.
Ramey remained appreciative of the support she has received, saying, “I appreciate everyone’s kind messages and support during this time. Thank you.”
Daphne Joy, another model mentioned alongside Ramey in the lawsuit and the ex-girlfriend of rapper 50 Cent, has also denied being a sex worker for Diddy, calling the claims “100% false and character assassination.”
Simultaneously, Daphne Joy has levied her own serious allegations against her ex-boyfriend, 50 Cent, accusing him of rape and physical abuse during their relationship.
50 Cent denied the claim and revealed he was attempting to gain sole custody of his son Sire, whom he shares with Daphne Joy.
J. Cole dropped a surprise project on Thursday night (April 4) that quickly became the talk of social media thanks to a not-so-subtle diss aimed at Kendrick Lamar. But the buzz helped propel the album to the top. According to HITS Daily Double, the 12-track set is expected to debut at No. 1 on next week’s Billboard 200 chart, with roughly 140,000-160,000 total album equivalent units moved in its first week.
The album’s final single, “7 Minute Drill,” finds the Dreamville Records boss firing back at Kendrick Lamar, who dissed J. Cole and Drake on the recent Future and Metro Boomin’ track “Like That.” As part of his verse, J. Cole commends Lamar on his debut album, 2011’s Section.80, and 2015’s To Pimp a Butterfly but trashes his latest effort, 2022’s Mr. Morale & the Big Steppers.
He also suggests good kid, m.A.A.d city didn’t deserves the accolades it received upon its release. He raps, “Your first sh## was classic/Your last sh## was tragic/Your 2nd s### put n###s to sleep but they gassed it/Your 3rd s### was massive hit that was your prime/I was trailing right behind, but I just now hit mine.”
https://www.youtube.com/watch?v=5KRMLBh3-N4
J. Cole’s previous project, The Off-Season, arrived in 2021. Executive produced by Cole, Ibrahim Hamad and T-Minus, the project featured guest vocals from Morray, 21 Savage, Lil Baby, Bas and 6LACK. It sold more than 282,000 units in its opening week, leading to another No. 1 debut. His previous effort, 2018’s KOD, was also another No. 1 debut, with more than 497,000 units sold upon opening.
Both Ice-T and Ice Spice have provided their explanations for the cause of the rare earthquake that recently struck New York—and their responses likely won’t shock their fans.
In case you haven’t already heard, a 4.8 magnitude earthquake struck New Jersey on April 5, jolting neighboring New York City as well. According to the Encyclopedia Britannica, an earthquake is “any sudden shaking of the ground caused by the passage of seismic waves through Earth’s rocks.”
Additionally, the cause of an earthquake is described as the result of the phenomena of “seismic waves produced when some form of energy stored in Earth’s crust is suddenly released, usually when masses of rock straining against one another suddenly fracture and ‘slip’.”
But f##k all that, literally! According to Ice-T, there’s a more practical, and x-rated explanation for the #2024JerzQuake.
“ATTENTION,” he wrote in the tweet reposted to his Instagram. “That was not an Earthquake in NJ… I just like to get a little Morning Sex now and then… Everyone relax and get back normal. My fault,” to which Ludacris replied in the comments “Bruh.”
I’m not sure what’s more out of pocket, the fact that Ice-T is still bragging about morning sex at 66 or the fact he’s implying he was clapping his wife 45-year-old wife Coco’s cheeks hard enough to elicit seismic waves capable of causing an earthquake. Not to mention if what Coco said is true about showering once a week. Man, nevermind!
In a another raunchy tweet, Ice Spice detailed what supposedly caused the earthquake, writing, “My bad for the earthquake yall u kno this a## be clappin.”
However, in the same breath, I have to say I’m not quite as disgusted by Ice Spice’s hypothesis as I am Ice-T’s, and that’s probably something that could get me canceled. But I’m not going to sit here and act like I didn’t see her performance in the Betty Boop costume during at the iHeart Powerhouse 105.1 concert last year. Because she surely shook up the world then, which makes her explanation seem that much more plausible.
my bad for the earthquake yall u kno this ass be clappin
Sexyy Red may have gotten the last laugh on Joe Budden following his recent comments about the legitimacy of their relationship as artists. It appears as though the chemistry between Red and Drizzy is as real and dynamic in real life as it was portrayed in the recent music video for her smash hit, “Get It Sexyy.”
During a recent date apart of Drake and J. Cole’s It’s All A Blur Tour, the “Rich Baby Daddy” rapper got cozy on stage and danced like no one was watching in front of everyone. Not only is it the way Big Sexyy threw it back on Drake as the record seamlessly entered her “shake that a## b###h, hands on ya knees,” bridge, it’s how the 6 God put his back into it. Bro was really delivering pum-pum pelvic thrusts to Red’s backside on stage. And of course, Red rubbed the moment in Budden’s face—much like Drake was rubbing up on her—by sharing the moment on Twitter (X).
“Tell @JoeBudden dis what drake like,” Red tweeted along with the video clip.
As if it weren’t already apparent that Drake is really the equivalent to her music industry “Boyfriend Number 2” no Pretty Ricky or Pleasure P. In all seriousness, though, we are talking about the same woman who literally just had a baby less than three months ago and posed with her a## in her unnamed baby daddy’s face at the baby shower. We are also talking about Drake, the certified cake robber, accused of stealing the fabled Princess Diana away from Metro Boomin and/or Future. Maybe that wasn’t the best example, but there is somewhat of a track record for Drake being a home wrecker (i.e. his rumored affair with the first lady of OVO Naomi Sharon, which reportedly almost ruined her eight-year relationship).
All in all, the pattern is consistent when it comes to Drake. Bro is gonna be around whoever he genuinely feels some type of way for regardless of the circumstances. And, respectfully, this moment made it be known to the world. But most exclusively to Budden, who claimed Drake was being paid to be there, rather than actually wanting to be.
“It sounds like a n###a that could rap at that level that gets paid off of everybody’s deal trying to rap. That’s what is sounds like to me,” Budden told his podcast co-hosts about Drake’s relationship with Red.
Boosie Badazz may have just gained some traction in his standoff with Kanye West in regard to who could be more responsible for influencing rap throughout the last two decades.
According to a swiftly deleted Instagram Story post, West just realized Boosie’s “Wipe Me Down” came out in 2007 during the period he claims to have created all music styles. West roasted Boosie over the track, joking that he had nothing to do with that genre of music.
Now before I get into the segway of how Boosie’s 2007 hit “Wipe Me Down” takes a literal step past Kanye West in their current spat, we have to take a quick visit to the year 2008, when the GS Boys delivered “Stanky Leg.” Not only did the record take the country by storm, it has become a colloquial remnant of shared pup cultural universals throughout modern times.
And in a way, it’s become somewhat of a staple in dance and rap culture at large. Evidence of this theory manifest in the recent Instagram post comedian Mike Epps recently shared, which captures his interaction with one of the fans in attendance in the live audience of his sitcom The Upshaws. In summary, the brother in the audience, who appeared to be an amputee, got up and did a one-legged stanky leg for Epps and literally stole the whole show. And then Epps stole the brother’s leg.
It should be obvious that I am clearly aware of the fact that the GS Boys created the song and Boosie doesn’t necessarily have anything to do with it in that regard. However, had it not been for “Wipe Me Down” in 2007, songs such as “Stanky Leg” and even the Baton Rouge rapper’s subsequent 2009 banger “Loose As A Goose” could never be. And in a sense, we wouldn’t have such a strong sense of dance culture apparent in the new generation of rap. Like seriously, think for a second about whether or not Lil Uzi’s “Futsal Shuffle” would’ve been as big as it was had there not been any number of the aforementioned records released in the decades before the 2021 banger arrived.
Not only that, the genre itself, which he describes as “Boosie Music” coupled with the emergence of Soulja Boy’s “Crank Dat” in 2007, helped form the bedrock of what we see today in music marketing trends on social media platforms such as TikTok, which are dominated by dance trends.
Maybe I am preaching to the chior here, but if that’s the case, the gospel here is that Ye’s music could never have the type of effect both Boosie’s and the GS Boy’s did. Or maybe I’m reaching hella badly?
Akon offered his thoughts on the tumultuous situations engulfing business mogul Sean “Diddy” Combs amidst the swirling allegations he is facing in multiple civil suits for sexual assault.
Diddy is also reportedly being investigated by Homeland Security for sexual trafficking. Last month, agents with HSI raided Diddy’s mansions in New York, Miami and Los Angeles.
Akon said he wasn’t involved with the active party scene, indicating his limited direct knowledge of Diddy’s personal strife.
“I don’t really party much, so I couldn’t really speak much on it, but I would like to say, you know, just pray for the man,” Akon stated, providing a tempered perspective on the realities of fame and public scrutiny.
Even though Diddy has not been charged with a crime as of press time, he has pretty much been convicted on social media as people debate his innocence or guilt, something Akon lamented.
Akon remarked, “It is very unfortunate that things in this business are always being exposed in certain ways, and I think things could be done differently.”
Highlighting the role of divine intervention and the inevitable unveiling of truth, Akon expressed a philosophical take on the unfolding situations.
“All I can do is say, you know, I hope things work out for all the for everybody… it’s a God’s plan. I think you just got to allow this process to just play itself out,” he reflected, touching on the notion that the ultimate resolution lies beyond human control.
Akon is not the only artist who has looked to the Lord in support of Diddy’s plight. Fat Joe recently vocalized his prayers for Diddy during an emotional time.
“I stood up last night maybe 4 hours praying for [Diddy] and his kids,” Fat Joe shared.
Any folks who believe Travis Scott is a fair-weather Caitlin Clark fan has been sipping the Kool-Aid, or in this case, too many Cactis, according to celebrity and NBA trainer Chris Brickley.
In a recent Instagram post, Brickley revealed that La Flame actually was the first person to reach out to him about Iowa’s all-time leading scorer. Apparently, Scott has been watching Clark ball at Iowa University for years and even went as far as referring her to Brickley for her initial training session with him. Keep in mind, Brickley trains NBA stars such as LeBron James, Paolo Banchero and countless others. Earlier this year, the pair linked up at one of Clarks home games with the Hawkeyes and even flicked up during the occasion, so you know it’s real.
And ahead of the Final Four match up between U-Conn and Iowa, Brickley cleared the air whilst also giving his blessing to both athletes, who presumably have major WNBA careers ahead of them.
“I’ve seen people calling @travisscott a bandwagon @caitlinclark22 fan,” he wrote in part in the caption. “Well in 2021, he was the first person to ever text me or bring her up to me. He’s really been a day 1 Caitlin Clark Fan. Also S/O my Brodie for his new college apparel line with @lids @fanatics & @mitchellandness ‼️ It’s too fire!!! I’m def a big @caitlinclark22 fan and I’m excited to get in the gym with her but I’m also a big @paigebueckers fan, we’ve been grinding for years!!! TONIGHT GONNA BE A GREAT ONE!!”
So what y’all think? Should Travis Scott follow up his recent Mitchell and Ness college collaboration with Lids and Fanatics with an actual partnership with Texas Longhorns to scout women’s talent?
In light of the recent Homeland Security investigations into Diddy’s personal life, Philadelphia rapper E. Ness shared his insights and personal experiences with the music mogul during an exclusive interview with AllHipHop.com.
The raids, which targeted Diddy’s residences across Los Angeles, New York, and Miami, were reportedly triggered by a suite of serious allegations, ranging from sexual trafficking to the distribution of drugs and weapons, all swirling in the wake of several civil lawsuits, including a highly publicized one from Cassie and accusations by Lil Rod.
In a previous interview, E. Ness, the battle rapper turned entrepreneur, labeled the allegations as part of a “smear campaign” aimed at defaming Diddy’s character and legacy within the music industry.
E. Ness, who rose to prominence through his involvement in the reality show “Making the Band,” which was masterminded by Diddy himself, was quick to clarify his stance on the matter.
Despite the severe nature of the accusations, E. Ness emphasized his lack of direct exposure to Diddy’s alleged misconduct.
“Just let me reiterate I never said that the allegations wasn’t true or false I just said I never was exposed and [was a witness] to it,” he stated clearly, indicating the complexity and his personal conflict regarding the unfolding situation.
“The way it’s looking is looking real bad and we going to see as it unfolds, the truth behind all of it. I’m sitting at the edge of my seat just like everybody else.”
E. Ness expressed concern not just for Diddy and his alleged victims but for the potential impact of these allegations on Diddy’s family, especially his young children.
“I’m just thinking about the kids and the impact it has on his younger children,” E. Ness remarked, speaking on the familial ripple effects of such high-profile accusations.
Addressing the serious allegations head-on, especially those raised by Cassie, E. Ness acknowledged the gravity of the situation while also emphasizing the importance of substantiated evidence before passing judgment.
“I have daughters, so I would never stand by sexual abuse or any of that. You know what I’m saying? That’s just wrong, and it’s right, but you can never condemn a man until you have cold, hard facts,” he elucidated.
The controversy surrounding Diddy has sparked a wide array of reactions from the Hip-Hop community. The contrasting opinions were even found in E. Ness himself.
He questioned the timing of the lawsuits filed against Diddy following his settlement with Cassie, 24 hours after she leveled explosive allegations against her ex-boyfriend.
“Even Cassie…shorty you’ve been with this man for 10 years. You was with it at some degree he was with it at some degree. If you really wanted to get missing to get off the grid everybody knows how to go off the grid. Ten years I know everybody knows how to go off the grid,” E. Ness said of the timing of Cassie’s allegations.
“You don’t stand around for sexual abuse for that long for a decade plus then get remarried and have children and think about it and say I was wrongly done 15 years ago,” E. Ness reasoned.
So far, Diddy has yet to be charged with a crime connected to the raids, and he vehemently denied the allegations in the lawsuits, and he blasted Homeland Security over their use of force in connection with the raids of his homes.
President Joe Biden awarded Hip-Hop icons KRS-One and Kurtis Blow the President’s Lifetime Achievement Award.
President Joe Biden recently honored Hip-Hop pioneers KRS-One and Kurtis Blow with Lifetime Achievement Awards at the National Hip-Hop Museum in Washington DC.
The ceremony, hosted at the RIAA Headquarters, celebrated the artists’ contributions to the music genre and their dedication to uplifting communities through volunteer work.
During the event, which saw an attendance of around 300 people, Rev. Dr. George Holmes delivered a moving speech that lauded the resilience and leadership of the two honorees.
Drawing a powerful analogy, Holmes compared KRS-One and Kurtis Blow to steadfast oak trees, suggesting that, like these mighty trees, the artists have remained unyielding in their principles regardless of external pressures.
He commended them for setting a positive tone both nationally and globally, using their platforms to advocate for meaningful change.
“There are two ways for a leader to go through life: as a thermometer or as a thermostat. The thermometer merely measures the climate, but the thermostat sets the tone and creates it. That’s who you are, KRS-One and Kurtis Blow,” Holmes proclaimed to the crowd that was full of other legends.
DJ Hurricane, Roxanne Shante, The Fat Boys (Kool Rock Ski), MC Sha Rock, Sweet G, The B-Boys (Donald D), and Queen Lisa Lee, all recognized by the National Hip-Hop Museum.
The award ceremony served as an acknowledgment of KRS-One and Kurtis Blow’s immense volunteer efforts and their role in sculpting a stronger nation.
In letters to the artists, President Biden expressed his gratitude for their service and encouraged them to persist in their endeavors.
“As it is with Kurtis Blow, as it is with you, America’s story depends not on any one of us, not on some of us, but on all of us. On behalf of the American people, President Biden extends his heartfelt appreciation to you for your volunteer leadership, and he encourages you to continue to answer the call to serve. The country is still counting on you,” President Joseph Biden said in a letter to KRS-One and Kurtis Blow.
By bestowing the President’s Lifetime Achievement Award on KRS-One and Kurtis Blow, the event underscored the power of Hip-Hop as a force for societal good, celebrating these icons not only for their musical contributions but for their unwavering commitment to community service and leadership.
The two guys who have previously accused the late pop icon Michael Jackson of sexual abuse have requested access to controversial nude photos taken of Jackson by the police.
The plaintiffs’ legal team issued a subpoena in March for access to “photographs of Michael Jackson’s genitalia and naked body taken by police,” which continue to be under a protective order by the Santa Barbara Superior Court.
The photos in question stem from a 1993 police investigation during which allegations of sexual abuse were made against Jackson by a 13-year-old boy.
Wade Robson and James Safechuck’s legal action has sparked a heated response from legal representatives of Michael Jackson’s estate, who argue that revealing the photos would be both inappropriate and a violation of privacy.
The lawyers representing Jackson’s estate have termed the request by Robson and Safechuck as “an egregious violation” and argue that the photos are highly sensitive.
In a statement, they said, “The photographs Plaintiffs seek were not taken willingly by Mr. Jackson; they were the result of a court-ordered search based on a false statement in what became a discredited criminal investigation.”
They further express concern over the potential exploitation of these photos, suggesting that such an act would constitute a “second defilement” following the controversial and contested circumstances under which they were originally taken.
Wade Robson and James Safechuck brought forth allegations against Jackson in 2013 and 2014, respectively, claiming that they were sexually abused by the singer during their childhood.
Their lawsuits, now targeting Jackson’s companies, argue that these entities are culpable for the alleged abuse, as they facilitated Jackson’s proximity to young children.
The request to unseal the records containing the nude photos of Jackson is part of these ongoing legal proceedings.
This legal battle brings to the forefront issues of privacy, the sensitivity of evidence obtained during criminal investigations, and the potential for misuse of such evidence in civil litigation.
The judge presiding over Young Thug’s RICO case has expressed concerns over lawyers’ predictions that the rap star’s trial could extend for years, potentially becoming Georgia’s longest trial.
In an attempt to reign in the timeline, the judge has taken a firm stance on managing the court’s schedule more strictly.
As a result, Judge Ural Glanville is threatening to hold court on weekends to speed up the proceedings.
This move signifies the court’s growing impatience with the trial’s slow pace, which has been bogged down by numerous delays and interruptions.
If necessary, a court would be held on Saturday and Sunday. Judge Glanville informed prosecutors and defense attorneys.
The trial has already seen its share of drama and unexpected developments.
Among these developments was the stabbing of co-defendant Shannon Stillwell in the Fulton County Jail in December 2023, causing a significant delay.
Illnesses among attorneys and the judge have further prolonged the trial, testing the patience of all parties involved.
Four months into the proceedings, with roughly 40 witnesses having testified, the prosecution’s list includes over 100 additional names, raising concerns about the trial’s potential extension well into 2024, 2025, 2026, or even as far as 2027.
In light of these challenges, Judge Glanville has requested that attorneys make themselves available earlier on certain days, emphasizing the need to expedite the trial without compromising its integrity.
Young Thug has been locked up for almost two years. He was ordered to be held without bond in May of 2022 and has lost four attempts at getting out of prison.
Lily Allen has thrown shade at Beyoncé’s cover of country classic Jolene, calling it “weird.” The singer critiqued Beyoncé’s new music on her “Miss Me?” podcast.
When her cohost Miquita Oliver asked whether she’d listened to Beyoncé’s new country-influenced album Country Carter, Lily didn’t hold back.
First, though, she admitted she had not heard the entire record. “I’ve heard a few bits,” Lily, 38, said. “I listened to the Miley Cyrus one and I listened to the “Blackbird” one, which is the Beatles cover.
“I have to listen to the whole thing from start to finish, because I haven’t done a deep dive on it yet.”
She went on to say she found it “weird” that Beyoncé, 42, had included a cover of Dolly Parton’s classic “Jolene.”
Shocking that a British woman #lilyallen is hating on Cowboy Carter..the album wasn’t made for you mind, way to miss the entire point! But it’s predictable when she’s gonna cosplay as an American on her upcoming country album.
“It’s very weird,” she said, “that you’d cover the most successful songs in that genre.”
“It’s quite an interesting to do, when you’re trying to, like, tackle a genre and you just choose the biggest song in that genre to cover. I mean, you do you, Beyoncé – and she literally is doing her, but why is she doing Dolly?” Lily Allen asked.
Lily also said she had enjoyed a scathing quote from rapper Azealia Banks about Beyoncé’s husband, Jay-Z.
“I read a comment from Azealia Banks where she was like ‘and stop talking about Jay Z as if anyone wants to f**k him’,” Lily laughed.
“Literally no one’s even looked at him for about 10 years, relax,” Lily Allen added, saying she did not find Jay physically attractive.
Oddly enough, Lily Allen has admitted to having dreams about Jay-Z and beyoncé in her house. She revealed her bizarre fantasy involving her own husband and the power couple in a 2014 tweet.
That same year, Lily Allen has worked with Jay z in the past. They recorded a song together called “Truth” in 2014.
#lilyallen needs to sit down. #Beyoncé is an AMERICAN. She knows #country . Lily, how would you feel about some Yanks rolling in to a tea shop for some haggis, and Guinness? #Bey is a local, and she knows her range 💅
DMV rapper Gerreddi has teamed up with the renowned Boosie Badazz to release a gripping new music video for their latest collaborative track “Risk My Life.”
This street anthem delves into Gerreddi’s raw experiences and the risks he’s embraced to ascend to new heights in the world of Hip-Hop.
Notably, “Risk My Life” features Boosie Badazz, bringing a touch of Down South legacy into the urban landscapes of Washington DC, with the artistic direction provided by Vibes Media.
The collaboration between Gerreddi and Boosie Badazz is a significant milestone, showcasing a blend of Gerreddi’s relentless pursuit of success and Boosie’s established street credibility.
The music video for “Risk My Life” depicts both artists navigating through the trenches of DC, highlighting the authenticity and grit of their journey.
This convergence of talent not only enhances the impact of the song but also bridges different regions’ Hip-Hop scenes, from the DMV to Down South.
Gerreddi’s journey in the Hip-Hop industry is marked by a series of accomplishments that testify to his dedication and skill.
He has a history of engaging audiences through high-profile performances, winning rap battles and showcases that have spotlighted his lyrical prowess.
His ability to convey compelling stories through music has earned him recognition and respect within the Hip-Hop community.
The rapper’s extensive resume is further adorned with notable collaborations that span across the Hip-Hop spectrum.
Having worked with his Uncle, Freeway Rick Ross, Gerreddi has been immersed in the culture from a young age.
His collaborations extend to prominent figures such as Raheem DeVaughn, Bigg Tigger, DJ Drama, KaySlay, Mysonne, Devin the Dude, Scarface, and Grafh from the “Love & Hip Hop” franchise, showcasing his versatility and ability to connect with varied audiences.
Fans can follow Gerreddi’s journey and stay updated on his latest projects by connecting with him on social media (@gerreddi across all platforms).
Saigon pulls no punches. The New York heavy hitter, cares and wonders why racism and inner turmoil seem to tear Hip-Hop apart at the seams. The current Diddy situation has sparked a deeper conversation around waning conscious rap, the lack of leadership in Hip-Hop, and the declining moral compass in the culture. He viscously blasts the capitalistic, materialistic mindstate of many influential figures in the industry. At the same time, he continues to share his voice with a looming albumJordan Era coming May 3.
Chuck Jigsaw Creekmur: We had a nice conversation last night. That was dope. I don’t know if you remember this, but we both went to Baltimore a long time ago. I was doing a thing called “City for Change.” And I took you to Baltimore to talk to the youth and everything.
Saigon: Yeah. That was probably 2001 or ’02. Very early.
DJ Thoro: One thing about you man, as long as I’ve known you that I highly respect about you is that you what I call you never pushed poison or glorified violence in your music. Nowadays people, they rap about the s### they did or going to do or doing, but there are no records about the consequences of that.
Saigon: Where are those records at? That was always my thing. I used to be like, “Bro, don’t send these kids to the graveyard or to the penitentiary man. Because we see how influenced we was by music. Right When I was growing up, Onyx and them m############ was coming out.
DJ Thoro: “Throw Your Gunz In The Air”
Saigon: I went and picked up a gun like oh yeah, some s###. “What’s cool? [Quoting “Shook Ones”] “To all the killers in the hundred dollar billas.” I remember hearing that at 14, 13 years old. I’m about to go clap something. And the music has that kind of, it’s almost like you ever make love to a woman with no music and then you put music on some slow songs and start performing? The music has power, bro.
DJ Thoro: And that’s why it keeps going because the kids see gets rewarded so they want to keep doing it.
Saigon: That s### hindered my career so much. And you know what I respect about Blaze? When I went into the studio and we started making The Greatest Story Never Told, and he started to see the direction I was going. And he told me, “he said, sir, “I’m going to keep it real with you. They’re not going to push this.” He knew from experience, he said, “But I’m going to stick by you if this the way you want to go. More positive. Yeah, more positive.” He was like, “I’m with it and I’m going to make it sound amazing.” And I was like, “Let’s do it.”
And we made a crazy album that sat on the shelf for seven years because Julie Greenwald, I’ll never forget, told me one time she was like, “We like you Saigon here at Atlantic Records and you can bust your artistic nut on the rest of your album. But I need my three singles to push.” Pretty much saying I need three of them bulls##t records and then whatever else is on your album, who cares?
DJ Thoro: How does that make you feel knowing that she wouldn’t tell her own to do that? I keep it a hundred.
Saigon: Because I was in prison and I had experienced racism at a close until you’ve never been called ni##er – hard – “er” – you see a hatred in a m###########’s eyes because them cos up north when you are up in prison, Buffalo will lose a football game and they won’t feed you. They walk around with tattoos of Black babies and nooses. They don’t hide the racism. They don’t hide it so you get to see it. A lot of black people, especially growing up in New York City where it’s diverse, we don’t see that s### blatant.
So when I had that experience, so when I got into this game I kind of knew what I was dealing with. I was like, “Oh you one of them.”
DJ Thoro: We’ve always had that, but there was also an alternative to that.
Saigon: And another thing because it’s funny because I just seen myself on HipHopDX. I put out a tweet and then the next thing you know it’s all the blogs. If you look it up right now, it says “Saigon blames Diddy.”
Chuck Jigsaw Creekmur: Of course we saw it. Everybody saw it.
Saigon: So what I was trying to say was, because I said I think Diddy was the change between conscious rap and just money rap. What conscious rap ever came from Bad Boy Records?
DJ Thoro: Nobody conscious came from Bad Boy. It was mostly party rap.
Saigon: Party. Money and materialism. Materialism. It was materialism. Materialism. Diddy knew about the business before everybody. Everybody he signed was kids. Diddy had a $10 million deal with Clive Davis. He had already did Mary J. Blige and Uptown Records. So he understood the power of music by time he signed you got to The Lox and BIG. It was kids.
Saigon: God is coming back for these m############. We ain’t even got to trash ’em. We can sit right here and talk about Super Mario Brothers. Them n##### are still going to get they fate.
Chuck Jigsaw Creekmur: This is probably not going to land, right? But Hip-Hop’s a young culture in the eighties, seventies, eighties, nineties. It was still young. And then we started getting money in the nineties. Is it possible that they were as ignorant as we were but on a different level? You know what I’m saying?
Saigon: We was talking about last night, every revolution starts with young people. The Panthers were 18 and 19, 20 years old. Young people are fearless. Now, we are using our fearlessness and it’s going in the wrong direction. That’s why you got gang bangers. That’s why gang bangers ain’t scared to die. They’re not scared to go to jail.
But it takes older people to go channel that energy. It’s almost like the army, right? The general’s going to be an old guy. The private on the front lines going to be a 19, 18-year-old kid. But it’s up to the general to tell him what to do and how to move.
Chuck Jigsaw Creekmur: We don’t have generals anymore.
Saigon: The elder statesmen became all about get a dollar. Right? It’s the money that f##### us up. I think it’s starting to happen with athletes now. Right now too. I don’t think it’s a good idea to start giving if you give these people all this money, right? Where’s my incentive to go hard now?
Chuck Jigsaw Creekmur: Who do you like out here?
Saigon: Now? Oh, nowadays. Yeah. There’s this new kid from Philly named Kur. J. Cole of course. I like Lar Russell. I just think he’s himself. He is not trying to be like anybody. He remind me of a Ye in a way. There’s not too many doing nothing too innovative. I like innovative s###. Know what I’m saying?
DJ Thoro: Do you think Hip-Hop has reached its creative peak?
Saigon: Nah. Nah.
DJ Thoro: Do you think there’s something that hasn’t been done yet? That we haven’t seen?
Saigon: I wouldn’t say I think it’s been done, but you could always make something better. Make it better. I think we’re going to have to go back to meaningful s###. Meaningful s###.Because we can’t keep sending these babies to the jail, to the strip club or to the f###### graveyard.
Joey Bada$$ reminded me fans he wasn’t afraid to battle Kendrick Lamar. The Pro Era rapper shared his old song “Killuminati Pt. 2” after J. Cole released the K. Dot diss “7 Minute Drill” on Friday (April 5).
“Never forget,” Joey Bada$$ wrote on X (formerly known as Twitter).
The New York native released “Killuminati Pt. 2” in response to Kendrick’s famous “Control” verse in 2013.
“My set told me light you up so this that propane/It’s nathan all I gotta do is just spit a flame/No escaping, you in a swimming pool of champagne/You set yourself up for that one mane/The king of New York? Ha! we ain’t just gon’ let that one hang/Last n#### got dethroned and you ain’t from my zone/The rest of the real n##### is dead and gone,” Joey rapped.
Last month, Kendrick took shots at Drake and J. Cole on Future and Metro Boomin’s song “Like That.” J. Cole responded with “7 Minute Drill.”
“I came up in the ‘Ville, so I’m good when it’s tension/He still doing shows but fell off like The Simpsons/Your first s### was classic, your last s### was tragic/Your second s### put n##### to sleep, but they gassed it/Your third s### was massive and that was your prime/I was trailing right behind and I just now hit mine/Now I’m front of the line with a comfortable lead/How ironic, soon as I got it, now he want something with me/Well, he caught me at the perfect time, jump up and see,” J. Cole rapped.
He added, “He averaging one hard verse like every thirty months or something/If he wasn’t dissing, then we wouldn’t be discussing him/Lord, don’t make me have to smoke this n#### ’cause I f### with him/But push come to shove, on this mic, I will humble him.”
“7 Minute Drill” appeared on J. Cole’s surprise releaseMight Delete Later.