T.I. has spoken publicly about a phone call he received from Gunna shortly after the rapper was indicted, offering a glimpse into how the situation unfolded early on. He addressed the exchange on his podcast, expediTIously, describing it as a moment when Gunna was looking for direction. T.I. presented his involvement as limited but necessary. His remarks add context to a case that has continued to shape conversations in hip-hop. According to T.I., Gunna reached out while trying to secure legal representation. “I received a call from him where he sought my recommendation for a lawyer, and without hesitation, I directed him to my attorney, Steve Sadow,” he said. At the time, Gunna had not been able to connect with attorneys Brian Steel or Drew Findling. The introduction came just days before Gunna turned himself in. Interestingly, T.I. played a pivotal role in these events. Looking back, T.I. said he wished he had better understood how the case would resolve. He said he would have urged more caution if he had known the outcome in advance. “I would have ensured that he understood the repercussions of his decision. Agreeing to this plea could lead to public backlash and damage his reputation,” he said. “If anyone could have provided him guidance, it would have likely altered his decision.” Throughout this ordeal, the advice given by T.I. became a crucial part of the story. From Courtroom to Culture Clash The plea agreement quickly became a point of contention within the music industry. Accusations of disloyalty and claims of “snitching” followed, reshaping public discussion around Gunna’s career. The fallout also strained his relationship with Young Thug, a tension that has yet to ease. Calls for reconciliation have so far gone unanswered. Meanwhile, T.I. is often referenced when the debate circles back to Atlanta’s rap community. Young Thug spoke about the situation during an appearance on the Its Up There podcast last September. Reflecting on the lasting impact, he said, “Even if we were to amass a fortune together, I cannot unsee what transpired between us during our time facing legal issues.” He added, “We share love for one another, yet our paths have diverged. Sometimes, that’s simply the way things unfold.” The entire scenario highlights how T.I.’s presence is felt, even when he is not directly involved. As the legal process continues, the episode stands as a reminder of how quickly circumstances can change. Advice, even when well intentioned, has limits. For the artists involved, the consequences have extended beyond courtrooms and contracts. The outcome remains unresolved, and T.I. may still address these developments as time goes on.

50 Cent drew renewed attention this week to a lyric from a Jay-Z verse released nearly two decades ago. In an Instagram post, he shared a meme placing Jay-Z’s face onto the Predator character from the film series. The image was paired with a line from Jay-Z’s appearance on Pharrell’s 2006 song “Young Girl / I Really Like You.” The track was released years before Jay-Z and Beyoncé married in 2008. The lyric includes Jay-Z rapping, “Hov got a young girl / Still not quite 21.” When the song was released, the line passed with little scrutiny beyond its place in a pop-leaning collaboration. Viewed now, it has taken on different weight amid changing cultural conversations. The renewed focus came not from a reissue or interview, but from how the lyric was presented. In the caption, 50 Cent leaned into a familiar tone. “I know you’re gonna say I’m a hater, but what do you say about what he’s saying fool? LOL get yo ass down the street!” he wrote. The post followed a pattern that has defined much of his social media presence. Humor and critique were delivered together, without elaboration. The relationship between the two artists has long been marked by distance rather than dialogue. It dates back to 50 Cent’s 1999 song “How to Rob,” which mentioned several prominent rappers, including Jay-Z. Since then, 50 has frequently commented publicly, while Jay-Z has largely avoided responding. In 2022, 50 recalled a private disagreement that escalated, saying Beyoncé stepped in during the exchange. Not a New Feud, Just an Old Dynamic More recently, 50 Cent has suggested that Jay-Z’s Grammy success is closely tied to his marriage to Beyoncé. He has also used social media to joke about Jay-Z’s appearance. Last December, he shared a caricature image with the caption, “Please stop sending me stuff like this I’m not gonna post it!” The post echoed the same mix of humor and provocation. In a separate conversation with Brian J. Roberts, 50 Cent framed their differences in terms of approach. He said Jay-Z tends to collaborate with artists after they have established themselves. By contrast, he described his own role as more involved. “I end up beating myself up looking out for them,” he said. Taken together, the post fits into a pattern rather than signaling a shift. The two artists have followed distinct paths within hip-hop, shaped by different ideas about visibility and influence. Their occasional intersections continue to attract attention largely because they are rare. The tension, by now, is familiar.

Terence Crawford set the record straight about retiring from boxing. LAS VEGAS, NEVADA – JULY 29: Terence Crawford celebrates with the championship belt after defeating Errol Spence Jr. in the World Welterweight Championship bout at T-Mobile Arena on July 29, 2023 in Las Vegas, Nevada. (Photo by Al Bello/Getty Images) The pound for pound legend recently made an appearance on The Pivot podcast. During the interview, Bud Crawford went into depth about his retirement and also closed the case on a comeback. Pivot host Channing Crowder asked the Omaha, NE boxer if a “number” would get him back in the ring. “My thought is everything has a price,” started Crowder. There is not a number that can get you back in that ring. $80 million? $100 million?” “No because now you selling your soul,” Crawford responded. “For $100 million you can have my soul,” said Crowder laughing. Bud consisted with a look of disdain on his face as he continued his response. “That you. Now we know your character. Sometimes you know you look at people and be like damn man, you can got no dignity. You ain’t got no morals. C’mon man. What you gonna stand for if everything is about money. View this post on Instagram Terence Crawford goes on to explain his main purpose when he set his sights on becoming a boxer. “Like I was never in the sport because of money. Of course I was in the sport to make money, but I wanted to be a world champion,” he stated. “I wanted to do something that I set my sights out to do as a little boy and money wasn’t the motivation. Me being a world champion was the motivation. Me accomplishing all the things that I’ve accomplished along the way on my journey….it was like the extra credit.” Crawford surprisingly announced his retirement from boxing back in December 2025. The 38 year-old champion defeated Canelo Alvarez last September to make him 42-0. When asked his reason back in December, he cited his health. “I’ve been doing this sport since I was seven years old,” Crawford told Ring Magazine. I retired at 38. Ask yourself: if you’ve been taking your body through hell for 30 years, would you retire? That’s why I retired. There is nothing else left for me to accomplish in the sport of boxing. I gave my all to boxing, but I’m not going to give my health to boxing.”

Teyana Taylor is shaking up sneaker culture once again. Teyana Taylor Gives London On Da Track an Exclusive First Look at Her Unreleased Air Jordan 3 “Concrete Rose” Sneakers During Grammy Weekend Private Event Seneca The Golden Globe winner revealed an exclusive first-look at her highly anticipated, unreleased Air Jordan 3 collaboration, entitled, Concrete Rose. The “Rose In Harlem” singer personally presented the sneakers to hitmaker, London On Da Track, whose reaction said it all. “These are the best Retro 3’s I’ve ever seen,” said the multi-platinum producer. The Air Jordan 3 “Concrete Rose” delivers a bold, never-before-seen take on the iconic silhouette. The design features a striking purple, grass-like textured sole, a rich green upper and a signature rose emblem stitched onto the tongue. The sneaker blends streetwear grit with high-fashion elegance. The “Concrete Rose” Air Jordan 3 introduces a bold, never-before-seen aesthetic to the iconic silhouette. Featuring a striking purple, grass-like textured sole, a rich green upper, and a signature rose emblem stitched on the tongue. Seneca True to Taylor’s artistic DNA, the shoe tells a story. It represents a rose growing through concrete, one that lives through both strength and softness wrapped into one powerful design. Back in 2023, the multi-hyphenate artist collaborated with the Jordan brand to release the Air Jordan 1 Zoom CMFT 2 While no official release date has not yet been announced, the Air Jordan 3 “Concrete Rose” is shaping up to be one of the most talked-about releases of the year.

NLE Choppa issued a public apology this week in an effort to cool tensions with Blueface after their dispute extended to comments about family members. The message, shared on Instagram, followed weeks of increasingly personal exchanges between the two artists. Choppa’s statement acknowledged that the conflict had crossed a line. He framed the apology as an attempt to reset the conversation. In the post, Choppa indicated that the matter was being addressed directly between the two men. “Me and Blue are handling that fsfs ,” he wrote, suggesting that communication had taken place off social media. He then referenced an earlier apology from Blueface for mentioning Choppa’s mother. “I owe you the same respect. I apologize for what I said about your son @bluefasebabyy. From the heart,” Choppa added, noting that the message had already been shared privately. The apology followed a period of escalation that included diss records and pointed online exchanges. The situation intensified after remarks were made about Blueface’s young son, Chrisean Jr., prompting criticism from fans who argued that children should not be part of public disputes. That reaction appeared to shift the tone of the exchange. Choppa’s statement suggested an acknowledgment of that boundary. A viral response and shifting context around the feud Blueface had previously addressed the matter in a video that circulated widely online. In it, he rejected the idea of a physical confrontation and offered an alternative comparison. “Take your son and stand him beside my son and let’s see which one of them know how to operate,” he said, framing the comment as a challenge involving their toddlers. The remark drew mixed responses and added to the public attention surrounding the feud. The episode comes as Choppa has recently entered fatherhood himself. Earlier this year, he welcomed a son, ChoZen, with his former partner Marissa Da’Nae. That context has shaped how some observers interpret his decision to speak publicly. Blueface has not yet responded to the apology. Whether the exchange marks a turning point remains to be seen.

21 Savage responds to reportedly losing approximately 25 million streams on Spotify. The reported drop was first noticed by fans and data trackers earlier this week, who observed a sudden decrease in stream counts across multiple tracks in the rapper’s catalog. The changes quickly sparked speculation online, with some suggesting the removals may be tied to Spotify’s ongoing efforts to eliminate artificial or inauthentic streaming activity. Shortly after the reports began circulating, 21 Savage appeared to address the situation, making it clear he’s not concerned about the alleged loss. DJ Akademiks claims that 21 Savage messaged him about the alleged removal. “He says, ‘Yo, this sh*t is cap.’ He said, ‘Bro, why the f*ck would I bot 25 million lol.’ He says, ‘I would just bot 100 million if I was going to do that sh*t.’” As of now, Spotify has not released an official statement explaining the specific adjustment or confirming whether the streams were removed as part of a routine audit. DJ Akademiks claims that 21 Savage messaged him about the alleged removal of 25 million Spotify streams from his album “WHAT HAPPENED TO THE STREETS?” denying any use of bots: “He says, ‘Yo, this sh*t is cap.’ He said, ‘Bro, why the f*ck would I bot 25 million lol.’ He says, ‘I… pic.twitter.com/CqRnacZi8f — HotNewHipHop (@HotNewHipHop) February 4, 2026 Until more clarity is provided by Spotify or the artist’s team, the exact cause of the reported stream drop remains unclear.

Kendrick Lamar made history at the 2026 Grammy Awards, becoming the most-awarded rapper in the Recording Academy’s history. His total reached 27 wins, surpassing Jay-Z and Kanye West. The achievement placed him alone at the top of a category long defined by competition. Yet it was not only the awards tally that drew attention during the ceremony. When Lamar accepted the Grammy for Best Rap Album for GNX, viewers noticed his right hand wrapped in gauze. The detail went unmentioned from the stage, but it quickly became a point of discussion online. Speculation grew as images from the ceremony circulated. The focus sharpened when Dave Free, Lamar’s longtime collaborator and pgLang co-founder, posted a close-up of the bandaged hand to his Instagram story. Those familiar with Lamar’s creative process pointed to his history of precision. In a recent Vogue interview, pgLang style director Karizza Sanchez said, “Kendrick always drives the idea. Sometimes, it starts with a feeling he is after; other times, he sends a reference image.” His stylist, Dianne Garcia, has described similar involvement in earlier performances. Reflecting on the 2016 Grammys, she said, “He knew exactly what he wanted.” The wrapped hand also carried recognizable meaning for boxing fans. Fighters routinely tape their hands before competition to protect bones and joints. Research published by the National Library of Medicine notes that “a bandaged hand significantly increases the impact force of the punch.” The association added context without offering explanation. More blood be spilling it’s just paint to Me!!!! pic.twitter.com/H4BbjkBOfu — Hitta J3 (@Hittaj3tml) February 2, 2026 Boxing Imagery Frames Lamar’s Ongoing Rivalry Additional attention came from Hitta J3, who collaborated with Lamar on the GNX title track. During the ceremony, he shared a video featuring boxer Pernell Whitaker and captioned it, “Message from the Boogeyman.” Earlier, he posted an image of Lamar in a Chanel suit with the wrapped hand, writing, “More blood be spilling it’s just paint to Me!!!! .” The posts extended the imagery circulating around the night. Boxing references have appeared consistently in Lamar’s recent work. On the track “Euphoria,” he compared himself to an undefeated fighter while addressing Drake, rapping, “He’s Terrence Thornton, I’m Terence Crawford, yeah, I’m whoopin’ feet.” Lamar has also been seen training in boxing gyms, reinforcing the connection. The sport has become a recurring frame rather than a passing reference. Drake has at times alluded to boxing as well. During a 2025 livestream, he briefly entertained the idea of entering the ring before dismissing it as hypothetical. The overlap has fueled fan speculation, though neither artist has suggested anything literal. The references have remained symbolic. Lamar’s use of combat imagery culminated earlier this year with “Not Like Us,” which reached the top of the charts and was widely viewed as a turning point in his exchange with Drake. On the song, he rapped, “How many stocks do I really have in stock? One, two, three, four, five, plus five.” The line underscored a reputation for calculated restraint.

The investigation into the death of 15-year-old Celeste Rivas advanced this week as Neo Langston appeared before a Los Angeles County grand jury. Langston, a known associate of the musician D4vd, testified after briefly being taken into custody for failing to appear as a witness. His appearance marked a procedural step in a case that has remained active for months. Officials declined to comment on the substance of his testimony. Langston, 23, arrived at the courthouse on February 4 as part of an inquiry that began late last year. The case stems from the discovery of Rivas’s dismembered remains in September 2025. Authorities located the remains inside a vehicle connected to D4vd in Hollywood. The circumstances surrounding the discovery remain under investigation. According to people familiar with the proceedings, Langston spent roughly 30 to 40 minutes in the grand jury room. He left the courthouse without speaking to reporters. Deputy District Attorney Beth Silverman, who is presenting evidence to the grand jury, also declined to answer questions. Grand jury hearings are conducted in private, and details are rarely disclosed. Langston was arrested on January 22 in Helena, Montana, after a Los Angeles judge issued a bench warrant related to his failure to appear. He was detained at his mother’s residence and later transported to Los Angeles. Records show he was held at the LAPD’s Metropolitan Detention Center, where bail was set at $60,000. He was released after posting bond. High-Profile Case Remains Open as Detectives Continue Interviews Langston, who previously used the online name NeoTheAsian has appeared in photographs with D4vd on social media. Investigators have interviewed multiple witnesses as part of the case. Law enforcement officials say the inquiry remains ongoing. No charges have been filed against Langston. Authorities have identified D4vd, whose legal name is David Anthony Burke, as a suspect. Detectives have also pointed to a second individual believed to have been involved “before, during, and after” the killing. Officials have not disclosed further details. Prosecutors have not indicated when charging decisions may be announced. The case continues to draw public attention as investigators work through the evidence. Officials have emphasized that the process remains active and ongoing. Any future charges will depend on the findings presented to the grand jury.

Mayor Zohran Mamdani said this week that New Yorkers will soon be able to access the cupola atop the David N. Dinkins Manhattan Municipal Building, opening a civic space long closed to the public. The announcement was made in a video posted on X, where the mayor described the structure as “one of the most magnificent government buildings in the world.” Named for the city’s first Black mayor, the building occupies a central place in Manhattan’s civic landscape. City officials framed the plan as an effort to broaden public access to municipal landmarks. Speaking from the rooftop, Mamdani pointed to the visibility offered by the site. “From the heights of this iconic building, you can witness the entire city—from MetLife Stadium to Bushwick,” he said. He characterized the move as a matter of public inclusion, adding, “This building belongs to the people of New York City, and for too long, they have been excluded from it. That is about to change.” The comments emphasized the symbolic nature of the opening. Beginning in June, the rooftop will be open to visitors at no cost. City officials said the timing was intentional, aligning the announcement with Black History Month in recognition of Mayor David N. Dinkins, whose name was added to the building in 2015. The access is expected to draw both residents and tourists. Details on daily capacity have not yet been released. A more structured program will follow in June 2026, when the city plans to introduce free guided tours for small groups. Reservations will be available online. The municipal building, among the largest government office complexes in the world, is undergoing a $6 million renovation. The project includes restoring the cupola, adding glass safety barriers, and reworking the rotunda landing to accommodate visitors. It’s your city, from the sidewalk to the skyline. The David Dinkins Municipal Building’s rooftop is open & free to everyone, starting this June. pic.twitter.com/6ZyEMM3Y7f — Mayor Zohran Kwame Mamdani (@NYCMayor) February 2, 2026 Officials and Residents Applaud Move to Expand Public Access “As we honor Mayor Dinkins’ legacy, we aim to make this unparalleled view accessible to all New Yorkers,” Mamdani said in a statement published on NYC.gov. City officials said the renovations are designed to balance preservation with safety and accessibility. The work is expected to be completed before the tour program begins. Several city officials expressed support for the plan. Public Advocate Jumaane D. Williams said the initiative would allow more residents to engage with civic spaces. Comptroller Mark Levine, who has previously advocated for expanded public access to city landmarks, said, “It shouldn’t just be the affluent who get to be inspired by an observation deck. All New Yorkers deserve the chance to gaze upon the city they cherish.” Their comments reflected broader enthusiasm within city government. Reaction online was largely favorable, with users highlighting the symbolic value of opening the space. One post referenced the “Arthur’s clenched fist” meme, suggesting that “Mayors across the nation are feeling the pressure to elevate their game thanks to Mamdani.” Another user focused on the project’s emphasis on inclusion and civic access. “What’s remarkable is that this initiative focuses on community, doesn’t compromise human rights, and promotes unity rather than division,” they wrote, asking, “Is it really that simple?”

A federal courtroom has become the unlikely setting for a debate that has long followed hip-hop culture: where creative expression ends and criminal evidence begins. Lawyers for Lil Durk are challenging prosecutors who want to use his music against him in an ongoing murder-for-hire trial. At the center of the dispute is whether lyrics and videos can be presented as proof of intent. The case raises broader questions about how art is interpreted within the justice system. According to Complex, prosecutors intend to introduce nine music videos and three audio recordings associated with Durk and people in his orbit. The material is tied to a violent feud involving fellow rapper Quando Rondo. That conflict escalated after the 2020 killing of King Von, a close associate of Durk, during a confrontation with Rondo’s group. Prosecutors allege that Durk later ordered retaliation, which they say led to a Los Angeles shooting that killed Rondo’s cousin, Saviay’a Robinson. The government has pointed to specific lyrics it argues reflect a retaliatory mindset. In “All My Life,” his collaboration with J. Cole, Durk raps, “They be on my page like ‘Slide for Von’, I know they trollin me… Got it back in blood, y’all just don’t know, that’s how it ‘posed to be.” Prosecutors say the line captures an emotional response to Von’s death. They argue it aligns with the actions described in their case. Additional scrutiny has been placed on lyrics that prosecutors claim suggest financial backing for violence. Among them are lines from an unreleased song, “Scoom His Ass,” which authorities say was found on a co-defendant’s phone. The track references Beverly Hills, an area prosecutors note is close to where Robinson was killed. They argue the geographic detail strengthens the connection between the music and the alleged crime. Whether rap lyrics can be used as evidence In earlier filings, prosecutors described a “striking similarity” between the lyrics and the facts surrounding Robinson’s death. They have cited past rulings allowing artistic works to be admitted in conspiracy and gang-related trials. Excluding the material, they contend, would prevent jurors from weighing statements they believe reflect real-world behavior. The government maintains the music meets the standard for admissible evidence. Durk’s defense team has filed motions seeking to keep the lyrics out of the trial. They argue the material would unfairly prejudice a jury by inviting assumptions about the artist’s character rather than focusing on evidence. The defense also questions when the songs were written and who authored the lyrics. Without that context, they say, the court cannot reliably link performance to alleged conduct. To support their argument, the defense has turned to Erik Nielson, a scholar and co-author of Rap on Trial: Race, Lyrics, and Guilt in America. Nielson has argued that the language cited by prosecutors reflects genre conventions rather than literal admissions. His analysis challenges the idea that Durk’s music should be treated differently from other fictional or stylized art forms. The court must now decide how much weight, if any, creative expression should carry in a criminal trial.