Tate’s place in Snoop’s story goes well beyond raising the future star. A longtime church choir director, she helped establish the spiritual foundation he has continued to reference throughout his career. She also gave him the name “Snoopy” as a child because of his love for the Peanuts character, a childhood nickname that followed him into music and eventually became one of the most recognizable names in Hip Hop. Snoop has continued honoring Tate since her death in 2021, including dedicating his 2025 gospel album Altar Call to her. “The spirit of my mother will forever live within me,” he said while announcing the project.

Read More: Lauren London Explains The Importance Of Los Angeles’ “Nipsey Hussle Square”

Slowly Building The Biopic Cast

Further, London already has a history with Snoop dating back to the beginning of her career. She appeared in his 2002 video for “From tha Chuuuch to da Palace” and later turned up in the black-and-white visual for “Drop It Like It’s Hot” in 2004, years before ATL established her as a film actress. Their paths crossed publicly again under far different circumstances in 2019, when both took the stage at Nipsey Hussle’s Celebration of Life in Los Angeles. London delivered an emotional tribute to her longtime partner, while Snoop spoke about his friendship with Hussle and what he represented to the city.

Craig Brewer is directing Snoop from his rewrite of Joe Robert Cole’s original screenplay. Snoop Dogg is producing alongside Death Row Pictures president Sara Ramaker and Imagine Entertainment’s Brian Grazer. The movie will also use music from the Rap icon’s catalog and marks the first film produced under Death Row Pictures’ overall deal with NBCUniversal Entertainment. Universal has scheduled Snoop for an August 6, 2027 theatrical release.

Read More: Snoop Dogg’s Biopic Has A Release Date

The post Lauren London To Play Snoop Dogg’s Mother In Upcoming Biopic appeared first on HotNewHipHop.

“We did a lot of great work, but I don’t see us working again,” Hit-Boy said. When Vlad asked why, he acknowledged that there was more behind the decision than he was willing to discuss. “There’s a lot of reasons, you know what I mean? But it’s something I don’t really wanna dig too deep in ’cause it’s pretty deep.” He instead pointed back to what they accomplished together, adding, “Respect to what we did get accomplished in three years.”

Read More: Nas & Hit-Boy’s “Magic” Trilogy Albums, Ranked

Three Years Stacked With Projects

That three-year stretch began with King’s Disease in 2020 and became one of the most fruitful rapper-producer runs of Nas’ career. The album won Best Rap Album at the 2021 Grammys, giving Nas his first win after years of nominations. They followed it with King’s Disease II and Magic in 2021, then King’s Disease III the next year. Magic 2 and Magic 3 arrived in 2023, bringing the total to six full-length collaborations. Hit-Boy says the sessions produced roughly 80 songs during that period.

The possibility of another reunion once seemed much more open. Magic 3 was presented as the finale of their run, but both men left room for the partnership to continue someday. Hit-Boy reflected on their near-daily creative relationship after the album’s release and wrote that he was “right here whenever forever bro.” Nas was even more explicit while discussing the accomplishment, saying, “We can definitely go for more albums, easily.”

Hit-Boy’s new comments make that optimism harder to read as the current state of their relationship. He did not accuse Nas of wrongdoing or describe a falling out, and his refusal to explain the “pretty deep” reasons behind his position leaves plenty unknown. What he did make clear is that he now views those six albums as a completed body of work rather than the beginning of another chapter.

Read More: Nas Shares “King’s Disease II” Ft. Eminem, Lauryn Hill, Hit-Boy, EPMD

The post Hit-Boy Says He Doesn’t See Himself Working With Nas Again appeared first on HotNewHipHop.

It’s simple why this is the case. AI lacks soul. It lacks a sense of humanity. People don’t want to be given a half-baked product that was created thanks to a written prompt. They want something that feels human. Something that they can actually connect to.

With producers like Dr. Dre and Timbaland embracing AI, it feels like some sort of agenda is being pushed. Fans can see through it, and they are making their voices heard.

Unfortunately, the labels do not care one iota. In fact, today, it was revealed that UMG, Warner Music, and Sony Music have contributed to an AI music company called Stability AI. This was all part of a $76 million funding round. The goal is to use the technology to build AI models around the label’s existing catalogs.

Read More: Joey Bada$$ & Serayah Relationship Timeline

UMG, Warner, & Sony Invest In AI

“While others are building generalized AI, Stability AI is building creative tools and doing it alongside the artists, studios, and rights holders whose work defines the field,” the statement read.

Below, you can see just how much the average person dislikes this. Ultimately, there is this feeling that Stability AI will be used as a way to exploit artists and steal their artistry for a low price.

Cynicism around AI is not going away anytime soon. With data centers decimating the environment and AI music giving us some of the worst songs and albums of the year, it’s clear that this is not sustainable. Unfortunately, the business class has decided that this is the future, and they are unrelenting in that vision.

Read More: Is The Game Baiting Kendrick Lamar Into A Battle?

The post UMG, Warner, & Sony Under Fire Following Investment In AI Music Company appeared first on HotNewHipHop.

That doesn’t happen by accident. It happens when a sneaker is built on something real. Here’s the full story of how 50 Cent and Reebok pulled off one of the most important deals in sneaker history.

Read More: SoleFly’s First-Ever Air Jordan 5 Collab Drops This October

Hip-Hop Sneaker Culture Before 50 Cent

In April 2003, Jay-Z and Reebok released the S. Carter, the first signature sneaker ever made for a non-athlete entertainer. It was Reebok’s best-selling shoe at that point, selling out almost immediately after launch. The industry sat up and paid attention. But it was still a one-man story. Nobody had figured out what a full group-branded sneaker line could look like… yet.

There was also a bigger business context behind all of it. 50 Cent said in a 2012 interview that both the S. Carter and G-Unit deals were Reebok’s direct response to losing the bidding war for LeBron James to Nike. Reebok needed a new lane, and hip-hop was the answer. Jay-Z opened the door, but 50 Cent really put the brand’s sneakers on the map.

The $20 Million Deal Nobody Saw Coming

Reebok signed 50 Cent to a 5-year licensing deal, with Forbes reporting Reebok paid $20 million for the arrangement. At the time, 50 was the hottest rapper on the planet following the success of Get Rich Or Die Tryin’.

Interestingly, 50 told Complex there was no bidding war, and Reebok was always the intended partner. “We were both doing things differently, so the partnership made sense,” he said.

The deal was structured around the G-Unit brand rather than just 50 Cent as a solo. That distinction mattered. It meant the whole G-Unit crew was part of the story. Suddenly this wasn’t just one rapper with a shoe. It was a label, a movement, and a business wrapped into one sneaker line.

The G-Unit G6 And What Made It Different

The G6 launched in 2003 as a basketball-inspired silhouette that helped connect hip-hop, street culture, and footwear in a way that hadn’t been done before. The design was clean and accessible.

White leather upper, grey suede toe cap, red, white, and blue accents, a silver G-6 lace dubrae, and cursive G-Unit embroidery on the lateral heel. It wasn’t trying to be a performance shoe. It was a street shoe built for the style 50 was creating

The launch party happened November 4th, 2003, at Capitale in New York City. The initial production run quickly sold out in key markets. What separated the G6 from the S. Carter wasn’t necessarily the design. It was the scale of the audience behind it. G-Unit had built one of the most devoted fan bases in hip-hop, and every one of those fans wanted the shoe.

The Numbers That Proved Everyone Wrong

Reebok saw an 11% sales jump in 2003, driven directly by their Jay-Z and 50 Cent partnerships. Those numbers alone were enough to change how the industry thought about hip-hop deals.

Then 50 went further. On Revolt TV, he claimed the G6 outsold the S. Carter six to one, saying, “I made over $80 million during the Reebok time period. If I’m lying, I’m flying.” It’s worth noting that Reebok has never officially confirmed those figures. But the broader point stands: the G6 moved serious numbers.

Beyond the sales, the deal proved something more important. A rapper didn’t need to be Michael Jordan to sell sneakers at scale. They just needed to be culturally relevant and connected to their audience, and 50 Cent was both.

What The Deal Created

50 Cent told Complex, “The G6 created a whole new category in sneaker culture and opened up new opportunities in the music space. It gave hip-hop artists a platform to go beyond being just artists.”

The Reebok RBK wave that followed with Nelly, Daddy Yankee, Pharrell, and Lupe Fiasco was built directly on the foundation the G6 helped prove was actually viable.

And the influence didn’t stop at Reebok. Every major artist signature deal that followed across every brand traces a line back to what happened in 2003. Before the G6, rapper-backed kicks were a rarity. After it, they became an industry baseline.

Overall, Kanye’s Yeezys, Travis Scott’s Jordan collabs, Kendrick Lamar’s Nike work… none of it happens the same way without 50 Cent and Reebok proving how vast the market is in the first place.

The 2026 Return Sold Out

The G6 returned August 20th, 2026, at $130, in its original red, white, and blue colorway and a 1:1 recreation of the 2003 original straight from the Reebok archive. The build is exactly what fans wanted. White leather upper, grey suede toe cap, silver G-6 lace details, tri-color heel tab, cursive G-Unit heel embroidery, and that translucent icy outsole.

No updates, no modern tweaks. Just the original shoe done right and brought back. In a world of re-runs and returns, seeing an original shoe comeback just the way it was is comforting.

Inventory on Reebok.com, JD Sports, and Finish Line was completely gone in under 2 hours. Resale prices on StockX and GOAT jumped immediately, with pairs trading between $148 and $300 depending on size. 50 celebrated by posting a video on Instagram taunting Rick Ross with his classic “Sold out, fat boy” line, giving full credit to New York for driving the demand.

50 told Footwear News he knew they had something big back in 2003, but couldn’t have predicted the response 20 years later. “The fans kept it alive. That means a lot to me.” No restock has been announced yet, but given the immediate sellout, additional colorways feel inevitable. The G6 is back. And based on everything that happened this week, it never really left.

Read More: Lil Durk Trial: OTF Vonni, OTF Jam, And Flacka To Testify For The Prosecution

The post How 50 Cent’s Reebok Deal Changed Hip-Hop Sneaker Culture Forever appeared first on HotNewHipHop.

Nevaeh recently gave birth to their son, but that does not mean Blue has gotten any more sensitive to his girlfriend’s needs. Instead, his disrespectful and outright abusive behavior has continued.

Just one day after the two were detained at King of Crabs in Santa Clarita, Blueface began berating Nevaeh after finding out her four-year-old son didn’t make it to school. Nevaeh seemingly slept in and was unable to get her child up on time to take him.

As you will see in the clip below, Blueface then used this as an opportunity to attack Nevaeh as a mother. He also called her a b*tch numerous times.

Read More: Is The Game Baiting Kendrick Lamar Into A Battle?

Blueface and Nevaeh Fight On Stream

Nevaeh was understandably agitated about the situation as Blueface continued to call her names. When the camera was turned on Nevaeh, she immediately told the cameraman to point it in a different direction.

This clip is yet another example of what Blueface has going on during these streams. He has turned his Kick into a 24-hour version of a reality TV show. Whether it is fighting with Nevaeh or hanging out with Chrisean Rock, Blue has figured out a way to capture people’s attention.

The streams are now raking in tens of thousands of dollars every single week. Even Chrisean is streaming now, which has created a way for her and Blueface to make money together. It all feels like a cynical ploy for more fame and more fortune. Something that Kick as a platform has absolutely no qualms about.

Read More: Joey Bada$$ & Serayah Relationship Timeline

The post Blueface Gets Disrespectful With Nevaeh After Finding Out Her Son Isn’t Going To School appeared first on HotNewHipHop.

The violence of that ending can flatten everything that was happening in Aaliyah’s life before it. Her self-titled third album had arrived only weeks earlier and debuted at No. 2 on the Billboard 200. She had already made the jump into film with Romeo Must Die and finished playing Akasha in Queen of the Damned. Work on The Matrix sequels was also waiting.

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Read More: How Did Aaliyah Die? The Tragic Death of the R&B Icon

Four days before her death, she sat on the 106 & Park couch discussing her album and acting career before announcing that “Rock the Boat” would be her next single and that filming would begin the following day. The production began in Miami before moving to the Bahamas, where director Hype Williams and a large crew filmed Aaliyah dancing on the beach and aboard a yacht. Choreographer Fatima Robinson told W Magazine the concept was intentionally “beautiful, classy, elegant,” a softer visual built around a song that was steadily gaining momentum.

Finishing her portion of the shoot early changed the plan for getting home. What followed has been reconstructed through an official aviation investigation, testimony from people at the airport, and later accounts that did not surface until many years after the crash. Some of those details are firmly documented. Yet, there are others, including the claim that Aaliyah resisted boarding the aircraft and was carried onto it after taking an unidentified pill, that remain based on witness recollection rather than an investigative finding. Separating those accounts matters because the established failures surrounding Flight N8097W were already sufficient to explain how a routine charter flight became fatal.

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August 21–24, 2001: The “Rock The Boat” Shoot Moves To The Bahamas

After Miami, the production then moved to Treasure Cay on Great Abaco Island. Aaliyah was through hair and makeup and on the beach by 6:30 a.m. on August 24. The change in location loosened the feel of the shoot. Dancer Nadine Ellis remembered the Miami work as highly technical, with performers having to hit exact positions. “When we got to The Bahamas, it was definitely more of a free space,” she told W. “We just got to flow.” Robinson said choreography was adjusted once everyone reached the yacht because movements that worked in rehearsal did not always translate to the boat.

The footage captures that ease. Aaliyah dances barefoot near the water, performs with the women around her on a yacht, and moves through underwater shots surrounded by fabric. Nothing about the production was conceived as a farewell. The people working beside her were finishing the next video for an album she had released only the month before, while other music and film projects remained ahead of her. Contemporary coverage after the crash described several of the people traveling with her as longtime members of the team behind her videos, including young stylists and production personnel whose work had helped construct the images audiences associated with the singer’s brand.

Read More: Dame Dash Reveals He Was Upset With Hype Williams Over Aaliyah’s Death

The schedule was moving faster than expected. Aaliyah’s portion of the Bahamas shoot would be completed ahead of the original plan, setting up a decision to leave Abaco earlier. That change placed her and eight others at Marsh Harbour airport on the evening of August 25, where the amount of luggage aboard their charter aircraft would become far more consequential than anyone involved in the video could have anticipated.

August 25, 2001 | The Shoot Wraps Early

There was little in the mood surrounding the shoot to suggest anything was wrong. Williams recalled the atmosphere as unusually close, saying the group had “worked together as a family.” He described that Saturday as “one of the best I’ve had in this business.” Dancers who worked on the video have offered similar memories. Lesley Nicole Lewis recently recalled joking with Aaliyah during the shoot and said the singer told the dancers she would see them again at rehearsals in New York, where preparations for upcoming performances were continuing.

Leaving early also meant changing the travel plan. Aaliyah and her team needed a charter flight back to South Florida rather than waiting until the following day. The group had arrived in the Bahamas aboard a larger aircraft, but the plane assigned for the return was a Cessna 402B operated through the Florida charter company Sky Limo. It was scheduled to fly from Marsh Harbour to Opa-locka Airport near Miami.

Read More: Aaliyah’s Death Inspired LeBron James’ High School Football Career

August 25, 2001: Warnings At Marsh Harbour

Concern about the return flight surfaced before the aircraft ever left the ground. The Bahamas Civil Aviation Department’s final report states that witnesses saw pilot Luis Antonio Morales and members of Aaliyah’s party arguing over the number of passengers and the amount of baggage being loaded. Investigators also learned that the Cessna 402B was a last-minute substitution. A Cessna 404 had originally been scheduled for the charter, but the owner of Blackhawk International Airways replaced it with the smaller aircraft that eventually crashed. The report does not say Aaliyah personally participated in the dispute over the load.

Accounts published immediately after the crash described the disagreement in greater detail. The Washington Post reported that a Bahamian charter pilot said Morales repeatedly warned the group, “There’s too much weight for a safe flight to Opa-locka.” Other local reports cited a baggage handler who also believed the aircraft was too heavy. Investigators had not yet determined the exact weight when those stories appeared, but the concerns themselves were later reflected in the official report, which confirmed that witnesses recalled an argument over the passengers and bags.

The way the passengers were seated raised another problem. Witnesses told investigators that two of the heaviest passengers, each estimated at approximately 300 pounds, were placed toward the rear. One witness said Morales personally loaded the aircraft. That placement would become important once investigators calculated the Cessna’s center of gravity, but those findings would not come until after the accident.

Read More: Young Guru Says Aaliyah Was Going To Remix “Roc The Mic”

A much more disturbing account entered the public record two decades later. In Kathy Iandoli’s 2021 biography Baby Girl: Better Known as Aaliyah, Kingsley Russell said he was 13 and working with his family’s transportation business on Abaco when Aaliyah’s group arrived for the flight. Russell claimed Aaliyah objected after seeing the aircraft and did not want to board. According to his recollection, she complained of a headache, received an unidentified pill from someone in her party, and fell asleep. He said he then watched members of the group carry her onto the plane.

That account has frequently been reduced to the claim that Aaliyah was “drugged” and forced onto the aircraft, but Iandoli has objected to that characterization. She told ABC News that she could not identify what pill Russell claimed Aaliyah received and stressed that headlines stating her book definitively said Aaliyah was drugged had gone beyond what she wrote. “Whatever that pill was, I can’t say,” she explained. Russell’s story did not surface during the original investigation and remains a later witness recollection rather than an official finding.

Damon Dash has also said Aaliyah was uncomfortable with the aircraft. Speaking with Us Magazine, Dash claimed she texted him, “I don’t like the plane,” and that he told her not to board. He has long described Aaliyah as fearful of flying, telling the outlet that she was nervous “every single time” she flew. His account supports the broader picture of her discomfort with air travel, but it does not independently establish Russell’s claim about what happened at Marsh Harbour.

August 25, 2001: The Flight Lasted Only Seconds

The Cessna 402B began its takeoff from Runway 27 at approximately 6:45 p.m. Weather was not a problem. Investigators recorded clear visual conditions and no significant weather that would have prevented the flight from departing.

Witnesses watched the aircraft lift off and immediately enter an unusually steep, nose-high climb. It reached only about 40 feet above the ground before banking left. The nose dropped, and the Cessna struck marshy terrain alongside the departure end of the runway. According to the Bahamas Civil Aviation Department’s final report, the aircraft cartwheeled before coming to rest roughly 300 feet from the end of Runway 27. A fire broke out after impact.

Read More: Aaliyah’s Mom Shares Tribute To DMX: “You & Baby Girl Will Meet Again”

Alongside Aaliyah, the crash also killed Scott Gallin, Keith Wallace, Douglas Kratz, Eric Forman, Gina Smith, Anthony Dodd, and Christopher Maldonado. Morales also died. Contemporary authorities reported that six people, including Aaliyah, perished at the crash site while three others initially survived the impact but later died from their injuries.

Abaco Island official Silbert Mills was at the airport when the plane went down and joined the effort to pull people from the wreckage. The official investigation found a flight that had departed with severe problems already built into its takeoff. The Cessna was carrying far more weight than it was permitted to handle, and the way that weight was distributed pushed its center of gravity outside the aircraft’s allowable limits. Investigators also uncovered troubling information about Morales and his authorization to fly for Blackhawk International Airways. Those findings eventually shifted the story away from an unexplained accident and toward a series of safety failures that existed before the Cessna ever left the runway.

What Investigators Found

The investigation ultimately found that the aircraft should never have taken off in the condition it was in. The Cessna was approximately 941 pounds over its maximum allowable takeoff weight, and its center of gravity sat about 4.4 inches beyond the allowable rear limit.

Pilot Morales also came under scrutiny. The final report found that he was not properly qualified to operate the Cessna 402 for the charter company and had falsified portions of his flight experience. Twelve days before Aaliyah’s death, Morales had pleaded no contest in Florida to charges that included cocaine possession. Toxicology testing later detected cocaine in his urine and traces of alcohol in his stomach, although investigators did not determine that either substance caused the crash.

Twenty-five years later, some details about Aaliyah’s final hours remain disputed, particularly the later account that she did not want to board the plane and was carried aboard after taking an unidentified pill. The cause of the crash itself is far less uncertain. The official investigation found that an aircraft was operating well outside its safe weight-and-balance limits and was flown by a pilot whose qualifications had also raised serious concerns.

The flight from Marsh Harbour may have only lasted seconds, but Aaliyah’s music and influence have outlived the tragedy by decades.

The post Aaliyah’s Final Days Revisited 25 Years After Her Death appeared first on HotNewHipHop.

Black covers most of the upper on this pair, giving it a sleek, stealthy base to work from. Infrared hits the midsole, tongue, and heel detailing, adding a sharp burst of color against all that black. It’s one of the model’s most iconic color stories, also it traces back to Michael Jordan’s playing days.

Carti’s been a consistent presence in sneakers and streetwear throughout this year. This Dublin stop continues that pattern, putting a certified classic in front of a massive stadium crowd.

The show itself marked one stop in a packed European run. Carti’s been opening for The Weeknd across multiple countries this summer, hitting major stadiums in England, Ireland, and Spain within the same stretch of dates.

Finally, teh Air Jordan 6 “White Infrared” is also returning this year, landing November 7th. It’s the shoe’s fourth release since 1991, this time with Nike Air branding back on the heel. That gives Carti’s “Infrared” stage pair some extra timing with the model’s 35th anniversary run.

Read More: Gunna Joins Under Armour As Global Ambassador And P-Star Director

Playboi Carti’s Air Jordan 6 “Infrared”

Sneakers have become a regular part of Carti’s stage presence over the past few years. He’s worn a wide range of Jordan silhouettes throughout his live performances, often turning up in colorways collectors immediately recognize.

Moments like this are actually really important, especially in the sneaker resell market. When an artist like Carti performs in a specific pair in front of thousands of fans, it tends to spark renewed interest in that shoe almost overnight.

The Air Jordan 6 “Infrared” specifically has stayed a favorite among collectors for years now. Its bold color contrast has made it one of the more requested colorways whenever Jordan Brand brings it back.

With more European dates still ahead on this tour, Carti’s sneaker rotation will likely keep drawing attention alongside the music itself.

Read More: King Yella Suggests Lil Durk Is A Victim Of Labels “Promoting” Street Violence

The post Playboi Carti Wears Air Jordan 6 “Infrared” On Stage In Dublin appeared first on HotNewHipHop.

It was revealed that OTF Jam and OTF Vonni would be testifying on behalf of the prosecution after taking plea deals. Subsequently, the defense made the claim that Vonni has already admitted to orchestrating the hit. Vonni previously said he orchestrated the hit because Durk told him to, and Durk’s lawyers are arguing that this was not the case.

Outside of the court, Lil Durk had lots of supporters looking to show solidarity. Many of these supporters were famous artists and collaborators. For instance, G Herbo and Doodie Lo were among those wearing “Free Durk” t-shirts.

Read More: Is The Game Baiting Kendrick Lamar Into A Battle?

Lil Durk Trial Continues In Los Angeles

Both G Herbo and Doodie Lo were a part of a larger group that was holding up “Free Smurk” and “Innocent” signs. They are clearly hoping for a not guilty verdict and are making those feelings known in downtown Los Angeles.

This is a trial that is not going to be solved in a matter of days. Instead, it is going to take between two and four weeks to play out. There are numerous witnesses who will be taking the stand. Durk’s defense, which consists of Drew Findling and Brian Steel, will be looking for any avenue to get their client a not guilty verdict.

Numerous hip-hop-related cases are going on right now. For instance, Yella Beezy is currently in jury selection, while Keefe D is in the midst of his trial. Be sure to stay tuned to HNHH for updates on all of these cases.

Read More: Joey Bada$$ & Serayah Relationship Timeline

The post G Herbo, Doodie Lo, And More Pull Up To Lil Durk’s Trial To Show Support appeared first on HotNewHipHop.

Much of this surrounds the work from Diddy: The Making Of A Bad Boy documentary that explores the allegations surrounding his name. They said Diddy is obliged to cover a degree of the legal costs under anti-SLAPP laws since the case targeted free speech. 

“Combs does not dispute that Defendants are entitled to fees. Instead, he complains that despite demanding ‘not less than $100 [million],’ Defendants should have retained less-experienced counsel and devoted less time to defeating his defamation claim,” documents read.

Read More: Is The Game Baiting Kendrick Lamar Into A Battle?

Diddy Loses Defamation Lawsuit Over Peacock Documentary

The lawsuit in question surrounded allegations from the documentary that Diddy said were not only false, but damaging to his reputation. The documentary explored possible links between Diddy and the deaths of a number of people, from Heavy D to Kim Porter and Biggie, along with allegations of surrounding underage girls, among others.

However, a judge said that Diddy failed to prove that the companies were irresponsible in their reporting, nor did the judge believe that it created any further damage to his reputation. “It is inconceivable as to how the Documentary created additional damage to [Diddy’s] reputation, which was already tarnished by the numerous lawsuits.”

Diddy will possibly have to cough up $990,292 in total if NBCUniversal gets their way. We will keep you posted on any further updates.

Read More: Joey Bada$$ & Serayah Relationship Timeline

The post Diddy Faces Heavy Legal Bill After Losing $100M NBC Defamation Lawsuit  appeared first on HotNewHipHop.

Release Date: August 25, 2026

Genre: Hip-Hop

Album: N/A

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