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, The 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 amplified. 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.

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 performs invincibility while acknowledging fragility. 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.

The remarks come after Megan shut down break-up rumors about their relationship that had been swirling online, earlier this month. As fans noticed that they weren’t following one another on social media, Megan shared a photo dump from a recent vacation they took together. “Aw man I was not ready for this birthday trip to be over. A time was definitely had,” she captioned the post. THANK YOU BABY.”

Read More: Megan Thee Stallions Turns Heads With Black & Yellow Dress Amid Klay Thompson Rumors

Megan Thee Stallion & Klay Thompson’s Relationship

Megan Thee Stallion and Klay Thompson originally went public with their relationship at the inaugural Pete & Thomas Foundation Gala in New York City in July 2025. At the event, she labeled the Dallas Mavericks star the “nicest person I’ve ever met in my life.” In the months since, they’ve made numerous public appearances together.

Megan Thee Stallion recently discussed her relationship with Klay Thompson while speaking with People. In doing so, she admitted that it came as a surprise, but it still ended up being the perfect time for her. “I think that because finally I started being in a better mind space about myself and my life, and I had already been doing a lot of work to heal me,” she told the outlet. “I had been going to therapy, I had a bunch of activities that I started doing for myself; maybe God just opened up that space for me to have somebody that loved me right. This is one of the first times that I’ve ever been just overly comfortable. I’m comfy, babe!”

Read More: Megan Thee Stallion Shows Off Sporty Look At The Winter Olympics

The post Megan Thee Stallion Hints At Wanting To Marry Klay Thompson appeared first on HotNewHipHop.

Offset was far the only celebrity in attendance. Several other special guests, like 2 Chainz, Lil Yachty, Jermaine Dupri, Bow Wow, Tierra Whack, and more, were also there. Offset’s 2025 single “Bodies (BNYX Mix)” featuring J.I.D and Drowning Pool was recently named the official theme song for the elimination chamber.

News of Offset’s WWE Raw debut comes just a few months after his ex, Cardi B, hosted SummerSlam 2025.

Read More: Stefon Diggs Seen With Offset’s Ex At Super Bowl Amid Cardi B Breakup Rumors

Cardi B Hosts SummerSlam 2025

Ahead of the event, Triple H spoke about the femcee’s involvement during an interview with Billboard. When asked whether or not she’d be stepping into the ring, he suggested that anything was possible.

“I don’t know if anybody can control Cardi B, let me just start with that,” he explained. “So if she wants to, I think it’s going to be hard to talk her out of it. And then what can we expect? Who the hell knows. The one thing I know about Cardi is, whatever she’s going to do, is what she’s going to do. And you’re sort of kind of just hanging on to the tiger’s tail a little bit there.”

“She’s excited to do it,” the retired professional wrestler added. “I think, as everybody knows, she’s a big fan and has, you know, talked a lot about the business over the years and all that stuff and comments on it a lot. So when you work with people like that, it’s exciting. We’ll see, we’ll see where that goes. But we’re thrilled to be working with her.”

Read More: Fans Scream “F*ck Offset” At Cardi B & Stefon Diggs

The post Offset Throws Grayson Waller Over A Table During Explosive “WWE Raw” Debut appeared first on HotNewHipHop.

“It seemed like every time something would come up, Charlamagne would just talk about my name and just go in a negative direction,” Mase said. “I didn’t know what was the connection that we had or where our paths crossed or what happened. But it just seemed like he always had a negative take about me. It was something I remembered, even when I started doing journalism. So, when I hear people say certain things about me, I kind of try to remember that same thing. I never met this guy, I don’t think we’ve crossed paths, I don’t think I know anybody that he knows.”

From there, Mase explained that he felt like Charlamagne was making it his “personal business” to tear him down, despite him not doing anything to warrant mainstream attention at that point in his career. “This person is not on the radar. They’re not doing anything on the public side at that point that merits the number one show in the country to be talking about this person,” he said.

Read More: Ebro Goes Off On Mase For Criticizing Bad Bunny’s Super Bowl Halftime Show

Are Charlamagne Tha God & Mase Still Beefing?

Although he was hurt at the time, Mase says he’s moved past it. “I forgot it,” he said. “It wasn’t something I held on to. It taught me a lesson. So, even when I’m up here… You don’t want somebody to feel like you’re just taking your platform, and because you have all of these people that listen to you, and you’re focusing in on me in a negative way. That’s not the way to use a platform. That’s not good journalism.”

Charlamagne Tha God’s criticism of Mase stemmed from his hiatus from music to focus on Christian ministry, as well as his claims about being blackballed from the industry. Charlamagne described him as inauthentic, and they allegedly had a confrontation over the criticism.

Read More: Mase Echoes Chris Brown’s Super Bowl Message While Trashing Bad Bunny’s Performance

The post Mase Calls Out Charlamagne Tha God For His Negativity On “The Breakfast Club” appeared first on HotNewHipHop.

Very few people recognized hip-hop’s long-term impact in its early days, but Jesse Jackson did. When news broke that Jackson passed away on February 17, 2026, at 84, it marked the loss of one of the few civil rights leaders who consistently saw rap not as a threat, but as a potential. His work began in the 1960s—marching alongside Martin Luther King Jr.—and stretched into every decade that followed. He criticized presidential administrations, confronted systemic racism, and remained attentive to hip-hop’s cultural reach.

Jackson treated rap as an extension of the Black freedom struggle rather than a cultural liability. That distinction mattered during the late 1980s and 1990s, when politicians and media outlets targeted the genre as corrosive. Even as hip-hop’s political lens narrowed over time, Jackson remained committed to its higher possibilities. He defended its legitimacy while challenging its excesses. He could critique misogyny and violence while insisting that rap deserved space as political speech.

In many ways, Jackson became a bridge between hip-hop’s cultural force and its political conscience. His voice appeared in the orbit of groups like Public Enemy, and artists such as Nas referenced him as part of a broader tradition of Black leadership. Jackson was never a mogul or producer, but his influence seeped into rap through language and moral framing.

The most famous convergence of Jackson-style rhetoric and hip-hop spectacle came in 2005, when Kanye West interrupted a Hurricane Katrina telethon and declared, “George Bush doesn’t care about Black people.” The backlash was swift, but the moment echoed the tradition of prophetic protest speech that Jackson had long embodied. Jackson didn’t amplify Kanye’s exact words, but he affirmed the broader truth behind them, arguing that the suffering of Black residents in New Orleans reflected “a historical indifference to the pain of poor people and Black people.” The cadence was a familiar moral indictment delivered without apology.

In Chicago, where Jackson built much of his career, that influence was felt long before Kanye stepped onto a national stage. During an interview on The Breakfast Club, Kurtis Blow recalled how Jackson viewed hip-hop artists as the next generation of civil rights heroes. Blow passed that message along to pioneers like The Sugarhill Gang, Grandmaster Flash, and The Furious Five. According to Blow, early artists even adopted a code of ethics—no cursing, no dissing, keep it clean—as a form of discipline and respectability that could help the culture gain mainstream acceptance.

Jackson folded hip-hop’s community-driven spirit into his own outreach through the Rainbow PUSH Coalition, recognizing its ability to mobilize young people. One of the most visible intersections between Jackson and hip-hop politics came in 1992, in the aftermath of the Los Angeles uprising. When rapper and activist Sister Souljah made controversial remarks that sparked outrage from then-presidential candidate Bill Clinton, Jackson defended her right to express the anger of her generation. Clinton’s rebuke became known as the “Sister Souljah moment,” but Jackson countered that she represented “the feelings and hopes of a whole generation of people.” That statement represented hip-hop’s broader emotional reality.

Still, Jackson’s support was not blind. As rap grew more commercial and corporate, he became more critical of its excesses—violence, misogyny, and the normalization of harmful language. He believed hip-hop could be transformative, but he also believed it carried responsibility. His stance reflected tension rather than contradiction: hope mixed with accountability.

Jackson wasn’t a mogul who elevated hip-hop in boardrooms, nor a producer who defined a sonic era. But his spirit lives in artists who fuse sermon and studio. On Michael, Killer Mike channels that preacherly cadence, turning confession and critique into performance. Whether mainstream rap still carries the urgency Jackson championed is debatable. In an era of corporate caution, fewer artists are willing to rattle political cages. Yet hip-hop remains, at its core, a grassroots movement. As long as it continues to articulate the frustrations and hopes of marginalized communities, it will carry echoes of Jesse Jackson’s voice.

The post Jesse Jackson Never Underestimated Hip-Hop’s Power appeared first on HotNewHipHop.

“They clipped me doing bunny hops and acted as if a billionaire made me do something against me moral codes from a lost bet,” he wrote. “That was a ‘clip’ I bought them billionaires around the culture where millions was made in the rap industry many artist that’s the clip!”

This isn’t the first time Meek has addressed the infamous clip, however. In 2024, he also provided fans with some clarification. According to him, he was simply showing Rubin a game he and other inmates used to play when he was in prison.

Read More: Meek Mill Thanks Young Thug For Staying Solid During Meek’s Drake Beef

Michael Rubin Addresses Meek Mill Rumors

“This a game I started from prison we used to make killers do bunny hops when they loss because it was too hostile for money,” he tweeted. “This be us!!! Ima get Rubin to bunny hop for me okay lol ima teach him d thang hop!” 

Rubin discussed the video and subsequent rumors during an appearance on The Breakfast Club later that year. “When I see the narrative of, a really good friend of mine like Meek, and people are trying to… Again, if he was gay — which there’s not one gay bone in his body — who cares, number one. If people wanna be gay, it is 2024. Who the f*ck cares?” Rubin began.

“Number two, there’s not a gay bone in his body, so why do people wanna lie about that? Why do people want to change the narrative of a bet he made with me to try to hurt him?” he continued. “That is the one thing I’ve learned about, you know, look, I’m just being blunt because it’s me. It’s the one thing I’ve learned about Black culture that I don’t like is that Black hate on hate [sic].”

Read More: Meek Mill Goes Off About Today’s Overproduced “Bubblegum Rap”

The post Meek Mill Reveals The Truth Behind Infamous Bunny Hopping Video appeared first on HotNewHipHop.

Fortunately, it looks like everyone was able to laugh it off, but social media users have plenty to say about the interaction. While some are calling Shadée out for trying to press Emanny, others are coming to her defense.

“Everybody including Joe makes cheating jokes its unfair to try and attack just emanny over that,” one viewer. “You should have that energy for Joe not him,” another claims. Someone else asks, “Now why would he do that?”

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

Joe Budden Podcast Drama

This is far from the only drama to unfold on the set of The Joe Budden Podcast, however. Back in 2021, both Rory and Mal were also famously fired while filming an episode, resulting in a messy public feud. During a recent appearance on Club Shay Shay, Budden reflected on the ordeal, admitting that it was far from easy for him to navigate.

“It was really tough in the moment,” he told host Shannon Sharpe. “You got friendships you’re managing, you’re managing business [and] people’s view of the business. It was difficult. […] And then they left, and I wish them brothers nothing but the best. Again, my faith be in God. My faith is in a higher power at all times. So, whatever is happening, that’s what’s supposed to be happening.”

“I’m not sitting around weeping at the hand that I’m dealt,” Budden concluded. “I’m getting to it. I needed all that education that came from that split. It was informative. It was important for me to get to the next place that I was going.”

Read More: Joe Budden Shows Off Body Transformation In New Workout Video

The post Joe Budden’s Girlfriend Checks Emanny For Insinuating He Cheats appeared first on HotNewHipHop.

“Kendrick’s a wasteman. He’s just a little– I don’t think he had anything– Well, I have said that Drake shouldn’t have did so many songs,” she began. “He should’ve did like a one bar. I guess he’s like an artist and he wants to, but I just feel like he has nothing to prove. Like, this guy’s a loser. Why did you give him so much attention?”

When Adam22 described Kendrick Lamar as one of Drake’s few peers in the music industry, Chromazz responded: “I guess because I don’t know any Kendrick songs, I didn’t see him as a big rapper at all. I’m just not knowledgeable on that. I just thought he was a nobody, like this guy’s a hater.” From there, she admitted she knew “Not Like Us” and thought it was a “good song,” but liked Drake’s diss track more. She concluded by labeling Lamar a “nerd.”

Read More: Kendrick Lamar’s “Not Like Us” Falls Out Of The Hot 100 After Historic Run

Drake’s “Iceman” Album

Chromazz also predicted that Drake will remain relevant despite the battle with Kendrick Lamar. He’ll have an opportunity to prove this to be the case with the release of his next studio album, Iceman, which should be arriving in the near future. He’s already shared several singles from the project, including “What Did I Miss?”, “Which One” featuring Central Cee, and “Dog House” featuring Yeat and Julia Wolf. He has also been teasing its release for months.

In other news, Team USA recently referenced Kendrick Lamar’s “Not Like Us” to take a jab at Canada after beating them for the gold medal in hockey at the Olympics on Sunday. The team’s official X (formerly Twitter) account wrote in a post showcasing the score: “They not like U.S.”

Read More: Team USA Uses Kendrick Lamar’s “Not Like Us” To Celebrate Beating Canada At The Olympics

The post Chromazz Labels Kendrick Lamar A “Nerd” And Questions Why Drake Bothered Dissing Him appeared first on HotNewHipHop.

“Opening night April 25,” he captioned the post. “No rappers, No bad BBL’s, No little f*cked up albino kids. just sold out BROADWAY what ! @bransoncognac.”

The apparent jabs come shortly after T.I.’s son, King Harris, hopped online to put 50 Cent on blast in response to his beef with his father. He brought up his 2000 shooting, called him out for dissing Lil Kim after trying to date her, accused him of getting outsold and embarrassed by Kanye West, and much more.

Read More: 50 Cent’s Latest Diss Provokes King Harris To Bring Up His Domestic Violence Allegations

Why Are 50 Cent & T.I. Beefing?

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“The list of people he’s disrespected over the years is endless,” King concluded. “He came into the game creating unnecessary controversy. And damn near 30 years later, he’s still the same attention-wh*re.”

As for why exactly all of this started in the first place, T.I. accused 50 Cent of backing out of a Verzuz battle they’d already agreed upon during a recent podcast appearance. He claimed to have zero respect for the mogul as a result.

They traded various insults in the days following, but Fif took things to a new level when he posted an unflattering photo of T.I.’s wife, Tiny. In response, the Atlanta artist unleashed on him in not one, but two different diss tracks. 50 Cent didn’t seem fazed by either of them, but T.I. didn’t stop there. He took to social media yesterday to issue a low blow. “My biggest flex is being able protect my mama til I could provide her a better life. Happy Birthday Mama,” he wrote. “Yo turn.”

Read More: T.I. Disses 50 Cent With A Low Blow Aimed At His Late Mother

The post 50 Cent Targets T.I.’s Family With Out-Of-Pocket Insults After King Harris Rant appeared first on HotNewHipHop.