On a recent episode of the Million Dollaz Worth Of Game podcast, Lizzo reflected on the roots of hip-hop. She highlighted the genre’s struggle for recognition within a music industry long dominated by established players. Her comments offered insight into the challenges faced by Black artists, particularly around sampling—a practice central to hip-hop’s identity and creative innovation. Speaking with hosts Gillie and Wallo, Lizzo explored hip-hop’s complicated relationship with sampling. By borrowing sounds, rhythms, and melodies from existing recordings, artists have built the foundation of the genre. Yet she emphasized that copyright laws have often constrained Black creativity rather than safeguarding it. Recalling Biz Markie’s legal battles over “Alone Again,” Lizzo noted how disputes like his led to albums being pulled from stores. These actions reveal the broader consequences of restrictive sampling rules on Black musicians. Tracing the earliest pioneers of sampling to Black rappers of the 1980s and ’90s, Lizzo highlighted the ingenuity behind the practice. “They were sampling records because they didn’t have access to big studios,” she said. Many repurposed their parents’ vinyl to forge new sounds, often without formal musical training. “They were just outside, just like, ‘OK, this is just what it is.’ And then hip-hop was born, and it was this beautiful thing,” she added. This underscored the genre’s organic and innovative beginnings. Policing Black Creativity Reflecting on contemporary perceptions, Lizzo criticized the framing of sampling as theft. “The theft of it all, putting theft on Black culture, that’s the part that kind of turns me off,” she said. For her, sampling is a legitimate and essential creative practice, embedded in hip-hop’s DNA. Yet, it is often mischaracterized as criminal. She suggested that these restrictions may have racial undertones, functioning as a means to limit Black artistic expression. Fans can also expect Lizzo’s involvement on Cardi B’s forthcoming album, Am I The Drama?, set for September 19. The collaboration hints at further explorations across hip-hop, pop, and R&B. It signals the evolution of her artistry while honoring the foundational roots of the genre.

According to Billboard Canada, The Weeknd has set the record for most performances by a Canadian artist at one of Toronto’s biggest stadiums — the Rogers Centre, which also houses the Toronto Blue Jays. The singer performed four shows on his After Hours Til Dawn Tour at the Rogers Centre, which began on Thursday, August 7. The outlet also reported that he set the record for “most shows at the venue by a male solo artist on the same tour.” This trek would count as The Weeknd’s seventh concert tour. The stadium tour was in support of his fourth, fifth, and sixth studio albums: After Hours (2020), Dawn FM (2022), and Hurry Up Tomorrow (2025). This tour serves as a victory lap for the “Timeless” singer and marks the end of his Weeknd era. View this post on Instagram A post shared by NFR Podcast (@nfrpodcast) Last month, The Weeknd was awarded the ultimate honor from his hometown of Toronto by receiving the Key to the City and a citywide proclamation of “The Weeknd Weekend” from July 26-27.  Complex reported that the City of Toronto recognized” the pop star actor for his accomplishments as a singer-songwriter and producer, his enduring humanitarian efforts, and his dedication to giving back to his city.” During the private ceremony, The Weeknd was presented by Toronto Mayor Olivia Chow, who was attended by youth from West Scarborough and The Weeknd’s alma mater, Birchmount Park Collegiate Institute. “I’m deeply honored to receive the Key to the City. It feels good to be home,” The Weeknd said. “Toronto is where I found my voice, and I’m committed to helping the next generation find theirs. That’s why I’m proud to support the Boys & Girls Club of West Scarborough and my former high school, Birchmount Park, providing youth with the means to unlock their full potential.”

Is there anything that Queen Bey can’t do? Whether it’s sparking online debates or shattering Grammy records, Beyoncé has more than proven herself worthy of all her accolades. So it’s no surprise that when Billboard released its “The 75 Best R&B Artists of All Time” list, Beyoncé ranked high among her peers. Landing at No. 4 on the list, the Renaissance singer follows behind icons like Michael Jackson (No. 3), Aretha Franklin (No. 2), and Stevie Wonder (No. 1). The late, legendary, singer and diva, Whitney Houston, rounded out the group at No.5. The criteria for ranking included “vocal prowess, body of work, career longevity, industry achievements, game-changing influence, and enduring generational/cultural impact.” “Billboard’s Greatest Pop Star of the 21st Century also happens to be one of the Best R&B Artists of All Time. In fact, it’s her dedication to her R&B foundation that has helped her become one of music’s most innovative, impactful, and impressive artists,” the outlet wrote. “The 35-time Grammy-winning Houstonian first hit the Billboard charts as the lead vocalist of Destiny’s Child, the girl group in which she honed her now-signature staccato rap-singing, a vocal approach that can be heard in virtually every contemporary R&B song today.” Beyoncé has been named the #4 ‘Best R&B Singer of All-Time’ by Billboard staff. pic.twitter.com/bFcg8myACW — Pop Tingz (@ThePopTingz) June 19, 2025 Other notable artists included in the list include: James Brown (No.6), Prince (No.7), Mariah Carey (No.8), R.Kelly (No.9), and Marvin Gaye (No.10). Last December, Billboard crowned Queen Bey as the greatest pop star of the 21st century. The publication said she’s “the century’s biggest pop star based on her full 25 years of influence, evolution, and impact.” “The reasons why Beyoncé captured the top spot on our list were beyond numerous. Ranging from her 25 years of timeless albums and singles to her incalculable industry impact and influence on other artists, to her peerless raw talents as a singer and performer.” Billboard said. “Few artists this period can match her in any of the most critical basic categories of pop stardom. Commercial success, performance abilities, critical acclaim and accolades, industry influence, iconic cultural moments – and absolutely no one can equal her in all of them,” Billboard continued.

The hip-hop world is abuzz as Big L and Mac Miller come together on a track from Big L’s forthcoming album, Harlem’s Finest: Return Of The King. Scheduled for release on October 31, 2025, via Nas’ Mass Appeal label, the song—titled “Forever”—has stirred both excitement and debate. It blends reverence for the past with anticipation for the future. Social media lit up after the announcement, particularly on X (formerly Twitter), with fans expressing admiration and some hesitation. One wrote, “Pale Jay and Mac?? They really dialed this up from my dreams, this is incredible!” Another emphasized respect for both artists: “Now this is the type of content I like to see on my feed. I know it’ll be done in a tasteful, respectful way too (RIP to both legends).” Yet not all reactions were positive. Some questioned the pairing, comparing it to “putting Vanilla Ice with Tupac,” while another commented, “I love Mac. He shouldn’t be on this song.” The range of responses underscores the boldness of the collaboration and the high expectations of fans. BIG L, MAC MILLER & PALE JAY FOREVER TBA pic.twitter.com/FwftYgSt6w — OnThinIce (@OnThinlce) October 27, 2025 Honoring Big L’s Legacy The collaboration highlights Big L’s lasting influence and his longstanding connection to Nas. This connection dates back to their Columbia Records days in 1992. His family framed the release as a full-circle moment, promising fans a comprehensive tribute that includes remastered tracks and rare freestyles. “As many of you may have noticed, numerous Big L songs have been pulled from streaming platforms over the years due to reasons such as unmixed tracks, uncredited samples, and issues concerning payment to producers. Thanks to the team at Mass Appeal, we will be rereleasing not only the best versions of these tracks but also some surprises that honor Big L’s impact in the hip-hop world.” Mac Miller’s estate has kept his musical legacy alive with posthumous releases like Circles (2020) and Balloonerism (2025). “Forever” serves as a testament to his lasting impact. It offers fans a new way to connect with his artistry while bridging generational divides in hip-hop. More than a single song, this collaboration acts as a cultural bridge, uniting fans old and new. As the October 31 release approaches, anticipation grows. The track aims to pay homage to both Big L and Mac Miller while reaffirming their enduring influence on the genre.

Lil Durk is scheduled to face a jury on January 6, 2026, in connection with an alleged murder-for-hire scheme. This case continues to draw national attention. According to court filings, investigators reviewed both his iCloud and Twitter accounts. However, they found no incriminating material that could directly impact the case. DJ Akademiks relayed the update to followers online. He noted that Durk remains in custody as the trial date nears. Public response to Durk’s situation has been mixed. Some fans have questioned the strength of the evidence. Meanwhile, others speculate that people close to him may play a role in how the case unfolds. One social-media user wrote, “When trial comes, it’s not your phone, it be your homie, though.” Another pointed to lyrics from Durk’s track “Federal Nightmares,” suggesting that the rapper has long acknowledged the risks of digital communication. Durk’s legal troubles stem from his 2024 arrest. During that time, prosecutors accused him of orchestrating an attempted hit on rival artist Quando Rondo two years earlier. The confrontation led to the death of Rondo’s cousin, Saviay’a “Lul Pabb” Robinson. This loss intensified tensions between their respective camps. Durk has repeatedly denied involvement, maintaining his innocence throughout the legal proceedings. View this post on Instagram A post shared by DJ Akademiks (@akademiks) Jury Safety and Courtroom Security As the case advances, prosecutors have filed a motion to keep juror identities confidential. They cited threats allegedly made by some of Durk’s supporters against both a prosecutor and the presiding judge. Court records describe disturbing phone calls warning of violence if Durk were to face a severe sentence. The motion highlights growing concerns about safety and the heightened emotions surrounding the case. The prosecution has confirmed it will not seek the death penalty. This decision is likely to shape the tone of the trial and influence public perception. Separately, Durk’s longtime associate THF Bayzoo was reportedly shot and killed in Chicago over the weekend. Artists across the industry, including 21 Savage, have posted tributes online honoring Bayzoo’s legacy. They are offering condolences to Durk’s circle. As the 2026 trial approaches, the proceedings are expected to command widespread attention within both the legal and music communities.

In a memorable night for Toronto music fans, Drake took the stage alongside Jamaican dancehall icon Vybz Kartel. The appearance coincided with a milestone for Kartel. He became the first dancehall artist to sell out three consecutive shows at Toronto’s Scotiabank Arena. These performances marked Kartel’s Canadian debut, orchestrated by Drake and his OVO team just four weeks after the announcement. Drake hyped the shows on Instagram, writing: “@vybzkartel DI TEACHA LIVE IN TORONTO FOR THE FIRST TIME EVER CHAMPAGNE BDAY CELEBRATIONS.” Initially, only two shows were scheduled for October 26 and 27. Demand was so high that a third show was quickly added for October 30. This underscored Kartel’s growing influence and the anticipation surrounding his arrival. Drake’s surprise appearance highlighted the mutual respect between the two artists, whose relationship has grown over years of collaboration and admiration. As he joined Kartel on stage, wearing a Toronto Blue Jays cap and a custom “Worl Boss” jersey, the pair shared a warm embrace. Drake reflected on the influence of Kartel’s music, saying, “Look at all these people right here. How much time we’ve spent with this man’s music. I used to hand out flyers outside of a club just to get in and listen to your tune. So, one more time, please. As a city, as a family, make some motherf*cking noise for the World Boss.” The tribute drew thunderous applause from the packed arena, capturing the energy and camaraderie that defined the evening. Drake’s Birthday and ICEMAN Buzz Drake’s participation also extended the celebration of his own October 24 birthday. Fans eagerly speculate about his next project, ICEMAN, which is expected to make a significant impact in the coming weeks. Johnny Manziel recently teased the project on social media, offering a glimpse into Drake’s high-energy month: “Went back to Tuscaloosa for the first time since 2012… Back to South beach for my dog’s birthday, ended up at Booby Trap. Been a month for the books and we still got 9 days left.” With Vybz Kartel’s Canadian milestone and the anticipation of ICEMAN, music enthusiasts are left eagerly awaiting the next chapter in the careers of both artists. Drake joined Vybz Kartel for his first-ever Canadian show in Toronto “We were just talking about how much time we’ve spent with this man’s music right here.” pic.twitter.com/C8DWTQ1Akl — Kurrco (@Kurrco) October 27, 2025

Central Cee is once again joining forces with Nike—this time for a sleek trio of Air Force 1 Lows slated for release in spring 2026. The collaboration, Central Cee x Nike Air Force 1 Low, has already generated buzz among sneaker collectors, arriving on the heels of the UK rapper’s earlier partnership on the Air Max 95. Known for blending London’s street sensibility with global appeal, Central Cee continues to shape the dialogue between music, fashion, and culture. Since its debut in 1982, the Air Force 1 has become one of Nike’s most recognizable silhouettes—beloved by athletes, artists, and designers alike. Its clean lines, durability, and adaptable design have helped it transcend generations, transforming from a basketball staple into a global fashion statement. For Central Cee, whose image and sound are rooted in the energy of modern London, this collaboration is both homage and innovation. The forthcoming release includes three versions: a limited “friends and family” pair, a “Dark Beetroot” colorway exclusive to the UK, and a general release featuring black, white, and smoke grey tones. Each will feature the artist’s gold-embossed logo on the heel—a detail that personalizes the shoe while signaling authenticity. The Design Language The “Dark Beetroot” edition brings a deep, luxurious red to the Air Force 1’s timeless structure. Its polished leather upper and tonal detailing lend it a refined edge without compromising the shoe’s street identity. Central Cee’s signature gold insignia adds a bold contrast, while matching laces, midsoles, and outsoles complete the cohesive, monochromatic look. The remaining two versions—one for select insiders, the other for global distribution—speak to Central Cee’s duality as both a local and international tastemaker. Each model underscores how his influence stretches far beyond music, shaping fashion narratives and cultural aesthetics alike. According to Sneaker Bar Detroit, the Central Cee x Nike Air Force 1 Low collection will arrive in spring 2026, with pricing details to follow closer to launch. As anticipation mounts, the project stands as another testament to how seamlessly the rapper continues to bridge his creative worlds—music, design, and identity—into one cohesive vision.

50 Cent is once again stirring conversation in the hip-hop world—this time with his signature mix of humor and provocation. The rapper and entrepreneur recently took to social media to tease longtime G-Unit collaborator Tony Yayo. He urged him to reply to comments made by Jim Jones during a recent interview. The lighthearted exchange highlighted not only their friendship but also the competitiveness that has always fueled hip-hop’s sharpest rivalries. In a video posted from a private jet, 50 Cent delivered his message with a grin. “I’ve been doing some soul searching, and I think I want out of the group, okay? He just wears G-Unit on his hat. Taking too long to respond to Jimmy. Put it in the comments section,” he said. The clip, humorous as it was, underscored 50’s knack for keeping moments of tension entertaining. It’s a balance he’s mastered throughout his career. Yayo responded in stride, offering a confident take that reflected both wit and awareness. “People talk about me every day. Why? Because I’m on a jet right now. That’s why. I’m in the algorithm,” he said. “So what you gotta do is take a shot at me. You do the most numbers; they’re gonna talk about you.” His words captured how fame now moves at the speed of social media—where visibility can matter as much as music itself. Fans quickly joined the conversation on No Jumper’s Instagram post, adding to the moment’s viral appeal. One user joked, “Yayo is in a better position than both of them anyway.” Meanwhile, another wrote, “Yayo just wants to link up; he doesn’t want to discuss this online.” The reactions underscored how even playful jabs between artists can ignite entire online debates. They blur the lines between authenticity, showmanship, and entertainment. View this post on Instagram A post shared by No Jumper (@nojumper) Jim Jones Rekindles Old Tensions The playful back-and-forth followed remarks Jim Jones made on Artist 2 Artist, where he didn’t hold back on Yayo. “You look like you need to be taken care of; you look like you need to go to the dentist; you look like you need to brush your teeth… You look like you need help. Tell your man 50 to send you an ounce or something. You might need two ounces,” he said. The cutting comments, though personal in tone, spoke to deeper frustrations within the web of hip-hop alliances and rivalries. Jones’s sharp words are part of a larger pattern. Over the years, he’s exchanged public shots with several peers, including Max B, Cam’ron, and 50 Cent himself. These recurring tensions are as much about pride as they are about performance. It’s an ever-present thread in hip-hop, where competition and camaraderie often coexist. Whether this latest jab turns into another lyrical showdown remains to be seen. But if history is any guide, 50 Cent and Tony Yayo are unlikely to leave Jim Jones’ remarks unanswered for long.

New Edition is heading on tour and they’re bringing a few friends along for the ride: Boyz II Men and Toni Braxton. The “New Edition Way” tour is expected to kick off on January 26 in Oakland, CA, at the Oakland Arena. The legendary boy bands, with Braxton by their side, will trek through 30 cities. The tour will make pit stops in major cities like Dallas, Brooklyn, Memphis, Atlanta, and more. The announcement came on Friday (Oct.24), in the form of a promotional video that was shared online. Coming in at just two minutes, the video starts with the iconic boy band discussing their residency at the Encore Resort in Las Vegas. However, Ronnie Devoe wanted to take things to the “next level.” Mike Bivins then goes to ring up Boyz II Men’s Nathan Morris. Morris just so happened to have his Philly brethren and groupmates Wanyá Morris and Shawn Stockman by his side. The event works as a “celebration of legacy, soul, and the soundtrack of generations.” The two iconic groups then discussed the idea of them coming together. However, one thing was missing: “feminine energy.” Not long after, Johnny Gil goes to ring up one of R&B’s most iconic singers, Toni Braxton, who didn’t hesitate to join in on the fun. Per the video, New Edition, Boyz II Men, and Toni Braxton won’t be “taking turns,” but performing together on one stage. Tickets for the one-of-a-kind experience will be available on October 31. Produced by the Black Promoters Collective, the event works as a “celebration of legacy, soul, and the soundtrack of generations.” In a press release, Gary Guidry, CEO of the Black Promoters Collective, said, “You’re seeing artists who’ve shaped the culture come together. They celebrate music that continues to stand the test of time.”

Yung Miami is far from letting this one go. The City Girls star jumped back on X with another round of posts, making it clear she’s still heated about Tyla’s new single “Chanel.” Miami insists that the South African singer took inspiration from a track she previewed long before Tyla’s release. According to Miami, her unreleased song “Take Me to Chanel” was played privately for Tyla. Shortly after, Tyla dropped her own version of a Chanel-themed record, complete with the hook “Put me in Chanel.” That timing didn’t sit right with Miami, who told her followers, “This girl really ran off with my song and ion know how to feel about it mind you I played this song for this girl. Like…. B*tch I’m confused! Take me to Chanel > put me in Chanel.” Get in the car we’re going to CHANEL!!! — Yung Miami (@YungMiami305) October 24, 2025 As Tyla’s “CHANEL” video hit streaming platforms Friday, Miami reignited the conversation with a series of tweets. Fans flooded her mentions with comments and jokes about the situation, and one even suggested she change her song title. “Sista @YungMiami305 we can’t do Take Me To Balenciaga tho?” the fan wrote. Miami quickly shot that down, replying, “No, I’m still taking y’all to Chanel! #YM1.” Even though the drama has stirred plenty of buzz online, Miami’s confidence in her version hasn’t wavered. She’s standing on her claim that the concept was hers first and plans to prove it when she drops the track herself. Meanwhile, Tyla has yet to respond publicly to the accusations, focusing instead on promoting her latest release. Now that both artists are heading to “Chanel” in their own way, fans are waiting to see whose version will dominate. One thing is certain: Yung Miami isn’t done talking about it anytime soon.