50 Cent continues to expand his media presence, announcing a new podcast that dives into the formative years of the late DMX. He does this just days after revealing another project. The mantra “Can’t stop, won’t stop” seems to define his current trajectory. This reflects his relentless drive in entertainment and business. According to Deadline, 50 Cent is partnering with G-Unit Audio, Narratively, and iHeartPodcasts for Look Thru My Eyes: Becoming DMX. The podcast will launch later this year across major podcast platforms. The series aims to provide an intimate look at Earl Simmons’ upbringing. In particular, it explores the hardships and sacrifices that shaped him into a cultural icon. Hosting duties will be handled by fellow Yonkers native Jadakiss, offering a local perspective on DMX’s journey. The first season will feature accounts from family, childhood friends, collaborators, rivals, and cultural figures. This content paints a vivid picture of the challenges that molded his artistry. Subsequent seasons are expected to spotlight other influential figures. As a result, the show will create a broader chronicle of hip-hop history. 50 Cent addressed the series in a statement, emphasizing its depth and significance: “DMX’s story extends beyond just music—it embodies survival, resilience, pain, and purpose. Look Thru My Eyes: Becoming DMX invites listeners to appreciate his origins before the fame, narrated by those who shared in his journey. This is the narrative that forged a legend.” View this post on Instagram Expanding the Narrative: Billion Dollar Lawyer Alongside this podcast, 50 Cent is also producing a scripted docuseries about attorney Drew Findling, known for representing high-profile rappers over a two-decade career. The series is titled Billion Dollar Lawyer, after a nickname given by the late Young Dolph. The project was teased on 50 Cent’s Instagram and quickly generated buzz. Produced in partnership with Quality Films, the series will spotlight contemporary legal cases involving artists like Lil Durk and YNW Melly. While a release date has not yet been confirmed, the project highlights 50 Cent’s ongoing focus on stories that intersect music, culture, and the legal world. This approach reinforces his role as both an entertainer and cultural storyteller.

Latto has spoken out after Fivio Foreign resurfaced an old video of her amid his escalating online feud with 21 Savage. The Brooklyn rapper recently shared the clip on social media as tensions between him and 21 Savage continue to boil over. While the footage itself wasn’t new, its timing quickly sparked conversation, with fans speculating that Fivio was attempting to drag Latto into the ongoing back-and-forth. Latto didn’t stay silent for long. She addressed the situation directly, making it clear that the resurfaced clip had nothing to do with the current dispute and pushing back on its use as ammo in someone else’s beef. Without naming names, the Atlanta rapper dismissed the move and clarified that she had no interest in being pulled into unnecessary drama. The moment comes as Fivio and 21 Savage continue trading shots online, with the tension seemingly rooted in comments about credibility and street reputation. Fivio’s decision to repost the Latto clip only added another layer to the feud, sparking reactions across social media. So far, 21 Savage hasn’t publicly responded to Latto’s comments, but fans are closely watching as the situation continues to unfold. For now, Latto has made her stance clear: she’s staying focused on her own lane and keeping distance from the crossfire.

In a recent Apple Music conversation, A$AP Rocky spoke thoughtfully about his relationship with A$AP Ferg. He offered a candid assessment shaped more by time than tension. The remarks arrived without theatrics. In this way, they presented a portrait of two artists whose paths have diverged while mutual respect remains. Rocky framed the distance not as a rift, but as a consequence of growth. Rocky acknowledged that he and Ferg have not spoken in some time. However, he emphasized that his feelings toward his longtime collaborator remain unchanged. He admitted that Ferg’s decision to remove “A$AP” from his name struck a personal nerve. Even so, it never turned into bitterness. “I haven’t seen Ferg in a minute, man,” he said. “I’ll always love Ferg. He’s got a good heart. That decision to drop A$AP? It bothered me, but I wish him the best.” While Rocky did not rule out the possibility of reconnecting in the future, he made clear that his attention is currently focused elsewhere. Furthermore, his tone suggested closure rather than conflict. This signaled an acceptance that not all bonds move forward in the same way. The Present Reality of A$AP Mob Ferg has yet to publicly respond to Rocky’s latest comments. However, he addressed the group’s status in an interview last year with Touré. “I don’t think there is A$AP anymore,” Ferg said, pointing to the absence of new group music or projects like Cozy Tape. While acknowledging the collective’s cultural impact, he suggested that its structure has fundamentally changed. Ferg added that public perception of A$AP Mob has long centered on himself and Rocky. “While people cling to the legacy we built, when you think of A$AP, it’s primarily about me and Rocky in terms of music. Our journey was bolstered by the likes of Bari and Yams. Yet we emerged as the primary faces of this movement. We came together as a group and found joy in that synergy. Even so, we’ve since evolved into separate entities.”

For much of the past year, Ne-Yo has found his personal life drawing nearly as much attention as his music. The Grammy-winning R&B singer recently addressed the scrutiny during an appearance on the BagFuel podcast, where he spoke plainly about the attention surrounding his polyamorous relationship. His tone was neither defensive nor performative. Instead, he treated the moment as an opportunity to set boundaries. Ne-Yo made it clear that criticism of his lifestyle carries little weight in his daily life. “The dissatisfaction that exists does not concern me; it’s theirs to navigate,” he said. He emphasized that public disapproval has not altered his sense of fulfillment. “I wake up with a smile every day,” he added, before drawing a line between curiosity and intrusion: “If you find my life displeasing, simply look away. It is as straightforward as that. I am astonished by how much time people dedicate to their negativity directed at me.” As the conversation unfolded, Ne-Yo expressed frustration with how discussions about his relationships have overtaken recognition of his career. After more than 20 years in the music industry, he suggested that his accomplishments often take a backseat to speculation about his personal choices. “It’s not conventional to be this open about my relationships, and I recognize that. However, it feels disheartening when that is all that is discussed about me,” he said. “I have an extensive catalog filled with hits and Grammy awards — let’s engage in conversations about my music and achievements instead of merely my romantic situation.” Between Partnership and Public Scrutiny, Ne-Yo Defines Love on His Own Terms He has previously elaborated on the structure of his love life during an appearance on Sherri, describing it as “one relationship with three people.” Ne-Yo explained that while he maintains multiple partners, the arrangement does not allow for reciprocal relationships on their end. That condition, he acknowledged, was not initially defined. “I favor partnership over possession,” he said. “I aim to cultivate a joint experience rather than claim ownership over someone. If exclusivity is a facet of our partnership, it remains exclusive to me.” Outside of his relationships, Ne-Yo is also a father of seven, with children from multiple partnerships, including his former marriage to Crystal Renay. After their divorce in 2023, he publicly acknowledged his polyamorous lifestyle and introduced the partners involved at the time. While public interest continues to follow that chapter of his life, Ne-Yo appears resolute in how he frames it. For him, the story remains larger than the headlines—and rooted in a career he believes still deserves the spotlight.

Clipse arrives at the 2026 Grammy Awards with renewed visibility, earning five nominations across some of the ceremony’s most competitive fields. The duo is also confirmed to perform alongside longtime collaborator Pharrell Williams during the February 1 broadcast at Los Angeles’ Crypto.com Arena. The show will air live on CBS beginning at 8 p.m. ET. Streaming will be available on Paramount+ as well. For Clipse, the evening represents both a reunion and a statement of longevity. While specifics about their performance have not yet been disclosed, anticipation continues to build as organizers roll out additional announcements. The ceremony will also feature a segment highlighting Best New Artist nominees, including Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, SOMBR, and The Marías. That portion of the program is expected to spotlight the genre’s evolving landscape. More performers, including Clipse, are likely to be revealed closer to the event. Let God Sort Em Out’ Scores Multiple Grammy Nods The nominations stem from Let God Sort Em Out, the group’s first collaborative album in more than ten years. The project is nominated for Album of the Year and Best Rap Album. Additionally, “Chains & Whips,” featuring Kendrick Lamar, is recognized in the Best Rap Performance category. “The Birds Don’t Sing,” featuring John Legend and Voices of Fire, earned a nod for Best Rap Song. “So Be It” is nominated for Best Music Video. Together, the selections reflect a broad critical reception across both performance and production, and this is a significant milestone for Clipse as a group. Released in July, Let God Sort Em Out includes contributions from Nas and Tyler, The Creator, with production handled by Pharrell Williams. Pharrell received three Grammy nominations connected to the album. He is also nominated for Best Music Film for Piece by Piece. The ceremony will be produced by Fulwell Entertainment in partnership with the Recording Academy. Ben Winston, Raj Kapoor, Jesse Collins, and Trevor Noah will serve as executive producers. The Grammy Premiere Ceremony will stream earlier that day from the Peacock Theater beginning at 3:30 p.m. ET. Notably, Clipse maintains a major presence throughout this year’s awards timeline.

Kanye West’s breakthrough single “Through The Wire” remains a landmark in modern music, widely praised for its audacity and lasting influence. Yet new details reveal a striking twist: despite the song’s success, West has reportedly never profited from its publishing rights. Across the 2000s and 2010s, he built a career defined by record-breaking sales, awards, and cultural influence. Still, this early hit—a cornerstone in his rise—yielded no financial gain tied to its composition. On a recent episode of the And The Writer Is podcast, producer and songwriter David Foster explained the unusual absence of West’s writing credit. Although West played a central role in composing and producing the track, his name is missing from the official “Written by” listings on platforms like Spotify. Instead, credit goes solely to Foster, Tom Keane, and Cynthia Weil—the writers behind Chaka Khan’s 1984 hit “Through the Fire,” which West sampled heavily in his song. Foster detailed the negotiation, revealing that West initially requested “50 percent” of the writing rights. Foster says he was open to the arrangement, but Weil refused, declaring, “‘F*ck that. No, he gets nothing.’” The result left West without compensation, while the original writers retained full credit for the track. Kanye West Got Zero Publishing on Through The Wire “He got nothing.” pic.twitter.com/98aoInYo4p — Henri Fjord (@henri_fjord) January 20, 2026 Looking Ahead: West’s Next Chapter Despite this early hurdle, West has consistently embraced creative risk, turning experimentation into a hallmark of his career. His upcoming project, Bully, is scheduled for release on January 30, 2026, and has already become one of the most pre-saved albums on Spotify, demonstrating his devoted fanbase’s anticipation. Yet questions remain about how listeners, both longtime and new, will engage with his latest work amid the scrutiny that often accompanies his releases. Bully will include 13 tracks with no featured artists, highlighting West’s focus on his personal vision and artistic narrative. As anticipation builds, fans and industry observers alike will be watching to see how this next chapter unfolds and what it reveals about one of music’s most influential and provocative figures.

Singer Tremaine Aldon Neverson, known professionally as Trey Songz, filed a civil lawsuit Tuesday in Jackson County Circuit Court over a January 2021 incident at Arrowhead Stadium during the AFC Championship Game. Neverson alleges he was assaulted, arrested and detained after being heckled by nearby fans. The petition names the Kansas City Police Department, Government Employees Health Association and Whelan Event Services as defendants. A jury trial was demanded in the case, according to the filing. The lawsuit claims the incident took place at GEHA Field at Arrowhead Stadium on Jan. 24, 2021. Neverson was an invitee to the game, the petition states. It also states that Whelan Event Services provided security at the stadium. Claims focus on security response and police conduct According to the petition, “Plaintiff was heckled by attendees seated in his proximity because of his notoriety.” The lawsuit continues, “The verbal heckling escalated into threats and harassment against Plaintiff Tremaine A. Neverson which resulted in Defendant Whelan Event Services and Defendant KCPD being summoned to Plaintiff’s seat location.” Once they arrived, the petition alleges, “Upon arrival Defendant Whelan Event Services and Defendant KCPD did not exercise any professional duty to take reasonable care to protect Plaintiff Tremaine A. Neverson, from the actions of the unruly, aggressive, and intoxicated attendees.” Instead, the filing alleges, “the Defendants Whelan Event Services and Defendant KCPD physically assaulted, wrongfully arrested, handcuffed and detained Plaintiff Tremaine A. Neverson in jail.” The petition further states, “Plaintiff was charged with trespassing, resisting arrest and assaulting a police officer, all charges were subsequently dismissed.” Plaintiff alleges negligence and long-term harm Neverson’s lawsuit includes a negligence claim and alleges multiple failures in security and police conduct. It states, “That all named Defendants and Defendants’ agents, servants and/or employees were careless, negligent, and acted in bad faith in the exercise of duty.” Among the listed allegations, the petition states, “Defendant KCPD used excessive force,” and “Defendant KCPD wrongfully detained and unlawfully arrested Plaintiff.” The suit also argues that the defendants had “a legal duty to take reasonable measures to protect invitees and other persons legally upon its property, including Plaintiff.” The petition claims the incident caused lasting damage. It states, “Tremaine A. Neverson was caused serious, permanent, and progressive injuries to his person, and professional reputation.” It also alleges he incurred losses, including “medical care and treatment, loss of work, loss of reputation and loss of income.” The petition asks the court to enter judgment “in an amount that is fair and reasonable,” along with costs and other relief.

What began as a disagreement over television coverage has since grown into a broader public clash involving Nicki Minaj, Don Lemon, and, eventually, President Donald Trump. Minaj criticized Lemon’s reporting on an anti-ICE protest in Minneapolis, questioning how the event was framed and presented. The exchange quickly moved beyond journalism, drawing in political voices and turning a media dispute into a wider cultural moment. The speed at which it escalated reflects how closely entertainment, news, and politics now overlap. Trump entered the discussion by sharing a post on Truth Social that criticized Lemon and the protesters who interrupted a church service. The post called for serious legal consequences and compared the incident to past federal cases involving abortion clinic protests. Similar arguments have been made by Harmeet Dhillon, the assistant attorney general for civil rights, who has pointed to legal precedent rather than political ideology. The focus shifted from personal criticism to questions about how the law is applied in public protests. The comparison referenced elderly women who received lengthy sentences under the FACE Act, suggesting that the same standards should be considered here. That framing brought a sharper legal tone to the conversation. Although Trump did not mention Minaj directly, his involvement added political weight to an already heated exchange. Minaj responded soon after, addressing Lemon directly. A public clash over politics Minaj used social media to express her frustration in explicit terms. “DON ‘C*CK SUCKIN’ LEMON IS DISGUSTING,” she wrote. “HOW DARE YOU? I WANT THAT THUG IN JAIL!!!!! HE WOULD NEVER DO THAT TO ANY OTHER RELIGION. LOCK HIM UP!!!!!” Her comments circulated widely, amplifying the dispute and drawing renewed attention to the original protest. Lemon responded during an interview with TMZ, focusing on Minaj’s public statements and political posture. “I think Nicki Minaj has made it very clear how she feels about African Americans in this country. I don’t believe she identifies with them,” he said. His remarks framed the disagreement as one rooted in broader questions of identity and public responsibility. He also addressed how political messaging from celebrities can influence audiences. Lemon went on to challenge Minaj’s supporters. “You should not be supporting her,” he said, citing concerns about past remarks he described as homophobic or bigoted. He also questioned her grasp of politics and journalism, emphasizing the influence high-profile figures hold when entering political debates. The exchange, by that point, had moved far beyond the original news coverage. Nonetheless, Minaj has openly participated in political events, including Turning Point USA’s AmericaFest, while Lemon has framed his responses as part of journalistic critique.

Terrance “T.A.” Dixon, the former hypeman for rapper Fat Joe, claims that filing a lawsuit against the artist has put his personal safety at risk. Dixon initiated a $20 million suit last June, alleging serious misconduct that includes financial improprieties, intimidation, and actions involving minors. Since the lawsuit became public, he says he has faced relentless threats, forcing both him and his legal team to reconsider attending court in person. The dispute highlights the tension that can arise when high-profile figures and legal action intersect. According to reports from AllHipHop, Dixon’s attorneys have asked the court to allow him to appear remotely for an upcoming hearing. They contend that messages and other communications received in recent months have created a climate of fear, making in-person appearances unsafe. The request seeks approval for Dixon to participate via Zoom, and a ruling on the matter is still pending. Attorney Tyrone A. Blackburn emphasized the severity of the threats in a formal statement. “Mr. Dixon has received endless death threats and harassment from [Fat Joe] and [Fat Joe’s] associates. These threats are taken very seriously, and we have enacted multiple measures to ensure Mr. Dixon’s safety.” According to Blackburn, the threats have persisted since the lawsuit’s announcement, prompting precautionary measures for Dixon and his family. Harassment Allegations and Safety Measures Dixon’s legal team alleges that the intimidation has included menacing messages circulated on social media platforms, including Instagram. One example cited involved an image of Dixon’s grandmother leaving her residence alone, which his lawyers described as particularly alarming. Citing these safety concerns, the legal team has requested that Dixon appear virtually rather than face the courtroom in person. The court has yet to decide on this motion. Fat Joe has repeatedly denied all allegations made in the lawsuit. After the case was made public, he addressed the claims directly on social media. “I’ve faced a lot in recent months—losing my big brother, my father, my mother—and now I’m fighting back against these vile untruths. Rest assured, I will not yield nor retreat,” he wrote. He continued, “I’ve never allowed anyone to extort me on the streets, so why would I let a dubious lawyer and a cowardly former hypeman do so? I hail from the Bronx!”

Travis Scott is finally clearing the air about those viral videos that show him seemingly smashing laptops whenever he’s next to a DJ. According to the UTOPIA superstar, the internet hasn’t been getting the full story. LAS VEGAS, NEVADA – FEBRUARY 10: Travis Scott performs onstage during Michael Rubin’s 2024 Fanatics Super Bowl Party at the Marquee Nightclub at The Cosmopolitan of Las Vegas on February 10, 2024 in Las Vegas, Nevada. (Photo by Rich Polk/Getty Images for Fanatics) In a new interview with Rolling Stone, Travis addressed the compilations circulating online that paint him as someone who wilds out behind the DJ booth. He says many of the moments are misunderstood and taken completely out of context. “A lot of these times y’all see these videos, I’m walking up to somebody else’s computer, and they’re asking me to do something I don’t want to do in that time,” he explained. What Actually Goes Down According to Travis Scott, it’s not about disrespect or rage it’s about bad equipment and the chaotic, energy-filled environment. Travis revealed that many of the laptops he’s handed are already messed up, with broken keys and lagging systems. @rawcert @Travis Scott love to destroy things #travis #fypシ゚ #fein #tiktokgermany #clubshow #paris ♬ Originalton – RAWCERT “A lot of these fools’ computers are just f***ed up… the Command keys aren’t working,” he said. He even admitted to replacing one of his “homies computer” after a “turnt” DJ session. For Travis Scott, DJing isn’t about popping out for appearances. It’s about the music, the culture, and the feeling.  @much The DJ was trying SO hard to keep it together [: @Brainchild] #travisscott #cactusjack #goosebumps ♬ original sound – MuchMusic “It’s not even, like alcohol or nothing,” he continues. “It’s literally just pure energy. Like no one sees the other side of the camera, like the fans and, you know, people just like going so crazy. And I don’t like being in a club just to stand and pop out. I don’t go to a club to stand and pop out.”