From Compton to the Classroom: Temple Adds Kendrick Lamar to Curriculum

Kendrick Lamar's life and lyrics will be the subject of a new fall semester course at Temple University, taught by Professor Timothy Welbeck. 

Kendrick Lamar’s legacy is already cemented in music history. Now, it's making its way into the college classroom.

Starting this fall, Temple University will offer a course titled "Kendrick Lamar and the Morale of M.A.A.D City," an Afrocentric deep dive into the Pulitzer Prize-winning rapper’s life, lyrics and cultural weight. Designed and taught by professor Timothy Welbeck, a respected scholar in Africology and African American Studies, the course aims to unpack the socioeconomic, political and personal factors that have shaped Lamar — and the world that shaped him.

“This isn’t just about rap lyrics,” Welbeck told NBC10 in a recent interview. “Kendrick Lamar is one of the defining voices of his generation. His art and life reflect the Black experience in deeply telling ways.”

View this post on Instagram

A post shared by Timothy N. Welbeck, Esq. (@timothywelbeck)

Welbeck, who also serves as director of Temple’s Center for Anti-Racism and is a hip-hop artist himself, has previously taught courses on Tupac, Jay-Z and the evolution of Black culture through music. With this new offering, he hopes to explore Lamar’s full trajectory — from his Compton roots to the Grammy stage and global influence — through an Africological lens that centers Black expression and self-actualization.

The course arrives at a critical cultural moment. Lamar’s recent lyrical feud with Drake reignited debates over authenticity in hip-hop, while his explosive anthem "Not Like Us" — a searing takedown of celebrity ego and false alliances — has become a cultural flashpoint, sparking industry lawsuits and think pieces alike. At the same time, his co-headlining Grand National Tour with SZA was one of the year’s highest-grossing, cementing his status as both icon and provocateur.

Students in Welbeck’s class will study that tension head-on. From Lamar’s major-label debut "good kid, m.A.A.d city" to the densely layered "To Pimp a Butterfly" and his latest effort "GNX," the course promises a sharp examination of hip-hop as not just music, but social commentary — shaped by public policy, systemic inequality and Black resilience.

Beyond lectures, the course will include guest speakers from the music industry who have worked with Lamar, offering students rare insight into both his creative process and the business machinery behind the music.

Rapper Young Noble, Member of Tupac’s Outlawz, Dead at 47

Mogkilluminati, CC BY-SA 3.0, via Wikimedia Commons

Young Noble, the last artist personally added to Tupac Shakur’s iconic group Outlawz, has died by suicide. He was 47.

Born Rufus Lee Cooper III, Noble was found dead Friday morning, July 4, at his home in Atlanta. The news was confirmed by longtime friend and fellow Outlawz member E.D.I. Mean, who shared the update on Instagram with a heartfelt plea: “Mental illness is a real battle being fought by so many. CHECK ON YOUR FOLKS!”

Noble’s death was also verified by a representative speaking to PEOPLE. No additional details were released by his family.

View this post on Instagram

A post shared by E.D.iMean (@edidono4l)

A fixture in one of hip-hop’s most influential crews, Noble carried a direct line to Tupac Shakur’s vision. He joined Outlawz in early 1996, just months before Shakur was gunned down in Las Vegas. At only 18, Noble made his debut on Shakur’s posthumous classic “The Don Killuminati: The 7 Day Theory,” appearing on standout tracks like “Hail Mary,” “Bomb First (My Second Reply)” and “Just Like Daddy.”

Over the decades, Noble became a torchbearer for the Outlawz legacy, both through music and community engagement. He recorded four solo albums — "Noble Justice," "Son of God," "Powerful," and "3rd Eye View" — and co-founded Noble Justice Productions, an independent outlet through which he released his work.

Damn my dude Young Noble of The Outlawz has passed. Unfortunately he took his own life according to his Outlawz member E.D.I. Amin's post.
Everyone must respect mental illness and what someone may be going through. Check your loved ones, friends, family etc.
I'll cherish the… pic.twitter.com/prdMsNQtKj

— DJ Premier (@REALDJPREMIER) July 5, 2025

He also outlived nearly all of his Outlawz bandmates. Yaki Kadafi was killed in 1996, Hussein Fatal died in a car crash in 2015, and Napoleon left the music business entirely. Noble remained active, both on record and on social media, where he posted an uplifting message just days before his death: “You're not reading this by accident. This is your confirmation. You're going to make it. No matter what it looks like right now.”

Noble’s life was marked by struggle from the start. Born in Rancho Cucamonga, California, in 1978, he was raised under difficult circumstances. His mother battled addiction, and he never knew his father. He relocated to New Jersey as a teenager and eventually met Kadafi, Tupac’s godbrother, who helped introduce him to the rest of the Outlawz.

In 2021, Noble survived a serious heart attack. But in 2024, tragedy struck again: his mother, Ellen Ferr, was diagnosed with stage 3 cancer and died later that summer. Friends say her death deeply affected him.

The outpouring of grief from the hip-hop community was immediate. Snoop Dogg — who was labelmates with Shakur and the Outlawz during their time at Death Row Records— posted the tribute song “The Good Die Young” on Instagram, writing simply: “DAMN. Mental health is real.”

In announcing the news, E.D.I. Mean asked for privacy while hinting at the unspoken toll fame and legacy can sometimes take: “Today I got some of the worst and unexpected news imaginable. My brother and partner for over 30 years took his life this morning. Rest in Power, Rufus Young Noble Cooper.”

Outlawz Member Young Noble Calls Out Snoop Dogg For Telling A Wild Exaggerated Story About 2Pac's Interaction With Nas At Bryant Park.

(🎥 The Art Of Dialogue/YouTube) pic.twitter.com/mJtz6F52vD

— The Art Of Dialogue (@ArtOfDialogue_) December 21, 2024

Court Denies Diddy’s Release as Prosecutors Warn of Risk

Sean “Diddy” Combs was denied bail Thursday, following his conviction on two counts related to transporting individuals for prostitution. Combs will remain in custody pending sentencing.

A federal judge has denied Sean “Diddy” Combs’s request for bail, following his conviction on two Mann Act charges for transporting individuals for the purpose of prostitution. Despite being acquitted on the more serious charges of sex trafficking and racketeering, prosecutors successfully argued — and Cassie Ventura’s attorney reiterated — that Combs remains a danger to potential victims and the community. 

Cassie Ventura’s lawyer, Douglas Wigdor, submitted a letter to Judge Arun Subramanian emphasizing her ongoing concerns: “Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community.”

Cassie is opposing Sean "Diddy" Combs' release from federal custody.

"Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community." pic.twitter.com/DMeDAQECnG

— Meghann Cuniff (@meghanncuniff) July 2, 2025Prosecution filings argue that Combs’s conduct during the trial — including graphic accusations, admitted violence, and drug-fueled sexual “freak offs” — justify keeping him behind bars to prevent further intimidation or harm.

Meanwhile, Combs’s legal team proposed a $1 million bond, strict travel restrictions, passport surrender, and regular drug testing 

But prosecutors stood firm, underscoring concerns about public safety and witness protection.

The next step is sentencing. Combs faces up to 20 years in prison — 10 years per conviction — though legal experts have suggested he may receive “time served” or a lighter sentence, given the split verdict.

Split Verdict in Diddy Trial: Guilty on Transport, Not Guilty on Trafficking

A federal jury on Wednesday found Sean "Diddy" Combs guilty of transporting women for prostitution but acquitted him of racketeering and sex trafficking charges, marking a pivotal moment in his decades-spanning career.

In a trial that tested the limits of hip-hop’s intersection with celebrity, power and accountability, a Manhattan jury delivered a split verdict Wednesday in the high-stakes case against Sean “Diddy” Combs — convicting the 55-year-old mogul on two counts of transportation for prostitution while acquitting him of more serious charges including racketeering and sex trafficking.

The verdict, reached just before 10 a.m., followed nearly 14 hours of deliberation by a jury of eight men and four women. They cleared Combs of racketeering conspiracy and sex trafficking involving both Cassie Ventura and a second accuser known as Jane Doe but found him guilty of transporting both women across state lines for prostitution — a charge that still carries potential prison time.

There was no visible reaction from Combs as the jury read the decision. The music mogul — whose three-decade career helped define hip-hop’s rise from gritty streets to global boardrooms — sat expressionless, flanked by his legal team. Afterward, he was quietly returned to federal custody at Brooklyn’s Metropolitan Detention Center.

The charges stemmed from a sprawling federal investigation into Combs’ alleged decades-long pattern of coercion, abuse, and manipulation. Prosecutors built their case on testimony from multiple accusers who described being lured into what they called “freak-offs” — drug-fueled sex parties allegedly arranged by Combs and his associates. But defense attorneys painted the interactions as consensual and framed the lifestyle as “eccentric, not criminal.”

Combs’ lead attorney called the partial verdict “a sign the system still works,” while federal prosecutors declined immediate comment.

The trial — sparked by Ventura’s explosive $20 million civil lawsuit in late 2023 — ignited a chain reaction of more than 30 legal complaints, many of which remain active. Allegations against Combs span from the early 1990s to as recently as mid-2024 and include claims from former employees, models, music insiders, and everyday civilians who encountered him briefly and left with lasting trauma.

Combs was acquitted of racketeering and sex trafficking, but his conviction for violating the Mann Act — the federal law prohibiting transport of individuals across state lines for sex work — remains significant. Each count carries a potential sentence of up to 10 years in prison. A sentencing date has not yet been announced, though legal analysts expect proceedings to begin by early fall.

For fans and critics alike, the verdict marks the culmination of a stunning downfall for one of hip-hop’s most influential architects — the man behind Bad Boy Records, “Making the Band,” and multiplatinum albums like “No Way Out.” But while he dodged the most serious charges, the guilty counts ensure his legacy — and legal future — are far from settled.

Maxo Kream Facing Firearm Charges, Denies Fleeing Police During Traffic Stop

Maxo Kream

Maxo Kream wants you to know he wasn’t running from the law — just driving a little too fast in his Lamborghini. Texas police, however, say that moment of speed could cost him more than just a traffic ticket.

The Houston rapper, born Emekwanem Ogugua Biosah Jr., was arrested June 27 after a routine traffic stop turned into what authorities allege was an attempted escape. Police say Kream was initially pulled over in Harris County for expired license plates — reportedly out of date since May — but drove off as officers exited their vehicle.

Although no chase ensued, officers say Maxo soon pulled over and was taken into custody without further incident. Inside the vehicle, authorities say they discovered two firearms. Because of his alleged affiliation with a criminal street gang, he was charged with unlawful carrying of a weapon by a gang member — a felony — along with a misdemeanor charge for fleeing or attempting to elude a police officer.

Kream addressed the arrest via Instagram, posting a screenshot of a TMZ article and captioning it, “Damn … I wasn’t ‘ELUDING’ my Lambo just a lil fast,” adding, “But na no more jail @persona x @coughsyrupbydestodubb s—t goin on.”

His attorney, Carl A. Moore, denied any wrongdoing, telling TMZ Hip Hop, “Maxo did not flee from the police. He complied with the commands of the arresting officer. We plan to fight these accusations in court.”

Kream is scheduled to appear in court on July 7.

The arrest punctuates an otherwise quiet musical year for Kream, who released his last album, "Personification", in 2024. Recently, he’s focused on growing his clothing label, Persona, which hosted a Houston pop-up shop the weekend of his arrest. He also appeared at the city’s Screw Day celebration, paying tribute to DJ Screw — a revered figure in Houston’s hip-hop legacy.

Still, the legal situation looms large. Texas gun laws are unforgiving, and the added accusation of gang affiliation could intensify the legal challenge. While Maxo’s team maintains his innocence, police reports offer a contrasting view, setting up a legal showdown with potential career-altering consequences.

For now, Maxo Kream remains free — but the stakes are rising. His next steps, both in court and in music, could decide whether this becomes a footnote or a fork in the road.

Is Beyoncé Country Enough? Viral Critic Reignites Debate Over Genre Lines

Beyoncé rides a white horse while holding an American flag in a promotional image for her album Cowboy Carter. The project debuted at No. 1 on Billboard’s Country Albums chart, sparking debate over its genre classification. Country artist Gavin Adcock called the album “the farthest thing from country,” while supporters praised it for expanding country’s boundaries. (Photo courtesy of Parkwood Entertainment)

When Gavin Adcock — former Georgia Southern football player turned rough-edged country artist —
posted a Reel claiming Beyoncé’s "Cowboy Carter" is “the farthest thing from country,” he reignited a long-standing debate about who gets to define a genre rooted in both tradition and transformation.

The short video, now trending across Instagram and TikTok, shows Adcock shaking his head and offering a southern-fried breakdown of why he doesn’t believe "Cowboy Carter" belongs under the country umbrella.

“Lemme go ahead and clear this up — when I was a little kid, my mama raised me on real country,” Adcock says. “I’m talkin’ George Strait, Alan Jackson, Travis Tritt. I ain’t hatin’, but don’t label somethin’ country just to make it chart.”

View this post on Instagram

A post shared by Gavin Adcock (@gavinadcockmusic)

It’s a tone that’s part bemusement, part subtle gatekeeping — and it reveals more about country music’s discomfort with evolution than it does about Beyoncé.

Because here’s the question Adcock — and many like him — keep skirting: what exactly is “real country” in 2025?

Statistically, "Cowboy Carter" might be the most successful “country” album of the decade. Beyoncé’s genre-bending opus debuted at No. 1 on the Billboard 200, Top Country Albums, and Top Americana/Folk Albums simultaneously — making her the first Black woman in history to top the country chart.

According to Luminate, "Cowboy Carter "moved 407,000 equivalent album units in its first week, including 168 million on-demand streams — a figure far surpassing recent country releases by artists like Morgan Wallen or Luke Combs. These aren’t crossover numbers — they’re takeover numbers.

But success isn’t the only qualifier. The album’s DNA is country — just not the narrow kind historically confined to Music Row radio rotations. Beyoncé interpolates Dolly Parton, covers The Beatles’ “Blackbird” (written during the civil rights era), and resurrects Linda Martell, the first Black woman to play the Grand Ole Opry, giving her overdue voice and validation.

Genre boundaries have always shifted. Elvis shook up country. Ray Charles turned Modern Sounds in Country and Western Music into a landmark. Lil Nas X went viral and hit No. 1 with a cowboy hat and an 808. What Beyoncé’s doing isn’t a gimmick — it’s tradition, just one that doesn’t always look like what the Nashville establishment expects.

That discomfort is the point.

Beyoncé herself wrote in the album’s liner notes: “This ain’t a country album. This is a Beyoncé album.” And that’s the real story: she’s not asking permission — she’s asserting authority.

Artists like Adcock are entitled to their opinions. But the facts remain: "Cowboy Carter" didn’t break country music. It exposed how small the gate has been. And for many listeners — especially Black ones — that gate was never open to begin with.

Whether she’s standing onstage at the CMA Awards or headlining her own genre-defying global tours, Beyoncé’s presence in country isn’t an invasion.

It’s a reclamation.

So the question isn't whether "Cowboy Carter" is country enough.

The question is whether country music is ready to admit its roots were always bigger than its borders.

Watch: Living Colour Electrifies for Tiny Desk’s Black Music Month Tribute

Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)

Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.

The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.

Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.

But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.

With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.

“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.

The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.

During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”

By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.

Watch the entire performance below.

Combs Declines to Testify as His Legal Team Concludes Case in Sex Trafficking Trial

Combs declined to testify in his own defense, telling the judge: “I’m doing great, your honor.”

More than six weeks after federal prosecutors began laying out their case against Sean "Diddy" Combs, the defense has rested. In a Manhattan courtroom that has riveted the entertainment industry, the hip-hop mogul opted not to testify in his own defense as attorneys made a final push to sway the jury.

After calling 34 witnesses, the government rested its case Tuesday morning. What followed was a Rule 29 motion for judgment of acquittal by Combs’ defense, a standard legal maneuver arguing that the prosecution failed to meet its burden. Judge Arun Subramanian has reserved ruling on the motion, meaning the case will proceed to the jury.

Defense attorney Alexandra Shapiro argued that the government did not prove the racketeering conspiracy charge or the sex trafficking counts tied to Cassie Ventura and an accuser identified as Jane. She claimed the prosecution failed to establish that Combs coerced anyone or conspired with staff to facilitate crimes. "There’s, at best, thin proof," Shapiro told the court. She added that Combs "took steps to conceal the nature of the sexual activity he was engaging in" from his own employees.

Text messages between Ventura and Combs, read into the record by the defense, painted a picture of a complicated, at times consensual relationship. In messages from 2012 to 2017, Ventura expressed affection for Combs, referenced sexually charged plans like "freak offs," and in one instance joked about getting high before participating. The defense also introduced stipulations noting that several prosecution witnesses— including Dawn Richard, Mia, and Bryana Bongolan — initially failed to report key allegations during interviews with investigators.

While prosecutors chose not to present a rebuttal case, they did argue against the Rule 29 motion. Assistant U.S. Attorney Christy Slavik said the record is more than sufficient to let the jury decide, citing evidence of travel arrangements, payments, and video footage linking Combs to the alleged crimes.

Judge Subramanian addressed Combs directly, confirming his decision not to testify. "I’m doing great, your honor," Combs said, thanking the judge for his handling of the case.

The jury will return Thursday for closing arguments after a scheduled break Wednesday. Deliberations are expected to begin Monday.

R&B Royalty Reunite: Brandy and Monica Launch Arena Tour This Fall

Promotional artwork for “The Boy Is Mine Tour” showcases Brandy and Monica’s first-ever co-headlining arena run, which kicks off Oct. 16, 2025, in Cincinnati and wraps Dec. 7 in Houston. The 24-city tour also features Kelly Rowland, Muni Long, and American Idol winner Jamal Roberts. (Courtesy Black Promoters Collective)

More than 25 years after their chart-dominating duet "The Boy Is Mine" redefined R&B for a generation, Brandy and Monica are officially hitting the road together. The Grammy Award-winning vocal powerhouses announced their highly anticipated joint tour today on CBS Mornings, igniting fan excitement from coast to coast.

Produced by the Black Promoters Collective, The Boy Is Mine Tour launches October 16 in Cincinnati, Ohio, and will hit 24 cities before wrapping up December 7 in Houston, Texas. The tour marks the duo’s first-ever co-headlining trek and celebrates one of the most iconic collaborations in Black music history.

Originally released in 1998, "The Boy Is Mine" spent a staggering 13 weeks at No. 1 on the Billboard Hot 100 — a feat that placed the pair in elite company with Whitney Houston ("I Will Always Love You," 14 weeks) and Mariah Carey ("One Sweet Day," 16 weeks). The track earned them the 1999 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has remained a cultural touchstone ever since.

Joining Brandy and Monica on the tour are Grammy-winning superstar Kelly Rowland, chart-topping songwriter Muni Long, and American Idol Season 23 winner Jamal Roberts — a multigenerational lineup that ensures each night will be steeped in both nostalgia and new energy.

The reunion comes on the heels of a surprise appearance in Ariana Grande’s "The Boy is Mine" music video in 2024, which sparked renewed excitement for the R&B legends. They later contributed vocals to Grande’s official remix of the track, earning another Grammy nomination and bringing their chemistry to a new generation of fans.

"This really is a full-circle moment," Brandy said. "Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come."

Monica echoed the sentiment, calling the tour a tribute to their individual growth and lasting connection: "Brandy and I have been on our own unique journeys. Coming back together is a reminder of the power of respect, strength, and real music."

Shelby Joyner, president of the Black Promoters Collective, called the pairing "a cultural homecoming," saying: "Their impact on R&B is immeasurable, and 'The Boy Is Mine' continues to be one of the most iconic collaborations of all time."

Tickets go on sale Friday, June 27, at 10:00 a.m. local time via Ticketmaster, with presales beginning Thursday, June 26, using the code BPC.

A cinematic tour trailer directed by Ethan Tobman — known for work with Beyoncé and Taylor Swift — has already begun generating buzz, setting the tone for a production that promises style, soul, and sisterhood.

The Boy Is Mine Tour — Dates and Cities:
10/16 – Cincinnati, OH – Heritage Bank Center
10/17 – Milwaukee, WI – Fiserv Forum
10/18 – Chicago, IL – United Center
10/19 – Indianapolis, IN – Gainbridge Fieldhouse
10/30 – Memphis, TN – FedExForum
10/31 – Atlanta, GA – State Farm Arena
11/01 – Greensboro, NC – First Horizon Coliseum
11/02 – Baltimore, MD – CFG Bank Arena
11/07 – Las Vegas, NV – T-Mobile Arena
11/08 – Oakland, CA – Oakland Arena
11/09 – Los Angeles, CA – Kia Forum
11/13 – Charlotte, NC – Spectrum Center
11/14 – Columbia, SC – Colonial Life Arena
11/15 – Birmingham, AL – Legacy Arena at BJCC
11/20 – Brooklyn, NY – Barclays Center
11/21 – Newark, NJ – Prudential Center
11/22 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
11/23 – Hampton, VA – Hampton Coliseum
11/28 – St. Louis, MO – Enterprise Center
11/29 – Detroit, MI – Little Caesars Arena
11/30 – Washington, DC – Capital One Arena
12/05 – New Orleans, LA – Smoothie King Center
12/06 – Fort Worth, TX – Dickies Arena
12/07 – Houston, TX – Toyota Center

Cavin Yarbrough, Half of Yarbrough & Peoples and Funk-R&B Icon, Dies at 72

Yarbrough & Peoples perform together onstage in Dallas. The R&B duo, best known for their 1980 No. 1 hit “Don’t Stop the Music,” remained active performers and community figures for decades. (Photo courtesy of Yarbrough & Peoples Productions)

Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples and the man behind the early 1980s chart-topper "Don't Stop the Music," has died. He was 72.

His wife and longtime music partner, Alisa Peoples, confirmed his death Saturday, saying it was sudden and unexpected. "He was the love of my life, my protector," she said. "Now he’s my guardian angel."

Yarbrough passed away on June 19 from complications related to heart disease, according to Peoples.

The duo became household names after their 1980 debut single "Don't Stop the Music" topped the Billboard R&B chart and helped define the era’s funk-forward sound. Their debut album, "The Two of Us," was released the same year and propelled the Dallas-born pair into national fame. "Don't Stop the Music" remains one of the defining tracks of early '80s R&B and is still widely sampled and celebrated today.

Born and raised in Dallas, Texas, Yarbrough was a classically trained pianist who first met Alisa Peoples as a child while taking piano lessons. Their shared love of music blossomed into both a personal and professional partnership. It was Gap Band frontman Charlie Wilson who introduced the duo to Lonnie Simmons, founder of Total Experience Records. The label signed Yarbrough & Peoples in the late '70s, setting the stage for their string of R&B successes.

In addition to their breakout hit, the pair recorded several other charting singles throughout the 1980s, including "Heartbeats" (No. 25, 1983), "Don’t Waste Your Time" (1984), "Be a Winner" (No. 6, 1984), "Guilty" (No. 13, 1986) and "I Wouldn’t Lie" (1986).

After leaving Total Experience in 1986, Yarbrough and Peoples married in 1987 and returned to Dallas. There, they launched their own production company, Yarbrough & Peoples Productions, and served as music directors at their church. Yarbrough also portrayed blues legend Lead Belly in the Off-Broadway musical "Blind Lemon Blues" in 2009.

Friends and fans took to social media to honor his legacy.

“So sad to learn of the passing of Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples,” longtime radio personality Donnie Simpson posted. “We will remember Cavin’s legacy through timeless hits like ‘Don’t Stop the Music.’ Sending condolences to his wife, Alisa Peoples, family, friends & fans. RIP.”

"Cavin was not only an extraordinary talent, but a kind man with a great heart," said Michele Elyzabeth, the duo’s publicist for over 40 years. "His legacy will live on in the music, in our memories, and in the hearts of everyone who knew him."

At a time when funk and romance ruled Black radio, Yarbrough & Peoples found the perfect groove. And with Cavin now gone, the beat he helped create lives on.

Beyoncé Tops Whitney, MJ Falls Short of No. 1 in Billboard’s R&B Ranking

Stevie Wonder receives a standing ovation from President Barack Obama, First Lady Michelle Obama, Vice President Joe Biden and an all-star crowd during a 2011 White House Motown tribute. This week, Billboard named Wonder the greatest R&B singer of all time, topping a list that includes legends like Aretha Franklin, Michael Jackson, Beyoncé and Marvin Gaye. (Official White House Photo by Pete Souza)

Billboard just dropped its list of the 75 greatest R&B singers of all time — and if you grew up memorizing liner notes, taping quiet storm sets off the radio, or debating who hit harder between Luther and Marvin, this one’s for you.

Crowned at No. 1 is Stevie Wonder, the blind boy genius turned cultural architect whose sound helped define R&B, soul, and pop for over 60 years. Billboard calls him “pure creative mastery,” but most fans already had him carved into Mount Rushmore status decades ago.

Right behind him at No. 2 is the eternal Queen, Aretha Franklin. Whether from the pulpit or the protest line, Aretha’s voice changed lives and demanded R-E-S-P-E-C-T at every turn.

The top five rounds out like a 3 a.m. soul cypher in heaven: Michael Jackson (3), Beyoncé (4), and Whitney Houston (5) — each one a seismic shift in what R&B could sound, look, and feel like. Beyoncé’s placement signals her as more than a pop juggernaut — she’s a genre-defining vocalist whose catalog honors gospel roots while reshaping the modern R&B landscape. Billboard called her a “vocal chameleon” who balances breathy sensuality with outright power.

Further down, legends like James Brown (6), Prince (7), Mariah Carey (8), Marvin Gaye (10), and Al Green (14) get their long-overdue flowers. Janet Jackson (13) and Usher (21) hold it down for the crossover era, when R&B ruled MTV and packed out arenas. And Brandy, at No. 25, earns her long-standing title as the “Vocal Bible.”

But this list isn’t just a walk through the past — it’s a battleground. Controversy is built into the ranking.

Summer Walker’s inclusion at No. 74 raised eyebrows, especially paired with the absence of ‘90s titans like Keith Sweat, Joe, and Jodeci. R. Kelly’s No. 9 placement is another lightning rod, despite Billboard’s acknowledgment of his lasting musical influence.

Still, the list provides a sweeping look at the genre’s evolution — from Sam Cooke’s raw emotion (12) to Sade’s velvet cool (20), Frank Ocean’s alt-soul futurism (69), and SZA’s millennial vulnerability (33).

In truth, Billboard didn’t just build a ranking — they mapped out a sonic family tree. The list traces how Black voices turned heartbreak into harmony, protest into poetry, and romance into timeless radio.

Will it end the debates? Not a chance. But like the best R&B — it gave us something to feel and something to talk about.

Billboard’s 75 Greatest R&B Singers of All Time

1. Stevie Wonder
2. Aretha Franklin
3. Michael Jackson
4. Beyoncé
5. Whitney Houston
6. James Brown
7. Prince
8. Mariah Carey
9. R. Kelly
10. Marvin Gaye
11. Luther Vandross
12. Sam Cooke
13. Janet Jackson
14. Al Green
15. Ray Charles
16. Etta James
17. Patti LaBelle
18. Donny Hathaway
19. Chaka Khan
20. Sade
21. Usher
22. Smokey Robinson
23. Diana Ross
24. D’Angelo
25. Brandy
26. Anita Baker
27. Toni Braxton
28. Alicia Keys
29. Gladys Knight
30. Mary J. Blige
31. Teddy Pendergrass
32. Raphael Saadiq
33. SZA
34. Jill Scott
35. H.E.R.
36. Maxwell
37. Erykah Badu
38. Fantasia
39. Babyface
40. The Weeknd
41. Charlie Wilson
42. Teena Marie
43. Aaliyah
44. Monica
45. Brian McKnight
46. Kelly Price
47. Ginuwine
48. Chris Brown
49. Trey Songz
50. Faith Evans
51. John Legend
52. Daniel Caesar
53. Lauryn Hill
54. Tank
55. Jhené Aiko
56. Jazmine Sullivan
57. El DeBarge
58. Ashanti
59. Joe
60. Musiq Soulchild
61. Mario
62. Tyrese
63. Anthony Hamilton
64. Ledisi
65. Avant
66. Eric Benét
67. Carl Thomas
68. Frank Ocean
69. Ne-Yo
70. Robin Thicke
71. Mario Winans
72. Leela James
73. Sevyn Streeter
74. Summer Walker
75. BJ the Chicago Kid

Source: Billboard’s Full List

Black Thought to Direct New Hip-Hop Film Aided by Questlove’s Oscar-Winning Touch

Tariq “Black Thought” Trotter, pictured, is set to direct a new immersive hip-hop film backed by Questlove and powered by WonderRoom’s 360-degree tech. 

Tariq “Black Thought” Trotter is moving from the mic to the director’s chair for a bold new venture that reimagines how hip-hop stories are told. The Roots co-founder is helming a narrative film designed to fully immerse viewers in the genre’s cultural heartbeat, using 360-degree technology to recreate its most iconic moments.

Backed by Impossible Creative and powered by its WonderRoom platform, the project blends music, performance, history, and technology in a cinematic experience producers say will let audiences “feel the music, stories, and culture of hip-hop come alive around them.”

Joining Trotter behind the scenes is longtime collaborator Ahmir “Questlove” Thompson, who will serve as a producer. The Grammy- and Oscar-winning artist is no stranger to powerful storytelling. He directed the Academy Award-winning documentary "Summer of Soul," which unearthed and reframed a forgotten Black cultural milestone, earning universal acclaim. His involvement here suggests the new film won’t just entertain — it will educate and resonate.

View this post on Instagram

A post shared by Black Thought (@blackthought)

Trotter, a celebrated lyricist and bandleader for The Roots, is also an author, playwright, and actor. He co-wrote and starred in the Off-Broadway production "Black No More" and published the acclaimed memoir "The Upcycled Self." His recent solo music, including "Love Letter," which earned him his 14th Grammy nomination, has only sharpened his focus on narrative craft.

“I’m grateful to Impossible Creative for entrusting me with their technology in bringing my latest project to the world,” Trotter said. “Hip-hop has a rich and beautiful history, and by creating a space where audiences play a role and physically live out its greatest moments, the potential for a better understanding of the genre and its roots increases significantly.”

The film is being produced by Two One Five Entertainment’s Shawn Gee and Josh Williams, along with Impossible Creative co-founders Charles Roy and David Galpern. Jonathan Schwartz of FanX Studios is executive producing. A Spring 2026 grand opening in New York is planned.

For Questlove and Trotter — high school classmates, bandmates, and now partners in their media company Two One Five Entertainment — this is the latest chapter in a creative partnership that has already delivered for outlets like Amazon, Netflix, and Disney. Their efforts continue to center the voices and stories of Black artists across genres and platforms.

Clipse Announces Comeback Tour and Album

Photo Credit: Cian Moore

It’s official: Clipse is back. After more than 15 years, one of hip-hop’s most revered duos — brothers Pusha T and No Malice — are reuniting for a nationwide tour in support of their highly anticipated new album, "Let God Sort ’Em Out."

The tour marks a full-circle return for the Virginia Beach MCs who built their legacy on sharp lyricism, coke-rap precision, and a uniquely minimalist sound shaped by Pharrell Williams and Chad Hugo, aka The Neptunes. Fittingly, the "Let God Sort ’Em Out Tour" opens with a homecoming show at The Dome in Virginia Beach on August 10.

Tickets go on sale to the general public Friday, with VIP packages and exclusive pre-sale access already available. The album drops July 11 through Roc Nation Distribution and marks their first full-length collaboration since 2009’s "Til the Casket Drops."

Fans can expect a complete Neptunes production on the record, as Pharrell returns to the boards for every track. The rollout also includes visuals and tour merchandise designed by artist KAWS, whose stylized, irreverent aesthetic reflects the duo’s shift into cultural tastemakers as much as lyrical craftsmen.

"Let God Sort ’Em Out" isn’t just a tour or an album title — it’s a statement. It reflects the philosophical divide and eventual reunion that defined Clipse’s arc. In the early 2000s, Pusha T and No Malice (formerly just Malice) became icons for street rap with a conscience. Their 2002 debut, "Lord Willin’," featuring hits like "Grindin’" and "When the Last Time," set the tone. But it was 2006’s "Hell Hath No Fury" — widely considered a modern classic — that solidified their place in hip-hop’s upper echelon.

While Pusha T would go on to have a celebrated solo run (including Grammy nods and the infamous Drake feud), No Malice took a spiritual turn, renouncing the street life in his 2011 memoir "Wretched, Pitiful, Poor, Blind & Naked" and later releasing faith-based solo projects. The brothers’ divergence wasn’t just thematic — it was personal. For years, the idea of a full Clipse reunion seemed unlikely.

The ablum's lead single, “Ace Trumpets,” released May 30. A mid-tempo, synth-driven track produced by Pharrell, it features razor-edged lyrics from both brothers and has already been praised by Pitchfork as their "menacing return to form."
That changed in 2019 when the duo appeared together on Kanye West’s "Jesus Is King." Since then, rumors of a new album have simmered — until now.

With Pharrell at the helm, KAWS handling visuals, and both brothers locked in lyrically, "Let God Sort ’Em Out" is positioned as a rebirth. The album will be available in digital, CD and limited LP editions, with select deluxe vinyl bundles including unreleased demos and tour memorabilia.

The Virginia Beach stop on August 10 promises to be the crown jewel of the tour — a triumphant return to the city that raised them and first sparked their musical ambitions. Additional stops include:

Let God Sort 'Em Out Tour Dates (So Far)

• August 10 — Virginia Beach, VA @ The Dome
• August 14 — Atlanta, GA @ Tabernacle
• August 16 — Miami, FL @ The Fillmore
• August 20 — Chicago, IL @ House of Blues
• August 22 — New York, NY @ Terminal 5
• August 24 — Philadelphia, PA @ The Fillmore
• August 28 — Houston, TX @ Bayou Music Center
• August 30 — Los Angeles, CA @ The Wiltern
More dates to be announced soon.

For fans of true lyricism, minimalist bangers, and the cultural evolution of two of hip-hop’s sharpest voices, the Clipse comeback is more than nostalgia — it’s the next chapter.

Visit letgodsortemout.com for full tour and album details.

From Viral Star to Prison: Silentó Gets 30 Years for Manslaughter

Photo Credit: DeKalb County Sheriff’s Office

Ricky Hawk, better known as Silentó — the teenage viral sensation who once ruled summer cookouts with "Watch Me (Whip/Nae Nae)" — was sentenced to 30 years in prison today after pleading guilty but mentally ill in the 2021 shooting death of his cousin, Frederick Rooks III.

The 27-year-old rapper entered the plea in DeKalb County Superior Court, accepting charges that included voluntary manslaughter, aggravated assault, firearm possession during a felony, and concealing a death.

The fatal shooting occurred in the early hours of Jan. 21, 2021. Police responded to a 3:37 a.m. call in the Panthersville area of unincorporated Decatur, Georgia. Rooks was found lying near the intersection of Deep Shoals Circle and Corners Crossing with multiple gunshot wounds. EMS declared him dead at the scene. Ten bullet casings were found nearby.

Investigators reviewed security footage showing a white BMW SUV speeding from the scene shortly after gunshots were heard. The vehicle matched one Hawk was driving that night. Family members later confirmed Rooks had last been seen with Hawk. He had reportedly picked Rooks up from a friend’s house earlier that evening.

Silentó was arrested Feb. 1, 2021. According to authorities, he admitted to the shooting during questioning, and a firearm linked to the crime was later recovered.

The Atlanta native shot to overnight fame in 2015 with "Watch Me (Whip/Nae Nae)," which peaked at No. 3 on the Billboard Hot 100 and earned over a billion YouTube views. But after the song’s viral peak, Hawk’s life spiraled. He faced multiple legal issues in 2020, including an arrest for allegedly entering a stranger’s home with a hatchet in Los Angeles, and a reckless driving charge after reportedly reaching 143 mph on I-85 in Atlanta.

In court this week, his plea of guilty but mentally ill acknowledged struggles with mental health, though the court found him competent to stand trial.

Doechii Calls Out Government Crackdown in Fiery BET Awards Speech

The 2025 BET Awards reminded everyone why it’s still called Culture’s Biggest Night. With sharp political statements, emotional tributes, and career-defining wins, the evening was a showcase of star power, activism and legacy.

The show kicked off with Kevin Hart in full form, joking about everything from GloRilla’s name to the baby oil in Diddy’s court case. “There won’t be any afterparties tonight,” he said. “Things could get slippery.” But beyond the humor, Hart set a celebratory tone, honoring BET’s 25th anniversary and reminding viewers of its legacy.

The night belonged to Kendrick Lamar, who picked up four major awards: Album of the Year for GNX, Best Male Hip-Hop Artist, Video of the Year for “Not Like Us,” and Best Collaboration with SZA for “Luther.” He also shared Video Director of the Year honors with longtime collaborator Dave Free.

Meanwhile, Doechii made history with her first BET Award for Best Female Hip-Hop Artist. The Grammy winner used her moment to speak out. “There are ruthless attacks creating fear and chaos in our communities in the name of law and order,” she said, referencing nearby immigration raids and protests. “Trump is using military forces to stop a protest... We all deserve to live in hope and not fear.” Her words drew applause and gave the evening its most politically potent moment.

Jamie Foxx’s tribute brought tears and cheers. Stevie Wonder surprised the crowd to present the Ultimate Icon Award, delivering heartfelt praise: “I admire and celebrate your talent and your love — for blind people.” Foxx, recovering from a 2023 medical emergency, smiled and nodded as Babyface, Ludacris, Tank, Jennifer Hudson, T-Pain and Doug E. Fresh performed a medley of his hits, including “Unpredictable” and “Blame It.” Foxx later said, “You can’t go through something like that and not testify.”

Other big winners included SZA (Best Female R&B/Pop Artist), Chris Brown (Best Male R&B/Pop Artist), and Leon Thomas (Best New Artist). Blue Ivy Carter took home the YoungStars Award in a full-circle legacy moment for the Carter family. Summer Walker earned the BET Her Award for “Heart of a Woman,” while GloRilla, Kirk Franklin, and Maverick City Music won the Dr. Bobby Jones Gospel/Inspiration Award for “Rain Down on Me.”

In film and television, Cynthia Erivo and Denzel Washington were awarded Best Actress and Actor, while Luther: Never Too Much won Best Movie. On the sports side, Angel Reese was named Sportswoman of the Year and Jalen Hurts earned Sportsman of the Year honors.

Full List of 2025 BET Awards Winners:
Best Female R&B/Pop Artist – SZA
Best Male R&B/Pop Artist – Chris Brown
Best Group – Future & Metro Boomin
Best Collaboration – “Luther” – Kendrick Lamar & SZA
Best Male Hip-Hop Artist – Kendrick Lamar
Best Female Hip-Hop Artist – Doechii
Video of the Year – “Not Like Us” – Kendrick Lamar
Video Director of the Year – Dave Free & Kendrick Lamar
Best New Artist – Leon Thomas
Album of the Year – "GNX" – Kendrick Lamar
Dr. Bobby Jones Best Gospel/Inspirational Award – “Rain Down on Me” – GloRilla feat. Kirk Franklin, Maverick City Music
Best Actress – Cynthia Erivo
Best Actor – Denzel Washington
Best Movie – "Luther: Never Too Much"
YoungStars Award – Blue Ivy Carter
Sportswoman of the Year – Angel Reese
Sportsman of the Year – Jalen Hurts
BET Her Award – “Heart of a Woman” – Summer Walker

Diana Ross Tapped to Launch Royal Caribbean’s Latest Family Cruise Ship

Diana Ross, 80, center, poses in her Met Gala gown embroidered with the names of her five children and eight grandchildren in this family portrait taken by Dennis Gocer. The 18-foot feathered shawl reportedly required six helpers—though compared to christening a 250,000-ton cruise ship, that’s light lifting. Ross was named godmother of Royal Caribbean’s Star of the Seas, which launches August 31. (Photo by Dennis Gocer/The Collective You, via dianaross.com)

Diana Ross, icon of stage, screen and sequined glamour, is trading the concert hall for the high seas this August — because 2025 wasn’t surreal enough already.

Royal Caribbean officially tapped Ross as the godmother of its new mega-cruise ship, Star of the Seas, on Thursday. Yes, godmother. Not to a child, but to a 250,800-ton floating resort with Broadway-style musicals, 40-plus places to eat and drink, and something ominously called the Category 6 waterpark. In accordance with maritime tradition, Ross will "bless" the ship and its future vacationers during a naming ceremony. Instead of breaking hearts, she’ll break a bottle of champagne against the hull — same drama, fewer costume changes.

Ross — already mother to five and unofficial godmother to most of the Motown diaspora — seems like a natural pick. Who better to bestow safe passage on a floating palace of excess than the woman who turned a sequined gown into a personality trait? "Love Hangover" may be about heartbreak, but let’s be honest: it could easily be the ship’s signature cocktail by August.

"I am truly honored to join the Royal Caribbean family," Ross said in a statement that reads smoother than a poolside piña colada. "Having spent years creating beautiful music and memories and bringing people together from all over the world, this feels like a perfect continuation of my journey."

That journey now includes presiding over what’s being marketed as the world’s best family vacation — a ship so big it has its own neighborhoods, including the AquaDome, a sort of glass-encased wonderland featuring ocean views and Cirque-du-Soleil-style performances. Also onboard? A stage adaptation of "Back to the Future," because apparently, time travel and cruise buffets do mix.

Ross will be on hand when Star of the Seas launches from Port Canaveral in Florida, on August 31, setting sail on 7-night voyages to the Eastern and Western Caribbean with guaranteed stops at Royal Caribbean’s overachieving private island, Perfect Day at CocoCay. Yes, that’s the real name. No, you’re not dreaming.

Royal Caribbean CEO Michael Bayley called Ross a perfect fit for the ship’s vibe of joy and multigenerational magic. "We couldn’t imagine a more fitting godmother," he said. "Diana Ross is a true icon known for creating music that transcends generations while celebrating life and bringing people together." Basically, she's the human version of the ship’s mood board.

Ross’s duties are symbolic — think vibes, not lifeboat drills. But the role still comes with weight: it’s a blessing of good fortune, smooth seas, and zero karaoke mishaps for the thousands of passengers expected to come aboard.

So, if you’ve been longing for a vacation blessed by a disco legend, curated by a cruise line that thinks bigger is always better, your ship quite literally comes in this August. Diana Ross, diva of the deep, is ready to rule the waves — and this time, you can follow her lead in flip-flops.