Day: October 27, 2025

Erykah Badu recounted how a Dallas coffee shop and a D’Angelo album unexpectedly launched her music career during a revealing appearance on The New York Times’ Popcast.

While speaking with hosts Jon Caramanica and Joe Coscarelli, the neo-soul singer detailed the moment she first encountered the late D’Angelo’s debut album Brown Sugar while working at Grinders, a coffee shop on Greenville Avenue in Dallas.

“I first met D’Angelo’s music… I was working at a coffee shop in Dallas, Texas, called Grinders,” Badu recalled. “Somebody was playing D’Angelo’s new album, Brown Sugar. It was so refreshing to me, because I was working on music and really wanted to meet him and make something with him.”

Iinspired by his sound, she handed her demo to a contact at SXSW, which ultimately reached D’Angelo’s manager Kedar Massenburg—setting her on the path to her music career.

“At that time, I really thought I was on the right path,” she explained. “I didn’t have anyone to kill the dream. I just believed the things I believed and kept them to myself and they just began to happen, one thing after the other.”

She later opened for D’Angelo at the Caravan of Dreams venue in Fort Worth. By the end of the night, she had secured a record deal with his manager, Kedar Massenburg.

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The podcast episode, which was recorded before D’Angelo’s death earlier this month, offered a rare glimpse into Badu’s early years.

Erykah Badu Gives D’Angelo His Flowers

Badu paid tribute to D’Angelo shortly before his passing, writing on Instagram “I had never heard or seen anything like this in this world. He had an old thing that had been hidden , buried for a long time , I recognized it right away.”

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The Grammy-winning artist is currently preparing new material under her label Control FREAQ Records. Her long-awaited collaboration with The Alchemist, titled Abi & Alan, was postponed in August 2025 just hours before its expected release.

Badu is currently on a global tour celebrating the 25th anniversary of her 2000 album Mama’s Gun, while working on her first studio LP since 2010’s New Amerykah Part Two: Return of the Ankh.

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Sammie, the R&B artist best known for his early 2000s single “I Like It,” was arrested in Georgia on October 19 on charges of battery and child cruelty tied to a domestic incident involving his partner and their child.

According to the Henry County Sheriff’s Office, Sammie Lee Bush Jr., 38, was booked into jail on suspicion of first-degree battery as family violence and third-degree cruelty to children.

Authorities allege the singer physically assaulted his girlfriend, Teanna Reid, in the presence of their child. He was released shortly after posting a $1,050 bond.

The arrest came just days before Sammie was scheduled to perform at One Musicfest on October 25, a major festival appearance.

In a message shared with his Instagram followers, Sammie appeared to address the situation without directly naming the incident.

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“Happy Sunday, first and foremost. I’m gonna let God have his say, and the courts have their say, and the truth shall set you free. Love. I appreciate y’all. Thank y’all for the concerns. Love,” Sammie said.

The allegations have reignited online conversations about the singer, especially after previous social media claims by Reid accused him of abuse.

On Instagram, Sammie called out The Shade Room for their coverage, writing in their comment section, “SR yall know better. Should’ve hit me & my team first for the facts opposed for click bait, yall know how I rock. Yall brought me back career wise. But I see yall pushing the agenda of negativity and that’s fine. God bless yall. I pray the apologies are as loud as the lies and offenses.”

Sammie has not issued a formal statement beyond his social media comments. As of now, his next court date has not been publicly announced.

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Nas has always been one of the finest rappers to ever grace the culture of Hip-Hop. At this point, that statement alone isn’t particularly unique, because greatness, in his case, has become expected. What is special is what’s happening now: a swelling transformation that’s redefining what Hip-Hop legends can look like in their 50s and beyond.

This evolution didn’t happen overnight. I personally trace it back to Life Is Good, that reflective 2012 album where Nasir Jones first began to fully merge his wisdom with his artistry. Since then, something’s shifted. Nas has distanced himself from his peers…not through ego. This has happened through elevation.

That distinction became crystal clear at the recent gala for The Hip-Hop Museum — the soon-to-be permanent home for our culture in the Bronx. Held at Cipriani’s in the city, it was a true celebration: a room filled with legends and builders of Hip-Hop — Big Daddy Kane, Slick Rick, Doug E. Fresh, The D.O. C., Mr. Wave from the New York City Breakers, journalists, photographers, executives, philanthropists, educators, business leaders and more.

The energy was electric. This was the kind of night that reminds you just how vast Hip-Hop’s impact really is. I was in the midst of it all, wearing a pink tux just because that’s the sort of pageantry we were in. Then there was Nas. When he took the stage, he didn’t just speak. He delivered a moment. His speech was brief, but a declaration. He made a powerful gesture, a financial reminder of his lifelong dedication to the art form.

“We’re all one Hip-Hop family.” – Nas

But Nas didn’t stop there. He backed up his words with action, donating $1 million to The Hip-Hop Museum, which is helmed by Rocky Bucano. Then, his business partners Resorts World New York matched his donation with another million.

That’s not just generosity. That’s leadership. These are cultural marching orders.

This museum has been a long time coming. I’ve watched its journey from messy debates and early visions to an actual, rising structure in New York City. I’ve given what I could, written about it and supported it along the way. I’ve also seen people complain, criticize, and debate who “deserves” to be part of it. Hell, I think AllHipHop deserves a space in there for our pioneering of new media. Regardless, the people who’ve kept going — the proverbial doers — deserve our salute. Rocky is one of them. And Nas stands among them.

The Power of Simply Doing

We need more people like Nas. People who do. People who give. People who continue to pour into the culture without demanding applause in return. Far too many have held back inclusion because they did not get immediate rewards. How will that workout for future generations?

In a world obsessed with profit and self-promotion, Nas has managed to be both valuable and of value. It’s not just what he’s worth. It’s what he’s doing with his worth that counts. That’s Hip-Hop in its truest form: giving back, building forward and staying rooted in purpose. I continuously sing the praises of Nas and those like him.

Preserving What We Built

Hip-Hop is now 52 years old. We’re past halfway to 100 and most of us OGs won’t be here for that centennial celebration. But if we do this right, that museum will still be standing, filled with the artifacts, the memories and the evidence of what we built while we were here.

If all you did was make music, but never gave anything back…what will your legacy really be? Hip-Hop isn’t one artist, one company or one movement. It’s billions of moments and millions of contributors, each leaving fingerprints on history.

That’s why this museum matters. It’s not just a building; it’s a living archive of who we are.

The Maturity of Nasir Jones

In that same way, Nas himself has become an institution. Watching his growth has been like watching Hip-Hop mature in real time, aging backward while evolving forward. He’s mastered that rare balance of grace and grit, staying youthful in spirit yet grounded in purpose. He’s no slouch in business either. And, for the record, Nas is not the only one. He is simply an amazing ambassador of this ethos.

Hip-Hop has long been a culture of perpetual youth, often allergic to maturity. But Nas defies that norm. He’s showing us that you can age gracefully, look good doing it, give back meaningfully, dominate artistically, and silence your critics — all at once.

That’s not just Nasir Jones, the rapper.
That’s Nasir Jones, the blueprint.

Click here to support The Hip-Hop Museum.

Proceeds from the night are going straight toward something monumental — building a 55,000 square-foot home for Hip-Hop itself. The Hip Hop Museum, set to open in the Bronx — the birthplace of this global movement — is officially slated for Fall 2026.

This won’t just be a museum with glass cases and plaques. It’s going to be alive — a living, breathing tribute to the energy that made Hip-Hop what it is. We’re talking rare artifacts, exclusive memorabilia, interactive exhibits, and live performances that let visitors feel the rhythm of the culture.

The goal is simple: to make sure this museum captures Hip-Hop’s heartbeat, its movement, its evolution, its global reach. And lock it into history. When those doors open, it won’t just be an event. It’ll be a milestone. We’ll celebrate, once again, how far we’ve come…and let them them see it for generations.

Here are some of the images from the glorious event.

Big Daddy Kane

Photographer Ernie Paniccioli

Markuann Smith and Father MC

DJ Cassidy

Mr. Cheeks (Lost Boyz), Mr. Wave (New York City Breakers), Kool DJ Red Alert, Spigg Nice (Lost Boyz)

Scholar Michael Eric Dyson

The D.O.C.

Chuck “Jigsaw” Creekmur

Mr. Wave and Fat Joe

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D4vd finds himself at the center of a death investigation that continues to raise questions as private investigator Steve Fischer reveals new details about the timeline surrounding Celeste Rivas Hernandez’s death.

The 15-year-old’s decomposing body was discovered in the trunk of the singer’s Tesla at a Hollywood tow yard on September 8, 2025.

Fischer was hired by the owner of a Hollywood Hills home where D4vd had been living. The house was rented by the singer’s manager at Interscope Records, according to Fischer’s investigation.

“He wants to understand exactly what may have happened and if his house played a role in any way,” Fischer told ABC7.

The private investigator established a timeline using neighborhood surveillance footage and digital evidence, all focused on D4vd‘s Tesla. Fischer said the last confirmed date on which Celeste was shown alive was January 2, 2025.

“That car, starting in May, was parked in a few different spots around the neighborhood, and then finally, on July 29th, left in its final spot on Bluebird [Avenue],” Fischer explained. “This happens to be right before, or the same day, they are leaving on a tour bus for D4vd’s tour.”

The remainder of D4vd‘s tour was canceled last month amid the ongoing investigation. The singer, whose real name is David Anthony Burke, changed the ownership of one of his Texas homes following the discovery.

Records show he transferred his Cypress home, located in the Houston area, to his mother’s name on September 23 – about two weeks after the body was found in his Tesla.

Fischer believes toxicology reports will be crucial in determining what happened to Celeste.

“They are probably relying on toxicology to better understand what happened, which means it could be an accidental overdose with a really bad decision made afterwards,” Fischer said.

The investigation took another strange turn when deputies were called to D4vd‘s parents’ Houston-area home on September 17 for what turned out to be a fake swatting call.

A caller claimed there was a shooting with a dead female victim, but the alarm was cleared and no incident report was filed.

Celeste, from Lake Elsinore, had been reported missing by her family at least three times in 2024, according to the Riverside County Sheriff’s Office. Investigators say her body had most likely been in the car for several weeks before being discovered.

The cause of Hernandez’s death remains undetermined. Lab tests and toxicology reports are expected to provide answers about how she died. Until then, it remains a death investigation and not a homicide investigation.

“It’s an ongoing investigation and we have a lot of resources dedicated to bringing it to a conclusion, but to go beyond what has already been made public would be inappropriate,” LAPD Chief Jim McDonnell said.

No suspects have been named in the case, and no arrests have been made.

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Jamie Foxx erupted in anger at his private Halloween party in Southern California after someone in the crowd hurled a bottle toward GloRilla mid-performance, prompting the actor to grab the mic and call out the behavior in front of stunned guests.

The incident unfolded during Foxx’s SKVLK FEST, an invite-only event for teens and young adults, where GloRilla was performing on stage.

As the rapper entertained the crowd, an unidentified attendee threw a bottle at her, halting the show and prompting a sharp reaction from the Oscar-winning actor.

Foxx, visibly frustrated, demanded to know who was responsible and briefly threatened to shut down the gathering altogether.

“Damn, why would you do some s### like that? Goofy-ass n####? Why? G######! Why would you throw something at the stage, man? Why? This is for free! She came to… man, y’all don’t deserve this s###, bro. That’s f##### up, bro,” Foxx shouted into the mic. “You throw some s### in my house?”

The outburst was captured on video and quickly spread across social media platforms.

The crowd of roughly 14- to 22-year-olds stood in silence as Foxx defended GloRilla and condemned the disrespect shown during her set.

Despite the disruption, he encouraged the rapper to continue her performance once order was restored.

The party, which was not open to the public, did not see any further reported altercations or removals following the incident.

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DJ Scratch and Planet Asia’s collaborative album, Kings Dominion, arrived October 24 through the EPMD legend’s Albany Park Records imprint. The Hip-Hop vets initially kept their reveal minimal, posting only the nine-track listing as white text over black backgrounds on Instagram without rollout theatrics or promotional campaigns.

The project opens with “Not Allowed” and includes the title track “Kings Dominion,” followed by “Big Guns,” “Knowledge Is Power” and “Coming For The Title.” The album’s second half features “You All Know,” “Produce A Seed Through You,” “St Johns Park” and closes with “Ghetto Gospel,” the only track featuring additional voices from Rome Streetz and Rigz.

“The tracklist for me and @djscratch album ‘KINGS DOMINION’ dropping Oct 24th. My Birthday!!!” Planet Asia wrote on Instagram, revealing the release coincides with his birthday celebration.

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The album arrives through DJ Scratch’s Albany Park Records, the label he launched in 2023. The imprint is named after the Albany Houses in Brooklyn where he grew up. The OG producer has maintained his reputation as a Hip-Hop icon throughout his extensive career spanning multiple decades.

Planet Asia’s catalog has remained one of underground rap’s most consistent offerings for over two decades, with the California-based MC earning recognition for his uncompromising lyrical approach. The collaboration promises to deliver substance over style, with both artists representing eras where album sequencing and conceptual frameworks held significant importance.

The cover art maintains the project’s stripped-back aesthetic, featuring a detailed silver crown floating against a black background with both artists’ names. No deluxe versions, bonus tracks or extended promotional campaigns have been announced, suggesting the duo intends to let the music speak for itself.

“We will remind you what a Hip Hop Album is supposed to sound like,” DJ Scratch stated on social media, positioning Kings Dominion as a return to traditional album construction focused on bars rather than commercial branding strategies.

The nine-track runtime suggests a concise listening experience designed around Planet Asia’s vocal delivery over DJ Scratch’s production work. Both artists have built careers on technical precision rather than mainstream appeal, making their partnership a natural fit for Hip-Hop purists seeking authentic content.

Find the project below.

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