Wiz Khalifa said that he was the first person to get Snoop Dogg’s children high while filming their 2012 stoner comedy Mac & Devin Go to High School.
Promoting his new album Kush + Orange Juice 2, the Pittsburgh rapper sat down with DJ Whoo Kid and casually dropped the revelation.
“I did that to Snoop Dogg’s kids,” Khalifa said when asked about the moment.
DJ Whoo Kid responded, “Really?” to which Wiz Khalifa doubled down: “Yes. We were shooting High School, the movie and he was out of the trailer doing his part and he came back in the trailer and was like, ‘Y’all little m############ is high.'”
Wiz Khalifa didn’t specify which of Snoop’s four children he was referring to, but at the time of the film’s release in 2012, the rapper’s kids ranged in age from 12 to 17.
Cordé Broadus was 17, Cordell Broadus was 15, Julian Broadus was 13, and Cori Broadus was 12.
The film, a weed-fueled buddy comedy starring both rappers, became a cult favorite in the cannabis community. Though the movie was released in 2012, it was filmed before that, placing the children’s ages even younger during production.
“I thought they had already smoked though. I’m like, ‘These are Snoop’s kids. Of course, they smoke.’ They got high with me first.”
Snoop Dogg shares three children—Cordé, Cordell and Cori—with his longtime wife, Shante Broadus. His eldest son, Julian, was born from a previous relationship.
Wiz Khalifa’s new album Kush + Orange Juice 2 celebrates the 15th anniversary of his breakout 2010 mixtape.
The sequel features production from DJ Quik, Cardo and Juicy J, with guest appearances from Ty Dolla $ign and Problem.
Vybz Kartel has unveiled his new Florida mansion and a fresh start, showing off the upscale property in a new home tour.
The Dancehall heavyweight gave his followers a peek into his latest chapter on Tuesday (April 15). He shared a video of his new U.S. home, complete with soaring ceilings, a sleek pool and an outdoor space built for entertaining. His fiancée, Sidem Öztürk, was seen lounging comfortably in the clip.
He captioned the post, “[Sidem] chillin in our new home in the name of Jesus #family1st #GodistheGreatest.”
The new property marks a major step in his comeback after serving 13 years in prison. In a recent interview, Kartel confirmed he’s now based in Florida.
“I spent 13 years in prison, like seriously, that’s not a joke,” he explained. “I need to go out now and I’m working. Florida is good because it’s a hub, you can go to New York, you can go across the Atlantic, England, go west, you’re in LA. It’s a nice place to be geographically, where we can just move.”
He also made it clear he’s steering clear of trouble and distancing himself from his old stomping grounds in Jamaica.
“I am just staying out of trouble,” Kartel added. “I don’t want to be in nothing negative, never. So we stay away from that.”
This isn’t his first big real estate move since his release. Back in October, he purchased a sprawling mansion in Red Hills, St. Andrew, one of Jamaica’s most exclusive neighborhoods. He announced the purchase with the caption, “From Prison to Prosperity.”
Meanwhile, Vybz Kartel made his triumphant return to the U.S. stage with two back-to-back, sold-out concerts at Brooklyn’s Barclays Center on April 10 and 11, 2025—his first U.S. performances in 20 years since regaining his American visa.
Each show reportedly drew around 19,000 fans, making Kartel the first dancehall artist to sell out Barclays Center twice in a row, a historic milestone for the genre.
Vybz Kartel’s performances featured surprise guest appearances by Busta Rhymes, Spice, Shenseea and many more.
Veteran MC Tracey Lee pulls no punches on his latest song, “The Pivot.”The song is a fiery collaboration with producer The Mighty O. This hard-hitting track is a masterclass in raw Hip-Hop, which at times can be in short supply. Beats meet razor-sharp bars and Lee braces for a comeback.
Lee, a lawyer and graduate of Howard University, uses the mic like a weapon. He fights against industry politics, the Trump administration, and issues plaguing our communities. Speaking truth to power is alive and well.
Benzino took direct aim at Eminem and the executives behind his rise, alleging in a recent interview that music industry power players have deliberately buried the rapper’s past racist lyrics to protect his image and career.
“Why is he so scared in 20-something years of his career to do interviews with Black media?” Benzino asked during a recent interview. “He’ll expose himself.”
The former Source magazine executive pointed to Eminem’s early recordings—some of which resurfaced years ago and were widely condemned for racial slurs—as evidence of what he says is a double standard.
According to Benzino, the industry rushed to defend Eminem while Black artists face harsher scrutiny for far less.
Benzino claimed Eminem was 21 when he recorded the controversial lyrics but said the label “came out and said he was 16 and he had a Black girlfriend.”
He accused Universal and music mogul Jimmy Iovine of “insulting” the intelligence of Hip-Hop fans and Black communities around the world.
He alleged that executives met behind closed doors to manage the fallout, crafting a narrative that painted Eminem as a heartbroken teenager who made a mistake.
“They got in a room and said, ‘We have to fix this,’” Benzino said, suggesting the explanation was manufactured to soften the backlash.
Benzino also argued that Eminem’s success was used as a wedge between Black and White Hip-Hop audiences and criticized the silence from others in the industry.
The remarks mark yet another chapter in Benzino’s decades-long beef with Eminem, which has flared up repeatedly over the years. Critics have noted that Benzino often revisits these claims when Eminem is back in the public eye.
But the timing of Benzino’s latest comments raised eyebrows, especially since they contradict his more conciliatory tone from just months ago. During a 2024 appearance on Drink Champs, Benzino said, “Eminem ain’t no bad person. He belongs in Hip-Hop. It’s a big racist problem in America right now and Eminem could probably stop half of it.”
He added, “I don’t have nothing against Eminem. That n#### can rap. But I care about us more,” even saying he was open to reconciliation.
Earlier this year, after news broke that Eminem had become a grandfather, Benzino extended an olive branch.
“I think this is a good time, man, to put this behind us and let’s try to enjoy life and try to make some type of statement,” he said. “I truly want to congratulate him and his daughter and him on being a grandfather.”
Despite those earlier gestures, Benzino’s latest statements suggest the feud with Eminem is far from over.
On April 16, the Toronto rapper’s legal team filed a 107-page amended complaint targeting Kendrick Lamar’s Super Bowl and Grammy performances. According the updated complaint, which was filed in a New York court, Drake’s legal team argues that Lamar’s performance of “Not Like Us” during the 2025 Super Bowl Halftime Show—broadcast to 133 million viewers—was “orchestrated to assassinate [Drake’s] character.”
A key point made in the complaint hinged on the theory that the NFL’s decision to remove the word “pedophile” from the televised performance served as proof that both the league and UMG recognized the lyric’s defamatory nature.
In UMG’s response to the complaint, the company appeared to warn Drake about the possible ramifications of his actions while also suggesting his legal counsel was misleading him.
“Drake, unquestionably one of the world’s most accomplished artists and with whom we’ve enjoyed a 16-year successful relationship, is being misled by his legal representatives into taking one absurd legal step after another,” the company said in a statement. “Both the Texas and New York proceedings are an affront to all artists and creative expression. Should his legal representatives senselessly keep the New York lawsuit alive, we will demonstrate that all remaining claims are without merit.”
In a statement obtained by AllHipHop, a spokesperson for Drake refuted the claims UMG brought forth in their response, which confirmed Drizzy and his legal team were fully aware of what they are up against.
“UMG’s latest statement is a desperate attempt to spin the narrative and deflect from the truth: Drake is holding the largest music conglomerate in the world accountable for its actions and doing so without fear,” the statement read in part.
As the statement continued, the spokesperson not only suggested that “UMG knows the case against it is only getting stronger” but also stated that Drake himself has nothing to hide—while also putting pressure on executives at the label, namely CEO Lucian Grainge.
“Drake welcomes discovery and has nothing to hide,” the statement reads. “It’s not Drake who should worry; it’s UMG’s current leadership. We look forward to hearing from Lucian Grainge, John Janick, and UMG employees under oath.”
The statement added, “Drake joins a growing chorus of artists raising questions about UMG’s leadership. The public and artists should be concerned about recent headlines involving UMG’s largest stakeholder that only reinforces the need for transparency all the way up to the Board of Director’s level.”
In dramatic fashion, the statement concludes, “UMG said, ‘be careful what you ask for,’ Drake knows exactly what he asked for: the truth and accountability.”
Prior to Drake’s team issuing the meticulous response to UMG, Kanye West threw his full support behind Drizzy’s lawsuit against the label, calling it “the biggest victory in music history” while urging rap artists to stop targeting each other and focus on the industry’s power players.
Bobby Brown didn’t hold back when asked about Britney Spears’s 2004 cover of his hit “My Prerogative” during a new interview, calling the pop star’s version a “butchering” and saying he only approved it because of her name and the producer attached.
The former New Edition frontman appeared on Club Shay Shay, where he told host Shannon Sharpe that Spears’s rendition of his 1988 single didn’t meet his expectations.
“I don’t think they really did justice to any of the samples that they have done to my songs,” Bobby Brown said. “Britney Spears butchered (My) Prerogative. Teddy Riley produced it, but that was a butchering that I couldn’t take it. I cleared it only because it was Britney Spears and I was thinking (she would do a good job). Teddy Riley is doing it too, so you know, but I felt it was a butchering.”
While Brown credited Riley with producing Spears’s version, the track was actually handled by Swedish producers Bloodshy & Avant. Riley, who produced the original, is listed as a songwriter on both versions.
Brown also explained that he now insists on hearing any proposed cover of his work before giving it the green light.
“Yes, I gotta hear it,” he said. “Because you don’t know what these kids will say these days. These kids will say some s**t that you don’t want your song associated with.”
Spears’s team has not responded to Brown’s comments.
Knxwledge and Mach-Hommy just went from collaborators to full-blown rap beef. It all played out in Instagram Stories. What started as a casual fan Q&A turned into a roast—and Knxwledge pulled out the flame-thrower. He was asked if he had any unreleased music with Mach. What happened next…nobody saw coming.
“That [n-word]stole an album worth of beats and released a dogsh#t mixed 12″ for 1k each,” he snapped. “Don’t ask me sh#t about this [n-word]. Your favorite rapper a thief.”
Ir felt like it came out of nowhere, but this has been brewing. And then he took a swipe at his fans: “Y’all love this [n-word] and y’all dont even understand French.”
Now, Knxwledge, Hip-Hop is the place where language barriers do not apply.
Whew.
Knxwledge and Mach-Hommy collaborated on numerous, new wave classics like “Fresh Off the Boat,” “Gnarly Dude” and “Ron van Clief.” Clearly, their relationship didn’t end on the best note. Now, what he did not do is name the project of stolen beats.
But, doing the “knowledge,” he’s likely referencing The S####, a 2017 project. It was sold on Mach-Hommy’s website for $1,000 per vinyl copy. It sold out. That’s a lot of money.
Mach-Hommy isn’t talking. No statements. No denials. Nothing. Last year’s #RICHAXXHAITIAN, which boasted production from KAYTRANADA and Conductor Williams, reached the AHH Best Albums of the Year.
Meanwhile, Knxwledge is fresh off a Grammy win for Why Lawd?, his sophomore NxWorries album with Anderson .Paak. So, both artists are winning. This “beef” is probably printed in a lab or something. I doubt it turns into anything significant. But we’ll be here if Mach responds.
Top Dawg Entertainment President Punch has pulled the curtain back on the temperament of the West Coast label a the particular moment Drake and Kendrick Lamar’s rap battle kicked off last year.
During his recent interview with Curtiss King TV, Punch spoke at length for over three-and-a-half hours on a number of topics including managing SZA, advice from LL Cool J, whether or not TDE fans will get a Black Hippy album and more. Of course, one of the most sensational topics Punch touched on was the rap beef between Drake and Kendrick.
In a rare and candid moment, Punch finally addressed the simmering tension between Drake and Kendrick, revealing what went down behind the scenes leading up to their explosive, history-making rap beef. In his initial remarks, Punch confirmed what fans have suspected for years — the subliminal jabs were very real.
“It had been bubbling for a while,” Punch admitted. “You’ll hear a little subliminals.”
He explained that the team usually keeps things quiet, but he reached a point where the weight of legacy outweighs the industry politics.
TDE President Punch says Drake throws so many subliminal shots he can’t keep up — and reveals Kendrick Lamar was laughing after recording the “Like That” verse.
“But I got to the point now where I’m like, ‘I’m gonna speak on it, if somebody asked me, right,'” he said. “Now it’s about legacy. You know what I’m saying? Like, usually we just let things go how they go…But now it’s like, okay, I speak on certain things.”
Punch also detailed the moment he found out about Kendrick’s “Like That” verse, which has been credited with turning the rap world on its head and setting off the full-blown lyrical war. While he didn’t catch Kendrick in the studio that day, he recalled hearing the track through TDE boss Anthony “Top Dawg” Tiffith.
“I hit Top, he told me a little bit about the record,” he said. “Then I hit Dot. I’m like, it’s going down,” he recalled. “I hear the record. I’m like, yeah, it’s up. It’s go time now, baby.”
And while the verse shook Hip-Hop to its core, Punch revealed Kendrick’s mood was surprisingly lighthearted—even amused.
“[Kendrick Lamar was] laughing,” he said. “This thing is from Compton, California, bro. You getting shot at, you getting home invasions, you in gang wars. Hey, we talking about music, bro. So it’s like, it’s funny.”
Elsewhere in the interview, Punch confirmed the validity of many Kendrick easter eggs fans have speculated about while also laying out the critical mistakes he believes Drake made by releasing diss tracks, such as “Taylor Made” which he revealed inspired “Not Like Us.”
In a bombshell 107-page amended complaint filed on April 16, 2025, Aubrey “Drake” Graham escalates his legal war with Universal Music Group (UMG), accusing the label of malicious defamation and betrayal amid the viral success of Kendrick Lamar’s diss track “Not Like Us.”
Here are the key points:
Violent Fallout: Just days after “Not Like Us” dropped, Drake claims his Toronto home was targeted in a drive-by shooting, followed by multiple break-in attempts. He connects the attacks directly to UMG’s role in promoting the diss.
False Allegations: The lawsuit states the track falsely portrays Drake as a pedophile, citing lyrics, music video symbolism, and the song’s cover art—showing his home marked with sex offender icons.
UMG’s Alleged Motives: Drake alleges UMG supported Kendrick’s diss for profit and leverage. With his contract nearing expiration and Kendrick newly signed, the lawsuit suggests UMG sought to devalue Drake while boosting Kendrick.
Super Bowl Performance: The complaint blasts UMG for promoting the track to a global audience during the 2025 Super Bowl halftime show, calling it “the first halftime show orchestrated to assassinate the character of another artist.”
Online Campaigns & “Whitelisting”: UMG allegedly removed copyright restrictions to allow widespread reposting on YouTube, TikTok, and Twitch, fueling the track’s virality. The label is also accused of covertly paying influencers and platforms to promote the diss.
No Help from UMG: Despite the threats and backlash, Drake claims UMG dismissed his concerns and warned that suing them would backfire.
Hakeem Prime enters the chat with “Meet The Duckworths” Diss Track
As Kendrick Lamar’s “Not Like Us” continues to ripple across the culture and legal headlines with Drake’s explosive UMG lawsuit, rising rapper Hakeem Prime has entered the chat dropped a second scathing diss titled “Meet The Duckworths” — a deeply personal open letter turned lyrical takedown aimed at Kendrick, his upbringing, and his image.
Hakeem Prime has stepped into the battlefield with not one but two surgical diss tracks aimed at Lamar: “CTRL+C” and the newly released “Meet The Duckworths.”
Where CTRL+C serves as a tech-toned teardown of Kendrick’s image and artistry, Meet The Duckworths hits deeper, positioning itself as a letter — or a warning — addressed to Kendrick, his mother Paula, and even Drake’s son Adonis.
Key Themes from “Meet The Duckworths”:
A Message to Kendrick: Prime paints a picture of a young Kendrick groomed by the industry to commodify pain, warning him about exploitation, fake praise, and the traps of fame. “They’ll call you conscious, but they’ll market your grief,” Prime raps, critiquing both the industry and Kendrick’s own choices.
Paula’s Chapter: The second verse directly addresses Kendrick’s mother, Paula, suggesting her tough love and silence shaped Kendrick’s pain and artistry. Prime questions whether she ever returned the healing Kendrick offered in his music — especially after his public acknowledgments of trauma and faith.
A Word for Adonis: In a surprise turn, Prime shifts to speak to Drake’s son, Adonis, advising him to avoid the traps set by broken men pretending to be leaders — subtly aligning himself as someone who’s grown beyond past mistakes and now sees the bigger picture.
Bars from Boise: With a lyrical backdrop from Idaho, Prime flexes his own growth — from his credit score to a yacht party — giving the diss a personal, grounded tone amid the chaos of the high-stakes rap feud.
“Meet The Duckworths”: A Letter, A Lesson, A Lashing
In his second offering, Prime trades punches for poetry. “Meet The Duckworths” unfolds like an open letter — first to Kendrick, then his mother, and finally to Drake’s son. It’s introspective, ruthless, and thick with generational commentary.
To Kendrick
He positions himself as both a former admirer and a prophet warning of exploitation:
“Don’t let ‘em use your pain just to show they love it.”
“They’ll call you conscious, but they’ll market your grief / Turn your trauma to a stream, while they dine like a thief.”
Prime challenges Kendrick’s identity and evolution:
“You gon’ hear ‘King Kendrick’ a lot, they’ll flood you with praise / But remember—pedestals flip when the trends start to fade.”
To Paula (Kendrick’s Mother)
The second verse cuts deeper, holding Kendrick’s upbringing up to a mirror of accountability:
“You gave him melody, but never taught him peace in the chorus / No guidance, just force… and the silence with the belt.”
“He healed you in Morale, laid it all on the track / But I wonder, Paula—have you ever gave that love back?”
It’s raw and reflective, even referencing alleged family trauma:
“You a Black mom, no doubt, and the world been cold / But I’ma tell you ‘bout this boy I know—his name is Carmelo Anthony.”
To Adonis (Drake’s Son)
:The final verse is less an attack, more a generational memo:
“Dear Adonis, don’t trust these broken nas, they real dishonest. I promise.”*
“They do it to their own kin, just to win, but it’s a sin / And they don’t know it.”
Prime shifts into life-lesson mode, using his own growth to inspire:
Listen here:
“CTRL+C”: Aimed at the Brand, Not the Man
The first track, CTRL+C: A Kendrick Lamar Diss, is sharp, direct, and critiques what Prime views as cultural mimicry, industry shielding, and clout choreography. He raps:
“CTRL+C, boy, you copied the Bay / They thought it was yours, but you borrower.”
Prime accuses Kendrick of repackaging regional styles and hiding behind industry machinery:
“Bot farm got you safe / While the industry in a sting.”
And with surgical coldness, he questions Lamar’s Pulitzer win:
“Gassed off the Pulitzer Prize with googly eyes / That was for pity, they gave you your turn because of Pac & Biggie.”
The track closes with a mic-drop aimed at Kendrick’s Super Bowl performance:
“CTRL+Alt+DEL from the Super Bowl / Now it’s time to erase.”
Listen here:
The Bigger Picture
Together, these tracks make up a personal and political statement. While CTRL+C calls Kendrick out for artistic fronting, Meet The Duckworths speaks to the cost of commodifying pain, the weight of legacy, and the fragility of fame when tethered to systemic narratives.
And with Drake taking UMG to court for allegedly exploiting “Not Like Us” for profit and cultural spectacle, Prime’s records feel less like side beef and more like commentary on the cost of being Black, brilliant, and branded.
As Prime puts it:
“This a mirror, held still / A letter from the real to the dream you gonna build.”
⚠️ Disclaimer: This article discusses the music and public commentary of Hakeem Prime. All lyrical interpretations and views expressed are for editorial and informational purposes only. The lyrics, legal claims, and public references belong to their respective artists and sources. The content does not reflect the views of AllHipHop.com or its affiliates. All individuals mentioned are presumed innocent until proven otherwise. Listener and reader discretion is advised.
Sean “Diddy” Combs‘ request to delay his trial has been denied by a federal judge.
On Friday (April 18), Judge Arun Subramanian denied the two-month adjournment his legal counsel requested via a letter filed with the court on Wednesday (April 16). Judge Subramanian previously gave Combs’ legal counsel a 48-hour ultimatum to file the request, describing the proceedings leading up to the criminal trial as a “freight train.”
According to Fox News, Justin Combs and his mom and Diddy’s mother Janice Combs were in attendance at the hearing when the judge denied the request. Combs legal team will now have roughly three weeks to prepare their defense for the trial, which begins on May 5.
Sean ‘Diddy’ Combs is back in court Friday ahead of his sex trafficking and racketeering trial. Legal contributor, @BrianGBuckmire, breaks down what to expect and how both sides plan to focus on evidence and witnesses. pic.twitter.com/JXQN5zbNf1
Combs’ legal team reportedly cites the need for the pause in the case as a means to provide “the necessary time to prepare” the defense for their client—who now faces a superseding third indictment he was charged with on April 3 and arraigned on weeks later on April 14. A
Combs’ legal team claims the delay is needed in order to sift through roughly 200,000 emails and other materials they say haven’t been handed over by federal prosecutors.
Diddy’s legal team claims they are also waiting for at least 3,500 evidentiary materials and a witness list. Not to mention, they are concerned about a new charge against Diddy, which carries a 15-year mandatory minimum charge.
The request also followed Combs’ legal team adding Young Thug’s attorney, Brian Steel, to the roster ahead of his federal sex trafficking and racketeering trial in Manhattan next month.
Combs, who’s been in custody without bail since his September 2024 arrest, pleaded not guilty to two additional charges added earlier this month during his April 14 arraignment. He now faces five total counts, including racketeering, sex trafficking and transporting individuals for prostitution.
Chip is putting grime firmly back on the map with the release of his fifth studio album, Grime Scene Saviour.
The British musical icon released the project, a grime-first body of work, on Friday (April 18) under his independent label Cash Motto, marking a return to the genre that made him a household name.
Featuring a lineup of genre titans including Skepta, D Double E, JME, Frisco, Flirta D, Novelist and Flowdan, the album doubles as both a celebration and a declaration—grime is not just alive; it’s thriving.
The centerpiece track, “Grime Scene Saviours,” brought together multiple MCs for a lyrical showcase that honored the genre’s pioneers and ongoing evolution. The accompanying video, packed with rapid-fire verses and gritty visuals, amplified the message.
Chip – Grime Scene Saviours
“This time next week my true supporters will be riding to my latest body of work,” Chip wrote in a heartfelt Instagram post ahead of the release. “Of all the mixtapes, ep’s, albums and singles… this project has made me the HAPPIEST to create.”
He added, “Every synth, every high hat, every sharp snare, every classic sample. The list goes on. When I look at the art work for this body of work… front or back cover. I’ll remember the time we made Grime shake up the culture and conversations for a 3rd time round in life and be proud of my contribution.”
Chip, who first broke through with I Am Chipmunk in 2009 and later teamed up with Skepta and Young Adz for Insomnia in 2020, used this album to reassert his place in grime’s lineage—not as a ruler, but as a servant to the sound.
“I never wanted to be the Godfather,” he admitted, adding, “I never wanted to be the King. I wanted to make the fore-founders and creators proud. Being a trusted service on the microphone giving the glory to God and telling the truth about UK music history as someone who helped build the bridges for my generation and generations to come.”
The album also arrived with visuals for “Sexy Grime,” adding another layer to the rollout.
But Chip’s mission didn’t stop at the studio. In February, he hosted a sold-out Grime Scene Saviour show in London. The epic concert brought together 20 MCs from across the scene. The energy continues with a follow-up event, Grime Scene Saviours Reloaded, set for June 21 in London.
Chip’s Grime Scene Saviour is available now on all major platforms.
DDG didn’t hold back after Waka Flocka Flame took a jab at his fashion choices, calling out the veteran rapper during a Twitch livestream and making it clear he’s not here for the disrespect.
The tension started when Waka commented, “wtf you doin lil bra” under a photo DDG posted from Japan, where he was rocking oversized denim pants. The remark didn’t sit well with DDG, who addressed it live on stream.
“That boy Waka Flocka low key on dick, bro,” DDG said. “That s### be pissing me off. I ain’t even say nothing, but like, Waka Flocka?”
He didn’t stop there. DDG also took issue with what he sees as a pattern of negativity from Waka, mentioning another comment Waka allegedly made about DDG involving himself in “Female s###.”
“N#### quit speaking on me,” he added. “Why are you commenting on everything involving me negative.”
The YouTuber-turned-rapper later uploaded a clip of the livestream to his channel, titling it “Waka Flocka Got Beef With Me??” to further spotlight the exchange.
At one point during the stream, DDG even asked a passerby who they preferred between him and Waka Flocka. The fan didn’t recognize the Brick Squad rapper at all.
“Quit speaking on me,” DDG said. “That s### lame. N##### respect you; I expect the same respect; I’m a grown-ass man. Don’t try little bro me.”
Doechii’s “Anxiety” has become an undeniable force online in 2025. The breakout single, which has sparked a wave of over 1.8 million TikTok videos, is at the center of a viral dance trend loosely inspired by The Fresh Prince of Bel-Air’s debut episode. The challenge has been picked up by everyone from the cast of The White Lotus to Will Smith himself. Even Sesame Street joined the wave! WOW.
But the momentum isn’t stopping there. The newly released official music video adds even more fuel to the blaze. Set inside a chaotic house, the visual features Doechii navigating a maze of expressive choreography. Sharp-eyed fans will notice a nod to Gotye’s“Somebody That I Used to Know,” the song Doechii samples in “Anxiety.” Her background characters sport the same iconic body-paint design made famous in the 2011 video.
The video also has a deeply personal layer, as a Doechii recreates her childhood bedroom. This is the same place she recorded the original version of “Anxiety” back in 2019. On top of that, her real-life twin sisters make appearances throughout the video! Now, they look like the eerie twins from The Shining, but that is another story.
“Anxiety” is a cultural statement and Doechii’s momentum shows no signs of slowing down.
Casinos and hip-hop may seem like two different worlds, but for years, they’ve been closely connected through music, culture, and storytelling. The glitz of casino life — from neon lights to high-stakes tables — aligns naturally with the luxury and ambition that hip-hop often celebrates. As hip-hop evolved, so did its references, with artists increasingly weaving casinos, poker chips, and slot machines into their lyrics, music videos, and even personal lifestyles. Today, even trustworthy platforms like PinStars Casino reflect how digital spaces are becoming part of this narrative, offering an environment that echoes the flashy allure found in hip-hop culture.
Hip-Hop’s Obsession with the Casino Aesthetic
Whether in the early 2000s music videos or today’s mixtapes, casinos are a feature in hip-hop. Whether the image of the spinning roulette wheel or the metaphor of betting on yourself, the casino metaphor is powerful—and not unlike the journeys of many artists who started from modest origins.
Jay-Z, in his track Can I Live, uses gambling imagery to describe hustling: “I’d rather die enormous than live dormant, that’s how we on it — live at the main event, I better trip than tip.”
Here, he’s not just talking about a casino context but even directly correlating his approach to life as a venture with risk, aspirations, and reward—all of which are the premised central features related to both hip-hop and a casino motif.
Notable Examples of Casino Culture in Hip-Hop
It is not just regular gamblers who draw inspiration after passing the Pin-Star casino login process and diving into the world of slots, a lot of hip-hop artists also incorporate the casino theme in their songs:
Drake frequently references luxury casino settings in his music and Instagram lifestyle, showing off scenes of baccarat tables and pin-striped suits.
Nas, in Nas Album Done (with DJ Khaled), says “I’m at the table gamblin’, Vegas style,” nodding to his own high-stakes success.
Cardi B and Offset have posted their nights at online casinos and high-end venues, subtly blending real life with music themes.
Meek Mill often references “rolling the dice” as a metaphor for risk-taking in life and business.
These aren’t just lyrics — they’re part of the brand and image that hip-hop stars cultivate.
Casinos in Music Videos and Visual Art
Apart from lyrics, casinos have a major role in some music videos. Take Rick Ross’s Dice Pineapples video, which has many casino tables and champagne glasses. The atmosphere and persona mirror the elitism and wealth of places like Pin Stars Casino online, and this art has designed opulent casinos that represent the feel of real-life luxury casino venues. In some cases, artists partner with casinos or throw events in flashy casino spaces. Mixing music with lifestyle and gaming creates a rich context of success, confidence, and rewards — values shared by rappers and casinos.
The Digital Spin: Online Casinos in the Mix
As digital spaces expand and transform, hip-hop references to casinos follow suit. When discussing gambling, athletes are now much more likely to refer to their mobile app, crypto betting, or a particular gambling brand than high-rise or down-the-block casino motels.
Like mixtapes on a streaming platform, online casinos are now part of the new-age aesthetic. Casino references hold firm in hip hop, from old-school music to more recent trap genres. Storefront visual representations and metaphors provide artists avenues to connect narratives to the excitement of an uncertain bet; the same can be true of new-age Pin-Stars casino (the references are just not yet in song lyrics, though culturally—it is high stakes, fast-lived, and full of potential).
50 Cent torched his own horror film Skillhouse and blasted producer Ryan Kavanaugh in a blistering Instagram post, accusing him of sabotaging the project and pushing him to scrap it altogether.
On Thursday (April 17), the G-Unit honcho dropped off a few posts on Instagram squarely aimed at Kavanaugh, his fellow producer on the movie.
“This guy Ryan Kavanaugh is doing everything in his power to make me kill this movie. This one is going in the trash CAN!” 50 Cent wrote, making it clear he’s pulling the plug on the film he both stars in and co-produced.
The Hip-Hop and entertainment mogul didn’t stop there. He posted a photo of Kavanaugh next to screenshots of the producer’s 2008 DUI arrest, adding, “Here he is guys, he must be drunk right now f###### wit me. Top Financier get the f### outta here.”
The fallout stems from a growing dispute over Skillhouse, a horror flick centered on 10 influencers trapped in a deadly content house where survival hinges on social media engagement. The film is slated to hit theaters on July 11 via Fathom Entertainment.
Tensions escalated earlier this week when 50 Cent warned that the movie couldn’t legally be released without his approval.
“They can’t release this MOVIE SKILL HOUSE without my signature, which they do not have. What kinda business are they doing? I’d hate to have to demonstrate,” he wrote on Wednesday.
Despite being listed as co-producers, 50 Cent’s posts suggest he believes Kavanaugh and others may be trying to bypass his contractual rights to push the film forward without his consent.
The public fallout now casts serious doubt over the future of Skillhouse, with 50 Cent making it clear he’s ready to bury the project unless the behind-the-scenes conflict is resolved.
Boosie Badazz has slammed Indianapolis promoters and blacklisted the city after accusing them of stiffing his daughter Iviona “Poison Ivi” Hatch on her performance payout.
The Baton Rouge rapper didn’t hold back during a heated Instagram Live session on Thursday (April 17). Boosie called out what he described as “bad business” and “broke ass” promoters who “played with my daughter’s money.”
Boosie’s daughter, who performs under the name Poison Ivi, has been making her way into the Hip-Hop scene, and this incident appears to have struck a nerve with her father.
Despite a rocky history with his daughter, Boosie made it clear he’s standing behind her on this one.
“I’m never coming back to Nap Town. It’s over with for Nap Town,” he said, making it known that Indianapolis is now off-limits for future shows.
Boosie said he’s had years of love from the city but won’t tolerate anyone messing with his daughter’s money.
“After all the love over the years, Indianapolis is officially off my list of performances,” he said.
He also issued a warning to other artists thinking about booking gigs in the area.
“To any other artist who seen this, I’m putting y’all on game,” Boosie added. “Y’all don’t need to go out there neither. N##### ain’t got your back end.”
Boosie said he’d only consider performing in Indianapolis again if the promoters pay up — and then some. “If they want me back, they gotta pay times four what they took from my daughter.”
In another clip, he doubled down on his frustration. The rapper’s final word on the matter was clear — no more shows in Indianapolis and no tolerance for anyone messing with his family’s money.
“If you ain’t got no money to book no show, sit yo broke ass down, b####,” he said. “It’s just bad business.”
The situation with his daughter comes amid Boosie’s health concerns following a recent car crash.
He said he’s been to “four different hospitals” in Atlanta, complaining of breathing issues, but claims doctors haven’t found anything wrong. “I cursed out everybody at that b####,” he said, describing his frustration with the medical staff.
Offset streamed a racy Instagram Live from a beachfront villa featuring a wild party with an apparently all-female guest list as his estranged wife, Cardi B, appears to have found a man amid their ongoing divorce.
The Atlanta rapper appeared unfazed by the ongoing divorce drama in footage he posted to Instagram Thursday night (April 17). One video shows Offset partying with a large group of bikini-clad women, dancing to OutKast’s “Roses.”
The tropical getaway comes days after Cardi B was seen with NFL player Stefon Diggs, fueling speculation she’s moved on from their turbulent marriage.
Offset recently commented on Cardi’s rumored new relationship, saying he was “happy” for her after she went viral over the weekend with Diggs.
But behind the scenes, their split has turned increasingly hostile.
During a live X (Twitter) Spaces session in late March, Cardi B accused Offset of threatening to kill both her and himself after she rejected his attempts to reconcile. “Take away his life” and “Take away my life,” she claimed he said in messages.
Cardi alleged that once she informed Offset’s current girlfriend about the threats, he became enraged and began harassing her. She said he bombarded her with messages, explicit voicemails and even sent revenge p### to her rumored boyfriend — videos of her and Offset together.
She also accused him of targeting her friends and leaving her voice notes, “trying to pull my self-esteem to the ground,” behavior she said had continued for months.
Cardi claimed Offset would track her movements, contacting her whenever she traveled, and even FaceTimed her with his new girlfriend to intimidate her further.
Kanye West is throwing his full support behind Drake’s lawsuit against Universal Music Group (UMG), calling it “the biggest victory in music history” while urging Hip-Hop artists to stop targeting each other and focus on the industry’s power players.
In a video posted to X (Twitter) Thursday (April 17), West praised Drake’s legal battle against UMG and its chairman Lucian Grainge, declaring, “I have to show Drake love for going at the machine.”
He continued, “You know, I’m so happy right now,” referencing the 107-page amended complaint Drake filed just a day earlier.
Drake’s updated lawsuit, filed April 16, accuses UMG of orchestrating Kendrick Lamar’s Super Bowl halftime performance of “Not Like Us” as a public smear campaign.
The complaint claims the label used the 133.5 million-viewer platform to “assassinate [Drake’s] character” and further amplified the track’s impact by promoting it during the 2025 Grammy Awards, where it won Song and Record of the Year.
West, who once took shots at Drake in his “Like That” remix, now says he’s done with the beef.
“I’m never finna call Drake out of his name. I’m Team Drake 100 percent,” he said. “And Team Kendrick and Team all of us. Like, Kendrick need to be going at UMG, at this point. This is what I said in my version of ‘Like That.'”
Kanye West Called For “Elimination” Of Drake & Targeted UMG CEO
In that remix, West targeted Drake and Grainge, rapping, “Where’s Lucian? Serve your master, n#### / You caught a little bag for your masters, didn’t ya? / Lifetime deal, I feel bad for n#####.”
At the time, West said the verse was intended for “the elimination of Drake,” even calling Grainge Drake’s “Rich baby daddy.”
Now, West says the focus should shift.
“Let’s stop aiming all this at each other,” he said. “Everything is worth everything for a moment like this, where we stop going at each other and we go at the slave masters.”
Drake’s lawsuit accuses UMG of leveraging its financial and industry clout to boost Lamar’s diss track and damage his reputation.
The filing also points to Grainge’s on-camera celebration with Dr. Dre during the Grammys broadcast as further evidence of the label’s involvement.
UMG responded by calling the claims “frivolous” and warned Drake that the lawsuit could backfire. “Be careful what you wish for,” the company said. UMG also noted the case could expose him to legal discovery and “reputational and financial” harm.
Meek Mill is digging deep into his conspiracy theory bag in his latest batch of tweets.
It appears as though the Philadelphia-bred rapper has been spiraling down the rabbit hole of Twitter theories on his timeline and came across some chilling information provided by the government on the White House official website.
According to a tweet he reposted featuring the screenshot of the site, the government has been in possession of tools capable of manipulating “time and space.” Meek, who appeared to agree with the post, added his two cents in a quoted reply, writing, “After 2020 s### was feeling wocky … I knew it lol.”
But Meek Mill didn’t stop there. In fact, in a follow-up tweet, he targeted new media by seemingly accusing America of being the biggest perpetrator of false information in the form of “blogs” which he claims are meant to engagement farm.
“It’s people in America literally doing blogs on false stories trying to get people with a lot of engagement to interact to get impressions…,” Meek Mill wrote in part. “80% bots and most of it is defamation of character .. if you notice they aiming at my ‘street image’ lol.”
It's people in America literally doing blogs on false stories trying to get people with a lot of engagement to interact to get impressions … 80% bots and most of it is defamation of character .. if you notice they aiming at my "street image" lol
While Meek’s first conspiracy theory may seem somewhat hard to believe, the case he’s making about his credibility being under fire isn’t nearly as hard to validate. His message actually follows a previous message he issued last month after an alleged West Coast gang member spread rumors about kidnapping and extorting the “Dreams And Nightmares” rapper, which Meek ultimately denied.
Meek Mill fired back at the man, Luce Cannon, after his allegations resurfaced following his recent arrest in Los Angeles.
“This guy must be using a story to confuse his indictment,” Meek Mill tweeted Tuesday (March 25). “Because I never seen him B4 …I woulda put him to ‘gods test’ on the spot! I never even met buddy but I don’t ‘negotiate’ with fake thugs.’ Ask him what chain because all my chains some s### lol watches all 300k up vibes.”
President Donald Trump raised eyebrows on Thursday (April 17), in the Oval Office, when he confessed he didn’t know what or where the Democratic Republic of the Congo is while discussing immigration with Italian Prime Minister Giorgia Meloni.
During a conversation that veered into global migration, Trump claimed foreign governments were releasing prisoners into the United States under President Joe Biden’s administration.
“People that were in jail for horrible — you know, they release jails, Giorgia, from all over the world and release them. Not just South America. The Congo in Africa. Many many people come from the Congo. I don’t know what that is, but they came from the Congo,” President Donald Trump said.
TRUMP: “Many, many people come from the Congo. I don’t know what that is, but they came from the Congo”🤣 pic.twitter.com/vfuJjjECQK
The remark quickly drew attention online, with critics questioning the former president’s grasp of international geography, especially regarding U.S. immigration policy and the fact that his administration is considering investing billions into the mineral-rich country.
President Donald Trump continued, “And all over the world, they came in. Venezuela, practically all of their prisoners came into our country and we took them because we had an incompetent administration called the Biden administration. And to think what they’ve done to our country, I was elected to straighten that out.”
The exchange came hours after news broke that Erik Prince, a longtime Trump ally and founder of the private military company Blackwater, had finalized a deal with the Congolese government to help secure mineral resources and improve tax collection.
The agreement focuses on the copper-rich Katanga province in the southern part of the country, far from the conflict-ridden eastern regions controlled by M23 rebels.
The Democratic Republic of the Congo, often referred to simply as the Congo, is a central African nation rich in natural resources, including cobalt and copper.
It shares borders with nine countries and has long faced political instability and armed conflict, particularly in its eastern provinces.
And at least half of them will decide it's a congo line rather than a country
Hey, Trump scored a perfect score on a cognitive test. People went up to him and said ‘Mr President I’ve never seen that happen before’. Are you saying such a brilliant man couldn’t identify The Congo? Shame on you! Dear leader has himself bragged about how smart he is.
