SZA has parted ways with her longtime manager, Terrence “Punch” Henderson, only five days after releasing her new album, Lana.
The move follows delays of her highly anticipated project, which serves as the deluxe edition of her 2022 LP, SOS.
The singer addressed the split on social media following speculation fueled by Punch updating his bio to remove SZA and criticism suggesting the Top Dawg Entertainment (TDE) co-president was responsible for delaying the Lana album.
Despite the split, SZA expressed her love and appreciation for Punch and urged fans to fall back.
“To be clear, I love Punch deeply!” she wrote on Instagram. “NO ONE should be attacking him or being cruel on my behalf,” SZA wrote. “Sometimes people grow apart, and that’s okay. Nothing to celebrate. The end of an era. I wish him the best, whatever his choices may be.”
SZA also claimed Punch “stepped away abruptly,” making the album release “tricky.”
@SZA’s official statements about how she is not being managed by TDE Punch anymore, via Instagram. I personally read her comments about this. Those are really SZA’s statements about this new development. Camp SZA. ⛺️ pic.twitter.com/Myf74VWq7v
— 💙 King Alexander Thee Greatest 💙 (@RealSuperManXO) December 26, 2024
Punch addressed the situation on X (Twitter) writing, “SMH. Change your bio and everything goes haywire. Sheesh. I’m beginning to suspect some of you guys don’t fancy me very much.” He also appeared to throw shade at SZA in a series of follow-up tweets.
“It kind of bothers me how the true meaning of ‘crash out’ got diluted and reduced to someone just saying mean things. Random thought,” he shared. “Madness, as you know, is like gravity. All it takes is a little push.”
SZA also posted a subliminal message seemingly aimed at Punch, warning, “Now now now … let’s keep it cute. It’s Christmas.”
Mielle Organics and Rolling Out created an inspiring editorial and elevated journey of artistic hair expression with its “Art Of Hair” campaign inviting Black art enthusiasts, influencers, and entertainers to elevate their Art Basel experience with unmatched creativity and style.
The “Art Of Hair” campaign is a continuation of Mielle’s 10th anniversary celebration; it’s a rallying for creatives to embrace the extraordinary. Mielle stands as the ultimate natural hair care and beauty brand that believes healthier ingredients encourage healthier hair and skin.
Central to this campaign is the partnership with the Historic Hampton House. The Historic Hampton House is the only Green Book Hotel Museum in the world. The mission of the museum, through its dynamic and diverse programming, facilitates the changing of minds and hearts in terms of race, culture and sociology-economics in this country.
During Art Basel, the museum will open its exhibit, “Invisible Luggage,” which draws upon the spirit of the Historic Hampton House as a safe space and place of congregation during segregation.
Highlighting the idea of shelter and safety as integral to cultural production and collective creation, the selected works reflect the importance of building and celebrating sites of refuge, renewal, and reflection.
Mielle and Rolling Out hosted a private dinner around the art of hair and commissioned art dedication. The collective spoke on their personal hair journeys and creative processes but also explored the cultural significance of avant-garde hair art within the Black community.
By showcasing these artists’ unique perspectives, we inspired a broader dialogue about identity, creativity, and the transformative power of hair.
Mielle and Rolling Out has commissioned a Black female artist Ebony Boyd, to bring empowerment, perseverance, jubilation and inspiration to life through a piece for all to admire. Ebony Boyd is an abstract artist who loves to create beautiful things.
She is naturally drawn to bright and vibrant colors. She has been able to build a successful business building her audience all over the world. Ebony is a classically trained soprano with a focus on jazz, whose art is inspired by music.
Her interpretation of the Art Of Hair is inspired by Olori, the Yoruba word for Queen, bringing empowerment, perseverance, jubilation and inspiration to life through an artistic piece for all to admire.
Founded in 2014 by CEO Monique Rodriguez, Mielle is the fastest-growing Black-founded, woman-led hair care brand for textured hair. Mielle blends science and nature to create high-quality, affordable products packed with natural ingredients like rosemary, mint, and babassu oil.
Loved by textured hair consumers worldwide, Mielle’s innovative line is sold in over 100,000 stores and in 90+ countries, continuing to champion healthy hair and Black excellence, now in partnership with P&G Beauty.
“I’m thrilled to be at Art Basel, celebrating the beauty, creativity, and culture it represents through this incredible exhibition, ‘The Art Of Hair.’ Continuing our partnership with Rolling Out allows us to amplify Black media and uplift Black artists, whose work tells our stories in powerful, transformative ways. At Mielle, we honor artistry in all its forms, and this collaboration is a testament to our commitment to supporting Black excellence,” shares Monique.
The collaboration between Rolling Out and Mielle is a celebration of excellence and creativity. Together, we inspire people to embrace “The Art Of Hair” by exploring the world of the Mielleverse.
“This partnership underscores the seamless fusion of art with the Historic Hampton House, culture with Rolling Out, and community positioning Mielle as the quintessential hair care brand for those who seek extraordinary experiences,” added Denise Faulkner, EVP of Sales and Partnerships.
We invite you to join the “The Art Of Hair” movement and experience Mielle Organics firsthand. Follow our campaign on social media to witness our talent in action and discover new ways to embrace your crown.
For more detailed specifications, please refer to the MielleOgranics.com. For more information on the Rolling Out, please visit www.rollingout.com.
Larry Jackson recently reflected on the unique and powerful position he was in when he signed Chief Keef amid FBI investigations and death threats.
In a candid interview, the former Apple Music music executive shared the extraordinary circumstances surrounding his decision to sign Chief Keef, revealing that his motivations extended far beyond music. At the time Chief Keef, who had emerged into the mainstream as a teenage rapper from Chicago, was under investigation by the FBI and reportedly the target of a $50,000 hit.
“This is the first time I’ve ever told this story,” Larry Jackson began, describing how a friend connected to the FBI alerted him to the dangerous situation. “There’s a $50,000 hit out on this kid, and you may want to do something about it.”
Interscope A&R Larry Jackson reveals 16-year-old Chief Keef was on a FBI watch list, and had a $50K bag on his head after Sosa signed a $6M deal in 2012pic.twitter.com/YIJ8UpmMsT
For Jackson, signing Chief Keef wasn’t a typical A&R decision. “That’s not a job from a traditional vocational perspective of an A&R executive. That wasn’t in an A&R class,” he said. The threats and legal troubles Keef faced prompted Jackson to take a more active role in the young artist’s life, stepping in not just as a label representative but as a mentor and protector.
“I personally wrote a letter to the judge,” Jackson revealed, explaining how his intervention kept Keef out of jail. “It was effective and persuasive. It kept him out of jail.”
At the time, Keef was only 16 or 17 years old and already entangled in the challenges of life in Chicago’s drill scene. Jackson’s involvement went deeper than helping Keef avoid incarceration.
“I kind of stepped up in a father figure role,” he said. “This was so much deeper in terms of a vision for not just the music, for his life.”
Despite the chaotic circumstances, Jackson played an instrumental role in shaping Finally Rich, Keef’s debut album.
“I went in and picked the songs for the album. I came up with the intro, came up with the interludes. I mixed the album with Chris Cheney. I sequenced the album,” Jackson recalled. However, his greatest pride came from ensuring Keef survived the turbulent period. “The most important thing to me is that he’s still alive. And not in prison.”
Upon its released in 2012, Finally Rich became a landmark album in the rise of drill music, influencing the modern rap landscape. The project debuted at No. 29 on the Billboard 200, selling 50,000 copies in its first week. It has since achieved RIAA Gold certification, with standout tracks like “Love Sosa” and “I Don’t Like” becoming cultural staples.
Tyler, The Creator and Kendrick Lamar are the Christmas Mix we didn’t realize we needed. On Christmas Day, Tyler surprised fans with a new video titled “That Guy,” where he freestyles over Kendrick Lamar’s GNX song “Hey Now.” Tyler – ever present – responded to a fan’s request way back in November for him to rap over the beat. On the song, he raps, “Hey now, say now, get sticky like a hun bun / You will never be the main guy, you’re a plus-one / 300k in four days Chromakopia / 12 days gold I ain’t even drop deluxe one.”
The video showcases Tyler’s signature creativity as he dances through the streets of his hometown of Hawthorne, CA. He also flexes his Ferrari and other matters. He also refers to The Pop Out: Ken & Friends concert in L.A. stating, “Lil bunny hop out, you seen me at the Pop Out / Pandemonium screaming like they brought Pac out.”
Tyler’s “That Guy” freestyle is a reminder that bro is one of the illest. “All these girls is a habit / boyfriends mad because they thought I was a….” – yep!
On a crisp December evening, rapper 21 Savage transformed a local community center into a hub of generosity.
The Grammy Award-winner hosted his sixth annual holiday toy drive Wednesday at the Porter Sanford III Performing Arts & Community Center, bringing joy to over 1,000 families in need.
With gifts stacking into the thousands and proclamations in his honor, the day became a moment of celebration not just for his philanthropy but for the lives he’s helped along the way.
More than 3,000 toys, bicycles, and clothing items were handed out, along with warm meals for the families who arrived seeking a bit of holiday comfort.
The event, spearheaded by 21 Savage’s Leading By Example Foundation, underscores his continued dedication to improving lives in his hometown and beyond.
The rapper also received official recognition for his work—December 21 was proclaimed “21 Savage Day” in both DeKalb County and the state of Georgia.
“21 Savage’s continued dedication to uplifting his community is truly remarkable,” said Congressman Hank Johnson, one of several community leaders in attendance.
Johnson and Commissioner Mereda Davis Johnson presented the rapper with four proclamations and two Community Action Awards during the event, commending his far-reaching impact.
The toy drive is one of several annual initiatives led by the foundation. In August, 21 Savage hosted a back-to-school drive that introduced Atlanta’s first-ever Social Impact Village, connecting students with free resources and nonprofit organizations.
His commitment to education extends further through financial literacy efforts, including the distribution of a free guide titled Master Your Money Financial Success 101 Guide With 21 Savage, which was made available at the toy drive and continues to be online.
Let me tell you something: Beyoncé does not lose. At the end of the day, that is an absolute fact. Remember, Jay-Z once used that as his slogan, and I’m sure some of that confidence has rubbed off on Beyoncé during their long marriage.
Well, Beyoncé headlined the NFL halftime show for the Christmas football game on Netflix, and guess what? She killed it! She performed so spectacularly that everyone is talking about it. But what we know now is that this goes beyond music. First of all, the show was even bigger than the NFL Super Bowl halftime show, and that has the rumor mill buzzing. But before we dive into the rumors, let’s break down the statements made today.
Firstly, Beyoncé addressed the country music community and those handing out awards. As you know, she was overlooked during awards season. Her Country Carter album was incredible—a groundbreaking musical project that should’ve earned her numerous accolades in the country music genre. CMA Awards, y’all are some racist bums! She was snubbed in a way that screams foul play, and I’m sure Beyoncé wasn’t happy about that.
Next up, politically speaking. This performance took place in her home state of Texas, where there was a significant loss for her community when Trump won. The performance was a powerful statement about Blackness and the growing inclusivity of the country music movement. The show also featured numerous references to America, the flag, and a subtle yet bold declaration that this country belongs to everyone. Politically, it was a massive statement.
Now, let’s get into the rumors! As you may know, Super Bowl halftime performers don’t get paid. They never have. While Beyoncé has done the Super Bowl halftime show before, this wasn’t a Super Bowl performance—it was something different. The question is, how much did she get paid? This wasn’t just an NFL event; it was also a Netflix production. This marks Netflix’s first time broadcasting live football performances, and what better way to make an entrance than with Beyoncé?
As you know, JAY-Z heads the Roc Nation division that handles entertainment for the NFL. Being married to Beyoncé is definitely a power move, and some might call it “insider trading,” but that’s another story. What we do know is that Beyoncé doesn’t come cheap—or free. It’s safe to say Netflix footed the bill, but the exact figure remains a mystery. One thing’s for sure: you have to pay to play.
The rumor is that Netflix wants to bring more NFL broadcasts in-house, taking them from networks that currently profit handsomely from the games. Will they succeed? That’s going to spark one hell of a bidding war. Somehow, though, I think they just might pull it off.
As for Beyoncé, her performance was phenomenal. It rocked the world and conveyed much more than just music. She invited people into her world. Oh, and by the way, Blue Ivy also performed, and you can bet the internet chatter will be nonstop because they both delivered an amazing show. And when you do an amazing job, you’re bound to attract critics!
Caresha “Yung Miami” Brownlee brought some much-needed holiday joy to South Florida over the weekend.
Hundreds of families drove through Phuse Cream in Plantation, Florida, for the annual “Caresha Gives” Community Toy Drive, an event designed to spread Christmas cheer and kindness while meeting the needs of underserved children.
Caresha personally handed out thousands of donated toys to excited kids, creating a festive atmosphere that rippled through the crowd.
Participants didn’t leave with just gifts; the event also treated families to holiday perks, including complimentary hot meals, creamy ice cream, cheerful face painting, and photos with Santa, all from the comfort of their vehicles.
Adding a unique twist to the day was a special collaboration between Caresha Gives and Phuse Cream, which debuted a holiday-themed ice cream flavor exclusively for the event.
For the South Florida native, giving back to the community during Christmastime carries a deep sense of purpose.
“Christmas has always been my favorite holiday, and it was incredible to see the smiles on these kids’ faces,” Caresha said. “South Florida will always be home, and giving back to this community that shaped me is a blessing. Every child deserves to feel special on Christmas, and I’m so happy we could make that happen this year.”
The “Caresha Gives” initiative has already started to gain momentum, even ahead of the official launch of the CareshaGIVES foundation in 2025.
The foundation aims to develop impactful programs that assist underserved communities with a focus on empowering families and expanding access to resources.
This holiday season marked the beginning of CareshaGIVING, the foundation’s first project, which kicked off during Thanksgiving with a Turkey Giveaway event in partnership with the City of Opa-locka and MegaTV.
Through this effort, families in Opa-locka were provided with meals to ensure a heartfelt holiday celebration.
Rumors are swirling on this Christmas Day! I saw something funny, where 50 Cent released his “opps list.” I thought it was funny, but absolutely thought there was some truth it it! Now, many of the names just happened to be Drake’s opps too. This list included Kendrick Lamar, Ab-Soul, Kanye West, LeBron James, and DeMar DeRozan. What a list! Still funny too!
Word is 50 Cent may be lending a strategic hand to Drake. We know 50 Cent. He’s got the big sword! Could he be helping with the ongoing Kendrick Lamar situation? Fans and analysts have pointed out these odd and peculiar shifts in Drake’s tactics. 50 is known to win battles in court too. This suggests there’s a bigger, more strategic mastermind at work.
Here Is The Evidence:
G-Unit Chain Spin: One of the most blatant signs was Drake’s unexpected nod to G-Unit when he spun a G-Unit chain during the battle. This symbolic move seemed out of place—unless it was part of a broader strategy devised by 50 Cent himself.
Battle Tactics with 50’s DNA: Some of Drake’s funny lines and bar strategies, like the “Push-ups” and the “Family Matters” references, felt like of 50 Cent’s earlier playbook with Ja Rule. While these moves didn’t land well at the end of the day, he had a week of good fortune. I hope Fif didn’t advise him on the use of AI.
Reverse Engineering Narratives: Drake’s use of the media and theories about bots to flip public sentiment is another tactic that screams 50 Cent. The issue is…Drake’s alleged use of bots was flipped back on him. 50’s ability to rebrand and weaponize criticism is very powerful.
Petitioning as a Power Play: Drake’s recent petition against UMG and Spotify, casting himself as a martyr in the vein of Prince and Michael Jackson, has 50’s influence written all over it. Turning a corporate complaint into a cultural stand is classic 50! Leveraging public sympathy! Not sure if it will work, but they definitely took away those “PDF” allegations.
Subliminal Responses and Strategic Dates: Kendrick’s recent subliminals seems to refer to Mr. Cent. References to “50 deep” and “money and power” suggest Fif is in Dot’s scope too. There are more rumors that even suggest that Drake could drop a significant project around Kendrick’s birthday.
There’s no denying this is all a calculated effort. One thing is clear: if 50 Cent is in Drake’s corner, the battle is about more than just lyrics. This is about cultural dominance! I am not sure that he can do anything with Kendrick, who’s a master chess player too!
Do you think 50 Cent is Drake’s secret weapon? Drop your thoughts below!
When did 50 Cent start disliking Kendrick Lamar? It feels like just yesterday when Kendrick made a cameo on Power. But now, it seems like 50 goes out of his way to downplay Kendrick’s achievements and the impact he’s had on hip-hop.
Quavo partnered with the Atlanta Community Food Bank, HOPE Hustlers, and Atlanta City Council for the second annual Huncho Farms on Tuesday, providing food and nutritional resources to over 500 families in Atlanta as part of his fight against food insecurity during the holiday season.
Held in the heart of Georgia’s capital, the event featured a festive outdoor farmers market that offered fresh produce, meats, canned goods, and a specially created Huncho Farms cookbook filled with accessible, nutritious recipes for families.
This year’s initiative expanded its focus by targeting grandparents raising their grandchildren in areas like food deserts, where access to affordable, healthy meals is limited.
Quavo highlighted the urgency of the situation through hands-on participation, alongside appearances by Atlanta City Council District 10 representative Andrea Boone and members of the HOPE Hustlers violence intervention organization.
“I’m so grateful that Quavo and the Quavo Cares Foundation chose this community for their Huncho Farms event this year,” Boone said. “This neighborhood is situated in a food desert, where a vast number of grandparents are raising their grandchildren. Food costs are exorbitant, making it more difficult for people to address their basic needs. This farmer’s market-style food drive will assist many hard-working people who deserve to have healthy fresh food and vegetable options this holiday season.”
Huncho Farms originated from earlier Thanksgiving drive-thru events by the Quavo Cares Foundation, which distributed turkeys, household essentials, and holiday meals.
Building on its success, the event evolved into a farmers market model.
The community-centered approach has allowed the foundation to work with partners like Walmart, Feeding America, and the Tender Foundation, which recently provided a $150,000 grant to support single Black mothers in the area.
The praise rising Vallejo rapper LaRussell is receiving from the generations of Bay Area artists before he continues to reign down following Oakland veteran Mistah Fab’s emotional testimony.
On Tuesday (December 24), the “Still Feelin’ It” lyricist shared a video of his experience at one of LaRussell’s recent concerts. Though the video was barely a minute long, Mistah F.A.B. managed to touch on a deep subject in a touching way as he described how LaRussell reminded him of his innocence before he was exposed to the realities of the industry.
In the caption of the tearful clip, Mistah F.A.B. went into detail about how the situation played out and his extensive history with LaRussell.
“Went to @larussell show just as a fan to watch from a far and he spotted me and called me on stage,” Mistah Fab wrote in the lengthy caption. “I was reluctant to go up as first because I was just there as a fan, but after adhering to the calling I felt compelled to share these sentiments.”
He continued, praising LaRussell and remarking on how Philadelphia content creator and motivational speaker Wallo played a role in creating the moment at hand.
“Thank you for having the courage to be different, the temerity to not be pusillanimous, creating aegis spaces for fans to galvanize and celebrate love and passion and honor this art of Hip-Hop,” he wrote. “It’s funny it took @wallo267 someone from a whole different region to put me on to who this man was years ago but I’ve been tapped in ever since….”
Mistah F.A.B. went on to encourage LaRussell to continue on his fearless path while also alluding to his own reinvigorated zeal for the art form and the business at large.
“Keep going brother…Don’t let non of these industry antics get you off your game,” he wrote. “I give glory to god for my story. Because for whatever reasons my route was detoured. Im still here, after radio politics, hatred from peers, quiet jealously, idols pushing competition instead of coalition. I’m still here and i stand in solidarity with whatever you on!!! Keep going brother voices of the village unite. You have reinstated and restored passion and promise. Rumble young man Rumble. The era way. GOOD COMPANY x DOPE ERA”
Mistah F.A.B. isn’t the only OG rapper to give LaRussell high praises for his elevated approach to breaking himself as an independent artist whilst also paying homage to those who came before him. In a recent interview with AllHipHop, Oakland legend Richie Rich recently sat down with Chuck “Jigsaw” Creekmur at the iconic WonWorld Studios and dished on why he loves LaRussell.
“I come from an era when people paid $20 for a CD,” Richie Rich said. “If they lost it or scratched it, they’d go buy another one. Paying for music wasn’t an issue. Now, with streaming, you can pay $10 a month for unlimited music. But if you think about it, how can all those artists eat off just $10?”
He continued, “Russell [LaRussell] introduced me to this platform where fans can pay directly for the music, even naming their price. One fan paid $500 for a download. The platform also gives me their contact info, so I can reach out directly about shows or special offers. It cuts out the middleman, putting me back in touch with my fans.”
Terry “Southwest T” Flenory partied onstage in Detroit with Rick Ross in his first appearance since President Joe Biden commuted his sentence.
The co-founder of the city’s notorious Black Mafia Family was one of more than 1,500 people granted clemency by President Biden as part of a broader effort to pardon those released from prison and moved to home confinement during the COVID-19 pandemic.
On Sunday night (December 23), Rick Ross called Southwest T up on stage at the Wild N’ Out show in Detroit. The former drug kingpin rapped along as Ross performed his hit song “B.M.F. (Blowin’ Money Fast),” which references Southwest T’s Brother Demetrius “Big Meech” Flenory.
Southwest T and Big Meech were sentenced to 30 years in prison in 2008 for their roles in running a money laundering and drug trafficking international drug trafficking operation.
However, Southwest T was released to home confinement in May 2020. He was granted compassionate release due to ill health and the risks posed by COVID-19 in prisons.
Meanwhile, Big Meech served out his sentence and was released to a halfway house in October.
Southwest T announced the good news about his commuted sentence on Instagram earlier this week. He shared a video of him having his ankle monitor removed alongside a copy of his pardon.
“Now It’s official!” he revealed in the caption. “It’s been a journey, but prayer and unwavering faith beyond mere human comprehension got us to this point. Never once acted in my own ability nor doing anything to anyone to help myself. So the gloves are off, the gag orders are up and all the naysayers have to suck it up.#godisgood.”
As the holiday season unfolds, Shawn “JAY-Z” Carter is trading festivities for legal filings, pressing for Jane Doe, the woman accusing him of a 2000 sexual assault, to reveal her identity.
In a motion submitted just before Christmas, JAY-Z’s legal team argued that Doe’s public interview with NBC News invalidates her claim to anonymity, asserting that fairness and transparency demand she proceed under her real name.
The lawsuit, filed in October, alleges that Doe was drugged and sexually assaulted by JAY-Z and Sean “Diddy” Combs at an afterparty following the MTV Video Music Awards.
While Doe has remained anonymous in court, JAY-Z’s attorneys contend her recent decision to share her story on a nationally televised program negates the justification for her privacy.
“By choosing to participate in a public NBC News interview, [Jane Doe] has deliberately placed herself in the public eye, undermining any claim that anonymity is necessary to protect her well-being,” JAY-Z’s lawyer, Alex Spiro, said. “This imbalance unfairly harms Mr. Carter by allowing unverified accusations to damage his reputation while shielding the accuser from similar scrutiny.”
The interview, which aired earlier this month, featured Doe describing her alleged assault and detailing her decision to come forward after more than two decades.
JAY-Z legal has seized on the segment, arguing that it exposes glaring inconsistencies in her allegations and raises questions about her credibility.
During the interview, Doe claimed her father drove over five hours from Rochester to New York City to pick her up after the incident.
However, her father contradicted this account, telling NBC, “I feel like I would remember that, and I don’t. . . that’s something that would definitely stick in my mind.”
This, along with other discrepancies regarding the party’s location and the presence of specific individuals, has become a cornerstone of JAY-Z’s defense.
“Her statements in the NBC interview directly conflict with key elements of her lawsuit, highlighting the lack of corroboration and credibility in her claims,” Spiro explained.
These contradictions, combined with her public disclosures, warrant the removal of her anonymity, according to Spiro and JAY-Z.
JAY-Z’s legal team framed their argument as a matter of fairness, pointing out the disparity in how the two parties are treated. While Doe has remained shielded from public scrutiny, JAY-Z—a global public figure—has faced widespread reputational damage as his name remains prominently linked to the case.
“Given her voluntary participation in a high-profile media interview, there is no reasonable justification for continued anonymity,” Spiro added.
JAY-Z has vehemently denied the allegations. In addition to warring with Jane Doe, the mogul is feuding with her lawyer, Tony Buzbee.
If Megan Thee Stallion’s legal strategy had prevailed in the 1970s, Bob Dylan’s “Hurricane”—the anthem that questioned witness credibility and highlighted systemic injustice in Rubin Carter’s case—might have been silenced in a courtroom.
Her lawyers have invoked a lawsuit against Bob Dylan to fight the rap star’s attempt to sue and quiet her critic, blogger Milagro Gramz.
Megan Thee Stallion sued Gramz for defamation, claiming the blogger’s social media posts during Tory Lanez’s trial for shooting the rapper defamed her and caused emotional distress.
Gramz’s defense, however, contends that Megan’s lawsuit attempts to stifle free speech and suppress critical commentary on a high-profile public trial.
“Rather than rebut the commentary or debate the issues raised by [Gramz’] comments so people can make up their own minds, [Megan Thee Stallion] has succumbed to the current trend of using the legal system in an attempt to cancel those opinions she disagrees with,” reads Gramz’s latest attempt to have the lawsuit thrown out of court.
The lawsuit revolves around social media posts where Gramz questioned Megan’s credibility as a witness, referred to her as a “drunk,” and suggested inconsistencies in her testimony during Lanez’s trial, where he was convicted of shooting Megan in the foot.
Megan Thee Stallion argues these statements are defamatory and harmful. Gramz’s attorneys counter that the remarks are opinions and rhetorical hyperbole, fully protected under the First Amendment – pointing to her own lyrics from her song “Cobra.”
At night, I’m sittin’ in a dark room thinkin/Probably why I always end up drinkin’/Yes, I’m very depressed/How can somebody so blessed wanna slit they wrist/S###, I’d probably bleed out some Pinot/When they find me, I’m in Valentino/ayy; He pourin’ me shots, thinkin’ it’s lit/Hah, little did he know.
Drawing a direct parallel to Dylan’s “Hurricane,” Gramz’s defense leans on the precedent set when Patty Valentine sued Dylan for defamation, claiming his song falsely implicated her in a conspiracy against Rubin “Hurricane” Carter.
“Taking Ms. Pete’s logic in bringing this case to its ultimate conclusion, given that a jury convicted Carter, any individual who suggested something to the contrary or who criticized the credibility of the state’s witnesses in that trial should be guilty of defamation. Patty Valentine, who was mentioned by name in the Dylan song, thought as Ms. Pete did and sued for defamation, claiming the song implied that she was involved in the conspiracy against Carter,” explained Gramz’ lawyer Michael Pancier.
The courts dismissed Valentine’s claim, emphasizing that public figures must endure robust criticism in matters of public interest.
Milagro Gramz’s attorneys argue that her social media commentary, much like Dylan’s lyrics, is constitutionally protected speech addressing a public trial of significant societal relevance.
Public figures like Megan Thee Stallion face a high burden of proof, needing to show “actual malice”—that Milagro Gramz knowingly spread falsehoods or acted with reckless disregard for the truth.
Gramz’s legal team asserts that Megan has not met this standard, arguing that her claims hinge on taking statements out of context.
The case raises critical questions about how defamation laws apply in a world where social media serves as the new public square.
Megan Thee Stallion’s defamation lawsuit against blogger Milagro Gramz sparks a free speech debate reminiscent of the controversy surrounding Bob Dylan’s “Hurricane” and Rubin Carter’s fight for justice.
The Joey Bada$$ situation is ugly. I saw the video, as most of you did, and it paints a horrible picture. This isn’t just a case of two random people fighting—it’s about two longtime friends. I don’t know the full extent of their friendship, but I do know they were once close.
The other guy, known as “Dee,” took the loss but walked out the door still talking. He also left a lengthy message on social media, which has since been deleted. However, in that post, he dropped some serious clues about what’s going on here.
He painted a really bad picture of Joey. I don’t like seeing these things about Joey because he’s one of the dopest rappers in New York City right now. In fact, he’s probably one of the city’s last hopes for a great MC, now that the GOATs have moved on.
Anyway, I want y’all to check this out and tell me what you think. I don’t have much of an opinion, other than it seems like a scorned bestie situation—but I could be wrong! Bro mentioned Capital Steez (RIP) and Joey’s mother, which is crazy work. Hopefully, there won’t be any more physical confrontations.
I did find it interesting that the bodyguard let him “cook” like that. Aren’t bodyguards supposed to secure the threat? But he let them fight it out fairly. Maybe he knows more than we do.
That’s right. That’s the rumor and possible fact. It’s now circulating over the internet that this scrap might be happening in Puerto Rico. The bout is reportedly planned for March 8, 2025 and will consist of eight rounds. Unlike the highly-hyped Mike Tyson vs. Jake Paul fight, the fight will have three-minute rounds. Mike and Jake only had two-minute rounds to address the champ’s aging frame.
At this moment, I can’t find any evidence that a fight has actually been scheduled. I have seen that Roy Jones Jr. offered to “inherit” the beef from Tyson and fight Jake. But I don’t think they made the fight official. I also haven’t seen Paul addressing it. There’s some crazy mess about Jones Jr. fighting Paul and brother Logan Paul in a tag team fight. Now, Roy – come on!
“I would most definitely (do a tag-team matchup against Jake Paul and his brother). That idea sounds great to me,” Jones told Covers. “I’d probably choose Lennox Lewis as my partner. Lennox is a big heavyweight, and both those brothers are big heavyweights. Lennox was a heavyweight champion, and I was a heavyweight champion. But I was never a true heavyweight. So if I’m going to fight two heavyweights, why not give me a heavyweight, too?”
Roy is 55 years old. And he’s a pretty weathered 55, so I’m thinking he needs to be cautious. Secondly, Paul is not a “slouch a## ninja” to quote Mike Tyson. This CANNOT happen. I know the money is good, but we have to look past that at some point.
This is crazy! I can’t believe I am even typing this. I think Canelo is more in tune with reality.
André 3000 is breaking his silence on Drake leaking his verse on Kanye West’s “Life of the Party,” revealing he wanted his verse removed from the track but is happy the Toronto native brought the song to light.
The Outkast icon opened up about the track during a recent interview on The New York Times’ “Popcast” podcast.
Three Stacks explained he recorded a verse in 2021 for West’s DONDA cut, “Life of the Party.” However, Ye insisted he didn’t want profanity on the record but André was unwilling to censor his material and told him to remove him from the song.
“At that point, he didn’t want to put a dirty version out,” André 3000 said of Kanye West. “He said, ‘I told my daughter that I would not have any curse words on this album.’ And I was like, ‘Hey man, say no more. The kids, for sure. So just take me off.’ And we weren’t in agreement with how the song would come out.”
André 3000 Reveals He Asked Kanye West To Remove His Verse From "Life Of The Party" After Kanye Refused To Include Curse Words On His Album Donda And Thanks Drake For Leaking It, Which Gave The Song The Opportunity To See The Light Of Day.
André 3000 also clarified he was aware of West dissing Drake on the track before it dropped.
“I’d heard the diss part and me and Kanye had a conversation about it,” he explained. “I had my feelings about it. I was like, ‘Man, do you really want to do this on this type of song? It’s kinda like going and shooting up your mom’s funeral.’”
The collab was initially left off the album but was included in the deluxe edition after Drake leaked it on his SiriusXM radio show amid his feud with Kanye West.
“I was like, ‘Woah!’ I actually don’t understand why he did it,” André 3000 added. “I kind of have to thank Drake for letting that song see the light of day.”
In the future, we’re going to see a classic collaboration of epic proportions. AllHipHop’s Chuck “Jigsaw” Creekmur interviewed legendary, iconic Hip-Hop artists Bun B of UGK fame and DMC of the iconic group Run-DMC. They are both on a new song called “Bun DMC,” the brainchild of Boston-based rapper/producer Marco Polo aka Polovision. This conversation goes beyond the music, diving into the essence of Hip-Hop and where the culture is headed across generations.
AllHipHop: Yo! AllHipHop is in the building. We’re out here with Bun B, the king himself, and DMC, a legend. It’s great to see you both out here healthy and thriving. So, let’s jump right in—how did this collaboration come together?
Bun B: This has been a while in the making. The song we did was recorded over a year ago. We linked up through Marco Polo, who put this track together. It’s a great record, and we waited for the right time to drop it. Timing was everything—we wanted to make sure it hit right.
A few months back, I had DMC join me at the Houston Livestock Show and Rodeo in March, but the song was created before that performance. Collaborating with DMC, one of the founding members of this culture, is an honor. This is someone I’ve looked up to for years—someone who made me want to be an MC. To now call him a friend and collaborator is surreal. This collaboration shows that, regardless of generation, we all represent the culture. There’s room for everyone to contribute.
AllHipHop: Absolutely. It’s amazing to see legends and newcomers working together like this. Bun, I remember you invited me to church once, which was crazy for me. Thanks for always keeping it real. DMC, what’s your perspective on this?
DMC: I’ve been saying for years that we need to rebrand Hip-Hop. I recently saw someone online talking about how we’ve let it lose its essence. Look, anything sacred to a culture gets diluted once it’s commercialized. While commercialization has its benefits, it’s up to us to maintain the authenticity, integrity, and universal appeal of Hip-Hop.
I’ve been traveling the world since Run-DMC’s debut album in 1984. Everywhere I go, people tell me stories about how Hip-Hop has broken down barriers. For example, [Chuck D of Public Enemy] just told me about when he and Ice-T went to Croatia during the war, and they stopped fighting just to see them perform. That’s the power of this culture—it unites.
This collaboration, this video [“Bun DMC”], represents what Hip-Hop truly is. You’ve got Bun B, a Texas legend and an Underground King. You’ve got a young artist connecting the generations through the chorus. Marco Polo represents another generation, and then there’s me. Together, we’re showing the culture and the business what Hip-Hop is all about—unity and collaboration.
Marco Polo: First off, shoutout to AllHipHop for documenting the culture at such a high level. This song is inspired by everything AllHipHop represents. It’s like the perfect vibe for what you all do.
We had a crazy creative process. Bailey came through and laid down the chorus in 15 minutes—it was fire. Cliff Smoke produced the beat, and everything just flowed from there. Everyone brought their best. Bun and DMC wrote their verses, and we crafted something truly special. This track is vintage hip-hop with a modern twist.
DMC: Exactly. This record is about breaking the rules and showing what Hip-Hop can be. It’s not just about making music—it’s about creating moments. We’ve got young artists, OGs, Texas, New York—it’s all here. This is a celebration of 51 years of hip-hop, and we’ve still got a lot of work to do. This collaboration is just the beginning.
AllHipHop: Well said. Thank you all for your time and for continuing to push the culture forward. We can’t wait to see the video and hear the track. Any last words?
DMC: Just this—Hip-Hop is for everyone. Let’s keep building together. Stay tuned!
AllHipHop: Perfect. Thank you, Bun, DMC, Marco Polo, and everyone involved. Let’s get it!
It appears as though Youngeen Ace is fed up with entourage and has decided to completely upend his lifestyle as a result.
On Monday (December 23), the “Do It” rapper set the internet ablaze with an impassioned livestream that marked the end of his notorious ATK [Ace Top Killer] crew. In an emotionally charged tirade, the Florida rapper expressed his frustration with his team’s lack of loyalty and effort when it mattered most.
“I say no more ATK, there ain’t no more,” Yungeen Ace began. “You n#ggas don’t do s#it. When the time for the lawyer should be paid, where the f#ck n#ggas be at?”
Ace continued, specifying that his criticism of his crew seemingly falls on deaf ears, considering they’re never actually around when the major decisions need to be made — suggesting it’s not a coincidence either.
“When n#ggas be dying, n#ggas need to get buried, when the time to spend that money, where the f#ck do n#ggas be?” he demanded.
He added that his frustration also stems over what he saw as empty words and false support from his peers.
“N#ggas always got s#it to say but don’t be on s#it, man,” he said. “They don’t get no feet wet or nothing. You n#ggas just be talking.”
As his rant continued, Ace made it clear that his decision to dissolve ATK was rooted in a lack of collective responsibility.
“If we all homeboys, we’re supposed to do that s#it together,” he said.Split it down the middle. But you n#ggas ain’t on that,” he said. “Your dog die, nobody’s mama should pay no money to bury their kid. As we all is one, we supposed to go do it together.”
He also alluded to his Ace’s belief that internet culture and clout-chasing behavior.
“This internet do it to you, n#gga. Hate you, n#gga. I hate this internet. I hate all you b#tch-a#s, scary-a#s n#ggas. They don’t know no principles and s#it.”
Though he is clearly moving purely off of emotion, it may be a smart move for Yungeen Ace either distance himself from, or dismantle the ATK gang all-together. Earlier this year following the fatal shooting of Foolio, Jacksonville Sheriff T.K. Waters told media at a press conference that Yungeen Ace and his ATK gang were on watch in the city.
“Yungeen Ace has long been known in Jacksonville,” Waters said. “We are consistently monitoring those groups. We have people that are always watching them. But he can’t move around in Jacksonville without us knowing about it. And that’s for the betterment of our community.”
The bitter feud between two women involved with the late PnB Rock at various points in his life before he was murdered in Los Angeles in 2022 continues to linger on.
The drama surrounding the deceased Philadelphia rapper took another dark turn after the latest scathing livestream from the mother of his 11-year-old daughter, Milan Allen. In the heated Instagram Live session, the woman unleashed a string of accusations aimed at Stephanie Sibounheuang, who was his girlfriend at the time of his death.
“That b#tch snorts coke, all that s###,” Milan’s mother began, her anger palpable. “Had me forced and fostered with that n#gga.”
She continued with a barrage of insults, accusing Sibounheuang of being a “parasite” who drained the rapper emotionally and financially. The grieving mother even alleged that PnB Rock called her extremely upset because he couldn’t afford school supplies for their daughter.
“If I’m lying my kids can die today,” she said. “He called me crying cuz he was broke and could not send Milan no f###### presents, could not send Milan no school supplies, no books, no nothing.”
Eventually, the woman went on to accuse Sibounheuang of even deeper and more sinister activity, alluding to her welcoming dark energy into PnB Rock’s life.
“She came with this voodoo s###,” she claimed. “I ain’t never seen my baby dad go broke, y’all. My baby dad went broke. He said the last thing he just paid for was that b####’s body to get done again ‘cause she was in the house leaking.”
Earlier this month, during another livestream with her daughter Milan, the pair accused Sibounheuang of playing a role in PnB Rock’s murder. Milan’s mother questioned Sibounheuang’s actions on the day of the fatal shooting, suggesting her social media activity had something to do with the murder — despite reports debunking the theory.
“That man made you deactivate your IG,” she said. “The day you went back on IG was the day he got killed. Now stop playing with me, Stephanie.”
Watch the clip from the livestream in the post above.
Redman has FINALLY dropped Muddy Waters Too, the highly anticipated sequel to his iconic 1996 album Muddy Waters.
Released on Christmas Eve, the unorthodox release date only adds to the album’s intrigue. The project boasts a star-studded lineup of guest appearances, including Method Man, Snoop Dogg, and KRS-One. The 32-track opus also features contributions from ’90s heavyweights like Queen Latifah, Naughty By Nature, Shaquille O’Neal, Faith Evans, Sheek Louch, Kid Capri, and Rah Digga.
On the production side, Redman enlisted an all-star team that includes Erick Sermon, Rockwilder, Mike & Keys, Rick Rock, Khrysis, and himself. The album continues Redman’s legacy by adding a seventh chapter to his signature “Soopaman Luva” series, with Melanie Rutherford lending her talents to the track.
Redman announced the release date just last week after building momentum with the singles “Jersey” and “Don’t Wanna C Me Rich.” Muddy Waters Too marks the New Jersey legend’s first full-length album in nearly a decade, following 2015’s Mudface. During the years in between, Redman focused on acting, landing roles in Power Book II: Ghost and A Hip Hop Family Christmas.
