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.

In a move that bridges hip-hop legacy and modern innovation, 50 Cent announced plans to harness artificial intelligence to reimagine his unreleased catalog. The rapper broke the news on Instagram, unveiling “1960s soul” renditions of his most recognizable hits—each created with advanced AI production software that gives his music a new, vintage texture. His first experiment was a reworked version of “21 Questions,” transformed into a smoky, soul-infused track. “Now this sh*t is hot [fire]. I’ma use AI on all my unreleased songs and see what I got for ya!” he wrote, hinting at a broader creative shift. Soon after, he shared an equally lush reinterpretation of “God Gave Me Style,” adding, “This feels good [too], WTF going on now, this version lets you see my vision. It’s softer!” The post drew immediate reaction from fans—some applauding his forward-thinking approach, others wary of where technology might take artistry next. “This proves how great of a songwriter 50 is. Great writing works no matter the melody,” one fan commented. Another joked, “100 years from now they gon’ say this the original.” But not everyone was as amused: “If this is AI, I am scared man shjiiiit,” one skeptical user admitted. View this post on Instagram A post shared by 50 Cent (@50cent) 50 Cent Redefines Music in the Age of AI 50 Cent’s fascination with AI has been building for months. Earlier this year, an AI-generated version of “Many Men (Wish Death)” set to a 1960s-style arrangement went viral, drawing praise for its eerie realism. Podcast host Joe Rogan shared his surprise on air: “They took 50 Cent’s ‘Many Men’ and made it, like, a soulful song that seems like it’s from the ’50s or ’60s… It’s not even a real human being’s voice, and it’s f*cking good, dude. If that was a dude who sang that, I was like, who’s this guy, right? You know, I’m like, this guy is fire.” His experiment arrives at a time when AI is increasingly reshaping entertainment. Just this week, viral clips imagined 2Pac shopping at Target and Kobe Bryant playing NBA 2K, blurring the line between reality and simulation. As digital likenesses and machine-made art become more convincing, 50’s latest move underscores how artists are both testing and redefining what authenticity means in the age of AI.

BIA stopped by HOT 97 to catch up with Nessa in person for the first time since their last Zoom conversation during the pandemic. She talked about finally releasing her debut album Bianca, which drops this Friday, October 10, featuring 16 songs. Nessa asked BIA about the three words that describe where she’s at right now—intentional, unapologetic, and powerful—and what inspired her to open the album with “October.” They also discussed her singing on “Sad Party,” her long-teased R&BIA era, and how Bianca shows her as a well-rounded artist. BIA opened up about honoring Lauryn Hill on “One Thing,” her legacy, and even addresses a Stefon Diggs reference in “+44.” They didn’t shy away from the headlines either. BIA addressed her ongoing situation with Cardi B—what went through her mind when she first heard “Pretty & Petty,” her response on “Sue Me,” and whether or not she was using Cardi’s kids’ names in lyrics. She also shared whether she could ever get past the situation and how staying honest shaped her rollout. Nessa wrapped things up with a fun round of “Bianca or Bye,” putting BIA’s unfiltered takes on love, loyalty, and life to the test. Stream Bianca everywhere this Friday, October 10.

Despite critics doubting whether Cardi B can balance her career and motherhood, she defied all expectations — baby bump in tow— with an electrifying performance at the Global Citizen Festival. The annual festival was held at Central Park’s Great Lawn in New York City on Saturday, Sept. 27. The rapper had been tapped as a co-headliner alongside Shakira. Cardi B was more than comfortable on the stage; she completely took it over. The crowd roared as she performed some of her biggest hits like “Bodak Yellow” and “I Like It.” The rapper also bumped some new tracks from her latest album, Am I The Drama? like “Outside and” “ErrTime.” The project was released on Sept.19, following an almost decade-long hiatus. Am I The Drama? serves as a follow-up to her 2018 debut project, Invasion of Privacy. On its first day of release, the album was certified Platinum by the Recording Industry Association of America (RIAA). Cardi B’s “Errtime” performance at Global Citizen Festival. pic.twitter.com/kA8XwbgO2i — ໊ (@cardibnet) September 28, 2025 Cardi B’s Little Miss Drama Tour set to kick off in February 2026 “Central Park, I’m coming for you!!! I can’t wait to be home in New York, and to bring my new songs and all the DRAMA to the Global Citizen Festival,” said Cardi B in a statement before the show. “This one’s not like other music festivals – this one is about coming together to help children around the world, and I’m so proud to support such an important cause. New York City – see you Saturday. Let’s get it!!!” In conjunction with her new album, Cardi B is also set to headline her first tour. The rapper will trek through 34 cities, with stops in major cities such as Atlanta, Boston, Washington D.C., Toronto, and her hometown of New York. The Little Miss Drama tour is set to kick off in February 2026. Cardi recently sat down with Gayle King on CBS Mornings, saying she felt “excited” and “happy” to balance work and her ever-growing family. “I feel like I’m in a good space…I feel very strong…I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, me and my man, we’re very supportive of each other,” she said.

Bad Bunny has officially been announced as the headliner for the 2026 Super Bowl halftime show, set to take place on February 8, 2026, at Levi’s Stadium in Santa Clara, California. The news was confirmed by the NFL in partnership with Apple Music and Roc Nation, marking another milestone in Bad Bunny’s career as one of the most influential artists in the world. The Puerto Rican hitmaker will become the first reggaetón and Latin trap artist to lead the iconic halftime performance on his own, further cementing his role in bringing Latin music to the global stage. Bad Bunny previously appeared on the Super Bowl stage in 2020 as a guest performer alongside Shakira and Jennifer Lopez in Miami. That show received widespread acclaim for spotlighting Latin culture on one of the world’s biggest stages. Now, six years later, he will return as the main act, carrying the halftime spotlight solo. View this post on Instagram A post shared by Ebro (@oldmanebro) Since 2019, Roc Nation, Jay-Z’s entertainment company, has helped curate Super Bowl halftime shows. The partnership has brought a wide range of performers, including Dr. Dre, Snoop Dogg, Mary J. Blige, Kendrick Lamar, Eminem, Rihanna, and Usher. Bad Bunny’s selection continues that trend of spotlighting culturally significant artists who reflect both music’s diversity and global reach. With chart-topping hits such as “Tití Me Preguntó,” “Dakiti,” and “Moscow Mule,” fans are already buzzing about what songs might make the setlist. Known for his high-energy performances, innovative visuals, and genre-bending style, Bad Bunny’s halftime show is expected to deliver a memorable blend of music, culture, and spectacle.

With BIA’s debut album BIANCA set to drop next month, the hip-hop world is buzzing with anticipation. Tensions escalated last week when Cardi B released her long-awaited sophomore album, Am I The Drama? This reignited a simmering feud between the two artists. On her new record, Cardi navigates vulnerability and sharp-tongued defiance, particularly on the track “Pretty & Petty,” where she directs pointed lines at BIA. One lyric has already gone viral: “Name five BIA songs, gun pointin’ to your head.” The line has sparked debate over whether Cardi is asserting dominance or unnecessarily fanning the flames of conflict. In the days following the release, Cardi addressed the tension in a recent interview, framing her response as a personal matter tied to her children. “You mentioned my kids tryna be cute,” she said of BIA’s earlier remarks. “Her diss was lackluster… but I couldn’t let it slide, especially with everything that goes viral on social media.” For Cardi, it was about setting a precedent rather than scoring points. “When my kids grow up and hear that someone mentioned them, they’re going to ask, ‘What happened?’ I want them to see I stood my ground.” BIA Leans on Promotion, Turning Feud Into Spotlight BIA has taken a different approach, focusing on promotion rather than direct confrontation. In a recent Instagram post, she highlighted her upcoming BIANCA, scheduled for October 10. She also sent a playful rebuttal, “I got 16 more songs u can name .” The post signals confidence and a refusal to be overshadowed, even as the feud simmers online. The exchanges highlight a recurring tension in hip-hop. Competition often blurs the line between personal and professional. With two major releases arriving within weeks, both Cardi B and BIA stand to gain from the heightened attention. Their rivalry continues to play out in the public eye.

The investigation surrounding the shocking discovery of a deceased teenager linked to d4vd continues to unfold. It reveals a complicated and troubling picture. Los Angeles police are now scrutinizing a home near a vehicle registered to the artist. Authorities recently located a body, and the circumstances have raised numerous questions. Both law enforcement and the public are trying to piece together the events. Late on September 17, officers executed a search at a Hollywood Hills residence. This action has drawn significant attention amid the ongoing inquiry. Authorities reportedly confiscated a computer and several unidentified items over the course of several hours. However, investigators have not confirmed any direct link between the property, the car, or d4vd himself. As the investigation developed, d4vd canceled his scheduled performance in Seattle, originally set for the day of the search. TMZ sources reported that the artist had traveled to Los Angeles earlier that day. Resurfaced tweets, leaked music, and social media speculation have added layers to the story, complicating his ongoing collaborative projects. Kali Uchis, for example, announced she would step away from a joint effort with d4vd, citing uncertainty surrounding the case. Authorities Investigate Teen’s Death Amid Alleged Ties to d4vd Authorities have identified the deceased as 15-year-old Celeste Rivas, whose body was discovered in a Tesla. The car was abandoned for two weeks at a Hollywood tow yard. Rivas, reported missing since April 2024, reportedly had a boyfriend named David—speculated to be d4vd. She may share a tattoo with the artist. Leaked songs referencing the connection have circulated online, thus fueling public conjecture. Amid these developments, allegations of grooming and inappropriate contact have surfaced. This intensifies scrutiny. d4vd has remained largely silent, aside from brief statements from his representatives and limited fan interactions. As investigators continue to examine evidence recovered from the recent home search, public attention remains acute. The coming weeks will be critical in shedding light on this deeply disturbing case. LAPD homicide detectives searched a house tied to D4vd in the m*rder of 15-year-old Celeste R., TMZ reports. Investigators left late Wednesday with a computer and several evidence bags. pic.twitter.com/pRSN3geaVy — Kurrco (@Kurrco) September 18, 2025

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 a business where rivalries often seize the spotlight, DJ Khaled is working to push a different storyline—one built on connection and shared growth. Throughout his career, the producer has cast himself as a bridge-builder, even when tensions flare among hip-hop’s most recognizable names. That role came back into focus during a recent conversation with Fat Joe and Jadakiss, when Khaled weighed in on disputes involving Drake, Rick Ross, and Future. Earlier this year, Drake found himself caught in public friction with both Future and Rick Ross. Khaled acknowledged the rift but chose not to fan the flames, instead emphasizing the need for unity. “I’m the one out of the crew that always says ‘Yo, we don’t need that.’ We need to come together, we need love… concurrently, we must ensure that financial opportunities are not hindered.” He added, “Those are my brothers; my friendships are unquestionable,” underscoring his loyalty to all three artists. The clip quickly spread on Instagram, drawing a mix of reactions. Many praised Khaled for promoting peace, but others accused him of sidestepping weightier issues. Some pointed to his silence on global conflicts such as the war in Gaza, with one commenter joking that Khaled appeared wary of being challenged on subjects beyond music. A Longstanding Partnership with Drak Khaled’s creative bond with Drake has been one of the defining threads of his catalog. Together, they’ve produced radio fixtures like I’m On One, No New Friends, and For Free, collaborations that helped cement their chemistry. Recently, Khaled revealed that Drake would appear on two songs from his forthcoming album, Aalam of God. But after Drake responded playfully on Instagram, Khaled deleted the post—leaving fans intrigued and the details deliberately vague. That ambiguity has only fueled anticipation. In August, Khaled dropped two singles from the project: “Brother,” featuring NBA Youngboy and Post Malone, and “You Remind Me,” a dancehall-inspired track with Vybz Kartel, Buju Banton, Bounty Killer, Mavado, RoryStoneLove, and Kaylan Arnold. The album will be Khaled’s first since 2022’s God Did, a release he has framed as one of his most ambitious undertakings yet. DJ Khaled speaks on remaining neutral during rap beefs, instead focusing on unity and positivity: “I’m the one out of the crew that always says ‘Yo, we don’t need that.’ We need to come together, we need love… At the same time, we don’t wanna slow up the money.” “I love… pic.twitter.com/sWeDGa1r45 — HotNewHipHop (@HotNewHipHop) September 11, 2025

GloRilla is asking a federal court in Louisiana to dismiss a copyright lawsuit that claims she borrowed a viral phrase for her song “Never Find.” The motion, filed alongside UMG Recordings, Warner Chappell Music, and BMG Rights Management, argues that the phrase “no BBL” is too short and common to be legally protected. The suit was brought by Natalie Henderson, also known as Slimdabodylast. Henderson’s complaint centers on her song “All Natural,” which features the lyrics “all naturale, no BBL.” She says her track gained traction on social media in early 2024 for celebrating natural bodies. Henderson contends that GloRilla’s lyric—“Natural, no BBL, but I’m still gon’ give them hell”—is strikingly similar and that the rapper and her collaborators have profited from her original work. GloRilla’s legal team challenges the lawsuit on multiple fronts. They argue Henderson cannot prove that GloRilla had access to her song. Posting a track online, they say, does not meet the legal standard for establishing access. Courts typically require evidence that a work has been widely distributed or commercially successful, which they claim Henderson’s song does not satisfy. The defense also disputes any substantial similarity between the two tracks. Henderson’s phrase appears repeatedly as a hook, while GloRilla’s line is used once in a different context with a distinct rhyme. The lawyers point out that expressions like “give them hell” are common across music and do not constitute copying. Additionally, GloRilla’s team questions whether Henderson can claim both statutory and actual damages and says she has not demonstrated infringement sufficient to warrant an injunction. They also argue that phrases celebrating natural bodies are common in other recent songs and do not meet the originality required for copyright protection. The motion asks the court to dismiss the case entirely, stating that viral expressions, even popular ones, cannot automatically be treated as intellectual property.