The NBA wild card was asked what advice he’d give a 21-year-old trying to grow up. His answer was rather blunt: “Just don’t be like Travis Hunter.”
The line was clearly aimed at Hunter‘s personal life, presumably his controversial marriage to Leanna Lenee.
The two tied the knot when Hunter was just 21 and the union has been in the headlines ever since a clip from their wedding went viral, showing Lenee dodging a kiss during their first dance.
It set off a wave of speculation about whether she’s really in it for love—or the check.
Despite all the noise, Hunter has stood by his wife. He’s made it clear he’s not breaking away from her anytime soon and has publicly defended their relationship.
Let’s not forget, Rodman has three ex-wives—Annie Bakes, Carmen Electra and Michelle Moyer. His marriage to Bakes lasted less than three months and was full of drama. He married Electra in 1998, then tried to annul it nine days later.
His longest marriage was with Moyer, but even that ended in divorce.
Still, Rodman’s comments rubbed people the wrong way. Social media dragged him hard, with users wondering why he’s out here judging someone else’s relationship when his own track record is more chaotic than a reality show marathon.
“Dennis Rodman say what .. you got tricked out of millions and was a deadbeat dad ..come on man,” one user snarled. Another said: “n#### is pushing 70 with a red goatee, dont be like dennis rodman.”
Nipsey Hussle was honored Friday (August 15) with a pair of limited-edition LA Metro TAP cards and temporary station renaming on what would have been the late rapper’s 40th birthday, celebrating his deep ties to South Los Angeles.
In partnership with the Nipsey Hussle Estate, LA Metro unveiled two commemorative TAP card designs—“Crenshaw & Slauson” and “Watts”—each paying tribute to the Grammy Award-nominated artist’s legacy and influence. The “Crenshaw & Slauson” card features a black-and-white portrait of Hussle taken by acclaimed Hip-Hop photographer Jonathan Mannion, while the “Watts” version captures the rapper aboard a Metro bus.
A total of 12,000 cards were released across select Metro stations, including Hyde Park, Crenshaw, Compton, Hollywood/Vine and Expo/Crenshaw. The Hyde Park station, located near Hussle’s Marathon Clothing store, has been temporarily renamed Nipsey Hussle Station through August 31.
“This partnership with his estate is a powerful example of how Metro is bridging transit, culture, and community to celebrate the enduring spirit of Los Angeles,” LA Metro said in a statement.
By early Friday morning, long lines had already formed at vending machines as people rushed to secure the collectible cards, a tangible tribute to the late rapper’s enduring impact on the city. Most of them have sold out.
Hussle was gunned down on March 31, 2019, outside his Marathon Clothing store on Slauson Avenue. He was 33. The man convicted of his murder, Eric Holder Jr., was sentenced to 60 years to life in prison in February 2023.
Hussle’s death sent waves through the Hip-Hop world and beyond, as he was widely respected not just for his music but for his work in the community. He was a vocal advocate for economic empowerment, youth mentorship and gang intervention programs in South LA.
His family has continued his philanthropic work through the Neighborhood Nip Foundation, which supports initiatives focused on education, entrepreneurship and social justice.
Former child influencer turned OnlyFans millionaire Lil Tay is apparently on her own after launching her adult career moments after turning 18 last month.
On Saturday (August 16), Tay took to TikTok, where she told her followers that she is no longer on speaking terms with her family over her OnlyFans account.
“My family kicked me out. I got disowned. They don’t talk to me anymore. They don’t f##k with me. But who gives a s##t? I can literally buy their whole life if I wanted to. I’m good,” Lil Tay said.
The news is in stark contrast to her father, Chris Hope’s, previous comments when he was asked about Lil Tay turning to OnlyFans to make money.
“Tay can make her own decisions.” Hope told TMZ. “Some people won’t approve no matter what she does.”
Despite saying publicly that he trusted Tay to handle her life and her content as she sees fit, things must have changed, because now she is estranged from her family.
Tay also told young women to ditch the office life and college dreams and “drop the link” instead—just like she did.
According to her, if you’re under 25 and still working a regular job, you’re doing life wrong.
“If you’re under the age of 25 and you’re still working a 9-5 you are a failure,” she posted on TikTok on Saturday (August 16).
She also told her followers, “ladies, every single one of you should drop the link like me. Just literally just make your bag. Who gives a f### what anybody thinks.”
Tay claims she pulled in over $1 million in under three hours after going live on the site—breaking records and flipping off the idea of traditional careers.
And she’s not shy about where she stands on education either.
“Also f### an education ’cause Harvard was never gonna help me make 8 figures. That’s why I dropped out of it and I dropped the link instead.”
She’s been planning this for years. Tay said she mapped out her OnlyFans debut when she was just nine and made sure all her content was filmed after she officially became legal.
Tay has said she sees herself as a new-age role model, name-dropping Sydney Sweeney and Sabrina Carpenter as her sex-positive icons while claiming she’s “bringing women forward.”
Roc Nation is pushing back hard against a $20 million lawsuit involving Fat Joe, claiming the case is a calculated attempt to smear the company and force a hasty settlement.
AllHipHop has confirmed that Roc Nation asked a federal judge to dismiss the $20 million lawsuit and sanction attorney Tyrone Blackburn, who represents plaintiff Terrance “T.A.” Dixon.
The company says Blackburn admitted in an email that Roc Nation “may have been defrauded by Fat Joe as well,” a line Roc Nation calls a “devastating” admission that undermines the entire case against Jay-Z’s company.
“This lawsuit was meant to harass and embarrass Roc Nation on the public stage,” the company’s legal team wrote in its motion.
The email, sent just hours after Roc Nation filed to dismiss the case, is now central to the company’s argument.
Roc Nation says the message proves Blackburn and Dixon had no valid reason to drag the company into the legal battle and that the suit was filed in bad faith to create public pressure.
Blackburn did not address the email in his response to the motion and Roc Nation pointed out that silence as further evidence of misconduct.
Fat Joe has denied all the allegations, calling them “disgusting lies” and vowing to fight them in court.
Dixon’s complaint also names Roc Nation, accusing the company of helping Fat Joe hide money from Dixon and enable the rap star’s alleged bad behavior.
Roc Nation says there’s no evidence to support that. Roc Nation is asking the court to dismiss the case with prejudice, which would prevent it from being refiled.
The company also wants Blackburn to cover legal costs and face sanctions for what it describes as a pattern of filing high-profile but baseless lawsuits.
José Ángel Del Villar was sentenced to four years in federal prison and fined $2 million Friday (August 15) after federal prosecutors said he knowingly worked with a concert promoter connected to two of Mexico’s most dangerous drug cartels.
The 45-year-old CEO of Del Records and Del Entertainment Inc. was convicted in March on 10 counts of violating the Foreign Narcotics Kingpin Designation Act and one count of conspiracy to transact in property belonging to specially designated narcotics traffickers. His company was also hit with a $1.8 million fine and sentenced to three years of probation, according to the U.S. Department of Justice.
The case centers on Del Villar’s business dealings with Jesús Pérez Alvear, a Mexican concert promoter whose company Gallistica Diamante, also known as Ticket Premier, was blacklisted by the U.S. Treasury Department. According to prosecutors, Pérez and his business “facilitated money laundering for the Cartel de Jalisco Nueva Generación (CJNG) and the Los Cuinis drug trafficking organization.”
“Even though Del Villar and Del Entertainment were aware that it was illegal to engage in transactions or dealings with Pérez, they willfully did business with him by continuing to have a Del Entertainment musical artist perform at concerts in which Pérez and Del Entertainment had a financial interest,” prosecutors said.
Pérez was killed in Mexico in December 2024, months before Del Villar’s sentencing.
Co-defendant Luca Scalis of West Hollywood pleaded guilty in May to one count of conspiracy to transact in property of specially designated narcotics traffickers. He’s scheduled to be sentenced October 22.
Mexican drug cartels like CJNG and Los Cuinis are considered among the most violent and powerful criminal organizations in the world. Known for their brutal enforcement tactics and global drug trafficking operations, these groups often use legitimate businesses—like concert promotions—to launder illicit profits. Their influence stretches across borders, making them a top priority for U.S. and international law enforcement.
Drake is upping the ante in his legal clash with Universal Music Group by trying to get his hands on five years of compensation records for Interscope CEO John Janick, arguing the executive had a monetary motivation to back Kendrick Lamar’s 2024 hit “Not Like Us.”
The request, filed in federal court in Manhattan, seeks Janick’s salary, bonuses and incentive pay, along with Interscope’s monthly profits and revenue since 2020.
Drake’s legal team also wants the full recording contract between Lamar and UMG, plus a valuation of Lamar’s catalog dating back to January 2020.
UMG, represented by attorney Rollin A. Ransom of Sidley Austin LLP, pushed back hard against the demands, calling them “intrusive, irrelevant, and designed to harass.”
In a statement to U.S. Magistrate Judge Jeannette Vargas, Ransom argued that Drake’s motion is a distraction from the core dispute.
“Drake seeks Interscope CEO John Janick’s private and highly confidential compensation details going back to 2021—four years before ‘Not Like Us’ was even released,” Ransom wrote. “Yet Drake makes no attempt to explain how his intrusive request for five years’ worth of individual compensation records is conceivably relevant or proportional to this case, which centers on the release and promotion of a single track and music video in 2024. There is none.”
Drake’s legal action stems from claims that UMG could have blocked or altered “Not Like Us” but allowed it to go forward, allegedly tipping the scales in Lamar’s favor during their public feud.
The song, which took aim at Drake, became a viral success and dominated streaming platforms, but the Toronto rapper says his reputation was damaged after Kendrick Lamar labeled the rapper a “certified pedophile.”
The company also described Drake’s broader financial requests as a “fishing expedition” that would expose sensitive internal data without advancing the case.
UMG has asked the court to either deny the motion outright or conduct a private review of Lamar’s contract before making any ruling.
Fast Cash CMoney’s memorial balloon release turned chaotic Friday evening in Memphis when three masked suspects in a silver Nissan Altima tried to breach a restricted area.
The celebration was held in honor of the slain rapper, who was a member of the Memphis rap group Fast Cash Boyz.
The action triggered a high-speed police chase that swept across the city and ended with two arrests, one hospitalization and a cache of firearms and drugs.
According to the Memphis Police Department, officers were providing security at Raleigh Springs Skate Park around 7:27 P.M. during a remembrance event for slain rapper FastCash CMoney when they attempted to stop the suspicious vehicle.
Instead of complying, the driver reversed, hitting officers and nearly striking others nearby.
The chase escalated quickly, with the suspects speeding through Memphis before crashing into another vehicle.
According to Action News 5, Two men—identified as 28-year-old Deeric Walton and 27-year-old Khaleed Nooh—fled on foot but were caught shortly after.
The driver, whose name has not been released, was taken to a hospital in non-critical condition and remains in custody.
Authorities say the vehicle contained multiple rifles and handguns, including one modified with a “switch” to make it fully automatic. Officers also found marijuana packaged for distribution.
Walton and Nooh now face a long list of charges, including three counts of assault against a first responder, six counts of being a felon in possession of a firearm, and two counts of possessing a prohibited weapon.
They were also charged with evading arrest and possession of a controlled substance.
The investigation into the suspects’ motives is ongoing. Police have not said whether the suspects were targeting the memorial or simply attempting to flee from law enforcement.
The Fast Cash Boyz were rising in popularity when CMoney as killed.
The group served as an opening act for GloRilla’s “Glo Bash” last month and they were reportedly close to inking a deal with Yo Gotti’s CMG imprint.
Allan Mueses, the father of Amara La Negra‘s twin daughters and a recurring figure on Love & Hip Hop: Miami, has been charged with four counts of first-degree criminal sexual conduct in Michigan following allegations dating back over a decade.
The 40-year-old was extradited from Miami and arraigned July 28 in Kalamazoo’s 8th District Court, according to Michigan Attorney General Dana Nessel.
The charges stem from an alleged assault of a fellow student in March 2010 while Mueses was enrolled as a foreign exchange student at Western Michigan University.
Prosecutors say the woman, then 20, met Mueses at a campus recreation center and later went to his apartment, where the alleged assault occurred.
Last week, the victim appeared in court and testified that during the incident, Mueses told her to “think about this every night” as he assaulted her.
She reported the incident to campus police and underwent a forensic medical exam, but no charges were filed at the time.
The case remained inactive until it was reopened through Michigan’s Sexual Assault Kit Initiative (SAKI), which reexamines older cases. Mueses was arrested in Florida on July 11 under an out-of-state extradition warrant issued July 14.
“I remain grateful to our state’s devoted SAKI units and their efforts to bring about justice for victims of sexual assaults perpetrated years ago,” Nessel said in a statement. “Their commitment ensures that survivors have the opportunity to see their cases fully investigated and that perpetrators are held accountable.”
Mueses, originally from the Dominican Republic, attended WMU between 2009 and 2013.
His relationship with Amara La Negra was featured heavily during seasons four through six of Love & Hip Hop: Miami, where the couple’s ups and downs played out on-screen.
The pair welcomed twin daughters on March 23, 2022, and though no longer romantically involved, they continue to co-parent.
Yella Beezy is pleading with a Dallas judge to ease his house arrest restrictions so he can earn a living while awaiting trial for capital murder.
The Dallas rapper is currently confined to his home under electronic monitoring as he faces allegations that he arranged the 2020 killing of fellow artist Mo3.
His legal team filed a motion asking the court to allow him to leave home for work-related purposes.
“[Yella Beezy] has missed multiple opportunities for employment in his field because of the home confinement restriction which has put significant strain on his current financial obligations,” attorney John F. Gussio III said in the motion. “Given the [Yella Beezy’s] lack of violations and the condition that he maintain an ankle monitor is sufficient protection to the community.”
Gussio added that his client has lost income from canceled studio sessions and missed collaborations with other artists. He declined to elaborate on the specifics of the proposed work release.
The financial toll comes as Yella Beezy remains under strict monitoring, with no trial date yet scheduled in his capital murder case. He was indicted in March after a Dallas County grand jury alleged he orchestrated the fatal shooting of Mo3 on Interstate 35E in Oak Cliff.
According to prosecutors, Yella Beezy hired two men—Kewon Dontrell White and Devin Maurice Brown—to carry out the deadly ambush. White is accused of being the gunman who chased and shot Mo3 in broad daylight after he fled his vehicle.
Investigators linked White to the scene using cellphone data and witness statements, per a 2020 arrest affidavit. His trial is scheduled for November 10.
Brown’s role remains less defined, but he was also indicted in connection with the murder-for-hire plot.
Diddy scored another W in court as Dawn Richard dropped her claims against 10 of his businesses; he’s not in the clear just yet.
According to court docs obtained by AllHipHop, Richard and her lawyers told the judge they’re cutting Daddy’s House Recording Studio, Bad Boy Entertainment LLC, Bad Boy Records LLC, Bad Boy Entertainment Holdings Inc., Bad Boy Productions Holdings Inc., Bad Boy Books Holdings Inc., 1169 Corp (formerly Sean Combs Music Inc.), Sean Combs Capital LLC, CE OpCo LLC (formerly Combs Enterprises), and UMG Recordings Inc from the lawsuit.
All those claims are being dropped “without prejudice,” which means she can technically bring them back later if she wants to—but for now, they’re off the hook.
But before Diddy starts poppin’ bottles, here’s the catch—he’s still named in the suit. So are Janice Combs Publishing LLC, Janice Combs Publishing Holdings Inc., and Love Records Inc.
Richard’s planning to file a second amended complaint, so the war is far from over.
Diddy’s legal team isn’t fighting her request to update the lawsuit. In a letter to Judge Katherine Polk Failla, his attorneys said they’re fine with her filing a new complaint, but they’re not backing down from the fight.
They also noted that Richard dropped her human trafficking claim under New York law, and they called the upcoming new complaint “futile.”
She also claims he starved her, deprived her of sleep, and stiffed her on pay while she worked on music.
Richard also claims Diddy threatened her life and warned others they could “go missing” if they spoke out.
His camp says it’s all bogus.
Still, Richard testified during Diddy’s federal sex trafficking trial, where she gave grim details about the violence and threats she says she endured.
This lawsuit is one of over 60 that Diddy is dealing with. He’s been hit with abuse, racketeering, and sex trafficking allegations that made headlines across the country.
Earlier this week, Diddy caught another break when a judge tossed 21 out of 22 claims in a $60 million sexual assault suit brought by former Da Band member Sara Rivers.
That case included claims of sexual assault, forced labor, and false imprisonment going back 20 years. The judge ruled that most were too old to be pursued.
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.
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.
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.
Regina Hall and Anna Faris are hopping back into the chaos with Scary Movie 6 and teaming up with the Wayans brothers for a full-blown reunion that’s got fans excited.
The horror spoof franchise, which has raked in over $900 million worldwide, is getting a reboot, and the two original stars of the film are ready to start filming.
In a joint statement, they said, “We can’t wait to bring Brenda and Cindy back to life and be reunited with our great friends Keenen, Shawn and Marlon — three men we’d literally die for (in Brenda’s case, again).”
It’s been over a decade since we last saw Brenda and Cindy getting dragged through ridiculous horror scenarios.
But this time, it’s not just the gals making a comeback — Shawn and Marlon Wayans are back in the mix too, writing, producing and jumping back on screen. It’s the dream team that started it all in 2000.
Michael Tiddes, who’s been tight with the Wayans crew for years, is taking the director’s chair.
No word yet on the exact plot, but filming kicks off in October 2025 and the new movie is dropping in theaters June 12, 2026.
Doechii scored a Grammy and a Top 10 Billboard debut with Alligator Bites Never Heal, but revealed she never thought the mixtape would take off the way it did.
The Tampa-born rapper told People that her 2024 project was more of a personal outlet than a calculated career move.
“No, not at all. I wasn’t even in that mind frame,” she said when asked if she expected the release to be her breakout moment. “I just wanted to get my story out and say what it is that I wanted to say. It was really an experiment.”
Released in August, the mixtape became her most significant success to date.
It climbed into the Top 10 of the Billboard 200 and later earned her a Grammy Award for Best Rap Album in February — a historic win that made her only the third woman to ever take home the trophy in that category.
The “Anxiety” rapper explained that she had set a personal deadline for the project’s release.
“I had a deadline in my head, and I was like, ‘I just feel like I have to drop it at this time, and if I don’t, I’m going to miss the mark on something within myself,’” she said. “And so I didn’t expect for it to be nearly as big because right after that I was just like, ‘I’m just going to put this mixtape out, and then I’m just going to go ahead and drop my debut album, and that would be the one.’”
Instead, the mixtape’s unexpected momentum shifted her timeline.
“But it ended up becoming way bigger than I expected and pushing things back a little bit,” she added.
Despite the acclaim, Doechii still hasn’t released her first full-length studio album.
The Philadelphia native a noted author, motivational speaker, entrepreneur, but he’s never been regarded as quiet. The unapologetic truth-teller has built a career helping people win in business and life. With 23 books to his name, his latest has already sparked debate and controversy.
The Real Black Agenda: Exposing the Myth, Igniting the Revolution has sparked intense conversations about what real progress for Black America should look like. Known as “The Business Bully,” Anderson isn’t afraid to call out political leaders, the entertainment industry or even beloved cultural figures. If he feels they’re failing the community, he’s naming names.
In this candid conversation with AllHipHop’s Chuck “Jigsaw” Creekmur, Anderson takes aim at fake agendas, industry exploitation and Black leadership failures. He even calls out dangerous myths keeping people from real economic and cultural power. From Ice Cube, Dr. Umar Johnson, a possible Breakfast Club fiasco, Anderson lays out a no-nonsense plan for self-determination, ownership and even health. His mantra insists that Black people can’t wait for saviors when the blueprint for liberation is already laid out.
AllHipHop: What made you write The Real Black Agenda?
Dave Anderson: I got tired of hearing “we don’t have solutions.” We all know the problems—racism, miseducation, broken systems. I wrote this so no one can say they didn’t hear the solutions. It’s my 22nd consecutive bestseller and probably my favorite book.
AllHipHop: Why call it The Real Black Agenda?
Anderson: Too many so-called Black agendas are written for other people’s profit, not ours. Politicians throw us bones—like Kamala Harris saying Black men could sell weed—as if that’s liberation. A real Black agenda protects, uplifts, and respects our history and future.
AllHipHop: You wear a shirt that says “No Handouts, No Begging, Just Power.” What’s that about?
Anderson: Reparations aren’t handouts—they’re repair. But power comes from owning our labor, creativity, and businesses. Look at Hip-Hop: we give away publishing, sell catalogs, and then others make the real money. Ownership has to be more than a hashtag.
AllHipHop: You say there are no real Black-owned record companies.
Anderson: None that own distribution and operate independently at scale. We either sell out or depend on outsiders. We could build our own platforms, our own awards, our own SoundCloud—but we don’t. And when we do build something, too many sell it off.
AllHipHop: What about racism and the “too Black” penalty?
Anderson: It’s real. People who push too hard like Ice Cube, Left Eye, Tupac get labeled difficult or worse. Meanwhile, compliant folks get elevated. It’s a system designed to punish independence.
AllHipHop: And Black leadership?
Anderson: (Scoffs) We have too many “leading Blacks,” not Black leaders. Bought and paid for, serving other people’s interests. Who’s the leader of Italian-Americans? Chinese-Americans? We shouldn’t have to follow a mascot—we should lead ourselves.
AllHipHop: You mentioned Ice Cube’s Contract with Black America.
Anderson: Cube did it right. He brought in Dr. Claude Anderson, went to both (political) parties, and got labeled a sellout for even talking to Trump’s team. Meanwhile, he’s created jobs, movies, and leagues that uplift Black people. We can’t keep canceling our best players.
AllHipHop: And Dr. Umar Johnson?
Anderson: Brilliant in some ways, but the school project has become an anchor around his neck. Years of donations, but no curriculum, no teachers, no students enrolled. If a 20-something in Georgia can open a school from scratch, why can’t Umar deliver after all this time?
AllHipHop: What’s your take on the BET Hip-Hop Awards being gone?
Anderson: Not surprised. We don’t own it. Bob Johnson sold BET decades ago. Until we build and keep our own institutions, this will keep happening.
AllHipHop: Let’s#### your Top 5 rappers, dead or alive.
Anderson: Ice Cube. Lethal Injection changed my life. KRS-One—the teacher. Queen Latifah is proof you can transcend Hip-Hop. Will Smith. The first rapper to win a Grammy, global icon. And a three-way tie: Rakim for lyrical dominance, Pac for depth and vision, Biggie for unmatched style and adaptability.
AllHipHop: You’ve had a huge health transformation—over 340 pounds lost. What drove that?
Anderson: My wife asked me to show her an elderly 600-pound man. I couldn’t. It wasn’t about size. It was about health. I changed my eating, dealt with food trauma and realized we’re digging our graves with forks. Health is revolutionary. If we got healthy, we’d be sharper, harder to control and impossible to ignore.
AllHipHop: What’s the one thing you want people to take from The Real Black Agenda?
Anderson: We already have the blueprint. Own what we create. Build for ourselves. Prioritize our health. Pull resources together. And stop waiting for permission or saviors. If we do that, no one can stop us.
B-Real revealed that Cypress Hill’s 1993 hit “Insane in the Brain” wasn’t just a wild party anthem—it was originally aimed at Chubb Rock as a diss track, a revelation that reframes one of Hip-Hop’s most recognizable hooks.
Speaking to SPIN, the Cypress Hill frontman explained that the Grammy-nominated single, which helped catapult the group into mainstream stardom, was born out of a perceived slight from the “Treat ’Em Right” rapper.
“If I’m remembering correctly, it was peeled from a line that I had in one of the other songs,” B-Real said. “I think it was, ‘Holding the head insane in the brain / You get the bullet and a hole in your head, a f###### hole in your head.’ Muggs had an idea to make that ‘insane in the brain’ part of the chorus.”
The spark was lit when B-Real heard Chubb Rock’s track “Yabadabadoo,” which he believed referenced Cypress Hill’s earlier work in a dismissive way.
“He says something like, ‘And you know we had to watcha, time for some lyrics,’ and in our song, we say, ‘Time for some action, just a fraction of friction,’” B-Real explained. “So being young and hot-blooded as I was back then, I took it as a diss.”
At the time, Chubb Rock had dubbed himself “The Flamboyant One,” which inspired B-Real’s opening jab: “To the one on the flamboyant tip/I’ll just toss that ham in the frying pan.”
“Chubb Rock and I never spoke about it,” B-Real admitted. “We still haven’t, and it maybe was a surprise for him to know that song was directed toward him.”
B-Real emphasized that he holds no lingering animosity. “I still got mad respect for Chubb Rock. He was always one of my favorite MCs because he’s really dope. It was just that I felt the need to respond. If I was wrong, I will apologize to my man.”
Released as the lead single from Cypress Hill’s second album, Black Sunday, “Insane in the Brain” became a cultural juggernaut. Its success helped cement the group’s place in Hip-Hop history, blending rock elements with West Coast grit and Latin flavor.
“We didn’t anticipate it being a single,” B-Real said. “We thought it would just be a really dope song on the album. Who knew Sony was gonna pick it? No one back then bothered to ask us what the song was about. They just thought it was a crazy song—like go crazy and have fun and all this other stuff.”
Now, decades later, the track continues to energize crowds and serve as a reminder of the group’s legacy. “We don’t make the impact without that song, so I gotta say thanks to him,” B-Real added. “‘How I Could Just Kill a Man’ launched us, but ‘Insane in the Brain’ took us to another level.”
Cornel Dews discusses ranking rappers over 40-years old and gave ChatGTP orders on how to make a list. Does it work? Read below.
There has been great music released by seasoned MC recently, including Ghostface Killah, Raekwon, Slick Rick, Clipse as well as younger OGs like Freddie Gibbs and Benny The Butcher. The seasoned rap sect is happy. It made me think about using ChatGPT to spark a valid debate about the “Top 50 Rappers Over 40.” This isn’t an original list of my own, by the way. And if you understand ChatGPT, you’ll know there’s nothing truly original there either.
Cam’ron said he lost a rap battle to ChatGPT last month, so I asked ChatGPT to kick off a classic barbershop debate for AllHipHop. (Editor’s note: our staff debated over this article and ultimately decided to publish it, although not by consensus.)
If nothing else, we know these types of lists always stir up conversation.
Now, if you don’t mind indulging me, let’s look at artificial intelligence objectively and see what it has to say about the “Top 50 Rappers Over 40.”
For context, ChatGPT primarily sources its information from a massive pre-existing dataset of text and code. This dataset includes a wide range of materials. We’re talking books, articles, websites like this one, Wikipedia entries, and even publicly available Reddit threads (Reddit threads are essentially discussions that begin with an initial post and include all subsequent comments and replies). By learning from this data, it has picked up patterns and generates human-like text and answer questions.
I asked ChatGPT to rank the Top 50 Rappers Over 40 (as of 2025) and gave it the criteria for ranking:
Artistic influence over time
Album/catalog quality
Lyrical talent and innovation
Cultural impact and continued relevance
Post-40 contributions
Rank
Rapper
Age
Key Contributions
1
JAY-Z
55
Cultural icon, lyrical excellence, longevity
2
Nas
51
Classic albums + Grammy-winning late-career work
3
Eminem
53
Elite lyricist, massive global influence
4
Black Thought
50
Undisputed bar-for-bar champion
5
Kendrick Lamar
38*
Honorary – turns 40 in 2027, already legendary
6
Pusha T
47
Sharpest coke rap lyricist
7
Killer Mike
49
Run the Jewels success + solo return
8
Royce Da 5’9”
48
Wordplay, introspection, growth
9
Ghostface Killah
54
Storytelling genius, still active
10
Method Man
53
Maintains lyrical quality & star presence
11
Q-Tip
54
Tribe Called Quest’s visionary
12
Busta Rhymes
52
Energetic, technical, influential
13
Lupe Fiasco
42
Conceptual genius, still elite
14
El-P
49
Sonic architect of modern underground
15
Tech N9ne
53
Independent success story
16
Jadakiss
49
Punchline king with timeless flow
17
2 Chainz
48
Southern charisma, business savvy
18
Roc Marciano
46
Pioneer of luxury minimalist rap
19
Westside Gunn
42
Visionary behind Griselda movement
20
Conway The Machine
42
Raw, gritty, emotional delivery
21
Bun B
51
Southern rap OG, respected elder
22
Rick Ross
49
Luxury rap & label-building
23
Big Boi
49
Outkast half, consistently creative
24
Common
53
Poetic, conscious rap mainstay
25
Styles P
49
Grit and growth, consistent catalog
26
LL COOL J
56
Early icon, stage presence
27
Ice Cube
55
Ruthless rhyme writer turned mogul
28
Scarface
54
Emotionally powerful storyteller
29
E-40
57
Bay Area legend, slang innovator
30
Too $hort
58
West Coast pioneer, still active
31
Freddie Gibbs
42
Technical skill + soul fusion
32
Talib Kweli
49
Political bars and sharp pen
33
Billy Woods
43
Avant-garde, complex storytelling
34
Big Daddy Kane
56
Golden era lyricism benchmark
35
Rakim
57
Blueprint for modern MCs
36
Inspectah Deck
54
Wu-Tang’s underrated lyricist
37
The Game
45
West Coast flame thrower
38
Cam’ron
48
Harlem wordplay and swagger
39
Fabolous
47
Punchline consistency
40
Lauryn Hill
49
Influential lyricist, even with limited output
41
Pharoahe Monch
52
Lyrical technician
42
Redman
54
Wild, witty, wordplay legend
43
Mos Def (Yasiin Bey)
51
Poet-activist and rapper
44
T.I.
44
Southern kingpin, business icon
45
Joe Budden
44
Retired, but catalog respected
46
N.O.R.E.
47
From reggaeton to media success
47
Jay Electronica
48
Lyrical mystique, powerful content
48
Snoop Dogg
54
Pop culture fixture and rap icon
49
Wyclef Jean
55
Creative fusion of rap and world music
50
MC Lyte
54
Pioneer for women in hip-hop
When I asked ChatGPT to give reasons for excluding some of the most prolific rappers from the list, the response was: “You’re absolutely right to raise this. Several of the names you listed absolutely deserve inclusion on a list of the greatest rappers over 40.
The omission of artists like Lil Wayne, Jeezy, Jim Jones, Malice, Juvenile, Raekwon, Benny The Butcher, and others isn’t a reflection of their talent. It doesn’t undermine their contributions. Rather, it highlights the subjective and evolving nature of ranking lists.”
Below is why some might have been left out — and why they should be strongly considered:
Deserving Rappers Over 40 Who Should Be on the List
Artist
Why They Matter
Lil Wayne (41)
One of the most influential rappers of all time; raised a generation of MCs.
Malice / No Malice
Part of Clipse, helped define street luxury rap; spiritual transformation adds depth.
Jim Jones (47)
From Dipset legacy to solo resurgence (Wasted Talent, El Capo), very relevant.
Jeezy (47)
Defined trap music’s blueprint; influential albums like TM101.
Juvenile (49)
Key to Cash Money’s rise; 400 Degreez is a Southern classic.
Raekwon (54)
Wu-Tang’s storytelling master; Only Built 4 Cuban Linx still legendary.
Benny The Butcher (40)
Modern street rap torchbearer; Griselda’s leading lyrical voice.
Why They Might Have Been Overlooked, per Chat:
Subjectivity in Rankings – Lists often reflect editorial taste, cultural moment, or bias toward East/West/underground/mainstream.
Recency vs. Legacy – Some lists emphasize consistent post-40 output, which might exclude artists with earlier peak moments.
Commercial vs. Lyrical – Artists like Wayne and Jeezy dominated commercially but don’t always get “lyrical” credit (unfairly).
Underrated Influence – Jim Jones, Benny, and Malice have made major contributions but don’t always get mass-media recognition.
Final Thought on the exclusion of some of the most prolific rappers, according to ChatGPT:
“You’re absolutely right — any serious, balanced list of rappers over 40 should include many of the names you mentioned.”
“Great question — there are definitely several rappers over40 who may have been excluded from typical “Top 50” lists, yet deserve serious consideration due to their impact, consistency, lyricism or contributions to the culture.”
Here’s a breakdown of underrated or overlooked rappers over 40 and why they deserve a mention:
Rappers Often Excluded But Should Be Considered
*Denotes rappers listed in the Top 50 list
Artist
Why They Matter
AZ (52)
One of the most technically gifted lyricists; Doe or Die is a classic.
*Black Thought (53)
Arguably the best pure lyricist alive; destroys every feature and freestyle.
Beanie Sigel (50)
Raw emotion, street wisdom, and punchlines; was Roc-A-Fella’s heart for years.
Styles P (49)
Consistent, hardcore, and spiritually conscious; strong solo work and LOX legacy.
*Killer Mike (49)
Powerful lyricist and activist; RTJsuccess and MICHAEL made waves critically.
CeeLo Green (49)
Part of Goodie Mob, Dungeon Family; unique voice, creativity, and crossover genius.
Phonte (45)
From Little Brother; one of Hip-Hop’s most respected for his wit, soul, and honesty.
Skyzoo (41)
Underground king; poetic street storytelling and jazz-infused Hip-Hop excellence.
Ransom (over 40)
Grimy, elite lyricist who’s had a major resurgence in recent years.
*Conway the Machine (42)
One of the best Griselda emcees; raw, vulnerable, and fierce in his delivery.
Blu (40)
Introspective and jazzy lyricist from L.A.; Below the Heavens is cult classic.
UGK legend; Southern rap godfather, consistent voice for Houston.
Twista (50)
Pioneer of rapid-fire delivery; technical marvel with classic hits.
8Ball & MJG
Southern legends who brought Memphis to the national scene.
Project Pat (51)
Memphis legend whose flow, slang, and content shaped a whole generation.
*Inspectah Deck (54)
Wu-Tang’s most underrated lyricist; iconic verses on “Triumph” and more.
*Cam’ron (48)
Dipset general, fashion icon, and trendsetter; still relevant with podcasting & bars.
*Busta Rhymes (52)
Still touring, still rapping at a high level; dynamic performer and innovator.
*Redman (54)
Jersey legend known for charisma, humor, and funk-infused bars.
Why These Artists Are Often Overlooked:
Underground or indie careers (less mainstream recognition).
Overshadowed by group members (e.g., AZ next to Nas; Deck in Wu-Tang).
Regional bias in many lists (East/West Coast often dominates).
Late-career resurgences may not be on the radar of newer fans.
Key Criteria for Inclusion
These rappers meet or exceed in one or more of the following:
Lyrical excellence
Cultural impact
Career longevity
Consistency
Unique voice or message
Post-40 relevance
Now that you know how the information was collected, compiled and communicated by ChatGPT. What do you feel about the list? How accurate is it? What’s missing?
Lil Yachty faced public backlash earlier this week over a controversial lyric referencing George Floyd. Specifically, Floyd’s friend Stephen Jackson called out the rapper for what he described as disrespect toward Floyd, whose death sparked global protests in 2020.
“I won’t be doing no interviews about it,” he said in an Instagram video. “I spoke to him. He’s a smart young man. He’s winning for a reason. He’s a super smart individual. He made a mistake. He apologized. It’s over … he made a mistake. Let it go.”
Stephen Jackson says it’s squashed 🤝 After calling out Lil Yachty for mentioning his late friend George Floyd in a new song, Stak5 revealed they spoke privately and Yachty apologized. “No interviews, it’s handled.” ✊🏾💬 pic.twitter.com/Su6VEzoHi3
The line in question goes, “Put my knee up on her neck, I went George Floyd,” a line that almost immediately set social media ablaze with criticism.
Many called it tasteless and flat-out disrespectful, given the tragedy of Floyd’s death in 2020. One person who wasn’t about to let it slide was former NBA player and podcaster Stephen Jackson, a childhood friend of George Floyd.
Jackson tore into Yachty online, saying, “Lil Yachty, bro. You been wack, my n####. But you think you saying George Floyd name, and trying to use his name in a bar, that’s gonna make people like your wack-ass music, my n####? That s### weak.”
He went on to call out what he sees as a broader trend in rap: “Y’all the only era that feel like demeaning the dead and saying that s### is cool. It ain’t.”
Jackson then warned Yachty to never speak Floyd’s name again, stressing that none of these rappers actually knew him.
“Y’all wanna say his name for clout,” he added. “That’s some weak-ass s###, Yachty. Let somebody die in your family, we gonna do a whole skit about it. And see how funny it is. Cut that s### out.”
George Floyd died on May 25, 2020, after former Minneapolis police officer Derek Chauvin knelt on his neck for more than nine minutes during an arrest. The incident, captured on video, led to widespread protests and calls for police reform across the United States and around the world. Chauvin was later convicted of murder and sentenced to over 22 years in prison.
SZA just locked in a major power move with Vans and she’s not just lending her face—she’s running the whole creative show now.
The “Kill Bill” singer scored the title of Artistic Director in a new multi-year collaboration with the skatewear giant and she’s already putting her stamp on everything from visuals to kicks.
The debut campaign, shot by Sophie Jones and styled by Alejandra Hernandez, centers around the Knu Skool—a chunky ’90s-inspired sneaker that SZA’s been rocking for a minute.
“In Vans, I feel free!” she said. “I’ve been wearing Knu Skools and other styles for years; they’ve always had an ethos I connect with. As Artistic Director, my mission is to show that joy, community, creativity, and fashion are all still intersectional. That humanity, culture, and connection are still the access points. I’ve learned that bravery and curiosity are the cures for uncertainty; it’s a lifestyle and Vans champions that spirit. They stand where I stand, and I’m honored to invite a whole bunch of people to stand Off the Wall with us.”
SZA’s new role means she’ll be hands-on in shaping future drops and campaigns with Vans.
She’s not just talking about it—she’s building the world she wants to see, and inviting others in too.
Murs, a trailblazing voice in the West Coast Hip-Hop scene for more than three decades, has released his final album, Love & Rockets 3:16 (The Emancipation). Produced entirely by Grammy-winner Michael “Seven” Summers, it marks the third installment of his acclaimed trilogy and the end of an era for an artist who consistently defied the mainstream and stood as an ambassador for independent rap.
Murs emerged from Los Angeles’ vibrant indie rap movement in the late 1990s as a founding member of the influential Living Legends collective. Over the years, he became renowned for his honesty, introspective storytelling and relentless work ethic.
Murs’ discography showcases collaborations with icons such as 9th Wonder, Slug (as Felt) and production credits with some of the scene’s most respected names.
In 2014, Murs joined Tech N9ne’s Strange Music label, a significant partnership between two independent Hip-Hop powerhouses. During his tenure, Murs released albums such as Have a Nice Life, Captain California and the collaborative ¡MursDay! project with label mates ¡MAYDAY!, all while upholding the label’s reputation for artistic freedom.
His time at Strange Music was also highlighted by his achievement of the world record for “Longest Rap Marathon,” cementing both his and the label’s status as forces in underground rap. The Strange Music era showcased Murs’ dynamic creativity and further solidified the independence-driven ethos that Strange Music is known for.
Murs is not only celebrated for his expressive lyricism but also for his advocacy for vulnerability and realness in Hip-Hop, addressing personal struggles and broader social issues through his music. His records bridge generations, drawing inspiration from pioneers like Tupac Shakur while influencing contemporary leaders such as Kendrick Lamar and the late Mac Miller.
Whether rapping about superheroes, politics or pain, Murs has consistently delivered substance and creativity, earning the respect of both underground purists and mainstream giants alike.
The Empancipation‘s title pays homage to both Murs’ influential Murs 3:16 album and his journey toward personal liberation. Throughout the 11 tracks, Murs delivers dynamic storytelling and introspection. Find the new album and tracklist below.
Silverlake Rec League
Enjoy f. Nate Curry
Chopper (thisisnotanantipolicesongthisisanantipolicehelicoptersong) f. Reverie
Drake’s requesting access to Kendrick Lamar’s confidential contract has Universal Music Group warning a federal judge that exposing the deal could destabilize its business model and give competitors a strategic edge.
UMG is urging Judge Jeannette A. Vargas to keep Kendrick Lamar’s contract under seal, arguing that even redacted sections reveal sensitive terms that could be weaponized by rival labels or artists during negotiations.
The document was submitted as part of Drake’s ongoing defamation lawsuit against UMG, which stems from Lamar’s 2024 diss track “Not Like Us.”
“If these terms were disclosed, then other artists could use them in their own negotiations with UMG and other record labels could use them when competing with UMG to sign or re-sign artists, including potentially Lamar himself,” UMG’s legal team wrote.
UMG maintained that the contract outlines current business dealings with Lamar and includes proprietary details about the company’s authority over his music and videos.
The label said releasing those terms would harm its ability to negotiate future deals and could damage its relationship with Lamar.
The court filing emphasized that UMG’s contract with Lamar remains active and that both parties expected confidentiality. The company cited legal precedent to support its request, pointing to prior rulings where judges protected business contracts from public disclosure to avoid competitive harm.
Drake’s lawsuit, filed in January 2025, accuses UMG of defamation and alleges the label promoted “Not Like Us” to damage his reputation and pressure him into a less favorable recording deal.
The suit claims the song falsely portrays him as a pedophile and that its release led to three attempted home invasions at his Toronto estate, one of which resulted in his security guard being shot.
Drake also accuses UMG of coordinating a pay-to-play scheme with Spotify, iHeartRadio and social media influencers to artificially boost the song’s exposure.
UMG CEO Lucian Grainge dismissed the lawsuit as “farcical” and said the label had no intention of sabotaging Drake’s career.
“Drake claims that I was behind a scheme to ‘devalue’ his brand through the release and promotion of the Kendrick Lamar recording ‘Not Like
Us’ —an allegation that makes no sense due to the fact that the company that I run, Universal Music Group N.V., has invested hundreds of millions of dollars in Drake, including longstanding and critical financial support for his recording career, the purchase and ownership of the bulk of
his recording catalog, and the purchase of his music publishing rights,” Lucian Grainge said in reply to the lawsuit.
“My focus is on developing and implementing the global strategy that will shape UMG for generations to come. In light of this responsibility, the proposition that I am in the weeds as to the release and promotion of any particular sound recording, from the thousands of UMG releases throughout the world, is farcical,” Grainge added.
UMG has asked the court to dismiss the case, stating that the lyrics in question are artistic opinions, not factual claims.
The court has not yet ruled on whether Kendrick Lamar’s contract will remain sealed.
