When asked whether there was any possibility of repairing the relationship, Ross reflected on the history they share musically before doubling down on his stance. “We got a lot of cool records,” Ross said. “I got a lot with a lot of real ones too. He got checked.”

Ross then added: “He stepped outta line, he got checked… I feel like he’ll get over it. Rozay ain’t have nothing to get over.”

The MMG mogul has remained relatively unbothered publicly ever since his issues with Drake escalated in 2024. Their fallout became one of the more surprising rap feuds to emerge from the larger Kendrick Lamar and Drake conflict. Especially considering the two artists spent years collaborating on records like “Aston Martin Music,” “Stay Schemin,” and “Lord Knows.”

The tension has recently been brought to the surface again when Rick Ross appeared on Verzuz where he went against French Montana. He requested that Drake’s vocals be removed during “Aston Martin Music,” one of his biggest hits to-date.

Read More: Rick Ross Questions Pooh Shiesty’s Alleged Kidnapping Of Gucci Mane

Rick Ross Thinks Everyone Should Move On

Back in 2024, Drake took aim at Ross on “Push Ups,” leading the Miami rapper to respond with his own diss track, “Champagne Moments.” Since then, Ross has continued taking occasional jabs during interviews and live appearances, though he’s also suggested he still appreciates the music they made together despite the personal issues.

Ross previously spoke about their history during an interview with GRM Daily’s Thoughts In A Culli, explaining that he would never let rap beef erase the music they created together. He also joked that fans no longer rap Drake’s verses when certain records come on.

Even with the tension still lingering, Ross doesn’t appear interested in dragging the situation out much further. If anything, his latest comments suggest he views the issue as something Drake will eventually move past on his own.

Regardless, fans have been quick to call out the fact that Rick Ross has been talking about the beef on every interview he’s been on recently. “This like the 10th podcast he been on talking about Drake in the last week,” one person wrote. “3rd time mentioning Drake name this week who you trying to convince Ricky other than yourself?” another person said.

It remains to be seen how things will play out. And if the two will ever make up.

Read More: Rick Ross Reveals What Drake Must Do To Squash Beef

The post Rick Ross Believes Drake Will Eventually Move Past Their Fallout appeared first on HotNewHipHop.

Either way, the artist has just come through with the cover art for all three albums. These were shown off on his Instagram page, which means they are, indeed, official. The hype is real, and fans could not be more excited about the prospect of more Drake albums.

Read More: “Coloring Book” Still Feels Like Peak Chance The Rapper 10 Years Later

Drake Gives The Fans What They Want

Below, you can find the cover for HABIBTI.

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From there, Drake unveiled the cover for Maid of Honour, which looks interesting, and it has us curious for the direction he is about to go in.

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Finally, he dropped off the cover art for ICEMAN, which feels like a nod to Michael Jackson.

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Below, you can find the tracklist and features for each album, courtesy of Kurrco.

ICEMAN

Make Them Cry
Dust
Whisper My Name
Janice STFU
Ran To Atlanta feat. FUTURE & MOLLY SANTANA
Shabang
Make Them Pay
Burning Bridges
National Treasures
B’s On The Table feat. 21 SAVAGE
What Did I Miss?
Plot Twist
2 Hard 4 The Radio
Make Them Remember
Little Birdie
Don’t Worry
Firm Friends
Make Them Know

MAID OF HONOUR

Hoe Phase
Road Trips
Outside Tweaking feat. STUNNA SANDY
Cheetah Print feat. SEXYY RED
Which One feat. CENTRAL CEE
Amazing Shape feat. POPCAAN
BBW
True Bestie feat. ICONIC SAVVY
Where’s Your Stuff Interlude
New Bestie
Q&A
Stuck
Goose and The Juice
Princess

HABIBTI

Rusty Intro
WNBA
Slap The City
High Fives
Hurrr Nor Thurrr feat. SEXYY RED
I’m Spent feat. LOE SHIMMY
Classic
Gen 5
White Bone
Fortworth feat. PARTYNEXTDOOR
Prioritizing

Read More: Rolling Loud Is What Happens When Everything Becomes Content

The post Drake Unveils Tracklist, Features, & Cover Art For “ICEMAN, “Habibti,” And “Maid Of Honour” appeared first on HotNewHipHop.

Kodak Black is currently facing charges of fleeing and attempting to elude law enforcement, along with resisting arrest without violence. Additional details surrounding the incident have not yet been made public.

The latest arrest comes just days after Kodak Black was reportedly arrested in Orange County, Florida on May 6 on drug-related charges. The back-to-back legal incidents have once again placed the rapper’s personal life under heavy public scrutiny. Over the years, Kodak has frequently found himself in headlines tied to arrests. The issues have surrounded probation and other legal troubles. Furthermore, these are legal affairs that have at times interrupted his music career.

As HNHH previously reported, it seems as though just as momentum starts building again, “another mugshot or court case pulls the conversation away from the music.” Therefor, the public returns back to the same questions about whether Kodak can stay out of trouble long enough for the focus to remain on his career.

Read More: Kodak Black Sparks Colorism Debate After Speaking On Light-Skinned Women

Kodak Black Arrested Again

The Florida rapper has dealt with multiple legal issues throughout his career, with several arrests making headlines over the years. However, Kodak Black has remained one of the most commercially successful artists to emerge from South Florida in the last decade.

Moreover, Kodak Black has continued releasing music consistently while navigating various personal and legal controversies. These legal issues have followed his career for years now.

As of now, neither Kodak Black nor his team have publicly addressed the latest arrest. In addition, more information is expected to surface once official court documents are filed.

Read More: Kodak Black Keeps Circling The Same Cycle Of Controversy

The post Kodak Black Arrested In South Florida On Fleeing & Resisting Charges appeared first on HotNewHipHop.

Overall, this is one of the wildest announcements we could have ever imagined. Drake is one of the biggest artists in the world, and three albums in one night is almost unheard of. If you are a fan of the artist, you have to feel as though this is one of the biggest nights in the history of music.

Of course, this could all be hyperbole. We still do not know what these projects are going to sound like. However, if one thing is for certain, it is that Drake is about to break the internet, and maybe even Spotify, with this release.

Read More: Drake Reveals His Father Dennis Graham Has Cancer On New “ICEMAN” Track

Drake To Drop Three Albums

It appears as though the first album in the trilogy is called Habibti. From there, the second album is going to be called Maid Of Honour. Lastly, you have ICEMAN, which is the album that all of the fans have been waiting for.

If Drake can deliver three banger albums back-to-back-to-back, his fans will be eternally grateful. If the albums don’t live up to the hype, then fans are going to be extremely disappointed.

Whatever the case may be, this was going to be a special night, and it got a whole lot more special. Soon, we should get the tracklist and features for the project. Although for now, none of that has been unveiled.

Stay tuned for more updates from the Drake triple-album release.

Read More: Drake’s “ICEMAN” Episode 4 Has Arrived: Watch Here

The post Drake Is Dropping Three Albums Tonight: “Habibti,” “Maid of Honour, & “ICEMAN” appeared first on HotNewHipHop.

Most of the shots have been at Kendrick Lamar. There have also been a couple of shots at the likes of A$AP Rocky and Rihanna. Some fans even believe they heard a shot aimed at Jay-Z. With that being said, the biggest shot on the album was actually at DJ Khaled.

During one of the tracks, Drake names the record producer by name, and even invokes his silence on Palestine. DJ Khaled is one of the most prominent Palestinians in hip-hop, although he has yet to speak on the conflict.

Read More: Rolling Loud Is What Happens When Everything Becomes Content

Drake Is Taking Shots

“Khaled you know what I mean… Your people are still waiting for a ‘Free Palestine’ but apparently everything isn’t black and white and red and green,” Drake rapped.

So far, there have been features from the likes of Future, Molly Santana, and even 21 Savage. Fans are hoping for even more features as the evening goes on. At this time, the official tracklist and the features list have yet to be revealed.

That said, it is clear that Drake has put a ton of effort into this album. The visual album concept is a dope one, and so far, the artist has executed. There have even been some appearances from the likes of Shane Gillis and even DJ Akademiks.

Stay tuned to HNHH this evening as we continue to provide live coverage of the album.

Read More: “Coloring Book” Still Feels Like Peak Chance The Rapper 10 Years Later

The post Drake Takes Aim At DJ Khaled For Not Speaking About Palestine appeared first on HotNewHipHop.

However, during the first song of the Episode, Drake made a harrowing revelation about the health of his father, Dennis Graham. “My dad got cancer right now, we battling stages,” the Canadian megastar rapped. It was a revelation that many fans weren’t ready for, especially considering the role Dennis has played in Drake’s life and career.

Social media was flooded with well-wishes for Dennis, who is someone the fans have grown to love over the years. It was an emotional moment in the song, and it’s clear that Drizzy had been contemplating sharing this aspect of his life.

Read More: “Coloring Book” Still Feels Like Peak Chance The Rapper 10 Years Later

Dennis Graham Has Cancer

If you are watching ICEMAN Episode 4, then you have probably noticed that the songs are well-produced. Drake is delivering some solid melodies here, and it feels like his songwriting has taken a noticeable jump since For All The Dogs.

We have not heard any features lately. This is certainly a bit of a surprise, especially since fans were expecting a ton of guest voices. Of course, we are barely 15 minutes into the broadcast, so there is always a chance that things change from here on out.

With that being said, our thoughts are with Dennis Graham and Drake’s family right now. Cancer is horrible, and it is always hard to hear when someone is going through that.

Stay tuned for coverage of the rest of the album.

Read More: Rolling Loud Is What Happens When Everything Becomes Content

The post Drake Reveals His Father Dennis Graham Has Cancer On New “ICEMAN” Track appeared first on HotNewHipHop.

This was one of the most anticipated elements of Drake’s rollout. Episode 3 went down months ago, only for the artist to leave us hanging. Now, the episode has arrived in all of its glory, and the fans are excited to finally consume the album, as intended.

Episode 4 promises to be some sort of lengthy visual that will lead us into the midnight release. It will be a way for fans to connect with Drake and experience what he has been dealing with over the past couple of years.

You can tap into the live stream below.

Read More: What Time Is Drake Releasing “ICEMAN”?

ICEMAN Episode 4

At the time of writing this, Drake still hasn’t revealed the album art or the tracklist for the project. This has led a lot of fans to wonder whether or not there are a few surprises left waiting in the wings.

DJ Hed suggested a second album is coming tonight. If that is truly the case, then the fans are going to be in for a real treat. Even if that isn’t true, ICEMAN will be enough to make a lot of fans very excited.

This is going to be the biggest night in hip-hop this year. Whether or not Drake can make his album live up to the hype still very much remains to be seen. Either way, the fans are keeping the faith, and no matter what, the reactions will be polarizing.

Read More: Joe Budden Responds To Drake Claiming He Slept With Joe’s Girlfriend

The post Drake’s “ICEMAN” Episode 4 Has Arrived: Watch Here appeared first on HotNewHipHop.

The broadcast begins at 9:45 PM EST, and everyone is excited to see what’s coming next. The album’s cover art will be revealed in due time. From there, we will also be getting the tracklist and the features. This is an exciting prospect, and the anxiety is starting to mount.

With preparations being made for tonight’s live stream, Torontonians have noticed some activity at the CN Tower. There have been lots of projections, and sound engineers have been spotted across the way. According to a Toronto outlet, CP24, the activity at the tower is, indeed, Drake-related. In fact, in a statement, it was revealed that ICEMAN is a visual album.

Read More: Rolling Loud Is What Happens When Everything Becomes Content

Drake To Take Over The CN Tower

“Following Drake’s experimental episodic Iceman journey, The Iceman Chronicles reaches its theatrical climax with the release of his highly anticipated album in Episode 4 — back home in Toronto,” the event description reads. “The visual album, unfolds as a theatrical interpretation of Drake’s thoughts and experiences over the past two years.”

This is an extremely exciting prospect for fans, especially when you consider how the entire album is likely to be played during the broadcast. While there may be some interruptions and omitted songs here and there, fans will get a feel for what Drake is cooking.

Then, at midnight, everyone will be able to listen to the project all the way through, uninterrupted. Only time will tell whether or not this was the album everyone was hoping for.

Read More: “Coloring Book” Still Feels Like Peak Chance The Rapper 10 Years Later

The post Drake’s “ICEMAN” Is Confirmed To Be A Visual Album appeared first on HotNewHipHop.

The shift from documenting experiences to broadcasting them in real time has fundamentally altered the way people interact with music, festivals, and each other. Concerts are no different. At one point, people complained that fans were too busy filming shows instead of actually experiencing them. Sometimes, those clips turned into internet-defining moments — Kanye West’s Pablo tour rants spreading across timelines within minutes, for example. But somewhere along the line, hip-hop festivals stopped feeling like celebrations of music and started feeling more like giant content farms engineered for clips, livestreams, and algorithmic moments.

It began with influencers, then content creators, and now streamers, who can’t really be written off as internet-adjacent figures anymore. Whether people like it or not, they’ve become part of hip-hop’s promotional infrastructure. They influence narratives, rollouts, fan perception, and increasingly, festival attention itself. Rolling Loud embodies that shift better than almost anything else because the festival sits directly at the intersection of internet virality and rap culture. Even its lineups reflect the tension between old and new rap industry priorities: legacy headliners sharing space with artists who built their notoriety almost entirely online, while personalities like Brittany Renner roam backstage chasing viral interactions.

And those interactions work. Renner barely needed more than a few seconds with artists backstage to generate headlines. J. Cole briefly stopping to speak with her became a moment in itself, while her relationship with Kevin Gates seemingly unfolded in front of the same cameras. Traditional media rarely generate those kinds of moments anymore because traditional media serves a different purpose. Journalists contextualize, critique, and occasionally challenge the people they cover. Streamers and internet personalities, by design, rarely need to. Their value comes from reach, immediacy, and access. For labels, artists, and publicists, that trade-off is obvious.

The “goofy promo appearance” economy is simply more entertaining to the average consumer than an artist sitting down for a deep conversation about their catalog. And it works both ways. Streamers pay enormous amounts of money to bring artists onto their platforms because even awkward interactions can become content. Adin Ross reportedly paid Playboi Carti an absurd amount of money for a stream that lasted only minutes, but it ended up becoming more valuable because it was so painfully underwhelming. The most entertaining part of the entire ordeal was watching Adin get scammed in real time.

That dynamic fundamentally changed the relationship between hip-hop and streamers. They were no longer adjacent to rap culture; they had become embedded within it. Someone like Kai Cenat represents the cleaner, more digestible version of that evolution—the family-friendly internet personality whose album reactions and artist interactions now carry an institutional level of attention once reserved for critics, radio DJs, and established music publications. That isn’t necessarily an indictment of Kai himself so much as it is an observation about the ecosystem around him. Streamer opinions increasingly carry the same weight as traditional criticism despite operating by entirely different standards. The format rewards access more than scrutiny, personality more than perspective.

Eventually, festivals adopted the same logic. Rolling Loud doesn’t necessarily book bad artists. The issue is that the festival often feels less curated than algorithmic. Its overcrowded lineups regularly prioritize immediacy, virality, chaos, and hype—the exact same values that drive streamer culture in the first place. Too many artists hit the stage without fully understanding how to command a crowd, while audiences increasingly attend with the expectation that they’re participating in content as much as a concert. At times, Rolling Loud feels less like a music festival than a physical manifestation of an Instagram feed or Spotify playlist: endless stimulation, endless turnover, endless noise.

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But internet popularity doesn’t always translate into real-world presence. People like Adin Ross have appeared onstage at festivals to loud reactions, yet there’s often a lingering question about what role they actually occupy in those spaces beyond visibility itself. More recently, Kai Cenat affiliate Rakai was booed by crowds at Rolling Loud before lashing out at the audience. Even Plaqueboymax, who has arguably integrated himself into hip-hop more concretely through production and artist collaborations, struggled to get through a set without objects being thrown at him. The disconnect is revealing. Online influence creates proximity to rap culture, but proximity alone doesn’t automatically earn acceptance within it.

That’s also why the increasing overlap between streaming culture and live events feels so strange. There’s seemingly little value in physically being present anywhere anymore unless the experience is simultaneously being converted into content. Award shows, festivals like Rolling Loud, backstage areas, and even VIP sections increasingly feel designed around documentation rather than participation. Kai Cenat attending the Grammy Awards made sense from a business standpoint because award shows desperately want younger audiences. But watching streamers livestream their reactions while sitting inside the event itself captures the broader absurdity of modern entertainment culture: even presence alone no longer feels sufficient unless it’s immediately repackaged for consumption.

And that comes at a cost. Celebrities, artists, and public figures obviously rely on visibility, but there’s still an understood boundary between public access and constant surveillance. Streamers, unfortunately, thrive on collapsing that distinction. Adin Ross even claimed that Coachella organizers weren’t particularly happy about fellow streamer N3on broadcasting freely around the festival because of concerns surrounding VIP guests and artist privacy. It sounds minor on paper, but it reflects a much larger cultural shift: every room is now treated like potential content inventory.

And underneath all of it, the culture itself increasingly feels secondary. Hip-hop is youth culture, but not all youth culture is hip-hop. The distinction matters because the industry increasingly treats virality as cultural contribution when they’re not remotely the same thing. Festivals once functioned as places of discovery. Interviews contextualized artists instead of merely extending their rollouts. Even access to celebrities once carried meaning because it wasn’t endlessly available.

Now, access itself has become the product. That’s the real shift. Not that streamers entered hip-hop, but that hip-hop institutions increasingly reorganized themselves around the same incentives driving internet culture in the first place: visibility over substance, immediacy over engagement, virality over curation. Eventually, the algorithm stops reflecting the culture and starts shaping it.

The post Rolling Loud Is What Happens When Everything Becomes Content appeared first on HotNewHipHop.

Further, the rollout itself already made the project stand out. Chance released Coloring Book independently, initially through an Apple Music exclusive deal, when streaming still carried skepticism in parts of the music industry. Questions about whether a streaming-only project, or even a “mixtape,” could compete at the highest level still existed then. The project answered quickly, debuting at No. 8 on the Billboard 200 largely off streaming numbers, something that still felt new in 2016.

Read More: 5 Producers You May Not Know On Chance The Rapper’s “Coloring Book”

The momentum only grew from there. Songs like “No Problem,” “Blessings,” “Angels,” and “Same Drugs” helped turn the project into one of the defining Rap releases of that year, while features from artists like Kanye West, Justin Bieber, Lil Wayne, 2 Chainz, Lil Yachty, and Kirk Franklin expanded the album’s communal feel even further.

Further, the project defined when Chance represented a different vision for Rap stardom entirely. He was independent, optimistic, spiritually grounded, and uninterested in fitting neatly inside traditional industry expectations. Looking back a decade later, Coloring Book still feels tied to that specific version of Chance The Rapper, the one many listeners believed could change the shape of Rap moving forward.

The Album That Helped Change Streaming-Era Rap

Part of what made Coloring Book feel so important in 2016 had nothing to do with the music itself at first. It was the way the project existed. Albums were still heavily judged through traditional sales, and physical releases still carried prestige. Moreover, there was ongoing doubt around whether streaming-only projects should even qualify for major awards consideration at all. Coloring Book forced those conversations ahead.

Soon came the Grammy Awards. In 2017, Chance won Best Rap Album for Coloring Book, making it the first streaming-only project to take home the top prize. He also won Best New Artist and Best Rap Performance for “No Problem,” featuring Lil Wayne and 2 Chainz. That moment felt bigger than one artist.

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Read More: Chance The Rapper Officially Announces Coloring Book 10 Year Anniversary Tour: How To Cop Tickets

Streaming was already changing listening habits in 2016, but Coloring Book helped legitimize the idea that an artist could build a blockbuster release around those platforms without completely following the industry’s older rules. It’s easy to forget how unusual that still felt then.

Gospel, Joy, & A Different Kind Of Rap Album

The emotional atmosphere Chance created throughout the tape also helped separate Coloring Book from its competitors. The album was joyful without sounding shallow. It was spiritual without feeling preachy. Even at its most celebratory, there was still an awareness of family and survival underneath it all. Chance wasn’t pretending life was perfect. He just wasn’t interested in presenting numbness as the only serious emotional register in Rap.

That tone carried through the music itself. “Blessings” became central to that feeling. “Angels” carried deep hometown pride while sounding light on its feet. “Same Drugs” moved differently from almost anything dominating Rap radio at the time, emotionally vulnerable without trying to harden itself afterward.

Read More: Hottest 20 Mixtapes Of 2016

Chance had already built momentum through Acid Rap, but Coloring Book pushed him into a different space entirely with bigger stages and wider audiences. There was the award-show recognition and the feeling that he was becoming one of the defining artists of his generation, without following the industry blueprint that people expected. That independence became central to his image.

Moreover, the rapper wasn’t presented as someone chasing Rap superstardom in the traditional sense. He felt approachable, rooted in the Windy City, openly expressive, deeply tied to faith, and genuinely excited about music in a way that stood out during an era where detachment often carried more cultural currency. Even the way he spoke publicly felt less guarded from a lot of Rap stars at the time. Audiences responded to that heavily.

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Read More: Chance The Rapper “Star Line” Review

Much has changed around Chance the Rapper since 2016. The public conversation surrounding him shifted in later years as expectations grew heavier. The industry, as well as listeners’ reactions, changed. Yet, Coloring Book has largely remained protected from the reevaluation that tends to occur for artists over time. Even people who fell away from Chance afterward often speak about the project with a different kind of affection. Ten years later, that feeling still comes through when the music starts playing again.

The post “Coloring Book” Still Feels Like Peak Chance The Rapper 10 Years Later appeared first on HotNewHipHop.