Young Thug and YFN Lucci have reunited creatively on their latest albums, UY Scuti and Already Legend, marking a meaningful chapter in a relationship shaped by both collaboration and past tension. Thug’s appearance on Lucci’s project signals a renewed camaraderie, demonstrating a willingness to move beyond previous conflicts and channel shared experiences into art. In a recent interview, Lucci reflected on the intentions behind their partnership. “First off, we’ve been through a lot,” he said, acknowledging hardships both artists have faced. “Everyone has lost someone; we lost people. The most critical thing we lost is time—time away from our families. So, coming home, it’s like, damn, what can we do? Are we just going to continue down a path that leads to more pain, or are we going to take a stand and make things right for Atlanta?” His words convey a deliberate effort to reconcile past missteps while prioritizing growth and accountability. Lucci’s resolve extends to their music. “Let’s just do it. Some fans might be upset, while others will be thrilled. But at the end of the day, we must face the consequences of our actions,” he said, emphasizing responsibility amid public scrutiny. Their collaboration is thus more than a creative venture; it is a shared statement of intent and personal evolution. Young Thug and YFN Lucci Turn Personal Strife Into Music Young Thug’s recent tracks similarly grapple with fractured relationships. On “Dreams Rarely Do Come True,” he interrogates loyalty: “Why would I shed tears over someone I handed over to Gunna’s law enforcement connections?” In “Sad Slime,” he explores betrayal and loss: “I witnessed my brother turn rat right before my eyes / I’ve been crying all day.” These candid revelations have sparked conversation across social media, particularly around recently leaked recordings of his discussions with law enforcement. Together, Young Thug and YFN Lucci illustrate how music can serve as both expression and catharsis. Their collaboration transforms personal trials into art, reflecting a commitment to growth, accountability, and reconciliation. Beyond the melodies and lyrics, their work underscores music’s enduring power to entertain, heal, and offer space for reflection—and, ultimately, redemption.

Lecrae stopped by HOT 97 to talk to Nessa about his brand new album Reconstruction. They discuss the hardest parts of fatherhood, what moments made him feel like he was doing a good job, and whether his kids really understand his music and message. He also reacts to Kendrick Lamar name-dropping him on “Watch the Party Die,” how he felt about that, and why he almost didn’t record the song because he didn’t want to come off as a clout chaser. They also dive into his growth over 10 albums, how this one reflects scars, lessons, and reaching “OG status,” and his past struggles with seeking validation from other artists. Lecrae shares his cringe moment meeting J. Cole, a heartfelt conversation with Will Smith, and even the time Snoop kicked him out of a party. He talks about new collaborations with Miles Minnick, a memorable dinner at E-40’s house with Tupac stories, and hints at appearing in a Tyler Perry film. Stream Reconstruction now.

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.

Drake has never hidden where his artistic instincts lead him: toward women and toward the nightlife spaces where their energy sets the tone. That perspective anchors Magic City: An American Fantasy, a new docuseries he both produced and appears in. The project explores the cultural weight of Atlanta’s storied strip club while offering Drake a platform to explain how it shaped his sound and sensibility. In the series, he casts his music as less an abstraction than a tribute. “I make my music for those girls,” he says, underscoring his devotion to the women who bring those spaces to life. For him, strip clubs are not just backdrops but creative engines—environments that fueled some of his most enduring songs. His choice to embrace that influence, despite predictable judgments, reflects both intent and self-assurance. That confidence extends to his public image. When pressed about his romantic life, Drake shrugged off the fascination with a laugh, a gesture that conveys ease rather than evasion. His response signals not secrecy but a determination to define the narrative on his own terms. Confronting the Critics Drake has been equally blunt about how his music is received. In a recent exchange with Bobbi Althoff, he argued that reviews of his albums often feel orchestrated. “When I’m dropping an album, they have phone calls deciding what stance so-and-so is gonna take within the first hour,” he said, suggesting that criticism can be prearranged rather than rooted in genuine listening. The remark speaks to a larger reality: in today’s music economy, pushback can be as engineered as acclaim, designed to generate clicks as much as critique. For Drake, that only sharpens his focus on the listeners he has always prioritized. Conclusion Through Magic City, Drake presents himself not just as a hitmaker but as a chronicler of the spaces and communities that shaped him. His blend of defiance and devotion—toward women, nightlife, and authenticity—remains central to his longevity in a culture quick to question and quicker to judge. Drake speaks on making music for women and not caring about what another artist has to say: “I care so little about another artist that someone might respect not liking my music. I don’t give a fuck. Maybe that’s why I’ve been here so long” pic.twitter.com/1y4jlCLsAb — ALMIGHTEE. (@realalmightee) September 12, 2025

In hip-hop’s shifting landscape, Jay-Z still stands as one of its most enduring figures. His last solo album, 4:44, was released in 2017 to critical acclaim, but new remarks from producer Cash Cobain have stirred speculation that fresh music from the Brooklyn rapper may be on the horizon. Appearing on Billboard Unfiltered Live, Cobain suggested Jay-Z has new material in the works—music, he said, that could “shake the world.” Cobain did not hold back in praising Jay-Z’s stature in New York rap, calling him the undisputed king. “The king of New York is Jay-Z. It’s Jay-Z. Multi-platinum albums and president of Def Jam. He’s like the richest rapper, right? What didn’t he do?” he said. He added, “I heard Jay-Z is about to drop some sh*t that’s gonna shake the world. That’s what I heard.” His comments have only intensified speculation that a comeback may be underway. Hints of new music have already ignited a wave of reactions online. On X, formerly Twitter, fans voiced both humor and anticipation. “If Jay Z get on a cash beat ima really be weak but ima def need front row seats too,” one user wrote. Another suggested the resurgence of creativity in the genre—highlighted by the Clipse’s recent Let God Sort Em Out—could be pushing Jay-Z back to the studio. “THIS BETTER BE TRUE,” one fan declared, capturing the broader sense of expectation. 4:44 marked reflection—his next move could reshape rap Jay-Z’s most recent solo release, 4:44, entered the Billboard 200 at No. 1 with 262,000 album-equivalent units and was nominated for Album of the Year at the Grammys. Beyond its commercial impact, the record was celebrated for its candor, with songs like “The Story of OJ” marking one of Jay-Z’s most introspective turns. The Billboard segment also featured Zeddy Will, who named Nicki Minaj as New York’s reigning queen. “Her fanbase is still crazy to this day, and she got all the hit records. The numbers don’t lie,” he said, pointing to her back-to-back sold-out shows at Madison Square Garden. For Jay-Z, expectation is nothing new. If Cobain’s prediction proves true, his return would not only mark a new release but also add another chapter to a career that has long shaped hip-hop’s narrative. “I heard Jay-Z is about to drop some shit thats gonna shake the world that’s what I heard” -Cash Cobain pic.twitter.com/71y4Fcb1FS — Ahmed/The Ears/IG: BigBizTheGod (@big_business_) September 4, 2025

Lil Baby is preparing to release his long-awaited album, The Leaks, due Friday, September 5. The project arrives after a short delay from its original August 15 date, a postponement that has only added to the buildup. With features from Playboi Carti, Young Thug, and Lil Yachty, the Atlanta rapper is leaning on familiar collaborators to anchor what may be his most discussed release in years. The 17-song tracklist stretches wide, pulling in G Herbo, LUCKI, Veeze, Rylo Rodriguez, and Skooly. On the production side, Lil Baby has enlisted an equally heavy roster—Wheezy, Murda Beatz, TM88, and BabyWave among them—a lineup that all but guarantees a range of sounds. For the rapper, The Leaks serves as both an archival release and a chance to fold once-unfinished tracks into his official catalog. Lil Baby Turns ‘Leaks’ into a Statement Much of the conversation around the album has unfolded online, where fans have long circulated snippets of these songs. On Reddit, the idea of reclaiming leaked material has been met with enthusiasm. “It’s refreshing to see an artist embrace their unreleased material—there’s no revenue in songs that stay hidden away. As a devoted fan of Lil Baby, I’ve been enjoying many of these leaks unofficially for years,” one commenter wrote. Another pointed to “Get Along,” a posse cut featuring Lil Yachty, LUCKI, and Veeze, adding, “Track 14 has immense potential; it’s great to see a mainstream posse cut making its way into the spotlight.” The rollout, however, hasn’t been free of speculation. On the track “Otha Boy,” listeners anticipate thinly veiled jabs at Gunna and Offset, with lyrics rumored to reference Gunna’s fitness regimen. Whether those rivalries surface directly or not, the breadth of the project suggests Lil Baby is aiming to balance sharp-tongued bars with crowd-pleasing anthems. And this release may only be the beginning. In a recent live stream with PlaqueBoyMax, he confirmed more music is already lined up. “I’m actually dropping two albums, though. I’m dropping another album, like, four weeks after that, something like that. I wasn’t even planning on releasing this one,” he said—a signal that The Leaks could mark the start of an unusually prolific stretch. View this post on Instagram A post shared by @lilbaby

As excitement builds for his upcoming album, Iceman, Drake is addressing the media attention that often shadows his releases. In a recent interview with Bobbi Althoff that has gone viral online, the Toronto artist suggested that critics may coordinate their responses to ensure negative coverage surrounds his projects. Drake elaborated on his perspective: “It appears that the first critics to respond are not necessarily offering genuine reactions to my albums. Instead, it seems there are strategic discussions taking place among media members, determining their individual stances—often negative—before my project even has a chance to be fully heard.” He added, “These discussions happen in a collective setting, where different critics decide their narratives to ensure there’s no overlap. Someone might declare, ‘I dislike the album,’ even before they have fully engaged with it, aiming for comments that generate the most interaction.” Drake on Media and ‘Iceman’ The remarks, shared widely by DJ Akademiks on social media, sparked a range of reactions. Some fans praised Drake for his candor and defense of his work, while others questioned his critique, pointing to his long-standing navigation of media cycles. The exchange highlights the ongoing tension between artists and critics in an era where social media magnifies every opinion and reaction. Beyond discussing the press, Drake delved into more personal topics, including his approach to relationships and the continuing conversation around his authenticity and public image. These reflections, paired with his critique of media behavior, portray an artist both guarded and self-aware as he prepares for one of the year’s most anticipated releases. While an official release date for Iceman has yet to be confirmed, Drake’s comments provide fans a window into the mindset he hopes will frame the album. As anticipation grows, his observations about perception and criticism offer context for how the work may be received when it finally arrives. View this post on Instagram A post shared by DJ Akademiks (@akademiks)

Young Thug is back in the headlines—and not for his music. In recent weeks, the Atlanta rapper has become the target of intensifying criticism after the leak of an interrogation tape revived long-simmering accusations of betrayal in hip-hop. Through it all, his partner, singer Mariah the Scientist, had remained silent, until a brief but pointed gesture at a recent performance cut through the noise. The controversy stems from audio of Thug, born Jeffrey Williams, allegedly naming fellow rapper Peewee Roscoe during questioning by police. What could have been seen as a routine exchange was quickly branded “snitching,” a charge that carries particular weight in a culture where loyalty is prized and public perception can define a career. The clip spread fast, transforming what might have been a footnote into a full-fledged storm, stoked by rivals and critics alike. The backlash has pulled in some of the industry’s most prominent voices. Quality Control executive Pierre “P” Thomas and rapper Ralo have openly distanced themselves, while commentators like Wack 100 and Joe Budden added their disapproval to the chorus. Thug has tried to push back online, but the steady stream of criticism has left his image under siege. Mariah Stays Calm as Fans Debate Loyalty and Drama Mariah the Scientist, by contrast, has opted for quiet defiance. During a recent set, a concertgoer lifted a phone screen that read, “Tell thug he’s a [rat emoji].” She simply flashed a thumbs-up. The small act ricocheted across social media, with some praising her composure and others questioning why she should be dragged into her partner’s battles. Reactions piled up in the comments section of DJ Akademiks’ posts. Some fans warned about the dangers of provoking artists in public settings, while others lamented the theatrics. A few framed the YSL case as something larger: a flashpoint in hip-hop history that could one day be remembered as a cautionary tale about loyalty, downfall, and spectacle. Meanwhile, the feud shows no signs of cooling. Thomas recently mocked Thug with an Instagram post teasing a faux documentary titled The Rat That Just Keep On Tellin’. View this post on Instagram A post shared by DJ Akademiks (@akademiks)

Two decades ago, a teenage Rihanna left her home in Barbados with a dream. At just 17 years old, she released her debut album Music of the Sun on August 29, 2005. Now, twenty years later, Rihanna is celebrating the milestone with gratitude, nostalgia, and fresh surprises for fans. To mark the anniversary, Rihanna shared a moving message on Instagram, reflecting on the moment that changed her life forever.“20 years ago, I left my country, my culture, my food, and family to embark on a journey that started with the release of my very first body of music… Thank you for the greatest first 20 years ever!” View this post on Instagram A post shared by badgalriri (@badgalriri) Her words not only honored the album but also highlighted the personal sacrifices she made in pursuit of her career—a journey that has since made her one of the most influential artists and entrepreneurs of her generation. As part of the celebration, Rihanna launched a campaign branded R20, updating her X (formerly Twitter) profile with visuals spotlighting all of her albums. The sleek campaign is both a nod to her roots and a reminder of the powerful discography she’s built since Music of the Sun. Rihanna also teamed up with Roc Nation to release exclusive merchandise inspired by her debut album. The limited-edition drop, arriving on August 29, gives fans a chance to relive her early era through fashion, while celebrating the record that introduced her Caribbean-infused sound to the world. When it was first released, Music of the Sun stood out for its unique blend of dancehall, Caribbean rhythms, R&B, and pop. Its breakout single, “Pon de Replay,” became a worldwide hit, climbing to No. 2 on the Billboard Hot 100 and securing Rihanna’s place in the global music conversation. The album itself debuted at No. 10 on the Billboard 200 and was later certified Platinum by the RIAA. While critics noted the unevenness of a debut project, many praised the cultural authenticity Rihanna infused into her music—a quality that would continue to define her artistry. Twenty years later, Rihanna is not just a music icon but also a fashion mogul, beauty entrepreneur, and philanthropist. Still, her anniversary celebration reminds fans of where it all began: a young artist with a vision, unafraid to carry the sound of Barbados into the global mainstream.

Charley Crockett is making it clear that Beyoncé belongs in country music. In a lengthy Instagram post, the Texas artist pushed back against critics of Cowboy Carter while accusing the industry of hiding behind double standards. View this post on Instagram A post shared by Charley Crockett (@charleycrockett) “Hey country folks,” Crockett wrote. “Beyoncé ain’t the source of your discontent. It was 25 years of bro country.” His words came as a response to the wave of backlash Beyoncé has faced since releasing the record, which blends traditional country with other genres. Crockett pointed out how some of today’s biggest stars built their reputations while borrowing from Hip-Hop and pop. “#1 country artist on earth listens to nothing but rap,” he said. “Openly says he doesn’t really know any country music. Gotta respect his honesty.” He added, “These ‘country boys’ been singing over trap beats for years. So what’s different now? Authenticity.” He went on to highlight Beyoncé’s accomplishments, noting that she became the first Black woman to win Best Country Album at the Grammys in 2025, while still being overlooked by the Academy of Country Music Awards. “The machine points to a black woman who’s making a statement about marginalized people being removed from the conversation altogether,” Crockett wrote. Sharing his own experience, he revealed that Nashville executives once attempted to mold him into a prefabricated star. “Many of those business folks called me early on. They had whole albums pre-written and recorded, ready to just plug me in. I have receipts.” Crockett closed his message by stating, “I don’t need to put down a black woman to advance my music. That’s just embarrassing to the idea of America and I got no respect for it.” He even praised Texas rapper BigXThaPlug as “genuine” and “a true story teller.”