Suge Knight finalized a $1.5 million settlement with the family of Terry Carter in Los Angeles just days before a retrial was set to begin over the 2015 fatal hit-and-run that left Carter dead outside a burger stand during a dispute tied to the filming of Straight Outta Compton.
Knight, appearing remotely from prison, agreed to pay $500,000 each to Carter’s widow, Lillian and daughters Nekaya and Crystal, bringing an end to a years-long wrongful death lawsuit that accused the former Death Row Records boss of acting “recklessly, carelessly, and negligently,” per Rolling Stone.
The decision to settle came after Knight’s longtime attorney, David Kenner, moved to withdraw from the case, citing a conflict of interest.
With the retrial looming, Los Angeles County Superior Court Judge Thomas Long made it clear there would be no more delays.
“There will be no additional continuances. This case is out of time,” Long told Knight, warning he’d have to represent himself if the trial moved forward.
Knight is currently serving a 28-year sentence after pleading no contest to voluntary manslaughter in Carter’s death. He said he chose to settle out of “respect” for Carter and his family.
“Terry was a friend of mine. It definitely wasn’t done intentionally. It wasn’t done to bring harm to him,” Knight said. “One of the reasons I settled [is] I got respect for Terry, so that means I’ve got respect for his family. I didn’t want to put the family through more pain. It’s not that I did anything wrong—I never would have. But I do owe the family an apology because of this thing they had to go through.”
Terry Carter’s Widow Slams Suge Knight
Lillian Carter, however, made it clear she found no peace in the outcome. “It’s hard living without him when I lived all those many years with him. It’s been very, very difficult. I’ve been in pain ever since January 29, 2015, I haven’t had a good day, not one good day,” she said. “I’m not happy with the outcome of it, at all, but I don’t want to give him another opportunity to put on a clown show and act like a b####. Maybe somebody will shank him in jail.”
Her daughter Nekaya echoed the emotional toll the case has taken on the family. “I’m relieved it’s finally concluded. It has been a long and emotional journey. We couldn’t put ourselves through that again. I want to move forward, just like my dad always encouraged us to do.”
Kanye West linked up with Toronto rapper Top5 during a livestream from Spain, where he took aim at Kendrick Lamar and J. Cole in a blunt exchange that reignited West’s ongoing critiques of the Hip-Hop heavyweights.
“I hate J. Cole,” West declared. “It can’t even be called music. I hate J. Cole.”
Sitting beside Drake affiliateTop5, who has had his own issues with Lamar, West doubled down on his disdain for both rappers.
“It’s something about both J. Cole and Kendrick that kinda, that leaves me sorta like—it reminds me of each other and s### like that,” he explained. “It’s just not that sauce to me.”
The livestream marked a notable shift in West’s relationship with Top5 following a recent spat.
West also took a jab at actor Ben Affleck, who recently named Kendrick Lamar on his Mount Rushmore of rap.
“Anybody that say Kendrick is one of their favorite rappers, don’t know about rap, doesn’t know about real rap,” West said.
The remarks come just days after West labeled Lamar “overrated” in another rant, continuing a pattern of verbal jabs aimed at the Compton rapper.
Kanye West Praises Kendrick Lamar; Acknowledges His Dominance In Hip-Hop
However, the tone sharply contrasts West’s comments earlier this year.
Back in February, West had a different take, calling Lamar nearly untouchable in a rap battle.
“If you rap against Kendrick, you will lose. This man does this,” he said at the time. “If you rap against Kendrick Lamar, it’s really a difficult task. But I’m a psycho genius, so…”
He even praised Lamar’s takedown of Drake, saying, “Kendrick killed my nemesis,” while acknowledging their influence on the culture.
“Drake added something to the algorithm, to our frequency. He advanced it … and now Kendrick has now advanced the frequency.”
Still, West made it clear that only someone with his mindset could challenge Lamar, stating, “Do not rap against Kendrick Lamar unless you’re a psycho genius like me.”
Kanye West questions why Future and other rappers let Kendrick Lamar’s 'Big Three' line from 'Like That' pass and warns rappers not to rap against Kendrick Lamar unless they’re a psycho genius like him.
Instagram thrives on visual storytelling. Your audience receives a complete first impression with each swipe, tap, and scroll. Grabbing attention is easy, with millions of visuals being uploaded every day. Whether you’re the creator of the content, a small business or a digital marketer, you understand that standing out on this saturated visual platform is more important now than ever before. Design-forward tools come into play at that point.
Instagram users move quickly. This means you only get a few seconds (sometimes milliseconds) to get them to stop scrolling. A polished, bold, emotionally resonant poster can often do the trick. Traditional design tools are flexible, but platforms like Instagram demand a specialized edge. Pippit bridges that gap. It offers design precision refined for fast-moving feeds and brand-specific content creation
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The Challenge of Capturing Attention in a Visual Feed
Instagram is used at high speeds by users. Attention spans are short, and impressions go fast. The constant battle to grab eyes and have them look for just a few more seconds makes this rapid consumption. However, it’s not only the pace that is challenging; it’s also the volume. Similar templates, stock imagery, and recycled visual trends are boring audiences.
This kind of battlefield wasn’t built for most traditional design tools. General features they offer but do not really work with Instagram’s nuanced needs, e.g., optimized ratios, emotional imagery, and dynamic contrast. That’s why uploading a good-looking image is not enough anymore. You need purpose-driven visuals to fit Instagram’s high engagement formats.
Design Principles That Drive Engagement on Instagram
To stand out, your design needs more than aesthetics. You need intention. Bold visuals and emotionally charged color schemes help evoke immediate reactions. Symmetry makes your posters pleasing to the eye, while contrast highlights key elements like headlines and calls to action. Whitespace, often overlooked, brings visual balance and lets your message breathe.
Templates can be a starting point, but they sometimes restrict creativity. Many creators fall into the trap of relying too heavily on pre-built designs. To build a real brand identity, customization is key. That’s where a specialized poster maker makes all the difference.
How Pippit’s Poster Maker is Optimized for Instagram Success
Instagram isn’t one-size-fits-all. Each format—whether it’s a feed post, story, or reel—requires different dimensions, text spacing, and focal points. Pippit understands this. It automatically adjusts aspect ratios so your content fits perfectly into each format without manual resizing.
Its poster templates aren’t just stylish—they’re performance-driven. Each template is built with engagement metrics in mind, maximizing likes, shares, and comments. Pippit also allows you to layer essential elements like slogans, calls-to-action, and product details seamlessly into the design without overcrowding it.
How to Make a Poster Online with Pippit
Step 1: Generate a custom poster online Start by logging into your Pippit account and heading to the left menu. Open the “Image studio” and click on the “Sales poster” section. For Instagram-ready designs, pick from high-engagement visual templates or craft a unique prompt that fits your content vibe. Choose your ideal aspect ratio—square or vertical works best for Instagram—and hit “Generate”. You can also upload an image if you want the AI to base your design on a pre-existing visual style.
Step 2: Refine & polish your posters Once your Insta-focused poster is ready, tailor it using Pippit’s creative tools. Try the “AI Background” option to automatically insert stylish, on-trend backgrounds or upload your own HD images to reflect your aesthetic. Customize your messaging with “Text style”—adjust font, size, and layout to make it pop in an Instagram feed. These tweaks will ensure your content looks polished, thumb-stopping, and totally brand-aligned.
Step 3: Export your posters Finalize your eye-catching Instagram poster by previewing the finished version. Satisfied? Click to export it in high resolution. Whether you’re posting it to your feed, story, or ad carousel, Pippit’s export quality guarantees your visuals stay crisp and clear across all Instagram formats.
Utilizing AI Features for Instagram-Worthy Posters
AI enhances creativity without complicating the process. With Pippit, background selection becomes intuitive. Choose dynamic scenes, seasonal themes, or color palettes that elevate your visuals. Text styling goes beyond basic fonts—AI recommends combinations that match your tone and ensure readability on mobile screens.
This tool also helps you choose imagery that performs well. AI suggestions guide you toward high-conversion visuals, improving interaction rates. Achieving visual harmony takes just a few clicks, letting you focus on storytelling rather than manual design.
Cross-Promoting Content Within the Instagram Ecosystem
Great posters don’t belong to a single format. Use your visuals across Instagram carousels, reels, or sponsored ads. Pippit’s export-ready files make repurposing effortless. Maintain consistency without exhausting creative energy. Whether promoting a product, event, or announcement, your brand voice stays intact.
When every visual touchpoint reflects your message, your audience starts to recognize—and trust—your content. Pippit makes that alignment smooth, even when adapting visuals across formats.
Conclusion
In today’s competitive digital space, visuals are currency. Design-first tools give you the advantage to stop scrolls and drive engagement. Pippit is purpose-built for Instagram creators who want to move fast without sacrificing quality.
By combining AI assistance with creative autonomy, Pippit empowers you to deliver branded, scroll-stopping content every time. When standing out is the goal, having the right poster maker makes all the difference.
The music industry has grown cautious about promotional services since Spotify intensified its efforts to remove fake streams. Amid these changes, artists naturally want clarity about companies like Boost Collective and many are doing their own research to genuinely understand what is going on. To address these concerns objectively, we took a closer look into how Boost Collective operates.
Understanding Boost Collective
Boost Collective, founded eight years ago by Damian Barbu and Ronan Mullins, positions itself as a music promotion service aimed at helping artists reach more listeners. The founders initially pursued music as artists themselves, but soon realized they had a stronger talent for promoting music than making it.
Boost Collective primarily focuses on Spotify playlist pitching. Rather than guaranteeing streams or playlist spots, Boost pitches client tracks to curators managing playlists grown organically using targeted advertising campaigns on platforms like Meta (Facebook and Instagram) and TikTok. The company provides realistic estimates based on previous campaign outcomes.
Investigating Common Concerns About Boost Collective
One concern artists have when looking into promotional services is the authenticity of streams. Some promotional companies use artificial methods, like bots, to inflate streaming numbers—a practice strongly prohibited by Spotify. To address these common concerns, we reviewed Boost Collective’s advertising practices, checked real-world client experiences, examined third-party playlist verification tools, and looked into how Boost Collective has responded to Spotify’s stream removals.
Below are the clear pros and cons of Boost Collective:
Pros: What Boost Collective Does Well
Honest Advertising Approach
Boost Collective openly shares its promotional approach. Playlists are promoted through targeted, paid social media ads on platforms like Meta and TikTok, genuinely attracting real listeners. Artists can independently verify the authenticity of these streams using respected third-party industry tools such as Artist Tools, Spot On Track, and Chart Metric. Testimonials and real-world results from Boost Collective clients can be seen directly on their website.
Rapid Campaign Launch
Artists typically get pitched to curators and added to playlists within 24-48 hours after placing their order. This is significantly faster than many promotional companies, which may take a week or longer. Such quick turnarounds are beneficial for artists launching new releases or looking to swiftly test market response to their music.
Proven Client Results (Both Big and Small Campaigns)
Boost Collective has a track record of successful client promotions. Prominent examples include artists like Matt Corman, who achieved over a million Spotify streams within a few months through Boost’s promotional strategies, and Gie, who grew from practically zero listeners to over 50,000 monthly listeners.
Smaller campaigns have also demonstrated successful results. Independent artists like Jimmy Frizzell (“Paradise”), Taylor Ricard (“10 Toes”), and Bethany Cruz all achieved meaningful streaming growth through affordable campaigns. These examples highlight how even modest investments can effectively validate market response, though artists should not expect massive numbers like millions of streams from minimal spending such as $100.
User-Friendly Campaign Dashboard (with Music Distribution Option)
Artists consistently praise Boost Collective’s straightforward, user-friendly campaign dashboard, which allows them to easily track results and monitor their promotional progress in real-time. Additionally, Boost Collective offers optional music distribution, conveniently integrated within artists’ accounts.
Cons: Areas for Improvement
Limited Effectiveness for Highly Niche Genres
Boost Collective typically promotes music through broad-appeal playlists. Artists with specialized or experimental music may face difficulties gaining traction, as fewer playlists cater to highly specific or niche genres.
Global Reach vs. Local Focus
Boost Collective uses global audience targeting in their promotional ads to optimize costs. While this approach maximizes overall listener exposure, it may fall short for artists specifically aiming to grow their local or regional fanbases. Hyper-local targeting options exist but usually require higher-budget campaigns.
Clearer Expectations Needed for New Artists
Boost Collective provides estimated results rather than guarantees. However, newer artists sometimes misunderstand these estimates, assuming they’ll automatically achieve the projected streams. Boost Collective could further enhance clarity by providing more upfront educational resources to help artists understand how results rely heavily on music quality, branding, and audience engagement.
Previous Customer Support Issues
Historically, some Boost Collective customers faced delays when seeking support, occasionally waiting up to a week. Though this has significantly improved—with current response times now typically within 24-48 hours—past experiences still influence some perceptions of the company.
Authenticity of Streams: Are They Real?
Spotify aggressively removes artificially generated streams, a practice that negatively impacts many promotional companies and their clients. However, Boost Collective’s clients have avoided these removals. This success is due to the company’s strict adherence to ethical promotional practices, reflecting their obligations as an official distributor. As distributors themselves, Boost Collective must consistently deliver genuine streams to maintain strong relationships with Digital Service Providers (DSPs) like Spotify. Boost Collective also actively educates artists about avoiding promotional services offering guaranteed stream counts—a common red flag indicating potential bot use.
Boost Collective explicitly advises artists to independently verify streams through reputable industry tools, reflecting confidence in their methods and encouraging artists to maintain skepticism towards illegitimate practices.
Additional Context from Boost Collective’s Response
In response to recent claims of unethical practices, Boost Collective clarified extensively:
Their campaigns rely entirely on real advertising strategies, as demonstrated by their ongoing ad spend on platforms like Meta, documented in detail in their response article.
Boost Collective stresses that Spotify fines distributors directly if artificial streams are detected, emphasizing that allowing bot-generated streams would severely jeopardize their distributor status.
Testimonials and case studies showcased by Boost Collective, such as those by Matt Corman and indie artists like Jmbeats, clearly verify their legitimate promotional efforts and real-world artist success stories.
Boost Collective actively collaborates with Artist Tools, a respected playlist verification service, which independently verifies the authenticity of their playlists and the legitimacy of their promotions.
Realistic Expectations: What Artists Should Consider
Music promotion is about amplifying existing market appeal, not manufacturing it from nothing. Artists should test smaller promotional campaigns to initially gauge audience reaction before scaling their investment. It’s essential for artists to understand that promotional success depends heavily on music quality, effective branding, and targeted audience engagement.
Final Verdict: Is Boost Collective Legitimate or a Scam?
After reviewing Boost Collective’s practices, client outcomes, third-party verification, and responses to common concerns, we concluded clearly: Boost Collective is not a scam. The company operates ethically, adheres to Spotify’s promotional guidelines, and consistently delivers real listeners through genuine promotional methods.
However, like all promotional services, Boost Collective isn’t without limitations. Highly niche artists might experience limited results, and new users may initially misunderstand estimates as guarantees. Provided artists maintain realistic expectations and approach campaigns strategically, Boost Collective can deliver meaningful growth.
In short, Boost Collective is a legitimate music promotion company that consistently delivers authentic promotional results, provided artists understand that promotional outcomes are inherently linked to the quality and appeal of their music.
From luxury cars to sweeping skyline views, Sexyy Red gave her followers a front-row seat to her first time in the Middle East.
In one post, she expressed surprise at the number of Black people she saw in the city and marveled at the luxury lifestyle on display. “It’s a lot of Black people out here,” she said, clearly impressed. “And all these cars, like damn.”
The trip marked a new chapter in her career, as she continues to build her presence beyond the U.S. after a stop in London as well.
Kanye West dropped his long-awaited album Donda 2 on major streaming platforms Wednesday (April 30), only to have it yanked hours after a payment dispute with producers.
West had initially released the project exclusively through his Stem Player device in 2022.
But this week, the album briefly surfaced on Spotify and YouTube Music before being taken down after legal threats from Free Maiden, the manager of two producers who worked on the album.
“You chose to run, duck, hide, and continuously steal our s###!” Free Maiden snapped said. “Why you think you have the right to continue to steal from us and monetize the work? It’s very slum landlordish. Get on the phone like a man.”
Free Maiden represents Jahmal “Boogz Da Beast” Gwin and Brian “AllDay” Miller, who produced eight of the album’s 18 songs.
“This man has been stealing for years, but I always protected him,” Free Maiden told AllHipHop. “I’ve saved Kanye nine figures in attempted lawsuits alone in the past. Gloves off now.”
The brief appearance of Donda 2 on streaming marked the first time the album had been widely available outside of West’s platform. The project had long been considered “lost” by listeners due to its limited release and lack of official distribution.
The latest dispute adds to a turbulent stretch for West, who was banned from Twitch just seven minutes into his debut stream last week.
As of Wednesday evening, Donda 2 remained unavailable on major streaming services, but West hinted that he wanted to come to an amicable resolution.
“Really wanna work with Brian and Boogz again,” he tweeted. “Really wanna work this out.”
The movie has everybody wanting more. I sure do and, if you saw the end, you know what I am thinking. We all thought it! There is a clear and present pathway to a SCU aka The Sin-ematic Universe. But, we were hoodwinked!
Ryan Coogler sparked the frenzy on the Internet and he didn’t even do it. What do I mean? Some genius with Photoshop and way too much time on their hands cooked up a fake Sinners Cinematic Universe slate. They had Coogler up there and a timeline looking like a Marvel Studios panel at Comic-Con. Oh they got me good!
It all started when Franklin Leonard, founder of The Black List and longtime champion of underrepresented storytellers, posted the gag image on X (formerly Twitter). The picture shows Coogler onstage looking like Kevin Feige. There was a lineup of fake future Sinners spin-offs – dates and all! There was Sinners 2: Sin Harder (LMAO!), Smoke & Stack: Origins and more! Now, I am not going to act like we have not seen this PROPOSED online.
Twitter user @OhBe_Won hit us with:
“SINematic Universe was right there!”
The jokes kept flying! Some different version of the series, cracking their own jokes. Somebody said Sinners prequel set in 1990s Chicago would be it. I agree. Anyway, everybody is living in a fantasy! Myself included, because I felt like this was going to happen, but not this fast.
Ryan Coogler has made it clear the “franchise factory” is not really his thing right now. And with Sinners hitting both critically and commercially, who can blame him for wanting to go indie and weird again? Marvel has to be mad they did not pick him to do the new Blade. Franklin Leonard did have some good news:
“I don’t think you have to worry. He’s definitely gonna have an essentially blank check for the next one.”
That’s the win right there. Bro has an original movie concept that is breaking records all over the place! Coogler’s in that rare class now and the world is his oyster!
For now, Sinners is still in theaters, doing numbers and reminding the world that original Black genre storytelling is all the things you want. If Coogler does ever return for a real Sinners sequel, I just hope they finally let us have that Limerick for Sinners musical. LOL! Long live the SINematic Universe, even if it’s just in our dreams and nightmares.
Before I get into this, I wish Nelly would not talk politics. First of all, it hurts Ashanti. We all love us some Ashanti and this dude, respectfully, is bringing her apolitical self down. Secondly, far too many brothers are not astute in a way that allows them to articulate what is going on right now. So in between every paragraph I will link you to some info.
The Hot in Herre hitmaker is once again grabbing attention for his neutral stance on Trump and politics. Some people are still sore over good a man many in Hip-Hop won’t touch with a 10-foot bassline. Appearing at the Stagecoach festival over the weekend, Nelly chopped it up with Fox News Digital. Can you “chop it up” with Fox? Anyway, he offered a pretty benign view on Trump’s presidency, which just hit 100 days.
“I’m all for everybody staying positive about any and everything. I’m a glass half full type of guy,” the St. Lunatic said. “I’m more empowered by bringing people together and making sure that we all get what we need, when we need it and why we need it.”
His tone of unity came as Trump’s approval rating continues to free-fall. According to the most recent numbers, Trump clocked in at a historically low 39% after his first 100 days back in office — the lowest for any U.S. President in eight decades. For context, even Nixon was out here beating that score.
Still, Nelly’s keeping it apolitical — or so he says.
Back in January, Nelly caught some heat for performing at a Trump inauguration event. But the rapper quickly clarified that it wasn’t a political endorsement, it was a matter of respect for the presidency, no matter who’s in the chair.
“The politics for me is over. He won. He’s the president. He’s the commander in chief of what I would like to say is the best country in the world,” he told Fox.
And just to be crystal clear, he added that his performance wasn’t about the man, but the office.
“It is an honor for me to perform for the president of the United States regardless of who is in office. If President Biden would’ve asked me to perform I would’ve performed. If Vice President Kamala Harris would’ve won and asked me to perform I would’ve performed.”
In an era where entertainers are often forced to pick a side or risk cancellation, Nelly’s taking a classic diplomatic route — one that echoes the “just here for the music” ethos of a bygone era. Whether that lands him in hot water or gains him new fans in unexpected places remains to be seen, but one thing’s clear: Nelly’s more concerned with good vibes than good polling numbers.
Noooooooooo…. Finesse2tymes might have a probation situation that could drive him back to jail. He told everybody on his stories that he’s on the way to turn himself in. This is likely related to a matter with his former 11-year-old protégé FNG King. He’s now known as Lil King and he’s 12 years old.
In fact, Finesse basically said that. Check it out on the swipe:
He denied it, but Finesse2Tymes got major heat for threatening to kill the guardian of FNG King. It was an alleged confrontation outside of a Texas smoke shop. Police issued an arrest warrant for the Memphis rapper.
The alleged incident happened on October 23, 2023. By the way, the guardian is a woman. YIKES. She’s the one who called the cops. According to the woman’s statement to police, she was at the smoke shop to pick up her grandchild, with FNG King accompanying her. Why was she getting a kid at a smoke shop? My, things have changed.
Finesse2Tymes allegedly requested a private conversation with the young rapper. He’s in his 30s but wants to talk privately with a kid. Strange. King bolted from the store, appearing shaken, and reportedly yelled, “They trying to send me back to Memphis!” He then got back into his guardian’s vehicle! What?
Apparently, he made a gesture about shooting somebody, presumably the woman. She said she saw the outline of a gun. It did not help things when he reportedly said, “You gonna die on camera today.” That is a no-no!
This is basically a custody dispute. As far as the probation details, I cannot call. Typically, it means you are going to serve time. But this is a mess. I am sure the news team at AllHipHop will keep the updates rolling, but I am on it. He’s turning himself in.
I wonder what the result will be, because Finesse2Tymes, already has a history of run-ins with the law.
Phil Robinson, a powerhouse in entertainment and sports business, died at 58 in Los Angeles from complications tied to sickle cell disease, not cancer as initially reported by multiple outlets, his family confirmed.
Known for his strategic mind and deep industry ties, Phil Robinson was one of the oldest known individuals in the U.S. living with the hereditary blood disorder, which often shortens life expectancy.
His death, originally misattributed to cancer, prompted his family to set the record straight.
“Phil passed away from complications related to sickle cell disease,” a family spokesperson said, correcting the widespread misinformation.
Over a 30-year career, Phil Robinson helped shape some of the most influential brands in music, sports and television.
He launched his executive journey with Magic Johnson, playing a key role in scaling Magic Johnson Enterprises into a multibillion-dollar venture spanning entertainment and hospitality.
At Island Def Jam under Universal Music Group, Robinson expanded the label’s artist roster and business reach.
He later joined Yucaipa Companies, where he helped orchestrate a $100 million deal between Sean John and Ron Burkle’s firm.
He also worked closely with Pro Standard, a luxury athletic wear brand, helping secure league partnerships and expand its presence in the sports apparel market.
Robinson’s influence extended to television and pop culture.
He served as executive producer on VH1’s Basketball Wives, now in its 11th season, and co-created shows like Making the Band, I Want to Work for Diddy, Choose or Lose: Vote or Die and HBO’s Bad Boys of Comedy.
His collaboration with Mike Tyson Entertainment further cemented his reputation as a trusted brand architect and dealmaker across industries.
Phil Robinson is survived by his wife Rocío Castro-Robinson and daughter Sophie Brixton Robinson.
He leaves behind a wide circle of mentees, colleagues and friends who credit him with shaping their careers and lives.
LL COOL J and 50 Cent just gave Hip-Hop a healthy dose of rumor control with a side of maniacal laughter.
So here’s the scoop. LL COOL J, the legendary Queens-bred MC, is still out here protecting his pen game like it’s sacred scripture. And respectfully so—this is LL we’re talking about. He’s one of the few remaining OGs who’s been active since the literal birth of recorded rap music. The convo about the “Mount Rushmore of Hip-Hop” is picking up steam, and he’s clearly not letting people trash his good name.
Now let’s rewind. Ghostwriting used to be part of the game, straight up. In the early days of Hip-Hop, that’s what they did. But somewhere in the transition from the carefree ’80s to the hardcore ’90s, it became a no-no. The streets wanted their rappers writing every single bar themselves. That’s when accusations turned to slander, and ghostwriting became the cardinal sin.
Enter Curtis “50 Cent” Jackson.
50 claims he wrote for LL COOL J. That rumor started from 50 himself—and it wasn’t the first time Mr. Get Rich or Die Tryin’ stirred a pot like this. He also once said he ghostwrote for G. Dep. But G. Dep didn’t just deny it, he fought back. He called it straight CAP and stood firm.
So, back to LL. Instead of wildin’ out, LL responded like a man who’s seen it all—with that legendary sinister chuckle. You know the one. If you’re a real LL fan, you know that laugh says, “I’m too seasoned for this foolishness, but keep playin’ if you want to.”
Then came the facts. LL clarified that yes, 50 wrote a hook for him on a particular track. But that’s it. The verses? All LL. That’s industry standard. A hook is a vibe. The verses are what we are judging you on. And LL made it clear he was the one writing those lyrics.
He didn’t diss 50 either. LL actually showed him love for enhancing the final product. There was no beef. Just real talk and respect. Maybe he was also saying “FAFO,” but I doubt it.
Hip-Hop has always been collaborative. Writers, producers, engineers and more like photographers, marketers help create classics. The lone-wolf MC narrative is just storytelling.
Shout out to LL for keeping the record straight, and salute to 50 for helping the OG continue his reign of terror.
Choke No Joe interviewed another man and it’s getting serious. Terrance “T.A.” Dixon got on the live too and this turned into a messy street gossip salad. Choke talked to the man that accused Fat Joe of some crazy stuff after running around with Fat Joe as a hype man.
Now, Fat Joe is suing Dixon for defamation after Dixon publicly accused the Bronx rapper of being a p###. This not the 1990s and Joe is not having it legally, but it’s getting into dangerous grounds. Dixon apparently put some sensational stuff on social media that has caused this to transpire. Head here for the news report: “Fat Joe Says He’s Being Extorted For $20M By His Ex-Hype Man”
According to the lawsuit, which I haven’t verified, Dixon claimed on social media that Joe flew a 16-year-old girl across state lines for that s-e-x thing. This is an allegation Joe’s legal team straight up denies. In fact, he say it was a part of an extortion plot. According to Joe, this dude is out for the money. The rapper’s attorney, Joe Tacopina, argued this is a calculated shake-down attempt that simply didn’t work.
This interview was crazy, Dixon and Choke talk for a long time, even explaining when Diddy stole his girl. Wild! He claims Fat Joe used to try the same with him too. Anyway, Dixon starts talking about Fat Joe at the 23-minute mark.
Here’s something to note, Dixon was an aspiring rapper that started out as a battle MC. He also says he wrote Fat Joe’s rhymes during his 18 years being down with the crew, so this “hype man” label isn’t 100 percent accurate.
T.A. and Fat Joe worked together from 2006 until about 2019, per the lawsuit. Now T.A. says that Joe owed him money. It should be noted that this fella is represented by Tyrone Blackburn. It gets deep now. You may realize that Blackburn is also in a case representing Diddy accuser Lil Rodney. Hmmm…Diddy and Joe are pretty cool. Could there be a link?
Blackburn had a lot to say on his own IG. This isn’t in our first report.
Check this out:
Tyrone_Blackburn – @joetacopina_spal, you ran and filed a baseless lawsuit against my client and me in the SDNY, alleging Defamation and Intentional Infliction of emotional distress in an attempt to get ahead of the forthcoming lawsuit against your client @fatjoe. No matter how hard you try to deflect and cherry-pick emails and conversations, your client has a lot of explaining to do. I invited you and me to meet with the SDNY Prosecutors, but you have yet to respond. You can bring your baseless accusation of extortion, and I will bring the 19-min audio recording of your client’s felonious henchman, Pistol Pete, soliciting a former member of Terror Squad to lure my client to a specific location for Pistol Pete and his thugs to “pound him out.”
Your client, @fatjoe , ordered a hit job against my client. Pistol Pete also discusses how he had to run down on @tonyyayo a member of @gunitbrands due to some feud with @50cent and run up into clubs to attack other victims. Your client should also prepare to answer questions surrounding two additional recordings where two females discuss your client’s disgusting pattern of grooming and sleeping with 16-year-old children.
What is going on? I am exhausted at all this crazy stuff. Nobody cares about music anymore? Anyway, some of the name mentioned you know but Pistol Pete may be less familiar. Pete is a real OG in the streets. Here’s an interview and it’s a real serious interview.
Oh, yeah…former Terror Squad member Cuban Links had a lot to say about this on his Instagram. Go over there if you want to see it. I think these dudes should get in a ring and have a Battle Royale.
Luka Dončić has stepped up with a $5,000 donation to fully fund the restoration of a defaced Kobe and Gianna Bryant mural in downtown Los Angeles.
The “Mambas Forever” tribute at 14th and Main streets, painted by local artist Louie Palsino—also known as Sloe Motions—was nearly erased after vandals covered it with white spray paint and black bubble-letter graffiti.
Only the top of Kobe’s head and a faint infinity symbol remained visible after the damage.
The mural, which originally showed Kobe in his Lakers jersey holding Gianna in his arms, had become a cherished landmark since their deaths in a 2020 helicopter crash that also claimed seven others.
Dončić, the Dallas Mavericks star, didn’t hesitate to act after learning about the vandalism.
Within hours of the artist launching a GoFundMe campaign to repair the piece, he contributed the entire $5,000 goal.
“Kobe is LA. He and Gigi mean so much to this city, to the Lakers organization and to me personally,” Dončić said. “I’m happy to do anything to help make sure he and his daughter are honored.”
By midday Tuesday (April 29), the fundraiser had surpassed its target, collecting over $5,400.
Palsino expressed his gratitude in an interview with the Los Angeles Times.
“I’d like to say thank you to Luka and I’m proud he is a Laker now and representing Los Angeles and I know Kobe is proud,” he stated. “I’m sure this alone will have him in the hearts of everyone in Los Angeles.”
The mural’s defacement came just months before the scheduled August 2025 release of Mamba & Mambacita Forever. The book, curated by Vanessa Bryant, documents more than 100 murals worldwide dedicated to Kobe and Gianna.
As of now, no suspects have been identified and the motive behind the vandalism remains unknown.
Damon Dash is facing the threat of arrest after repeatedly ignoring court-ordered discovery deadlines in a long-running legal fight with filmmaker Josh Webber over unpaid judgments and asset disclosures.
A federal judge warned that if Dash and his company Poppington LLC fail to comply with discovery demands by May 9, 2025, the court will hold him in contempt and may issue a bench warrant to compel his appearance.
The warning comes as Damon Dash’s legal team has moved to withdraw from the case, citing his refusal to cooperate and his stated intention to file for bankruptcy.
The legal clash began in 2022, when a court ordered Damon Dash to pay $805,000 to Webber for copyright infringement and defamation.
The situation escalated in 2024, when Dash publicly insulted Webber, allegedly costing the director a major film deal.
Webber then amended his complaint, raising the defamation claim to $4 million.
Despite repeated court orders, Dash has not responded to discovery requests served on March 10, 2025.
His attorneys told the court he has ignored multiple attempts at contact and failed to provide required financial information.
They were granted permission to file a motion to withdraw, which must be submitted by May 16, with any opposition due by May 23.
Webber’s legal team has asked the court for permission to seize Dash’s personal property, including his film rights—such as the cult classic “State Property”—and other business assets.
However, the judge ruled that request premature until ownership and turnover proceedings are resolved.
Damon Dash has not yet filed for bankruptcy and no new attorney has stepped in to represent him.
He has 30 days from his legal team’s withdrawal to secure new counsel and formally initiate bankruptcy proceedings.
In December 2024, Dash’s one-third stake in Roc-A-Fella Records was auctioned off to help settle his debts, but he still owes more than $4, 823,000 and creditors are now targeting his film catalog.
Kanye West dropped Donda 2 on streaming platforms and within hours found himself entangled in a fresh legal mess involving unpaid production fees and accusations of music theft.
On Wednesday (April 30), West took to social media to publicly accuse longtime industry executive Free Maiden of attempting to extort $3 million in exchange for beats used on the album.
“Free Maiden tried to charge me 3 million dollars for these beats from people I showed how to make beats to now he going to take down Donda 2,” West wrote in a since-deleted tweet. “Managers.”
Maiden discovered West, brought him into the industry, first introduced him to JAY-Z and ran his record label and publishing company for many years. He’s been instrumental in the careers of G.O.O.D. Music artists Pusha T, 2 Chainz, Teyana Taylor and Big Sean. He’s also worked with The Notorious B.I.G, Mase and others.
Maiden said that West owes him a significant amount of money. He also owes Boogz a major amount of money due to unauthorized records on West’s stem player (of which Boogz had 24 records) and owes Brian Allday for his four records on Donda 2.
Maide claimed West stole four tracks Boogz created and used them on Vultures 2, including “530,” without consent.
Speaking to AllHipHop’s Grouchy Greg Watkins, Maiden said West’s allegations that he wants to charge him $3 million for the Donda 2 records is patently false.
“Ye, as former brothers, you going to social media is weak as hell when you’re wrong,” he said. “You had a chance to address and handle our outstanding issues and speak as men.”
Maiden, who served as executive producer on Netflix’s jeen-yuhs: A Kanye Trilogy, told AllHipHop that West was fully aware of the financial disputes but chose to use the music anyway. The 18-track Donda 2 features appearances by Future, Ty Dolla $ign and Jack Harlow. Maiden says his producers Boogz and Brian Allday contributed to eight of those tracks without being paid.
“You chose to run, duck, hide, and continuously steal our s###!” he said. “Why you think you have the right to continue to steal from us and monetize the work is very slum landlordish. Get on the phone like a man.”
Maiden isn’t the only one accusing the controversial rapper/producer of failing to pay up. Since 2020, West has been hit with at least 14 lawsuits tied to unauthorized samples.
More than 10 producers who worked on the Vultures albums have also claimed they haven’t been paid, though not all have taken legal action as of April.
“I’ve purposely kept our dispute quiet,” he said. “I believe in keeping family business family business. If I was a lame, which I’m not, I coulda been outted his slumlord ass ways.”
Despite West blasting his grievances out to his 33 million followers on social media, Free Maiden has no plans of backing down in an attempt to protect his producers.
“This man has been stealing for years, but I always protected him,” he said. “I’ve saved Ye nine figures in attempted lawsuits alone in the past. Gloves off now.”
Megan Thee Stallion has unveiled her upcoming Popeyes franchise and teased a behind-the-scenes look at the location.
The H-Town Hottie is also celebrating her spicy collaboration with the fast-food chain with her signature “Hottie Sauce” and a full merch drop.
The Houston rapper shared a video on Instagram Tuesday showing the early stages of her restaurant buildout.
“MY VERY OWN @popeyes IS OPENING THIS SUMMER HOTTIES,” she revealed. “I just visited my location while she’s still just bones. This is abt to be THEE LITTEST Popeyes ever.”
The franchise move is part of a broader partnership between Megan and Popeyes that kicked off in 2021 with the release of “Megan Thee Stallion Hottie Sauce,” a sweet and tangy blend of honey, cider vinegar and Aleppo pepper.
The limited-time condiment will be added to Popeyes menus at participating locations worldwide beginning on October 19.
“I’m appreciative of Popeyes commitment to empowering Black women and look forward to opening Popeyes Restaurants,” Megan Thee Stallion said in a statement. “Teaming up with Popeyes is such a milestone in my journey and evolution as an entrepreneur.
The collaboration also included a three-part merchandise line called “Thee Heat,” featuring fire-themed bikinis, cropped tees and long-sleeve shirts inspired by the sauce and Megan’s bold style.
Beyond the branding and menu items, the partnership also includes a charitable component.
A six-figure donation was made to Houston Random Acts of Kindness to support community initiatives in Megan’s hometown.
Her Popeyes franchise is expected to open in summer 2025.
Meanwhile, Megan Thee Stallion has released her first solo song of the year. The track arrived on April 25 alongside a slick new music video. Check it out below.
Birdman is opening up about his roster, revealing that Cash Money Records raked in billions of dollars from the careers of Drake, Lil Wayne and Nicki Minaj, crediting the trio for helping turn his label into a financial powerhouse.
During an appearance on Nick Cannon’s “Cannon’s Class“podcast, the Cash Money co-founder broke down the numbers behind the empire he built with his star-studded roster. According to Birdman, the trio has raked in more than $2 billion.
“Two billion dollars between Drake, Nicki, and Wayne,” Birdman said. “Two-plus billion dollars. Hundreds of millions of dollars, guaranteed.”
He also claimed that no other artists in the music industry have generated that kind of wealth for a label.
Birdman tells Nick Cannon that Lil Wayne, Drake & Nicki Minaj made Cash Money combined $2 billion pic.twitter.com/1BurTOxYbH
This isn’t the first time Birdman has spoken about the massive earnings tied to his artists.
Back in 2021, he told the “Big Facts” podcast that he personally handed out $1.4 billion to the trio after inking a deal with Universal Records.
“When Universal gave me a bag, brother, I could honestly say I gave Wayne about $400 to $500 million, Drake got about $500 million, and Nicki got about $300, $400 million out of my pocket,” he said. “No cap. If you don’t believe them, ask ’em.”
Birdman also emphasized the long-term value of owning music rights, explaining how Cash Money continues to profit from its catalog in another 2021 interview.
“I just started letting people sample my s###,” he explained. “There’s a gang of ways to make money off your masters. We generate $20 to $30 million dollars a year just on our masters.”
Birdman Apologizes to Lil Wayne Following Long-Running Legal Issues
Despite the massive success, Birdman’s relationship with Lil Wayne was strained for years due to legal disputes.
In 2018, the two reached a settlement that reportedly paid Wayne over $10 million and gave him control of Tha Carter V, which had been delayed for years.
Later that same year, the two were seen reconciling onstage, with Birdman offering a public apology.
“I knew this day was gon’ come, but I ain’t know when it was gon’ come,” he told the crowd before praising Lil Wayne. “I wanted to apologize to my n####.”
Brian McKnight has filed a defamation lawsuit in Los Angeles against Jaguar Wright after she accused him online of abusing women and hiring sex workers he allegedly assaulted.
The R&B singer is pushing back hard against Wright’s claims, insisting they are outright lies damaging to his reputation, per TMZ.
In the complaint, McKnight says Wright knowingly spread lies about him. These include allegations that he abused his ex-wife, Julie McKnight and physically harmed prostitutes during sexual encounters.
Wright, a former Neo-Soul singer known for her controversial social media presence, claimed Julie McKnight—whom she says is her cousin—was a victim of Brian’s alleged abuse.
Brian McKnight denied ever harming Julie and said he had no idea Jaguar Wright and his ex-wife were related.
The lawsuit accuses Wright of intentionally fabricating the claims and launching a smear campaign online. McKnight is seeking financial compensation for reputational harm and emotional distress.
Wright didn’t hold back when responding to the legal action. During an Instagram Live session on Tuesday night (April 29), she mocked McKnight by remixing his songs, calling him a “scumbag” and promising to be a “nightmare” for him.
This isn’t the first time Wright has stirred controversy with explosive accusations.
In an interview on Piers Morgan’s show last year, she claimed Jay-Z and Beyoncé were involved in misconduct. She said “the Carters had more ‘victims’ than Diddy,” and referred to Jay-Z as a “monster.”
The fallout from that interview was swift. Jay-Z and Beyoncé’s legal team reportedly contacted Morgan’s production, prompting the host to issue a public apology.
Ice Spice appears to have quietly confirmed her rumored relationship with NFL star Sauce Gardner on Tuesday night by posting a photo of the two getting close on Instagram.
The Bronx-born rapper shared a carousel of images on Tuesday (April 29), giving followers a glimpse into her low-key 2025.
Tucked between mirror selfies and casual snapshots was a photo taken by Gardner himself, showing Ice Spice leaning into him affectionately.
Instagram/Ice Spice
Though neither has publicly addressed their relationship status, the post marks the first time either has shared a photo that openly hints at a romantic connection.
Gardner plays cornerback for the New York Jets and earned NFL Defensive Rookie of the Year honors in 2022.
The two have been the subject of dating rumors for months, fueled by sightings at public events and subtle social media interactions.
Gardner appeared in the background of one of Ice Spice’s Instagram posts earlier this year.
Speculation intensified after the pair attended a UFC event together, where they were caught on the kiss cam in an awkward moment.
Instead of leaning in, both appeared visibly uncomfortable and turned away. UFC president Dana White didn’t hold back during the livestream, saying, “That’s her boyfriend? They’re acting like they don’t even f#####’ know each other.”
Dana White clowned Ice Spice and Sauce Gardner for dodging the kiss cam like it was a title fight. pic.twitter.com/Uvh2kjqD7P
Despite the awkward moment, Ice Spice’s latest post seems to speak louder than words.
Meanwhile, Ice Spice fans are eagerly anticipating new music. The rapper teased a new track last month, revealing she’s embracing her “thick again” era. The song follows speculation surrounding her noticeable weight loss.
The playful snippet featured Ice Spice rapping, “She got thin, but she went and got thick again. Shorty got back on her oats,” a clear nod to her recent body transformation.
Kendrick Lamar lit up Mercedes-Benz Stadium in Atlanta with an unexpected twist when he brought out Playboi Carti.
On Tuesday night (April 29), Lamar surprised fans by bringing Carti out to perform their joint track “GOOD CREDIT” during a stop on the Grand National Tour.
The crowd erupted as Carti stormed the stage, matching Lamar’s energy with his signature, chaotic delivery. The pair tore through the track in front of a packed house, delivering one of the most talked-about moments of the tour so far.
🚨Kendrick Lamar brought Playboi Carti out to play their song "GOOD CREDIT" 🔥👀 pic.twitter.com/F9abe8J0Rp
“If someone told me 5 years ago that Kendrick Lamar and Playboi Carti would share a stage together I would’ve thrown you into a mental institution,” one fan remarked. “This is crazy.”
The surprise appearance added fuel to the already electric atmosphere of the Atlanta show, which was part of one of the most anticipated Hip-Hop tours of 2025.
The Grand National Tour, co-headlined by Lamar and SZA, launched on April 19 and is set to hit major cities, including Los Angeles, New York, Chicago and London.
The tour has been a box office juggernaut. According to Touring Data, the opening night at Bank Stadium in Minneapolis brought in $9,124,989 in revenue, reportedly setting a new record. Early estimates suggest the tour could surpass $100 million in total gross.
Saturday’s performance in Atlanta not only delivered a standout moment but also reinforced Lamar’s reputation for keeping audiences on their toes. With Carti’s surprise cameo and the duo’s undeniable chemistry, the night became an instant highlight for concertgoers and online viewers alike.
The Grand National Tour continues across North America and Europe through summer 2025.
