GloRilla seemingly clapped back at rumors that she’s not been financially supporting her family in a recent social media post. A few days back, GloRilla’s sister Victoria—who goes by Scar Face Woods—hopped on Facebook, making startling allegations against the rapper. According to her, despite the rapper constantly speaking about her family’s financial struggles, she’s yet to reach back out and help them. Scar Face followed up on her post with a video, where she shared similar sentiments. Not long after, Glo seemingly caught wind of her comments. The rapper then posted a screenshot of a message from what appears to be her mother thanking her for financial assistance. “Thank you so very very much!!!” the message reads. “Really didn’t want to ask because you already do so much for us. I thank you so very much for all that you do. I don’t take it for granted at all!” View this post on Instagram GloRilla Claps Back At Haters For Plastic Surgery Allegations: ‘Y’all Mad?’ In other news, last month, GloRilla had a few choice words for people who commented on her appearance. The rapper had recently shared a video on her Instagram, which some say was heavily edited and was accused of going back under the knife. On Thursday (Jan.22), the Memphis native took to X to share her frustrations. “So did any of you hoes get a raise for tryna figure out why a b*tch look so beautiful yesterday???? Rent paid? Anything???” she wrote. “Or y’all really just #THAT mad dat a b*tch gorgeous for free? Lemme kno ina comments. That said, the comment section seemed split. While some agreed with the rapper’s right to defend herself, others felt her comments were unnecessary because there was a visible difference between how Glo looked when she rose to fame and now. “Nobody mad we just remember how u looked..” someone commented under Glo’s post. Glo quickly fired back with, “Are you getting paid for remembering that? Why does it matter so much to you?”

Rapper BIA immediately sets the record straight about her connection with superstar J. Cole. The Massachusetts rapper addressed a viral rumor involving J. Cole, who is married, with blunt honesty, cutting through speculation that followed their 2022 collaboration. After a social media user asked if she had slept with the Dreamville leader, BIA shut it down immediately. “No & I have never slept with a married man ever. Fake tea,” she wrote. No . & I have never slept w a married man ever. Fake tea — BIA (@BIABIA) February 1, 2026 The response spread quickly, ending the chatter with clarity and conviction. BIA is currently in a public relationship with NBA star Cam Whitmore. The rumor traced back to “LONDON,” the fan-favorite record that paired BIA with J. Cole at a pivotal moment in her rise. While the collaboration elevated her profile, it also sparked unfounded gossip that she says never matched reality. BIA recently explained how the record came together, emphasizing professionalism from start to finish. She said J. Cole initially brought her into the studio for a different song. She recorded a verse, met him, and prepared to leave. BIA Clears Up J. Cole Rumors Before heading out, she asked if she could play him something else. That song was “LONDON.” According to BIA, J. Cole listened and reacted immediately. “I love this song,” she recalled him saying. “This is my favorite song.” A week later, she followed up by sending him the track. “Just sending this if you need something to listen to,” she told him. J. Cole replied with interest, asking if he could “take a stab” at it. BIA said the answer was easy. “Take a stab? You can have it,” she said, describing a smooth exchange built on mutual respect. The feature came together naturally, without pressure or expectation. At the time, J. Cole was in a prolific feature run, appearing on tracks like Benny the Butcher’s “Johnny P’s Caddy” and YG’s “Scared Money.” His presence on “LONDON” reflected momentum, not favoritism. By addressing the rumor head-on, BIA reframed the conversation. She addresses integrity and the reality that many women artists face. The collaboration stands as music first, always. J. Cole is set to release his presumed final album, The Fall Off, on Friday (Feb. 6).

Boxing superstar Deontay Wilder walked out of a live talkSPORT studio appearance on Tuesday (Feb. 4) after a heated exchange with presenter Simon Jordan shifted attention back to his rivalry with Tyson Fury. Wilder appeared alongside Derek Chisora to promote their April 4 heavyweight bout at London’s O2 Arena. The segment was intended to preview the upcoming fight. It unraveled when Jordan referenced Wilder’s three-fight series with Fury. “I don’t want to talk about him,” Wilder said. “We’re here about Derek Chisora. We’re not going to talk about him. Understand that.” Jordan continued pressing the issue, prompting a sharp response from Wilder. “Because I know the truth,” Wilder shouted. “I have the facts. Understand that.” The former WBC heavyweight champion then stood up from his seat and stepped toward Jordan. Security personnel intervened before the confrontation escalated further. Chisora remained seated and did not engage during the exchange. “I don’t give a f— about that,” Wilder yelled. “I said we didn’t want to bring him up. It ain’t got s— to do with him.” Wilder exited the studio shortly afterward, ending the interview abruptly and leaving the promotional appearance unfinished. Deontay Wilder Explodes On Reporter Over Tyson Fury Question During the exchange, the Bronze Bomber again accused Fury of cheating, calling him “the biggest cheat in boxing.” He repeated long-standing allegations that Fury tampered with his gloves before their fights. “When the documentary and everything starts to come out, I’m going to show everything,” Wilder said. Jordan cited several explanations Wilder has previously offered for his losses to Fury, including claims of spiked water and favorable referee counts during their first fight in 2018. He also mentioned Wilder’s assertion that his elaborate ring-walk costume affected his performance. Wilder dismissed the costume explanation while maintaining the others. Fury responded to the accusations a day earlier on Instagram. “You don’t hear me crying and moaning about it,” he wrote. “That’s not me.” The April 4 bout will mark the 50th professional fight for both Wilder and Chisora. Wilder has gone 2-4 in his last six fights, including knockout losses to Zhilei Zhang and Joseph Parker. He last fought in June, stopping Tyrrell Anthony Herndon. Chisora enters on a three-fight winning streak and has indicated the bout could be his final appearance.

The Louisiana Supreme Court on Tuesday (Feb. 4) declined to revisit rapper Corey “C-Murder” Miller’s decades-long challenge to his second-degree murder conviction. It was ruled that Miller, 54, has exhausted his available state remedies and failed to meet the standard for further post-conviction review. C-Murder is serving a life sentence without parole for the 2002 fatal shooting of 16-year-old Steven Thomas at a Harvey, Louisiana, nightclub. A jury convicted the hip-hop star in 2009, concluding he fired the fatal shots during a crowded event. C-Murder has consistently maintained his innocence. The court’s latest action follows a long procedural history. Louisiana appellate courts affirmed the former No Limit Soldiers’ conviction in 2011, and the state Supreme Court upheld that decision in 2012. Since then, the rapper has filed multiple applications for post-conviction relief, all of which have been denied. In his most recent filing, Master P’s brother argued that new considerations warranted reopening his case. He pointed to the recantation of testimony by two prosecution witnesses and raised concerns about the handling and interpretation of DNA evidence during the investigation. His attorneys argued these issues undermined the fairness of the trial and justified either a new evidentiary hearing or a retrial. Corey “C-Murder” Miller’s Last Appeal Denied By Louisiana Supreme Court The justices were unpersuaded. In a short order issued Tuesday, all seven members of the Louisiana Supreme Court voted unanimously to reject the application. “Applicant has previously exhausted his right to state collateral review and fails to show that any exception permits his successive filing,” the court wrote. The ruling effectively forecloses further relief in state court. Louisiana law places strict limits on successive post-conviction filings. Louisiana requires defendants to demonstrate narrow statutory exceptions or newly discovered evidence meeting a high legal threshold. Courts have repeatedly held that witness recantations and generalized evidentiary disputes, without independent corroboration, are insufficient. Miller’s case has drawn sustained public attention. Supporters have long argued the conviction relied on unreliable testimony, while prosecutors and courts have maintained the verdict was supported by the trial record. With the Supreme Court’s decision, Miller’s life sentence remains intact. Any future challenge would likely have to proceed in federal court, where habeas standards impose similarly demanding barriers. For now, the state judiciary has signaled that Miller’s post-conviction claims have reached their end.

Tony Yayo is standing ten toes down for 50 Cent and Lloyd Banks, and he made that clear during a recent appearance on the Flagrant Podcast. Sitting across from comedian Andrew Schulz, the G-Unit rapper weighed in on renewed debate sparked by a Fabolous diss record and commentary from the Let’s Rap About It podcast, using the moment to revisit old history and sharper distinctions. Fabolous added a verse that dissed 50 alongside rapper Jim Jones, Dave East, and Maino. The conversation centered on the viral question of who outranks whom between Lloyd Banks and Fabolous. For Yayo, the answer starts with context. He reminded listeners that the Brooklyn rapper many now place above Banks once looked to G-Unit for opportunity. “The guy that they are saying is better than Banks wanted to sign to our label,” Yayo said. He added that visibility mattered early on. “50 took him overseas.” That history, Yayo argued, makes recent shots at 50 Cent feel misplaced. “50 does a lot for people,” he said. “But them people always seems to turn on him.” The comment echoed a familiar theme in 50’s career, where alliances often sour once success arrives. Schulz praised Yayo’s consistency, calling out his loyalty. Schulz acknowledged Yayo’s loyalty to 50 Cent as a trait most liked about him. Tony Yayo Defends 50 Cent While Discussing Who’s Better Between Lloyd Banks & Fabolous With Andrew Schulz Yayo agreed, framing his outlook around gratitude. “I live in the moment. I appreciate everything,” he said, recounting nights filled with music, parties, and shared energy. That mindset, he suggested, shaped G-Unit’s run. Yayo also pushed back on how critics assess legacies. “We were the most hated,” he said. He contrasted that with artists who benefit from momentum. “When DJ Khaled is hot, what do muthafuckas do? They hold their hands close to the fire.” From there, Yayo shifted to craftsmanship. He acknowledged Fabolous’ talent but questioned the comparison. “A lot of Fab’s biggest records are with features,” he said. By contrast, he highlighted Banks’ pen. “Banks wrote the hook, he wrote the record.” He pointed to Banks’ mixtape catalog as proof of street dominance and authorship. Yayo closed without dismissing Fab outright. “I’m not saying he’s not nice,” he said. “But I feel like Banks is better.” For Yayo, the difference lies in writing, contribution, and who truly carried the weight.

Mayor Zohran Mamdani said this week that New Yorkers will soon be able to access the cupola atop the David N. Dinkins Manhattan Municipal Building, opening a civic space long closed to the public. The announcement was made in a video posted on X, where the mayor described the structure as “one of the most magnificent government buildings in the world.” Named for the city’s first Black mayor, the building occupies a central place in Manhattan’s civic landscape. City officials framed the plan as an effort to broaden public access to municipal landmarks. Speaking from the rooftop, Mamdani pointed to the visibility offered by the site. “From the heights of this iconic building, you can witness the entire city—from MetLife Stadium to Bushwick,” he said. He characterized the move as a matter of public inclusion, adding, “This building belongs to the people of New York City, and for too long, they have been excluded from it. That is about to change.” The comments emphasized the symbolic nature of the opening. Beginning in June, the rooftop will be open to visitors at no cost. City officials said the timing was intentional, aligning the announcement with Black History Month in recognition of Mayor David N. Dinkins, whose name was added to the building in 2015. The access is expected to draw both residents and tourists. Details on daily capacity have not yet been released. A more structured program will follow in June 2026, when the city plans to introduce free guided tours for small groups. Reservations will be available online. The municipal building, among the largest government office complexes in the world, is undergoing a $6 million renovation. The project includes restoring the cupola, adding glass safety barriers, and reworking the rotunda landing to accommodate visitors. It’s your city, from the sidewalk to the skyline. The David Dinkins Municipal Building’s rooftop is open & free to everyone, starting this June. pic.twitter.com/6ZyEMM3Y7f — Mayor Zohran Kwame Mamdani (@NYCMayor) February 2, 2026 Officials and Residents Applaud Move to Expand Public Access “As we honor Mayor Dinkins’ legacy, we aim to make this unparalleled view accessible to all New Yorkers,” Mamdani said in a statement published on NYC.gov. City officials said the renovations are designed to balance preservation with safety and accessibility. The work is expected to be completed before the tour program begins. Several city officials expressed support for the plan. Public Advocate Jumaane D. Williams said the initiative would allow more residents to engage with civic spaces. Comptroller Mark Levine, who has previously advocated for expanded public access to city landmarks, said, “It shouldn’t just be the affluent who get to be inspired by an observation deck. All New Yorkers deserve the chance to gaze upon the city they cherish.” Their comments reflected broader enthusiasm within city government. Reaction online was largely favorable, with users highlighting the symbolic value of opening the space. One post referenced the “Arthur’s clenched fist” meme, suggesting that “Mayors across the nation are feeling the pressure to elevate their game thanks to Mamdani.” Another user focused on the project’s emphasis on inclusion and civic access. “What’s remarkable is that this initiative focuses on community, doesn’t compromise human rights, and promotes unity rather than division,” they wrote, asking, “Is it really that simple?”

The investigation into the death of 15-year-old Celeste Rivas advanced this week as Neo Langston appeared before a Los Angeles County grand jury. Langston, a known associate of the musician D4vd, testified after briefly being taken into custody for failing to appear as a witness. His appearance marked a procedural step in a case that has remained active for months. Officials declined to comment on the substance of his testimony. Langston, 23, arrived at the courthouse on February 4 as part of an inquiry that began late last year. The case stems from the discovery of Rivas’s dismembered remains in September 2025. Authorities located the remains inside a vehicle connected to D4vd in Hollywood. The circumstances surrounding the discovery remain under investigation. According to people familiar with the proceedings, Langston spent roughly 30 to 40 minutes in the grand jury room. He left the courthouse without speaking to reporters. Deputy District Attorney Beth Silverman, who is presenting evidence to the grand jury, also declined to answer questions. Grand jury hearings are conducted in private, and details are rarely disclosed. Langston was arrested on January 22 in Helena, Montana, after a Los Angeles judge issued a bench warrant related to his failure to appear. He was detained at his mother’s residence and later transported to Los Angeles. Records show he was held at the LAPD’s Metropolitan Detention Center, where bail was set at $60,000. He was released after posting bond. High-Profile Case Remains Open as Detectives Continue Interviews Langston, who previously used the online name NeoTheAsian has appeared in photographs with D4vd on social media. Investigators have interviewed multiple witnesses as part of the case. Law enforcement officials say the inquiry remains ongoing. No charges have been filed against Langston. Authorities have identified D4vd, whose legal name is David Anthony Burke, as a suspect. Detectives have also pointed to a second individual believed to have been involved “before, during, and after” the killing. Officials have not disclosed further details. Prosecutors have not indicated when charging decisions may be announced. The case continues to draw public attention as investigators work through the evidence. Officials have emphasized that the process remains active and ongoing. Any future charges will depend on the findings presented to the grand jury.

Kendrick Lamar made history at the 2026 Grammy Awards, becoming the most-awarded rapper in the Recording Academy’s history. His total reached 27 wins, surpassing Jay-Z and Kanye West. The achievement placed him alone at the top of a category long defined by competition. Yet it was not only the awards tally that drew attention during the ceremony. When Lamar accepted the Grammy for Best Rap Album for GNX, viewers noticed his right hand wrapped in gauze. The detail went unmentioned from the stage, but it quickly became a point of discussion online. Speculation grew as images from the ceremony circulated. The focus sharpened when Dave Free, Lamar’s longtime collaborator and pgLang co-founder, posted a close-up of the bandaged hand to his Instagram story. Those familiar with Lamar’s creative process pointed to his history of precision. In a recent Vogue interview, pgLang style director Karizza Sanchez said, “Kendrick always drives the idea. Sometimes, it starts with a feeling he is after; other times, he sends a reference image.” His stylist, Dianne Garcia, has described similar involvement in earlier performances. Reflecting on the 2016 Grammys, she said, “He knew exactly what he wanted.” The wrapped hand also carried recognizable meaning for boxing fans. Fighters routinely tape their hands before competition to protect bones and joints. Research published by the National Library of Medicine notes that “a bandaged hand significantly increases the impact force of the punch.” The association added context without offering explanation. More blood be spilling it’s just paint to Me!!!! pic.twitter.com/H4BbjkBOfu — Hitta J3 (@Hittaj3tml) February 2, 2026 Boxing Imagery Frames Lamar’s Ongoing Rivalry Additional attention came from Hitta J3, who collaborated with Lamar on the GNX title track. During the ceremony, he shared a video featuring boxer Pernell Whitaker and captioned it, “Message from the Boogeyman.” Earlier, he posted an image of Lamar in a Chanel suit with the wrapped hand, writing, “More blood be spilling it’s just paint to Me!!!! .” The posts extended the imagery circulating around the night. Boxing references have appeared consistently in Lamar’s recent work. On the track “Euphoria,” he compared himself to an undefeated fighter while addressing Drake, rapping, “He’s Terrence Thornton, I’m Terence Crawford, yeah, I’m whoopin’ feet.” Lamar has also been seen training in boxing gyms, reinforcing the connection. The sport has become a recurring frame rather than a passing reference. Drake has at times alluded to boxing as well. During a 2025 livestream, he briefly entertained the idea of entering the ring before dismissing it as hypothetical. The overlap has fueled fan speculation, though neither artist has suggested anything literal. The references have remained symbolic. Lamar’s use of combat imagery culminated earlier this year with “Not Like Us,” which reached the top of the charts and was widely viewed as a turning point in his exchange with Drake. On the song, he rapped, “How many stocks do I really have in stock? One, two, three, four, five, plus five.” The line underscored a reputation for calculated restraint.

21 Savage responds to reportedly losing approximately 25 million streams on Spotify. The reported drop was first noticed by fans and data trackers earlier this week, who observed a sudden decrease in stream counts across multiple tracks in the rapper’s catalog. The changes quickly sparked speculation online, with some suggesting the removals may be tied to Spotify’s ongoing efforts to eliminate artificial or inauthentic streaming activity. Shortly after the reports began circulating, 21 Savage appeared to address the situation, making it clear he’s not concerned about the alleged loss. DJ Akademiks claims that 21 Savage messaged him about the alleged removal. “He says, ‘Yo, this sh*t is cap.’ He said, ‘Bro, why the f*ck would I bot 25 million lol.’ He says, ‘I would just bot 100 million if I was going to do that sh*t.’” As of now, Spotify has not released an official statement explaining the specific adjustment or confirming whether the streams were removed as part of a routine audit. DJ Akademiks claims that 21 Savage messaged him about the alleged removal of 25 million Spotify streams from his album “WHAT HAPPENED TO THE STREETS?” denying any use of bots: “He says, ‘Yo, this sh*t is cap.’ He said, ‘Bro, why the f*ck would I bot 25 million lol.’ He says, ‘I… pic.twitter.com/CqRnacZi8f — HotNewHipHop (@HotNewHipHop) February 4, 2026 Until more clarity is provided by Spotify or the artist’s team, the exact cause of the reported stream drop remains unclear.

NLE Choppa issued a public apology this week in an effort to cool tensions with Blueface after their dispute extended to comments about family members. The message, shared on Instagram, followed weeks of increasingly personal exchanges between the two artists. Choppa’s statement acknowledged that the conflict had crossed a line. He framed the apology as an attempt to reset the conversation. In the post, Choppa indicated that the matter was being addressed directly between the two men. “Me and Blue are handling that fsfs ,” he wrote, suggesting that communication had taken place off social media. He then referenced an earlier apology from Blueface for mentioning Choppa’s mother. “I owe you the same respect. I apologize for what I said about your son @bluefasebabyy. From the heart,” Choppa added, noting that the message had already been shared privately. The apology followed a period of escalation that included diss records and pointed online exchanges. The situation intensified after remarks were made about Blueface’s young son, Chrisean Jr., prompting criticism from fans who argued that children should not be part of public disputes. That reaction appeared to shift the tone of the exchange. Choppa’s statement suggested an acknowledgment of that boundary. A viral response and shifting context around the feud Blueface had previously addressed the matter in a video that circulated widely online. In it, he rejected the idea of a physical confrontation and offered an alternative comparison. “Take your son and stand him beside my son and let’s see which one of them know how to operate,” he said, framing the comment as a challenge involving their toddlers. The remark drew mixed responses and added to the public attention surrounding the feud. The episode comes as Choppa has recently entered fatherhood himself. Earlier this year, he welcomed a son, ChoZen, with his former partner Marissa Da’Nae. That context has shaped how some observers interpret his decision to speak publicly. Blueface has not yet responded to the apology. Whether the exchange marks a turning point remains to be seen.