Doja Cat opened her Ma Vie world tour in Auckland on November 18. She stepped into a global rollout already charged with anticipation. The pop star’s launch was met with excitement from her fans online. This was punctuated by her all-caps rallying cry on X: “AUCKLAND LETS GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOIII.” However, once the lights came up, a wave of criticism began circulating from concertgoers. They felt the show didn’t meet the energy they expected. Many of the early complaints focused on the visual direction of the tour. One user wrote, “Okay no shade, the VIE tour just gives Scarlet with different outfits,” echoing a sentiment that the aesthetic didn’t feel new. Others questioned whether the production had enough support behind it. One fan posted, “i usually be on doja side when she clock kittens but…girl js say ur label ain’t give u budget and keep it pushing [loudly crying emoji].” The commentary quickly spread, setting the tone for a tense exchange. Doja Cat responded head-on, refusing to soften her pushback. In one striking message, she wrote, “And I’m not your fcking costume monkey; I move at my own pace and break my fcking back out there every night. So you can keep your bullsh*t opinion to yourself. You are not the artist; you are the watcher.” Her comments prompted a fresh round of debate. This focused on how artists navigate public scrutiny in real time. You can’t do what I do and the more I do it the more it will bend you out of shape enough to go on the internet and write a think piece. You disappoint me. — DOJA CAT (@DojaCat) November 20, 2025 An exchange reflecting the complexities of online interactions The back-and-forth intensified as users claimed she was dismissing her audience. One person argued, “the fact doja only sees her fans as ‘watchers’ pmo so bad… she really hates us down.” Doja fired back with, “Oh fck you cnt you’re no better than a tmz reporter. You fcking low life btch,” a reply that further fueled conversation. This was about the increasingly fraught boundaries between performers and their online communities. As the Ma Vie Tour moves through Australia and New Zealand over the next week and a half, the spotlight on Doja Cat’s relationship with her fan base is unlikely to fade. Her next show is set for Saturday, November 22, in Perth. Both the performance and the reaction around it will continue to shape the narrative of this early tour stretch.

The Detroit Lions are setting a new course for their Thanksgiving halftime show. This is through a multiyear partnership with Eminem and Shady Records co-founder Paul Rosenberg. The agreement, which runs through 2027, hands creative control of the annual performance to two of Detroit’s most influential music figures. They will now choose the artists who take the stage each year. Rosenberg said the collaboration feels both personal and historic. “Partnering with the Lions allows us to join one of Detroit’s most cherished traditions. We are eager to curate unforgettable performances for fans both at Ford Field and beyond, reaching millions across the nation.” His comments reflect a shared belief that the city’s music and its football culture can elevate one another. Wide receiver Jameson Williams welcomed the move as a chance to strengthen the team’s bond with the community. “This is a significant opportunity for us to showcase local artists,” he said. “Involving a Detroiter in the selection process is vital; it not only enriches the event but also fosters community pride.” He added that Detroit’s identity continues to shape the team’s relationship with its fans. A star-powered Detroit lineup sets a new tone for Lions halftime The Lions have also enlisted Jesse Collins Entertainment to produce the halftime show. This decision, President and CEO Rod Wood said, will bring new visibility to the event. “Working with Marshall and Paul—two of the music industry’s most celebrated figures and devoted Lions fans—is a game-changer for us. Their extensive experience will undoubtedly draw in premier talent. This will ensure that our Thanksgiving performance becomes one of the NFL’s most highly anticipated cultural events.” The announcement comes as Eminem surpasses 60 million monthly Spotify streams. He trails only Drake and Travis Scott among the most-played rappers worldwide. His continued global presence adds momentum—and a broader audience—to a project the Lions hope will become a defining part of the franchise’s identity. As Thanksgiving approaches, the collaboration signals more than a refreshed halftime lineup. It marks an effort to link Detroit’s musical legacy with one of the city’s oldest traditions. The goal is creating a holiday stage shaped by the people who helped put its sound on the map.

During a recent appearance on the 7PM in Brooklyn podcast, Ja Rule revisited his long-running feud with fellow rapper 50 Cent, offering a calmer, more reflective perspective on their decades-old rivalry. The Queens native spoke candidly about wanting to move past negativity, urging for mutual respect among artists who’ve helped shape the culture. Ja Rule acknowledged that competition is part of hip-hop’s DNA but argued that it doesn’t need to divide fans. “Fans often feel compelled to choose sides,” he said. “But you don’t though. At the end of the day, you have to appreciate the contributions of both artists.” His comments suggested a desire to see fans celebrate artistry over allegiance, highlighting how rivalries can coexist with mutual appreciation. Though confident in his legacy—“I feel like I was the better rapper… and made the better records”—Ja Rule’s tone reflected maturity rather than malice. His message was clear: personal growth and artistry matter more than revisiting old wounds. A History of Tension The feud between Ja Rule and 50 Cent remains one of hip-hop’s most notorious. When asked if reconciliation or collaboration might ever happen, Ja dismissed the notion. “We’ve never done a record together. We’ve never been friends, so I don’t know why people want to see that,” he said. His response carried a sense of finality, emphasizing authenticity over publicity. He also reflected on how modern rap rivalries have evolved, referencing recent battles like Kendrick Lamar vs. Drake. “That’s why I don’t promote negativity between me and 50,” Ja explained. “I wish that Black man luck. Go ahead and do you but do better—because all you do is take shots at other Black people.” His remarks positioned him as someone seeking positivity in a culture often fueled by provocation. As of now, 50 Cent has yet to respond, leaving fans to speculate about whether the Queens rapper will address Ja Rule’s latest comments.

R&B star Omarion has spoken out after fellow singer Mario made headlines for critiquing his vocals as “hit or miss.” The comment came during Mario’s recent appearance on the Funky Friday Podcast, where the “Let Me Love You” singer was asked about Omarion’s artistry. “Omarion, it be hit or miss for me sometimes,” Mario said, sparking conversation among fans about the two singers’ long-running professional tension. During an interview with Sway Calloway, Omarion responded to the remarks, calling the conversation “wild” and stressing the importance of respect among artists. “It’s not by chance,” Omarion said. “It’s by hard work. I’ve been doing this a long time. For me, it’s all about respect — especially from someone who came after me.” When asked if he would ever collaborate with Mario following the comments, Omarion made it clear he’s not interested. “I’d rather step back,” he admitted. “I don’t think there’s respect there.” View this post on Instagram This isn’t the first time the two have been compared. Omarion and Mario infamously battled in 2022’s VERZUZ, where their vocal performances became a major talking point online. “I’ve worked hard for my name and my career,” Omarion emphasized. “Everyone’s entitled to their opinion, but there’s a way to do it with respect.”

In a scene where sports, music, and redemption intertwined, Harlem rapper Max B shared a heartfelt reunion with Method Man during the New York Jets’ recent victory over the Cleveland Browns. The Wu-Tang Clan legend captured the energy of the moment as fans cheered, marking a vibrant snapshot of joy and renewal. In a playful exchange caught on camera, Max B greeted Method Man with humor and warmth. “Get me a job!” he called out, jokingly asking for photography work as the two embraced amid the roar of the crowd. Joined by longtime collaborator French Montana, Max appeared fully immersed in the celebration—a moment that felt both lighthearted and deeply symbolic. Later, in a short interview with The People Gallery, Max B spoke candidly about his gratitude and sense of peace. “I’m feeling righteous,” he said. “Feeling good. I’m grateful. I’m thankful. God is good.” Offering style advice to fans, he added, “Listen, man, just be yourself… Buy what you can afford, wear what you like. If it looks good on you, own it!” Max B returns, free and wavy When asked about his favorite film, Max B named New Jack City without hesitation, before joking that his favorite song was “my favorite.” He encouraged aspiring artists to connect with him, saying, “Listen, anybody that can keep up with the boss don or anyone who’s an A-lister—look me up! I’ll help you get right; I’ll get you wavy.” This public outing carried extra weight given Max B’s recent return home after spending more than 15 years behind bars. Initially sentenced to 75 years in 2009, he accepted a reduced 20-year plea deal for aggravated manslaughter in 2016 and was officially released earlier this year. French Montana marked the milestone with a heartfelt message: “CANT MAKE THIS UP! MY BROTHER REALLY CAME HOME ON MY B DAY! HAMDULILLAH WALKED IT DOWN! NO MORE FREE YOU.” The Jets secured a 27-20 win that day, pushing their record to 2-7 as the team continues to navigate midseason roster changes involving standouts Sauce Gardner and Quinnen Williams. For Max B, the day represented far more than a football victory—it was a celebration of freedom, friendship, and the resilience that continues to define both his story and his sound.

In the tangled web of hip-hop, friendships and rivalries often intertwine. SZA, one of music’s most captivating voices, has managed to maintain meaningful ties with both Kendrick Lamar and Drake—two artists whose public tension has shaped much of rap’s recent discourse. Her ability to remain poised in that crossfire has sparked conversation about where she stands amid the feud. The long-running clash between Lamar and Drake has affected their shared collaborators, with SZA finding herself in the middle. Earlier this year, she joined Kendrick on tour, their onstage chemistry deepening an already solid creative bond. But she also teamed up with Drake on For All the Dogs, lending her vocals to the standout track “Rich Baby Daddy.” The collaboration drew attention precisely because of the rift between the two rappers. In a recent interview with GQ, SZA addressed critics who questioned why she performed “Rich Baby Daddy” during her shows. “Why wouldn’t I? ‘Poetic Justice’ was in the set list, so why wouldn’t I keep ‘Rich Baby Daddy’?” she said confidently. Her response reflected not just self-assurance, but a deep commitment to her artistry and independence as a performer. Finding Balance in a Divided Industry SZA spoke candidly about her decision to remain neutral amid the feud, describing the dispute as something between two “grown-ass men.” “I didn’t feel the need to get involved,” she said, adding that her loyalty to both artists runs deep. “I didn’t really have any stake, per se. Obviously, I love Kendrick. I’m signed to TDE; that’s my family. And I’ve known Drake for ages; we share a wonderful connection.” Her words reflect a rare balance—acknowledging the emotional complexity of working with both sides while staying grounded in her own principles. For SZA, the relationships transcend industry politics. They’re rooted in mutual respect, creative admiration, and years of shared history. When asked about working with Kendrick Lamar, SZA spoke with admiration and warmth. “He’s such a professional human,” she said. “His methodical yet fluid approach is truly beautiful.” For her, collaborating with Kendrick is both a learning experience and a reminder of why she values artistic honesty. “I love collaborating with him,” she added. “I just go with it. And I appreciate that sense of freedom too.” That willingness to trust her instincts and embrace spontaneity has become a defining part of SZA’s creative process—and one that continues to connect her deeply with her audience.

Spotify is facing one of its most turbulent weeks yet. New lawsuits raise questions about the company’s credibility in the music industry. A class-action complaint accuses the streaming giant of neglecting to address widespread streaming fraud. Spotify has strongly denied the claims, calling them “baseless.” It insists that the company uphold fairness and accuracy through its detection systems. Although the lawsuit doesn’t name Drake as a defendant, it repeatedly cites him due to the sheer scale of his presence on the platform. Rapper RBX, whose legal name is Eric Dwayne Collins, claims that a significant portion of Drake’s roughly 37 billion streams from January 2022 to September 2025 were artificially generated. This was allegedly done by an elaborate network of bots. The allegations have stirred fresh debate about the authenticity of some of the platform’s most popular artists and their reported success. In response, a Spotify representative reaffirmed the company’s commitment to fighting artificial streaming. “While we are unable to comment on pending litigation,” the spokesperson said, “Spotify does not gain from the widespread issue of artificial streaming. We continuously invest in top-tier systems. These are designed to detect and eliminate fake streams, protect artist earnings, and enforce penalties against offenders.” New Lawsuit Alleges “Modern Payola” Practices Adding to its mounting legal pressure, Spotify now faces another class-action suit filed by New York subscriber Genevieve Capolongo. Reports indicate that the complaint accuses the company of engaging in “modern payola.” It alleges that Spotify misleads users by selling playlist visibility while promoting itself as an organic discovery platform. Capolongo’s lawsuit claims that Spotify exploits the trust of its subscribers by blurring the line between genuine recommendations and paid placements. “Despite being aware that Spotify’s claims regarding personalization are misleading, [Capolongo] continues to suffer harm each time she engages with the platform,” the filing reads. “She is unable to discern which tracks are genuinely curated and which are pushed through undisclosed financial arrangements. This hinders her ability to make informed listening decisions.” Spotify has not yet commented publicly on the latest filing.

In 2025, Mass Appeal’s dedication to preserving Big L’s influence has resonated deeply with the hip-hop community. While minor critiques have appeared, the overall response from fans has been overwhelmingly positive. This year has been notable for Nas and Mass Appeal, with several highly anticipated projects on the horizon, including collaborations with DJ Premier and De La Soul. Yet it is Harlem’s Finest: Return Of The King that has captured the most attention, bringing previously underappreciated tracks from Big L’s catalog into the spotlight. The compilation features 16 tracks that, while previously overlooked, now receive a full showcase. Designed for streaming access and fair compensation for all contributors, the album transcends any suggestion of a simple cash grab. Production, blending moody yet uplifting tones from Beat Butcha, Conductor Williams, and executive producer Royce da 5’9”, evokes the energy of 90s New York rap, reminding listeners why Big L’s artistry remains essential to the genre. Big L’s Legacy Shines in 2025 Release Online reactions have been enthusiastic. One fan shared, “Have you had a chance to listen to the new Big L album? Really incredible to have this drop in 2025!” Another expressed excitement about the unexpected collaborations, including Mac Miller and Jay-Z. While some listeners questioned whether Miller’s style aligned with Big L’s aesthetic, Miller’s acknowledgment of Big L as a formative influence lends meaningful context to the partnership. Some fans noted the brevity of certain tracks, but the constraints reflect the challenge of curating work from a career cut tragically short. Unlike posthumous releases for more recent artists like Juice WRLD, the team behind Harlem’s Finest faced the task of honoring an enduring legacy while maintaining artistic integrity. Despite these challenges, the album succeeds as a celebration of Big L’s talent, offering both nostalgia and discovery for listeners. The discussion around Harlem’s Finest illustrates the continued impact of Big L’s work. His contributions remain a touchstone for the hip-hop community, inspiring fans and emerging artists alike. This posthumous release not only preserves his voice but also reinforces his lasting significance in shaping the sound and spirit of New York rap.

Burna Boy’s 30-minute or so cameo on a live stream with PlaqueBoyMax has reignited talk that his long-running tension with fellow Nigerian star Davido is still very much alive. In the clip, Max receives a ten-subscription gift from a user named “dwmdavido.” When Burna notices it, he gives a subtle laugh and says, “Nah, nah, man.” While the line may seem offhand to some, fans see it as symbolic of a rivalry that’s been simmering for years. The two artists, once collaborators (their 2011 cut “Trumpet” and a 2016 remix), haven’t publicly worked together since their relationship soured around 2019. Burna’s body language during the livestream, arching eyebrows, a quick glance, suggested he neither missed the reference nor the intent behind it. View this post on Instagram A post shared by DJ Akademiks (@akademiks) It’s worth noting that both men are at high points in their careers. Burna’s global presence has exploded, and Davido, whose album 5 Ive dropped earlier this year, continues to dominate charts in Africa and beyond. Yet the behind-the-scenes undercurrent of ego, competition and respect remains. For fans, the gift from “dwmdavido” was less about money and more about visibility. Burna’s response may have been intentionally minimal, but the message landed. Whether Davido will issue a formal reply or bury the moment remains unclear. But in an era of subtle jabs and viral moments, this livestream exchange might speak louder than any official statement. The power lies not in the shout but the implication, and for now both camps seem content to let the scoreboard build.

During the Super Bowl LVI halftime show at SoFi Stadium, Eminem commanded the stage with his signature intensity. Beyond the performance, however, the rapper’s publishing company, Eight Mile Style, has stepped into a high-stakes legal battle with Meta. The case concerns alleged unauthorized use of his music across Facebook, Instagram, and WhatsApp. In May 2022, Eight Mile Style filed suit against the social media giant. The lawsuit highlights what the company describes as repeated exploitation of Eminem’s catalog without proper licensing. The lawsuit asserts that “Meta is one of the most valuable companies in the world.” It accuses the corporation of leveraging its size to pressure smaller challengers. Attorney Richard Busch emphasized the imbalance of power: “Meta may effortlessly start and then endure a war of attrition. This is in order to force a smaller opposing party into submission.” According to the filing, Meta allegedly used 243 of Eminem’s compositions for user-generated content, copying, syncing, and streaming videos without proper authorization. Each incident, the documents suggest, reflects a disregard for the legal and creative rights of artists. The Battle Over Artistic Control On April 25, 2024, Eminem appeared at the NFL Draft in Detroit. This served as a reminder of his enduring influence. Meanwhile, the legal case continues to unfold, aiming to address the use of his work in millions of social media videos without consent. Meta’s claimed access to the music stems from a 2020 agreement with digital rights facilitator Audiam. This agreement is now under scrutiny in court. Eight Mile Style casts the litigation as part of a larger fight against corporate overreach: “Meta’s years-long and ongoing infringement … Is another case of a trillion-dollar company exploiting the creative efforts of musical artists.” The company is seeking both financial damages and a permanent injunction to prevent future unauthorized use of Eminem’s catalog.