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.

The Rock & Roll Hall of Fame on Tuesday announced its nominees for the 2026 induction class. The list includes 17 artists that span pop, rock, and hip-hop. Lauryn Hill and the Wu-Tang Clan appear on the ballot for the first time. Notably, Hill joins as one of the only hip-hop acts nominated this year. Their inclusion continues a gradual shift toward recognizing rap’s long-standing influence on popular music. Hill’s nomination centers on her 1998 solo album, The Miseducation of Lauryn Hill, a record that blended rap and soul with an uncommon emotional directness. The album won five Grammy Awards in 1999. It also made her the first hip-hop artist to win Album of the Year. More than two decades later, it remains a reference point for artists working across genres. Wu-Tang Clan is nominated in recognition of its 1993 debut, Enter the Wu-Tang (36 Chambers). The album introduced a nine-member collective whose stark production and distinct lyrical styles reshaped East Coast rap in the 1990s. Its influence can still be heard in contemporary hip-hop, which continues to draw inspiration from talents like Lauryn Hill. Where Legends Meet Legacy Other nominees include Mariah Carey, Shakira, Jeff Buckley and Pink. In a statement, John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said, “This diverse list of talented nominees recognizes the ever-evolving faces and sounds of Rock & Roll and its continued impact on youth culture. Induction into the Hall is music’s highest honor and we look forward to celebrating the Class of 2026 this Fall.” Inductees will be announced in April across several categories, including Musical Influence and Musical Excellence. The ceremony is expected to take place this fall, though specific details have not yet been released. The 2025 class included Outkast and Salt-N-Pepa. This was part of a broader effort by the Hall to more fully acknowledge hip-hop’s role in shaping the modern musical landscape, and artists like Hill contribute to this recognition.

The long-running tension between 50 Cent and T.I. has taken on a generational dimension. Over the weekend, King Harris, the son of T.I. and Tameka “Tiny” Harris, directed a series of pointed posts at the G-Unit founder on Instagram. In one, he shared a photo of 50 Cent seated with his younger son and wrote, “You think you raising a man having him sit in yo lap as a teenager…. DATS A HO SIR,” adding, “this not A.I.” The post was accompanied by 50 Cent’s early single “Wanksta.” King continued in subsequent messages, tagging 50 Cent and criticizing what he described as a pattern of seeking attention. He wrote that the rapper “got shot nine times and did nothing,” and referenced the 2007 chart battle with Kanye West, adding, “Got outsold and embarrassed by Kanye West on his third album.” In addition, his comments drew attention not only for their tone. They were also noticed for the way they revived moments from hip-hop history as part of a current dispute. Old Beef, New Blood In a longer post, King cited several figures who have publicly clashed with 50 Cent over the years, including Diddy, Rick Ross, Ashanti and Vivica A. Fox. He wrote, “The list of people he’s disrespected over the years is endless.” He continued, “He came into the game creating unnecessary controversy. And damn near 30 years later, he’s still the same attention whore.” The younger Harris had previously spoken out in defense of his mother after she became the subject of online mockery, prompting a response from 50 Cent that included a Pepe the Frog image. T.I., for his part, has largely kept his focus on music. He has previewed tracks titled “War” and “The Right One.” Meanwhile, the broader rivalry between the two veteran artists continues to surface in waves. Now, it is complicated by the involvement of family members who have grown up in its shadow.

The uneasy relationship between 50 Cent and T.I. has resurfaced, playing out once again in public view. The latest friction appears to stem from talk of a possible Verzuz battle, which T.I. has implied 50 declined. From there, the exchange moved quickly to social media, where long-standing grievances were revived in clipped posts and pointed captions. Over the weekend, 50 Cent shared an unflattering image of Tameka “Tiny” Harris, T.I.’s wife, prompting a response from the Atlanta rapper. T.I. previewed a diss track titled “War,” though only a brief segment has circulated online. Listeners reacted with mixed opinions, some questioning whether the moment called for escalation or restraint. The episode arrives as T.I. has been promoting recent music, including the single “Let Em Know,” which many fans have described as a return to his earlier sound. That contrast—between new work and old disputes—has shaped much of the online conversation. The tension highlights how veteran artists often navigate personal history alongside ongoing creative output. 50 Cent responds to TI’s disstrack https://t.co/oTw67Cjb7J pic.twitter.com/kw5cuJ591D — Akademiks TV (@AkademiksTV) February 23, 2026 A Laugh, a Post, and a Feud That Won’t Fade 50 Cent did not address the diss directly. Instead, he posted an image of Pepe the Frog on Instagram with the caption “LOL,” offering a response that suggested indifference rather than engagement. He has not elaborated further. Whether “War” will receive a full release remains unclear. For now, the disagreement exists largely in fragments: posts, previews, and reactions. Like many long-running rivalries in hip-hop, it appears less about resolution than about endurance—a reminder that history, once established, rarely disappears entirely.

Ja Rule has spoken publicly about a confrontation aboard a commercial flight involving Tony Yayo and Uncle Murda, an episode that quickly made its way across social media. In a written statement, he acknowledged regret over how he handled the moment. “I’m not proud of my behavior it’s goofy to me. I’m a grown man about to be a grandfather and I wish that video of me wasn’t out there either. I don’t like people taking me out of my character so for that I apologize to my wife, family, fans, business and investment partners,” he wrote. He added, “I want people to know at the end of the day I’m still a man and I’m going to stand my ground. I don’t start trouble.” Appearing later on The TODAY Show, Ja Rule broadened the conversation to responsibility and example. “There’s a responsibility that we have to be gentlemen. I live by a code, I call it the gentleman’s code, but I’m also raising young men. So, you have to let them know that there’s no room for disrespect, but also that there’s a way to carry yourself. So, two things can be true,” he said. The tone suggested reflection rather than escalation, though he did not signal any effort to repair relations with G-Unit. In an interview with TMZ, he spoke more philosophically about rivalry. “Sometimes in life, people have enemies, and that’s okay. That’s okay to have enemies. Everybody can’t be friends. A friend of a friend of everybody is an enemy to himself. But what I’m saying is, we don’t also have to be at war. There’s room for us to be not friends and also not be at war. That’s where I’m at with it right now. I don’t deal with that side. I don’t fck with them; they don’t fck with me. That’s fine. But I also don’t have to be at war.” It was less a peace offering than a statement of boundaries. Old Rivalries, New Turbulence Tony Yayo responded in an interview with XXL, writing off the episode as part of a rivalry that has simply endured. “We grown but war never dies just gets old. #qgtm [money bad emojis] they was never outside @nojumper,” he said. 50 Cent, G-Unit’s founder, added his own commentary on Instagram: “Good morning let your enemies become motivation. Make them watch your success till they snap. Then get the Fvck out the way before they crash out. LOL.” The dispute reportedly unfolded when the artists found themselves on the same flight, leading to raised voices before Ja Rule was escorted off the plane. Though brief, the incident revived a feud that has shaped parts of hip-hop history for more than two decades. What remains now is not open warfare but a familiar distance, maintained in interviews and social posts rather than in songs.

It began, as many music conversations now do, with a single post. On February 19, an X user proposed that SZA, H.E.R., and Ella Mai form a trio called S.H.E., a tidy acronym that seemed almost too fitting to ignore. H.E.R. responded briefly but warmly: “Thank you,” followed by a prayer hands emoji. The other two artists have not addressed the suggestion. The idea quickly evolved in the replies. Some fans imagined adding Ari Lennox to expand the lineup, while others playfully suggested entirely different combinations of artists under new acronyms. A few noted that S.H.E. is already the name of a long-running Taiwanese pop group, and others pointed out that listeners have been calling for a collaboration among SZA, H.E.R., and Ella Mai since at least 2017. The exchange underscores the way fan culture can shape the conversation around artists who share overlapping audiences and sensibilities. All three singers occupy similar terrain within contemporary R&B, blending vulnerability with polished production. Even a fleeting acknowledgment from one of them was enough to revive speculation about what such a collaboration might sound like. Collaboration Is Calling H.E.R.’s name also surfaced recently in another online discussion about high-profile performances. After the Super Bowl halftime show, a fan suggested that Bay Area artists, including H.E.R., might have headlined. MC Hammer replied, “It was Bad Bunny’s appointed time. He uplifted his community in perilous times. He was courageous. A great show. A wise man would tip his hat and keep it moving.” For now, the trio exists only as a fan-generated concept. Still, the enthusiasm around it reflects a broader appetite for collective projects in an era often defined by solo stardom. Whether or not S.H.E. ever becomes more than a hashtag, the conversation itself signals the enduring appeal of collaboration.

A simmering rivalry between 50 Cent and Jim Jones resurfaced this week after social media posts suggested Jones had lost access to his podcast studio. The episode began circulating widely after 50 Cent shared a message referencing an alleged lockout. He also mentioned what he characterized as property damage. In one caption, he wrote, “Sam is my partner I own the joint, now your gonna fix every door you kick or I’m gonna kick ya a*s jimmy. [thinking emoji] by Monday, your destroying my property.” The image accompanying the post appeared stylized. However, its authenticity was not independently confirmed. Clips that followed seemed to show Jones attempting to enter a studio space tied to his show, Let’s Rap About It. In one video, he can be heard saying, “the f*ck is you talking about,” as a door lock is broken. Screenshots of a notice terminating tenancy under the name Joseph Jones, his legal name, also circulated online. The document indicated the possibility of negotiating with the landlord. However, the precise terms of any lease agreement have not been publicly verified. View this post on Instagram Feud Turns Into a Viral Spectacle 50 Cent continued to comment on the situation, adding a note of sarcasm. “Damn bro this wouldn’t happen if we was friends, wanna be friends? I don’t know let’s rap about it! LOL,” he wrote. In a subsequent post, he shared what he described as a phone call with the property owner. The owner alleged that unpaid rent ranged from $80,000 to $180,000. Those figures have not been independently confirmed. Jones responded with humor rather than direct rebuttal. Posting a brief video, he captioned it, “Kunfu Jim. No lock doors lol,” appearing to treat the episode as spectacle rather than crisis. The exchange underscores how longstanding tensions between the two artists now unfold largely through social media posts and viral clips. In this context, performance and provocation often blur with real-world disputes.

A$AP Rocky has joined forces with Nas for a new Ray-Ban campaign that looks back to Belly, the 1998 film directed by Hype Williams that became a touchstone of late-1990s hip-hop style. The campaign, released February 19, coincides with the launch of Rocky’s Metal Collection for the eyewear brand. Serving as creative director, Rocky introduces a selection of optical frames and sunglasses priced between $202 and $249. The collaboration brings together fashion, music, and film in a way that feels less like a commercial exercise and more like a cultural callback. The accompanying short film borrows its mood and visual cues from Belly, a movie remembered as much for its imagery as for its storyline. Nas, who appeared in the original film, narrates the campaign, grounding it in personal memory. “Man, I get a phone call from Flacko this evening. He wants to meet in Harlem. Funny thing is, it’s the same restaurant where I last met with his pops before he passed. His pops was my dawg,” he says. In fact, in this story, Rocky becomes even more central to the film’s journey. Framing Legacy in the Present That line adds emotional weight to what might otherwise be a straightforward brand partnership. By invoking a shared history and a specific place in Harlem, the campaign folds biography into homage. It also connects Nas to Rocky’s influence, creating a bond that feels authentic instead of fabricated, and positions Rocky as a stylistic heir to earlier generations of New York rap. For Ray-Ban, the project positions the brand within a lineage of artists who have shaped popular culture beyond their music. Furthermore, this partnership allows Rocky to expand his growing creative legacy across fashion and music, strengthening Rocky’s influence in both arenas.

President Donald Trump’s love for Nicki Minaj continued this week at the White House. On Wednesday, (Feb 18), Donald Trump showered the “Anaconda” rapper with compliments during his speech for a Black History Month event. Trump called Minaj “beautiful” and highlighted her political prowess. “How about Nicki Minaj? Do we love Nicki Minaj? I love Nicki Minaj. She was here a couple weeks ago. She’s so beautiful,” Trump raved. “I said, ‘Nicki, you’re so beautiful.’ Her nails are like that long, I said, ‘Nicki are they real?’ She didn’t want to get into that. But she was so beautiful and so great and she gets it, more importantly.” The president’s remarks of Minaj came as he was talking about a series of iconic black artists, such as guitarist Chuck Berry and singer Muddy Waters. After he went on a ramble about Minaj’s “beautiful” skin, the president turned back to his prepared speech where he continued to note more iconic black Americans, including Frederick Douglass, Martin Luther King Jr., and boxer Muhammad Ali. He argued that Black History Month is really “all about American history.” “Happy Black History Month, Happy Black History Year, and happy Black History Century,” Trump concluded. Last month, the Trinidadian singer and songwriter praised Trump at the so-called “Trump Accounts” event. Taking to the stage, Minaj said, “I am probably the President’s number one fan, and that’s not going to change. And the hate or what people have to say, it does not affect me at all. It actually motivates me to support him more, it’s going to motivate all of us to support him more.” She added, “We’re not going to let them get away with bullying him and you know the smear campaigns, it’s not going to work. He has a lot of force behind him and God is protecting him. Amen.”