Diddy Begins Term at Fort DIX as Appeal and Rehab Plan Take Shape

Sean “Diddy” Combs has begun serving the remainder of his 50-month federal sentence at FCI Fort Dix, a low-security prison in southern New Jersey. The move follows a court filing by his lawyers and places the hip-hop mogul in a residential drug-treatment unit closer to his family and New York legal team.

The Federal Bureau of Prisons lists his projected release date as May 8, 2028, accounting for time already served and potential good-time credit.

Combs, 55, was convicted in July of two counts of transporting individuals for commercial sex and was sentenced Oct. 3 to four years and two months in prison, fined $500,000, and ordered into five years of supervised release. He was acquitted of racketeering and coercive sex-trafficking charges.

At sentencing, U.S. District Judge Arun Subramanian said a “substantial sentence must be given to send a message … that exploitation and violence against women is met with real accountability.”

In an Oct. 6 filing, attorney Teny Geragos asked that Combs be placed at Fort Dix so he could “address drug-abuse issues” and “maximize family visitation and rehabilitative efforts.” Sources confirm he is now housed in a separate unit for inmates in treatment programs.

Before transferring, Combs spent more than a year at the Metropolitan Detention Center in Brooklyn, awaiting trial and sentencing. There, he reportedly led a weekly business and leadership course for other inmates called "Free Game with Diddy."

In an interview conducted by journalist Lauren Conlin and published on YouTube in October 2025, former inmate Raymond Castillo — who said he lived in the same unit as Combs — recalled that the artist “brought unity” to the housing block through his program and “showed us that peace is stronger than pride.” Castillo also disputed viral accounts of a “knife-to-the-throat” attack, telling Conlin that no stabbing occurred and that Combs had calmly defused an argument between inmates.

Superthrowbackparty was not able to independently verify any stabbing incident, and Castillo’s account remains the only first-hand description from inside MDC Brooklyn.

Combs has filed a notice of appeal and, according to public statements by Donald Trump, has also requested a presidential pardon. No decision has been announced.

50 Cent Reacts to “Bmf” Cancellation With Viral Lil Meech Post

Curtis “50 Cent” Jackson wasted no time turning bad news into internet comedy after Starz officially canceled his hit crime drama “BMF.”

Within hours of the announcement, the G-Unit mogul posted a photoshopped image of actor Demetrius “Lil Meech” Flenory Jr. looking disheveled and homeless, captioned, “What next season, little 🥷🏾 @50centaction,” sparking laughter — and controversy — across social media.

The image, shared Tuesday on Instagram, marked another chapter in 50’s long-running feud with the Flenory family, whose real-life story inspired “Black Mafia Family.” Fans and fellow celebrities flooded the comments — from “50 see a roach & demolishes the building 😂” to “Two things I don’t play with…the IRS and 50 Cent.” Even “BMF” star Kris Lofton chimed in, writing simply, “Sheesh.”

Curtis “50 Cent” Jackson posted this edited image to Instagram on Oct. 29, 2025, mocking actor Demetrius “Lil Meech” Flenory Jr. after Starz canceled the crime drama BMF following its fourth season. The post drew thousands of reactions from fans and celebrities, many joking about 50 Cent’s relentless humor. (Screenshot via Instagram /@50cent)

The cancellation ends one of Starz’s most popular crime sagas. “BMF” debuted in 2021 and dramatized the rise and fall of Detroit brothers Demetrius “Big Meech” and Terry “Southwest T” Flenory, founders of the Black Mafia Family. The real-life Big Meech remains incarcerated; his son Lil Meech portrayed him in the series.

Despite star-studded cameos from Eminem, Snoop Dogg, Lil Baby, 2 Chainz, Saweetie and others, ratings began to flatten in later seasons. Industry sources told Deadline that Starz’s cost-cutting strategy — shifting toward new, cheaper shows — ultimately sealed “BMF’s” fate, not the behind-the-scenes tension between Jackson and the Flenorys.

Still, the drama between 50 Cent and his former lead actor added fuel. Their relationship reportedly soured after Lil Meech appeared in a promo with Rick Ross, one of 50’s longest-standing rivals. 50 later accused Big Meech of cooperating with federal authorities — an allegation the elder Flenory publicly denied — widening the rift even as production continued.

The series finale, “Dreams Deferred,” aired Aug. 15, 2025, ending with Lil Meech’s character being arrested by Detective Von Bryant (Steve Harris). The real-life ending has been just as dramatic: a hit show abruptly cut short and its creator celebrating online while the cast absorbs the fallout.

Despite the cancellation, 50 Cent retains ownership of the “BMF” film rights and says he’s far from finished. He previously teased plans for an expanded “BMF Immortal Universe” and confirmed multiple spin-offs in development under his G-Unit Film & Television banner, which continues to collaborate with Starz on other “Power” franchise series.

‘How Ya Do Dat’ Rapper Young Bleed Hospitalized in Critical Condition

Young Bleed, shown in a promotional image circa 2024, remains hospitalized in critical condition after suffering a brain aneurysm on Oct. 25, 2025. His family has urged fans to stop posting false death notices and to respect their privacy during his recovery. (Photo via Instagram @therealyoungbleed)

When Baton Rouge’s own Young Bleed stepped on stage at the Cash Money–No Limit Verzuz event in Las Vegas, the crowd erupted as he launched into his timeless anthem “How Ya Do Dat.” Just days later, the 47-year-old rapper — born Glenn Clifton Jr. — was rushed to the hospital after suffering a brain aneurysm.

According to TMZ, the emergency occurred on October 25, shortly after Bleed’s performance weekend at ComplexCon. He was taken to the ICU, where doctors continue to monitor him around the clock. His family confirms he remains in critical condition.

View this post on Instagram

A post shared by Master P (@masterp)

In the chaos that followed, false reports of his death spread online — prompting a forceful statement from his sister, Tedra Johnson-Spears, who took to social media to set the record straight.

“THIS WILL BE MY FIRST AND LAST POST,” she wrote. “WE ARE RECEIVING A TREMENDOUS AMOUNT OF CALLS ABOUT MY BIG BROTHER GLENN, TANK, YOUNG BLEED. … HE IS STILL CURRENTLY IN ICU … OUR FAMILY ASKS THAT YOU ALL RESPECT OUR PRIVACY AND NOT MAKE ANY RIP POSTS.”

Her plea came after Bleed’s mother was flooded with calls and condolences from fans who mistakenly believed the rapper had passed away. The family has since asked the public to stop contacting them directly and wait for official updates.

Fellow Baton Rouge legend Master P, who collaborated with Bleed during No Limit’s late-’90s run, confirmed the rapper’s condition and asked followers to pray. “Keep my brother Young Bleed in your prayers,” he posted. “He’s a fighter.”

Bleed’s influence runs deep. Emerging from Louisiana’s underground in the late ’90s, he helped connect No Limit’s street realism with Cash Money’s mainstream polish. His 1998 album "My Balls and My Word" debuted in Billboard’s Top 10, driven by “How Ya Do Dat,” a record that became an anthem from Baton Rouge to the Bayou.

As of Tuesday evening, his family says Young Bleed remains hospitalized and “still fighting.” They’ve asked for continued prayers — and peace — as he battles through the toughest verse of his life.

Diddy’s Release Date Set for May 2028 Amid Fading Talk of Trump Pardon

Sean “Diddy” Combs appears in a social media video posted in May 2024, where he apologized following the release of surveillance footage tied to abuse allegations. The hip-hop mogul, now serving a 50-month federal sentence under the Mann Act, is scheduled for release on May 8, 2028, according to the Federal Bureau of Prisons. (Photo via Instagram)

Sean “Diddy” Combs is scheduled for release from federal prison on May 8, 2028, based on current Bureau of Prisons records. While he has already served more than a year in custody, the exact location of his long-term confinement has yet to be finalized. His legal team has urged authorities to place him at the low-security FCI Fort Dix (N.J.), praising its drug-abuse program and proximity to family.

⚖️ Diddy Case: Key Facts

• Sentence: 50 months (4 years, 2 months) in federal prison.
• Release date: May 8, 2028 (Federal Bureau of Prisons).
• Convictions: Two counts of transporting individuals for prostitution.
• Acquitted: Racketeering and sex-trafficking charges.
• Facility request: FCI Fort Dix, New Jersey.
• Supervised release: Five years with drug tests, therapy, work requirement.
• Pardon rumors: Trump denied considering clemency.

Combs was convicted in July of two counts of transportation to engage in prostitution under the Mann Act and was sentenced on Oct. 3, 2025, to 50 months (4 yrs 2 mos) in prison and a $500,000 fine. He was acquitted of racketeering and sex-trafficking charges. Judge Arun Subramanian cited the exploitative nature of the offenses and the need for deterrence. The sentence will be followed by five years of supervised release.

His post-release conditions are stringent. He must abide by regular meetings with a probation officer, submit to unannounced searches of property, computers and vehicles if reasonable suspicion arises, participate in mental-health and domestic-violence treatment programs, and perform at least 30 hours of approved work weekly. He is prohibited from owning firearms or communicating with individuals involved in criminal activity.

Until the Bureau of Prisons makes a facility assignment, Combs remains at the Metropolitan Detention Center in Brooklyn. Meanwhile, his lawyers have asked the court to recommend placement at Fort Dix to maximize rehabilitation opportunities and visitation.

Speculation surrounding a possible pardon or commutation by former President Donald J. Trump added another layer of intrigue. Combs’ camp reportedly reached out to the White House seeking clemency. Trump acknowledged that “Puff Daddy” had asked for a pardon — but later told reporters the request made things “more difficult,” citing past hostility. A White House spokesperson officially denied that Trump was actively considering a commute for Combs.

New Edition Recruits Boyz II Men and Toni Braxton for Joint 30-City Arena Tour

Promotional artwork for “The New Edition Way Tour 2026,” featuring New Edition with Boyz II Men and Toni Braxton. The 30-city arena run kicks off Jan. 28 in Oakland, Calif., and concludes April 4 in Houston. (Courtesy Black Promoters Collective)

Three pillars of R&B are teaming up for a cross country arena run in 2026. New Edition, Boyz II Men and Toni Braxton will hit the road together on “The New Edition Way Tour,” a 30-city trek produced by the Black Promoters Collective. The run is scheduled to kick off Thursday, Jan. 29, 2026, at Oakland Arena in California and wrap Saturday, April 4, 2026, at Toyota Center in Houston.

The tour is being billed by organizers as a once-in-a-lifetime collaboration: all three acts sharing the same stage in an immersive 360-degree setup, performing together instead of rotating separate opening and headlining slots. Fans are being promised “no barriers, no separation — an original music experience” built around legacy, harmony and nostalgia.

 

View this post on Instagram

A post shared by The Black Promoters Collective (@blackpromoterscollective)

It’s also a first. Even though Boyz II Men was originally discovered and championed by New Edition’s Michael Bivins, this marks the first time the two groups will tour together in a full joint production.

In a video announcement shared to their social channels, New Edition members talk about wanting to “take it to another level” after their recent Las Vegas run, then FaceTime Boyz II Men to pitch the idea. The conversation turns to adding “feminine energy,” and Toni Braxton pops up on-screen with a grin: “Y’all already know I’m the honorary seventh member of New Edition. So it’s only right that we hit the road together.”

All six members of New Edition — Ronnie DeVoe, Bobby Brown, Ricky Bell, Michael Bivins, Ralph Tresvant and Johnny Gill — are billed for the tour. The lineup also features Boyz II Men’s Nathan Morris, Shawn Stockman and Wanya Morris, and seven-time Grammy winner Toni Braxton.

The Black Promoters Collective says the goal is bigger than nostalgia. “You’re seeing artists who’ve shaped the culture come together to celebrate music that continues to stand the test of time,” said Gary Guidry, CEO of the Black Promoters Collective. “This tour represents the spirit of collaboration, excellence, and respect for pristine artistry,” added Shelby Joyner, the company’s president.

The tour name itself is personal. “The New Edition Way Tour” salutes New Edition’s hometown honor in Boston, where a street was recently renamed New Edition Way to recognize the group’s four-decade impact on R&B, pop and performance.

New Edition’s story is the blueprint for much of modern R&B and pop. Out of the core group came Bobby Brown’s solo superstardom (“My Prerogative,” “Every Little Step”), Ralph Tresvant’s silky ballads like “Sensitivity,” Bell Biv DeVoe’s New Jack Swing classic “Poison,” and Johnny Gill’s powerhouse slow jams “My, My, My” and “Rub You the Right Way.” Collectively, the members have sold more than 50 million albums worldwide, won American Music and Soul Train Awards, and received lifetime achievement honors from BET, Soul Train and the NAACP Image Awards.

Boyz II Men arrive with four Grammy Awards and slow jams that defined ‘90s radio, including “End of the Road,” “I’ll Make Love to You,” and “One Sweet Day,” their record-breaking duet with Mariah Carey. The trio remains one of the best-selling R&B groups of all time, with over 64 million albums sold globally.

Toni Braxton adds what the tour calls its “queen” energy. The seven-time Grammy winner helped shape adult R&B in the ‘90s with “Un-Break My Heart,” “Breathe Again,” and “You’re Makin’ Me High,” and has sold more than 70 million records worldwide.

Between them, New Edition, Boyz II Men and Braxton have combined to sell nearly 200 million albums, earn dozens of major awards and influence multiple generations of artists.

Tickets for “The New Edition Way Tour” go on sale to the general public Friday, Oct. 31, 2025, at 10 a.m. local time through Ticketmaster and participating venue box offices. Multiple presales will run Oct. 27–30, including an American Express presale, a New Edition fan presale (password: WAYTOUR26), a Spotify presale (NE4LIFE), and additional Black Promoters Collective, Boyz II Men and venue presales. All presales begin at 10 a.m. local time and close Thursday, Oct. 30, at 11:59 p.m.

The 30-city routing includes major stops in Los Angeles, Chicago, Atlanta, New York, Boston and Houston, with the finale set for April 4, 2026, in Houston.

🎟️ How to get tickets

General on-sale: Friday, Oct. 31, 2025, at 10 a.m. local time via Ticketmaster and participating venue box offices.

Presales (all begin 10 a.m. local time):
• American Express Presale: Monday, Oct. 27
• New Edition Presale (code: WAYTOUR26): Tuesday, Oct. 28
• Spotify Presale (code: NE4LIFE): Wednesday, Oct. 29
• BPC / Boyz II Men / Venue Presales (codes: BPC / BIIMBLVD): Thursday, Oct. 30

All presales end Thursday, Oct. 30, at 11:59 p.m. local time.

Ll Cool J’s Songwriting Legacy Honored With Hall of Fame Nomination

LL Cool J attends the 2023 Congressional Black Caucus Foundation Phoenix Awards at the Walter E. Washington Convention Center in Washington. The Grammy-winning rapper and actor is among the 2026 Songwriters Hall of Fame nominees. (Official White House Photo by Adam Schultz)

The Songwriters Hall of Fame has revealed its list of 2026 nominees, and LL Cool J stands tall among a lineup that blends eras, genres, and creative legacies. The Queens-born rapper — one of hip-hop’s first global stars — joins Taylor Swift, P!nk, David Byrne and Kenny Loggins as nominees for induction at next year’s gala in New York City.

For LL, the recognition goes beyond chart success; it’s an overdue acknowledgment of a writer who helped define the emotional and lyrical range of modern rap. The Songwriters Hall of Fame honors those whose words and melodies have shaped the sound of popular music. His nomination follows the earlier inductions of Jay-Z, Missy Elliott, and The Neptunes, further carving hip-hop’s rightful place in the songwriting canon.

Eligibility begins twenty years after an artist’s first commercial release — a milestone LL passed long ago, after exploding onto the scene in 1985 with Radio, his Def Jam debut that made a teenage James Todd Smith a household name. “I Need Love,” “Around the Way Girl,” “Mama Said Knock You Out,” “Going Back to Cali,” and “Illegal Search” — the five songs highlighted in his nomination — span his versatility, from the first mainstream rap love ballad to battle-ready anthems that redefined hip-hop’s toughness.

The 2026 ballot, announced this week, also nods to pop titans Taylor Swift and Sarah McLachlan, rock innovators David Byrne and the Go-Go’s, glam icons Gene Simmons and Paul Stanley of Kiss, and hit-making producer-songwriters like Pete Bellotte and Andreas Carlsson. It’s a class that connects disco’s glitter, rock’s rebellion, and hip-hop’s lyricism under one roof — a reflection of how much songwriting itself has evolved. Ballots are due by midnight December 4, 2025, with the official induction gala scheduled for next year in New York City.

Complete nominee list

Representative songs are a sample from each catalog.

Performing songwriters ▶

• Gerry Beckley & Dewey Bunnell (America)
  “A Horse with No Name,” “Ventura Highway,” “Sister Golden Hair,” “I Need You,” “Tin Man.”
• David Byrne
  “Once in a Lifetime,” “Psycho Killer,” “Burning Down the House,” “This Must Be the Place,” “Strange Overtones.”
• Richard Carpenter
  “Goodbye to Love,” “Top of the World,” “Yesterday Once More,” “Only Yesterday,” “Merry Christmas Darling.”
• Harry Wayne Casey (KC and the Sunshine Band)
  “Rock Your Baby,” “Get Down Tonight,” “That’s the Way (I Like It),” “(Shake, Shake, Shake) Shake Your Booty,” “Please Don’t Go.”
• Randy Bachman & Burton Cummings (The Guess Who)
  “These Eyes,” “Laughing,” “No Time,” “American Woman,” “No Sugar Tonight / New Mother Nature.”
• Gene Simmons & Paul Stanley (Kiss)
  “Rock and Roll All Nite,” “I Love It Loud,” “Calling Dr. Love,” “Shout It Out Loud,” “Christine 16.”
• Kenny Loggins
  “Danny’s Song,” “Footloose,” “Celebrate Me Home,” “Return to Pooh Corner,” “What a Fool Believes.”
• Sarah McLachlan
  “Angel,” “Sweet Surrender,” “I Will Remember You,” “Building a Mystery,” “Adia.”
• Alecia B. Moore (P!nk)
  “Glitter in the Air,” “Just Like a Pill,” “Raise Your Glass,” “So What,” “What About Us.”
• Boz Scaggs
  “Lido Shuffle,” “Lowdown,” “We’re All Alone,” “Thanks to You,” “Look What You’ve Done to Me.”
• James Todd Smith (LL Cool J)
  “Mama Said Knock You Out,” “I Need Love,” “Around the Way Girl,” “Going Back to Cali,” “Illegal Search.”
• Taylor Swift
  “All Too Well (10 Minute Version),” “Blank Space,” “Anti-Hero,” “Love Story,” “The Last Great American Dynasty.”
• Charlotte Caffey, Kathy Valentine & Jane Wiedlin (The Go-Go’s)
  “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head over Heels,” “This Town.”

Songwriters ▶

• Walter Afanasieff
  “All I Want for Christmas Is You,” “My All,” “Hero,” “Love Will Survive,” “One Sweet Day.”
• Pete Bellotte
  “Hot Stuff,” “I Feel Love,” “Love to Love You Baby,” “Heaven Knows,” “Push It to the Limit.”
• Andreas Carlsson
  “I Want It That Way,” “Bye Bye Bye,” “It’s Gonna Be Me,” “That’s the Way It Is,” “Waking Up in Vegas.”
• Steve Kipner
  “Physical,” “Hard Habit to Break,” “Genie in a Bottle,” “These Words,” “Breakeven.”
• Jeffrey Le Vasseur (Jeffrey Steele)
  “What Hurts the Most,” “My Wish,” “Knee Deep,” “The Cowboy in Me,” “I’d Give Anything / She’d Give Anything.”
• Patrick Leonard
  “Like a Prayer,” “Live to Tell,” “Nevermind,” “You Want It Darker,” “Yet Another Movie.”
• Terry Britten & Graham Lyle
  “What’s Love Got to Do with It,” “We Don’t Need Another Hero,” “Typical Male,” “Devil Woman,” “I Should Have Known Better.”
• Bob McDill
  “Everything That Glitters Is Not Gold,” “Good Ole Boys Like Me,” “Gone Country,” “Don’t Close Your Eyes,” “Song of the South.”
• Kenny Nolan
  “Lady Marmalade,” “My Eyes Adored You,” “I Like Dreamin’,” “Masterpiece,” “Get Dancin’.”
• Martin Page
  “We Built This City,” “These Dreams,” “King of Wishful Thinking,” “Faithful,” “Fallen Angel.”
• Vini Poncia
  “Do I Love You,” “I Was Made for Lovin’ You,” “Oh My My,” “You Make Me Feel Like Dancing,” “Just Too Many People.”
• Tom Snow
  “He’s So Shy,” “Let’s Hear It for the Boy,” “Dreaming of You,” “Don’t Know Much,” “After All.”
• Christopher “Tricky” Stewart
  “Umbrella,” “Single Ladies,” “Obsessed,” “Just Fine,” “Break My Soul.”
• Larry Weiss
  “Rhinestone Cowboy,” “Bend Me, Shape Me,” “Hi Ho Silver Lining,” “Your Baby Doesn’t Love You Anymore,” “Darling Take Me Back.”

Future Adds Winemaker to His Legacy With Launch of Roué Brand

Grammy-winning artist and entrepreneur Future unveils Roué, a fine-wine and cocktail label inspired by his artistry and cultural influence. (Photo by Virgile Guinard / Courtesy of Roué)

Future has never been afraid to rewrite the rules — not in trap music, fashion, or now, the wine aisle.
The Grammy-winning rapper and entrepreneur, born Nayvadius Wilburn, has unveiled Roué, a new line of fine wines and ready-to-drink cocktails that fuses creativity, culture, and craftsmanship into a single pour.

The move feels on brand for an artist who’s turned every era of his career into a reinvention — from his early "Dirty Sprite" mixtape run to his Grammy win for “King’s Dead” and chart-topping dominance with “Mask Off” and “Life Is Good.” Now, he’s setting his sights on the beverage world with the same blend of precision and ambition that made him one of hip-hop’s most influential figures.

“I enjoy wine, but couldn’t find a brand that truly reflected me — something current, innovative and connected to the culture,” Future said in a statement. “So, I created it. Roué is about bringing diversity into the wine world and showing what’s possible when creativity and culture collide.”

Roué launches with two premium wines — a 2023 Cabernet Sauvignon made from 100 percent organic grapes in Paso Robles, California, and a 2024 Sauvignon Blanc from Lake County — alongside two ready-to-drink cocktails: Ruby Passion and Lemon Lust. Each bottle arrives in custom multifaceted packaging, a visual nod to Future’s own evolution from mixtape trailblazer to global tastemaker.

The wines are rooted in sustainability as much as style according to the brand. Roué’s California growers use eco-friendly methods and high-altitude harvests to emphasize texture, aroma, and a clean, fruit-forward finish. For the cocktails, Future’s team blends premium wine with real fruit essences and natural juices, bottled in embossed glass rather than the standard aluminum can — another quiet rejection of convention.

Co-founded with beverage industry veteran Ryan Ayotte, Roué partners with Southern Glazer’s Wine & Spirits and Georgia Crown Distributing Co., giving it instant reach in both national and local markets. It will launch first in Georgia, Florida and California through major retailers such as BevMo, GoPuff and Total Wine, and will be available for direct purchase in 44 states via drinkroue.com. The suggested retail prices: $29.99 for the wines and $14.99 for a four-pack of cocktails.

“Roué represents a commitment to quality and a contemporary approach to how wine and ready-to-drink beverages are perceived and enjoyed,” Ayotte said. “It’s for the dreamers, the disruptors, and the trailblazers who refuse to be defined by convention.”

From the trap house to the tasting room, Future has built a career on making audacious moves look effortless. But Roué isn’t just a flex — it’s a statement of intent. The design mirrors his shape-shifting artistry, the product reflects his pursuit of perfection and the mission folds his cultural DNA into an industry that rarely makes room for it.

'I Just Want My Son Back': Finesse2tymes’ Mother Reacts to His Latest Arrest

Finesse2Tymes, born Ricky Leshay Hampton, was booked into Harrison County Jail in East Texas on Monday after being arrested on multiple counts including possession of controlled substances, marijuana and tampering with evidence. (Photo Credit: Harris County Sheriff's Office)

The comeback keeps getting interrupted.

Memphis rapper Finesse2Tymes — real name Ricky Hampton — was arrested Monday in East Texas on a series of drug and tampering charges, marking yet another collision between fame and the life he’s long tried to outrun.

According to Harrison County jail records, the 33-year-old rapper was charged with multiple counts of possession of a controlled substance — including two counts for less than a gram and two counts for between one and four grams — as well as possession of less than two ounces of marijuana and possession of a “dangerous drug,” a Texas charge often linked to medications such as Xanax or Vicodin.

Police also accused Hampton of tampering with or fabricating physical evidence and of bringing a prohibited substance into a correctional facility. He was booked Monday and released Tuesday, according to jail documents.

Case File

Finesse2Tymes — What We Know

Legal name: Ricky Leshay Hampton
Arresting authority: Texas Dept. of Public Safety (Harrison County)
Booking location: Harrison County Jail, Texas
Booking day: Monday (local time)
Custody status: Released Tuesday, per jail records

Charges noted by authorities:

• Possession of a controlled substance < 1 gram (2 counts)
• Possession of a controlled substance 1–4 grams (2 counts)
• Possession of marijuana < 2 ounces
• Possession of a “dangerous drug” (prescription-only medication)
• Prohibited substance in a correctional facility
• Tampering with or fabricating physical evidence

Context: The new arrest follows prior legal issues unrelated to this case. Court dates and filings for the current charges were not posted publicly at press time.

Source: Harrison County Jail records; Texas DPS briefing notes provided to local agencies.

The arrest adds another chapter to a turbulent story. Hampton, who has spoken publicly about trying to move past his time in federal prison for a weapons charge, was freed in 2022 and seemed to be rebuilding his career. But his recent years have been marked by controversy, personal struggles, and social media storms that sometimes overshadow his music.

On Tuesday, the artist’s mother, Pluria Alexander, took to Facebook to post an emotional message about her son’s arrest. “It breaks me to see my son losing himself — mentally unstable, going through breakdowns, on drugs, in and out of jail,” she wrote. “I love him with everything in me, but it hurts so bad watching him self-destruct. I know that’s not the real him… that’s the pain, the trauma, and the demons he’s fighting.”

Her words hit with the kind of raw truth that’s hard to ignore. In August, Alexander had launched a GoFundMe after alleging her son’s choices had left her facing eviction for the third time.

For fans, it’s another painful moment in a career that’s always balanced resilience and self-sabotage. Hampton’s 2022 breakout “Back End” cemented his street appeal, while collaborations with Moneybagg Yo and Gucci Mane hinted at a possible mainstream rise. But each brush with the law seems to drag him back into the world he’s been rapping about since the beginning — a world of contradictions, survival, and second chances that never quite stick.

Brandy Cites Dehydration After Abruptly Ending Chicago Concert With Monica

The reunion Windy City fans had waited decades for took an unexpected turn Saturday night when Brandy Norwood abruptly left the stage during “The Boy Is Mine Tour” stop with Monica at Chicago’s United Center — and never returned.

Midway through her set, Brandy paused and told the crowd, “Give me one second, y’all, I gotta get my—,” before walking backstage. She never came back, leaving Monica to finish the concert solo. Their 1998 hit “The Boy Is Mine,” the duet that defined late ’90s R&B and inspired the tour’s name, went unperformed.

pic.twitter.com/sWWB9YeWz7

— b r a n d y (@4everBrandy) October 19, 2025

By Sunday morning, Brandy broke her silence. “After weeks of nonstop rehearsals, last night I experienced dehydration and feelings of wanting to faint,” the Grammy winner wrote in a verified Instagram post. “Everyone involved agreed that prioritizing my well-being was of the utmost importance.”

She continued, “I attempted to return to the stage but found it impossible to fully connect sonically with the production. I want to thank my fans for your overwhelming love, support, and—most importantly—your prayers. I also want to thank Monica for stepping up with such grace and professionalism.”

@newzonetv Prayers up for @brandy she left the stage abruptly and @MONICA🤎 speaks to the crowd and gives Brandy her flowers! Two Queens wishing them the best on the rest of the tour! #theboyismine #brandy #monica #chicago ♬ original sound - Jaz

Brandy confirmed she received medical attention immediately after leaving the venue and was advised to rest before continuing the tour. “I’m okay now,” she said, adding that she plans to rejoin the tour this week.

The Chicago stop was the third show on Brandy and Monica’s co-headlining tour — their first in more than 25 years. The tour opened Oct. 16 in Cincinnati and continues through mid-November with stops in Atlanta, Houston and Los Angeles.

Months After ‘Lightyear’ Remarks Drew Criticism, Snoop Dogg Drops ‘Love Is Love’ for Glaad’s Spirit Day

Snoop Dogg has spent a career flipping expectations. But this week’s move — dropping a children’s song about LGBTQ+ families after publicly stumbling on the same topic months ago — might be one of his most unexpected reversals yet.

Earlier this year, Snoop said a screening of Disney’s “Lightyear” with his grandson “threw [him] for a loop” when the boy asked about the film’s lesbian couple. “I didn’t come here for this,” he told a podcast host, adding that he didn’t have the answers. The backlash came quick: how could a man who’s preached love, unity, and evolution be so uneasy about a Pixar kiss?

Fast-forward to October. Snoop partnered with GLAAD to release “Love Is Love,” a new song from his YouTube series "Doggyland," timed with Spirit Day — the organization’s national anti-bullying campaign for LGBTQ youth. The track, sung by cartoon dogs with preschool-friendly beats, insists that “no two parents are the same, but the love won’t change.” It’s deliberately simple — not an apology, but a public correction.

“I felt like this music is a beautiful bridge to bringing understanding,” Snoop said in a filmed conversation with Jeremy Beloate, an openly queer artist who competed on his Voice team. “These are things kids have questions about. Now hopefully we can help them live a happy life and understand that love is love.”

That humility may surprise some longtime fans. For decades, Snoop has represented a particular brand of West Coast masculinity — smooth, funny, charismatic, but grounded in the coded norms of old-school rap. So when he faced criticism for how he handled "Lightyear," his response wasn’t to double down but to recalibrate in public. It’s not brand management; it’s self-education.

What’s striking is the medium. Hip-hop has had plenty of protest songs, but almost no bedtime stories about inclusion. "Doggyland," Snoop’s kid-focused series, already promoted kindness and literacy; now it’s modeling empathy. That’s not something you can fake in a market where kids notice contradictions faster than adults.

Still, the gesture comes with baggage. Some fans see “Love Is Love” as image rehab — a late pivot after months of social-media dragging. But even that tension speaks to something bigger. When an artist as visible as Snoop evolves on camera, it says more about generational change inside hip-hop itself. The culture that once defined toughness through resistance is now old enough to define it through growth.

In his GLAAD statement, Snoop put it plainly: “Spreading love and respect for everybody is what real gangstas do. We’re showing the next generation that kindness is cool, inclusion is powerful, and love always wins.” It’s both a wink and a warning — that empathy, in 2025, might be the hardest flex of all.

Because hip-hop doesn’t need another PSA. It needs its elders to keep learning out loud.

Mickey Factz Takes Over Black Thought’s 'Art of the MC' Course at NYU

Rapper and educator Mickey Factz, newly appointed adjunct professor at New York University’s Clive Davis Institute of Recorded Music, will teach “The Art of the MC” beginning Oct. 23. The course, previously taught by Black Thought of The Roots, explores the craft and culture of lyricism in hip-hop. (Photo courtesy of NYU Clive Davis Institute)

Mickey Factz is headed back to class — this time at the front of it. New York University’s Clive Davis Institute of Recorded Music has appointed the Bronx lyricist as an adjunct professor to teach The Art of the MC, a seven-week fall course that digs into the craft, culture and history of emceeing.

The class begins Oct. 23 and, according to the institute, picks up a lineage previously carried by Black Thought of The Roots, bringing a working pen from hip-hop’s blog era into a university room where students write, perform and defend their bars.

“It’s an honor to continue the legacy of MCs that preceded me to teach at the Clive Davis Institute,” Mickey said in the program’s announcement. “I’ll be bringing my expertise, wealth of knowledge and mentoring to a historic space such as NYU… Long, live, lyricism. Class is in session. Literally.”

The institute’s performance area head, JD Samson, put it plainly: “His dedication to teaching and his artistic vision will be a massive asset to our students and community,” calling his approach “groundbreaking hip-hop pedagogy.”

Mickey Factz — Career Highlights

A concise, verified snapshot for readers

Profile

• Full name: Mark Anthony Williams Jr. (aka Mickey Factz); Bronx, New York.
• Known for: elite lyricism, meticulous craft, and bridging hip-hop and academia.

Breakthroughs

• Mid/late-2000s blog-era run with mixtapes including “In Search of N*E*R*D,” “The Leak Vol. 1 & 2,” and “Mickey MauSe.”
• XXL Freshman Class (2009), spotlighting rising artists of the moment.
• Collaborative ties over the years include Drake, Lupe Fiasco, and others.

Selected Releases & Projects

• Notable projects: “The Achievement,” “The New Museum,” “Love.Lust.Lost,” “#Y,” and “the dark phoenix #ALPHA.”
• Signed with Battery/Jive (2010) during his major-label chapter.

Education & Teaching

• Co-founder of Pendulum Ink, a rap academy focused on lyricism, performance, and craft discipline.
• Adjunct Professor, NYU Clive Davis Institute (course: “The Art of the MC,” fall 2025), continuing a lineage that has included Black Thought, Questlove, Pharrell Williams and Swizz Beatz.

Cultural Impact

• Advocates for “long live lyricism”: treating MC’ing as a rigorous discipline with history, theory, and technique.
• Active in battle-rap circles; brings stagecraft, structure, and bar-for-bar analysis into the classroom.

The curriculum reads like a cipher with a syllabus: lyrical analysis, freestyle development, song structure, breath and projection, stage presence, and the evolution of rap as both art form and culture. Students are expected to trace a line from the pioneers to today’s streaming-first scene, then apply the lessons in original work that can actually hold weight in a room full of peers. The idea isn’t to canonize a single “right” way to rhyme — it’s to make students conversant in form, fearless in performance, and precise on the page.

Factz, who broke through as a 2009 XXL Freshman and built a catalog of densely written projects during the blog era, comes to NYU with more than two decades of writing, touring and teaching behind him. His extracurriculars underscore the fit: Pendulum Ink, the rap-craft academy he co-founded, has been training MCs in storytelling, rhythm and delivery — essentially, the same muscles this class intends to develop. If the university is where industry meets inquiry, a practitioner-teacher who lives the work is the point.

There’s a larger story here, too. The Clive Davis Institute has spent the past decade normalizing hip-hop in higher ed not as case study or museum piece but as living practice. Q-Tip co-taught a course on the intersection of jazz and hip-hop in 2018; Swizz Beatz has held a faculty role guiding production and mentoring; Questlove and Pharrell Williams have led seminars on history, creation and business. Each appointment pushes the idea that the people who shaped the music are best positioned to teach its language and its ethics.

Following Black Thought in this specific course also matters. It signals continuity of a high bar: technical excellence married to context. Where Thought is an exemplar of breath control, pocket and live-band poise, Mickey’s value add is micro-surgical writing and workshop rigor — skills that can move a verse from “good” to “publishable,” whether the dream is a Tiny Desk or a festival slot. For students, that continuity is the difference between a guest lecture and a real pipeline.

It’s also part of a broader shift: hip-hop’s elders and working artists are claiming educational spaces on their own terms. The move legitimizes what fans already know — that MCing is a discipline with theory, technique and lineage — and it forces institutions to meet the culture where it lives. An NYU classroom won’t make an artist, but a serious class can shorten the distance between taste and technique, and between potential and performance.

Hip-Hop Takes Center Stage as Outkast and Salt-N-Pepa Prepare to Join Rock Hall

The Atlanta duo is among this year’s inductees, joining Salt-N-Pepa and other music legends in a ceremony streamed live on Disney+ Nov. 8, 2025. (Courtesy Rock & Roll Hall of Fame)

For years, fans argued that hip-hop had rewritten the rules of rock & roll. This fall, the Rock & Roll Hall
of Fame made it official. Outkast and Salt-N-Pepa will be inducted November 8 at Los Angeles’ Peacock Theater in a 40th anniversary ceremony that brings the South, the streets and the sisterhood to the Hall’s biggest stage.

The lineup, confirmed by the Rock & Roll Hall of Fame Foundation, marks a breakthrough for Black music and culture. Outkast — André 3000 and Big Boi — will enter the Performer category alongside Bad Company, Chubby Checker, Joe Cocker, Cyndi Lauper, Soundgarden, and The White Stripes. Salt-N-Pepa, the groundbreaking Queens duo of Cheryl James and Sandra Denton, will receive the Musical Influence Award, a nod to how “Push It,” “Shoop,” and “Whatta Man” redefined empowerment in hip-hop and pop.

“This year’s inductees created their own sound and attitude that had a profound impact on culture,” said John Sykes, Chairman of the Rock & Roll Hall of Fame Foundation. “Their music gave a voice to generations and influenced countless artists that followed in their footsteps.”

The ceremony — streaming live coast to coast on Disney+ at 8 p.m. EST (5 p.m. PST) and later airing on ABC on January 1, 2026 — promises a star-studded celebration of rock’s evolution. Among the presenters and performers are Missy Elliott, Killer Mike, Questlove, Maxwell, Doja Cat, Brandi Carlile, Elton John, Flea, J.I.D, Sleepy Brown, Iggy Pop, Olivia Rodrigo, and others. Together, they represent every era of rebellion and reinvention that defines the Rock Hall’s expanding universe.

While the full list of inductors has yet to be released, insiders close to the ceremony expect Southern hip-hop peers and collaborators — including Killer Mike and J.I.D — to play major roles in Outkast’s tribute. For Salt-N-Pepa, the night is expected to draw appearances from Missy Elliott and Doja Cat, both of whom have cited the duo as foundational influences.

Outkast’s induction is more than a career milestone; it’s the formal recognition of a movement. From Atlanta’s Dungeon Family collective to Grammy glory, the duo brought the world the sound of the modern South — blending funk, gospel, and social consciousness into genre-defying records like “Aquemini” and “Speakerboxxx/The Love Below.” The Rock Hall’s 2025 exhibit will include André 3000’s lime-green outfit from the “Hey Ya!” video, displayed alongside memorabilia from The White Stripes and Cyndi Lauper.

Sandra “Pepa” Denton, Deidre “Spinderella” Roper, and Cheryl “Salt” James of Salt-N-Pepa pose for their 1987 album in New York. The trailblazing hip-hop trio will receive the Musical Influence Award as part of the 2025 Rock & Roll Hall of Fame class. (Photo by Janette Beckman/Getty Images, courtesy Rock & Roll Hall of Fame)

For Salt-N-Pepa, the honor closes a circle that began in the mid-1980s when two nursing students decided to rap about what women actually thought. They turned dance floors into classrooms of confidence, changing the language of mainstream pop in the process. Their induction alongside Warren Zevon (Musical Influence), Thom Bell, Nicky Hopkins, and Carol Kaye (Musical Excellence), and Lenny Waronker (Ahmet Ertegun Award) underscores the Hall’s ongoing shift toward inclusivity and a broader definition of what “rock” truly means.

The 2025 ceremony’s range — from Chubby Checker’s twist to Outkast’s “Hey Ya!” — will illustrate that rock & roll’s essence was never about guitars alone. It was about defiance, self-expression, and the urge to push sound forward. In that sense, the voices from Atlanta and Queens belong here as much as anyone who ever picked up a Les Paul.

For hip-hop fans, it’s validation long overdue. For music history, it’s a reminder: rock & roll isn’t a sound. It’s a spirit. And it’s still evolving — with a Southern drawl, a bassline from Queens, and a groove that never dies.

Grammy Winner D’Angelo Dies at 51 After Private Battle With Cancer

D’Angelo, shown here in a promotional image for his 2000 album “Voodoo,” was one of the defining voices of modern soul. The Grammy-winning singer and multi-instrumentalist died at 51 after a private battle with pancreatic cancer, his family confirmed on Tuesday. (Photo: RCA Records)

The music world is in mourning: D’Angelo, the elusive and influential neo-soul pioneer whose voice defined a generation of R&B, has died at 51 after a private battle with pancreatic cancer his family and multiple media outlets confirmed on Tuesday. Reports indicate he passed away over the weekend.

Born Michael Eugene Archer in Richmond, Virginia, D’Angelo was among the architects of the modern soul revival that fused gospel roots, hip-hop sensibility, and jazz freedom. 

His debut album, “Brown Sugar,” in 1995 announced a new kind of groove — live instrumentation wrapped around lyrics that were sensual, spiritual and raw. 

The follow-up, “Voodoo,” in 2000 elevated him to icon status and earned two Grammys. Fourteen years later, his surprise return with “Black Messiah” turned reflection into revolution.

In recent years, D’Angelo had stepped out of the spotlight again. In May, he canceled a headlining slot at the Roots Picnic, citing complications from surgery. “I’m not 100 percent yet, but I’m working my way there,” a representative said at the time.

Tributes began flooding social media from peers and admirers who saw him as both innovator and spiritual force.

“Such a sad loss to the passing of D’Angelo. We have so many great times. Gonna miss you so much. Sleep peacefully D’ — Love you KING,” wrote DJ Premier on X, formerly Twitter.

“My sources tell me that D’Angelo has passed. Wow. I have no words. May he rest in perfect peace,” journalist Marc Lamont Hill posted.

Producer Alchemist added simply: “Man. Rest in peace D’Angelo.”

Fans filled his Instagram comments with heartbreak emojis and lyrics from “Untitled (How Does It Feel),” the 2000 single whose slow burn redefined intimacy on record and screen. The Rock & Roll Hall of Fame called him “a singular voice who bridged past and future — the sound of vulnerability made holy.”

Through just three studio albums, D’Angelo reshaped the sound of R&B. With Questlove, Erykah Badu, Common and J Dilla, he helped create the Soulquarians collective that blurred lines between genres and generations.

D’Angelo is survived by his two children, Michael Jr. and Imani Archer. He was previously in a longtime relationship with singer Angie Stone, who collaborated with him early in his career and shared his deep gospel and soul roots. 

Their creative and romantic partnership helped shape the direction of his first album, “Brown Sugar.” Stone died in March at 63, a loss that friends said deeply affected him.

‘Billie Eilish’ Rapper Arrested After Stopping Traffic for Video Shoot

Armani White, 28, smiles in his booking photo after being arrested Sunday in London, Ky. Police say the “Billie Eilish” rapper stopped traffic on Interstate 75 while filming a video. He was charged with disorderly conduct and illegally stopping a vehicle on a highway, then released from the Laurel County Correctional Center. (Photo: Laurel County Correctional Center)

Armani White’s latest viral moment didn’t happen onstage — it happened in the middle of an interstate.

The 29-year-old Philadelphia rapper, best known for his 2022 breakout hit “Billie Eilish,” was arrested Sunday night in Laurel County, Kentucky, after police say he stopped traffic on Interstate 75 to film a video.

According to booking records and police reports, White — whose real name is Enoch Tolbert — was taken into custody by London Police officers and charged with second-degree disorderly conduct and stopping, standing, or parking on a limited-access highway, both misdemeanors. He was booked into the Laurel County Correctional Center and released shortly after.

The incident occurred less than 24 hours after White performed as a supporting act on T-Pain’s “TP20: Celebrating 20 Years of T-Pain” tour in Newport, Ky. Witnesses told police that multiple vehicles had stopped on the highway and that a man — later identified as White — was seen dancing and jumping on a concrete median while a crew filmed.

Police said the spectacle caused several motorists to call 911, prompting officers to respond to prevent potential accidents. “The situation presented a clear traffic hazard,” one report noted, describing the impromptu shoot as “reckless and unsafe.”

White’s booking photo, released by the Laurel County Correctional Center, went viral overnight. Without his signature beaded braids — reportedly removed at officers’ request — the rapper flashes a broad smile, looking more amused than concerned.

While his representatives have yet to issue a formal statement, fans quickly connected the arrest to White’s penchant for spectacle. His platinum single “Billie Eilish” turned a playful boast into a viral moment that earned him national attention, and his blend of humor and energy has long blurred the line between charisma and chaos.

Flamingos Great Terry Johnson, Who Bridged Doo-Wop and Motown, Dead at 86

Terry Johnson, tenor, guitarist, and arranger for the Rock & Roll Hall of Fame vocal group The Flamingos, performs in an undated photo. Johnson, who co-arranged and sang on the group’s 1959 classic “I Only Have Eyes for You” and later worked as a Motown producer, died this week at 86. (Courtesy photo)

Terry Johnson, the silky-voiced tenor, guitarist, and arranger who helped define doo-wop’s celestial sound with The Flamingos’ “I Only Have Eyes for You,” has died. He was 86.

The Rock & Roll Hall of Fame confirmed Johnson’s passing Friday, calling him “one of the architects of sophisticated vocal harmony” and a guiding force behind one of the genre’s most influential groups. Johnson, who joined The Flamingos in 1958, arranged and co-sang on “I Only Have Eyes for You,” the 1959 ballad whose shimmering harmonies and echoing “shoo-bop shoo-bops” remain one of pop’s most enduring sonic signatures.

(1/3) In Memoriam: Doo-wop legends the Flamingos, including 2001 Inductee Terry Johnson, took listeners higher with their sublime harmonies and impeccable arrangements. With Johnson joining as tenor/lead vocalist, guitarist, and arranger in 1958, The Flamingos... pic.twitter.com/UgF15LWdV6

— Rock & Roll Hall of Fame (@rockhall) October 10, 2025

“Crafted a sophisticated sound like no other vocal group,” the Rock Hall said in its remembrance on X (formerly Twitter). “Their rendition of ‘I Only Have Eyes for You’ remains an irresistible expression of yearning.”

 

In a 2001 Rock Hall ceremony speech inducting The Flamingos, Johnson described the group’s magic as “extraordinary harmonies combined with a love of the classics and a touch of dynamic stage presence.” Their album Flamingo Serenade, he told the crowd, was “without a doubt a masterpiece” — a testament that still rings true decades later.

After The Flamingos’ peak, Johnson carried his musical touch to Motown Records. Smokey Robinson recruited him as a songwriter and producer in the 1960s, where he contributed to sessions for The Temptations, The Four Tops and The Supremes. His behind-the-scenes work helped shape the seamless, orchestral polish that came to define Motown’s golden era.

Fellow performer Kathy Young shared a tribute Friday, writing, “I am so very sad upon hearing of the passing of Terry Johnson. He and I worked together so many times and always had fun. My deepest sympathies and prayers to Theresa, his family and The Flamingos. RIP Terry.”

The Flamingos, formed in Chicago’s Bronzeville neighborhood in the early 1950s, embodied the elegance of the doo-wop era — their tuxedoed performances and symphonic vocals bridging gospel discipline with pop sensuality. Johnson’s tenure brought a new level of polish and musical sophistication, blending jazz chords, romantic lyricism, and lush production that influenced generations of R&B and soul artists.

“Their innovative recordings made a major contribution to our industry,” Johnson said during his Hall of Fame induction. “They rightfully deserve to be enshrined.”

Drake Loses Defamation Suit Against Universal Over 'Not Like Us,' Judge Says Rap Battle Was Hyperbole

A federal judge in New York dismissed Drake’s defamation suit over Lamar’s diss track “Not Like Us,” ruling that the song’s lyrics were protected artistic expression — a decision that reaffirmed rap’s long tradition of rivalry as a form of free speech.

Drake’s bid to turn a diss record into a defamation case just hit a wall. A federal judge in Manhattan has thrown out his lawsuit over Kendrick Lamar’s “Not Like Us,” ruling that the song’s explosive accusations— however cutting — are protected opinion, not factual claims.

The 38-page opinion, issued Thursday by U.S. District Judge Jeannette A. Vargas, brings one of hip-hop’s strangest courtroom dramas to an end. “Because the Court concludes that the allegedly defamatory statements in ‘Not Like Us’ are nonactionable opinion, the motion to dismiss is granted,” Vargas wrote. She called the song part of “perhaps the most infamous rap battle in the genre’s history — the vitriolic war of words that erupted between superstar recording artists Aubrey Drake Graham and Kendrick Lamar Duckworth in the spring of 2024.”

Drake, whose suit named Universal Music Group, argued that the label helped spread false claims that he preyed on underage girls, endangering his safety and reputation. But the court said no reasonable listener would take such statements literally. “A reasonable person,” Judge Vargas wrote, “is not under the impression that a diss track is the product of a thoughtful or disinterested investigation conveying fact-checked, verifiable content.”

That reasoning — rooted in decades of First Amendment case law — may sound clinical, but its impact is cultural. Vargas compared modern diss tracks to the “freewheeling, anything-goes” nature of YouTube and X, where hyperbole is part of the art. In that setting, she said, Kendrick’s most incendiary bar — “Say Drake, I hear you like ’em young” — cannot be read as an assertion of fact. “In the context of this rap diss battle,” she wrote, “no reasonable person would listen to ‘Not Like Us’ and assume that Lamar uniquely had access to credible, provable facts that revealed Drake to be a pedophile.”

The judge also cited Drake’s own provocations in earlier tracks, noting that “Not Like Us” was a lyrical counterpunch to his “Taylor Made Freestyle,” where he baited Lamar with insinuations and personal digs. The back-and-forth, she said, was the modern embodiment of battle rap’s “epithets, fiery rhetoric, and hyperbole” — a context that transforms insult into performance.

Vargas rejected Drake’s remaining claims under New York’s consumer-protection statute and harassment laws, calling them “meritless extensions” of the same defamation theory. The cover art and video, she found, operated within the same expressive sphere. “They are not literal; they are commentary.”

With that, a judge effectively codified what hip-hop fans have known for decades: the diss is a weapon of art, not evidence. For Kendrick Lamar, it’s another win in a year already marked by triumph — “Not Like Us” spent multiple weeks at No. 1 and became a cultural anthem of competitive purity. For Drake, it’s another loss in a rivalry that’s blurred the line between ego and legacy.

Beyond the headlines, though, the decision may stand as a landmark. By writing that a diss track “cannot reasonably be understood as stating actual facts,” a federal court has, perhaps for the first time, explicitly framed battle rap as protected speech.

Cash Money and No Limit To Face off in Verzuz’s Comeback at Complexcon Las Vegas

Swizz Beatz and Timbaland’s Verzuz series will return Oct. 25 at ComplexCon Las Vegas with “Cash Money VERZUZ No Limit,” reuniting two of New Orleans’ most influential rap labels for a new chapter in hip-hop’s Southern story. (Photo: VERZUZ TV via Instagram)

When two of New Orleans’ most powerful rap dynasties meet on one stage, it’s not just a reunion — it’s a reckoning.

Verzuz, the online battle series created by Swizz Beatz and Timbaland during the pandemic, is set to return Oct. 25 at ComplexCon Las Vegas with “Cash Money VERZUZ No Limit.” The event promises a collision of legacies that once defined Southern hip-hop’s rise from regional pride to global dominance.

Verzuz itself has traveled a long road to this moment. What began in 2020 as a live-streamed experiment between friends turned into a communal ritual at the height of lockdown, when millions of viewers tuned in to watch artists face off hit for hit. By 2021, the brand had been acquired by Triller in a deal meant to expand its reach and grant equity to participating performers.

Within a year, Swizz Beatz and Timbaland accused the company of failing to deliver on its commitments, filing a $28 million lawsuit before eventually reaching a settlement. In 2024, they regained control of the platform and struck a new distribution partnership with X, formerly Twitter. “VERZUZ is still 100 percent Black-owned,” Swizz said after reclaiming ownership — a statement that reasserted the show’s purpose as both cultural archive and act of independence.

🚨 IT’S OFFICIAL 🚨
Verzuz is BACK — live at #ComplexCon Las Vegas.
Cash Money #VERZUZ No Limit Celebration 🙌🏽
One stage. Two legendary iconic Labels . History is about to be made !!
October 25.
Live Streaming details coming soon !!!!!!
Stay tuned for more info ….. pic.twitter.com/tM4TZibBuN

— VERZUZ TV (@verzuzonline) October 7, 2025

That context makes the upcoming battle feel less like a nostalgia trip and more like a symbolic passing of eras. Cash Money Records, founded in 1991 by Bryan “Birdman” Williams and Ronald “Slim” Williams, shaped the glossy, radio-ready sound that turned bounce into mainstream pop currency. From Juvenile’s “400 Degreez” and Big Tymers’ “Still Fly” to Lil Wayne’s “Tha Carter” series and Drake’s global dominance, its artists redefined what success from the South could look like.

No Limit Records, founded a year earlier by Master P, built a different kind of empire — gritty, self-reliant, and defiantly prolific. The label’s rapid-fire releases and signature Pen & Pixel album art made its soldiers — Silkk the Shocker, Mystikal, C-Murder, Mia X and Fiend — household names. Master P’s philosophy of ownership and community uplift would go on to influence an entire generation of independent entrepreneurs.

Their rivalry fueled one of the most important shifts in rap history. Long before Atlanta became the genre’s capital, New Orleans created the model — ambition on one side, autonomy on the other. Cash Money and No Limit didn’t just compete for charts; they competed for narrative, for the right to define what Southern success sounded like.