A$AP Rocky is floating an idea that would have once sounded far-fetched, even by celebrity standards. In a recent interview with Esquire, the Harlem rapper suggested that public office could be part of his future, arriving just after the release of his fourth studio album, Don’t Be Dumb. While he made clear that nothing is imminent, Rocky did not shy away from the notion of running for mayor of New York City. The comments situate him within a broader moment where cultural influence increasingly brushes up against civic ambition. Pressed on whether politics truly appeals to him, Rocky was direct about his thinking. “For sure,” he said. “I believe there are numerous political issues that require our attention, and changes that are long overdue. I genuinely think I would succeed in that role as I represent the people’s interests.” His remarks carried the tone of someone speaking from observation rather than ideology, shaped by proximity to the city rather than party lines. Rocky pointed to the everyday pressures New Yorkers confront, framing governance as a matter of basic responsiveness. “You see potholes, you fix them. The train fares just jumped to $3, which is absurd. Inflation is rampant,” he said. He also referenced SNAP, welfare, and food assistance programs, arguing that these systems could function more effectively if tied to job creation and accessible healthcare. The issues he raised mirror the concerns that dominate kitchen-table conversations across the city. Authenticity, politics, and creative momentum collide He also voiced frustration with what he sees as political theater overtaking public service. “A lot of politicians come in with pledges to make change, but frequently those decisions serve self-interest more than the public’s,” Rocky said. He suggested that his credibility comes from transparency and lived experience, not polished messaging. In his view, authenticity remains the missing ingredient in city leadership. The timing of the remarks coincides with renewed attention on Don’t Be Dumb, a project that features collaborations with Tyler, The Creator, Doechii, and Brent Faiyaz. Rocky has hinted at a deluxe edition, teasing additional partnerships during an appearance on The Joe Budden Podcast. When asked about the possibility of working with Rihanna, he offered a characteristically measured response: “She encourages me, man. Her taste is so eclectic; she collaborates with some unexpected talents like Alchemist and Knxwledge.”

50 Cent stirred familiar tensions in hip-hop this week with a sharp critique aimed at Fabolous and Lloyd Banks. In a brief post on X, formerly Twitter, the Queens rapper drew an unflattering comparison between the two veterans. The remark, quickly circulated and later deleted, reopened long-running debates about relevance, output, and legacy in rap’s middle generation. For fans, it felt less like a surprise and more like a reminder. “Fab vs. Banks [side-eye emoji],” 50 Cent wrote, according to 2Cool2Blog, before expanding his point. “They both never put in no work themselves. They both are not likely to sell at this point in their career. IT’S A TIE, LADIES & GENTLEMEN [shrug emoji] they are the same.” He also argued that their strongest moments come when their lyrics lean toward romantic themes. The blunt assessment landed with the usual mix of amusement and backlash. During the discussion, Tony Yayo and Uncle Murda debated the influence and skill sets of both Fabolous and Lloyd Banks. The exchange seemed to strike a nerve, bringing unresolved issues back into public view. Old dynamics, once again, found new oxygen online. Old Ties, Open Wounds, and 50 Cent’s Provocateur Persona Fabolous’ history with 50 Cent has rarely been quiet. Just last December, he aimed bars at the G-Unit founder in his freestyle “Squatter’s Rights,” alongside Jim Jones, Maino, and Dave East. The track signaled that whatever distance exists between them has never fully settled. In hip-hop, time often cools nothing. Lloyd Banks’ relationship with 50 Cent is more layered. In a 2022 interview with GQ, Banks described their bond as enduring despite professional shifts. “It’s the same. We’re brothers,” he said, while acknowledging the realities of evolving careers. “We’re never all going to be doing the same thing at the same time at this point in our careers.” The episode fits neatly into 50 Cent’s long-standing role as rap’s most vocal provocateur. His public feuds with figures like Diddy, Big Meech, and Ja Rule have repeatedly shaped industry conversations. Each comment, whether fleeting or deliberate, continues to keep his voice central in debates about power, loyalty, and longevity in hip-hop.

Judge Michelle Sisco is under scrutiny for her conduct during the widely covered trial of Julio Foolio’s murder. The case concluded last October with Alicia Andrews convicted of manslaughter after an eight-day proceeding. Following the verdict, Andrews’ lawyer, Jeremy McLymont, requested a delay in sentencing and called for Sisco’s removal, citing “hostile remarks” and signs of bias throughout the trial. A recent filing shared on X/My Mixtapez confirmed the judge’s disqualification, paving the way for the defense to pursue a retrial. According to Meghann Cuniff of Legal Affairs and Trials, McLymont emphasized, “Everyone deserves a fair trial, including Ms. Andrews. We strongly believe these circumstances warrant a new trial following additional litigation at either level.” To support his claims, he submitted 16 video clips intended to illustrate Sisco’s demeanor in ways that transcripts alone could not capture. “While past retrials have been based solely on transcripts, our case presents unique challenges that necessitate the visual evidence we’ve gathered,” he explained. pic.twitter.com/MvyOQx15DA — My Mixtapez (@mymixtapez) January 28, 2026 Allegations and Evidence During the trial, Andrews asserted that she had been pressured by her ex-boyfriend and co-defendant, Isiah Chance, to participate in the murder amid claims of domestic abuse. Prosecutors countered that both acted as lookouts during the incident that resulted in 26-year-old Foolio’s death. Detective Juan Ramos of the Tampa Police Department highlighted phone records tracking Andrews and Chance from Jacksonville to Tampa. “They made no other stops — suggesting they were in Tampa solely for tracking and killing the victim,” he noted. Defense attorney Life Malcolm stressed that proximity did not equal complicity: “Perception does not reflect reality. Just because she was near individuals with harmful intentions does not mean she shared those thoughts or knew their plans.” He added, “She was simply visiting her boyfriend and inadvertently found herself in a perilous situation.” Investigators continue to examine other individuals connected to the case, including Rashad Murphy, Sean Gathright, and Davion Murphy. Convictions could carry severe penalties, including potential capital punishment. The developments in this case have heightened scrutiny of courtroom conduct and highlighted ongoing questions about fairness and accountability in high-profile criminal trials.

In a wide-ranging conversation with Michael Sebastian for Esquire, ASAP Rocky unpacked the meaning behind his latest album, Don’t Be Dumb. The record is more than a musical project—it offers a reflective look at how street life is represented in hip-hop today, particularly following 21 Savage’s critique of the genre’s glamorization of trauma. For fans, there’s more to Rocky than just music; his thoughtful perspectives shape the culture. Asked about the album’s title, Rocky explained that it carries multiple layers of meaning. “The previous album focused heavily on reckless behaviors and crash dummies. This new work serves as a counter-narrative,” he said. He noted a growing trend among artists confronting the costs of street culture. “Recently, artists have begun expressing sentiments like, ‘Forget the streets. I’m dealing with trauma,’” he observed. “These individuals who once embraced the ‘gangsta’ persona are now uncovering the truth: this narrative is an illusion,” he added. Don’t Be Dumb reflects that sobering reckoning, offering insight into Rocky’s current mindset. Rocky’s views echo those of 21 Savage, who in a viral tweet called on peers such as Gunna and Young Thug to reconsider how they portray street life. “We’ve known Gunna wasn’t a gangster from the beginning, yet we ignored it. We’ve gained nothing from the streets but trauma,” 21 Savage wrote, sparking widespread discussion and engaging Rocky in a broader dialogue within hip-hop. Hip-Hop Divided Over Street Cred and Image Several artists, including G Herbo, YFN Lucci, and Pooh Shiesty, have publicly aligned with 21 Savage, advocating for more honest depictions of street experiences. Others, like Blueface, resisted the shift. On social media, he stated, “Next time you say ‘forget the streets,’ just know I’m not cooperating with any of you backstage. I never thought I’d see the day when aiming for a feature from 21 Savage meant siding against street credibility. Forget this industry!” Here, Rocky’s influence on shifting perspectives is noticeable. Meanwhile, 6ix9ine questioned the sincerity of these declarations, suggesting some artists may use the conversation as cover for selective collaborations. Boosie Badazz pushed back against those who reject street life altogether, urging rappers to either stop referencing the streets or fully embrace their origins. “Let’s talk about positive paths like fruits and education instead of just saying ‘forget the streets.’ Our backgrounds have indeed contributed to our achievements,” he said, offering a viewpoint that adds nuance to the themes expressed by Rocky in his music and interviews. NBA YoungBoy offered a contrasting perspective, asserting, “I don’t care about that. The streets are part of me. I love where I come from.” His stance highlights the divide within the hip-hop community, with artists balancing personal experience against public perception. Fivio Foreign also criticized 21 Savage’s stance, arguing it oversimplifies the complexities of life in the streets. Notably, Rocky’s thoughts remain at the center of this evolving conversation.

The Recording Academy announced Wednesday, Jan. 28, that Lauryn Hill will head the memoriam segment of the Grammys, honoring the late D’Angelo and Roberta Flack. NEW YORK, NEW YORK – MAY 05: Lauryn Hill attends the 2025 Met Gala Celebrating “Superfine: Tailoring Black Style” at Metropolitan Museum of Art on May 05, 2025 in New York City. (Photo by Savion Washington/Getty Images) The Performance Hill’s connection to both icons runs deep. She collaborated with D’Angelo on her Grammy-nominated song, “Nothing Even Matters.” The song is a classic track from her Grammy-Award winning album, The Miseducation of Lauryn Hill. She also famously reintroduced Robert Flack’s “Killing Me Softly With His Song” to a new generation through the Fugees’ album, The Score. The Recording Academy confirmed to The Breakfast Club’s Loren LoRosa that D’Angelo’s daughter Imani and his brother Luther will attend the ceremony. However, D’Angelo’s son, Michael Archer Jr., a.k.a. Swayvo Twain, revealed in statement that he was not invited. “I want to start by expressing my gratitude to the Recording Academy for honoring my father’s legacy on one of the biggest nights in music,” he starts in the statement. “Any recognition of his impact and contributions to the culture truly means a lot to my family and me. It would’ve been a pleasure to attend but unfortunately my siblings and I haven’t received an invitation to be part of this moment celebrating our parents’ lives and work. We remain thankful for the acknowledgement of my father and for the love people continue to show his music and legacy. Our respect for what Pops built will always come first.” For the upcoming 2026 Grammy Awards, Lauryn Hill has been announced to hit the stage and will honor the legacy of D’Angelo and Roberta Flack for their contributions to her career. However, when it came to D’Angelo’s children, not all were invited to see the tribute. @lorenlorosa… pic.twitter.com/g8yCLI8Dqd — The Breakfast Club (@breakfastclubam) January 29, 2026 Archer Jr., who lost both parents in 2025, is the son of D’Angelo and Angie Stone. The Voodoo singer died from pancreatic cancer last October, while Stone died in a car accident last March. Lauryn Hill will also be joined by Post Malone, Slash, Duff McKagan, Chad Smith, and Andrew Watt. The group of artists will pay tribute to Ozzy Osbourne. The 2026 Grammy Awards air live Sunday, February 1, from Los Angeles’ Crypto.com Arena on CBS and Paramount+,

Kanye West resurfaced this week with an announcement that blends new music with public reflection. The artist revealed that his upcoming album, Bully, will be released on March 20. This ends speculation around its delayed arrival. According to Rolling Stone, the project will be distributed through the independent label Gamma. It will not arrive earlier as previously rumored. The timing places West back at the center of cultural conversation, both musically and personally. Those familiar with the album say Bully grapples with themes including “remorse, memory, ego, faith, and consequence.” West has stressed that the record is not designed as an apology or a bid for rehabilitation. Instead, it is presented as an unfiltered look at his internal battles, shaped by experience rather than explanation. The album, by his framing, documents a process rather than offering resolution. BULLY 3/20/26https://t.co/VRc8CimxyL — Joseph Karre (@JosephKarre) January 28, 2026 A Moment of Public Reflection The album news follows a written apology West directed to the Jewish community in a recent essay published by The Wall Street Journal. In the piece, he asked for “patience and understanding” while acknowledging the harm caused by his past remarks and actions. He tied much of that period to longstanding mental health struggles. This offers context without attempting to excuse his behavior. The statement stood out for its directness and restraint. West traced part of his personal unraveling to a 2002 car accident that resulted in neurological damage. “I lost touch with reality,” he wrote, describing how unresolved issues intensified over time. “I said and did things I deeply regret. I treated some of the people I love the most poorly,” he added, reflecting on the personal toll of that period. Looking back, he concluded, “In hindsight, I became disconnected from my authentic self.” He also addressed decisions that fueled public backlash, including embracing “the most destructive symbol I could find” and selling merchandise bearing offensive imagery. “Living with bipolar type-1,” West explained, “includes moments of disconnection—many of which I still cannot remember—that result in poor judgment and reckless behavior that often feels surreal.” He continued, “I am profoundly ashamed of my actions during that period; I pledge to take responsibility for my behavior and seek meaningful change.” West ended the essay with a clear statement of intent: “While none of this justifies what I’ve done, I want to make it clear—I am not a Nazi or an antisemite. I love Jewish people.”

Clayton Howard, a former sex worker, has filed a lawsuit disputing how his story was presented in the Netflix docuseries Sean Combs: The Reckoning, produced by Curtis “50 Cent” Jackson. Since its release last month, the series has drawn sustained attention for its interviews with people connected to Sean “Diddy” Combs. It has also featured others who say they were harmed by him. Howard, who appears in the documentary, now says the finished project reshaped his account in ways he neither expected nor consented to. He argues that the edit left viewers with a version of events that no longer reflected his lived experience. According to court filings reviewed by Billboard, Howard claims his testimony was selectively altered to recast Cassie Ventura—whom he identifies as his primary trafficker—in a sympathetic role. In the lawsuit, he states, “The defendants deliberately edited, distorted, and misrepresented plaintiff’s account to present Cassie Ventura as a victim while omitting critical evidence of plaintiff’s sex trafficking by Ventura. This misrepresentation has severely tarnished my reputation.” Howard contends that crucial context was removed, changing the meaning of what he shared on camera. Moreover, he maintains that the resulting portrayal misled audiences and damaged his credibility. The complaint goes further, alleging that the editorial choices served interests beyond storytelling. Howard argues that the depiction advanced Jackson’s long-running conflict with Diddy while protecting someone he accuses of trafficking for commercial benefit. He says his account was sidelined in favor of a cleaner narrative that better fit the series’ larger arc. In his telling, the edits were strategic rather than incidental. A legal battle that challenges who controls the narrative As part of the lawsuit, Howard is asking Netflix to issue a disclaimer alerting viewers that the series may contain edited material that does not fully represent the underlying testimony. He is also seeking damages tied to reputational, emotional, and financial harm. As of now, neither Netflix nor 50 Cent has responded publicly to the filing. The case remains active. Howard’s claims build on an earlier lawsuit filed in July, in which he accused both Ventura and Diddy of participating in his sex trafficking. That complaint includes allegations of emotional distress, economic loss, and physical harm, including claims involving an STD and a terminated pregnancy. A judge has allowed Howard to pursue alternative methods of serving Ventura after standard attempts proved unsuccessful. Together, the filings add another layer of legal scrutiny to an already contested public narrative. The dispute arrives amid renewed debate over authorship and accountability in high-profile documentary filmmaking. As Howard seeks to reclaim control of his story, the case raises familiar questions about power, profit, and representation in true crime and celebrity media. Ultimately, how the lawsuit unfolds may help clarify where editorial discretion ends—and responsibility begins—when real lives are shaped for a streaming audience.

Bill Cosby has offered startling new testimony regarding his past actions. In a deposition tied to a lawsuit filed by Donna Motsinger, who alleges she was raped by Cosby in the 1970s, he admitted to repeatedly refilling prescriptions for Quaaludes. Cosby said he obtained the drugs with the intention of giving them to women during sexual encounters. However, he insisted he never personally consumed them. His statements deepen the scrutiny surrounding decades-old allegations and raise fresh questions about his conduct. Cosby revealed that he received quaaludes from Dr. Leroy Amar, a gynecologist, during a poker game at his Los Angeles home prior to 1972. The circumstances have drawn criticism, given the ethical concerns surrounding such a prescription. Dr. Amar, later described as “disgraced,” had his medical license revoked in California in 1979. This further clouds the legitimacy of the prescription. This unusual context highlights the troubling environment in which these events allegedly occurred. Allegations from Donna Motsinger Motsinger’s account paints a harrowing picture. In her lawsuit, she claims that Cosby drugged her while she worked at the Trident restaurant in Sausalito, California. She recounts being offered a pill he insisted was an aspirin. She says she became disoriented and drifted in and out of consciousness. She says she awoke at her residence partially clothed, an experience central to her legal claims. Cosby is seeking to dismiss Motsinger’s lawsuit, but she remains determined to see her case through. Court documents indicate the quaaludes involved were round and white, details that reinforce her account. As the proceedings move forward, both sides are preparing to present their evidence and arguments. The spotlight is on how the court will navigate decades-old allegations.

50 Cent has once again leaned into provocation, this time directing his attention toward Christian “King” Combs amid a serious legal backdrop involving the Bad Boy heir. In a recent Instagram post, the rapper shared an image of a man using a prison phone, paired with a joke that quickly circulated online: “My son said after his song blows up he’s going to bail me out of jail.” The post appeared lighthearted on its surface, but it set the stage for a sharper follow-up. As with much of 50 Cent’s online commentary, the humor carried an unmistakable edge. That edge became explicit when he addressed Christian directly in a subsequent caption. “Come on Christian you can do better than that man. LOL No seriously how is your case going, the one when you drugged shorty on the boat?” The remark immediately drew attention, not only for its tone but for its reference to an active civil lawsuit. Within minutes, social media users connected the comment to allegations that have shadowed the Combs family in recent months. The lawsuit centers on an alleged incident from December 2022 aboard a luxury yacht chartered by Sean “Diddy” Combs in St. Martin. A former female employee claims she was assaulted by Christian Combs after being drugged and subjected to unwanted sexual advances. The filing also names Diddy, citing questions of responsibility tied to the vessel and its staff rather than accusing him of direct involvement. Both defendants have denied all allegations. Christian Combs and 50 Cent’s Feud Spills From Court to Social Media Christian Combs’ attorney, Aaron Dyer, has dismissed the lawsuit as meritless and overblown. He has accused opposing counsel, Tyrone Blackburn, of pursuing publicity rather than justice and has said the legal team intends to seek dismissal. Diddy’s representatives have echoed that position, framing the claims as an attempt to stretch liability without factual support. The case remains ongoing. Beyond the courtroom, the dispute has unfolded publicly through a growing war of words. 50 Cent has repeatedly mocked Christian online, including poking fun at a live performance where chants of “Bad Boy” failed to energize the crowd. Christian fired back on social media, writing, “The real reason why this senior citizen Curtis is angry and keeps posting me is cuz his BM .” The exchange added a personal layer to what had already become a highly visible feud. The tension follows the release of Sean Combs: The Reckoning, a Netflix documentary series produced by 50 Cent that examines allegations surrounding Diddy’s career and personal life. In response, Christian Combs and his brother Justin have said they plan to produce their own documentary to present their family’s perspective.

Nicki Minaj flexes her “Gold Card” after spending the day at the Oval Office. WASHINGTON, DC – JANUARY 28: Musician Nicki Minaj (L) joins U.S. President Donald Trump on stage as he delivers remarks during the Treasury Department’s Trump Accounts Summit at Andrew W. Mellon Auditorium on January 28, 2026 in Washington, DC. “Trump Accounts” are a portion of recently passed tax and spending legislation where the federal government will deposit $1,000 into investment accounts for every child born between 2025 and 2028 once parents sign their children up while filing their income taxes. (Photo by Win McNamee/Getty Images) (Photo by Win McNamee/Getty Images) Twitter: @nickiminaj On Wednesday, the Queen rap icon took to X to post President Donald Trump’s controversial “Gold Card.” The card is a a luxury pathway to fast-tracked U.S. citizenship that reportedly requires “a $1 million gift upon completion of the individual’s vetting is evidence that the individual will substantially benefit the United States. An individual may also need to pay small, additional fees to the U.S. Department of State depending on his or her circumstances.” To apply, the applicant must first “pay a nonrefundable, $15,000 DHS processing fee,” per the Trump Gold Card website. Minaj took to twitter to flex her new gold card, with the caption, “Welp.” She later clarified those who perceived the card to signify her residence. “Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President,” said the “Starship” rapper. “Gold Trump card free of charge.” Welp… pic.twitter.com/c5v8ztVVLR — Nicki Minaj (@NICKIMINAJ) January 28, 2026 Residency? Residency? The cope is coping. Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President. Thanks to the petition. I wouldn’t have done it without you. Oh CitizenNIKA you are thee moment Gold Trump card free of charge pic.twitter.com/jc1vIxx6pz — Nicki Minaj (@NICKIMINAJ) January 29, 2026 The post came just hours after Minaj appeared alongside Trump during a summit to promote his new initiative, “Trump Accounts.” The program is designed to create tax-advantaged investment accounts for U.S. citizens under 18. The New York Post reports that her contributions could mean investments between $150,000 and $300,000 to her fans to help set up baby “Barbz” accounts. During the event, Minaj went as far as calling herself “probably the president’s number one fan.” Nicki Minaj on Trump: “I am probably the president’s number one fan — and that’s not going to change.” pic.twitter.com/v3hk0S2rkQ — philip lewis (@Phil_Lewis_) January 28, 2026 Prior to the gold card, Minaj was a legal permanent resident, who moved to the U.S. from Trinidad and Tobago as a child. Despite being one of the highest-taxpaying artists in music, she revealed in 2024 that she is not a U.S. citizen.