Kneecap’s legal battle ended Wednesday when London’s High Court rejected prosecutors’ attempt to reinstate a terrorism charge against band member Mo Chara.
The Irish Hip-Hop trio celebrated the ruling as a major victory against what they describe as political persecution disguised as law enforcement action.
The case centered on a November 2024 performance where Mo Chara allegedly displayed a Hezbollah flag while saying “Up Hamas, up Hezbollah.”
Prosecutors charged him under terrorism statutes, claiming the flag display showed support for a banned militant organization.
The charge was initially brought without proper authorization from the Director of Public Prosecutions and the Attorney General, according to court documents.
A magistrate court threw out the charge in September 2025, ruling it had been instituted unlawfully.
The Crown Prosecution Service appealed that decision, but the High Court sided with the lower court’s reasoning on Wednesday. This means the case cannot proceed any further.
In a statement following the ruling, Mo Chara said: “This entire process was never about me, never about any threat to the public and never about ‘terrorism’. It was always about Palestine and about what happens if you dare to speak up.”
Kneecap has consistently maintained that the flag was thrown onto the stage during their performance, not deliberately displayed by band members.
The group released a statement saying they “do not, and have never, supported Hamas or Hezbollah.”
Instead, the band argues their activism centers on Palestinian rights and opposition to what they view as Israeli military actions in Gaza.
The band’s manager stated the group was being targeted by a “concerted campaign” designed to silence artists who speak out about geopolitical issues.
Kneecap has become increasingly vocal about Palestinian causes throughout their career.
The trio performed at Coachella in 2025, where crowds chanted “Free Palestine” while waving Palestinian flags.
They’ve also faced censorship attempts in multiple countries, including Canada, which the band claims was retaliation for their pro-Palestine stance.
Ye took a loss after a jury reached its verdict in his $1 million lawsuit with contractor Tony Saxon over the renovation of his former $57 million Malibu mansion, but it was far less than his accuser wanted.
The verdict was read on Wednesday morning in downtown Los Angeles, and it did not end well for Kanye as he was ordered to pay $140,000, a fraction of the money Saxon hoped to receive.
Saxon claims he was hired as a project manager but only received payment once before being fired after seven weeks of work.
During trial testimony, Ye admitted asking Saxon to convert a staircase into a slide as part of his vision to transform the beachfront property into an adult playground. According to court records, Ye’s renovation plans constantly shifted, creating chaos on the job site.
Saxon alleged he suffered severe back and neck injuries while performing demolition and management work, and then was terminated after raising safety concerns.
The handyman testified that Kanye once loaded him into a Lamborghini for a late-night trip to Home Depot, but the rapper got distracted by a flower display and never purchased the tools.
They ended up at McDonald’s instead, ordering breakfast while the renovation project stalled. Saxon claims he slept on the property using only a sleeping bag during his employment.
Ye testified that he had vague memories of hiring Saxon and couldn’t recall who officially brought him on board. When asked if he was CEO of Yeezy Construction, Ye responded, “I’m not sure.”
His wife, Bianca Censori, testified that she worked on the project before Saxon arrived but had minimal involvement with the contractor.
The mansion saga began when Ye purchased the property for $57.3 million in 2021, then gutted it completely during renovations.
He eventually sold the stripped concrete shell for just $21 million in September 2024, taking a devastating $36 million loss. The new owner, Belwood Investments, purchased the property with plans to restore it.
However, the mansion’s troubles continued into 2026. Belwood Investments defaulted on an $18.5 million mortgage, owing over $814,000 in missed payments as of November 2025.
The foreclosure process began as the company attempted this unconventional pivot.
The jury reached its verdict after hearing testimony from both sides, with Saxon seeking compensation for unpaid wages, unsafe conditions, and wrongful termination.
King Harris is in a strange position, and he knows it.
He is the son of T.I. and Tiny, born into one of Hip-Hop’s most recognizable families, raised under a spotlight he never asked for and judged before he ever really got a chance to speak for himself. For years, people have looked at King like he was either a punchline, a problem child or a privileged kid with something to prove. But lately, the conversation has shifted. Fatherhood hit last year and everything changed. More recently, he’s found himself in the midst of an insanely disrespectful beef with 50 Cent. The music started landing differently, especially when he’s with the sh*ts. And suddenly, King does not sound like a child of fame. He sounds more like somebody trying to fight his way out of a box.
That is what makes this moment interesting.
In this conversation with Chuck “Jigsaw” Creekmur and SlopsShotYa, King opens up about becoming a father, dealing with social media warfare, carrying the Harris name, and trying to build something real with his music, his label and his people. He is still raw, still unfiltered, still a little dangerous around the edges. But there is something else there now too: focus.
And whether people want to admit it or not, King Harris is growing into his own right in front of everybody’s face. And yet the the 2-year old’s old self is ready too.
King Harris Says Fatherhood Put Him On Fast Forward
AllHipHop: Last time you were here, I did not get to interview you. Now you have had a kid since then. Fatherhood is a whole different game. How did you change?
King Harris: I was already looking to change for the better. Fatherhood just made it a little faster than I could do myself. Everybody should be trying to grow. You do not want to stay the same forever. I just had to get the BS off of me. Fatherhood sped that process up.
That answer alone says a lot. King is not acting like the baby made him who he is. He is saying the growth was already in motion. The child just made it real.
AllHipHop: What is your favorite thing about being a father?
King Harris: Seeing the new stuff my son do. Watching him grow, his personality develop.
His son just turned one, which means life right now is full of Bluey, Ms. Rachel and trying to adjust to a human being who does not care about your fame, your family name or your problems. That kind of reality check will humble anybody.
And King seems to welcome it.
T.I. Wants To Step Back? King Says His Light Is Coming Anyway
One of the more interesting parts of the conversation comes when Chuck brings up T.I. saying he might want to fall back and not take up all the space.
That is a real question when your father is Clifford Harris. The man is a rap star, television personality, businessman and cultural force. Even his retirement speeches become headlines.
But King does not sound bitter about any of it.
AllHipHop: Do you feel like he is taking up the light?
King Harris: No. I am not that type of guy. I do not feel like nobody’s taking nothing from me. I just work to shine harder. My light will come one day.
That is not the voice of somebody looking for sympathy. That is somebody trying to outwork the narrative.
And he has a strategy. King says he put real time into one EP, watched it take seven months to catch, then changed his whole method. Instead of waiting, he started flooding the field.
King Harris: Once it caught, I just started dropping an EP every month. Hopefully one catch six months, one catch five months, one catch four months and it just keep the gap closing.
That is not luck. That is a grind mentality.
About That Internet Chaos? King Says He Was Not Trolling
Let us be real. A lot of people did not suddenly start talking about King Harris because of his streaming numbers. They started talking because the internet got noisy, disrespect got exchanged and King looked more than willing to jump into the mud.
But according to him, people got one thing wrong.
AllHipHop: Did you set out to turn the troll game up?
King Harris: It went overdose troll. My intention was not to troll. I was in the moment. I was being dead serious. I was not really trolling. But since another person’s trolling, if that is how we are going to handle it, I might as well get my joke off.
That right there is classic internet war logic. If you are going to turn me into content, I am going to become the funniest person in the room.
Still, he insists this is not really his lane.
King Harris: I am really not like an internet go back and forth guy. I have moments like that, but generally I am not that guy. I try not to have those moments. I have gotten better at it.
But then he admits what really happened. He had been letting too much slide.
King Harris: I done already let so much people slide being the bigger person. Since the bigger person is being a little person, I was like, all right, let me go ahead and release what I been holding in.
That sounds less like clout-chasing and more like pressure finally blowing the lid off.
Tiny Did Not Like It. King’s Response? “War Is Not Pretty”
When asked what his mother said about the online mess, King did not duck.
King Harris: She did not like it at all. But I told her war is not pretty.
That is one of the coldest lines in the whole interview.
He knows his mother did not approve. He knows it was ugly. He knows how it looked. He just was not in the mood to be stopped.
Now, according to him, things have calmed down.
King Harris: We in peace.
For now.
King Harris Says People Think He Does Not Deserve Features
This might be the most revealing part of the whole interview because it gets to the heart of being a rap legacy kid.
People assume the doors are open.
King says that is not really how it works.
King Harris: I like to work with who want to work with me. A lot of people do not think I deserve to be worked with. A lot of people going to feel like, bro, you T.I. son, you got to pay. I just make music genuinely. Anybody I made music with, it has been genuinely.
There it is. The hidden tax of nepotism. People think the last name is the cheat code, but sometimes it becomes the reason people refuse to give you credit.
King seems aware of that. He also seems done begging.
OG YN Is More Than A Title. It Is How He Sees Himself
King’s new project is called OG YN, and the meaning is probably the clearest explanation of how he views himself right now.
King Harris: It is young dude that kind of move with an OG mind state. I have been young and on young stuff, but I always did it wiser than the young ones. I always thought more and kind of thought about the results. A lot of people do not think. They just crash out. OG YN is people that move with discernment.
That is a grown answer.
Not perfect. Not polished. But grown.
And the music sounds like it is stretching too. He says one upcoming project, King of Hearts, is for the ladies and more melodic. He is also working with artists like K Carbon and says he may have a record with T.I. in the stash.
He is thinking rollout now, not just reaction.
Social Media Did Not Break Him. It Made Him Harder
A lot of celebrity kids grow up online and get swallowed by it. King says the internet did the opposite to him.
King Harris: It just made me have tough skin. Words, none of that. I heard all the jokes. Nothing really get to me. You going to have to either get to my family or my pocket. Ain’t nothing else really get to me.
Then he drops the most chaotic confession imaginable.
AllHipHop: Do you read the comments?
King Harris: Yeah, I love reading the comments. If I post something right now, I will be in the comments refreshing them.
That is probably not therapist-approved, but it is honest.
He reads the DMs too. Sometimes he even starts typing back before stopping himself. Which tells you everything you need to know about how close the line is between discipline and disaster.
The Biggest Misconception About King Harris?
Chuck asks him straight up what people get wrong about him.
King’s answer is quick.
King Harris: They think I’m stupid.
That one lands because it feels personal.
This is the same young man who shocked people by finishing school early. The same one people reduced to memes and outbursts. The same one who probably understands exactly how he is perceived and has been watching it happen in real time.
Maybe that is why he is so locked in on proving himself through consistency, not speeches.
Family Matters More Than The Internet Thinks
For all the chaos around his name, one of the calmer moments in the interview comes when Chuck asks about his relationship status.
King Harris: I’m with my baby mother.
Simple. Direct. No ducking.
There is also a lot of warmth when he talks about family. He says he and his brother used to fight when they were younger, but got closer as they got older. He talks about putting his people on through his Wild Beast label. He talks about wanting to open doors for the people who came up with him.
That does not sound like a young man trying to self-destruct. That sounds like somebody trying to build while everybody watches his every wrong move.
Final Word
King Harris is still a work in progress. That much is obvious.
He is still impulsive. Still a little reckless. Still more than capable of saying something that lights up the internet for all the wrong reasons. But what also came through in this interview is that he is not the same young boy people got used to clowning. Fatherhood changed the tempo. Music gave him structure. And the pressure of being T.I.’s son seems to have sharpened, not softened, his ambition.
He may not be fully polished yet, but polished is overrated anyway.
Right now, King Harris is more interesting than polished.
He is trying to become a man in public, while carrying a famous name, raising a child and proving he belongs in Hip-Hop on his own terms.
That kind of story gets messy.
But messy stories are usually the ones worth reading.
One month after Lil Poppa’s death on February 18, 2026, supporters are urging city officials to recognize March 18 as an official day to celebrate his legacy.
The campaign reflects the profound impact the 25-year-old artist maintained within Jacksonville’s East Side, where his music resonated with thousands of listeners navigating similar struggles.
Family members, including cousin Irma Mitchell, have been vocal about the initiative and have requested that city leadership formalize the recognition with an official proclamation.
The movement gained momentum following Lil Poppa’s funeral service on March 7 at Shiloh Metropolitan Baptist Church, where hundreds gathered to pay respects.
The turnout demonstrated the breadth of his influence across generations and neighborhoods.
Beyond honoring his artistic contributions, the campaign emphasizes mental health awareness, a critical issue that resonates throughout the community.
Supporters view the declaration as an opportunity to spark conversations about suicide prevention and emotional wellness among young people.
City officials have begun working on the proclamation, signaling receptiveness to the community’s request.
The timing of March 18 holds symbolic weight, marking exactly one month after his passing.
This date provides an annual moment for reflection and remembrance, allowing the city to acknowledge both his artistic achievements and the broader mental health conversation his story has catalyzed.
K’naan faced his accuser in Quebec City court on Tuesday when his sexual assault trial commenced with testimony describing how the Grammy-winning rapper transformed from charming to predatory during a 2010 hotel encounter.
The alleged victim testified she met K’naan online and arranged to see him during his performance.
She described him as “absolutely charming” initially, but said he became “enormously angry” when she mentioned not having a condom.
According to CBC News, she woke during the night to find him having intercourse with her without consent.
“How could an extraordinary man become a monster and use me like that?” she testified.
She maintained contact with K’naan after that night, texting him the next day: “I had a beautiful time meeting you, but I have not been sleeping well about the non-condom thing.”
They met again two weeks later at Montreal’s Osheaga festival, where she said she tried to repair what had happened.
In December 2013, K’naan emailed her: “Wonder how you’re doing. I know our interaction could have been more beautiful. I certainly have done a bit of growing up…not too much.” She responded sharply, telling him to take care. When he reached out again asking if she’d visit him in New York, she fired back: “You think you can just reach out to me like that? After how you acted? Come on now. Take care.”
He replied: “If after all these years you can bear a grudge you’re absolutely not someone I would want to reach out to.” She then wrote: “Right. Because you have absolutely no clue of what you did. I know that. Maybe one day I will fill you in on your actions.”
The woman said she filed a complaint with Montreal police in May 2022, over a decade after the alleged incident.
The trial is expected to last four or five days, with cross-examination of the alleged victim scheduled for Wednesday morning.
If convicted of sexual assault in Canada, Warsame faces a maximum prison sentence of 10 years.
K’naan built his career on socially conscious Hip-Hop, earning a Grammy Award for his song “Refugee” and international recognition for the 2009 anthem Wavin’ Flag.
The track became a global phenomenon, used as the official song for the 2010 FIFA World Cup.
Before his legal troubles, he transitioned into filmmaking, winning the FIPRESCI Prize at film festivals and establishing himself as a respected creative voice addressing social change through art.
Eminem lost his maternal grandmother, Betty, on Tuesday at her Missouri home after complications from breast cancer took her life at age 87.
The rapper was not present when she passed away, according to sources with direct knowledge of the family situation.
Betty was the mother of Eminem’s mom, Debbie Nelson, who died just three months earlier in December 2024 following a battle with advanced lung cancer at age 69.
The loss marks another devastating chapter in a family marked by profound pain and estrangement that has defined much of the artist’s career and personal life.
The relationship between Eminem and his grandmother was complicated.
In an August 2000 interview with London’s Mirror newspaper, Betty expressed her heartbreak over the growing distance between them.
Betty reflected on the boy she once knew, saying, “When I hear his vile disgusting lyrics I can’t believe this is my Marshall, the same boy who used to come and sit on my lap.”
A few years later, Em’s grandmother came to his defense when he was being criticized by media over this rhymes.
“He’s no worse than the rest of them. I don’t like some of the lyrics myself, but this is what the people want to hear,” she said. “If they’re going to criticise my grandson, criticise the rest of them. What about Limp Bizkit? And Ozzy Osbourne, who used to eat live bats on stage.
“They seem to be singling my grandson out. They’re picking on him.”
“He’s my first grandchild, I was there then he opened his eyes, I love that boy. I want to stop this war between us because life’s too short – I want him to hang in there, because everything’s going to be okay.”
Eminem’s father, Marshall Bruce Mathers Jr., died in June 2019 from a heart attack at his home near Fort Wayne, Indiana, at age 67.
The rapper had virtually no relationship with his father, who abandoned the family when Eminem was just an infant. This absence left deep scars that the artist channeled into his lyrics throughout his career.
Jay-Z expanded his Roc Nation sports agency roster by signing three Manchester United academy prospects to his growing Class of 2026 initiative.
The move represents another calculated power play in the soccer world, as the Hip-Hop mogul continues to build influence beyond music and entertainment.
Jaume Camacho, a Spanish midfielder with technical precision, Silva Mexes, a Welsh winger clocking explosive speed and Camron Mpofu, a Scottish striker known for physical presence and finishing ability, now represent the latest additions to Roc Nation’s football portfolio.
Roc Nation Sports, established in 2008, has methodically expanded its soccer operations across Europe over recent years.
The agency previously represented major athletes in basketball and baseball, including Kevin Durant and CC Sabathia, before pivoting toward football representation.
The Class of 2026 roster brings together five young English academy talents, with the Manchester United trio forming a significant portion of this emerging talent pool.
Camacho made his Under-18 debut for United in December and has impressed scouts with his composure on the ball and midfield vision.
Mexes transferred to United in 2024 and has developed a reputation for direct attacking play and a willingness to challenge defenders.
Mpofu arrived from Reading and quickly established himself as a physical presence in youth-level competitions.
However, Jay-Z’s soccer ambitions face some legal complications.
Roc Nation recently became entangled in a representation dispute over 19-year-old RB Leipzig forward Yan Diomande, a rising star attracting interest from Liverpool, Tottenham, and Manchester United.
Maxidel Management claims it renewed its contract with Diomande on January 1 and maintains representation rights through 2027.
Maxidel Management, operated by former Leeds United winger Max Gradel, asserts it received approval in Germany, Spain, and England, confirming representation through 2027.
Roc Nation maintains that it signed Diomande legally but has declined to comment publicly on specifics.
The legal battle threatens to derail Diomande’s potential summer transfer to a Premier League club and demonstrates the complexities of international sports representation.
Rick Ross has announced a Port Of Miami anniversary orchestra tour in Miami to celebrate 20 years of his debut album and expand his legacy into a black tie concert experience.
The Miami-bred rapper revealed Wednesday March 11 that he will headline the Port of Miami 20th Anniversary Black-Tie Experience Orchestra Tour, a national run that pairs his catalog with the Renaissance Orchestra and the Sainted Trap Choir. The concept transforms his street anthems into a formal concert setting while marking a major milestone for the 2006 release that introduced him to the mainstream.
The tour begins May 29 in his hometown at the James L. Knight Center before heading to major theaters in Atlanta, Houston, New York, Philadelphia, Chicago, Detroit and Washington DC among others.
Ross framed the production as more than a victory lap.
“Port of Miami was the foundation of an empire, the blueprint to the biggest boss,” says Ross of the upcoming tour. “Twenty years later, we aren’t just celebrating an album; we are elevating the culture. Bringing this music to the stage with a full orchestra and choir in a black-tie setting is about cementing the legacy. It’s luxury, it’s historic, and it’s a milestone we are going to celebrate at the absolute highest level.”
Released in 2006, Port of Miami debuted at No. 1 on the Billboard 200 and helped establish Ross as a dominant voice during Hip-Hop’s luxury rap era. Songs like “Hustlin'” and “Push It” helped shape his persona as a larger than life boss figure while later records like “B.M.F. (Blowin’ Money Fast)” expanded his reach across the genre.
Organizers say the new shows will feature orchestral arrangements and choral backing meant to reinterpret those records in a cinematic format. The shows will also feature a formal dress theme with attendees encouraged to wear black tie fashion as part of the experience.
The concerts will also include VIP lounges premium seating commemorative merchandise and a Best Dressed of the Night social media campaign tied to the #POM20 hashtag.
Pre-sale tickets opened March 11 and run through March 12 before general ticket sales begin March 13. Organizers say seating will be limited due to the theater based format.
The announcement adds another chapter to Ross’ evolution from rapper to businessman. Beyond music he has built Maybach Music Group into a recognizable brand while expanding into real estate hospitality and automotive ventures.
His annual Rick Ross Car and Bike Show at his Fayetteville Georgia estate has also become a destination event for car collectors and Hip-Hop observers.
Kanye West’s upcoming Los Angeles concert at SoFi Stadium on April 3 has ignited serious backlash from the Jewish community.
Sam Yebri, a politician and Jewish advocate, expressed outrage over the venue’s decision to host the rapper’s first LA show in five years.
Yebri told the California Post that “Sofi hosting a Ye concert after his years of hate-filled vitriol and Nazi-inspired music spits in the face of every Jewish person in Los Angeles.”
The controversy centers on West’s long history of antisemitic statements and actions.
In October 2022, he posted that he was “going death con 3 on Jewish people” and repeatedly claimed Jewish executives controlled him.
He was named StopAntisemitism’s 2022 Antisemite of the Year.
West also created an antisemitic song praising Hitler, sold merchandise featuring swastikas, and made hundreds of hateful tweets targeting Jewish people.
In January 2026, West ran a full-page advertisement in The Wall Street Journal, attempting to address his past behavior.
He stated, “I am not a Nazi or an antisemite. I love Jewish people.” The ad claimed his bipolar disorder caused his destructive actions.
West also met with Rabbi Yoshiyahu Yosef Pinto in November 2025 to apologize directly. During that meeting, he blamed his bipolar disorder for his antisemitic behavior.
Despite these efforts, many in the Jewish community remain unconvinced.
Yebri stated, “Unless Ye is planning to use his concert to apologize, heal wounds, and disavow antisemitism, everyone who attends is supporting and normalizing anti-Jewish racism.”
The SoFi Stadium show demonstrates West’s continued drawing power despite the controversy. Nearly a million people queued for tickets on March 10, 2026, with prices starting at $343.
West has booked an extensive international tour including stops in Istanbul on May 30, Arnhem, Netherlands, on June 6, South Korea from April 9 to 12, and Tokyo on April 17 and 18, 2026.
First of all, I am glad she is ok. Safe and encouraged.
Egypt Criss is not hiding after that tough knockout loss, she is stepping right back into the spotlight with something to prove. The daughter of Hip-Hop royalty from Naughty By Nature and Salt-N-Pepa took to social media to address fans, critics and anyone questioning her decision to step into the boxing ring after her difficult debut.
If you saw the fight, you already know it ended in dramatic fashion. The second-round stoppage against Olympic-level striker Jade Jones had people talking, debating and in some cases pointing fingers. But Egypt made it clear she is not here for excuses or blame games.
She seemed to address her father, Treach, who blasted her husband. He and some other critics suggested she was improperly guided in the fight. Egypt shut that down quickly and took full ownership of the outcome.
“First of all, I’m a grown woman that makes my own decisions. No one no one directs me. No one brainwashes me. No one does anything that makes me no one makes me do anything I don’t want to do.”
She also defended her team and even praised the sportsmanship between her and Jones after the fight. I am not sure what role her man took in the fight, but he was there in the video training for something himself
“So regardless, I’m happy that I did. I’m so proud of myself and no one’s going to take nothing away from me cuz I’m just going to come in even hotter and ready.”
Instead, she spoke directly to supporters.
“That’s right. That’s right. I just wanted to let y’all know, thank you to all my true supporters out there that really, you know, checked on me, wanted to make sure I was good. Your girl’s always great. This just fueled me 15 times more to come back even harder cuz you already know this ain’t it for me.”
She made it clear that simply stepping into the ring was a personal victory.
“I got in there, got my feet wet, I went out on my shield, and that’s all that really matters. Y’all can’t say I don’t got heart.”
Perhaps the biggest takeaway is that Egypt is not walking away from boxing. If anything, she sounds more motivated.
“Nothing got me discouraged. It just got me fueled.”
Whether she returns to the ring soon or takes more time to develop remains to be seen. One thing is clear though. Egypt Criss is not letting one loss define her story.
Here is the whole fight since she said nobody saw what happened before or after.
Lil’ Kim locked down headline slots at two major Australian festivals this year, proving that over three decades into her career, the pioneering rapper remains in serious demand.
The 51-year-old will perform at Sydney’s Carriageworks for Vivid and Melbourne’s Festival Hall for Rising, marking her first Australian shows in fifteen years.
Both festivals announced their 2026 lineups on Wednesday, with the Brooklyn legend celebrating her landmark albums Hard Core and The Notorious KIM. Hard Core turns thirty this year, a milestone that underscores her lasting influence on generations of female rappers who followed her path.
Rising’s artistic director, Hannah Fox, praised Kim’s impact on the Hip-Hop landscape.
“Hard Core and Notorious KIM really did carve a path – there are so many women rappers and femcees now who absolutely followed in her tiny footsteps, her funked-up, sex-positive vibe,” Fox said.
She continued, “No one was calling her a feminist icon in the 90s. I don’t know if we’d have got [tracks like WAP] without her. She really is a trailblazer.”
The performances represent a significant moment for Kim, who broke out as a member of Junior MAFIA under the mentorship of the Notorious B.I.G.
Her solo career launched with Hard Core in 1996, an album that fundamentally reshaped how women operated within Hip-Hop.
The record’s success established her as a force who refused to play by industry rules, instead creating her own lane with confidence and artistry.
According to The Guardian, these Australian dates come as part of a broader recognition of her enduring relevance in music.
Festival organizers specifically selected her to headline because her work continues resonating with audiences worldwide, proving that authentic artistry transcends time and geography.
The Rising festival runs from May 27 through June 8, while Vivid Sydney operates during the same period, giving Australian audiences a rare opportunity to witness the Queen Bee perform live.
Ronda Rousey has always been synonymous with the UFC, but as she gears up for a long-awaited matchup with fellow MMA trailblazer Gina Carano on May 16, she’s making it clear — the organization she once called home isn’t the same one she left.
At a press event Tuesday promoting the Netflix fight, the former bantamweight champion recounted how she tried to hold the bout under the UFC banner. She approached Dana White with the idea first, out of loyalty as much as business sense.
“I told him I could promote the fight myself, but I’d rather fight for him than against him,” Rousey said. “At first, we thought we’d wrap it into the UFC’s last pay-per-view show around New Year’s, but when Gina needed extra time to get ready, everything shifted — and honestly, it worked out for the better.”
Rousey said the UFC’s new direction under its multibillion-dollar streaming deal with Paramount has changed the company’s priorities. “It’s not about putting on the best fights anymore,” she said. “It’s about shareholders and quarterly profits. The UFC I knew doesn’t really exist.”
The deal, valued at $7.7 billion, moved the promotion away from its traditional pay-per-view model — and sparked debate over how fighters are compensated. Rousey, 39, said she doesn’t blame White for the shift, crediting him as one of the few still looking out for fighters’ interests.
“When they couldn’t pay me a fair deal under the new model, Dana told me to go do my own thing,” she said. “He wanted me to win — even if that meant doing it somewhere else. That’s what real mentorship looks like.”
According to Rousey, even White has grown frustrated with some of the UFC’s recent moves — like June’s much-hyped “White House” card. “He knows that one didn’t live up to expectations,” she said. “He’s not shy about saying so either.”
Rousey believes those missteps point to a deeper problem: a business model that’s squeezing fighters while chasing short-term corporate gains. She argued that some of today’s athletes are paid so little they can’t sustain their careers.
“This is a company worth billions,” she said. “There’s no reason fighters should be struggling to pay their bills while executives cash out. That’s not how you grow a sport — that’s how you kill one.”
Her comments echo a growing sentiment among top fighters, including Jon Jones, who recently asked to be released from his UFC contract after missing out on a high-profile spot on the White House card.
Once seen as the sport’s ultimate destination, Rousey now sees the UFC as a place forcing its best talent to look elsewhere — whether to boxing, streaming promotions, or independent ventures.
“For me, this fight with Gina isn’t just about coming back,” she said. “It’s about proving there are other ways to build this sport — and that fighters don’t have to wait for permission to do it.”
Tekashi 6ix9ine saw another suspect land behind bars months after masked gunmen invaded his Wellington home and held his mother hostage during a robbery.
Miguel Candelario Garcia, 19, got arrested after deputies connected him to the November 16, 2025 home invasion that targeted the rapper’s residence in South Florida.
The original crew included 18-year-old Sergio Andrade and 20-year-old Pedro Rodriguez, who planned the whole operation.
Garcia came into the picture later when they recruited him to join the heist.
According to CBS12 reporting, investigators found text messages between Andrade and Rodriguez discussing the plan and whether Garcia could handle his role in the robbery.
When detectives searched Rodriguez’s apartment, they recovered a bin loaded with stolen luxury items.
The haul included a pink Chanel purse, a black Dolce and Gabbana purse, and a Louis Vuitton multi-Pochette that belonged to Hernandez’s girlfriend.
Investigators also found a Glock 19 9mm pistol with an extended magazine that was stolen from West Palm Beach back in 2022. That same gun appeared in surveillance footage from the robbery.
Ring camera footage and witness interviews helped deputies identify all three suspects involved in the invasion.
On December 30, a detective met with Rodriguez’s mother, who confirmed she recognized all three men from the video evidence.
An acquaintance also identified the suspects after being interviewed by authorities.
Garcia now faces charges including home invasion robbery with a firearm, false imprisonment, and grand theft of between $20,000 and $100,000 dollars.
The charges reflect the serious nature of the crime and the violence involved when the suspects ambushed Hernandez’s mother as she entered through the garage.
Tekashi 6ix9ine turned himself in to Brooklyn’s Metropolitan Detention Center on January 6, 2026, to serve a 90-day sentence for violating his supervised release terms.
He is expected to be sprung from the pokey in April 2026 with one year of supervised release remaining after his discharge.
Hip-Hop’s earliest days were documented on cardboard, Xerox paper and magic-marker ink long before anyone imagined the culture would grow into a global billion-dollar industry. The colorful flyers that once promoted Bronx park jams, block parties and DJ battles are now considered foundational artifacts of the culture. That history is now stepping into the spotlight through a new auction centered on the personal archive of pioneering MC Easy A.D., a founding member of the legendary Cold Crush Brothers.
The auction is being presented through the HipHopGrails platform, an initiative created by figures deeply rooted in the culture, including Pete Niceof 3rd Bass fame and media/tech veteran Ed Young, a longtime executive associated with The Source magazine and an advocate for Hip-Hop preservation through museum initiatives and archival projects. Together, they are helping bring rare artifacts to collectors and institutions while highlighting the historical importance of Hip-Hop memorabilia.
At the center of the auction is Easy A.D.’s decades-long effort to preserve the culture’s earliest physical history. Beginning in the South Bronx during Hip-Hop’s formative years, he collected flyers, handwritten rhyme sheets, posters, photographs and recordings that documented the rise of DJ and MC culture. Now, many of those pieces are being offered publicly for the first time, giving fans, collectors and cultural institutions the unique opportunity to own authentic pieces of Hip-Hop history.
AllHipHop: General thoughts on this auction with Easy A.D.?
Ed Young: Our first auction was the 50 Years of Hip Hop Flyers auction in 2023, which we did to coincide with the 50 Years of Hip Hop celebrations that took place throughout that year. This Easy A.D. auction marks our launch into a regular cycle of auctions that will bring storied collections and artwork that people have heard about over the years but haven’t actually seen come to market until now.
AllHipHop: Explain the idea of “archiving.”
Pete Nice: The process of archiving Hip Hop artifacts was first brought to fruition by A.D. at the Schomburg Center in 1999.
He preserved and organized the documentary evidence of Hip-Hop culture while protecting it at the same time. By utilizing museum standards for protecting fragile historical materials, he ensured the collection would be preserved and protected from further deterioration.
AllHipHop: What made you start this with Easy A.D.?
Ed Young: Easy A.D. is a colossus in the culture. He first emerged as a co-founder MC in The Legendary Cold Crush Brothers in 1979, and then became one of the defining forces of the scene alongside lyrical maestros like Tony Tone, Grandmaster Caz, Jerry D. Lewis, Almighty Kay Gee and Charlie Chase.
From the seed form of Hip Hop on Sedgwick Avenue in the Boogie Down Bronx to stages across the world, the Easy A.D. collection traces the evolution of the genre into a global phenomenon.
Beyond the stage and the battle, A.D. has devoted decades to education and preservation. Beginning as a student in the South Bronx, he started collecting and safeguarding the artifacts of a culture in formation. Flyers, manuscripts, tickets, photographs, posters, stage wear, recordings and cassette tapes were all preserved long before “archiving” became commonplace in Hip Hop.
A.D. describes this work as part of his long-running preservation effort called “Archiving Hip Hop History.” Under that banner, he has presented talks and exhibitions at institutions including the Schomburg Center for Research in Black Culture, the GRAMMY Museum, and major museum industry gatherings like the American Alliance of Museums and Expo 2025. He’s also taken the message to colleges and universities across the United States.
As the co-author of the I Am Hip-Hop book series, Easy A.D. writes coming-of-age stories from across Hip Hop’s elements for the next generation. The books connect the culture’s past to its future.
AllHipHop: Why launch this through the HipHopGrails platform?
Ed Young: The Hip Hop Grails team came together to elevate the value of Hip-Hop art, memorabilia and artifacts to the levels these pieces deserve.
The only proper way to do that is to have a platform owned by individuals from the culture itself. The team includes Paradise Gray of X-Clan, Pete Nice of 3rd Bass, myself from The Source, and others from the worlds of business who were raised in the culture.
People talk all the time about how unfair the Hip-Hop business has been to artists and creatives over the years. This platform gives them a chance to get real value for the things they created.
AllHipHop: What’s the value of these flyers and what is their significance?
Pete Nice: In one sense, the flyers are priceless. They represent the foundational documents of the culture.
Because of DJs and MCs doing their thing every weekend from the late ’70s through the early ’80s, Hip Hop grew into the billion-dollar industry it is today. These flyers represent a more authentic time in Hip Hop before it was exploited by the record industry and the media.
Easy A.D. understood that what he and the Cold Crush were doing was historically important, so he held on to these relics to preserve those memories.
The flyers are rare and very valuable in the collectibles market. Sales at Sotheby’s and Christie’s have already proven that. Individual flyers can sell for a few hundred dollars to a few thousand dollars depending on the significance of the performance and the artist who created it.
AllHipHop: Do buyers receive information about the collection? Do they get to meet Easy A.D.?
Pete Nice: Each winning bidder will receive a letter of authenticity from A.D. himself. The provenance of these relics is unmatched because they come directly from the archives of one of Hip Hop’s true scholars and pioneers.
AllHipHop: What is the most cherished item in the auction?
Pete Nice: The most awe-inspiring and historically significant items in the auction are several manuscript lots of A.D.’s handwritten rhymes and Cold Crush routines dating from 1979 to 1982.
These are some of the rarest and most significant artifacts ever offered to the Hip Hop collecting community and to institutions as well.
The whole thing started when Jim Jones, Maino, Fabolous, and Dave East went on their “Let’s Rap About It” podcast and started taking shots at 50’s Netflix documentary about Diddy.
They weren’t feeling his involvement in the project, and they made that crystal clear on air. 50 heard it, and he wasn’t about to let that slide.
But here’s where it gets interesting. 50 didn’t just respond with bars. He’s been systematically attacking Jim Jones on Instagram for weeks.
He posted surveillance footage of Jim allegedly trying to break into his own studio after supposedly getting evicted.
The trolling was relentless, and it set the stage for this musical retaliation.
When 50 dropped the video for the track on Instagram, he added a caption that seemed innocent on the surface: “Yall thought I was talking about the Cosby’s. deal with Bill later.”
But that line carries serious weight. It’s a calculated diss aimed at T.I. and Tiny Harris, who’ve faced multiple sexual assault allegations over the years.
By connecting them to Bill Cosby and his well-documented predatory behavior, 50 was essentially equating their accusations with Cosby’s crimes.
It’s a layered insult that works on multiple levels. Max B’s involvement in the track adds another dimension to this conflict.
He’s got history with Jim Jones through their Dipset connection, so his collaboration with 50 signals a strategic alliance against the podcast personalities.
The music video reinforces the lyrical content with AI-generated visuals that drive home the message of disrespect toward Maino, Fabolous, and Dave East.
Domani addressed his involvement in the 50 Cent beef while discussing his emergence as a rising artist with new music projects during an AllHipHop interview.
T.I.’s son explained his perspective on the family drama that erupted when 50 Cent posted an unflattering photo of his stepmother, Tiny Harris, with the caption “Keep my name out ya mouth.”
When asked about the situation, Domani said, “I’m just focused, man. I haven’t stepped out of it to really look at it from that perspective.”
He emphasized that his energy remains on his craft and building his world as an artist.
“I’m always putting 110% into what I’m doing painting the picture as detailed vividly as possible building the world for my fans to live in,” he explained.
The conflict between T.I. and 50 Cent originated from a failed VERZUZ battle agreement. T.I. claimed the two had discussed doing a VERZUZ matchup, with T.I. supposed to announce it and 50 Cent to confirm.
When T.I. made the announcement, 50 Cent played dumb and refused to acknowledge their supposed deal.
This sparked years of tension that finally boiled over in February 2026 when T.I. appeared on the podcast Million Dollaz Worth of Game and called out 50 for backing out.
King’s track featured him wearing a shirt with 50’s late mother’s face, while Domani dropped “Ms. Jackson,” which sampled OutKast’s 2000 hit of the same name and addressed 50’s mother directly.
“It really just started flowing, man. The word started falling into place. I think that just comes from just like exercising that muscle because it is a muscle,” he said about his songwriting.
He revealed that he doesn’t physically write on paper but instead records voice memos on his phone to capture melodies and feelings. When it comes to criticism and negativity surrounding his recent music, Domani remains unbothered.
“I mean people people believe what they want to believe. I’m not going to waste time trying to change someone’s opinion. The quality and being genuine and the love for music has always worked for me as you’ve seen,” he stated.
Domani credited his entire family for shaping his artistic approach.
“Yeah, definitely watching watching my father, but just watching my whole family for real,” he said when asked about his influences.
On his recent project releases, Domani explained the concept behind his latest work.
“It’s called the Forever Lasting Take. It’s really just an extension of the song Forever Lasting. I’ve been getting a lot of people telling me they wanted to extend that song, get a remix, and then get a whole project of that song,” he shared.
The project also features collaborations with DC Young Fly, Si Hendris, Jquis, and K Camp on the second installment.
Dr. Dre finally sold off his Malibu beach house after four years sitting on the market and at the same time has officially become Hip-Hop’s latest billionaire.
The 6-bedroom, 7-bathroom contemporary mansion on Carbon Beach sold for $16.5 million, per TMZ.
The deal went down quietly off-market. Real estate agent Kurt Rappaport of Westside Estate Agency handled the transaction. The place sits on roughly 7,000 square feet of beachfront property and was built in 1993.
It’s got panoramic ocean views from multiple levels, a gym, fireplaces, walk-in closets, spa-style bathrooms, and a recording studio. Basically, everything you’d expect from a mogul’s coastal retreat.
But here’s the thing. Dre’s not hurting for cash.
When Apple bought Beats Electronics for $3 billion back in 2014, he walked away with somewhere between $640 million and $800 million before taxes.
That deal made him Hip-Hop’s richest man in just 12 months. He was literally on pace to become Hip-Hop’s first billionaire, but Jay-Z beat him to it.
Now, 12 years later, Dre has officially joined the billionaire club according to Forbes latest list, built through decades of production work, Death Row Records, signing artists like Eminem and Snoop Dogg, and smart real estate moves.
That French chateau-style compound sits on 4 hilltop acres with 8 bedrooms and 9 bathrooms.
And he sold a Calabasas estate for $6.1 million in 2023 after dropping over $1 million on renovations.
He also listed a Pacific Palisades home for $2.65 million in December 2025, which he’d bought in 2019 for $2.25 million.
The Malibu sale marks another chapter in Dre’s real estate portfolio shuffle, but with his Beats money still flowing and his production legacy intact, he’s not exactly worried about the market.
Based in the DFW metroplex and raised in Fort Worth, Tony Coles has spent the past several years establishing himself as a producer and creative force behind the 600 label. With the upcoming release of 6WA, he enters a pivotal chapter signaling growth for both his career and the collective around him.
Coles has described 6WA as “the best tape in the world,” a bold claim grounded in perspective rather than hype. In his view, mainstream rap production has leaned on familiar formulas for more than a decade. Drill and trap have dominated label signings and radio rotations, creating a landscape where experimentation often takes a back seat. Coles approached this project with a different objective: restore unpredictability and craftsmanship to the forefront.
From start to finish, the tape emphasizes originality while honoring the foundational sound of West Coast hip-hop. To prepare, Tony Coles immersed himself in albums such as Straight Outta Compton by N.W.A., Death Certificate by Ice Cube, and The Chronic by Dr. Dre. Rather than copy their formulas, he studied their structure, bounce, and sonic layering. The result blends classic textures with a modern Southern identity rooted in DFW.
At the center of 6WA stands the 600 label. Designed as a full compilation, the project spotlights X and the artists developing under Coles’ banner. After completing a country-focused release, the team shifted back into hip-hop with renewed intensity. “There’s unfinished business in the rap scene,” Coles explains, framing the tape as a reassertion of presence and purpose.
The title track, “6WA,” functions as a declaration. The production carries weight, the verses sharpen the message, and the overall energy establishes the tone for what follows.
Legendary voices add further dimension. A feature from Snoop Dogg and a spoken contribution from The D.O.C. tie the project to the architects of gangsta rap. Coles credits Bootleg Kev for helping secure Snoop’s involvement, describing the collaboration as rooted in mutual respect for the direction the 600 camp is taking. For a producer who grew up on Texas church pews and in high school band rooms, working alongside artists from that era feels more like alignment than validation.
Beyond production credits, Coles also steps into a new creative space as a featured singer. The opportunity emerged organically when Ro$ama encouraged him to try delivering a hook that had originally lived only as a concept. “When I started singing, we both just eased into the same groove,” he recalls. The experience opened doors he plans to revisit in future releases.
One of the most demanding records on the tape, “Life of A Gangsta,” pushed Tony Coles creatively. Determined to build a 90s-inspired sample from scratch, he focused on authenticity down to the smallest details. Writing his own opening bars proved challenging, but the final version captures the era-specific tone he set out to achieve.
In March, when 6WA reaches listeners, Tony Coles hopes the reaction centers on freshness and groove. The objective remains clear: deliver a body of work grounded in authenticity, shaped by legacy, and confident in its own identity.
For the 600 label, the release marks the beginning of a larger vision built on unity, experimentation, and long-term success.
Jay-Z loaned Uncle Nearest $20 million through his venture capital firm MarcyPen, but the whiskey brand allegedly hid the transaction from its Kentucky lender, Farm Credit Mid-America.
Court filings from March 2026 reveal that founder Fawn Weaver told the bank the money came from Grant Sidney, a company she controls, when it actually originated from Jay-Z’s investment group.
“Ms. Weaver, who exercises complete control over Uncle Nearest and Grant Sidney, moved the proceeds from Uncle Nearest to Grant Sidney to make sure that $20 million coming in could not be snatched by FCMA,” the bank stated in court documents.
The venture capital firm MarcyPen was formed in late 2024 and is owned by Jay-Z, Jay Brown, Larry Marcus, Robbie Robinson, and D’Rita Robinson. MarcyPen has since declared Uncle Nearest in default on the loan, according to the bank’s filing.
This dispute sits at the center of a larger financial crisis. Farm Credit sued Uncle Nearest in July 2025, alleging the brand owed over $108 million across multiple loans.
The bank claims the Weavers provided inaccurate barrel inventory reports that overstated values by $21 million and sold whiskey barrels to cover other obligations.
A federal judge appointed a receiver for Uncle Nearest in August 2025 after the Weavers defaulted on the loans 20 times.
The receiver and Farm Credit estimate Uncle Nearest owes nearly $200 million total and is insolvent. The Weavers dispute this assessment and want to regain control of the company.
Uncle Nearest denies the fraud allegations regarding the MarcyPen transaction.
The brand argues that all loan money went to Uncle Nearest or related vendors and that the source of the funds is irrelevant.
“No fraud by Grant Sidney has been alleged with the particularity required for a federal pleading,” the Weavers’ legal team stated.
Kanye West launched YeBully.com to showcase vinyl editions and merchandise ahead of his March 27 album release.
The storefront displays multiple pressing options, including red, clear, chrome, and black vinyl. Each record features identical cover art depicting a person smiling widely, with metallic grillz covering their teeth.
The website’s landing page reads “BULLY” in bold lettering above the album artwork with Japanese text and “MUSIC TOUR STORE” displayed beneath.
The Japanese characters ブリー translate phonetically to “Bully” using Katakana, a writing system for foreign words and titles.
West shared a minimal teaser on his Instagram Story featuring a black background with Japanese text centered on the screen, a video of Japanese men wrestling in a ring, and a link directing viewers to YeBully.com.
The rollout connects the new website with merchandise and music tied to Bully, which West has scheduled for release March 27.
According to the official tracklist, Bully features 13 songs, including “Preacher Man” with Quentin Miller, “Beauty and the Beast” featuring Consequence and Young Moose, and “White Lines” with Don Toliver and Ant Clemons.
Producer Mike Dean confirmed that West began working on “Beauty and the Beast” during sessions for his album Donda in 2021. The project marks West’s twelfth studio album and represents his most ambitious rollout in recent years.
West’s team confirmed that Bully will not feature any AI-generated vocals, with Mike Dean co-producing all songs on the album.
The artist has taken full creative control of the project, acting as the primary producer for the first time in years. This approach differs significantly from his previous releases, which relied on collaborative production teams.
