Month: January 2026

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Kick streamer Konvy was targeted in a drive-by shooting while livestreaming from the Bronx on Friday night, with the terrifying incident captured live on camera.

Adin Ross, a close friend and frequent collaborator of Konvy, confirmed the shooting was real during his own livestream hours after the attack. The shooting occurred while Konvy was broadcasting live with two friends in a vehicle in New York City.

Video footage shows the three men having a casual conversation when gunshots suddenly rang out, causing them to scramble for safety as the stream abruptly ended.

Viewers noticed a suspicious green laser dot appearing on Konvy’s head moments before the shooting began, though authorities have not confirmed whether this was connected to any targeting device.

The incident happened around 10 P.M. Eastern Time as Konvy was conducting his regular evening broadcast. Ross addressed the shooting during his Friday night stream, telling viewers he had personally verified the incident’s authenticity.

“It got confirmed to me that it’s real, I made sure to know it was real,” Ross said during his broadcast. “It’s a real situation, it’s not b#######, it’s not fake s###, it’s not no f###### script s###.”

One of Konvy’s companions, identified only as JJ, was injured during the shooting and transported to a local hospital for treatment. The shooting represents the latest in a series of dangerous incidents involving live streamers who broadcast from public locations.

Content creators have increasingly become targets for harassment, swatting, and violent encounters while conducting their broadcasts.

Konvy has built a significant following on the Kick platform through his association with Adin Ross and other streamers. The two frequently collaborate on content and are known to be close friends both on and off camera.

​AllHipHop

Pressa sits down with AllHipHop and talks Drake vs Kendrick, why the city didn’t take the beef personal, and how Tory Lanez didn’t crack until 10 years in. He breaks down the real Toronto sound, being from Jane and Finch, going independent, and why outsiders need to stop trying to “figure out” the city.

SlopsShotYa talks to the Canadian star with no industry polish, no safe answers and pure real live at WonWorld Studios. Pressa simply gives his raw perspective on Hip-Hop, beef, business, and culture straight from Toronto.

AllHipHop: Do you listen to dancehall?

Pressa: Yeah, all the time.

AllHipHop: Anybody ever compare you to Alkaline? You sound like a rapping Alkaline.

Pressa: What’s crazy about it, my grandma mentioned, my grandma tells me I’m somehow kind of related to Alkaline, but not really. Like, you know, I don’t know. I think like my cousin’s cousin or something, you know, in yard. My grandma said, “Yeah, Alkaline,” she like, “His family, his auntie,” da da da da.

AllHipHop: West Indian people don’t got not one person not related to someone. They got to ask the last name, some out there cousins.

Pressa: Yeah, I know exactly how that go.

AllHipHop: Press Machine 2 is a great body of work. Long time coming. What took so long to cook it up?

Pressa: I was going through a situation at the time and I just had to reset everything. My business was all messed up. I had to go back, my corporation, my taxes, all that stuff. So I reset and got stuff rolling. Put my team back together, restructured my team, and now it’s goal time. You’re gonna see a lot more music from me.

AllHipHop: That’s a way to come back. On the intro “Machine Gun,” it had that “Went Legit” sample vibe, also “Drop Slow” by Kanye. Was that on purpose?

Pressa: I honestly didn’t know. I didn’t know what was on there. I’m tuned out a little bit. As much as he say I be smoking and tuned out, I don’t really notice a lot of things. I got selective hearing, selective thoughts. Sometimes I go on the beat and I’m just doing my own thing. I wasn’t really aware of certain things.

AllHipHop: So how long did it take to get the project together?

Pressa: The project’s easy. It was more my business. I can make music every day. It wasn’t the music holding me back. It was my business, and how I had to come out my label deal. I was signed to RCA before, just transitioning from there. I had to get my bag right because I’m independent. You feel me?

AllHipHop: Is there a big difference between Canadian laws and the American music business?

Pressa: In Toronto we get grants. They fund us. Artists in Canada, they’ll give us 20, 30, 40, 50 G’s as funding. Even when I used to tour, when I did the 50 Cent tour, I was doing it out of love. But they’ll give me money each date. Like a stipend. It’s like grants, money from the government.

AllHipHop: So it comes out the tax money?

Pressa: Yeah. They support their local artists and stuff. Shout out to FACTOR and shout out to the whole Canadian grant team. They always look out for me and all the artists coming up. That’s how a lot of Canadian artists are able to put out projects and get a little support and push. 

AllHipHop: You’re one of the originators of that newer Toronto sound. Do you feel like you get enough credit?

Pressa: I’m not entitled to credit. If they give me my flowers, they give me my flowers. I was never the entitled type. I just got to do my part and keep it coming, be part of the culture. It’ll be dope.

AllHipHop: Explain Toronto’s signature sound to people who aren’t tapped in.

Pressa: The signature sound is that melodic sound. Like Houdini, Robin Banks, me, even like Burna, you feel me, my brother Burna Bandz. That’s the sound. There’s bare of us. There’s QTB, there’s so much of us that actually have influence onto the city. I feel like we’re part of the main culture.

AllHipHop: When you collab with an American artist, do you try to “Americanize” it?

Pressa: I kind of just do my own thing. People gonna feel me regardless. I try American style beats sometimes, like a Lil Baby type beat, but I never switch up my lingo or hide where I’m from. I make everybody know I’m from Canada. Toronto, the trenches, Jane and Finch. Why would I come to America and try to steal their culture? Obviously you guys got mad influence in us. I might have took some of the culture on accident, jewelry or whatever, just being influenced. But never intentionally like, “Yo, I want to be American today.” I’m proud to be Canadian, bro. We got manners. We respectful. You know what it is.

AllHipHop: Put me on some Toronto lingo.

Pressa: “Wasa demiana.”

AllHipHop: What’s that?

Pressa: It’s like dead man marijuana. It’s weed. Like pass the demi.

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AllHipHop: That’s clean. But the internet, Reddit, YouTube, all that. How do you feel about outsiders being nosy, trying to figure out what’s going on behind the music?

Pressa: Hopefully they don’t figure out the pieces of the puzzle. Hopefully they never figure it out.

AllHipHop: I get it. As a New Yorker, it can feel predatory when people “solve” your neighborhood like it’s content. Toronto and New York got similarities though.

Pressa: Toronto and New York is much alike. You guys got strong Caribbean culture. I got family in Toronto, plenty cousins. I used to come to New York all the time as a little boy. Jamaica Avenue, buy a little chain. Shout out to the Coliseum.

AllHipHop: The Coliseum, yes. Jewelry downstairs, jackets upstairs.

Pressa: Facts. I was like 10, 11. My uncle brought me. Outside got the mixtapes. It was lit. Toronto is heavily influenced in Caribbean culture, so that’s why I say Toronto and New York is much alike. Just a little colder. It’s like a 6 hour drive.

AllHipHop: 2026 looking like what?

Pressa: I’m working on my album right now.

AllHipHop: So what is Press Machine today, mixtape or album?

Pressa: A mixtape.

AllHipHop: I’m still confused on the difference nowadays.

Pressa: Same. I still don’t even know.

AllHipHop: Back in the day mixtape was free music to get the album hot. Now it’s like YouTube and SoundCloud, and maybe “less effort” than an album.

Pressa: Oh okay. I get it. Press Machine was definitely a mixtape.

AllHipHop: You got a name for the album?

Pressa: Nah, I’m still working on it. I got some dope records in the stash.

AllHipHop: We waiting on that next Drake feature.

Pressa: I don’t know, man. Go check it out on Press Machine II. It’s probably on there.

AllHipHop: I wanted to ask somebody from Toronto. Did y’all take “Not Like Us” personal?

Pressa: It’s music at the end of the day. But I feel like Drake’s a better artist all around. Kendrick had that one song, it was hot, but Drake has a million of those. Hundred million slaps. You feel me? Like what are we competing with right now? We want to hear stuff too, for the ladies. I didn’t know a Kendrick song until “B,” and then “Not Like Us.” That’s probably the only two songs off the top of my head. “Poetic Justice” hard though.

AllHipHop: The battle fed YouTube too. People ate off that.

Pressa: Oh yeah. It was good for the city, good for music, good for Hip-Hop. A lot of people say we didn’t have a big moment, and that was a big moment.

AllHipHop: Before we go, I’m still mad about that World Series, bro.

Pressa: The greatest World Series of all time. Seven games. Crazy. We folded. They should have put me on the field, bro. I would have never fumbled that. Put me on third base, I would’ve made it home. These guys get paid to be stars. You better hit that ball.

AllHipHop: Baseball is a sport of failure though. They say you good if you fail seven out of ten.

Pressa: That’s a fact.

AllHipHop: Last thing. Drake is basically the OG of Toronto now. You want that kind of longevity?

Pressa: Yeah. Remember Tory Lanez didn’t crack till 10 years later.

​AllHipHop

Megan Thee Stallion just got legal backup from one of the biggest names in modern courtroom history: the same powerhouse attorney who helped take down Donald Trump.

Roberta Kaplan, the civil rights lawyer who represented writer E. Jean Carroll in her defamation and sexual assault lawsuits against Trump, has stepped into Megan’s corner with a blistering amicus curiae brief filed in federal court.

She’s backing Megan’s fight against Texas blogger Milagro “Milagro Gramz” Cooper, who was found liable for spreading a fake, sexually explicit AI-generated video of the rapper.

Kaplan doesn’t mince words. She argues that Cooper’s conduct, reposting and promoting a pornographic deepfake of Megan to her thousands of followers, is not “free speech.”

“This case demonstrates how technological advances can amplify familiar forms of online harm, including harm based on sexually explicit images. Deep-fake sexual imagery does not contribute to public debate; it reproduces patterns of intimidation and degradation that the law has long deemed unprotected,” Roberta Kaplan explained.

Kaplan says it’s harassment, plain and simple. And under Florida law, that kind of abuse has no First Amendment protection. The filing marks another chapter in Kaplan’s long campaign to hold powerful and reckless people accountable for weaponizing lies.

She’s the same attorney who secured two major defamation verdicts against Trump on behalf of Carroll, totaling more than $83 million.

In that case, jurors decided Trump acted with malice when he smeared Carroll after she accused him of sexual assault. A federal appeals court upheld the verdict last year, cementing it as one of the most important defamation rulings in decades.

Now, Kaplan is making it clear that digital defamation, especially when fueled by AI, deserves the same treatment.

In her brief, she compares deepfakes to other banned forms of abuse like revenge p### or child sexual exploitation materials, saying all of them use technology as a “mechanism of harm.”

The connection between the Carroll and Megan cases runs deeper than just Kaplan’s signature. Both center on women forced to fight in public: one against a former president, the other against a YouTube gossip blogger.

Both women endured online harassment and disbelief before juries ultimately sided with them and the victories hinge on the same legal foundation: defamation law’s recognition that free speech doesn’t protect deliberate, damaging falsehoods.

Megan Thee Stallion filed her defamation suit in 2024 after Cooper repeatedly targeted her online, pushing false narratives and amplifying the deepfake clip that claimed to show Megan in a sexual act.

Megan’s team said the posts caused emotional distress, career fallout, and relentless public humiliation. In December, a Miami jury agreed, finding Cooper liable for defamation and intentional infliction of emotional distress.

At trial, Megan Thee Stallion testified that the fake video wrecked her mental health.

Her manager described her breaking down and crying after seeing the clip, while her psychologist diagnosed her with post-traumatic stress disorder from the incident.

“I genuinely did not care if I lived or died,” she told jurors.

The jury awarded Megan roughly $75,000, which was later reduced slightly after post-trial motions, but Cooper still called it “a win,” bragging that it wasn’t a “multimillion-dollar fine.”

That attitude, Kaplan argues, is exactly why an injunction is necessary: to stop repeat behavior that continues to inflict harm long after a verdict. Kaplan’s filing notes that courts have always drawn a line between speech that informs and speech that terrorizes.

Kaplan’s involvement suggests the Megan Thee Stallion case could set a benchmark for how deepfakes and online harassment are handled legally.

The judge in Miami is expected to rule soon on Megan’s request for an injunction to permanently block Cooper from promoting similar content. If granted, it would set one of the first major precedents tying deepfake abuse to cyberstalking law.

“Maybe I am going through all of this because there’s another woman out there that may be a victim and she sees me going through it, and she sees me come out on the other side and it may give her the courage or the strength to speak up and say, this happened to me and I’m not going to be scared of you. I am not going to be intimidated by you,” Megan said during the trial.

​AllHipHop

Kanye West is fighting back against his former project manager, who slapped a $1.8 million lien on his old Malibu mansion that he gutted and sold at a massive loss.

According to The Los Angeles Times, the rapper filed a lawsuit in Los Angeles Superior Court against Tony Saxon and the law firm West Coast Trial Lawyers, alleging they wrongfully placed an invalid lien on the property and launched a public pressure campaign to force payment on disputed claims.

Saxon worked as West’s project manager, security guard, and caretaker at the Malibu property before suing the controversial artist in September 2023 for labor violations, nonpayment of services, and disability discrimination.

The former employee filed the mechanics lien in January 2024 to secure compensation for his construction-related work on the property, giving him the legal right to force a foreclosure sale if he remains unpaid.

West’s lawsuit alleges that Saxon and his attorneys immediately issued statements to the media after recording the lien, with attorney Ronald Zambrano telling Business Insider that potential buyers would have to deal with them before any sale could proceed.

“These statements were designed to create public pressure and to interfere with the Plaintiffs’ ability to sell and finance the Property by falsely conveying that Defendants held an adjudicated, enforceable right to block a transaction and divert sale proceeds,” the complaint states.

The legal filing states that the Los Angeles Superior Court granted West’s motion to release the lien from the bond last year and awarded him attorneys’ fees, yet Saxon’s team continues to pursue its claims.

The Malibu property has become a financial disaster for everyone who has touched it, starting with West’s original $57.3 million purchase of the Tadao Ando-designed concrete masterpiece in 2021.

Kanye West completely gutted the architectural jewel, removing windows, doors, electricity, plumbing, and breaking down walls while reportedly saying he wanted to turn it into his “bomb shelter” and “Batcave.”

Three years later, he sold the unfinished concrete shell to developer Steven Belmont’s Belwood Investments for just $21 million, taking a staggering $36 million loss on the investment.

Belmont has struggled with the property ever since, first trying to flip it for $39 million before dropping the price to $34.9 million when no buyers emerged.

Now the current owner faces his own financial crisis, with Quality Loan Service Corp hitting him with a notice of default claiming he owes $814,623.54 on his $18.5 million mortgage as of November 4.

Belmont has 90 days to catch up on payments or risk losing the entire property to foreclosure, forcing him to get creative with a new “Populis” timeshare concept.

The desperate developer is now pitching memberships ranging from $1,000 for basic “gold” access to $300,000 for “Founders Circle” packages that include chef dinners, concierge service, and four private estate sessions annually.

The timeshare plan is Belmont’s last-ditch effort to generate revenue from the cursed property, which has burned through millions of dollars without producing any successful outcomes for its owners.

The lawsuit adds another chapter to the ongoing legal drama surrounding the concrete mansion, which continues to generate headlines for all the wrong reasons more than two years after West sold it.

​AllHipHop

Lil Wayne is starting off 2026 by making serious power moves with his Young Money Sports Agency by signing European Footballer Amadou Onana.

The Aston Villa midfielder signed a deal with the entertainment powerhouse to manage his commercial use of name, image, and likeness, including sponsorships and brand partnerships.

The agreement positions Onana for global expansion, particularly in the American market, where crossover appeal among sports, music, and fashion continues to grow rapidly.

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Young Money Sports Agency, officially known as Young Money APAA Sports, launched in 2017 when Lil Wayne partnered with the von Gontard family’s APAA Sports.

The agency represents more than 80 athletes across multiple sports, including football, basketball, boxing, and softball. The 24-year-old Belgian international brings serious credentials to Young Money’s roster.

Born in Dakar, Senegal, Onana has had a remarkable career since his professional debut with Hamburger SV in 2020.

He scored on his debut in the DFB-Pokal against Dynamo Dresden, announcing his arrival with a dramatic 89th-minute header. His performances earned him a move to French champions Lille in 2021, and Everton paid over $40 million for Onana’s services in August 2022, where he established himself as a Premier League regular over two seasons.

Aston Villa secured Onana’s signature for $65 million in July 2024, making him one of the most expensive defensive midfielders in Premier League history.

Onana’s international career with Belgium has been equally impressive and he was featured at both the 2022 World Cup in Qatar and Euro 2024 in Germany, playing every minute of Belgium’s four matches at the European Championship.

Young Money’s recent signings demonstrate their growing influence in professional sports.

The agency made headlines in December 2024 when it secured Heisman Trophy winner Travis Hunter ahead of his NFL Draft declaration. Hunter’s four-year, $46.65 million contract with the Jacksonville Jaguars was negotiated by Young Money agents Adie von Gontard and Ray Haija.

Onana’s signing comes at a pivotal time for football’s expansion in the U.S.

With the 2026 World Cup approaching and Major League Soccer’s continued growth, European stars are increasingly looking to establish their brands in the United States market.

The deal separates Onana’s commercial representation from his football representation, allowing Young Money to focus specifically on brand partnerships, sponsorships, and marketing opportunities while his playing contracts remain handled by traditional football agents.

Outside football, Onana has shown entrepreneurial spirit by releasing rap music under the name 24 AM. His debut single “Check On Me” dropped in August 2024.

​AllHipHop