A brief but noticeable exchange on social media has placed Megan Thee Stallion and BIA at the center of a new online dispute. The episode unfolded over the weekend after Megan shared a video of herself listening to Cardi B’s track “Pretty & Petty.” During the clip, Megan reacted to a lyric referencing BIA, replaying the moment with visible amusement. The line—”Name five BIA songs with a gun pointed to your head/Pow, you’re dead.” — prompted Megan to laugh before asking aloud, “Why would she say that?” Soon after the video circulated, BIA appeared to answer indirectly. In a post on her Instagram Story, she uploaded a selfie set to Nicki Minaj’s diss track “Big Foot,” a song widely interpreted as targeting Megan. BIA highlighted one lyric from the record, “Lying on your dead mama,” and paired it with a screenshot of Megan’s 2022 interview discussing the shooting involving Tory Lanez. Alongside the image, she added a pointed caption: “When I know someone lying, but I let them keep going anyway.” The exchange quickly drew reactions across comment sections and fan pages. One user accused BIA of unnecessarily escalating the situation by inserting herself into the moment. BIA responded directly beneath the post, pushing back against the criticism with a remark aimed at online defenders. “Girl, go to the courthouse and support her. The keyboard activist is not helping,” she wrote. Old Rap Feuds, New Moment Megan Thee Stallion has not publicly responded to BIA’s remarks. The moment unfolded against the backdrop of several long-running rivalries within the rap world. Cardi B and BIA have been at odds for years, and Cardi’s song “Pretty & Petty”—which sparked the latest exchange—appeared on her second album Am I the Drama?, released last September. In past interviews, BIA has downplayed the idea of turning that rivalry into a musical confrontation. Speaking with radio host Nessa, she dismissed the possibility of trading diss tracks with Cardi. “Why would I? I don’t care about anybody that much to get up and dedicate my life to like, ‘Oh, let me get at her.’ Like, no way, bro, that’s crazy.” Megan’s own tensions with Nicki Minaj have also shaped the atmosphere around the current exchange. Their conflict intensified in 2024 when both artists released pointed songs directed at each other. Minaj issued “Big Foot,” while Megan responded earlier with the track “Hiss,” setting off a widely discussed moment in contemporary rap.

NLE Choppa has issued a public apology to Chrisean Rock after remarks he made about her young son during a dispute involving Blueface. The Memphis rapper addressed the situation during a livestream on March 9, acknowledging that his comments had crossed a personal boundary. His statement was directed toward Rock and her child, Chrisean Jr., whose parentage has been publicly debated in recent weeks. Choppa said he regretted allowing frustration to shape his response. Speaking candidly during the broadcast, the rapper said he felt compelled to address the issue directly. “I genuinely apologize for what I said about your beautiful baby boy,” Choppa said. “It was not right in no way, shape, or form, and I can’t believe I let my emotions get me that far. … You didn’t deserve that, your baby didn’t deserve it.” His comments suggested a shift in tone from earlier exchanges that had played out across social media. Choppa also used the moment to acknowledge what he described as Rock’s efforts to focus on family and personal growth. The rapper told viewers he had noticed her attempts to navigate public attention while raising her child. “I see you trying your best to be great, I see you trying, and I salute you,” he said. “I feel like I was like a test on your spirit in that moment, and you passed it with grace.” View this post on Instagram NLE Choppa Walks Back Comments About Blueface’s Son The apology followed an earlier message Choppa directed to Blueface, who has been involved in a long-running conflict with him online. In that previous statement, Choppa said bringing the child into their dispute had been inappropriate. “Last time we had words he apologized for bringing my mom in stuff I owe you the same respect,” Choppa wrote. “I apologize for what I said about your son @bluefasebabyy. From the heart.” The dispute between the two artists has unfolded publicly for months. Earlier this year, a widely shared video captured Choppa rejecting the idea of a physical confrontation while referencing their children. “Take your son and stand him beside my son and let’s see which one of them know how to operate,” he said. “Put your son beside my son and let’s see them box!” Although the apology suggested a desire to cool tensions, the broader rivalry appears unresolved. Only days later, Choppa revived the dispute by proposing a fight with Blueface in an “octagon,” indicating the conflict may still continue despite his attempt to clarify his earlier remarks.

Meet Brianna Harrison – VP of Marketing at 10K Projects and Atlantic Records, who’s spent 14 years shaping the careers of global artists like In this inspiring Women’s History Month feature, Brianna shares: Her journey from college intern to VP of Marketing How she earned the nickname “International Bre” working with artists worldwide The reality of fighting for artists as a Black woman in the music industry What artist development and marketing really mean in today’s music landscape Powerful advice from her mom about showing up fearlessly Key Moments:0:00 – Introduction: “I work in the industry, but I’m not the industry”0:45 – The day she fell in love with music marketing1:10 – What marketing really means: bringing artist visions to life2:09 – Working with Rico Nasty, Sabrina Claudio, and Burna Boy’s historic Grammy performance2:54 – Her mom’s influence: “Pull up the folding chair. Stand on the table.”3:42 – Real talk: Fighting for artists as a woman of color5:13 – Message to the next generation: Trust yourself and remember your why This is more than a career story—it’s about passion, perseverance, and the power of authentic representation in music.

Travis Scott has stepped into a constitutional debate unfolding before the United States Supreme Court. He is lending his voice to concerns about how rap lyrics are used in criminal trials. Through his legal team, the Houston rapper submitted a filing supporting James Garfield Broadnax. Broadnax is a Texas man sentenced to death after being convicted of a double homicide near Garland in 2009. The case now raises broader questions about whether artistic expression can be presented as evidence of criminal character. Additionally, attorneys involved in the brief argue that the practice risks undermining basic First Amendment protections. The filing focuses on the sentencing phase of Broadnax’s trial, where prosecutors introduced rap lyrics he had written. According to the brief, those lyrics were shown to a jury that was nearly entirely white. This shaped how the defendant was portrayed. “The manner in which prosecutors presented rap lyrics written by petitioner James Garfield Broadnax, a Black man, to an almost all-white jury during his capital sentencing hearing presents an ideal vehicle for addressing this issue because the prosecutors’ conduct here was particularly egregious,” the document states. Scott’s legal team argues that the prosecution treated the lyrics not as creative work but as evidence suggesting future violence. In the brief, attorneys contend the argument implied that participation in “gangster rap” signaled a likelihood of criminal behavior. “The prosecutors argued Mr. Broadnax was likely to be dangerous in the future simply because he engaged in ‘gangster rap,’” the filing explains. “Such an argument functionally operates as a categorical and straightforwardly unconstitutional content-based penalty on rap music as a form of expression.” The document also emphasizes that rap lyrics fall squarely under First Amendment protections. It notes that the genre, often created by minority artists, has frequently faced heightened scrutiny from law enforcement and prosecutors. As an example, the filing references reporting on the New York Police Department’s former unit informally known as the “hip-hop police.” This unit monitored rap culture and artists. Rap Lyrics on Trial Scott is not alone in supporting the appeal. Several artists and scholars have filed additional briefs raising similar concerns about the legal treatment of rap lyrics. Young Thug, T.I., and Killer Mike are among those who have publicly backed arguments that creative expression should not be interpreted as literal confession. One supporting brief highlights another aspect of Broadnax’s trial that critics say is troubling. The lyrics were not introduced during the phase determining guilt. Instead, prosecutors presented them during sentencing to depict Broadnax as someone living a “gangster” lifestyle. This, they argued, meant he would remain a danger to society. The case arrives amid a broader conversation about how courts interpret artistic work. Critics argue that rap lyrics are often treated as autobiographical statements. In contrast, violent imagery in other genres rarely receives the same legal scrutiny. The debate intensified during the YSL RICO case involving Young Thug in Georgia. At that time, artists including Drake, Megan Thee Stallion, and Post Malone backed a public campaign urging lawmakers to “Protect Black Art.”

The complicated relationship between Drake and Rick Ross resurfaced again this week, this time through a concert clip that circulated widely online. The two rappers once built a long list of collaborations together, but their dynamic changed during the wave of rap feuds that dominated much of 2024. Even so, their shared catalog continues to appear in public moments, sometimes drawing attention back to the unresolved tension between them. In the video, Ross pauses during a live performance to address the audience before letting one of their best-known records take over the room. “We gon’ let the n*a Drake sing a little,” he says, stepping aside as the chorus of “Aston Martin Music” begins to play. The moment, lighthearted on its surface, quickly found its way onto social media. When the clip was reposted online with the caption “Rick Ross’ biggest song has his enemy on it,” Drake appeared to respond with a series of crying-laughing emojis in the comments. The brief reaction did little to clarify where the two artists stand, but it served as another reminder that their history is difficult to separate from their present rivalry. Drake reacts to Rick Ross playing his part on “Aston Martin Music” after telling the crowd, “We gonna let Drake sing a little” “” pic.twitter.com/PsxBE93599 — Kurrco (@Kurrco) March 6, 2026 From Collaborators to Critics That history is extensive. Ross and Drake collaborated on several high-profile songs throughout the 2010s, making their partnership one of the more recognizable pairings in mainstream hip-hop during that period. Because those records remain popular, moments like this one continue to blur the line between past collaboration and current friction. The tension between the two artists became public during the larger chain of rap disputes that unfolded in 2024. Around that time, Kendrick Lamar’s verse on Future and Metro Boomin’s “Like That” set off a series of responses across the genre. Ross later joined the criticism of Drake, raising accusations about industry conflicts and personal matters. Drake responded with his own lyrics directed at multiple rivals, including Ross, weaving those remarks into a broader set of diss records. The exchange became part of a larger narrative that drew in several prominent figures in rap. Still, Ross has suggested that the disagreement may not be as severe as it appears from the outside. Speaking last year with Bootleg Kev, he downplayed the depth of the conflict. “Real n*as stay real,” he said. “Was it something really deep? Nah.” He also hinted that reconciliation might not be impossible. “You never know,” Ross added with a laugh. “Send me a white Belaire and I’ll take a picture with you.”

Nearly fifteen years after stepping away from Atlantic Records, T.I. says the decision still lingers in his mind as one of the most complicated choices of his career. During a recent interview, the Atlanta artist described the move not as rebellion but as a question he felt compelled to answer. At the height of his success, he said, he wanted to understand whether the momentum surrounding his music belonged primarily to him or to the powerful system supporting it. “One of the reasons why I made one of the toughest decisions, arguably one of the worst decisions, in my career — I made the decision to leave Atlantic, quite honestly, because I just got tired of wondering, ‘Was my success predicted on me or them?’” he said during the interview. “I had to know.” The split came in 2013, soon after the release of Trouble Man: Heavy Is the Head, his eighth studio album. T.I. briefly joined Columbia Records before ultimately moving toward a fully independent approach in 2015. In hindsight, he said leaving Atlantic forced him to see the invisible mechanics of a major label in a new light. “I stepped away, and I almost immediately could see and tell there were a lot of things being done, you know, on my behalf, for my benefit, that I was probably oblivious to,” he said. The realization, he added, sparked a different kind of curiosity. “At that moment, once I found that out, I was eager to learn what those things were and how to identify and execute those things on my own behalf.” From Major-Label Muscle to Boutique Hustle The experience reshaped how he thinks about the relationship between artists and labels. T.I. described the label’s role as something akin to invisible engineering behind a finished product. “I recorded the music,” he said, explaining that once the songs left his hands, the label’s infrastructure took over. “But when I handed it off to them… [they] turned into the success that we all knew. I enjoyed the success and appreciated it… I just wanted to see what it took for me to do it myself.” Today, that experiment continues through his own company, Grand Hustle Records. The operation is smaller and more contained than the corporate system he once relied on, though the ambition remains similar. “I mean, you know, it’s still a machine, but the machine is boutique,” he said of the label’s structure. “It’s very insulated and it’s more focused. It isn’t as broad… It’s taken a minute. I think we’ve identified it, and now we’re working on the execution.” For T.I., independence has brought both satisfaction and perspective. The machinery that once worked quietly behind him is now something he’s trying to build piece by piece.

Legendary underground hip-hop architect Roc Marciano sits down with Mornings with Mero for an in-depth conversation about his journey from Hempstead, Long Island to becoming one of the most influential producers and MCs in modern hip-hop. In This Interview: The rich hip-hop legacy of Long Island (Rakim, EPMD, Prodigy, Method Man & more)Creating his signature sound and producing his new album “656” from front to backLessons learned from working with Busta Rhymes and Flipmode SquadHow he survived the music industry collapse by going direct-to-consumerBuilding an ecosystem that inspired a new generation of artistsWorking with legendary producers like The Alchemist, DJ Premier, and Pete RockThe blueprint for independent success in hip-hop Key Topics:✓ Long Island’s underrated hip-hop history✓ Production techniques and influences (Pete Rock, Large Professor, Q-Tip)✓ The evolution from Marcberg to 656✓ Creating the “Roc Marciano sound” that shaped underground hip-hop✓ Work ethic lessons from Busta Rhymes✓ Cutting out the middleman and building direct fan relationships✓ Inspiring the next generation of MCs and producers Roc Marciano’s influence on modern hip-hop cannot be overstated. From his soulful production to his intricate wordplay, he’s created a blueprint that countless artists follow today. Representing: Hempstead, Long Island Latest Project: 656

A civil lawsuit connected to the 2022 shooting outside The Nice Guy in West Hollywood has been withdrawn, bringing a close to claims against the rapper Kodak Black. The incident occurred during Super Bowl Weekend, when he was leaving a private event hosted by Justin Bieber. Two men, Mark Schaefer and Adam Rahman, had alleged that Black’s actions contributed to a confrontation that escalated into gunfire. Court filings indicate the plaintiffs have now dropped the case involving Kodak. Bradford Cohen, an attorney for Kodak Black, criticized the lawsuit in pointed terms. “This lawsuit filed by Gloria Allred, might have been the dumbest, most ridiculous lawsuit I have ever read,” he said, adding that his client chose not to seek attorney’s fees. Cohen said that decision allowed the plaintiffs to leave “with their tail between their legs.” Furthermore, he cautioned lawyers against pursuing what he characterized as unfounded claims about Kodak. View this post on Instagram From $62M to Zero Justin Bieber was initially named in the suit but was dismissed months later. The plaintiffs first sought $62 million in damages, a request that was rejected by a judge. They then made an unsuccessful attempt to recover $10.6 million, just as the civil suit against Kodak ended with no reward. The shooting took place outside the venue as guests, including several prominent artists, were arriving or departing. Kodak Black was struck in the leg. Schaefer was wounded near his ankle, and Rahman in the shoulder. In earlier court documents, Rahman alleged that “Kodak Black initiated the altercation with patrons outside of the subject location, which was the catalyst for the series of events that led to gun violence.” This made Kodak a central figure in the investigation.

The Fulton County medical examiner has determined the cause of death for Nathan Smith. Officials listed the cause as “drowning in the setting of psilocybin use,” and the manner of death as an accident. Nathan Smith, 27, performed under the name DJ Young Slade. He was reported missing on Feb. 3. Authorities found a body in a nearby pond three days later. Police said there was “no indication of foul play” in the case. The Police Report The report said toxicology showed psilocybin, the psychoactive ingredient in certain mushrooms. Investigators said the drug was a factor in the drowning. The medical examiner’s office provided the ruling on Friday. Lil Jon confirmed his son’s death after rescue teams located a body in a park pond north of Atlanta. The discovery followed an extensive search by local crews. Family members had urged the public to keep them in their thoughts. Milton police said Smith left his home early on the day he was reported missing. He departed without a phone and may have been disoriented, the department said. Officers released few other details while the medical examiner completed its work. Friends and fellow artists reacted to the news on social media. They remembered Smith as a creative young musician. He had worked as a DJ, producer and engineer. He also had recently graduated from New York University. Local rescue crews used divers to search ponds and other waterways. Those teams located the body that was later identified as the missing man. Fire and police officials thanked volunteers and urged people to avoid speculation while authorities finished the inquiry. The medical examiner’s ruling ends the formal cause-of-death phase of the probe. Police said the investigation remains open. They asked anyone with relevant information to contact Milton authorities. The medical examiner’s report closes one chapter in a painful story. Local authorities said the investigation remains open for procedural reasons. Milton police asked anyone with information to contact their investigators. Lil Jon is known for hits like “Get Low.” He also has a young daughter, Nahara. The family has asked for privacy while they grieve. The rapper recently said he was grateful to have had time with his son before his death

The public dispute between 50 Cent and T.I. has expanded to include the next generation. This week, T.I.’s son Domani released a track titled “Ms. Jackson.” He adds his voice to a conflict that has largely played out through social media posts and diss records. The song appeared on YouTube and quickly circulated online. As a result, it drew attention not only for its lyrics but also for its imagery. The cover art depicts a house in flames, an apparent reference to long-standing allegations involving Curtis “50 Cent” Jackson and a fire at a residence connected to his former partner and child. The title gestures toward Domani’s mother. It also recalls Outkast’s “Ms. Jackson,” a song about family tension and accountability. In doing so, Domani places the current feud within a broader narrative about legacy and personal history. That history continues to be shaped by the involvement of 50 as a central figure. In the opening verse, he raps, “I want to have a one on one convo about the man you sacrificed your life for so the world could see his talent. He’s a legend now, I guess it worked out, but I need some answers / Are you happy with the way he been holding your family name? / I need to know ’cause I can’t sleep at night thinking you died in vain / I think it got to them, people won’t tell him because he pay them / The emperor’s new clothes, a tale we need to tell.” The lines blend grievance and reflection. They shift the focus from rivalry to questions of responsibility and memory. This is especially relevant as 50 Cent’s legacy is discussed. When Rap Beef Turns Personal King Harris, Domani’s brother, has also weighed in online. At times, he references Jackson’s late mother, Sabrina Jackson. She died in an apartment fire when he was eight, a tragedy that remains unsolved and has long been part of his personal story. The mention of her name has added a more sensitive dimension to what began as a dispute over a proposed Verzuz battle and years of intermittent tension. This all happens within the context of the ongoing 50 Cent controversy. For now, the exchange continues to unfold in music and on social platforms. Whether 50 Cent chooses to respond directly to Domani’s track remains to be seen. What is clear is that a rivalry once contained to two established artists has evolved into something more layered. It now touches on family, history and the weight of public reputation that surrounds 50 as well.