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Nicki Minaj’s most recent social media moves might have landed her back in the hot seat. She recently praised President Trump, and it sent the Barbs flying.
As per Newsweek, Nicki Minaj showed some support to President Donald Trump last week, and it was met with both praise and side eyes. On Friday (October 31), the reality television star turned politician took to Truth Social and deemed the circumstances for Christian believers in Nigeria as an “existential threat.”
He also went on to say that thousands are being killed by Radical Islamists and made Nigeria a “COUNTRY OF PARTICULAR CONCERN.” His stance must have aligned with Nicki Minaj’s values because she reposted his message and thanked him for voicing his concern publicly.
“Reading this made me feel a deep sense of gratitude. We live in a country where we can freely worship God. No group should ever be persecuted for practicing their religion,” the “Bang Bang” rapper wrote. “We don’t have to share the same beliefs in order for us to respect each other. Numerous countries all around the world are being affected by this horror & it’s dangerous to pretend we don’t notice. Thank you to The President & his team for taking this seriously. God bless every persecuted Christian. Let’s remember to lift them up in prayer.”
As expected, aligning with President Trump wasn’t well received by her loyal fanbase, causing some Barbs to call out the obvious.
“Girl trump is threatening to start war with Venezuela and putting Trinidad in the middle of it. And your goofy dumbass is endorsing him? They should’ve kept ya stupid ass in Trinidad omg,” one user wrote. Another account on X, formerly Twitter, added that given her recent actions on social media, he isn’t surprised one bit.
“Nicki’s metamorphosis into Azalea Banks was not on my bingo . . . actually, nevermind, this tracks,” the user wrote.
While Nicki Minaj has never confirmed whether she claims a specific political party, she has a long history of supporting presidential hopefuls. She once rapped “I’m a Republican voting for Mitt Romney” on a mixtape freestyle, but also has shouted out Barack Obama and Hillary Clinton in separate songs. Politics aside, Nicki knows exactly how to keep the timeline talking.
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Photo: Getty
The Alchemist is on a historic run in 2025 that already concluded in a flurry of releases that all should land comfortably on AOTY lists at the end of the year. After a buzzing meme online suggests The Alchemist work on an introspective jazz album with Young Thug, it came out that Thugger doesn’t have a clue who the producer and rapper is.
It appears the meme of the completely fake collaboration album between Young Thug and The Alchemist got its legs back in 2024, and fans have kept the false dream alive since the release of the Atlanta rapper.
In a twist of fate, Ian Connor took to social media to share a private message exchange between him and Thug, with Connor responding to a Young Thug fan account featuring a video of Dylan Hull asking The Alchemist about the album at the most recent ComplexCon event. For what it’s worth, it appears that Uncle Al isn’t against the idea.
Connor looks like he’s on the case of educating Young Thug on the greatness that is The Alchemist’s production abilities.
Given that Alchemist has worked with the likes of Freddie Gibbs and earned a Grammy nomination to boot, along with works with 2 Chainz, Larry June, Hit-Boy, and underground kings Armand Hammer this year alone, maybe the connection would be fruitful.
Stay tuned.
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Photo: Getty
The FCI Fort Dix era began for Sean “Diddy” Combs late last week with the Bad Boy Records founder getting transferred to the New Jersey correctional facility after a stint in Brooklyn, N.Y. With the move of such a major figure, all eyes were on Fort Dix, and the first images of Diddy have emerged, showing the mogul in relatively good spirits.
TMZ shared a report of Diddy’s appearance at FCI Fort Dix on Saturday (November 1), showcasing his interaction with fellow inmates. While the images were taken from what appears to be a great distance, Combs, dressed in a grey skullcap, dark blue jacket, and grey sweats, is seen smiling and chatting up a group of men.
One notable thing about the image, aside from Combs’ smile, was his beard being fully grey. Not much else could be determined from the images. There was also another shot of Combs in the same getup, save for a different colored skullcap.
In another report from TMZ, it was learned that Combs’ job behind bars was working in the laundry room. The outlet made it a point to highlight that during his trial, which led to his conviction on prostitution charges, Combs would rarely perform menial tasks.
Combs was given a 50-month sentence at the low-security FCI Fort Dix facility, reportedly a far cry from the infamous conditions at MDC Brooklyn.
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Photo: Getty
Source: Bob Berg / Getty
To this day, 2Pac aka Tupac Shakur remains a pivotal figure in hip-hop culture, embodying everything the genre stands for: truth, emotion, rebellion, and purpose. He didn’t just rap about the streets; he unpacked the pain, politics, and pressures that shaped them. His music blended vulnerability and toughness in a way few artists had ever done, turning personal struggle into universal storytelling.
RELATED: Drake Allegedly Cops 2Pac’s Legendary Death Row ChainWhether he was delivering poetic insight on “Keep Ya Head Up” or raw intensity on “Hit ‘Em Up,” 2Pac made hip-hop feel bigger than entertainment. He made it feel necessary.
His impact didn’t stop with the music, though. 2Pac redefined what a rapper could represent, pairing activism and artistic vision with charisma and fearlessness. He pushed hip-hop into social consciousness, encouraging artists to speak for their communities and confront real-world issues. That fearless honesty (and the mythic rise and dramatic end that followed) cemented him as a cultural hero and cautionary figure. Generations later, artists still channel his energy because he gave hip-hop a soul and a higher purpose.
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You can see 2Pac’s fingerprints all over modern hip-hop. The way artists wear their hearts on their sleeves, weave social commentary into music, or use visuals to communicate deeper messages all trace back to him. Even stylistically, Pac’s influence remains, from bandanas and tattoos to the confident, revolutionary spirit many rappers embody. Most recently, NLE Choppa’s “KO” video pulled clear inspiration from Pac’s “Hit ‘Em Up” era, from the aesthetic to the energy. It was more than a tribute. It was proof that 2Pac’s blueprint continues to guide young artists in their pursuit of authenticity and impact.
His presence also lives in the competitive spirit of hip-hop. Modern-day rap battles and diss records still mirror the emotional weight and intensity he brought to conflicts. Artists don’t just trade bars; they build narratives, take stands, and speak from the heart, just as Pac did. Whenever rappers turn introspective, challenge the system, or speak directly to the youth, they’re continuing a tradition he helped carve out.
2Pac isn’t just a legend, he’s a standard. His voice still echoes in the culture, in the music, and in the conversations hip-hop continues to spark about life, identity, and struggle. As new artists rise and the genre evolves, Pac remains a foundational force, not frozen in history but alive in influence. That’s why he will forever be intertwined with hip-hop, not just the era he defined, but for every era still being shaped by his legacy.
RELATED: Mariah Carey Says She Wish She Shot Her Shot At 2Pac
The Billboard Hot 100 chart has long been seen as a measure of success for musicians across all genres, with placement on the list solidifying years of hard work. For the first time in 35 years, Hip-Hop, one of the most successful genres of modern times, has fallen out of the top 40 of the Billboard Hot 100 list, and it could signal a shift in consumer tastes.
Billboard reports that, surprisingly, not one Hip-Hop song occupies the top 40 slots of the Billboard Hot 100, with the highest ranking song being YoungBoy Never Broke Again’s “Shot Callin” at the No. 44 slot. Following are Cardi B’s “Safe” featuring Kehlani from Cardi’s latest album, Am I The Drama?, and BigXthaPlug’s “Hell at Night” featuring Ella Langley, sitting at No. 48 and 49 in that order.
The outlet adds that the last time this happened was on February 2, 1990, with Biz Markie’s classic “Just A Friend” at No. 41 on the charts, ahead of becoming a top 10 hit for the late rapper and DJ. The following week, the song leaped to the No. 29 slot.
More from Billboard explaining how this happened:
Recent rule changes to Billboard’s Hot 100 methodology did play a part in the streak coming to an end. For the chart dated Oct. 25, descending songs were deemed recurrent and removed from the chart if they had exceeded certain durations on the chart while also falling below certain updated chart thresholds — for instance, if they had fallen below No. 25 after spending over 26 weeks on the chart. That particular change resulted in the departure of “Luther,” which had fallen to No. 38 on the previous week’s Hot 100 in its 46th week on the listing.
The headline itself does sound alarming on the surface, but it seems that a technicality is the reason for this, not a dip in quality. As we try to highlight at Hip-Hop Wired via our CRT FRSH playlist, the music and culture are thriving well, and it should be expected that another artist or more will make their way to the top of the charts again. Given the chart dominance of acts like Drake, Kendrick Lamar, and the aforementioned BigXThaPlug, we should see Hip-Hop near or back at the top soon.
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Photo: Billboard
Source: Rick Kern / Getty
It was the late summer of 1997, and the Wu-Tang Clan was imploding. The two-fisted Staten Island, N.Y. Hip-Hop crew had been on the road with radical leftist rockers Rage Against The Machine on one of the summer’s most buzzy and infamous tours. The gloriously combustible union between the two counter-culture behemoths was a ‘90s kid’s fever dream.
The double-platinum Wu-Tang Clan was certainly an inspired pick as touring mates for Rage Against The Machine. Along with unconventional mastermind and producer, the RZA, the ragtag army included a murderer’s row of boundless, hood-stamped lyricists — the GZA, Raekwon the Chef, Inspectah Deck, Method Man, Ol’ Dirty Bastard, Ghostface Killah, U-God, and Masta Killa. Their philosophy was a bewildering mix of Kung Fu film fandom, harrowing street testimonies, and Five Percent Nation ideology.
But cracks had already begun to appear. There were frequent issues over the $45,000 that the Wu was being paid per performance. Back then, such a figure was a tidy sum, especially for a nuclear hot act whose sophomore double album, Wu-Tang Forever, had just sold a whopping 612,000 copies its first week of release. Yet the large makeup of the crew was starting to take a toll. Members frequently missed shows. There was grumbling amongst the clique that they had forsaken their around-the-way base for Rage’s largely white suburban followers.
“We were some young, dumb gangsters back then until we got our sh*t together.”—Raekwon
It was during an Aug. 29 show in Tinley Park, Ill., when the bottom completely fell out. There were backstage reports that some members of the Wu beat up a promotions manager who worked for their home label, Loud Records. The next day, the group officially jumped ship.
“It is my understanding, through the twisted labyrinth that is the communication system of the Wu-Tang Clan, that they’re not playing any more shows on the tour in part because of difficulties they’re having within their own group,” said Rage guitarist and leader Tom Morello in a press release.
Nearly 30 years later, Ghostface Killah is in an immaculate mood on a rainy August evening. The acclaimed wordsmith is basking in the glow of the warm reception surrounding his newest release, Supreme Clientele 2, the proper sequel to his 2000 classic. “I know how important that album is,” Ghostface says of the daunting task of recording a follow-up to Supreme Clientele, one of his most celebrated solo statements in Wu-Tang Clan lore. “But I never felt any kind of nervousness. That never came to mind.”
Ghost professed he reveled in the throwback energy of Hip-Hop’s Golden Age on Supreme Clientele 2 tracks like the first single “Rap Kingpin” and “Beat Box.” He admitted he gets a tad uncomfortable when asked to ponder his legacy (“I really don’t be tripping off that stuff…”). But it’s not until the subject turns to his Wu brothers that you realize the wide-eyed irony of the collective’s full circle evolution.
This past summer, the Wu-Tang Clan embarked on a 27-date concert tour in June and July dubbed The Final Chamber. It was one of the more intriguing concert industry success stories, grossing $30.6 million, according to Billboard Boxscore. And there were no crackups like in ’97.
This time around, all the original Wu members, along with slang master Cappadonna and the son of the late wild man ODB, Young Dirty Bastard, presented a strong, energetic, united front. This was a heart-on-the-sleeve showing that featured such crew classics as “Da Mystery of Chessboxin’,” “Wu-Tang Clan Ain’t Nuthing ta F’ Wit,” and “Triumph” as well as celebrated solo cuts by Method Man (“Bring the Pain”); Raekwon (‘Incarcerated Scarfaces”); the GZA (“Liquid Swords”); Ghostface Killah (“Holla”); and ODB (“Shimmy Shimmy Ya”).
“We were some young, dumb gangsters back then until we got our sh*t together,” Raekwon said of the Clan’s turbulent journey while at the group’s capacity-packed July 16 gig at New York’s crown jewel, Madison Square Garden. The Wu’s triumphant return especially hit home, given that when the rhyme troop first hit the scene in the early ’90s, Staten Island, known as a haven for cops and firefighters, was virtually a punchline in New York’s Bronx-Queens-Brooklyn dominant scene. “It’s amazing to be in the game 30 years and to sell out [MSG],” an overwhelmed Method Man added. “That sh*t is ridiculous.”
Ghostface echoes his Wu mates. “Yes, it’s surreal,” he says of the 2025 Wu love fest. “To see how we developed up to this stage is crazy. Like damn, we still headlining tours. And then for us to still be writing at the level that we are writing at is like, okay, now you get the chance to really see who the true masters are.”
It’s almost inconceivable that the same rappers hailing from the Slums of Shaolin that warned the world to “Protect Ya Neck” on their landmark 1993 debut, Enter the Wu-Tang (36 Chambers), have become cuddly, elder statesmen. They are all practically family men now (GFK himself has one daughter and three sons). In an Oct. 15 interview with People, Inspectah Deck opened up about how raising kids has mellowed the once wild bunch.
“My daughter is going to medical school. My son’s about to start art school. I have a young one.” Deck said. “Everyone’s growing, families are growing now. RZA’s son plays in our band. Some of us are grandfathers, and so I understand the life cycle. I’m not trying to stop what’s the natural progression of things. You can’t hold on to everything forever. But Wu-Tang is forever.”
“Not everybody is going to love you. But in certain people’s eyes we did something right.”—Ghostface
The Clan has grown so respectable in recent years, in fact, that their music can frequently be heard in corporate television ads. Ghostface’s frenetic 2006 joint, “The Champ,” anchors Amazon Prime. NIKE tapped the group’s catalog for their 2024 New York Knicks player-featured, Wu-Tang Can Dunk Highs Killer Bees campaign. Raekwon appeared in a Super Bowl TV commercial for DoorDash, reacting drolly to a shopper reciting the lyrics to the Wu’s classic single. “C.R.E.A.M.” And there are commercials featuring ODB’s “I Got Your Money” (LG WashTower) and the RZA (Apple Watch).
Yet Madison Avenue co-signs and high-profile sit-downs with instant viral podcasters Shannon Sharpe and Chad “Ochocinco” Johnson, Fat Joe and Jadakiss, and Smartless would just be stuck in mere sentimentality if the grizzled Wu vets weren’t still lyrically sharp.
“There is the nostalgia of having their music in our DNA,” says Yves “DJ Whoo Kid” Mondesir, longtime New York Hip-Hop tastemaker and SHADE 45 radio host. “But the Wu are showing that Hip-Hop is back. All these young rappers can’t f*ck with them. The older artists are taking it back.”
For Grammy-winning icon DJ Premier, often celebrated as one of Hip-Hop’s most influential producers alongside old rival and friend the RZA, the Wu transcends fads. “Ghostface reminds me of the era I grew up in,” Preemo explains. “I’m 59 years old, so he sounds like he’s spitting over some ’86 breakbeats, but for today. That’s the Wu-Tang Clan. Timeless.”
Source: Paras Griffin / Getty
Indeed, there’s something downright inspiring about witnessing Method Man, 54, jump from his professional working actor bag to reclaiming his spot as one of rap’s most charismatic voices still capable of turning heads with a random, rewind-worthy freestyle like him and Raekwon on 50 Cent’s “Window Shopper.” In April, all nine living members of the Wu appeared on the Mathematics-produced limited release Black Samson, the Bastard Swordsman.
Last July, Raekwon dropped his eighth studio album, The Emperor’s New Clothes, to critical acclaim. Hearing the Chef and an in-the-zone Nas on the standout track “The Omerta” is like being transported back to the youthful pair’s classic Only Built 4 Cuban Linx deep cut, “Verbal Intercourse.”
Yet perhaps the award for the most WU-TANG CLAN (!!!) statement in years goes to Ghostface’s “The Trial” from Starks’ Supreme Clientele 2. The concept record, featuring GFK’s fellow spitters Raekwon, Method Man, and the GZA, is essentially a courtroom drama on wax. It’s the type of high art recording made for Hip-Hop nerds.
“That was a fun one,” Ghostface recalls. “The Trial” is me and Rae on the stand facing a case. We were going back and forth with that one for about a year and [a] half. Rae finally coughed it up, and my brother was like, ‘Yo, you need to get the Genius and Meth on it.’ Meth plays the judge. He got his sh*t done in one day. The Genius was taking all day… you know how he is [laughs]. He did his verse two months later.”
Of course, this is the kind of good-natured, brotherly ribbing that can only come with decades of fighting in the trenches together. The Wu-Tang Clan can be an unmitigated mess (U-God filed a lawsuit against RZA and his brother Mitchell “Divine” Diggs, CEO of Wu-Tang Productions, in 2016 over royalties and placed blame on the producer over the group’s breakup in his 2018 memoir RAW: My Journey Into the Wu-Tang).
But in the end, the Wu is too big to fail. In a bit of ultimate Hip-Hop karma, Martin Shkreli, the disgraced “Pharma Bro” who was forced to forfeit ownership of the one-of-a-kind Wu-Tang Clan album Once Upon a Time in Shaolin following his securities fraud conviction, currently faces a lawsuit for copying the work and playing it online without permission. (Shkreli purchased the auctioned album back in 2015 for a record $2 million and was later universally rebuked for raising the price of a life-saving, anti-infective drug Daraprim overnight.)
There are plans to extend the Clan’s successful “final” jaunt overseas in 2026. Last June, Raekwon unveiled the trailer for the much-anticipated documentary for his seminal Only Built 4 Cuban Linx release titled The Purple Tape Files, featuring appearances by the Chef’s OB4CL partner-in-rhyme Ghostface, Kendrick Lamar, Snoop Dogg, and Mobb Deep’s Havoc, Method Man, along with other Wu alumni. That same month, RZA debuted his martial arts indie film One Spoon of Chocolate at the Tribeca Film Festival. And Ghost is eyeing a Supreme Clientele 2 tour.
Both Rae and Ghost are featured on the Oct. 10 Mobb Deep set Infinite, which includes unreleased, posthumous bars from late rhyme great Prodigy. And Method Man recently updated his long-in-the-making team-up album with Mobb spitter and all-world producer Havoc. “We are still working on our Covid album we started in 2019,” Meth recently told TMZ of the project called Dirty P, a release that serves as a tribute to both ODB and the aforementioned Prodigy. “It needed some tracks, and it should be out soon. Havoc is a master of his sound. He has mastered sound like RZA.”
“We are trying to figure some things out,” says Ghostface when asked about the Wu’s next move. Ghost recently postponed his Supreme Clientele 2 Tour due to, strangely enough, the government shutdown.)When asked his thoughts on Raekwon proudly hailing his brothers as “one of one,” he responds in classic GFK fashion. “You know, not everybody is going to love you,” he says. “But in certain people’s eyes, we did something right.”
Source: Paras Griffin / Getty
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Photo: Getty
Drake is continuing his legal battle with UMG after the lawsuit he brought against the record label over Kendrick Lamar’s “Not Like Us” was dismissed earlier in the month. Filing an appeal this week, Drake aims to get the judge to reinstate the lawsuit, which alleges UMG aided his rival in relaying what his side felt with defamatory claims out to the public, thus damaging his brand.
Music Business Worldwide reports that Drake filed a Notice of Appeal on Wednesday (October 29) in a countering stance against Judge Jeannette Vargas’ October 9 dismissal of the lawsuit. The Canadian superstar alleges that UMG intentionally promoted Lamar’s blistering “Not Like Us” diss track, writing in the complaint that the label pushed the song’s popularity “while knowing that the song’s insinuations that he has sexual relations with minors were false and defamatory.”
Judge Vargas ruled that Lamar’s lyrics, despite the OVO honcho’s insinuation that they were meant to defame him, were essentially stated opinions that were protected instead of facts. Further, the judge said that the case should be examined in full as both gentlemen verbally sparred across with several lines and songs between them.
The filing for appeal is the start of the process, with a full appellate brief filing happening at a later date. There are no new developments as the notice was just filed a day ago, and it will take months for things to move ahead.
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Young Bleed, fresh from an appearance with his No Limit Records family in the recent VERZUZ clash with Cash Money Records, was the subject of reports that he unfortunately passed away. After urging from the rapper’s family, it has since been revealed that Young Bleed is currently hospitalized and being held at an ICU.
Young Bleed is still alive and fighting for his life after he was hospitalized earlier in the week for reasons that have not been revealed to the public. On social media, several large accounts began posting memorials in Bleed’s honor, prompting his sister, Tedra Johsnon-Spears, to take to Facebook and ask everyone to take down the news.
From Facebook:
HIS WILL BE MY FIRST AND LAST POST, WE ARE RECEIVING A TREMENDOUS AMOUNT OF CALLS ABOUT MY BIG BROTHER GLENN, TANK, YOUNG BLEED.IF YOU HAVE NOT CALLED HIS MOTHER PERSONALLY PLEASE DO NOT POST ABOUT HIMOUR FAMILY ASK THAT YOU RESPECT OUR PRIVACY AND HOLD ALL CALLS AND TEXT AT THIS TIMEHE IS STILL CURRENTLY IN ICU AND HIS MOTHER ASKED IF YOU ALL WOULD RESPECT HER WISHES AND NOT MAKE ANY RIP POST
Master P followed up with a post on his Instagram page confirming that Bleed is still alive and asked fans for prayers.
From IG:
@snoopdogg and I was just talking about how we have to love eachother while we here! We just turned up with our brother @therealyoungbleed @verzuztv Thanks for all y’all prayers and we need more prayers for him and his family as he fights in ICU #GodGotUs #NoLimitSoldier Tell your people you love them every time they walk out the door.
Hip-Hop Wired extends its warmest thoughts to the family of Glenn “Young Bleed” Clifton Jr.
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Angela Rye caught the attention of cast members of The Joe Budden Podcast after she recently critiqued the program in a recent episode of the Native Land Pod. After originally titling the episode, “Joe Budden and the Dumbing Down of America,” Angela Rye apologized for the show’s title, although one of her co-hosts stood their ground with their criticism of Budden’s massive broadcast.
In the episode now titled “Do We Need to Talk About Black Intellectualism?,” Angela Rye and her co-hosts Tiffany Cross, Andrew Gillum, and Bakari Sellers got into a debate regarding a heated exchange from The Joe Budden Podcast co-hosts Marc Lamont Hill and Trevor “QueenzFlip” Robinson.
Hop the 24:00-minute mark to hear the Native Land Pod discussion on Hill’s place on the JBP.
Cross raised the idea that the dustup between Hill and Robinson was a battle of wit and ego, acknowledging that the longtime professor and journalist is more than what some might assume. Cross also feels that, because of Hill’s pedigree in education and journalism that he shouldn’t be a member of Budden’s successful media network.
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Budden, along with co-host and longtime friend Antwan “Ish” Marby, addressed the Native Land Pod critique, with Marby making certain to mention that Robinson is successful in his craft despite what observers might feel is lowbrow content from the Queens native. Budden followed and pondered what inspired the jabs from Native Land Pod and stated clearly that Hill never positions himself as the smartest man in the room, although the cast acknowledges his accomplishments in their own way.
After some heated discussions across social media, Angela Rye apologized to the JBP for the previous episode title during an episode where Charlamagne Tha God joined Native Land Pod and essentially defended the cast from the critiques. For what it’s worth, Cross stayed true to her stances and didn’t waver.
Catching wind of Charlamagne’s appearance on Native Land Pod, Budden thanked The Breakfast Club co-host for his defense of his team.
New JBP co-host Mona, aka Don’t Call Me White Girl, suggested that Angela Rye visit the show, while Budden aggressively dismissed Cross, calling her a “nobody,” but Hill stepped up to defend one of his media colleagues.
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Cam’Ron showed up for J. Cole’s “Ready ’24” track from the North Carolina rapper and producer’s MIght Delete Later project, and is now taking legal action against his past collaborator. Cam’Ron claims J. Cole reneged on plans to collaborate on other tracks or have the Dreamville honcho on the Harlem rapper’s popular podcast program.
TMZ reports that court papers say the artist born Cameron Giles filed a lawsuit alleging that Cole, real name Jermaine Cole, neglected to make good on plans to work on further music with Killa Cam or appear on the It Is What It Is podcast with Mason “Ma$e” Betha and Treasure “Stat Baby” Wilson.
Killa says he recorded the verse in 2022, and between July 2023 and April 2024, he kept in contact with Cole, who kept rebuffing the invitation for further work for reasons not shared in the report.
Cam’Ron is seeking a co-author credit for “Ready ’24” and to be compensated for his time, which totals over $500,000 as of the report.
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Photo: Getty
