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Omar Gooding Isn’t Done With Cam’Ron—Or Rap

Omar Gooding has lived many lives in entertainment. To some, he’s the kid from Nickelodeon and Smart Guy. To others, he’s the actor from Baby Boy and seemingly countless roles across TV and film. But what many don’t know is Gooding has been an MC long before Hollywood fame ever called.

Recently, his pen and pride collided with Harlem legend Cam’ron, sparking one of the most unexpected rap dust-ups of the year. What began with a slip of the tongue—Cam calling him “Omar Gooding Jr.”—spiraled into a string of diss records, a viral “prank” that left Gooding furious and a fourth response track that has the rap world taking him very seriously. In an exclusive with AllHipHop, Omar opens up about defending his brother Cuba Gooding Jr. from Nas, why he doesn’t write out of anger, the details behind the prank and why Part Four is the one.

The Q&A has been edited for clarity and flow. For the full, unedited conversation watch the video

AllHipHop: Omar, first off, how you feeling? You’ve had the internet buzzing.

Omar Gooding: I’m good, bro. Glad to talk to you. I know I got people shaking right now, some laughing, some talking, but it’s cool. I’m built for this.

AllHipHop: I’m glad to talk to you, man. First of all, you’re not from New York City, but your brother used to be at all our parties back in the day hanging out.

Omar Gooding: That’s funny too because he was hot at me a couple days ago. He was like, “Stop pandering to ignorance.” And I was like, first of all, what the f##k does pandering mean? Second of all, make me # when you trying to preach to your little brother. Like, knock it the sh## off. I’m doing what I do.

I don’t think I’ve responded or written out of anger in a long time. Ironically, I’ma give you something I wasn’t planning on saying. The only time I ever wrote a rhyme out of anger was when I was trying to defend my big brother when Nas put his name in a song. (Editor’s Note: On “These Are Our Heroes,” Nas condemned Tiger Woods, Taye Diggs and Cuba Gooding Jr.)

AllHipHop: Tell me more.

Omar Gooding: Yeah, the only time I ever rapped out of anger was defending my big brother. When Nas said, “You sell out like Cuba Gooding Jr.,” I lost it. I was in Dr. Dre’s studio with Focus, Chino XL, a bunch of MCs. They threw on a beat, and I went last like I always do. I went straight at Nas. Everybody was like, “What are you doing?” But that’s my brother. I was heated. Focus just shook his head and said, “Nas ain’t gonna respond.” And of course, he didn’t. But that was the one time.

AllHipHop: Recently you found yourself in another situation — the so-called prank with Cam. Walk us through what happened.

Omar Gooding: Man, look. I was booked for one scene, $2,500, flown first class, easy work. The original script had me licking a sneaker. I said, “I’m not licking no f##kin’ shoe.” They revised it to push-ups and jumping jacks. I said, “No jacks, but I’ll do push-ups.” Took my shirt off, had a tank top, did like 100 push-ups in different takes. That’s it. Nothing crazy.

Next thing I know, this footage pops up online with filters and Cam’ron’s clowning. At first, I laughed, but then I was like, “Wait — this dude crossed the line.” What people don’t realize is that wasn’t some random casting. I got called by somebody I knew, who was tied to Cam. He orchestrated it. That’s why I said, you can’t fall for the favors game in Hollywood.

AllHipHop: You made some reference to some possible legalities, but don’t…

Omar Gooding: I don’t want that man’s money. I got my own path, my own legacy. But when you cross lines and play with my name, I’m gonna respond. Period.

AllHipHop: And that response came in the form of the “Fix Your Mouth” series.

Omar Gooding: Right. The first one was light — a warning shot. The second was sharper. I thought it was over. Then Cam mentioned me again on his show, slipped in jokes about me doing barbershops and bowling alleys. I laughed, gave him props because it was funny, but then I had to cook again. That’s when I dropped Part Four.

AllHipHop: Part Four feels like the one that had people really tuning in.

Omar Gooding: Yeah, that was the test. He dropped the prank, people were clowning me, my phone blowing up. I said, “Alright, chest out, stomach in. Time to respond.” We recorded Part Four in real time. No ghostwriters, no waiting two weeks, none of that. Just me and my DJ arranging it, switching beats, making it surgical. When you hear us laughing at the end, that was live in the booth. That’s Hip-Hop to me. Real pen work. Replay value.

AllHipHop: You said New Yorkers weren’t rocking with you, but the people I spoke to from New York told me to tell you keep the pressure up. They said Cam don’t really want smoke.

Omar Gooding: That bothered me. My mom and dad were born in Harlem. My father’s buried there. I did a comedy show in Harlem in the middle of this whole thing. So it ain’t East vs. West. Don’t get it twisted. I love New York.

AllHipHop: Let’s talk MC stuff. Some have questioned if Cam freestyles.

Omar Gooding: Look, freestyle means different things now. To me, it always meant off the top of your head. When I was younger, I’d hit Power 106 with Big Boy, just spitting live, no prep. I remember one time he caught me off guard and I froze. Next time, I showed up freestyling from 5 a.m. till we walked in the studio. That’s me. I come from that era where freestyling meant raw bars right then and there. Cam’s a lyricist, but let’s not act like everything is straight off the dome.

AllHipHop: Beyond this, you’re juggling comedy, acting, and music. What does all this mean for Omar Gooding right now?

Omar Gooding: Honestly, it’s exposure. Phone ringing more, bookings up 30 to 40 percent. People reaching out for all kinds of opportunities. And yeah, some are clowning, but that just means they’re watching. At the end of the day, I’m grateful. I’m doing stand-up, I’m doing music, I’m acting. I’m not boxed in. And I’ll give Cam this: without him, maybe people wouldn’t know just how serious I am with this MC thing. So in a way, I thank him.

“Power Book II” Star Arrested On Child Cruelty Charge In Georgia

Alix Lapri was arrested in DeKalb County, Georgia, on Sunday (August 18) and charged with third-degree cruelty to children and disorderly conduct, according to WSB-TV in Atlanta.

The 27-year-old actress, who plays Effie Morales on 50 Cent’s Starz series Power Book II: Ghost, was booked into the DeKalb County Jail and released roughly 24 hours later, Atlanta’s WSB-TV reports.

Authorities have not released details about what led to the arrest, and Lapri has not issued a public statement.

Under Georgia law, third-degree cruelty to children applies when someone knowingly allows a minor to witness or hear an act of violence, such as battery or a forcible felony.

The charge does not require physical harm to the child but focuses on exposing them to traumatic events.

Michael Rainey Jr., who stars alongside Lapri on the hit crime drama, took to Instagram to defend her.

“On the real though yall gotta start reading before commenting,” he wrote. “She didn’t hurt any kids. Yall are hoping that’s the case so bad.. that’s crazy smh.”

Despite the legal trouble, Lapri has stayed active on social media, sharing motivational posts and updates on her career.

On Monday (August 25), she posted, “Gotta keep at it buddy. Chase the dream and know no fear.”

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Lapri has portrayed Effie Morales since the original Power series and continued the role in its sequel, Power Book II: Ghost, produced by 50 Cent.

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She was released from custody on Monday (August 19), according to jail records.

Was Kanye West Right? Fans Debate North’s Latest Look & Criticize Kim Kardashian

North West hit Rome with some fierce blue hair and a punk-style outfit that has the internet buzzing and folks seriously questioning Kim Kardashian’s parenting moves—again.

The 12-year-old daughter of Kim and Kanye West rolled through Italy rocking electric blue pigtails and a full-on glam-punk fit.

In the picture, posted to North’s official Instagram, she rocks a ruffled skirt, corset-style top, heavy steampunk boots, glasses, silver bangles, and a Vivienne Westwood heart-shaped purse.

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North and Kim also popped up in a TikTok video wearing the outfit during their trip to Rome to the sounds of Destroy Lonely’s track “if looks could kill.”

The portion of the track they decided to use featured the lyrics: “I got hella hoes tryna f### me and my bros/I got hella shows lined up, I’m on the road.”

The video blew up fast—and not everyone was loving it.

@kimandnorth

it looks could k🙌@superdani @cocamichelle_ @Kim Kardashian

♬ if looks could kill – Destroy Lonely

A bunch of people online said the outfit looked way too grown for a 12-year-old and started dragging Kim for letting her daughter dress like that.

“Looks 16 but only 12 is mind blowing to me sorry,” one user said. Another wrote “She is too grown for me .. why she showing off her chest like that don’t get me wrong north is a cutie but SLOW DOWN !”

While Kim was out there in a silky dress doing the whole Euro fashion thing, North was outshining her with a look that had way more edge—probably too much for some folks.

And this isn’t the first time people have raised eyebrows over North’s public image.

Kanye’s been calling this stuff out for years. He’s been loud about not wanting his daughter on TikTok or dressed too mature for her age.

Back in 2022, he posted on Instagram, “SINCE THIS IS MY FIRST DIVORCE I NEED TO KNOW WHAT I SHOULD DO ABOUT MY DAUGHTER BEING PUT ON TIK TOK AGAINST MY WILL?”

He’s also slammed Kim for letting North be in grown-up music videos. When North showed up in FKA Twigs’ “Childlike Things” video in March 2025, Kanye wasn’t feeling it.

He’s accused the Kardashians of using his kids for clicks and clout, saying they’re being “indoctrinated and used.”

At this point, some folks online are starting to wonder—was Kanye actually right all along?

Katt Williams Might Be Pulled Into Comedian Reggie Carroll’s Murder Case

Don’t let the TMZ article fool you. This case is about to get crazier. Fast.

The death of comedian Reginald “Reggie” Carroll, who was fatally shot in Southaven on August 21, has rattled the comedy community. Fellow comic and creator Billy Sorrells is not playing games. He’s demanding answers and naming names. Bro is naming the big dogs.

In an Instagram Live broadcast, Sorrells alleged that Carroll was killed at a residence tied to comedian Katt Williams. This isn’t verified, but it’s very public. And, for some reason, he jabbed at other comedians for being silent. He name-checked a few big dogs, including Katt.

“Yeah, you might wanna go get TMZ for this one,” he said.” Yeah, y’all might need to go start tagging the blogs. What we not going to do is we not going to act like Katt… you didn’t know who the f### Reggie Carroll was. What we not going to do is act like Red Grant, you ain’t know who Reggie Carroll was. What we not going to do? You sit up here, Mo’Nique, and downplay who the f### Reggie Carroll was?”

Mo’Nique has pictures with Reggie, but I don’t believe she posted them post-death. I’m not sure what the relationship was with the other comics, but I do know generally there’s a kinship amongst these folks. Also, it’s my understanding that they all toured with Katt.

Billy added: “Katt Williams. You the truth teller. You the Lord of knowing so much truth. You the master of being able to tell everybody else this s###. Katt Williams… tell me why Reggie Carroll died out your house. Tell us what happened to Reggie Carroll.”

Billy Sorrells also identified the man arrested in connection with Carroll’s death as Tranell Williams, alleging that he may be related to Katt Williams. Now, we haven’t been privy to the details of the death, and I don’t expect anybody to speak out during an ongoing murder case. But, Billy isn’t biting his tongue. He took time to describe the man he says killed Reggie.

“Don’t sit here and be quiet now,” he said. “Tranell Williams. Got court on Wednesday, a 6’8”, 225-pound n###a. Y’all know what size Reggie was. Reggie was hit more than five times. Why y’all left Reggie out there on the motherf###ing curb by your crib?”

“Riddle me that. Everybody want to talk about who sucking d### and all this other bulls###. Tell us why my n###a dead. Katt, tell us why Reggie Carroll died at your house, n###a.”

For the record, authorities haven’t confirmed any family connection between the suspect and Katt Williams. But, court records list Tranell Williams as facing charges in Carroll’s death.

Neither Katt, Red nor Mo’Nique has commented publicly. The investigation is ongoing and I’m sure there will be more.

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Living Legends MC Aesop The Black Wolf Has Died

The Hip-Hop community is mourning after Aesop of the Living Legends crew died suddenly over the weekend. Fellow Living Legend Sunspot Jonz posted about Aesop’s death on Instagram Monday morning (August 18). He wrote, “What an amazing ride we had. I just can’t believe you’re gone. I am Completely crushed -when I heard this morning I burst into tears cursing God because it just ain’t fair. Too soon to go.

“Wanted to go off on a few people around you -and will-they know who they are-but for now I’m gonna concentrate on all the light you gave. Your charisma, smile, the talent, the love you brought to our hearts will never be forgotten. Love you forever my brother Derrick.”

Eligh also shared an Instagram tribute to his longtime friend and Living Legends crewmate, reminiscing on their early days.

“No one made me laugh till I cried more times in my life than you. We shared couches, we were young, broke, making music with a shared affinity for the supernatural. We smoked beedees in Japan, we were on stage together all over the world. You had a huge heart. Emotional. Hard headed, and wouldn’t let anyone walk over you. I don’t think many people loved harder than you. My kids never met you. And for that I grieve.

“Almost 30 years since we recorded ‘It was a mission’ in Grouch’s basement, in 1996. You said some of the most outlandish one liners that will forever echo in the collective crews memory of you. Again, having all of us cry laughing. I will miss you greatly my brother, but you are with your pops now. I know his passing devastated you. And your music will always exist on Earth, as long as Earth remains man! I will honor your memory by living my life with a child like vigor, which you always embodied. I love you man..If you can, hit me up in a dream, and tell me what it’s like to be free.”

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Aesop, also known as Aesop the Black Wolf, is a founding member of Living Legends. Originating in Los Angeles in the mid-1990s, Living Legends rose to prominence by embodying the indie rap ethos—recording, promoting and selling their music independently.

Aesop and the rest of the Legends—Murs, Luckyiam, Eligh, The Grouch, Sunspot Jonz, Bicasso and Scarub—helped pioneer the West Coast underground rap scene, building a massive grassroots following and influencing generations of independent artists. As part of Living Legends, Aesop contributed to critically acclaimed albums such as Angelz Wit Dirty Faces, Almost Famous and Creative Differences, each celebrated for its innovative lyrical content and collaborative spirit.

Aesop and Living Legends have been praised for their influential role in the indie-rap movement, earning accolades from publications like LA Weekly and maintaining a loyal fan base through continual touring and new releases, such as their 2023 album, The Return.

More recently, The Grouch announced his annual How The Grinch Stole Christmas Tour, which was expected to include all of the Living Legends, Cunninlynguists and Souls of Mischief. His cause of death has not been disclosed.

AllHipHop sends our condolences to Aesop’s loved ones.

Cardi B’s “Imaginary Playerz” Makes Underwhelming Spotify Debut—Despite JAY-Z Sample

Cardi B dropped her latest single “Imaginary Playerz” last week, but the track barely made a dent on the Spotify U.S. chart, debuting at a modest No. 147—an underwhelming showing for the Bronx rapper known for chart-topping hits. In fact, it’s nowhere to be found on Spotify global either and crawled on to Apple Music at No. 56.

The track, which samples JAY-Z’s 1997 classic “Imaginary Players,” is the fourth single from her long-awaited sophomore album, Am I The Drama. On the song, Cardi flexes her wealth and status, drawing comparisons between herself and other women in rap. “Imaginary Playerz” leans heavily into braggadocio, but early numbers suggest it hasn’t resonated with listeners the way her past releases have.

The video, however, appears to be making quite the impression, with more than 1.8 million YouTube views in the past two days.

The original “Imaginary Players” appeared on JAY-Z’s In My Lifetime, Vol. 1—which has actually seen a bump in streaming due to the song—and Cardi’s interpolation of the track was expected to generate buzz. Instead, the song’s lukewarm reception has raised questions about the momentum behind her upcoming project.

It’s been more than six years since Cardi released her debut album, Invasion of Privacy, which arrived in April 2018. That album debuted at No. 1 on the Billboard 200 and moved 255,000 equivalent album units in its first week, according to Nielsen Music. The project spawned multiple hit singles and earned her a Grammy Award for Best Rap Album, making her the first solo female rapper to win in that category.

“Imaginary Playerz” follows a string of singles leading up to Am I The Drama, but its low placement on Spotify’s chart signals a rare misstep for Cardi, who’s typically a fixture in the top tier of streaming platforms.

As of Sunday (August 17), “Imaginary Playerz” has dropped off the Spotify U.S. chart completely.

50 Cent Says Goodbye To Starz After Terrible Ratings Report

50 Cent had a message for Starz after the network posted dismal subscriber numbers and a $42.5 million loss—he said “good bye” to the network.

The Hip-Hop mogul and executive producer took to social media to make his exit clear, writing, “It’s not that hard to say good bye. bye,” under a post about the network’s declining performance.

In addition to Fif constantly dragging the network that airs his shows, the second quarter of 2025 brought more bad news for Starz. U.S. streaming subscribers dropped from 13.04 million to 12.2 million, while total domestic customers fell by 410,000 to 17.6 million.

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The company blamed the losses on its recent separation from Lionsgate and said it would no longer release international streaming figures.

Despite the downturn, Starz still leans heavily on programming tied to 50 Cent.

The network airs several of his shows, including the Power universe and BMF.

Power Book IV: Force is heading into its third and final season. In fact, Joseph Sikora, the star of the series, said season three would be worth the wait.

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But behind the scenes, tensions between 50 Cent and Starz have been simmering for years. He has repeatedly criticized the network for delays, inconsistent scheduling and stalled renewals.

In 2022, 50 Cent announced he would take his content elsewhere, encouraging viewers to boycott Starz until his shows returned.

Though he remains executive producer on multiple titles under G-Unit Film & Television, he chose not to renew his deal with the network in 2022.

With subscriber losses mounting and 50 Cent walking away, the network’s future remains uncertain.

Bronx Rapper Wowdy HBTL Charged With Murder After Shooting Leaves One Dead & Teen Girl Critical

Bronx drill rapper Wowdy HBTL was charged with murder and attempted murder after a back-to-school basketball tournament in the Bronx turned deadly.

Gunfire erupted at Heaton Park on Sunday (August 24), killing one man and injuring four others, including a teenage girl shot in the face, who was left fighting for her life.

The 25-year-old rapper, whose real name is Robert Royal, was arraigned Monday (August 25) in Bronx Criminal Court alongside 20-year-old Daeven Reyes. Both were ordered held without bail.

Two teenagers, 17-year-old Messiah Hugie and 16-year-old Ny’Zay Wigfall, were also charged in the case.

Royal and Reyes face counts of murder, attempted murder, gang assault and criminal possession of a weapon. The teens were also hit with murder charges.

According to police, multiple shooters opened fire at the crowded basketball court, striking five people.

Among the victims was 32-year-old Jaceil Banks, who was shot in the chest and later died.

A 17-year-old girl, Anthonaya Campbell, was shot in the face and remains in critical condition.

A 30-year-old man and a 29-year-old woman were both shot in the back, while another individual was hit in the arm.

Law enforcement sources believe the shooting was gang-related.

Royal’s mother told the New York Post her son was wrongly identified by police.

“It’s mistaken identity because that [victim] was his friend,” she told the outlet.

She also claimed Royal had previously been charged in another case but was “ultimately exonerated” of attempted murder and gun possession charges last year. She claimed he was fleeing a shootout when officers detained him.

Cardi B Slams Assault Claims In Heated Court Testimony

Cardi B flat-out denied ever laying a hand on security guard Emani Ellis during her testimony Tuesday (August 26) in a Los Angeles courtroom, pushing back against claims she assaulted Ellis during a heated moment at an OB/GYN office in 2018.

The Bronx-born rapper, who was four months pregnant at the time, told the court the confrontation never turned physical and described the situation as “extremely stressful.”

She said she was trying to keep her pregnancy private and felt her personal space was being violated.

“[It was] a verbal altercation. She didn’t hit me. I didn’t hit her. There was no touch. So to me it wasn’t no incident,” Cardi told the court.

She admitted to calling Ellis a “b####” but firmly denied spitting on her, using racial slurs or swinging at her.

“Absolutely not,” she said when asked if she spat on Ellis.

The Grammy winner said the dispute started when she noticed Ellis filming her as she entered the medical office.

She said she confronted Ellis directly, asking, “Yo, why are you recording me?” According to Cardi, Ellis responded, “Cuz I can,” and continued following her.

“Now she’s like in front of me where I can’t even really maneuver,” Cardi said. “And I’m like, ‘Ain’t you supposed to be security? Like you grouped out. You recording me. Now you following me. Like back up.’ And she’s like, ‘I could do what I want.'”

Cardi said the two ended up “chest to chest” as the argument escalated. “I’m thinking to myself like this girl is big. She’s big. She got b######## boots on,” she said, adding that they were “arguing and cursing” before a receptionist stepped in.

That’s when, according to Cardi, Ellis began loudly accusing her of hitting her.

Ellis’s lawsuit paints a much different picture. She claims Cardi B struck her in the face, scratched her cheek with long nails, and ordered another guard to restrain her.

She also accuses the rapper of spitting, hurling insults, using racial slurs, and mocking her appearance and job.

Ellis says the incident left her with emotional trauma, including anxiety, depression, PTSD, and insomnia. She is suing for assault and battery, intentional infliction of emotional distress, negligence, and false imprisonment.

The trial continues this week in Los Angeles County Superior Court.

EXCLUSIVE: YNW Melly Loses Lawsuit Against Sheriff In Attempt To Get Out Of Jail

YNW Melly lost his legal push to get out of jail after a Florida federal judge rejected his claims that he’s being unlawfully held while awaiting retrial in a double murder case.

On Tuesday (August 26), U.S. Magistrate Judge Melissa Damian dismissed the rapper’s habeas corpus petition, ruling that he must go through the state court system before seeking federal relief.

The decision keeps him incarcerated in the Broward County Jail, where he has been held since 2019.

YNW Melly argued that his constitutional rights were being violated by jail officials who allegedly placed him in extended isolation, restricted contact with his attorneys and family, and delayed his trial for years.

He claimed these conditions amounted to unlawful detention.

However, Judge Damian ruled that YNW Melly failed to exhaust all available state-level remedies before seeking relief in federal court.

She also cited the Younger abstention doctrine, which prevents federal courts from interfering in active state criminal cases unless there’s clear evidence of bad faith or irreparable harm.

The ruling was issued “without prejudice,” meaning YNW Melly can refile his petition later if he follows the proper legal steps in state court.

YNW Melly is awaiting a retrial for the 2018 killings of Christopher Thomas Jr. (known as YNW Juvy) and Anthony Williams (YNW Sakchaser), both close friends and collaborators.

Prosecutors allege that Melly shot them inside a car and then staged the scene to look like a drive-by. He has pleaded not guilty to two counts of first-degree murder.

His first trial ended in a mistrial in July 2023 after jurors failed to reach a unanimous verdict.

If that timeline holds, a new trial date has been pushed back to January 2027, meaning YNW Melly will have spent over eight years in custody without a conviction.

He also faces separate charges for alleged witness tampering while in jail.

Prosecutors are seeking the death penalty under Florida’s new law that allows an 8-4 jury vote for capital punishment.

Key evidence in the case includes cellphone data, surveillance footage, and forensic analysis, which prosecutors say places YNW Melly at the scene.

His defense argues he was asleep during the murders and that someone else used his phone.

The court’s ruling means YNW Melly remains in jail as his legal team continues to fight both cases in state court.

His retrial is currently scheduled for January 2027.

EXCLUSIVE: Mary J. Blige Asks For $5M Battle With Misa Hylton Be Transferred To Special Court

Mary J. Blige and her company, Beautiful Life Productions, are seeking to have a $5 million lawsuit filed by Misa Hylton and Vado transferred to the New York Supreme Court’s Commercial Division, arguing that the case is rooted in business disputes and requires specialized handling.

The legal battle stems from claims that Blige’s company interfered with a recording agreement involving Harlem rapper Vado, who was signed to Hylton’s M.I.S.A. Management.

The plaintiffs accuse Blige and her label of breaching the contract, disrupting other business relationships and intentionally stalling Vado’s career to pressure him into leaving Hylton’s management.

The lawsuit, filed in April, alleges Blige withheld Vado’s completed album and blocked his ability to tour, leaving him in “economic servitude.”

Hylton also claims Blige’s head of security, reportedly her boyfriend, tried to get Vado to sign documents without legal counsel.

Blige has denied all allegations and called the lawsuit “patently frivolous,” arguing it was filed “to harass and damage her personally and professionally.”

Her legal team is asking the court to dismiss the case and impose sanctions on Hylton and her attorney for what they describe as “meritless” litigation.

In a formal request to Judge Suzanne J. Adams, Blige’s attorneys requested that the case be reassigned to the Commercial Division, which handles complex business disputes.

They say the lawsuit meets the $500,000 threshold and centers on contract issues, including questions about whether New York or California’s law applies.

They also question whether M.I.S.A. Management is a valid legal entity and argues that Blige never signed the disputed contract in her personal capacity.

The court clerk initially categorized the case as “Commercial – Contract” but did not assign it to the Commercial Division, saying it didn’t meet the formal criteria.

Blige’s team disagrees and insists the case belongs in the Commercial Division due to its financial scope and legal complexity.

They also argue that the claim for emotional distress is not central to the case and doesn’t disqualify it from being transferred.

Judge Adams has not yet ruled on the transfer request.

Drake Look-A-Like Testifies In Video For Glasses Malone’s New Posse Cut “Wanted”

Glasses Malone Pays Tribute to Hip-Hop’s Roots With New Single “Wanted” and Calls Drake a D##khead.

Glasses Malone isn’t just dropping another record. The West Coast rapper is making a few statements about the culture of Hip-Hop and condemned Drake for stifling creativity. The Los Angeles MC has released a new single titled “Wanted”, a track he describes as a salute to Hip-Hop’s foundation and the competitive spirit that has defined the genre since its earliest days.

“With this particular record, I’m really capturing the essence of Hip-Hop,” he says to AllHipHop. “During the Kendrick Lamar and Drake battle, Lord Jamar felt like Kendrick Lamar wasn’t a Los Angeles or Southern California street urban culture. He felt like The Game was more a street urban culture and that inspired me to come together with a gangster rap group, the L.A. Giantz and Jurassic 5, a backpack group.”

Malone stressed that the song is bigger than labels. Whether it’s gangster rap or backpack rap, he believes the culture comes from the same root.

“Jurassic 5 was considered a backpack group, but you realize they meet at street urban culture,” he explained. “The artistic expression of street urban culture is what Hip-Hop is. When you use those elements artistically to express street urban culture, that’s Hip-Hop.”

“Wanted” channels the raw energy of the cipher or the “posse cut.” All of the MCs go bar-for-bar sparring a rough-n-tumble beat full of sharp skills and lyricism.

“So again when you put a backpack group and a gangster rap group together, you can listen and you won’t be able to tell the difference because we all speak the same language,” he continued. “It’s really just an ode to Hip-Hop.”

He’s not stopping with “Wanted.”

“I got another one coming up with Busta Rhymes, Ludacris, Common – you know more dope stories,” he revealed. “But really the gem is how the record is producing uploaded and when you play it, you’ll notice it.”

In Spotify, each verse is a separate track, but when played in succession sounds cohesive. Malone has encouraged people to choose their favorite verse on social media.

As for Drake, Malone said he’s attempting to censor Hip-Hop but also trying to attack the core creative elements of the culture as well. Malone didn’t hold back.

“This is a time where Hip-Hop is really under scrutiny, maybe the most scrutiny it’s ever been,” he said. “People don’t know if we’re still creative or if we’re even worthy of leading in the musical space right now. And then you have a rapper who people regard as part of the culture—even though I’ve disputed that—suing another rapper for his creativity.

“And suing a label over that rapper’s creativity, trying to get the label to censor it or pull it down completely. So he deserved to be painted as the d##khead that he is. Because that was his goal—to censor Hip-Hop. And I want to make sure everybody knows that.”

Lil Nas X Addresses Arrest: “Your Girl’s Going To Be OK”

Lil Nas X broke his silence after a chaotic weekend in Los Angeles that left him hospitalized and facing multiple felony charges, telling supporters, “Your girl is going to be OK, y’all. She’s going to be alright. That was terrifying; that was a terrifying last four days. But your girl is going to be alright.”

The 25-year-old rapper, born Montero Lamar Hill, pleaded not guilty Monday to three felony counts of battery on a police officer and one count of resisting an executive officer.

The charges stem from a strange encounter around 6 A.M. Friday on Ventura Boulevard, where police say they found the Grammy winner naked and acting erratically.

According to reports, officers attempted to intervene, but Hill allegedly charged at them.

Believing he was undergoing a possible drug-related episode, authorities transported him to a hospital for evaluation. He was later booked into jail after being medically cleared.

Initially arrested on suspicion of misdemeanor obstruction, Hill’s charges were upgraded following further investigation. He appeared in court on Monday wearing a blue jumpsuit and stood behind a glass partition during his arraignment.

As reported by TMZ, Hill posted $75,000 bail and was released under conditions that include staying away from illegal substances and enrolling in an outpatient treatment program.

Outside the courthouse, Hill’s father, Robert Stafford, addressed reporters and dismissed rumors about drug use.

“He’s focused on getting the help he needs,” Stafford said, “but he’s not on drugs.”

Hill has not publicly addressed the specifics of the incident, but reassured his supporters about his well-being in a brief message. His next court date has not been set yet.

Kneecap Cancels U.S. Tour Due To Court Hearing

Kneecap pulled the plug on their fully booked U.S. tour this October as Mo Chara, one-third of the Irish Hip-Hop group, prepares to face a terrorism-related court hearing in London tied to an alleged flag display.

The Belfast-based trio announced Monday (August 25) that they were forced to cancel all 15 dates of their American run, citing the timing of Chara’s legal proceedings.

His next hearing is scheduled for September 26, just days before the tour was set to begin.

“Due to the proximity of our next court hearing in London to the first date of the tour,” the group said in a statement, “we have to cancel all 15 tour dates in October.”

Chara was charged in May by UK authorities after he was accused of showing a Hezbollah flag during a November 2023 performance in London.

The group has rejected the allegation, saying the video footage was misrepresented.

They added that the clip is being “exploited and weaponised” and emphasized that Kneecap has “never supported Hamas or Hezbollah.”

The group expressed disappointment over the cancellation, saying, “With every show fully sold out, to tens of thousands of fans, this is news we are sad to deliver.”

Still, they remain confident about the outcome of the case.

“But once we win our court case, which we will, we promise to embark on an even bigger tour to all you great heads.”

A chief magistrate will determine on September 26 whether Chara will stand trial.

Missy Elliott Settles Co-Writing Lawsuit

Missy Elliott quietly closed the chapter on a years-long legal fight over songwriting credits just days before the case was set to go before a jury.

The Hip-Hop icon reached a settlement with producer Terry Williams, who alleged he co-wrote multiple tracks on SISTA’s 1994 album 4 All the Sistas Around da World but was never credited or paid.

The lawsuit, filed in 2018, focused on Elliott’s early work with the R&B girl group before her breakout solo career.

Williams, a former Philadelphia studio owner, claimed he and Elliott collaborated on four songs from the project and sought royalties dating back nearly three decades.

He accused Elliott of cutting him out of the credits and financial compensation. Elliott has consistently denied the accusations.

In court documents, she stated that Williams “did not write a single lyric or in any manner contribute to any of the songs.”

The dispute was resolved without a trial and Elliott’s legal team emphasized that the outcome favored their client.

“No money was paid in connection with any of Terry Williams’ claims, the last remnants of which were dismissed,” her attorney told Billboard.

Offset Praises Drake For Free Features & Fair Splits In Migos Collabs

Offset credited Drake for never charging Migos for guest verses and always offering equal publishing splits, calling the rapper’s approach rare in the music industry.

Speaking on the “Full Send Podcast,” Offset opened up about their longtime partnership and Drake’s behind-the-scenes generosity.

“Always showed love. Always pulled up to the video shoots, all that s###. Don’t make it a hassle, don’t be charging n#####, nothing,” Offset said, describing how Drake never asked for payment when collaborating with the group.

Offset also pointed out that Drake never tried to dominate the business side of their records.

“A lot of artists his size would bully the record,” he explained. “Like, ‘I’ma do it, but I want all the publishing, all of it.’ He ain’t do none of that s###. Like, equal splits.”

Their working relationship dates back to 2013, when Drake jumped on the remix of Migos’ breakout hit “Versace.” That track helped push the Atlanta trio into the national spotlight and introduced their now-famous triplet flow to a broader audience.

The two acts continued teaming up over the years, including on the 2018 hit “Walk It Talk It” from Migos’ Culture II album.

The song’s retro-themed video became a viral moment and added another chart win to their shared resume.

In 2021, they linked again for “Having Our Way” on Culture III.

They also hit the road together during the 2018 Aubrey and the Three Migos Tour, further cementing their creative bond.

Offset didn’t just stop at praise—he also came to Drake’s defense in June 2025 after T-Pain criticized the Canadian rapper for not stepping away from music as he once said he would.

“Da Boy is da boy,” Offset wrote in a post aimed at Drake’s critics. “S### ain’t gone change. All dat hating on another grown man who do more numbers than everybody is Diabolical !!!!” 

Fat Joe Says He Fought Off 7-Foot Creep With Machete At Age 10

A clip of Fat Joe is making rounds after The Breakfast Club reposted an older interview with the Bronx legend, sharing a story about a 7-foot foe from his childhood.

So here’s the setup: Joe was 10 at home in the projects, trying to cook up some food, even though he admitted he had zero clue how to cook.

Out of nowhere, he hears a girl scream. He grabs a machete—because apparently that was just lying around—and opens the door to chaos.

“She has a dress on. She’s covering her private parts like a movie,” Fat Joe said, describing the girl he recognized from his building. “Apples, oranges on the floor, the bread—and it’s a dude standing over her, like seven feet tall, fresh out of jail.”

According to Joe, the guy looked like he was about to do something awful. So 10-year-old Joey, all chubby and fearless, ran up on him with the machete.

“I run down on the guy. I give it to him. 10 years old,” he said. “If you’re a coward, you don’t believe this story.”

Joe says he sliced the man’s arm, chased him into a stairwell and hit him again before the man realized who he was dealing with. Once the attacker figured out it was a kid swinging the blade, he bolted.

The girl, whom Joe described as “the most decent girl probably in my whole project,” begged him not to say a word. Her family was strict and she didn’t want the story out. So Joe kept it quiet for decades.

He almost put the story in his book, but pulled it at the last minute.

“Because I haven’t seen her in 30 some years, 40 years. I said, ‘You know what? She might be alive with her family and I’m violating.’ So I took it out the book.”

Then, at his brother’s funeral, she showed up and told everyone the truth.

“Joey saved my life. He saved my life. A guy was trying to rape me. Joey came out with the machete. He saved my life,” she told mourners.

Even Joe seemed shocked hearing her say it out loud after all these years. Whether you think it’s exaggerated or not, Joe’s sticking to it.

Cardi B Slams Other Female Rappers For “Obsessing” Over Her: “I’m Sick Of It”

Cardi B called out other women in rap during a new interview, venting about jealousy and constant jabs from female rappers she says aren’t even in her league.

“For some reason, it’s something about me that these b###### can’t stand,” she said on an appearance on Apple Music’s Zane Lowe show.

“They can’t f### with me. Some b######… they’re sophomores, and I’m a senior,” she added, comparing her status in the rap game to a high school hierarchy.

Cardi continued, “It’s like you want to f### with the senior so bad. You think you’re here with the senior. You’re not even a junior. You need to worry about them other sophomores before you start worrying about the f###### senior.”

The Bronx-born rapper said she’s tired of being the focus of other artists’ attention instead of their own growth.

“It’s something about it that it’s like, they can’t even focus on them,” she explained. “They got to focus on me. And they always got to focus on throwing me shots and throwing me slings … and I’m sick of it. It’s like, f### you, f### everybody.”

Cardi B also teased that her upcoming album will address some of the drama, but not every track will be a diss.

“Not all my songs are going to be like that,” she said. “I have a little bit of everything,” including upbeat pop and club-ready records.

One of those tracks, “Imaginary Playerz,” was born during a low moment in the studio.

After spending days “in a funk” and sleeping on the couch, her engineer played JAY-Z’s “Imaginary Players” to lift her spirits. That sparked a creative idea.

“Yo, imagine if I flip this but my way,” she recalled. “Cuz it’s like I got a lot of s### to brag about. Like, I really do live a different lifestyle than a lot of people.”

But getting the green light from JAY-Z wasn’t guaranteed.

“I was a little shaky,” she admitted. “Wait a minute. JAY-Z got to approve it.”

The track has drawn criticism online, and Cardi addressed the backlash during a Twitter Spaces chat last week.

“For people to dog pile on me over one song… to come at the way I speak, to make narratives of how I think I am and who the f### I think I am, to talk about every single piece of me, to bet on my downfall is crazy.”

Lost in Translation: Why AI Still Struggles with Idioms and Cultural Nuance

MT systems are used in everything, including instant subtitles within the application to entire e-learning localization projects. But when it comes to trying to translate an English course into Spanish or Mandarin into French, one is sure to hit a stumbling block: idioms and cultural nuances will baffle even the most sophisticated AI systems. 

To teachers and instructional designers, as well as e-learning developers, such translation glitches are not entertaining trivia: they can sabotage learning objectives and undermine confidence in the content. This paper will discuss why AI continues to trip over idiom and cultural nuance, the threats that it poses to learning content, and mitigation strategies that you can employ today.

The Lingua Franca of Algorithms

Most large-scale MT systems (think Google Translate, DeepL, or the translation layers built into many authoring tools) rely on neural networks trained on massive bilingual corpora. The underlying assumption is statistical: if two phrases appear in parallel texts often enough, the model will map them correctly.

That works for direct, literal language, but idioms seldom play by those rules. Take the English phrase, “kick the bucket.” A literal Spanish rendition, “patear el balde,” is gibberish to native speakers, while the idiomatic translation, “estirar la pata,” is spot-on. Unfortunately, “kick the bucket” and “estirar la pata” rarely appear side by side in training data, so the model can’t learn the subtle mapping. This is where online translation services still hold an edge: unlike machines, human linguists can recognize context, idiomatic usage, and cultural nuance elements that make or break clarity in learning materials.

Idioms: Small Phrases, Big Headaches

Idioms are words that are joined together and whose meaning cannot be understood by the individual words. The problem is that I systems do not work well since they have architectures that largely view language as a series of tokens with probability distributions. Transformer models that learn to capture long-range dependencies do not use external cultural knowledge, but rather depend on patterns in the data.

Worse, idioms mutate. Consider “hit the books.” In business English, you’ll also hear “hit the ground running” or “hit a wall,” each with a distinct meaning. The surface pattern “hit + noun” can mislead AI into a one-size-fits-all translation. Traditional rule-based engines tried to solve this with idiom lists; neural engines try to learn them implicitly. Both approaches run out of steam when faced with regional slang (“I’m knackered,” “that’s wicked”) or sub-culture jargon (gaming, sports, local dialects).

Cultural Nuance: The Subtext AI Misses

Translations succeed only when they convey not just words but intent, register, and emotional resonance. That means navigating reference points outside the text history, shared symbols, humor, and even taboos.

Example: A U.S. onboarding module uses the basketball metaphor “full-court press” to describe an urgent project phase. Translate that literally for a Japanese pharmaceutical team, and you may get polite nods but zero comprehension. The learners understand English, yet the sports reference doesn’t resonate. AI spot-translates “フルコートプレス,” but the concept remains foreign.

Learning-wise, it is expensive. Abstract or unfamiliar metaphors hinder cognitive load, making the learner have a hard time retaining concepts. Motivation is also impacted by culture mismatch: learners will not be motivated to engage when they feel that the content was not created with them in mind.

Dataset Bias and Domain Drift

Neural MT thrives on quantity, but the available data skews toward high-resource language pairs and general domains (news articles, EU parliamentary proceedings, social media). Instructional design materials, especially in niche technical or academic areas, appear less frequently. Hence:

The model may produce a “good enough” literal translation but miss specialized terminology.

Idiomatic expressions unique to educators (“scaffolding,” “chunking,” “warm-up activity”) lack one-to-one equivalents in other languages. Even when the idiom itself exists cross-lingually, the context can flip. In English pedagogy, “sandbox” implies a safe place to experiment; in some cultures, sand is associated with chaos or desert emptiness, hardly a positive learning metaphor.

Domain drift intensifies as educational content evolves. When you plug a novel gamified scenario into a translation tool trained on 2020 data, the AI is essentially guessing.

The Risk Matrix for Educators

Poorly localized content isn’t merely embarrassing. In e-learning, it can:

  • Loss of accuracy in compromise assessment (learners do not understand questions).
  • Triggering compliance matters (regulatory training translated wrongly).
  • Damage brand credibility (seen as inconsiderate or insensitive to culture).
  • Increase costs of support (more learner questions and re-work).

Each risk directly impacts learning outcomes and ROI. Instructional designers need more than “good enough” MT; they need culturally aligned, terminologically precise language.

Mitigation Strategies: Human-in-the-Loop and Beyond

While AI translation has limitations, you can blend its speed with human expertise to achieve reliable outcomes.

Build a Custom Glossary

Create a bilingual (or multilingual) glossary of core terms, idioms, and metaphors before localization. Feed this glossary into MT engines that support terminology constraints. Tools like SDL Trados, Phrase, or memoQ allow you to lock approved translations, so “scaffolding” is always rendered as “andamiaje pedagógico.”

Leverage Fine-Tuning

If you have substantial parallel data from past courses and their human translations, fine-tune an open-source model (e.g., Marian NMT, LLaMA-based architectures). Fine-tuned systems absorb domain-specific idioms better than generic engines.

Insert Cultural Consultation

At the storyboard stage, flag idioms or cultural references for possible substitution. Instead of “hit the ground running,” you may use “start at full speed” (neutral) or swap in a locally resonant analogy, like “enter the race mid-stride” for cultures familiar with track events.

Pilot with Representative Learners

Run small focus groups from the target culture. Ask not only “is the language correct?” but “does it feel natural?” Their qualitative feedback exposes subtle mismatches in MT quality metrics (BLEU, TER).

Keep Humans in the Loop

Bilingual subject-matter experts are still necessary to edit critical content. Human beings accelerate the draft stage; they add shades and make sure that all the idioms are checked and that the piece is culturally correct.

The Future: Toward Context-Aware Translation

Researchers are tackling these limitations via:

  • Multimodal models that integrate vision and real-world grounding.
  • Retrieval-augmented generation (RAG) that queries knowledge bases for cultural facts.
  • Prompt engineering techniques, “few-shot” instructions guiding large language models to respect idiomatic nuance.

Progress is real, but adoption takes time, especially in budget-constrained education sectors. Until context-aware MT matures, a blended strategy offers the best balance of speed, cost, and accuracy.

Conclusion

Machine translation is best at literal, high-volume text, but it is still weak with idioms and cultural context. In our work to design learning experiences that span borders, that difference is not an academic one; it is life-or-death. The incorrect use of metaphors may interrupt the flow of understanding, weaken learners’ confidence, or render any compliance efforts ineffective.

Domain glossaries, fine-tuning, cultural consultation, pilot testing, and expert post-editing are just some of the ways you can leverage the efficiency of AI without compromising linguistic quality. It is not to decide between machine and human translation, but to harmonize both to make your courses sound good everywhere.

That is, do not cut the AI baby out with the idiomatic bath water, but teach it to speak the language of your learners.

Will Smith’s Longtime Associate Charlie Mack Blasts AI Tour Accusations

Charlie Mack is pushing back hard against rumors swirling around Will Smith’s global concert tour, calling out claims that the actor-musician is using artificial intelligence to inflate crowd visuals as “ill-informed” and “BS.”

The longtime friend and collaborator of Smith broke his silence after online chatter accused the star of manipulating audience footage with AI.

The speculation gained traction after clips from Smith’s international shows shared by The Fader appeared to show distorted faces, extra fingers and unnatural hand shapes in the crowd.

“It’s truly disappointing that you can’t fathom that this brother has built nearly 40 years of a solid career on his own two feet no gimmicks, no shortcuts just unwavering dedication to his God-given talent, relentless hard work, and a great team that supports him,” Mack said in a statement defending the Bad Boys star.

Mack, who has worked with Smith since the early days of his storied career as a rapper, through his run as The Fresh Prince of Bel-Air and then as a top box office draw in Hollywood, emphasized the actor’s legacy and commitment to his craft.

“Will Smith has earned his place as one of Hollywood’s highest-grossing box office stars, an international superstar, and a cultural icon. They don’t make them like him. He’s an anomaly. I’ve had a first-class seat on this journey with him since Day 1. It hasn’t been easy but it’s been real, it’s been earned, and it’s been achieved with integrity,” he said.

Mack didn’t hold back in his final message to critics.

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A post shared by Charlie Mack aka Kareem Abdullah aka Mr. Philadelphia (@charliemackfirstout)

“Before you print this type of BS & ill-informed responsible journalism, get your passport out, take a flight overseas & check out \@‌willsmith’s actual international tour schedule (which wraps up in a few weeks), and go see the man perform for yourself,” he said.

Smith’s global tour is expected to conclude in the coming weeks, with no official comment from his team on the AI allegations.

The AI speculation stems from a broader concern over digital manipulation in entertainment.

In a recent Atlantic article, YouTuber Rhett Shull said he believes YouTube is applying AI upscaling to his videos without his input, which could mislead viewers into thinking he’s using AI tools or deepfakes.

Crafting the Perfect Pitch to Submit Music to Music Supervisors

Crafting the perfect pitch when submitting music to music supervisors is essential in the music industry. These professionals serve as gatekeepers who determine which tracks are selected for movies, television shows, advertisements, and other media projects, making it crucial to understand their role for a higher chance of music selection.

Understanding the Role of Music Supervisors

Music supervisors play a pivotal role in the music industry by selecting and licensing music for various media projects such as films, TV shows, video games, and ads. Their responsibilities include:

  • Project Vision: Ensuring that the music aligns with the director’s vision and enhances the storyline.
  • Trend Awareness: Staying updated on current music trends to resonate with audiences.
  • Artist and Label Collaboration: Working closely with artists, labels, and composers to find the right music.

Understanding these aspects can help tailor music submissions to be more relevant to music supervisors’ needs. For a detailed overview of a music supervisor’s responsibilities, you can refer to this Berklee article.

Researching Music Supervisors and Their Projects

Researching music supervisors and their projects is crucial for effective music submissions. Here’s how you can enhance your pitch through research:

  1. Identify Potential Supervisors:
    • Utilize industry directories, music conferences, and networking to find names of music supervisors.
  2. Explore Past Projects:
    • Analyze prior work to understand music preferences and project types handled by supervisors.
  3. Utilize Online Resources:
    • Visit platforms like IMDb for insights on their previous projects.
    • Read articles and interviews highlighting their music preferences.
  4. Leverage Social Media:
    • Follow supervisors on platforms like LinkedIn and Twitter for project insights.
  5. Tailor Your Approach:
    • Customize your pitch based on each supervisor’s style and project requirements.

Understanding and implementing these research strategies can significantly improve the relevance of your music submission.

Creating a Memorable Pitch for Music Supervisors

Crafting a memorable pitch is vital for leaving a lasting impression on music supervisors. Here are key elements to consider in your pitch:

  • Keep It Concise:
    • Limit your pitch to a few well-crafted sentences. Maintain clear communication in presenting your ideas.
  • Personalize Your Message:
    • Start with a friendly greeting and mention their past work or projects.
  • Highlight Key Elements:
    • Clearly state your music style or genre.
    • Mention notable achievements or unique aspects of your music.
    • Provide context on how your music aligns with their projects.
  • Include Relevant Links and Attachments:
    • Share your music hosted on platforms like SoundCloud or Spotify.
    • Attach a snippet to showcase your sound.
  • Follow Industry Insights:
    • Refer to expert advice and sources for pitch tips.

By following these steps and presenting a well-researched and professional pitch, you increase your chances of connecting with music supervisors and getting your music featured in their projects.

Music Submission Formats and Protocols

When submitting music to supervisors, adhering to the right formats and protocols is crucial:

  • File Formats: Use commonly accepted formats like MP3 (320kbps) or WAV for quality and accessibility. Refer to this detailed article for more details on standard music file formats.
  • Metadata: Add essential data like artist information and rights ownership to aid categorization.
  • Submission Protocols:
    • Unsolicited: Tailor your pitch respectfully based on project fit.
    • Solicited: Follow guidelines from supervisors or submission portals.
  • Platforms for Submission: Consider utilizing platforms like SoundCloud for easy access and sharing.

Following these technical details ensures a professional and manageable music submission for supervisors.

Building and Maintaining Professional Relationships

Building and nurturing relationships with music supervisors is crucial for future success. Here’s how you can foster these connections:

  • Follow-Up: Send a brief follow-up email to remind supervisors of your pitch and express gratitude.
  • Networking: Attend industry events and workshops to establish direct connections.
  • Feedback: Utilize feedback to improve future submissions and showcase your commitment to growth.

Cultivating these relationships can open up more opportunities and enhance your reputation in the music industry.

Summary and Next Steps

In this article, we’ve covered essential strategies for submitting music to music supervisors effectively. Here are the key takeaways:

  • Understanding music supervisors’ roles aids in tailoring submissions.
  • Researching supervisors and projects enhances pitch personalization.
  • Crafting a concise and relevant pitch is crucial for making a lasting impression.
  • Adhering to proper submission formats ensures professionalism.
  • Building professional relationships is key to long-term success.

By applying these strategies, you set yourself up for better outcomes with music supervisors. To further enhance your skills, consider exploring additional resources or workshops focused on professional music submissions. For further support, explore our client’s services to elevate your approach and increase success in pitching music.

Swizz Beatz Salutes His Motorcycle-Riding Grandmother Who Coined Ruff Ryders Name

Swizz Beatz honored his grandmother’s legacy in a tribute post, revealing she came up with the name for the legendary Hip-Hop crew Ruff Ryders.

On Tuesday (August 26), the Grammy-winning producer posted a photo of his grandmother, Sandra Dean, sitting confidently on a massive bike alongside his uncle Joaquin “Waah” Dean, co-founder of Ruff Ryders Entertainment.

The image, taken Sunday (August 24), was paired with a caption that gave credit where it was long overdue.

“My grandmother is the one who named Ruff Ryders and she’s still riding high in these NY streets Ahumduallah. DEAN FAMILY 4 LIFE,” Swizz wrote. He added, “She still outside.”

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Swizz Beatz’s Uncle Reveals Origin Of Ruff Ryders Name

The Ruff Ryders brand, which launched in 1988 as an artist management company, later became a powerhouse label and lifestyle movement, home to acts like DMX, Eve, The LOX and Swizz himself.

But the name? That came straight from Sandra Dean’s living room.

In a 2017 interview, Waah Dean recalled the moment the name was born. “I was at my mother’s house and I said to her, ‘This Special Effects name don’t really work for me, I don’t really feel this name. Let’s find a name that makes sense.’ And then I was watching a Black cowboy movie at the foot of her bed.”

He continued, “I looked at my mother and I said, ‘there it is. Look at us Ruff Riders.’ And then my mother said ‘ride or die.’ I said ‘that’s what we’re going to do. And that’s how that was discovered.’”

Sandra Dean, mother to Waah and grandmother to Swizz, spoke in a 2022 interview about the family’s musical roots and how her children’s passion for sound was inherited.

“They all like music because I like music and their father likes music, so I think they got it from us and they just took it to another level,” she said. “Then the three of them got together and made history. You can see where the music is, and it’s in their heart.”

Waah co-founded Ruff Ryders Entertainment with his siblings Darrin “Dee” Dean and Chivon Dean. The brand would come to define an era of late ’90s and early 2000s Hip-Hop.

JAY-Z & Beyoncé Reportedly Finalizing $22M English Countryside Estate

JAY-Z and Beyoncé are reportedly closing in on a countryside escape in England’s Cotswolds, eyeing a 58-acre estate near Great Tew as their next family retreat.

The Hip-Hop power couple checked out the property earlier this year, flying in by helicopter between stops on Beyoncé’s Cowboy Carter World Tour.

The estate sits in a prestigious neighborhood, featuring a sprawling country home with approved plans for a private lake and surrounding woodlands—just a stone’s throw from celebrity neighbors like David and Victoria Beckham, Simon Cowell, and Ellen DeGeneres.

According to The Mirror, a source shared, “They were in negotiation on the price, and it isn’t on the market any more, which would suggest it’s a done deal.”

The couple’s interest in the area reportedly grew after the 2025 California wildfires, which pushed them to look for a quieter, more secluded second home outside Los Angeles.

Known for its upscale charm and privacy, the Cotswolds has become a magnet for celebrities seeking a break from city life.

The area also boasts elite hangouts like Soho Farmhouse and high-end organic markets.

The visit to the property took place in June during a break from Beyoncé’s London tour dates, adding to speculation that the deal is nearly finalized.

Meanwhile, Beyoncé and JAY-Z made history in 2023 when they purchased a Malibu mansion for an estimated $190–$200 million — the most expensive home ever sold in California and the second-priciest in U.S. history. 

Designed by world-renowned Japanese architect Tadao Ando, the modern masterpiece took more than 15 years to complete, wrapping up in 2014, and spans over 30,000 square feet across nearly eight acres of prime coastal land.

Snoop Dogg Called “Slur Merchant” By Australian Politician—Urges AFL To “Dump’ Rapper

Snoop Dogg is facing mounting pressure in Australia after a senator demanded he be dropped from the 2025 AFL Grand Final over his recent podcast comments and past lyrics.

The West Coast rapper was called a “slur merchant” by Australian Greens Senator Sarah Hanson Young during a speech in Parliament, where she urged the Australian Football League to cancel his headline performance at the Melbourne Cricket Ground on Saturday (September 27).

She slammed the league’s decision to pay the Hip-Hop icon $2 million, arguing the money should instead support local musicians.

“The AFL is a cultural institution, and cultural institutions like this should be backing the rest of our cultural institutions — our artists, our musicians and our music industry right here at home,” Hanson-Young said.

She pointed out the contrast between the league’s treatment of Adelaide Crows player Izak Rankine, who was suspended for using a homophobic slur, and its decision to book Snoop Dogg.

“The irony is not lost on many of us that while Izak Rankine gets dumped, Snoop Dogg gets $2 million to play his misogynistic, homophobic music on our turf,” she said.

Hanson-Young called on the AFL to “have the guts to rethink this decision.” She added, “Dump Snoop Dogg and put in place an Aussie artist.”

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Snoop Dogg “Scared” Over LGBTQ+ Content In Movies

The backlash intensified after Snoop Dogg made remarks on a podcast about LGBTQ+ representation in children’s films.

He recalled taking his grandson to see the 2022 animated movie Lightyear, which features a same-sex couple raising a child.

“My grandson … in the middle of the movie, asked, ‘Papa Snoop? How can she have a baby with a woman? She’s a woman!'” he said.

Snoop continued, “I didn’t come here for this s###. I just came to watch the g##### movie,” and added, “I’m scared to go to the movies now. Y’all throwing me in the middle of s### that I don’t have an answer for.”

In response to the criticism, AFL CEO Andrew Dillon defended the decision to book Snoop Dogg.

“It’s crucial to remember that we engaged Snoop Dogg as the person he is today,” Dillon said. “He has been open about his past, has evolved, and is now a grandfather and philanthropist who supports youth rehabilitation.”

As of now, the AFL has not announced any changes to the Grand Final entertainment lineup.

Bryson Tiller Claims Timbaland Told Him To Quit His Job Then Left Him Broke

Bryson Tiller said he took a leap of faith on Timbaland and ended up broke and confused after quitting his job to chase music in Miami—only to be ghosted by the legendary producer.

During an appearance on the “New Rory & Mal” podcast, Tiller recalled the moment his breakout single “Don’t” began gaining traction online. That’s when Timbaland called and invited him to Miami to collaborate. But when Tiller said he couldn’t make it because of work, Timbaland replied, “This is work.”

Tiller asked, “You saying I should quit my job or something?” Timbaland’s answer: “Yeah.”

“So, I literally went to my job. I couldn’t wait,” Tiller explained. “I went down there and I recorded maybe three or four songs from TRAPSOUL and… he wasn’t really rocking with them too much like that. He was like, ‘Yo, we need more songs like ‘Don’t.’ And I was just like, but I already got ‘Don’t.’”

After the short trip, Tiller returned home with no clear direction and little money left from what Timbaland had given him. That’s when things got murky.

“So, like how does this work? Am I signed right now? So I called him up. I was like, ‘Yo. So when am I gone get my next payment?… And my boy Rich was like, ‘Yo, Timbaland said he never told you to quit your job.’ I was sick, dog,” Tiller said.

The fallout hit hard. “My girl at the time was already looking at me crazy cause I quit my job. That was how we was taking care of our kids. I had to figure something out,” he said.

Despite the setback, Tiller kept pushing. “At that point, that was when I realized I was like, ‘All right, I just gotta keep going.'”

That grind led to the creation of TRAPSOUL, his 2015 debut album that launched him into the spotlight.

“I just basically started making Trap Soul,” Tiller said. “The next thing you know, it was like, every week something was happening. Every week, something amazing was happening. I just couldn’t believe it was like a wildfire.”

TRAPSOUL peaked at No. 8 on the Billboard 200 and was certified triple Platinum, with hits like “Don’t,” “Exchange” and “Sorry Not Sorry” helping cement Tiller’s place in R&B.