His song “Gucci Gang” was a huge hit, but as many know, it was completely devoid of bars and elite songwriting. His glorification of drugs was also alarming, and artists like J. Cole tried to get through to him.

These days, Pump isn’t exactly an A-list rapper. While he still tours and makes videos on social media, it’s hard to imagine a world in which fans are seriously checking for his music. He remains a nostalgia act of sorts. If you want to restore the feeling you had nine years ago, then perhaps Pump remains a compelling figure. Otherwise, he’s just a guy who had some big hits a decade ago.

With that being said, Pump doesn’t seem to be enthusiastic about the discourse around his name. In fact, he recently took to social media, where he noted that guys like himself, Lil Uzi Vert, Playboi Carti, Trippie Redd, and even 6ix9ine are still touring.

Read More: Tupac’s “All Eyez On Me” Was His Post-Prison Reckoning

Lil Pump Rants About Touring

During this rant, Pump made sure to go off on Lil Tracy. It is here where Pump claims that Lil Tracy had to move across the United States because he simply could not afford to live in Los Angeles anymore.

It was a low blow to an artist who has been through a lot over the years, especially with his proximity to Lil Peep. Regardless, this type of rhetoric should not be a surprise from Pump. After all, he is a big Donald Trump guy, and even shared the stage with him back in 2020.

Quite frankly, it is a bit comical to see Pump put himself in such high esteem with Playboi Carti, Lil Uzi Vert, and Trippie Redd. By every metric, those artists have lapped Pump a million times over. Delusions of grandeur certainly seem to be the theme of this latest rant.

Read More: Jesse Jackson Never Underestimated Hip-Hop’s Power

The post Lil Pump Trashes Lil Tracy As The SoundCloud Era Debate Rages On appeared first on HotNewHipHop.

However, things did not work out in that way. Instead, Kendrick denied the invitation, and months later, he would use his feature on “Like That” to proclaim himself as above the “Big Three.” This subsequently led to a fiery showdown with Drake.

Now, it is 2026, and folks have moved on. Having said that, there is some real curiosity surrounding Cole’s relationship with Drake. Some feel as though Cole threw Drake under the bus by apologizing. Others simply feel as though these two have nothing to talk about anymore.

The Fall-Off is almost a month old, while Drake’s ICEMAN is on the horizon. There was this hope that Drake would feature on the former. In the end, he was not on the album. Now, there is speculation about Cole being on ICEMAN. Based on his latest comments, fans should probably forget about that fantasy.

Read More: Drake Sends Cryptic Warning To His Enemies Ahead Of “ICEMAN”

J. Cole On Drake’s ICEMAN

While being approached by a reporter, Cole was asked about Drake’s ICEMAN and whether or not he had any thoughts about the album. This led to a very honest answer from Cole, who had virtually nothing to say.

“Oh, I don’t know about that,” he remarked. Even the look on his face was a bit dismissive. Perhaps he was just caught off guard. Or, he simply just doesn’t have much to say about Drake right about now.

At this juncture, there is no telling when Drake will drop ICEMAN, once and for all. There are some who believe the rollout is in its final days, and we could get the album as soon as March 6th. If that is the case, then fans will be eating well very soon. Until then, however, this is all just speculation.

If you were hoping for Cole and Drake to link back up with one another, we are sorry for the disappointing update. We’re sure you were hoping for more.

Read More: Drake Confirms One Key Detail About “ICEMAN’s” Official Release Date

The post J. Cole Didn’t Sound Amused When Asked About Drake’s “ICEMAN” appeared first on HotNewHipHop.

Sneaker Bar Detroit reports that the Free The Youth x Air Jordan 3 is going to be released on December 4th via Free The Youth, and on December 11th via NBHD.

Bright pink dominates the toe box and mudguard areas creating an eye-catching foundation. The color gradually shifts to rich purple covering the midfoot and ankle collar. Black accents hit the laces, tongue, collar lining, and midsole grounding the design.

That signature purple elephant print appears on the toe and heel as expected. Purple elephant print on the mudguard adds another layer of color complexity. Turquoise green hits the eyelets and collar lining providing unexpected contrast pops.

“FTY” branding appears prominently on the heel in white and turquoise lettering. The collaboration celebrates Free The Youth’s mission of youth empowerment through sports. Black midsoles and outsoles complete the bold colorway with classic Jordan 3 tooling.

Free The Youth focuses on providing opportunities for underserved youth through basketball programs. This collaboration amplifies their message through one of sneaker culture’s most iconic silhouettes. The Air Jordan 3 serves as perfect shoe for this.

Read More: LeBron James Hits 43,000 Points In Nike LeBron 23 “Equality”

Free The Youth x Air Jordan 3

That pink to purple gradient is absolutely stunning and unlike anything we’ve seen on Jordan 3s. The color transition flows so smoothly from the toe through the ankle creating beautiful visual movement.

Having both purple and pink elephant print adds unexpected texture and depth throughout. Those turquoise green accents on the eyelets and collar lining provide perfect contrast pops. The “FTY” heel branding ties everything together while representing the collaboration’s purpose.

Black midsoles keep the bold upper from being too overwhelming visually. This feels like a collaboration with actual meaning beyond just slapping logos on sneakers.

Overall the colors and design choices all work together to create something genuinely special and unique. Also the retail price of the sneaker will be announced closer to when they release.

Read More: Lil Yachty Wears CPFM x Nike ACG Balaclava Hoodie Ahead Of Release

The post Free The Youth Is Teaming Up With The Air Jordan 3 appeared first on HotNewHipHop.

The hoodie features a stunning gradient flowing from blue to red across the body. Bright yellow, orange, and green create a sunset-like transition effect throughout. Three metallic rainbow Swooshes go down the chest in varying sizes.

Black sleeves provide contrast against the colorful gradient body creating visual balance. A blue balaclava hood extends from the neck covering the entire head. The ski-mask style hood features eye cutouts maintaining CPFM’s eccentric design approach.

Cactus Plant Flea Market’s logo is embroidered on the chest area. ACG branding connects Nike’s outdoor performance line with CPFM’s creative direction. The collaboration merges technical outdoor gear with high-fashion streetwear perfectly.

Lil Yachty has consistently worn bold, experimental fashion throughout his career. He frequently debuts unreleased pieces from major brands before official launches. This CPFM x Nike ACG preview follows that pattern of early access.

The $250 retail price positions this as a premium collaborative piece. CPFM collaborations typically sell out immediately regardless of pricing or availability. This balaclava hoodie should be no different when it officially releases.

Read More: LeBron James Hits 43,000 Points In Nike LeBron 23 “Equality”

Lil Yachty Wears CPFM x Nike

That rainbow gradient is absolutely stunning and way more vibrant than typical outdoor gear. The flow from blue through yellow, orange, and red creates such a satisfying visual effect.

Those three metallic Swooshes stacked down the chest add just enough branding without overdoing it. The balaclava hood is wild but very on-brand for CPFM’s design philosophy. Black sleeves ground the piece and keep it from being too overwhelming visually.

At $250 it’s definitely premium pricing but CPFM collabs always command those numbers. The whole thing screams technical outdoor performance meets high-fashion streetwear perfectly. Lil Yachty wearing it early just confirms this will be one of spring’s hottest drops.

Read More: Michael Jordan Celebrates Another Racing Win In Air Jordan 4s

The post Lil Yachty Wears CPFM x Nike ACG Balaclava Hoodie Ahead Of Release appeared first on HotNewHipHop.

“Congratulations to J. Cole, really big number,” he said, as seen in a clip shared by @gothamhiphop. “I’m really not shocked by it. He’s still big three. I know the narrative… but he is. He’s Him, he’s in the Civic, he’s driving around, he’s meeting with his fans. Big turnouts at a lot of colleges. I saw Ak say that it was performative. What’s wrong with performers being performers? […] There’s a billion ways to be performative, look at the way that he chose and what it represents.”

Budden’s co-hosts went on to praise Cole for getting out there and interacting with his fans, which many other artists avoid.

Read More: Joe Budden’s Girlfriend Checks Emanny For Insinuating He Cheats

J. Cole’s “Trunk Sale” Tour

J. Cole is currently making his way around the United States on his “Trunk Sale” tour, during which he’s selling CDs out of his car. He’s made stops in Houston, Alabama, and North Carolina, among other cities. Throughout the tour, he’s had several meaningful interactions with his supporters, inviting them into his car to listen to his new album, listening to their music, and more.

While on his way to Los Angeles yesterday, his old Honda Civic broke down, forcing him to stop in Phoenix to get it fixed. “Tried to make it to LA before we go back home, the Civic said it had enough and broke on us! Phoenix, we here now while the car is getting fixed [fingers crossed emoji],” he wrote on Twitter/X. “Gonna mob around the city in the sprinter selling CD’s in the meantime.”

Unsurprisingly, a massive crowd of fans showed up at the auto shop where his car was to show him love.

Read More: Joe Budden Weighs In On DJ Vlad “Trolling” With His Conspiracy Post

The post Joe Budden Says J. Cole’s “The Fall-Off” First-Week Sales End Big Three Debate appeared first on HotNewHipHop.

“Y’all keep showing up to these racist ass places and expecting racism not to happen,” she began. “Stop supporting this sh*t. Let them crackas be amongst themselves. I don’t know why we keep showing up to these places expecting respect. “

She continued: “Ryan Coogler, whose work I love and respect, is gonna go to the Oscars… Why would you make that movie and then show up in the places and spaces of assimilation?”

Read More: Machine Gun Kelly (MGK) Claims He Turned Down Role In “Sinners” Over Refusal To Say A Racial Slur

“Sinners” Oscars Nominations

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At the Academy Awards, Coogler and Sinners will be competing for a record-breaking 16 Oscar nominations. They include Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Original Screenplay, Best Cinematography, Best Original Score, and more.

Discussing the feat with Deadline in January, Coogler admitted he wasn’t expecting such recognition. “I did not have any expectations when it came to the recognition of what they [the team] did,” he said. “For me, people just showing up to the movies and having a good time, that would’ve been enough. That is worth all the effort. But that people would consider the craft and the achievements that went into it individually. It’s so rewarding.”

At the Academy Awards, Sinners will be competing against numerous other popular films to release in 2025. These include One Battle After Another, Sentimental Value, Hamnet, Marty Supreme, and more. Michael B. Jordan is competing for Best Actor for his role in the film, while Delroy Lindo is up for Best Supporting Actor.

Read More: Ryan Coogler Reveals Kendrick Lamar Was Only Supposed To Record One Song For “Black Panther” Soundtrack

The post Amanda Seales Blasts Ryan Coogler For Attending The Oscars appeared first on HotNewHipHop.

With the filing, as obtained by AllHipHop, McKnight claims that Julie used the interview to allege he was “emotionally abusive, mentally abusive, and a neglectful father.” Additionally, McKnight says that, instead of remaining neutral, Karen Clark agreed with Julie and encouraged her accusations. He says Clark should’ve offered him a chance to respond or included a disclaimer.

On top of the complaints about Foxy 107.1, McKnight complained about another Urban One show, Rickey Smiley Morning Show, using a clip from another interview with McKnight’s eldest son, Brian McKnight Jr. In the clip, McKnight Jr. alleged that his father refused to tell his late son Niko that he loved him before he died of cancer. McKnight is seeking $25,000 in compensatory damages for each claim in addition to punitive damages.

Read More: Marc Lamont Hill Goes Off On Brian McKnight For Claiming He Could “Destroy” Him

Niko McKnight’s Death

As for that last claim, McKnight Jr. made the accusation during an interview with Marc Lamont Hill in December. He recalled Niko contacting their father shortly before his death and the move allegedly backfiring. “One of the darkest and coldest and most disheartening memories of my life is the day my brother [Niko] calls me sobbing — with all he’s going through — looking death in the eye, to tell me I’m right about telling him not to call my father because I knew what was going to happen,” McKnight Jr. said during the interview.

“Because I knew where my dad was, I told [Niko], ‘Dad is gone,'” he continued. “All my brother wanted, needed, asked for was my father to tell him he loves him. My father responds to my brother, ‘I can’t arbitrarily say that I love you.’ But this is the man that wanted to help him?”

It isn’t the only time McKnight has made headlines for his relationships with his children. Back in 2024, he labeled his children “evil” in a video on Instagram: “In order to live a life that you love, you have to get rid of the evil and the negativity — even if that evil and negativity is related [to you],” he said at the time, as caught by Page Six.

Read More: Brian McKnight Allegedly Rejected Dying Son Niko’s Plea For Love

The post Brian McKnight Sues Radio Station Over Deadbeat Dad Allegations appeared first on HotNewHipHop.

“She’s so effortlessly funny we need more celebrities like her who don’t let money change their personality,” one social media user says of the moment. “The way she gagged the whole stadium!!! Lmaoooo! Ohhh miss wap!” another writes. Someone else says, “I’m sorry but I love Cardi B sooo much.”

Cardi’s NSFW version of “Party In The USA” is far from all she’s surprised fans with during her tour so far, however. She’s also brought out several exciting guests.

Read More: Cardi B Claps Back At Twitter Trolls Claiming She Isn’t Selling Out Her Shows

Cardi B’s “Little Miss Drama” Tour

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This includes GloRilla, Blueface, Tyla, and more. Kehlani even joined her onstage in Los Angeles, later giving the show a rave review. “One of the best shows i’ve ever seen in my life, one of the most incredible house hold names of our time,” she wrote. “BRAVO @iamcardib EVERY SINGLE PART of this show rocked me. @itsbankhead you are absolutely out of your mind, @kollincarter you are absolutely out of your mind.”

“I’ve been watching this undeniable thing build for years,” Kehlani continued. “From Ring to Safe and you will always have me in your corner Big Bardi! You are A SUPER STAR. I was emotional as hell for you. i laughed, i cheered, i lost my voice. There ain’t a day on this earth you gon shine and i wont be cheering! EVERYBODY PLEASE GO SEE THIS SHOW IT WAS 11/10 !!!”

Cardi gave Kehlani some flowers of her own in response, calling her “such a beautiful soul a talented artist and an amazinggg performer.”

Read More: Cardi B Flaunts “Little Miss Drama” Tour’s Record- Breaking Success

The post Cardi B Performs Raunchy Rendition Of Miley Cyrus’ “Party In The USA” On Tour appeared first on HotNewHipHop.

Newsom addressed the backlash to the clip in a post on X (formerly Twitter) directed at Sean Hannity on Monday morning. “You didn’t give a sh*t about the President of the United States of America posting an ape video of President Obama or calling African nations sh*tholes — but you’re going to call me racist for talking about my lifelong struggle with dyslexia?” he wrote.

Read More: Nicki Minaj Defends Donald Trump In Fiery Rant On Gavin Newsom & His Wife

Nicki Minaj’s Post About Gavin Newsom

Nicki Minaj was among the many voices to condemn Gavin Newsom over the comments. “His way of bonding with black ppl is to tell them how stupid he is & that he can’t read,” Minaj wrote on X. “This means my first read on him was correct. He’s been handed so many things & put in high positions he never earned or deserved. Do you wanna know the craziest part of this footage that will haunt him forever? He’s literally slowing his speech down & talking in a sporadic cadence.”

She continued: “He’s not just TELLING them that they’re all probably stupid & probably can’t read, he’s LITERALLY SLOW-ING-DOWN-HIS-SPEECH to make them understand the words that are coming out of his mouth!!!! As if they’re children!!!! That means he REALLY BELIEVES they’re slow. He’s not just saying it—he didn’t misspeak!!!! He BELIEVES it!!!! Do ya love it?!?!! Do ya just love it, black ppl?!????”

It’s far from the only time Minaj has spoken out to criticize Gavin Newsom or show support for President Donald Trump. She’s made several posts promoting right-wing politics and attended Turning Point USA’s AmericaFest as well.

Read More: Donald Trump Gushes Over Nicki Minaj’s “Beautiful” Skin & Nails

The post Gavin Newsom Claps Back After Nicki Minaj’s Latest Criticism appeared first on HotNewHipHop.

Four months later, on February 13, 1996, he released the double album All Eyez on Me. It debuted at No. 1 and expanded Rap’s commercial scale at a time when the genre was still fighting for respect. The project was prolific and unapologetic. It sounded like an artist determined to reclaim control of his narrative after months of confinement and relentless public scrutiny.

Read More: All Eyez On Me – Album By 2Pac

Then, seven months after its release, he was killed in Las Vegas.

That tragedy changed how the album is heard today. All Eyez on Me captures a young Black artist juggling the effects of incarceration, loyalty, rivalry, fame, and the love-hate relationship with the media in real time. It shows both the power Tupac stepped into and the pressure pressing against him. The record reaches far beyond the idea of a comeback.

Death Row’s Dominance

When Tupac signed with Death Row Records in late 1995, the label was already dominating the Rap game in the West Coast. Founded by Suge Knight and anchored by Dr. Dre, the company had built its reputation on polished G-funk production and lyrical stories from the streets. While success was ongoing, there were also lawsuits, rivalries, and industry intimidation that were part of its reputation. Tupac’s arrival only intensified that energy.

Fresh out of prison and newly aligned with a label positioned at the center of the East Coast–West Coast feud, he recorded at a relentless pace. Studio accounts from that period describe long sessions and rapid writing. There was no slow reintroduction to the market.

“I only wrote one song [in jail]. But I’ve been in the studio every waking hour since I got out. Me and my producer Johnnie ‘J’ keep coming up with new songs till people start passing out. Then we come back early in the morning and start over. You’re going to feel the entire 11 months of what I went through on this album. I’m venting my anger.”
-Tupac, L.A. Times interview, October 1995

Read More: E.D.I. Mean Of The Outlawz Talks “All Eyez On Me” & The Legacy of Tupac’s “Hit ‘Em Up”

All Eyez on Me was ambitious. At a time when albums typically ran lean, Tupac delivered a double project that did not feel padded. It moved between aggression and reflection to celebration and paranoia. Commercially, the move was strategic. Death Row understood branding. The album’s rollout reinforced Tupac’s outlaw persona while positioning him as the label’s most visible voice. The project would eventually become one of the best-selling Rap albums of all time. The message to the industry was that Rap could top charts at Rock’s scale without softening its edges.

Yet, with the scale came relentless attention. By early 1996, Tupac was no longer just a rapper. He was a national figure, appearing in films and on magazine covers while navigating active rivalries and media narratives that framed him as dangerous. Death Row’s strength boosted his platform. It also intensified the spotlight.

Read More: French Montana Praises 2Pac’s “All Eyez On Me”: “I Was Listening To That When I Didn’t Even Know English”

Within that environment, All Eyez on Me also functioned as both product and positioning. It cemented Death Row’s authority and elevated Tupac’s status. It also defined the lines between coasts at a moment when tension was already combustible.

Regional Tension & Public Rivalry

Tupac’s conflict with The Notorious B.I.G. in the mid-’90s had become central to his story. What began as a friendship had deteriorated into accusation and distrust after Tupac was shot in the lobby of Quad Recording Studios in 1994. He believed people within Bad Boy Records had prior knowledge of the attack. Those suspicions hardened during his incarceration. All Eyez on Me pressed into that strain.

Tracks like “Hit ’Em Up,” released shortly after the album as a B-side to “How Do You Want It,” left little ambiguity about where Tupac stood. The aggression was direct. The record escalated the Rap beef from competitive rivalry into something deeply personal. In that moment, Hip Hop’s regional split felt less like marketing and more like a fracture.

Read More: Mother & Son Inspiration For 2Pac’s “Brenda’s Got A Baby” Reunite After 3 Decades

At the same time, All Eyez on Me affirmed West Coast identity with clarity. “California Love,” produced by Dr. Dre, was celebratory and expansive. It positioned Los Angeles and the Golden State as a cultural capital. The production was polished, built on synthesizers and heavy bass lines that defined G-funk. It was commercially accessible without sacrificing regional pride.

Moreover, Tupac’s geography complicated the binary. Born in New York, raised in Baltimore, and artistically shaped in Oakland, he embodied multiple regions. Yet in 1996, he aligned himself firmly with the West. That choice exposed rifts that were already established.

“The thing that bothers me is that it seems like all the sensitive stuff I write just goes unnoticed . . . the media doesn’t get who I am at all. Or maybe they just can’t accept it. It doesn’t fit into those negative stories they like to write. I’m the kind of guy who is moved by a song like Don McLean’s ‘Vincent,’ that one about Van Gogh. The lyric on that song is so touching. That’s how I want to make my songs feel. Take ‘Dear Mama’—I aimed that one straight for my homies’ heartstrings.”
-Tupac, L.A. Times interview, 1995

Read More: Suge Knight Alleges Tupac Begged Suge To Kill Him After Vegas Shooting

Inside The Record: Sound, Collaborators, & Construction

The album’s opening track, “Ambitionz Az a Ridah,” does not ease the listener in. It asserts power immediately. The tone is aggressive and confident, and the outlaw persona is heightened. Still, the vulnerability never disappears. It is simply layered beneath the bravado.

Then, the Danny Brown-assisted “I Ain’t Mad at Cha” reflects on fractured friendships and the inevitability of change. “Life Goes On” mourns loss without sensationalism. Even nestled within tracks built for the club, there is an undercurrent of fatalism. Tupac oscillates between celebration and premonition.

As we already stated, Dr. Dre helmed “California Love,” built around a Roger Troutman-assisted hook that felt nostalgic and futuristic. The track’s synth layers and talkbox vocals gave it mainstream appeal without diluting its regional identity. It became one of the defining records of 1996.

Read More: Maino On Tupac: “Nobody Spoke To The Black Male Experience Like He Did”

“If they can stop me, they can stop 30 more rappers before they even born. But there’s something else I understand now: If we really are saying Rap is an art form, then we got to be true to it and be more responsible for our lyrics. If you see everybody dying because of what you saying, it don’t matter that you didn’t make them die, it just matters that you didn’t save them.”
-Tupac, Vibe Magazine cover story, 1995

Still, Dre was not the sole architect. Daz Dillinger and Johnny “J” contributed significantly to the album’s sonic backbone. Johnny “J” in particular shaped much of the project’s melodic feel. His production on tracks like “How Do U Want It” and “All Bout U” balanced smooth instrumentation with hard percussion, allowing Tupac’s cadence to cut cleanly through arrangements.

Speaking of “How Do U Want It,” featuring K-Ci & JoJo, it became another commercial high point, topping charts and reinforcing Pac’s crossover presence. The collaboration also bridged Rap and R&B at a moment when that fusion was expanding radio. Moreover, the album’s guest list included Snoop Dogg, who appeared on multiple tracks, reinforcing Death Row unity. Nate Dogg added hooks with melodies that softened otherwise hard-edged bars. Further, Tha Dogg Pound’s presence grounded the project firmly in the West Coast ecosystem.

Read More: 2Pac’s Father Admits He Was “Upset” Over “Dear Mama”

The duality of All Eyez on Me was a part of what makes the album endure. It does not present one single version of masculinity. It presents a young Black man steering survival in public view. He embraces excess while speaking openly about incarceration and institutional distrust.

The persona was purposeful. Tupac understood the power of image. He knew controversy extended reach. At Death Row, power was currency. Yet, beneath the performance lay a writer who had studied theater and poetry and had been raised in political thought. That education surfaces in the emotional scope of the record.

The Album, In Hindsight

On September 7, 1996, Tupac Shakur was shot in Las Vegas. He died six days later at 25 years old. The case remained shrouded in rumors and conjecture for decades. Soon, a trial may lay some of the speculation to rest. Pac’s death altered the way All Eyez on Me was heard.

It was not built as a farewell. After his murder, however, it became foundational to the mythology surrounding him. Tupac was no longer just an artist figuring out conflict. He became a symbol, a martyr to some and a cautionary tale to others. His posthumous releases followed, and death solidified his status while also accelerating the business of legacy.

Read More: Tupac Shakur BMW He Was Riding In When Shot Is Up For Auction At $1.7Mil

The mid-1990s were not kind to Black male celebrities. Rappers were often depicted as threats rather than artists. Media narratives emphasized criminality and chaos. Pac’s prior legal troubles fed that framing. Rather than retreat, he leaned into it. He exaggerated the outlaw image and forced audiences to confront it on his terms. The same industry that celebrated his sales figures also commodified his volatility. All Eyez on Me sits at that intersection. It is celebratory and defiant, yet also aware. It documents what it meant to be young, Black, famous, and constantly misread.

The post Tupac’s “All Eyez On Me” Was His Post-Prison Reckoning appeared first on HotNewHipHop.