On Friday (Oct.10), which is also known as Mental Health Day, Megan Thee Stallion was bestowed The Trevor Project’s Mental Health Champion Of The Year. “I’m honored to receive this year’s Mental Health Champion award from The Trevor Project,” Megan Thee Stallion wrote in a statement. “My goal has always been to use my platform to help break stigmas around mental health and provide resources for those seeking safe spaces to have honest and heartfelt conversations.” Previous award recipients include Janelle Monae and Lil Nas X. According to its website, The Trevor Project is a non-profit suicide prevention organization that provides crisis support services, research, and advocacy for LGBTQ+ youth. The rapper added, “Mental health impacts all of us, so it’s important to lead with love and empathy. I’m grateful for organizations like The Trevor Project that are committed to spreading awareness and supporting our LGBTQ+ youth in powerful ways.” Megan Thee Stallion Wins Court Sanction Against Milagro Gramz In other news, Megan Thee Stallion’s legal battle with blogger Milagro Gramz took another turn in her favor. On Thursday, October 9th, Judge Lisette M. Reid ruled against Gramz after finding that she had deleted crucial evidence tied to the case. The judge’s order stated that Gramz erased “thousands of text messages” from her phone even after being told to keep all relevant communications intact. Court documents reveal that Megan’s legal team had notified Gramz, whose real name is Milagro Elizabeth Cooper, to hold onto both physical and digital records the day before the lawsuit was filed. Still, Gramz deleted messages and even removed the WhatsApp application from her phone, which likely held key conversations. Since the content of those messages can never be recovered, the court said jurors can assume they would have harmed Gramz’s defense.

Earlier this week, Rolling Stone dropped its “The 250 Greatest Songs of the 21st Century So Far” list. According to the outlet, Missy Elliott’s iconic track, “Get Your Freak On,” is the No.1 song of the 21st century. “…It was a challenge, a dare, the sound of Miss E and Timbaland defying everyone else to keep up with the future or get left behind,” the outlet wrote. The outlet continued: “And after more than two decades, ‘Get Ur Freak On’ still sounds like the future — everything vibrant and inventive and cool about 21st-century pop is in here somewhere.” The track, which dropped in 2001 and featured on the rapper’s third studio album Miss E… So Addictive. Upon its release, the track landed at number seven on the US Billboard Hot 100 chart. That said, Miss E… So Addictive debuted at No.2 on the US Billboard 200 chart, selling 250,000 copies in its first week. It’s also been certified platinum by the Recording Industry Association of America (RIAA). In 2002, at the 44th Grammy Awards, Missy Elliott walked away with a Grammy Award for Best Rap Solo Performance for “Get Ur Freak On.” Missy Elliott Reaches Settlement In Long-Running Lawsuit In other news, back in August, Missy Elliott finally put an end to a lawsuit that followed her for years. On August 22nd, just as jury selection was about to begin in a Philadelphia courtroom, she and producer Terry Williams agreed to settle their dispute, closing a chapter that had been active for seven years. The conflict stemmed from Williams’ claims that he helped write several songs during Elliott’s early career. He pointed to four tracks from her group Sista’s 1994 project 4 All the Sistas Around Da World and argued that Elliott went on to publish the material without giving him the credit or payment he believed he deserved. He later tried to connect his argument to Aaliyah’s 1996 single “Heartbroken,” but in August 2024, U.S. District Judge Nitza Quiñones Alejandro ruled that the attempt came too late after more than two decades had already passed.

Candace Owens claims that Kanye West confided in her with personal information he wanted protected in case of danger. During a livestream on her YouTube channel, the conservative commentator shared that Kanye sent her private messages from people who allegedly made threats against him. “Kanye sent me all the messages of people who were threatening me. I have them all,” Owens revealed, as reported by XXL. She said the rapper instructed her to make the messages public if anything were to happen to him. Owens also connected these supposed threats to the same people she believes were responsible for “torturing” the late Charlie Kirk. While her claims have yet to be verified, Owens praised Kanye for his strength and willingness to defy industry control. “Never too late to say that Kanye was right,” she told her audience. “Kanye said that in order to be free you had to violate these contracts, you had to recognize that your voice is being controlled and Kanye did just that. It was really an act of bravery to free himself.” Owens and West have built a close friendship over the years, and she has often spoken publicly in his defense. In an interview with Jason Lee, she explained that her support comes from witnessing how Kanye was treated behind the scenes. “I will always love Ye. I will always defend him because I think he did one of the bravest things in speaking about what happened to him and the questions were never answered about what Harley Pasternak did to him that night,” Owens said. Pasternak, a Canadian celebrity trainer, reportedly contacted authorities during a 2016 incident involving Kanye. In 2022, West posted alleged texts from Pasternak that included a threat to institutionalize him again, reading, “I have you institutionalized again where they medicate the crap out of you, and you go back to Zombieland forever.”

Sean “Diddy” Combs had an emotional phone call with his 2-year-old daughter, Love, after learning he would spend the next 50 months in federal prison. Following his sentencing, the hip-hop mogul spoke with the child’s mother, Dana Tran, who then let their daughter speak with him. According to TMZ, Love asked her father when she could see him again and wanted to know where he was. Diddy, who is currently being held at MDC Brooklyn, became emotional during the call. When Love said, “I miss you, Daddy,” he responded, “I miss you and love you very much, Love.” He then gently told her, “Daddy’s away for a little while,” and promised she would see him soon. Those close to the situation say the exchange was deeply emotional, as Diddy struggled to find the right words to comfort his daughter. Dana and Love recently flew from Los Angeles to New York to attend Diddy’s sentencing. Dana went to court, while Love stayed at the hotel with a babysitter. The judge’s decision left Diddy devastated, realizing he would not be returning home as soon as he hoped. Sources say the last time Diddy saw his daughter outside of prison was in August 2024, when the family spent the day together at the Miami Children’s Museum. That outing now stands as one of their final memories together before his arrest the following month. Love turns three this Wednesday, and it will be her second birthday celebrated without her father present. Those familiar with Diddy’s situation say missing these key family moments has been especially hard on him. While he continues to adjust to life behind bars, his focus remains on his family, and he hopes to reunite with his daughter once his time is served.

On Keke Palmer’s podcast Baby, This Is Keke Palmer, Offset offered an unvarnished look into his life beyond the stage. He spoke openly about addiction, fatherhood, and the lessons that have shaped him. The conversation revealed the delicate balance of navigating fame while striving to maintain personal grounding amid the pressures of the music industry. He discussed the weight of success, particularly after Migos’ 2016 breakout hit “Bad and Boujee.” This song propelled him to global recognition. “After ‘Bad and Boujee’ became a phenomenon, everything got serious for me,” Offset said. “It felt less like an artistic pursuit and more like a job. It brought its own set of stresses.” During that period, he leaned on codeine to manage the overwhelming pace and scrutiny that came with his fame. Touring and time away from family only added to the strain. “The chaos associated with touring and the business side of music was intoxicating,” he recalled. “It all felt bottled up.” A seemingly small moment with his eldest son became a pivotal awakening. “My oldest son was curious about why my drink looked different,” he said. “It was a sobering moment that struck me to my core. I realized I wasn’t the father I aspired to be.” The recognition, he noted, left him in tears. Offset on Growth, Accountability, and Tough Love Offset credited his mother’s tough love as instrumental in his self-reflection. “Even with success and money, her concern pierced right through,” he explained. “It hurts when your mom tells you to stop something harmful, but those conversations were vital. They serve as a reminder that I need to stay grounded.” He also addressed his relationship with Cardi B, acknowledging mistakes with candid humility. “I recognize that I should have valued her more. I made choices that were not reflective of the man I should be,” he admitted. “When she chose to leave, I had to own up to my mistakes—I deserved that.” Offset’s reflections offered an intimate portrait of an artist grappling with the intersection of fame, responsibility, and growth. They revealed the vulnerability behind the public persona and the ongoing journey of accountability and self-discovery.

Hip-hop has always doubled as autobiography—a place where heritage, struggle, and self-definition merge into rhythm. That tension between pride and perception surfaced recently in an unexpected exchange between Bruno Mars and Fat Joe. They are two artists linked by their shared Puerto Rican roots but separated by generation and experience. Bruno Mars, born Peter Gene Hernandez, represents a tapestry of cultures. His father is of Puerto Rican and Ashkenazi Jewish descent, while his mother’s lineage ties together Filipino and Spanish ancestry. Fat Joe—born Joseph Cartagena—was raised in the Bronx, a product of Puerto Rican and Cuban heritage. Their backgrounds, while distinct, both speak to the broader story of how migration and mixed identity have shaped hip-hop’s voice. Fat Joe recalled their first encounter with anticipation, expecting the shared heritage to spark instant kinship. “I’m at the awards, and I’m sitting next to him,” he said. “I asked him, ‘Yo, you Puerto Rican?’ His reaction left me surprised.” The moment quickly soured—Mars reportedly dismissed the question, insisting he was “Puerto Rican from Bushwick, Brooklyn.” He then abruptly ended the exchange. A moment that highlights hip-hop’s identity struggles The exchange revealed how discussions about cultural identity can turn unexpectedly personal. Within hip-hop, where authenticity is currency, even casual questions about origin can carry weight. For some artists, heritage is a badge of pride. For others, it’s a subject too complex or personal to unpack in public. The encounter has since taken on a lighter tone, with Jada Pinkett Smith joking that Fat Joe might owe Mars an apology. This comment highlights how easily meaning can shift once humor and hindsight enter the mix. Meanwhile, Fat Joe faces his own offstage challenges as he navigates a pending lawsuit. There is no verdict yet reached. Ultimately, the story lingers less as a celebrity misunderstanding and more as a reminder of how layered identity remains in hip-hop. The genre, built on stories of migration, pride, and reinvention, continues to wrestle with what it means to belong. This struggle occurs even among its own.

Azealia Banks has long inhabited the intersection of controversy and artistry, particularly regarding past statements on antisemitism. Yet she has chosen to perform in Israel, defying ongoing boycotts embraced by many musicians. Known for her unflinching and provocative persona, Banks continues to spark debate over her music, political views, and public statements. In 2018, Banks vowed never to perform in Israel again after a racially charged incident. This drew sharp criticism for promoting antisemitic conspiracy theories tied to the entertainment industry. Now, amid heightened Israel-Palestine tensions, she has taken the stage at Tel Aviv’s Ganei Yehoshua amphitheater. Her return surprises fans and critics alike. It underscores the unpredictable trajectory of her career and the complexities of personal convictions intersecting with geopolitics. While many artists opt for silence or boycotts in response to political controversies, Banks has been vocal about her choice. Through social media, she has stirred conversation and confronted detractors directly. She uses her platforms to frame her performances as deliberate statements. As the situation continues to evolve, observers watch how her art and commentary will engage with broader socio-political debates. Banks Sparks Debate on Authenticity and Influence in Pop Culture Beyond geopolitical disputes, Banks remains deeply involved in the discourse around pop culture and musical influence. Recently, she ignited discussion among Doja Cat fans by critiquing perceived mimicry of Nicki Minaj. “Ok, I love the girls and love Nicki, but we can’t just be riding Nicki’s d**k like this. A teeny bit of inspiration/borrowing is okay and respectful… but the full on Nicki cosplays have to stop. It’s almost like mocking her… which is rude,” she tweeted, highlighting her readiness to challenge trends in authenticity and originality. Banks’ presence in today’s cultural landscape reflects a persistent willingness to court both admiration and backlash. Her performances and unfiltered commentary demonstrate how artistry, politics, and personal identity can collide. This creates both tension and fascination. As she approaches her upcoming shows, Banks continues to ask audiences to grapple with the complexities of creative expression and its entanglement with global realities. Azelia Banks in Israel!!! Partying and loving the Jewish state!!@iiwasinthee212 pic.twitter.com/FkPAGR52TN — Betar Worldwide (@Betar_USA) October 9, 2025

Angel Reese is stepping into a new spotlight, and this time it’s not on the basketball court. The Chicago Sky star is set to make history next week when she walks in the Victoria’s Secret Fashion Show, becoming the first professional athlete ever to grace the brand’s runway. The news comes after a breakout year for Reese, who continues to make waves far beyond her record-setting performances in the WNBA. View this post on Instagram A post shared by Victoria’s Secret (@victoriassecret) She announced the exciting milestone with a video shared on her and Victoria’s Secret’s Instagram pages. The clip featured Reese showing off her athletic figure in a black lingerie set paired with the brand’s signature wings, giving fans a preview of what to expect when she hits the runway. The video immediately went viral, with followers flooding the comments to celebrate her confidence and trailblazing moment in fashion. The highly anticipated fashion show will take place in New York City on October 15. Alongside Reese’s debut, audiences can expect performances from global stars including Karol G, Missy Elliott, Madison Beer, and TWICE. With a lineup that mixes sports, fashion, and music, the event is already shaping up to be one of the biggest nights of the year. Off the court, Reese has become a force in the fashion world. She’s attended the Met Gala two years in a row and recently collaborated with Reebok to launch her own sneaker. Her inclusion in the Victoria’s Secret Fashion Show solidifies her place as a cultural icon, representing strength, style, and self-assurance. For Reese, it’s another groundbreaking achievement that continues to inspire fans everywhere — proving that her reach goes well beyond basketball.

Sean “Diddy” Combs is preparing to serve his 50-month prison sentence, and the judge overseeing his case wants him placed somewhere close to home. According to TMZ, the newly released court documents state Judge Arun Subramanian recommended that Diddy serve his time in a federal facility near the New York City area. The judge didn’t name a specific location but noted that proximity to family and access to drug rehabilitation programs would be ideal. He wrote that Diddy should be placed at a facility offering “any available substance abuse program, including the Bureau of Prisons’ Residential Drug Abuse Program (RDAP), for which he qualifies.” His attorneys are pushing for FCI Fort Dix in New Jersey, a low-security prison about 77 miles from the courthouse where he was sentenced. Defense lawyer Teny Geragos described the location as the best fit, explaining that it would allow Diddy to focus on treatment and maintain family contact. “In order to address drug abuse issues and to maximize family visitation and rehabilitative efforts, we request that the Court strongly recommend to the Bureau of Prisons that Mr. Combs be placed at FCI Fort Dix for RDAP purposes and any other available educational and occupational programs,” Geragos said. Prosecutors haven’t objected, though the final decision rests with the Bureau of Prisons. Mark Geragos, another member of Diddy’s legal team, voiced concern on the “2 Angry Men” podcast, saying his client could become a target among other inmates because of his celebrity status. Diddy was sentenced last Friday on two prostitution-related charges and must also pay a $500,000 fine. Once released, he’ll remain on supervised probation for five years. Although some supporters are calling for a presidential pardon, former President Donald Trump said in August that Diddy’s past remarks about him make that decision “more difficult to do.”

A federal judge has reportedly dismissed Drake’s defamation lawsuit against Universal Music Group (UMG), bringing an end to the rapper’s legal fight over Kendrick Lamar’s hit diss track, “Not Like Us.” According to reports, Judge Jeannette A. Vargas issued the ruling on October 9, 2025, concluding that the controversial lyrics at the center of the dispute—where Lamar accused Drake of being a “certified pedophile” and implied misconduct—were protected speech under the First Amendment. The Case: We previously reported that Drake filed the lawsuit earlier this year, alleging that UMG, which represents both him and Kendrick Lamar, defamed and damaged his reputation by distributing and monetizing “Not Like Us.” The track, which dominated charts and social media following its release, was widely regarded as the decisive blow in the highly publicized rap feud between the two artists. Court Documents: In court documents, Drake’s legal team argued that UMG knowingly profited from the song despite its “false and malicious” lyrics, claiming the company had a duty to prevent the release of content that could endanger his safety or reputation. UMG, however, pushed back, asserting that diss tracks are a recognized form of artistic expression, rooted in exaggeration, metaphor, and rhetorical flair. Their attorneys maintained that no reasonable listener would interpret the lyrics as literal factual claims. Judge Vargas sided with UMG, writing that the lyrics constituted “rhetorical hyperbole and opinion” within the cultural context of a rap battle.“The statements in question would not be understood by a reasonable listener as factual allegations,” she noted in her opinion. “They are part of a longstanding artistic tradition of exaggerated, often confrontational expression.” The court found that Lamar’s lyrics—though harsh—fell squarely under the protection of free speech, and that UMG could not be held liable for distributing an artist’s creative work. Drake has yet to publicly speak out about the dismissal of the case.