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.

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.

Singer and songwriter Lizzo has recently become the center of a legal dispute after teasing an unreleased track on social media. The song playfully references Sydney Sweeney’s “good jeans” campaign for American Eagle. Lizzo raps, “Fat a*, pretty face with the titties / Btch I got good genes like I’m Sydney.” The clip quickly captured attention, showcasing her knack for weaving pop culture into her music. The excitement surrounding the preview has been complicated by a lawsuit filed on October 21 by GRC Trust. The claim alleges that Lizzo used an unlicensed sample from Sam Dees’s 1970s track “Win or Lose (We Tried).” Lizzo’s team has countered that the song has not been commercially released or monetized. They also state that discussions regarding its distribution remain ongoing. Artistic Expression and Copyright Debate The case comes after Lizzo expressed frustration with copyright regulations during a conversation on the podcast Million Dollaz Worth Of Game. She highlighted how early hip-hop artists relied on sampling creatively. Lizzo stated, “The first time people started sampling was who? It was rappers in the ’80s and ’90s.” Her comments underscore the historical significance of sampling as a tool for artistic innovation. Lizzo elaborated on the cultural implications, adding, “I just feel like the theft of it all, putting theft on Black culture, that’s the part that kind of turns me off… Sampling is a Black art that bred hip-hop. Hip-hop was born from sampling. And now sampling is synonymous with theft.” Her remarks contribute to an ongoing dialogue about music, creativity, and intellectual property. They highlight tensions between artistic freedom and copyright enforcement.

NBA YoungBoy’s Make America Slime Again tour arrived in New Orleans this week, delivering two high-energy shows at the Smoothie King Center. Fans packed the arena, buzzing with excitement for a night of music and spectacle. That anticipation, however, was briefly interrupted when chaos erupted at the venue’s entrance. This prompted a temporary lockdown. A crowd of ticketless attendees attempted to push into the venue, forcing security to intervene. Mike Hoss, media relations manager for the Smoothie King Center and Legends Global, provided clarity in a statement to NOLA.com: “We can confirm that non-ticketed patrons attempted to enter the Smoothie King Center after the headline artist had taken the stage,” he said. “It is crucial to note that all individuals involved had already undergone our enhanced security screening. This ensured no breach of the venue’s perimeters. The matter was swiftly rectified by our staff and the New Orleans Police Department, allowing the concert to proceed without further disruption.” Tour Highlights and Artist Lineup Since launching in September, the Make America Slime Again tour has featured supporting acts including DeeBaby, K3, Lil Dump, NoCap, Offset, and Toosii. The tour is set to conclude on November 12 at Climate Pledge Arena in Seattle. It promises a finale as dynamic as the opening shows. During the New Orleans stop, YoungBoy’s manager, Alex Junnier, raised concerns on Instagram regarding local law enforcement. He suggested that NOPD Superintendent Anne Kirkpatrick had issued a directive affecting YoungBoy’s ability to perform in Louisiana. Though the post has since been removed, it sparked conversation among fans and industry observers. Backstage, popular streamer Adin Ross and collaborator Cuffem attempted to feature YoungBoy in a live streaming segment. However, the rapper declined. A team member confirmed that YoungBoy was not interested. Ross and Cuffem later posted on X, signaling understanding and highlighting the professional respect between the artists. View this post on Instagram A post shared by XXL (@xxl)

This week, Nicki Minaj briefly stirred the social media world when her Instagram account vanished, sending fans—known as Barbz—into a frenzy. Minaj, famous for her candid approach, often addresses controversies directly, particularly those involving figures like Jay-Z. On October 20, she shared an AI-generated image of the Roc Nation executive wearing a bright pink wig and a “Queen” chain, captioned, “I AM YOUR KARMA.” Fans immediately engaged, reading into the post’s layered meaning. The conversation deepened when a fan questioned her Instagram absence. Minaj responded by posting a video of Demoree Hadley discussing a legal matter involving Roc Nation CEO Desiree Perez. She then highlighted the hurdles faced by emerging artists: “Sorry to all the aspiring artists/young superstars in the making,” she wrote. “Y’all aren’t being interviewed on the radio because there are agendas that need prioritizing first. If you’re unable to recognize what’s occurring, may you be eternally cursed. You’re already blind. Now you’re cursed too.” Anticipation Surrounding Her Upcoming Album Minaj’s social media activity follows speculation about her next studio project. Earlier this month, after a series of pointed tweets about Jay-Z and Roc Nation, she suggested a delay but has since clarified the album is expected in March 2026. “The truth is I could release an album tomorrow AND STILL revolutionize the industry yet AGAIN on 3.27.26,” she tweeted. “That is indeed true. And then I could promptly follow it up with another BLOCKBUSTER in Q4 of ‘26. Incentivize me.” Her ambitions extend well beyond music. “I could produce three GAME-CHANGING/MONUMENTAL DOCUMENTARIES and three audiobooks next year alone,” Minaj wrote. With characteristic confidence, she added, “Watch them attempt and fail miserably if they think they can outpace me yet again lol. I don’t need to be imitated by podcasters or TV hosts; bless their hearts—they mean well… I AM the PODCAST; I am THEE podcaster; I am THEE TV HOST—the one people actually care about—the ONLY one! I AM the TECHNOLOGY you seek.” I AM YOUR KARMA pic.twitter.com/XfHtcoNccR — Nicki Minaj (@NICKIMINAJ) October 21, 2025 Sorry to all the aspiring artists/young superstars in the making. Yall not on the radio being interviewed b/c the agenda needs to be pushed first. if you can’t see what’s happening may you be forever cursed. You’re already blind. Now you’re cursed, too. — Nicki Minaj (@NICKIMINAJ) October 21, 2025

As anticipation builds for his upcoming album, Rod Wave is poised to redefine both his career and artistic identity. The Florida rapper appeared on The Joe Budden Podcast, speaking candidly about his new music and his evolution as a self-reliant artist navigating the complexities of the music industry. His reflections offered insight into balancing creative ambition with entrepreneurial strategy. Amid the excitement, Rod Wave addressed legal disputes with a former tour promoter, describing them as pivotal in asserting his independence. He revealed that his merchandise revenue has surged from $200,000 to $14 million, underscoring both his business acumen and commitment to self-sufficiency. This growth stems from taking control of his merchandising operations rather than relying on outside management, illustrating how autonomy can drive lasting success. Reflecting on his journey, Rod Wave shared advice from his uncle: “You can buy your own clothes, pay to have them printed and transported, and handle it all yourself.” He added, “If you can make it in the street, you can make it anywhere. Your mind can be the key to innovation.” These words highlight his focus on personal agency and provide a blueprint for aspiring artists aiming to combine creativity with independence. Rod Wave on Music’s Business and Artist Independence Discussing the business side of music, Rod Wave was candid about the systemic exploitation many performers face. “It’s just business, bruh,” he said. “While I’m up on stage rapping, there’s a whole ecosystem profiting off my work.” He emphasized how artists often see only a fraction of the revenue they generate: “Even if someone makes a couple million off you, they could have multiple others like you.” His insights underscore the importance of understanding the broader business landscape in music. Looking ahead, Rod Wave’s forthcoming album promises to capture both his creative vision and the lessons learned from navigating the industry independently. While hints of missed collaborations, including a potential feature on the UY SCUTI project, linger, fans remain captivated by his story of resilience. His journey reflects empowerment through autonomy, offering a roadmap for artists striving for both artistic freedom and financial control. Rod Wave reveals that he makes $14 million from selling and making his own merch, an increase from $200k before doing it himself (via The Joe Budden Podcast: https://t.co/puAqnaAnAT) https://t.co/f9zpQwWEwC pic.twitter.com/UzGa1wxr1B — SOUND | Victor Baez (@itsavibe) October 17, 2025

In the fast-moving world of contemporary music, collaborations can shift as quickly as the headlines. The relationship between Ty Dolla $ign and Kanye West now appears strained. This is largely influenced by West’s controversial statements earlier this year. Once a consistent creative alliance, their partnership has become more guarded. This leaves fans uncertain about future joint projects. Ty Dolla $ign and Kanye West have a history of successful collaborations. Their tracks resonated across charts and audiences alike. But recent developments suggest those ties are loosening. In a conversation with Complex, Ty was asked about his connection with Kanye. He offered only, “6 7,” and added, “I don’t really wanna talk about it, next one.” His response signals little inclination toward reconciliation or immediate collaboration. Earlier this month, Ty echoed similar uncertainty regarding his upcoming project, Vultures 3. While acknowledging that a significant portion of the album was completed, he remarked cryptically, “there was a lot of music that was done… But, uh, how should I say this? Uh… 6 7.” Fans are left to interpret whether these comments hint at stalled collaborations or a more permanent rift with Kanye. Ty Dolla $ign and Kanye: Clash and Conviction The tension traces back to February, when Kanye’s widely criticized social media posts sparked public backlash. Ty responded directly, tweeting, “I do not condone ANY form of hate speech towards ANYBODY,” accompanied by fist emojis representing various skin tones. Kanye later addressed his disappointment in a discussion with DJ Akademiks. He asserted, “You letting these n***as put words in your mouth,” emphasizing that disagreements should be handled privately rather than publicly aired. Their evolving dynamic underscores the complexities of navigating professional relationships under constant public scrutiny. As both artists continue on separate creative paths, the influence of these exchanges will likely shape their reputations and future collaborations. This offers a glimpse into how personal convictions and public perception collide in modern hip-hop. Ty Dolla $ign speaks on his current relationship with Ye “6 7. I don’t really wanna talk about it, next one.” (via @ComplexMusic / @jrosethereturn) pic.twitter.com/tt3NoLXqNU — Kurrco (@Kurrco) October 16, 2025