‘Citizennika’: Minaj Claims Trump Gifted Her $1M Immigration Perk

In this photo posted to X, rapper Nicki Minaj holds a "Trump Gold Card" featuring the likeness of President Donald Trump. The artist, who refers to herself as "CitizenNIKA," claimed the president gifted her the card to expedite her U.S. citizenship process, waiving the typical investment fees. (Nicki Minaj via X)

The courtship between the White House and the self proclaimed Queen of Rap has moved from mutual praise to high-value policy perks.

Hours after declaring herself President Donald Trump’s "number one fan" at a Treasury Department summit, Nicki Minaj revealed she has received a "Trump Gold Card"— a premium immigration fast-pass typically reserved for wealthy investors — courtesy of the president himself.

In a social media post that sent shockwaves through both political and hip-hop circles, Minaj shared an image of the gold-hued card, which features Trump’s likeness, a bald eagle, and the Statue of Liberty. While the program usually requires a $1 million investment and a $15,000 processing fee to expedite U.S. residency, Minaj boasted that hers came "free of charge."

"Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President," Minaj wrote on X (formerly Twitter). She capped the announcement with a new moniker for her era of political alignment: "CitizenNIKA."

The revelation adds a tangible, transactional layer to the rapper's recent MAGA pivot. Just a day prior, Minaj, 43, stood onstage with Trump and "Shark Tank" investor Kevin O'Leary to tout "Trump Accounts," a child investment initiative to which she pledged financial support. But the "Gold Card" gift suggests the alliance is far more personal — and potentially legally significant — than a simple celebrity endorsement.

For Minaj, who was born in Trinidad and Tobago and moved to Queens, N.Y., as a child, the path to citizenship has been a long-running narrative. In the past, she openly discussed arriving in the U.S. as an undocumented immigrant and criticized Trump’s previous hardline immigration policies, particularly family separations. Now, she appears to be bypassing the standard hurdles of the immigration system via direct presidential intervention.

The "Trump Gold Card" was introduced as a replacement for the EB-5 investor visa program, designed to offer residency to foreigners who can "substantially benefit the United States" through financial means. By waiving the seven-figure price tag for Minaj, the president has effectively designated her celebrity influence as a currency equal to the standard buy-in.

Critics have been quick to point out the stark contrast between Minaj’s VIP treatment and the administration's broader deportation efforts. Democratic strategists and online commentators argue the move highlights a two-tiered system where fame and loyalty buy access that is denied to ordinary immigrants.

Unbothered by the backlash, Minaj continues to double down. "The hate... does not affect me at all," she said at the summit. "It actually motivates me to support him more."

With "CitizenNIKA" now trending and the paperwork reportedly in motion, Minaj’s transformation from "Black Barbie" to MAGA matriarch appears complete, sealed with a golden ticket that money — or at least, her money — didn't have to buy.

Ray J Reveals Heart Failure Diagnosis, Claims Doctors Gave Him Until 2027

In this screengrab, singer and reality television personality Ray J speaks to fans about his health prognosis on Instagram. The entertainer claimed doctors told him "2027 is a wrap" due to heart damage he attributed to excessive alcohol and drug use. (Ray J via Instagram)

Ray J, the R&B singer, reality TV entrepreneur, and wannabe tech mogul, has delivered a stark and unsettling forecast for his own life: He claims doctors have told him he won’t make it past 2027.

In a series of erratic and emotional livestreams following a hospitalization for severe pneumonia, the 45-year-old revealed that his heart is functioning at only 25 percent capacity.

With the same candidness that fueled his rise from Brandy’s little brother to the king of reality television, Ray J admitted that years of excess — specifically a daily regimen of "four or five bottles" of alcohol and "10 Addies" (Adderall) — have left his heart "black" and seemingly beyond repair.

"I thought I was a big shot, so I could handle all the alcohol. I could handle all the Adderall," Ray J told viewers, gesturing to his chest. "I f---ed up... And it curbed my time here."

View this post on Instagram

A post shared by Ray J (@rayj)

The admission marks a grim chapter for the "One Wish" singer, whose career has been defined by an uncanny ability to monetize chaos. Yet, even in the face of what he describes as a terminal diagnosis, the hustle hasn’t stopped. In a jarring juxtaposition characteristic of the modern celebrity news cycle, Ray J took to Instagram to announce he "just almost died," only to immediately pivot into a promotional plug for the Zeus Network and his own Tronix Network.

"TRONIX NET WILL BE A FULL ON DATING SHOW UNTIL WE DISCUSS IT WITH THE ZEUS NETWORK BOARD OF DIRECTORS," he wrote in the caption, proving that while his heart may be failing, his instinct for cross-promotion remains fully operational.

The medical reality, however, appears severe. According to the singer, he is currently on eight different heart medications, and doctors have advised him to prepare for a pacemaker or defibrillator. He described the right side of his heart as being "like gun," a cryptic but ominous descriptor for organ failure.

The health scare comes amidst a turbulent personal period. Ray J is currently embroiled in a contentious legal battle with his estranged wife, Princess Love. He revealed that a restraining order currently prevents him from coming within 150 feet of her or their two children. Despite the friction, he assured fans that his estate is in order.

"My baby mama gon’ be straight, my kids gon’ be straight," he said. "If they want to spend all the money, they can spend it, but I did my part here."

While Ray J faces the consequences of his "indestructible" phase, the clean-up crew has arrived in the form of his family. The singer gave a "shout out" to his parents and his sister, vocal legend Brandy, for their support. "She paid my bills for me for the rest of the year," he noted, confirming that the Norwood sibling bond remains the most stable element in his orbit.

As the industry processes the news, Ray J offered a final, bleak directive for his eventual exit: "When it’s all done, burn me, don’t bury me."

Trump, Nicki Minaj and ‘Mr. Wonderful’ Sell MAGA Loyalty With a Side of Capitalism

In a convergence of reality television, hip-hop royalty and business moguldom that could only exist in the current timeline, President Donald Trump welcomed Nicki Minaj to the stage for a glowing endorsement that solidified the Queens rapper’s pivot to full-blown MAGA matriarch.

Flanked by “Shark Tank” investor Kevin O’Leary — affectionately dubbed “Mr. Wonderful” by the president — Trump heaped praise on Minaj, declaring her the “greatest and most successful female rapper in history.” The endorsement, however, was mutual and monetary. According to Trump, the self-proclaimed “Queen of Rap” isn’t just lending her voice to the cause; she’s putting her money where her mouth is.

"Nikki makes a lot of money and she's generously stepping up," Trump told the crowd, noting that while she might not have Michael Dell's bank account, she is investing "hundreds of thousands of dollars in Trump accounts" to support children. The specific mechanics of these "Trump accounts" remained vague, though Trump praised the strategy of keeping resources within one’s own circle. "Why should you give to somebody else's fans? Give to your friends. I like that."

For Minaj, the appearance marked a stark public cementing of a political shift she has hinted at for years. Trump acknowledged her journey, noting he had heard over the years that she was a "big Trump supporter" who "took a little heat on occasion." He dismissed any friction with her fanbase, claiming, "We did pretty damn well with... your community."

When Minaj took the podium, the "Starships" rapper didn't mince words, seemingly abandoning any remaining ambiguity about her political allegiance.

"I am probably the president's number one fan, and that's not going to change," Minaj said. Addressing the backlash often directed at public figures who align with the polarizing leader, she added, "The hate or what people have to say, it does not affect me at all. It actually motivates me to support him more."

Minaj framed her support as a defense against perceived persecution, echoing a common Trump rallying cry. "We're not going to let them get away with bullying him and, you know, the smear campaigns. It's not going to work," she said, before invoking divine intervention. "He has a lot of force behind him and God is protecting him."

The surreal tableau was rounded out by O'Leary, who stepped up to frame the trio’s alignment through the lens of hard-nosed capitalism. Speaking "on behalf of all the entrepreneurs in America," O'Leary thanked Trump for his "pro-business policy," asserting that the "Trump accounts" are "fantastic for independence and support."

The event ended with a bizarre moment of fashion appreciation, as Trump, seemingly mesmerized by Minaj’s manicure, mused, "I'm going to let my nails grow ‘cause I love those nails."

For Minaj, this chapter represents a definitive move away from the standard pop-star political playbook. By aligning herself not just with Trump’s policies but with the man himself—and the "force" she believes protects him—she is betting her brand on the MAGA movement, signaling to her "Barbz" that the new era of Nicki is unapologetically red.

Rap Legend Luther Campbell Weighs Congressional Run After Years of Civic Work

Luther Campbell

Luther Campbell has spent most of his adult life being told to shut up — by police, by politicians, by prosecutors, and by critics who never imagined he would still be here long enough to be taken seriously.
So when Uncle Luke says he wants to listen, it lands differently.

On Monday, Campbell posted a message to Instagram saying he is considering a run for Congress in Florida’s 20th District, but emphasized that no decision would come before conversations with the people who live there.

He said he plans to meet residents where they are — at community meetings, churches, parks and neighborhood gatherings — to hear concerns and better understand what the district needs.

“I’m considering a run for Congress in CD-2,” Campbell wrote. “But before anything, I want to have real conversations with the people who live here.”

There was no campaign launch, no slogans, no platform rollout. Instead, Campbell framed the moment as exploratory — listening first, deciding later. For an artist whose name is permanently tied to free-speech battles and confrontations with authority, the tone was notably restrained.

It was also consistent with how he has operated for decades: show up, assess, then move.

The post came as Campbell steps away from his role as head football coach at Miami Edison Senior High School, where he spent six years rebuilding a program that had nearly collapsed. When he arrived in 2018, Edison had eight players and one win the previous season. Under Campbell, the Red Raiders progressed steadily, eventually reaching a regional championship game last season.

That coaching success was not an outlier. Campbell has spent years investing in youth development, most notably through the Liberty City Optimist Club he founded in 1994. The program has produced multiple national championships and a long list of professional athletes, including Chad Johnson, Antonio Brown, Lavonte David and Devonta Freeman.

His coaching résumé also includes stints as a defensive coordinator, internships with the New York Giants and volunteer work at college satellite camps, where he developed relationships with prominent coaches across the sport.

Campbell said stepping away from Edison was about focus — a recognition that running for Congress, even tentatively, requires time and attention he was unwilling to split at the expense of young athletes. He has set Feb. 15, 2026, as the date by which he will decide whether to formally enter the race.

The political backdrop makes the timing notable. Florida’s 20th District, a heavily Democratic, majority-Black seat long held by the late Rep. Alcee Hastings, is currently represented by Rep. Sheila Cherfilus-McCormick, who is facing a federal indictment tied to alleged misuse of campaign and FEMA-related funds.

Campbell previously explored challenging Cherfilus-McCormick in 2024 but ultimately did not qualify for the ballot, despite forming a PAC and registering with the Federal Election Commission.

Ye Issues Public Apology for Antisemitic Remarks in Full-Page Wall Street Journal Ad

Ye  published a full-page newspaper apology Monday addressing prior antisemitic remarks and personal conduct.

One of the most public reckonings of Ye’s career did not arrive on social media, a livestream, or a surprise album drop. It arrived in print.
On Monday, Ye — the artist formerly known as Kanye West — took out a full-page advertisement in Wall Street Journal to issue a sweeping apology for years of antisemitic statements, inflammatory symbolism and public behavior that fractured his standing in music, fashion and the broader culture.

“I lost touch with reality,” Ye wrote in the ad, attributing his actions to an undiagnosed brain injury from a car accident decades earlier and what he described as untreated bipolar disorder. He said the deeper neurological damage from the accident went unrecognized until 2023 and contributed to years of instability, denial and destructive behavior.

Ye’s letter in full (WSJ ad text)

Click to expand. Presented verbatim as published in the ad.

Read “To Those I’ve Hurt” (expand)

To Those I’ve Hurt:

Twenty-five years ago, I was in a car accident that broke my jaw and caused injury to the right frontal lobe of my brain. At the time, the focus was on the visible damage – the fracture, the swelling, and the immediate physical trauma. The deeper injury, the one inside my skull, went unnoticed.

Comprehensive scans were not done, neurological exams were limited, and the possibility of a frontal-lobe injury was never raised. It wasn’t properly diagnosed until 2023. That medical oversight caused serious damage to my mental health and led to my bipolar type-1 diagnosis.

Bipolar disorder comes with its own defense system. Denial. When you’re manic, you don’t think you’re sick. You think everyone else is overreacting. You feel like you’re seeing the world more clearly than ever, when in reality you’re losing your grip entirely.

Once people label you as “crazy,” you feel as if you cannot contribute anything meaningful to the world. It’s easy for people to joke and laugh it off when in fact this is a very serious debilitating disease you can die from. According to the World Health Organization and Cambridge University, people with bipolar disorder have a life expectancy that is shortened by 10 to 15 years on average, and a 2x-3x higher all-cause mortality rate than the general population. This is on par with severe heart disease, type 1 diabetes, HIV, and cancer – all lethal and fatal if left untreated.

The scariest thing about this disorder is how persuasive it is when it tells you: You don’t need help. It makes you blind, but convinced you have insight. You feel powerful, certain, unstoppable.

I lost touch with reality. Things got worse the longer I ignored the problem. I said and did things I deeply regret. Some of the people I love the most, I treated the worst. You endured fear, confusion, humiliation, and the exhaustion of trying to have someone who was, at times, unrecognizable. Looking back, I became detached from my true self.

In that fractured state, I gravitated toward the most destructive symbol I could find, the swastika, and even sold T-shirts bearing it. One of the difficult aspects of having bipolar type-1 are the disconnected moments - many of which I still cannot recall - that led to poor judgment and reckless behavior that oftentimes feels like an out-of-body-experience. I regret and am deeply mortified by my actions in that state, and am committed to accountability, treatment, and meaningful change. It does not excuse what I did though. I am not a Nazi or an antisemite. I love Jewish people.

To the black community - which held me down through all of the highs and lows and the darkest of times. The black community is, unquestionably, the foundation of who I am. I am so sorry to have let you down. I love us.

In early 2025, I fell into a four-month long manic episode of psychotic, paranoid and impulsive behavior that destroyed my life. As the situation became increasingly unsustainable, there were times I didn’t want to be here any more.

Having bipolar disorder is notable state of constant mental illness. When you go into a manic episode, you are ill at that point. When you are not in an episode, you are completely “normal”. And that’s when the wreckage from the illness hits the hardest. Hitting rock bottom a few months ago, my wife encouraged me to finally get help.

I have found comfort in Reddit forums of all places. Different people speak of being in manic or depressive episodes of a similar nature. I read their stories and realized that I was not alone. It’s not just me who ruins their entire life once a year despite taking meds every day and being told by the so-called best doctors in the world that I am not bipolar, but merely experiencing “symptoms of autism”.

My words as a leader in my community have global impact and influence. In my mania, I lost complete sight of that.

As I find my new baseline and new center through an effective regime of medication, therapy, exercise and clean living, I have newfound, much-needed clarity. I am pouring my energy into positive, meaningful art: music, clothing, design and other new ideas to help the world.

I’m not asking for sympathy, or a free pass, though I aspire to earn your forgiveness. I write today simply to ask for your patience and understanding as I find my way home.”

With love,
Ye

“I regret and am deeply mortified by my actions in that state,” he wrote. “It does not excuse what I did, though. I am not a Nazi or an antisemite. I love Jewish people.”

The apology marks Ye’s most direct acknowledgment yet of the harm caused by his public embrace of antisemitic rhetoric, including past praise of Adolf Hitler and repeated use of swastika imagery — moments that led to widespread condemnation, severed partnerships and the near-collapse of his commercial empire.

The Anti-Defamation League, which tracks antisemitism, described the apology as overdue. In a statement the organization said the letter does not erase years of damage, citing Ye’s past remarks, imagery and references that caused “hurt and betrayal,” while adding that the true measure of accountability will be whether he refrains from such behavior going forward.

Ye’s letter also turned inward, detailing the mechanics of mania and denial. He described bipolar disorder as having “its own defense system,” writing that during manic episodes he believed he was seeing the world more clearly, when in reality he was losing control. He said a four-month manic episode in early 2025 led to paranoid and impulsive behavior that “destroyed my life” and pushed him to what he described as rock bottom.

In one of the more personal passages, Ye addressed the Black community directly, calling it “the foundation of who I am” and apologizing for letting it down. The acknowledgment reflected a recurring tension in his career — an artist whose early work centered Black vulnerability, faith and ambition, later becoming a source of public fracture and fatigue within the same community that first lifted him.

The ad also touched on a contradiction Ye has voiced publicly in recent years. He previously claimed to be on the autism spectrum rather than bipolar. In the letter, he said reading accounts from people experiencing manic episodes helped him recognize his condition and feel less isolated, ultimately pushing him toward treatment.

The timing of the apology is notable. Ye’s next album, “Bully,” is listed on Spotify with a Friday release date, though no official rollout details have been confirmed. Whether the apology is received as a genuine step toward accountability or as part of a familiar cycle of confession and return remains unresolved.

Nicki Minaj Averts Forced Sale of Hidden Hills Home After Satisfying $500,000 Judgment

Nicki Minaj speaks with attendees during AmericaFest 2025 at the Phoenix Convention Center in Phoenix on Dec. 21, 2025. Minaj recently satisfied a court judgment tied to a civil lawsuit, avoiding the forced sale of her Hidden Hills, California, home. (Photo by Gage Skidmore, CC BY-SA 4.0)

Nicki Minaj has avoided the forced sale of her Hidden Hills, California, home after satisfying a court judgment tied to a long-running civil lawsuit involving her husband, Kenneth Petty.

Court records show the rapper paid roughly $500,000 to resolve a judgment awarded to Thomas Weidenmuller, a former member of her security team. The payment was made ahead of a scheduled court appearance this week, closing out a financial dispute that had placed Minaj’s estimated $20 million Los Angeles-area mansion at risk.

The judgment stemmed from a lawsuit filed by Weidenmuller, who alleged he was assaulted by Petty during a 2019 incident while working for Minaj overseas. A court ultimately ruled in Weidenmuller’s favor, ordering Minaj to pay approximately $503,000. Failure to satisfy the judgment could have triggered enforcement actions, including the potential sale of the property.

Weidenmuller’s attorney confirmed the judgment was satisfied the night before the scheduled hearing. It remains unclear whether the full amount was paid in a single transaction or resolved through a negotiated settlement.

The lawsuit — and its resolution — arrives within a broader public context that has increasingly surrounded Minaj in recent years. Petty’s criminal history has long been part of that conversation. He was convicted in 1995 of attempted rape in New York, served prison time and is required to register as a sex offender. He was later convicted of manslaughter in 2006 and served additional time in prison. While Petty was not a named party in the civil judgment, the allegations at the center of the case stemmed from conduct attributed to him while employed as part of Minaj’s security detail.

The legal resolution also comes amid renewed scrutiny of Minaj’s public conduct, particularly on social media. In recent days, the rapper has drawn criticism for confrontational posts aimed at journalists and public figures, including Don Lemon, following his reporting on protests at a Minnesota church. Lemon responded by questioning Minaj’s understanding of journalism, a rebuttal that further fueled discussion around her increasingly adversarial relationship with the media.

Minaj, 43, has not publicly commented on the payment or the conclusion of the case.

A Rap Icon and a Rock Elder Find Common Ground on “No Country for Old Men”

Chuck D and John Densmore have teamed up as doPE, a collaboration bridging hip-hop and rock history ahead of their Record Store Day 2026 release. (Photo by Grant Ball)

When Chuck D and John Densmore finally decided to make music together, it wasn’t the result of a sudden idea or a calculated collaboration. It was the slow closing of a circle left open for more than a decade.
The project is called doPE, a collaboration between the Public Enemy frontman and the longtime Doors drummer. Its debut album, “no country for old men,” is scheduled for release April 18 in conjunction with Record Store Day 2026. The album’s lead track, “every tick tick tick,” has been named Record Store Day’s 2026 Song of the Year.

Chuck D and Densmore first crossed paths in 2014 during a Record Store Day panel at Amoeba Music in Hollywood. Chuck D was serving as that year’s Record Store Day ambassador, while Densmore appeared as a veteran artist whose work with The Doors helped reshape rock music’s language and posture. Their conversation did not immediately turn into music. Instead, it lingered. About a year later, Densmore received a brief email from Chuck D that read: “You’ve got the beats, I’ve got the rhymes, let’s make doPE.”

 

View this post on Instagram

A post shared by John Densmore (@johndensmore)

What followed was not a rush to release but a measured exchange of ideas. Chuck D began sending verses. Densmore responded with rhythms, textures and reflection. At one point, Densmore sent back a line that would become central to the project: “Everybody gets older, but not everybody gets elder.” The phrase became a philosophical anchor for the album — a meditation on time, responsibility, memory and survival, rather than nostalgia or revivalism.

Recorded specifically for Record Store Day, “no country for old men” relies on spoken word, percussion and stripped-down musical frameworks that leave space for Chuck D’s voice to carry weight. The album does not attempt to fuse hip-hop and classic rock into a hybrid genre. Instead, it attempts to allow each discipline to speak plainly, sometimes uncomfortably, often deliberately.

Chuck D has spent more than four decades using his voice as a tool for confrontation and clarity, from Public Enemy’s foundational work in the late 1980s through collaborations across hip-hop, metal and rock. Densmore, whose drumming powered The Doors’ most enduring recordings, has long been outspoken about art, authorship and cultural accountability. In doPE, those histories are not background context; they are the material itself.

Tracklist: “no country for old men” (doPE)

Side A

1. “every tick tick tick”
2. “no country for old men”
3. “doomsay”
4. “the bones of my father”
5. “i love that i don’t know”
6. “people are strangers”

Side B

1. “breakthru”
2. “ops3ssion”
3. “dajali ii”
4. “everybody dies”
5. “no country for old men (dub)”
6. “saydoom (dub)”

“John Densmore’s beat isn’t just rhythm, it’s history talking,” Chuck D said in a statement. “He’s been scoring moments of our culture for decades, and that wisdom hits different when it meets the now. This collaboration is about locking generations together and pushing sound forward.”

Densmore echoed that sentiment more plainly, emphasizing the project’s balance. “He’s got the rhymes and I’ve got the beats,” he said. “And we made doPE.”

The album’s lead track, “every tick tick tick,” was co-produced by Densmore, David “C-Doc” Snyder and JP Hesser. It was selected as Record Store Day’s 2026 Song of the Year for its sense of urgency and restraint — a piece that reflects the pressure of time without leaning on spectacle. Record Store Day co-founder Michael Kurtz described the song as capturing both the moment and the times surrounding it.

Visually, the project follows the same stripped-back approach. The doPE logo combines elements of The Doors’ typography with Public Enemy’s crosshairs imagery and was designed by Chuck D. The album will be released as a limited-edition colored-vinyl LP in a deluxe gatefold package featuring original illustrations by Chuck D.

Ice T Expands His Legacy Beyond Music and TV With Og Network

Ice T performs in 2018. The rapper and actor is a co-founder of OG Network, a new free streaming platform focused on creator-owned urban storytelling. (Stefan Bollmann, via Wikimedia Commons).

Ice T and media executive Courtney “Big Court” Richardson II are entering the streaming space with a familiar argument, one hip-hop has been making for decades: ownership still matters.

This week, Richardson and Ice T officially launched OG Network, a free ad-supported streaming platform focused on urban culture, independent filmmakers and creator-owned programming.

According to the company, the platform has already surpassed 2.3 million viewing minutes during its early rollout — a figure reported by OG Network that suggests early audience engagement, though it has not been independently verified.

OG Network is available in 186 countries across Roku, Apple TV, Fire TV, Android TV, iOS and Google Play, placing it within the rapidly expanding FAST and AVOD streaming ecosystem. That space has grown crowded in recent years, dominated by large-scale platforms such as Pluto TV, Tubi and Freevee, while smaller, culture-specific services compete for attention and sustainability.

 

View this post on Instagram

A post shared by OG Network (@ognetworklive)

Rather than positioning itself as a mass-market disruptor, OG Network is framing its mission around creator control and curated programming. Richardson said the platform was built to give independent creators ownership over their work and greater control over distribution — a message that aligns with long-standing concerns in hip-hop about exploitation and gatekeeping.

Ice T’s involvement adds historical weight to that framing. Few artists have navigated the shift from outsider to industry institution as visibly or deliberately. From his early work in protest rap to his long-running television career, Ice T has consistently engaged questions of power, representation and access, making his role as co-founder more than symbolic.

The platform’s early programming slate reflects that intent. OG Network’s launch includes “Somebody Had To Say It,” a weekly discussion series hosted by Layzie Bone of Bone Thugs-N-Harmony alongside Richardson, centered on hip-hop debate and cultural commentary. Ice T serves as executive producer and narrator of “Put The Guns Down — A World Epidemic,” a documentary examining gun violence through a global lens rooted in cultural context. The service is also debuting independent films, including “My Cherie Amour,” a thriller starring Omar Gooding that OG Network says has driven strong engagement since its release.

Richardson’s “Holdin’ Court Podcast,” previously distributed elsewhere, now streams exclusively on the platform, reinforcing OG Network’s emphasis on long-form conversation over short-form virality. The service also hosts a growing library of films, documentaries and creator-led projects, with additional releases planned throughout the year.

OG Network enters a streaming landscape littered with ambitious launches that struggled to scale. FAST platforms, by design, prioritize ad-supported volume over subscription loyalty, and long-term success depends less on buzz than on sustained viewing and advertiser confidence. Whether OG Network’s creator-first positioning can translate into durability remains an open question.

A$AP Rocky Takes 'Don’t Be Dumb' on the Road With First Major Tour in Years

A$AP Rocky performs during a live concert appearance in support of his new album, “Don’t Be Dumb.” The rapper announced a 42-date world tour for 2026, marking his first major headlining run in several years.

A$AP Rocky is taking his new album on the road.

The Harlem rapper announced the “Don’t Be Dumb World Tour” today, confirming a 42-date run across North America, Europe and the U.K. that will mark his first major headlining tour in years. The tour formally launches the live phase of “Don’t Be Dumb,” Rocky’s first full-length album in nearly eight years, and places the project squarely in front of audiences rather than allowing it to live solely online.

Promoted by Live Nation, the tour opens May 27 at the United Center in Chicago and moves through major North American arenas, including Los Angeles’ Kia Forum, Toronto’s Scotiabank Arena and Houston’s Toyota Center, before wrapping its U.S. leg July 11 at the Prudential Center in Newark, New Jersey. The European and U.K. run begins Aug. 25 in Brussels and continues through cities including London, Milan, Stockholm and Berlin, closing Sept. 30 at Accor Arena in Paris.

The global on-sale begins Jan. 27 at 9 a.m. local time via asaprocky.com, with multiple presale windows preceding it. North American artist presales begin Jan. 23, while EU and U.K. artist presales open Jan. 21. A Cash App Visa Card presale will offer early access to U.S. dates, along with limited merchandise and vinyl incentives tied to the tour.

 

View this post on Instagram

A post shared by A$AP ROCKY (@asaprocky)

The announcement arrives just days after the release of “Don’t Be Dumb,” which landed last Friday following one of the longest gaps between studio albums in Rocky’s career. Billboard, reviewing the project, wrote that the album “not only rewards patience but adds new wrinkles to the rapper’s approach — an evolved relationship with melody and a wiser lyrical slant,” framing it as a work shaped by time rather than trend-chasing.

That patience had already translated into measurable anticipation. Ahead of release, “Don’t Be Dumb” surpassed 1 million pre-saves on Spotify, a figure widely cited by the platform and Rocky’s camp as unprecedented for a hip-hop album. The buildup was fueled by a year in which Rocky remained highly visible outside of music, starring in two A24-produced films, co-chairing the 2025 Met Gala and taking on creative leadership roles with Ray-Ban and Chanel.

What distinguishes this moment, however, is the speed with which Rocky has moved from release to performance. Rather than spacing out appearances or limiting the album to festival slots, the tour positions “Don’t Be Dumb” within a traditional album cycle — one centered on rooms, crowds and repetition.

Rocky’s last studio album, “Testing,” arrived in 2018 and was followed by sporadic performances rather than a sustained tour. In the years since, his public profile has expanded well beyond music. This run places the emphasis back on the work itself, asking how the new material holds up night after night.

For an artist whose early reputation was forged as much onstage as on record, the tour represents more than a victory lap. It is the clearest signal yet that “Don’t Be Dumb” is not a standalone event, but the opening chapter of an album era designed to be lived — and judged — in real time.

Rare Demo Cassette From Tupac’s Baltimore Years Offered in Landmark Auction Tupac Shakur’s Pre-Fame “Born Busy” Tape Hits Auction Block

Tupac Shakur appears in a 1988 yearbook photo from the Baltimore School for the Arts, taken the same year as newly surfaced recordings that capture the future rapper performing with his early group Born Busy, years before his commercial breakthrough.

A rare piece of hip-hop history has surfaced — not as a remaster or reissue, but as an original artifact from the very beginning of Tupac Shakur’s creative life.

A cassette tape containing what is believed to be some of the earliest surviving recordings of Tupac is being offered at auction, documenting the rapper years before his commercial debut and long before his name became synonymous with modern hip-hop mythology. The recordings date to 1988, when Tupac was approximately 16 years old and performing under the name MC New York as part of his pre-fame rap group, Born Busy.

The tape was recorded at the Baltimore home of Gerard “Ge-ology” Young’s parents. Young, who would later become a producer and DJ, was a close friend and creative collaborator of Tupac during that period. The cassette captures Tupac alongside fellow Born Busy members Gerard Young (DJ Plain Terror), Darrin K. Bastfield (Ace Rocker) and Dana “Mouse” Smith (Slick D), rapping acapella in informal sessions that doubled as a learning tool.

Rather than recording finished songs, Young would tape acapella performances so he could study the verses and later construct beats around them — a reversed production process that predates Tupac’s later studio work and offers a rare look at his earliest creative instincts. The sessions include freestyles, song ideas, samples, laughter and conversation, preserving an unguarded snapshot of a young artist still forming his voice.

The cassette’s track list includes early recordings such as “Check It Out!,” “That’s My Man Throwin’ Down,” “I Saw Your Girl,” “We Work Hard,” “Born Busy LIVE Freestyle,” “Babies Having Babies” and “Terror’s On The Tables (Dedication to DJ Plain Terror).” None of the material was ever commercially released.

What elevates the tape beyond a compelling curiosity is its provenance. The cassette has remained in Young’s possession since it was recorded, preserved and archived privately for decades. The uninterrupted chain of custody places it among the rarest surviving audio documents from Tupac’s formative years, offering a direct line to his earliest recorded performances.

The auction also includes additional artifacts from the same period, including handwritten lyrics, archival photographs from Baltimore cyphers and gatherings, and personal ephemera connected to Tupac’s youth before his rise to global fame.

NAACP Image Awards Nominees Spotlight a Year of Black-Led Film, TV and Music

Teyana Taylor, nominated for Entertainer of the Year at the 57th NAACP Image Awards, is among a field that also includes Kendrick Lamar, reflecting a year in which music, film and performance-driven storytelling converged across Black culture.

The NAACP on Monday announced the full list of nominees for the 57th NAACP Image Awards, placing this year’s ceremony squarely in the middle of an awards season already shaped by Black-led film, television and music.

Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor were nominated for Entertainer of the Year, one of the Image Awards’ most closely watched categories. The ceremony will air live Feb. 28 from the Pasadena Civic Auditorium at 8 p.m. (ET/8 p.m. PT on BET), with a simultaneous broadcast on CBS.

SIDEBAR: Who’s leading the 57th NAACP Image Awards

The 57th NAACP Image Awards reflect a year in which Black storytelling dominated across film, television and music — not just in volume, but in cultural reach.

Kendrick Lamar leads the music categories with six nominations. In film, “Sinners” leads the motion picture categories with 18 nominations. On the television side, “Bel-Air” tops the field with seven nominations. Netflix leads all platforms with 47 nominations overall, according to the NAACP.

The Entertainer of the Year nominees — Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor — underline how performance, authorship and cultural impact increasingly move together.

Full nominee list + public voting: naacpimageawards.net

Film and television categories reflect a year of sustained visibility across platforms. “Sinners” leads the motion picture field with 18 nominations, followed by “Highest 2 Lowest” with nine. In television and streaming, “Bel-Air” tops the list with seven nominations, while “Abbott Elementary,” “Reasonable Doubt” and “Ruth & Boaz” earned six nods apiece. Netflix led all networks with 47 nominations overall.

Teyana Taylor emerged as one of this year’s most broadly recognized nominees, earning six nominations across film and music, including Entertainer of the Year, acting nods for “One Battle After Another” and “Tyler Perry’s Straw,” and recognition for her album “Escape Room.” Erivo received four nominations, including Entertainer of the Year and a nomination for her performance in “Wicked: For Good.”

In the music recording categories, Kendrick Lamar received the most nominations with six. Cardi B. and Leon Thomas earned four nominations each, while Doechii and Taylor followed closely with three apiece. RCA Records led all labels with eight nominations. In literary categories, HarperCollins topped publishers with eight nominations, followed by Penguin Random House with six.

This year also marks a structural expansion for the Image Awards themselves. The NAACP introduced two new categories: Outstanding Literary Work – Journalism, honoring nationally distributed journalism that reflects Black experiences and social impact through a lens of equity and justice; and Outstanding Editing in a Motion Picture or Television Series, Movie, or Special, recognizing the craft of post-production in shaping narrative and emotional clarity.

Nominations were announced live on “CBS Mornings” by comedian Deon Cole and NAACP President and CEO Derrick Johnson, with additional reveals streamed on YouTube and NAACPPlus.

“The NAACP Image Awards is our declaration to our community that ‘We See You,’ affirming Black creativity, excellence and humanity across every space where our stories are told,” Johnson said in a statement. “From film, television and music to literature and beyond, the voices of all of our nominees tell stories that honor our past, celebrate our identity and move culture forward.”

BET President Louis Carr echoed that sentiment, calling the nominees “the heartbeat of culture” and emphasizing the awards’ role in elevating storytelling rooted in authenticity and purpose.

Public voting is now open in select categories at naacpimageawards.net and runs through Feb. 7. Winners will be announced during the live broadcast Feb. 28, with additional honors presented during the NAACP Image Awards Creative Honors events later that week.

John Forté, Grammy-Nominated Producer Tied to Fugees’ ‘The Score,’ Dead at 50

John Forté attends the Vanity Fair party for the 2012 Tribeca Film Festival in New York on April 17, 2012. Forté, the Grammy-nominated musician known for his work with the Fugees and the Refugee Camp, was found dead Monday at his home in Chilmark, Mass., at 50. (David Shankbone via Wikimedia Commons, CC BY 3.0)

John Forté, the Grammy-nominated musician and producer whose quiet but crucial contributions helped shape the Refugee Camp era that carried the Fugees into hip-hop history, has died. He was 50.


Forté was found unresponsive Monday afternoon at his home in Chilmark, Massachusetts. Chilmark police responded around 2:25 p.m. and pronounced him dead at the scene, according to the Vineyard Gazette. Police said there were no signs of foul play and no readily apparent cause of death. The case has been turned over to Massachusetts State Police and the Cape and Islands District Attorney’s Office, with the state medical examiner investigating.

View this post on Instagram

A post shared by Wyclef Jean (@wyclefjean)

While Forté was never a household name, his work traveled far. Closely aligned with the Refugee Camp collective alongside Wyclef Jean, Lauryn Hill and Pras Michel, Forté was a key contributor to the Fugees’ 1996 breakthrough album “The Score,” a project that helped redefine the sound and global reach of modern hip-hop. The album won best rap album at the Grammys and remains one of the genre’s most influential releases.

Born Jan. 30, 1975, in Brooklyn’s Brownsville neighborhood, Forté was classically trained in music and studied violin from a young age. He later attended Phillips Exeter Academy, where his musical foundation deepened before his path ultimately led him into hip-hop’s creative underground and the orbit of the Fugees.

Canibus, DMX, John Forte, Big Pun & Mos Def, 1997. pic.twitter.com/hkJ1NaVLPy

— Tobi Marshall (@CoededMarshall) December 26, 2025

Forté’s life also included a long and public reckoning with the criminal justice system. In 2000, he was arrested on drug trafficking charges and sentenced under federal mandatory minimum guidelines to 14 years in prison. After serving more than seven years — and following advocacy from musicians, artists and public figures — his sentence was commuted by President George W. Bush in 2008.

Just heard the heartbreaking news that John Fortè has passed away. Sending our condolences to the family and loved ones of the Fugees/Refugees All-Stars legend 💔🕊️ pic.twitter.com/a2sdtu4gYt

— Rock The Bells (@RockTheBells) January 13, 2026

Among Forté’s most vocal supporters was Carly Simon, who became a close friend during his later years. In a 2010 interview, Forté described Simon as “my champion, my crusader, my mentor, my friend, my spiritual guru,” crediting her with helping him rebuild his life and creative footing after prison.

In the years that followed, Forté continued working across music, film and television, including composing music connected to the recent revival of the civil rights documentary series “Eyes on the Prize,” which aired on HBO.

Tributes from the hip-hop community began surfacing soon after news of his death broke. “This one hurts,” Wyclef Jean wrote on social media, sharing archival performance footage honoring his longtime collaborator.

Forté spent his later years on Martha’s Vineyard with his wife, photographer Lara Fuller, and their two children, Haile and Wren.

Mary J. Blige Sets 10-Date Las Vegas Residency Following Milestone Birthday

Mary J. Blige appears in promotional imagery released alongside the announcement of her first Las Vegas residency, “Mary J. Blige: My Life, My Story,” a 10-date engagement at Dolby Live at Park MGM scheduled for May and July 2026. The residency is framed as a narrative-driven production centered on her catalog and career arc.

One day after celebrating her 55th birthday, Mary J. Blige shared a gift with music fans.

The Queen of Hip-Hop Soul announced her first Las Vegas residency, "Mary J. Blige: My Life, My Story," on Monday. The 10-date run at Dolby Live at Park MGM is scheduled across May and July 2026.

For Blige, the title signals intention as much as location.

Vegas are you ready? I am so excited to announce my first ever Las Vegas Residency May 1 – 9 & July 10 – 18 at Dolby Live at Park MGM! Get your tickets (Friday at 10 AM PT/NOW) ❤️ pic.twitter.com/Wx78xvVnq9

— Mary J. Blige (@maryjblige) January 12, 2026

“Creating a show like this has been something I’ve always wanted to do,” Blige said in a statement announcing the residency. “It’s a chance to get my fans together from all over — different cities, states and countries — to experience something together. My Life, My Story will be just that.”

The residency is set for May 1, 2, 6, 8 and 9, followed by July 10, 11, 15, 17 and 18. All performances will take place at Dolby Live, the 5,200-seat venue inside Park MGM, with shows scheduled to begin at 8 p.m.

 

Blige has indicated the production will lean into theatrical storytelling, with actors and narrative elements woven throughout the performance, an approach that mirrors the emotional architecture of her catalog, which has long blurred the line between confession and craft. Speaking during media appearances tied to the announcement, she described the show as rooted in music and fun, but guided by story rather than spectacle.

The announcement follows a period of sustained momentum. In 2024, Blige completed the For My Fans Tour, headlined Madison Square Garden and released the concert film “Mary J. Blige: For My Fans.” She has also continued expanding her work as an actress and producer, with the Lifetime original movie “Be Happy” scheduled to premiere next month.

Blige’s influence extends far beyond chart performance. She built a bridge between classic soul vulnerability and hip-hop realism in the early 1990s, reshaping the emotional vocabulary of R&B. Her music did more than soundtrack an era; it articulated endurance, accountability and survival in a way that resonated across generations.

Las Vegas residencies are often framed as reinvention or consolidation. In Blige’s case, this one reads differently — less reinvention than affirmation. A career once driven by urgency now arrives at authorship, with full control over pacing, presentation and perspective.

Tickets for “Mary J. Blige: My Life, My Story” go on sale Friday, Jan. 16, following a series of pre-sale windows beginning Tuesday.

For an artist whose work has always insisted that truth matters — even when it’s uncomfortable — the Strip is not an ending. It’s a chapter break.