Ye just dropped major news for European fans. The artist will perform at GelreDome in Arnhem, Netherlands, on June 6, 2026.
This marks his first European concert since 2014. That’s a 12-year gap for fans across the continent. The announcement comes as Ye rebuilds his career after years of controversy. He’s been making moves internationally over the past year.
In January, he sold out Mexico City’s Monumental Plaza de Toros. The show drew over 40,000 fans for his first major performance there in 18 years. Mexico’s shows prove that demand for Ye’s live performances remains strong. Now he’s bringing that energy to Europe.
GelreDome officials expect huge demand for the Netherlands date.
“This is an event of international scale and a special moment for Dutch audiences,” a venue spokesperson said.
The concert comes as Ye prepares to drop his new album Bully. The project hits streaming platforms on March 20, 2026, through Gamma distribution. Bully has been delayed multiple times since its original announcement. It was first scheduled for his daughter North’s birthday in June 2025.
The album represents a fresh start for the Chicago artist. He signed with independent distributor Gamma after major labels distanced themselves.
Ye’s career took a major hit after antisemitic comments in 2022 and 2023. Adidas ended their billion-dollar Yeezy partnership. Other brands followed suit. But January 2026 brought a turning point.
“I am not a Nazi or antisemite. I love Jewish people,” he wrote in the ad. He attributed his behavior to a four-month manic episode linked to bipolar disorder.
The apology came after inpatient treatment in Switzerland. Ye said he started medication and therapy to address his mental health.
“I regret and am deeply mortified by my actions in that state,” the statement read. He committed to accountability and meaningful change.
Vanity Fair journalist Anna Peele interviewed Ye about the apology. She asked if it was just a PR move before his album release. Ye denied commercial motives. He said he felt genuine regret and remorse weighing on his spirit.
The Netherlands show will test European appetite for his return. It’s his first time back since the Yeezus tour over a decade ago. Another European date is planned for July 18 in Reggio Emilia, Italy.
But the Netherlands show opens this limited European run.
India is also reportedly in talks for April 2026 dates. That would mark another historic moment for live music in that market.
Ye’s live performances are known for massive production values. His artistic vision creates unique experiences that fans remember for years. Tickets for the GelreDome show are expected to sell fast when they go on sale February 13.
Fayetteville rapper 910 Space wants to settle his beef with J. Cole the old-fashioned way. He’s calling for a public fight after Cole targeted him on “Poor Thing” from The Fall Off album.
The conflict dates back to Cole’s early career, when 910 Space claims he helped the future star gain studio access. According to 910 Space, he brought Cole to Baseline Studios in New York around 2005 through his connections with Corey Guns.
“Cole comes with us. This dude throw on a shirt that say ‘I produce for Jay-Z’ already,” 910 Space recalled. “Like, how the hell? So I’m like, we already – Guns said don’t be on no extra stuff.”
During that studio visit, J. Cole met his future manager through connections Space had made. Space claims this meeting became crucial to Cole’s eventual signing with Roc Nation.
Years later, when Cole signed to Jay-Z, he reached out to Space for help navigating Fayetteville’s club scene. Space-assisted, no contracts or payment, getting Cole VIP access and free bottles at local venues.
“Cole didn’t know the city because he been off in college for so long. So he needed me for that,” Space said. “I’m just a dude helping out a brother from my city.”
J. Cole offered Space a position with Dreamville, but Space preferred to remain independent. He preferred that Cole pass his music along to industry contacts rather than join Cole’s label.
“I could never let you be my boss because of the things you asked me to do for you in certain situations,” Space explained his reasoning.
When Cole agreed to help but then became unreachable, Space confronted him at multiple shows. The final confrontation occurred during Cole’s “Dollar and a Dream” tour, where Cole promised to speak after his performance but left without addressing Space.
“This n#### did this show and left and didn’t say s### to me. I ain’t see the n####. That’s how we got to where I’m dissing you,” Space said.
910 Space released “Light Skin Jermaine” in 2024, taking shots at Cole’s character and career.
J. Cole’s response came on “Poor Thing,” where he raps: “This dude back home been talkin’ slick, and I done heard him/You get your name goin’, these dudes like that gon’ throw they dirt on.”
The track continues with Cole calling out his opponent: “Don’t pull out no pistol, run me my fade /Come get your issue, no one gets sprayed/Win or you lose, live to fight another day.”
910 Space sees this as Cole finally acknowledging their beef publicly.
“The biggest thing I want to see happen is him live up to that fade that he talking about publicly,” 910 Space told AllHipHop.com.
The Fayetteville native has footage documenting his early relationship with J. Cole, which he plans to include in his upcoming documentary Before Space.
The film will feature appearances from Kanye West, Fab, Kevin Hart, and others.
“I got footage of everything. The documentary will show it,” 910 Space promised. “Anybody try to contest anything I’m saying, the documentary will show.”
910 Space chose not to confront Cole during that visit.
“Let Fayetteville have this moment. They need to be peaceful,” he explained. “Let the city be happy and let the city embrace this moment.”
910 Space maintains that he wants to keep the conflict physical rather than involving weapons. “I don’t know nothing about no stuff with no guns, man. All I know is the fade,” he said.
Cardi B just dropped a Super Bowl recap on Tuesday and what she didn’t say speaks volumes and has fueled speculation that she is done with Stefon Diggs
The New England Patriots star was nowhere to be found. Not one mention. Not one photo. Not even a “good game, babe.”
This is the same woman who spent over $250,000 on a Super Bowl party for her man. The same woman who flew cross-country to watch his Patriots debut.
“We had a time at the game, honey!” Cardi B wrote on Instagram. “Then we took that energy back to the Airbnb for a whole photoshoot.”
The post showed Cardi B dancing during Bad Bunny’s halftime show. She looked incredible in her off-white corseted dress. The Airbnb photos were fire.
Fans started connecting dots real quick. The ESPN interview before kickoff already had people suspicious. When a reporter asked Cardi for an “inspiring message to Stefon,” her response was ice cold.
“Good luck,” she said with a smirk. Then walked away.
That’s not how you talk about someone you’re planning to marry. That’s how you talk about someone who’s already in the doghouse.
The Patriots lost 31-27 to the Seattle Seahawks. Diggs had a rough night. But champions support each other through losses, right? Apparently not in this case.
The couple unfollowed each other on Instagram after the game and that’s social media speak for “we’re done.”
Cardi and Diggs welcomed their baby boy just three months ago. Remember, this relationship moved fast. They went public in May 2025 at a Knicks game.
Diggs even hinted at marriage plans during opening night. “It’s on the agenda, maybe,” he said when asked about buying Cardi an engagement ring. “I gotta get mine first, though.”
Well, he didn’t get his ring. The Patriots lost. And now it looks like he lost the hottest female rapper on earth, too.
Cardi spent Tuesday posting like a single woman. No couple content. No family photos with their baby. Just her, living her best life, pretending the last eight months never happened.
That’s not how you handle relationship rumors when you want them to stop. That’s how you handle them when you want people to figure it out on their own.
It’s psychological warfare disguised as social media content.
Rap music has always been current, narrating stories shaped by the surrounding world. Technology in the digital age has not only transformed the manner in which rap is distributed, but also the manner in which it is composed. Screens, software, and online platforms are now significant from the first concept to the final release. These changes, as well as enabling new voices, making the creation process faster and broader, have also brought about new challenges. By deciphering this transformation, it is expected that contemporary rap can still change and be relevant.
From Pen and Paper to Digital Screens
In previous decades, a large number of rappers created the lyrics manually, taking their time to write them out in their notebooks. Pen and paper today are often substituted by smartphones, tablets and laptops. Ideas can be stored in note-taking applications, cloud storage, and beat-making applications, where they can be stored instantly and edited at any time. Once this change became standardised, instruments such as a music maker enabled artists to test flows and rhythms during the writing process to make the artists hear their words in motion and then go into a studio.
Flexibility is also promoted by digital writing. One can shift lines, manipulate them and erase lines without necessarily starting all over again. This freedom promotes experimentation, and artists are able to make experiments with lyrics until they fit the sound of the beat.
Home Studios and Affordable Tools
The development of home studios has become one of the largest transformations in the writing of rap. However, in the old days, professional studios were not common and were very expensive. It is now possible to record demos in the comfort of one’s home due to the availability of inexpensive software and entry-level equipment. Lyrics can be written and recorded simultaneously, and this can be a shaper of songs.
Such an arrangement supports a more relaxed and informal creative process. Artists are able to experiment with tones, speed, and other word selections without stress. The rap lyrics are, therefore, more natural and spontaneous, and they represent the voice of the rap artist.
The Role of Social Media and Streaming
Social media has become a strong force in shaping rap writing. Social media, including short-video applications and streaming sites, are rewarding catchy hooks and brief messages. The writers are in a position to be more concerned with the best first lines or the memorable words which are easy to memorise.
Instant feedback is also available through streaming data. Musicians get to view the compositions that do well and the phrases that are repeated or shared by the listeners. It can be used to inform future writing to influence themes and styles which resonate with listeners. Although this strategy is capable of increasing popularity, there is a concern with the question of balancing between creativity and trends.
Collaboration Without Borders
Technology has eliminated distance as a hindrance to teamwork. Producers, rappers, and writers now have an opportunity to cooperate even in various cities or countries. The files are distributed through the internet, and the ideas are shared through messages or video calls.
This international relationship introduces new sounds and views in rap writing. Different cultures, languages, and experiences are combined in lyrics to widen the scope of the genre. It is also much faster when it comes to collaboration, which will enhance the speed at which songs develop.
Data, Algorithms, and Trends
Algorithms have a subdued yet powerful role in the digital era. The playlists, suggestions, and search results have an impact on what listeners discover. Authors can research such trends to learn what is likely to be successful on trendy websites.
These data-driven techniques may influence the length of the song, its form, and content. This can be in the form of shorter verses, repeated hooks or certain moods. Some people may consider this a restrictive action, but some people see it as a fresh challenge that is forcing writers to be creative in the new formats.
Key Ways Technology Changed Rap Writing
Quicker note-taking with digital notes and recording applications.
Lyrics can be edited and rewritten with ease.
The availability of beats and sounds in internet libraries.
Distant cooperation with artists all over the world.
Live feedback in the form of streams, likes and comments.
These developments demonstrate the extent to which technology is integrated into the writing process today.
Challenges of the Digital Age
Technology is not only associated with advantages, but challenges come along with it. The rate of production may put pressure on the need to release music fast, thus sacrificing depth. This comparison can have an impact on confidence and originality in social media.
There is also a risk of sameness. In a situation where numerous authors are using the same tools and adhering to the same trends, individual voices might be lost. To remain authentic and employ digital tools, one must have a balance and a sense of direction in art.
Conclusion
Rap writing has been reshaped by technology. The process of creation has been made faster, more open and connected with the help of digital equipment, home studios, social platforms, and worldwide cooperation. Meanwhile, the changes require proper judgment in order to maintain originality and meaning. Rap writing will always evolve with the rise in technology, yet it will always remain a blend of both the traditional and the innovative. What has emerged is a genre that has been able to contain its source along with the digital world in which it exists today.
Rep. Ilhan Omar fired back at Donald Trump with a death penalty reference after the president trashed Somalia and its people during a Fox News interview Tuesday night.
Omar posted on X that Trump leads the “Pedophile Protection Party” and suggested he should face execution like pedophiles do in Somalia. Her tweet came hours after Trump called Somali immigrants “garbage” and attacked Omar as a “fake congresswoman” during his Fox News appearance.
“Somalia has come in here. What they’ve done to our country, these people, they’ve come into our country, and what they’ve done with that fake congresswoman. She’s so bad,” Donald Trump fumed.
Trump: "Somalia has come in here — what they've done to our country, these people — they've come into our country, and what they've done with that fake congresswoman. She's so bad." pic.twitter.com/SX5idZqV3R
“The leader of the Pedophile Protection Party is trying to deflect attention from his name being all over the Epstein files,” Omar wrote to her 2.7 million followers. “At least in Somalia they execute pedophiles not elect them.”
Trump has attacked Omar multiple times in recent months. Last month, he mocked her for quoting the Constitution and said she hates Jewish people.
Omar brushed off his latest attack and instead focused on the POTUS’ latest scandal.
Raskin said he searched “Trump,” “Donald,” and “Don” in the Justice Department database and got over a million results.
One document contradicts Trump’s claims about Jeffrey Epstein. A 2009 email shows Epstein telling Ghislaine Maxwell that Trump said he “never” asked Epstein to leave Mar-a-Lago.
Trump has repeatedly claimed he kicked Epstein out of his Florida club for inappropriate behavior.
The Epstein files also reveal that Trump acted as a whistleblower in the mid-2000s investigation. Former Palm Beach police chief Michael Reiter told the FBI that Trump called him when the Epstein probe became public in July 2006.
“Thank goodness you’re stopping him, everyone has known he’s been doing this,” Trump told Reiter, according to FBI documents dated April 23, 2020.
Trump also said Maxwell was “evil” and told police to “focus on her.”
Trump claimed he “got the hell out of there” when he saw teenagers around Epstein.
From Run DMC’s iconic heavy ropes to the flooded-out pendants worn by Lil Baby and Rick Ross, jewelry has always been the visual language of Hip-Hop. It’s a statement of arrival, success, and identity. However, while fans often focus on the shine, the real magic happens long before the chain hits the neck.
The industry has shifted. Gone are the days when custom pieces were solely the domain of legacy jewelers in the Diamond District. Today, technology has democratized craftsmanship, allowing for intricate designs that were previously impossible. This article peels back the curtain on the manufacturing floor, exploring how a rough concept transforms into a masterpiece of ice.
The Design Phase: Turning Vision into 3D Reality
Historically, custom jewelry began with a hand-drawn sketch. While artistic, this method left a lot of room for error when translating 2D drawings into 3D metal. The modern standard is Computer-Aided Design (CAD). CAD software allows designers to engineer pieces with micrometer precision, accounting for stone spacing and structural integrity before a single gram of gold is used.
In the fast-paced world of fashion, speed is everything. Artists and brands no longer wait weeks to see a prototype. Leading manufacturers now utilize advanced software to generate photorealistic 3D renders in as little as 24 hours. Specialized partners like Azonejewelry have mastered this rapid design cycle, allowing creators to visualize every angle of a custom pendant or ring before the metal is ever poured, ensuring the final piece matches the original vision perfectly.
Material Matters: Selecting the Base and the Bling
The foundation of any great piece is the metal. While solid gold (10k, 14k, 18k) remains the gold standard for high-end investment pieces, the B2B market has seen a surge in high-quality alternatives that offer the “look” without the five-figure price tag.
Stainless Steel: Known for its durability and resistance to tarnish. It is hypoallergenic and provides a heavy, substantial feel.
Brass: The most common base for detailed fashion jewelry because it is easier to cast into intricate shapes.
Gold Vermeil: This is not standard plating. To qualify as Vermeil, the base must be sterling silver, and the gold plating must be at least 2.5 microns thick.
When it comes to stones, the choice dictates the budget. VVS Diamonds are the pinnacle, but Moissanite has emerged as a major contender. Moissanite passes many diamond testers due to its heat conductivity and offers a higher refractive index (more sparkle) than diamonds, making it a favorite for visually stunning, cost-effective custom pieces.
The Manufacturing Process: Casting and Setting
Once the design is approved, the digital file is 3D printed into a wax model. This model is used in the Lost Wax Casting process. Plaster is poured around the wax tree, and once hardened, the wax is melted out, leaving a negative space where molten metal is injected.
After the metal cools, the real work begins: setting the stones.
Hand Setting (Prong Setting): This is the mark of quality. Artisans drill holes into the metal and manually bend tiny metal prongs over each stone to secure it. This allows light to enter the stone from multiple angles, maximizing brilliance.
Glue Setting: Common in low-end “gas station” jewelry. Stones are glued into divots. These pieces lack luster and the stones are prone to falling out.
High-quality hip-hop jewelry is almost exclusively hand-set, a labor-intensive process that justifies the premium cost.
The Business of Bling: Quality Control & Ethics
What separates a high-end manufacturer from a generic factory is the finishing. Polishing must be done in multiple stages to ensure a mirror-like finish, even in the crevices. Furthermore, PVD (Physical Vapor Deposition) plating is becoming the industry standard for durability, ensuring the gold color doesn’t fade after a few wears.
Beyond the shine, the modern consumer is increasingly concerned with the source of their luxury goods. Sustainability is no longer just a buzzword but a business requirement. According to industry analysis by McKinsey Company, sustainability-influenced sales in fine jewelry are expected to increase significantly, driven by younger consumers who demand transparency regarding mine safety and ethical labor practices.
Key Takeaways
Area
Key Takeaway
Impact/Data
Design
Replace sketches with CAD/3D renders
Visuals in 24 hours
Stones
Moissanite is a viable Diamond rival
Higher refractive index
Standards
Gold Vermeil requires strict specs
Min. 2.5 microns thickness
Quality
Hand/Prong setting is non-negotiable
Glue setting = Low Value
Finishing
PVD Plating is the durability standard
Prevents color fading
Ethics
Sustainability is a business requirement
Critical for Gen Z sales
Conclusion
Creating custom hip-hop jewelry is a blend of old-world artistry and cutting-edge engineering. Whether you are an aspiring designer or a collector, understanding the blueprint—from CAD files to hand-setting—adds a new layer of appreciation to the culture. The next time you see your favorite artist’s new piece, respect the hustle and the technology that brought that ice to life.
The landscape of music creation is undergoing a quiet yet profound transformation, driven by tools that can generate rhythms, melodies, and lyrical patterns with far less manual input than traditional methods require. Once the domain of human producers and beatmakers in studios, the foundations of music production are now intersecting with artificial intelligence in ways that challenge long-held assumptions about craft, iteration, and authorship. In discussions about these shifts, innovations like the AI Hip Hop Music Generator from ElevenLabs have been part of how industry observers and creators alike explore what it means for sound, style, and creative agency when machines contribute to musical forms traditionally rooted in human spontaneity and cultural expression.
This evolution does not suggest that human artistry will disappear from rap and beat creation. Instead, it highlights how new technologies function as extensions of existing practice, offering alternative paths to experimentation, revision, and sonic exploration. The presence of generative tools prompts questions about skill, context, and cultural belonging, not just technical capability.
How generative tools change creative workflows
In traditional music production, building a beat or shaping a rap verse can be a laborious iteration between inspiration and execution. Producers layer samples, drum patterns, and instrumentation by ear; vocalists refine cadence and rhyme through repeated takes; engineers adjust mixing parameters to achieve the desired balance. This process, while rich in craftsmanship, can also be resource-intensive.
Generative technology alters that dynamic by enabling rapid prototyping of musical ideas. Tools such as the AI Hip Hop Music Generator allow creators to propose beats and foundational motifs in moments rather than hours. This acceleration invites a different kind of listening, one in which artists test textures and structural directions before committing to them. In this context, machines do not replace intuition; they help surface possibilities that might otherwise remain unexplored due to time constraints.
Rhythmic culture and audience perception
Rhythm and flow are central to rap and hip hop, not merely as technical elements but as cultural signifiers. They carry histories of place, community, and resistance, and they contribute to how audiences interpret meaning beyond lyrics. The integration of generative tools into this domain raises questions about how audiences perceive authenticity and expression when machines influence material that has traditionally been deeply human.
The psychology of musical engagement suggests that listeners respond not just to sound, but to perceived intentionality behind the sound. Research in Music Perception has shown that familiar musical patterns and culturally embedded rhythmic structures shape emotional response and memory.
When generative algorithms introduce novel patterns, they can both surprise and unsettle listeners, not because the sound is inherently unusual, but because it may lack the cultural framing that audiences intuitively bring to human-crafted rhythms.
Collaboration versus automation
It is important to distinguish between automation that replaces and automation that collaborates. Many creators who engage with generative music tools do so not to hand off authorship, but to expand their own creative palette. In this view, the technology functions as a collaborator rather than a substitute, a way to generate options that human artists can refine, reinterpret, or incorporate into hybrid works.
This collaborative model echoes historical patterns in music technology. Synthesizers, drum machines, and sampling technologies were once resisted for similar reasons, they appeared to trivialize the skills of musicians. Over time, many artists embraced these tools, not as replacements for human creativity, but as means to extend it in compelling new directions.
The economics of creation
Photo by Sergio Kian on Unsplash
Another dimension of this shift involves economics. Access to high-end studios and experienced session musicians has long been uneven, creating barriers for many aspiring artists. Generative tools lower some of these barriers by enabling concept development without large budgets. This does not eliminate the broader economic structures of the music industry, but it reshapes how early creative work can occur outside traditional gatekeeping systems.
At the same time, questions arise about ownership, licensing, and credit when machine-generated material contributes to creative products. How revenue is shared, who is credited as author, and how intellectual property frameworks evolve will influence whether generative technology supports equity or reinforces existing disparities.
Ethical and cultural considerations
As voice and music generation tools become more sophisticated, they also intersect with ethical concerns about representation and cultural stewardship. Rap and hip hop have deep roots in specific communities and histories, and generative tools must be understood within that cultural context. Questions about appropriation, homage, and innovation are not new in music, but they take on added complexity when machines can mimic stylistic traits that have historically been earned through lived experience.
Discourse around fairness, attribution, and creative ownership will shape how these technologies are perceived and regulated. Understanding how cultural meanings attach to rhythmic and vocal expression is essential to navigating these debates responsibly.
Audience engagement and expectation
Listeners play a role in how technology inflects creative forms. Audience response to generative music is shaped by familiarity, expectation, and cultural context. Some listeners embrace novelty and experimentation, while others foreground traditional markers of authenticity in human performance.
Creators who integrate generative technology into their work may find that audience reactions influence how they deploy these tools over time, valuing transparency, surprise, or hybrid modes of production depending on context.
The future soundscape
Generative music technology is not a uniform force but a set of evolving capabilities that will be interpreted differently across communities, genres, and cultural spaces. Its role in rap and beat making does not foreclose human creativity; rather, it offers new pathways for exploration, dialogue, and sonic innovation.
The future of these tools will depend not on their capacity for realism alone, but on how creators and audiences negotiate meaning, intention, and cultural continuity in sound. As synthetic and human-crafted rhythms continue to intertwine, the musical landscape will reflect both technological possibility and enduring human expressiveness.
Brandon Silverstein’s victory lap at the 2026 Grammy Awards came courtesy of songwriter Kamal Wilson, whose work on Kehlani’s “Folded” earned twin trophies for Best R&B Song and Best R&B Performance. For the Avex Music Group CEO, it’s another validation of a strategy that’s been paying dividends since he took the reins nearly a year ago.
Wilson, an Orange County native who penned his first song at 11, joined Avex Music Group last October following the runaway success of “Folded.” The track dominated rhythmic and urban radio while climbing to No. 3 on Apple Music, eventually sparking a viral vocal challenge that drew participation from Grammy winners Brandy and Eric Bellinger.
“Kamal is a hugely promising writer who is already having a major impact on global music culture,” Silverstein said following the Grammy ceremony. “The entire Avex and S10 teams are thrilled to be celebrating alongside him on these exciting wins.”
The recognition arrives as Silverstein reshapes Avex Music Group following a March 2025 restructuring that saw Tokyo-based entertainment giant Avex acquire 100% of S10 Music Publishing and increase its investment in S10 Management. The deal positioned Avex as the largest stakeholder in S10 Management alongside Silverstein and Roc Nation, while naming Silverstein CEO of the newly unified operation.
Publishing Division Delivers Chart Dominance
Silverstein has assembled a roster that’s made noise across multiple genres. Grant Boutin emerged as a driving force behind Tate McRae’s commercial breakthrough, co-writing and producing “Sports Car” (No. 1 Mediabase Top 40), “Revolving Door” (No. 1 Billboard Dance/Pop), and “T## FOR TAT,” which debuted at No. 3 on the Billboard Hot 100. Boutin also contributed to Don Toliver and Doja Cat’s F1 soundtrack cut “Lose My Mind.”
Producer Elkan, who signed a global publishing deal in May alongside a joint venture for his Toibox imprint, has racked up credits on Drake’s “Nokia” (No. 2 Hot 100), Travis Scott’s chart-topping JACKBOYS 2 album, and Rihanna’s “Friend of Mine” from the Smurfs movie. Fellow producer Elyas contributed to Drake’s “What Did I Miss?”, another Hot 100 No. 2.
We The Band member Harv, who scored a Billboard Hot 100 No. 1 in 2021 as co-writer and co-producer on Justin Bieber’s “Peaches,” returned to the top five this year with his work on Bieber’s “Swag,” which debuted at No. 2.
Infrastructure Expansion Signals Long-Term Play
Silverstein unveiled an organizational overhaul in October, appointing Zeke Silvera as SVP and Head of East Coast Operations while naming Spencer Leboff SVP and Head of West Coast Operations. The expansion included opening New York City offices to complement the company’s upgraded West Hollywood headquarters, which now houses two recording studios alongside creative offices for A&R, marketing, and management operations.
The most ambitious initiative came in November with the launch of Artist Advisor Services, a division designed to provide established artists with comprehensive career infrastructure without traditional management constraints. The model allows artists to function as CEOs while accessing strategic counsel, capital investment, and global market expertise—particularly across Asian territories where parent company Avex maintains strong footing.
“These superstar artists are the CEOs of their brands — true entrepreneurs who require financial backing for new ventures as well as support and infrastructure for their core business,” Silverstein explained when announcing the program, which is slated to onboard its first clients in early 2026.
Artist Advisor Services operates through flexible financial arrangements including commission structures, retainers, or hybrid models, positioning Avex Music Group to serve artists who’ve outgrown conventional representation.
East Meets West in Artist Development
Avex Music Group’s management portfolio includes J-pop boy band ONE OR EIGHT, which achieved a milestone by becoming the first group of its kind to crack the U.S. Mediabase Top 40 with “DTSM,” a reimagining of Rihanna’s “Don’t Stop the Music.” The accomplishment preceded a partnership with Atlantic Records that signals broader ambitions for the group.
Parent company Avex, founded in 1988, employs over 1,500 people across 10 global offices and generated approximately $1 billion in revenue during 2024. The company operates 40+ labels and manages more than 500 artists while maintaining artist development academies across Japan that audition over 10,000 candidates annually.
For Silverstein, the Grammy wins offer a moment to reflect on momentum built through calculated signings and structural expansion. With Artist Advisor Services preparing to launch and a publishing roster delivering consistent chart results, Avex Music Group appears positioned to capitalize on the infrastructure Silverstein has been methodically constructing since taking charge.
TMZ founder Harvey Levin just dropped news that his outlet received a third letter about Nancy Guthrie’s kidnapping. This one’s different, though.
The person behind this latest message claims they know who took Savannah Guthrie’s 84-year-old mother. They want one Bitcoin for that information.
“An hour and a half ago we got kind of a bizarre letter,” Levin told Fox News this morning. “An e-mail from somebody who says they know who the kidnapper is.”
The letter writer says they tried reaching Savannah’s sister Annie and brother, but couldn’t get through. Now they’re going straight to TMZ with their demand.
One Bitcoin is currently around $56,000. That’s close to the reward money authorities offered for Nancy’s safe return.
“They said they want one bit coin sent to a bit coin address that we have confirmed is active,” Levin explained. “A real address.”
The message included a name and an email address. But Levin stressed they have no way to verify if this person actually knows anything.
This third letter reads completely different from the first ransom note TMZ received days ago. That original message was carefully written and showed intelligence, according to Levin.
The FBI is operating under the theory that whoever wrote the first ransom note actually took Nancy. So this new letter writer claims they can identify the kidnapper.
Nancy Guthrie vanished from her Tucson home on January 31. Doorbell camera footage shows a masked person approaching her front door that morning.
The suspect wore gloves and a backpack and covered their face completely. They seemed surprised by the camera and grabbed flowers to block the lens.
Law enforcement believes the kidnapper lives in the Tucson area. That’s why they’ve contacted local TV stations with ransom demands.
The FBI has been tracking Bitcoin activity connected to the case. Some movement appeared in accounts linked to the original ransom note.
Levin won’t reveal specific amounts, but confirmed there was “activity” in the cryptocurrency wallet. He handed all the information over to federal agents immediately.
Authorities are also checking stores that might have sold the suspect’s distinctive clothing. The gloves especially stood out as unusual items that most people don’t normally own.
More details have emerged about Geechi Gotti and the circumstances surrounding his arrest in Ohio last week.
West Chester police stopped Geechi Gotti on February 5 while he was driving on Interstate 75 and found nearly 3,000 stolen opioid pills. The battle rap star tried to run from cops but didn’t get far.
The traffic stop went sideways fast. Geechi Gotti and three other California men bailed from their rental car near the Streets of West Chester. Police caught all four suspects within minutes.
“Get down on the ground right now! Get down on the ground!” officers yelled in body camera footage. “I will shoot you. Get your hands in the air!”
Detective Kevin Burger from the West Chester Police Department searched the vehicle thoroughly.
“There was a large amount of pharmaceuticals in the car that looked like came straight from a pharmacy,” Burger said during the suspects’ preliminary hearing.
“The drugs that were found were from a pharmacy called the Medicine Shoppe in Bellevue, Ohio,” Burger explained. “We believe cash was found as well that was taken from a pharmacy in Perrysburg, Ohio.”
Detectives had been tracking the crew since one member landed at Cincinnati/Northern Kentucky International Airport. Geechi Gotti, Tyrus Crew, Anthony Ellison and Lequan Miller all face drug possession charges.
Detective Burger told the court these suspects “do this quite often and Judge Courtney Caparella-Kraemer found enough evidence to send the case to a grand jury.
Geechi Gotti has dominated battle rap for years.
The Compton native has 70 battles catalogued with over 43 million total views. He won Champion of the Year three times and battled legends like Loaded Lux and Tsu Surf on Ultimate Rap League’s biggest stages.
His recent battles include matchups against 40 B.A.R.R.S. in August 2025 and A.Ward on Barstool Sports. Gotti also faced Loso and Illmac in 2024 battles that drew hundreds of thousands of views.
Tennessee Republican Andy Ogles just proved Republicans will find anything to cry about. The congressman thinks Bad Bunny performed a “gay” set during his Super Bowl halftime show and wants Congress to investigate it.
Ogles wrote a letter demanding that the House Energy and Commerce Committee probe the Puerto Rican superstar’s performance. He claimed kids were “forced to endure explicit displays of gay sexual acts” during the show.
🚨The Apple Music Super Bowl LX Halftime Show was pure s###, brazenly aired on national television for every American family to witness. Children were forced to endure explicit displays of gay sexual acts, women gyrating provocatively, and Bad Bunny shamelessly grabbing his… pic.twitter.com/wcWTofhQQn
But Ogles saw something completely different. He posted on X that the show was “pure s###, brazenly aired on national television for every American family to witness.”
The Tennessee lawmaker went full pearl-clutching mode.
He complained about “women gyrating provocatively” and Bad Bunny “shamelessly grabbing his crotch while dry-humping the air.”
Here’s the thing, though – Bad Bunny didn’t perform anything close to pornography. The show celebrated Latin American culture with a message of unity.
It ended with him singing in front of a billboard reading “The only thing more powerful than hate is love.”
A real couple actually got married during the performance. But somehow Ogles twisted that into “explicit displays of gay sexual acts.”
The congressman claimed the show violated federal broadcasting laws. He wants to know if NBC and the NFL knew about the “explicit nature” of Bad Bunny’s songs beforehand.
Bad Bunny wisely didn’t sing the explicit lyrics from his original recordings. The performance was mostly in Spanish, but the visual elements were family-friendly.
Ogles suggested the performance was “conclusive proof that Puerto Rico should never be a state.” The racism isn’t even subtle anymore.
The Grammy-winning artist has been critical of Donald Trump and ICE’s immigration tactics. That’s probably the real reason Republicans are losing their minds over his performance.
Rapper Lil OT was shot dead Monday night in a Burlington mall parking lot after gunmen opened fire outside a restaurant in Ontario, Canada.
According to local reports, Halton cops got the call at 10:10 P.M. about shots fired at Burlington Centre. They found Lil OT bleeding in the parking lot. Paramedics rushed him to the hospital, but he didn’t make it.
The 24-year-old rapper died at the hospital. Two shooters ran off in a white SUV after the attack. Police say the person was targeted.
Lil OT had survived gun violence before. Back in November 2023, someone shot up his family’s Hamilton with over 50 bullets. Six family members were home that night, but nobody got hurt.
Ahmed Issak-Hussan pleaded guilty to that drive-by shooting in December. The court heard he used to be friends with Lil OT, and they both worked in music. Cops caught Issak-Hussan on a wiretap admitting he did the shooting.
Lil OT had built a solid online following, with 27,000 Instagram followers and 10,000 Spotify listeners. His debut mixtape, “JamesVille,” pulled over 10 million streams.
His second project, Written in Stone, dropped last fall. The rapper had an upcoming 14-song album called Invisible Scars in the works.
Lil OT talked about the dangers of street life in his final interview. “A lot of these young boys joining the streets think it’s fun out here,” he warned. “It’s not fun out here.”
He described losing friends and how it changed him. “I don’t even laugh the same. I can’t even a lot of stuff is different now. Like you’re not the same person after that.”
Kid Rock played himself big time when he called Jay-Z a “DEI hire” during a Fox News appearance on Monday.
The Detroit rocker’s comments about the NFL’s partnership with the Hip-Hop mogul backfired spectacularly once fans started comparing their actual careers.
Kid Rock and Laura Ingraham think Jay-Z’s role in selecting Super Bowl halftime performers seemed like diversity hiring.
“Nothing against Jay-Z, I respect him for his hustle, you know, his music, but it seems like there’s a little bit of a DEI hire there going on,” Kid Rock said.
Laura Ingraham: What did you think of Bad Bunny?
Kid Rock: I didn’t understand any of it. I fault the NFL for putting him in that position and turning point for having to come out and have an alternative for people to watch. pic.twitter.com/5R7ivpPOQG
The 55-year-old musician made these remarks while promoting his alternative halftime show that aired during Bad Bunny’s Super Bowl performance.
His event drew roughly five million viewers, compared with Bad Bunny’s record-breaking 135 million viewers.
But here’s where Rock’s argument completely falls apart. The numbers tell a brutal story.
Jay-Z has won 25 Grammy Awards throughout his legendary career. Kid Rock has won exactly zero Grammys despite five nominations spanning two decades.
Jay-Z holds 88 Grammy nominations, tied with Beyoncé for the most in history. He’s sold over 140 million records worldwide and built a billion-dollar business empire.
Kid Rock’s biggest hit, “Bawitdaba,” a phrase the white wanna be rapper lifted from Hip-Hop legend Busy Bee, peaked at number 104 on the Billboard Hot 100.
Jay-Z’s Roc Nation entertainment company signed a five-year, $25 million deal with the NFL in 2019. The partnership has produced some of the most-watched halftime shows ever.
Kendrick Lamar’s 2025 performance drew 133.5 million viewers, setting a new record until Bad Bunny topped it.
The shows Jay-Z has overseen include Jennifer Lopez and Shakira in 2020, The Weeknd in 2021, and a star-studded Hip-Hop showcase in 2022 featuring Dr. Dre, Snoop Dogg, Eminem and Mary J. Blige.
Each performance broke viewership records and generated massive cultural moments.
Meanwhile, Kid Rock’s alternative show struggled to find an audience. The “All-American Halftime Show” featured pre-recorded performances and drew criticism for poor production values.
Even conservative viewers questioned the quality compared to the main event.
The business credentials speak for themselves. Jay-Z founded Roc-A-Fella Records, launched the streaming service Tidal, and built Roc Nation into a multi-billion-dollar entertainment conglomerate.
His ventures span music, sports management, fashion and spirits.
Kid Rock’s business portfolio includes a restaurant chain and merchandise sales. His net worth is around $150 million, compared to Jay-Z’s estimated $2.5 billion.
His influence extends far beyond music. Jay-Z has mentored countless artists, produced Broadway shows, and invested in everything from ride-sharing apps to champagne brands.
He’s a legitimate business mogul who happens to rap.
Kid Rock’s comments also ignore the NFL’s business motivations. The league partnered with Jay-Z because his shows generate massive audiences and cultural buzz.
Viewership numbers prove Jay-Z knows what audiences want. Every halftime show under his guidance has exceeded expectations and created viral moments that extend the NFL’s reach into new demographics.
The irony runs deeper when you consider Kid Rock’s own career trajectory.
He built his reputation by appropriating Hip-Hop culture while growing up wealthy in suburban Detroit. His father owned multiple car dealerships, hardly the “white trash” background he often claims.
Jay-Z actually grew up in Brooklyn’s Marcy Projects and used music to escape poverty.
His rags-to-riches story represents the American Dream that conservatives typically celebrate – unless that person is Black!
Mike Epps issued a public apology to Nicki Minaj after making controversial jokes about the rapper during his Louisville comedy show. The comedian faced backlash for his comments made during the “We Them Ones Tour” stop in Kentucky.
Epps made headlines when footage from his Louisville performance went viral on social media. During the show, he made crude jokes about Minaj that referenced Donald Trump.
“Nicki Minaj out there getting a m############ train ran on her by Donald Trump and them…she done f##### around trying jump on Donald Trump’s side trying to get a free card,” Epps said during the show. “And the card ain’t even real. B####, you ain’t going nowhere, get back over here.”
OMG 😭 Mike Epps drags Nicki Minaj during a recent comedy show.
“Nicki Minaj getting a train ran on her by Donald Trump and them,” then even clocks a Barb in the crowd, telling her, “Shut up, btch, fck you and Nicki Minaj.” 😭 pic.twitter.com/dLXEBAjE1a
The comments sparked immediate controversy among Hip-Hop fans and Minaj’s supporters online. The comedian addressed a heckler in the audience who tried to check him during the performance. Epps told the fan, “b#### shut up,” and said he was just telling jokes.
Fans had mixed reactions to the comedian’s material. Some defended Epps, saying comedy shows allow performers to push boundaries. Others felt his jokes crossed a line and were unnecessary attacks on the rapper.
Mike epps thought he was about to join the dog pile party and got his ass humble quick 😂😂
Not only did someone in the audience cuss him out but the FBI barbz got online and opened Pandoras box of recipes on him 😂😂😂 Love to see it
The controversy grew as clips from the show circulated on social media platforms, and the backlash prompted Epps to record an apology video.
In the apology video posted online, Epps took full responsibility for his comments.
“Just want to apologize to you, Nicki Minaj, for saying the stuff that I said,” he stated. “Want to apologize to your husband, your kids, all of that for saying what I said.”
The comedian explained his mindset during the performance.
“You know, I’m a comedian. Sometime I get on that stage, you know, I have a little drink and I go, ‘Wow.’ You know what I mean? It’s I’m non-filtered,” Epps said in the video.
Epps emphasized his willingness to take accountability for his actions.
“Something a lot of people don’t know how to,” he continued in his statement.
The “We Them Ones Tour” has been making stops across the country with Epps performing his stand-up comedy routine.
The Louisville show became one of the most talked-about performances because of the controversial material and the subsequent apology.
Nicki Minaj has not publicly responded to either the original jokes or the apology as of this writing.
New footage from the Ja Rule and Tony Yayo plane confrontation reveals more details about what really went down during their airplane showdown.
The additional video clips show Ja Rule standing in the middle of the airplane aisle, ready to fight both Yayo and Uncle Murda. This footage directly contradicts the story 50 Cent pushed on social media after the February 8th Delta flight incident.
TMZ obtained the new angles that capture more of the heated exchange between the rappers. The footage shows Ja Rule positioned in the aisle, not backing down from the confrontation.
I KNEW THAT TONY YAYO UNCLE MURDA VIDEO OF JA RULE WAS EDITED AND LEAVING THIS PART OUT OF IT BECAUSE JA RULE TURNED AROUND WITH NO FEAR THIS CLIP SHOWS WHY IT WAS EDITED
Curse words fly back and forth as tensions escalate in the cramped cabin space.
“What we doing?” Ja Rule can be heard yelling repeatedly in the video. The Queens rapper appears ready to engage in a physical confrontation with both men, standing his ground despite being outnumbered.
This new evidence challenges 50 Cent’s version of events. Fifty claimed on Instagram that Ja Rule “had to make a scene so they could remove his scary ass.”
But the fresh footage tells a different story entirely.
The video shows that Ja wasn’t trying to escape the situation. Instead, he positioned himself in the aisle where he could face both opponents.
His body language suggests he was prepared for a physical altercation.
Uncle Murda initially posted clips from the incident, writing, “Ja got off the plane lol I took his seat.” But the new footage provides context that was missing from those earlier posts.
Passengers on the San Francisco-to-New York flight witnessed the entire confrontation unfold. One witness told TMZ that Ja Rule was “the aggressor” who “yelled profanities, saying he wanted to fight.”
Ja Rule turned around and fired back with his own insults before standing up. The Murder Inc. rapper later confirmed he threw a pillow at Tony Yayo’s head during the exchange.
“I threw the pillow at yayo head cuz you soft… knocked ya hat all off s### was hilarious,” he wrote on X.
Delta crew members eventually intervened to separate the men. The airline confirmed that “two customers were spoken to by the cabin crew following a disagreement” and “one customer was rebooked on a later flight.”
The formal affair takes place Saturday, March 14, at The Queen in Wilmington, Delaware, bringing together Hip-Hop royalty, healthcare leaders, executives, and grassroots organizers with one shared goal: addressing health disparities in Black communities.
The event is hosted by the Health, Hope, and Hip Hop Foundation, founded by multiple myeloma “thriver” and Hip-Hop artist Oya “Grand G” Gilbert. While the foundation’s mission centers on health literacy and access, Kane’s involvement elevates the evening into something larger, a reminder of Hip-Hop’s longstanding role as both cultural leader and community voice.
For Gilbert, Kane is not just a headliner but a personal influence.
“Big Daddy Kane made it cool to be smart, lyrical, dark-skinned, and confident at a time when that wasn’t always celebrated,” Gilbert shared. “That representation mattered, and it still does.”
Kane will close the show following an evening that includes a VIP mixer, dinner, speakers, and special guests from across the Hip-Hop and advocacy worlds.
His appearance continues a tradition established at last year’s inaugural Hip Hope Ball, which featured Slick Rick, Freeway, and Young Guru, and drew praise for balancing entertainment with tangible community impact.
The Hip Hope Ball functions as the opening phase of a larger initiative.
Proceeds and partnerships from the event help fuel follow-up community block parties that provide free health screenings, mobile medical units, and access to healthcare providers, many of whom are intentionally selected to reflect the communities they serve.
“We want rooms where a pharmaceutical executive can sit at the same table as a street-level organizer,” Gilbert explained. “Access and trust change when those worlds collide.”
The focus is especially urgent given the foundation’s emphasis on multiple myeloma, an incurable blood cancer that disproportionately affects Black people at twice the rate of white patients. While treatments have improved dramatically, delayed diagnoses and systemic mistrust remain significant barriers.
Attendees are encouraged to embrace the event’s formal attire with Golden Era accessories, a nod to Hip-Hop’s roots and enduring style.
Tickets are currently priced at $145, with early bird pricing available through February 14. The ticket includes a VIP mixer with open bar, a three-course dinner, live performances, and an afterparty.
With Big Daddy Kane closing the night, the Hip Hope Ball positions itself not just as a celebration, but as a statement. Hip-Hop is still leading, still teaching, and still showing up where it matters most.
LaRussell walked into Oakland Technical High School Monday with cash in hand and business on his mind. The Vallejo rapper just finished performing at Super Bowl week events.
But instead of celebrating, he showed up to invest real money in student-run startups. Oakland Tech hosted its first-ever hackathon. Students built businesses from scratch and pitched them to real investors.
They got more than they bargained for when LaRussell surprised them.
“I’m going to tap in, and if we do it, y’all got to turn the laptops open,” LaRussell told the students.
The hackathon was part of a hands-on business and finance class. LaRussell listened to student pitches and invested his own money.
One student, Nia Golden, pitched a delivery service that offers pre-purchase consultations.
Another team created mood-based candles with collectible charms.
“Sometimes all you need is one person to believe in you, for you to realize that it’s possible. And I just want to be that person today that shows them, hey, this isn’t just a school project. This is real. Here’s some real money to go do some real work,” LaRussell said.
LaRussell built his career on an independent business model. He lets fans pay what they want for music and merchandise. He also shares royalties with supporters who help fund his projects.
The rapper has made millions using this fan-funded approach. He hosts concerts at “The Pergola,” a venue he built in his Vallejo backyard.
LaRussell recently inked a deal with Jay-Z’s Roc Nation after the success of his album Something’s in the Water.
Miles Bridges battled Monday night, but it had nothing to do with his career as a rapper. The Charlotte forward and aspiring Hip-Hop artist got ejected from the Hornets’ 110-104 loss to Detroit after a massive brawl at Spectrum Center.
The fight started when Charlotte’s Moussa Diabate fouled Detroit’s Jalen Duren with seven minutes left in the third quarter.
Duren turned around and faced Diabate. The two appeared to butt heads. Duren pushed Diabate in the face with his open right hand. That’s when everything went crazy.
Diabate threw a punch at Duren while Pistons forward Tobias Harris held him back. Duren walked away, but Bridges charged at him from midcourt. Bridges threw a left-handed punch at Duren.
Duren retaliated with his own punch. Diabate tried to charge again, but his teammates held him back. Detroit’s Isaiah Stewart left the bench to confront Bridges. Bridges responded with another punch and the players tussled.
Stewart got Bridges in a headlock and delivered multiple left-handed blows to his head.
Police briefly entered the court during the chaos. The whole confrontation lasted more than 30 seconds.
All four players – Bridges, Diabate, Duren and Stewart – got ejected for fighting. Hornets coach Charles Lee also got tossed in the fourth quarter after arguing with officials.
“It looked like two guys got into a heated conversation and it just kind of spiraled from there,” Lee said after the game.
Duren called it an “overly competitive game” and said emotions were flaring. He claimed opposing teams have been trying to “get in our head” all season.
“This isn’t the first time that people have tried to be like extra aggressive with us and talk to us,” Duren said. “But as a group we have done an OK job of handling that energy and intensity.”
Pistons coach J.B. Bickerstaff defended his players afterward. He said Detroit didn’t initiate the fight.
“Our guys deal with a lot but they’re not the ones that initiated, they’re not the ones who crossed the line tonight,” Bickerstaff said. “It was clear through frustration because of what J.D. was doing that they crossed the line.”
Bridges posted on Instagram late Monday night: “Sorry Hornets nation! Sorry Hornets Organization! Always gonna protect my teammates forever.”
The loss ended Charlotte’s nine-game winning streak. The Hornets were trying to make history with their 10th straight win, but fell short. Detroit won 110-104 despite the drama.
The Pistons improved their record while Charlotte’s streak came to an end in the wildest way possible.
The NBA will likely review the incident and could hand out suspensions to the players involved. Bridges raps under the name RTB MB and has been making moves in Hip-Hop.
The Flint, Michigan, native has dropped tracks with aggressive delivery, and his Detroit-style rap sound has earned praise.
Kid Rock shared his thoughts on Bad Bunny‘s Super Bowl halftime performance during a Monday night Fox News appearance.
The Detroit rocker appeared on The Ingraham Angle to discuss his role in Turning Point USA’s alternative halftime show. Kid Rock headlined the conservative counter-programming event that aired opposite Bad Bunny’s official NFL performance.
“Like most people, I didn’t understand any of it,” Kid Rock said about Bad Bunny’s Spanish-language performance. “I saw there’s a lot of dancers and a lot of big to-do stuff. And, you know, he said he wanted to have a dance party; it looked like he had one.”
Kid Rock made it clear the Puerto Rican superstar wasn’t his target for criticism. He placed blame squarely on the NFL’s shoulders instead.
“Not my cup of tea, but I don’t fault that kid for doing the Super Bowl, getting in front of a global audience,” Kid Rock explained. “I fault the NFL for putting him in that position and Turning Point for having to come out and have an alternative for people to watch. You know, it’s just, poor kid.”
The Turning Point USA “All-American Halftime Show” featured Kid Rock alongside country artists Brantley Gilbert, Gabby Barrett and Lee Brice. The 30-minute event drew more than 4 million live viewers on YouTube.
Kid Rock’s performance included his 1999 song “Bawitdaba” – featuring a hook he stole from pioneering rapper Busy Bee and ended with someone else’s song, a cover of Cody Johnson’s “‘Til You Can’t.”
The show began with a guitar solo version of “The Star Spangled Banner” and concluded with a tribute to late Turning Point founder Charlie Kirk.
President Donald Trump also criticized Bad Bunny’s halftime show on Truth Social. Trump called the performance “absolutely terrible, one of the worst, EVER!” He added that “nobody understands a word this guy is saying.”
Bad Bunny performed entirely in Spanish during his Super Bowl appearance. The Grammy winner was joined by Lady Gaga for portions of the show, which celebrated Puerto Rican culture and featured elaborate staging.
The NFL has not responded to criticism of its halftime show selection, but there’s really no need. The numbers speak for themselves. Bad Bunny’s Super Bowl halftime show reached about 135.4 million viewers worldwide.
Turning Point USA’s livestream peaked between 5 million and 6.1 million viewers. The Super Bowl show reached about 129 million more people.
That means the halftime show audience was roughly 22 to 27 times larger. The gap equals about 2,100% to 2,600% higher live viewership.
That Mexican OT was launched into the air by a bull at Fort Bend County Rodeo and was hit twice by the charging animal.
The video shows the bull striking OT first. He flips several feet into the air and lands on his feet. But the bull wasn’t done. It hit him again and sent him flying backward into the dirt.
That Mexican OT told KHOU 11 he loves animals and grew up around cowboys.
OT’s family has deep ties to the rodeo scene. They invited him to take part in the Third Coast Bucking event in Rosenberg. He said once he walked into the arena, the bull got released and adrenaline took over.
The video went viral on Instagram after being posted by @snappedbysos . Fans left comments about how he nearly landed the flip. Some said the still moment would make an incredible album cover.
“Getting flipped into a body slam by a bull is crazy work,” one fan commented. “The slow mo is so much better! He flew! OT is built diff,” another wrote.
Despite taking hard hits, OT performed his full 30-minute set after the bull encounter. He walked away without serious injury from both impacts.
This wasn’t his first time facing a bull. OT also tussled with one last May while doing rodeo clown stunts.
That bull also hit him hard and left him with a massive bruise.
OT later posted a black-and-white video of the collision on Instagram set to “Ave Maria.” The footage shows him getting completely flipped up into the air before landing on his feet.
Representatives from OT’s media team told Chron that he comes from a long line of rancheros and bull fighters. They doubt this will be the last time OT goes toe to toe with a bull in the ring.
