Soulja Boy has been speaking more openly in recent days about his effort to step away from lean, a struggle he says has come with repeated setbacks and unexpected emotional shifts. In a clip circulating online from what appears to be a recent livestream, the rapper reflects on roughly a year of trying to stop, followed by periods where he returned to it. He describes a change in how he experiences his emotions now compared with earlier years, when he says the substance once dulled them more predictably. “I gotta kick the cup,” Soulja told fans, as seen below. “I don’t even drink lean no more, bruh. I stopped drinking lean for, like, a year. Then, sometimes I just be relapsing. Like, a week will go by or something, and just like, it ain’t even [that I’m] bored. I’mma say the truth. I be, like, overstimulated. When I be feeling overstimulated, I be having to pour up.” He frames those moments less as habit than as reaction, tied to feeling mentally overloaded. Soulja Boy admitted on live that he relapsed after a year of sobriety. He told viewers that lean makes him emotional, explaining that he pours up when he gets overstimulated and starts thinking about all the trauma and backstabbing from his past pic.twitter.com/toyqlo4fAK — livebitez (@livebitez) May 29, 2026 Soulja Boy Reflects on Substance use, Emotional Shift, and Stepping Away He went on to say the aftermath now feels very different from what he once associated with it. “Every time I pour up, I get in my feelings, bruh,” he said. “Like, every time. I used to pour up and all my feelings would go away. Like, I’d be numb to this shit. No matter how overstimulated I got, no matter what I was dealing with, n***a, I’ll pour up a cup, n***a, and just go about my day. Nobody would be able to bother me, and then I could do whatever I want. Now, n***a, I’ll pour up, and then I just be getting sad as a motherfucker.” The 35-year-old “Crank That” artist says the emotional impact is no longer avoidable, even when his day seems fine on the surface. “I start thinking about just the worst shit you could think of in your life,” he said. “I’m like, goddamn. … That shit just take my mind to a whole ‘nother place. It’s over with, fool. I gotta kick the cup, fool. It’s a wrap. I can’t pour no more, fool. I can’t be feeling like that.” He also revisited the subject in a 2021 interview with HOT 97, where he said the habit had been “deteriorating” his moods. At the time, he believed he had already stepped away from it, though his recent comments suggest the process has been less linear.

Latto offered a more reflective account of her recent comments about possibly stepping away from music during a conversation with Nadeska Alexis on Apple Music. The discussion returned to a post she made about Big Mama, which she once described online as a “retirement” album. Alexis raised the point gently but directly, noting that she had taken the statement with some skepticism at the time. The moment also comes in a period of personal transition for Latto, who recently had her first child with 21 Savage. “Remember when we was talking about postpartum depression, good days, bad days?” she said around the 15-minute mark, framing her earlier post as something shaped by a difficult stretch rather than a fixed decision. She spoke openly about how disorienting that period felt. “That was definitely not one of the good days. Experiencing postpartum for the first time, you don’t know what to expect? I kind of underestimated it. That was just one of those days where I was at home and overwhelmed with the album.” Latto Walks Back Retirement Talk Amid Postpartum Reflections She suggested her thinking has been fluid since then, changing with her circumstances and mood as she adjusts to motherhood and work. “I was going through it that day,” she said. “Today’s a good day. I wouldn’t say I’m retiring today. Talk to me next week again, I might say, ‘No, that shit was for real.’ So, I don’t know. I’m going through it. I crashed. It is what it is.” Alexis responded, “It will happen again,” pointing to how postpartum experiences can ebb and flow. Latto later added, almost under her breath, “I’m going to try not to take it Twitter next time,” softening the tone with a brief laugh. By the end of the conversation, she returned to the reaction her post had drawn and expressed some regret over how it landed publicly. “I apologize for the retirement tweet,” she said. Earlier this month, she had written on X, “5/29. My retirement album. Thank you for everything.” In the weeks that followed, she confirmed the birth of her child and was seen alongside Keyanna Joseph, the mother of 21 Savage’s two older sons, Kamari and Ashaad, as she continues moving through a period of significant personal change.

Months after Megan Thee Stallion and Klay Thompson quietly went their separate ways, conversation around the breakup has hardly disappeared. Earlier this year, Megan accused the NBA star of cheating in a series of emotional social media posts. In contrast, Thompson has chosen not to publicly respond. Lately, listeners have started wondering whether some of that experience shaped Megan’s latest verse on Bossman Dlow’s “Motion Party (Remix).” The reaction online was immediate. Fans quickly began parsing through the lyrics for possible references to the former relationship. “I ain’t goin’ through no phones, that shit stupid/If I catch a n***a cheatin’ on me, it’s deuces,” Megan raps early in the track. Moments later, she follows with, “Sh*t strict over here, I’m a rich b*tch/ Thought he did his big one ‘til he met the biggest.” She never mentions Thompson by name. However, the song leaves enough ambiguity for listeners to draw their own conclusions. Even so, the timing of the release—arriving months after Megan publicly discussed infidelity—has only intensified speculation surrounding the verse. Megan first confirmed the breakup in April through a candid Instagram message. That message quickly circulated online. “Cheating, had me around your whole family playing house… got ‘cold feet’[.] Holding you down through all your HORRIBLE mood swings and treatment towards me during your basketball season now you don’t know if you can be ‘monogamous’???? bitch I need a REAL break after this one .. bye yall,” she wrote. Megan Chooses Peace After a Public Split In a later statement shared with TMZ, Megan framed the split less as public drama and more as a personal boundary she felt compelled to make. She expressed, “I’ve made the decision to end my relationship with Klay.” She continued, “Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward. I’m taking this time to prioritize myself and move ahead with peace and clarity.” Since then, Megan Thee Stallion has largely kept her attention on touring, performances, and new music. Still, interest in the breakup continues to follow her latest releases online.

The Queen of Da South Latto uses her new album, Big Mama, to address fellow female rapper Cardi B about an old tweet on the track “Gimmie Dat.” Now that the most talked-about song on the album, released Friday, fans are questioning whether Latto’s reference to Cardi is a diss or facts. On the record, the Atlanta rapper delivers confident bars about status, money, and rap competition before appearing to challenge another female artist directly. “B*tch said what? Let’s clock it,” Latto raps. “Wish a b*tch would get in that booth / I’m callin’ up PlaqueBoyMax.” Latto seemingly responds to Cardi B on the track “Gimme Dat” from her new album “Big Mama” “B*tch said what? Let’s clock it / Really got a Hermes store in my closet / Talkin’ ’bout buyin’ big mama a bag like my n***a ain’t already bought it” “Wish a b*tch would get in that… pic.twitter.com/TICr3dYCLH — HotNewHipHop (@HotNewHipHop) May 29, 2026 Many listeners believe the bars reference Cardi B, especially given the pair’s complicated public history during the last two years. Fans quickly connected the verse to leaked audio involving Cardi B during her online fallout with Nicki Minaj. In the clip, Cardi dismissed Ice Spice while saying she was not “p**sy ass Latto.” The remark spread rapidly across social media and fueled rumors of tension between the two rappers. Soon afterward, Cardi publicly apologized. “I f*ck with Latto HEAVY,” Cardi wrote online at the time. “I respect everything about her.” Rapper Latto Brings Up Situation With Cardi B On ‘Big Mama’ Track “Gimmie Dat” The Bronx rapper also joked about buying Latto a designer bag as part of the apology. After that exchange, many fans believed the situation had ended quietly behind the scenes. Still, speculation returned earlier this year when Latto performed “Put It On Da Floor” live. Some fans believed repeated lyrics during the performance subtly referenced the leaked Cardi audio. Latto later denied targeting anyone directly. Now, “Gimme Dat” has reopened the conversation. Neither Latto nor Cardi B has confirmed an active feud. Yet fans continue dissecting every lyric tied to Big Mama for possible subliminals. The debate reflects modern hip-hop’s obsession with hidden shots, coded lyrics, and social media clues. The renewed attention also arrives during a dominant era for women in rap, where competition often fuels public conversation as much as chart success itself. For now, listeners remain divided. Some hear ordinary rap talk. Others believe Latto intentionally reignited unfinished business with Cardi B through one of Big Mama’s sharpest records.

Lil Yachty really wants to be a WWE Superstar and not just Trick Williams valet, according to a new training video at the Performance Center in Orlando. The Atlanta rapper, who appeared alongside Trick Williams on Netflix’s Monday Night Raw each week, recently took part in a series of drills designed to introduce him to the physical demands of professional wrestling. WWE released footage of the sessions ahead of a longer training feature scheduled to premiere Friday on the company’s YouTube platform. View this post on Instagram “This is new for me,” Yachty said during the workout. “I’m at ground zero.” The footage showed the rapper learning foundational wrestling techniques, including how to take bumps safely inside the ring. WWE Performance Center coach Norman Smiley guided much of the session while Trick Williams worked alongside Yachty during several drills. “You’re getting better every time,” Williams told him. Yachty described the training process as physically demanding but rewarding. A longtime wrestling fan, the rapper said competing inside a WWE ring became a personal goal after years spent attending live events and following the sport closely. Rapper Lil Yachty Trains With Trick Williams To Become A WWE Superstar “It’s a challenge and testing my body in ways I’ve never done before,” Yachty said. “I enjoy the pain. I enjoy the struggle because I feel like I’m working.” The rapper also suggested he hopes to become more than a celebrity guest appearance. “I’m always setting goals,” he explained. “Now the goal is to transform this body and start whooping some a– in that ring.” Yachty first entered WWE programming during an April episode of WWE SmackDown, where he accompanied Trick Williams during a televised appearance. That moment immediately sparked speculation about a larger partnership between the rapper and WWE. Celebrity crossovers have become increasingly common across professional wrestling in recent years. Still, Yachty’s willingness to undergo formal training signals a deeper commitment than a typical cameo role. For WWE, the partnership also reflects the growing overlap between hip-hop culture and sports entertainment. Yachty now joins a long list of artists exploring opportunities inside the wrestling world while expanding their reach beyond music.

Jadakiss is defending the competitive spirit of hip-hop after Drake targeted DJ Khaled on the song “Make Them Pay,” one of the most debated records from Drake’s latest album, ICEMAN. During a recent episode of the Joe and Jada Podcast, Jadakiss pushed back against criticism surrounding Drake’s lyrical shot at Khaled, arguing that rap culture has become too restrictive about who can and cannot become a target in musical competition. “That’s what’s wrong with hip-hop,” Jadakiss said. “It’s invisible lines. It’s this and that. Is it beef? Is it hip-hop? What could be said. What can’t be said.” View this post on Instagram The debate erupted after Drake used “Make Them Pay” to criticize Khaled over his silence regarding Palestine. The Toronto rapper delivered pointed lyrics that quickly fueled online discussion. “And, Khaled, you know what I mean / The beef was fully live, you went halal and got on your deen,” Drake rapped. “And your people are still waitin’ for a free Palestine.” He continued: “I’m seein’ everyone’s true colors, for real, I’m sensin’ a theme.” Jadakiss Defends Hip-Hop Over Drake’s Diss About DJ Khaled On ICEMAN’s “Make Them Pay” While some listeners viewed the lyrics as unnecessary, Jadakiss defended Drake’s approach as part of hip-hop’s competitive DNA. The Yonkers veteran argued diss records remain acceptable as long as conflicts stay rooted in music rather than personal escalation. “It’s supposed to be musical,” Jadakiss explained. “And then it gets to a point where it’s not musical. Then it’s not hip-hop.” When concerns surfaced that Khaled lacked the background of a traditional battle rapper, Jadakiss dismissed the argument entirely. “He got people. He got money,” Jadakiss said. “Go in the phone, help yourself. It’s only hip-hop, right?” The exchange reflects broader tensions surrounding Drake’s aggressive ICEMAN rollout, which included shots aimed at multiple figures across rap culture following his headline-making feud with Kendrick Lamar. Khaled later responded indirectly on Instagram with a spiritually focused message rather than addressing Drake directly. “LET GOD RISE AND ALL HIS ENEMIES SCATTER,” Khaled wrote. The moment has since become another flashpoint in hip-hop’s ongoing debate over lyrical warfare, loyalty, and the evolving rules surrounding rap competition.

Drake’s latest run has kept him at the center of rap’s ongoing conversation, with fans and critics continuing to debate both the music and the scale of his success. In recent weeks, the Toronto star released three albums—ICEMAN, HABIBTI, and MAID OF HONOUR—a rollout that quickly turned into one of the year’s biggest commercial stories. While reactions to the projects have varied across social media and among reviewers, the numbers have been difficult to ignore. The albums surged across streaming platforms, filled the Billboard charts, and once again reinforced Drake’s ability to command attention at a level few artists in any genre can match. Among those weighing in was Jim Jones, who spoke about Drake’s momentum during a recent appearance on The Danza Project. “The whole battle with Kendrick and people were like, ‘Where’s Drake at?’… I’m happy for that brother. When you playin’ on that level, it’s expected. I’m not surprised. When you got a pen game like he got a pen game, it’s kinda hard to fail out here. It’s a different level. Shout out to Drake. Shout out to the whole OVO family. Shout out to Kendrick. Shout out to both of them. But shout out to my boy Drizzy,” Jones said. View this post on Instagram Jones Says Drake’s Three-Album Run Still Stands in a League of Its Own Jones also reflected on how unusual it is for any artist to release multiple albums at once and still dominate the charts in the process. He pointed to figures like Jay-Z and Tupac Shakur as artists whose cultural reach once carried a similar weight, though he stopped short of comparing anyone directly. When asked whether Tory Lanez could pull off a similar feat, Jones praised his music but questioned whether the timing and momentum were comparable. “I love Tory,” he said. “Whatever album he gone put out is gon’ spank and slap. But three albums, Tory right now? We haven’t seen him. He ain’t got no motion. It’s just a different—the power that Drake had, the marketing behind it, and the strategies behind it, the innuendos. It’s just a lot.” For now, Drake’s latest streak has kept him firmly planted near the top of rap’s commercial landscape. Whether listeners embraced all three albums or only parts of them, the rollout became another reminder of how closely the industry still tracks his every move.

Rapper Nelly secured another legal victory after a federal judge ordered an attorney representing a former St. Lunatics member to repay more than $67,000 in attorney fees connected to a failed copyright lawsuit over the multi-platinum album Country Grammar. The ruling, issued Thursday, stemmed from litigation filed in 2024 by former St. Lunatics member Ali Jones. Jones alleged he and other members of the St. Louis rap collective were denied royalties and songwriting recognition tied to Nelly’s breakthrough 2000 debut album. The lawsuit targeted one of hip-hop’s most commercially successful releases. Country Grammar propelled Nelly into mainstream stardom and produced crossover hits including “Hot in Herre” and “Dilemma.” Nelly’s attorneys argued the claims arrived far beyond the federal Copyright Act’s three-year statute of limitations. Jones later dismissed the lawsuit voluntarily in April 2025. Despite that withdrawal, Nelly’s legal team continued pursuing sanctions against attorney Precious Felder Gates, arguing the case lacked any viable legal foundation. Nelly Wins Big In Lawyer’s Copyright Lawsuit Over ‘Country Grammar’ In an earlier ruling, the court concluded it should have been “patently obvious” the claims could not survive judicial review. The judge further determined counsel continued advancing the litigation despite clear procedural barriers. Thursday’s order awarded Nelly $67,586 for more than 150 hours of legal work performed by his attorneys. Gates challenged the request, arguing the billing records reflected excessive hours and inflated hourly rates. The court rejected most of those objections. The judge ruled the fees aligned with prevailing market standards and reflected the demands of defending the case effectively. Nelly attorney Kenneth D. Freundlich welcomed the decision after the ruling became public. “Courts have limited patience for litigation used as a weapon rather than a remedy,” Freundlich said. “Frivolous litigation isn’t free.” The lawsuit initially included additional St. Lunatics members, including Murphy Lee, Kyjuan, and City Spud. However, those artists later distanced themselves from the complaint and stated they never authorized the filing. The ruling closes another legal dispute tied to one of rap’s defining commercial albums of the early 2000s.

Interesting comments from hip-hop legend Nas about Ye, better known as Kanye West, from a 2020 interview about their 2018 collaborative album NASIR have resurfaced. During a 2020 interview with Zane Lowe for Apple Music, the Queensbridge icon reflected on Ye’s intense Wyoming recording sessions, where several albums were being completed simultaneously. “This man is cranking out all of these albums,” Nas said. “And they’re going to come out every Friday.” When Nas and Ye announced their 2018 collaboration album NASIR, hip-hop fans expected a landmark release. Ye’s soulful production style and Nas’ elite storytelling appeared destined to create a modern rap classic. Instead, the seven-track project received a mixed response. Many listeners praised moments throughout the album. Still, critics questioned its lack of cohesion, emotional depth, and creative chemistry. Years later, Nas revealed the rushed process behind NASIR may have shaped the final result more than fans realized. At the time, Ye oversaw projects for multiple artists while also finalizing his own album. According to Nas, that workload left little time for the pair to fully develop NASIR together. Hip-Hop Legend Nas Recalls Disappointment In His 2018 Collab Album With Ye (Kanye West), NASIR “So I kind of had to wait till the last week before the album dropped,” Nas explained. “To really have him in the room.” Nas said the compressed timeline forced the album together at the last minute. Even so, he spoke positively about the experience and credited Ye for bringing him to Wyoming during the sessions. “I never been to Wyoming,” Nas said. “I thank him for bringing me out there.” The rap legend never blamed Ye directly for the album’s lukewarm reception. Instead, he suggested timing and scheduling created obstacles neither artist could fully overcome. “I don’t know what went wrong,” Nas admitted. “I did want to work more with [Kanye].” Nas also revealed he entered the process later than Ye’s other collaborators, leaving limited room to refine songs or build stronger chemistry. “We really did that album the week it was supposed to come out,” he said. Despite the criticism surrounding NASIR, Nas made clear he still believes the partnership carried enormous creative potential. For many fans, the project remains one of hip-hop’s biggest what-if moments from the late 2010s.

Tia Mowry appears to have confirmed a new romance after sharing a series of intimate photos from a tropical getaway. The “Sister, Sister” star took to Instagram on Wednesday to post a “photodump” of her recent vacation at the Nobu Los Cabos resort, which included a clear look at a new partner. In the lead image of the social media carousel, Mowry is seen laughing on the beach while resting her head on a man’s shoulder. The post also features a video clip of the pair clinking wine glasses and an image of the unidentified man sketching a portrait of the actress at an outdoor table. While the images clearly showcase a romantic connection, the 47-year-old performer did not tag his account or reveal his name. “A little sunshine, a little peace, and a much needed reset,” Mowry wrote in the caption, accompanied by a white heart emoji. Tia Mowry is living her best life The “Twitches” alum added that she had the “best time” during her stay at the upscale Mexican resort. Fans quickly flooded the comments section to celebrate what many are calling a “hard launch” of her new relationship. One follower remarked that the photos were “The Hardest Launch,” while another commented that the actress was “radiating” joy. Many fans expressed their support for Mowry finding love again, with one writing, “Keep making her happy sir!” The positive reception highlights the public interest in Mowry’s personal life following her high-profile transition into singlehood. This new public display of affection comes three years after Mowry filed for divorce from actor Cory Hardrict. The former couple was married for 14 years and shares two children, 12nd-year-old son Cree and six-year-old daughter Cairo. At the time of their split in 2022, Mowry stated that the decision was not easy and that the pair intended to maintain a friendship and co-parent their children. The actress has been candid about her journey of self-discovery following the end of her marriage. In previous social media updates, she has emphasized the importance of self-care and “doing the work” to find happiness independently. View this post on Instagram