Dame Dash is once again betting on reinvention. Amid renewed tension with longtime rivals and a fresh round of online criticism, the former Roc-A-Fella co-founder has announced the launch of Dash Records, a new label he says is aimed at discovering emerging talent across music and media. The announcement arrived through Instagram, where Dash framed the venture as both a business reset and a creative recruitment call. For an executive whose career has often moved between triumph, controversy, and reinvention, the move feels familiar—but also notably ambitious. “Proud to announce my latest venture,” Dash wrote. “We are searching for the best Hungry and talented Recording Artist, Videographers, Engineers, Producers, Make up artist, Stylist and Digital Marketers. Share and Tag Your Favorite Creatives. Come Get With The Hottest Record Label In The World. Please email your portfolio to: Dashrecordinglabel@gmail.com.” View this post on Instagram Dame Dash Eyes a Comeback While Revisiting Roc-A-Fella History The rollout comes during a complicated stretch for Dash, who has spent recent years navigating financial setbacks and stalled entertainment ventures while remaining active online and in independent media spaces. Dash Records is still in its earliest phase, with no roster or release plans publicly announced. Even so, the launch signals another attempt by Dash to rebuild influence in an industry he once helped shape during hip-hop’s commercial boom of the late 1990s and early 2000s. At the same time, Dash has continued revisiting his Roc-A-Fella history in interviews, often speaking candidly about former collaborators. In a recent appearance, he revisited long-discussed questions about why Lupe Fiasco never signed with Roc-A-Fella, while also criticizing Jay-Z. “I don’t think he would ever help a rapper be bigger than him,” Dame remarked. “Just human nature-wise. But I do remember, Lupe was supposed to be with us… Lupe ended up signing to Atlantic. But Lupe was supposed to be at Roc-A-Fella.”

Gucci Mane has again become a focal point of online conversation, though not entirely for his music. Much of the attention traces back to the ongoing federal case involving Pooh Shiesty, Big30, and Pooh Shiesty’s father. They are accused in connection with an alleged kidnapping tied to a contract dispute. Reports suggest Gucci Mane spoke with local police but has not cooperated with federal authorities. This distinction has fueled interpretation and speculation online. From there, the story has largely lived in the space between fact and commentary. On social media, some users have gone as far as labeling him a “rat,” a charge that has circulated widely in hip-hop discourse. This has happened despite limited clarity around the legal record. It is the kind of narrative that tends to harden quickly online. Nevertheless, details remain unsettled. But over the weekend in Atlanta, the atmosphere around Gucci Mane looked different in practice than in conversation. He performed at Birthday Bash ATL 2026, stepping out before a large crowd that responded with sustained energy rather than hesitation. The event itself leaned heavily on Atlanta’s rap history. It featured appearances tied to figures like T.I., 2 Chainz, Soulja Boy, and Waka Flocka Flame. In doing so, it situated Gucci Mane within a familiar lineage rather than an isolated controversy. Onstage Applause, Offstage Uncertainty as the Case Moves Forward The contrast was hard to miss: an online debate on one side and a live audience on the other, responding in real time. For many in attendance, the performance seemed to exist outside of the digital arguments surrounding him. Meanwhile, the legal matter tied to Pooh Shiesty remains unresolved, with a tentative trial date set for July 6. Key evidence has yet to be tested in court. Additionally, uncertainty continues to surround whether Gucci Mane will be called upon to testify. For now, the case moves forward separately from the stage. Even so, both continue to shape public attention in different ways.

Lizzo has been sharing glimpses of her weight loss journey on social media. She often frames it through the lens of confidence and body acceptance. A recent post on X drew wide attention after she encouraged “big girls” to feel comfortable showing their bodies publicly. This post prompted a mix of support, debate, and reflection across timelines. In the caption, she wrote, “Not enough big girls w they whole stomach out fa meeee,” alongside a photo of herself in a magenta bikini. The look was styled with layered jewelry and a patterned headscarf. The singer has long positioned herself within broader conversations about body positivity. This is especially as cultural standards for plus-sized women continue to shift. In a Substack essay titled “Why is everybody losing weight and what do we do? Sincerely, a person who’s lost weight,” she questioned how the rise of weight-loss drugs might reshape who the movement is meant to include. She wrote, “Once something becomes for everyone, the people it was created for are edged out.” She also described her own experience as centered on wellness rather than appearance. Furthermore, she urged more attention to the lived realities behind public conversations on body image. Not enough big girls w they whole stomach out fa meeee pic.twitter.com/frPPEMqyM0 — LIZZO (@lizzo) May 23, 2026 Lizzo Pushes Back on Fame, Friendship, and Industry Myths Her recent commentary has also turned toward the music industry and the assumptions that come with fame. On Joel Madden’s Artist Friendly podcast, the Detroit-born artist addressed the idea that collaborators are automatically close friends. “Even people who have songs together, people think they’re besties,” she said. “It’s like, no. I like them as an artist, I respect their music and we collabed. But like, I sent them files. They recorded it and sent it back to me… I don’t really have many people who [I can] talk to about this sort of thing. I talk to SZA, I love her. She’s one of the only few people… But like, she’s the only person that I can call and be like, ‘Okay b***h,’ and she’s like, ‘Okay.’”

Fresh off mounting speculation surrounding the birth of her first child with 21 Savage, Latto appeared in newly circulated social media clips alongside Keyanna Joseph. Joseph is the mother of two of the rapper’s children. The videos, widely reposted across Instagram and X, captured the women laughing together in what many fans viewed as an unexpectedly relaxed moment. At one point, Latto jokingly referred to herself as “Big Mama,” drawing amused reactions from people gathered around the table. The appearance quickly became a talking point online, largely because celebrity relationships are so often framed through conflict and rivalry. Instead, the footage projected something calmer and more ordinary. The videos showed two women comfortably sharing space amid growing public attention surrounding Savage’s personal life. Joseph, who shares sons Kamari and Ashaad with the rapper, had already fueled conversation months earlier. This happened when fans noticed she liked Latto’s pregnancy-related Instagram post back in March. That interaction now appears more meaningful following Latto’s recent pregnancy montage, which blended intimate family moments with the rollout for her forthcoming album, Big Mama. The video included footage of ultrasound appointments and studio sessions. It also featured emotional reactions from relatives, and scenes from a baby shower attended by close friends and family members. 21 Savage briefly appeared in several clips. However, neither artist has publicly offered a formal statement about their relationship. “Big mama, five kids.” Latto linked up with Keyanna Joseph, the mother of 21 Savage‘s children. :#TSRStaffJR pic.twitter.com/mterui30nE — TheShadeRoom (@TheShadeRoom) May 24, 2026 Latto Teases Baby News as Fans Spot Possible 21 Savage Clue Toward the end of the montage, Latto smiles during a late-pregnancy check-in and jokes, “I’m gonna need a million dollars a show.” Seconds later, the screen fades to black before revealing the date “5/29.” This date coincides with the release of Big Mama. Meanwhile, fans believe 21 Savage may have quietly referenced the newborn himself during a recent Instagram post celebrating Arsenal’s Premier League title. Buried inside the carousel was an image of a baby dressed in Arsenal-themed clothing. However, the child’s face remained hidden from view. For now, neither artist has shared additional details publicly.

An AI-generated music video tied to Rich Homie Quan has stirred debate online, as viewers respond to both its emotional intent and its use of artificial intelligence to recreate the late Atlanta rapper, who died in 2024. The visuals reportedly place a digital version of Quan in intimate, reflective moments, including scenes with his children. Some fans described the project as a moving tribute, while others questioned whether it crossed a line. “AI generating a dead man seeing his kids.. man WTF!” one user wrote after clips from the video spread across social media. The reaction continued to split in real time. “Imagine scrolling the net and you see an AI made video of your deceased father… society has lost all morals.” Quan was mentioned repeatedly as viewers wrestled with the ethics of the technology. Not all responses were outright critical. Some listeners said they understood the intention behind the video even if they were uneasy with the method. “Sounds dope but don’t know how I feel about it,” one fan wrote, capturing a broader sense of hesitation rather than certainty. Amid these conversations, the legacy of Quan also shaped people’s opinions. Rich Homie Quan’s team is receiving backlash for releasing an AI-generated video of Rich Homie Quan teasing new music pic.twitter.com/CBB3eLrX5P — FearBuck (@FearedBuck) May 21, 2026 AI Revival Sparks Debate Over Legacy, Consent, and Control in Music Others defended the decision, arguing that digital tools can help sustain an artist’s presence for audiences who still connect with their work. “I mean he’s not here to do it. And this is how they feel it keeps him alive in this day and time how others get upset,” another commenter said. The discussion shows just how deep Quan’s influence remains online. Much of the discussion has centered on a familiar tension in the entertainment industry: how far technology should go in recreating people who can no longer consent. “AI resurrecting the dead for clout and streams is next-level disrespectful,” one critic wrote. “Let the man rest in peace. Quan gave us enough real hits while he was here. This ain’t a tribute, it’s exploitation.” The conversation echoes earlier controversies, including an AI-driven visual released this year alongside 50 Cent’s “No More Tricks, No More Tries,” which also drew scrutiny for its use of synthetic imagery in a trolling context. In fact, the controversy surrounding Quan demonstrates how AI continues to blur lines in the music world.

A Nevada court has ordered Floyd Mayweather to pay nearly $1 million in back child support, along with ongoing monthly payments of more than $32,000. This comes after legally establishing him as the father of a four-year-old girl. The ruling, detailed in court records obtained by TMZ, marks the latest development in a case that has unfolded over several years in Las Vegas. The child, Price Moorehead, is now recognized as Mayweather’s fifth. The judge’s decision in March 2026 set the monthly obligation at $32,850 and calculated arrears at $933,050. The case was brought by Paige Moorehead, who previously worked at Mayweather’s Girl Collection strip club. She sought to establish paternity in 2023, years after the child’s birth in December 2021. According to her, she had a long personal relationship that ended once she disclosed her pregnancy. Her filings also include allegations that Mayweather pressured her regarding the pregnancy and later ended her employment. Those claims were not resolved through trial testimony. Instead, the court ultimately issued a default judgment. Mayweather had been served with legal notices and directed to take a DNA test, but he did not participate in the process, according to court records. Court Moves to Secure Payment as Mayweather’s Schedule Grows The judge noted partial payments totaling about $151,000, a fraction of what remains owed. To secure the balance, the court authorized a lien of up to $2 million on a California property tied to Mayweather’s assets. This mechanism ensures repayment can be enforced against property if the financial obligations remain unmet. The ruling arrives as Mayweather continues to schedule exhibition bouts. He is expected to face Mike Zambidis in Greece on June 27. He then has a rematch with Manny Pacquiao on September 26. An additional exhibition involving Mike Tyson is also planned later in the year. These developments place renewed attention on his financial and legal commitments alongside his boxing calendar.

For years, the content creator NYFlavaaa has built a loyal following by posting everyday moments with his children, many of them set to songs by Drake. Their videos often show the family driving through the city, laughing through lyrics and turning car rides into miniature concerts for TikTok audiences. Recently, one song kept appearing across their pages: “Janice STFU,” a fan favorite from Drake’s latest run of releases. The clips eventually reached the rapper himself, leading to an interaction the family is unlikely to forget anytime soon. According to footage shared by Bars on Instagram, Drake surprised NYFlavaaa and his children during a school pickup earlier this week. Videos from the meetup captured the group singing along to “Janice STFU” together while the children reacted with disbelief and excitement. Flavaaa’s daughter appeared especially thrilled, reciting the lyrics almost word for word as Drake laughed alongside them. The exchange felt notably relaxed, more like a spontaneous neighborhood moment than a carefully staged celebrity appearance. View this post on Instagram Drake Turns a School Pickup Into a Lasting Memory The visit did not stop with music and photos. Drake also gifted the family a new Cadillac Escalade, prompting an emotional reaction from NYFlavaaa, who repeatedly thanked the artist in clips circulating online. Social media users quickly flooded the comments, with many describing the gesture as one of the more genuine fan interactions tied to the rapper in recent months. The moment arrives as Drake continues an unusually ambitious album rollout. His three recent projects—ICEMAN, HABIBTI, and MAID OF HONOR—have dominated streaming conversations throughout the week. Industry forecasts project the releases could collectively move more than 715,000 album-equivalent units during their opening stretch, with ICEMAN expected to lead the Billboard 200 chart. Still, amid the discussion surrounding sales projections and chart positions, it was a quiet school pickup in front of a grateful family that generated some of the warmest reactions online.

For the better part of the last few years, Rihanna and A$AP Rocky have kept public attention fixed more on parenthood than celebrity drama. That shifted again this week after Rihanna shared a playful TikTok promoting Rocky’s upcoming Don’t Be Dumb tour. The tour begins in Chicago in the coming days. What might have otherwise passed as a light promotional moment quickly reignited online discussion surrounding Drake. These were the pointed lyrics fans believe were aimed at the couple on his recent releases. The video, circulated widely after being reposted by Kurrco on X, showed a woman dancing her way toward a smoke shop. Meanwhile, text across the screen read: “me pullin up to my man tour in flats cause now I gotta bring the kids.” The post was brief, funny and unmistakably domestic. It presented Rihanna less as a global superstar than as a mother preparing for life on the road with young children. Fans, however, quickly tied the clip to Drake’s recent music. In his music, references interpreted as shots at Rihanna and Rocky have become a recurring topic online. Much of the attention centers on “Burning Bridges” from ICEMAN. On the track, Drake raps, “Your baby mama ain’t even post the single / Where she at?” Listeners almost immediately connected the line to Rocky’s album rollout and Rihanna’s public support—or perceived lack of it at the time. Other songs, including “Firm Friends,” have also fueled speculation about lingering friction between the artists. Rihanna shows support for A$AP Rocky’s upcoming tour with a new TikTok “me pullin up to my man tour in flats cause now I gotta bring the kids” The DON’T BE DUMB Tour kicks off in less than a week pic.twitter.com/mPzDgqCqwS — Kurrco (@Kurrco) May 22, 2026 Rihanna Keeps Focus on Family as Rap Feuds Fuel Speculation The roots of that tension remain largely speculative. Still, fans continue drawing connections between Drake’s past history with Rihanna and Rocky’s role during last year’s Kendrick Lamar feud. Rocky previously suggested disagreements between the rappers were tied partly to personal relationships. His appearances on Future and Metro Boomin’s WE STILL DON’T TRUST YOU intensified conversation around alliances inside rap’s ongoing rivalries. Even so, Rihanna’s latest TikTok appeared far removed from industry feuds. At its center was a familiar scene: a partner cheering on someone she loves while juggling the realities of raising children in public view.

The company tied to Snoop Dogg has asked a Los Angeles court to throw out a wrongful death case stemming from the killing of Drakeo the Ruler. It argues that it bears no legal responsibility for what unfolded at the 2021 festival. The rapper was fatally stabbed there. In a motion for summary judgment, attorneys for Snoop’s limited liability company contend it had no operational control over the event in question, the “Once Upon a Time in L.A.” festival. They state the entity did not sign leasing or licensing agreements tied to Exposition Park, where the incident occurred. Moreover, they describe Snoop’s role as strictly limited to performing onstage rather than overseeing production or security decisions. Court filings further state that company representatives were neither present for nor aware of the chain of events that led to Drakeo the Ruler’s death. The declaration asserts no involvement in hiring security staff, coordinating logistics, or communicating with individuals later connected to the attack. It also emphasizes that the company had no contact with those responsible. Court Weighs Responsibility in Deadly Festival Lawsuit The underlying lawsuit was filed in 2022 by Drakeo’s brother, who alleged that inadequate security measures at the festival created conditions that led to the fatal stabbing. The complaint named several parties, including Live Nation and the Los Angeles Football Club. This club operates the stadium venue where portions of the event were held. In related proceedings, LAFC also sought dismissal through summary judgment, a request a judge granted earlier this month. That ruling marked a notable development in the broader litigation. Courts continue to weigh the extent of responsibility among the various organizers and stakeholders involved in the festival’s production and security arrangements.

The long-running tension between Rick Ross and Drake has found new life around the release cycle of Drake’s latest album ICEMAN, drawing fresh commentary as Ross continues a broad media run ahead of his own forthcoming project. In a recent interview with Patrick Bet-David, Ross moved between industry critique and personal assessment of Drake’s standing. Asked directly whether he would place Drake “at your level,” Ross responded, “No.” He expanded on that view with a longer reflection on public perception and commercial metrics, saying, “I can see it in your eyes, you might be confused with all of the numbers and all of the fake numbers flood the marketplace, 50-something. That sh*t ain’t nothing. Remember what I told you: the streets are the streets. If Drake was what he thought, what you think he was, or what he thought he was, he would’ve been able to clear all this shit up, address it, and been moved on.” Ross also raised the issue of Drake’s legal dispute with UMG, suggesting the matter may still be active in ways that extend beyond the courtroom. He drew a comparison to potential secondary fallout in media discussions, adding, “That’s like him, he might sue you for speaking of him on this situation,” he said. Rick Ross says Drake’s ‘ICEMAN’ was “horrendous”: “If Drake was what he thought he was, he would’ve been able to clear all this up, address it, and been moved on.” “It was horrendous. My homies actually sat there. They lost an hour of their life.” pic.twitter.com/YXo4pBIWEf — Kurrco (@Kurrco) May 21, 2026 Rick Ross Dismisses Album as ‘Trauma,’ Blasts Drake’s Latest Release When the conversation shifted to the album itself, Ross offered a blunt reaction. “I listened to some of it… It was horrendous. My homies actually say there, they lost an hour of their life for this sh*t,” he said. Asked whether the experience had any redeeming value, he replied, “Yeah. Trauma.” Ross went on to argue that anticipation surrounding the project ultimately worked against it, creating expectations the music did not meet in his view. He noted he had not heard the album in full but referenced critical response, including Pitchfork’s review. “I couldn’t do it… I said it was mid. Mid meant 5. Pitchfork gave it a 4-point-something,” he said, closing with a brief, critical reading of Drake’s lyrical themes around trust and betrayal.