At the storied Chateau Marmont, Malice and Pusha T reemerged before a crowd of artists, executives, and longtime admirers during the 2025 GQ Men of the Year gala. The evening carried a sense of occasion, marking not only their presence on a major stage but also the long-awaited return of the Thornton brothers as Clipse with their album Let God Sort Em Out. Momentum has been building around the duo, fueling talk of potential Grammy recognition and renewed interest in their legacy. Their comeback arrives after years of divergent paths—Pusha T releasing a steady run of solo music and Malice stepping back from the industry to pursue a spiritual shift. Now reunited, they appear determined to shape a new chapter together. During a recent conversation with Rolling Stone, Malice pushed back against the idea that their return would be brief. The question held weight, given the long gap since Til The Casket Drops and the uncertainty surrounding new work. But his response left no room for doubt. “Not a chance,” he said, his voice firm. “Listen, we just got here, man. There’s so much more to come.” While a timeline for their next release remains unannounced, a Zoom call from their Virginia Beach studio with writer Simon Vozick-Levinson hinted that fresh material is already in motion. With the acclaim surrounding Let God Sort Em Out still rising, fans have reason to expect more activity soon. Malice reiterates that fans won’t be waiting another 16 years for new Clipse music “No way. Listen, we just got here, man. There’s plenty more.” (via Rolling Stone) pic.twitter.com/5zGLsAf1gE — Kurrco (@Kurrco) November 21, 2025 Reclaiming Identity and Creative Direction Speaking with The Hollywood Reporter, Malice reflected on his evolution and his decision years ago to briefly perform as No Malice. “As my beliefs and heart evolved over time, I wanted to demonstrate that there was nothing harmful about me regarding bringing negativity or malice into anything,” he said. But reuniting with Pusha T prompted a return to the name that defined their earliest success. “We owe it to ourselves and our fans to maintain our original branding. Clipse will always be Clipse,” he added. With a tour ahead, the brothers are preparing to bring their latest work to the stage. Three final dates are set for December 2025—two in Virginia Beach and one in Brooklyn—before they head into a busy festival season that includes Coachella and All Points East next year.

After 11 years together, Real Housewives of Atlanta star Kandi Burruss and producer Todd Tucker have officially called it quits. The couple, who married in April 2014 and became one of Bravo’s most high-profile power pairs, confirmed their split following months of quiet speculation from fans. According to Burruss, the decision was not made lightly. In a statement, she says, “after deep thought and a lot of prayer, I’ve made the decision to move forward with a divorce. This is a difficult and emotional time, but my focus remains on protecting my peace, being the best mother I can be, and co-parenting with love and respect.” “I’m stepping into a new chapter pouring into my work, my family, and my own growth. I’m grateful to everyone who supported us throughout the years, and I ask for privacy, grace, and understanding as we navigate this transition with our family.” Burruss and Tucker first met in 2011 while filming RHOA, eventually blending their personal and professional lives through multiple business ventures, restaurant projects, and television productions. Over the years, their relationship became a recurring storyline on the show. The pair share two children — son Ace, born in 2016, and daughter Blaze, welcomed via surrogate in 2019. Both Burruss and Tucker have expressed commitment to co-parenting with mutual respect and stability. As Burruss moves forward, she says she’s focusing on peace, personal growth, and her evolving career, which includes ongoing entertainment ventures, Broadway work, and new production projects. Tucker has yet to speak out. View this post on Instagram

Sara Rivers, a former member of Da Band, has reentered public view after filing a far-reaching lawsuit against Sean “Diddy” Combs. Her complaint, submitted in February 2025, accuses Combs of sexual assault, harassment, and misconduct connected to her time on Making The Band 2. Rivers is seeking $60 million in damages, a sum she argues reflects the extent of the alleged harm. Rivers describes a series of disturbing episodes during the show’s taping. In her account, Diddy “backed her into a corner” and made unwanted physical contact while cast members lived in what she called “inhumane” conditions. She also says Diddy and his companies damaged her career by misusing her creative work. These claims form the core of a narrative she has carried for years but is now fighting to litigate in full. Last August, U.S. District Judge Jed S. Rakoff dismissed most of Rivers’ allegations with prejudice, blocking any future attempt to revive them. Only one allegation remains—the claim brought under New York’s Gender-Motivated Violence Protection Act—and it cannot move forward without approval from a higher court. Rivers has already encountered a major complication: she missed the October 17 deadline to file Form C, the document required to establish the official record for an appeal. That missed deadline has placed her appeal in default under federal rules. Current Legal Context for Diddy Rivers’ case is one piece of a larger legal landscape surrounding Diddy. A judge recently granted him permission to serve a defamation lawsuit against accuser Courtney Burgess through newspaper publication because his incarceration prevents direct service. The matter is separate from Rivers’ claims but adds to the ongoing legal scrutiny focused on Diddy. With most allegations already thrown out and her appeal stalled, Rivers faces an increasingly steep climb to keep her case alive. Unless the appellate court intervenes, her remaining claim may never reach a courtroom. For now, both sides are waiting on the next procedural decision, which will determine whether the lawsuit continues or closes for good.

Cardi B is easing her way back into fitness as she prepares for a massive touring year ahead. The rapper shared a gym clip to her Instagram Story showing her sweating through a stairmaster session, a video she noted was originally recorded on November 13th and posted on November 20th. Still adjusting to life after giving birth, she told fans she’s intentionally starting slow as she rebuilds her strength. “Tour journey with me,” she wrote. “I haven’t started tour rehearsals yet but I’m doing light workouts to not only get my body back in shape but my joints and bones.. I’m 33 honey I’ma ol’ lady.” In the clip, Cardi let everyone know this was her official first day returning to the gym. She knocked out more than 20 minutes on the stairmaster before heading toward the squat machine, explaining that her long-term goal is to eventually handle an hour on the stairs without stopping. With a 2026 arena debut on the horizon, she’s focused on getting her endurance where she wants it to be. This comeback also arrives during a major moment in her personal life. Cardi recently welcomed her fourth child, and her first with NFL star Stefon Diggs, announcing that she gave birth to a baby boy on November 13th. She posted the first look at her newborn on November 19th, a sweet photo that shows her holding her son as he’s wrapped in New England Patriots gear in honor of his father’s team. The post collected more than four million likes as fans celebrated the new addition. On top of motherhood and training, Cardi is gearing up for the Little Miss Drama Tour, which kicks off February 11th in Palm Desert and travels through dozens of cities before closing out April 17th in Atlanta.

Max B is shutting down swirling rumors linking him or his crew to an alleged altercation involving Ja Rule earlier last night. The speculation erupted online after videos and conflicting reports suggested the Queens rapper had been “jumped” at the Brandy and Monica tour stop in Brookyln, New York — but Max B says his name shouldn’t be anywhere near the controversy. The situation began when blogger Tasha K claimed Ja Rule was attacked outside a New York restaurant, alleging he was “jumped pretty bad.” Soon after, additional reports pointed to a separate backstage incident at the Brandy & Monica show at the Barclays Center, where a brief scuffle involving Ja Rule was captured on video. The unclear details and multiple versions of the story led social media to start assigning blame — and Max B’s name quickly got thrown into the mix.With rumors gaining traction, Max B took to X (formerly Twitter) to set the record straight. “Don’t tie me or my people to anything negative. We grown — we on positive vibes only,” he wrote. “The internet loves to make up stories… But let’s be clear: Max B ain’t got no problems with nobody. No drama, no beef, no narratives. The Wave is home and focused on  Family, music, and positive vibes only. Stop trying to attach the Wave God to fake stories to get clicks…” View this post on Instagram The Harlem rapper, who was recently released after serving more than a decade behind bars, has consistently emphasized staying focused and avoiding drama as he transitions back into his career. Ja Rule has also responded to the chatter, dismissing claims that he suffered a serious attack. “Not a scratch on me… we good over here!!!” he said on social media, appearing unbothered by the incident and shutting down speculation that the situation left him badly injured. View this post on Instagram

Kehlani is speaking out once again, this time calling out ICE for what they describe as the “kidnapping” of immigrants across the country. During a recent interview on Los Angeles’ Big Boy’s Neighborhood, the singer did not hesitate to challenge the agency’s actions while discussing the current political climate with host Big Boy. “They’re kidnapping [people] out of schools, and jobs, and homes, and churches,” Kehlani said, describing how routine life has become a target for immigration raids. Big Boy followed by pointing out how even those trying to follow the rules are being punished, saying, “They’re kidnapping you now from going to do the right thing for your paperwork.” Kehlani agreed, adding that ICE is “kidnapping American citizens as well, it’s insane. Checking for Spanish-adjacent last names.” View this post on Instagram Kehlani’s comments fit into a year where the artist has consistently used their platform to call out human rights abuses, regardless of the backlash. In 2024, they endured canceled shows and watched collaborators pull away after they voiced support for Palestine. On X, Kehlani revealed how isolating it became, writing, “Because of my political stance, I couldn’t get any features, but I guess I’ll save that for an interview ‘cause everybody fronted on me. Every single person was like, ‘Yeah,’ and then they just ghosted me.” Despite the pushback, Kehlani is experiencing one of the strongest years of their career. Their single “Folded” became their first top 10 hit on the Billboard Hot 100 and earned two Grammy nominations. They also delivered an impressive lineup of remix collaborators for the Homage Pack, featuring Toni Braxton, Brandy, JoJo, Mario, Ne-Yo, and Tank. Beyond that, Kehlani has teamed up with multiple artists this year, some including Cardi B and Leon Thomas.

Fugees artist Pras Michél is officially facing a long stretch behind bars after a federal judge handed him a 14-year prison sentence linked to conspiracy and illegal foreign lobbying charges. The decision came down Thursday in a Washington, D.C. courtroom, where the judge also tacked on three years of probation to follow his prison term. This news arrives just weeks after Pras was ordered to forfeit a staggering $64 million, tied to what prosecutors described as an extensive international scheme. His legal troubles stem from a list of allegations that have been building for years. Back in April 2023, Pras was convicted on ten separate counts, including accusations that he interfered with campaign finance laws during Barack Obama’s 2012 presidential run. Prosecutors also claimed he attempted to influence the Trump administration in 2017, painting a picture of a complex network of foreign connections and political maneuvering that ultimately unraveled in court. For Pras, the sentence marks an outcome his team hoped they could somehow avoid. He previously told TMZ Hip Hop that he and his legal camp were holding out hope for a lifeline, saying they were essentially “crossing their fingers for a pardon from Trump himself.” Instead, the court delivered what many are calling a harsh but expected verdict, given the scale of the accusations and the financial penalties already assigned. Now, Pras is preparing for the next chapter of this already dramatic legal saga. He’s been ordered to surrender on January 27, officially beginning the lengthy sentence that follows one of the most high-profile federal cases involving a hip hop figure in recent memory. At this point, the focus shifts to how he plans to navigate the years ahead and what this means for his legacy as a member of one of hip hop’s most celebrated groups.

Mike Epps stopped by HOT 97 to talk to Nessa about headlining the We Them Ones Comedy Tour in 2026. He opened up about what it means to finally take the last slot on stage after years of hosting, and why this year’s 36-city arena run feels different. They got into how he prepares for back-to-back dates, what young comedians don’t see behind the scenes, and how he approaches mentoring Chico Bean, Karlous Miller, and the next generation. Mike also reflected on moments in his 30-year career where he thought he “made it,” what stand-up has taught him, and what it feels like to keep evolving in an art form that takes a decade to master. He and Nessa also talked about the iconic Day-Day role in the movie Friday, auditions that changed his life, and why he believes Ice Cube’s advice still guides him today. Mike shared stories about being booed early in his career, the pressure of New York audiences, and the instinct it takes to survive on stage. They touched on his upcoming TV projects, working with Kenya Barris, what success looks like now as a father, and why he bought a farm back home. Finally, he opened up about legacy, the lessons he hopes his kids hold onto, and what he’d tell his 20-year-old self about business, discipline, and staying around the right people.

Rumors flooded social media this morning claiming Ja Rule was attacked by Max B’s crew after a show in New York City—but the rapper is shutting the story down and setting the record straight. The speculation kicked off when online personality Tasha K alleged that Ja Rule was “pretty badly” beaten in an altercation that supposedly took place at Sei Less, a popular NYC restaurant, following a Monica and Brandy concert at the Barclays Center. The claim quickly spread across social platforms and forums, fueling chatter that Max B’s team was behind the alleged attack. View this post on Instagram Ja Rule wasted no time addressing the situation. Taking to X, he dismissed the rumors and called out Tasha K directly, accusing her of spreading misinformation. “Tasha why you lying to these good ppl,” he wrote. “Yes some bitch ass n****s tried to jump me. No it wasn’t at sei less and I’m chilling smoking a joint watching SVP wit not a scratch on me…” View this post on Instagram While he acknowledged that an incident was attempted, Ja Rule made it clear that the reports of him being severely beaten were exaggerated. He also denied that the altercation happened at Sei Less. As for Max B’s alleged involvement, nothing has been confirmed. Some fans pointed out that Max B was reportedly still on stage performing at the time the supposed incident was said to have happened. View this post on Instagram

Grandmaster Caz offered a blunt, unfiltered glimpse into hip-hop’s competitive roots during a recent appearance on the BagFuel Podcast, revisiting the moment LL Cool J emerged in the mid-1980s and disrupted the landscape for a generation of MCs who helped build the culture from the ground up. “When LL [LL Cool J] came along, what were your thoughts about that?” asked host Esso. Caz, a Bronx icon, didn’t hesitate. “Couldn’t stand him… couldn’t stand him,” Caz said, repeating the line with the same bite it carried nearly four decades ago. His frustration wasn’t personal. It was the sting of watching a teenager become Def Jam’s next superstar at a time when pioneers like Caz felt overlooked. LL had the charisma and throttle to dominate a genre shifting from neighborhood pastime to national industry, and Caz admitted the rise hit a nerve. “He was that n***a,” said Caz, reflecting on a career in which his own early innovations were often overshadowed by younger stars with corporate machinery behind them. “He was that next n***a that was going to get everything I thought I deserved.” Grandmaster Caz Envyed LL Cool J During the 80s Hip Hop The LL Cool J questions would lead into Caz’s involvement in Hip-Hop’s 50-year run, which has included a decades-long association with him and the classic song “Rapper’s Delight.” The Sugarhill Gang’s hit was built on his rhymes without proper credit. “I’ve been answering ‘Rapper’s Delight’ questions for 50 fuckin’ years, almost,” he said. While a part of his history, Caz has become accustomed to speaking about it all the time as Rap music evolves. “I’ve been answering Rapper’s Delight questions for 50 fuckin’ years, almost,” said Caz. “I would have been swinging from a chandelier if I let that shit bother me, get to me or whaterver.” Caz compared the long arc of hip-hop to a roller coaster—wild, unpredictable, and sometimes punishing, but inevitably stable. “No matter how outlandish it get, it always lands,” he said. Grandmaster Caz believes the same will hold true for a genre currently navigating chaos, algorithm-driven aesthetics, and generational fragmentation. After the twists and turns, he argued, hip-hop may “have to start it over,” predicting a future where a new generation rebuilds the culture from scratch. Caz’s reflections traced the emotional tension between legacy and evolution, linking the rise of LL Cool J to the genre’s enduring capacity to reinvent itself.