The Basketball Hall of Fame has announced that it has named a new impact award after Ice Cube. The award honors Cube’s “extraordinary contributions to the world of basketball, his unparalleled passion for the game and his unwavering commitment to encouraging crucial dialogues surrounding inclusivity, equal opportunity, and racial and social justice while contributing to initiatives focused on education and community development.” It will be awarded to Cube on Martin Luther King Day next year in a ceremony in Massachusetts. It’s unclear if MLK Day will become the annual time when the awarded to presented to the new winner.
Cube, who founded The BIG3 3×3 league was blown away by the decision. “The Naismith Basketball Hall of Fame Award named in my honor is truly remarkable. Words alone can’t express my gratitude for this recognition from such a prestigious organization. Having an award bearing my name only intensifies my commitment to advancing inclusivity and equal opportunity in sports, alongside my unwavering dedication to community activism,” the rapper said.
Despite the award, Cube is still very much feuding with the NBA. The rapper alleges that the NBA has been trying to kill off his BIG3 league. Reportedly, things were serious enough that the Justice Department has been quietly investigating a possible violation of anti-trust law “for months”. The NBA could be levied with a massive fine if the government does find them guilty of anti-trust violations.
One of the biggest pieces of evidence that Cube has presented is that the NBA prevents its players from appearing in The BIG3. However, it does not prohibit them from playing in other events such as the Drew League. Jaylen Brown recently became the first active NBA player to appear in The BIG3. The Celtics star took part in the league’s all-star game back in August. NBA referees have also seemingly been prohibited from officiating in the BIG3.
About a month ago, legendary Atlanta rapper and trap pioneer, T.I. announced his retirement from music. He did so on the We In Miami podcast and it shook the music world. He revealed why he felt it was the right time to move on. Mostly, it was to explore other avenues. In addition, T.I. also said that he would be closing out his career with a double album with a unique feature from NBA Youngboy. However, maybe the most interesting subheader is that his collab record with Boosie Badazz may never come out.
“The time that we had allotted for it we kinda passed by it.” However, he did not totally shut the door. He said, “Not saying that the window can’t present itself again. We have a very healthy relationship.” That is good to hear especially after some of their recent disagreements and harsh words for each other. We were not too sure what T.I. meant by that he and Boosie passed by it, but now we do.
Boosie Badazz Takes Blame For His Collab With T.I. Not Dropping
According to HipHopDX, Boosie went on The Breakfast Club recently and they asked him about the duo tape. The Louisiana rapper had a similar answer to his friend, but he took the fall for it not coming to fruition. “I called him about a month ago and asked him what’s up with it. I think it’s just, like, on the back-burner right now, but it’s damn near done, bro.” He heartbreakingly goes on, “I think I’m more excited on driving it than Tip. Y’know, Tip locked in with these movies, but man, me and Tip made a hell of a[n] album. I just f****d it up.”
What are your initial thoughts on Boosie Badazz revealing that he was to blame for him and T.I.’s album not dropping? Do you think this is a massive mistake for Boosie’s career? Do you still want this to eventually come out? We would like to hear what you have to say about all of this. With that in mind, be sure to leave all of your hottest takes in the comments section below. Additionally, always keep it locked in with HNHH for all of the latest breaking news around Boosie Badazz and T.I. as well as everything else going on around the music world.
As the 1990s hip-hop scene flourished, Master P’s album MP Da Last Don stood as a testament to his formidable presence in the industry. Released in 1998, this double album not only showcased Master P’s entrepreneurial acumen as the head of No Limit Records but also his ability to create music that resonated with the streets and the charts alike. MP Da Last Don was a crowning achievement in a career defined by both relentless ambition and a keen ear for the evolving landscape of rap.
This album marked a significant chapter in Master P’s career, blending the raw energy of Southern hip-hop with elements that appealed to a broader, mainstream audience. It was an audacious project, ambitious in scope and rich in collaboration, featuring a roster of artists who would come to define the No Limit sound. MP Da Last Don was more than just an album. It was a cultural milestone encapsulating the essence of an era in hip-hop.
MP Da Last Don: Crafting A Hip-Hop Milestone
Master P’s MP Da Last Don was a monumental release in late ’90s hip-hop, showcasing his unique ability to blend hard-hitting Southern beats with a flair for mainstream appeal. The double album format allowed for an expansive exploration of styles and themes, with Master P’s signature gritty storytelling at the forefront. The production, characterized by its bass-heavy beats and layered melodies, created a sound that was both street-authentic and commercially viable.
The album boasted an array of standout tracks that highlighted Master P’s versatility as an artist. Songs like “Thinkin’ Bout U” and “Soldiers, Riders, and G’s” featured Master P’s trademark blend of assertive lyrics and rhythmic hooks, while “Da Last Don” and “Let’s Get ‘Em” showcased his skill in crafting anthemic tunes. These tracks were not just expressions of Master P’s artistry but also reflections of the broader narratives and experiences within the hip-hop community.
Collaborations played a significant role in MP Da Last Don, with appearances from Snoop Dogg, Silkk the Shocker, and Mystikal, among others. These collaborations added diverse voices to the album and demonstrated Master P’s influence and connections within the industry. The album served as a platform for both established and emerging artists, solidifying No Limit Records’ status as a powerhouse in the hip-hop world.
Chart Triumph & Critical Acclaim
MP Da Last Don marked a high point in Master P’s career, achieving significant commercial success. The album debuted at No. 1 on the Billboard 200. It was a testament to its widespread appeal and Master P’s growing fan base. It quickly achieved multi-platinum status, further solidifying Master P’s reputation as a major player in the hip-hop industry. This commercial success was indicative of the growing influence of Southern hip-hop in the mainstream music scene of the late 1990s.
Critically, MP Da Last Don was met with mixed reviews. However, it was undeniable that the album captured the essence of a changing era in hip-hop. Critics recognized the significance of Master P’s work in bridging the gap between the underground and mainstream rap scenes. The album was noted for its bold production choices and Master P’s unapologetic portrayal of street life. It further resonated with audiences looking for authenticity in hip-hop.
The success of MP Da Last Don also underscored Master P’s savvy as a businessman and a visionary in the music industry. His approach to marketing the album and his broader entrepreneurial endeavors set new standards for independent artists in the industry. The album’s impact was not limited to its sales. It also played a crucial role in establishing Master P’s legacy as a pioneer in the business of hip-hop.
The Enduring Legacy Of MP Da Last Don
The influence of Master P’s MP Da Last Don extends far beyond its initial release. As a milestone in Master P’s career and the broader landscape of hip-hop, the album is a testament to his ability to capture the zeitgeist of the late 1990s. It exemplified the rise of Southern hip-hop, bringing a distinct sound and narrative to the forefront of the genre.
MP Da Last Don played a significant role in shaping hip-hop’s identity and business model. Master P’s entrepreneurial spirit, combined with his musical talent, challenged the traditional structures of the music industry. His success with this album and No Limit Records inspired a generation of artists.
Moreover, the album’s cultural impact is evident in its lasting appeal. Tracks from MP Da Last Don continue to have influenced various artists across genres. Master P’s legacy is not just that of a rapper but of a visionary who expanded the possibilities for what hip-hop could achieve both artistically and commercially.
Quando Rondo will not be banned from entering Chatham County in Georgia, despite prosecutors’ attempts otherwise. Chatham County Superior Court Judge Tammy Stokes reached the decision on Monday, according to Savannah Morning News. The attempted ban followed a car crash involving the rapper on July 19. At the scene of the incident, he showed signs of an overdose. Additionally, Rondo was present at a shooting on September 20, in which a group of people including Quando Rondo, were attacked. In response, prosecutors wanted Rondo banned “from the confines of Chatham County except for court appearances, meetings with defense counsel, and medical treatment.”
Denying their request, Judge Stokes argued: “Preliminary investigation suggests that the defendant and/or members of his entourage were the targets of this attack. Based on the State’s case, it appears that the defendant was, in fact, victim. Accordingly, the motion is denied.”
ATLANTA, GEORGIA – OCTOBER 05: Quando Rondo and Fee Banks attends the B.E.T. Hip Hop Awards 2019 at Cobb Energy Center on October 05, 2019 in Atlanta, Georgia. (Photo by Johnny Nunez/Getty Images for BET)
In documents obtained by XXL back in July, authorities wrote that Rondo was, “operating a motor vehicle in Chatham County and was observed traveling at a high rate of speed and ultimately crashed his vehicle [into] another vehicle. Emergency services responded to the scene and the defendant was administered Narcan as he was exhibiting signs of an overdose.” They also added that, “Quando] was subsequently transported to [Memorial Health University Medical Center] where he became belligerent with hospital staff and ultimately had to be sedated. As a result of this incident the Defendant is being charged with a number of traffic offenses.”
Afterward, police began investigating the cause of the car crash. They didn’t provide word on any other reported injuries from the scene. Rondo has yet to comment on the verdict. Be on the lookout for further updates on his legal case on HotNewHipHop.
Lately, FBG Butta’s been making his rounds, claiming to have robbed Adam22 and No Jumper in various interviews. Adam22 has taken to social media to address the rapper’s claims, denying that Butta actually took anything. The host went on to accuse him of snitching, noting that if he was able to lie about scamming him so easily, it’s likely that he lied about that as well.
Adam threw a few jabs at the rapper in the process, claiming that whether or not he’s “zesty” remains up for debate. He also said that he had a lengthy conversation with Butta recently, which saw him swear that he’s an honest person. Adam appears to be confused by the entire situation, calling FBG Butta some kind of “sociopathic liar” and advising others not to believe a word he says.
FBG Butta fired back shortly after Adam shared his take. According to him, he has receipts to prove he “scammed” No Jumper, despite the internet personality’s claims. He turned the tables on him, accusing him of being the one lying about the situation. It’s unclear when Butta plans to drop the receipts, however, fans are eagerly awaiting them. Unfortunately, this is far from the first beef Adam22’s gotten wrapped up in as of late. Last week, Shoebox Baby called him out for mentioning him during his interview with Sidney Starr, claiming that he’d rather he stop speaking on him altogether.
“Don’t put my name in none of that s**t, gang,” Shoebox Baby told Adam. “If it got something to do with some punk s**t, some b***h s**t, some snitch s**t, don’t say my name with that s**t. I know it be all fun and games, but don’t be playing like that, man.” What do you think of FBG Butta’s response to Adam22? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
Travis Kelce will reportedly feature on the upcoming charity Christmas album being released by the Eagles alongside his brother. The song, “Fairytale of Philadelphia”, is a play on the Christmas classic, “Fairytale of New York” and comes with a video that depicts the brothers as claymation characters. “Philly, are we going to let a Chief steal the show? No way… But we are going to enjoy the newly reimagined single, Fairytale of Philadelphia by Jason & Travis Kelce,” read the caption on a post sharing a teaser of the song.
A Philly Special Christmas is out November 15, with all proceeds going to local charities. It is a spiritual successor to last year’s A Philly Christmas Special. That album raised over $1 million for charity. However, the Eagles are hoping to surpass that amount this year. Furthermore, the album features 10 tracks and is primarily composed of Eagles players.
However, Travis Kelce isn’t the only famous feature on the album. Patti LaBelle will also feature on A Philly Christmas Special. According to a reveal last week, LaBelle performing “This Christmas” alongside the Eagles’ Australian-born offensive tackle, Jordan Mailata. In a clip shared by the team, Mailata admits to having stage fright. The former rugby player, who has been described as the team’s best singer, completely freezes up around the Grammy winner in the behind-the-scenes footage. Last year, Jason Kelce complimented Mailata’s singing while bashing his own. “What Jordan did, you could call singing. I’m very much just like a yeller in certain tones. There are some songs on there that I think are going to shock people, especially people who haven’t heard Jordan Mailata sing,” Kelce said.
Like last year’s A Philly Special Christmas, the album is being produced by Charlie Hall, drummer for Philly rock band The War On Drugs. Furthermore, the album is once again being executive-produced by Connor Barwin. Barwin played three seasons with the Eagles in the 2010s.
Travis Scott has revealed a lot to us and the rest of the music world over the past few hours with his feature in GQ magazine. From giving us an inside look at his thoughts on the Astroworld tragedy to his desire to hit the books and become an architect, and even turning UTOPIA into a musical, there is a lot to unpack. Travis is clearly one of the biggest rappers in the world and that is because of his excellent record. Fans waited five years and they got a GRAMMY-nominated tape. What was so cool about UTOPIA was that it ditched the traditional formula that the Houston artist has put forth.
While it does draw heavy inspiration from Kanye West’s Yeezus, it still feels uniquely Travis. One of the reasons for that is due in part to a car ride with his daughter, Stormi. In the interview, he details how he brought back the 2013-2014 La Flame era that many longtime fans would call it. “I was actually riding with Stormi… we were getting fireworks in Houston… Her favorite song is “Mamacita”—it’s like, her favorite song of all time. She plays it all the time in the car, over and over and over, and that’s from this mixtape Days Before Rodeo.”
Travis Scott on how a car ride with his daughter Stormi inspired his latest full-length studio album ‘UTOPIA’
“I was actually riding with Stormi… we were getting fireworks in Houston.” Stormi repeatedly requested something from her father’s back catalog. “Her favorite song… pic.twitter.com/KMo0PLjwYB
He continues, “Just hearing that song over and over just reminded me of that time. I wanted to get back to the essence of who Travis Scott was as, like, a creator of music and sound, he said. “To just go back to the core, what got me here, which is producing and creating and the raw format of how I’ve started making music. And I got so excited about that.” It sounds like a special moment for the daddy and daughter and you can certainly hear elements of that time in his career. Prime examples of this are “LOOOVE,” “LOST FOREVER,” and “HYAENA.”
What are your initial thoughts on Travis Scott revealing that Stormi helped inspire UTOPIA? Do you think there would have been any chance of any older Travis without the car ride? Do you prefer his new sound or older stuff more? We would like to hear what you have to say about all of this. With that in mind, be sure to leave all of your hottest takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest breaking news around Travis Scott as well as everything else going on around the music world.
John Legend’s 2004 debut album, Get Lifted, marked a pivotal moment in contemporary R&B and soul music. Before its release, Legend was already a respected musician known for his collaborations and session work. However, Get Lifted catapulted him into the spotlight as a leading artist. The album was a masterful blend of soulful melodies, gospel-infused backdrops, and poignant lyrics. It showcased Legend’s depth both as a vocalist and a songwriter.
Get Lifted was more than just a collection of songs. It was a narrative woven through soulful rhythms and heartfelt stories. Legend’s approach to music on this album was refreshingly authentic and deeply rooted in classic soul and R&B traditions. The album resonated with audiences seeking musical depth and emotional sincerity. It set the stage for a career characterized by both innovation and homage to musical roots.
Get Lifted: A Soulful Tapestry
Get Lifted represented a significant moment in John Legend’s career. The album’s production, marked by its lush piano arrangements and smooth rhythms, created a contemporary and timeless sound. This fusion was a nod to Legend’s musical influences while also establishing his distinct voice in the R&B genre.
The album features a collection of tracks that highlight Legend’s versatility as an artist. The lead single, “Ordinary People,” stands out for its simplicity and emotional depth. It was driven by Legend’s expressive piano playing and rich, soulful vocals. The song became a critical and commercial success, resonating with audiences for its raw portrayal of relationships. Similarly, tracks like “Used to Love U” and “So High” demonstrated Legend’s range. They flowed from upbeat, gospel-infused tunes to soaring, romantic ballads.
Get Lifted also showcased Legend’s collaborative spirit, with contributions from artists like Kanye West and Snoop Dogg. These collaborations added diverse textures to the album, further cementing its appeal across various musical tastes. Throughout the album, Legend maintained a balance between soulful introspection and accessible, relatable themes. It made Get Lifted a standout debut in the R&B scene.
Chart Triumph & Critical Acclaim
Upon its release, Get Lifted soared in both commercial success and critical reception. The album debuted at No. 7 on the Billboard 200 and rapidly gained traction. It eventually earned a multi-platinum certification in the United States. This commercial success clearly indicated Legend’s widespread appeal and the resonance of his music with a diverse audience.
“Ordinary People,” the album’s standout single, substantially contributed to this success. It peaked high on various charts, including the Billboard Hot 100. It further became an anthem known for its heartfelt lyrics and classic sound. The album’s other singles, such as “Used to Love U” and “Number One,” also received significant airplay, further cementing the album’s status.
Critically, Get Lifted was met with widespread acclaim. Reviewers praised Legend for his soulful approach to R&B and the authenticity of his songwriting. The album’s fusion of traditional and contemporary styles was noted for its originality and depth. The critical and commercial success of Get Lifted solidified John Legend’s status as a significant figure in music and earned him several prestigious awards, including multiple Grammys.
The Enduring Impact Of Get Lifted
The lasting legacy of John Legend’s debut album, Get Lifted, extends well beyond its initial commercial success and critical acclaim. As a seminal work in modern R&B, it played a crucial role in shaping the genre’s evolution in the early 21st century. The album established Legend as a powerful voice in music and set a benchmark for soulful storytelling blended with contemporary R&B.
Get Lifted has been recognized for its influence on subsequent artists, inspiring a return to more traditional, soul-infused sounds in R&B. Legend’s marriage of classic piano-driven melodies with modern production paved the way for a new wave of artists who seek to bridge the gap between old-school soul and contemporary rhythms. His approach to songwriting, characterized by its emotional depth and authenticity, has also been a model for musicians aiming to convey genuine stories and sentiments.
Furthermore, the album’s success contributed significantly to diversifying the landscape of R&B music. It demonstrated a robust audience for music that combined classic soul elements with modern styles. Over the years, Get Lifted has continued to be celebrated for its artistry and is often cited as a favorite among fans and critics alike.
Coi Leray isn’t happy her father Benzino has been contradicting her recollections of her upbringing. On a recent episode of Angie Martinez’s podcast, IRL, the “Players” rapper recalled her mom “cooking up nickels and dimes” to support them (as in, selling crack) and sleeping in cars. However, Benzino disputed this during a recent Instagram Live session, arguing, “She ain’t never slept in no f**king cars that I knew about.”
It looks like Coi is fed up with Benzino offering counterexamples of his good parenting because she lit into him in an Instagram session of her own. “[I watch] him go online and just create craziness for no reason,” she said. “And if you notice, it has been a pattern for some time now…. It just seems like every single time, instead of you congratulating me and being happy for me, you want to go online and try to use me to prove yourself to these people and this industry on why you feel like you didn’t get the respect or whatever it is that you deserve. I don’t want to be your clout kid.”
She also pointed out, “I don’t have to get on here and lie about struggle. I don’t think anybody wants to do that. But, yeah, I think that’s corny. I have a mugshot. Ask my mom… I don’t [want to] have to speak on this ever again. He made it very clear that he never wants to speak to me again… Again, the interview was done in June. I haven’t said anything since. But, respectfully, I wish that we could kind just keep everything offline moving forward. I’d rather you just do that on a respectful level of just me being your daughter at the end of the day.”
YouTube is taking steps to introduce labels on videos, especially as Artificial Intelligence (AI) becomes increasingly prevalent in visual media. In a new blog update, the video platform confirmed that while they won’t be banning AI usage, users will have to disclose when they do use it in videos within the “coming months.”
This would include music videos and songs, as well as “especially important” cases like election coverage or “content showing someone saying or doing something they didn’t actually do.”
“To address this concern, over the coming months, we’ll introduce updates that inform viewers when the content they’re seeing is synthetic,” YouTube’s statement read. “Specifically, we’ll require creators to disclose when they’ve created altered or synthetic content that is realistic, including using A.I. tools.”
They added, “When creators upload content, we will have new options for them to select to indicate that it contains realistic altered or synthetic material. For example, this could be an A.I.-generated video that realistically depicts an event that never happened, or content showing someone saying or doing something they didn’t actually do.”
A test example of the AI label is shown on the site, with an example noting something is “Altered or synthetic content,” even on YouTube Shorts.
(@nojumper)
