Clive Davis, one of music’s most powerful executives in hip-hop and R&B, was briefly hospitalized in New York City after developing an upper respiratory infection, according to a spokesperson. The spokesperson said Davis, 94, was admitted to a hospital “out of an abundance of caution” and was expected to be released within 24 hours. The hospitalization occurred less than a week after he attended the Gordon Parks Foundation Awards Dinner and Auction in Manhattan, where he appeared in good spirits. View this post on Instagram For more than six decades, Clive Davis has occupied a singular place in American music. Few executives have exercised comparable influence over the careers of recording artists or the direction of popular music. His work has spanned generations, from the rock revolution of the 1960s to the contemporary pop era. Davis began his ascent in 1967 when he became president of CBS Records. During that period, he signed artists who would become foundational figures in American music, including Janis Joplin and Santana. He later played a key role in the careers of Bruce Springsteen, Aerosmith, and Billy Joel, helping establish Columbia Records as one of the industry’s dominant labels. Clive Davis, Whitney Houston & Alicia Keys Executive, Hospitalized In New York City After leaving CBS Records in 1973, he led Arista Records, where he continued to identify and cultivate major talent. His roster included Patti Smith, the Kinks, and the Grateful Dead. He also guided the careers of Aretha Franklin and Dionne Warwick during pivotal stages of their professional lives. Perhaps no discovery became more closely associated with Mr. Davis than Whitney Houston, whom he signed in 1983. Their partnership produced one of the most successful careers in popular music history. In 2000, he founded J Records and continued mentoring emerging artists, including Alicia Keys, Jennifer Hudson, and Kelly Clarkson. That same year, he was inducted into the Rock and Roll Hall of Fame as a non-performer, recognizing his contributions behind the scenes. Beyond the boardroom, Davis became known for his annual Grammy-week gathering, a fixture of the music calendar. Reflecting on the event earlier this year, he said: “Well, it’s exciting because it’s as star-filled as ever, if not more. But it’s the emotion of people looking forward to it that keeps me on my toes.” Though the hospitalization prompted concern, those close to Davis indicated the episode was temporary. His legacy, meanwhile, remains firmly embedded in the history of American music.

Young M.A. sits down with Mero and the Mornings With Mero crew to talk about her highly anticipated sophomore album Kween (out May 29th via MA Music), what it means to be independently successful while owning her masters and publishing, and how she powered through years of writer’s block to get back in the studio. She breaks down the inspiration behind the album title, her recording process at home, working with Tory Lanez on “Gal Dem” featuring the Sister Nancy sample, the fan-favorite “On Her Body,” and why she’s never felt the urge to sign with a major label. Plus — she opens up about acting plans with 50 Cent, her love of reggae and R&B, and what it feels like when the crowd knows every bar.

Soulja Boy’s first female artist, Litty Vuitton, is poised to take a major step forward in her career with the release of her highly anticipated album, 1-800-BABEMOTION, arriving this Friday. Alongside the project, the South Carolina native will debut its lead single, “YOGA.” As the first female artist signed to hip-hop trailblazer Soulja Boy, Litty Vuitton has steadily built momentum while carving out a lane uniquely her own. Born and raised in Columbia, South Carolina, Litty’s connection to music began early. Inspired by her father, a music producer, she started writing and recording songs as a child, developing a sound that reflects both her roots and her forward-thinking creative vision. Her latest project, 1-800-BABEMOTION, offers listeners an intimate look into her personal experiences and artistic evolution. Across the album, Litty explores themes of love, heartbreak, empowerment, self-discovery, and growth, balancing vulnerable storytelling with high-energy tracks that celebrate confidence and resilience. Leading the release is “YOGA,” a record designed to captivate listeners with its infectious energy and bold personality. The song showcases Litty’s ability to merge emotional relatability with undeniable replay value, creating a track that feels equally at home on playlists, social media platforms, and live stages. The forthcoming album arrives after a series of notable milestones for the artist. In June 2025, Litty released “Online Now,” a reimagining of Soulja Boy’s iconic hit “Crank That (Soulja Boy).” The track paid homage to one of hip-hop’s most recognizable records while introducing Litty’s own perspective and style to a new generation of listeners. “1-800-BABEMOTION represents different emotions, different experiences, and different versions of myself,” Litty Vuitton said in a statement. “I wanted to create something people could connect to while still having fun, feeling empowered, and seeing themselves in the music.” View this post on Instagram

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.