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.

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