Drowning, Psilocybin Use Cited in Accidental Death of Lil Jon’s 27-Year-Old Son

Rapper Lil Jon, left, poses with his son, Nathan Smith, following Smith's graduation from New York University in a photo posted to the late producer's social media. Smith, 27, known professionally as DJ Young Slade, was found dead in a Milton, Georgia, retention pond on Feb. 6. The Fulton County Medical Examiner recently ruled his death an accidental drowning in the setting of psilocybin use. (Courtesy of Nathan Smith/Instagram)

The Fulton County Medical Examiner has officially ruled the death of Nathan Smith, the 27-year-old son of hip-hop legend Lil Jon, as an accidental drowning "in the setting of psilocybin use."

Smith, known professionally as DJ Young Slade, was found dead on Feb. 6 in a retention pond at Mayfield Park in Milton, Georgia, following a frantic three-day search. According to the newly released autopsy report, a blood sample taken from Smith tested positive for psilocybin, the active hallucinogenic compound found in magic mushrooms.

The medical examiner officially classified the manner of death as an accident, confirming early statements from the Milton Police Department that there were no signs of foul play. The coroner's report also noted water-immersion wrinkling on Smith's hands, concluding that the drug was present at the time of his death.

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The tragic discovery earlier this month ended a massive multi-agency search that began after Smith ran out of his family's home under "unusual circumstances" on the early morning of Feb. 3. He left on foot and without his phone, prompting authorities to issue an alert that he may be disoriented and in need of assistance.

In a heartbreaking statement released on the day his son's body was recovered, Lil Jon described Nathan as "the kindest human being you would ever meet" and an "amazingly talented young man."

A graduate of New York University, Smith was an accomplished music producer, DJ, and engineer who frequently collaborated with his father. Lil Jon confirmed on social media that his son was laid to rest during a private funeral on Feb. 18, writing, "Life will never be the same without you."

Trump Campaign Settles With Isaac Hayes Estate Over Unauthorized Use of Soul Classic 'Hold On, I’m Comin’'

Soul icon Isaac Hayes, pictured in his signature gold chains and sunglasses, co-wrote the 1966 hit "Hold On, I'm Comin'". His estate recently reached a private settlement with Donald Trump over the unauthorized use of the track at campaign rallies, successfully defending the late musician's intellectual property and cultural contributions. (Photo by Fred Valentine/Hot Buttered Soul Records)

The Estate of legendary singer Isaac Hayes has officially reached a private settlement with Donald Trump, ending a high-profile copyright lawsuit over the unauthorized use of the 1966 soul classic "Hold On, I'm Comin'" at campaign rallies.

A joint stipulation of dismissal with prejudice was filed in federal court over the weekend, confirming the case has been mutually resolved and cannot be refiled. While the financial terms of the deal were not publicly disclosed, the estate had previously sought $3 million in unpaid licensing fees after accusing the campaign of playing the track at least 133 times without permission.

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Isaac Hayes III, President and CEO of Isaac Hayes Enterprises, took to social media on Monday to announce the resolution, emphasizing that the outcome was about far more than just a legal conclusion.

"This resolution represents more than the conclusion of a legal matter," Hayes III wrote in his statement. "It reaffirms the importance of protecting intellectual property rights and copyrights, especially as they relate to legacy, ownership, and the responsible use of creative works."

He continued, adding that his father "dedicated his life to his craft, and his contributions to music and culture carry enduring value. As stewards of his legacy, we remain committed to ensuring that his work is respected and properly protected."

The legal battle began in 2024 after the estate repeatedly objected to the Trump campaign using the hit song — which was co-written by Hayes and David Porter and popularized by the R&B duo Sam & Dave. After the campaign allegedly ignored multiple copyright infringement notifications, the estate successfully had the track removed from the campaign's blanket BMI political license and secured a federal injunction blocking its future use.

\Hayes III expressed gratitude to his legal team, including James L. Walker Jr., Brittney R. Dobbins, and copyright administrator Liz Garner, for their strategic guidance in holding the campaign accountable.

"Protecting ownership is not only about the past, it is about preserving dignity, value, and accountability for future generations," Hayes III stated.

The Isaac Hayes Estate is one of several musical acts who have taken legal action or publicly objected to the unauthorized use of their music at Trump rallies, joining artists like Eddy Grant, The White Stripes, Beyoncé and Celine Dion.

'Bodypartz' Rapper Luci4 Found Dead in Los Angeles; LAPD Probes for Possible Foul Play

Rapper James Dear, known professionally as Luci4 or Axxturel, pioneered the internet microgenre "sigilkore" before achieving mainstream success with his viral hit "BodyPartz." Dear died on Sunday, Feb. 22, at a residence in Los Angeles at the age of 23. Following the artist's passing, his manager, Kayla G, praised the late musician as a "leader, a king, and a musician and a genius" while authorities launched an investigation into the suspicious circumstances surrounding his death. (Photo/Luci4 via Instagram)

The underground music community is in mourning following the death of James Dear, the 23-year-old
pioneer of the "sigilkore" genre better known by his stage names Luci4 and Axxturel. The Los Angeles County Medical Examiner confirmed that Dear died on Sunday, Feb. 22, at a friend’s residence in Los Angeles, though an official cause of death remains pending.

His manager, Kayla G., broke the news in a series of emotional statements shared via TikTok and Instagram on Monday. Devastated by the loss, she described Dear as more than just a client, but a singular talent who fundamentally shifted the culture.

@kaykoree

♬ original sound - random_stuff

"I am devastated to inform you that today, James, Luci4, Axxturel has passed away," Kayla G. wrote. "He was truly a leader, a king, and a musician and a genius. There's nobody like him and there will never be. We all loved him dearly". She concluded the note by asking for "privacy and patience" for his family and friends during the difficult period.

While first responders were originally called to the scene for a medical emergency at 11:40 a.m. on Sunday, the circumstances of his final hours have drawn deep scrutiny from his family. Dear’s grandparents spoke to TMZ, expressing suspicion after finding the rapper’s wallet completely empty at the scene. They noted recent "changes in the people around him" as his fame grew, prompting them to issue warnings about certain associates prior to the tragedy.

Born Aug. 2, 2002, in Los Angeles, Dear became a digital-era phenomenon by blending experimental trap production with an occult-inspired aesthetic. His career reached a mainstream tipping point in 2021 when his track "BodyPartz" became a massive viral sensation on TikTok, eventually leading to a recording contract with Atlantic Records and a gold certification from the RIAA.

As the Los Angeles Police Department probes the possibility of foul play, fans have flooded his final social media posts with tributes, citing his unique "sigilkore" sound as a blueprint for a new generation of underground artists. Toxicology and autopsy results are expected in the coming weeks.

T.I. Releases 'Right One,' Second 50 Cent Diss Track, Following Weekend of Social Media Warfare

T.I. wears a tactical mask for the cover of his diss record, "War," in an undated promotional image. While "War" hit social media late Sunday, Feb. 22, the Atlanta rapper followed up today with a second exclusive radio premiere titled "Right One" following a personal dispute with 50 Cent. (Photo/Grand Hustle Records).

The "Verzuz" dispute between T.I. and 50 Cent has officially escalated from social media trolling into a full-blown musical feud. Wasting no time after releasing his initial response over the weekend, T.I. delivered a second, full-length diss track titled "Right One" directly to Atlanta radio on Monday.

Bypassing streaming platforms for a traditional, mid-2000s radio drop, the new track premiered exclusively on Hot 107.9 during "Posted On The Corner" with Incognito and DJ Misses. The back-to-back release signals that the Grand Hustle general is treating this conflict like a genuine mixtape war. Following the debut, DJ Misses weighed in on the escalating tension, making it clear that this moment is for hip-hop purists.

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"If you don't know Hip-Hop, if you don't live Hip-Hop, rap music, trap music, stay out the conversation," she stated on-air.

The conflict stems from what T.I. describes as a broken "Verzuz" agreement. According to the Atlanta rapper, the two veterans previously agreed to a hit-for-hit battle while conducting business together on the West Coast, long before the internet memes began.

"Me and this n*gga talked about this bruh. This didn't just come out of the blue," T.I. explained regarding the origins of the feud. "We were moving around in LA man selling some TV shows, and I asked him what he thinks about that Verzuz battle. He said alright cool. I told him ima jump out there first, and then you jump, and we'll line it up. He said alright, and once I jumped out there, this n*gga wanna act like he don't know what the f*ck going on."

Historically preferring psychological warfare over traditional rap battles, 50 Cent opted to retaliate online. The Queens mogul bypassed the vocal booth and posted an unflattering photo of T.I.’s wife, Xscape legend Tameka "Tiny" Harris, to his social media.

The disrespect prompted T.I.'s 21-year-old son, King Harris, to fiercely defend his mother. King ultimately escalated the situation into highly sensitive territory, telling 50 Cent to "dig up yo mama" and posting a photo of a tombstone in a direct, controversial reference to 50's late mother, Sabrina Jackson.

Refusing to leave the conflict in the comment sections, T.I. hit the studio. Over the weekend, he released his first direct response, a menacing track titled "War," before following it up with Monday's radio-exclusive delivery.

Goodbye Corporate Jay Z, Hello Jaÿ-Z: The Return of a 1996 Hip-Hop Hallmark

A 1996 promotional flyer for JAŸ-Z's debut "music album," "Reasonable Doubt," displays the original typography of his stage name, complete with the signature umlaut and hyphen. The Brooklyn artist recently reverted to this classic spelling on major streaming platforms ahead of the project's 30th anniversary. (Photo: Jon Mannion/Roc-A-Fella Records)

A subtle typographical shift across digital streaming platforms signaled a massive historical callback this week for one of hip-hop's definitive figures.

Shawn "Jay-Z " Carter has officially restored the original spelling of his stage name, reappearing on platforms like Spotify and Apple Music as JAŸ-Z. The change brings back the hyphen and the distinctive umlaut over the Y, a stylistic hallmark that defined his aesthetic during the rollout of his 1996 debut "music album," "Reasonable Doubt."

With that project approaching its 30th anniversary this year, the rebranding operates as a calculated nod to his Roc-A-Fella origins. When the Brooklyn native first emerged in the mid-1990s, the JAŸ-Z styling was stamped across vinyl pressing labels, CD booklets, and promotional street flyers. As his career expanded into a billion-dollar enterprise spanning sports management, fashion, and spirits, the typography was gradually streamlined for broader commercial consumption.

By the time he released his 2013 "music album," "Magna Carta Holy Grail," the hyphen was gone entirely, leaving the sterilized and corporate-friendly JAY Z.

He famously reinstated the hyphen in 2017 for the release of the critically acclaimed "music album," "4:44," but the umlaut remained locked in the 1990s vault. Reclaiming the complete 1996 spelling removes the executive polish of his later years and recenters his legacy on the gritty, independent rap origins that built his foundation.

The move arrived quietly, without a formal press release or bloated marketing rollout, allowing the updated digital metadata to do the heavy lifting. For purists who study the genre's defining eras, the return of the two dots over the Y signifies more than a metadata update. It marks an acknowledgment of the raw, foundational era that launched an empire, arriving just in time for the record that started it all to turn 30.

From East Atlanta to Battle Creek: JID and Tony the Tiger Become 'Day Ones'

Dreamville’s own Destin "JID" Route (left) and Tony the Tiger lock in for a 2026 campaign that attempts to turn 1990s cereal nostalgia into a high-speed hype anthem titled "HEY TONY!". The collaboration, which features a collectible "Day Ones" cereal box and a community-focused bowl game, sees the "The Forever Story" artist returning to his football roots at his alma mater, Stephenson High School, to inspire a new generation of youth athletes in Georgia. (Photo: WK Kellogg Co.)

The distance between the East Atlanta underground and a corporate boardroom in Battle Creek, Michigan, has never been shorter.

On Wednesday, WK Kellogg Co. announced that JID — the Dreamville standout known more for his dizzying double-time flows than his breakfast preferences — is the new face of Frosted Flakes.


The centerpiece of the deal is a reboot of the “Hey Tony” jingle, a piece of 1990s marketing that once lived between Saturday morning cartoons and is now being retooled as a cultural hype anthem titled “HEY TONY!” for the streaming era.

For JID, the move is a calculation rooted in the same nostalgia that has fueled much of the millennial aesthetic. “Kellogg’s Frosted Flakes and Tony the Tiger were a real staple in our house growing up,” the rapper said, framing the partnership as a "no-brainer."

But the track is only part of the play. The collaboration is leaning heavily into "drop culture," releasing a limited-edition "Day Ones" merchandise line and a collectible cereal box that features a custom illustration of JID alongside the mascot.

To give the campaign some actual dirt under its fingernails, the partnership moves from the studio to the field on Feb. 22. JID will host the “Day Ones” Bowl Game in Georgia, bringing out the Stephenson High School “Sonic Sound” Marching Band from his hometown of Stone Mountain to anchor a 7-on-7 youth football tournament. It is a full-circle moment for JID, who was a standout defensive back at Stephenson before an injury shifted his focus entirely to music.

While the corporate copy is thick with buzzwords like "motivation" and "potential," the journalistic reality is a bit more pragmatic. In 2026, a rapper’s "brand" is often as lucrative as their catalog. Seeing a technical powerhouse who built his reputation on albums like "The Forever Story" apply his machinery to a 30-year-old marketing gimmick is a reminder that even childhood memories have a market value.

The real question isn't whether the jerseys will sell — they likely will — but whether a "rapper's rapper" can breathe genuine soul into a corporate script. The culture will decide if the track belongs on a playlist or if it's just a well-executed commercial that loses its crunch once the milk hits the bowl.

The merchandise and limited-edition boxes are available exclusively through JID’s official webstore.

Police: Rapper iHeartMemphis Barricaded in Home, Livestreamed Standoff Before Arrest

Richard Colbert

Ten years ago, Richard Colbert — better known to the internet as iHeartMemphis — was the joyous face of the Vine era, teaching the world to "Hit the Quan" in a viral loop that felt like innocent, low-stakes fun.

On Tuesday, that nostalgia crashed through a garage door in South Florida along with a Tesla.

Colbert was arrested in Plantation, Florida, on charges of written threats to kill and resisting an officer without violence following a bizarre, seven-hour standoff with a SWAT team. It was a grim contrast to the dance crazes of 2015, trading the choreographed joy of a Billboard Top 20 hit for the chaotic, pixelated reality of a mental health crisis broadcast in real-time.

According to the Plantation Police Department, the rapper had barricaded himself inside a home on Gatehouse Road, leading to a tense exchange with authorities that neighbors say had been brewing since Monday. But the details captured on Colbert’s own Instagram Live painted a more erratic picture.

Amid footage that showed a gun and his own Tesla — which authorities eventually pulled through the garage door to gain entry — Colbert could be heard hurling insults at law enforcement and making declarations that veered between grandiosity and paranoia.

"Please, please save me y'all," he said at one point during the stream, claiming that clouds in the sky were spying on him. "I'm begging you. I don't got nothing. I don't want to hurt nobody."

Perhaps the most telling moment came when he addressed the audience directly, denying he was a danger to himself while invoking another polarized figure in hip-hop.

"Listen, I’m not Kanye," he told viewers, referencing Ye’s own public battles. 

For those who only remember the hook, iHeartMemphis was a defining architect of the mid-2010s "dance rap" bubble. His debut single "Hit the Quan" — inspired by Rich Homie Quan’s dance in the "Flex (Ooh, Ooh, Ooh)" video — peaked at No. 15 on the Billboard Hot 100. It was a massive commercial success that cemented his place in the digital zeitgeist.

Tuesday’s arrest is a stark reminder of the volatility that often waits on the other side of viral fame. Colbert was booked into the Broward County jail on the felony threats charge and remains in custody.

Watch: 50 Cent Turns Doordash Super Bowl Ad Into Savage Takedown of Rival Diddy

If pettiness was a currency, Curtis Jackson would be the Federal Reserve.

While most brands are spending $8 million for 30 seconds of airtime to make you cry about Clydesdales or nostalgic car rides, DoorDash just let 50 Cent do what he does best: monetize his enemies. In a new campaign released Thursday ahead of Super Bowl LX, the rapper-turned-mogul officially graduated from "Internet Troll" to "Corporate Troll," and the result is a masterclass in disrespect.

The spot, titled "The Big Beef," is technically about getting food delivered. But let's be real — this is a diss track with a corporate budget. And yes, he absolutely went there with the prison sentence.

The Art of the "Big Beef"

The commercial opens with 50 Cent sitting on a leather couch—bottle of his own Branson Cognac visibly placed on the table, because of course it is—addressing the elephant in the room with the smirk of a man who knows he’s untouchable.

"It's come to my attention that everyone's calling me a troll," he says. "Some have said even the 'King of Trolls.' First of all, I'm flattered. But I'm done with all that."

He then claims he would never "literally deliver beef when millions of people are watching," before the screen cuts to a title card that simply reads: "50 Cent Would."

From there, it’s open season. As he unpacks a DoorDash bag, he offers a tutorial on how to handle "beef," noting that it is "more of an art than science." And this is where the references start flying over the heads of casual viewers and landing directly on the chin of Sean "Diddy" Combs.

The Breakdown: How 50 Cent Dissected Diddy

If you blinked, you missed the daggers. Here is how 50 Cent turned a grocery run into a breakdown of his rival:

• The "Puffs" Gag: While explaining that "you don't want to be too obvious," 50 pulls out a bag of Cheese Puffs. He holds them up just long enough for the "Puff" reference to register, stares at the camera, and deadpans the line about subtlety.

• The "Combs" Disrespect: The most blatant moment comes when he reaches back into the bag and pulls out a multipack of hair combs. "Oh, they sell combs," he says, examining the package with mock surprise. "What a coincidence." He then tosses them over his shoulder like trash.

• The "Branson/50 Months" Synergy: This is the killshot. 50 pulls out a bottle of his own Branson Cognac, noting that it pairs perfectly with beef. He then delivers the line that made the timeline freeze: "Aged 4 years... or 50 months, who's counting?"

The Context (For Those Who Missed It)

This is a triple-layered joke. First, he's plugging his liquor (Branson VSOP is aged 4 years). Second, he's referencing the passage of time.

Third, and most ruthlessly, he is mocking Diddy’s specific prison sentence. For those who haven't checked the Bureau of Prisons roster, Diddy was sentenced to exactly 50 months in prison last October. 50 Cent isn't just throwing out a random number; he is using his own product's specs to mock his rival's incarceration.

Why It Works

In an era where Super Bowl commercials try too hard to be "viral," this one succeeds because it feels authentic to who 50 Cent is. He isn't acting; he's just being the same guy who executive produced Sean Combs: The Reckoning.

Most importantly, he’s multitasking. In 40 seconds, he sold you a DoorDash discount, promoted his own cognac, and danced on his enemy's legal grave.

Authentic is one word for it. Ruthless is another. Either way, 50 Cent just proved that while other rappers release diss tracks, he releases business ventures.

Lamonte McLemore, Architect of the 5th Dimension’s Sound, Dies at 90

The 5th Dimension features (clockwise from top left) Ron Townson, Florence LaRue, Marilyn McCoo, LaMonte McLemore and Billy Davis Jr. in a promotional photo. McLemore, who recruited the members to form the "Champagne Soul" quintet that broke racial barriers in pop music, died Tuesday at age 90. (Photo by John Engstead/Courtesy of 2911 Media)

The smooth, anchoring bass of “Champagne Soul” has gone silent.

LaMonte McLemore, the founding member of The 5th Dimension whose vision — both musical and photographic — helped define the aesthetic of the 1960s and 70s, died Tuesday at his home in Las Vegas. He was 90.

According to a statement confirmed by Jeremy Westby of 2911 Media, McLemore passed peacefully from natural causes, surrounded by his family. He had been recovering from a stroke suffered several years ago.

It is impossible to overstate just how critical “Mac” was to the architecture of pop culture. He wasn't just he figure with the warm baritone on “Up, Up and Away.” He was the connector, the scout and the glue. McLemore was the one who assembled the Avengers of vocal harmony. A former minor league baseball pitcher with a golden ear, he first recruited Marilyn McCoo — whom he met during a photo shoot — for a group called the Hi-Fi’s. When that dissolved, he called up his old St. Louis friends Billy Davis Jr. and Ron Townson, and then brought in a schoolteacher named Florence LaRue.

LaMonte McLemore, the founder and bass vocalist of The 5th Dimension, poses for a portrait. McLemore, known as the "glue" of the six-time Grammy-winning group and a groundbreaking photographer, died Tuesday at his home in Las Vegas. He was 90. (Photo by Benny Clay/Courtesy of 2911 Media)

The result was The 5th Dimension, a group that smashed the color barrier of pop radio. In an era when Black artists were often boxed into specific R&B lanes, McLemore’s group wore colorful bell-bottoms and sang Jimmy Webb and Laura Nyro songs with a sophistication that forced the world to listen. They were “Black joy” before the term existed, winning six Grammys and topping the charts with anthems like “Aquarius/Let the Sunshine In” and “Stoned Soul Picnic.”

McLemore’s legacy extended far beyond the grooves of a vinyl record. For over 40 years, he was the lens behind the legendary “Beauty of the Week” feature in Jet magazine. He didn't just take pictures; he celebrated the Black woman in a way that mainstream fashion magazines of the era refused to do. He shot the cover of Stevie Wonder’s first album, became the first African American photographer hired by Harper’s Bazaar and saw the culture when the rest of the media looked away.

LaMonte McLemore looks through his camera lens in this undated photo. Beyond his musical legacy, McLemore was a celebrated visual artist who spent four decades shooting the iconic "Beauty of the Week" feature for Jet magazine and became the first African American photographer hired by Harper’s Bazaar. (Courtesy of 2911 Media)

In a joint statement, his longtime friends and bandmates Marilyn McCoo and Billy Davis Jr. said, “All of us who knew and loved him will definitely miss his energy and wonderful sense of humor.” Florence LaRue added that his “cheerfulness and laughter often brought strength and refreshment to me in difficult times,” noting that they were “more like brother and sister than singing partners.”

McLemore is survived by his wife of 30 years, Mieko, his daughter Ciara, his son Darin and his sister Joan. 

‘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.

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.”

 

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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.

 

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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.