Memphis Bleek was “happy” to see his mentor Jay-Z address his haters during his Roots Picnic freestyle.

The Brooklyn rapper turned podcaster recently sat down with Boardroom and gave some insight on how Jay operates

“Jay just be having verses. I know,” he said after admitting that he didn’t really get to hear the freestyle until it hit social media due to how chaotic it was backstage. “I be trying to get him to spit, but he got too many verses that he just tucks. When you’re a writer, you’re a rapper, you’re an artist, you’re gonna continue to write. Whether you release it or not.”

Bleek then explained why the people Jigga dissed had it coming because it’s easy to lie in today’s digital climate. “Everybody get hit. He put the fully on,” he began. “These kids got the switch, they don’t know about the fully. They know Shawn Carter, they know Jay-Z, they don’t know Jigga. That’s Jigga. Welcome, man.”

He added: “I’m happy he did ’cause a lot of people they just talk and talk and talk and its no one to rebuke it, to go against it, speak the truth, so lies get spewed all over the Internet and turned into truth. Because, you know, these guys are gonna believe what they want, but it’s not the other side fighting against it, only the lie seems like the truth. So, I’m glad he put belt to ass on certain people. They deserved that spanking.”

He then continued by saying that if you’ve paid attention, Jay-Z almost always talks about what he’s going through in his music. “Jay always responds through music,” the Memph Man explained. “Anything he’s feeling or going through, it’s always been in the music. That’s how we’ve always been. All of us. We really don’t get on here like, ‘Yo, I hate this rapper. When I see you, I’ma catch you.’ It’s on the record. If we’re going to entertain, I’ma make money off it. I’m not gonna just go on here and just be on everybody platform. Your algorithms go up and I’m just angry.”

You can watch the full conversation below.

Fans are getting to see one more conversation with Oliver Tree following his untimely death, with the singer/songwriter recording a guest appearance on Bobbi Althoff’s Really Good Podcast prior to the helicopter collision that killed him earlier this month.

In the episode posted Monday (June 29), Tree — dressed, as he often did, in a comedic costume, this time donning an Elmo suit and red face paint — discussed a wide range of topics, including his “high risk” lifestyle. Tree often turned interviews into extended bits with outlandish takes, but did make a prescient comment in one of his final interviews, when he explained why he preferred to live as adventurously as possible.

“My parents, they’re like, ‘Oliver, it’s a lot to travel all the time,’” he said. “I’m like, ‘Guys, look. We don’t know if I’ll be alive next year, or if you’ll be alive.’”

“There’s no day promised,” he added. “You know how high risk I live my life, for real? The last two years I was living in poo huts in Africa, I stayed in mud houses in Iraq.”

Tree died at age 32 on June 14 along with the two pilots and three other passengers who were onboard the pair of helicopters that crashed into each other in Rio de Janeiro. The musician had been abroad while on his global tour in support of the April ablum Love You Madly Hate You Badly, playing what would become his final show on June 6 in São Paulo.

Shortly after Tree’s death, it was announced that his fortune will go toward launching Dr. Oliver Tree’s Extremely Epic Grant for Baby Geniuses, a grant supporting the creation of art that he’d publicly discussed setting up prior to his death. “I take no credit for anything I’ve ever done,” Tree said on the Zach Sang Show this past April. “I don’t believe that any of the wealth or things that get made from it is mine. My will is set up so that when I pass, my family, nobody is going to get a penny. All the money is going to go back to artists.”

Althoff said in a disclaimer at the beginning of her video interview with Tree that all profits from their conversation will go toward his grant. “I’m grateful to have had this conversation with Oliver,” it reads. “I’m sharing it with love and respect for his life, his art, and the unforgettable world he created.”

Watch her full interview with Tree below.

Beyoncé’s label and management company, Parkwood Entertainment, has defeated a copyright lawsuit over the EDM sample that opens her hit 2022 Renaissance track “Alien Superstar.”

A Friday (June 26) court ruling, first obtained and reported by Billboard, dismisses the lawsuit brought against Parkwood last summer by a company claiming to own the 1998 John Holiday song “Moonraker.” A sample of that track serves as the introduction to “Alien Superstar”: “Please do not be alarmed, remain calm/ Do not attempt to leave the dancefloor/ The DJ booth is conducting a troubleshoot of the entire system.”

Parkwood cleared this sample from Holiday; the house musician is listed in the lengthy Renaissance credits and was paid $10,000 plus 0.5% of the royalties from “Alien Superstar,” which hit No. 19 on the Billboard Hot 100. But in the July 2025 lawsuit, Florida-based Hirose Enterprises LLC alleged that it is actually the owner of the “Moonraker” copyrights and thus should have been part of that licensing process.

Hirose Enterprises LLC is owned by Shuji Hirose, the co-founder of now-defunct indie label Soundmen on Wax. The lawsuit claims Soundmen on Wax bought the “Moonraker” copyrights in 1998. Parkwood argued in response that there’s no paperwork documenting that purported transfer of rights, and thus it properly cleared the “Alien Superstar” sample from Holiday directly.

Judge Mark C. Scarsi did not need to address those arguments in order to dismiss the lawsuit on Friday, however. That’s because it turns out Hirose Enterprises was not actually formed until a week after the lawsuit was filed — a major legal defect that bars it from suing in the first place.

“Please do not be alarmed, remain calm: like the DJ booth referenced in the works at issue, this district judge must conduct a troubleshoot test of the entire system — that is, a jurisdictional inquiry — before reaching any of the parties’ merits arguments,” wrote the judge, quoting the “Moonraker” lyrics. “Plaintiff had no legal existence at the time it brought suit, so it cannot have held a stake in the outcome of the litigation at the time it filed the complaint.”

Judge Scarsi thus threw out the entire case against Parkwood, as well as Sony Music Entertainment, Sony Music Publishing and Warner Chappell. Beyoncé herself was not targeted in the lawsuit.

Reps for the various litigants did not immediately return requests for comment on Monday (June 29). Hirose Enterprises has the right to appeal Friday’s dismissal ruling if it wants another chance at pursuing the copyright claims.