Trippie Redd Ruffles Feathers in Southwest Ranches Over Trashed Flamingos
Trippie Redd is in hot water with his Southwest Ranches neighbors after an unexpected reaction to a lighthearted community fundraiser.
The Ohio-born rapper is known locally for jet black house in the Miami suburb as much as he is for his genre-bending music. It is his reaction to a flock of pink plastic flamingos that landed on his lawn that has upset his neighbors.
The fundraiser, called “Getting Flocked,” is a long-standing tradition in the town, where plastic flamingos are placed in a resident’s yard with a note explaining that they’ve been “flocked” as part of a charitable initiative. The recipient can then choose the next neighbor to get “flocked” and, if they wish, donate to a student scholarship fund.
But when Trippie Redd found his yard covered in a sea of neon pink birds, he didn’t exactly see the humor in it. Instead of playing along, the rapper reportedly gathered up the entire flock and tossed them straight in the trash.
“Trippie lives here and recently we thought it would be fun to flock him and he took all of the plastic flamingos and threw them in the garbage,” one person told AllHipHop. “He is a d##k.”
The incident has ruffled feathers. “It’s all in good fun, and it’s for a great cause,” said one local resident familiar with the initiative. “Most people get a kick out of it and pass it on, but I guess Trippie wasn’t feeling it.”
At press time, Trippie Redd had not commented on the situation, but the flamingo fiasco has already made waves in the quiet town, where celebrities and athletes call home.
The fundraiser continues and residents are already plotting the next high-profile “flocking” target.
Ashanti has opened up about the attempts she made to reconcile with the late Irv Gotti, in addition to how she is processing the former Murder Inc. music mogul’s untimely death.
On Friday (February 28), Ashanti sat down with Angie Martinez in the latest episode of her IRL podcast and discussed at length how she has been compartmentalizing the unexpected passing Gotti.
As Ashanti reflected on their relationship, both professionally and personally, her words were filled with an immense sense of emotional gratitude. When asked how she dealt with the news, Ashanti admitted, “It was a lot to process. It was a lot of different feelings and emotions.”
Ashanti opens up about how she’s processing Irv Gotti’s death, knowing they weren’t able to get back on good terms
Ashanti added that the sadness she felt upon hearing the news left her wishing things had turned out differently between them.
“I’m still sad that it ended like this,” she said. “Because there was a time where things were just amazing.”
Despite their well-documented conflicts over the years, Ashanti expressed that she had always wanted the best for him.
“I know in my heart that I always just wanted peace for both of us,” she said. “For us to be cordial. And I wished peace for him. I prayed for him to be at peace.”
Ashanti also reflected on the history they made together and the lasting impact of their work. In doing so, she emphasized the importance of her son with Nelly understanding the magnitude of the success she accomplished alongside Gotti.
“We made history together—that is infinite,” she said. “My son is going to know that we made these records together.”
She also shared her disappointment that they had not reconciled in recent years, despite her efforts.
“I do know that I extended the olive branch and I do know that I tried to just—I just wanted things to be cool,” she said.
While revealing she has also connected with Gotti’s loved one’s and other close associates, such as Ja Rule, since his death, she also addressed the public scrutiny and drama surrounding their relationship. Even though things were rocky between them for several years, Ashanti maintained that she always tried to handle things with grace.
“I genuinely will always feel grateful,” she said. “I will always be thankful, and be honest about all of that.”
During their time together at Murder Inc., Ashanti and Irv Gotti were responsible for some of the biggest hits of the early 2000s. With chart-topping singles like “Foolish” and “Mesmerize” Ashanti cemented herself as an R&B powerhouse. Their collaborations led to multi-platinum success and several Grammy nominations.
Drake injected generosity into his Australian tour in Port Macquarie by spontaneously offering to cover cancer treatments for a fan’s ailing mother, even though he’s since canceled upcoming concert dates.
During last week’s Anita Max Win tour performance, the Canadian Hip-Hop star paused mid-song after noticing an eye-catching sign in the sea of bright lights.
Held high above the audience, the sign simply read: “Mum’s Cancer Treatment.” The handwritten plea belonged to Byron Ayton, whose mother, Xanthe Mulcahy, is battling cancer.
Upon reading the sign, the rapper immediately reacted, telling thousands in the audience, “I will pay for all your mum’s cancer treatment,” a surprise pledge that left Ayton emotionally overwhelmed.
“Words can’t describe it, the moment he pointed and said, ‘I will pay for all your mum’s cancer treatment’, I was in shock. I literally fell off my mate’s shoulders, we just broke down crying … it means so much to me, but it means a hell of a lot more to Mum,” Ayton said.
The unexpected moment of compassion created a heartfelt spectacle that turned Drake’s performance into a powerful moment of human kindness.
Drake has publicly embraced similar charity moments during his concerts in the past, capitalizing on his epic stage presence and massive reach to directly help individuals confronting struggles.
The rapper previously provided financial relief of $100,000 to another cancer survivor attending his Nashville performance.
Sean “Diddy” Combs is facing shocking new allegations in a lawsuit that details a series of brutal sexual assaults, including an incident where he allegedly covered a woman in baby oil before raping her while she was incapacitated.
According to the lawsuit, artists Seven Guzel claims that Diddy drugged her, rendering her unable to consent or resist. While she was in this vulnerable state, Diddy allegedly doused her entire body in a full bottle of baby oil and proceeded to rape her.
The lawsuit further alleges that Diddy’s staff, including his assistant Kristina Khorram, was present in an adjacent room with the door ajar, where her screams were audible, yet no one intervened.
The court documents outline a disturbing pattern of grooming, coercion, and violence that the plaintiff endured at the hands of the hip-hop mogul.
Diddy allegedly used his immense power in the entertainment industry to manipulate and isolate the woman, alternating between praise and humiliation to maintain control over her.
The lawsuit claims he supplied her with alcohol and drugs to weaken her resistance and over time, escalated his abuse to include multiple rapes and violent assaults.
One of the most harrowing allegations describes an instance where Diddy forced the plaintiff to take an unknown pill that caused her to lose consciousness. She later awoke to find him raping her, completely unable to move or resist.
In another incident, he is accused of drugging her on a private flight and sexually assaulting her mid-air while she was incapacitated.
The lawsuit also accuses Diddy of using his associates to facilitate his abuse, including arranging locations for assaults, handling transportation, and intimidating potential witnesses into silence.
Staff members allegedly played a role in covering up his crimes, ensuring that the assaults could continue without consequence.
These allegations come as Diddy remains incarcerated at the Metropolitan Detention Center in Brooklyn on separate sex trafficking and racketeering charges.
His legal team has vehemently denied the claims, calling them an attempt to exploit his wealth and status.
Lil Baby’s attorneys staunchly condemned the Atlanta Police Department for linking the rapper to the fatal shooting of two teens during an alleged gang war last summer.
During a press conference earlier this week, authorities announced the arrest of seven people in connection with the fatal shooting of two 13-year-old boys, Jakody Davis and Lamon Freeman on July 2, 2024, in Atlanta.
Atlanta police linked their deaths to a gang war that started with a shooting at Lil Baby’s music video shoot in May 2024. Police claim this incident sparked a series of retaliatory shootings between rival gangs 4PF and OMF.
Major Ralph Woolfolk called the Atlanta native’s actions “cowardly,” stating he went into a rival gang stronghold where he knew he shouldn’t have been.
However, Lil Baby’s attorneys, Drew Findling and Marissa Goldberg slammed authorities in a statement to WSBTV′s Michael Seiden Friday morning (February 28).
“The part of the press conference on Wednesday by the Atlanta Police Department that made an obvious reference to [Lil Baby] was complete and total nonsense,” his legal team asserted. “To say that he couldn’t shoot a music video in his hometown, a place that he loves and has continued to uplift is disgraceful.”
Lil Baby “Devastated” By Teen Deaths Attorneys Say
Furthermore, Lil Baby’s attorneys argued that his team chose video shoot locations and claimed the rapper is “devastated” over the deaths of the teens.
“Bringing his name into a conversation regarding a terrible crime for which he had absolutely no involvement is unprofessional, unethical and shameful,” the statement continued. “Those children came from the same neighborhood he did and he will continue to build up his community in any way he can.”
Hours before his attorneys’ statement, Lil Baby took to social media to deny rumors of his arrest.
“Thanks For All The Concerns,” Lil Baby wrote on his Instagram Stories. “Please Don’t Be Misinformed By Fake News !! I’m Overly Good.”
Reverend Conrad Tillard—formerly known as Conrad Muhammad – was once known as the “Hip-Hop Minister.” He was a pivotal, almost mythical, figure during Hip-Hop’s Golden Era in New York City and beyond. Tillard, then a member of the Nation of Islam, was deeply engaged in guiding artists, addressing social issues, and honing political activism within the Hip-Hop community.
He talks to Chuck “Jigsaw” Creekmur about his early role as the National Student and Youth Minister of the Nation of Islam, his relationship with Hip-Hop’s most influential figures like Diddy and Russell Simmons. He also discusses some of the challenges of dealing with them and his founding of A Movement for Change. The org is widely regarded as the first Hip-Hop-focused political organization. He candidly discusses the tensions he faced with those, his interactions with Tupac Shakur, and the broader sociopolitical dynamics that have shaped Hip-Hop.
As the conversation continues, things heat up. Tillard and Creekmur discuss Donald Trump, Snoop, and the need to do business with Republicans. Furthermore, Tillard critiques the unyielding political allegiance of Black voters to the Democratic Party. Reverend Tillard offers a wealth of insight – quite possibly controversial – into how Hip-Hop can wield power beyond entertainment. Read a highlycondensed Q&A, with the in-depth video interview below.
AllHipHop: For those unfamiliar, tell them who you are and your significance in Hip-hop culture.
Rev. Conrad Tillard: I had the privilege of serving as the Nation of Islam’s National Student and Youth Minister and later as the Minister of Mosque No. 7 in Harlem—historically led by Malcolm X and Minister Farrakhan. This put me at the center of hip-hop’s golden era, engaging with artists and guiding them through moments of crisis. I was later dubbed the “Hip-Hop Minister,” a title I initially resisted but came to embrace.
AllHipHop: You had interactions with Tupac. What was he like?
Rev. Tillard: I knew Pac more closely around ‘93-‘94. He was a brilliant brother, deeply connected to the movement. He believed in using street relatability to elevate people’s consciousness, but I worried that leading people down the “thug” road made it harder to uplift them. Tupac came from the revolutionary tradition—he was a Panther cub, raised in an environment of activism. But he also struggled with balancing that legacy with the demands of fame and the music industry’s pressures. When he was in prison, I connected with him more, and we had deep discussions about his future. He wanted to inspire people but was also caught in a persona that wasn’t easy to shake. He was only 25 when he died—still evolving, still figuring things out. I often reflect on what his influence could have been if he had lived longer.
AllHipHop: You played a role in Hip-Hop’s political evolution. Can you elaborate on that and your relationship with figures like Russell Simmons and Diddy?
Rev. Tillard: After leaving the Nation in 1997, I founded A Movement for Change, the first political organization dedicated to mobilizing the hip-hop generation. I worked to unite artists like Russell Simmons and Diddy, advocating for independent political leverage rather than blind allegiance to the Democratic Party. Unfortunately, that vision clashed with industry leaders who sought a more partisan approach. Russell, in particular, wanted to use hip-hop’s influence to strengthen the Democratic Party, whereas I believed we should be nonpartisan and leverage our power in both parties. That caused friction because I wasn’t willing to play along with the idea that we should just deliver our votes without demanding anything in return.
Diddy was part of that movement too, but over time, things shifted. The moguls were making money, building brands, and engaging in politics in a way that wasn’t always about grassroots empowerment. When you’re dealing with corporate structures, your independence can become compromised. And I saw that play out.
AllHipHop: The Nation of Islam has had a strong influence on Hip-Hop. Can you speak on that?
Rev. Tillard: Absolutely. The Nation of Islam’s influence on hip-hop is undeniable. From the very beginning, hip-hop’s founders, including Afrika Bambaataa and others in the Zulu Nation, were inspired by the Nation’s message of self-discipline, empowerment, and self-reliance. Minister Farrakhan’s presence in New York in the early ‘70s coincided with Hip-Hop’s birth. He was speaking to the same communities that were shaping the culture. The Five-Percent Nation, which played a fundamental role in Hip-Hop’s lyrical content, came directly out of the Nation of Islam.
Public Enemy, one of the most politically charged Hip-Hop groups, had direct ties to the Nation. Professor Griff was a member, the S1Ws were trained in the Nation’s discipline, and the messages in their music were heavily inspired by the Nation’s teachings. The Nation also played a role in maintaining peace when tensions arose—whether it was settling disputes between artists or providing security at events.
AllHipHop: In college, I remember students hiring the Nation to protect our parties because they were respected as a stabilizing force.
Rev. Tillard: The reality is, Hip-Hop needed an institution that could guide it, provide structure, and help young artists navigate their newfound influence. The Nation did that in ways that no other organization did at the time. Unfortunately, as hip-hop became more commercialized, that connection weakened. But the legacy remains.
AllHipHop: Your departure from the Nation—how did that shape your path?
Rev. Tillard: My commitment to Black empowerment started before the Nation and continued after. Leaving in 1997, I attended Harvard Divinity School and returned to Christian ministry. I remained engaged in social activism, focusing on education and community development.
AllHipHop: What’s your take on artists performing at Trump’s inauguration events?
Rev. Tillard: Black people must stop seeing the Democratic Party as our savior. Both parties are corporate-driven. If we’re not at the table in both, we’re ignored. Nelly and Snoop performing for Trump isn’t different from Megan Thee Stallion supporting Kamala Harris—it’s business, not betrayal. We need political strategy, not blind loyalty.
AllHipHop: Final thoughts?
Rev. Tillard: Hip-hop has always been political. Our task now is to channel that energy effectively—to own our influence, demand accountability, and move beyond entertainment into real power.
It’s been nearly a year-and-a-half since Krayzie Bone was flirting with death. The Cleveland native was hospitalized in September 2023 after an artery burst inside his left lung.
Although he was diagnosed with a rare lung condition called pulmonary sarcoidosis in 2016 and had learned to live with it, this was different. Thankfully, Krayzie was able to bounce back and continue his career as a pioneering member of Bone Thugs-n-Harmony.
Over the past week, Bone Thugs has been sharing behind-the-scenes photo of their recent link-up in Houston, where all five original members—Krayzie, Layzie, Bizzy, Wish and Flesh-n-Bone—are currently working on a new album, their first group effort since 2010’s Uni5: The World’s Enemy. AllHipHop caught up with Krayzie, who had just returned to Los Angeles and was excited about the progress Bone Thugs had made in the studio.
“The vibe was great,” Krayzie tells AllHipHop. “We just picked up where we left off. Everything was smooth and we were working really fast. We knocked out like four or five songs. It was a wonderful thing.”
Funny enough, Bone Thugs’ reunion can be partly credited to the least likely person—UFC fighter Conor McGregor, whose recently launched Greenback Records is now Ireland’s first major record label. So far, Greenback has signed Xzibit, Telander and Bone Thugs.
“Connor expressed interest in us last year and wanted to work with us,” Krayzie explains. “Once he put the offer on the table, it looked good. We actually signed the deal last year, but the holidays and rescheduled shows took up the first two months of 2025.”
Anyone remotely paying attention has likely noticed Bizzy Bone is consistently absent from Bone Thugs-n-Harmony shows. The fact he’s onboard for a reunion album is a feat in itself.
“When he saw what was on the table, it was like….I mean, we were going to do this anyway, even without Connor McGregor,” Krayzie says. “The Conor McGregor situation just made it happen faster.”
Two Houston Hip-Hop heavyweights rolled through the studio as Bone Thugs were recording: Scarface of the Geto Boys and Bun B of UGK, who will hopefully pop up on the impending project.
“We’re just getting started, but we let ’em know we wanted a feature,” he adds. “When we put the videos up on social media and people are starting to see us together, the buzz is buzzing right now for sure.”
The buzz began in the early ’90s after Bone Thugs signed with Ruthless Records and released their debut EP, Creepin’ on ah Come Up, in 1994. The project included the hit single “Thuggish Ruggish Bone,” which is still a staple of their catalog and at live shows. But it was the group’s sophomore album, E. 1999 Eternal, that catapulted them to another level.
Released in 1995 just months after their mentor and founder of Ruthless Records Eazy-E died, E. 1999 Eternal produced the massive single “Da Crossroads,” a beautifully harmonized song about death and grief. The album sold more than 300,000 copies in its opening week, topped the Billboard 200 for two consecutive weeks and was nominated for the inaugural Best Rap Album Grammy Award.
Needless to say, Krayzie Bone is beyond grateful that Bone Thugs has achieved the kind of longevity most artists only dream of.
“I always call it a blessing,” he says. “It’s not like we’ve been on the scene for all these years. We took time off and played the back for some years. To still be able to lock in these kind of situations just by the ring of our name, Bone Thugs-N-Harmony, it feels good to know that we laid down that kind of foundation to where people are always interested to hear what we have.”
While no release date is set for the album, Bone Thugs fans should have a new single and accompanying video soon, although they don’t plan to include that one on the album; it’s just to whet fans’ appetites.
“Fans can expect you know a lot of growth,” he says of the upcoming album. “A lot of fans are going to be talking about ‘we want the old school Bone Thugs-n-Harmony,’ but they have to realize that we’re in different mindsets now. When we came out here, we were starving, we were grimy and our mentality was totally different.
“It was like that for a few of our albums, but you can see that gradually we started to put more positive messages in our albums and songs. We’re gonna mix it up and give them a little bit of both, but we don’t wanna put ourselves out there still talking about the same thing. We’re older now.” —
50 Cent is taking aim at Jim Jones after the Harlem rapper fired shots at the G-Unit mogul during a recent interview.
The animosity between the two intensified amid Jones’ ongoing feud with his former Dipset partner Cam’ron.
50 Cent’s name came up during Jim Jones’ appearance on the Breakfast Club Thursday (February 27), during a discussion about a New York opponent for a potential Verzuz battle.
“I got more solo records than most of them that really hit,” Jones said around the 44 minute mark of the interview below. “I got a lot of gold singles—I got some action with me. Gone be hard for a lot of people from New York to win with Capo, and I got freestyles I could do. In New York City it’s gone be hard, I would say that, for anybody.”
When DJ Envy suggested Jones might be avoiding a battle with 50 Cent, Jim Jones got heated.
“I wouldn’t do nothing with that sucker, you heard?” he snapped. “Leave him out the conversation, don’t start.”
50 Cent Claims Jim Jones Only Has One Hit
The Get Rich or Die Tryin’ creator caught wind of Jim Jones’ remarks and took to Instagram early Friday morning (February 28). He shared a clip from the interview, mocking Jones and dubbing him a one-hit wonder.
“Delusional JoMo only got one song, ‘Ballin’ written by Max B,” he wrote. “Da f### he think he @aboogievsartist Fvcking PUNK!”
He followed up with a cryptic post, seemingly directed at Capo.
“I been waiting to say this,” he wrote alongside a photo of himself holding a wine glass and reading a magazine. “ALL YOU GOTTA DO IS SOMETHING PUNK. YOU GIRLY MOUTH BOY!”
Although 50 Cent refused to entertain a Verzuz battle with 50 Cent, he challenged Cam’ron to a $10 million boxing match.
“I’ll box his head off. Where’s the ring at?” Jones said during the same interview. “You with Mayweather and them—$10 million. I’ll meet you in any boxing ring, yeah!” he challenged. “Now go make some jokes about that on your next show. I’ll box your head off—you know that, don’t play with me.”
Rumors of Lil Baby’s arrest in connection with the murder of two teens spread rapidly on social media after Atlanta Police claimed the killings were linked to “a gang war” that allegedly erupted following a shooting at one of the rapper’s music video shoots.
The victims, 13-year-olds Jakody Davis and Lamon Freeman, were fatally shot on July 2, 2024, in Atlanta.
During a press conference on Wednesday (February 26), authorities stated their deaths were part of an escalating gang conflict that began with a shooting at Lil Baby’s music video shoot in May 2024.
The shoot took place in an area known to be frequented by members of the rival gang OMF. Three men were shot during the filming but survived, while Lil Baby himself was unharmed.
Police believe this incident triggered a violent cycle of retaliatory shootings between gangs 4PF and OMF.
Following the press conference, social media was flooded with speculation that Lil Baby had been arrested in connection with the murders.
However, on Thursday evening (February 27), the “Drip Too Hard” rapper took to social media to shut down rumors of his arrest, assuring fans he was not in custody.
“Thanks For All The Concerns,” Lil Baby wrote on his Instagram Stories. “Please Don’t Be Misinformed By Fake News !! I’m Overly Good.”
Atlanta PD Slam Lil Baby’s “Cowardly Actions”
Major Ralph Woolfolk called Lil Baby’s actions “cowardly,” stating he went into a rival gang stronghold where he knew he shouldn’t have been.
Seven people have been arrested and charged with murder in connection to the teens’ deaths.
An arrest warrant reportedly confirms Lil Baby’s connection to the case, referring to him as the leader of the 4PF gang.
Police allege that a high-ranking gang rival ordered the hit on the two teens over a prison phone call.
Authorities are working to hold Lil Baby and his affiliates responsible for their alleged role in sparking the gang conflict.
“You know who you are,” Woolfolk said. “And I tell you that this team will work relentlessly to hold you and the persons that you are affiliated with responsible for those actions.”
Kevin Liles is facing a lawsuit from a former Def Jam Recordings employee who claims the longtime music executive assaulted her during her time at the label in the early 2000s.
The suit was filed under a Jane Doe pseudonym in the New York Supreme Court against Liles, Universal Music Group and Def Jam Recordings.
Jane Doe alleges she began working as an executive assistant to Liles at Def Jam around 1999 during his tenure as president of Def Jam and EVP of Island Def Jam.
According to the lawsuit, Liles repeatedly made derogatory remarks about her gender, body and appearance. Between 2000 and 2002, Doe claims the harassment turned physical, accusing Liles of pressing his body against her breasts and grabbing her behind.
In 2002, Doe alleges Liles raped her in the office after she rejected his advances.
In her complaint, Doe claims UMG and Def Jam “not only knew or should have known” about Liles’ “propensity to commit the aforementioned crimes of violence” but also facilitated his behavior toward employees.
Kevin Liles Responds To Lawsuit Allegations
Liles denied the allegations in a statement to Variety, calling them “outrageous” and refuting any wrongdoing. “I absolutely deny the outrageous claims reported in the press this evening.”
He also criticized the accuser’s attorney for allegedly sharing the lawsuit with media outlets before it was officially filed. “My attorneys and I have not seen the actual lawsuit,” he stated.
“After nearly 40 years of service to our culture,’ Liles added, “I’ve intentionally built a reputation for doing things the right way, treating people the right way, and empowering women.”
Liles vowed to fight the claims, saying, “My attorneys and I will fully clear my name, and when we are successful, this anonymous accuser and her attorney will face a defamation lawsuit and every other available legal consequence.”
Doe filed the lawsuit under the Victims of Gender-Motivated Violence Protection Law, which allows survivors to file previously time-barred claims before March 1.
Doe’s attorney, Lucas B. Franken, praised her courage in coming forward against a high-profile figure and expressed hope that other victims would also share their experiences.
“We commend our client for her determination to seek justice,” Franken told the outlet. “Based on the violent and egregious conduct, we expect that others were also abused, and we hope that they can also come forward to pursue justice.”
Hip-hop first emerged in the Bronx during the 1970s as a creative outlet for Black communities grappling with social and economic hardships. Born out of block parties and street corner cyphers, it provided a powerful form of expression for marginalized youth. Fast forward 50 years, and hip-hop has enjoyed decades of mainstream success, largely due to groundbreaking artists who have continually pushed the boundaries of music, art, and social commentary with each new release.
Hip-hop is more than just a genre—it’s a global force, shaping culture, fashion, and entertainment in ways both obvious and unexpected. From the rhythm of the streets to the beats in your headphones, its influence is everywhere. Whether you’re watching blockbuster movies, shopping for sneakers, or even playing online slots with the latest no deposit bonus codes from NoDeposit365, hip-hop’s sound and style are inescapable.
At its core, hip-hop is built on reinvention, borrowing heavily from jazz and funk to create something fresh and dynamic. DJs and producers took funk’s infectious grooves and jazz’s improvisational spirit, flipping them into the sampled loops and boom-bap beats that define classic hip-hop. This fusion laid the foundation for a genre that continues to evolve while staying true to its soulful roots.
First It Was Funk
Funk’s influence is deeply embedded in hip-hop, from its rhythms and beats to its rebellious spirit. Without funk, hip-hop wouldn’t have the same sound, energy, or evolution that we know today. In the 1970s, DJs like Kool Herc started using funk tracks at block parties, looping the best parts to keep the music flowing. These “breaks” became a key element of hip-hop, with funk’s infectious rhythms forming the foundation of the genre’s sound. The beats and basslines from funk legends like James Brown, George Clinton, and Sly and the Family Stone provided hip-hop producers with the raw material they needed to create something new.
Funk also influenced how hip-hop was performed. The call-and-response style of funk, where the artist engages directly with the crowd, translated into how MCs interacted with their audience. The bold energy of funk matched hip-hop’s rebellious attitude, helping fuel its rise as a powerful cultural movement.
Then Came Jazz
Jazz also had a hand in shaping hip-hop to what the genre has become today, though its impact wasn’t fully realized until the 80s, when artists began rapping over jazz melodies. Drawing inspiration from legends like Miles Davis, Herbie Hancock, and George Benson, hip-hop artists began incorporating funky breaks, basslines, and horn sections into their music. The smooth instrumentation and complex rhythms of jazz provided the perfect foundation for hip-hop lyrics, helping to define the genre’s signature sound.
Beyond just the music, jazz also influenced hip-hop’s creative spirit. Much like jazz musicians who thrive on improvisation, hip-hop artists embrace freestyle battles, experimental flows, and unconventional production techniques, constantly pushing boundaries. It didn’t stop there, the
connection between the two genres also expanded beyond sampling, as jazz musicians began collaborating with hip-hop artists.
In the early ’80s, jazz legend Max Roach worked with hip-hop musicians, and in 1983, Herbie Hancock’s groundbreaking track “Rockit” helped introduce hip-hop to the mainstream. Around the same time, jazz trumpeter Roy Hargrove worked with the Soulquarians, a collective of neo-soul and hip-hop artists including Erykah Badu, Common, Questlove, and D’Angelo. These collaborations led Hargrove to form his own jazz-hip-hop fusion group, The RH Factor, in the early 2000s, further bridging the gap between the two genres and influencing the evolution of modern hip-hop.
Continued Influence
Mainstream hip-hop still pulses with the energy of funk and jazz. Artists like Kendrick Lamar and Anderson .Paak channel funk’s groovy basslines and live instrumentation, while producers continue to sample classic records, keeping the genre’s roots alive. Jazz’s influence is just as strong, shaping the smooth, intricate beats of J Dilla, Madlib, and A Tribe Called Quest. Albums like To Pimp a Butterfly and 1999 blend jazz harmonies with sharp lyricism, proving the genre’s deep connection. Hip-hop may keep evolving, but funk and jazz remain its heartbeat, fueling its sound and spirit.
A$AP Rocky walked out of court a free man last week after beating felony shooting charges, but his legal troubles aren’t over just yet.
His former friend and alleged victim, A$AP Relli, is pressing forward with a civil lawsuit that could still hold the rapper accountable.
A Los Angeles County Superior Court judge removed a temporary hold on Relli’s assault and battery suit against Rocky, setting a trial date for Jan. 12, 2026.
Relli initially filed the civil case in 2022, alleging that Rocky, born Rakim Mayers, fired a gun at him during a 2021 altercation in Hollywood. Although Rocky was acquitted of all criminal charges, Relli’s attorney, Melisa Mikhail, argued that the legal fight is far from over.
Speaking virtually at the hearing, Mikhail emphasized that civil court has a lower burden of proof than criminal cases, making a different outcome possible.
“We intend to continue litigating this case,” Mikhail stated. “The standard in a criminal case is much higher than the preponderance of the evidence standard in a civil matter. We still believe that our claims have merit, and we intend on fully litigating them.”
A$AP Rocky’s attorney, James Sargent, countered that Relli no longer has a legal leg to stand on, pointing to the rapper’s recent acquittal.
“Mr. Ephron testified in the criminal case as to the facts and circumstances,” Sargent said. “The jury’s acquittal speaks volumes as to how they valued that testimonial evidence.”
The lawsuit is an extension of long-standing tensions between the two former friends, both of whom were once part of the A$AP Mob collective.
Relli claimed in both criminal and civil filings that Rocky ambushed him over a dispute, allegedly firing a gun in his direction. Rocky was arrested in April 2022 and charged with two felony counts of assault with a firearm, but a jury ultimately found him not guilty.
The next hearing is scheduled for May 28, when both sides will continue to build their cases ahead of the 2026 trial deadline.
LiAngelo Ball—aka GELO—is pushing back against the narrative being pushed by the mother of his children that he’s an absent father.
During a couple of his recent interviews, the “Tweaker” hitmaker has opened up slightly about his failed relationship with the mother of his children, Nikki Mudarris. The former UCLA star and middle brother of NBA standouts Lonzo and LaMelo Ball didn’t mince words while defending himself. When asked what the most shocking rumor he heard about himself was, LiAngelo zeroed in on claims that he’s a “deadbeat” and made it clear that he takes his role as a father seriously.
“I don’t like is when n##### try to say I’m like a deadbeat pops or something,” he said. “Cuz I be with my young n##### every day for real. I’ve raised them up.”
Liangelo continued, explaining his belief that a lot of the narratives surrounding him are misleading.
“I feel like a lot of s### be misleading sometimes,” he said.
Despite the rumors, he isn’t letting outside noise get to him.
“Everybody say something, but I don’t get too worked up for it,” he revealed. “I don’t be mad over it. I really don’t go on my s###. I just do a performance and put my phone down and hang out with the gang. See what’s happening.”
But that’s not all that he had to say on the matter. In another separate interview, the conversation then shifted to his father’s past comments about his Mudarris. LaVar previously spoke on the situation, expressing approval of LiAngelo’s choice in a partner. However, when asked about how he feels regarding his father’s opinions on his love life, LiAngelo responded with indifference.
“That was a while ago,” he noted, making it clear that it wasn’t something he paid much attention to.
He continued to downplay LaVar’s remarks, explaining that his father is typically not the one to meddle in his love life. “He don’t for real,” he said when asked how his father speaks to him about his partners. “I ain’t even know about the interview for real. Hee don’t talk about my like who I love or whatever.”
While many would assume LaVar has a heavy influence on his son’s personal affairs, LiAngelo assured that his father doesn’t intervene in his relationships.
“He never really been on that,” he said. At 26, he feels in control of his own life and decisions. “My pops not about to be like ‘what you doing?'”
It’s worth noting that LiAngelo’s new love interest, Rashida Nicole, was present during the latter interview in which she noticeably perked up when he began speaking about his ex-partner.
Earlier this month, Mudarris claimed Ball walked out on her and their two children, LaNiyah Nicole and LaVelo Anthony, to be with Nicole and alleged his new love interest is now pregnant. Nicole responded, alleging that Mudarris was racist and that LiAngelo had moved on much before she made their separation public.
Liangelo Ball’s New Girlfriend That He Allegedly Got Pregnant Denies Being A Home Wrecker, Calls Out MissNikkiiBaby For Being Racist-Says He BEEN Moved On!
Tyra Banks lit up the catwalk in October 2024, making a surprise return to the Victoria’s Secret Fashion Show—and now, she’s officially stepping back into the modeling world with a fresh perspective and unstoppable energy.
The 51-year-old trailblazer, who made history in the ’90s as the first Black American to grace the covers of GQ and the Sports Illustrated Swimsuit Issue, has signed with IMG Models once again.
The move comes after her unexpected appearance at the newly revamped Victoria’s Secret event, where she brought a dramatic close to the show.
“Returning to my IMG family feels like coming home—but this isn’t just a comeback, it’s a new beginning,” Tyra Banks told WWD. “I’m an ice cream entrepreneur now, but everywhere I go—across countries, across continents—people have been asking me to return to modeling—on the streets, on social media, in my DMs and in interview after interview. And now I’m ready.
“I’m stepping back in with fresh eyes, electrifying energy and a drive to make game-changing moves. And yes, I’m ready to slay the runway again. The best is yet to come.”
Tyra Banks, who captivated audiences as a Victoria’s Secret Angel from 1997 until she retired in 2005, went on to build an empire in television with America’s Next Top Model.
More recently, she ventured into the food industry, launching her ice cream brand, Smize & Dream.
Now, with IMG behind her, the supermodel’s next chapter is in motion. A spokesperson for the agency confirmed that their strategy will focus on securing editorial features and top-tier opportunities across fashion, beauty, and lifestyle brands.
Banks also revealed in Essence‘s 50th anniversary cover story that her unexpected return sparked something inside her.
“I had no idea it was gonna blow up in the way that it did. So now I am going to model again, officially,” she said with a smile. “I’m gonna sign with an agency in Sydney. I’m gonna have agencies in Paris. I’m going to be in New York. Like, I’m just gonna do this.”
When asked if another runway walk is on the horizon, Banks played it coy. “Probably,” she teased.
Jim Jones not only has a bone to pick with Cam’ron, in fact, he’s chomping at the bit to get in touch with Swizz Beatz to air out the issues he has with the Verzuz mastermind.
In addition to issuing a challenge for a multi-million dollar boxing match with his Dipset counterpart Cam’ron, during his recent Breakfast Club interview, Jones also made explosive allegations against Swizz Beatz. According to the Harlem rap veteran, the legendary producer cut a secret deal during the highly publicized Verzuz battle between Dipset and The Lox.
Adding another layer of complexity to the situation, Jones seemed to suggest that the fallout from that battle played a role in the growing tension between him and longtime friend Cam’ron.
“The Verzuz was weak man” Jones admitted, hinting at unresolved issues in Dipset’s camp. “He [Cam’ron] mad cuz he got boo’d and we lost man. Let’s tell the truth.”
Jim Jones reacts to Dipset losing the classic Verzuz battle against The Lox and says Swizz Beatz backdoored him and he needs triple the money to do it again
"Verzuz was weak he (Cam'ron) mad cause he got boo'd and we lost… shout out to Jada and them… Swizz holla at me, you… pic.twitter.com/EkKzQsAuiK
Jones added, “He got boo’d at the end, he forgot his freestyle. Shouts the Jada [Jadakiss] and them they was on top of the game. They knew what they came to do.”
While he initially joked about the group’s humiliating loss, it wasn’t long before the conversation took a serious turn. Jones acknowledged The Lox came prepared, unlike his own team, but also placed some of the blame on Swizz Beatz—claiming the producer set up an unfair deal behind his back.
“Swizz, holla at me,” he demanded. “You backdoored me, gave that man some business that you ain’t give all of us.” Without specifying the details, Jones made it clear he felt cheated, insisting he was owed a much bigger payout for the spectacle Dipset helped create.
“I need triple what I had last time the way we put that versus on fire to you had that thing looking like a championship game,” he said. “You definitely got to give me triple Swiss and you got to give me some real business this time.”
Jones didn’t stop there. He doubled down on his accusations, calling out the industry’s silence on shady dealings, seemingly pointing to Verzuz negotiations.
“Y’all don’t talk about the backdoor that’s going on,” he said. “We got the bag, but boys still went backdoor.”
Though Jones didn’t pin down the specifics of his beef with Swizz Beatz over Dipset’s Verzuz battle, it seems some of his grievances may stem from the liquidation of the platform last year. For those whose memory may not serve them the best, Swizz Beatz and Timbaland announced they would be joining forces with Elon Musk to bring Verzuz to X (Twitter), in an exclusive distribution partnership last June. Swizz and Timbaland will maintain full ownership and creative control in a “mutually beneficial” deal, granting exclusive distribution rights to Musk’s platform with its 550 million active users.
In a statement, Swizz Beatz said he and Timbaland “are beyond thrilled to have found the best partner for Verzuz.” Together, they intend to “help X build the biggest entertainment company in the world.”
Tyler, The Creator is calling out a store for sharing surveillance footage of him without consent, blasting the shop in a fiery Instagram Story rant.
The California rapper took issue with what he sees as a breach of privacy, criticizing the unnamed retailer for posting an image from security cameras after he visited the store with a friend.
“Went to a shop with the bro and these n##### posted some random hidden camera footage for some weird ass reason,” Tyler wrote. “Likes, clout, proof we were there? Idk but I do know n##### is weird as f### and never got slapped before cause someone that knows bounds wouldn’t do this and all my n##### say is sorry like no, nothing in your mind said that wasn’t weird? n##### ain’t even know they were being recorded and then you upload it?”
Tyler, the Creator calls out store after they posted surveillance footage of him and Lil Yachty shopping 🗣
"Went to a shop with the bro and these n*ggas posted some random hidden camera footage for some weird ass reason. likes, clout, proof we were there? idk but i do know… pic.twitter.com/ZNdnyeA71x
The Grammy-winning artist didn’t hold back, continuing to express his frustration over what he described as a lack of boundaries.
“Did y’all n##### grow up with parents that told you stop or no?!” he wrote. “And I will keep ‘complaining’ about this s### cause I’m not one of them passive n##### I will tell you when I don’t like it, be cool man.”
Tyler has made it clear in the past that he values his privacy and expects respect from both businesses and supporters.
He has spoken out multiple times about uncomfortable interactions, especially when people cross personal boundaries. Earlier this year, he called out individuals for approaching him in public with what he characterized as “weird ass questions.”
Drake has seemingly reminded the world that he has not forgotten how many of his previous collaborators turned their back on him last year.
In a new viral video circulating on social media, Drake compared his friends-turned-foes to that of female genitalia in an explicit rant during his concert in Brisbane. Though the Toronto rapper didn’t name any artist in particular, his words were strong enough to suggest that he had several individuals on his mind whom he was convinced betrayed him during his rap battle with Kendrick Lamar in 2024.
“For all my collaborators, the producers & the artists I’ve worked with…” Drake started off before making a sharp turn, saying, “You know, the ones that didn’t turn p#### on me… I mean, the ones that are still real. I appreciate you.”
Drake calls out the artists who turned on him in Brisbane 👀
“For all my collaborators, the producers & the artists I’ve worked with…”
“You know, the ones that didn’t turn p*ssy on me… I mean, the ones that are still real. I appreciate you.” pic.twitter.com/O8hS73sQDq
Drake’s words fall on the heels of his right hand man PARTYNEXTDOOR dissing Tory Lanez, and subsequently apologizing, after catching on to his viral video vowing to compete with top Canadian artists such as the hit-making OVO duo. Additionally, his rant occurred at the finale show of his Anita Max Win Tour in Australia, which was cut short earlier this month when he abruptly canceled the last four shows.
According to a report from the Daily Mail, a Reddit user claiming to be a worker at the venue in Brisbane where Drake performed the final show of the tour at, alleges the concert was a disaster. Apparently the issues began due to Drizzy’s late sound check, and snowballed from there.
“He wanted to do a closed sound check at 6pm,” the Reddit user claimed. “Which usually happens at 3pm. Everyone had to leave the building or stay in the courtyard if they had already been let in, but staff were allowed to stay.”
Adding fuel to the fire, the worker also claimed patrons were subjected to long waits and even experienced health issues, as a result.
‘We opened from 5:30pm and our first customer got in at 7:30pm and we were supposed to close outlets at 8pm but didn’t until 10pm.’
Patrons attending the VIP party upstairs either had to get in before 5:30pm, or they were stuck outside and not allowed to join the party until gates re-opened.
“He was late both nights because he wasn’t on site until he was ready to perform and barricaded the back of the arena to enter the stage that way instead of coming in from backstage,” the user alleged. “Patrons were leaving by 10:30pm because it was either really late, or they thought it was too loud/bad sound and he finished at 11:30pm.”
Jadakiss has revealed his feelings about Kendrick Lamar’s recent performance during halftime of Super Bowl LIX in New Orleans.
During his recent interview with Carmelo Anthony and Kid Mero on the 7PM in Brooklyn podcast, Jadakiss laid out his thoughts on the current state of Hip-Hop music while offering his thoughts on Kendrick Lamar’s Super Bowl performance—and the evolving nature of rap beef. The LOX rapper, known for his sharp lyricism and storied battle history, reflected on how the genre has changed, both in its mainstream success and the way rivalries are handled in the streaming era.
“Music is in a weird space,” Jadakiss said. “As far as how it’s being delivered and being distributed, this whole streaming s### is just something totally different. But it doesn’t discourage me from wanting to make music. Music probably have more politics than politics.”
Jadakiss doesn't hold back on the current state of rap & the music industry 👀 pic.twitter.com/d0qLenoVfw
In doing so, Jadakiss made it clear that he viewed Kendrick’s performance as a massive win for the culture.
“For Hip-Hop to get Super Bowl anything is a win for me,” he said. “Maybe I feel different because I’m an elder statesman, but I don’t care about the other stuff. Seeing him up there rocking, the message, the aesthetics—that was beautiful. It was good for Hip-Hop.”
He contrasted this with his own experience coming up in the game, recalling a time when the Super Bowl halftime show wasn’t even on his radar in years past.
“I remember being young, watching the Super Bowl with my dad and my uncles, and everybody would go get a plate—nobody even cared who was on the halftime show,” he explained.
Jadakiss then shifted the conversation toward Kendrick and Drake’s rap battle, drawing comparisons between their approach and his own past beefs. He acknowledged that both artists have mastered the ability to turn diss tracks into commercially successful songs.
“That’s another thing that’s genius with Kendrick,” he said. “He made a single. Drake did it with Meek [Meek Mill]. The one with Meek was like a Billboard-charting thing.
Reflecting on how rap beef has evolved, he admitted that he came from a different era—one where battle bars were even more raw and unfiltered than what Drake and Kendrick displayed across tracks such as “Family Matters” and “Not Like Us” among others.
“Me coming up battling, I’m saying the most craziest s### that would never be the same,” he said. “But now they switched it, which I think is fire. Drake did it a few times. Kendrick did it. I think that’s ill.”
He even brought up his own past success with diss tracks, pointing out that his infamous “Checkmate” diss managed to chart, something he never expected.
“I think Checkmate actually reached the Billboard, which I thought was crazy and weird,” he said. “I don’t know how the hell that even charted, but things are different now.”
When asked whether rap was becoming a safer space for MCs to express themselves, Jadakiss emphasized the importance of of artists occupying different lanes that work best for them in Hip-Hop.
“It’s all about balance,” he said. “Some dudes can rap and sing. Some dudes should just rap. Some dudes should do some other stuff. Rap is for rapping. Start doing a bunch of everything else, and it’s getting away from the elements. It’s diminishing the culture.”
Finally, Jadakiss concluded his remarks by expressing concern over the homogenization of Hip-Hop, where artists rush to imitate successful formulas instead of crafting their own unique sounds.
“We don’t need to hear 53 more, ‘They Not Like Us,” he said in part, adding, “Just because that got him five Grammys, his Super Bowl and this and that—when you go to create, don’t try to make that.”
Sean “Diddy” Combs is facing a new lawsuit from a man who claims the embattled Hip-Hop mogul bragged about his involvement in the killing of the late Tupac Shakur while assaulting him.
The man, who filed his complaint under the pseudonym John Doe, was working as an escort in Florida in 2012 when Diddy allegedly hired him for a rendezvous with himself and a female companion.
They agreed to meet at the InterContinental Hotel in New York City. Doe claims Diddy initially ordered him to perform oral sex on the woman. He says he did this for hours while Diddy performed degrading sex acts on her.
Things only got worse from there according to Doe who claims Diddy followed him into the bathroom. Once there, he claims the rapper anally sodomized him while applying intimidation tactics.
According to Doe, Diddy allegedly threatened, “If I can get Pac hit, what the f### do you think can happen to you?”
The escort asserts that he agreed to remain silent about the assault, fearing for his safety.
Furthermore, Doe claims that Diddy drugged him, either by giving him a bottle of water or rubbing baby oil on his body, which caused him to lose control of his actions.
Diddy Faces Dozens Of Assault Lawsuits & RICO Charges
Doe’s lawsuit adds to the growing list of accusations against Diddy, who remains incarcerated on federal RICO and sex trafficking charges.
Prosecutors have presented a disturbing picture of the disgraced mogul’s alleged pattern of abusing women, trafficking individuals, and leveraging his wealth and power to silence those who speak out.
Diddy has denied all allegations against him and maintains his innocence. His legal team has yet to comment on this latest lawsuit, one of hundreds being filed against him.
It’s not the first time Tupac Shakur has been mentioned in sexual assault allegations against Diddy.
In her October 2024 lawsuit, Ashley Parham alleged Diddy and his associates brutally gang-raped her because she implied he was involved in Shakur’s murder.
Suge Knight claims he once slapped Jermain Dupri over an unpaid debt and only went easy on him because Joe Jackson intervened.
During a recent interview with Art of Dialogue, the incarcerated former Death Row Records boss claimed he put hands on Dupri over money owed when Bow Wow left So So Def for Knight’s label. He refused to take money from Bow Wow, his mother or anybody else other than Dupri or Snoop Dogg —and he happened to run into Dupri first.
Suge Knight explained he ran into the producer at a Fatburger, declaring, “The lord delivered Jermiane Dupri to me.” Tensions flared, and he confronted Dupri, demanding he settle the debt.
“I’mma tell you one more time, what’s brackin,” he allegedly told Dupri before striking him on the side of the head.
However, Knight claims his intention wasn’t to hurt Dupri but merely to frighten him.
“It wasn’t one of those… somebody get slapped so hard they slide down the street,” he added. “But it was something that made you get your attention.”
According to the incarcerated former mogul, Dupri then called Joe Jackson- a close friend of Knight’s, who asked for his word that he wouldn’t “beat the s### out of Jermaine Dupri.”
Knight agreed, seemingly out of respect for Dupri’s girlfriend, Janet Jackson. However, he claimed he couldn’t resist and instead poured a cup of coffee over Dupri’s head.
Despite bragging about the incident, Knight expressed regret and apologized—but still couldn’t resist throwing in a jab.
“I shouldn’t have did that to Jermaine Dupri,” he said. “I got to leave the little people alone, man. That ain’t right.”
