Fetty Wap Released Early From Federal Prison, Now Under Home Confinement
Rapper Fetty Wap has been released early from federal prison and transferred to home confinement, nearly three years after being convicted of conspiracy to distribute cocaine. The “Trap Queen” artist, whose real name is Willie Junior Maxwell II, was sentenced in May 2023 to six years in prison and five years of post-release supervision by a New York court.
The U.S. Federal Bureau of Prisons confirmed that Fetty Wap was transferred on January 7, 2026, from FCI Sandstone in Minnesota to community confinement under the supervision of the Bureau’s Philadelphia Residential Reentry Management Office. His publicist confirmed he is now under home confinement, with a projected release date of November 8, 2026.
In a statement shared with CNN, Fetty Wap thanked his supporters and said his focus is on giving back through community initiatives aimed at at-risk youth, including education, technology access, and vision care. His publicist said the rapper is “in good spirits” and focused on family, fatherhood, music, and making a meaningful impact, noting he gained greater clarity during incarceration about creating long-term opportunities for young people.
Fast-rising Nigerian star Priesst opens the year with “Akonuche,” a purposeful single whose title means “wisdom.” Built on intentional songwriting, the track explores clarity, direction, and success, serving as both a statement and a guide for the year ahead. Already gaining traction, “Akonuche” has surpassed 20,000 Shazams and inspired over 10,000 TikTok creations, signaling a breakout moment and positioning Priesst as an artist to watch in 2026.
Jamaican super-producer Rvssian continues his global run with his new single “What I Like,” featuring Moliy, Ayetian, and Tyga. Built on his Recovery Riddim, the track stretches from Jamaica to Ghana, spotlighting Moliy’s signature sexy flair and smooth delivery. Known for the breakout hit “Shake It To The Max,” Moliy adds Afro-fusion appeal to the juggling, while Ayetian and Tyga round out a polished African–Jamaican crossover poised to resonate worldwide.
R&B boy group 2BYG makes a strong debut with The Yearbook, a nine-track mixtape released last November via Def Jam. Hailing from Fort Worth, Texas, the four members blend early-2000s R&B and new jack swing influences with modern flair. Showcasing smooth harmonies, falsettos, and heartfelt themes of love and growth, the project positions 2BYG as a new-generation group honoring classic Black boy-band traditions while appealing to Gen Z listeners.
Miami-to–L.A. singer and rapper DaniLeigh returns with the video for “Expensive,” her first new music since the release of her 2022 album My Side. The sultry, smooth track and its accompanying visuals reflect on life’s trials and tribulations, with DaniLeigh emphasizing the importance of prioritizing meaningful love and emotional fulfillment over work, status, or material possessions.
Bruno Mars released his new single “I Just Might” on Friday, Jan. 9, along with a playful music video directed by Daniel Ramos and Mars. The party-style clip features multiple versions of Mars performing every role in the band, from singer to DJ, while dancing in synchronized choreography. He dubbed himself the “Aura Lord” on Instagram. The song, centered on a dance-floor romance, is the lead single from his upcoming album The Romantic, due Feb. 27.
A New York judge has dismissed Salt-N-Pepa’s lawsuit against Universal Music Group (UMG) over control of their master recordings, including their 1987 breakout hit “Push It.” Cheryl “Salt” James and Sandra “Pepa” Denton filed the lawsuit in May 2025, arguing that the Copyright Act of 1976 allows artists to reclaim copyrights after 35 years. The duo had submitted termination notices in 2022 seeking to end UMG’s ownership of their early recordings. UMG pushed back, claiming the termination notices were invalid because the recordings were “works made for hire” and that Salt-N-Pepa never owned the masters. The label filed a motion to dismiss the case in August. On Thursday, Judge Denise Cote granted that motion, ruling that the artists failed to state a valid claim. According to the dismissal, ownership of the master recordings was granted to Noise in the Attic (NITA) Productions, with contracts executed between NITA and Next Plateau Records, not directly by Salt-N-Pepa. In her ruling, Judge Cote wrote that “none of the contracts identified by Plaintiffs indicate that they ever owned the Master Tapes,” adding that the Copyright Act only allows termination of copyright transfers executed by the plaintiffs themselves. Salt-N-Pepa told Variety they plan to appeal the decision, stating they “respectfully disagree” with the ruling and remain committed to reclaiming their rights as creators under the Copyright Act.
Buku Abi, the daughter of imprisoned R&B singer R. Kelly, is continuing to speak openly about her healing journey following years of public scrutiny and personal trauma. Nearly two years after first discussing the impact of her father’s actions on her mental health, Abi reflected on her experiences during a recent appearance on Reginae Carter’s show Heir Time, describing both growth and lingering challenges. Abi addressed the backlash her family faced after her mother, Drea Kelly, appeared in the Surviving R. Kelly documentary, calling the experience “bittersweet.” While she supported her mother’s decision to speak out, Abi said the public response was difficult for their family. She also shared relief that attention has shifted away from her father, allowing her to focus on healing. In the docuseries R. Kelly’s Karma: A Daughter’s Journey, Abi alleged her father molested her at age 8, leading to severe mental health struggles, including self-harm and suicide attempts. Despite the trauma, Abi emphasized that her feelings toward her father are complex, rooted in love alongside accountability. R. Kelly, who denies her allegations, is currently serving a 30-year prison sentence following convictions for racketeering, sex trafficking, and child pornography. Abi said she continues to work through mental health and substance-use struggles, leaning on faith and healthier coping tools, and urged the public to approach her family’s story with empathy and understanding.
This Throwback Thursday takes us back to October 14, 1999, when Destiny’s Child released “Say My Name,” the standout single from The Writing’s on the Wall. Written by Beyoncé Knowles, Kelly Rowland, LeToya Luckett, LaTavia Roberson and collaborators, and produced by Rodney Jerkins, the track marked a turning point for the group. While it features the original lineup on the recording, the music video famously introduced Michelle Williams and Farrah Franklin, signaling a new era amid behind-the-scenes upheaval. Musically, “Say My Name” sounded unlike anything else on R&B radio at the time. Producer Rodney Jerkins has since revealed that the song was inspired by UK garage music—specifically the 2-step rhythms he heard while clubbing in London. That influence helped shape the track’s skittering drums, shifting dynamics, and futuristic bounce, even after an early version initially left Beyoncé unconvinced. The reworked mix clicked, and history followed. The results were massive. “Say My Name” became Destiny’s Child’s biggest hit to date, topping the Billboard Hot 100, winning two Grammys, and earning Video of the Year honors in R&B categories. Decades later, its blend of suspicion-filled lyrics, bold production, and global club energy still feels timeless—and remains a defining moment in pop and R&B history.
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A New York judge has dismissed a lawsuit filed against Mary J. Blige by her former friend and stylist Misa Hylton, issuing a sharp rebuke over the plaintiff’s failure to defend her claims. In a ruling entered Tuesday, Judge Phaedra F. Perry-Bond granted Blige’s motion to dismiss after Hylton missed the deadline to respond. The judge said Hylton’s inaction amounted to an abandonment of her allegations and warned against filing high-dollar lawsuits based on inflammatory accusations only to walk away when challenged. “The court in no way condones parties filing lawsuits claiming millions in damages based on inflammatory accusations, only to have those very same parties abandon their allegations when faced with a motion to dismiss and sanctions,” Judge Perry-Bond wrote. While stopping short of imposing sanctions, the court cautioned that the written warning could weigh heavily in any future application should similar conduct continue. Hylton, who helped style Blige during the early 1990s, including the rollout of the singer’s 1992 album What’s the 411?, filed suit on April 29 accusing Blige of trying to coerce Harlem rapper Vado (born Teeyon Winfree) into leaving her management company. Hylton alleged Blige sought to move the artist to her own company, Beautiful Life Productions, and intentionally excluded Hylton from meetings held in “intimate and inappropriate” settings, ultimately sabotaging her relationship with the musician. Blige’s attorneys countered that Hylton had no viable case, arguing her company was not a valid New York corporation and that she was not a licensed talent agent. They also contended the lawsuit was filed out of personal animus and lacked legal merit. Neither Hylton, Winfree, nor their attorney responded to requests for comment following the ruling.