Starting with the Jay-Z Super Bowl halftime show rumors, Aron and I think it’s an underwhelming pick for a few reasons. It’s not like Hov can’t put on a great show, as he proved at least a few times in 2026. But not only have his potential big-name guests like Beyoncé or Alicia Keys graced Super Bowl stages before, undercutting their novelty, but everything about this alleged decision seems predictable.

Of course, it could be that Roc Nation and the NFL will get someone else for the performance. Still, if it is Jay-Z, only a new album would make this a truly special moment. Otherwise, as Aron and I put it, the safe pick might not translate to the Super Bowl’s huge audience all the way, especially amid all the controversy and drama he and the league have been facing over the years.

Elsewhere, we also talked about the new Gucci Mane album Against All Odds, and its arrival amid Pooh Shiesty and others’ federal case for allegedly robbing and kidnapping Guwop to get Shiesty out of his 1017 Records deal. The new LP is what you’d expect from the twilight years of Gucci’s artistry, with a few possible sneak disses along the way leading up to the “Crash Dummy” diss track against Pooh.

Read More: Halle Berry’s Love Life Through The Decades

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But it also represents a crossroads for the Alabama native, as this controversy has made his past street image clash with his business-minded and family-oriented growth as an individual.

Aron and I debated over what this means for Gucci Mane and whether or not the snitching conversations around the Shiesty situation are warranted or relevant. It’s become a potentially important element in defining his legacy, but one thing we agreed on is that the music will outlast it all.

Finally, Aron and I highlighted and discussed many music industry shake-ups and legal battles that continue to cause debate online. These include the Hot 97 layoffs, UMG’s legal action with Summer Walker, Cordae, DistroKid, Drake, and others, plus TDE’s Punch’s comments about Black female executives facing most of the consequences of industry restructuring and layoffs. Also, recent posts from folks like Nas and Rapsody called for a stronger defense of Black art and creativity.

Amid industry professionals losing jobs and experiencing massive overhauls, Aron and I spoke about the conspiracies that surge as a result. We tried to emphasize the human element behind these headlines rather than just their big-picture implications. Overall, Aron and I lamented these impactful conflicts and posited that they reflect the dismissal of hip-hop and other Black genres we’ve seen at an executive and industry-based level for a few years. But hopefully there’s a brighter era ahead.

Let us know what you think of all these topics in the comments below. Stick around on HNHH for the next panel discussion and check out our news and feature coverage, as well as to rate the new songs and albums we cover every day.

Read More: Eminem’s Kid Rock Collaboration Is A Betrayal Of Who He Used To Be

The post A Jay-Z Halftime Show At The Super Bowl Is The NFL’s Easy Way Out appeared first on HotNewHipHop.

The 85-year-old singer’s recent health concerns have offered another reason to revisit her contributions to music. After canceling an October 2026 Carnegie Hall appearance because of leg and foot pain, Warwick’s representative confirmed she was feeling better. Her influence on Hip Hop is particularly worth examining, considering how many familiar Rap tracks have borrowed from songs she recorded decades earlier. Some feature her actual performances, while others sample reinterpretations by fellow Soul artists. Moving from Slick Rick’s “Mona Lisa” to Doja Cat’s “Paint The Town Red,” Warwick’s music has found its way into records that sound remarkably different from the originals.

“Walk On By” (1964): One Soul Classic, Two Hip Hop Legacies

A broken heart gave Hip Hop one of its most enduring samples. Written by Burt Bacharach and Hal David, “Walk On By” became a defining hit for Warwick in 1964, with its restrained delivery of romantic disappointment offering plenty for later musicians to reinterpret. The song found an early home in Rap through Slick Rick’s 1988 classic “Mona Lisa,” which sampled Warwick’s recording for a far less sentimental tale about a woman he meets at a pizza shop. Rick has never hidden his admiration for the singer. Speaking with NME, he acknowledged using “Walk On By” and compared Warwick to a female Frank Sinatra.

Her original recording would continue finding its way into Hip Hop, including Logic’s 2013 track “Walk On By.” A decade later, Doja Cat brought Warwick’s voice to an entirely different audience with “Paint The Town Red,” the Grammy-nominated single from her 2023 album Scarlet. Producer Earl on the Beat told REVOLT that he first heard Warwick when he sampled her on Usher’s “Throwback.” That discovery led him to explore her catalog and eventually produce the instrumental that became Doja’s hit. Warwick welcomed the sample, praising younger musicians for listening to the music of earlier generations. She later admitted to Entertainment Tonight that she hadn’t known who Doja was until her granddaughter told her about the record.

Read More: Dionne Warwick Reveals Why She Didn’t Enjoy Kendrick Lamar’s “Not Like Us”

However, another version of “Walk On By” had already established its own remarkable history in Hip Hop. Isaac Hayes transformed the composition into a sprawling, nearly 12-minute soul arrangement for his 1969 album Hot Buttered Soul. His interpretation replaced much of Warwick’s understated elegance with dramatic orchestration and a heavier groove, giving producers an entirely different recording to work with. Compton’s Most Wanted sampled Hayes’ version on “Hood Took Me Under” in 1992, followed by The Notorious B.I.G. on “Warning” in 1994 and 2Pac featuring Dramacydal on “Me Against The World” in 1995. The connection continued through Foxy Brown’s “Chyna Whyte” and MF DOOM’s “Dead Bent” in 1999, before Wu-Tang Clan enlisted Hayes himself for “I Can’t Go To Sleep” in 2000. These recordings sampled Hayes’ performance rather than Warwick’s original, illustrating how one composition developed separate musical histories through two distinctive interpretations.

“Anyone Who Had A Heart” (1963): From Heartbreak To Black Star

The emotional weight of Warwick’s music didn’t escape the producers shaping underground Hip Hop. Her 1963 recording of “Anyone Who Had A Heart,” another Burt Bacharach and Hal David composition, became the foundation for “Know That,” featuring Mos Def and Talib Kweli. Produced by Ayatollah, the track appeared on Mos Def’s acclaimed 1999 debut, Black On Both Sides. Rather than borrowing the song’s romantic subject matter, Ayatollah reworked Warwick’s recording into a backdrop for the two Brooklyn emcees to trade verses about their lyrical abilities and standing in Hip Hop. The contrast between Warwick’s pleading original and the rappers’ self-assured delivery gave the sample an entirely different purpose.

The song resurfaced in CyHi The Prynce’s “Napoleon,” another recording built around Warwick’s original. Its appearance in CyHi’s catalog reinforced the enduring appeal of her early material among lyric-focused rappers. Both recordings drew on a song Warwick helped turn into a major 1960s hit, showing how producers could repurpose a familiar vocal performance without carrying over the story it originally told.

“Make It Easy On Yourself” (1963): A Different Kind Of Love Story

The complicated history of “Make It Easy On Yourself” began well before it reached Hip Hop. Warwick originally recorded the Burt Bacharach and Hal David composition as a demo, expecting it to become her debut single. Instead, Jerry Butler released the song in 1962, while Warwick’s version appeared on her 1963 debut album, Presenting Dionne Warwick. Nearly four decades later, producer Ayatollah sampled her recording for Masta Ace’s 2001 album Disposable Arts, “Hold U,” featuring Jean Grae.

The sample becomes part of a playful exchange about romantic commitment. Ace describes falling for a woman he initially thought was out of his league, only to discover that maintaining the relationship comes with its own complications. Warwick’s familiar plea to make a breakup easier briefly enters the conversation, but Ace ultimately decides he’d rather stay. Jean Grae adds the woman’s perspective, turning what could have been a straightforward love song into a conversation between two people who aren’t always seeing eye to eye. Warwick’s recording also resurfaced on Stack Bundles’ “Breaking Up,” cataloged as a 2019 release, though the late rapper’s death in 2007 means the recording predates that listing.

“Do You Know The Way To San Jose” (1968): From Pop Classic To Bay Area Rap

The search for success in California gave Warwick another unlikely connection. Her 1968 hit “Do You Know The Way To San Jose,” written by Burt Bacharach and Hal David, tells the story of someone reconsidering the pursuit of Hollywood fame. Two decades later, San Jose rapper MC Twist found a different use for the song, incorporating Warwick’s recording into “I Like It Loud” from his group’s 1989 album Comin’ Thru Like Warriors. The connection was especially fitting given Twist’s hometown, although the finished track sounded considerably different from Warwick’s breezy original.

Released through Luke Skyywalker Records, “I Like It Loud” became part of the Bay Area’s lesser-known early Rap history. KQED highlighted the record in its retrospective on San Jose’s underground scene, noting how Twist and his collaborators incorporated Warwick’s familiar recording into their production. He returned to the sample on 1990’s “Cold Chillin’ In San Jo,” once again borrowing from a song that had put his hometown into the national musical conversation.

“We Can Work It Out” (1969): From The Beatles To Wu-Tang

The Beatles probably weren’t anticipating a Wu-Tang Clan connection when they released “We Can Work It Out” in 1965. John Lennon and Paul McCartney wrote the song, and it became one of the group’s most recognizable hits before Warwick recorded her own interpretation for her 1969 album Soulful Dionne. Her version brought a distinctly soulful approach to the British pop composition, which would eventually surface in a considerably harder-edged setting.

Thirty years later, U-God incorporated Warwick’s recording into “Rumble,” featuring Method Man, Inspectah Deck, and Leatha Face, from his 1999 solo debut, Golden Arms Redemption. The track samples Warwick’s “We Can Work It Out” alongside Queen’s “Another One Bites the Dust,” bringing together two unlikely sources within the same production. It’s a fitting example of how far Warwick’s recordings traveled beyond their original audience, especially when a Beatles composition could find its way into Wu-Tang’s catalog through her interpretation.

“You’re Gonna Need Me” (1973): From J Dilla To A New Generation Of R&B

There’s something particularly satisfying about hearing Warwick tell someone they’ll regret losing her, especially when a producer knows exactly what to do with that warning. Her 1973 recording of “You’re Gonna Need Me” from Just Being Myself became a favorite among musicians. Just Blaze brought the song into the 2000s with “Throwback,” from Usher’s 2004 blockbuster Confessions. The production paired Warwick’s original performance with Usher’s account of a relationship he wanted back, creating a memorable contrast between regret and romantic confidence.

J Dilla took a different approach on “Stop!” from his 2006 instrumental album Donuts. He chopped Warwick’s vocals into a hypnotic loop, repeatedly returning to her warning that someone would eventually need her again. The song also incorporates fragments of Jadakiss and other Rap recordings, giving Warwick’s voice an unexpected setting. Released just three days before Dilla’s death, Donuts has since become one of Hip Hop’s most celebrated instrumental albums.

Warwick’s influence returned to contemporary R&B in 2023 when Chlöe Bailey and Chris Brown released “How Does It Feel”. Produced by Hitmaka and Cardiak, the duet revisited “You’re Gonna Need Me” while drawing on the musical approach established by Usher’s “Throwback.” The recording also had an unexpected connection to Doja Cat’s “Paint The Town Red.” Producer Earl on the Beat told REVOLT that hearing Usher’s record inspired him to investigate Warwick’s catalog. “I was thinking, ‘This is a good a** voice. Who is this?'” he recalled. His search eventually led him to “Walk On By,” which, as we already know, he sampled for Doja’s hit nearly two decades after “Throwback” was released.

“Move Me No Mountain” (1975): A Soulful Connection To Southern Rap

Southern Rap found another piece of Warwick’s catalog worth revisiting with “Move Me No Mountain,” a soulful declaration of devotion from her 1975 album Then Came You. Barry White’s vocal group Love Unlimited originally recorded the song in 1974, but Warwick, under producer Jerry Ragovoy, gave it a different treatment. Her version eventually appeared in Big K.R.I.T.’s “Egypt Cotton” from his 2014 mixtape King Remembered In Time. The Mississippi rapper and producer sampled Warwick’s recording, drawing on the warmth of her vocals for a track rooted in his soulful production style.

Warwick’s rendition also appeared in Premo Rice’s 2019 track “Silk Sh*t,” another recording that borrowed from “Move Me No Mountain”. Although the two artists approached the sample differently, both reached beyond Warwick’s best-known hits to find material in her 1970s catalog. The connection also stretches to CyHi The Prynce, whose 2012 track “James Harden” sampled the same track.

Read More: Dionne Warwick Asks Saweetie About Her Name: “Why Is It Not Sweetie?”

Warwick’s relationship with Hip Hop has always involved more than lending her voice to the occasional sample. She’s never hesitated to challenge artists when she disagreed with their message, as Snoop Dogg learned during their famous meeting in the 1990s. Reflecting on the encounter decades later, Warwick explained that the rappers’ willingness to hear her out wasn’t about intimidation. “No, that is the power of respect,” she said, emphasizing their openness to learning from her perspective.

The exchange speaks to something Warwick herself has come to appreciate about sampling. Younger artists are finding new possibilities in recordings that were already classics before many of them were born, and their audiences are discovering the originals in return. As she explained while celebrating Doja’s single, “I’m thrilled that you’re discovering us, that you’re keeping us alive.” Her enthusiasm reflects a relationship with Hip Hop that has endured for decades, with each new sample introducing Warwick’s music to listeners who might otherwise never have encountered her original recordings.

Read More: Billie Eilish Called “William Eyelash” By Dionne Warwick & Twitter Can’t Handle It

The post Dionne Warwick Samples You Didn’t Know Were In Hip Hop Classics appeared first on HotNewHipHop.

The detailed photos show a white leather upper with the model’s quilted-style panels. A black suede mudguard wraps around the lower half of the shoe, which gives it a strong two-tone look.

Purple adds the final layer. It fills the heel section of the midsole, the outsole, and the mesh lining on the tongue. Black laces tie everything together.

A “Twenty3” ribbon sits on top of the tongue, which is a direct nod to Randy Moss’ original Super Freak. On the back, a white 23 stands out against the black heel.

Underneath, a purple outsole shows the Air Jordan 9’s world map and multiple languages. White Jumpman logos sit on the heel and sole.

The pair is expected to retail for $225 and use men’s sizing. The style code is JK1415-100. Look for it on SNKRS and at select Jordan Brand retailers. Overall, the colors point to the Minnesota Vikings, where Moss spent much of his career.

Read More: Travis Scott Next Air Jordan 1 Low Is The “Chicago”

Air Jordan 9 “Super Freak”

Randy Moss has a special place in Jordan Brand history. In 1999, he became the first football player to sign with the brand.

His first signature shoe, the Super Freak, arrived in 2000. Jordan Brand later reissued it as the Cover 3 in 2010.

Now the Super Freak legacy is getting two moments. This Air Jordan 9 is the first, and the original Super Freak is also reportedly returning in spring 2027.

We covered the Air Jordan 9 “Super Freak” first look earlier this month, when the design looked different from earlier reports. These new photos show much more detail.

The release date is perfect. Super Bowl LXI takes place in Los Angeles on February 14th, and Jordan Brand is timing the drop for the weekend.

Sizing and pricing are still a little fluid, since some outlets list $215 and others list $225. Expect that to settle as the date gets closer.

Read More: Pusha T Explains Why Clipse’s New Album Tops Their Classic

The post The Air Jordan 9 “Super Freak” Looks Even Better In-Hand appeared first on HotNewHipHop.

The color story stays familiar. White covers the base, and deep red overlays sit on the toe, eyestay, and heel. A black oversized reverse Swoosh gives it Travis’ signature look.

The red is the main twist. It looks closer to a dark cherry than the bright red on the original 1985 Air Jordan 1 “Chicago.”

Leaked images also show two extra pairs of laces, one sail and one pink. That gives the shoe a few ways to change up the look. Overall, a suede upper fits Travis’ style. Many of his past Air Jordan 1 Lows used suede, and the texture gives the shoes a softer, more worn-in feel.

No release date, price, or style code has been announced. The reported window is 2027, and details could still change. It would reportedly be the first time Travis takes on the classic Chicago palette.

Read More: The Air Jordan 9 “Charcoal” Is Finally Getting Its Second Retro

Travis Scott x Air Jordan 1 Low “Chicago”

Travis has been working with Jordan Brand since 2019, when the “Mocha” Air Jordan 1 Low arrived and changed the market. His reverse Swoosh has since become one of the most copied details in sneaker culture.

He keeps the line busy. We covered his Travis Scott “Pink Pack” Jordan 1 Lows and an extremely rare Air Jordan 6 sample from his archive.

Jordan Brand already released a standard Air Jordan 1 Low OG “Chicago” last November for $145. A Travis version in the same palette is a natural next step.

Collabs on OG colorways are rare for Jordan Brand, so this one would be a big deal. Expect heavy demand if it arrives. For now, treat the suede and 2027 details as a report. We will keep watching for official images.

Read More: How Jayson Tatum Became The Most Important Nike Athlete Of His Generation

The post Travis Scott Next Air Jordan 1 Low Is The “Chicago” appeared first on HotNewHipHop.

During a Vogue conversation with longtime collaborator Pharrell Williams, Pusha described Let God Sort Em Out as “a tutorial on the maturation of a Rap group.” He believes the record demonstrates how artists can grow older without abandoning the qualities that established their reputations. Pharrell agreed, joking that Pusha might have been involved in questionable activities during the Hell Hath No Fury era. The rapper readily acknowledged that he was operating from a much different place when they recorded the album.

“I can never make Hell Hath No Fury again,” he admitted, explaining that the music came from bitterness and an intense desire to prove himself. Although that competitive energy helped produce one of Clipse’s most acclaimed projects, Pusha said he hopes never to encounter circumstances that would bring him back to that mindset.

Read More: Clipse Are Already Working On New Music With Pharrell

Pusha T Reflects On Clipse’s Growth Since Hell Hath No Fury

Released in July 2025, Let God Sort Em Out reunited the Thornton brothers for their first Clipse album in nearly 16 years. The Pharrell-produced project retained their signature street narratives while introducing more personal reflections on faith, family, and loss. Songs like “The Birds Don’t Sing,” which addresses the deaths of their parents, illustrate the difference. The brothers have never been strangers to vivid storytelling, but their latest album makes room for experiences that weren’t central to their earlier work.

During a previous GQ interview, Malice discussed how his spiritual growth and time away from the group influenced their reunion. Pusha also acknowledged that making music alongside his brother offered something different from the competitive environment surrounding his solo career.

Still, maturity hasn’t softened every edge of their music. During the Vogue conversation, Pusha and Pharrell maintained that Clipse continues to make what they consider “fight or flight music,” with urgency remaining an essential part of their sound. That approach helps explain why Pusha favors Let God Sort Em Out. He isn’t interested in recreating the circumstances that produced Hell Hath No Fury, even if the music remains celebrated. The challenge was bringing that same intensity to a record made by two men whose lives were considerably different from theirs in 2006.

The post Pusha T Explains Why Clipse’s New Album Tops Their Classic appeared first on HotNewHipHop.

According to AllHipHop, U.S. District Judge J. Paul Oetken approved law firm Sher Tremonte’s request to withdraw on Thursday (October 22). The attorneys cited unpaid legal fees and deteriorating communication with Combs, who is serving a 50-month federal prison sentence. Neither Combs nor Jones opposed the firm’s departure. The judge’s order requires the Bad Boy founder to secure new representation or formally declare his intention to proceed without an attorney by November 19.

The development adds another complication to a case that began in February 2024, when Jones accused Combs of sexual assault, harassment, and other misconduct while working on his 2023 project, The Love Album: Off the Grid. Combs has denied the allegations. Although the judge previously dismissed Jones’ racketeering and several other claims, portions of the lawsuit remain active.

Read More: Diddy’s Lawyers Reportedly Seek To Exit Sexual Assault Case Due To Lack Of Pay

Diddy Faces Another Deadline In Lil Rod Lawsuit

The attorney withdrawal comes as Combs is attempting to defend counterclaims he filed against Jones in August. Those allegations claim the producer improperly obtained private footage and shared it with documentary producers. Jones has asked the court to dismiss Combs’ counterclaims, arguing that they lack sufficient legal and factual support.

Combs originally had until October 30 to respond to that motion, but Judge Oetken extended the deadline to December 4. The judge warned that failing to submit an opposition would leave Jones’ motion unopposed. The uncertainty surrounding Combs’ representation is particularly interesting given an earlier statement from his camp. In September, a representative told Shockya that Combs would not represent himself and that longtime attorney Jonathan Davis would handle many of the matters previously assigned to Sher Tremonte. However, no replacement attorney had appeared in the Jones case when the judge issued Thursday’s order.

Tremonte has also sought to withdraw from other civil cases involving Combs, making the disagreement over legal fees and communication part of a broader problem for his defense. In the Jones lawsuit, the immediate concern is more specific. He must establish who will represent him by November 19, then address the producer’s attempt to dismiss his counterclaims by December 4. Missing the latter deadline would leave Jones’ motion unopposed, although the judge would still have to decide whether dismissal is warranted.

The post Diddy Could Represent Himself In Lil Rod Lawsuit After Lawyers Quit appeared first on HotNewHipHop.

This will be the first retro since 2010. That is a 17-year gap for a colorway that first launched in 1994. Overall, the look is dark and simple. Black leather covers most of the upper, while dark charcoal panels sit around the mudguard, collar, and inner side.

Red adds the punch. It shows up on the liner, heel tab, and branding touches, which gives the shoe a Chicago Bulls feel.

The 2027 pair is expected to follow the original design closely. That should please collectors who have wanted a true OG version.

Pairs are expected to cost $215. The reported style code is JF7743-001, but Jordan Brand has not confirmed it.

Look for the shoe on SNKRS and at retailers like Foot Locker, Finish Line, Hibbett, and Shiekh. No exact date has been announced yet. There are no official photos so far, so fans will have to rely on the original pair to picture the retro. Sneaker fans who missed 2010 finally get a second chance.

Read More: LeBron James Wore 2 Standout Pairs In His First Week As A Sixer

Air Jordan 9 “Charcoal”

The Air Jordan 9 arrived while Michael Jordan was away from basketball and playing minor league baseball. That backstory is why the outsole has a world map and several languages instead of typical Bulls branding.

Tinker Hatfield designed the shoe in 1993, and it became one of the more distinctive Air Jordan models. Its clean lines made it a favorite for collectors.

The Air Jordan 9 has been everywhere in 2026. The “Olive” Boot arrived this month, and a “Super Freak” pair is expected next year.

That makes the “Charcoal” a nice piece of a bigger comeback for the model. It is also one of just four original colorways, so each return matters.

Read More: Drake Breaks Numerous RIAA Records As Two More Songs Go Diamond

The post The Air Jordan 9 “Charcoal” Is Finally Getting Its Second Retro appeared first on HotNewHipHop.

During an X Spaces conversation on Wednesday (Oct. 21), Cardi addressed complaints about her recent New York Times T Magazine profile. The interview highlighted Madonna, Lil’ Kim, Foxy Brown, and Trina as influential figures in her childhood. Some listeners, particularly Nicki’s supporters, questioned why the Young Money rapper wasn’t included. Cardi argued that the women she named were already part of her musical education before Minaj became prominent. Although she acknowledged listening to another female rapper when she was about 17, she distinguished that experience from the artists she admired throughout her younger years. She didn’t mention Nicki by name in that explanation.

According to Complex, Cardi also questioned why people were so bothered by her personal choices, particularly when she’s consistently credited those same women in previous interviews.

Read More: Cardi B Delivers Scintillating NPR Tiny Desk Performance

Cardi B Says Female Rappers Need Their Own Identity

Interestingly, Cardi admitted that her relationship with an artist doesn’t determine whether she’ll acknowledge their influence. She specifically mentioned Foxy Brown, claiming the Brooklyn rapper “never fucking liked me.” Nevertheless, she maintained that their personal differences wouldn’t change the fact that she grew up listening to Foxy’s music.

That distinction is especially relevant given Cardi’s longstanding feud with Nicki, which has included public insults and social media confrontations dating back to 2017. While some have interpreted her omission as another slight, Cardi explained that she focused on when certain artists entered her life rather than their accomplishments.

The conversation also expanded into what she believes distinguishes successful female rappers. Cardi praised Megan Thee Stallion, GloRilla, and the City Girls for developing recognizable identities rather than copying another artist’s approach. She pointed to their different regional influences and personalities, arguing that individuality is essential to maintaining a career.

She also challenged the notion that successful women in rap must follow a particular predecessor, warning that imitating another artist’s mannerisms won’t necessarily produce the same results.

“There’s nobody I ever wanna be. I became famous being Cardi B,” she explained.

Her comments come as she’s also expressed frustration with the constant feuding among female rappers. During the same X Spaces conversation, Cardi said she was growing bored with exchanging insults and increasingly uninterested in responding to perceived disses. Whether that attitude holds the next time someone takes a shot at her is another question, especially when a discussion about her childhood influences can still bring her rivalry with Nicki back into the conversation.

The post Cardi B Claps Back At Barbz Over Nicki Minaj Influence Debate appeared first on HotNewHipHop.

During an Instagram Stories update on Thursday (Oct. 22), Ross thanked supporters for keeping his name in the conversation ahead of the 2027 Grammy Awards. With the first round of voting coming to a close, Rozay acknowledged his history with the Recording Academy and admitted that winning remains on his wish list.

“You know, this is a game I’ve been in over 20 years,” he said, according to Complex. “I’ve been nominated multiple times. Maybe nine, maybe possibly 10. I’m not really sure.” The MMG founder then got to the point. “I’ve never taken home a Grammy. So, you know, I’ve got a new crib, a new spot. I’ve got a spot waiting for one.”

Read More: Rick Ross’ Final First-Week Sales For ‘Set In Stone’ Are In

Rick Ross Hopes Set In Stone Will Finally Earn Him A Grammy

Ross submitted his July release, Set in Stone, for consideration in the Best Rap Album and Album of the Year categories. He also entered “Minks in Miami,” his collaboration with French Montana and Max B, into several categories, including Song of the Year. According to the Recording Academy, Ross has accumulated nine nominations without a victory. His first came for his appearance on DJ Khaled’s “I’m On One” featuring Drake and Lil Wayne. His 2012 album, God Forgives, I Don’t, subsequently earned a Best Rap Album nomination at the 2013 ceremony.

His most recent recognition came in 2023, when DJ Khaled’s “GOD DID” received three nominations, including Song of the Year, Best Rap Song, and Best Rap Performance. Still, Ross isn’t treating another nomination as a guarantee. His Instagram message largely focused on thanking listeners for supporting Set in Stone, whether they purchased the album, streamed it, or simply helped spread the word.

The next hurdle arrives November 16, when the Recording Academy announces its nominees for the 2027 ceremony. If Ross makes the cut, he’ll have another chance to break his Grammy losing streak when the awards are presented February 7. Final-round voting begins December 10, giving Recording Academy members the final say on whether Rozay gets to fill that empty spot.

The post Rick Ross Wants His First Grammy After Nine Nominations appeared first on HotNewHipHop.

Start with the PE. LeBron wore it on Tuesday in a 106 to 100 win over the Knicks. Lighter purple covered the upper, and a darker royal purple wrapped the collar and laces.

The colors did not match the Sixers’ blue and white uniforms, but that is a LeBron tradition. He has opened recent seasons in bold pairs like the LeBron 23 “24K Gold.”

The shoe has the LeBron 24’s three-layer KingKnit upper, full-length React cushioning, and two Air Zoom units. Nike calls it the lightest LeBron signature shoe so far.

There is no release plan for the PE. Sneaker News says it may be an early look at an upcoming pair, since the LeBron 24 is still new.

Before tip-off, LeBron also laced up the Victor Victor x Nike Air Force 1 ’01 in green. It is a monochrome green leather pair with white Swooshes and Steven Victor’s dog logo on the lateral heel. A white midsole carries green Air lettering, and the black outsole has colorful lines and Victor Victor branding.

Read More: Drake Breaks Numerous RIAA Records As Two More Songs Go Diamond

LeBron’s Victor Victor AF1

This is not LeBron’s first Victor Victor pair. He previously wore the purple colorway at Fanatics Fest, and he rocked an unreleased Air Force 1 to Jay-Z’s Yankee Stadium show in July.

The green pair first appeared on Gervonta Davis in July. We covered Gervonta Davis’ green pair when it appeared.

The collection has grown quickly. Black, yellow, red, purple, green, and blue pairs have all been shown, and Steven Victor has teased up to six colorways.

Pairs are rolling out city by city through December, and a blue pair already dropped at ComplexCon. No release date has been announced for the green pair.

For LeBron, the choice makes sense. Philadelphia is his new home, and he tends to pick standout pairs for big moments.

Read More: Yung Miami Calls Out Bloggers For Lying About Her Role In Diddy’s Charges

The post LeBron James Wore 2 Standout Pairs In His First Week As A Sixer appeared first on HotNewHipHop.