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Trending on Billboard In the second episode of Billboard and The Players’ Tribune’s video series Switching Stages, Normani and Two-Time Olympian Jordan Chiles take turns stepping into each other’s shoes for the day. Explore See latest videos, charts and news Normani is no stranger to gymnastics, so had the opportunity to perform sophisticated cartwheels and […]
Trending on Billboard Six weeks after releasing her “Baddie Baddie” track, Ice Spice returned on Wednesday (Nov. 5) with “Pretty Privilege,” which could signal that her Y2K! follow-up isn’t far away in 2026. Explore See latest videos, charts and news Ice reunites with frequent collaborator RIOTUSA on the production side for the trippy drill-leaning tune. […]
Trending on Billboard Gunna’s upcoming tour is turning into a marathon. The Atlanta native has announced more shows as part of the global trek, along with plenty of coinciding Wunna Run Club 5K race events to accompany tour dates. Explore See latest videos, charts and news The North American leg of the Wun World Tour […]
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SZA is minding her own business. In a GQ cover story published Thursday (Nov. 6), the hitmaker spoke about how she’s chosen to stay out of two major feuds that have gone down recently in the music world — Drake versus Kendrick Lamar and Nicki Minaj versus, well, her.
Starting with the beef between two of her frequent collaborators, SZA — who recently co-headlined a stadium tour with Dot but has been friends with ex-boyfriend Drizzy for years — addressed why she chose not to take sides when one of rap’s biggest clashes on record unfolded last year. “It was something between two grown-a– men, so why would I insert myself between something between two grown-a– men, you know?” she told the publication.
“I feel like that’s how everybody felt — with the exception of people who didn’t feel that way,” SZA continued. “I didn’t really have any stake, per se. Obviously, I love Kendrick. I’m signed to [Top Dawg Entertainment]. That’s my family. Obviously, I’ve known Drake for so long and we have a beautiful rapport. And, obviously, it’s always unfortunate when the unfortunate occurs.”
Despite her diplomacy throughout the back-and-forth, fans couldn’t help but wonder last year how SZA felt about two of her longtime friends — both of whom have helped her score some of the biggest hits of her career with their collaborations — going toe to toe. Tension had been brewing for years, but the feud reached a fever pitch in the spring of 2024 when the two men started lobbing searing diss tracks at one another left and right, including Lamar’s Billboard Hot 100-topping “Not Like Us.”
But while she didn’t necessarily take sides on a personal level, SZA was certainly caught in the crossfire professionally. On the one hand, she served as the Compton rapper’s main guest artist in his 2025 Super Bowl Halftime Show — during which he openly taunted his foe while performing “Not Like Us” — but on the other, she also sang her Drake duet “Rich Baby Daddy” every night on the Grand National Tour, her joint trek with Lamar. (“Why wouldn’t I?” she told the publication of putting the track on the setlist. “I don’t know why I wouldn’t be celebrating some s–t that I ate up.”)
Protecting her peace proved more difficult, however, when the Queen of Rap began firing off increasingly mean-spirited posts about her on X this past summer. While in the midst of dissing both Roc Nation CEO Desiree Perez and Top Dawg president Terrence “Punch” Henderson — who used to be SZA’s manager — Minaj dragged SZA into the mix with repeated insults about her appearance.
After getting in a few shots of her own during the back-and-forth on X, SZA stepped away. Months later, she told GQ of Minaj, “I don’t know her.”
“We have no connection to each other,” she continued. “There’s no backstory. Like, there was no through-line narrative. It was just like, ‘Roc Nation’ … I don’t know where it came from. That’s not even my place to correct a narrative that I don’t got s–t to do with.”
“It was a little strange,” SZA added. “It was very like, ‘Why?’ But also, you know, ‘I guess.’ ”
See SZA on the cover of GQ below.
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Drake is appealing after a judge dismissed his defamation lawsuit against Universal Music Group (UMG) over Kendrick Lamar’s diss track “Not Like Us” — and some legal experts think it could be a closer case than one might expect.
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The appeal, filed last week, will seek to revive Drake’s case, which claimed that UMG defamed him by releasing lyrics that called him a “certified pedophile.” A judge tossed the case out last month, ruling that listeners would think Lamar was just lobbing hyperbolic opinions, not hard facts.
For many casual observers, the reaction to Drake’s decision to appeal was some version of the law of holes: If find yourself in one, stop digging. After taking a reputational hit from filing a lawsuit during a rap beef, and then quickly losing that case in court, why drag it out any further?
Because, some legal experts say, a court of appeal might be more open to siding with Drake than the court of public opinion. “I think there’s actually a good argument that ‘pedophile’ wasn’t meant metaphorically here,” says Benjamin C. Zipursky, a professor at Fordham Law School and an expert in defamation law.
Much of Judge Jeannette A. Vargas‘ ruling against Drake turned on context — that Kendrick’s lyrics came amid a “war of words” in which fans had seen repeated “inflammatory insults” from each side. In that setting, and within the art form of battle rap more generally, the judge said listeners would likely view the pedophile line as just one more “hyperbolic vituperation” rather than the kind of “sober facts” that could be proven true or false.
On appeal, Drake’s lawyers are likely to argue that Vargas got lost in that context-heavy approach and missed the actual reality of the case: That even if it came during a diss track, Kendrick accused Drake of a very specific type of wrongdoing. And some experts say that might gain traction at an appeals court.
“Is that a verifiable statement? Of course it is,” Zipursky says. “As opposed to calling somebody a ‘fascist’ or a ‘sh-thead’ or claiming they don’t love their family, the statement that ‘X is a pedophile’ falls more on the verifiable, falsifiable side. And that’s clearly what Drake’s lawyers are going to push.”
Zipursky stresses that Vargas had done an “artful” job crafting her ruling, taking into account layers of legal precedent and serious concerns about a chilling effect on free expression from letting a rich celebrity sue over art. But when dealing with the almost metaphysical complexity of speech law, he says an appeals court might still see things differently.
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“If I were Drake’s lawyers, I would absolutely try to pull apart some of these context issues,” Zipursky says. “I’d ask why it’s fine for rap musicians to tell lies about each other’s criminality when there’s nothing in New York law that says that.”
Another way for Drake’s lawyers to frame those issues could be to argue the case was simply tossed too soon. Judge Vargas dismissed the case on a so-called motion to dismiss — meaning at the earliest possible stage of a case. Under that rule, she said that even if Drake proved all his lawsuit’s defamation allegations were factually true, he still couldn’t win the case because the law itself was against him.
For Marina V. Bogorad, a veteran entertainment litigator at Munck Wilson Mandala LLP, that ruling smacks of blanket immunity for any statement made in the context of a diss track, even an accusation of heinous conduct that would obviously be defamatory if false.
“The statement on its face accuses Drake of a serious crime,” Bogorad says. “To find that you can lace rap songs with facially libelous statements with impunity as a matter of law is quite a holding.”
Of course, none of this means Drake’s appeal is a slam dunk. Other legal experts had predicted to Billboard that the case would be dismissed for exactly the reasons later cited by Judge Vargas. And scholars versed in hip hop also came out against the case, arguing that Drake’s effort to treat rap lyrics literally was both legally faulty and potentially dangerous.
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But reasonable legal minds can differ on something as complicated and nuanced as free speech and defamation — and Bogorad says the appeals courts might think Judge Vargas should have waited and allowed more discovery into the facts of the case, including into the falsity of the claim or how actual listeners understood Kendrick’s lyrics.
“Whether or not someone is a ‘certified pedophile’ is certainly a fact capable of being disproved,” Bogorad says. “It remains a question for the [appeals court] whether rappers have an instant immunity from these kinds of inquiries.”
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Sitting with Danny Brown in a cornered-off workspace in Brooklyn, the veteran rapper tells me he’s still surprised by how surprised people are when he pushes some boundaries with his music.
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In a few hours, the venue we’re at, The Lighthouse, will be filled with rabid supporters eager to hear his new album Stardust — a non-stop sonic blast of high-octane hyperpop and rap fusion. The explosive electronic backdrops — crafted by a bevy of the subgenre’s most potent stars, including Frost Children, 8485, Underscores and Jane Remover — fit Danny Brown’s rambunctious and maximalist flow like a glove. His voice somehow towers above the chaos of “Starburst” and “1L0v3myL1f3!.” But as he takes a hit of his weed pen, he says even at this point in his decade-plus career, he’s nervous about how people will handle the change of pace.
“To be honest, I’ve been doing everything I possibly can to ignore it,” Brown says of his new album, which drops on Friday (Nov. 7). “But today was the first day where I had that anxiety attack of, ‘Oh s—t, it’s time.’ When you work so much on something, and after being creative for such a long period of time, you just want it to be appreciated the right way. I just want them to respect the work.”
While that anxiety may be palpable in the room, it’s nowhere to be found on Stardust. The 14-track offering is stuffed to the brim with joy and hope, inspired by Brown’s much-discussed journey to sobriety. “Well, I’m smoking weed now,” Brown clarifies as he sits back on the couch, playfully wiggling the vape in his hand, “but no drinking.”
Brown entered rehab in 2023, a life-changing choice that seemed destined to forever shelve the rap character he’d played for over 10 years — one of a drug-devouring, sex-crazed lunatic who rocked missing teeth, unkempt hair and made songs like “Adderall Admiral” and “Dope Fiend Rental.” As he worked the program, Brown had access to his phone for a mere 30 minutes a day, where he smoked cigarettes and became obsessed with 100 Gecs. “I was like, ‘Oh, I could rap on that s—t. That s—t is fire,’” Brown says.
A deep appreciation for hyperpop and all its lore soon followed, and after clearing his throat with the emotional catharsis of 2023’s Quaranta, Brown became hellbent on having the time of his life with whatever came next.
Below, Danny Brown talks about his creative rejuvenation, his thoughts on the state of hip-hop, and whether he and JPEGMafia will ever make Scaring the Hoes 2.
First off, tell me about the title Stardust.
It literally means nothing, I swear to God. I went to see U2 at The Sphere with my girl in Vegas, and we were driving on the freeway and they got that Stardust [billboard]. I took a picture of it, and I would go through my phone pictures sometimes and one day I was looking at it. But then I Googled it and Bowie got a Stardust, Yung Lean got an album called Stardust, and I was like, “Eh, I can’t do that.”
What changed your mind?
That was another story, in the sense of that I wanted to work with SOPHIE — but then I saw Vince Staples had already worked with her on [2017’s Big Fish Theory]. And I was like, “I can’t do it now” — ‘coz, you know, hip-hop originality! I’m bitin’ now. But now I’m over that. I wish I had just worked with SOPHIE. So that made me think about that, and based off that, I was like, “The name of the album is Stardust.” Someone told me Stardust means cocaine, and I was like, “I didn’t know that, and that is not what I’m sayin’!” So I hope people don’t think that!
What was it like getting back into music after rehab? I imagine creatively it must have been hard to tap back in without substances.
For this album, I started reading a book called The Artist’s Way by Julian Cameron.
I know it well, my wife worked through it during COVID lockdown.
Yeah! I started doing all the f—king things. When you read the book, you find out that she wrote it from the perspective of being an alcoholic and came from her getting sober. So I was doing all the exercises, going on artist dates and doing all this s—t. Eventually, I started looking at it as: No matter what, I gotta go in from nine to five. No matter what. Like a normal job type s—t.
When did you begin roping in hyperpop acts to help out with the album?
I mean, I started off working on [the music] first, before I started reaching out to work with other people. I wanted to have a bulk of music to play for them, to show them where I can go with it. To show ’em that it works! Because I could tell a lot of ’em weren’t too hip on my music. I’m 20 years older than a lot of them.
Was there any hesitation or gate-keeping when you brought up the idea of a hyperpop rap album?
I can’t say hesitant, because I met Jesse [Taconelli] from deadAir [Records], and he introduced me to everybody. Jesse’s like an OG to everybody, so he was co-signing me, plugging me in, connecting me with everybody. We was doing group chats and s—t. If they weren’t open to it, once they heard the music that I had, they was like, “All right I gotta get in on this.” Every time someone would come [to the studio], I would play them everything I had and just be like, “Yo, what do you wanna do? What do you think? What is this song for you?”
It seems like a natural place for you all to co-exist in, especially with you coming off of Scaring the Hoes.
And it was pulling from there! Cause [Scaring the Hoes] was the first time I heard [Leroy’s] Dariacore. I didn’t even know that was Jane Remover for a long time. Jane was the only one working on the album almost the entire time with me… But a lot of ’em felt like, you know, it didn’t matter what type of music they made, just the fact that they were trans people, they was calling it hyperpop. So a lot of ’em was doing their best to get away from that label.
How do you feel about the label hyperpop?
I mean, I do feel like I understand why that label exists for it, but to me it’s just experimental pop. Man, to be honest, I don’t even know where the pop come from — besides the fact that they started off with, like, those bubble gum songs. Like if you look at a song like Uffie’s “Pop The Glock,” that’s f—king hyperpop, and that was way before there was a term for it.
I feel like allowing these acts such creative freedom on your album is a testament to where you’re at in your career. You don’t feel super precious about what is and isn’t a Danny Brown album at this point.
Because I feel like when you’re younger, you have more time on your hands. You just listen to music and have fun — and like, me living at home, that’s a job in itself, just taking care of the house! I can’t sit on f—king Spotify all day looking for s—t.
When you’re working with people that young, they’re still — I don’t wanna call ’em green, but they got that youthful, ready-to-take-over-the-world type s—t. When you’re at my age, you’re like, “Man, I know I can’t take over the world. I’m defeated with that mission statement. But I can coexist!” I’ve also been making music way before all this dog s—t was like this, where you got all these plug-ins. All the s—t they got now that you can make beats with, it’s seems like it makes it so f—king easy — compared to when we were using drum machines and s—t like that.
It was more limiting.
And I do believe that limitations breed creativity! But with them, it’s like they got the world in their hands. You can’t tell them no. They’re gonna figure it out, they got that, “I can do anything!” Where me and music sometimes are like, “Eh, I can’t find that other part. Just keep it, just loop it.”
And they do put a lot of work in. I feel like people look down on electronic music because it’s not song-written lyrics, but the work they put in? The beats they make in one day? They’re doing post-s—t on those for months before you hear it. I’ve seen it with my own eyes. That song “All4U” I did with Jane, I’ve seen that song change 20 times before it came out. The beat I rapped to was not [what’s on the album].
In full transparency, what has the reception been like to your latest pivot on Stardust?
I mean, with every album I put out, I know there’s gonna be a certain group that’s not going to like it. But I feel like that’s the fake hip-hop fan, in some sense, the person that only listens to one style of rap. It doesn’t even matter if the rapper is good, just as long as it’s in that world that tickles their funny bone that’s all they want, they don’t wanna go outside.
To me, hip-hop, the tradition of it is rooted in originality. So if we’re looking at what the foundation of hip-hop is supposed to be, this is what it’s supposed to be. I feel like If I were to cosplay East Coast, ’90s rap, I can’t take over the world with that — cause it’s already been taken over. All I can do instead is get influence from it, and put a spin on it that’s never been done before.
On that note, Billboard reported recently that there wasn’t a hip-hop hit in the top 40 for the first time since 1990. It got the internet pretty riled up about hip-hop being dead. What are your thoughts on it?
Hip-hop don’t belong there anyway! The dopest s—t was never on the charts, so that means that there’s a lot of dope s—t around. To me that sounds like a reset is happening, sounds like a cleansing.
So how do you feel about the state of rap at this point?
There’s people doing cold s—t everywhere, like somebody like a Skrilla, what he’s doing is fire. I mean, I hate that damn “6 7” thing, but he’s creative! It’s rooted in him talking about religion and s—t. He humanizes addiction in some sense too, cause you see some of these drug dealer raps and they kinda s—t on the fiends. There’s a video of him giving a fiend NARCAN! I’m rooting for that guy, man. I hate that “6-7” s—t though, man.
Not a fan of the kids’ latest trend?
I love that song, but I hate what it’s become. The fact it’s been on South Park is too far. Cause to be honest, that’s not even the main part of the song! It started as, “Baby shark, doo-doo-doo-doo.” That’s the song that made it blew it up for us! It wasn’t no “6-7,” it was that Baby Shark bar.
I’m curious about your relationship to podcasting and streaming at this point now that you’re sober. Do you look at the Danny Brown Show in a different light now that you’re on this health journey?
Nah, I was having fun. It definitely gave me a lot more respect for what y’all do. I mean to be honest, I don’t expect anything from it, it’s just fun. I liked meeting different people that I would have never been able to meet outside of that context. Like I was kicking it with [comedian] Tom Arnold, and I was like, “Man, Tom Arnold kinda cool!” I never would have thought that. Then there was a couple people that was sent to me where I was like, “Man, I hate this motherf—ker.” It’s definitely a great way for me to meet other creatives on the other side of the spectrum.
You and JPEGMAFIA just dropped off SCARING THE HOES: DIRECTORS CUT. Are we ever gonna get a Scaring the Hoes 2?
It’s up to Peggy! I’ve been ready. I call him all the time, tell him, “Let’s do it.” He tells me, “I’m comin’, I’ll be there on this day.” That day comes, he don’t come. That’s been the process for a while.
So what’s the future of Danny Brown look like now?
With music, I just feel like you’re never done. There’s not a belt. I wish I was a black belt! So I’m on this never-ending quest and journey, even like Bowie with Blackstar, I’m on a quest for that. Doing it till it’s over.
Trending on Billboard Drake is set to briefly revive his acting career with a guest appearance in the upcoming second season of The Office Movers. The 6 God is a longtime friend of the show’s creators, Jermaine “Jae” and Trevaunn “Trey” Richards, and a frustrated Drizzy makes a brief cameo in the series trailer ahead […]
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Snoop Dogg will not be ringing in the new year on NBC. After previously announcing that the rapper would host a two-hour musical variety special from Miami titled Snoop Dogg’s New Year Eve as an extension of the hip-hop icon’s larger deal with NBCUniversal, Deadline reported on Wednesday (Nov. 5) that the network has decided not to proceed with the project.
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The show, which was slated to be carried live by the network and stream on Peacock, has reportedly been shelved in order to allow Snoop to focus on his gig as a Winter Olympics correspondent. “Sometimes the calendar gets in the way of the celebration, which is why my NBC family and I decided this winter was time for us all to focus on the Olympics,” Snoop told Deadline in a statement. “But don’t worry, we’ll party together bigger and better later in 2026. Ya dig.”
Though NBCUniversal’s announcement of the NYE special in May promised, “a night packed with unforgettable music, iconic performances and surprise artist collaborations,” up until the cancellation, no lineup or performer details of the planned special were revealed.
Snoop, who delighted audiences with his dispatches from the 2024 Summer Olympic Games in Paris, will be back on his ring game next month as a roving correspondent for the Milan-Cortina Winter Olympics. According to the announcement from NBC in September, Snoop will “explore northern Italy, from the vibrant streets of Milan to the breathtaking Dolomites, providing his unique perspective to viewers during NBCUniversal’s Winter Olympic primetime coverage.”
The opening ceremony of the 2026 Winter Games will air on Feb. 6 on NBC and Peacock and for the duration of the 17 day games, Snoop will appear alongside NBC Olympics host Mike Tirico and bring primetime audiences his unique perspective on Northern Italy winter games.
“I am excited to be back with my main man Mike Tirico for the 2026 Winter Olympics in Milan Cortina,” said Snoop in a statement when his winter games gig was announced. “The D O double G will be on the scene, and I am looking forward to celebrating with the athletes and their families. The Olympics is the biggest stage in the world and, as everyone knows, I’m all about sports, bringing people together, and unifying while bringing the fun. I’ll be bringing my puffy jackets, snow pants, goggles, skates (and will definitely be iced out).”
Deadline reported that it is currently unclear what NBC will air to replace the Snoop NYE special. Last year, NYE fell on Sunday and NBC carried Sunday Night Football instead of a live variety special after airing Miley’s New Year’s Eve Party live from Miami with Miley Cyrus the previous two years.
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50 Cent isn’t the biggest fan of New York City’s new mayor Zohran Mamdani.
After Mamdani’s historic win as the city’s first Muslim and South Asian mayor, the Queens rapper and filmmaker took to Instagram to voice his displeasure in a series of posts, some of which have since been deleted.
In one deleted post, he posted a picture of a red Yankee fitted cap and a bottle of his Branson cognac with the caption: “New York is over pack it up, let’s go! THE MAN’S First job is Mayor MAMDANI run New York. … I need a drink!” He then posted what looks like an AI-generated image of a tombstone that reads, “RIP NYC, Founded 1624, Died 2025.”
50 also posted a clip from Mamdani’s victory speech, in which the newly elected mayor took aim at President Trump. “3 words,” he wrote in the caption of the deleted post. “No funding coming! NYC finished.”
And finally, in yet another deleted post, 50 posted a screenshot of a tweet from journalist and host Ari Melber that said Mamdani played Ja Rule‘s “New York” as he was walking to the podium to give his speech. “Of course he would walk out to that fool,” 50 wrote. “His plan doesn’t effect him. He ain’t getting no money.”
Speaking of Ari Melber, New York City’s new mayor-elect appeared on his CNN show The Beat With Ari Melber and was asked about the back-and-forth the two Queens natives have had over his tax policy. “What I would say to you, 50, if you are indeed watching or anyone else who’s watching this show,” he said. “I continue to think that having the top 1 percent of New York City who are making more than a million dollars a year, having them pay 2 percent more for an economic agenda that would transform every New Yorker’s life, including their own, is something that is worthwhile.”
Mamdani added that he plays one of 50’s best songs whenever he gets a death threat. “Even though we have a disagreement on tax policy,” he began, “Every time I get a death threat, I still listen to ‘Many Men.’ It’s true.”
50 posted the clip (still up), and while he said he feels like Mamdani’s heart is in the right place, he still thinks taxing the rich will make corporations flee the city and that defunding the NYPD is going to lead to a purge, before hinting at the G-Unit Studios he leased in Shreveport, Louisiana, in 2024. “I think his intentions are good,” he wrote. “But his Tax plan is gonna run the big money out of the city and if he defunds the police they are gonna purge. @50centaction All Roads lead to SHREVEPORT !”
Zohran Mamdani was born in Uganda but moved to New York City when he was 7 years old and grew up in Queens. Before running for mayor, he was an assemblyman for New York’s 36th State Assembly district, which represented the Queens neighborhood of Astoria and Long Island City.
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10K Projects, the Warner-owned label founded by Elliot Grainge, has been sued for allegedly hoarding millions of dollars owed to Taz Taylor’s Internet Money Records under a joint venture.
Internet Money’s lawsuit stems from its 2019 partnership deal with 10K, which was at that point a fast-growing indie hip-hop label started by Grainge three years earlier. The 31-year-old son of Universal Music Group chairman and CEO Lucian Grainge, Elliot is now a powerful music executive in his own right as CEO of Atlantic Records.
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The 2019 joint venture made Grainge’s 10K the exclusive label home for talent developed by Taylor (Danny Snodgrass Jr.) through his Internet Money producer collective, including Nick Mira, JRHITMAKER and KC Supreme. The two companies were supposed to split net profits 50/50, according to the lawsuit.
“Unfortunately, the defendants, in violation of their obligations to plaintiffs, have acted in such a manner that they are the only entities who have benefited from this relationship,” reads the complaint, filed Tuesday (Nov. 4) in Los Angeles federal court.
Internet Money claims 10K has “engaged in a pattern of misconduct, indeed breaching every promise and obligation that was owed to the plaintiffs.” The crux of this alleged misconduct is a series of maneuvers by 10K that allegedly deflated Internet Money’s share of the net profits by at least $4 million.
The lawsuit says 10K has hoarded these profits by improperly cross-collateralizing accounts and overcharging Internet Money for jacked-up expenses, which are categorized as deductions under the joint venture agreement.
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Additionally, 10K is accused in the complaint of diluting Internet Money’s cut from the collective’s hit Gunna collaboration “Lemonade,” which peaked at No. 6 on the Billboard Hot 100 in 2020. Internet Money also claims 10K has failed to share money made from the singer iann dior and withheld publishing royalties linked to various artists.
“As a direct and proximate result of the breaches, Internet Money Records has been denied millions of dollars in net profits to which it is entitled and continues to suffer ongoing damages due to 10K’s intentional misreporting and bad-faith conduct,” writes Internet Money’s lawyer, Sarah Matz.
The lawsuit brings a slew of civil claims, including breach of contract, breach of fiduciary duty and fraudulent inducement. Internet Money is seeking monetary damages and a court order requiring Warner Music Group (WMG), which acquired a controlling stake in Grainge’s label in 2023, to provide it with 10K’s financial statements for an audit.
Reps for 10K did not immediately return a request for comment on Wednesday (Nov. 5). The label has been run under the Atlantic Records umbrella since 2024, when Grainge was named CEO of the storied WMG operation.
