During the latest episode of Club Shay Shay, The Game, who’s not known for going back on his word, decided to do so just this one time. The California native issued an official apology to Kim Kardashian for name-dropping her in an unreleased 2019 track. In the song, the rapper used several explicit lyrics while recalling their alleged past relationship. “I held Kim Kardashian by the throat, n—a/ I made her swallow my kids until she choked, n—a/ I should apologize cause Ye my folks, n—a,” Game raps about Kim on the track. Not long after the track dropped, Kanye West allegedly reached out to the rapper asking him to take it down. “[Ye], he called me and was like, ‘I love you, but can we not ever talk about my wife again?’” he stated. “And I said, ‘You know what? Even though I’m bigger and stronger, you got that right.’ I gave it to him. I was like, ‘I wasn’t going to do that no more.’” However, he never officially apologized to Kim before this interview. View this post on Instagram “There just is no excuse,” The Game Says On Club Shay Shay “Kim, I’m apologetic for the way that I displayed or discussed our interrelations with the public,” the rapper stated. The Game noted that there wasn’t much thought behind including Kardashian. According to the rapper, he “woke up and chose a little violence.” However, today, The Game realizes the error of his ways. “If I tried to make up an excuse for my behavior, there just is no excuse. It’s the wrong thing to do on the right day,” he says. In other news, during another segment of the interview, The Game reveals the superstar who stepped in at the height of his beef with 50 Cent and G-Unit: Michael Jackson. The call caught him mid-tour in Vancouver, delivered by his manager with the kind of shock only Jackson’s name could trigger. The Game said the moment felt unreal from the start, especially after Jackson’s team asked him to hold for nearly half an hour.

Meek Mill turned his X timeline into a living archive this week, using a string of posts to revisit moments from North Philadelphia that shaped him long before success entered the picture. Each memory he shared carried the weight of someone who has seen the complexities of his neighborhood up close. I will never forget the 3 card molly oldhead caught me for my whole bankroll like $400 going shopping for clothes! He was waiting exactly where the bus let you off on market … he had 5 actors with him! I was like 13, all grown men no sympathy shit lol yal crazy for dat! lol — MeekMill (@MeekMill) December 10, 2025 One of the first stories he offered reached back to when he was thirteen. He described heading out to buy clothes, only to lose everything he had saved. “I will never forget the 3 card molly oldhead caught me for my whole bankroll like $400 going shopping for clothes,” Meek wrote. He explained how the man operated near the Market Street bus stop, choosing that spot to catch kids as they arrived. According to Meek, it wasn’t a one-man setup—“He had five actors with him,” he said, noting how coordinated the scam was. The man was familiar to residents because he stayed in their hallway and was allowed there for doing small chores. We let this man live in our hallway out north Philly apt in trade for butler service ….. his name was “Nelson” they even killed him …. the cops caught his killer on the spot and let everyone trash him with cuffs on… rip to “Nelson” 32nd and ceil b Moore #meekchronicles — MeekMill (@MeekMill) December 10, 2025 Meek remembered him by name: “His name was Nelson.” He went on to say that Nelson was eventually killed, and that police captured the suspected shooter quickly enough for neighbors to release long-held frustration. “Rip to Nelson N 32nd St and Cecil B Moore Ave,” he added. Meek then shifted further into the neighborhood’s past, mentioning 18th and Berks and pointing out that boxer Tevin Farmer also came from that block. But the mood darkened again as he recalled a horrific tragedy near 18th and Norris. “On 18th and Norris a whole family got killed by a fire bomb like 3am women kids and men like 6 to 8 people,” he wrote. He connected that event to his own experience years later, sharing, “Then my house caught on fire years after. I couldnt stop smelling fire for 5 years.” He ended the thread by inviting local students to learn the area’s real history directly: “Jump in the car with me. Especially if you a Temple University student and live near 18th and Berks. A lil history lol.”

The ongoing rivalry between 21 Savage and Tekashi 6ix9ine has once again drawn attention within the hip-hop world. The most recent exchange unfolded during 21 Savage’s conversation on Perspektives With Bank. He discussed his new album, What Happened To The Streets?, and offered pointed commentary on 6ix9ine. 21 Savage framed 6ix9ine as an example of how social media can rapidly elevate and diminish careers. “The rat boy who was wearing lace fronts and st,” he said, referencing 6ix9ine’s controversial persona. He added that 6ix9ine’s trajectory—from prominence to near-obscurity—illustrates how public perception can shift quickly. “Ain’t no gas in the car, n*a, what you mean he just stopped?” 6ix9ine responded on Instagram with a comedic skit shared by Kurrco, portraying himself as the “King of England.” The skit parodied 21 Savage’s UK background while engaging with past comments on immigration. In the video, the 21 Savage impersonator jokes, “I know Jay-Z. I can call Jay-Z. I’m begging you, I’ll do anything. You can have my chain,” highlighting the pressures artists face to assert influence and maintain credibility. 6ix9ine responds to 21 Savage dissing him on Big Bank’s podcast: “next time you say the ‘mexican’ justsay my name because the Mexicans would smack the f*ck out u @/21savage you bloody wanker ” pic.twitter.com/sB9rE8SY5d — Kurrco (@Kurrco) December 12, 2025 The Feud’s Context As the sketch progresses, 6ix9ine declares that 21 Savage will never obtain U.S. citizenship. He mixes humor with pointed commentary on cultural identity. The exchange demonstrates 6ix9ine’s use of parody to reassert his public persona, even as it fuels the ongoing public feud. The tension between the two artists has been building for years. There are repeated barbs about personal histories and professional trajectories. Lately, 6ix9ine has directed criticism toward 21 Savage’s Atlanta roots. This reflects a broader pattern in which he challenges artists linked to the city’s hip-hop scene. In a recent interview with DJ Vlad, 6ix9ine joked about plans to “marry Latto” to secure a green card. This reinforces his reputation for provocative statements. Combined with the ongoing back-and-forth with 21 Savage, it is clear that this public feud is far from resolved.

Nicki Minaj has once again drawn attention for her political commentary, sparking discussion around her support for Vice President JD Vance and her critiques of California Governor Gavin Newsom. The Trinidadian artist, who has recently spoken at the United Nations, has used her Twitter platform to articulate her positions, prompting reactions from both supporters and critics. Minaj’s recent exchange began after Newsom advocated for broader protections for transgender youth. Her response took a pointed tone. “The Vance > The Gav Nots,” she tweeted, signaling support for Vance while critiquing Newsom. She described Vance as quick and effective in debate, stating, “He’s quick as a computer. Maybe quicker.” Minaj adapted her pointed response to reflect her political stance. Her commentary on Newsom emphasized what she framed as prioritizing children’s well-being. “Normal adults wake up & think they want to see HEALTHY, SAFE, HAPPY kids,” she wrote, presenting her view without commentary on policy specifics. The Vance > The Gav Nots — Nicki Minaj (@NICKIMINAJ) December 11, 2025 Imagine being the guy running on wanting to see trans kids. Haha. Not even a trans ADULT would run on that. Normal adults wake up & think they want to see HEALTHY, SAFE, HAPPY kids. Not Gav The Gav Nots GavOUT Send in the next guy, I’m bored. pic.twitter.com/627bIhbD1j — Nicki Minaj (@NICKIMINAJ) December 12, 2025 Broader Social Commentary Minaj’s political engagement highlights the complex role of public figures in contemporary discourse. Her statements have divided her audience, reflecting both admiration for her artistry and differing perspectives on her political endorsements. She has also raised concerns about her interactions with Newsom, citing unresolved personal grievances regarding incidents near her residence, which Minaj cites as influencing her perspective. Her support for former President Donald Trump has been consistent, and she has addressed dissent among her followers directly. “I don’t care if you agree or not,” she wrote, signaling a deliberate approach to voicing her political views by Minaj. Beyond domestic politics, Minaj has commented on international issues, including religious persecution in Nigeria, adding another layer to her public discourse. Her commentary illustrates the ways in which celebrities like Minaj can influence public awareness and shape conversations beyond their professional fields.

The release of Sean Combs: The Reckoning, the Netflix docuseries executive produced by 50 Cent, has set off a new round of scrutiny and reopened long-standing tensions across the hip-hop world. Though Jay-Z has not commented publicly on the series or on 50 Cent directly, the documentary’s arrival has stirred broader speculation about old rivalries resurfacing. For 50 Cent, whose career has often played out under the glare of public conflict, the renewed attention feels like another chapter in a well-worn saga. The project has also pushed his fractured history with Ja Rule back into the spotlight. Online speculation accelerated after Ja Rule appeared to follow 50 Cent’s former partner on Instagram—a seemingly small gesture that fueled theories about shifting alliances. One circulating comment warned that Ja Rule, Jay-Z, and Roc Nation were preparing to “attack,” a claim 50 Cent dismissed with a deadpan quip: “My momentum makes them all get together. LOL.” Whether the revived chatter signals a meaningful escalation or simply another flare-up in an era of performative online feuds remains uncertain. Still, 50 Cent’s steady stream of pointed posts has kept the conversation alive, ensuring that the disputes surrounding the documentary continue to orbit him. View this post on Instagram 50 Cent Faces Accusations Amid Intensifying Feuds Even as he maintains a posture of sharp criticism toward fellow artists—including calling Jay-Z “competitive” in a past interview—50 Cent is confronting new allegations of his own. Ja Rule has accused him of mistreating women, referencing claims previously made by the rapper’s former partner Daphne Joy. 50 Cent has yet to offer a full public response, leaving the accusations to circulate alongside the broader frictions that have shaped this latest moment in his public battles.

21 Savage is using his latest album, What Happened to the Streets, as a backdrop to speak honestly about the city that raised him and the forces that shaped his early years. During a recent episode of Perspektives with Bank, he described how quickly Atlanta exposes children to adult environments and how those experiences follow them well into adulthood. At about eighteen minutes into the discussion, he didn’t hold back as he tried to capture the reality he witnessed growing up. “This is how I really feel… Atlanta is really goddamn what’s the word? Atlanta really a pedophile,” he said. The reaction in the room was laughter, but Savage doubled down on the larger point he was making. “’Cause Atlanta really groomed us, bro, since we was kids.” After a brief pause, he reconsidered the phrasing, adding, “Maybe pedophile the worst word. Maybe pedophile the wrong word. Atlanta is a grooming ass city. Atlanta groomed us ni**as since we was ten or 11, 12 on club life bro.” He described those early years in detail, remembering how he hustled for whatever income he could find. “When I was a lamb ni**a on my mama, I was taking out trash for 2 dollars in apartments. Just to goddamn get some Chucks and some Dickies,” he said. There was also a venue that handed kids pitchers of soda, an imitation of the bottle-service culture they’d later encounter in clubs. “So your ass is getting groomed for the club you goddamn in middle school,” he explained. “So now when you 30 ni**a I been going to the club since I was 11, 12 years old. Bro f**k the club. Atlanta groomed a ni**a bro. And ni**as banging out at these clubs.” Savage also talked about the limited options he faced due to his immigration status. “‘Cause I couldn’t do nothing else, I ain’t got no green card. I can’t get no job. So how the hell else was I gonna survive? I don’t feel like I jumped in the street, I feel like I was kind of forced,” he said. With money tight at home, he sold candy at school, sold weed, and picked up whatever small jobs he could.

Nicki Minaj used a recent Twitter Spaces session to address the backlash over her political remarks, a recurring point of tension between the rapper and parts of her fanbase. Days earlier, she set off a fresh round of debate after posting “Trumps > Chumps” on Twitter/X alongside a photo of 50 Cent. The message spread quickly across social platforms, sparking commentary far outside her usual online orbit. Even Vice President JD Vance entered the conversation, adding, “Nicki > Cardi.” The reaction among Minaj’s supporters was immediate and split, prompting her to speak directly to fans during the livestream. She made clear she wasn’t trying to shape anyone’s politics or personal choices. “Let me make this very clear, I don’t give a f*ck,” she said, according to Bo Loudon. She told listeners that the changes in their own lives happened without her direction. “Pink lady ain’t up in your business, pink lady loves you for you. Pink lady doesn’t tell you what to think, pink lady loves you in spite of what you think.” BREAKING: Queen of Rap @NICKIMINAJ just told her anti-Trump fans she still “loves” them “in spite of what [they] think.” God bless Nicki for not caving and continuing to support President Trump! pic.twitter.com/EAUvUdQ7Ud — Bo Loudon (@BoLoudon) December 11, 2025 Past Political Commentary Minaj’s political commentary has repeatedly stirred debate. Last month, she shared a TikTok video from The White House that highlighted what it framed as accomplishments of the Trump administration, including statements such as “No men in women’s sports” and “Gas prices are low.” The post added to an already heated discussion among her followers. Shortly before that, she reacted to a clip of former President Trump and First Lady Melania with a playful message: “The President & First Lady of the UNITED STATES OF AMERICA!!!!!!!!!!!!!!!!!!!!!!!!!!! Barbz, idk which one of you uploaded this to the white house TikTok but just know unlimited backstage GAG CITY FOR LIFE. Idk what timeline we’re on right now, I’m just goin w|the flow.” Minaj’s blunt approach to politics continues to divide her audience, ensuring every comment draws both applause and criticism. Her voice remains a potent force at the intersection of celebrity and political culture, and the conversations she sparks show little sign of quieting anytime soon.

Michael Oberlies, Sean “Diddy” Combs’ longtime personal videographer, has addressed the swirling rumors surrounding Netflix’s Sean Combs: The Reckoning. Produced by 50 Cent, the four-part series has captured widespread attention. It features interviews with figures from Diddy’s past, including members of his inner circle and alleged victims. It also includes previously unreleased footage of the music mogul speaking with his attorney, Marc Agnifilo, shortly before his arrest. The appearance of this unseen material prompted speculation about its origins. Some suggest it arose from a “fee dispute or contract issue.” Oberlies, however, clarified that the controversy occurred during his temporary absence from work. He emphasized that it was not tied to any contractual disagreement. Speaking to Rolling Stone, Oberlies said, “For over two years, we have been diligently compiling a project centered around Sean ‘Diddy’ Combs. The footage in question was not authorized by me or anyone within the rightful channels handling his material. It was instead shared through a third party who temporarily filled in for me while I was out of state. This incident is unrelated to any alleged contract issues or payment disputes. The behavior of those involved reflects poorly on the standard of integrity that every storyteller should uphold. Utilizing footage meant for our project to forge an agenda outside our own signifies not just ethical breaches but also a disregard for our essential narrative.” Diddy’s Reaction to the Docuseries After the series debuted, Diddy’s team publicly criticized the production, calling it a “shameful hit piece.” They emphasized that the footage had never been authorized for public release. They also stressed Diddy’s years of careful work to preserve his own narrative. The statement framed Netflix’s use of the material as unfair and unlawful, portraying it as a violation of his intellectual property rights. Netflix, for its part, defended the series. They asserted that all footage was obtained legally and that standard industry practices were followed throughout production.

The arrival of 50 Cent’s Netflix docuseries Sean Combs: The Reckoning has triggered an unexpected resurgence in both his own catalog and Diddy’s decades-long musical footprint. The four-part series, released earlier this month, has found a wide audience. With it, there is a notable rise in listeners revisiting 50 Cent’s early work. Data from Hip Hop All Day shows that December 9 became the most streamed day of 50 Cent’s career. His music tallied 11.3 million plays across major platforms. His breakthrough album Get Rich or Die Tryin’ drove much of that traffic, reaching its highest daily total in years. The surge offers a clear illustration. A widely viewed documentary can rekindle interest in an artist’s past work. It can also reshape listening patterns almost overnight. Online reactions captured the shift in real time. One fan remarked, “Haha that documentary coming in clutch,” while another speculated that the renewed attention might be an unwelcome development for Diddy, considering the documentary’s focus. For 50 Cent, the moment adds to a long-running pattern of blending media projects with broader cultural conversations. 50 Cent earned his BIGGEST streaming day of all-time on Spotify on December 9th, with 11.3M streams across all credits ‘Get Rich Or Die Tryin’ also reached a new all time peak of daily streams. pic.twitter.com/bRoiVeypvP — Hip Hop All Day (@HipHopAllDay) December 10, 2025 Diddy Pushes Back In the days after the docuseries premiered, Diddy’s legal team issued a forceful response. They accused the filmmakers of misrepresentation and called the project a “shameful hit piece.” A representative for Combs insisted that he has spent years gathering footage to tell his story on his own terms. They argued that Netflix relied on material he never cleared for release. 50 Cent has rejected the idea that he shaped the documentary with personal motives. In an interview with GQ, he said, “There’s no place for me, I didn’t make the docuseries. I got the best possible people to make one.” He added that had he wanted to steer the narrative, he “would have been more focused” on Combs’ ongoing legal troubles. Appearing on Sherri Shepherd’s daytime show, 50 Cent hinted that even more footage exists. These clips, he suggested, could shed new light on past figures within New York hip-hop and potentially on Diddy himself. Whether that material ever comes to light is unknown. However, the suggestion has already deepened the public debate surrounding the documentary and its impact.

Miguel’s return to the spotlight with his new album Caos marks the end of an eight-year stretch without a full-length release, but he’s already setting his sights on what comes next. The singer revealed in a recent Genius interview that another completed album is sitting in the vault, and he believes it surpasses the one he just dropped. When asked whether fans should expect another long pause between albums, he responded immediately: “No.” He went on to share that the unreleased music is “better” than Caos, and that if he had the power to move freely, fans would already have a release date. “If it was up to me, I’d put another album out before the tour starts,” he explained. However, Miguel says label restrictions are holding everything up. Because of contractual terms with RCA Records, he isn’t allowed to release new music until late next year. Although he acknowledges there are people at RCA who “understand and want to do the right thing,” he believes the structure of his current deal is fundamentally flawed. “I would sooner release it independently than to allow them to pick up the deal without it being a fair deal,” he said. “And it’s not a fair deal, and I’m happy to go on record about that.” For Miguel, the conflict is part of a broader industry pattern he no longer wants to accommodate. He has ownership of his intellectual property, and the next phase of his career, he says, needs to be centered on independence. “There’s absolutely things that need to happen that I would prefer to happen as an independent artist,” he added. Looking ahead, he hopes to use the next decade to uplift other creatives. “My next 10 [years] is me really taking what I’ve learned and hopefully educating and stewarding other artists,” he said. Releasing Caos after so many years stirred emotions he hadn’t expected. “It’s been such a long time since I put music out that I forgot how you can never explain or expect all of the emotion,” he shared. The response from his peers has been overwhelming. “I’ve gotten more notes about this album … than I’ve ever gotten for any of my projects,” he said. “It’s been really, really dope, and it’s a really endearing and reassuring thing.”