Before jurors hear opening arguments in Dallas rapper Yella Beezy, whose real name is Markies Conway, capital murder trial, a Texas judge has drawn the boundaries over what music can enter the courtroom, allowing some recordings tied to his feud with slain rapper Mo3 while excluding others prosecutors claimed revealed a motive for the killing. View this post on Instagram In a pretrial ruling, the Dallas County court determined jurors may hear two songs by Conway, who records as Yella Beezy, and one by longtime rival Mo3. The selected tracks contain lyrics referencing the years-long tension between the two Dallas rap stars. However, the judge barred additional songs prosecutors argued demonstrated Conway’s alleged motive in Noble’s 2020 killing. The court also excluded an Instagram Live video Conway recorded on the day Noble was fatally shot. Defense attorneys argued the music reflected artistic expression rather than factual statements, rejecting prosecutors’ efforts to present rap lyrics as evidence of criminal intent. “The lyrics involve playing a character, and should not be taken as fact,” Conway’s attorneys argued in court. Dallas Judge Allows A Few Of Rapper Yella Beezy’s Songs In Mo3 Murder Trial The prosecution’s witness list was also released before trial. Among those expected to testify are Kewon White and Devin Brown, who face separate charges connected to the case, along with Noble’s manager Benjamin Rainwater, Conway’s girlfriend D’Andrea Harris, Mo3’s mother Nichole Noble, and Dallas rapper Trap Boy Freddy, born Devarius Moore. Trapboy Freddy has collaborated musically with Conway but has not been charged. Conway, 33, is accused of orchestrating Noble’s killing by hiring Kewon Dontrell White after an extended rivalry between the two rappers. Prosecutors further contend Conway’s lyrics referenced placing a bounty on Mo3 and later celebrated his death. Defense attorneys dispute those allegations, maintaining that “rap lyrics represent performance, not autobiography.” A Dallas County grand jury indicted Yella Beezy in March 2025. He is charged with capital murder for remuneration, alleging he paid another person to commit the murder. Mo3 was gunned down on Interstate 35E in Dallas on Nov. 11, 2020, after fleeing his vehicle during the attack. Kewon White is serving a federal prison sentence on firearm convictions tied to the investigation. He is scheduled to face trial in Mo3’s murder on Aug. 24. If convicted, Yella Beezy faces either life imprisonment without parole or the death penalty under Texas law.

Earlier this week, Rolling Stone dropped its “The 250 Greatest Songs of the 21st Century So Far” list. According to the outlet, Missy Elliott’s iconic track, “Get Your Freak On,” is the No.1 song of the 21st century. “…It was a challenge, a dare, the sound of Miss E and Timbaland defying everyone else to keep up with the future or get left behind,” the outlet wrote. The outlet continued: “And after more than two decades, ‘Get Ur Freak On’ still sounds like the future — everything vibrant and inventive and cool about 21st-century pop is in here somewhere.” The track, which dropped in 2001 and featured on the rapper’s third studio album Miss E… So Addictive. Upon its release, the track landed at number seven on the US Billboard Hot 100 chart. That said, Miss E… So Addictive debuted at No.2 on the US Billboard 200 chart, selling 250,000 copies in its first week. It’s also been certified platinum by the Recording Industry Association of America (RIAA). In 2002, at the 44th Grammy Awards, Missy Elliott walked away with a Grammy Award for Best Rap Solo Performance for “Get Ur Freak On.” Missy Elliott Reaches Settlement In Long-Running Lawsuit In other news, back in August, Missy Elliott finally put an end to a lawsuit that followed her for years. On August 22nd, just as jury selection was about to begin in a Philadelphia courtroom, she and producer Terry Williams agreed to settle their dispute, closing a chapter that had been active for seven years. The conflict stemmed from Williams’ claims that he helped write several songs during Elliott’s early career. He pointed to four tracks from her group Sista’s 1994 project 4 All the Sistas Around Da World and argued that Elliott went on to publish the material without giving him the credit or payment he believed he deserved. He later tried to connect his argument to Aaliyah’s 1996 single “Heartbroken,” but in August 2024, U.S. District Judge Nitza Quiñones Alejandro ruled that the attempt came too late after more than two decades had already passed.

Hip-Hop has had a phenomenal summer, and it’s only getting better, with new music from established and emerging stars such as Jay Fizzle, AZ Chike, and JhonnieDamnD. Last week, The Game had all of hip-hop talking with his new album, The Documentary 3, which resurfaced the beef between Drake and Kendrick Lamar. While the West Coast deals with inner turmoil, the South has been flourishing with viral hits by Dallas artists Dolly Babe (“Pink Blush”) and JhonnieDamnD (“Murda Bend”). The summer tours are still going strong with superstars like Don Toliver, Loe Shimmy, and Doechii, creating some of the season’s biggest moments yet. As we head into September, new tours from Ken Carson, Isaiah Rashad, and Chief Keef are kicking off. In music, Cardi B’s new track is quickly becoming unstoppable, with an 2immediate impact on the Billboard charts. However, many rising stars are flooding the charts with fresh energy and undeniable fan bases, pushing them to the top. All this while, we await new albums from the biggest names in hip-hop, like Drake, Travis Scott, Quavo, and Stove God Cooks. And here we are again, new week, new surprises. From JhonnieDamnD calling on Dallas to hop on the remix to AZ Chike and Tyler, The Creator’s first collaboration to Jay Fizzle’s new era, here’s a list of new music you might have missed this week. Jay Fizzle Is Ready To “Smash” On The Competition The Paper Route Empire’s shining star returns with a promising track that serves up boisterous bars in his trademark tumbling flow, boasting about his luxurious lifestyle. The new track serves as a launching pad for new music coming in the rest of 2026. “Smash” is refreshing, attention-grabbing, and the perfect origin for any newfound fan. Jay Fizzle, Mo3, TheRealSkitso, J French + MORE New Music You Might Have Missed This Week JhonnieDamnD Keeps It Dallas Swag For “Murda Bend (Remix)” With one of the biggest songs in the world right now, you can call the biggest names to hop on the remix. But the Fort Worth rap star remembers where he came from and draws on North Texas’s legacy to inject it with new energy. The legacy acts remind the world how much swag they had, have, and still have to come. Mo3 Rises Again To Proclaim, “I’m Pac” The late rapper releases the visual to his 2019 fan favorite after the verdict in the hip-hop icon’s murder case is settled. The visual reminds fans of the generational impact that Pac had on everyone. The song is living proof that Shakur’s legacy will continue to influence the biggest names in hip-hop forever. AZ Chike & Tyler, The Creator Relive Their Favorite Movies As They “Look Like My Mama” The West Coast’s hottest new star gets a look from the region’s favorite superstar to help deliver a blockbuster debut. While their bars are unique, they blend perfectly together, and the visuals amplify the song’s popularity. T’s involvement adds to others like Pharrell and K-Dot, who will assist in making the new artist’s debut legendary. Mike Will Made-It & OJ Da Juiceman Are Ready To Cook So The “Stov3 Lit” Taking us back to the early days of trap rap, the longtime collaborators deliver a refreshing track and thank their fans for their unwavering support. The legendary Atlanta trapper keeps us entertained with his signature ad-libs, colorful wordplay, and well-known swag over the hard-hitting production. Reunited and it feels so good. TheRealSkitso, Curren$y, Tyler The Creator, OJ Da Juiceman + MORE New Music You Might Have Missed This Week TheRealSkitso Takes It Back With Styles P, M.O.P., & Kokane To Show No “Mercy” The Buffalo producer makes a grand entrance with a couple of the East Coast’s roughest and toughest emcees for the main event. One-third of The Lox brings the grit; the Brownsville boys bring the ruckus, as the pure white makes you addicted after the first listen. The track really shows no mercy, literally. J French & Curren$y Get Us In The Right “Mood” A collaboration no one expected, the Oklahoma City native hits up a New Orleans favorite to make a bold statement for his forthcoming album. “This album came to me during a dark place that I had to fight my way out of,” says French. “With everything happening in Hip Hop, from the tensions between some of our biggest artists to the racial issues and political views that continue to divide people, I felt it was necessary to give the world something with no beef, no war, and only solidarity. That is the only way I can make art, from a place of love.” “Bro hit me up and sent the track over, and I saw it was titled ‘Mood,’” says Curren$y. “I was in the middle of The Winner’s Circle tour. I put it on, vibed with it, and matched his energy. FaceTimed J French, played it for him, and he loved it. I Don’t Believe in Bad Days is how I live my life every day. I have been rocking with the homie J French for a minute.” Boosie Badazz & C-Murder Tell More ‘Hood Stories’ Together, they represent distinct chapters of Louisiana rap history. The album’s title suggests an unfiltered look at those experiences. Its songs explore relationships, violence, grief, and resilience. The 15-track album reunites the former cellmates-turned-longtime friends.

Boston rapper BIA is extending an olive branch to Doja Cat after the music superstar praised her latest collaboration with Fred again. The moment unfolded Wednesday (Aug. 12), when Doja mentioned the new track during a livestream. She praised BIA’s performance while sharing her reaction to the song with viewers. “I just played this earlier,” Doja said. “It’s Fred Again, and BIA is rapping on it. It’s so fucking nasty. It’s just nasty.” THANK YOU @DojaCat . I genuinely apologize for anything i ever said that was shady. I appreciate u playing my songs. I’ve always liked your music as well. Wishing you nothing but peace love and blessings — BIA (@BIABIA) August 13, 2026 Doja’s unexpected co-sign appeared to prompt the Boston rapper to revisit their history. On Thursday (Aug. 13), BIA addressed Doja directly on X and apologized for previous remarks she characterized as “shady.” “THANK YOU @DojaCat,” BIA wrote. “I genuinely apologize for anything i ever said that was shady.” BIA also acknowledged Doja’s support and expressed appreciation for her music. Rapper BIA Extends An Apology To Music Superstar Doja Cat Over Past Shade “I appreciate u playing my songs,” she continued. “I’ve always liked your music as well. Wishing you nothing but peace love and blessings.” The public apology quickly sparked another conversation among BIA’s followers. One X user compared the situation with BIA’s past comments involving Nicki Minaj. The user suggested BIA had fallen into a similar pattern after previously believing Minaj was authentic. BIA pushed back against that comparison. “I didn’t repeat SHIT,” she responded. “This ain’t that.” She then made clear that her position regarding another artist had not changed. “whatever tf I said about that other bitch. I STILL STAND ON & never taking it back,” BIA wrote. She ended the response with, “Thankgyaaaa.” Bianca’s comments draw a distinction between her past issues with Doja and her unresolved position toward the unnamed artist. The exchange marks a warmer moment between BIA and Doja after their relationship generated public attention in previous years. Doja’s praise of Bianca’s new music appeared to create an opening for reconciliation. For the controversial rap star, the message was direct. She apologized for what she previously said about Doja while refusing to retract separate remarks involving another artist. Doja has not publicly responded to Bianca’s apology.

Rapper Yella Beezy, whose real name is Markies Conway, is asking a Dallas County judge to force prosecutors to narrow their witness list ahead of his upcoming murder-for-hire trial. The “That’s On Me” hitmaker‘s attorney, Toby Shook, filed the four-page motion Monday with the Dallas County Clerk. The filing challenges a State of Texas witness list that now names 264 potential witnesses. State of TX v. @YellaBeezy214: Yella Beezy’s attorney Toby Shook (@toby_shook) filed a motion with the Dallas County Clerk on Monday, August 10, asking Judge Chika Anyiam to force prosecutors to narrow their 264-name witness list before trial. In 4-page motion, Shook argues… pic.twitter.com/8B30m0dVPK — Bryson “Boom” Paul (@brysonboompaul) August 10, 2026 Prosecutors initially identified 194 potential witnesses in a filing submitted July 27. The list included Brandon Rainwater, manager of slain Dallas rapper Mo3, Conway’s girlfriend DeAndrea Harris, rappers Trapboy Freddy and Jose Bodega, and alleged co-conspirators Jerry Johnson, also known as Maserati, Devin Brown and Kewon White. The State later filed an amended witness list Aug. 3. The filing added 70 names, bringing the potential witness total to 264. Prosecutors Tommy Adams, Ricardo Vela and Sharonda Davis are handling the case for the State. Dallas Rapper Yella Beezy Asks Court To Force Prosecution To Downsize 264-Named State’s Witness List Shook argues the expanded list does not provide meaningful notice of whom prosecutors actually intend to call. Instead, the defense says the disclosure resembles an investigative file rather than a focused trial list. According to the motion, requiring the defense to investigate 264 people would consume limited time and resources. Shook argues that many listed witnesses may never testify. The defense contends that a narrowed list is necessary for adequate trial preparation and a fair proceeding. Shook is asking Judge Chika Anyiam to order prosecutors to provide a “good-faith” narrowed witness list by Aug. 14. The defense also wants prosecutors to separately identify potential rebuttal witnesses. Shook asks the court to bar undisclosed witnesses from testifying unless the State establishes good cause and provides reasonable notice. The State has not responded to the motion as of Monday afternoon. Anyiam has not ruled on the request. A pretrial hearing is scheduled for Aug. 21. Jury selection and trial are scheduled to begin Aug. 24 in Dallas County Criminal District Court No. 7. The dispute comes as prosecutors prepare to present their case against Conway, while his defense seeks clearer limits on the witnesses it must investigate before trial.

Lil Wayne has revealed that Drake deserves credit for changing the way he performs onstage, admitting the 6 God introduced him to using teleprompters during live shows. The Young Money founder shared the story during the July 21 episode of the Friends Keep Secrets podcast while speaking with Lil Dicky, Lil Twist and producer Benny Blanco. The conversation began after Lil Dicky asked Wayne whether he performs with a teleprompter displaying his lyrics. Wayne didn’t hesitate to credit Drake. “I got that from Drizzy,” Wayne said. “He asked me to come out one night… I had to pop out from the middle of the stage, and I saw there were TVs. I started looking at them sh*ts and saw my lyrics.” Lil Wayne recalls how he started using teleprompters during his performances: “I got that from Drizzy. He asked me to come out one night… I had to pop out from the middle of the stage, and I saw there were TVs. I started looking at them sh*ts and saw my lyrics. I was like,… pic.twitter.com/AHiBXmxdWh — Kurrco (@Kurrco) July 21, 2026 The five-time Grammy winner said he had no idea artists could project lyrics onto screens positioned around the stage. Seeing the setup instantly changed his perspective. “I was like, ‘You could do this? This is awesome,’” Wayne recalled. The discovery became a permanent part of his concert routine. “Ever since I seen them, I’ve never not had them,” he said. “I don’t care if we doing a Bar Mitzvah, I need it.” Lil Wayne Credits Drake For Beginning To Use Teleprompter At Concerts Wayne’s comments offer fans a behind-the-scenes look at the practical side of touring. With an extensive catalog that includes Tha Carter series, countless mixtapes and hundreds of guest appearances, remembering every verse can become a challenge, even for one of hip-hop’s most accomplished lyricists. Rather than viewing teleprompters as a shortcut, Wayne described them as an essential performance tool that allows him to focus on connecting with fans while delivering songs accurately. The revelation arrives as Wayne celebrates the 20th anniversary of Tha Carter with his Carter Classics tour, revisiting records that have defined multiple generations of rap. His story also highlights Drake’s influence beyond music, showing how one backstage production detail evolved into a staple of Wayne’s live performances. For one of hip-hop’s greatest performers, a lesson learned from “Drizzy” has become part of every show.

Sean “Diddy” Combs, Snoop Dogg, and the estates of The Notorious B.I.G. and Angie Stone are among the names involved in a new copyright lawsuit. The lawsuit alleges that two songs used elements from an earlier composition without authorization. It was filed by David Bravo and Jean Albert Renaud. Furthermore, the complaint claims that “Nasty Girl” and “I Wanna Thank Ya” incorporate parts of their 1980 song “Skatin’,” originally performed by Eumir Deodato. The plaintiffs argue that the earlier track’s “harmonic, rhythmic, and melodic” elements were used as the foundation for the later recordings. Bravo and Renaud say they co-wrote and produced “Skatin’”. They also claim that portions of the song were used to support newly recorded vocals and rap performances. The lawsuit includes an assessment from musicologist and record producer Thomas Z. Shepard. The plaintiffs say Shepard identified similarities between the two works. The filing names Combs, Biggie’s estate, and Nelly in connection with the 2005 song “Nasty Girl.” Meanwhile, Snoop Dogg’s and Angie Stone’s estates are linked to the 2004 track “I Wanna Thank Ya.” Producer Jazze Pha, who received credits on both songs, is also named as a defendant. The complaint also takes aim at Sony Music Publishing, accusing the company of failing to act on behalf of the original songwriters. Moreover, Bravo and Renaud allege that the publisher ignored its obligations after determining that pursuing a claim involving “Nasty Girl” presented a “conflict of interest.” This is because of Sony’s connections to other writers involved. Lawsuit Raises Questions Over Sony Publishing’s Copyright Practices “Sony Publishing deliberately turned a blind eye to the unauthorized use of Plaintiffs’ four-bar foundational backing track,” the lawsuit states. The complaint adds, “This flagrant disparity highlights that Sony Publishing’s refusal to protect Plaintiffs’ copyright was not an administrative oversight, but a calculated decision to maximize the profits of its other lucrative clients at the direct expense of Plaintiffs.” According to the filing, Bravo and Renaud did not discover the alleged unauthorized use until May 2024. As a result, the lawsuit now places renewed attention on long-running debates over music sampling, copyright ownership, and the role publishers play in protecting creators’ work.

The reggae community is mourning the loss of Fantan Mojah, the roots reggae singer whose spiritually charged anthem “Rasta Got Soul” helped define a generation of conscious music. The Jamaican artist died Tuesday at age 49, just weeks before his 50th birthday. Born Owen Moncrieffe, Fantan Mojah died at the University Hospital of the West Indies in Kingston, Jamaica, after suffering complications related to a heart condition, according to people close to the singer. His booking agent, Vertex, said the artist’s health deteriorated quickly after returning from the United States. “Since he came back from the United States, he was hearty, but over the past week he started to ‘tek down’ and he was admitted to the UHWI,” Vertex told Observer Online. “Last night, he was vomiting blood, and that was it. He passed away.” The news comes as Fantan Mojah was preparing to return to the international stage with a scheduled appearance at Germany’s Reggae Jam Festival after reportedly receiving approval for his Schengen visa. “Rasta Got Soul” Reggae Hitmaker Fantan Mojah Passed Away From Heart Complication At 49 The singer had faced significant health challenges in recent years. In 2024, he was hospitalized in Martinique after experiencing breathing difficulties and chest pains. Reports at the time indicated his heart was functioning at roughly 15 percent capacity. By early 2025, however, his condition had improved enough for him to resume touring across Europe. Fantan Mojah’s journey to reggae prominence began far from the spotlight. Before launching his recording career, he worked as a window washer in St. Elizabeth, Jamaica. His breakthrough came after meeting DownSound Records founder Joe Bogdanovich. “When I met him as a kid, he was a window washer,” Bogdanovich recalled in an earlier interview. “We got into a conversation that ended up with me recording him, and I made some really, really big records with him.” Following his 1997 debut, Fantan Mojah emerged as one of roots reggae’s defining voices. Songs including “Hail the King,” “Stronger” and the enduring “Rasta Got Soul” blended Rastafarian spirituality, social consciousness and cultural pride, earning him a devoted global following. Fantan Mojah leaves behind his children and a body of work that continues to inspire reggae fans worldwide. It ensures that the message of “Rasta Got Soul” will resonate for years to come.

JAŸ-Z turned Yankee Stadium into hip-hop’s biggest stage on July 11, drawing a record-setting 45,832 fans for the second night of his three-show residency celebrating the 30th anniversary of Reasonable Doubt and the 25th anniversary of The Blueprint. The crowd eclipsed the opening night’s attendance of 44,916, setting a new single-show record for the Bronx ballpark. Nearly 25 years after The Blueprint redefined rap’s creative landscape, the album once again proved its enduring power, this time before the largest audience ever assembled for a single performance at Yankee Stadium. JAY-Z officially sets a new Yankee Stadium attendance record 44,916 fans attended for Night One pic.twitter.com/kN4J5eOEdE — Ahmed/The Ears/IG: BigBizTheGod (@big_business_) July 11, 2026 Rather than relying on a greatest-hits set, JAŸ-Z built the evening around one of hip-hop’s defining albums. The Blueprint, released in 2001, reshaped mainstream rap with soulful production, razor-sharp lyricism, and a renewed focus on storytelling. Hearing those songs inside a stadium reinforced the album’s lasting influence on the genre. The celebration also reunited some of the artists who helped define that era. Eminem appeared for “Renegade,” revisiting one of rap’s most celebrated collaborations before launching into “Lose Yourself.” Hip-Hop Mogul JAŸ-Z Sets New Record At Yankee Stadium Pharrell Williams joined JAŸ-Z for “Excuse Me Miss,” “I Just Wanna Love U” and “Frontin’,” while Slick Rick made a surprise appearance that underscored the night’s multigenerational spirit. The audience reflected the event’s cultural reach. Former Yankees stars Alex Rodriguez and Robinson Canó attended alongside Fat Joe, Dave Chappelle, Dwyane Wade, Gabrielle Union, Jayson Tatum and Donovan Mitchell. The residency opened with JAŸ-Z30, commemorating the 30th anniversary of Reasonable Doubt. That show featured Nas, Memphis Bleek and Jaz-O, while Beyoncé joined JAŸ-Z for “Can’t Knock the Hustle.” Blue Ivy Carter later appeared on piano during “Feelin’ It,” creating one of the weekend’s most memorable moments. The record-breaking turnout confirms what fans have known for decades. JAŸ-Z’s catalog has outgrown arenas and become stadium music. Yankee Stadium wasn’t simply hosting a concert. It became a monument to one of hip-hop’s most influential careers, with The Blueprint continuing to shape the culture a quarter-century after its release.

Legendary R&B singer Bobby Brown’s 1988 debut album, Don’t Be Cruel, which featured classic hits “Every Little Step,” “Rock With You,” and “Tender Roni,” turns 35. Nearly four decades after changing the sound of contemporary R&B, Brown says his landmark 1988 album, Don’t Be Cruel, still feels as alive as ever. As the multiplatinum classic celebrates its 35th anniversary in 2026, Brown reflected on why the album remains a defining part of his career. For the New Edition icon, the music has never faded because it remains at the center of his live performances. “It really feels more like 20 years… because I constantly perform these songs,” Brown said. Bobby Brown is commemorating more than 35 years since the release of his iconic 1988 solo album Don’t Be Cruel, a project that sold over 12 million copies worldwide and delivered enduring hits including “My Prerogative,” “Every Little Step,” and the title track. Reflecting on… pic.twitter.com/8WRXIkJ6em — Blackish Press (@blackishpress) July 10, 2026 Released in 1988, “Don’t Be Cruel” produced a string of era-defining hits, including “My Prerogative,” “Every Little Step,” “Roni,” “Don’t Be Cruel” and “Rock Wit’cha.” Those records helped establish Brown as one of R&B’s biggest solo stars while influencing generations of singers who followed. Brown said the album’s lasting impact comes from the connection he continues to share with audiences. “It [is] just pure energy… My energy and the energy of the people… It just makes me feel good,” he said. “I have so much gratitude for people loving that album.” Legendary R&B Singer Bobby Brown Remembers Debut Album, Don’t Be Cruel, As It Turns 35 The singer also recalled the unexpected moment when he realized “Don’t Be Cruel” had become more than a successful release. Brown pointed to his widely publicized arrest in Georgia, saying the incident brought even greater attention to the album. “Unfortunately, it would have to be the time I got arrested in Georgia,” Brown said. “That was unfortunate but that’s when the record actually went viral… Everybody started buying the album.” Although he described the experience as difficult, Brown said the surge in public interest confirmed the album’s cultural reach. “That’s when I knew that this was something special, coming from my heart and from the producers [Babyface and L.A. Reid] that I worked with,” he said. Today, Don’t Be Cruel remains one of R&B’s defining albums, celebrated for its blend of new jack swing, pop and soul. For Brown, its legacy is measured not only by its commercial success but by the generations of fans who continue to sing every word, proving the album’s energy has endured well beyond its original release.