America has always had a funny way of testing its freedoms. The latest example? Disney. Yes, Mickey Mouse and lightsabers are suddenly sitting at the crossroads of politics, free speech, and resistance. It started with Jimmy Kimmel. Or maybe I should say it boiled over with Jimmy Kimmel.
The late night host’s removal by ABC, a property of the Walt Disney Company, widely seen as a punishment for his political comedy. For many, it was the last straw in a pattern of the Trump administration weaponizing power against critics. People expected outrage on social media, maybe a few fiery op-eds. What they didn’t expect was the birth of a quiet, economic rebellion.
The Money Talks, Louder Than Tweets
Disney has lost about $3.5 billion in market value in just one week. Why? Because people started boycotting its products, streaming services (Disney Plus, Hulu and ESPN, among others), and even theme parks. That’s not a petition or a trending hashtag. That’s real money walking out the door. For perspectively, The Walt Disney Company’s generated $91.4 billion for its fiscal year in 2024
No matter how it seems, this moment is different. Folks might not be ready to chain themselves to barricades or burn their careers for a revolution that has no safety net. But refusing to swipe a credit card? Canceling Disney+? That’s doable. And maybe more effective. It’s nonviolent, it’s collective, and it hits where it hurts most, the balance sheet.
Disney as the Symbol
If you’re wondering, “Why Disney?” you’re not alone. But think about it. Disney isn’t just a company. It’s a cultural monolith. It’s movies, merch, childhood memories, and vacations rolled into one. For decades, we tolerated its controversies and contradictions. We’ve bypassed allegations about its founder’s politics to its monopolistic grip on entertainment.
Now, the company’s sheer size makes it the perfect target. People I’ve spoken with believe Disney parks may soon become the focal point of this boycott. It’s not just economic impact, it’s symbolic. And if it holds up, it will be ripple broadly.
This Isn’t Hollywood — It’s Real Life
Of course, this doesn’t look like a Hollywood revolution. Nobody’s storming Death Stars or riding into battle with lightsabers. But it’s a rebellion nonetheless. It’s a grassroots attempt to test whether ordinary people still have leverage in a country where corporations and politicians seem untouchable.
We’re not debating Jimmy Kimmel’s monologues here or if he is funny or not. We’re testing the First Amendment. We’re asking whether criticism, comedy, and political dissent can exist without political or corporate retaliation. And the battlefield currently, strangely enough, is Disney.
The Biggest Question
The real question is how long this will last. The talk is that they may bring Kimmel back. Will consumers stay the course? Or will the pull of Marvel movies and base desires win? Boycotts are powerful, but they’re also hard to sustain. Sacrifice is easy to preach and tougher to live, even if it is frivolous an minor.
Still, something feels different this time. Maybe because it’s personal. Maybe because, for once, people feel like they have a tool that doesn’t require martyrdom. Or maybe because folks are realizing that when you take away choice, you leave people no option but to resist. For some reason, the cries are heard now.
Steady and undeniable – and bloodless – is the kind of revolution America needs right now.
Cardi B reignited her long-running feud with JT on her latest album, Am I the Drama?, taking direct aim at the City Girls rapper on the track “Magnet” and throwing jabs at Lil Uzi Vert in the process.
It didn’t take long for JT to fire back though. In a since-deleted tweet, JT clowned Cardi and insinuated she has bad hygiene.
“Guitar body ho wasn’t talking about me,” she wrote. “Better be quiet before I tell them the real tea. B#### PH balance will fry a whole fish. YUCK. With that one flow lol.”
Cardi B snapped on JT in the second verse of the song “Magnet,” rapping, “All that dick ridin’, still ain’t get no feature-ass b####/She just mad she got a n#### she be sharin’ bags with/My n#### cheat, but I don’t stick no d##### in his ass, b####/You look a hot mess, easily impressed-ass b####/You never gave looks, you started getting dressed-ass b####/Ricky O the only fashion house you know-ass b####/You should’ve asked me, would’ve took you to the show, lil’ b####.”
The tension between the two artists dates back to 2022, shortly after the release of “Tomorrow 2” and the unraveling of City Girls. The friction has simmered online and in interviews, but Cardi’s new album appears to pour gasoline on the fire.
Cardi also used the album rollout to address Joe Budden, who questioned whether she writes her own lyrics. In response, she posted a behind-the-scenes video from July 2024 showing her crafting the verse for “Magnet.” Alongside the clip, she tweeted, “Don’t give me backhanded 10’s cuz I’ll always be able to prove my s###.”
Cardi B didn’t stop with JT. On the track “Pretty & Petty,” she took aim at BIA, continuing a streak of lyrical call-outs that have become a hallmark of her latest project.
Industry insiders project Am I the Drama? to debut with approximately 95,000 to 105,000 album-equivalent units in its first week, according to early estimates from HITS Daily Double. That would mark one of the strongest opening weeks for a female rapper in 2025.
Gavin Newsom used his official press office account on X to mock Kid Rock with a fake performance ban in California, blaming the rapper’s “horrific” music.
The California governor’s post read in all caps: “BECAUSE OF HIS HORRIFIC MUSIC, CALIFORNIA WILL INDEFINITELY SUSPEND KID ROCK FROM PERFORMING IN THE GOLDEN STATE. YOU’RE WELCOME!”
BECAUSE OF HIS HORRIFIC MUSIC, CALIFORNIA WILL INDEFINITELY SUSPEND KID ROCK FROM PERFORMING IN THE GOLDEN STATE. YOU’RE WELCOME! — GCN
The statement wasn’t a real policy or legal action. Instead, it was a satirical jab aimed at the MAGA-aligned rapper’s politics and public image, continuing a social media feud that began weeks earlier.
Over the last few months, Newsom’s office has mocked Kid Rock’s popularity and even joked about revoking his California residency. One post read that Kid Rock was “a threat to California’s eardrums” and suggested he “stay in Michigan if they still want him.”
In August, the governor’s social media account posted Trump-style all-caps rants, including “I HATE KID ROCK!!!” and a digitally altered image of Kid Rock endorsing Newsom, styled like a mock campaign poster.
The trolling is a political counterpunch that mimics Trump’s approach to online insults. Trump has previously targeted celebrities like Taylor Swift with a similar tone and tactics.
Kid Rock, who has been vocal in his support of Trump and conservative causes, fired back with crude remarks. He referred to Newsom as “Gavin Newscum” and posted, “The only support Gavin Newscum will ever get out of me is from DEEZ NUTZ.”
The only support Gavin Newscum will ever get out of me is from DEEZ NUTZ https://t.co/H67yDceIpf
The back-and-forth has played out entirely online, with no real consequences beyond social media engagement. As of the time of Newsom’s latest post, Kid Rock had not publicly addressed the fake suspension.
Martha Caradine Demoted As Ackerman’s First African American Woman Police Chief Sparks Echoes Of A Wider Pattern
Martha Caradine made history in September 2024 when she became the first African American woman to lead the Ackerman, Mississippi police force, rising from assistant chief . But in September 2025, she was demoted, and several officers resigned in protest. According to reports, there was one cop left on staff.
That move doesn’t just stand alone. It fits into a disturbing trend: Black women being pushed to the margins across federal and local jobs as the second Trump administration ramps up mass firings, cuts, rollbacks of DEI (diversity, equity, inclusion) efforts, and layoffs.
Since Trump re-entered the Oval Office, over 300,000 Black womenhave left or been forced out of the workforce. These insidious movies include layoffs, budget cuts or feeling unsafe and unsupported. It is all real and it has all happened since The Donald moved into that big, white house.
Caradine’s story sits nicely inside this ongoing turmoil. Her demotion isn’t just about one town. It reflects a system-wide issue where Black women who reach high level leadership roles seem especially vulnerable. Based on their qualifications, talent and even personalities they deserve none of this.
Her marriage to Lawrence Caradine, chief of police in nearby Eupora, adds another layer. This is in the home – not remote for her family. They have not commented, but they do have an active FB page where they bring to light those that support them.
Ackerman’s new mayor, who happens to be a white woman, has caused outrage, but she stands on her decision. But people are awake, watching and the support of the resigning police force shows true conviction. Martha Caradine’s demotion may seem local, but it resonates nationally. Black women’s job exits are trending upward, faster than most other groups. This happens despite their qualifications and education. This is the new battleground.
Caradine’s removal shows how fast “firsts” can be celebrated for a moment, but then systemically abandoned. Ackerman won’t be the only town watching this pattern. We’ll all be watching.
Cam’ron wasted no time roasting Hip-Hop mogul Damon Dash after REVOLT CEO Detavio Samuels denied he was acting chairman as Dash had previously claimed.
In a statement written to the REVOLT team, obtained by The Shade Room, Samuels wrote, “Team, I know some of you might’ve caught Dame Dash’s interview on The Breakfast Club. To set the record straight: Dame Dash is a hip-hop pioneer with a proven track record as a creator.
“Yes, we’ve been in conversations about potential partnerships—things like licensing his shows and films to REVOLT. But there is no signed deal.”
He added, “He is not the chairman of our company. There is no acquisition path on the table. The quote from me in VIBE is completely fabricated. I never said any of that.”
The quote Samuels is referring to reads, “As the CEO of a media company dedicated to Hip Hop culture and the diverse creators and consumers who drive it, it made sense to do business with Dame.”
Cam’ron took the opportunity to hit below the belt with a joke about Dash’s teeth—or rather lack of.
“You can’t say he’s lying through his teeth, he ain’t got none,” he wrote in the Instagram comment section. “Lying thur ya gums his treacherous lol.”
Dash quickly refuted Samuels’ account and posted an Instagram post with his “receipts.” As he noted in the caption, “I hate to bring out receipts but @detavio give me a call, I never would’ve took the deal if there wasn’t a pathway to ownership.”
Dash included a text to Samuels in which he asks, “Also is there still a pathway to ownership,” and Samuels appeared to say “yes.”
Dash claimed he would serve as the network chairman of REVOLT TV for one month during an interview with The Breakfast Club on Tuesday (September 16). The 54-year-old Roc-A-Fella Records co-founder said. he was planning to hold the position for one month, during which REVOLT will simulcast 25 episodes of his podcast, Bosses Take Losses, and stream a large portion of his media catalog.
Dash co-founded Roc-A-Fella Records in 1994 alongside JAY-Z and Kareem “Biggs” Burke, helping to launch the careers of artists such as Freeway, Beanie Sigel, Memphis Bleek, Kanye West and Cam’ron.
REVOLT, meanwhile, was launched in 2013 by Diddy, who stepped down as chairman in November 2023 amid ongoing legal issues related to his RICO scandal. The network has since shifted to an employee-owned model.
Sidney Brown, the Grammy Award-winning producer known as Omen, has died. He was 49.
Details of his passing have not been made public, but his friends and peers have expressed their dismay and sorrow over his death.
A Harlem native, Omen carved out a reputation as one of the most versatile and sought-after producers of his generation. His work spanned Hip-Hop and R&B, touching projects from industry giants such as Drake, Beyoncé, Lil Wayne, Ludacris, Fabolous, Action Bronson, Redman and Mýa.
Ethyl’s a popular venue in Harlem where Omen would DJ made a public post expressing their sadness as a staff.
“We are beyond [heartbroken],” the venue wrote on Facebook. “Omen has been a major part of what made Ethyl’s beat from the very beginning. Sidney ‘Omen’ Brown was not only a DJ who could get our Dance floor jumping, but he was also a Grammy Award Winning Producer who worked with Beyonce, Lil’ Wayne and …helped write and produce (‘Tell It Like It Is’) for Ludacris!”
Early Career
Born August 21, 1976, Brown began making noise in the late 1990s and early 2000s when his beats appeared on early Roc-A-Fella Records releases. He produced “Everybody” on Memphis Bleek’s Coming of Age and “No 1 Can Compare” on Amil’s debut All Money Is Legal.
By the early 2000s, Omen’s production was in steady demand. He contributed “Change You or Change Me” and “Why Wouldn’t I” to Fabolous’ Street Dreams and crafted “Taste This” for Mýa’s Moodring. His sound also reached Keith Murray’s He’s Keith Murray with “Swagga Back.” In 2002, Omen scored the Roc-A-Fella/Universal Pictures comedy Paper Soldiers, helping set the tone for the Roc’s cinematic foray.
Recording Academy Recognition
Omen’s breakthrough came in 2006 when Ludacris tapped him for “Tell It Like It Is,” a standout on the rapper’s double album Release Therapy. That project won the 2007 Grammy Award for Best Rap Album, securing Omen his first Grammy. Around the same time, he landed another placement with Redman on “Soopaman Luva 6” featuring Hurricane G.
Mainstream Impact
A pivotal career shift happened when Omen connected with Noah “40” Shebib. Through 40, he was introduced to a then-rising star Drake. Omen co-produced “Shut It Down” featuring The-Dream on Drake’s 2010 debut album Thank Me Later.
That same period, Omen collaborated with 40 on Lil Wayne’s “I’m Single.” The track first surfaced on Wayne’s No Ceilings mixtape before being re-released on I Am Not a Human Being, which hit No. 1 on the Billboard 200. The song also received an MTV2 video premiere in 2010, further expanding Omen’s mainstream visibility.
Beyond those high-profile placements, Omen’s beats touched artists across multiple generations and styles, from underground mainstays like Immortal Technique to R&B royalty like Beyoncé. His ability to move fluidly between the streets and the charts made him a trusted collaborator in both worlds.
Across nearly three decades, Omen left an indelible mark on Hip-Hop and R&B. Known for his humility and work ethic, he built a catalog that reflected both soul and street edge, shaping the sound of an era while helping deliver some of the genre’s most memorable records. He was a beloved son of Harlem that touched lives, including AllHipHop.
Jon B is a rarity: a white artist in R&B who never compromised his craft for pop crossover. He stepped away from album-making for more than a decade to prioritize family, and now, returning to a transformed music landscape, he rises like a phoenix. Born Jonathan David Buck, Jon B is back with Waiting on You, a set steeped in classic soul. He brings along vibrant collaborators—Rick Ross, Tank, and Alex Isley—but the album, start to finish, is unmistakably Jon B.
AllHipHop sat down with the R&B mainstay at WonWorld Studios for a conversation that feels both like a reunion and a reset. Fresh off the release of his album Waiting on You, Jon is in classic form—writer, producer, vocalist—reaffirming the warm, soul-first sound that made Bonafide a touchstone in 1995 and still packs venues today.
In this candid talk, the singer revisits a pivotal era when Hip-Hop and R&B learned to share the same room, revealing how his studio session with Tupac Shakur, which turned out to be ‘Pac’s final recorded verse, helped push the line authentically. He salutes mentors and peers (Babyface, Nas, Tank, Donell Jones, Rick Ross) and spotlights rising collaborator Alex Isley, whose tone he calls timeless.
Beyond credits, Jon centers authenticity. He was reared in a classical music household with a lifetime steeped in Black music culture as well as an 18-year marriage that grounds the star between sold-out weekends and school-day routines. Jon B makes a powerful case for R&B that grows up without growing dull. Watch the full interview below or some of the highlights in the edited transcript.
Tupac: The Studio, The Blessing, The Last Verse
Jon B: “Hip-hop and R&B weren’t really fused yet. We didn’t give people a choice…‘take it or leave it.’ Tupac being on the record changed everybody’s mind.”
In the lab with Pac: “We were in the studio two weeks before he went to Vegas, three or four hours in and we were already halfway done. As tough as his persona was, Pac was the nicest, most diligent worker. He was cutting another song in the next room while working on mine.”
Afeni’s green light: “I was reluctant to put it out after he died, didn’t want to exploit my man. Afeni Shakur told me, ‘My son loved that song. He wanted it to come out.’ That’s what made me release it.”
Creative push: “I’d drift from the melody and Pac would lock me in, ‘Nah, it goes like this…’ He coached and produced me too.”
Babyface & The 18-Year-Old Major-Label Run
Jon B: “Babyface was and is a mentor—vocally and musically. Signing to Yab Yum Entertainment with Tracy Edmonds opened the door to Epic Records. I was 18 walking into Sony like, ‘Whoa’…publishing deal, record deal, Learjet flights to New York.”
Michael Jackson: Remix + Phone Call
Jon B: “I remixed ‘You Are Not Alone’—they didn’t ask many people. Michael called the studio: ‘I love it—it’s different from the original and I like it.’ Later I shook his hand at the BRITs. He’s the goat of goats—my first favorite artist.”
Nas Pulled Up to the House: “Finer Things”
Jon B: “Nas came to my spot—we’re playing pool, chilling. I play him the beat. He goes, ‘That’s some male Sade—smooth. I can rock over that.’ He wrote the song twice. First version was dope; he said, ‘I hate it, I’ll redo it.’ The second time, he asked for names, cars, visuals—turned it cinematic.”
“If I was your man, your knowledge would expand till we both are equal… There’s three things on my list… Number one, you got to be real… Number two, be who you are… Number three, give me peace and I’ll show you the world.” —Nas on “Finer Things” as recited by Jon B
Authenticity, Race, and Kicking Down Doors
Jon B: “Early on my complexion was a challenge, people made jokes. I didn’t see other artists in my lane getting that. I feel like I knocked down walls so the next man didn’t have to. Before there was a Justin Timberlake or Robin Thicke, I’d already dropped three R&B albums with platinum singles. This isn’t dress-up. I’ve lived R&B and Hip-Hop since junior high.”
The New Album: Classic Soul with Heavy Friends
Jon B: “Waiting on You is me bringing it back to what you know me for. Guests include Rick Ross, Donell Jones, Tank, and Alex Isley (Ernie Isley’s daughter).
Tank pulled up to my studio. I asked which verse he wanted—he said, ‘You bodied those. Let me put a bridge on it.’ Then he gave it the bridge of life-piano, strings-uplifted the record. Alex has this classic, Sade-esque subtlety but her own jazziness. She heard a joint and cut it exactly as I wrote it. That’s the best compliment to a songwriter.”
Marriage, Family, and the Business That Actually Works
Jon B: “I’ve been married 18 years—two daughters (18 and 11). My wife is my manager—clothes, videos, bookings. If it wasn’t for her, this might not be the same interview. We keep it classy, no reality shows, but we did our first magazine cover together and hit Sherri and Tamron Hall to celebrate our 18th. Real talk: a lot of rappers managed by their wives are the ones doing well. Corporations can take 20% and not really pull for you. Your wife will, because it’s her household too.”
30 Years In—And Still Selling Out
Jon B: “Thirty years since Bonafide—shows are sold out, people singing album cuts that weren’t singles. I’m going to sing my heart out until I can’t. The celebration continues.”
WEST PALM BEACH, Fla. — 6ix9ine is once again staring down the possibility of prison after prosecutors said he assaulted a man who mocked his cooperation with federal authorities during a 2019 gang trial.
Surveillance footage reportedly shows the rapper, whose legal name is Daniel Hernandez, confronting and striking a man inside a West Palm Beach shopping mall. The individual allegedly called him a “snitch,” referencing Hernandez’s testimony that helped convict several members of the Nine Trey Gangsta Bloods.
Though the incident resulted in a misdemeanor battery charge, it added to a growing list of supervised release violations. Prosecutors from the Southern District of New York urged U.S. District Judge Paul A. Engelmayer to revoke his freedom immediately. The judge declined but scheduled a sentencing hearing for November 4.
Judge to Decide Fate in November
Hernandez will return to court to face sentencing on three separate violations tied to his supervised release. The court will determine whether his repeated infractions warrant additional prison time.
The rapper avoided a much longer sentence in 2019 by agreeing to cooperate with federal investigators. He originally faced up to 47 years behind bars but served just two after testifying against his former associates. As part of the plea deal, he was ordered to complete five years of supervised release, perform 1,000 hours of community service and pay a $35,000 fine.
Drug Plea and Prior Jail Time Add Pressure
The mall incident isn’t Hernandez’s only recent legal issue. In July, he pleaded guilty to drug possession charges after Miami police found cocaine and ecstasy during a search of his home. Prosecutors dropped firearm and fentanyl charges due to a lack of DNA evidence.
That guilty plea alone violated the terms of his supervised release. Last November, he served 45 days in jail for unauthorized travel and multiple failed drug tests, including one that detected methamphetamine.
Judge Engelmayer previously warned Hernandez that his behavior suggested he believed “the rules don’t apply to him.”
Public Criticism Despite Own Cooperation
Despite cooperating with authorities himself, Hernandez has publicly criticized other artists for doing the same. He previously called out Young Thug, who is currently involved in a high-profile legal case tied to alleged gang activity in Atlanta.
The court will decide on November 4 whether Hernandez’s violations are serious enough to send him back to prison.
Swizz Beatz must remain a defendant in a $7.3 million lawsuit tied to fugitive financier Jho Low and the massive 1MDB embezzlement scheme, a federal judge ruled, rejecting his bid to toss the case.
U.S. District Judge Naomi Reice Buchwald issued the decision on September 26, 2025, keeping alive claims that the Grammy-winning producer received illicit wire transfers from shell companies allegedly controlled by Low during the height of the global fraud.
Several celebrities became entangled in the 1MDB scandal after accepting expensive gifts or money from Jho Low and some were forced to return the gifts.
Model Miranda Kerr returned about $8 million in diamond jewelry he gave her during their relationship. Actor Leonardo DiCaprio handed over a Picasso worth $3.2 million, a Basquiat worth $9 million, and even Marlon Brando’s Oscar statuette, all of which were linked to stolen funds.
The lawsuit, filed by court-appointed liquidators Angela Barkhouse and Toni Shukla, alleges that Dean accepted millions between 2012 and 2014 without providing anything in return.
“None of the transfers were made for any consideration and, as of the filing of the Amended Complaint, none of the funds have been returned,” Judge Buchwald wrote in her ruling.
One transfer labeled “veryday is your Birthday” was flagged by the court as lacking a credible business justification.
“An eight-word note in a bank statement does not demonstrate that the transfer was, in fact, for that purpose,” Buchwald wrote.
Dean’s legal team argued the case was too old and flawed on procedural grounds, but the judge disagreed.
She found the statute of limitations had not expired due to “adverse domination,” a legal principle that pauses deadlines when wrongdoers control the damaged companies.
“Until the issues of domination and control, which are fact-based, are more fully litigated, the statute of limitations must be deemed not to have expired and must be tolled during the wrongdoers’ period of control,” Buchwald wrote.
The judge also ruled that the liquidators had legal standing to sue under New York law. She dismissed Dean’s argument that the companies were too complicit in the fraud to seek damages.
The complaint includes claims of both actual and constructive fraudulent conveyance, as well as unjust enrichment. Buchwald said the plaintiffs provided enough detail to proceed, including dates and transaction records.
The court has ordered both parties to proceed with discovery. Dean will now have to respond to the allegations in full.
Jho Low, who remains on the run, is at the center of a global scandal that has already led to prison time for former Malaysian Prime Minister Najib Razak and a conviction for Pras Michel of the Fugees, who awaits sentencing for charges tied to Low’s influence-peddling scheme.
Public Enemy will perform on Jimmy Kimmel Live! Monday (September 29), less than a week after Kimmel’s controversial “cancelation.” It will mark P.E.’s first appearance on the show in nearly a decade.
The group’s last Kimmel stop was in October 2015. Chuck D and Flavor Flav released their sixteenth studio album, Black Sky Over the Projects: Apartment 2025, in June, but it’s unclear what song they’ll perform on the late night talk show.
Longtime Public Enemy bassist Brian Hardgroove confirmed the news on Facebook, writing, “Kimmel’s return to the airwaves will undoubtedly be an historic marker in the timeline of American entertainment vs the government. You shouldn’t miss it. It will also be the most consequential performance of all of Public Enemy’s TV performances (IMO). Check it out on Sept 29th.”
Hardgroove might be right. Kimmel’s temporary cancelation was seen as an attack on free speech, something Public Enemy has championed for decades.
Jimmy Kimmel Live! was suspended by ABC following the host’s monologue covering the assassination of conservative activist Charlie Kirk. During his on-air commentary, Kimmel remarked, “The Maga Gang is desperately trying to portray this individual who killed Charlie Kirk as anything other than one of their own, and they are doing everything possible to leverage this for political advantage.”
Kimmel also mocked supporters flying flags at half-mast and ridiculed Donald Trump’s response, declaring, “This is not how an adult mourns the murder of someone he refers to as a friend; it resembles how a toddler grieves for a goldfish.”
The monologue generated outrage among political commentators and several major ABC affiliates, prompting Trump and conservative voices to celebrate and demand further crackdowns on critical speech. Facing threats by the FCC to revoke ABC’s broadcast license, Disney stated the suspension stemmed from “our belief that certain comments were poorly timed and insensitive” and was enacted “to avoid further inflaming a tense situation at an emotional moment for our country.”
Kimmel returned to air after nearly a week of negotiations and public protest over the decision. Disney explained, “We have engaged in thoughtful discussions with Jimmy over the past few days, and following those conversations, we have decided to bring the show back on Tuesday.”
Kimmel was not required to apologize and instead stood firm that his remarks had been “grossly mischaracterized by a certain group of people.” His comeback was supported by a public letter signed by more than 400 Hollywood celebrities protesting the suppression of free speech.
However, not all ABC affiliates resumed airing his show; major station owners like Sinclair refused to broadcast Jimmy Kimmel Live! until further notice, stating, “We are in ongoing discussions with ABC as we assess the show’s potential comeback.”
Despite partial blackout, the show returned online and through ABC-owned stations, marking a victory for Kimmel’s stance and igniting continued debate about the limits of commentary on American television.
LOS ANGELES —A$AP Rocky dismissed the value of traditional therapy and praised Jay-Z as a reliable source of guidance during a recent interview with Elle, tying his views on mental health to both his personal life and his latest film project.
“I think Jay-Z is a Black therapist,” Rocky said. “A lot of people come to him with their problems.”
The Harlem native made the statement while promoting If I Had Legs I’d Kick You, a psychological thriller he stars in alongside Rose Byrne. The film is scheduled to release next month.
Rocky Says Therapy Feels Pointless
Rocky didn’t mince words when asked about his opinion on therapy. He compared professional counseling to mystical services and questioned its relevance to his life.
“My outlook on therapy is so pessimistic, it’s not even funny,” he said.“I might get killed for this, but I put therapists in the same box as psychic readings.”
“I look at it like, yo, if you don’t share the same experiences, what’s the point of me telling a stranger my business for an hour straight, for them to just say, ‘OK, well, how did that make you feel?’”
He linked his skepticism to a broader issue—the lack of Black therapists—and suggested that people often turn to trusted community figures like Jay-Z for support instead.
New Film Mirrors His Mental State
Rocky described If I Had Legs I’d Kick You as emotionally intense and reflective of his own mental state.
“That whole f**king film is an anxiety attack,” he said.
The movie, which explores psychological tension and emotional unraveling, appears to parallel some of Rocky’s personal views on mental health and vulnerability.
Growing Family With Rihanna
The Elle profile also touched on Rocky’s personal life. He and Rihanna recently welcomed their third child, a daughter. The couple continues to balance high-profile careers with parenting, adding another layer to Rocky’s evolving perspective.
If I Had Legs I’d Kick You opens in theaters next month.
Digga D is set to face a financial reckoning in January as a UK court prepares to determine how much he profited from a cannabis operation that landed him behind bars.
The 25-year-old rapper, born Rhys Herbert, is currently serving a three-year and 11-month sentence after pleading guilty to importing and distributing nearly 100 pounds of cannabis.
Authorities arrested him during a February 2023 raid at his Lincolnshire home while he was live-streaming on Instagram.
At a Proceeds of Crime Act hearing held Friday (September 26) at Lincoln Crown Court, prosecutors and defense attorneys reviewed what assets might be seized to recover the money Herbert made from the drug trade. Legal aid was granted to Herbert in July to support his defense in the ongoing proceedings.
Herbert’s lawyer, Ryan Thompson, requested more time to sort out the ownership of several pieces of jewelry seized during the arrest. He told the court some of the items may have been purchased for use in music videos or could belong to a third party.
Judge Simon Hirst agreed to postpone the hearing until January 9 and asked for a full breakdown of Herbert’s financial transactions during the time in question.
Herbert attended the hearing remotely from HMP Brixton, where he is serving his sentence.
The court previously heard that Herbert had earned more than £3 million from his music career and had been booked for multiple festivals in summer 2024 before his arrest.
In May, he admitted to importing 6.6 pounds of cannabis during two separate shipments in mid-2023 and to being involved in its distribution.
Herbert’s legal troubles stretch back years. In 2018, at age 18, he was sentenced to 12 months in prison for conspiracy to commit violent disorder after prosecutors used his music videos as evidence.
That case led to a controversial court order banning him and his group 1011—now known as CGM—from making music without police approval.
Despite the restrictions, Herbert has continued to find commercial success.
He launched his own label, Black Money Records, and performed at London’s Royal Albert Hall in October 2023, a milestone moment for an artist often at odds with the law.
The January hearing will decide what portion of Herbert’s assets must be surrendered as proceeds of crime.
Assata Shakur died Thursday in Havana at age 78, closing the chapter on a life that bridged Black liberation movements and Hip-Hop consciousness across generations.
Cuban officials confirmed Shakur’s death in a statement, citing “health ailments and her advanced age” as the cause, according to Cuba’s Ministry of Foreign Affairs.
Born JoAnne Deborah Byron in 1947 and later known as JoAnne Chesimard, Shakur became one of the most recognizable figures of radical activism in the 1970s.
A former member of the Black Liberation Army, she was convicted in 1977 for the 1973 killing of New Jersey State Trooper Werner Foerster during a traffic stop on the New Jersey Turnpike. She escaped from prison in 1979 and resurfaced in Cuba, where she was granted political asylum in 1984.
Her escape and exile turned her into a polarizing figure — a revolutionary to some, a fugitive to others. In 2013, the FBI added her to its Most Wanted Terrorists list, offering a $2 million reward for her capture.
She was the first woman ever placed on that list.
Shakur’s influence stretched beyond politics into Hip-Hop, where her legacy became embedded in the genre’s social and political roots.
As the step-aunt and godmother of Tupac Shakur, her ideology helped shape the voice of one of rap’s most iconic figures. Tupac paid tribute to her in his 1991 track “Words of Wisdom,” connecting her revolutionary stance to the emerging narrative of conscious rap.
Common honored her in his 2000 track “A Song for Assata,” featuring CeeLo Green. The song drew directly from her life story and featured lyrics like: “I’m thinking of Assata, yes / Listen to my love, Assata yes / Your power and pride is beautiful / May God bless your soul.” Common later explained, “I read this sister’s story, [and] knew that it deserved a song.”
Shakur joined the Black Liberation Army in the early 1970s, a group that advocated armed resistance against what they viewed as racial oppression. During her trial, she insisted she was innocent and targeted because of her activism.
In Cuba, she lived quietly but remained active in political thought. Her 1987 memoir, Assata: An Autobiography, became essential reading for students of Black radical movements and was widely circulated among activists and scholars.
Her death ends a life that spanned the civil rights era, the rise of militant Black activism, and the cultural evolution of Hip-Hop as a platform for social commentary.
D4vd allegedly first connected with 14-year-old Celeste Rivas Hernandez when she was just 11 or 12 years old through online gaming platforms, according to sources close to the investigation into her death.
The disturbing timeline surrounding the relationship between the rising artist, whose real name is David Anthony Burke, and the California teenager continues to unravel as authorities investigate how the two met and what happened in the months leading up to her disappearance and death.
Celeste was reported missing from Lake Elsinore in May 2024 after she left home to see a movie with D4vd, her brother Matthew Rivas told investigators. She never returned.
According to a source cited by the Daily Mail, Celeste remained in touch with friends for over a year after she was reported missing. Her communication stopped without explanation in late July or early August 2025.
On September 8, police discovered Celeste’s dismembered remains wrapped in plastic inside D4vd’s abandoned Tesla. The vehicle had been left near his $4.1 million rental property in the Hollywood Hills for several weeks.
Moves Clear Out D4vd’s Belongs Following Police Raid
Just over two weeks later, two masked men were seen standing guard outside D4vd’s home as movers removed furniture and boxes from the property on Wednesday (September 24).
One man wore an armored vest with a gold badge, while both concealed their identities with ski masks and sunglasses.
“They’ve decided to move out because of the ongoing circumstances,” homeowner Mladen Trifunovic told the Daily Mail. “They didn’t want to be there anymore.”
D4vd had been living at the residence since February 2024. The lease was signed by his manager, who paid $20,000 per month in rent under his own name.
The Los Angeles Police Department confirmed it collected “several items of evidence” during a search of the home, but has not named any suspects or made arrests. D4vd and his team have not responded to requests for comment.
Kim Kardashian Said Kris Jenner Tricked Her Into a Blind Date Disguised as a Job Interview
Kim Kardashian walked into what she believed was a professional meeting in Los Angeles, only to discover her mother Kris Jenner had secretly arranged a blind date instead.
During an appearance on The Tonight Show Starring Jimmy Fallon, Kardashian, 44, shared the awkward encounter where she came prepared with a résumé, thinking she was pitching career ideas to a television executive. Unbeknownst to her, Jenner had told the man it was a date.
“She told me it was a job interview, but she told him it was a date,” Kardashian said. “And so I pull up and I go and I’m talking about like what I want to do and I had a résumé on me!”
Kardashian said she realized something was off when the conversation didn’t match the tone of a job interview.
“I don’t think she thought I’d be so prepared to bring a résumé… I was like, ‘I’m going to kill you (mum).’”
She quietly tucked her résumé back into her bag once she understood the man across the table wasn’t there to hire her.
Kris Jenner Says the Man Was in on the Setup
Jenner, who was off-stage during the interview, chimed in to clarify that the man wasn’t caught off guard.
“He totally knew because he was also an Emmy Award-winning…”
Kardashian cut her off before she could finish, but Jenner continued:
“I’m not going to say his name, but he said, ‘Would it help if I brought my Emmy with me?’ He was kidding. But I thought, this is never going to work.”
Kardashian didn’t hold back in her response:
“So you also wanted to set me up with someone that thought an Emmy was what was going to seal the deal? Hmm.”
Khloé Kardashian Wanted No Part in Matchmaking
Also on the show was Khloé Kardashian, who made it clear she had no interest in playing matchmaker.
“I’m not known for a good picker,” she said.
Kim replied with a laugh:
“Same, babe.”
Kim Kardashian’s Dating Background
Kardashian has been married three times—first to Damon Thomas, then to Kris Humphries, and later to Kanye West. She shares four children with West. Since their divorce, she’s been linked to comedian Pete Davidson and NFL wide receiver Odell Beckham Jr.
Live chats have become pop’s new backstage pass. When stars go live, they turn passive followers into an audience that’s talking, reacting, and converting in real time. Those minutes can move pre-saves, spike Shazam searches, and sell the first wave of tickets—before a press release even lands, as reported by Billboard. The best part: it feels intimate. Fans aren’t just watching promo; they’re in it, asking questions, voting on ideas, and celebrating every reveal.
You’ll see this play out across mainstream platforms—Instagram Live, YouTube Live, TikTok Live—and sometimes in adult-rated ecosystems such as Cam Rabbit, where creators experiment with real-time engagement mechanics. The core playbook is the same: craft a room, set a countdown, seed exclusives, and guide the chat toward a clear action. Done right, a 20-minute stream can carry the weight of a week’s worth of traditional marketing.
This article breaks down the tactics behind those streams: how artists design the room, cue engagement spikes at precise timestamps, convert chat energy into pre-saves and ticket sales, and measure what actually moved the needle. If you run an entertainment site or fan account, you can adapt the same principles for premieres, interviews, and fan events.
Build Hype Before The First Second Of “Live”
1) Prime the room
Announce the live window 24–48 hours in advance with a countdown sticker and a pinned comment explaining what fans will get (a snippet reveal, tour date puzzle, exclusive merch code). Add a calendar link and a pre-save or waitlist form so the audience assembles early.
2) Seed a story arc
Even spontaneous sessions perform better with an outline: hello → teaser → game/poll → surprise guest → reveal → CTA → encore Q&A. The audience stays because they sense momentum.
3) Warm up superfans
DM your most active commenters, fan-run pages, and Discord mods to show up early and start chat momentum. They’ll greet new viewers, answer repetitive questions, and help set a kind tone.
Design The Room For Maximum Participation
Camera and sound: Keep framing tight (eyes and hands), use a clip-on mic, and avoid echo. Music beds can sit at very low volume; the star’s voice needs to carry.
Pinned prompts: Replace “hey everyone” with a pinned question: “Drop your city—where should we open the tour?” or “Pick the bridge: A/B/C.” Pinned prompts train viewers to type now, not later.
Polls and quick wins: Ask for a one-word vote (“neon” vs. “chrome”), then use the result (“Okay, neon it is—here’s the cover.”). When fan input changes the plan—even in small ways—participation doubles.
On-screen cues: Hold up physical props: a city list, a blurred poster, a scratch-off card. Tactile elements photograph well for screenshots and recaps, extending the live moment across feeds.
Convert Chat Energy Into Pre-Saves And Ticket Sales
Friction-free links
Put the single most important link in the bio and in a pinned comment. Mention it verbally at three natural moments: right after the snippet, right after the date reveal, and after the final Q&A.
Time-boxed incentives
Offer a limited perk during the stream only—early seat map access, a signed postcard for the first 500 orders, or entry to a private mini-stream. Time pressure turns attention into action.
Micro-CTAs
Instead of “pre-save now,” say: “Tap the link, choose your platform, hit ‘pre-save,’ then drop a like when you’re done.” Watching chat fill with checkmarks creates social proof that nudges fence-sitters.
Use Game Mechanics Fans Already Love
Geo puzzles: Reveal tour cities by flashing three visual clues per stop (a landmark, a food, a jersey). Chat guesses the city; the artist confirms and pins the ticket link for that location.
Lyric unlocks: For every 100 pre-saves during the stream, unveil another line of the chorus on a handheld cue card. The goal is communal: the room “earns” the reveal together.
Easter-egg hunts: Hide a code in a frame—on a hat, a mug, a guitar pick. Fans screenshot and share, which pushes the live beyond the app’s borders.
Moderate Like A Showrunner
Guardrails
Establish rules at the top (“Be kind, no spoilers, mods may mute”). Empower trusted community members as moderators and give them a written quick-action guide (pin/unpin, timeouts, spam filters).
Spotlight fans
Read usernames aloud, react to smart comments, and pin thoughtful questions. The moment a fan hears their name, retention jumps for them—and their friends.
De-escalation
If negativity spikes, address it once (“We’re keeping it positive tonight, mods will clear spam”), then return to the plan. Star energy sets room energy.
Think Global From Day One
Time zones
If your audience spans continents, run two shorter live sessions eight to twelve hours apart, then cut a highlights reel for everyone who slept. Each region gets a “first,” and nobody feels last.
Local CTAs
Use dynamic links that recognize country and route to the correct ticketing partner or streaming platform. Nothing kills momentum like a broken region link.
Language cues
Learn three greetings and “thank you” in your top fan languages and use them on-air. It’s simple, memorable, and screenshottable.
Measure What Actually Worked
Timestamps
Note exact moments: 06:42 (snippet), 09:10 (poll result), 12:30 (CTA). Compare traffic spikes in your link tracker to on-air beats; the pattern will tell you which actions drive clicks.
Quality of viewership
Watch retention and chat rate, not just peak viewers. A smaller room that stays for 15 minutes and spams checkmarks will outsell a huge, idle audience.
Follow-through
Track pre-save to first-day streams, waitlist to ticket purchase, and merch code redemption. Over time, you’ll build a predictive model: which live elements map to which outcomes.
A 30-day Launch Blueprint (Steal This)
T-30 to T-14: Two “soft” lives to showcase writing or rehearsal. Collect city votes. Open a waitlist.
T-10: Announce the main live, reveal cover art with a poll, preload the pre-save link.
T-7: Tease the chorus for five seconds. Mods recruit superfan squads per city.
T-3: Post the set list for the stream itself (teaser, poll, guest, reveal).
T-0 (Live #1): Chorus snippet, tour city puzzle, pre-save CTA with micro-goal (“let’s#### 5k now”).
T-0 + 8h (Live #2): Asia/Europe timing, same structure, new Easter egg.
T+1: Highlights reel with top comments and a thank-you.
T+7: Surprise acoustic mini-stream for early supporters only; share a private merch code.
T+14: “Road to Tour” live from rehearsal; ticket push for remaining cities.
Keep it Brand-Safe And Platform-Friendly
If you reference adult-rated spaces or third-party live rooms, add an 18+ note and keep your main content PG-13. Use “nofollow/sponsored” on outbound links where appropriate, and never rely on a single platform for your whole rollout—algorithms change, but an email list and SMS alerts remain yours.
The Big Idea
Live chat isn’t a gimmick; it’s a portable stage. With a plan, a pin, and a few game mechanics, pop stars can turn 15 minutes of conversation into real-world action: pre-saves, ticket claims, and louder opening-night choruses. Treat every stream like a mini-show with beats, pacing, and a strong finale—and the audience will show up for the encore.
Kneecap rapper, Mo Chara, walked out of Woolwich Crown Court in London on Friday with a terrorism charge dismissed and a defiant message for the British government: “Your attempts to silence us have failed.”
Chara, whose real name is Liam Óg Ó hAnnaidh, had been facing prosecution over allegations he displayed a Hezbollah flag during a 2023 performance in London.
However, Chief Magistrate Paul Goldspring ruled the charge invalid due to a procedural error, stating that the six-month statutory deadline had expired before consent was properly obtained, according to BBC News.
The 27-year-old artist had been charged in May, nearly six months after video from a November concert at London’s O2 Kentish Town surfaced. The footage, reviewed by the Metropolitan Police, allegedly showed a flag linked to the proscribed group Hezbollah.
Mo Chara denied the accusation and maintained the case was politically motivated.
The investigation gained momentum after Kneecap’s controversial Coachella performance, where the group criticized Israel’s military actions in Gaza and displayed a screen reading “F### Israel. Free Palestine.”
That moment, along with chants and statements at other shows, drew sharp attention from authorities and international media.
Kneecap’s Mo Chara Defends Free Speech: “We Will Not Be Silent”
Following the dismissal, Kneecap’s official X account posted a lengthy statement from Mo Chara, who framed the case as an attack on political speech.
“This entire process was never about me, never about any threat to the public and never about ‘terrorism,’ a word used by your government to discredit people you oppress,” he wrote. “It was always about Gaza. About what happens if you dare to speak up.”
He continued, “Your attempts to silence us have failed, because we are right, and you are wrong. We will not be silent. We said we would fight you in your court and we would win.”
He ended the message with: “We have. If anyone on this planet is guilty of terrorism, it is the British state. Free Palestine! Tiocfaidh ár lá. (Our day will come).”
A message from Liam Óg:
"A massive thank you to my legal team.
Darragh, Jude, blinne, Brenda, Gareth and to all at Phoenix law.
A special thanks also to my interpreter Susan.
This entire process was never about me, never about any threat to the public and never about… pic.twitter.com/xj16kEvcdl
The Belfast-based trio, which includes Móglaí Bap and DJ Próvaí, has built a reputation for politically charged lyrics and unapologetic commentary. Their music, often performed in Irish Gaelic, has drawn both praise and condemnation, especially for their outspoken stance on Palestinian rights since the October 7 Hamas attack and Israel’s response in Gaza.
Kneecap has previously been barred from performing in Canada and has faced backlash for comments made at Glastonbury and other festivals. The group has repeatedly denied any affiliation with terrorist organizations, calling the charges a distraction from what they describe as “state-supported war crimes.”
The court’s decision on September 26 is being seen as a significant moment for freedom of expression within the UK’s counter-terrorism legal framework.
Hip-hop is no longer just music. Over time, it has become one of the strongest cultural tools used by global industries to get attention, gain trust, and stay relevant. Brands across fashion, sneakers, video games, food, alcohol, and even sweepstakes platforms have all aligned themselves with rap artists, not only for promotion, but for credibility.
These partnerships shape what people wear, play, eat, and buy. Whether it’s a sneaker named after a rapper, a game with their likeness, or a limited-time meal tied to a hit single, the impact is wide and long-lasting.
What makes these collaborations work is not just fame: it’s authenticity, history, and the artist’s direct influence on the product. In some cases, the artist leads the creative direction. In others, their image adds cultural weight to the brand. Either way, the result is the same: higher visibility, stronger brand identity, and a real connection to the market.
Hip-Hop in Gaming
Hip-hop has become a major force in video games. This includes more than background tracks or artist cameos. Music labels and artists now work directly with game studios. They build full storylines, exclusive characters, and virtual concerts around hip-hop.
Rockstar Games has embraced this idea. During development of Grand Theft Auto: San Andreas and Grand Theft Auto IV, they hired music journalists like Greg Johnson to make sure the hip-hop elements were accurate and connected to real-world scenes and artists. The GTA franchise later added updates to GTA Online that featured Dr. Dre and Snoop Dogg, showing that artists now take part in both music and story writing.
This influence stretches far beyond traditional video games. The gambling and sweepstakes industry has taken notice too. Music themes now appear on platforms where users can spin, collect, or win game-based prizes. One of the more known sites, Fortune Coins, has added hip-hop inspired games such as Snoop Dogg Dollars and Snoop’s High Rollers.
These game titles use artist branding and music cues to stand out. Players on these sites often get promotional offers, such as their exclusive Fortune Coins no deposit bonus exclusive Fortune Coins no deposit bonus of up to 650,000 GC. These offers are tied to the same cultural styling seen in mainstream games.
Sneakers and Music Culture
Sneakers have long been linked to hip-hop. Artists wear them in music videos, perform in them on stage, and write about them in lyrics. What began as style has turned into long-term brand partnerships and limited-edition designs. These sneaker drops are not random. They tell stories, mark milestones, and highlight the relationship between music and self-image.
RUN-D.M.C. and Adidas Superstar
One of the earliest examples of this connection was RUN-D.M.C. with the Adidas Superstar. The group wore the shell-toe version without laces. It became part of their look. They even released the song “My Adidas” as a direct response to people who criticized their style. At a concert in Madison Square Garden, they raised their Adidas sneakers on stage. Thousands of fans did the same. An Adidas executive saw it happen and pushed for a deal. It became the first major corporate endorsement between a music group and a sports brand. The result was a $1.6 million partnership that changed how both industries saw collaborations.
Eminem and Air Jordan IV Carhartt
Another example of music and sneakers joining forces is the Air Jordan IV Retro Carhartt collaboration with Eminem. Released in very limited numbers, the shoe carried both Eminem’s name and the durable Carhartt material. It became one of the most valuable Air Jordans ever made. Only a few pairs were sold to the public, while most were auctioned for charity. The design reflected Eminem’s Detroit roots, his connection to workwear, and his long-term ties with Nike.
Travis Scott and Air Jordan IV “Cactus Jack”
Travis Scott has also left his mark through sneaker design. His Air Jordan IV “Cactus Jack” had colors inspired by his hometown football team. The design connected fans to Houston while keeping a high-end aesthetic. Travis worked directly with Jordan Brand on several releases. Each one includes subtle logos, custom packaging, and limited stock. These collaborations helped grow his influence in both music and streetwear circles.
Drake and Air Jordan XII “OVO”
Drake’s OVO imprint partnered with Jordan Brand to create the Air Jordan XII “OVO.” The release used premium white leather and gold accents. The OVO owl logo appeared on the insole, and the pair matched Drake’s clean visual style. The shoes sold out instantly and were later resold at high prices. That drop proved that even more reserved artists can still lead successful sneaker launches.
Clothing Brands and Artist Influence
Clothing brands often start working with artists after noticing they wear the product. Over time, those organic connections turn into deals. These collections usually keep the original brand’s style but add the artist’s artwork, album themes, or personal story.
2 Chainz worked with True Religion after years of supporting the brand. He even named one of his early mixtapes T.R.U. REALigion, showing how connected he was to the brand before any contract existed. Later, the brand made a collection based on that mixtape. It wasn’t just clothing; it was a continuation of a story.
Chief Keef followed a similar path. His look and sound matched the rugged denim that True Religion was known for. That made the relationship feel natural to fans. Collaborations like these work when the public sees the artist and the brand as part of the same world.
Cameos and Soundtrack Culture with Hip-Hop in Film
Hip-hop has never stayed in one lane. Music is the base, but the reach goes much further. In movies, rappers don’t just star in lead roles or produce soundtracks. They show up in quick cameos, blink-fast guest scenes, and sometimes completely unexpected spots.
At the same time, film soundtracks tied to hip-hop have built a legacy of their own. Some full albums shaped how people remember certain movies. In a few cases, the music became more important than the film itself.
Biz Markie in Men in Black II
Biz Markie showed up in Men in Black II as an alien who only used beatboxing to communicate. He wasn’t there to fight or give big speeches. He just stood in his space and made it his own. Will Smith’s character responded in kind, as if this back-and-forth had happened before. It felt like a nod to fans of both hip-hop and the original movie. Short, strange, and still one of the standout moments.
Master P in Gone In 60 Seconds
Master P took a role in Gone In 60 Seconds as Johnny B. He didn’t have a long arc or deep backstory. His part was quick, sharp, and right to the point. He gave Nicolas Cage’s character something to react to. It fit the movie’s world without needing to explain itself.
Eminem, Cam’ron, Kid Cudi, Post Malone, and Bad Bunny in Happy Gilmore 2
This one loaded the cameos into one film. Eminem played the son of the man who shouted from the stands in the first movie. Cam’ron walked through a scene as himself. Kid Cudi showed up as an FBI agent. Post Malone took a seat in the announcer’s chair. Then Bad Bunny played Happy’s new caddy. It was over-the-top on purpose. Each one had a different tone, but all of them felt like they belonged.
Kendrick Lamar and Black Panther: The Album
Kendrick Lamar didn’t just put songs on a soundtrack. He helped shape the identity of Black Panther. His voice came up across half the album. Each track added to the tone. Some tracks stood on their own, but most pulled straight from the film’s message. “King’s Dead” worked like a second script. It backed the movie and raised the energy. “Paramedic!” gave shine to new voices while keeping the focus on the larger theme.
J. Cole, Dreamville and Creed III
J. Cole’s label took charge of the Creed III soundtrack. The songs worked like scenes between the fights. “Jack” gave fast punches with fast verses. “Ma Boy” let Lute and JID trade lines with balance. The project held the mood of the movie without just copying it. It gave the film pace and gave the artists a space to stand out.
2Pac, Queen Latifah, Ghostface Killah and Sunset Park
Sunset Park had a cast full of talent, but the music held equal weight. The songs didn’t just fit the scenes. They added another layer to what the film tried to show. 2Pac brought intensity. Queen Latifah added control. Ghostface Killah and others gave the project a feeling that stayed even after the credits. One track with MC Lyte and Xscape borrowed from Michael Jackson’s “Liberian Girl” and turned it into something brand new.
The Pharcyde, The B.U.M.S. and Street Fighter
This one came out before a lot of major hip-hop clashes, and it pulled artists from different coasts into one place. The Pharcyde gave a song called “Pandemonium” that included sounds from the game itself. It matched the action and tone without going too far. The B.U.M.S. dropped verses that mentioned characters and moves like Guile and Ryu. It was loud, fast, and made for fans who wanted both rap and action in the same place.
Food Partnerships and Commercial Reach
Hip-hop artists often bring real influence to brand deals, even in industries that seem unrelated to music. One clear example came from McDonald’s and Travis Scott. The fast-food chain added a meal under his name and built a full campaign around it. It wasn’t just a menu change. It had packaging, ads, and promotions that matched his image. Fans treated it like a product drop, not just lunch.
Another campaign came from Just Eat with Snoop Dogg. He didn’t just appear in the ad. He wrote a jingle that turned a delivery app into something people remembered. The sound and the look matched what people expect from Snoop, which made the campaign feel direct instead of forced.
These kinds of campaigns show how hip-hop works outside of music. The artists add their voice, and that changes how people see the product. It doesn’t feel like a pitch. It feels like part of the world the artist already lives in.
Snoop Dogg came through with a massive Twitch flex and a not-so-subtle message to Ray J, gifting 50,000 subscriptions to Kai Cenat during his record-breaking “Mafiathon 3” stream after Ray J accused celebrities of freeloading off the streamer’s platform.
On Thursday night (September 25), while Cenat was live with Kevin Gates, Snoop Dogg phoned in with a surprise offer that left the Twitch star stunned.
“I got 50,000 subs for you when you ready for them,” Snoop told Cenat on the stream.
Cenat, clearly caught off guard, responded, “You cap, man.”
But Snoop wasn’t playing.
“I’m trying to help you get to the mil,” he said, asking Cenat how to deliver the massive sub drop. When Cenat confirmed it would be the biggest donation he’d ever received and shared that he had just broken the Twitch record that day, Snoop doubled down.
“I’m finna get you 50,000 so you can get over the record,” he added. “The record ain’t nothing. You got to get over the record.”
Snoop Dogg’s donation came just days after Ray J took to social media to blast celebrities like Kim Kardashian, Mariah Carey, and John Legend for appearing on Kai Cenat’s stream without contributing financially.
“Homie out here working hard, doing 30-day subs, he got people like Kim and Mariah coming on. These n##### didn’t gift this n#### nothing,” Ray J said in a video earlier this week. “He tryna get to a million subs, Kim, Mariah, John Legend, all y’all n#####.”
Ray J claimed he personally gifted around 15,000 subs during his appearance and challenged others to do the same.
“All y’all should gift 50,000… I’m starting to feel like y’all using n#####… It’s working for y’all. What y’all do for the homie?”
Snoop made it clear he wasn’t feeling Ray J’s approach.
“I didn’t like the way Ray J called n##### out,” Snoop said. “Like we don’t got [Cenat’s] back.”
Cenat’s “Mafiathon 3” has been one of the most talked-about events on Twitch, with the streamer broadcasting around the clock for 30 days straight in a push to hit 1 million subscribers.
Young Thug dropped his long-awaited album UY Scuti on Friday (September 26), but the celebration hit a sour note when he realized a Rod Wave feature had been left off the final cut—prompting him to publicly apologize and promise heads would roll.
The Atlanta rapper took to social media early Friday morning to clear the air about the missing verse from Rod Wave on the track “Blaming Jesus.” In a blunt post, he wrote:
“Rod wave had a verse on blaming Jesus and I’m sorry to the fans that my team didn’t put it on the song. Doin some firing in the a.m and the song will be fixed tomorrow – I’m sorry to his fans”
The mistake didn’t go unnoticed, especially with anticipation high for UY Scuti, which marks Young Thug’s return to music after his release from jail in October 2024.
Rod Wave has a loyal following, and the missing verse left many disappointed. Thug’s response was swift and unapologetically direct—someone on his team would be out of a job.
The album also stirred conversation with the inclusion of YFN Lucci, a surprising move considering the long-standing tension between the two. Both artists featured each other on their respective projects—Lucci on UY Scuti and Thug on Lucci’s Already Legend.
The collaboration came with some light-hearted online jabs, but Lucci later confirmed the move was intentional and meant to send a message of unity in Atlanta’s Hip-Hop scene.
Adrien Broner offered a direct apology to Cam’ron early Friday morning after his behavior on the “It Is What It Is” podcast drew backlash for repeated inappropriate remarks toward co-host Treasure “Stat Baby” Wilson.
Broner shared a screenshot of a private message he sent to Cam’ron on Instagram, acknowledging his missteps and expressing remorse for the disrespect shown during the taping.
“Big bra as a man I can truly apologize my n####,” he began. “I f### with you heavy gang f### all that internet s### I will never internet beef with a n#### I looked up to since I was a baby.”
He added, “I hope ain’t no bad blood in between us like a armrest cause I’m go shake this monkey off my back and get my s### together and I would love if you apart of this next chapter in my life gang Luv.”
Cam’ron responded warmly, writing, “Thx for that bro. Cause I feel the same. I love you like a brother. And I’m here for whatever you need.”
He later reposted Broner’s message to his Instagram Stories, adding “Love u bro,” and echoed the same sentiment in the comments section of Broner’s post.
Broner followed up the exchange with a public statement to his supporters, addressing his recent behavior and vowing to improve.
“I know these last few weeks I hasn’t been the best version of myself and I take all accountability of my actions,” he wrote. “To my fans and supporters I’m okay I’m AB. I’ll try to be better going forward down this dark road.”
Broner concluded, “Last but not least to everyone I’m okay and will be back.”
Cam’ron Boots Adrien Broner Off Podcast
The apology stems from Broner’s controversial appearance on the “It Is What It Is” show earlier this month, where he appeared visibly intoxicated and made several flirtatious comments toward Stat Baby despite her clear discomfort and the presence of her boyfriend.
Broner repeatedly told Wilson, “I love you” and “You’re amazing,” slurring his words and ignoring the hosts’ warnings.
Cam’ron ultimately halted the recording, paid Broner for his time and asked him to leave the studio to protect his co-host.
The episode quickly went viral, prompting Cam’ron to explain the situation further on social media.
He said Broner’s behavior was likely due to being drunk or high and made it clear that respect for the women on the show was non-negotiable.
Just days before the apology, Broner was caught on video in a heated dispute with restaurant employees and police officers over an unpaid bill totaling $2,200.
The footage, which circulated widely online, showed Broner agitated and flanked by officers as staff confronted him.
Adrien Broner allegedly tried to talk a restaurant owner out of a $2200 tab, using his fame as a push to, "Pay the money tomorrow.”
YFN Lucci and Young Thug dropped jaws and bars on Friday (September 26), when both Atlanta rappers released new albums featuring each other—an unexpected move that ended a years-long feud and signaled a reset for the city’s Hip-Hop scene.
The dual releases—YFN Lucci‘s Already Legend and Young Thug‘s UY Scuti—landed on the same day. But it wasn’t just the timing that caught attention.
Both albums included surprise guest appearances from the former rivals, creating buzz across social media and Hip-Hop circles.
Lucci addressed the long-awaited reconciliation during an interview with Fly Guy DC on SiriusXM, confirming that the collaboration was intentional and aimed at shifting the tone in Atlanta’s rap community.
“First off, we been through a lot,” he began. “Everybody lost people; we lost people. Most important s###, we lost our time. We had to be away from our family. So, coming home, it’s like, damn, what the hell can a n#### do to bro? We gone’ keep doing that s### and end up back in jail or one of our homies dead or one of us dead? Or we gone’ fix this s### and make this s### look good for the A?”
He added, “F### it, let’s do one. Some people are going to be mad, some people are going to be happy. But who cares? We got to g###### deal with the outcome of this s###.”
The two rappers had been locked in a bitter feud for years, one that spilled into diss tracks and street tension, culminating in separate high-profile legal battles.
Young Thug pleaded guilty in October 2024 to gang, drug and firearm charges tied to the YSL RICO case. He received time served and 15 years probation, and is currently under house arrest with a restriction from entering metro Atlanta for a decade.
Young Thug, YFN Lucci – Whaddup Jesus
Lucci was sentenced to 10 years in prison and 10 years probation after pleading guilty in January 2024 to gang-related charges stemming from a 2020 drive-by shooting.
He was released on January 31, 2025, after receiving credit for time served and a recommendation for early parole.
YFN Lucci, Young Thug – Still Waiting
The decision to collaborate came after both artists returned from prison and reassessed what their feud had cost them—and what Atlanta’s Hip-Hop scene could gain from unity.
The rollout for the albums included light-hearted trolling between the two on social media. However, the message behind the music was serious. The features weren’t just for show. They were a deliberate move to steer Atlanta rap away from conflict and back toward creativity.
Young Thug and YFN Lucci shocked the Hip-Hop world Friday (September 26) by appearing on each other’s albums, signaling the end of a years-long feud that once split Atlanta’s rap scene down the middle.
The two rappers, who had been embroiled in a bitter rivalry for nearly a decade, dropped their respective projects — UY Scuti from Young Thug and Already Legend from YFN Lucci — on September 26.
But the real headline came from their unexpected features on each other’s albums, a move that insiders say was intentional and meant to close the chapter on their public conflict.
Lucci appears on “Whaddup Jesus,” a melodic track that touches on their shared past, with Thug nodding to old street tensions.
Meanwhile, Thug shows up on Lucci’s “Still Waiting” alongside 21 Savage, marking a moment many thought would never happen.
Young Thug & YFN Lucci Drop On The Same Day
The mutual features weren’t just symbolic — they were strategic. Sources close to both camps confirmed the collaboration was planned as a way to shift the narrative in Atlanta Hip-Hop, which has long been shaped by beefs and rivalries.
The rollout included some lighthearted trolling on social media, but behind the scenes, the move was serious and calculated.
UY Scuti marks Young Thug’s first full-length release since being released from jail in October 2024.
The 20-track album runs just over 74 minutes and includes appearances from Future, Cardi B, Ken Carson, T.I., Sexxy Red, Travis Scott, Lil Gotit, Mariah the Scientist and more.
Thug uses the project to reflect on his time behind bars, relationships, and regrets, especially on the single “Miss My Dogs.”
Lucci’s Already Legend is his first major project since returning home earlier in 2025.
The 21-track album spans 55 minutes and includes previously released singles like “Would You Care?” and “JAN. 31st (my truth).”
The fact that both rappers chose to feature each other on the same day, on albums that dropped simultaneously, is being viewed by many as a deliberate and public truce.
Bone Thugs-n-Harmony will receive a hometown salute during a celebration at the Rock & Roll Hall of Fame in Cleveland, where the third annual Music Keynote to the City will honor the legendary Hip-Hop group. The news comes two months after it was announced that the group would also get their own star on the Hollywood Walk of Fame sometime in 2026.
The Rock Hall tribute will take place Sunday (September 28) at 3:30 p.m. local time at the Rock Hall. Cleveland City Councilman Brian Kazy will present the ceremony, which will include a formal recognition of Bone Thugs-n-Harmony—Krayzie Bone, Layzie Bone, Bizzy Bone, Flesh ‘n Bone and Wish Bone—followed by a brief performance. Admission to the ceremony is free with RSVP, though museum entry is not included.
Bone Thugs-n-Harmony, formed in Cleveland in 1991, carved a lasting legacy in Hip-Hop with their melodic flows and rapid-fire delivery. Their breakout single, “Thuggish Ruggish Bone,” and chart-toppers like “Tha Crossroads” helped define the genre in the ’90s.
The group collaborated with their mentor Eazy-E, who signed them to Ruthless Records, Tupac Shakur and Notorious B.I.G., bridging coasts and styles in a way few others have.
The Rock Hall also unveiled a trio of Rihanna’s stage and video outfits now featured in its “Legends of Rock” exhibit. The collection includes the bustier worn in her “Rude Boy” music video, the bodysuit from the same shoot and the bustier she wore during her “Rehab” performance at the 2008 American Music Awards.
The Music Keynote to the City is part of the Rock Hall’s ongoing efforts to honor artists with deep ties to Cleveland and beyond. Thanks to KeyBank’s CLE*VIP program, Cleveland residents can visit the museum free of charge every day.
Looking ahead, the 2025 Rock & Roll Hall of Fame induction ceremony is set for next fall, with the official date and lineup of inductees still to be announced. The annual event, which celebrates artists across genres who have made lasting contributions to music, typically draws major names and performances. Last year’s ceremony featured appearances from Missy Elliott and Willie Nelson, among others, according to NBC News.
The Bone Thugs-n-Harmony celebration and Rihanna exhibit are both housed at the Rock & Roll Hall of Fame, located at 1100 Rock N Roll Blvd in Cleveland.
Wale is diving into the gritty past of his hometown with Silk, a television series spotlighting infamous D.C. hitman Wayne “Silk” Perry during the city’s deadliest years.
The Grammy-nominated rapper and Washington D.C. native is stepping behind the camera to executive produce the crime drama, which centers on Perry’s violent reign from 1989 to 1993—a time when the nation’s capital earned the grim title of “murder capital” of the United States.
“D.C. is more than just politics,” Wale said in a statement to The Hollywood Reporter. “We have a rich, Black history that’s inspired audiences around the world, and it’s time to tell more stories that are based here.”
The series will trace Perry’s rise as a feared enforcer for Harlem drug trafficker Alpo Martinez, who moved his cocaine operation into D.C. following the downfall of local kingpin Rayful Edmond. Perry’s reputation for carrying out executions with precision and ruthlessness made him one of the most feared men in the city’s underworld.
“This story is one of the last authentic stories in Black crime lore,” Wale’s manager Kazz Laidlaw said. “People have seen slivers in movies like Paid in Full and read conjecture online, but beneath the surface is an entire world that hasn’t been seen before.”
Perry, now known as Nkosi Shaka Zulu El, is serving five life sentences at ADX Florence, the federal supermax prison in Colorado. He was convicted in 1994 for a string of murders tied to Martinez’s drug empire. His conviction followed Martinez’s arrest and cooperation with federal prosecutors, which included testimony that helped seal Perry’s fate.
Among the victims were drug dealer Garrett Terrell and Evelyn Carter, a witness who had been prepared to testify.
Wale has secured a stake in Perry Industries, the D.C.-based company that holds Perry’s life rights. He will produce the series alongside Laidlaw and C. Edwards of Perry Industries.
Set against the backdrop of early 1990s Washington, the show will weave in the city’s chaotic political climate, high crime rates, and the pulse of its go-go music scene. The same years saw the Washington Redskins winning Super Bowls, Mayor Marion Barry under FBI investigation, and Congress passing the 1994 crime bill.
“That era in D.C. was internationally famous,” Wale said. “The Redskins were winning Super Bowls, the mayor was indicted by the FBI, Joe Biden passed the crime bill, and D.C. had 482 homicides — the highest in the country.”
Wale, who has previously acted in Ambulance and American Gods, has consistently infused his music with references to his D.C. roots. With Silk, he’s aiming to bring an unfiltered look at a city that’s often reduced to political headlines.
The project is still in early development, and no network or streaming platform has been attached.
The series joins a growing wave of crime dramas like Power, Snowfall and Narcos that explore the drug-fueled chaos of the 1980s and 1990s.
Diddy has been ordered to explain why he needs fancy threads instead of jail-issued garments when he appears in federal court for sentencing on October 3, 2025, after a judge rejected his earlier attempt to wear civilian clothes for a separate hearing this week.
U.S. District Judge Arun Subramanian denied a motion from Diddy’s legal team to allow him to wear non-prison attire at his September 25 court appearance, saying the defense failed to provide a valid reason for the request.
The judge left the door open for the October sentencing but made it clear he expects a more detailed explanation before signing off.
Diddy’s attorneys submitted a scaled-back wardrobe request, asking the court to approve two button-down shirts, two pairs of pants, two sweaters and one pair of shoes without laces.
The October hearing will determine Diddy’s sentence after he was convicted on two counts of transporting individuals across state lines for prostitution.
The charges stem from violations of the Mann Act, a federal law that prohibits transporting people for illegal sexual activity.
The judge’s demand for justification reflects how federal courts handle inmate appearances, especially in high-profile cases involving celebrities like Diddy.
The court typically allows civilian clothing during jury trials to avoid prejudicing jurors, but the same leniency doesn’t always apply during sentencing.
Meanwhile, Diddy’s legal team is also pushing to overturn his conviction or secure a new trial.
They also argue Diddy never transported anyone himself and did not receive money from the encounters.
Prosecutors counter that Combs directed and sometimes participated in the acts, secretly recorded them without consent and met the legal threshold for trafficking.
Judge Subramanian heard arguments on the motion to acquit or retry the case on September 25. As of presstime, he has not yet ruled on whether the conviction will stand or if a new trial will be granted.
Diddy has been held in custody since September 2024. His bail requests were denied due to concerns about potential violence and witness tampering.
Nas landed a major win in his hometown as a $5.5 billion casino expansion project he backs in Queens received unanimous approval from a local advisory board, clearing a key hurdle in the race for one of New York’s coveted downstate casino licenses.
“Queens get the money,” one voting member said, adding a jab at JAY-Z: “Sorry, JAY-Z. We win again! I just had to rub that in.”
Richards’ comment referenced the recent collapse of JAY-Z’s $5.4 billion Times Square casino proposal, which was rejected in a 4-2 vote by Manhattan’s Community Advisory Committee on September 17.
It was also a nod to the pair’s infamous feud, which resulted in a pair of classic diss tracks: “Takeover” by JAY-Z and Nas’ reply, “Ether.”
Nas, who grew up in the Queensbridge Houses, partnered with Resorts World to help shape the development’s community outreach and long-term impact.
The plan includes 3,000 units of workforce housing, over 50 acres of new parkland and upgraded transit connections to JFK Airport and Manhattan. He’s also helping lead a $50 million commitment to launch the Genting Innovation Campus, a wellness center and a STEAM institute aimed at youth in Southeast Queens.
If licensed, the casino would double its gaming revenue from $1 billion to an estimated $2.2 billion by 2027. The expansion is expected to create 5,000 permanent jobs and an additional 5,000 jobs during construction.
